Act 1, Scene 10

FEDE

Meli’s father had asked to speak with me, man-to-man. Meli told me that nothing would happen beyond a “don’t-ever-lay-a-finger-on-my-princess” spiel.

At 53, I can still remember his broken voice.

(Fede does a similar impression of Meli’s dad, but there’s fear mixed in. If that’s from Fede’s recollection or part of the imitation we can’t know.)

(As Meli’s father) “You didn’t grow up with much, right? I can tell from your eyes, you’ve got that look that I also see when I look at the mirror. You take your time with each bite, ‘cause way deep you know that no next meal is ever guaranteed. I’m afraid to tell you that the fear never goes away, which is, in fact, what makes me wary about you getting together with my daughter. It is a panic that can push you very far ahead, but especially at the top your skull will tell you that with one tiny wrong step you’ll tumble all the way down into the hole, and with nothing else left to climb you’ll instead push down anything and anyone as long it is not you who’s falling. Not even your most beloved will be safe. I know because I am that way too. Imelda is a firecracker, whip smart and with a good heart, but she’ll never understand us, never truly. Call it the curse of giving your children what you never had. If you’re ready to accept the facts and keep her safe from your fear as I’ve had to do all my life, then I’ll give you my blessing.”

It took me a minute to confirm I hadn’t soiled myself and could only tell him not to worry, I had my doubts that Meli would go out with me for long enough for it to be an issue.

He laughed like an atrocity.

(As Meli’s father) “She likes you, young man, and she’s less pissed off around you. Do this old devil a favor and stay together as long as you can manage.”

He put his hand on my shoulder and led us back to the living room. 

That man scared me, but there was something familiar about him too. For many days after, any time I looked at Meli I would wonder if what her father told me was true, that she could never get me. With time, I forgot to answer the question.

            END OF SCENE

Act 1, Scene 8

FEDE

Meli carried inside her head a mansion repurposed into an art studio/museum. The gold Art Deco accents of the architecture had been painted black, the chandelier and candelabra cast out, most of the furniture covered in sheets and abandoned in the kitchen. All these steps were done to allow room for the paintings, statues and other pieces that I’m not sure how I could describe. Furthermore, the whole layout and style of the art got rearranged about every time I got in there.

I can’t help but highlight in my notes that an absurd quantity of the pieces were nudes. I’ve never been a prude, but Jesus, this girl was passionate about anatomy.

She laughed in that abundant and brilliant way she did at my vague descriptions of the place and proceeded to destroy me with a wink.

Meli was curious if the place could be considered “livable”, you know if there was running water, electricity, a bed. I confirmed that it was and she alleged the same about my head.

Then she got an idea.

Turns out she’d spoken with Roberta, my roommate that apparently knew Meli just as every regiomontano knows each other. Roberta had given her a good impression of me as a living companion and also babbled that soon I’d find myself with nowhere to sleep.

Meli told me: “You see, Fede, I’m currently banished from my home until the end of the millenium, and so I believe we are at the precipice of a truly unique business arrangement.”

I thought it would be risky. Things with Roberta were different, I loved her like a friend and she never believed me that I was heterosexual. There was no tension, in other words.

But I knew there would be with Meli.

I said yes to her hoping that it would be the correct kind of tension.

            END OF SCENE