Out of the Wings

La Fundación (1972-1973), Antonio Buero Vallejo

The Foundation : Part One scene 1 (excerpt 1) , Part One scene 1 (excerpt 2) , Part One scene 2 (excerpt 1) , Part One scene 2 (excerpt 2) , Part Two scene 1 , Part Two scene 2

The Foundation, translated by Gwynneth Dowling

Part One scene 1 (excerpt 1)

Context:

Asel, Lino, Max and Tulio have returned to the room in The Foundation. Asel asks Tomás about his day. Has he had any visits? Tomás implies that he has been visited by Berta, which unsettles the other men. The Supervisor and Assistant appear for the first time. Will the Supervisor notice that the Man, lying in the bed, is in fact dead? He fails to do so, distracted by Tomás who chats amiably about The Foundation.

Sample text

ASEL:: And how about you, Tomás? How’s your day been going?
TOMÁS:: Great! I’ve been listening to a little Rossini, been reading …
ASEL:: Anything else?
TOMÁS:: Nope. When do we start work?
MAX:: You can start whenever you want. Writers don’t need offices or labs.; (TULIO reappears, drying his mouth on his sleeve.)
TOMÁS:: I’ve already taken all the notes I need. But I need some peace and quiet as well.
ASEL:: So, then, you’ve had a quiet morning. No visitors?
TOMÁS: (Smiling.): One.; (They all look at him nervously. With a snort of disgust, TULIO goes to one of the little bags hanging on the left. He does not unhook it, but simply opens it and takes out a handkerchief. LINO gets up, looks furtively at TOMÁS, and goes towards the door, leaning on the edge of it.)
ASEL: (In the meantime.): Who?
TOMÁS: (Amused.): Can’t you guess?
ASEL: (Getting up.): Quiet. Someone’s coming.; (He goes to the door. MAX gets up and stands beside him. TULIO turns back towards the door. From the left-hand side of the corridor the SUPERVISOR and his young ASSISTANT appear, smiling. They are wearing immaculate black suits and bright silk ties, as if they were running a hotel. The SUPERVISOR is a distinguished-looking, middle-aged gentleman.)
TOMÁS:: Good day, sir!
SUPERVISOR: (His smile broadens.): Good day, gentlemen. Is everything in order?
TOMÁS:: Yes, sir. Just a few small things, nothing pressing. When will they open the dining area?
SUPERVISOR: (Laughing gently.): Soon, very soon. The Foundation would like to apologise for any temporary inconvenience. If I may come in … (He enters the room and looks at the MAN on the bed.) Has he not got up today, either?
ASEL:: He’s still pretty weak, but it’s nothing serious.
SUPERVISOR:: Very well. (He discretely sniffs the air, saying nothing. He scans the room.) I’m delighted that you’re making yourselves at home, gentlemen.; (He returns to the door.)
TOMÁS:: Thank you.
SUPERVISOR: (From the door, he gives them all a faint smile.): At your service, as always, gentlemen.; (He leaves, going to the right. The ASSISTANT bows, smiling, and also disappears.)
TOMÁS:: What nice gentlemen!

Copyright

The above sample taken from the translation The Foundation by Gwynneth Dowling is licensed under a Creative Commons License.

Part One scene 1 (excerpt 2)

Context:

Asel is concerned for Tomás’s health. Tomás is confused as to why he is not only pale, but also constantly hungry. In his delusion he believes there is plenty of food. The men have been taking turns sharing out the Man’s rations. Not for the first time, Asel decides to give his share of the Man’s food to Tomás, much to the annoyance of the rest. Tomás wonders why the Man is being starved. The others know the reason: the Man is dead.

Sample text

ASEL:: Come here, please. (He goes towards TOMÁS. TOMÁS approaches.) You’re pale.
TOMÁS:: I’ve always been pale.
ASEL: (He looks at the inside of TOMÁS’s eyelid.): You’re still totally anaemic.
TOMÁS:: That’s impossible.
ASEL: (Smiling.): Am I or am I not a doctor?
TOMÁS:: You are, but …
ASEL:: You need feeding up, I’ve told you that before. Here’s what we’ll do … (Pointing to the MAN on the bed) Today, apart from raiding the fridge as much as you want, you’re getting his ration.
LINO: (Annoyed.): Why?
ASEL:: If it’s my turn today, I can give it to anyone I like. No?
TULIO:: To anyone who needs it. You need it, Asel.
ASEL:: No. I’m giving it to Tomás.
TOMÁS:: But you’ve done that before, many times. It’s not as if I can’t eat as much as I want. We all can!
ASEL:: But yet you’re still hungry. (He stares at him.) You’ve said it yourself. It’s the fresh air. Admit it. You hope one day you’ll be satisfied. But you never are.
TOMÁS:: That’s true. And I don’t understand it.
ASEL:: You’ll be full up today.
TOMÁS:: Asel, I shouldn’t take it.
ASEL:: I’ll hear no more about it. (He puts a hand on TOMÁS’s shoulder.) Doctor’s orders.
TOMÁS: (Bowing his head.): Thank you.; (Silence.)
TULIO:: Asel, I’m going to explode if I don’t say something.
ASEL:: So long as it’s not nonsense …; (He sits down and plays with his pipe.)
TULIO:: I admire you more than anyone.
ASEL: (Amused.): It was nonsense! (Brief pause.) Yesterday it was you who gave Tomás some of your food.
TULIO: (Muttering.): Because you told me to.
ASEL:: Nonsense. You did it because you wanted to.
TULIO:: Think that if you want.; (Silence.)
MAN:: I’m hungry too. Why am I on a diet?; (Nobody pays him any attention. Very confused, TOMÁS glances at the sick MAN.)
TOMÁS:: I’ll also explode, Asel, if I don’t say something.
ASEL:: Go on.
TOMÁS:: You’re a doctor … I don’t understand ….
ASEL:: That’s because you’re not a doctor.
TOMÁS:: The sick man … shouldn’t he be given something to eat?; (Avoiding TOMÁS’s eyes, the rest all share a look.)

Copyright

The above sample taken from the translation The Foundation by Gwynneth Dowling is licensed under a Creative Commons License.

Part One scene 2 (excerpt 1)

Context:

Tomás looks through what he believes to be a book of paintings. But he is distracted by losing his tobacco. Perhaps now he will realise that the tobacco, along with all the other comforts he sees around him, are figments of his imagination. Instead, he suspects that the others are playing tricks on him and hiding his belongings.

Sample text

TOMÁS:: Watteau, Turner … (He stops.) Turner! It’s like the light’s made out of diamonds! (He turns towards the large window.) It’s almost as beautiful as that view out there. Another rainbow of clouds, rocks, clear waters and sparkling palaces … (He’s been fumbling nervously through his pockets for a while. Brief pause.) Where’s my tobacco got to? I put the box in this pocket, and now it’s not here. (TULIO takes his hands away from his face. They all look at TOMÁS.) And I’m sure I haven’t taken it out of my pocket since putting it there. Absolutely sure.
ASEL: (Staring at him.): Are you sure you put it in your pocket in the first place?
TOMÁS:: Eh?
MAX: (Laughing.): Sure it wasn’t a hologram of a box?
TOMÁS:: Don’t make fun of me.
MAX:: You must’ve left it somewhere.
TOMÁS:: I didn’t take it out of my pocket! And it can’t have just vanished.
ASEL: (Stares into his eyes.): Well then. Think.
TOMÁS: (Smiling in spite of himself.): Is this a test?
ASEL:: Perhaps.
TOMÁS:: You lot have hidden it.
ASEL:: I swear that nobody has touched that box.
TOMÁS: (Extremely suspicious.): That’s not possible …
ASEL: (Meaningfully.): And yet, it is …
MAX:: Don’t worry about it. It’ll turn up.
TOMÁS: (Pensive.): I hope so. (He turns some pages.) Monet, Van Gogh … I hope so ...

Copyright

The above sample taken from the translation The Foundation by Gwynneth Dowling is licensed under a Creative Commons License.

Part One scene 2 (excerpt 2)

Context:

Tomás loudly demands that the Man needs food – he can hear the Man pleading for it! Asel wants his colleague to realise that the beautiful view from the window does not actually exist. This might distract Tomás from the Man and from alerting the Supervisor with his shouts. Too late. Despite the men’s efforts to calm Tomás down, the Supervisor has heard the commotion. He uncovers the dead Man. The door is slammed shut on the men, and it remains to be seen what punishment they will receive for their deception.

Sample text

TOMÁS:

Asel! Give him some food!

ASEL:

He doesn’t need any. You were talking earlier about the morning light. Do you know what time it is now?

MAN:

You’re eating me alive! You’re killing me!

TOMÁS:

Asel, please!

ASEL:

You’re at least aware that it’s evening now, not morning? From what side is the sun shining on this scene now?

TOMÁS:

From this one.

ASEL:

And this morning?

TOMÁS: (Disconcerted.)

From … the same one.

ASEL:

Don’t you find that strange?

TOMÁS: (He turns to look at the view again.)

Perhaps it’s changed a little bit.

ASEL:

Do you think so? (TOMÁS looks away.) Don’t you find it strange that you can’t see any difference? Or perhaps you can …

MAN:

You can all sing and dance for joy. Great news! I’m dying.

TOMÁS: (Pointing at the MAN.)

He’s dying Asel!

ASEL:

No.

MAN: (Shouting.)

Murderers!

TOMÁS:

Murderers! You’re all killing him!

(He rushes towards ASEL, who gets up. The rest approach, very tense.)

MAN:

I can’t take anymore!

TOMÁS: (He puts his fists up and screams.)

Murderers!

LINO:

Stop shouting!

ASEL: (Holding him.)

Calm down, Tomás. You’re just having a turn!

MAN:

Water!

TOMÁS:

Give him water!

MAN:

I’m dying!

TOMÁS: (Freeing himself from ASEL’s grip, he shakes the MAN by the shoulders.)

I’ll give you water!

MAN:

… like a starved rat!

TOMÁS: (Shouts.)

I won’t stand for this!

TULIO:

Quiet! They’re going to come!

(TOMÁS runs towards the curtain. ASEL holds him back.)

ASEL:

Quiet!

TOMÁS:

Get off me! (They struggle.) I’ll get you something to drink right now!

(They all try and overpower him.)

LINO:

Shut your mouth!

ASEL:

Quiet! Be quiet, all of you!

MAN: (His voice is very weak.)

It’s … it’s too late.

(TOMÁS struggles. With ASEL’s help, LINO holds him down with an iron grip.)

ASEL:

Can’t you hear them? They’re behind the door.

(TOMÁS frees himself. Standing totally still, they all watch the door. A few moments of absolute silence. Suddenly, a sharp metallic sound is heard and the door is flung open. Immediately, the light changes. The fantastic rainbow-hued light that once lit the scene is replaced by a sad grey brightness. In burst the SUPERVISOR and the ASSISTANT. The ASSISTANT stands in the doorway, with his hand suspiciously concealed in his coat pocket. The SUPERVISOR looks at them all, runs to the bed and roughly rips the covers off the MAN, who now can be seen in his scant and worn underwear. The SUPERVISOR shakes the body and turns round.)

SUPERVISOR:

How many days has this man been dead?

(Suddenly, the light changes. It gets harsher and brighter. Only the corners – near the curtain, the lamp – retain some greyish shadow.)

TOMÁS:

Dead? But he’s just spoken!

SUPERVISOR:

You shut up! (To the others.) Answer me!

ASEL:

Six days.

TOMÁS: (Murmuring.)

That’s not possible.

SUPERVISOR:

Why did you silence him? (Silence. A malign smile spreads over the SUPERVISOR’s face.) You wanted his rations, didn’t you? (Silence. He heads towards the door.) Get this carcass out of here!

(Dressed in nurses’ whites, the WAITERS appear with a trolley that they leave at the door. They do not conceal their disgust as they enter, carry the stiff corpse from the bed to the trolley, and take him away down the corridor.)

[….]

(The SUPERVISOR leaves. The door slams shut. The surface of it has now changed. It is no longer made of wood, but rather of sheet metal. The doorknob has disappeared. Silence. TOMÁS runs to the door and pushes it to no avail. He searches vainly for the golden doorknob. Shaken, he strokes the cold plate that now covers the door. He turns and rests his back on the door, staring wide-eyed at his companions. ASEL holds his gaze. The others sit down wearily.)

Copyright

The above sample taken from the translation The Foundation by Gwynneth Dowling is licensed under a Creative Commons License.

Part Two scene 1

Context:

Tulio has been taken away. Tomás is despondent at the changes to the room and takes refuge in bed. As he lies there he hears the Rossini music he heard once before. Dawn comes up over the beautiful countryside beyond the window. Berta appears! Perhaps the hardships of the last few days have been a dream. Perhaps The Foundation is real, after all.

Sample text

ASEL:: Poor Tulio.; (He gets into bed. Not moving from where he lies, TOMÁS closes his eyes. Long pause. Very gradually, a barely-audible piece of music begins to play: Rossini’s Pastoral. At the same time, the sweet light of sunrise brightens the view beyond the window, even though the room itself continues to be lit by ghostly moonlight. TOMÁS opens his eyes and listens, enraptured, to the gentle music. From the bathroom behind the curtain, a silent silhouette slowly enters the room. TOMÁS sits up suddenly and sees BERTA, who is dressed in the white outfit that she was wearing when she first appeared.)
TOMÁS: (Very softly.): Berta.; (She signals solemnly for him to keep quiet and stealthily comes towards him, glancing at the other men in their beds. Once at his side she sits down on the end of the bed.)
TOMÁS:: How did you get in? The door’s closed.
BERTA:: Not to me it isn’t.
TOMÁS:: You took your time coming.
BERTA: (Sarcastically.): Well, if you want, I’ll leave.
TOMÁS: (Grabbing her hand.): No! You’re the last thing I can believe in!
BERTA:: Believe in?
TOMÁS:: I’m going to wake the others. I want them to see you.
BERTA:: They’re tired. Let them sleep.
TOMÁS:: Tulio’s been transferred.
BERTA:: I know.
TOMÁS:: That crazy bunch say that … that he’s going to be killed. But that a lie. If you’re here, it means it’s a lie.
BERTA:: You must know.
TOMÁS:: I don’t know anything anymore, Berta. Why is The Foundation being so unwelcoming? Do you know?
BERTA:: Yes. And so do you.

Copyright

The above sample taken from the translation The Foundation by Gwynneth Dowling is licensed under a Creative Commons License.

Part Two scene 2

Context:

Lino, Asel and Tomás are alone in the room. Lino blurts out the truth about Tomás’s attempted suicide. Asel warns him not to, but Lino is sick of lies. It’s time Tomás admitted the truth. He’s the reason they are all imprisoned, sentenced to death. Tomás has dumped them all in the shit, so it is quite fitting that he is caught out sitting on the toilet, as the last figment of his imaginary Foundation – the private bathroom – is revealed to be a very public and insanitary latrine.

Sample text

TOMÁS:: Please, don’t say any more.
LINO: (Exasperated.): You wanted to kill yourself! The entire prison knows that!
ASEL:: No, Lino! Not like this!
LINO:: Yes, man! It’s time to get this over with.
TOMÁS: (Getting up.): That’s right! I wanted to throw myself over that rail …; (He points to the door.)
ASEL: (Jumping to his feet he goes towards TOMÁS.): And I stopped it! (Extremely upset, TOMÁS looks at him and takes a few steps back. ASEL goes and takes TOMÁS by the arm.) Keep calm. You may be remembering it all, but keep calm.
TOMÁS: (Freeing his arm, extremely distressed.): I informed on all of you!
LINO: (Sitting down on ASEL’s sleeping mat.): What?
ASEL:: Yes, you informed on us. You were closer to the inner circle than you realised. You found that out after.
TOMÁS:: And it’s my fault you got caught, Asel.
ASEL:: That’s right. Me. And others.
TOMÁS: (He gasps.): And then they sentenced us to death!
ASEL: (Grabbing TOMÁS’s arms.): Calm down! I told you I would help you understand.
TOMÁS: (Lowers his head.): I understand.
ASEL:: You don’t understand anything! It’ll take you twenty years to understand. (TOMÁS leans on the table, grimacing in pain.) What’s wrong?
TOMÁS:: I feel sick. It hurts …
ASEL:: It’ll pass.
TOMÁS:: My stomach.; (Shaken, he looks at the curtain and stumbles, as if drunk, behind it. ASEL shakes his head sadly and sit backs down at the table.)
ASEL:: Don’t beat yourself up, son. They caught you distributing leaflets. You gave them the name of your supplier, who then gave us away and we were all caught. Are you listening, Tomás?
TOMÁS: (Off.): Yes.
ASEL:: You talked because you couldn’t stand the pain.
TOMÁS: (Off.): I’m a terrible human being.
ASEL: (Shakes his head.): You’re human. Sometimes strong, sometimes weak. Like almost all of us.
LINO:: But he informed.
ASEL: (Dryly.): And what of it?; (LINO shrugs his shoulders. He has already made up his mind.)
TOMÁS: (Off.): A traitor.
ASEL:: We’re at death’s door. Words like that mean nothing to me now.
TOMÁS: (Off.): I can’t forgive myself!
ASEL:: That’s why you wanted to kill yourself. That’s why, when I stopped you, you made up The Foundation: from the beautiful countryside that you could see instead of this wall, to that sparkling bathroom.; (The curtain rises and disappears above. At the same time the dark corner becomes brighter so that it is lit the same way as the rest of the cell. In the dirty and damp recess there is nothing but a lidless toilet with its cistern and flusher. At waist height, a tap on a metal draining board. To one side sits the old broom. To the other, crumpled pieces of paper are strewn across the floor. TOMÁS, very pale, is squatting over the toilet with a bit of paper in his hand that, without doubt, he has just used. As soon as the curtain is raised he sees his companions and throws himself on the ground, ashamed, tossing the piece of paper into the toilet and pulling up his trousers.)
TOMÁS: (Awkwardly buttoning his trousers.): You could see me.
LINO:: And you could see us. We’re all sick of seeing each other’s asses.
ASEL:: But you thought you were hidden behind some door or curtain … (TOMÁS nods.) Right up until now?
TOMÁS:: Yes.
LINO:: Such modestly! Must be nice to still have some.
ASEL:: You’ve just lost your last refuge. You’re cured.

Copyright