EISENSTEIN   in   MEXICO

by

Billy Marshall Stoneking

Copyright c 2004

Billy Marshall Stoneking
3 St Albans Street
Abbotsford, NSW 2046
Australia
email: billy@stoneking.every1.net




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E I S E N S T E I N
I N
M E X I C O


A Background


Following the success of Battleship Potemkin and a 
lengthy European lecture tour, the internationally 
famous Soviet film director, Sergei Eisenstein, made 
his way to California where he had been invited by 
Paramount Pictures to make a “big Hollywood movie”. 
Unfortunately, the films Eisenstein wanted to make 
didn’t interest the studio; and those that did, 
Eisenstein didn’t want to make. After six, frustrating 
months, Hollywood and Eisenstein parted company. 

Despite the fact he had been abroad for more than a 
year, Eisenstein felt no urgency to return to Russia. 
Encouraged by his friend, Charlie Chaplin, and inspired 
by a life-long passion for all things Mexican, he 
sought the support of the American novelist, Upton 
Sinclair, and his millionaire wife, to bankroll the 
making of an epic film about Mexico. The sixty-year-old 
socialist and champion of lost causes was more than 
willing. Here was a perfect opportunity for expressing 
solidarity with his fellow workers, while publicizing 
his own commitment to “the cause”. Sinclair’s wife, 
Mary Craig, also recognized her chance (perhaps her 
last chance} to make some kind of mark on the world.
 
Given a budget of twenty-five thousand dollars - and 
this at the height of the Great Depression! - Eisenstein 
assured the Sinclairs he would finish the film in three 
months using no more than twenty-five-thousand feet of 
stock. However, artistic, moral and political pressures 
intervened, and by the time an “almost-bankrupt” 
Sinclair forced him to abandon the project in February, 
1932, he had shot more than two-hundred-and-thirty-thousand 
feet of film at a cost of more than one-hundred-thousand 
dollars.

The making and unmaking of Sergei Eisenstein (and his 
unfinished epic, Que Viva Mexico!) is the subject of 
this play.



CAST OF CHARACTERS


    	Sergei M. Eisenstein: 			The Soviet film director. Aged 50.

     	Eduard Tisse:                  		Eisenstein's cameraman. Aged 30 
                                                (except Act II where he appears as a
                                                50-year-old man).

        Grigori ("Grisha") Alexandrov:  	Eisenstein's assistant director and 
                                                co-writer. Aged 30. (except in Act II
                                                where he appears as a 50-year-old
                                                man)

       	Upton Sinclair:				60-year-old American novelist/
						muckraker/socialist. 
				
       	Mary Craig Sinclair:	 		Upton Sinclair's wife. Aged  40.

       	Hunter S. Kimbrough:                    Mary Craig's alcoholic brother, ex-
                                                banker, and business manager of 
                                                Eisenstein's Mexican film. Mid-30s.

        Chabela Villasenor:	 		Painter/actor/activist. A Mexican 
                                                woman in her late 20s. Highly
                                                educated. 

       	Don Venus:				An Indian peasant, hermaphrodite, 
                                                retablo painter. Ageless	




                                  The play is in two acts.
 
                            The setting is Eisenstein's Moscow bedroom,
                            transformed by memory and dream.
              
                                  The time: February 1948. 






ACT ONE


                              SETTING:      	Eisenstein’s bedroom: a place of  
                                                light & shade into which Mexico – or, 
                                                rather, the memory of Mexico - leaks: 
                                                adobe arches, broken railings, a 
                                                crumbling staircase – a scene of neglect 
                                                and decay. 
		
	
			      AT RISE: 	        BLACKOUT. An out-of-tune violin can be 
                                                heard. 	Stage lights up.  A masked Indian 
                                                peasant (DON VENUS) threads his way in 
                                                and out of the arches. He plays, then 
                                                pauses, then plays some more, as 
     					        if conjuring spirits.   

						SERGEI EISENSTEIN, clothed in a red-white-
                                                and-blue dressing gown, descends the  
                                                stairs. HE listens as if trying to 
                                                determine the source of the music, then 
                                                turns, catching a glimpse of DON VENUS as
                                                HE disappears into the shadows. 
                                                EISENSTEIN goes to investigate, but is
                                                distracted by something or someone in the 
                                                audience. HE moves downstage...

                   
                                    	EISENSTEIN
			Totya?
				(Louder)
			Totya!

				(EDWARD TISSE and GRIGORI  
				[“Grisha”] ALEXANDROV enter. 
				TISSE lugs a battered camera case 
				covered with decals - Paris, Berlin,
				London, Zurich. ALEXANDROV 
				totes a large, wooden tripod)

					ALEXANDROV
			So, here you are! Just as I thought. The man 
                        himself. 

					EISENSTEIN
			Is it time?

					ALEXANDROV
			Past time! 

					TISSE	
			We have been looking everywhere. 

					ALEXANDROV
			From now on we keep together. No more wandering.
					  
                       	           	TISSE
			Already he was composing the headlines – "EISENSTEIN 
			DEFECTS...  MOSCOW IN UPROAR."

					EISENSTEIN
			Eduard, please! Not so loud. 

					TISSE
			Sorry. I keep forgetting. 
				(Conspiratorially to ALEXANDROV)
			The free world.

					ALEXANDROV
				(Finger to lips)
			Shhh.

                                        EISENSTEIN
			Did you see him? 

					TISSE
			Who?

					EISENSTEIN
			Someone has been following me.
                                                       
					ALEXANDROV
			Someone from the press.

					TISSE
			Or the secret police.

					ALEXANDROV
			No. Too obvious.
		 
					TISSE
			That’s how they do it!

                                        EISENSTEIN
			Do what?

                                        TISSE
			Hide. They hide by not hiding. 

					ALEXANDROV
			You know about the Checka, do you, Eduard?

                                        TISSE
			Not really. But it seems logical.

                                        ALEXANDROV
			Six months in Hollywood and his brain has 
                        gone soft. 
			
                                        TISSE
			I was not the one who got heat stroke!

					ALEXANDROV
			Human beings were not made for this much sun.

					EISENSTEIN
			Listen!

				(They listen... long enough for 
				EISENSTEIN to notice their 
				appearance)

					EISENSTEIN (Continued)
			My god! Look at you! Both of you. You haven’t 
                        aged a day.
                                                         	
					ALEXANDROV
			Looking for you keeps us young. 

					TISSE
			We should disappear more often.

                                        ALEXANDROV
    			Maybe we could work our way back to when we were 
			not yet born.
	
                                        EISENSTEIN
			What’s going on? Tell the truth. How do I look? 

					ALEXANDROV
			How does he look?

					TISSE
			A little pale.

					EISENSTEIN
			Pale?
	
					TISSE
			Sleepy. But the eyes… the eyes are clear.

					ALEXANDROV
			Don’t flatter him. He was the one who wanted 
                        to stay up all night.
                                                                    
                               		EISENSTEIN
			For a moment I almost thought… 
				(Looks round)
			Where are we? 

					ALEXANDROV
			What does it look like?
	             			                                             						TISSE
			We are at the train station, Sergei. We are 
                        going on the train.

			                EISENSTEIN
			What train? Where?	

					ALEXANDROV
			I know where I wish we were going.

					TISSE
			Unfortunately, that one does not stop here.

					EISENSTEIN
				(Squinting at something in the distance)
			What does it mean…  Platform 5?
				
					ALEXANDROV
			Platform 5 goes to Portland.
			
					EISENSTEIN
			Portland?

					ALEXANDROV
			If you want to go to Portland, you stand here.
		
				(EISENSTEIN glances left, and
				right)

					EISENSTEIN
			A popular destination. 
				(Beat)
			And if I stand over there?

		                        ALEXANDROV
			There are no tracks over there.

                                        EISENSTEIN
			Good, Grisha.
				(Patting him on the cheek)
			Very good. 
				(HE moves away, taking 
                                in his surroundings)
                                                        	
					TISSE
				(To ALEXANDROV)
			Too much excitement. You know what he’s like.

                                        ALEXANDROV
			I know what he used to be like. 

                                        TISSE
			He’s tired. 

					ALEXANDROV
			I don’t think so.

					TISSE
			Give him a day; he’ll be back to his old self.

                                        ALEXANDROV
			No. He has changed. He forgets.

			         	TISSE
			He has more to remember.

					ALEXANDROV
			Now I see why they call it a "going-away" 
                        party.  
                                                                  	
		                        EISENSTEIN
				(Turning)
			What party?

					ALEXANDROV
			You don’t remember. 

					EISENSTEIN
			I remember everything, Especially the women, 
                        Grisha. 
                                 (To TISSE)
                        Every time I tried talking to one, you came 
                        and took her away.

					ALEXANDROV
			I was protecting you. Never have I seen such 
                        decadence.

					EISENSTEIN
			Is that why you were having such a good time!

					ALEXANDROV
			I was being sociable.
                            		      	
					EISENSTEIN
			Ah! The sociable socialist. You give new 
                        meaning to the word "party", my friend.

					TISSE
				(To EISENSTEIN)
			All night you talked of nothing but Mexico. 
                        To anyone who would listen.

					EISENSTEIN
			Mexico?

                                        ALEXANDROV
			Today, Mexico; tomorrow, Siberia. 

		                 	TISSE
			You were like a man possessed. 

                                        ALEXANDROV
			You called Mr Kimbrough a pig.

					TISSE
			A bourgeois pig.

					EISENSTEIN
			Next time I'll tell him what I really think. 
	
					ALEXANDROV
			Next time they will put the Blue Shirts on 
                        to us; and I don't mean clothes. 

					EISENSTEIN
			Have I done something wrong?

                                        ALEXANDROV
			Da!  You have seen. You have tasted. You 
                        have touched.

                                        EISENSTEIN
			No, Grisha! You have touched.  

                                        ALEXANDROV
			Shaking hands with Rin-Tin-Tin is touching.  
	                                            		
					TISSE
			At least we are working for socialists.

                                        ALEXANDROV
				(Disdainfully)
			Socialists!

  					EISENSTEIN
			There are socialists in America, Grisha.

                                        ALEXANDROV
			With heated swimming pools.

                  			EISENSTEIN
			Where they swim is of no concern, so long 
                        as their hearts are in the right place.
                                                       
					ALEXANDROV
			It’s what swims round inside the General-
                        Secretary’s head! I tell you, Hollywood is 
                        nothing compared to the private tinsel town  
                        Comrade Stalin has constructed for himself. 
                        One is defenseless against that kind of 
                        imagination.

                                        EISENSTEIN
			This time we will do it right. 

					ALEXANDROV
			If we do not go home soon, soon it will be 
                        too late to go anywhere at all. We have become  
                        like strangers to our own country.

					EISENSTEIN
			Faint-heartedness does not become you, Grisha.

					ALEXANDROV
			Neither does death.		

					EISENSTEIN
			A man must finish what he has started.

                                        ALEXANDROV
			If he knows what he is aiming for.

                                        EISENSTEIN
			For truth, Grisha. For truth.
                                                        		
					ALEXANDROV
			We might as well kill ourselves now.

		         		EISENSTEIN
			No! This time, when they see what we have 
                        made...

					TISSE
			If we miss the train I will kill you both 
                        myself. Come Sergei, where are your things?

                                        EISENSTEIN
			Wait! Let me look. Let me remember.
				(Gazes out at the audience)
		
                                        ALEXANDROV
				(to Tisse)
			Yesterday, all he could think of was leaving. 
                        And now, already he is homesick! For Los Angeles, 
                        no less!

                                        EISENSTEIN
			Imagine!  Five hundred women marching through 
                        an endless cactus desert... the peasant soldiers 
                        dragging their wounded... Life and death, my 
                        friends, life and death. And a mural that 
                        dances in the dark.

                                        ALEXANDROV
			I thought we were making a travelogue.

                                        TISSE
			He is preparing himself.

                                        ALEXANDROV
			Terrific.

                                        TISSE
			Sergei, please! The train… it will not wait 
                        forever. Come, Grisha, we must hurry.
	
                                        ALEXANDROV
			Ya. Ya, I’m coming. 
		
					TISSE
			To Mexico!
			
					(TISSE and ALEXANDROV exit)

                                        EISENSTEIN
			For all those whom life has cheated... open 
                        the electric paradise!

				(Sound of steam train. Flashing red 
				lights. EISENSTEIN backs away, as 


				UPTON SINCLAIR and MARY 
				CRAIG enter, followed by HUNTER 
				KIMBROUGH, hands in his pockets)

				(MARY CRAIG tosses a streamer and 
				waves.  Train sound fades. Flashing
				lights stop) 

					MARY CRAIG
			Did I tell him not to drink the water?

					SINCLAIR
			Five times.

					MARY CRAIG
			I hope he was listening.  
			
					SINCLAIR
			I’m sure he heard every word.
		 
					MARY CRAIG
			Did you see the look on his face? Like a 
                        child goin’ to a birthday party. I hope 
                        we’ve done the right thing, father. 

                                        SINCLAIR
			The man's a genius, Mary.  And he’s all 
                        ours.

                                        MARY CRAIG
			Never trust a genius, Upton.

   	                                SINCLAIR
			You trusted me.

                                        MARY CRAIG
			You were different.
	                                                       
		                       	SINCLAIR
			Yes.

                                        MARY CRAIG
			Such an idealist.

                                        SINCLAIR
			With both feet firmly on the ground.

                                        MARY CRAIG
			And your precious head in the clouds.

                                        SINCLAIR
			It’s a dream come true.
                                                                    	
			   		MARY CRAIG
			Your dream.

                                        SINCLAIR
			Our dream.  I couldn’t have done it without 
                        you.

                                        MARY CRAIG
			I wouldn’t have let you.

                                        SINCLAIR
			Listen to her, Hunter!  She already sounds 
                        like a movie mogul.  I can see it now.
				(Framing the words)
			"Mary - Craig - Sinclair..."  in ten foot 
                        letters.

	                                MARY CRAIG
			You mean I’ll be famous!

                                        SINCLAIR
			Indeed you will. The woman who sent Sergei 
                        Eisenstein to put his ear to the heartbeat  
                        of Mexico.
	                                                                     	
					MARY CRAIG
			Let’s hope he knows how many throbs we can 
                        afford. Did you talk to Hunter?
	
                                        SINCLAIR
			No. Not yet.

                                        KIMBROUGH
			Talk to me about what?

					SINCLAIR
			We want you to be our business manager.

					MARY CRAIG
			We wouldn’t ask if we didn't think you 
                        could do it.

					KIMBROUGH
			What sort of business?

					MARY CRAIG
			Why movie business, of course!

					SINCLAIR
			We’re not asking you to make it, Hunter.

					MARY CRAIG
			We only want you to keep an eye on things.

					KIMBROUGH
			Keep an eye on things! I don’t know the first 
                        thing about movies.

					MARY CRAIG
			Neither do I! 

					SINCLAIR
			It’ll only be for two or three months.

					MARY CRAIG
			Believe me, if there was anyone else…  
    
                                        KIMBROUGH
			Why don't you do it?
                                                             	
					MARY CRAIG
			Hunter, be sensible! Why, with my allergies 
                        like mine, I’d be dead within a week. Besides, 
                        I have commitments.
                                                              
		       			KIMBROUGH
			So do I!
                                                                    	
					MARY CRAIG
			And what commitments are those?

                                        KIMBROUGH
			How’m I s'pose to find a job if I'm in Mexico?

                                        MARY CRAIG
			Baby,  you have a job! I'm givin’ you one. 
                        Look, I’ve already bought you a plane ticket. 
                        You’ll be down there two or three days 
                        before the others even arrive. A change’ll 
                        do you good.
 	
					KIMBROUGH
			That's what you said when you invited me to 
                        move in with you an’ Mr  Sinclair.			
                                
	                                MARY CRAIG
			Responsibility builds character! 

					SINCLAIR
			A young man needs to get out and see something 
                        of the world.

					MARY CRAIG
			Such a sensitive child.

					KIMBROUGH
			I’m not a child.

					MARY CRAIG
			Course you are! You’re my baby brother.
			
                                        SINCLAIR
			I wouldn’t dismiss your sister’s offer out 
                        of hand. This might very well be the opportunity 
                        of a lifetime.

                                        KIMBROUGH
			Yeah, Mexico.

					MARY CRAIG	
			And what’s that s’pose to mean? Have you been 
                        behaving yourself?

					KIMBROUGH
			What?

					MARY CRAIG
			You heard me. How long’s it been since you 
                        had a drink?
			
					KIMBROUGH
			What’s a drink?

					MARY CRAIG
			You know what I'm talking about.

                                        SINCLAIR
			Mother, I'm sure we needn’t lecture the boy. 

   		                        KIMBROUGH
			Do I look like a drunkard?

					MARY CRAIG
			No. Worse.

					SINCLAIR
			The Russians are teetotallers.

                                        MARY CRAIG
			It’s not the Russians I'm worried about.

					KIMBROUGH
			What do you want me to say?
		
					MARY CRAIG
			I want you to promise me.

                                        KIMBROUGH
			Promise you what?

					MARY CRAIG
			Say, “I’ll never touch a drink as long as I’m  
                        in Mexico.”   

                                        KIMBROUGH
			Sister, please.
                                                         
          	                        MARY CRAIG
			Swear it! 

					KIMBROUGH
			People are watchin’!
		
					MARY CRAIG
			I don't care. I wanna hear it. Say it!  Say 
                        it, Hunter. Say "I’ll never touch a drink as 
                        long as I’m in Mexico."
                                                                  
			 		KIMBROUGH
			All right, all right then…  I’ll-never-touch-a-
                        drink-as-long-as-I’m-in-Mexico.  Happy?
                                   
		                         MARY CRAIG
			C’mon. Come to mama.
				(Putting her arms around him)
			I always knew you’d do it. You’re gonna be 
                        just fine.

                                         SINCLAIR
			I’ve never met a young man yet who didn’t 
                        like Mexico.

                                         MARY CRAIG
			I’d say this calls for a celebration.

                                         SINCLAIR
			I’ll give Doug and Mary a ring…  and Chaplin.

                                         MARY CRAIG
			Don’t you dare! I’ve had enough of that dreadful 
                        little man to last me a lifetime. We’ll just keep 
                        it to the three of us.

                                         SINCLAIR
			Good idea.

                                         MARY CRAIG
			Let’s try Henry's. I feel like cheese soufflé. 

                                         SINCLAIR
			I’ll phone for reservations.
                                                              
			 		MARY CRAIG
			We’ll make a night of it. 
				(Taking SINCLAIR'S arm)
			Come along then, Hunt. We have to dress for dinner.
				(SINCLAIR and MARY CRAIG 
				exit)
.		
				(KIMBROUGH pulls a whisky 
				flask from his pocket; swigs)

				(Sound of airplane engine - it grows
				louder. KIMBROUGH takes another 
			        drink, slips the flask into his pocket 
				and hurries off)
	
				(The sound of the engine rises to 
				a crescendo, then stops. Silence)

				(EISENSTEIN comes forward. HE
				picks up the streamer, gazes at it. 
				The sound of a violin can be heard.
				HE drops the streamer and looks
                                round, trying to discover where the
                                music is coming from)

				(KIMBROUGH re-enters, dressed 
				in linen trousers and a cotton shirt. 
				The music stops)

					 KIMBROUGH
			Yesterday’s rushes are already in Los Angeles, 
                        if that’s what you’re lookin’ for.

					EISENSTEIN
				(Looking up)
			Another three thousand feet we don’t get to see.

                                        KIMBROUGH
			It pleases me to see you’ve started filmin’ 
                        again. Helluva day to be on th’ job, though. 
                        Must be a hunnerd degrees in th’ shade. Still, 
                        I guess it’s as good a place as any to set out a 
			depression. Reminds me o’ Natchez after th’ war. 
                        You been to Natchez? Lovely town. Quite stately. 
                        My mother was from Natchez.
				(Daubs forehead with damp
				handkerchief)
			Most artistic woman I ever knew. Runs in th’ 
                        family. Her side. Always thought I’d end up  
                        a painter.
		
                     			EISENSTEIN
			She must be missing you.

                                        KIMBROUGH
			I don’t think so. She’s dead.

					EISENSTEIN
			Oh.  I’m sorry.

					KIMBROUGH
			Happens to th’ best of us. Hell, I didn’t 
                        find out ‘til  nearly a month after th’ 
                        funeral. No one tells me a damn thing.

                                        EISENSTEIN
			How upsetting.

                                        KIMBROUGH
			I was her favorite. Went all gawmy when I ended 
                        up in th’ bank. Said I was wastin’ my talents.  
                        Prob’ly still be there, too, if th’ stock market  
                        hadn’t gone bust. Guess I’ll just have to 
			settle for bein’ a film producer now.

                                        EISENSTEIN
			Such freedom.

                                        KIMBROUGH
			Land o’ opportunity.

					EISENSTEIN
			So I’ve been told.

					KIMBROUGH
			You look a mite pale.  Upset stomach? I had 
                        mine yesterday. Damn inquest. Fancy pickin’ 
                        up a loaded gun like that.

                                        EISENSTEIN
			It was an accident.

                                        KIMBROUGH
			Then again, it might just be th’ food.
				(Pulls out his flask)

					EISENSTEIN
			It was a terrible mistake.

					KIMBROUGH
			I’m more of a steak an’ eggs man, myself. Maybe 
                        you oughta be takin’ somethin’ for it.
				(Takes a swig)

                                        EISENSTEIN
			Like you.

				(Pause)

                                        KIMBROUGH
			Some people drink to forget. Me… I drink to 
                        remember. Which reminds me… I believe you 
                        promised my sister a script.
 
					EISENSTEIN
			I gave you my outline.

					KIMBROUGH
			You gave me an envelope with a halfa dozen 
                        sentences scratched on it. 

					EISENSTEIN
                        A script is of no use to me, Mr Kimbrough. 
                        It is the images that tell me what to do.
	
                                        KIMBROUGH
                        Yeah, well, my sister keeps lookin’ at th’ 
                        pictures, only th’ pictures never add up 
                        to anything. Th’ more she looks, th' less  
                        she sees.
                                                                  	
					EISENSTEIN
			That is because she is looking at rushes!

					KIMBROUGH
			Well then, they must be goin’ too fast for 
                        her. 

					EISENSTEIN
			Nothing has changed, Mr Kimbrough. The film 
                        is still in six parts: prologue, epilogue 
                        and four novellas.

					KIMBROUGH
			Sex, bullfights an’ revolution. Everything 
                        a man could want. Everything except a story. 
                        When do we get a story, Mr Eisenstein?

					EISENSTEIN
			Not yet.
				
					KIMBROUGH
			The story of Not Yet… that oughta keep ‘em 
                        in their seats.

					EISENSTEIN
			It will all become clear in good time.

					KIMBROUGH
                        You said that last month, and the month before 
                        that.
                                (Beat)
                        I wouldn’t take my sister’s generosity for granted. 
                        She is a much more complicated woman than you could 
                        ever imagine. Oh,  I've seen her genuinely outraged 
                        at th’ plight of th’ poor, an’ more than a little 
                        indignant on behalf of th’ hungry, but don’t think 
                        that means she wants ‘em livin’ next door. No suh. 
                        Lost causes an’ dirty hands do not sit down 
                        together at my sister’s table.

	                                EISENSTEIN
                        The story will come when it is ready.

                                        KIMBROUGH
                        All I’m lookin’ for is something’ uncomplicated.  
                        You know... boy meets girl, boy loses girl, boy 
                        gets girl again. I don’t much care, long as it 
                        keeps Mary off my back. I don’t need that kind 
                        of aggravation, an’ neither do you.

					EISENSTEIN
                        Boy meets girl?

                                        KIMBROUGH
                       Why not! Why not somethin’ simple? A poor Mexican 
                       boy in search of his fortune. Only findin’ it 
                       nearly damn well kills him. Fires, floods, earthquakes. 
                       Just when it looks like everything’s gonna turn out 
                       all right - hot damn! - robbed by a pack o’ revolutionaries! 
                       Loses everything. Everything but th’ girl, which 
                       is all he really wanted to begin with. I reckon we can 
                       do what we like, long as we give ‘em a happy endin’.

                                        EISENSTEIN
				(Unimpressed)
			Breathtaking.

					KIMBROUGH
                        You like it?
		
					EISENSTEIN
                        You ought to be more careful about mixing 
                        your drinks.

					KIMBROUGH
                        Okay, forget th’ revolutionaries. What about th’ 
                        rest of it?

                                      	EISENSTEIN
                        When I need your help I will ask for it.

	                        (Pause)
		       
					KIMBROUGH
			I can be a very good friend, but I make an 
                        even better enemy.

                                        EISENSTEIN
                        I’m sure comrade Alexandrov and I manage quite 
                        well on our own.

                                        KIMBROUGH
			So I’ve noticed. All that breathless whisperin’ 
                        behind closed doors.  I almost wish I understood 
                        Russian.

                                        EISENSTEIN
			I didn’t realize we were keeping you up.

					KIMBROUGH
			Must be kinda hard, bein’ so far from home, 
                        lackin’ any semblance of association with th’ 
                        gentler sex.

					EISENSTEIN
			You seem to manage.

				        KIMBROUGH
			I am reclusive by nature.

					EISENSTEIN
	  		One whore at a time, you mean.

				        KIMBROUGH
			I like women.

				        EISENSTEIN
			So you keep reminding yourself.

					KIMBROUGH
			Least I never killed anybody. Hell, you lost 
                        more people filmin’ th’ fall of the Winter Palace 
                        than what was killed when th’ damn thing actually 
                        happened. Though I guess one would expect that 
                        sort o’ thing from someone who has so dedicated 
                        himself to th’ idea of social realism. I s’pose 
                        we ought to count ourselves lucky.

                                        EISENSTEIN
                        You enjoy this don’t you?

                                        KIMBROUGH
                        I have a greater fondness for cribbage, but yes, 
                        under th’ circumstances, this’ll do.

                                        EISENSTEIN
			Stick to your job, Mr Kimbrough.

                                        KIMBROUGH
                        I intend to. 	 

					EISENSTEIN
                        Mr Sinclair promised there would be no interference.

					KIMBROUGH
                        Mr Sinclair!  Mr Sinclair isn't here! We're in 
                        Mexico, remember? I give th’ orders an’ you follow 
                        ‘em. An’ spare me th’ crap about how th’ damn 
                        thing writes itself. I’m not interested in 
                        spontaneity. Hell, where I come from a man could 
                        get himself arrested for spontaneity.

					EISENSTEIN
			To be so bold and to know so little.

					KIMBROUGH
			What you an’ your boyfriends do in th’ wee 
                        hours of th’ Mexican night is of no concern 
                        to me; but from Monday to Friday between sunrise 
                        an’ sunset, your red ass belongs to th’ 
                        company, an’ th’ company wants a goddamned 
                        script. Now either you write one, or I’ll do 
                        it myself.

                                        EISENSTEIN
                        Those aren’t alternatives.

                                        KIMBROUGH
                        The alternative is I tell my sister to take her 
                        money elsewhere. 

		                        EISENSTEIN
                        What do you take me for?

		                        KIMBROUGH
                        You! Why, you’re one o’ them filthy, misguided, 
                        communist, Jew queers I’ve heard so much about. 

                                        EISENSTEIN
			Don’t push it, Mr Kimbrough.
	
					KIMBROUGH
			You think you got nothin’ to lose.

					EISENSTEIN
			I have everything to lose.

                                        KIMBROUGH
			Yeah. I know. That’s what makes it so interestin’. 
                        I look forward to readin’ th’ script.
				(HE exits)

				(Stage lights fade)

				(Several bars of solo violin can 
				be heard. DON VENUS - masked – 
                                enters. HE moves downstage, stops
                                playing and peers at the audience; 
                                lifting his hand as if protecting his 
				eyes from the sun)

                                (EISENSTEIN approaches)


					EISENSTEIN
			You! 

				(DON VENUS is unsure that 
                                HE is the one being addressed)

					EISENSTEIN (Continued)
			What’re you doing here?

					DON VENUS
				(Lifts mask)
			Senor?	

					EISENSTEIN
			Why are you here?
 		
					DON VENUS
			Someone was calling.

					EISENSTEIN
			You are following me.  Why?

					DON VENUS
			You think I am following you, but maybe 
                        it is you who have been following me. 

					EISENSTEIN
			And who is "me"?

					DON VENUS
			A peasant. 

					EISENSTEIN
			A thief, more likely.

					DON VENUS
			Si, senor. We are all thieves in Mexico. 
                        Today, to have me inside your box is four 
                        pesos, in a nice way.
				(Holds out his hand)

					EISENSTEIN
			But you are not in my picture.

					DON VENUS
			Si, senor. In every scene. Sometimes like 
                        this, sometimes like that - I laugh. I pray. 
                        I lie in hammocks. What side do you like best? 
                        This side?
				(Turning his head)
			Or this?
				(Turns the other way)
			I think this side.

					EISENSTEIN
			No.

					DON VENUS
			No! What! This side?
				(Turning the other way)

					EISENSTEIN
			No, you’re not in my picture. I would’ve 
                        noticed.

					DON VENUS
			Ah! To act without being noticed! It is not 
                        so easy, senor. 				
					EISENSTEIN
			Who are you? 

					DON VENUS
			You like me?

					EISENSTEIN
				(Looking more closely)
			What are you?	

					DON VENUS
			Doña Venustiana Luisa Obregon de San Antonio...
                        to my mother. But only when she is angry. To 
                        my friends, I am Don Venus. Don Venus, for love. 

					EISENSTEIN
			A woman’s and a man’s name?  			
				
					DON VENUS
				(Crosses himself)
			For that we would need more heaven than 
                        one telling could stand. 
				(Beat)
			You are American, yes?

					EISENSTEIN
			Russian.

					DON VENUS
			Ah! Communista. 

					EISENSTEIN
			Well…

					DON VENUS
			Que bueno! 

					EISENSTEIN
			And you?

					DON VENUS
				(Shrugs)
			If the fiesta of bullets was to come again...
                        but why talk of death? If a man is lost, a piece 
                        of string serves better than a rifle.

                                        EISENSTEIN
			You speak very good English for a peasant. 
                                                      
			       		DON VENUS
			Si. A blessing...  and a curse.

                                        EISENSTEIN
			Are you from this village?

                                        DON VENUS
			Whichever village has need of me, senor. 
                        I paint retablos.

.  					EISENSTEIN
			Retablos?

					DON VENUS
			Miracles. Paintings of miracles. I made one 
                        for the Garcia only this morning. It is easy 
                        if one paints without trying. I can show you 
                        if you like.

					EISENSTEIN
			Show me what?

					DON VENUS
			What is in front of the eyes and cannot be seen. 
                        There is no end to miracles, senor. You have need 
                        of a painting?

					EISENSTEIN
			No. A painting, no. But a miracle…very much.

					DON VENUS
			So you have come to the right man. Or woman, 
                        if you prefer. So much to see! So much to hear! 
                        But first... the fiesta! And then... Memories 
                        of the Future! Come! Let us drink some pulque 
                        and forget our troubles. You have pesos? Good!
			Follow me. If the Future is closed, there is 
                        always the Reform of Paradise. Come. I will 
                        show you everything.
				(HE moves off. EISENSTEIN 
				follows; they exit)
		

				(KIMBROUGH enters - script in one
				hand,  bottle of whisky in the other. 
				HE sits down, peruses the script)

				(CHABELA VILLASENOR enters.
				KIMBROUGH looks up as SHE 
				moves towards the bed, reaches out 
				and gently caresses the sheets)

                                        KIMBROUGH
			"His Highness" isn’t here, if that’s who 
                        you’re lookin’ for.   
		
					CHABELA
			When will he be back?

.					KIMBROUGH
			That’s th’ sixty-four dollar question. Who’s askin'?

					CHABELA
			I am Chabela. Chabela Villasenor.

					KIMBROUGH
				(Tosses the script aside)
			I don’t believe we’ve met.

					CHABELA
			Si, senor. You came and watched when the horses 
                        trampled the heads of the peasants.

					KIMBROUGH
			A heart-warmin’ spectacle. Shame we don’t have a few 
                        more scenes like that; my sister might make some of her 
                        money back.

					CHABELA
			Where can I find Senor Eisenstein?

					KIMBROUGH
			He expectin’ you, is he?

					CHABELA
			No.

					KIMBROUGH
			Well then, your chances are improved. Only time I see 
                        him is when he's not expectin' me.
				
					CHABELA
			You know where he has gone?

					KIMBROUGH
			Lemme see now. I believe he said somethin’ 
                        about goin’ to a fiesta. Or was it a funeral?  
                        I was kinda toyin’ with th’ idea of goin’ to th’ 
                        funeral myself. Maybe you’d like to join me?

					CHABELA
			The funeral was last week.

					KIMBROUGH
			Last week! Huh! ’Nuther social opportunity 
                        missed. I imagine he filmed it, yeah? Th’ 
                        boy’s resourceful, I'll give ‘im that. Last 
                        time somethin’ like this happened, he talked 
                        Mr Sinclair into three more months an’ an extra 
                        ten thousand dollars. An’ th’ goddamned 
                        victim lived!
				(Beat)
			Good turn-out?
			
					CHABELA
			Everyone but you, senor.

					KIMBROUGH
			I’m sure I wasn’t missed. So whadda you wanna see him for?

					CHABELA
			It is about Senor Balderas.

					KIMBROUGH
			Who?

					CHABELA
			The charro in your picture.

					KIMBROUGH
			Oh! Th’ one who likes to play with guns. 
	
					CHABELA
			He did not mean to hurt anyone.

					KIMBROUGH
			No, he just picked up one of th’ Russians 
                        revolvers an’ put a hole th’ size of a fifty-cent 
                        piece through the forehead of our leadin’ lady. 
                        Shame we didn’t get that on film.

					CHABELA
			She was his sister!
		
					KIMBROUGH
                  		(Beat, impressed)
			Killed his sister, did he!

					CHABELA
			It was an accident. If not for the picture, 
                        it would never have happened. 
		
					KIMBROUGH
			I didn’t tell him to pull th’ trigger. Hell, 
                        it wasn't even his scene!

					CHABELA
			He makes jokes. He shows off. It was like 
                        the gun he had been using in the movie.

					KIMBROUGH
			I wonder.

					CHABELA
                        I am worried for him, senor. 

					KIMBROUGH
			I’m sure th’ police’ll sort it out.

					CHABELA
			The police do not care. 

					KIMBROUGH
			An’ neither do I. An’ if it’s money he’s lookin’ 
                        for he can forget about it. Everybody signed 
                        th’ paper relievin’ us of all responsibility. 
                        I'm sure his name's there. Shall I check?

					CHABELA
			It is not about a piece of paper.
		
					KIMBROUGH
			You find me offensive. I can see it in your eyes.
			
					CHABELA
			Each of us has his way of killing fleas.

					KIMBROUGH
			You don't look like you been scratchin'.

                                        CHABELA
                        There is no end to my fleas. It is Mexico, 
                        remember. So close to the United States and 
                        so far away from God.

					KIMBROUGH
			An’ here I was thinkin’ Mississippi was bad.

					CHABELA
			Why do you come, senor?

					KIMBROUGH
			Lemme see, now…  for my health?

					CHABELA
			What do you think you will find? Fame? Money? 
                        What brings men like you to my country? Why 
                        do you come? 

					KIMBROUGH
			Why? Why for art, my dear, for th’ undeniable 
                        value of art, "knowin’ that th’ obscurity of th’ 
                        night only serves to reveal th’ brilliance of 
                        th’ stars".  For a price, that is, for a price.

					CHABELA
			Knowing nothing of the cost.

					KIMBROUGH
			Kinda strange, ain’t it, how th’ public loves 
                        ya one day and hangs ya th’ next.  Oh, I know 
                        how fashionable it is to be all lyric an’ mystic
                  	an’ avidly hymnal about the th’ Indian. 
                        Thirty years ago, th’ same people were killin’ 
                        ‘em for sport. 
                         	(Beat) 
			You think I disrespect th’ dead, but you’re wrong. 
                        I love th’ dead. Some o’ my best friends are dead. 
                        It’s th’ live ones who give me th’ trouble. 
                        What’re you starin’ at? You want me to say I'm 
                        sorry?
				
					CHABELA
			No, senor. Being sorry changes nothing.

					KIMBROUGH
			Stop playin’ stupid. I went to th’ inquest! I 
                        heard what they said. When th’ judge found out 
                        we were makin’ pictures with people shootin’ 
                        each other, he said he had a whole jailful o’ 
			men jus’ waitin’ to be shot; all we had to do 
                        was come an’ get 'em. You think one less peon’s 
                        gonna make any difference? C’mon,  we’re doin’ 
                        you people a favor puttin’ money in th’ 
			damn place.

					CHABELA
			And if we are very lucky we can become just 
                        like you.

			         	KIMBROUGH
                        Bein’ poor don't make people better.

                                        CHABELA
                        No. It makes them worse. 

					KIMBROUGH
                        Clean up your own backyard before you start 
                        jumpin’ on mine.
	
					CHABELA
                        We are your backyard, senor.
	 			(SHE exits)
		                                                                  
					KIMBROUGH
			Goddamn Mexicans!  
				(Picks up script and exits)


				(Stage lights fade. Convolutions of 
				light play upon the walls. Shadows 
				change shape. Time passes. An hour.
				A week)

				(TISSE enters, carrying his camera. 
				ALEXANDROV follows, lugging 
				the tripod. Stage lights up)
                                                              
					TISSE
			Da, I know. I know, Grisha. But what can we 
                        do? When it rains, the roads are too muddy. 
                        And when it is dry, it is too hot to move.
                                                                              			                               ALEXANDROV
			At least in Russia, we knew what we had 
                        to do and why. Here, we do nothing but waste 
                        our time. Gods, funerals, bare-breasted 
                        women! Does that sound like the party line?

                                       TISSE
			There was also a revolution in Mexico.

                                       ALEXANDROV
			It is not revolution Sergei is interested in. 
                        The death of the girl was an omen. Make no mistake. 
                        Nothing good can come of it. 

					TISSE
			You should’ve known better than to leave 
                        your pistol lying around like that. 
	
					ALEXANDROV
			How was I to know! 

					TISSE
			You can't do things like that in Mexico. 
				
					ALEXANDROV
			It was chaffing me.

			                TISSE
			And now it chaffs all of us.

					ALEXANDROV
			We should've gone back to Russia months ago. 
                        He has become a victim of his own dreams. 
                        One could almost believe he was planning to 
                        stay here forever. 

                                        TISSE
			Bite your tongue!

                                        ALEXANDROV
			He would not be the first.

                                        TISSE
			He is not a deserter. 

					ALEXANDROV
			Nor is he homesick.

					TISSE
			What you see is dedication, not disloyalty.

                                        ALEXANDROV
			His dedication is to making masterpieces. 
                        Only this time, when he is done, there will 
                        be no masterpiece at all, and we will all be 
                        done!

                                        TISSE
			We should be helping him.

                                        ALEXANDROV
			I'm trying to.

                                        TISSE
			Not by making accusations.
                                                             
					ALEXANDROV
			The man I knew does not sit all night on top 
                        of the Pyramid of the Moon, talking to the 
                        Great Bear. Nor does he visit art galleries at 
                        midnight with the lights out. Mexico has bewitched
                        him. We should've gone back to Moscow when we 
                        had the chance.

                                        TISSE
			And we will. When we have finished.

                                       	ALEXANDROV
			If Sergei Mikhailovich realised how suspicious 
                        it looks...
                                                                    
                                        TISSE
			Shhh!  He is coming.

				(EISENSTEIN enters, a viewing lens
                                round his neck. HE pushes a full-scale 
                                human skeleton on a stand)
                          		  	
					EISENSTEIN
			What do you think?  He lives at the medical 
                        school. They said I could borrow him for the 
                        epilogue. Or perhaps he is a she. Somehow the 
                        distinction seems unimportant.

                                        ALEXANDROV
			So this is what our future looks like.

                                      	EISENSTEIN
			One day we shall be as peaceful, eh?
. 
                                      	ALEXANDROV
			Sooner rather than later.

			        	EISENSTEIN
			Peasants understand these things. 

					ALEXANDROV
			Peasants will not help us finish the movie.

					TISSE
			Grisha!
		
					EISENSTEIN
			Peasants are what this movie is about.

					ALEXANDROV
			No. Something has happened. Something is different.
		
					EISENSTEIN
			Everything is different. It is Mexico. 	

					ALEXANDROV
			So now we have to be what we are not.

					EISENSTEIN	
			When I was a child, my nurse taught me to be at home with 
			simple people. Close to the earth, where things grow and die. 
			Not walled up and lost in polite society, like the world 
			my parents lived in. Mama used to worry her eyes were too 
			small; and me, I hated myself because my forehead was too 
			big. It is only now, in Mexico, I realize it doesn't matter. 
			Peasants have no fear. Even when they laugh at me I can 
			tell they wish me no harm.

                                        ALEXANDROV
			I wish you no harm.

                                        EISENSTEIN
			Sometimes one must trust in darkness.

					ALEXANDROV
			And what of the light? The Revolution gave us light.

					EISENSTEIN
			So now we have a chance to see if we can create 
                        outside the Revolution, to see if it is possible 
                        to even exist outside of it.  

                                        ALEXANDROV
			A picture about Mexico is not worth dying for. 
                        What have we done for the workers today? What did 
                        we do yesterday? We stay in comfortable hotels. 
                        We eat the best food. We live like kings. Ten months 
                        in Mexico. This was not what we planned.

                                        EISENSTEIN
			Plans change.
                                                  
	                   		ALEXANDROV
			Why can you never be satisfied?

					EISENSTEIN
			One has no choice. One creates or one dies.

                                        ALEXANDROV
			Always you want more. More and more and more…

                                        EISENSTEIN
			Yes! More. Much more! Because it is too easy to 
                        give up too soon. So many do. So many who are praised. 
                        The world is full of them. They make a parade of 
                        weakness because it answers this one's prejudice 
                        and that one's pride. As if a dash of red paint 
                        might save the day. But if one looks, there is 
                        nothing for the heart. Only sound and effects and 
                        counterfeit anguish which the galleries enshrine 
                        and the critics applaud, as if ambition were worth 
                        the death we all must find. The task of mediocrity 
                        is never short of hands, nor is there bravery in 
                        carelessness. Do you really think we have left Russia 
                        behind? No. Russia is our mother. It is because of 
                        her that I can see where I am. And maybe, if I have 
                        the skill, I can show Russia something of what I 
                        have seen, and Russia herself will be richer for it. One 
                        reaches down into the abyss and takes hold of an idea. If 
                        you are strong enough, then you must do what you can to 
                        reveal it. A revolution must build courage, so that people 
                        will dare to become. 
                                                           
		                        TISSE
			And if it breaks your heart?

	                                EISENSTEIN
			It is the broken hearts that make all the difference.

					ALEXANDROV	
			A heart that beats for the fulfilment of a Bolshevik 
                        aim can never be broken.

	                        (EISENSTEIN moves closer)	

		                        EISENSTEIN
                       Do you think I cannot see what is in front of my eyes? Do 
                       you think I have lost my mind? The film knows what it needs, 
                       and it will tell me so long as I do not lose my nerve. 

                                        ALEXANDROV
                       I hope you are right, Sergei. Or it will be our skeletons
                       dangling from a string. 
			
					TISSE
			So what is it today?  Markets or bullfights?

					EISENSTEIN
			Markets.

					ALEXANDROV
				(Resigned)
			Markets. Always markets.
				(HE exits, lugging tripod)

                                        TISSE
			You shouldn't be so hard on him. 

                                        EISENSTEIN
			If I were in his shoes I would feel the same 
                        way. Maybe that's why I scold him.

                                        TISSE
			He likes to follow the rules.

					EISENSTEIN
			He worries too much about his reputation.

                                        TISSE
			Because he does not have one. 

                                        EISENSTEIN
			Maybe Comrade Stalin will give him a medal.

                                        TISSE
			Comrade Stalin is capable of anything. 

					EISENSTEIN
			Good thing he likes me.

					TISSE
			Da, yesterday... but tomorrow?

                                        EISENSTEIN
			Then we will impose upon Mr Sinclair to use 
                        his influence.
                               
			                TISSE
			If Comrade Stalin decides to think the worst, 
                        Mr Sinclair will be of little use to us, no 
                        matter how many Russians have read his novels.

                                        EISENSTEIN
			There is no victory in cowardice, Eduard.

                                        TISSE
			What we do is dangerous.

                                        EISENSTEIN
			Because we tell the truth?

                                        TISSE
			Because we believe it can be told. 

                                        EISENSTEIN
			Truth easily told is seldom true.
   
                                        TISSE
			What do we know about the truth? Even when it 
                        stares us in the face we hardly believe it. Dreams. 
                        It is dreams we believe in.

					EISENSTEIN
			We are the heirs of a difficult age. Shall we 
                        refuse our inheritance? An artist does not live 
                        in his times but by his times. Perhaps the oppressors 
                        will sleep a little less comfortably in their beds 
                        because of what we dream.

                                        TISSE
			In Moscow we were treated with respect. Here, we 
                        scratch for every cent and go away like criminals. 

					EISENSTEIN
			Stop torturing yourself.

					TISSE
			Who are these people, Sergei? Who are we working 
                        for? What kind of alliance is this that we are not 
                        even allowed to see our own rushes?
				
					EISENSTEIN
			The rushes belong to the insurance company, and the 
                        insurance company worries about the heat. Even the 
                        Mexicans have to wait. Three have gone to Los Angeles 
                        to make sure we haven't been filming starving children 
                        or secret revolutionary groups. Next thing you know, they'll 
                        be looking over my shoulder in the editing room!

			   		TISSE
			Not in Los Angeles, I hope!
			
					EISENSTEIN
                        Don't worry. Sinclair has promised to send everything to 
                        Moscow just as soon as we have returned. We shall not 
                        grow old in America.  
                                                       
					TISSE
			Maybe we should tell Comrade Stalin. He will be pleased. 
                        He always enjoyed his visits to your cutting room.

					EISENSTEIN
			I know. Last time he came with his own pair of scissors, 
                        and we lost thirty-five feet of Trotsky.

                                        TISSE
			We lost all of Trotsky! 

					EISENSTEIN
			Except for his back!  

					TISSE
			If only we could lose Mr Kimbrough.

                                        EISENSTEIN
			We should take the scissors to him, eh?

                                        TISSE
			To which part?

                                       	EISENSTEIN
			To the part which is costing the most money. He 
                        believes Grisha and I have eyes for each other. 
                                                                                                  				TISSE
			He is not what he seems. 

                                        EISENSTEIN
                        He would destroy me if I gave him the chance.
	
					TISSE
			I think we have come too far for him to stop us now. 

					EISENSTEIN
                        His sister can stop us.

					TISSE
			Why would she? Why now?

					EISENSTEIN 
                        The time. The money.

					TISSE
			No. They need you. If they stop you now they will
                        lose everything.

					EISENSTEIN
			And if they run out of money before we are done?

				(They move off)

					TISSE
			You don’t understand the capitalist mind, Sergei. 
                        So long as they believe they can make money they will 
                        spend money. And to protect the money they have 
                        already spent, they will spend more. Frightening... 
                        but logical.
	
					EISENSTEIN
			No wonder they are having a Depression! 
			
				(EISENSTEIN and TISSE exit)


				(DON VENUS enters. Drawn to
				the skeleton - empty eye sockets, 
				spindly fingers. HE presses his 
				ear against its chest, listening.
                                HE takes hold of its hand and 
                                "walks" with it to the other end of
                                the stage, listens again to its chest,
                                takes its pulse, then, hearing
                                someone coming, hurries behind it
                                to hide)

				(ALEXANDROV enters with 
				tripod.  HE stops, looks out at
                                the audience, then looks over 
                                his shoulder. TISSE enters,
				glances round, and indicates 
                                a location for the tripod. DON 
				VENUS watches from behind 
				the skeleton. TISSE places the 
				camera on the tripod and gazes 
				into the viewfinder. HE pans 
				slowly from left to right)
		
				(EISENSTEIN enters. HE moves 
				past TISSE, coming downstage to 
				gaze out over the audience)

                                        TISSE
			What do you see? 

                                        EISENSTEIN
			Heroes. Nothing but heroes.  

					TISSE
				(To ALEXANDROV)
                        His love affair with the masses!

					EISENSTEIN
			One would kill for light like this in Russia.

                                        ALEXANDROV
			And still it would be grey.

                                       	TISSE
			Except in Odessa.

                                        EISENSTEIN
			What was the boy's name? The one we used on 
                        the steps?
	
				(DON VENUS comes out from
				behind the skeleton)

                                        TISSE
			You mean the little goal-keeper. 

                                        EISENSTEIN
			We must have made two hundred takes. 

					TISSE
			And he never missed the cigarette packet once! 

					ALEXANDROV
			Da! A born-faller.

					TISSE
			Always in center frame.
                                                    	
                                        ALEXANDROV
			I wonder if he knows how famous he's become.

                                        EISENSTEIN
			Or if he'll ever be able to forgive us.
				(Noticing DON VENUS)
			Good god!  

					ALEXANDROV
			What.

					EISENSTEIN
			Don Venus!

					DON VENUS	
			Con su permiso, senor.  ("With your permission, sir.") 

					EISENSTEIN
			The old man. The one I have been telling you about! 

		
				(TISSE and ALEXANDROV look 
				toward the skeleton, then exchange 
				glances)

				(EISENSTEIN goes to DON VENUS
                                who reaches out his own hand and the
                                skeleton’s. They shake) 
				
					ALEXANDROV
				(To TISSE)
			You see! The longer we stay, the worse he gets. I tell 
                        you, there is something going on here. Some kind of 
                        brainwashing. I can smell it. 

	                        (DON VENUS drops the skeleton’s 
                                hand and taking EISENSTEIN’s
                                and by the fingertips, turns it over
                                and studies the back)
	
					TISSE			
                        Last night, I caught a whiff of pulque on his breath. 
					
					ALEXANDROV
			Maybe he's drunk. Or mad. 

					TISSE
			He never drinks. 

					ALEXANDROV
			Right. I vote for mad.

				(DON VENUS releases EISENSTEIN's
				hand, and presses his ear to EISENSTEIN’s
                                chest, listening to his heart)

					TISSE
			It doesn't make sense.

					ALEXANDROV
			Nothing makes sense. But don't tell him that. 
                        He'll think we're  crazy!

			                TISSE
			He's been talking to an hermaphrodite.
			
					ALEXANDROV
			He's falling to pieces.
	
					TISSE
			It’s his eccentricity... always drawn to the exotic.

				(DON VENUS straightens and beams 
                                at EISENSTEIN)				

					ALEXANDROV
			To freaks, you mean. Hermaphrodites, indeed! 
                        And invisible to boot!
		
					EISENSTEIN
			I've been telling them about you. They thought 
                        I was making you up.

					DON VENUS
			How not!

					EISENSTEIN
                        Comrades, the one who has been helping me. Don Venus.

				(They stare back)

					DON VENUS
			But they cannot see me, senor.

					EISENSTEIN
			What!

					DON VENUS
			Blind.

					TISSE
			Who are you talking to, Sergei?

					EISENSTEIN
				(To DON VENUS)
			You mean…

					ALEXANDROV
                        Something invisible, no doubt. 


					EISENSTEIN
			But he is here!

					DON VENUS
			Only for you, senor.

					TISSE
			Are you all right, comrade?

					ALEXANDROV
			Too much superstition. This is why we had Marx!

					EISENSTEIN
				(To DON VENUS)
			Why me?

					DON VENUS
			You had need of a guide. 
					
					TISSE
			What you see is not superstition… it’s imagination! 
								
					ALEXANDROV
			Stop encouraging him. 
			
					EISENSTEIN
			What am I becoming?

					DON VENUS
			Invisible.  Like me!
					
					ALEXANDROV
			Sergei, we have work to do! 

					TISSE
                        We will lose the light.

                                        ALEXANDROV
                        C’mon, pull yourself together.

                                        EISENSTEIN
			But...

					DON VENUS
			They wait for you. You must go.
				 
					EISENSTEIN
			When will I see you again?
	
					DON VENUS
			A man with desire has only to ask.
		                                                            
			        	EISENSTEIN
			But I need you.

					DON VENUS
			Yes, I know, but do not try to convince 
                        them. I come, senor.
				(DON VENUS exits)
			
				(A pause)		

					ALEXANDROV
			Is he gone?

                                        EISENSTEIN
			Who?

					ALEXANDROV
			Your friend.   

					EISENSTEIN
			Do not look so suspicious, Grisha. Do you doubt me?						
					ALEXANDROV
			Only the method.

					EISENSTEIN
			There is no method.

					ALEXANDROV
			So it would seem.

					TISSE
                        So then, what’re we filming?

                                        EISENSTEIN
			What is in front of the eyes... what is in 
                        front of the eyes and cannot be seen. 

					ALEXANDROV
			That should speed things up.
				(Beat)
			And this was part of it, yes - what you have 
                        been looking for.

					EISENSTEIN
			Listening for, Grisha. Listening for!
				(HE turns)
			Come. There is a marriage.

					ALEXANDROV
			Terrific.
				
				(They exit)


				(KIMBROUGH enters, carrying 
				a portable adding machine. HE
				sets the adding machine on a table,
                                next to a pile of pen & ink drawings,
                                then turns, and saunters over to the 
                                skeleton. HE peers into the hollow 
                                eye sockets) 
				
				(EISENSTEIN enters, moves to 
				the table. HE pours through the
				stack of drawings; puts one aside,
				picks up another, studies it for a 
                                moment and tosses it into a waste 
                                basket. KIMBROUGH turns and 
                                watches as EISENSTEIN continues 
                                to discard and save individual 
                                drawings)
                                                           
					KIMBROUGH
                        Plannin' our next disappointment? 

					EISENSTEIN
                        Mr Kimbrough! I thought you were working in bed today!

					KIMBROUGH
                        I've been thinkin’.

					EISENSTEIN
                        So much for the soporific qualities of alcohol!

					KIMBROUGH
				(Picks up a drawing)
			What’re these?

					EISENSTEIN
			Drawings.
				
					KIMBROUGH
			Of what? 
				(Holds the drawing at arm's 
				length, closer, then farther 
				away;  turns it upside-down, 
				then back again)

					EISENSTEIN
			What does it look like?

					KIMBROUGH
			Christ! Is that what I think it is?

					EISENSTEIN
			Inspiration, Mr Kimbrough.

                                        KIMBROUGH
			Looks more like fix-ation. 

					EISENSTEIN
			You find it offensive?
		
					KIMBROUGH
			I’m sure it has its uses. 

				(EISENSTEIN snatches it away)
                                                                     	
					KIMBROUGH (Continued) 
			I read th’ script. Helluva travelogue. Rape...
                        murder... sedition. 
			
					EISENSTEIN
			It’s not a travelogue, Mr Kimbrough.

					KIMBROUGH
                        No. More of a Biblical epic, ‘cept a Biblical 
                        epic woulda been cheaper. 
                                (Beat)
                        I brought you a present. It's an addin’ machine. 
                        I figgered you might be needin’ it. It also 
                        divides and subtracts.

					EISENSTEIN
                        You mean, detracts.
                               (Beat)
                        And will it tell me how to compose my next shot, 
                        or whether there is enough light? 	

					KIMBROUGH
                        My sister and Mr Sinclair were under th’ impression 
                        you weren’t gonna spend more than twenty-five 
                        thousand dollars. 
	                                                                   
					EISENSTEIN
			That was my estimate.

                               	     	KIMBROUGH
			Well, we seem to have whizzed right past your 
                        estimate some time ago.

					EISENSTEIN
			I have no control over the weather, Mr Kimbrough.

					KIMBROUGH
			Or th’ accidents, I gather. What I’m tryin’ to 
                        say is, my sister wants a budget. An’ don't tell 
                        me you don’t know what I’m talkin’ about. 
	
					EISENSTEIN
			Budgets are none of my business, not where I 
                        come from.
		
					KIMBROUGH	
			Well, you best make it your business, otherwise 
                        there isn't gonna be any more picture.  	

					EISENSTEIN
			You do the budget, Mr Kimbrough. You are the 
                        one who spends the money. 
	
					KIMBROUGH
                        Oh no!  I’m not takin’ th’ blame for that one. 

					EISENSTEIN
                        Then your sister will have to wait.

					KIMBROUGH
                        No, no... you don’t understand. There’s a 
                        Depression goin' on out there. People are jumpin’ 
                        out o’ buildin’s. Hard times are knockin’ at th' 
                        door. Hell, we got two or three investors 
                        who can’t even afford to pay their taxes.

					EISENSTEIN
                        If America had listened to Karl instead of Harpo, 
                        it would not be in this mess. 

					KIMBROUGH
			That’s your answer?
					
                        		EISENSTEIN
                        I make movies, not budgets. What do you expect! 
                        That I should make the sun shine twenty-four hours 
                        a day? That I should know magically, without rushes, 
                        what every shot looks like? What kind of genius 
                        is this! It is not enough I seize every opportunity 
                        that comes? What more do you want! This picture 
                        has its own life. I cannot take it where it does 
                        not want to go. 
 
					KIMBROUGH
			You said twenty-five thousand. 

                       		        EISENSTEIN
                        I was passing on what someone told me.

                                        KIMBROUGH
			What someone told you! Who told you? 

					EISENSTEIN
			A man. A barber on Sunset Boulevard. An Italian.  

					KIMBROUGH
			My god.

					EISENSTEIN
                        He used to be in cowboy movies in Mexico. The director 
                        always  made him play the part of an Indian because he was 
                        Italian. He knew things. So I asked him how much to make 
                        a reasonable picture without sound or stars, and he said for 
                        twenty-thousand dollars he could do it himself with his eyes
                        closed. So I thought, well, for twenty-five thousand I ought 
                        to be able to make one with my eyes open.
                                                              
                                        KIMBROUGH
			You believed him.

                                        EISENSTEIN
			Twenty-five thousand dollars is a lot of money.
                                                                    
					KIMBROUGH
			Yes, if you’re a barber! Jesus Christ! When I think 
                        of all th’ competent film directors they could’ve 
                        had...  an’ they wind up with you!

					EISENSTEIN
			If competency was all they wanted, they should’ve asked
                        someone else. 

                                       	KIMBROUGH
			You were th’ one doin’ th’ askin’. 

					EISENSTEIN
			Is there nothing you believe in?

	         			KIMBROUGH
			Yeah, I believe in myself.

					EISENSTEIN
			A blind man.

					KIMBROUGH
			I see what I see.

					EISENSTEIN
			With 20/20 ambition.

					KIMBROUGH
			You're th' one tryin' to make a name for himself 
                        in Hollywood.

					EISENSTEIN
			I almost feel sorry for you.

					KIMBROUGH
                        You think you live on truth. But you’re wrong. 
                        There ain’t nothin’ there, nothin' but lies; 
                        illusion dressed up as ideology; treachery primped 
                        an’ promenaded in th’ name o’ social justice. 
                        You know what I’m talkin’ about. An’ you know I 
                        know. That's why you avoid me. 
				(Beat)
                        Y’know, at first, I just thought you were bein’ 
                        thorough, dottin’ th’  "i’s",  crossin’ th’ "t’s" -  
                        then I got to thinkin’, no, no, it’s th’ climate - all 
                        this hellish heat an’ vile humidity  slows a man down.
			Then it occurred to me…  maybe you didn’t really think 
                        this was such a bad place after all. Hell, maybe you 
                        liked it too much. But really, it’s a whole lot more 
                        simple than that, now isn’t it? I mean, correct me 
                        if I’m wrong, but I think you’ve stepped into a situation 
			that’s caught you a bit out o’ your depth...
                                                                   
		 			EISENSTEIN
			What is this? A little something to brighten up your day?

                                        KIMBROUGH
			You’re playin’ for time.

					EISENSTEIN
			You don’t know what you’re talking about.

					KIMBROUGH
			Why’re we still here, then? You don’t know how to finish 
                        this damn picture.  Or maybe you don’t wanna finish it

                        	        EISENSTEIN
			Go back to your adding machine.
                                                                    
		 			KIMBROUGH
			Must be awful, losin' your confidence like that.

                                        EISENSTEIN
			A film isn’t a piece of sausage. You cannot buy it by the 
                        pound and chop it up any way you like.

				(EISENSTEIN and KIMBROUGH 
				freeze. Looming up against the back
				wall, we see the shadows of UPTON 
				SINCLAIR and MARY CRAIG)
                                                           
	                                MARY CRAIG
				(Off-stage)
                       I knew I shoulda put my foot down. A real gentleman 
                       would never behave like this.

                                        SINCLAIR
				(Off-stage)
			Real gentlemen do not indulge in movies, mother. 

	                                MARY CRAIG
				(Off-stage)
			Oh please, anything but that. I am surrounded by clichés.
			
				(Unexpectedly, DON VENUS appears 
				under the arch. HE pauses, takes in the
				scene, then snaps his fingers. SINCLAIR 

				and MARY CRAIG step out of their 
				shadows into the room. They pause... )

                                        SINCLAIR 
			Hunter! 
	
				(EISENSTEIN and KIMBROUGH
				resume normal motion)

					SINCLAIR (Continued)
			What’s all this noise?  Nothing insurmountable I hope.	

					KIMBROUGH
			He doesn’t listen to a word I say.

                                        EISENSTEIN
			Comrade, you must do something.

                                        KIMBROUGH
			Whenever I ask him for a budget he laughs in my face.

                                        EISENSTEIN
			That’s not true!

                                        KIMBROUGH
			How many times has it been now?  I stopped countin’.

                                        EISENSTEIN
			He’s lying!

                  	                SINCLAIR
			Gentlemen, please!

                                        KIMBROUGH
			I'm jus’ some poor, uneducated niggah as far 
                        as he’s concerned.

                                        EISENSTEIN
			Comrade, with all  respect...

                                        MARY CRAIG
			I don’t think we need that kind of language, 
                        Hunter.

                                        EISENSTEIN
			All the time, he is making trouble.

					SINCLAIR
			Yes, well, we've had a few problems of our own.

					MARY CRAIG
			Ask him about the schedule, father.

                                        EISENSTEIN
			No, no, you don't understand. The man is a 
                        complete dunce. He cannot be trusted. He knows 
                        absolutely nothing about film-making, and even 
                        less about proletarian art! 
                                                                 
			    		SINCLAIR
			Hunter may be a young society fellow without 
                        revolutionary tendencies, Mr Eisenstein, but 
                        I’ve never known him to be untrustworthy.
                                                                
			     		EISENSTEIN
			The man is a racist. You heard what he said.

                                        KIMBROUGH
			Last week he threw a fit 'cos I told him he ate 
                        too much.

                                        EISENSTEIN
                        At least I do not stay out all night, drinking and 
                        gambling and spending money that should be used on 
                        the film.

                                        MARY CRAIG
			What’s he talkin’ about, father?

                                       	SINCLAIR
			I’m not sure.

                                       	KIMBROUGH
			Never mind the kind words an’ consideration. 
                        No suh.  No sense wastin’ your breath. 
				(To EISENSTEIN)
			You’re just a monkey with a monkey’s attitude 
                        to life.

                                        EISENSTEIN
			Tell them about the card games...  and the women!

                                        KIMBROUGH
			Money disappears through his fingers like steam.

                                        EISENSTEIN
			Tell them where it goes!
                                                               
			    		KIMBROUGH
			Th’ man has no sense of th’ value of anything. 
                        Me, I’m just an endless river o’ green.

                                        MARY CRAIG
			Did somebody say something about drinking?

                                        EISENSTEIN
			Talk to him!  He knows what he does.
                                                                 
			    		MARY CRAIG
			Hunter, have you been disgracing yourself?
                                                               
			      		KIMBROUGH
			He’d say almost anything t’save his neck.

                                        MARY CRAIG
			Answer me! Have you been drinkin’?

                                        KIMBROUGH
			What?

                                        MARY CRAIG
			You heard what I said.

                                        KIMBROUGH
			Mary, I swear...

                                        MARY CRAIG
			Tell me th’ truth, Hunter!

                                        KIMBROUGH
			You know I wouldn't do anything to embarrass 
                        you an’ Mr Sinclair.

                                        MARY CRAIG
			Don’t lie to me!

                                        KIMBROUGH
			I’m not lyin’!  Yes, all right, I have th’ 
                        occasional drink, I surely do. But only for 
                        altitude sickness.

                                        EISENSTEIN
			Altitude sickness! Listen to him!
                                                                
			     		KIMBROUGH
			My heart skips a beat every time I take a 
                        breath. Sometimes it’s so bad I can't sleep 
                        at night. It soothes me. 

                                        EISENSTEIN
			To the point of unconsciousness.
                                                                		
					MARY CRAIG
			Hush up, Mr Eisenstein!
                                                                  
			   		KIMBROUGH
			It’s th’ air, sister. A man can’t hardly 
                        think straight. I have a prescription for it.
	
				(DON VENUS turns and exits)
		
                                        MARY CRAIG
			There, there...  you  poor  baby.

                                        SINCLAIR
			I’m sorry, Hunter. We didn’t realize. 

                                        EISENSTEIN
			You don’t believe him, do you?

                                        KIMBROUGH
			You watch y’self, boy!

                                        SINCLAIR
			Mr Eisenstein, please!

                                        EISENSTEIN
			But you can smell it on him!

                                        MARY CRAIG
			I think we’ve had enough unpleasantness.

                                        EISENSTEIN
			The man is crazy!

                                        KIMBROUGH
			I’d rather work with animals an’ small children.
				
					EISENSTEIN
			He is not what he seems, believe me. The last 
                        time we never saw him for five days!

					SINCLAIR
			All right, Mr Eisenstein, I think you’ve made 
                        your point.

					MARY CRAIG
			Don’t pay him any mind, child.

                                        EISENSTEIN
			Modesty prevents me from telling you where 
                        we finally found him.
   
                                        KIMBROUGH
			You keep your goddamn mouth shut!
                                                                   
			  		MARY CRAIG
			Hunter! 

                                        SINCLAIR
                        That’s enough! Now I don't want to hear 
                        another word.

                                        EISENSTEIN
			But comrade…

                                        SINCLAIR
			Please!

                                        MARY CRAIG
			Perhaps Mr Eisenstein's suffering from a bit 
                        of altitude sickness, himself.

                                        KIMBROUGH
			Attitude sickness.
                                                                  
                                        SINCLAIR
			You do look rather pale. Are you feeling all right?

                                        MARY CRAIG
			Maybe he ought to be in bed.

                                        KIMBROUGH
			Oh, he’d love that.

                                        EISENSTEIN
                        Comrade, your brother-in-law may have small faith 
                        in what I do, but you have always believed in me. 
                        Believe me now. The possibilities grow larger 
                        every day.

                                        KIMBROUGH
			Expensive possibilities.

					SINCLAIR
			You assured me it wouldn’t cost a nickel over 
                        twenty-five thousand dollars. You've already shot 
                        nearly six miles of film.

                                        EISENSTEIN
			There are no rushes! Everything has to be shot 
                        ten, twenty, thirty times, to make sure it is 
                        not too light or too dark. We cannot re-shoot 
                        once we are back in Moscow.

                                        SINCLAIR
			I'm sure you have more than enough, Mr Eisenstein.

                                        MARY CRAIG
			We’ve spent nearly ninety thousand dollars.

                                        EISENSTEIN
			A miscalculation. The rain... the floods...

                                        KIMBROUGH
			Th’ killin’.

                                        SINCLAIR
			I understand the difficulties, but at the 
                        rate we’re going there isn’t going to be any 
                        money left to edit the damn thing!

                                        MARY CRAIG
			Upton!
                                                                 
                                        SINCLAIR
			I’m sorry, mother. I don’t know how else to 
                        say it.
				(To EISENSTEIN)
			Let me put it to you this way: patience and 
                        honor and human kindness are no longer affordable 
                        luxuries. Bankruptcy’s become a way of life. Do 
                        you have any idea how this makes me feel? I have 
                        been a committed socialist most of my adult 				                life. I’ve done what I could to redress the wrongs 
                        and expose the injustices. Sacco and Vanzetti 
                        never had a truer friend or a more dedicated 
                        defender. I believe in the underdog.  But I 
			live in a capitalist society, and when the banks 
                        take it upon themselves to extend credit for 
                        money they don’t actually possess there’s only 
                        one possible outcome. Everything falls to pieces. 
                        We lose sight of our humanity. The chains of 
			oppression re-fasten themselves. Oh, I won’t say 
                        the stock market crash horrified me. I expected it. 
                        I welcomed it. I only wish it had come at a more 
                        opportune time. Sir, there’s nothing I’d rather 
                        do than help you make this picture, but we
			can’t go on spending money like this. It’s not 
                        mine to spend.

                                        EISENSTEIN
			Yes, I know. Papa also married a woman of independent
			means. 

                                        SINCLAIR
			What can I say? It seems to be my fate to live 
                        in the presence of wealth that belongs to others.

                                        EISENSTEIN
			It must be very difficult for you.

                                        KIMBROUGH
			Guess who his majesty went to for advice 
                        about th’ budget?
 
                                        SINCLAIR
			Hunter, please...

                                        KIMBROUGH
			Some dago down on La Cienega.

	                                EISENSTEIN
			A man of the people!

                                        KIMBROUGH
			A goddamned hairdresser!

                                        MARY CRAIG
			Hunter, you know better than to use that sort 
                        o’ language.

                                        KIMBROUGH
			I'm tellin’ you, he got his budget from a barber.

                                        SINCLAIR
			What!
		
                                        KIMBROUGH
			Over a shave an’ a haircut, our legendary 
                        genius here asked Luigi how much he thought 
                        it’d cost to make a picture down in Mexico. 
                        An’ what was it Luigi said?

                                        EISENSTEIN
			His name wasn't Luigi; and he was more than 
                        a barber. He was a philosopher!

                                        KIMBROUGH
			Well, I guess that makes it all right.

                                        MARY CRAIG
			What’s he talkin’ about, father?

                                        SINCLAIR
			Maybe you better sit down.

                                        MARY CRAIG
			No, I think I'll stand.

                                        KIMBROUGH
			Now he doesn't know how to finish th’ damn thing.

                                        SINCLAIR
			Is this true?

                                        EISENSTEIN
			Comrade, let me explain...

                                        SINCLAIR
			Is that what happened?

                                        MARY CRAIG
			P’raps I will sit down.

                                        EISENSTEIN
			You don’t understand. In Russia, everything 
                        was done for us.

                                        KIMBROUGH
			Some genius.
                                                          
                                        EISENSTEIN
			We make pictures, not account books.

                                        SINCLAIR
			You never told me that.

                                        KIMBROUGH
			‘Nuther miscalculation.

                                        MARY CRAIG
			I knew it. 

				(DON VENUS re-appears 
				under one of the arches. HE 
				leans against the arch. Using
				a small knife, HE slices off
				pieces of an apple which he 
				slowly eats as HE watches 
				and listens)

                                        SINCLAIR
			Mr Eisenstein, do you have any idea what you’ve 
                        done?  I trusted you.

					MARY CRAIG
			A glorious dreamer, drawn to lost causes like 
                        a moth to a flame.

					SINCLAIR
				(Aside to MARY)
			It was the meat-packing bosses who were burned.

					MARY CRAIG
			Poor, forthright, psychologically obtuse Upton. 
                        You always see the best in people.
	
					SINCLAIR
			I’m going to have to give this some thought. 

					EISENSTEIN
			Four more weeks, comrade.

					KIMBROUGH
			You gotta be jokin’.

					EISENSTEIN
			If we stop now we will lose everything.
	
					SINCLAIR
			And if we keep going?
			
					KIMBROUGH
			I’d pull th’ plug on th’ whole thing. 
			
					MARY CRAIG
			How’m I s’pose to be a film producer without 
                        a film? 

					SINCLAIR
			You leave it to me. You’ll have your film. 
                        Now come along, mother. It’s going to be all right.				                (Takes her hand)

					EISENSTEIN
			You’ll make your money back. I promise. 

                                        KIMBROUGH
			You hope.

					EISENSTEIN
			Please, believe me!  Mrs Sinclair! The last 
                        thing I want is to go back to Russia with an 
                        unfinished film. 

				(SINCLAIR and MARY CRAIG
				move off and exit)

                                        KIMBROUGH
			Th’ last thing you wanna do is go back, period.

				(Pause)

					EISENSTEIN
			And people wonder why we do not trust capitalism.

                                        KIMBROUGH
			Capitalism! Why, without capitalism, you wouldn't 
                        even be here, boy!
                                                                     
					EISENSTEIN
			You must be a Libran.

					KIMBROUGH
			Don’t forget th’ budget. An’ a schedule. I’ll 
                        sleep much better with a schedule. 
				(KIMBROUGH exits)

				(DON VENUS spits out a mouthful 
				of apple, and comes forward)
					
					EISENSTEIN
			Sometimes I think the only reason you came 
                        was to lead me astray.

					DON VENUS
			You were already a stray when I met you. 
					
					EISENSTEIN
			When you met me I was making a film.

					DON VENUS
			And now?

					EISENSTEIN
			Now I am unable to finish. 

					DON VENUS
			Why should you!

					EISENSTEIN
			They will not let me go on forever.
		
					DON VENUS
			Forget about them.
				
					EISENSTEIN
			I need them. Without them, I am lost. 

					DON VENUS
			What do you know!  The future cries for you. 

					EISENSTEIN
			I think I must finish. 

					DON VENUS
			You think too much. You think finishing is everything. 
                        Like the ones watching in the dark. They only trust 
                        what is dead, and even then they are not so sure. 
                        They want to believe that what is finished is safe. But 
                        to be finished is nothing. What is important is to escape. 

					EISENSTEIN
			Escape from what?

					DON VENUS
			The past, senor.

					EISENSTEIN
			You mean defect?

					DON VENUS
			Defect is when you choose to be a slave instead 
                        of what you are. The film is only to help you   
                        catch the fish.

					EISENSTEIN
			You talk in riddles, old man.
 		
					DON VENUS
			It is more than a film you are making, senor. And you
			are the fish.

					EISENSTEIN
			Why do you do this? You fill my head. You 
                        give me no rest. Where does it end?

					DON VENUS
			There is no end! 
					
				(Pause)

					EISENSTEIN
			So now we come to torment. 

					DON VENUS
                        Easy to find, but I do not think it will take 
                        you where you want to go.
			
					EISENSTEIN
				(Absently)
                        Platform five. 

					DON VENUS
                        As your guide, I do not suggest it.

					EISENSTEIN
			And what do you suggest?
			
				(DON VENUS throws his arms
				around EISENSTEIN, whose arms
				remain uncomfortably at his side. 
				HE releases his hold, and looks up 
				into EISENSTEIN's eyes)

					EISENSTEIN (Continued)
			Is that it?

					DON VENUS
				(Wagging his finger)
			The rest you will not believe. Not yet.
				(DON VENUS turns, distracted.
				HE stares at the audience)
                        Can you see them?

					EISENSTEIN
                        Yes.

					DON VENUS
                        It is better not to look. 
	                        (Beat)
                        I come.
				(HE moves off)
					
					EISENSTEIN
			Don Venus!

				(DON VENUS turns)

					EISENSTEIN
			What is to become of you… when I am done?

					DON VENUS
			Someone will have need of me. 

					EISENSTEIN
			What will you do?

					DON VENUS
			Rest.  And then...  another painting. 
	
				(CHABELA enters)
			
					CHABELA
			Maestro?

				(EISENSTEIN and DON VENUS
                                turn)
		
					CHABELA (Continued)
			They have arrested Senor Balderas. You must do
			something. They are saying that he murdered Rosa.  

					EISENSTEIN
			Who says?

					CHABELA
			The police. 
				
					EISENSTEIN
			This is ridiculous! He is innocent! 

					DON VENUS
			Not in Mexico.
				
					CHABELA
			No, senor. A poor man is never innocent. 

					EISENSTEIN
			But there has been no trial. 

					CHABELA
			They do not need a trial to lock him up, senor.

					DON VENUS
			Nor for the firing squad!

					CHABELA
			You must go to the judge. He is the only 
                        one who can help. Talk to him. He will listen. 
                        He believes you are important. 

					DON VENUS
			He does not listen to peasants.

					EISENSTEIN
			He will listen to me. And he will hear the truth. 

					CHABELA
			The truth is not what he wants, senor.

					DON VENUS
			He wants to be like you.

					CHABELA
			He wants to have what you have. 	
				
					EISENSTEIN
			What I have?	
		
				(DON VENUS rubs his fingers
				together - hand-sign for money)
	
					CHABELA 
			It is a poor country, senor. My  people watch 
                        the way Senor Kimbrough throws his money away 
                        in the cantina. They would like to throw money, 
                        too.  
	
					EISENSTEIN
			You mean…  bribe.

					CHABELA
			It will help him see true.
			
					EISENSTEIN
			Is the truth  so difficult to see?

					CHABELA
			It is Mexico, senor. Truth is whatever fills 
                        the belly. The rest is tomorrow’s hunger.

	                        (Pause)

					EISENSTEIN
			How much?

					DON VENUS
			Enough to show respect.

				(CHABELA shrugs) 

					EISENSTEIN
			I will speak to Mr Kimbrough.

					CHABELA
			No, maestro. He has no feeling. Only you. 
                        You are the only hope Senor Balderas has. 
                        If the judge likes you, or if he fears you, 
                        you may not have to pay. But you must 
                        go to him, senor. In the morning. 

					EISENSTEIN
			Yes. All right. Tomorrow!
				(Beat)
			Only tomorrow we have the Revolution.
				
					DON VENUS
			So, the revolution will have to wait.

					EISENSTEIN
			So the Revolution will have to wait. 
				(Beat)
			Do not fear, Chabela. I will help him. Everything will be 
			all right. I will go in the morning. 

					CHABELA
			You are a good man, senor. 
		
                                        EISENSTEIN
			Not all of us are like Mr Kimbrough. 
                                                    
                                        KIMBROUGH
				(Off-stage)
			Mr Eisenstein!  Mr Eisenstein, are you there?

					CHABELA
			He is coming, I must go.

                                        EISENSTEIN
			No!

                                        KIMBROUGH
				(Off-stage)
			I know you're there. Why don't you answer me?

                                        EISENSTEIN
			Drunk again. Always drunk.

					KIMBROUGH
			Damn! Can’t you hear me?
                     			(HE enters)
                        You deaf or what? I coulda done myself an injury.
				(Beat)
			Well, well, well… what’s she doin’ here? No, 
                        let me guess. 
				
					EISENSTEIN
			She has come to tell me about the trouble with Senor
                        Balderas.

					KIMBROUGH
			What about him?

					EISENSTEIN
			He has been imprisoned.

                                        KIMBROUGH
                        I’ll pray for him.

					EISENSTEIN
                        And pay for him. He is our responsibility.
 
					KIMBROUGH
			Ours?

					EISENSTEIN
			Yes. He is one of my actors.

					KIMBROUGH
			Not anymore he isn’t.

					EISENSTEIN
			I hired him.

					KIMBROUGH
			An’ now he’s un-hired, ‘long with everybody 
                        else, her included.

					DON VENUS
				(To EISENSTEIN)
			He has the moon in his head, senor.

					EISENSTEIN
			He has no head at all!

					KIMBROUGH
			What!

		                        CHABELA
			I should go.
				
					KIMBROUGH
			Good idea. Get yerself a real job. 

                                        EISENSTEIN
				(Grabbing her arm)
                        Wait!
                                (To KIMBROUGH)
                        Why do you do this?
                                                            
   					KIMBROUGH
			Everything comes to an end sooner or later.

					EISENSTEIN
			Not until we have filmed the Revolution, it doesn’t!

					KIMBROUGH
			Well, I guess we’re just gonna have to dispense 
                        with th’ Revolution.

					EISENSTEIN
			Without the Revolution we have no ending.

                                        KIMBROUGH
                        Wake up, boy! The Revolution’s come and gone. 

		                        EISENSTEIN
                        Why can’t you people let me finish in peace?

		                        KIMBROUGH
				(To CHABELA)
			He thinks I'm drunk. 

					EISENSTEIN
			You know what we have to do.

					KIMBROUGH
			I know what I have to do.
	
					EISENSTEIN
			Go back where you belong.

					KIMBROUGH
			Wild horses won’t stop me.
				
					EISENSTEIN
			Your sister will have her budget by the end 
                        of the month.

					KIMBROUGH
			P’raps I haven’t made myself clear. You’re fired. 
		
	                                DON VENUS
				(To EISENSTEIN)
			I think you have need of another miracle, senor. 

                                        EISENSTEIN
			I don’t think so.

		                        KIMBROUGH
			Thinkin’s got nothin’ to do with it. From now 
                        on, th’ only thing my sister's puttin’ her 
                        money into is a safety deposit box.

					EISENSTEIN
			We will see about that. 

					KIMBROUGH
			Yeah, well, in the meantime I suggest you 
                        start packin’.

					DON VENUS
				(To EISENSTEIN)
			He must have stomach ache.   

					KIMBROUGH
			I ‘spect you'll be takin’ th’ Chevy. I’ve 
                        arranged transit visas for you an’ your friends...
                        You got two weeks to get to New York. I s’pose 
                        you can manage that, long as you drive faster 
                        than you make movies. 
		
                                        EISENSTEIN
			Thank you, Mr Kimbrough. Only I am not going 
                        anywhere. Now, if you will excuse me...?

			                KIMBROUGH
			Stubborn to th’ end. I imagine you could even 
                        get yourself arrested if you tried.

					EISENSTEIN
			Another one of your projects, I suppose.

					KIMBROUGH
			My only project is getting’ the hell outta 
                        here... Don’t linger, Mr Eisenstein... it won’t 
                        do you any good.
	                        (To CHABELA)
                        G’day, Miss.
	                        (Exits)

			       	        CHABELA
			What does he mean, senor? 

                                        EISENSTEIN
			It is nothing. Less than nothing. He blows up, 
                        we have Two weeks of peace. Tomorrow he will be 
                        drunk again.

                                        DON VENUS
			He is not well. 

                                        CHABELA 
				(To EISENSTEIN)
			Maybe Mexico is not such a good place for 
                        you, senor.  

                                        EISENSTEIN
			You doubt me?

                                        CHABELA
			I watch you. The way you hide.

                                        EISENSTEIN
			What do you know about hiding?

					DON VENUS
			I think I must go… there is a picture… 
				(Exits)
                                                             
	                                CHABELA
	 		The Spanish missionaries made their churches 
                        on top of our ancient temples. They hoped it 
                        would make it easier for us to pray to their god. 
                        But we had our own gods, and we hid our sacred 
                        objects where they would never look, inside 
                        their Catholic altars. So when they
                        saw us there, they believed we were praying 
                        to the Cross...  but it was not so.  
				(Beat)
			When one is frightened, one hides.  

				(EISENSTEIN takes hold of  
				CHABELA's hand. A moment,
				interrupted by the arrival of 
				ALEXANDROV and TISSE)

                     	                TISSE
                       Comrade! Comrade, we have trouble!
	
	                                EISENSTEIN
	               Yes, yes, I know.

                                        TISSE
	               You know?

                                        EISENSTEIN
	               Do not worry about it, Eduard.

                                        ALEXANDROV
	               We have no choice now.

                                 	EISENSTEIN
	               Pay him no mind. We have been through this 
                       a hundred times. He is only trying to frighten 
                       us.

                                        TISSE
	               He has done a very good job of it.

		                        EISENSTEIN
	               He has done nothing but interfere. A one hundred percent, 
	               American idiot! I am finished taking orders from him.

                                        TISSE
	               Who?
                                              
		                        EISENSTEIN
	               Who!?  Who are you talking about?

                                        ALEXANDROV
	               I think you’d better read this, comrade.
		               (Holding out an envelope)

                                        EISENSTEIN
	               What is it?

                                        TISSE
	               A cablegram.
                                                             
		                        EISENSTEIN
	               From Sinclair?

                                        ALEXANDROV
	               Not from... to!  Read it.

		                (Pause)
                                                                  
		                        EISENSTEIN
	              No. You. You read it, Eduard.

                             	(TISSE takes the envelope, 
		                extracts the cablegram)

                                        TISSE
		                (Reading slowly)
	             "EISENSTEIN LOOSE HIS COMRADES CONFIDENCE IN 
                     SOVIET UNION    STOP HE IS THOUGHT TO BE A 	
                     DESERTER WHO BROKE WITH HIS COUNTRY    STOP   
                     AM AFRAID THE PEOPLE HERE WILL HAVE NO INTEREST 
                     IN HIM    STOP    AM VERY SORRY BUT ALL ASSERT 
                     IT IS A FACT   STOP  WISH YOU TO BE WELL    STOP    
                     MY REGARDS    STOP...   STALIN" 

                 		        ALEXANDROV
	             One can almost feel the noose around the neck.

                                        EISENSTEIN
	             I believe they are using firing squads these days.
                                                              
	     	                        ALEXANDROV
	             You should not make jokes.

                                        EISENSTEIN
	             I did not intend it to be funny.

                                        TISSE
	             Boys, please! It will do no good to argue.

		                        EISENSTEIN
	             You seem almost happy, Grisha.

                                        ALEXANDROV
	             We should have gone back months ago.
                                                               
	    	                        TISSE
	             Sergei...

                                        EISENSTEIN
	             No!

		              (Pause)

                                 	ALEXANDROV
	             I am going to pack.
		              (HE exits)

		              (Solo violin music fades up.
		              TISSE presses the cablegram into 
		              EISENSTEIN's hand, lingers, then 
		              exits)

		                       CHABELA
	            What does it mean... "loose confidence"?

                                       EISENSTEIN
	            I feel like dancing. Will you dance with me?
	
		              (They dance: a waltz, round and 
		              round. EISENSTEIN stumbles, 
		              reaches up, grabs hold of his chest. 
		              HE pushes CHABELA away)
                                                                 
		  	               CHABELA
	            Senor!  Senor, what is wrong!

		             (HE staggers forward, turning to
		             the audience, hand outstretched)

                 	              CHABELA (Continued)
	            Senor!  Please! Someone, help!
		
		                      EISENSTEIN
	            Totya.
		             (Louder)
	            Totya!


		             (BLACKOUT)

                                    	END ACT 1



Go to Act Two