Obras por apellido de autores.

lunes, 12 de octubre de 2026

SEX, DECORUM, & CHECKMATE.

  

 






SEX, DECORUM, & CHECKMATE

A one-act dream farce

by Benjamin Gavarre

bengavarre@gmail.com



SEX, DECORUM, & CHECKMATE. © 2026 by BENJAMIN GAVARRE is licensed under CC BY-NC-ND 4.0

 

CHARACTERS:

  • ERNEST: Sixties. Stubborn, walks with a cane, anchored in traditional manners. (Mexican american).
  • ARTHUR: His friend and chess rival. On the verge of a nervous breakdown.
  • LUCY: The daughter. Modern, cheerful, uninhibited. (Blonde).
  • MATT: The boyfriend. Relaxed, dresses with a bohemian touch. (Even blonder than Lucy).
  • CLAIRE: Ernest’s wife. Practical and armed with a suspiciously heavy purse. (Super blonde).

 

Set: A comfortable middle-class living room in a classic Chicago greystone, complete with bookshelves and a record player. Center stage, a small table with a chessboard.

(The curtain rises. Ernest and Arthur are playing chess. Ernest’s hand is suspended over the board, holding a knight. He is completely frozen, staring into space. One second passes. Five pass. Arthur leans in, looking closely. He waves a hand in front of Ernest’s eyes. Nothing.)

 

ARTHUR: (Low voice) Ernest? (Silence) Ernest, for the love of God!

 

(The lighting shifts subtly. A bluish hue bathes the center of the room, leaving the chessboard in a warm cone of light. A French waltz begins to play, but performed on a slightly out-of-tune accordion and a playful double bass.)

 

ARTHUR: (Beginning to despair. He stands up from his chair, pulling his hair exaggeratedly) You’ve been like this for ten minutes! Move the piece or I’m going on strike!

 

(Arthur paces back and forth across the stage with his hands behind his back, huffing, exactly like an expectant father in a maternity ward. He goes to the door, grabs the knob, rethinks it, returns to the table, and feigns hitting Ernest on the head to snap him out of it. Ernest, without breaking his trance or looking at him, raises his free hand and makes a half-hearted gesture, like shooing away an annoying fly.)

 

ARTHUR: (Indignant) Are you shooing me like a fly? If I’m a fly, you’re a sloth in hibernation! I’m growing old waiting for you to move!

 

(While Arthur continues grumbling silently and walking in circles, Ernest physically stands up from his chair. Oddly, Arthur keeps yelling at the empty chair. Ernest’s body is technically still there, but his mind has just stepped into the dreamscape. Through the front door, Lucy and Matt enter. They don’t walk; they waltz in to the background music. He spins her. They stop in the center of the room and share a prolonged, passionate, and noisy kiss.)

 

ERNEST (DREAM): (Banging his cane on the floor) Whoa, whoa, whoa! You’re gonna swallow her tonsils, boy! Let her go, she’s not chewing gum!

 

LUCY: (Laughing, without letting go of Matt’s neck) Oh, Dad, don’t be so old-fashioned. Matt was just passing me some oxygen.

 

MATT: (With an exaggerated bow) Good afternoon, Mr. Ernest. We came to officially notify you that we’re moving in together. Maybe into an unfurnished apartment, just to let the energy flow.

 

ERNEST (DREAM): (Puts a hand to his chest, scandalized, moving like a silent movie actor) Over my dead body! This house has principles! How are you going to support her? By reciting poetry to houseplants? And look at the two of you! She’s blonde, you’re blonder... if you have kids, they’re going to glow in the dark! I’ll need sunglasses just to hold my grandchildren!

 

MATT: (Quickly kisses Lucy on the nose) With love, Father-in-law. Love pays for everything. And we’ll buy you polarized lenses, promise.

 

(Enter Claire at a brisk pace, gripping a purse that looks like it weighs ten pounds. She sees the scene and crosses herself with her free hand.)

 

CLAIRE: Sweet Lord in Heaven! Not in the living room, you’ll stain the rug with your indecency! (To Ernest) Do something, Ernest! Tell him decent men ask for the hand first, and the lips second!

 

(Matt, feeling cheeky, kisses Lucy again, this time dipping her backward in a tango move that completely clashes with the background waltz.)

 

ERNEST (DREAM): Oh, no, this is a provocation!

 

(A choreographed, physical chase begins in time with the music. Ernest raises his cane like a sword. Claire hoists her purse like a mace. They chase Matt around the room, but the boyfriend dodges the blows with elegant dance moves. Lucy laughs and claps.)

 

ERNEST (DREAM): (Swinging his cane at the air) Get out of my house, you bohemian!

 

CLAIRE: (Swinging her purse, which Matt dodges with a pirouette) Get a job first and kiss later, you hooligan!

 

MATT: (Spinning Lucy as he escapes) Youth is unstoppable, Mr. Ernest! Accept your defeat!

 

(The music speeds up. The four of them run in circles around the chess table, where Arthur is still pulling his hair in front of the empty chair. Ernest corners Matt against the bookcase, raising his cane...)

 

ARTHUR: (Screaming at the top of his lungs in the real world, slamming his hand on the table) MOVE ALREADY, FOR THE LOVE OF ALL THAT IS HOLY!

 

(Abrupt cut in the music. The blue light vanishes. Claire, Lucy, and Matt fade into the shadows. Ernest, disoriented, blinks. He looks at his hand, still suspended in the air holding the knight. He drops the knight, which rolls across the board. At that exact moment, the living room door opens for real.)

(Enter Lucy and Matt. They are holding hands, smiling. Matt approaches Ernest, gives him a friendly pat on the shoulder, and plants a loud kiss on his cheek.)

 

MATT: How’s it going, Mr. Ernest? You’re looking handsome today, full of light!

 

(Ernest brings his hand to his cheek, horrified, and then to his chest. His eyes widen drastically. He begins to dramatize a heart attack of theatrical proportions, staggering backward.)

 

ERNEST: I’m dying! My heart! I’ve just been kissed by a man wearing a scarf in mid-May! It’s the big one!

 

ARTHUR: (Unfazed, his eyes glued to the board) Breathe, Ernest, breathe. And while you breathe, move. Don’t you dare drop dead without seeing the trap I set with my bishop.

 

(Enter Claire carrying a tray full of coffee cups and cookies. Her heavy purse hangs from the crook of her arm.)

 

CLAIRE: Stop your bickering, you two old babies. Come in, kids, sit down.

 

(Ernest miraculously recovers upon seeing that no one is paying attention to his medical emergency. He clears his throat and sits rigidly. Lucy and Matt remain standing, looking at each other lovingly. Lucy leans on Matt’s shoulder and, in a quick motion, gives his rear end a blatant squeeze. Claire freezes. Matt returns the gesture, giving Lucy’s rear a playful, sexy squeeze.)

 

CLAIRE: (At the top of her lungs) HOLY TRINITY AND ALL THE ANGELS IN HEAVEN AND PURGATORY! HE JUST GRABBED YOUR DAUGHTER’S BEHIND! AND SHE, YOUR DAUGHTER, JUST GRABBED HIS... HIS...!

 

(Claire drops the tray with a clatter, grabs her purse by the strap like a medieval flail, and lunges at Matt.)

 

CLAIRE: Keep your hands to yourself! You pervert! YOU'RE BOTH PERVERTS! Not in my living room, you’ll stain the upholstery!

 

(Whack! First purse swing. Matt jumps and takes off running. A frantic chase begins, but this time it is no dream. Claire chases Matt, wildly swinging her purse. Ernest jumps up to chase his wife.)

 

ERNEST: (Running behind Claire) Claire, for God’s sake, your blood pressure! Your sciatica! Leave him alone, they’re from another era, they’re modern! Drop the purse, woman, it’s full of canned peaches!

 

CLAIRE: (Throwing another swing) I don't give a damn about modernity, there is decency in this house!

 

(While the three chase each other, Arthur stands up holding the chessboard, chasing Ernest. Lucy watches from the sofa, casually eating a cookie.)

 

ARTHUR: (Walking behind Ernest, ignoring the purse swings) Lucy, look closely. Your father won't admit it, but by moving my pawn to H3, I’ve blocked his rook’s exit. And frankly, Ernest, I don't know why you're so protective! Look at her! She’s practically Scandinavian and you look like you just Mexican Mojado! Half the time I’m surprised that Ice didn’t ask you for your passport! Is your daughter really your daughter, Ernest, look at the board while you run!

 

ERNEST: (Stopping dead in his tracks, managing to halt Claire) Enough! Enough!  Arthur, you’re so stupid! Surely I’m her stepfather, but I’m her father… Claire, calm down. Leave them be. They need to be free! Besides... (he makes a dismissive gesture, thinking he is still in his dream) I’ve already seen them do much worse!

 

(Dead silence in the living room. Arthur lowers the board. Claire’s eyes go wide as saucers. Matt peeks out from behind a floor lamp, sweating.)

 

CLAIRE: (Scandalized) Ernest! What do you mean you’ve seen them? Seen them do what?! Have you been spying on your own daughter through the keyhole?!

 

MATT: (Going completely pale, outing himself entirely) But... but we always close the bedroom door and lock it! And I wedge the chair under the doorknob!

 

(The silence grows even denser.)

 

ERNEST: (His face shifts from understanding to blood red) You two do WHAT?! WITH A LOCK AND A CHAIR?!

 

(The conservative old man snaps back instantly. Ernest grabs his cane and lets out the roar of a wounded lion, lunging at Matt. Claire drops her purse and jumps onto Ernest's back to hold him back.)

 

CLAIRE: (Pulling Ernest backward) Ernest, don’t kill him, we’ll have to pay funeral expenses and it’s the end of the month! Calm down! You said they were modern!

 

ERNEST: (Flailing with his cane) Modern out on the street! In my house, they are cloistered monks! Get over here, you discount stud!

 

ARTHUR: (Completely unhinged, he steps in between them, hoisting his wooden knight like a trophy) I DON'T GIVE A CRAP ABOUT THIS BOY'S VIRGINITY! IT’S MY TURN! MOVE YOUR PIECE OR I SWEAR I’LL MAKE YOU CHOKE ON THE BISHOP!

 

(Ernest stops. He looks at Arthur, who is on the verge of total collapse. Then he looks at Claire hanging off his back, at Matt hiding, and at Lucy dying of laughter. The pressure bursts. He screams at the top of his lungs, marches to the table, shoves his hands under the board, and flips it into the air.)

 

ERNEST: TO HELL WITH CHESS, MORALITY, AND DOORS WITH LOCKS! I’ve had it! Go live together! Get married, move in, become hippies, do whatever the hell you want, since you’re already doing it behind my back anyway! You are free!

 

(The wooden pieces rain down on the rug. Lucy hugs Matt and plants a passionate kiss on him. Everyone laughs uproariously, infected by the cathartic explosion. Arthur picks up the black King, pockets it, and mutters: "It was checkmate anyway.")

 

(Ernest turns to look at Claire with a mischievous glint in his eye. Without warning, he grabs her by the waist, dips her backward in a dramatic tango move, and gives her rear end a blatant squeeze.)

 

CLAIRE: (Jumping, startled) Ernest! What are you doing, you dirty old man!

 

ERNEST: (Giving her a quick kiss) Updating myself, my love. Just to show you that I can be modern, too!

 

(Claire laughs heartily and swats him gently with her purse. The couples kiss amidst the chaos of the fallen chess pieces. Arthur crosses his arms, smiling.)

 

CURTAIN

 

SEX, DECORUM, & CHECKMATE. © 2026 by BENJAMIN GAVARRE is licensed under CC BY-NC-ND 4.0

STOOP ROMANCE (a Retro Comedy).

  






STOOP ROMANCE

(a Retro Comedy)



STOOP ROMANCE (A RETRO COMEDY). © 2026 by BENJAMIN GAVARRE is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International


bengavarre@gmail.com



SETTING: Outside a luxury 1970s apartment building in a nice neighborhood like the Upper East Side, New York City. There is a well-kept garden and a wrought-iron gate with an intercom.


CHARACTERS:

  • SPARKY: A neighborhood grease monkey. Greasy overalls, huge mutton chops, shirt unbuttoned showing his hairy chest, carrying a massive monkey wrench.
  • ARTHUR: A bureaucrat. Tight lime-green polyester leisure suit, bell-bottoms, wide kipper tie, thick horn-rimmed glasses, carrying a briefcase.
  • CHRISSY: The housemaid. Pastel pink uniform, green colored contacts, huge Farrah Fawcett feathered hair. Expertly chews bubblegum.
  • MR. AND MRS. STERLING: The snobby "nouveau riche" landlords.
  • THE WATER BOY, THE BUTCHER, and THE EVANGELIST: Vendors and such.
  • JOHNNY: Chrissy’s boyfriend. A stud NYC Yellow Cab driver.


SCENE 1: THE SIDEWALK ENCOUNTER

(Morning in the Upper East Side. SPARKY is leaning against the building's gate, polishing his wrench with a rag. ARTHUR walks up briskly. Sparky looks him up and down, lingering a second too long on the tight fit of the bureaucrat's bell-bottoms).


SPARKY Well lookee here, Mr. Suit! What’s the rush? You coming to sharpen your pencil this early, or just looking for a place to shove your paperwork? (Stares deeply into his eyes)

ARTHUR (Adjusts his tie, and touches Sparky’s overalls as if by accident) Show some respect, maestro. I’m here to review internal affairs... I brought a rather large package full of... proposals. And I'm here to see if it fits in Chrissy’s drop-box.

SPARKY (Stepping a little closer than necessary) Ooh, Mr. Suit... for that drop-box you only got a flimsy little folder with no spine... Look, pal, I’m the one who tunes up the heavy machinery around here. Whenever something squeaks in the rear, I get my hands on the chassis and leave it running nice and smooth...

ARTHUR (Without backing down, holding his gaze) Don’t make me laugh, Sparky. I know exactly how to open a file from the back without bending the pages...


(CHRISSY comes out to the gate with a broom. She chews her gum and pops a loud bubble. Both men instantly strike a macho pose).


CHRISSY You two boneheads. Keep your tools and your little papers to yourselves, this building ain't a chop shop or a filing cabinet. What do you want, or are you just blocking traffic, or what?

SPARKY Chrissy, my sweet ride! Just guarding your entrance, my queen. You know I always look after your front bumper and your tailpipe.

ARTHUR I brought you a little gift, gorgeous. (Pulls a squished Ding Dong out of his briefcase) A sweet treat for a sweet lady. Next payday, I’m taking you out for fancy fondue.


SCENE 2: THE PARADE OF VENDORS

(A shout is heard: "Water delivery!". The WATER BOY arrives rolling a heavy glass jug).


WATER BOY Fresh water for Miss Chrissy! Should I take it all the way up top, or stick it in the back patio?

SPARKY (Stepping in the middle, threatening with the giant wrench) You ain't taking up or... giving nothing to the lady, pal! I’m the only one who services her pipes! Beat it, scram!

(The Water Boy runs off. The BUTCHER BOY arrives with a butcher paper package).

BUTCHER BOY Chrissy, I brought the Italian sausage for your bosses to eat. But for you, I saved a couple of extra-thick salamis on the side, for your cravings.

ARTHUR (Pushing the Butcher with his briefcase) Take your tube steaks somewhere else! The lady here only handles prime cuts.

(The Butcher drops the package at the gate and flees. A man in a pristine suit with a briefcase and a huge smile arrives: THE EVANGELIST).

EVANGELIST Good morning, brothers. Do you have a minute to talk about the Second Coming...?

SPARKY & ARTHUR (In unison, shouting highly offended) THE ONLY ONE COMING AROUND HERE IS ME!


(Realizing what they just yelled at the exact same time, Sparky and Arthur stare at each other. They blush slightly and clear their throats, adjusting their clothes, completely forgetting about Chrissy for a moment. The Evangelist crosses himself and runs away).


SCENE 3: THE BOSSES

(MR. AND MRS. STERLING walk up, loaded with Bloomingdale's shopping bags).

MRS. STERLING Jesus, Mary, and Saint Joseph! George, look at the riffraff blocking our entrance. Chrissy! Why do you let these peasants hover around our property?

MR. STERLING Hey, you two! Scram before I call the cops!

CHRISSY Geez, Mr. Sterling, I don't even know 'em. One wants to polish my hood and the other wants to stamp my forms.


SCENE 4: THE ENGINE NOISE

(Suddenly, the deafening honk of a car horn playing "La Cucaracha" echoes. Tires screech. JOHNNY struts into the scene with full 70s swagger, wearing a leather jacket and giant aviator sunglasses).

JOHNNY (Chewing on a toothpick) Hey, hey, hey! Turn the jukebox down! What’s the word, my golden girl? We outta here or what?

CHRISSY (Her face lights up. She drops the broom) Johnny, my sweet baboo! You're purring like a kitten. Breaking news, bosses: he’s my fiancé. You can keep your broom and your sausage! Let’s go, Johnny, I can’t wait to break in the fuzzy dice in your cab.


(Chrissy and Johnny walk away hugging. Mr. and Mrs. Sterling, totally indignant, storm into the building and slam the iron gate shut).


SCENE 5: THE CLIMAX AND THE TUNE-UP

(The street falls dead silent. Sparky and Arthur are left alone on the sidewalk, staring in the direction the cab left. Slowly, the hostility fades away. The air feels different. They slowly turn to look at each other).


SPARKY (Nervously playing with his massive wrench, dragging out his words) Damn my luck, Mr. Suit... All that time loosening the nut... for nothing.

ARTHUR (Places his briefcase on the ground. He takes off his thick-rimmed glasses and looks at him with unexpected depth) Indeed, my friend... And here I am with the file wide open, so much red tape stuck inside...


(Sparky takes a slow step toward Arthur, closing the gap. There is no anger anymore, only a sudden mutual sympathy).


SPARKY (Lowering his voice) Well, like I told ya... my master wrench adjusts any part. It's just a matter of finding... the right nut. Y'know, so we don't waste all this energy.

ARTHUR (Smiling, looking directly at Sparky's unbuttoned shirt) Rumor has it there’s a dive bar two blocks down called "The Rusty Piston"...  Word is, it’s a great spot for confirmed bachelors, they say. What do you say we go, grab a few stiff drinks... and... see what kind of paperwork we can file together?

SPARKY (Gently takes Arthur’s briefcase from his hands to carry it himself) You got it, Mr. Suit. You buy the drinks... I’ll cover the tune-up.


(Arthur, very softly, adjusts the collar of Sparky's greasy overalls. Sparky puts his arm around Arthur like a true companion. They take a couple of steps together, but suddenly Arthur stops).


ARTHUR Say, Sparky... with this heat, that bar seems like a pretty long walk.

SPARKY You hit the nail on the head, buddy. Better speed up the paperwork, like you suit guys say...

ARTHUR Took the words right out of my mouth, I'm dying of thirst.


(They both stand at the edge of the sidewalk, raise their arms at the exact same time with perfect 70s flair, and look down the avenue).


SPARKY & ARTHUR (In unison, at the top of their lungs) TAAAAXIIII!!!


(The loud screech of a Yellow Cab slamming on its brakes is heard. The two men run off toward the car, arms around each other. A groovy, sensual Latin soul track by Los Ángeles Negros starts blasting at full volume as the scene fades to black).


CURTAIN



STOOP ROMANCE (A RETRO COMEDY). © 2026 by BENJAMIN GAVARRE is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

AMORES DE BANQUETA (COMEDIA VINTAGE).

  

Amores de banqueta

(Comedia Vintage)


AMORES DE BANQUETA (COMEDIA VINTAGE). © 2026 by BENJAMIN GAVARRE is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International


bengavarre@gmail.com 


Espacio escénico: Afuera de un lujoso edificio de departamentos de los años 70  en alguna colonia como la del Valle, Ciudad de México. Hay un jardín bien cuidado y una reja de forja con interfón.

 

PERSONAJES:

  • EL MOFLES: Mecánico del rumbo. Overol engrasado, patillas de hacha, camisa abierta enseñando el pecho peludo, llave estilsón grandota.
  • EL LIC. PLUTARCO: Burócrata. Traje de poliéster verde limón ajustado, pantalón acampanado, corbata ancha, lentes de armazón grueso, portafolios.
  • CRISTY: La "muchacha" de la casa. Uniforme rosa pastel, pupilentes verdes, peinado de mucho crepé. Masca chicle con destreza.
  • DON GASTÓN y DOÑA CUQUITA: Los patrones "nuevos ricos".
  • EL GASERO, EL CARNICERO y EL TESTIGO DE JEHOVÁ: Vendedores y demás.
  • EL JOHNNY: El novio de Cristy. Taxista ponedor.

 

ESCENA 1: EL ENCUENTRO EN LA BANQUETA

Amanece en la Col. Del Valle. EL MOFLES está recargado en la reja del edificio, limpiando su llave inglesa con un trapo. Llega caminando rápido EL LIC. PLUTARCO. El Mofles se le queda viendo de arriba a abajo, deteniéndose un segundo de más en el pantalón acampanado y el ajuste del traje del Licenciado.

 

MOFLES

¡Újule, Licenciado! ¿Qué pasó? ¿Viene a sacarle punta al lápiz tan temprano, o nomás anda buscando dónde meter su papeleo?


(Lo mira a los ojos fijamente)

PLUTARCO

(Se acomoda la corbata, y toca como sin querer  el overol del Mofles)
Más respeto, maestro. Que yo vengo a revisar los asuntos internos... Traigo un paquete grande lleno  de... propuestas. Y vengo a ver si cabe en el buzón de Cristy.

MOFLES

(Acercándose un poco más de lo necesario)
Uy, Licenciado... para ese buzón usted trae puro fólder de los que se doblan, y sin costilla.... Mire, Lic... aquí el que ajusta la maquinaria pesada soy yo. Cuando algo rechina por atrás, yo le meto mano al chasis y se lo dejo suavecito...

PLUTARCO

(Sin retroceder, sosteniéndole la mirada)
Ay, no me haga reír, Mofles. Yo sí sé cómo abrir un expediente por detrás sin doblar la hoja...

 

CRISTY sale a la reja con una escoba. Masca un chicle y hace una bomba que explota. Los dos hombres se ponen en pose de galanes.

 

CRISTY

Par de babosos. A ver si van guardando su herramienta y sus papelitos, que en este edificio no hay taller mecánico ni archivo muerto. ¿Qué se les ofrece o a qué hora circulan, o cómo?

MOFLES

¡Cristy de mi corazón! Nomás cuidando tu entrada, mi reina. Ya sabes que yo te cuido la delantera y la defensa.

PLUTARCO

Yo le traje este regalito, hermosa. (Saca un Gansito aplastado de su portafolios) Un dulce para otro dulce. Y en la quincena, la llevo a los tacos al pastor.

 

ESCENA 2: DESFILE DE VENDEDORES

Se escucha un grito a lo lejos: "¡Gaaaaaaas!". Llega el GASERO rodando un cilindro.

 

GASERO

¡El gas, señorita Cristy! ¿Se lo subo arriba o se lo meto al patio de atrás?

MOFLES

(Poniéndose en medio, amenazando con la llave inglesa)
¡Tú no le subes ni le... das nada a la niña, mugroso! El único que le acomoda el tanque aquí soy yo. ¡Órale, lléguele, ahuecando el ala!

El Gasero se va. En eso llega el CARNICERO con un paquete de papel estraza.

CARNICERO

Cristy, te traigo el chorizo de Toluca para que se lo coman sus patrones. A ti te guardé dos buenas longanizas extra, pa' tus antojos.

PLUTARCO

(Empujando al Carnicero con su portafolios)
¡Sáquese con su tripa a otro lado! Aquí la señorita es de puro corte fino.

 

El Carnicero huye dejando el paquete en la reja. Llega un señor de traje muy pulcro, maletín y una gran sonrisa: EL TESTIGO DE JEHOVÁ.

 

TESTIGO

Buenos días, hermanos. ¿Tienen un minuto para hablar de la venida...?

 

MOFLES y PLUTARCO

(Al unísono, gritando ofendidísimos)
¡AQUÍ EL ÚNICO QUE SE VIENE SOY YO!

Al darse cuenta de lo que gritaron al mismo tiempo, Mofles y Plutarco se voltean a ver fijamente. Se sonrojan levemente y carraspean, acomodándose la ropa, olvidándose de Cristy por un momento. El Testigo huye santiguándose.

 

ESCENA 3: LOS PATRONES

Aparecen caminando DON GASTÓN y DOÑA CUQUITA, cargados de bolsas de Liverpool.

 

DOÑA CUQUITA

¡Jesús, María y San José! Gastón, mira nada más qué gentuza hay tapando la entrada. ¡Cristina! ¿Por qué dejas que esta bola de pelados ronden nuestra propiedad?

DON GASTÓN

¡A ver, ustedes! ¡Sáquense de aquí o llamo a la patrulla!

CRISTY

Ay, don Gastón, yo ni los topo. Son este par, que uno me quiere pulir la carrocería y el otro me quiere sellar las actas.

 

ESCENA 4: EL RUIDO DEL MOTOR

De pronto, se escucha el claxon estruendoso de un auto que toca "La Cucaracha". Un rechinar de llantas. Entra a cuadro caminando con todo el "swing" de los 70s, EL JOHNNY, con chamarra de piel y lentes oscuros gigantes.

 

JOHNNY

(Mascando un palillo)
¡Epa, epa, epa! ¡Me le bajan dos rayitas al tocadiscos! ¿Qué pasó, mi reinititita de oro? ¿Ya nos vamos o qué?

CRISTY

(La cara se le ilumina. Tira la escoba)
¡Johnny de mi corazón! Ya rugiste, león. Con la novedad, mis patrones, que es mi prometido. ¡Ahí le dejo su escoba y su chorizo! Vámonos, Johnny, que ya me anda por estrenar los forros de peluche de tu taxi.

 

Cristy y Johnny se van abrazados. Don Gastón y Doña Cuquita, indignados, entran al edificio azotando la reja.

 

ESCENA 5: EL DESENLACE Y LA AFINACIÓN

La calle queda en un silencio total. El Mofles y el Lic. Plutarco se quedan solos en la banqueta, mirando hacia donde se fue el taxi. Poco a poco, la hostilidad desaparece. El aire se siente distinto. Se voltean a ver lentamente.

 

MOFLES

(Jugando nerviosamente con su enorme llave estilsón, arrastrando las palabras)
Híjole, Licenciado... Maldita sea la suerte. Tanto aflojar la tuerca... para nada.

PLUTARCO

(Baja su portafolios al suelo. Se quita los lentes de armazón grueso y lo mira con una profundidad inesperada)
Así es, maestro... Y uno con el expediente tan abierto, con tanto trámite atorado...

 

El Mofles da un paso lento hacia Plutarco, acortando la distancia. Ya no hay enojo, solo simpatía súbita.

 

MOFLES

(Bajando la voz)
Pues yo ya se lo había dicho... mi llave maestra ajusta cualquier pieza. Nomás es cosa de encontrar... la tuerca correcta. Digo, para no desperdiciar tanta energía.

PLUTARCO

(Sonriendo, mirando la camisa desabotonada del Mofles)
Dicen las malas lenguas que a dos cuadras está la cantina "La Última Copa"... Que dicen que tiene mucho ambiente, dicen, para la gente de ambiente, sabe. ¿Qué le parece si vamos, nos tomamos unos buenos tragos... y ... vemos qué clase de papeleo armamos juntos?

MOFLES

(Le quita suavemente el portafolios a Plutarco de las manos para cargarlo él)
Ya rugió el león, mi Licenciado. Usted ponga los tragos... que yo invito.

 

Plutarco, con mucha suavidad, le acomoda el cuello del overol engrasado al Mofles. El Mofles lo abraza como a un verdadero cuate. Dan un par de pasos juntitos, pero de pronto Plutarco se detiene.

PLUTARCO

Oiga, mi Mofles... Pero con este calor, la cantina se me hace muy lejos para irnos caminando.

MOFLES

Tiene la boca llena de razón, amigo. Mejor vamos a acelerar el trámite, como ustedes dicen,  los licenciados digo...

PLUTARCO

Nunca mejor dicho, me leyó la mente porque me muero de sed.

 

Ambos se paran en la orilla de la banqueta, levantan el brazo al mismo tiempo con mucho estilo setentero y miran hacia la avenida.

 

MOFLES Y PLUTARCO

(Al unísono, a todo pulmón)
¡¡¡TAAAAXIIII!!!

 

Se escucha el fuerte rechinido de llantas de un vocho frenando de golpe. Los dos se van corriendo abrazados hacia el auto. Comienza a sonar a todo volumen una cumbia de Los Ángeles Negros mientras la escena hace un fundido a negro.

 

TELÓN


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