Act 1, Scene 7

MELI

Fede’s head was built like one of the soviet apartment buildings I’d seen in the news. The hallways were decorated with utopic murals, where you’d see geometric humans in impossible colors creating a new world with their bare hands and sweat.

They moved me, what can I say?

Bear in mind I’m no political expert (thank god). What I’m saying is that those murals showed me a beautiful dream, the ideal future that is most palpable in the mind. I took a lot of inspiration out of them.

Heh, I always railroad myself into giving art lectures. It’s my job, sorry.

¿What was all of this doing inside this guy’s head?

He explained that he wasn’t lying about his family and the reasons for which he was in Monterrey. He also added that he didn’t know what to do, he’d just started walking the road and lost it when he wasn’t looking.

I was a master at being lost in life, and something from my expertise I thought could cheer him up was that remembering what it was you wanted to see at the end of the road often got you back on track.

“You only truly got what’s inside of your skull,” I quoted my father, “and there’s much you can do with that”.

I put my finger on his forehead, for dramatic effect (and getting him used to my physical contact).

“You know what you want, Fede. That puts you quite ahead. Just remember what it is.”

Appropriately on many levels, he got quite red, and said:

“Well, Meli Muer. I think what I want right now is to ask you out”.

I told him yes, of course.

Around this time I switched to a more hippie style, which I think you’d see in how bursting with plants the house in my head became.

            END OF SCENE