Subject: Book 3 Chapter 10 Part 2
Author: Nancy (168.191.60.116)
Date: 11-18-1999 23:57
Scene 4
-- ¿Que no está en el convento? ¿Que aun no ha llegado allí?
Renato is asking Yanina to tell him what it is the deliverer of the
flowers was told. Yanina tells Renato that Cirilo was told at the
convent that Mónica had not yet arrived. Cirilo then left the
flowers and the note because he understood that Mónica would be
arriving shortly. But when he left the convent, at the very corner
of the street he heard the new of the events at el Cabo el Diablo.
Apparently a very annoyed driver, who had taken Mónica there, said
that the soldiers had forced him to leave and thus abandon his
client (Mónica). This was all due to the owner of the land closing
off the road that lead to that place. Yanina says she is not sure
whether to believe the report as true since he (Renato) just came
from there and didn't notice any such thing going on.
Renato then recalls that some soldiers let him pass and then he
makes the realization that Mónica must still be there. He decides he
will go right away. Yanina goes on relating what Cirilo told her
about the situation at el Cabo del Diablo being very serious but
Renato is no longer listening. He is ordering a carriage or a horse
right away. He has made up his mind that he will go get Mónica out
of there and no one will stop him.
¡Renato… hijo!
Suddenly Renato hears his mother's call. He detains himself, barely
able to contain his temper and bad humor, as Sofía reaches his side
and places her hand on his chest. Renato tells Sofía that they will
talk later, that he can't at that moment because she doesn't know
what has happened. Sofía tells him that she knows, that Cirilo has
told her, and that is why she wants to speak to him before he leaves
in a rush. Sofía tells Renato that the situation is very serious.
Renato insists that that is why he has to go. Sofía continues to
argue with him, telling him that he has suspicions hanging over him
and that should he go back to el Cabo del Diablo he would only raise
more suspicions and gossip. She reminds him that his wife is only
rcently buried. Renato tells her that Ana told him the truth, that
Aimee had made him a toy of her whim, and that she had made both of
them a victim of the cruelest jokes. Then he asks Sofía if she
really expects the fact that Aimee's grave is still fresh, or what
people think of him, is going to stop him from going to where the
duty of his real love calls him. He tells her that Mónica loves him
and that he considers her his fianceé.
-- Cuanto más grave sea, más pronto necesito acudir…
-- No harás sino ponerte inútilmente en evidencia. Los soldados
tienen orden de disparar contra todo el que se acerque a la línea.
-- Ya la crucé una vez y no ocurrió nada. No tengas cuidado, que no
dispararán contra mí.
-- Pasaste hace unas horas… Ahora todo es distinto… Todo
Saint-Pierre tiene los ojos fijos en ese desdichado asunto. Lo que
Yanina iba a decirte es que el gobernador ha salido para allí.
-- Una razón más para que yo no tenga inconvenientes…
-- Pero, ¿no te das cuenta que tu actitutd llevará hasta el límite
las habladurías?
-- ¿Qué importa, cuando se trata de Mónica? Por mí fue al Cabo del
Diablo! Por mí está sitiada entre enemigos! ¿Y pretendes que la
abandone, madre?
-- Pretendo que tengas prudencia, que evites el escándalo, por ella
misma. ¿Es que te olvidas ya de lo que la gente piensa, de las
sospechas que flotan sobre ti? Que no sea yo la que tenga que
recordarte que la sangre de tu esposa está fresca todavía…
-- ¡Que piensen lo que quieran, que digan lo que quieran de mí!
Encontré a Ana, la interrogué… Me hizo juguete de sus caprichos, se
burló de mí y de ti, madre. A ti te hizo víctima de la más
sangrienta de las burlas. ¿Y aun esperas detenerme, diciendo que su
sangre está fresca, todavía? ¿Y aun piensas que el respeto humano me
impida ir a donde el deber de mi verdadero amor me llama? ¡Ya no hay
nada que me obligue a callar que quiero a Mónica! Y ella me quiere a
mí. Me lo ha dado a entender, me lo ha dicho, tengo su juramento y
su promesa… ¡La considero ya mi prometida!
Renato quickly exits through the door and Sofía follows him, opening
the door to look out. Suddenly a deafening sound in the distance
frightens her despite herself. She looks around for someone to
question, but she doesn't find anyone in the tranquil street of the
oldest and most opulent neighborhood in Saint-Pierre… There is a
soft sound coming from beneath the earth, and the sky reddens and
lightens up again… But Sofía doesn't look up at the sky anymore, or
to Mont Peleé, a volcano that has been dormant for 63 years. She
doesn't have anything to fear from the terrible giant at whose feet
the populated and opulent city of Saint-Pierre thrives, full of
struggles and passions. The only thing she sees is the elegant
carriage that passes before her in a frantic race, guided by the
hands of her son. Only the fire of the passions unleashed seems to
bring her back to life, and she determines to save him from himself.
Scene 5
¿Viste, Segundo? ¿Oíste los tres truenos?
Colibrí is asking Segundo if he has heard the three crashes. Segundo
says he has and tells Colibrí to leave him alone. Segundo is located
on the highest window that looks out on the road. He is looking
through a telescope, observing the movements of the soldiers below.
Colibrí continues making his observations. He tells Segundo that he
was scared by the three crashes because they were not in the sky. He
tells Segundo that the sounds came from underneath the rocks, as if
the sea rolled in under the floor… and the sun turned ugly…Segundo
only listens half-heartedly, telling Colibrí that now the sun is
pretty again and asks Colibrí to leave him alone again. Colibrí asks
Segundo if he hasn't looked up at the highlands, and tells him that
he should turn the telescope in that direction. Segundo tells
Colibrí that the only place he needs to look at is where the
soldiers are because Juan ordered it. Colibrí keeps insisting,
asking Segundo if he has ever seen such a dark cloud, and then he
notices there is another one. He exclaims that it is the hills that
are throwing up clouds. Then he notices something and asks Segundo
if it is people he sees.
Segundo tells Colibrí to stop saying foolish things. He tells
Colibrí that Mont Peleé is a volcano that has long been dormant
since before either of them or his mother could remember. He tells
Colibrí that only his grandmother remembers seeing it burn when she
was a young girl. Colibrí asks him to describe how it burned and in
telling him Segundo becomes distracted.
-- ¡Ah!, ¿sí? ¿Ardía la montaña? ¿Y cómo ardía?
-- Echaba por la boca piedras encendidas y unos ríos de fuego que
acabaron con todas las siembras de por allí. Y dicen que temblaba la
tierra y que las casas se caían…
-- ¡Ya se borró la nube, Segundo… se borraron las dos!-señala
Colibrí con cierto entusiasmo.
-- Sí se borraronlas nubes, y tú me distrajiste-se queja Segundo,
malhumorado--. ¿Dónde se metieron aquel coche y aquellos soldadosque
estaban en el camino? El patrón me mandó mirar desde aquí hacia
dónde iban. Mira a ver si eso importa más que las nubecitas de
tinta. Ahora, si me pregunta, le tendré que decir que por hacerte
caso a ti…
Suddenly they hear Juan call them and all the men run to the doorway
of the house. Juan points in the distance and informs them that the
governor has just left, that his petition to talk has been denied--
that they have been denied the right to ask for justice. Juan
affirms that if they will not be heard, then they will defeat the
soldiers and make justice for themselves.
¡Miren todos… miren…!-señala Juan exaltado--. El gobernador acaba de
irse… aquella nube de polvo es su coche que se aleja por el camino.
Ha rehusado la entrevista que pedí, se ha negado a escuchar nuestras
razones, a oírnos; pero siguen abriendo zanjas y levantando cercas…
¡Se nos ha negado hasta el derecho de pedir justicia! ¡Pero no vamos
a consentirlo! Si no quieren oírnos, arrasaremos con esos soldados
polizontes y nos haremos justicia por nuestra propia mano…
Colibrí notices that there is carriage advancing down the road, he
thinks it is the governor that is returning. Segundo exclaims that
it is a carriage but it is not the governor's. He describes that it
is a smaller carriage. In the meantime the carriage is stopped by
the soldiers, and then they let it by but the carriage does not
continue. Juan is attempting to recognize the figure in white that
at the step of the carriage seems to be arguing with the soldiers.
When he realizes that it is Renato, he becomes angry and wants to
know what Renato is doing there. As he takes a few more steps
forward, Mónica calls to him, coming towards him as she tells him
not to approach Renato. Mónica tells him that she will not allow it.
When Juan replies that it is Renato that has come for him, Mónica
tells Juan that Renato is not there because of him. Juan grow more
angry and tells Mónica that it then worse of Renato has come for her
in his presence.
Juan ha avanzado, descendiendo a saltos por los ásperos riscos.
Quiere reconocer al hombre joven, vestido de blanco, que de pieen el
pescante del cochecillo parece discutir furiosamente con los
soldados policías… Tras él ha corrido Segundo , que llama:
-- Patrón… Patrón ¿a dónde va? ¿Qué es lo que ha visto?
-- ¡Ese hombre es Renato D'Autremont! ¡Quiero saber qué es lo que
viene a buscar aquí!
-- ¡Juan… Juan!-la voz de Mónica lo ha herido, lo ha obligado a
detenerse un instante, volviendo
la cabeza para verla correr hacia él, gritando---: ¡Juan! ¡No vayas
allí! ¡No te acercarás a él… no he de consentirlo!
-- ¡Es él quien me busca!
-- ¡No te busca a ti!
-- ¡Peor, si es a ti quien se atreve a venir a buscar en presencia
mía! ¡Te juro que…! ¡Dèjame, Mónica!
Juan has managed to escape from Mónica's grip. He advances near to
the line of soldiers where Renato has been stopped by an oficial.
Renato is told he cannot advance past the line of soldiers. Renato
says that he has been authorized by the governor to go in and get a
lady who has to return with him to Saint-Pierre. The soldier
corrects him and tells him that the governor gave permission for the
lady to come out but not for him to go in. Then Renato becomes
angered and is about to insult him when the officer warns him and
tells him that he is authorized to fire on anyone without any
contemplation. Then the officer takes a step back and orders that
the soldiers be ready to fire against anyone who approaches.
Renato sees Mónica struggling with Juan while the crowd of people
slowly advance behind the men from el Luzbel, who have drawn their
knives from their waist. The officer tells Renato to hurry up and
get the lady out. He tells Renato that only she can cross the line
of soldiers and he warns that he will have shot anyone else who
attempts to cross. Renato calls to Mónica and tells her to quickly
cross the line. At the sound of Renato's words, his anger has
stopped him from struggling further with Mónica. He has stopped only
twenty meters away from the double line of soldiers who are have
aimed their weapons and are ready to fire. But Juan does not seem to
see the imminent danger they represent; his eyes are only set on the
man who seems to shelter himself with the presence of the soldiers.
Renato ha visto a Mónica… Con ira y angustia le ve luchar con Juan,
forcejear logrando detenerlo, mientras la enfurecida grey de
pescadores avanza también, siguiendo a los hombres del Luzbel, que
han sacado del cinto los cuchillos.
-- ¡Pronto… Pronto… Llame a esa señora y llévesela de aquí! ¿No ve
que esa gentuza se amotina?-apremia el oficial acercándose, exaltado
a Renato--. ¡Que cruce ella sola la línea! ¡Haré disparar contra
cualquiera de los otros que dé un paso más!
-- ¡ Mónica, tú sola tienes el paso libre! ¡Ven! ¡Cruza tú sola la
línea! ¡Pronto!-grita Renato.
-- ¿Qué? ¿Qué? ¿Qué dicen?
Es la cólera, más que los débiles brazos de Mónica, lo que ha hecho
detenerse a Juan a escasos veinte metros de la línea que guardan los
soldadosen doble fila. A una orden del teniente, se han echado a la
cara los fusiles, apuntado al abigarrado grupo; pero Juan del Diablo
no parece advertir su amenaza… fija sólo su mirada relampagueante en
el hombre que parece acogerse al amparo de los soldados policías…
Renato continues to call Mónica. He tells her that if she doesn't
hurry they will not let her out. Juan's temper begins to get the
best of him and he responds to Renato's call with a question; he
asks why he doesn't go there to get her and he calls him a coward.
As he speaks he draws closer to the line of fire and he is warned to
stay away.
--¡Ven, Mónica!-llama Renato--. ¡Sal en seguida! ¡Después no te
dejarán salir! ¡Ven, Mónica, ven ahora mismo!
-- ¿Por qué no llegas tú hasta aquí?-grita Juan furioso--. ¡Cobarde!
¡Canalla!
-- ¡Alto! ¡Alto! ¡Alto, Juan del Diablo, o doy la orden de
fuego!-amenaza el teniente.
Renato keeps insisting. He tells Juan to let her out, that if he is
a man he will allow him (Renato) to save Mónica. Juan menacingly
tells Renato that he will see that he's a real man and completely
overcome by his anger barely crosses the line of soldiers, and in
that instant a gun fire is heard and Juan falls to the ground.
-- ¡Déjala salir!-insiste Renato--. ¡Sólo ella puede cruzar la
línea! ¡Déjala salir! ¡Si eres hombre, déjame salvarla…!
-- ¿Que si soy hombre? ¡Ya verás!-Ciego de rabia, fuera de sí, Juan
ha dado unos pasos en dirección a Renato cruzando apenas la línea
que defienden los soldados, y en un mismo instante suena un disparo
y Juan se desploma en tierra…
Segundo shouts in anger that Juan has been hurt, that the soldiers
have killed him, as he urges the crowd of people behind him to
attack the soldiers. At the same time, the officer of the soldiers
orders that they fire. And so in one instant all havoc is set loose.
People are yelling, and gun fire is heard. And amidst all the voices
and sounds, Mónica's anguished cry for Juan rises-"Juan… Juan of my
life!"
-- ¡Han herido al patrón! ¡Lo han matado!-grita Segundo enfurecido,
y azuza la muchedumbre--: Canallas… Asesinos…! ¡A ellos! ¡A ellos!
-- ¡Fuego! ¡Fuego!-ordena el teniente gritando como desesperado--.
¡Al frente de la segunda línea! ¡Fuego!
En un instante se ha desencadenado el motín, y el griterío de la
muchedumbre, que ataca enardecida con los disparos y los ayes de
dolor. Y por entre esa barahunda de voces de mando y de gritos, se
alza la voz angustiada de Mónica:
-- ¡Juan… Juan de mi vida!