Subject: Book 3 Chapter 10 Part 1
Author: Nancy (168.191.60.116)
Date: 11-18-1999 23:56
Scene 1
Renato has penetrated into the middle of the yard of the large house
in Saint-Pierre. He is a bit surprised to find the door open and no
one there. He descends from his horse and hands the reigns of his
horse to the servant of ebony color that approaches as he arrives.
Before he can ask anything from the servant, a thing figure of
copper color has appeared before the arches. As she approaches she
explains that Doña Catalina sent her ahead to prepare the house. She
remarks that he looks tired. Yanina observes Renato's figure that
seems to carry a hint of his turbulent voyages. The servant leads
the horse away as Yanina looks at Renato from his boots to his face
covered in sweat, and illuminated with a glimmer of happiness.
Renato asks Yanina if she can have dinner and a bath prepared for
him. Yanina says yes and asks him if he will have anything to drink
in the meantime. Renato tells her no and that he needs her hands for
something else at the moment. Then he asks her if she is good at
preparing bouquets. Then he tells her to cut all the roses in the
garden and then look for the prettiest vase in the house…
Yanina is surprised and asks Renato what she should do then. He
tells her that she should fill the vase with all the flowers she has
cut and then deliver it along with a few lines he is going to write
down. Yanina observes as Renato's countenance changes before her.
Yanina queda un instante mirandolo, como si no pudiera desprender
los ojos del fino rostro varonil que lentamente ha ido
transfigurandose. Desde hace muchos meses, no recuerda una expresion
semejante en el rostro de su amo. Es como si juntas aletearan ante
sus ojos una ilusion y una esperanza. Y los tristes labios de Yanina
contienen con esfuerzo el temblor de su voz al preguntar:
Yanina asks where she should deliver the flowers and Renato answers
that she should deliver it to the convent of las Siervas del Verbo
Encarnado. Then Renato crosses the yard towards his usual retreat ,
that old library so full of old books no one ever reads. Yanina's
gaze follows him, and she is overcome with hatred, jealousy, and an
arduous curiosity. As she sees his disappear behind closed doors she
repeats as in an eco his last words.
Y los ojos de Yanina le siguen, velados a la vez de rencor y de
angusti, de celos encendidos y de ardiente curiosidad. Se clavan en
su espalda hasta ver desaparecer la lata y delgada figura tras las
puertas labradas. Luego, las palabras escapan de sus labios como un
eco:
-- Al Convento de las Siervas del Verbo Encarnado…
Scene 2
¡Colibrí, ven acá!
Juan calls to Colibrí, but before Colibrí can respond to his call,
Juan has approached him. Juan is on the same cliff, where Mónica
walked away from him overcome by a bitter memory. From there he can
see the distant shore, the beach of the valley, and the sea.
Juan asks Colibrí what is the matter with him, why he shakes. He
also remarks that all his life he has hated idiots and cowards.
Colibrí firmly responds that he has never been either. Juan tells
him that that is why he liked and thought he could be loyal but
perhaps he is wrong. Juan asks Colibrí if he called Mónica:
-- ¡Ay, no patron , no diga eso! Yo soy leal, mas que leal. Yo…
-- Fuiste a avisar a Mónica al convento, ¿verdad?
-- Yo, mi amo, fui a avisarle. Ella me lo tenia mandado, y usted
tambien me tenia ordenado obedecerla y servirla a ella como a nadie…
¿Esta mal hecho, mi amo?
-- Esta bien… Solo queria saber si habias sido tu.
Juan rests his hand on Colibrí's wooly head and the fear disappears
from Colibrí's bright eyes. Colibrí tells Juan that indeed he called
Mónica when Renato appeared, ready to kill him. Juan sarcastically
remarks how Colibrí has changed since he has been around women. Then
Juan asks her Colibrí why he trembled when he called him before.
Colibrí tells him that he was afraid that he (Juan) would ask him
something he cannot tell. And since Juan always taught him to tell
the truth, he would not be able to lie to him. Juan then asks
Colibrí if he was told to lie to him and Colibrí tells him that he
was told to be silent, which is the same as lying when asked. Juan
wants to know who asked him to be silent. Poor Colibrí tries to make
sense of who he is supposed to obey.
(This is such an endearing conversation…)
-- Nada mas tenia miedo de que me preguntara, patron. Usted me
enseño a decir siempre la verdad. Yo, a usted, no podria decirle una
cosa por otra, y…
-- Me mandaron callarme, patron. Y cuando le preguntan a uno, y uno
se calla lo que sabe, es como si dijera una mentira, ¿verdad?
--Casi, casi… Pero, ¿quien the mando callarte?
-- La unica que puede mandarme despues de usted, patron. Bueno… no
se si despues o antes, y ese era el lio que yo tenia entre la
cabeza: que usted es mi amo, y ella es mi ama, y usted me mando que
tenia que obedecer a alla antes que a nadie. Y luego, usted me manda
a hacer otra cosa que ella. ¿A quién le tengo que hacer caso?
-- Si ella te mando callar, calla.
Juan tells Colibrí that if Mónica ordered him to be silent that he
should be silent then. But Colibrí insists that it is something he
thinks Juan should know even though he doesn't want to reveal it.
-- Es que yo quisiera que usted supiera eso, mi amo. Y al mismo
tiempo, no quisiera decir nada… porque ella dijo que era bueno para
usted que no lo supiera.
Juan's hand on Colibrí's head has hardened and slid down to
Colibrí's shoulder. Both have been silent for a moment, but at the
hard touch of Juan's hand, Colibrí volunteers what Mónica had asked
him to be quite about:
-- Por el ama Mónica yo me dejo matar; pero tengo que decirle a
usted lo que ella le dijo al señor Renato, lo que le ha prometido,
lo que le ha jurado… lo que yo oí desde detrás de aquella puerta
donde estaba espiando a ver si usted llegaba para avisarle, porque
ella me mandó que así lo hiciera. Ella le dijo, le juró…
Juan silences Colibrí. He tells Colibrí that that promises of love
are foolishness. Juan tells Colibrí that probably Mónica swore to
him eternal love. Colibrí contradicts him.
-- Calla… Los juramentos de amor son una tontería. Todo el mundo los
hace, pero sólo los tontos piensan reclamarlos. Probablemente ella
le juró amor eterno…
-- No mi amo, pero le dijo que se defendería… que se guardaría…
-- ¿Defenderse? ¿Guardarse?-repite Juan interesado a pesar suyo.
-- Y que esta misma noche volvería a su convento, para esperar a
allí que se rompiera no sé qué lazo…
Juan becomes pale at the sound of Colibrí's words. For a second his
dark eyes have become lit and then have gone out again. Then
suddenly Juan turns his back on Colibrí. Disconcerted by this
reaction, Colibrí steps back and asks Juan if he is angry and, if
indeed, he didn't care to know. Juan tells him he didn't care to
know and that the only thing he did wrong was to go get Mónica.
-- No me importaba nada. Además, nada nuevo dijiste, Colibrí. En una
sola cosa hiciste mal: en ir a buscarla. Las cosas de hombre, entre
hombre se arreglan, Colibrí, ¡qué no se te olvide nunca más!
Scene 3
After leaving Juan, in an attempt to skirt all company, Mónica has
descended down the treacherous path that the cliff takes down to the
sea. Like someone who looks for danger when attempting to escape it,
Mónica has descended down the rocky cliff until she has reached the
narrow beach. The small beach reminds her of the beach near her
house, except that here the sea is more violent and there is only a
very narrow strip of sand. The waves sound like a concert when they
break in the hole where Juan as a child used to hide his boat.
Nothing resembles that stretch of savage beauty… but what is it
about it that obsesses her? Why is it that the sound of each
breaking wave sounds like an echo of Juan's passion?
It's as if the scene around her reminds her of the passion and
madness she believes Juan and Aimée loved each other with. Mónica's
soul suffers because she believes that Juan still loves Aimee's
memory with the same intensity. (Poor Mónica.)
Mónica ha bajado sortenado los peligros, a través del sendero casi
impracticable que tomara al aza, cuando alejándose de Juan ha
querido esquivar toda posible compañía. Como el que huyendo de un
peligro lo busca más y más, ha descendido a través de las rocas
hasta aquel mar, hasta aquel estrecho pedazo de playa, tan parecida
a la que unas leguas más arriba se abre cerca de su casa… Solo que
aquí el mar es aun más violento, más encrespado… Apenas deja margen
para una estrecha franja de arena, y es como un concierto de rugidos
su tronar cuando se hunde en aquella hendidura donde Juan, de niño,
escondiera su barca… No, nada se parece en realidad aquel trozo de
naturaleza salvaje, a la gruta cubierta de musgo, de piso rubio y
blando… Sin embargo, ¿por qué la obsesiona aquel paisaje? ¿Por qué
cada ola que se estrella le suena como un eco de la pasión de Juan…?
Amor… pasión… locura…¡Sí… con locura… así se amaron… así sigue él
amando su recuerdo… su recuerdo más fuerte que todo frente a este
mar…!
Se ha recostado contra las duras rocas. Ha cerrado los ojos, y a
través de los párpados que enrojecen los últimos rayos del sol que
muere, el fantástico sueño de sus celos va tomando vida, forma,
imágenes… Es como si sintiera renacer un pasado que no conociera,
como si locamente recordara una escena que jamás presenció, pero que
mil veces ha imaginado: ¡Aimée en brazos de Juan!
As she leans up against the rocks, her eyelids lit by the setting
sun, Mónica is tormented by the vivid images her jealousy brings on.
As if remembering a past she has never known, as if recalling a
scene she never witnessed but has imagined a thousand times, Mónica
sees the image of Aimée in Juan's arms.
A wave has crashed very near Mónica, and at the old impact of the
water she has opened her eyes as if returning from hell to earth
again. She opens her eyes to harsh terrain already in shadows, and
her tears are as bitter as the seawater that surrounds her.
Una ola gigante se ha estrellado muy cerca, bañando a la mujer
enlutada que en extasis doloroso soñara…
Segundo Duclos descends the sharp rocks with all the agility of a
sailor. As he does so he calls out to Mónica whom he is searching
for. Mónica calls back and inquires who is looking for her and why.
Segundo descends to where she is and is struck by what he sees
before him. Mónica has descended into the opening in the rocks that
would serve as an embankment when the sea is calm. Now, however, the
giant waves are fiercely roaring against the rocks and with each hit
they bathe the rocks in froth. With the light of his lantern,
Segundo observes that Mónica's dress is soaked, her hands are
freezing, the strands of her wet hair is plastered against her face,
and her eyes are aglow in her pale countenance.
Segundo tells Mónica that she has given everyone a good scare. He
tells her that Juan asked him for her and then sent him (Segundo) in
search of her. Segundo tells her he has been looking all over for
her and so has Colibri, but how were they supposed to know she was
in this hole. He says he doesn't understand how she could have
descended to that point. Slowly Mónica seems to come out from the
dark interior worlds she has been in, and as Segundo looks at her,
she looks at the landscape that surrounds them.
Segundo begins to tell her that they were afraid she had attempted
crossing the line of soldiers, because only two days earlier they
had beaten two women. Segundo tells her that no one has yet told
Juan, because if they did, he can imagine what he will do. Then
Segundo tells Mónica that it's best they get out of that place, that
any of the breaking waves can drag someone in, and that she is
already wet and could get sick. Segundo extends his hand towards her
but is afraid to interrupt Mónica's intense struggle with her own
feelings.
Then abruptly she speaks… she asks Segundo if he knows how to row
and handle a boat. Segundo answers that he can do anything any other
man does at sea. Mónica then dares to ask if he will take her to
Saint-Pierre that night. Segundo is very surprised by the question
and he can't help but ask is she means to reach Saint-Pierre with
the sea and bad weather as it is. Mónica reminds him that on a
similar night they took to sea on a small boat to reach the Luzbel.
And Segundo reminds her that it was Juan himself who took control of
that boat. When Mónica reproaches him about what he said about being
able to do what any other man can do at sea, Segundo replies that he
was not counting on including Juan in that lot. He tells her that at
sea, Juan is more than a man, and that is also true on land, but
that no one knows that better than her.
Mónica reprimands him and tells him that the case is that he does
not want to risk taking her. Segundo agrees. He says that he is not
crazy because taking her out to sea at that moment would be the same
as throwing her off the cliff. He apologizes and asks that she
please order him something else. He tells her that Juan has ordered
that they obey her in everything, but that what she is asking is not
possible. Then suddenly he notices Juan by the light of his lantern.
Juan is only a few meters away from them, and he calls to them as if
he were shouting orders on the stern of his ship:
-- Salgan de ahi en seguida… ¿No ven que esta subiendo la marea?
Cualquier ola de estas se los lleva… ¡Pronto… Arriba…! ¡Fuera de
aqui! ¡Es demasiado peligroso este sitio!
-- Es lo que yo le estaba diciendo a la señora, patron…
Juan ha arrastrado a Mónica, sin darle tiempo a protestar, a
esquivar las manazas de hierro que la alzan como una leve pluma,
haciendola trepar a traves de las piedras, y la lleva hasta la
cabaña en ruina, depositandola sobre el banco de madera, casi unico
mueble que hay alli.
Without giving her a chance to protest, Juan has picked Mónica up as
if she were a feather. He carries her over the rocks, into the cabin
in ruins and places her on a bench, which is the only piece of
furniture in the cabin… From her bench, Mónica observes Juan in
silence. She notices he has returned to wearing the clothes of a
sailor, which instead of making him look unattractive make him
candidly and disturbingly attractive ("un calido e inquietante
atractivo"). Mónica detects a deep disdain in his eyes. Nevertheless
his eyes light up with a strange passion when he looks at Mónica.
Juan initiates conversation by trying to get Mónica to come closer
to the fire to dry herself:
…Pero en sus magnificos ojos italianos, la soberbia ha puesto su
expresion de desden mas profundo… Sin embargo, se encienden de una
pasion extraña cuando miran a Mónica larga e intensamente…
-- ¿Por que no te acercas mas al fuego? Estas temblando, mojada
totalmente, y no creo que haya quien pueda prestarte ni un mal
vestido entre las infelices de la aldea…
-- No hace falta… Asi estoy bien… No te preocupes mas de mi…
Juan tells her that he is not worrying about her, that all he wants
to do is to prevent Renato from claiming he killed her. Mónica begs
him to leave the topic alone. Juan sarcastically remarks that indeed
it's best to leave every topic alone with Mónica. He tells her that
they have nothing to discuss but that it is he who stubbornly
persists. Then he questions what the point is in continuing.
Juan bites down on his lip in anger and Mónica feels a strange
relief at his display of anger. She questions why he is angry and
aggressive with her but prefers that it be so. Juan then tells her
that he is going to leave so that she can take off her clothes and
dry them by the fire. He tells her that nights at el Cabo del Diablo
are long and that it is uncertain how long she will have to stay
there. He also tells her that he knows she is willing to do anything
to get out of there but that he is not going to permit that she run
any danger. He will be the one to provide a way of getting her out
of that mouse trap if the situation lasts much longer, but until
then she will have to resign herself. Juan asks her if she heard
him. Mónica replies that she is not deaf, and can hear anything he
says. Juan tells her that he hopes that she can obey orders as well
because in the situation they are in, everything must work as if
they were on the high sea, at his command.
Mónica sarcastically questions the idea of a ship at high sea, and
Juan tells her that there are to be no more nocturnal walks,
treacherous descents, or crazy ideas like the one she was planning
with Segundo. Mónica observes that he was listening and he corrects
her and tells her that he overheard them which isn't the same. Then
he forbids her to leave the house without his permission and tells
her that he prefers to jail her than have to bury her. He also
informs her that he will be her bodyguard, as he cannot trust her
with anyone because she mesmerizes then, like Segundo and Colibri,
and they always end up doing what she orders. And then he drives the
knife home by saying that they will share the house but not to worry
because there was less space on el Luzbel and even then he did not
come near her.
-- Sí se acabaron los paseos nocturnos, los descensos a los
rompeolas y los proyectos descabellados, como los que hacias con
Segundo.
-- Ya veo que nos escuchabas…
-- Les oí, que no es lo mismo. Y para cortar el mal de raíz, no
saldrás de la cabaña sin mi permiso… Prefiero darte cárcel a tener
que darte sepultura. Estamos rodeados de mayores peligros de lo que
te imaginas…
-- ¿No es un pretexto para darmer guardianes?
-- Tu guardián voy a ser yo mismo. Contigo no puedo fiarme ni de los
mejores… los embobas, los embaucas. Lo mismo Segundo, que Colibrí,
acaban siempre por hacer lo que tú mandas, lo que tú dices. Había
ordenado arreglar la cabaña para ti, pero tendremos que compartirla…
Mas no te asustes, porque no hay motivo de alarma. Menos espacio
había en la cabina del Luzbel, y no por eso me acerqué a ti.