Kino and Teresa

[print edition page number: 139]

Based on Shakespeare’s The Tragedy of Romeo and Juliet

SETTING: New Mexico in the years following the Pueblo Revolt of 1680 and the Spanish Reconquest of 1692.

Characters

KINO (Romeo) — Son of Governor Chistoe of Pecos Pueblo
TERESA (Juliet) — Daughter of Maestre de Campo Madrid
DON DIEGO DE VARGAS (The Prince) — Governor of New Mexico
JUAN DE VARGAS (Paris) — Son of Governor Vargas
LORENZO MADRID (Capulet) — Maestre de Campo of Santa Fe
CATALINA (Lady Capulet) — Madrid’s wife
NURSE — To Teresa, an Indian woman from Socorro Pueblo
ELADIO (Tybalt) — Nephew of Madrid
FELIPE CHISTOE (Montague) — Governor of Pecos Pueblo
ANIERI (Lady Montague) — Wife of Chistoe
CRISTÓBAL (Mercutio) — Friend of Kino
NICOLÁS (Benvolio) — Nephew of Chistoe and cousin of Kino
FRAY OLVERA (Friar Lawrence) — Franciscan Friar
MEDICINE MAN (Apothecary) — From Pecos Pueblo
FRAY GARCÍA (Friar John) — Friend of Fray Olvera
HERNÁN — Spanish manservant to Governor Vargas
MATEO — An Indian soldier in the Pecos Pueblo auxiliary [140]
MONTOYA — Governor’s right-hand man
WATCHMAN
OLD WOMAN
STREET VENDOR
SPANISH MUSICIAN
INDIAN MUSICIAN

PLAYWRIGHT’S NOTE: To draw a visual distinction between the two cultures, the Indian wardrobe should be confined to browns, off-whites, soft blues, and yellows, whereas the Spanish wardrobe should be striking reds, purples, black, and sharp whites. [141]

ACT 1
Scene 1

Dark stage. Spotlight fades up on HERNÁN, an exuberant Spanish man outfitted in colonial-style servant’s garb, a sword strapped to his side. He speaks as if addressing the audience directly.

HERNÁN
Bienvenido, O weary traveler. From where do you come? El Paso? Mexico City? Perhaps our mother country of Spain? Ah, it matters not. For this is the wondrous land to which we have ventured to begin our lives anew. Welcome to Santa Fe!

Stage lights fade up, revealing the town plaza of Santa Fe, the year 1697. HERNÁN continues, offering his welcoming hands.

Come with me, mi amigo. Hernán is my name. Step forth and I shall be your humble guide. Tell me what brings you to our fair town.

From the audience emerges JUAN, a young, awkward Spanish man in his early 20s. His overdone wardrobe suggests Spanish aristocracy. He steps forth, trying to carry himself as a man of importance, but ends up clumsily tripping over himself. Amused, HERNÁN reaches to help him up. His fingers take note of JUAN’s fine attire.

Watch your step, mi señor! For shame if I were to allow such a distinguished stranger to sully attire of such obvious finery.

JUAN pulls away and straightens himself up. He starts to say something, his mouth forming the words, but nothing will come out. HERNÁN hangs on every word, or lack thereof.

¿Sí, señor? What is it? Please, sir, tell me.

JUAN (speaking with a very severe stutter)
I-I am l-looking f-for my f-f-f-father.

HERNÁN (taken aback by the stammer, he chuckles)
Your f-f-father? Perhaps you should t-t-tell me his name.

Though clumsy, stuttering, and insecure, JUAN overcompensates by indignantly carrying himself with an inflated sense of entitlement. [142]

JUAN
Y-you f-f-fool! I am the s-son of D-Don D-Diego de Vargas!

HERNÁN (immediately starting to behave with deferential respect)
¿D-Don D-Diego de Vargas? ¿Gobernador Vargas? Perdóneme, a thousand pardons, for not recognizing you as the son of the Governor of all of Nuevo México. I shall proudly escort you to the Governor’s Palace at once. My own master, Lorenzo Madrid, is his Maestre de Campo. This way, your grace.

HERNÁN starts to escort JUAN around the town plaza. As he does, in the background, we start to see some life in the plaza. An OLD WOMAN comes out to do business with a STREET VENDOR.

Behold the new world your father has worked so hard to build and re-build after years of Indian uprisings and rebellions. Now, thanks to the blessings of our Lord Jesus Christ, your father has those godless heathens firmly under control.

At that moment, stepping onstage is a long-haired Indian, MATEO. He wears traditional Pueblo clothing augmented by a Spanish military sash with an accompanying sword. Upon seeing MATEO, HERNÁN nervously stops in his tracks.

JUAN
L-l-look! A-a-an Indian! In th-the middle of t-town!

HERNÁN
Have no fear, Excelencia. This is one of our Indian allies from nearby Pecos Pueblo. Sworn they are to guard our township. Truth be told, your father has more faith in their loyalty than I.

He starts speaking loud enough for MATEO to hear.

As far as I can see, they will always be treacherous, murdering savages!

Hearing this, MATEO immediately turns to HERNÁN. [143]

MATEO
What foul words does the wind blow my way?

HERNÁN (grinning at MATEO)
Foul words to you, the truth to me.

Barely controlling his hair-trigger temper, MATEO marches over to HERNÁN.

MATEO
Truth, from a vile servant? The truth is this: you are the treacherous, murdering savages. You came to our land, we welcomed you with open arms. How did you return our friendship? You turned us into slaves. You tortured and killed us for speaking our language and practicing our ceremonies. Finally, one day, we struck back and banished your stinking hides from this land for twelve glorious years.

HERNÁN turns away from MATEO, insulting him by addressing JUAN instead.

HERNÁN
He and his people killed hundreds of women and children. They destroyed our towns and churches. In those “glorious” years he talks about, his people were at war with each other. His “great” Chief Popay was a tyrant — pitted tribe against tribe. His Pecos Pueblos practically begged us to come back and save them.

At this point, a young, gentle Indian soldier, wearing an Indian military outfit similar to MATEO’s, comes onstage. This is NICOLÁS.

MATEO
“Begged you”? We allowed you to come back. You Spaniards number less than three hundred families. All the Pueblos combined have thousands upon thousands of warriors. With a single strike, we could slaughter you all.

Meanwhile, the OLD WOMAN and the STREET VENDOR have started to take note of the dispute brewing between HERNÁN and MATEO. They back off.

HERNÁN (turning to MATEO)
Oh? Look around, Indian. See who controls this township. Not you. You “brave” Indian warriors couldn’t slaughter a pig.

MATEO has had enough. He furiously unsheathes his sword.

MATEO
Then come to me, pig! And be the judge of how well I slaughter!

MATEO prepares to charge at HERNÁN, but NICOLÁS alertly places his sword between the two men.

NICOLÁS
Mateo! Stop this at once! [144]

MATEO
Away you, Nicolás! It’s time we cleanse the land once again of this Spanish filth!

NICOLÁS
Violence will do us no favors, my friends.

ELADIO
Well, well, well. What have we here?

All eyes turn to see that ELADIO has entered. He is a tall, well-built Spanish man in his early 20s, wearing a military uniform with the rank of teniente. He carries himself with the arrogant swagger of a bully who knows he’s feared and relishes it. He immediately draws his sword and brandishes it at the back of NICOLÁS’s neck.

Appears you unruly savages need to be taught a lesson in respect. Mind you, the punishment is death for these transgressions. Turn around, Nicolás, your punishment awaits.

NICOLÁS
All I do is but keep the peace. Please, Eladio, sheathe your sword, or manage it to help me part these men.

ELADIO (scoffing)
Use a sword in the name of peace? How I hate that word, as I hate hell and all you Indians. In the name of our lord and Mother Spain, I sentence you to death!

Whipping out his sword, HERNÁN pushes JUAN back.

HERNÁN
Get behind me, my lord! As I show this Indian once and for all that God and Spain are his masters!

ELADIO
Have at thee, coward!

Swinging his sword, ELADIO attacks NICOLÁS, who immediately raises his sword to defend himself. HERNÁN attacks and clangs his sword with MATEO’s. As JUAN backs away, he accidentally bumps into the OLD WOMAN, who was also trying to get away but instead is knocked down to the ground. JUAN starts to leave her, but [145] he pauses, as his conscience gets the better of him. He quickly goes to her side, helps her up, and ushers her to safety as the battle swirls around them.

From one side of the stage comes Maestre de Campo MADRID, a robust Spanish man in his 50s. He is followed by his attractive but stern, well-dressed wife, CATALINA, 40s.

MADRID
My sword, I say! Fetch me my sword!

CATALINA (trying to hold him back)
Stir not one foot into this fray, my husband.

MADRID
The Indians are attacking! They must be stopped before they seize the town!

Almost simultaneously, from the other side of the stage comes CHISTOE, the governor of Pecos Pueblo, 50ish, a somewhat meek-looking Indian man dressed in informal Pueblo clothing. He is being urged onstage by his wife, ANIERI, a fiery and forceful Indian woman in her 40s. She is trying to push a sword into the hand of her husband.

CHISTOE
If I go with a sword, we’ll be plunged back into war.

ANIERI
Open your eyes! We are already at war. If you won’t fight for our people, I will!

With sword in hand, ANIERI starts to march toward the fight, but CHISTOE grabs her arm.

CHISTOE
Wait! Give it to me. I do this against my own wishes.

CHISTOE takes the sword and looks across the stage to MADRID, who calls out to him.

MADRID
Chistoe! I knew in my bones your people possessed no honor!

CHISTOE
This is the thanks we get for letting you back into our land! [146]

Meanwhile, ELADIO slashes NICOLÁS’s arm, knocking the sword out of his hand. He then pushes him to the ground and is about to finish him off, but he hears HERNÁN’s cry. He turns to see that MATEO has just stabbed HERNÁN, who collapses, dead. MATEO then launches an attack on ELADIO, but ELADIO is too skilled a swordsman. He overcomes MATEO and stabs him. He falls, dead.

Suddenly, we hear the sound of Spanish military trumpets. NICOLÁS gets to his feet.

NICOLÁS
’Tis El Gobernador! Don Diego de Vargas is coming! Lay down your arms!

Things start to calm down as MADRID and CHISTOE cautiously retreat. The Spaniards quickly surround the dead body of HERNÁN, while the Indians flock around the lifeless body of MATEO.

From the audience comes VARGAS, a tall, distinguished Spanish man, impeccably groomed, dressed in elegant attire befitting one in his position. He walks up the steps onto the stage and briefly surveys the deadly results of the brawl.

VARGAS
Rebellious subjects all, enemies of peace! Throw down your mistempered weapons and hear the pronouncement of your greatly movèd governor.

MADRID, ELADIO, and CHISTOE lay down their swords.

MADRID (standing over HERNÁN)
¡Excelencia! Look what they’ve done to my faithful servant!

ANIERI (standing over MATEO)
How can we live in peace if this is the way our people are treated?

VARGAS
¡Silencio! Five years ago, I arrived with cross and crown to reclaim this territory for Mother Spain, and did so in a fair, just manner. But memories of the Indian rebellion of 1680 are still opening old wounds. Three civil brawls bred of an airy word have thrice disturbed our fair town. As Governor, I will not allow you to tear down the peace I’ve worked so hard to build! Should there be another disturbance, the first two who raise their swords shall pay with their lives the forfeit of the peace. Maestre de Campo Lorenzo Madrid and Chief [147] Felipe Chistoe — I will see you both in my chambers this afternoon. All the rest, depart away now!

The crowd starts to disband, walking offstage. VARGAS starts to walk offstage but is suddenly met by JUAN, who anxiously runs up to him.

JUAN
F-father?

VARGAS pauses and looks at JUAN closely.

VARGAS (stunned)
Juan? My eyes deceive me. Is it really you, my son, all the way from Spain?

JUAN
Y-yes, father. It is I. W-w-when y-you s-saw me last, I w-was a b-boy. Now, as a m-m-man, I have c-come to help you re-conquer this n-new w-world.

VARGAS
Juan! Long have I hoped I would one day have my only son back at my side. I will help you start your life in this new world, my boy. And you will proudly carry on the Vargas name with your own family and hope for the future.

VARGAS puts his arm around JUAN and leads him offstage, leaving only the bodies of the dead lying onstage. Stage lights dim. A mysterious hooded figure makes its way center stage. This is an old Indian MEDICINE MAN whose ethereal presence should suggest death.

MEDICINE MAN (speaking with a Pueblo accent)
The future can only be seen in the realm of the spirit world, where the souls of the departed return to where they started. In this land of Indians and Spanish, hope for the future does not bode well for these two peoples, both alike in dignity but whose ancient feuds will mark the end for a pair of star-crossed lovers, children of old enemies, who, as in so many tragedies, must pay for their fathers’ sins. It is the lessons of such sacrifice that will decide the fate of fair Santa Fe, where we lay our scene.

As the mysterious hooded figure begins to depart, the bodies of the dead rise and follow him offstage. As they clear the stage, ANIERI and CHISTOE enter with NICOLÁS, who wears a bandage on his wounded arm. [148]

ANIERI
Governor Vargas treats the people of Pecos Pueblo not as men, but as tools. Your nephew Nicolás is a soldier, and our son Kino toils all day in their fields. This isn’t peace. It’s slavery.

CHISTOE
Only for the time being. Things will change, my wife, I promise you.

ANIERI
Does it not bother you that the other Pueblos speak of us as traitors? What if they decide to attack? We’ll be slain with the Spaniards.

NICOLÁS
Not all the Pueblos feel that way, my aunt. There are many who still believe in peace and unity with the Spaniards.

ANIERI
There will be no peace until the Spanish are driven out of this land — again.

With that, ANIERI spins on her heel and marches offstage. Both CHISTOE and NICOLÁS heave sighs.

CHISTOE
Right glad I am that Kino was not at this fray. Saw you him today, Nicolás?

NICOLÁS
This morning, as I set forth from the Pueblo, I spied your son. Standing alone at the riverbank he was. I strode toward him, but he was wary of me and stole into the covert of the woods. What could be the cause of his sadness, uncle?

CHISTOE
I have sought answers many times for his sorrowful mood, but he chooses to confide in no one.

Enter KINO, a very handsome 17-year-old Pecos Indian, wearing the rugged clothing of a Pueblo farmer. He spots his father and cousin and dashes behind a wall to conceal himself, but they’ve already spotted him. They pretend not to see him.

Young men cannot remain silent forever. Perhaps he’ll choose this occasion to disclose his sufferings to another young man. Take care, nephew.

CHISTOE exits. NICOLÁS playfully tiptoes up to the wall and surprises KINO. [149]

NICOLÁS
Hello, Kino! Going to start your day in the Governor’s fields?

KINO (sighing)
The clock has struck nine, but it feels already a whole lamentable day has passed.

NICOLÁS
Tell your cousin what causes such despair that makes your hours so long?

KINO
Not having the very precious gem that would make those hours race away.

NICOLÁS (taking a second to think)
Only one such treasure comes to mind. Love. Are you in love, Kino?

KINO
I thought I was, but I’ve learned that love can only exist when it is two who share those precious feelings. When the ache is felt by only one, it wallows in the soul like a song no one can hear.

NICOLÁS
What cruel maiden could have done this to you?

KINO
Did it to myself by pining from afar, for Rosalita from Picuris.

NICOLÁS
Ah, I hear she’s a beauty, but I understood she was already pledged to marry.

KINO
A cruel twist my heart discovered only too late. I never even had a chance to tell her how I truly feel. Probably for the best since we never actually met.

KINO pauses. He has finally taken notice of the bloody bandage wrapped around NICOLÁS’s arm.

Nicolás? What happened? Oh, tell me not, for I already see it in your eyes. Another quarrel, more death, and no end to the hatred. Why must it be so impossible for our peoples to simply live in peace?

NICOLÁS
Well said, my cousin. Peace and a respect for all things living is the Pueblo way. [151]

KINO
Don’t they know this war and hatred brings despair to Mother Earth? That’s why the rains never come, our crops are dying, and the people are poor. Only with more love and joy will the land grow green and healthy again. But sometimes it seems like the world will never know of love again. Nor will I.

NICOLÁS
Fret not, Kino. The seasons will change, and love will enter your life once again.

KINO
I can always count on you to lift my spirits, cousin. But I fear a life without love is a life unworthy of being lived.

They exit.

Scene 2

The Governor’s office. Governor VARGAS awaits as MADRID enters, accompanied by ELADIO. CHISTOE is followed by ANIERI. VARGAS is taken aback by her presence.

VARGAS
I did not call for this woman’s attendance.

CHISTOE
I apologize, Excelencia, but my wife —

ANIERI
Governor, my people will no longer stand for the way they are being treated.

MADRID
Foolish woman! You will not speak to El Gobernador in such a manner!

ANIERI (to VARGAS, refusing to be deterred)
You lied to my husband, Governor. When you first sought the protection of my tribe, you promised my husband that our people would be treated with dignity and respect. You promised the repartimiento would come to an end, but our people are still toiling in the Spanish cornfields while the farmland of our own families is drying up, untended. I demand that you share your food supplies with our sick and elderly and treat us with the simple courtesy that is our due.

ELADIO
Gobernador, if I may, these are devil worshippers. You must not give into them! Lest you forget what murderers they are, remember the atrocities of 1680.

ANIERI (still focused on VARGAS)
Last year, when the Cochiti and Santo Domingo Pueblos attacked, did not the Pecos people rise to help you defend your precious Spanish town? You are vulnerable, Governor. Every day, you live under threat of attack from Apache, Comanche, and Navajo raiders. What if my husband were to tell his men to stand down? You and your people would be … defenseless.

MADRID
This is sedition! Chistoe, I suggest you control your wife, unless these are words you are too cowardly to speak yourself!

CHISTOE
Hold your tongue, my wife! Gobernador, please forgive me.

After patiently listening to all this, VARGAS steps toward ANIERI, who defiantly stands her ground.

VARGAS
Doña Anieri, you should know I’ve had men hanged for issuing lesser threats. You would do well not to place too many demands on a governor who has been extremely tolerant. I know for a fact that many of your people have been secretly practicing their Indian ceremonies in kivas hidden in the mountain. The previous governors would have exacted severe penance for such sacrilege.

(looking at CHISTOE) However, these are difficult times for all of us, and the goodwill of the Pecos people has been much appreciated. Therefore, I shall see what I can do about sharing our provisions with those of your people most in need.

ELADIO
Gobernador, this is an outrage!

VARGAS (to MADRID)
Maestre de Campo! You will instruct your men to treat the good people of Pecos with the courtesy and respect that is their due.

(to CHISTOE) Chief Chistoe, I expect the unconditional loyalty and service of your tribe. [152]

(to both men) It’s the only way we’re going to make peace work. You are both sworn to uphold that peace. ¿Claro?

MADRID and CHISTOE give their hesitant affirmation.

Good. Now, I know that I cannot make disappear the bad blood of two hundred years — but perhaps I can help us take the first steps toward learning to live without drawing blood. You may have heard my son Juan is newly arrived in town. Tomorrow night, I’m throwing a welcoming celebration in his honor. I want to show him that his father has made great strides in uniting the Spanish and Indian peoples. I’ll expect you all to be in attendance. ¡Hasta mañana!

CHISTOE salutes VARGAS and exits with ANIERI. MADRID salutes and starts to go offstage with ELADIO, but VARGAS beckons.

Don Madrid, a word, por favor.

MADRID gives a nod for ELADIO to go without him. Still displeased with the meeting, ELADIO heaves a sigh, shakes his head, and marches out.

That nephew of yours is a hothead.

MADRID
He hates all Indians because of what they did to his family. He still grieves for his mother and father who were killed in the attacks those many years ago.

VARGAS
Family is very important to us. It’s the reason we came to this new world. I trust you’ll bring the entire Madrid household to the fiesta tomorrow.

MADRID
Of course, Excelencia.

VARGAS
If memory serves, you have a daughter, no? Quite a young beauty, as I recall.

MADRID
Teresa. Many years ago, I lost two older sons to sickness and disease, but not my baby girl. A strong flower she is, the only light and beauty left in my heart.

VARGAS
And how old is she? Of marrying age yet? [153]

MADRID
Oh, not at all. She’s seen the sum of hardly sixteen summers. One or two more she must ripen before we consider her a proper bride.

VARGAS
Younger than she are happy wives made.

MADRID
Forgive me, Excelencia, may I ask why such inquiries of my daughter?

VARGAS
As I said, my son Juan has arrived. Nothing would make me happier than to find a beautiful bride for him.

MADRID
I have no doubt your son is a fine young man, Excelencia, but are you saying it is your wish for my daughter to be betrothed to a man we’ve never met?

VARGAS
Meet him at the fiesta you will, and I promise you will find him the most charming son-in-law.

MADRID
Please understand, Excelencia, that I have always been very protective of my daughter. Rarely do I permit her to leave the hacienda.

VARGAS
She must fly the nest someday, old friend, unless your intent is to hide her in a convent. I assure you, she’ll be well taken care of. As will you. I know the drought has been hard on your crops and food supplies. I promise you, when our children are married, all your family will become mine to care for. Now, may I expect you and your lovely daughter to be in attendance tonight?

MADRID (taking a moment to think about it)
It has always been my wish that, when the time came, my Teresa would meet a fine young man with the means to provide for her. And surely no finer family exists than the Vargas family. Be there we shall. [154]

Scene 3

A balcony leading off to a well-kept room in the Madrid household. Lingering about the balcony is TERESA, a radiantly beautiful Spanish girl, not quite 16. Her wardrobe is pretty but conservative. She has a natural glow of innocence that, now, is somewhat dimmed by sadness, a languid melancholy.

TERESA
The hour of boredom has struck again. Every day, the same thing. My studies, chores, dinner, bedtime. My father keeps me locked in the house like a prisoner, only letting me out for church, family gatherings, and shopping on occasion. He leaves me no friends to speak of or speak with.

NURSE (from within)
Teresa? Querida? Teresa!

TERESA
All I have is my faithful nurse, but I can’t do with her the fun things I want to do in life. I want to explore the world. I read books all the time about adventure and love, but I fret I will never know of such joys myself. How I long to fall in love with a handsome prince. But my father won’t let me even look at a young man, let alone talk to one. Sometimes I wonder if a life such as mine is worth living. What would happen if I were to hurl myself over this balcony? Would I be killed or crippled? Would my father care? At least, it would be a break in the day.

In walks the NURSE, a jolly, middle-aged Indian woman, dressed in servant’s garb.

NURSE
Straighten up now, sweet girl. The mother who bore you wants to speak to you.

(calling out) She’s here waiting for you, señora!

At that moment, CATALINA walks in, carrying herself like the imperious lady of the house that she is. She always seems preoccupied with herself. She treats her daughter like a stranger, and TERESA acts accordingly, greeting her mother with a formal curtsey. [155]

TERESA
I am here, señora. What is your will?

CATALINA
A very important matter. Leave us, Nurse. My daughter and I require privacy.

Disappointed, the NURSE starts to head offstage. CATALINA awkwardly looks at TERESA and starts to say something, but it becomes apparent that she’s uncomfortable being alone with her. She turns to the NURSE, who has just stepped out the door.

Nurse, come back. I think it better if you hear our counsel.

The NURSE happily comes back and stands next to TERESA.

Would you say my daughter is of a pretty age?

NURSE
A very pretty age and only to get prettier. It’s been near sixteen years since I first held this beautiful baby girl in my arms. It was the summer after the Great Revolt, after I was taken as an Apache slave by the Spanish colonists when they retreated to Socorro Pueblo. I thought it would be a miserable life, more miserable than when I caught ill and spent the entire week in the outhouse.

CATALINA
Nurse —

NURSE
But when I found I would be raising such a wonderful child, my future turned bright with joy. And I said to myself, maybe the Spanish aren’t so bad after all, especially if it was possible that such a beautiful thing could spring from their Christian loins.

CATALINA
Nurse, please!

NURSE
Forgive me, señora. It’s been my only remaining wish that I might live to see her wedding day.

CATALINA
Ah, yes! Her wedding day is the very theme of which I wish to speak. Please, my daughter, sit and tell me how you stand on the subject of marriage. [156]

TERESA (taken aback)
It is an honor I have dreamt not of.

CATALINA
Younger than you here in Santa Fe are ready mothers made. By my count was I your mother much upon these years that you are now a maid. Know you that no less than the son of Don Diego de Vargas himself seeks your hand in matrimony.

The NURSE is overjoyed. She takes a bewildered TERESA into her arms.

NURSE
A husband, señorita! If he is even half as handsome as his father, then there will be no luckier young lady in all of Santa Fe!

CATALINA
What say you, my child? Tomorrow night shall you behold him at a fiesta at the Governor’s Palace. But before, you must know something. There is more to a good husband than mere good looks. He brings with him his father’s vast fortune.

NURSE
Your mother is wise here. My own dear husband, rest in peace, was fat and had a face that looked as though smashed by a rock, but never a sweeter man there will ever be, or a better hunter. He always provided for me. And in bed? Oh, I tell you, my child, there were nights he made me see stars.

CATALINA
That will be all, Nurse. Now, my child, I ask you, can you like of the young man’s love?

TERESA (overwhelmed)
I know not what to say. All these years, my father denies me visitors, and now, he wishes me to marry? I’ll look to like, if liking is what you think I should do. Your consent tells me I would be a fool to do otherwise.

CATALINA
Excellent. Nurse, take her into town, and find her the finest gown in all of Santa Fe. [157]

NURSE
Tomorrow night, you’ll be the most beautiful girl anyone’s ever seen. It’ll be the first of many happy days and happier nights.

The excited NURSE leads TERESA offstage.

Scene 4

A street in Santa Fe. Enter KINO, NICOLÁS and Kino’s best friend, CRISTÓBAL, early 30s, a robust, vibrant soldier, who is half-Indian and half-Spanish, with a full uniform and rank of alférez. NICOLÁS wears his Spanish military sash, and KINO still wears his farm clothes. NICOLÁS and CRISTÓBAL have to coax KINO forward.

NICOLÁS (holding up the parchment invitation)
The invitation says half past the hour. Come now, Kino, we don’t want to be late, lest all the best dance partners be taken.

KINO
You two are the ones wearing dancing shoes with nimble soles. Dance partners will not do for a soul like mine that weighs as heavy as lead. You go, have fun.

KINO starts to walk back offstage, but CRISTÓBAL stands in his path.

CRISTÓBAL
Oh, dreary, weary Kino, locked away in your room like a monk. It’s time for you to come out, throw away your vow of chastity, and learn to live life again!

KINO
What if Rosalita is at the party? I don’t know if I could bear to look upon the face of a love so tragically lost.

CRISTÓBAL
Good God, man, you didn’t even know her! For all you know, she was as hairy and smelly as a buffalo. Believe me, you’re much too young a lad to know the true meaning of “a love so tragically lost.” Forget the unattainable female and come to the party where, I promise you, we’ll find many more just itching to be attained. [158]

KINO
Is it so easy, Cristóbal, to give up on finding your true love? Haven’t you met a woman so special she consumes your every waking thought and precious dream?

CRISTÓBAL
I don’t have time to waste my affections on one woman, especially when the world is crowded with so many.

NICOLÁS
His words are meant to sound carefree and fickle, but I was there when our friend Cristóbal was struck by the thunderbolt.

CRISTÓBAL
You keep that hole in your face shut, Nicolás!

KINO (amused)
Could this be true? Cristóbal in love?

CRISTÓBAL roughly but playfully pushes NICOLÁS aside for revealing this.

CRISTÓBAL
I should strike you down, you traitor, just as she struck me down. She was the descendant of Spanish royalty, as she always took pleasure in reminding me. She told me over and over how much she loved me, and I made the mistake of uttering those embarrassing proclamations as well. What a simp I was. When she found out I wasn’t a full-blood Spaniard, that my mother was from Taos Pueblo, she turned her nose up at me and refused ever to speak to me again. I gave her my heart and she destroyed it, crushing it in her hands until it all poured out between her fingers and soaked into the ground.

KINO
It seems you know better than I the tragedy of a love lost, Cristóbal. I’m sorry.

CRISTÓBAL
Please, pity me not. You don’t offer pity to the blind man who regains his sight. ’Twas a blessing, for it taught me that love, true love, can never exist.

KINO
I agree that love can bring pain, but it can also bring the most joyous and wondrous of feelings. One cannot deny the existence of something so powerful. [159]

CRISTÓBAL
True love is supposed to be that which lasts forever, an unbreakable bond that never dies. But men and women are simply incapable of pledging that kind of eternal devotion to each other. What married men and women do you see actually smiling or holding hands? Your grandparents? Your mother and father? That’s why love is nothing but a fool’s dream. It’s as much an illusion as the reasons for this party tonight.

He rips the invitation out of NICOLÁS’s hands and reads it sarcastically.

“Don Diego de Vargas does hereby invite the soldiers under the command of Governor Felipe Chistoe of Pecos Pueblo to attend a special celebration honoring the friendship between the Spanish and the Pecos people.”

(scoffing) Friendship? The Spanish and Pueblo people can scarcely get through the day without a public brawl. Just how does Governor Vargas expect them to get through a party?

KINO
If what you say is true, Cristóbal, that Spaniards and Indians are doomed to quarrel, then you with your mixed blood are fated to be at war with yourself all the time.

CRISTÓBAL
Let me ask you, my dear, deluded Kino, what man is not at war with himself? Each man, every day, must struggle with right and wrong, war and peace, good and evil, living and dying, pinching or not pinching a shy maiden’s rump.

KINO
But to whom do you pledge your allegiance? Do you call yourself Spanish or Indian?

CRISTÓBAL
It depends on what time of day it is. In the morning, when I wake, it is the Indian part of me that gives thanks for the beauty of the sun, land, and sky. In the afternoon, as I walk around town and see who rules this province, it is the Spanish part of me that wants to be on the side of the winners. But when night falls and I contemplate the day, I realize I’m neither. I don’t fit into either world. Everywhere I go I’m treated like an outsider. And, in those times, I want to tear myself apart, tear the Spanish side or the Indian side, whichever comes out first! [160]

KINO
Peace, Cristóbal, peace. I was only teasing you. You’re Indian. You’re here amongst your Indian friends.

CRISTÓBAL
So, tell me, my Indian friend, will you come to the fiesta willingly, or shall we pick you up and carry you there?

KINO
Scoundrel, my better nature tells me to walk away. But I’ll go, if only to keep an eye on you, my friend. I pray I don’t live to regret this.

Scene 5

Outside the Governor’s Palace. Long tables of food are arranged outside a stately hacienda. On one side of the stage, a SPANISH MUSICIAN plays a Spanish guitar. On the other side, an INDIAN MUSICIAN alternates between flute and drums. CHISTOE and ANIERI arrive, promptly greeted by VARGAS.

VARGAS
Don Felipe, Doña Anieri. Bienvenidos. You honor me with your presence.

ANIERI
All I can say is it’s about the time that Indian people are allowed to attend the same social gatherings as Spaniards.

VARGAS
Please, help yourselves to food and drink.

ELADIO arrives and contemptuously regards CHISTOE and ANIERI. He then sees CATALINA, who comes out from the Governor’s Palace.

ELADIO (to CATALINA)
My uncle told me tonight was a festive occasion, yet we’re forced to share the night with these savages. What next? Dining with dogs?

CATALINA
Patience, dear boy, give your governor some credit. The true fiesta is inside. [161]

CATALINA leads ELADIO past a doorway which is manned by an armed Spanish guard, MONTOYA. They proceed inside the Governor’s Palace where we find MADRID having a drink.

Meanwhile, TERESA and the NURSE are curiously scouting the room.

TERESA
Which one do you think he is? That one? What about that one?

NURSE
No, that’s Rodrigo Anaya’s son. I’m sure the son of Gobernador Vargas must carry himself with the most perfect manners and civilized grace.

Suddenly, JUAN stumbles onto the stage, causing a commotion as he accidentally knocks over a serving tray. He tries to clean it up but just ends up making things worse by knocking over more things.

TERESA and the NURSE look at each other as if to say, “Could he be the one?” They then shake their heads, thinking, “no, couldn’t be.” The NURSE quickly ushers TERESA away to continue their search in another part of the room. Meanwhile, VARGAS enters to see his hapless son struggling to clean up the mess. VARGAS quickly directs a SERVANT toward JUAN. JUAN looks up to see the SERVANT and then his father. He climbs to his feet.

JUAN (to the SERVANT)
C-clean this m-m-mess up at once, you f-fool!

JUAN makes his way over to VARGAS.

JUAN
F-f-father, wh-wh-where is the one you say will be my b-b-bride? Is-is she here yet? She b-b-better not be ugly.

VARGAS
Follow me, my son, and I will introduce you to the most beautiful angel in all of Santa Fe.

VARGAS leads JUAN through the palace. Meanwhile, coming into the area outside the Governor’s Palace are KINO, CRISTÓBAL, and NICOLÁS. [161]

CRISTÓBAL
Ah, wine, women, and song. I’ll see if I can find me a Spanish wench who prefers me Spanish, or an Indian wench who prefers me Indian, or the other way around.

He pauses, looking around.

But by the looks of it, I see a lot of Indians and not many Spanish.

NICOLÁS
Could it be we’ve arrived too early?

At that moment, the trio of friends takes note of ANIERI, followed by CHISTOE, who walks over to the entrance to the palace. Her passage is blocked by MONTOYA.

ANIERI
Why will you not let me pass? Stand aside.

MONTOYA
Uh, the Governor has private business.

ANIERI (looking through the doorway)
Private business? Or a private party? I should’ve known.

(to CHISTOE) More Spanish lies. Are you going to sit still for this?

CHISTOE
Please, my wife, can we have one night without you causing trouble?

CHISTOE imploringly ushers his angry wife away from the door. CRISTÓBAL, KINO, and NICOLÁS react to this.

CRISTÓBAL
Ah, looks like our esteemed Governor is up to his old tricks, keeping the Indians out of the real party. What say you we see for ourselves what they try to keep hidden from our prying eyes?

NICOLÁS
But how do we get in if they’re keeping the Indians out?

CRISTÓBAL
Leave that to me. Much experience I have gaining entry into parties that others have forgotten to invite me to. Come with me! [163]

CRISTÓBAL quickly heads offstage, followed by KINO and NICOLÁS. Meanwhile, inside the Governor’s Palace, TERESA and the NURSE are still searching the crowd for her intended suitor.

MADRID
¡Teresa, mi querida!

Coming through the crowd are MADRID and CATALINA, followed by VARGAS and JUAN. They head over to TERESA and the NURSE, who exchange glances, as if to say “no, it can’t be,” as soon as they see JUAN.

I’d like you to meet Don Juan Francisco de Vargas. Don Juan, may I present my lovely daughter, Teresa.

JUAN bows to TERESA, who, in response, politely curtsies.

JUAN
’T-t-tis an honor and p-p-pleasure to m-m-meet you, T-T-Teresa.

TERESA
It is my privilege, señor.

There is an awkward silence as JUAN and TERESA don’t know what else to say. VARGAS decides to strike up the band.

VARGAS
Why not have some dancing? Music!

Responding, the SPANISH MUSICIAN begins playing dance music. VARGAS starts to urge everyone onto the dance floor. JUAN gestures for TERESA to accompany him to the dance floor, which she does. They begin a square-dance type of folk step, and she is taken aback by JUAN’s chronic clumsiness as he misses steps and stumbles. VARGAS and MADRID watch from the sidelines.

He merely needs a little more practice. But he will treat your daughter well. And, in turn, because you will be my family, I will treat you well.

MADRID (trying to convince himself)
They look good together, Excelencia.

Meanwhile, CRISTÓBAL, KINO, and NICOLÁS make their way to the entrance of the Governor’s Palace. Their faces are partially obscured by oversized conquistador helmets, and they wear full Spanish military uniforms. They walk up to MONTOYA, who eyes them suspiciously. [163]

MONTOYA
Who are you?

CRISTÓBAL
Mi amigo, Don Montoya, do you not recognize the men who saved your fat hide in battle last year?

Silence as MONTOYA stares at him. CRISTÓBAL suddenly bursts out laughing, as do KINO and NICOLÁS, though they’re not sure why. After a moment, MONTOYA shrugs and joins the laughter and lets them pass through. Once the trio of Indian friends enters the party area, they stop laughing.

KINO
What, pray tell, were we laughing about?

CRISTÓBAL
As long as he knows, that’s all that matters. Now that we’ve made it into the lion’s den, let’s see if we can bag ourselves a lioness.

The trio starts to move around the room. Meanwhile, the song ends, and the dance partners break up and head off the floor. TERESA immediately runs to the NURSE.

TERESA
Oh, Nurse, help me. Awake me from this nightmare, for this cannot truly be the one my father wants me to marry.

NURSE
Oh, I know, my dear. But he’s rich. Keep remembering that.

Another song begins. JUAN makes his way over to TERESA.

JUAN
D-Doña T-T-Teresa, w-w-we didn’t f-f-finish our dance. O-o-one more, please.

TERESA looks to the NURSE for help. All she can do is whisper.

NURSE
Remember — rich, rich, rich.

TERESA reluctantly goes with JUAN out to the dance floor again, where they embark on another visibly awkward attempt to dance. Meanwhile, KINO and NICOLÁS are standing at the perimeter of [165] the dance floor, surveying the crowd, but we can see that KINO’s heart isn’t into it.

NICOLÁS
Look at all these beautiful women. What if one of them is your true love?

KINO
Finding my true love here would be a miracle found only in a fairy tale.

NICOLÁS sympathetically pats KINO on the back and walks off. Suddenly, TERESA, who has been struggling to coordinate her dance movements with JUAN’s, is caught off balance by more of his clumsiness. JUAN stumbles backward while TERESA falls forward next to KINO’s feet. KINO immediately offers his hand to help her up.

Señorita, are you all right?

TERESA’s hand touches KINO’s. As TERESA stands, she looks up to see mostly a conquistador’s helmet. KINO lifts up the helmet to reveal his face. Their eyes meet, resulting in an instantaneous moment of magic which is indescribable, but recognizable to all who have been young and in love. He smiles at her. She smiles back. She starts to say something, but —

JUAN
T-Teresa, come.

JUAN takes her arm and pulls her away from KINO, back to the dance floor. She continues to look back at him. Suddenly, ELADIO comes forward. He has apparently taken notice of this incident. KINO is about to go after TERESA, but ELADIO steps into his path.

ELADIO
What manner of treachery is this, Indian boy? In disguise? Trespassing?

KINO
I merely came to enjoy the festivities, good Eladio. Are they not for all?

ELADIO
I know you. Kino, son of our enemy Chief Chistoe. And now, I witness your vile touch upon the hand of my virgin cousin. By stock and honor of my kin, I shall now strike you dead for this sin!

ELADIO starts to draw his sword, but MADRID suddenly steps in. [166]

MADRID
Teniente, step back and dare not mar this time of celebration for my daughter.

(to KINO) I hear that you are a well-mannered boy, and well-mannered boys would do well to not create ill-mannered company.

KINO
Perdóneme, Don Madrid.

KINO walks off, and ELADIO is ready to explode with fury.

ELADIO
Did you not see the insult upon our family’s honor? Are you going to stand by and let that Indian heathen desecrate your daughter’s purity?

MADRID
I saw nothing. I will not have you ruin this night. Now, take no more note of him and cause not one ounce of trouble! For if you do, it is I who will bear the brunt of the Governor’s wrath.

At that moment, CATALINA walks up to them.

CATALINA
What is the meaning of this conference?

MADRID
Nothing, my dear. The night is joyous and rosy.

MADRID walks off as ELADIO fumes.

ELADIO
My uncle expects me to stay my sword while an Indian boy makes fools of us. Patience will stay willful choler not for a beggar’s pittance.

CATALINA
You are a princox. But you’re right to be wary of the Indians. Always be mindful of them.

Meanwhile, KINO is anxiously circling the dance floor, searching the crowd, looking out from under his helmet.

KINO
Where is that radiant angel who suddenly descended from the heavens and landed at my feet? Never have I seen such beauty too rich for use, for earth too [167] dear. Her face, it glows more radiant than all the torches in town. Perhaps I never knew the meaning of true love — until now.

KINO continues his search, disappearing into the crowd. Meanwhile, a troubled MONTOYA finds his way over to VARGAS.

MONTOYA
Gobernador, forgive me, but some angry Indian woman demands to come inside. If I don’t let her in, she says she’ll send Indian warriors to my house and have them feed me to the wolves.

MONTOYA doesn’t realize it, but ANIERI is right behind him, as is CHISTOE. ANIERI marches up to VARGAS.

ANIERI
Is this your idea of courtesy and respect, Governor? Keeping the Indians outside, away from the real celebration?

VARGAS (quickly coming up with an excuse)
Doña Anieri, I merely thought your people would be more comfortable with your own music and food. But you are, of course, welcome to join us.

With that, VARGAS curtly bows and walks away with MONTOYA. CHISTOE looks at the dancing, then looks at his wife.

CHISTOE
What say you, my wife? Will you join me in a dance?

ANIERI
No. This music of the Spaniards is too strange for me. I have no like for it.

The song comes to an end, and TERESA and JUAN walk off the dance floor.

TERESA
You are a most unique dancer, señor. Dare I say, you have worn me to a frazzle. Would you mind fetching me some water while I sit here and rest?

JUAN
Your w-w-wishes are m-my wishes.

As JUAN goes off to get some water, the NURSE goes over to TERESA.

NURSE
How fared you, my child? [168]

TERESA
At least he didn’t drop me on the floor this time. Nurse, a young soldier helped me when I fell. Do you know who he was?

NURSE
Forgive me, dear, I did not catch sight of his face.

TERESA
I was pulled away before I had the chance to properly thank him.

TERESA sees that JUAN is coming back over. She quickly hides behind the NURSE.

He’s coming back. I pray you, tell him not where I’ve fled.

TERESA rushes off, searching the faces in the crowd. Meanwhile, KINO heads outside the walls of the palace, to a courtyard area, out of sight from everyone else. He takes off his helmet and sighs.

KINO
Truly, I am cursed. For an instant, I glimpsed the face of perfection, only to have it vanish in a faceless crowd. How cruel the fates can be, revealing my first true love, then mercilessly hiding her from my sight.

The INDIAN MUSICIAN has made his way to the courtyard. He starts playing his flute. KINO smiles as he hears what is an Indian love song. He stands up and, as he turns around, he almost bumps into TERESA, who has just stepped outside, looking for him. Both are caught off guard for a moment, speechless, as they clearly recognize each other. KINO finally manages to compose himself.

Señorita, you must forgive my haste. For I was in search of an angel who earlier landed at my feet. My intention was to make sure she wasn’t hurt, for it would be blasphemous of me to allow one of the Lord’s most sacred, beautiful works of art to be injured or damaged. Do you know where I might find her?

TERESA
This I can tell you — she has gone off to look for the gallant soul who came to her rescue. She is unhurt and seeks to reward him for his heroism. Might you know this kind stranger’s name?

KINO
Kino, I’ve heard him called. And the name of this angel he seeks? [169]

TERESA
Teresa. Not an angel, merely a damsel looking for a hero. We must make sure they find each other. What sort of reward would this Kino accept for his heroism?

KINO
I’ll wager he would be most honored to share a dance with her.

TERESA
I fear Teresa cannot be seen dancing with any other man tonight, except the one to whom she’s been assigned for the evening.

KINO
What if they were to dance out here, out of everyone’s view?

TERESA
Perhaps, but what if we can’t find this star-crossed pair?

KINO
Then, let us dance in their stead.

KINO holds out his hand. After a bit of nervous hesitation, TERESA puts her hand in his hand. To the beautiful flute music, he engages her in a two-step which shouldn’t be too obviously Indian, but it’s something that KINO teaches her. They move together with effortless grace. Meanwhile, ANIERI has made her way to the courtyard area. She stops in her tracks behind the wall as she lays eyes on KINO dancing with TERESA.

ANIERI
The sound of an Indian flute has led me to this — to the sight of my son consorting with a Spanish girl? No, I will not stand for this.

She starts to step out from behind the wall, but CHISTOE takes her arm.

CHISTOE
What do you hope to do by embarrassing the boy? Please, allow our unhappy son one moment of happiness. Talk to him you will when he comes home.

Not happy about this, ANIERI relents and follows CHISTOE offstage. The song comes to an end and KINO and TERESA look into each other’s eyes and smile, their hearts ready to burst. [170]

TERESA
Thank you for the dance … Kino.

KINO
Thank you … Teresa.

NURSE (calling from the dance floor)
Teresa! Where are you, dear girl? It’s time to go home!

TERESA
I must go.

KINO
So soon?

TERESA
I’d stay for hours, but I mustn’t let anyone find us here. I wish to thank you again for coming to my rescue. I was very much in need of a hero to come to my rescue tonight.

KINO
The honor was mine, my lady. In the books I’ve read, whenever a hero rescues a damsel in distress, he is rewarded with a kiss. What say you we be faithful to the written word?

A beat. TERESA has never kissed anybody before. But she moves forward and kisses KINO. Suddenly, the NURSE steps into the courtyard.

NURSE
My lady, please behave! Your mother and father are looking for you.

TERESA touches KINO’s hand as long as she can, then quickly heads into the palace area. KINO starts to follow, but the NURSE stops him.

NURSE
Count your lucky stars it was I who caught you. Had you been seen by the Governor or his son, you’d be bound for the gallows. You wear a Spanish uniform, but you look to be a Pueblo boy. What family are you?

KINO
My father is Chistoe. Tell me, who is that beautiful creature who has taken my heart? [171]

NURSE
She is the daughter of Maestre de Campo Lorenzo Madrid. Best you stay away, young Chistoe. Stay away.

The NURSE runs into the crowd while the realization of TERESA’s identity begins to sink in with KINO.

KINO
That she was a Spaniard I had already guessed, but daughter of my father’s worst enemy? My mother will become my worst enemy if she ever hears of this. But I can’t ignore this song in my heart, a song that fills me with such unbelievable joy. I must see her again.

KINO quickly goes offstage. Meanwhile, in the palace, the party is ending. The NURSE heads over to TERESA, who is anxiously waiting for her.

TERESA
Come hither, Nurse. Who was this Kino you found me with?

NURSE
Trust me, dear girl, you would do well to stay away from him. He’s an Indian boy. Son of your father’s enemy. Believe me, nothing good can come of this.

The NURSE takes TERESA by the hand. She is shocked, confused, but in love.

Scene 6

Outside of the Madrid hacienda, a Spanish style edifice with balcony on the second story. KINO tentatively wanders out from the orchard. He looks at the house.

KINO
Many times I have passed by this dwelling, never imagining the beauty dwelling within.

MADRID (offstage)
I made your apologies to Don Juan de Vargas, my child.

KINO quickly hides behind the orchard as the Madrid family (MADRID, CATALINA, TERESA, and the NURSE) walk onstage up to the house. [172]

CATALINA
There is much riding on this marriage, Teresa — namely, your future. So, I will expect you to conduct yourself as a proper bride to be.

They all walk into the hacienda. KINO steps out from behind the orchard.

KINO
Can this be true? My true love already promised to another? If they weren’t laughing before, surely, the ancient spirits are laughing at me now.

NICOLÁS (offstage)
Kino! Kino!

KINO again quickly hides behind the orchard as CRISTÓBAL and NICOLÁS walk onstage.

CRISTÓBAL
He’s gone home to bed, I tell you. No doubt he was wallowing in the dark humor at the gathering. I’ll wager he left early to further pine away for Rosalita.

NICOLÁS
Of that I am doubtful. When last I saw my cousin, he had just been swept away by the charms of another girl he desperately sought to find.

CRISTÓBAL
Another one? Our dear Kino falls in love more than leaves fall in the fall. If he only knew. Whenever a heart such as his is open to all the love in the world, it’s also an open wound for just as much pain. Remember that Cupid’s arrows are still arrows, and arrows are fashioned to kill. Kino! Wherever you are! Spare yourself! If you ever see one of Cupid’s arrows coming, jump out of the way! The pain of death itself will cause you less suffering than the pain of love.

CRISTÓBAL and NICOLÁS walk offstage. KINO emerges from the orchard.

KINO
I have no doubt that the pain of love is great, my friend, especially if not returned by the object of your affection. This is why I must learn the truth from Teresa. Does she love me, or will she marry another?

The door to the upper balcony suddenly opens and TERESA comes strolling out, looking into the night sky. [173]

What is that light from yonder window? Why, it’s my lady, my love! Look at her, how the brightness of her eyes puts all the twinkles in heaven to shame. How could it be that, all this time, such a beauty was hidden away in Santa Fe? Look how she leans her cheek upon her hand. If only I could be a glove upon that hand, that I might touch that cheek.

TERESA (sighing)
Ay me!

KINO
She speaks! Speak again, my bright angel! Let me hear the song of your voice once more.

TERESA
How can it be, after everything I’ve been taught — after everything my family told me about Indians and their godless ways — how can it be that I could fall in love with one? O, Kino, Kino! Why have you come into my life, Kino?

KINO
Shall I answer her now, or dare I hear more?

TERESA
It would be so much easier if you could simply cast off your Indian skin and become Spanish and earn the acceptance of my family. But you can no more do that than can I shed my Spanish skin and become Indian. Oh, but why must it matter who’s Indian and who’s Spanish? What is an Indian, after all? Isn’t he a person, the same as the Spanish? We all walk and talk and breathe the same air. All that is different is the color of our skin and hair. Why should color matter? A red rose and white rose are still roses, no matter what the color. O, Kino, if only you could be an Indian no more, we could be together forevermore.

KINO
If I take you at your word, then consider me no longer Indian!

KINO suddenly climbs up the orchard walls and leaps onto the balcony, startling TERESA, who jumps back.

TERESA
Who comes to me under the cover of night to spy my counsel? [174]

KINO
I fear to say, for I would be risking your contempt for my people.

TERESA
My ears have not drunk a hundred words of your voice, yet already I recognize it as a voice I hold not in contempt. Are you not Kino — an Indian?

KINO
Neither, señorita, if either you dislike.

TERESA
From where did you come? The orchard walls are high and hard to climb, and this place could be certain death for you if any of my family were to find you.

KINO
With love’s wings did I ascend these walls; for neither walls nor fear of death can stop what love does attempt. For I cannot go on until I have the answer to this: Are you to be married? Does your heart already belong to another man?

TERESA
It’s true when the evening began, I was intended, but, at the evening’s end, my intentions have changed. But before I answer where my heart belongs, you must first tell me where your heart dwells. If I ask if you love me, surely you will say you do. And even if you swear, how will I know if it’s the truth you speak? At lovers’ perjuries they say Jove laughs. O, gentle Kino, if you do love me, pronounce it faithfully.

KINO
Lady, by yonder blessèd moon I vow —

TERESA
Wait, swear not by the moon, the inconstant moon that changes monthly, lest your love prove likewise variable.

KINO
Then tell me what to swear by and I shall do it.

TERESA
Perhaps swear not at all tonight. Best we bid a sweet good night. Then, this bud of love, by summer’s ripening breath, may reveal itself to be a beautiful flower when next we meet. Buenas noches, and may you sleep the same joyful sleep I will sleep tonight. [175]

TERESA starts to leave, but KINO is insistent.

KINO
Teresa, will you leave me so unsatisfied?

TERESA (innocent but coy)
Kino, what satisfaction do you think you can have this night?

KINO
Merely an answer to my question. You still have not told me to whom your heart truly belongs. Would you abandon my love and marry another?

TERESA
I would think my feelings would make clear what words do not. But if you wish, I will say it. I knew not the look of love’s face until I looked into yours.

KINO
And you will not marry this other man?

TERESA
In truth, the son of Gobernador Vargas means more to my parents than to me. If they could marry him, they probably would, if only to collect the dowry.

KINO
You will defy your family, forego the promise of wealth?

NURSE (offstage)
Teresa!

TERESA
Anon, good Nurse! Kino, I would trade all the riches in the world for the promise of true love. If your love is honorable and your purpose is marriage, send word tomorrow. Tell me where and what time the rite will be performed, and I will come. I’ll leave my family and fortune behind and follow you to the ends of the earth. Tomorrow, I will send a friend to the town plaza to collect your message.

NURSE (offstage)
Señorita! Where are you?

TERESA
Till then, a thousand times a good night! [176]

TERESA quickly heads inside.

KINO
She leaves me a thousand reasons to yearn for the light of day. What a glorious day will dawn when it matters not if one is Indian or Spanish.

KINO starts to climb down the orchard wall. As he does, TERESA comes back on the balcony.

TERESA
Kino? I cannot speak loudly lest my family hear. Are you still near?

KINO
My sweet! I will never be far.

TERESA
I forgot why I called you back.

KINO
I shall stay till you remember.

TERESA giggles.

TERESA
I shall forget again to have you staring at me; for I will be lost in your eyes. Ah, no I remember. What time tomorrow shall I send to you?

KINO
By the hour of nine. By then, all that needs to be will be taken care of.

TERESA
Then I will not fail. Buenas noches, Kino. What sweet sorrow does parting bring. I wish I could say goodnight over and over till morning.

KINO leans forward to try to kiss her, but she coyly backs away.

On our wedding day, we will seal our love with a kiss. Sleep well, my hero.

TERESA smiles at him and goes back inside.

KINO
A restful sleep will not befall me tonight, for there are many plans to be made. And tomorrow at this time, I will be Teresa’s husband and she will be my wife.

KINO ecstatically races offstage. [177]

Scene 7

The next morning, Outside the Spanish church. Dressed in mendicant garb, the kindly FRAY OLVERA tends to his garden, carrying a basket, gathering herbs.

FRAY OLVERA
The gray-eyed morn smiles on the frowning night and reveals nature for all its wondrous beauty and might. The Indian medicine men taught me the divine power of plants and herbs. This one induces sleep. This one can cure. This can kill. We can learn so much from the Indian people. ’Tis a pity that we force them to unlearn what they know. Too much blood has spilled over that already.

KINO enters on a cloud, filled with exuberant joy.

KINO
Good morning, Fray Olvera!

FRAY OLVERA (recognizing the voice of one of his best pupils)
Why, Kino, my dear boy! My best student. When all the other Indian boys were resentful and mistrustful of the Lord’s teachings, you were the one who always believed that all knowledge is holy. This is an uncommon hour for you, young lad. What stirs you up so early?

FRAY OLVERA turns around to get his first look at KINO and is taken aback to see that he’s wearing a Spanish military uniform. Amused, he continues.

By the looks of you, I’d say that young Kino has not even been to bed. Dressed in a Spanish uniform, are you? What hast thou done?

KINO
I had been feasting with my enemy, when suddenly I found myself pierced in the heart by Cupid’s arrows. My enemy was then hit by the very same arrow. I come here, for both our remedies are to be found with your help and your holy medicine. I bear no hatred, for, lo, my intercession likewise steads my foe.

FRAY OLVERA
Be plain, good son, and homely in thy shrift. Riddling confession finds but riddling shrift. [178]

KINO
Then plainly know my heart’s dear love is set on the fair daughter of Maestre de Campo Lorenzo Madrid. And now we wish to combine our hearts in holy matrimony.

FRAY OLVERA (shocked by what he’s hearing)
Jesu Maria! What a change! What of a girl named Rosalita whom thou lovest so dear, so soon forsaken?

KINO
I pray you, chide me not now. For I know that my love for Rosalita was an illusion. I have found my true love; for she loves me as much as I do her.

FRAY OLVERA
My son, the whims of your ever-changing heart are not my only concerns. What concerns me most is the Maestre de Campo. He will never give consent to this union. There has never been a Christian wedding for an Indian man and Spanish woman, and I can firmly say there will not be one today!

On that note, FRAY OLVERA rushes back into the church and puts his basket on a table filled with jars and beakers of medicines and potions. KINO follows him into the church.

KINO
Father, please. Above all others, I thought you would be the one to understand. You were the one who taught me that we have to learn to see past our differences and share what we have in common. What Teresa and I have in common is our love. And isn’t love what our Lord Jesus Christ wants for us anyway?

To emphasize the point, KINO crosses himself. FRAY OLVERA takes a moment to meditate on what KINO has said. He then turns to a porcelain statue of Christ on the cross.

FRAY OLVERA
He wanted us all to live in peace and harmony. He sacrificed himself for our sins, but it seems all we do is repeat them. Perhaps you are right, young Kino. Perhaps a marriage between an Indian lad and a Spanish lady will be the first step in forging a peace between your warring families. And perhaps the Lord has chosen me to be the vessel to seal this holy union. In that respect, I’ll thy assistant be. For this alliance may so prove to turn your peoples’ vile rancor to pure love.

KINO gratefully kisses FRAY OLVERA’s hand. [179]

KINO
Thank you, good father, thank you!

FRAY OLVERA
I’ll await you this afternoon. Go now.

KINO happily runs offstage.

What a glorious day this is when lovers can make enemies unite!

FRAY OLVERA spreads out his arms joyously. As he does, he accidentally knocks over the statue of Christ, and it falls to the floor and shatters. He stands over the broken pieces with a look of dread on his face.

Oh, dear Lord, what I have done? Is this a sign that we move too much in haste? For it is often said that those who run too fast are bound to fall.

The lights fade to black and the curtain falls. [180]

ACT 2
Scene 1

The Santa Fe town plaza. CRISTÓBAL and NICOLÁS enter, looking around.

CRISTÓBAL
Where the devil should this Kino be? For weeks he rarely steps out of the house. Now he rarely steps in.

NICOLÁS
This morning when I checked, his mother told me he had been out the whole night. She did not seem very happy.

CRISTÓBAL
That woman rarely is. You said you saw Kino consorting with some girl last night? Perhaps our friend has finally rid himself of Rosalita’s woe and found yet another pitiless nymph to reap his agonies.

NICOLÁS
If he has, I fear it’s not an Indian maiden he’s found.

CRISTÓBAL
Ah, so you think Kino trots after a Spanish girl? Perhaps the young buck is more courageous than I give him credit for.

At that moment, KINO strolls into the plaza with a bounce in his step and a smile on his face. He still wears remnants of the soldier’s uniform.

KINO
Good morning, my dear friends.

CRISTÓBAL
Ah, our man of mystery finally returning to those whom he unfairly gave the counterfeit last night.

KINO
What counterfeit did I give you? [181]

CRISTÓBAL
The slip, señor, the slip. Can you not conceive? Or has your mind gone soft with the scent of love again?

KINO
Forgive me, good Cristóbal, but last night my business was pressing.

CRISTÓBAL
Is that so? Who was she, and how hard were you pressing her?

KINO
I know you are an atheist at love’s altar, my good friend, but I’ll have you know my eternal faith has been rewarded with a divine revelation.

NICOLÁS
Friends, coming this way, look.

The NURSE enters.

CRISTÓBAL
I wonder what an ancient lady like that would want with us.

NURSE
Buenos días, gentlemen.

CRISTÓBAL
Buenas tardes, gentlewoman.

NURSE
Is it buenas tardes already?

CRISTÓBAL
’Tis no less, I say. For the bawdy hand of the dial is upon the prick of noon.

NURSE (taken aback by his ribaldry)
Out upon you! What kind of man are you?

KINO
The kind of man, good gentlewoman, that God himself regrets.

NURSE
Well said, señor. You are Kino, are you not? The one I met last night? [182]

CRISTÓBAL
“Last night”? No, Kino, don’t tell me. This is not the new fair maiden who has stolen your heart? Where did you come upon her? At a house of skainsmates?

KINO
Quiet, you scoundrel. Yes, good woman, it is I, Kino.

NURSE
Ah, then I do desire a private conference with you.

CRISTÓBAL and NICOLÁS burst out laughing.

CRISTÓBAL
“Desire a private conference”? Kino, if I were you, I’d take care.

He goes up to the NURSE, taunting her.

Sometimes these old ladies of the evening don’t have the strength to make it through the evening. I’d hate to see you get your heart broken again.

NURSE
Away from me, you scurvy knave!

KINO pushes CRISTÓBAL and NICOLÁS away.

CRISTÓBAL
Farewell, ancient lady!

CRISTÓBAL and NICOLÁS exit, laughing.

NURSE
If this is the type of company you keep, dear boy, perhaps my mistress would be better off not knowing one such as you.

KINO
Nurse, I beg you, commend me to your lady and mistress.

NURSE
How do I know you won’t lead her into a fool’s paradise? My lady is young and innocent. Therefore, if you should deal double with her, it will prove that you are no better than your friends and unworthy of affection.

KINO
I will prove myself worthy, dear lady. And here is the proof: bid Teresa to devise some means to slip away this afternoon, and there she shall at Fray Olvera’s church be married to her love Kino. [183]

NURSE (overcome with joy)
Married? Then your intentions are honorable! I knew it all along! My lady will be so happy! I anger her sometimes when I tell her that Juan de Vargas is the more proper man, but, deep down in my heart, it gives me joy to know that it is one of my own kind — an Indian — who has won her heart.

KINO
Then you will commend me to your lady?

NURSE
Oh, a thousand times!

KINO
Thank you, beautiful lady, thank you!

KINO kisses the NURSE on the cheek and runs offstage.

Scene 2

Outside the Madrid hacienda, near the orchard. TERESA paces around, impatiently waiting.

TERESA
What’s taking my nurse so long? Hour passes upon hour. An eternity upon eternity. Love’s heralds should be ten times faster than the sun’s beams.

Peering from behind one of the orchard walls is ANIERI who spies on her.

ANIERI
So, this is the one who turns my son’s good sense to corn mush. Pretty, even for a Spaniard, I’ll give her. But no grandchild of mine will be cursed with Spanish blood. The Spanish have taken away my land, my religion, and my language. But they will not take away my son.

ANIERI suddenly pulls out a weapon that resembles an ice pick.

Shall I do it now? Better to get it over with, I think.

JUAN (offstage)
¿D-D-Doña Teresa? [184]

ANIERI quickly shields herself behind the wall as JUAN comes onstage, holding a bouquet of roses. TERESA smiles politely.

TERESA
Don Juan. Buenas tardes, señor.

JUAN
B-b-buenas tardes, to you, my lady. I-I-I-I …

(taking a deep breath) These are for you.

JUAN hands the bouquet of roses to her.

TERESA
Thank you, Don Juan. That’s very sweet of you.

JUAN
I-I-I w-w-want us to be m-married very soon. I w-will take g-g-good care of you. W-w-would you like to go f-for a w-walk?

TERESA
Forgive me, señor, I must await my nurse. She is tending to a very urgent matter for me. Perhaps another time?

JUAN
M-m-may I g-get a k-k-kiss?

Suddenly, JUAN tries to force a kiss on her. Shocked, she pushes him back.

TERESA
¡Señor! You dishonor me with such behavior! I think it proper you leave at once, lest I be forced to call my father and inform him of your lusty advance!

JUAN
I’m s-s-sorry, s-s-señorita! F-forgive me! Shame now hangs over my bead.

JUAN runs off, almost in tears. TERESA breathes a sigh of relief. Before JUAN can run completely offstage, out of TERESA’s view, he is intercepted by ANIERI who steps in his way.

ANIERI
Hold, young man! Why run so fast from the one you hope to call your wife? [185]

JUAN
Out of m-m-my way, Indian w-w-woman!

ANIERI
What, are these tears on your face? Do you call yourself a man or not?

JUAN
Th-this doesn’t c-concern you!

ANIERI
It concerns me more than you know, you coward. You’re the son of the Governor, are you not? Go back to her, and don’t take no for an answer.

JUAN
I c-c-can’t! Sh-she f-f-favors me not. I l-lack g-grace in s-speech and m-movement. N-never in my life has a w-w-woman g-given me a k-k-kind eye.

ANIERI
Why should a woman give a kind eye to a simpering twit too feckless and fearful to fight for her? You must be strong and stake your claim before a real man does it first, before your father discovers what a spineless fool you really are.

JUAN stomps offstage. ANIERI watches him go.

For if you can find the strength to claim her, it will stay my hand from killing her. At least for now.

ANIERI exits. Meanwhile, TERESA continues to pace back and forth.

TERESA
Where could she be? Had she affections and warm youthful blood, she would move as swift as the wind. But old folks move about as if they were almost dead — unwieldy, slow and heavy as lead.

Enter the NURSE, looking haggard and exhausted.

Oh, here she comes! Good Nurse, what news do you bring? Did you meet with him? Oh, God, why do you look so sad?

NURSE
I am aweary. What a long walk I’ve had. Oh, how my bones ache.

TERESA
I pray you, speak. Good, good Nurse, speak. [186]

NURSE
All you young people are always so much in a hurry. Can you not see that I’m out of breath?

TERESA
How can you be out of breath when you have the breath to tell me you’re out of breath? Is the news good or bad? Just answer that and for the rest I’ll wait.

NURSE
Are you sure you’ve thought this through, querida? He’s an Indian. You must be sure that this is not a lark, but that your heart is set firm; for once you commit to this course, there is no turning back.

TERESA
Nurse, I know my father will never approve, but I can’t change the feeling in my heart, which is set firmer than stone. That’s why I must learn the truth in Kino’s heart. Did he mention marriage to you?

NURSE
Lord, how my back aches! Shame on your cruel heart for sending me about to catch my death.

TERESA
I am sorry you are not well. Sweet, sweet, sweet nurse. I will let you rest the whole day, but tell me now what says my love, or I will go mad!

The NURSE, figuring that she’s tortured TERESA enough, smiles.

NURSE
Your love tells you to go hence to Fray Olvera’s church. There you will find a husband to make you a wife.

TERESA shrieks with delight. She and the NURSE embrace.

I’ll tell your parents you’re deep in study. But be back before dinner. Now, get you gone before they start the ceremony without you.

TERESA
Thank you, dear Nurse! When next you see me, a joyous bride I shall be!

TERESA excitedly runs offstage. [187]

Scene 3

Inside the Chistoe house. KINO happily hums a Pueblo song as he puts on his best Pueblo clothes. ANIERI quietly enters behind him.

ANIERI
Going somewhere?

KINO (startled)
Mother? I didn’t hear you come in. I’m going to meet Cristóbal and Nicolás.

ANIERI
Dressed in your best clothing?

KINO
Uh … one of Cristóbal’s friends is having a party. I was invited.

ANIERI
What kind of boy have I raised? Staying out all night, coming home only to go out again, and not even stopping to greet his mother.

ANIERI holds her arms out to KINO.

KINO
Forgive me, mother.

KINO hugs his mother. As he does, ANIERI’s embrace starts to tighten around him, uncomfortably so.

Mother?

ANIERI (in an almost threatening whisper into his ear)
I know about the girl.

With a look of disgust, ANIERI pushes away from KINO, not looking at him.

You lied to me. You’re going off to see her. Aren’t you?

KINO’s mood is too upbeat to be spoiled.

KINO
Mother, please don’t be angry. She’s a vision of beauty like no other. She’s taken away all my sadness. I never knew such happiness was possible. [188]

ANIERI
Is she not promised to another?

KINO
She loves no one else. I’m the only one in her heart. As is she in mine.

ANIERI (exploding)
She’s a Spaniard! Your love is wasted. She’ll destroy you. And mixing with the likes of her will destroy us all. Don’t you understand? One day, our great, great grandchildren won’t be Indians anymore. They’ll be Spaniards.

KINO
Mother, this is your fear talking, but I do not share your fears.

KINO starts to leave, but ANIERI embraces him again, this time tenderly.

ANIERI
Please, don’t go. I know I must seem harsh, but know that I love you. You hold all my hopes, fears, and dreams for the world. I couldn’t bear to lose you.

KINO
You’re not going to lose me. I’ll be back.

KINO pulls away from his mother, smiles at her, and walks out.

Scene 4

The church. The scene is dark. A wide spotlight fades up on FRAY OLVERA, who stands center stage at the altar. KINO walks in from stage left, TERESA from stage right. TERESA wears a makeshift veil and carries flowers with her. They meet at the center of the stage, smile at each other, and turn to face FRAY OLVERA.

FRAY OLVERA
Our dear heavenly father, the union that takes place here today is a small miracle. For a hundred years, the Spanish and the Indians have been at war with each other. But today, an Indian man and a Spanish woman have managed to look beyond the hate and find the love buried underneath. So, it is with great joy that I bring these young people together in holy matrimony. It is my hope that this will be the birth of a new era between the Spanish and the Indians, [189] that their families will be inspired to forge a path that will lead to cooperation, friendship, and love.

FRAY OLVERA proceeds to conduct the ceremony, speaking in Latin. As he does, KINO and TERESA join hands.

Scene 5

The town plaza. Enter CRISTÓBAL and NICOLÁS.

NICOLÁS
I pray you, good Cristóbal, let’s retire early. The day is hot and so are the Spaniards. The festivities last night left many of them in a mood not so festive. If we run into them, I fear we will not escape a brawl.

CRISTÓBAL
Retire early? We’re supposed to be loyal auxiliary troops, standing by to protect these hot-headed Spaniards from the even hotter-headed Navajo and Apache raiders. Yet it’s the Spaniards who give us greater cause to fight and, for my rusty rapier, greater pleasure to do so.

NICOLÁS
Come, my friend, let’s away to the cantina for a cold drink to cool you down.

CRISTÓBAL and NICOLÁS start to walk off, but, as they do, they see ELADIO.

By my head, here comes Eladio.

CRISTÓBAL
By my heel, I care not.

ELADIO
Buenas tardes, fellow soldiers. A word with one of you.

CRISTÓBAL
Just one word with one of us, old boy? Why not couple it with something and make it a word and a blow.

Not in the mood for CRISTÓBAL’s antics, ELADIO draws his sword.

ELADIO
You shall find me apt enough for that, señor, and you will give me occasion. [190]

CRISTÓBAL
Could you not take some occasion without giving?

ELADIO
Cristóbal, it is well known that you are in concert with Kino.

CRISTÓBAL
“In concert”? What do you take us for, musicians? If you seek music from us, then look to hear nothing but discords.

He unsheathes his sword.

Behold my fiddlestick! Perhaps you’d like to see how it shall make you dance!

ELADIO
Do you seek to make a quarrel with me, old boy?

NICOLÁS
Gentlemen, please. We talk here in the plaza, in the public haunt of men. Either reason coldly of your grievances, or else depart.

CRISTÓBAL
I will not budge for any man’s pleasure.

KINO (offstage)
Cristóbal! I have news!

Everyone turns to look as an excited KINO runs onstage.

ELADIO (to CRISTÓBAL)
Well, peace be with you, señor. This is the Indian I seek.

CRISTÓBAL
Stay you away from my fellow musician.

With his sword ready, ELADIO walks up to KINO.

ELADIO
You seem awfully happy for someone who is about to meet their doom. You are a villain, Kino Chistoe. You have dishonored me and my family.

KINO
Don Eladio, I have done nothing to dishonor you. Indeed, I have nothing but the greatest admiration and respect for your family. [191]

ELADIO
You touched the hand of my beloved virgin cousin. You disgraced her before her family and her betrothed. Now, turn you and draw.

KINO
Dear Eladio, all I did was seek to be a gentleman and help a lady in need. If I did anything to offend you, I sincerely apologize and beg your kind forgiveness.

ELADIO
Your feeble attempt at making amends will not undo the injuries you have done to my honor. I say again, draw if you be a man.

CRISTÓBAL
He’s not a soldier. He carries a dagger, not a sword. He’s not prepared for a duel.

ELADIO
Men must always be prepared to duel, just as criminals must always be prepared to pay for their crimes.

CRISTÓBAL
If you draw against Kino, then consider yourself drawn against me!

CRISTÓBAL brings his sword to ELADIO’s neck.

ELADIO
If Kino needs someone to fight his battles for him, then so be it. I am for you.

He uses his sword to knock CRISTÓBAL’s away.

I have always found your so-called wit very tiresome, Cristóbal. We’ll now see if your sword is at least sharper than your tongue.

KINO
Gentlemen, please. Put up your rapiers. There is no cause for this.

CRISTÓBAL
Back away, Kino! This is between me and the Spaniard!

CRISTÓBAL lashes his sword at ELADIO, who is more than capable of defending himself. During the course of their battle, it becomes clear that ELADIO is a master swordsman. Although CRISTÓBAL is quite skilled, he prefers to dance around and taunt like the clown [192] that he is. ELADIO, who doesn’t have a highly developed sense of humor and isn’t playing around, eventually manages to fling the sword out of CRISTÓBAL’s hand. During the course of the fight, KINO and NICOLÁS have been pleading with them to stop, but their entreaties fall on deaf ears. CRISTÓBAL runs to retrieve his sword. ELADIO charges after him. CRISTÓBAL grabs his sword, but KINO runs in front of him, trying to break up the fight.

KINO
Cristóbal! You must stop! If the Governor gets wind of this, you’ll be whipped!

At that moment, ELADIO thrusts his sword under KINO’s arm, sticking CRISTÓBAL in the chest.

CRISTÓBAL
Good God, I’ve been nicked!

ELADIO
There! Let that be a lesson to you Indians never to dishonor your Spanish masters!

That said, the triumphant ELADIO marches off. Meanwhile KINO and NICOLÁS help pull CRISTÓBAL to his feet. He clutches his chest.

NICOLÁS
Cristóbal, are you hurt?

CRISTÓBAL
Ah, ’tis but a scratch, a mere scratch. All the same, perhaps you should fetch me a surgeon.

KINO
The hurt can’t be that much, can it?

CRISTÓBAL
’Tis not so deep as a well, nor so wide as a church door, but it’ll do. Ask for me tomorrow, and you may find me a grave man.

CRISTÓBAL suddenly stumbles to his knees. KINO tries to help him.

KINO
Give me your hand, let me help you. [193]

CRISTÓBAL
You’ve helped me quite enough. Why the devil did you come between us, Kino? I was stabbed under your arm.

KINO
I’m sorry, Cristóbal, I was trying to help you.

CRISTÓBAL pushes KINO away and tries to get to his feet.

CRISTÓBAL
O, what dark humor this is! All my life, caught between the Spanish and Indian I’ve been, the blood of both flowing through my veins.

CRISTÓBAL can’t help but laugh and cry at the cruel irony.

Now, here caught between them again, I watch as all the Spanish and Indian blood flows out my veins! I’ve never known which to truly call myself — Spaniard or Pueblo. Well, I proclaim to call myself neither! I cast you both out of my soul. And I say a curse on both your peoples!

CRISTÓBAL collapses. KINO and NICOLÁS rush to his side. NICOLÁS checks CRISTÓBAL, who is unmoving.

NICOLÁS (tears coming to his eyes)
He’s dead! O Kino! Brave Cristóbal is dead!

KINO tries to awaken CRISTÓBAL, to no avail.

KINO
Dead? This cannot be. Not Cristóbal! This day’s black fate on more days does depend; this but begins the woe others must end. Eladio leaves in triumph? And Cristóbal slain?

With a burst of grief-stricken rage, KINO suddenly picks up CRISTÓBAL’s sword and starts shouting toward the offstage area.

Eladio!

NICOLÁS
Kino! Please, don’t do this!

KINO
Eladio! Come back here, or all of Santa Fe will know of your bloody cowardice!

Suddenly, KINO quiets down as ELADIO steps back onstage. ELADIO wields his sword, which is stained with blood. [194]

ELADIO
First you dishonor my family. Now, you dare slander me, wretched boy? Choose your next words carefully, for there is no one left to fight your battle this time.

KINO
You called me a villain, but the only villain I see is one whose sword is stained with the blood of a man he slew when his back was as good as turned. Cristóbal’s soul is but a little way above our heads, and now you will join him.

Fueled by vengeful fury, KINO wildly attacks with his sword, which ELADIO easily deflects.

NICOLÁS
I beg of you, stop this at once!

What KINO lacks in skill, he makes up for with a relentless ferocity. He attacks ELADIO with passionate rage, eventually putting him on the defensive. After a while, it becomes apparent that ELADIO wasn’t such a determined opponent, but he manages to force the sword out of KINO’s hands. ELADIO then lunges at KINO, swinging his sword. At the last second, KINO manages to dodge the attack. He unsheathes his dagger, which he plunges into ELADIO’s chest. ELADIO falls, dead. Holding the bloody dagger, KINO stands frozen over the dead body, as if he can’t believe he’s just killed another human being. We hear approaching Spanish military trumpets.

Kino, stand there not amazed, be gone! The Governor is coming. Run, Kino, run!

KINO
Oh, fortune! What a fool you’ve made of me!

KINO turns and runs offstage. Shortly, CHISTOE and ANIERI enter. Shocked, they quickly head over to NICOLÁS and the slain CRISTÓBAL. From the opposite side of the stage, MADRID and CATALINA enter with ELADIO’s men. Overcome with rage and grief, they rush over to ELADIO’s fallen body.

CATALINA
Look what they’ve done! They’ve spilled the blood of our dear Eladio! He was our family’s protector, and now they’ve killed him! [195]

MADRID
The Indian savages! They will pay!

Enter TERESA and the NURSE, who survey the scene and are shocked by what they see. The NURSE crosses herself.

TERESA
My cousin Eladio slain? By Indians?

VARGAS enters and surveys the scene with disappointment and anger. He is followed by a horrified JUAN.

VARGAS
You! Nicolás! You are charged to keep the peace. Tell me who started this bloody fray.

NICOLÁS
It was Eladio who first drew his sword. He killed Cristóbal, and Kino took it upon himself to avenge his friend. They fought fairly and Kino won.

TERESA
O, God, Nurse. Did he say it was my Kino who did this?

CATALINA
I beg for justice, Gobernador! Kino slew Eladio, so Kino must not live!

ANIERI
You vile shrew, don’t you ever say my son’s name!

ANIERI and CATALINA charge toward each other. A commotion erupts as the women have to be pulled apart. VARGAS is at the end of his patience.

VARGAS
Enough! Kino slew Eladio. Eladio slew Cristóbal. Who now should pay the price for Cristóbal’s spilled blood?

CHISTOE
Please, Don Diego, not Kino. He was Cristóbal’s friend. His fault concludes but what the law should end — the life of Eladio. [196]

VARGAS
And for that offense, he is to be immediately exiled from all of Nuevo México! Let Kino now run as far and fast as he can; for when he’s found, that hour shall be his last.

ANIERI
This is not justice!

VARGAS
The Governor’s word is final!

NICOLÁS and a few other Indian soldiers carry off the body of CRISTÓBAL while the Madrid family carries off the body of ELADIO. Soon, everyone has left the stage, except for VARGAS and JUAN. VARGAS turns to his son.

I’m sorry you had to see this, my son. It was always my hope to create a land where we could live in peace with the Indians.

JUAN
It’s n-not your f-f-fault.

VARGAS
Juan, I’m going to move up the date of your wedding to two days hence.

JUAN is shocked.

All this grief and death, it’s not good for the people. They need something to give them hope for the future. And that’s what your wedding will bring. The day after tomorrow will be the start of a new family in Santa Fe.

Satisfied, VARGAS walks offstage, leaving JUAN frustrated.

JUAN
I am such a coward! When I’m alone, my thoughts are clear and concise, the words flow like a river, but around others, I’m stumbling and bumbling. Too fearful I was to tell my father that Teresa is disgusted by me. I couldn’t bear to look at the disappointment in his eyes. I’ve been a disappointment all my life.

He takes a moment to think.

Perhaps that Indian woman was right. Perhaps the time has come for me to be a man. I will take Teresa as my wife, and I will make my father proud of me. [197]

Scene 6

The church. KINO paces around impatiently. Enter FRAY OLVERA, who looks very agitated and upset.

KINO
Father, what news do you carry? What is the Governor’s sentence?

FRAY OLVERA
The Governor was as lenient as could be called for. He called not for thy body’s death, but thy body’s banishment.

Devastated, KINO sinks to his knees and buries his face in his hands.

KINO
Banishment? Be merciful, good father, say “death,” for exile has more terror in its look, much more than death.

FRAY OLVERA
Just from New Mexico banished. Be patient, for the world is broad and wide.

KINO
For me, there is no world without New Mexico. The Governor condemns me to a fate worse than death!

FRAY OLVERA
There is no fate worse than death, for as long as you have breath in your body, there is always hope.

Suddenly, there is a knock on the door.

Who calls for me?

NURSE (behind the door)
I come from Doña Teresa.

FRAY OLVERA quickly opens the door.

Oh, Fray Olvera, tell me — where’s my lady’s lord?

FRAY OLVERA
There, on the floor, with his own tears made drunk. [198]

NURSE
Same as my mistress. I left her in her chamber, weeping so piteously. Kino, your wife needs you.

Hearing TERESA’s name, KINO pulls himself to his feet, wiping away tears.

KINO
Nurse, how is it with my lady love? Does she think of me as a murderer now that I’ve stained our joy with blood removed but little from her own?

NURSE
She only wishes to see you, my lord.

KINO
All I do is cause her misery and pain. We’d all be better off if I were dead!

KINO suddenly pulls out his dagger and offers to stab himself. FRAY OLVERA quickly snatches the dagger away.

FRAY OLVERA
Stay the desperate hand! Rouse thee, man! Thy Teresa, thy love, is alive and calls out for you. There art thou blessed. Eladio would kill thee, but thou slewest Eladio. There art thou blessed. The law, that threatened death, becomes thy friend and turns it to exile. There art thou blessed. A pack of blessings is upon thee. Go get thee to thy love. But look not to stay past dawn. We must get thee to Taos where thou shalt live in secret till we find the proper time to announce your marriage, reconcile your families, beg pardon of the Governor, and call thee back with a thousand times more joy than when thou left in sadness. Go, Nurse, tell your lady Teresa that Kino is coming.

NURSE
Thank you, good Father, your wisdom is beyond compare.

KINO walks up to FRAY OLVERA and embraces him.

KINO
Your words give me hope, Father. Thank you.

The NURSE and KINO exit. FRAY OLVERA prays. [199]

Scene 7

Inside Teresa’s chamber. It is before dawn. KINO is putting on his shirt. TERESA, in her nightgown, sits up in bed.

TERESA
Must you leave so early? It is not yet near day. It can hardly be much past the middle of the night.

KINO
Night’s candles are burnt out, my love. I must be gone and live or stay and die.

TERESA
This day, the light is my enemy. If only we could stop the coming day like one reigns in an unwieldy steed, then we could live in this moment, in each other’s arms forever, without fear of death or decay.

KINO
Time can be merciless, but memory is a great friend. I will always remember our night together for days without end.

KINO starts for the balcony, but TERESA holds him back.

TERESA
Kino, wait. The notion of parting with you is starting to tear me apart. Take me with you. I’ve always longed to see what the world is like beyond Santa Fe.

KINO
How I wish I could take you with me, but if we were to flee hand in hand, our families would lay blame and tear each other apart until all the Spanish and Indians were at war. I couldn’t bear that our love would be the cause of such strife.

Suddenly, there is a knock on the door.

NURSE (from behind the door)
My lady! Are you awake? Your mother is coming to your chamber.

TERESA
I hear you, Nurse!

KINO
One last kiss, my love. [200]

KINO and TERESA kiss passionately. KINO heads for the balcony, but TERESA desperately holds him back.

TERESA
Kino, I fear I’ll never see you again. Please tell me you’ll come back to me.

KINO
You’re the love I’ve looked for my whole life. I’ll always come looking for you. It’ll only be a few months to let hot tempers cool down. When the time is right, Fray Olvera will announce our marriage and make things right with the Governor. Then, I’m as sure as the sun rises that we will be together again and forever.

TERESA
I shall dream of that day every night.

CATALINA (offstage)
Teresa?

KINO
Farewell.

KINO quickly kisses TERESA one last time and descends the orchard wall. At that moment, CATALINA enters the chamber. She finds her daughter in tears.

CATALINA
You’re up early, my daughter. Evermore weeping for your cousin?

TERESA
I am weeping for a loss most felt.

CATALINA
I’ve come to bring you joyful tidings.

TERESA
And the joy comes well in such a needy time. Tell me, señora.

CATALINA
The day of your wedding has been advanced. Tomorrow you will marry Don Juan de Vargas. [201]

TERESA (shocked)
Tomorrow? My tears for my cousin have yet to dry, and now I’m expected to put on a dress and a smile for my wedding tomorrow?

CATALINA
You knew very well that this marriage was near.

TERESA
You’ve seen what he’s like, mother! You would condemn your own daughter to spend her life with such a man? I will not do it!

MADRID (offstage)
What’s all this shouting I hear?

CATALINA
Here comes your father. Tell him so yourself.

MADRID enters, followed by the NURSE.

MADRID
Why is my girl in tears? Have you not given our daughter the joyous news, my wife?

CATALINA
She did not take it so joyously. She doesn’t want to marry Don Juan.

TERESA
I beseech you, father. I am still grieving for dear Eladio. Delay this wedding a month, even a week, so that I may have time to find a happier face.

MADRID
You will find your happy face tomorrow, girl. I have taken great pains to find you a gentleman of noble parentage and significant means. So, I say unto you now — you shall be married tomorrow!

TERESA
Father, please don’t make me share the name and bed of one I don’t love!

MADRID
That’s enough! You are stuck with the delusions of a romantic schoolgirl. Marriage has nothing to do with love!

(quickly, to CATALINA) Forgive me, Madam, what I mean to say is this — all the time men and women are married on grounds of a practical nature. [202]

(to TERESA) There are very honorable reasons for you to marry this young man. His family has wealth and standing.

TERESA
I don’t care!

MADRID
Well, better you start caring! After last summer’s drought, we’ve had to ration our food. If you marry this man, you will always be provided for!

TERESA
I’d rather starve than marry that man!

MADRID
Disobedient wretch! Ungrateful child!

MADRID steps toward TERESA as if he means to hit her. The NURSE immediately runs between them to shield TERESA.

NURSE
No!

MADRID
Out of my way, you fool!

NURSE
I pray thee, sir, you are too angry.

MADRID
Yes, by God’s grace, I am mad! I seek to send my only child out into the world with safety and security, and she spits it back in my face! Hang, beg, starve, die in the streets for all I care!

MADRID turns and marches out of the room. CATALINA follows him. TERESA, in tears, turns to the NURSE for comfort.

TERESA
O God, Nurse, what should I do? I can’t marry another man, for I am already married to my heart’s only love. Can you not give me one word of joy? Some comfort, Nurse, please. [203]

NURSE (taking a moment to think about it)
Here it is, child. Kino is banished. He can’t step back into this town without risking his death. You must consider what’s best for yourself, and I think it best you marry Don Juan de Vargas.

TERESA (taken aback)
What you speak comes from the heart?

NURSE
And my soul, too; else, beshrew them both.

TERESA
Well, you have comforted me marvelous much. Leave me and tell my mother that I’ve gone to see Fray Olvera. Having displeased my father, I think it wise to make confession and to be absolved.

NURSE
I think you are wise to do so, my child. I’ll tell your mother.

The NURSE walks out, leaving TERESA to fume.

TERESA
Ancient damnation! O most wicked fiend! Go, counselor! Henceforth, you shall be separated from my trust. The only one I can turn to now is the good Fray Olvera. I pray he can tell me what to do. Otherwise, my life is for naught.

Scene 8

In the church. FRAY OLVERA is in the middle of talking to VARGAS.

FRAY OLVERA
Tomorrow, Don Diego? The time is very short for planning a wedding, especially after all the tragedy that has befallen the family.

TERESA (offstage)
Fray Olvera?

FRAY OLVERA and VARGAS turn to see TERESA rushing in through the door. She stops in her tracks, not expecting to see VARGAS. [204]

VARGAS
Ah, here she is. The lovely girl who will make my son the happiest man on earth. Come you to make confession to Fray Olvera?

TERESA
To answer that, I should have to make confession to you.

VARGAS
Clever girl. I’ll leave you then. Tomorrow, I shall welcome you to my family.

VARGAS kisses TERESA on the forehead, then heads out the door. As soon as he does, TERESA bursts into tears.

TERESA
O, Father, I know not what to do. I’m past hope, past care, past help!

FRAY OLVERA
I already know of thy grief, child. It strains me past the compass of my wits to hear that tomorrow, without delay, thou must marry Don Juan de Vargas.

TERESA
Is there nothing you can do?

FRAY OLVERA
How I wish there was, but I fear the Lord’s wisdom is in short supply right now.

TERESA
If your wisdom can do me no favors, then all is lost. Perhaps the only favors that can be done for me are with this —

TERESA suddenly reaches for a dagger on FRAY OLVERA’s table.

FRAY OLVERA
No!

FRAY OLVERA immediately takes away the dagger.

Death is never the answer, only an escape.

As FRAY OLVERA puts the dagger back on the table, he pauses to look at all his potions and herbs. It gives him an idea. [205]

Listen, daughter. I do spy a kind of hope. Fraught with risk it is, but if thou hast the strength of will to slay thyself, then it is likely thou wilt undertake a thing that looks like death to save thyself.

TERESA
Tell me what to do, Father, and I will do it without fear or doubt.

FRAY OLVERA picks up from the table a small vial.

FRAY OLVERA
Go home, give consent to marry Don Juan. Then, tonight, being in bed, take this vial and drink it. It will make thee appear as though thy mortal coil has been shed. When thy parents in the morning come to rouse thee, they will find thee thus dead. Instead of a wedding, there will be a funeral. Kino by my letters shall know our plan, and he and I will go to your family’s mausoleum to watch thy waking, and that night shalt thou both hie thee hence to Taos to live as husband and wife. What say you?

TERESA
I’ll do it, Father — anything to be reunited with my love.

FRAY OLVERA
Then, I’ll dispatch Fray García to Taos, with letters to thy lord. Go now.

TERESA
My love gives me the strength of a thousand suns. Farewell.

TERESA runs out of the church, leaving FRAY OLVERA, who looks like he’s not sure whether he has done the right thing.

Scene 9

Inside Teresa’s chamber. TERESA, wearing her nightgown, anxiously sits on her bed, looking at the vial.

TERESA
The course I set tonight will change the rest of my life. All I’ve ever known will soon come to an end, but I will begin anew with a love that will always be true.

MADRID (offstage)
Where is that headstrong child of mine? [206]

As soon as she hears her father’s voice, TERESA quickly hides the vial. MADRID enters.

The Nurse said you sent for me. She said you went to see Fray Olvera to make confession.

TERESA
Yes, father. I have learnt me to repent the sin of disobedient opposition to you and am enjoined by holy Fray Olvera to fall prostrate here and beg your pardon. Henceforward, I am ever ruled by you. Thus, tomorrow, I will become the wife of Don Juan de Vargas.

MADRID
Ah, this is well. Stand up, querida. This is as it should be. I’ll send word to the Governor. I’ll have this knot knit up by tomorrow morning. This reverend holy friar — all of Santa Fe is very much bound to him.

TERESA
Sí, papá. Now, I wish to go to bed early so that tomorrow I will be well rested for the happiest day of my life.

MADRID
I’m very proud of you, my sweet flower. Take care then till morning.

MADRID exits. TERESA holds up the vial.

TERESA
For the power of this thing called love, what would I not do? What things, both fearless and foolish — all in return for a sensation that causes as much pain as pleasure. I drink to thee, love. And to my love’s love, I drink to Kino.

TERESA drinks from the vial. After a moment, she drowsily slides into her bed.

Scene 10

A corridor in the Madrid household. MADRID enters, accompanied by JUAN, looking determined.

MADRID
Please come in, Don Juan. I wasn’t expecting you this early in the morning. [207]

JUAN
It’s my w-w-wedding day. I w-wanted to m-make sure everything is in order.

MADRID
Nurse!

The NURSE rushes onstage.

See to it that Teresa is roused from her bed. It’s time for her to get ready.

NURSE
Yes, my lord. Mistress, sweet mistress! It’s time you wakened.

The NURSE goes into Teresa’s chamber.

JUAN
D-Don Madrid, I r-r-realize I’ve only kn-known your d-d-daughter f-for a short time, b-b-but I p-p-promise you I’ll m-m-make her happy.

MADRID
I hope so. For your father hasn’t the power to stay an unhappy father-in-law.

Suddenly, the NURSE screams and runs back out into the corridor.

NURSE
O my god! She’s dead! My lady is dead! Don Lorenzo! O such tragedy!

MADRID and JUAN are shocked. CATALINA comes onstage.

My lord, she’s dead!

MADRID
What are you nattering about, you fool! She can’t be dead!

MADRID and CATALINA run inside while the weeping NURSE remains outside. The incredulous JUAN rushes to the door.

JUAN
Don Lorenzo! Speak! Is she ill? Shall I s-s-send for a d-doctor?

CATALINA slowly walks out of the room, in a state of shock and grief.

CATALINA
It’s too late, Don Juan. Death lies on her like an untimely frost.

The anguished MADRID walks out of the room. [208]

MADRID
Accursed, unhappy, wretched, hateful day! My last child, my only hope, my only reason for living! Cruel death has snatched her with this vial of poison.

MADRID holds up the vial and sinks to his knees in despair. JUAN is shocked.

Scene 11

Outside Taos Pueblo. An old Indian man, frail, impoverished, and wrapped in a blanket, sits on a tree stump in silent contemplation. Though he was wearing a hood when we first saw him, this is the MEDICINE MAN, the ethereal presence from the beginning of the story. NICOLÁS enters, looking very distressed.

NICOLÁS
I beg your pardon, sir, but I am looking for the house of the Gomez family.

MEDICINE MAN
The people of Taos Pueblo are very wary of those in uniform, especially Indians in uniform. What do you want with them, soldier boy?

NICOLÁS
A friend of mine is staying with them, in hiding. I’ve come all the way from Santa Fe to deliver some urgent news.

A happy KINO then comes onstage to greet his cousin.

KINO
Nicolás! I wasn’t expecting you to come here so soon, cousin. Do you have news from Santa Fe? How fares my lady Teresa?

NICOLÁS (his eyes starting to well up with tears)
I came as soon as I could. It is with great sadness I tell you this, cousin. Your lady lives no longer. She is dead.

KINO
What? If this be a cruel jest —

NICOLÁS
If only it were. Your Teresa, rather than marry Don Juan de Vargas, took poison. Her body was laid to rest this afternoon at the tomb of the Madrid family. [209]

Looking as if he’s had the wind knocked out of him, KINO sits down on the ground. He pounds his fist into the dirt.

KINO
No, no, no! Our love has survived so much already. This is not the way it was meant to pass. I curse you, stars! I must see her. Nicolás, ready my horse.

NICOLÁS goes offstage, and KINO gets up and turns to the old Indian man.

You — they say you are a medicine man.

MEDICINE MAN
I heard your friend say that your love is dead. A medicine man I may be, but even I cannot cure death.

KINO
I don’t want you to cure death, wise one. I want you to induce it. Tonight, I intend to lie with my Teresa so that we may walk through the heavens together.

MEDICINE MAN
You intend to walk through the heaven of the Spaniards? You’re an Indian man. Are you sure they’ll let you in?

KINO
I don’t have time to argue religious philosophies with you. What I require is a poison that will send my immortal soul off to wherever immortal souls go.

MEDICINE MAN
Spaniards I will gladly kill, but not Indians.

KINO reaches into his pocket and pulls out a couple of silver coins.

KINO
When’s the last time you had a full meal, old man?

The MEDICINE MAN licks his lips, then reaches into his blanket and pulls out a collection of herbs wrapped in a small bundle. He hands it to KINO.

MEDICINE MAN
My poverty, not my will, consents. [210]

KINO
Then this is for your poverty, not your will.

MEDICINE MAN
Put these herbs in any liquid and drink it off. If you had the strength of twenty men, it would dispatch you straight.

KINO
Here’s your silver — worse than poison.

KINO exits. On the opposite side of the stage, enter FRAY GARCÍA, a pouch around his shoulder. He looks around and walks up to the old man.

FRAY GARCÍA
I’ve been sent by Fray Olvera. I bring an important letter for Kino.

MEDICINE MAN (regarding him with intense contempt)
I have nothing to say to a Spanish priest. Except in my own language.

The old man spews out a Pueblo curse. He then gets up and walks away, leaving FRAY GARCÍA to look around by himself for KINO.

Scene 12

Inside the mausoleum. Holding flowers, JUAN steps up to TERESA’s body.

JUAN
To the only love I knew, with flowers thy bridal bed I strew. With a vial of poison you left the world. I can’t help but think you did it so you wouldn’t have to marry me. I beg you to forgive me for all my failings, and I swear now on your grave I will do something to make you proud of me.

He hears something.

Somebody comes.

JUAN quickly hides in the shadows to watch as KINO enters, carrying a lantern. NICOLÁS trails behind.

NICOLÁS
Kino, the watch could come at any time. I’ll stay out here and stand guard. [211]

KINO
No, my friend. I intend to spend a length of time to grieve for my beloved. Please, go.

NICOLÁS nods and exits. KINO walks through the crypt until he comes upon the body of TERESA resting on a slab. He rushes over to her.

O Teresa, my wife, my love! Look at you — death has sucked the honey out of your breath, but it has had no power upon your beauty. As lovely as the night we met. How could you go on to the next world and leave behind my heart?

JUAN
¡Indio!

Startled, KINO turns around to see that JUAN has stepped out of the shadows and has unsheathed his sword.

Y-y-you are the reason T-Teresa d-did not want to m-marry me? You are the reason she k–k-killed herself! Now you shall p-p-pay!

KINO
I beseech you, gentle youth, tempt not a desperate man. Put not another sin upon my head by urging me to fury. For I come armed against myself.

KINO reveals his dagger.

JUAN
I defy you, Indian!

JUAN launches an attack with his sword, but he is not a skilled swordsman. KINO easily steps out of the way, and JUAN trips and falls. KINO brings his dagger up to JUAN’s throat.

KINO
There has been too much death today, most of it brought by the hatred between our peoples. It doesn’t have to be this way. One lesson I learned from Fray Olvera about the teachings of Christ is that all men are brothers. So, on this day, remember that an Indian spared your life, the life of a Spaniard.

KINO pulls JUAN to his feet.

Hereafter say an Indian’s mercy bid thee run away. Be gone!

JUAN runs off. KINO turns back to look at TERESA. [212]

Three days ago, we knew nothing of each other. But I feel I’ve known you my entire life. And now that you’ve gone on to the spirit world, I will follow you.

He takes out his vial of poison.

Come, unsavory guide, and escort me to my love. Here’s to our journey.

He drinks the poison.

Thus with a kiss I die.

KINO kisses her. He waits for a moment, then drowsily lays himself on the ground and dies. After a moment, FRAY OLVERA enters, carrying a lantern.

FRAY OLVERA
Kino? I thought I heard your voice. If he received my letters, he shall be here at this appointed hour, for Teresa will awaken at any moment. Ah, there she is, that sweet child.

FRAY OLVERA walks over to TERESA. As he does, he catches sight of KINO’s fallen body. He immediately rushes over to him.

Kino? Has he fallen asleep? Awaken, my boy! The time is almost at hand!

FRAY OLVERA tries to wake him up, but to no avail. He then sees the empty vial in KINO’s hand.

What is this? A dram of poison? But why, Kino? He came here to die with his lady love, not knowing that she was not dead. O what unkind hour is guilty of this lamentable chance?

TERESA
Fray Olvera? Is that you?

FRAY OLVERA sees that TERESA has just awakened and is beginning to stir. He immediately goes up to her to shield her view of the fallen KINO.

Your plan worked, Father, just as you said. Where is my Kino?

FRAY OLVERA
Señora, let’s away from this nest of death, contagion, and unnatural sleep. A greater power than we can contradict hath thwarted our intents.

WATCHMAN (offstage)
Who’s in there? [213]

FRAY OLVERA
The watch is coming. We must go now.

TERESA looks around, and, as she does, she sees the fallen KINO at the base of the slab. She rushes over to him.

TERESA
Kino? What happened?

FRAY OLVERA
He’s dead, señora. Please, stay not to question, for the watch is coming.

TERESA
Dead? How can this be?

FRAY OLVERA
Please, my lady. I dare no longer stay!

TERESA
I will not away! I shall never abandon my husband’s side. Go, friar! Leave me!

WATCHMAN (offstage, but coming closer)
Who’s in there?

FRAY OLVERA
I dare no longer stay!

With nothing else he can do, FRAY OLVERA flees offstage.

TERESA (distraught)
O Kino! How could this have happened?

TERESA sees the vial of poison and picks it up.

A dram of poison I see has been his timeless end. All drunk with no friendly drop left to help me follow? Perhaps some poison still stains your lips. I will kiss them.

TERESA kisses KINO. Her eyes fill with tears.

How could you take your own life, my husband? Did you not think I’d come back to you? Now, you’ve left me behind. Perhaps we were never meant to be. Yet I cannot see myself living another tomorrow without you, Kino.

Suddenly, the WATCHMAN, a Spaniard, has entered, looking around, carrying a lantern. [214]

WATCHMAN
Who has violated this sacred tomb?

TERESA
Quickly — what shall I do so that I may walk with you hand in hand to the next world?

TERESA thinks and quickly unsheathes KINO’s dagger.

Till the end of time we will be joined, even in death as we were in life.

TERESA stabs herself and falls, her body resting with KINO’s.

Scene 13

Outside the Governor’s Palace. On stage right, KINO’s body is laid out, prepared for burial, surrounded by his family and friends, including CHISTOE, ANIERI, and NICOLÁS. On stage left, TERESA’s funeral wrapped body is surrounded by her family and friends, including MADRID, CATALINA, and the NURSE. MADRID is a coiled powder keg of emotions, ready to explode at any moment. He paces around like a caged lion.

MADRID
I can’t bear waiting any longer for the Governor’s pronouncement. There can only be one verdict possible — guilty and a sentence of death for Felipe Chistoe. I should have killed that traitorous coward years ago.

CATALINA
Please, husband, stop. We have lost so much already.

MADRID
My blood boils when I think of my daughter consorting with that Indian boy, defiled by him. All the while, laughing at me.

He whips out his sword.

Chistoe! You have dishonored my family for the last time!

CHISTOE
And you have hurt my family for the last time! I have always tried to be a man of peace, but if you choose to end the peace, so be it. [215]

MADRID
So be it!

Swinging his sword, MADRID charges at CHISTOE, who barely has time to defend himself, unsheathing his sword and blocking the attack. The two old men go at each other until —

VARGAS
¡Basta!

VARGAS arrives on the scene, looking sad and disgusted. He is followed by JUAN. The families pull the men apart.

Look at what your hate has wrought upon these two innocent souls, yet still you don’t have the decency to stop your fighting. I do hereby place Don Lorenzo and Don Felipe under arrest. I put forth that whoever drew the two swords, their lives would pay the forfeit of the peace, and so shall you now. You will both be put to death, as an example for all those who dare violate the peace!

CATALINA
Don Diego, no! My husband is grieving!

ANIERI
Is this Spanish justice? My husband was only defending himself!

A commotion erupts as both families protest. Suddenly, a voice booms.

JUAN
S-stop this! PLEASE!

The commotion dies down as all eyes turn to JUAN.

P-please, father, don’t do this. An act such as this can only breed more hate.

VARGAS
This is none of your affair, boy! Hold your place.

JUAN
No! Teresa was to be my wife. And when I found out she was in love with an Indian, I gave into the hate. But the Indian Kino spared my life. He spared your son. He showed that hate didn’t have to be the way. Why not learn from him and spare these two men, so they can go back to their families? Let them learn from your forgiveness so that, one day, maybe they can learn to forgive each other. And isn’t that what you’ve always wanted, for them to live in peace? [216]

VARGAS takes a moment to calm down and think. He walks over to CHISTOE and MADRID.

VARGAS
My son is a wise man. Go, Don Felipe. Go, Don Lorenzo. Go grieve for your children in peace.

VARGAS proudly puts his arm around JUAN, and the father and son exit. They are followed by MADRID and his family. NICOLÁS also exits. The only ones left onstage are CHISTOE and ANIERI who stand over the bodies of KINO and TERESA.

CHISTOE
The time has come for us to bury our son.

ANIERI
The time has come for us to avenge our son. I want you to contact the other Pueblos, send message, even the Navajos and Apaches.

CHISTOE
For what purpose?

ANIERI
To tell them we will join them in an all-out attack on Santa Fe. With our combined forces, we’ll kill the Spaniards and finally take back our land.

CHISTOE
I will not hear of such a horrific plot. The Governor could have me put to death, but he pardoned me as an example for us all to put our hatred aside.

ANIERI
What do you expect from me, sweet tears of gratitude? The only tears I will shed are for my dead son. And I will not rest until all the Spanish are made to pay!

CHISTOE
They’re paying, we’re paying, all of us are paying! You do what you must, my wife, but not with my help. It’s best I leave you here with your hate to be your only friend. It has made you so blind that you can’t see it has caused you to lose a son … and now a husband.

ANIERI
Then go, you coward! Leave me! [217]

CHISTOE exits, leaving ANIERI the only one onstage. She is totally alone and wretched, standing over the body of her son. With vengeance still on her mind, she turns and exits.

Lastly, the MEDICINE MAN walks onstage, wearing his blanket like a cloak. He sadly gazes down at the bodies of KINO and TERESA.

MEDICINE MAN
A glooming peace this morning with it brings. The sun for sorrow will not show its head. For never was there a story of more woe than our Teresa and her Kino.

The MEDICINE MAN whips his blanket over his head, assuming his hooded role as the specter of the spirit world. He bids KINO and TERESA to rise, which they do. They follow him hand in hand into eternity. Curtain falls.

FINIS