eL/Aficionado

Music and Libretto by Robert Ashley

Thomas Buckner The Agent

Robert Ashley lnterrogator N° 1
Jacqueline Humbert lnterrogator N° 2
Sam Ashley lnterrogator N° 3

Orchestration by Robert Ashley and Tom Hamilton.

Engineering and mixing by Tom Hamilton.
Produced by Robert Ashley.

The matter of giving credit to individuals for particular contributions to the

creation of eL!Aficionado is unusually difficult for me, both because of the way I
compose music of this sort (opera) and because of the sheer bulk of such
contributions over the six-year history of the work.

Most important to explain is the technique of the vocal characterization. ln

every solo or ensemble part, the singer is given a "character defining" pitch
(that is, a pitch somewhere in the singer's range that, understandably, forces a
certain "character" to emerge.) Around this pitch the singer is asked to invent
vocal inflections (pitch changes, vocal techniques, etc.) that express the intent
or meaning of the text. The singer is guided always in the vocal inflections by a
harmony, explicit in the orchestration, and in corne cases by a specific set of
alternate pitches. Apart from these technical limitations and apart from the trial
and error process of what is agreed on as proper or correct, the singer is entirely
free to invent the vocal character. So, the written melodies (which I think are
obvious to the listener) are only a part of the vocal characterization. Equally
important are the decisions made by the singer in practice and in rehearsal and
in the spontaneous inventions unique to this recording.
- Robert Ashley, August 1994
eL/Aficionado is a group of scenes from the life of an "agent." The scenes are a
kind of "debriefing" to a jury of Interrogators, in which the Interrogators
(chorus) challenge the Agent (soloist) in various forms of musical dialogue. The
mood of the opera owes much to our fascination with espionage and with the
character of those people who lead double lives.
Persona/
A simple description, in code.
My Brother Called
The Agent has been instructed to go to a cafe overlooking the entrance to a
building where "the department" maintains a safe-house or meeting place. He
receives a telephone cal! in the cafe. He is instructed to watch the building and
to describe in code every person that enters. The code takes the form of
newspaper "personals" (repeated throughout by the Interrogators, from the
record.) As part ofhis statement the agent describes the mysterious apartment.
My Brother Called, told in the present about an incident in the immediate past,
is interrupted successively by two other scenes, each enacted further in the past,
and finally by a scene of direct confrontation between the Agent and his
Interrogarors.
A Simple Border Crossing
The Agent is challenged to reconstruct the events of his first assignment. In this
assignment (apparently as a test of his training, the facts of which he recounts)
he is instructed to go to a building unknown to him and there to cope with a
"surprise" (which is described as a test of "the business of staying alive.") Even
while in watchfulness for "the surprise" he must memorize (in code, to be
repeated as part of his assignment) every room he passes through in this
"labyrinth." The scene is an antiphonal presentation of the narrative in two
moods: the Agent, serious and perhaps naive, against the subtle sarcasm of the
Interrogators, who apparently know the story from the inside.
An Answer Is Expected
The Agent recounts the climax of a bizarre assignment to interrogate a child
("find out something about him"), who is being held in a remote safehouse by a
mysterious couple with a dog. The child has the resources of an occult power.
He eludes the Agent's approaches and invokes the occult power to end the
examination. The Interrogators swear the Agent to a lifetime of secrecy about
this assignment. ("If we may be somewhat dramatic, you should take it to your
grave.") The scene is a continuous duet between the Agent and the chorus of
Interrogators.
el/Aficionado was commissioned by Mutable Music Productions for Thomas
Buckner. The quartet of operas, Now Eleanor's Idea, which includes
el/Aficionado, was written and developed with the assistance of grants from
The Rockefeller Foundation (1984) and the National Endowment for the Arts'
Opera Musical Theater Program (1985).
Digital mastering by Allan Tucker at Foothill Digital, New York City.
Libretto edited by Mimi Johnson.
Art Direction and Design: Nancy Foote, By Design.

Viva'sBoy Copyright© Robert Ashley, 1993

The story told in My Brother Called is interrupted, finally, by a direct question- Visibility Music Publishers, BMI
ing of the Agent's language and sk.ills. We learn something about the codes and
about the Agent's understanding of his job, but nothing is resolved. Lovely Music, Ltd.
10 Beach Street
New York, NY 10013
I am indebted to "Blue" Gene Tyranny for his work throughout the develop- Tel: 212/941-8911
ment of el/Aficionado both as a singer and as a pianist, and to him and to Fax: 212/334-5149
Joseph Kubera as pianists in the concert version of the work that was performed
for three years prior to finishing the electronic orchestra. - Robert Ashley
 [1] Seene One: Persona! The code is given on the menu that the waiter brings.
The Agent Warm, affectionate, intellectual, nonsmoking S.W.M. No one will interrupt you.
Professional, 40's. No one will want to use the telephone.
Many interests, cultured, artistic, humorous. This has been arranged.
Unmaterialistic, multilingual.
Disenchanted by business values. [3] Scene Three: My Brother Called
Unaddicted to week-ending or getaways. Ist lnterr. Very accomplished. This is an unusual contribution ta the meeting. The story is
Seeks S.W.F. admirably clear, well prepared, and, even with allowances for recourse ta notes,
Gentle, incellectual, unmaterialistic, attractive. almost usable. The time and date of this meeting are recorded for your protection.
Unmarried, 35-to-40, no kids.
For fun, laughter, intelligent conversation. The Agent After what is expected the waiter will bring the bill.
Sharing cultural interests. Say good-bye and give the telephone to him.
Romance. You are free to leave, then, and to forget.
This request is unusual, I know.
[2] Scene Two: My Brother Called l'm sorry. I haven't time to explain.
The procedure has been approved.
I st lnterr. As a way of getting started, perhaps you should try to say it briefly in your own Best regards on your recent work.
words. Use simple statements, thank you. We may begin the observations at any The waiter greets me indifferently, a regular customer.
time. I am seated by the telephone. The menu appears.
The Agent Long after I thought they had forgotten, my brother called. The telephone rings. The waiter answers,
Please, go to the cafe across the street from the apartment. moves it to the table. 1 study the menu,
Wait there for a phone call. watching the entrance to the apartment building.
The waiter will seat you near the telephone. He is not my brother in the ordinary sense.
The waiter will take the call and give the telephone to you. lt is a word we use in the department.
lt will be as though you are talking to a friend. lt means someone you can count on.
Who else would know to find you there? In any circumstances.
But there will be no other voice.
Describe every person that enters the apartment building.
Nothing is unimportant.
Achild.
Avery old person.
 [4] Scene Four: A Simple Border Crossing Final/y,-?
I recognize her as she greets me.
Ist lnterr. Let us go on for a moment to something else found in the dossier - a record of a But the memory can't be trusted.
sequence of events apparently related to and occurring prior to the observations The artists are at work.
sequence. lt would appear to be a typical, though somewhat melodramatic training What does that mean?
sequence, including both the confusion-challenge and the place-code-memory Their assignment is to change the world.
requirements, and enhanced, as prescribed by a sense of urgency. What parts of this Their assignment is appearances.
reading can you confirm? This artist can make you look like somebody's brother.
The Agent I will try to get this right the first time. Make you hear footsteps on the landing.
2nd lnterr. You recognized her? This artist cornes to your place, while you are gone.
Yes, but- And when you return?
Theres more to it than that. You don't live chere anymore.
To say just that. Or - anywhere.
You recognized her. The artist is assigned co change the world.
lt's not the truth. The artist works for the department.
lt was more than recognition. Shambles in the halls in worn out clothes.
The word is too secretive. Makes friends with the custodials.
lt hides something. Tries to be invisible.
lt keeps one of the secrets. Through modesty.
Of which there is too much in this business. And changes the world .
. 1 Kept in the desk. Not perfectly, ofcourse.
By - desk people. Or permanently.
To make their lives exciting, 1 guess. Just long enough to distract you.
Without knowing what a secret means. To take your mind off things.
Secrets increase the danger. Thats the danger.
lt is hard enough, without the secrets. The work of the artists.
Indeed, 1 recognized her. ls part of the secret.
First, -? Part of the secrecy.
As the companion of my father. The artist had worked on her?
Then, - ' For my benefit.
I recognized her in the mirror. Benefit is the word.
 To make her recognized by me.
2nd lnterr. And'
The play lasts a few seconds.
The Agent There is no end to lndia.
Just long enough to take the mind off business.
As weknow.
The business ofstaying a/ive.
It is so varied.
"! thought you would never get here."
Lots ofdifferences there.
Thats what she said'
The final place of Empires.
And I thought so, too.
Where they go to die.
Without knowing where here is.
Not a country at all.
"You will know it, when you get there."
So we've been told.
When the surprise comes.
A huge collection of places.
Ali the traveling seems wasted.
You could have corne straight here. Probably complicated.
The how-to-get-from has to be learned.
Why see the mountains in the north of Spain?
By rote.
Wherever they are.
A huge collection of wrong turns.
Why enjoy the wildlife in the deserts?
Dead ends.
And,-!
.Where the Empire runs out of water.
"Let's see how the Lapps are living this year."
1st lnterr. Recite Jewel of the Nile, please.
lts been different!
They were having problems with the reindeer. Chorus 11
Breathtaking river views
Ist lnterr. Recite Superior Seven, please. are yours (from every room)
ln this spacious
Chorus "From the moment you step inside this elegant
(sixteen hundred square foot) home,
(spacious) prewar home
Split Master Bedrooms.
You will instantly appreciate
(each with own bath),
its flowing (and gracious)
Surround expansive
Floor plan Oversized
(twenty six foot) Living Room,
(high ceilinged) rooms
Large Formai Dining Room
Three bedrooms
(New Kitchen) -
(three baths)
Perfect for entertaining,
Maid's room and beautiful kitchen
(Enclosed balcony
(plus pantry)
Complete this perfect picture." now a den) Many closets
(and Jacuzzi)
 Hint condition." What about the telephone?
2nd!nte". The connections must have worn away. I practiced six months.
There is surprise. How did you do?
The recognition comes too Late. Got it to face value.
There is still surprise. Par/or tricks.
Don't forget the sudden end. The guy that knows when it will ring.
Theswoon. The - post-modernist.
A state of mind has ended. He laughs.
I have prepared myself. About the absoluteness.
With help, ofcourse. Where does that corne from?
The state has gone to ail expense. Its been around.
To train you. I know I read it.
There should never be surprise. What about the telephone?
Surprise is an ending. Six months.
The ending of a state of mind. What kind ofpractice?
Not to be cultivated. There is a room, a telephone -
lt was a modern pleasure. And whatever makes you happy.
"Surprise me. " Just sit there.
The charm of modernism. Do whatever makes you happy.
Just recently passed. \ Whatever you do. Don't wait.
Not missed at ail.
Related to?
lt can't happen here.
And?
t Then, -
Go to the phone, -
Pickitup, -
And hope you hear the voice.
I will never die. The guy from the department says, -
That kind ofstujf "You're getting better."
Chorus 0
There is an absoluteness Otherwise, -

The Agent
2nd Interr.
to surprise, he thinks."
Where does that corne from?
One ofthe media, probably.
( lt rings.
" , You - pick it ~P·
You re dead by now.
I read it somewhere. Thats always hard.
 I got through one whole day. "Hello."
Its in the record. "This is a survey."
Beat him three times that day. "This is education."
One day out ofsix months.
Ali the other days I died at least once. ( "You have won a free trip."
"To the end of the world. "
No wonder theres a population shortage. 1
"You can bring a friend, if you like."
It's surprise that kills 'em. Etcetera.
Chorus " - absoluteness to surprise." The call that I was waiting for.
The Agent That guy knew something. Maybe waiting is not the word.
2nd Interr. And after that? Then,-
We rrained in other things. It rings again.
The - department one? And the voice says, -
And!. "They got you this time. "
Still, sometimes he would cal/. Funny thing is I've never seen him.
Nothing very dramatic. Wel/,-
Not middle ofthe night. Maybe I have.
Three wrong numbers in a row. Too many times.
Can't get the idea. So far it's just the voice.
A real pain in the neck. You'll catch on.
The fourth time it rings? He lives across the street.
I pick it up. Drives a car paid for by the city.
Enraged. Gives his wife a love pinch.
The guy from the department laughs. When he thinks nobodys looking.
"Four times in four minutes." And calls me on the phone.
It's discouraging To offir you the prize.
Keep cool. Stay in school. Retirement.
And keep an eye over your shmùder. Where you live forever.
Hard way to learn. So, 1 report t6 the office.
I thought I was cooked when this one started. To begin the trial.
"Come in tomorrow for an assignment." The one chat never ends.
Not like that, of course. Free trip to the end of the world.
lst lnterr.
Chorus
And here I am.
Recite Designed by Well-known Architect, please.
"This impressive (spacious brick con-
'
(
spoken of for the record. even if they have - what is the word? - "occurred" for
you. References to "her," "lndia, as a place to die" and "surprise" are in questionable
taste. remember. With this warning in mind, you may continue with the narrative.
·temporary) Expanded The Agent "A kind of test of your understanding. »
Ranch set in seclusion 3RD INTERR. "YouR PROGRESS."
( a private cul-de-sac.) "You will hear from us as usual."
Elegant circular staircase "BEST WISHES."
(leads to Master Bedroom suite) The one at the reception desk seems to be dozing.
His and Her dressing rooms THE OLD ONE.
(marble bath and sun deck) The trial or test of his understanding long past.
Separate children's wing, four YousTor.
bedrooms ( and three baths) Whac is the name of chat feeling?
Enormous Great Room PICK UP THE PHONE.
(and Kitchen) - The voice congratulates me for a good start.
Ali lead to treed patio THE OLD ONE WINKS AND SMILES.
(with in-ground pool) The feeling is too brief co have a name.
Heated cabana." THAT WAS DECIDED LONG AGO.
2nd !nterr. And at the right time - "It was my intention when this work was begun, - "
Go to this place. ETCETERA.
And,-? Where did I read that?
Do this and that.
ln order.
If everything is done right, -
You will be met.
. ,
lst lnterr.
THAT THE FEELING IS TOO BRIEF TO HAVE A NAME?
Or why it came to mind .
Recite Restored to Ciassic Elegance, please.

You may recognize the person. Chorus "This six..room dream offers
Don't be surprised gracious living (to the most
There will be a message. ,, discerning) Marvelous (for
entertaining)
Ofgreat importance to you.
This is the first assignment. Ovenized living
Y'have to start somewhere. (and dining) areas
Ist lnterr. You must be aware by now that certain themes are forbidden. They may not be Accessed by French doon
 (with maid/guest rooms nearby) Suite (Kitchen featured
- Original detail remains." Country Living Magazine)
3RD lNTERR. AND ABOUT DREAMS? Two fireplaces
The Agent They give false order to actions accumulated. " (- one walk-in)
As EXPERIENCE. Antique stained-glass
They supply the narrative. Windows {beamed ceilings)
WHAT ABOUT THE FEELINGS? Pegged oak floors; wine cellar
t'
The feelings are brief. (exquisite landscaping)
Too BRIEF TO HAVE A NAME. Greenhouse contains oversized
Dreams are interpretations of the recent past. Hot tub (splash pool)
UNJUSTIFIED, OF COURSE. Brick walks and terraces
Dreams are phony stories about ourselves. ( covered and uncovered)
TH ERE IS NO TRUE RECENT PAST. Large barn for horses (present-
Not in stuff that dreams are made from. ·ly used as artist's studio)
JUST AN ACCUMULATION. Riding ring. Carriage house
That has to be accounted for. (with efficiency apartment)
JUST BOOKKEEP(NG. Summer kitchen in outdoor
To satisfy a mysterious auditor. area (Stone smoke house) Se-
WHO 15 - UNNAMED. ..c1uded estate historie district.
And once accounted for, forgotten. ( convenient to major highways)
THIS COULD TURN INTO A THEORY. - Buildings and grounds imfflacu-
If we are lucky.
WüRK ON IT SOME MORE.
., -lately kept (land fiat)
Gently rolling meadows and
Thank you. woods ( overlooking trout
I st lnterr. ReciteA One-of-a-Kind Treasure, please. Stream).A one-of-a-kind treasure."
"Recently restored (with dis- 3RD INTERR. IN OTHER WORDS, .••
Chorus
The Agent To be forgotten.
·tinct Old World flavor)
ln impeccable taste (by " IF WE ARE LUC KY.

European-born artist owner) And, ifnot?

Main house eight rooms NOT FORGOTTEN.

(two baths) Master Bedroom Rehearsed-

 THIS IS THE HARD PART. White stucco walls (leaded
Until every action accumulated has a name. wlndows) Elegant panellng
EVEN IF lT'S HARD TO REMEMBER. ,t. Beautiful wood floors
Imagine a dream house. (- entry foyer)
IN A SEVERE LANDSCAPE. Charmlng living room
lt's always grey here. (- wlth flreplace)
No PROBLEMS FOR LIGHT-SENSITIVE SKIN.
Can be reached by car. ·, Diningroom
(- with flreplace)
BUT NOBODY LEAVES. Country kltchen, bar room
Are there exceptions? (fireplace and built-ins)
ExCEPT TO WAKE UP. Four additional bedrooms
Having rehearsed and lost it. (two-and-a-half baths)
ÜNE MORE TIME. Complementlng the main resldence
Not looking forward to return. (- cutting gardens)
You'vE PROBABLY GOT EVERYTHING. Specimen plantings
Streets that don't lead to places. (- pool) - Clay
CHECK THEM ONE MORE TIME. Tennis court (large awnlnged
The unbearable physicality of everything. terrace) Outstanding
THAT'S PROBABLY A CLUE. Opportunities ( outdoor
The unbearable stupidity of everybody's actions. family enjoyment) Recre-
THAT MIGHT BE ONE, TOO. ·atlon-filled entertaining."
The unbearable senselessness of the narrative. 3RD INTERR. "l THOUGHT YOU WOULD NEVER GET HERE."
THAT WILL NOT COME TOGETHER. The Agent And I thought I could never leave.
The artist is at work. THAT'S THE EQUATION.
ÜR IT's JUST WRITER's BLOCK. 2nd lnterr. Balanced on the fulcrum ofdeep sleep.
Assigned to change the world. SIX TIMES A NIGHT, PROBABLY.
I st lnterr. Recite Country Estate, please. And on the seventh sleep he rested.
Chorus "Ali stone slate-roofed estate " AND GOT UP FEELING GREAT.
At least, the dream was over.
(located on eight acres)
WHAT DO YOU SUPPOSE ALL THAT STUFF MEANS?
A relaxed country style
Must be code for something.
(architectural refinements)
 CODE FOR WHAT? Memory blocks anticipation.
Mundane history, maybe. Two SIDES OF THE COIN.
You MEAN A TRUE STORY? Dreaming blocks the present.
More or less. WHICH 15 WHERE THE DANGER IS.
WHY DIDN'T YOU SAY 50. They should coincide.
The story ofhis first assignment. THE PHONE CALL AND THE ANSWER.
You GOT THIS FROM THE RECORDS?
He is told to go 'someplace. "
.J, Or else its too late.
WHAT ABOUT THE MAN ACROSS THE STREET?
Tms 1s A TEST? Thats a hard one.
But - for keeps. AND THE OLD ONE AT THE DESK?
To SEE IF HE IS CAREFUL. Don't forget about the artists.
To test his powers ofobservation. " - IN THE HALLS IN WORN OUT CLOTHES."
To COIN A PHRASE, "Makes ftiends with the custodials."
To teach him about himself "TRIES TO BE INVISIBLE."
WHERE - IS HE? '~nd changes the world. "
Not exact/y a fonhouse. "Nor PERFECTLY, OF COURSE."
ÜARK PASSAGEWAYS. "Or - permanent/y. "
Unknown destination. "JusT LONG ENOUGH TO DISTRACT YOU."
ÜOORS AND STUFF. "To take your mind offthings."
He is lookingfor something. VERY POETIC.
BUT HE DOESN'T KNOW WHAT, He goes on a trial assignment.
He will know it, when he finds it. IT IS HIS FIRST ASSIGNMENT.
WHAT ABOUT THE - REAL ESTATE? A test ofhis courage and mind.
Code - for something. AND A TEST OF HIS TRAINING.
WHY THE RECITALS? The labyrinth is Just a house.
The usual testing. Dm WE EVER CALL IT THAT?
WHAT ABOUT THE DREAMS? Maybe not.
That is harder to explain. HE IS ALONE.
l<EEP AT IT. He is lookingfor something.
"What is remembered is on/y a dream." DoEsN'T KNOW WHAT THE SOMETHING 15.
WE CAN LEAVE IT AT THAT. Imagines there is danger somewhere.
 So HE MOYES CAUTIOUSLY.
Are indicated in references -
Memorizing certain landmarks. To THE WORLD OF DREAMS.
IN A CODE THAT HE HAS BEEN TAUGHT,
Suddenly- "final/y, "perhaps -
He supposes that -
HE IS FACE TO FACE WITH -
IF HE SURVIVES THIS TEST -
What he knows is the test.
He will be required to answer
IT ISA PERSON.
CERTAIN QUESTIONS. GrvE DESCRIPTIONS.
"[ thought you would never get here. "
To remember what he has seen.
YES.
MEMORY IN CODE IS -
There is surprise.
More accurate. Less fallible. THE RECOGNITION COMES TOO LATE.
HE BELIEVES THE DANGER IS REAL
There is still surprise.
He has been trained for that. 0oN'T FORGET THE SUDDEN END.
AND SO THE DANGER IN THIS -
"! thought you would never get here. "
First assignment, this test - THAT'S WHAT SHE SAID.
HAS TO BE REAL.
':And I thought so, too. "
There is a constant sorting - WITHOUT KNOWING WHERE HERE IS.
You MEAN' IN THIS LIFE.
"Yt,u will know it, when you get there. •
That he has not chosen - WHEN THE SURPRISE COMES.
BUT THAT INEVITABLY IS HIS.
':Ali the traveling seems wasted. "
And this assignment is Just the first of- "You COULD HAVE COME STRAIGHT HERE."
MANY VERSIONS OF THE SORTING.
That} the danger.
The sorting is irrevocable. THE WORK OF THE ARTISTS IS PART OF THE SECRET.
So THE DANGER IS REAL.
Part ofthe secrecy.
He moves toward the center. THE ARTIST HAD WORKED ON HER?
TOWARD THE DANGER.
For his benefit.
There will have to be illusions.
BENEFIT IS THE WORD.
TRICKS OF THE PLACE.
That distract him.
AND INCREASE THE DANGER.
Lapses ofattention -
FAILINGS OF WARINESS ...........
 [5] Scene Five: My Brother Called The city blocks are eut from sheets of newspaper,
and obviously arranged with accuracy,
Ist lnterr. Your technique of observation, as demonstrated in the recording of the transmission
each block isolated by its surrounding streets.
in question, shows real improvement. Now, let us go on to memory devices. We are
A hardwood floor with sheets of paper precisely spread.
honored to acknowledge your reputation in the use of these techniques.
A person could not move across the map, except cautiously.
The Agent The apartment is useful for a certain kind of business. The newspaper is in a language I don't read.
An immense, square room, without furniture. The meaning of the scene is impossible to describe.
Low ceilings. Full windows on two sides, west and north. If one looks for meaning in the ordinary sense.
A careful view of the two entrances to the building. The apartment is useful for a certain kind of business.
Against the east wall a small table with a telephone. This is a theater of ultimate precautions.
Left of the table, mounted on the wall, a loudspeaker. An idea realized perfectly to preclude surprise.
The telephone is amplified. News from the outside world. The actor enters upstage right in full view.
The table is lighted with one bulb, hung from the ceiling, Announced by telephone from the cafe across the street.
the bulb is shaded. This is the only artificial light.
Right of the telephone a door, the entrance to the room. [7] Scene Seven: An Answer Is Expected
The visitor enters, blinded for a moment,
Ist lnterr. We have had the pleasure thus far of the observations sequence and the training
facing the western windows and the outside light. sequence in performances that were acceptable, if not remarkable. You must have
Or, after sunset, turning to the artificial light
noticed that the intrusion of the language of"analysis" du ring moments of the
and its reflection off the patterns on the floor.
training sequence was not welcomed by all of us. You know the reason well: it is
A person could be in the northwest corner of the room, antiquated. Let us go on to the objectivity sequence, where the rules of the exercise
seeing all and unseeable from the entrance do<:>r.
allow a certain flexibility of characterization in order that the requirement of
plausibility is satisfied. You may begin at any time.
[6] Scene Six: My Brother Called
3RD lNTERR. AN ANSWER 15 EXPECTED.
Ist lnterr. lt is our understanding that these practices of yours are1 believed to be predictive in
The Agent Yes, sir, it was just as I described.
those societies where they are used.And you have claimed, this for them, in spite of
HE SAID THERE WOULD BE A DOG AT THE WINDOW.
repeated warnings about the possible consequences to be suffered for advancing
Can you blame me for being skeptical? A mere boy.
such daims, especially for persons such as yourself.
I don't think he was ten years old.
The Agent On the floor, spreading from the east wall, HE SAID THERE WOULD BE A OOG AT THE WINDOW.
laid out in a great arc around the telephone, I didn't know what he meant, of course.
and filling the room, a map of a small city. HE MEANT A ooc's FACE.
 I guess a dog can be said ta have a face.
THE FACE OF A DOG.
And chat it would be terrifying.
THE FACE OF A DOG. HE KEPT SAYING THAT.
He was sa confident.
Arrogant, if you don't mind me saying so.
That's the way I thought of it.
AN ARROGANT, MERE BOY.
2nd lnterr. With this story ofa dog at the window.
AND THAT IT WOULD BE TERRIFYING.
Of course, I had to show him he was wrong.
MAYBE WRONG IS NOT THE WORD.
Show him I knew what he meant.
THE MAN AND HIS WIFE HAD A DOG.
I think it was a purebred.
MEDIUM SIZE AND LOTS OF LONG HAIR.
I don't know what chat breed is.
I don't know much about dogs.
BUT SOMETIMES THEY CAN BE A LITTLE SCARY.
Especially the purebreds. That confidence.
IT'S ALMOST A HUMAN CHARACTERISTIC.
I guess that's why certain people like them.
And everyday, while I was there -
They would take the dog for a walk.
AND LEAVE THE BOY AT HOME.
I would be there with the boy. We would be ralking.
THE WAY GROWN-UPS AND CHILDREN TALK.
Halfpaying attention. Halfpretense.
I would try ta get a lirde information -
ABOUT HIS BACKGROUND.
I knew then that it would be important lacer.
I would try ta get the boy ta talk ta me.
WHILE THE MAN AND HIS WIFE WERE NOT THERE.
Try to get this mere boy ta tell me something.
lT WAS OBVIOUS THAT HE HAD SOMETHING TO TELL.
There was something about him - About his past -
SüMETHING MYSTERIOUS.
As though he had come from some other place.
SOME PLACE ALMOST NOT HU MAN.
MAYBE THAT'S TOO MUCH TO SAY.
We would be talking.
This and that. You know.
I say something.
HE LOOKS AWAY. ÜISTRACTEO.
Or pretending not to listm.
lt made me feel silly sometimes.
I would be looking for something to interest him.
A MERE BOY, PRETENDING NOT TO LISTEN.
Or Just not interested. lts hard to tell
Gad!
Thar feeling chat he was trying ta humor me -
THAT'S HARD TO TAKE.
Then, he would turn on me.
As though I had pushed it tao far.
Can you imagine?
A MERE BOY IMPATIENT WITH AN ADULT.
And he would say it again.
SAY 11' AS A KIND OF THREAT.
THAT !DEA ABOUT THE DOG AT THE WINDOW.
And when it comes. it is terri.f,ing.
Finally, I began ta rhink chat there was something -
- WRONG WITH HIM.
 Something wrong with his mind. THE COTTAGE, THEY CALLED IT.
You COULD NEVER TELL FROM THE WAY HE BEHAVED.
W!ty out in the middle of nowhere.
COMPLETELY GROWN-UP. AND NOT TEN YEARS OLD. God, how they stand that climate I don't know.
But, I understand that that can be possible. The road stopped about fifty yards away.
MAYBE EVEN TYPICAL.
It came out of the trees.
When something is wrong with the mind. And just stopped.
THE SURFACE IS MORE THAN ORDINARY. You'D THINK THEY WOULD BRING IT TO THE DOOR.
THIS MERE BOY WAS MORE THAN ORDINARY.
Especially in that climate.
I think we have to take that inco account. So, whoever came had to stop the car and leave it.
foR POSITIVE OR NEGATIVE. .ABOUT FIFTY YARDS AWAY.
I mean, that's my feeling. And walk the rest of the way.
It's your decision, of course. Maybe it's that way to make it safe.
l'm just here to witness. That's the only reason I could think of.
But it was an unusual assignment for me. Otherwise, it makes no sense.
Ist lnterr. Let us remind you, as the details accumulate, that this procedure is a typical and Stop the car and leave it.
straight-forward regression, in this case in four stages, and without major structural WALK FIFTY YARDS THROUGH THE WET GRASS.
changes, except that in this stage and in the stage that follows your relationship to lt was never eut. Like a
the first-person consciousness of the subject is limited and always in question. Think neglected yard. Not a field.
of this stage not as an impersonation, but as a time-displacement exercise. We can lT MUST HAVE BEEN CUT ONCE UPON A TIME.
continue. While I was there it was about six inches high.
3RD lNTERR HE ISA MERE BOY. AND MORE THAN ORDINARY. AND IN THAT CLIMATE IT WAS ALWAYS WET.
The Agent So, to show him - to get his mind off of this idea - So, whoever came, there was always business at the door.
THE IDEA THAT A DOG WOULD APPEAR - WET SHOES AND THE SMELL OF THINGS WET.
So that maybe we could talk - The reason I am saying this is that we watched them coming.
Maybe I could find out something - I called him to the door.
I called him to the door one day - And we stood there in the door together.
WHEN THEY WERE COMING BACK. W ATCHING THEM COMING TOWARD THE HOUSE.
2nd Interr. It was about noon, but very dark. They had taken the car, for some reason.
!t had been raining, and it was going to rain again. I heard the car pull in and stop.
EVERYTHING WAS WET. l called him to the door.
You know the place where we were staying, of course. And we stood there in the doorway together.
THEY GOT OUT OF THE CAR. THE MAN AND HIS WIFE.
The man opened the back door ofthe car and
kaned in. And put the dog on a kash.
VERY DRAMATIC. IN A WAY THAT'S HARD TO DESCRIBE.
That light. That grey green wet light.
We watched them get out.
We watched the man take out the dog.
We watched the woman wait.
So THAT THEY WOULD WALK TOGElHER.
They saw us, of course.
AND THEY WAVED IN THAT SILLY WAY PEOPLE DO.
Ail of us living there together.
THE MAN. THE WOMAN.
This mere boy.
And me.
THEY KNOW THE ASSIGNMENT.
We suppose the boy does not know, I guess.
We just stay there day after day.
EVERYDAY THE MAN AND WOMAN GO OUT FOR lWO HOURS OR SO.
Fresh air. Some excuse.
Or, when its raining, into town for shopping.
ALWAYS THE DOG GOES WITH THEM.
The boy never asks to go. Never even asks.
And I would be left there with the boy.
And I would try to talk with him.
To - FIND OUT SOMETHING.
lt was my assignment.
THEY WOULD BE GONE FOR A COUPLE OF HOURS.
When they got back, the day would go as usual.
Cook a meal listen to the radio.
I would play chess with one of them.
Or, 1 would try to play checkers with the boy.
BUT HE COULDN'T SEEM TO CONCENTRATE.
The days passed. lt seemed like an eternity.
At night, after everybody went to bed, I would write.
REPORTS.
Which you have read, 1 guess.
I think there is nothing there. Nothing in them.
I couldn't find out anything.
Ex.CEPT THIS STORY ABOUT THE DOG.
Which I tried to write. But it was too hard to write.
I am not an author, you know.
Ist lnterr. The opinion on why we tell these storles is still out, so to speak, and the idea that
any imagined interpretation of the character.or-circumstances combination, to be
facetious, has its roots in some "mysterious" need to structure details remembered
of"previous" lives - or any lives, for that matter - has no consensus. as you know.
We tell stories, and one is judged only on how well it is done. You may proceed.
The Agent We watched them approach through the wet grass.
We were standing in the doorway together.
And I said to him, "ls that the dog?"
2nd lnterr. He didn't even turn.
3RD !NTERR. HE JUST TALKED LOOKING STRAIGHT AHEAD.
And not very loudly.
Now that I tell it, it seems more like a meeting.
The kind you get used to in this business.
Two MEN AT A BUS STOP.
The folded paper. The sign.
The whok quickness and the secrecy.
AfTERWARDS THE WORRY THAT YOU GOT IT RIGHT,
You have to gtt out when you get older.
You can't trust your ears.
IT HAPPENS SO FAST. As YOU KNOW. ÜNE TALKS.
Looking straight ahead. The other listens.
Just as the bus comes or the taxi or whatever.'
So THERE IS ALWAYS THAT NOISE, TOO.
The doors open.
One gets on the bus.
THE OTHER LOOKS AT HIS SCHEDULE AND HIS WATCH.
Waiting for the next bus.
lt happens as the bus cornes. To block the view.
So YOU ARE HIDDEN FROM THE OBSERVERS.
A few simple sentences.
ln noise. l think l got it right.
This was the same.
As if the man and his wife were the observers.
As if the pattern of the four of us together had just -
Changed. As if the sides had changed.
It was so brazen.
Looking straight ahead and ta/king.
It seems so unreal now. So impossible.
A mere boy. And a grown-up.
STANDING IN A DOORWAY TOGETHER. TALKING ABOUT A DOG.
He said it so perfectly. Without hesitation.
No, 1 know that's what you think.
But you are wrong. That's not the dog.
That's not what you will see before you leave.
You think chat I am afraid of this dog.
You think that I am trying to tell you something.
Something that I don't understand.
But, you are wrong. You'll see.
Like a grown-up ta/king.
I had the same sense of worry chat I had heard it right.
When it happens that fast, you can} be sure.
lt was like a dream. That's why this is so hard to tell.
I had to pretend chat nothing happened.
I had to greet them both and talk about the weather.
Help them at the door. Smell the wetness again.
We unpacked the shopping bags.
They said chat they had met a friend of mine in town.
The message: the assignment was over.
I thought how strange it was chat it should end just now.
Just when I thought I had a breakthrough.
Final/y something to report.
The boy went upstairs. He lefr the three of us together.
Ta/king about the friend they had met in town.
lt was as if he lefc me alone with them.
So chat I could be sure I had got the message right.
And chat was the last rime I spoke to him.
I read some ta spend the afternoon.
We listened to the radio and made sorne supper.
After supper the boy went straight upstairs.
Nobody said much then.
!t was coming to an end, and nobody knew anything.
I won't cake another assignment like chat one again.
I prefer ta be on the street.
Where the dangers are real, at least.
I cried to say in my report that l had something to tell.
Something that is too hard to write.
Thac's why I am here, 1 suppose.
I st lnterr. Yes, yes, "suppose." Very well done. That's here in the report, isn't it? May I quote
you in your own words? Don't forget to use "suppose." Well, perhaps, not in your
own words. Out of the old mongoose-and-cobra manual. Don't forget to use
"suppose." We have found the report to be of interest and "interesting" in many
ways ·like this. For instance, the meeting at the bus stop. Oh, the nostalgia of it. Old
 men eat sandwiches in hotel rooms, doing crossword puzzles. But the report stops
I said goodbye.
before what happened the next day.
lt was the on/y word possible.
The Agent l would not like to have to write that down on paper. He just looked at me.
After breakfast I packed. I don't blame him.
I made the excuse that l had to be away for a few days. I didn't think much of myself either by that time.
That I had called a car. I must have been about halfway down the stairs.
What I had been instructed to say is that l would return. l heard him say, "Be careful."
In Just a few days. Those words were so unexpected.
But I couldn't. 1 couldn't say it. They did something to me -
They knew, ofcourse. To mymind.
They had met a friend of mine in town. What happened next is like a dream.
I could not lie in front of that boy. I will say it once, here, in front of you.
I could not lie - Then, never again in my life to anyone.
Knowing that he would know that I was lying. What happened next is the reason I have resigned.
There is a limit to foolishness, even in this business. From the service.
I could not lie, knowing what was in store for him. What happened next has left a scar.
The assignment had ended Everybody knew it A scar chat I hope no one will ever see.
3RD lNTERR. THE CLEANER DONE WITH, THE BETTER. I crossed the front room at the bottom of the stairs.
So, finally, I simply said goodbye. At the door I turned to take one last look.
He was standing in the doorway to his bedroom. You teach yourse/fto do that.
I had to pass the doorway on my way out. IT ISA FORM OF CLEANING UP YOUR MEMORY.
He did not intend to come downstairs. THAT LAST LOOK. IN CASE ANYONE SHOULD ASK.
THE PRETENSE WAS ENDED. In case you should ever need it.
THE TWO OF THEM WERE GONE, AND THE DOG WITH THEM. And in the window on the right I saw it.
Another errand. An excuse to be away. A dog was looking in the window.
My car came. I could see just the face above the sil!. Just looking.
lt pulled up at the end of the road. Fifty yards away. Jesus, what am I doing here?
The driver did not get out. Just a dog looking in the window.
As instructed. AND lT WAS TERRIFYING. LIKE HE HAD SAID.
I picked up my bags and closed the bedroom door behind me. THERE WAS A COLONESS IN THE ROOM.
He was standing in the doorway to his room. I hope I will never feel that feeling again.
I starred running coward the car. [8] Scene Eight: My Brother Called
A grown man, running. The line has gone dead.
The Agent
And there was no sound, anywhere. Suddenly, 1 realize thar I am very tired.
Until the car started. The burden of improvisation,
I had the feeling that I would never get there. and watchfulness about what the body says,
I had the feeling that the car would leave. smiling, as if listening to a voice from the silence.
Before I got to it. Every detail of human appearance is to be memorized
And that I would never stop running. Ever. against the chance that the passer-by will enter.
What happened next has already been described. The burden of the importance of inaccuracy of rnemory.
lt is in my record. He is not my brother in the ordinary sense.
Thank you. This has been very he!pful. It is a word we use in the department.
WE WOULD APPRECIATE YOUR CONFIDENTIALITY, OF COURSE.
lt means someone you can count on.
STORIES LIKE THE ONE YOU HAVE JUST TOLD -
In any circumstances.
- become more important later. The waiter appears and takes away the menu.
LATER IN ONE'S LIFE THEY BECOME MORE IMPORTANT.
A eue to end the phantom conversation.
JUST AS THE URGENCY SEEMS LESSENED.
I hang up and the telephone is rernoved.
The basic equation of old age. I don't know how long the scene has lasted.
MORE IMPORTANT TO BE TOLO.
LESS IMPORTANT TO BE KEPT BACK.
We appreciate your understanding of this as of now.
YoUR SERVICES HAVE BEEN MORE THAN EXCELLENT.
BUT, LET US STRESS AGAIN THE WARNING.
Before you are excused to go.
THE STORY IS MORE OR LESS WHAT WE EXPECTED.
lT HAS BEEN TOLO IN OTHER FORMS.
It verifies opinion.
lT IS THE REASON WE ARE HERE.
THE MORE C.AUSE, Tl-lEN, THAT IT SHOULD REST WITH YOU,
If we may be somewhat dramatic in speaking of it -
You SHOULD TAKE IT TO YOUR GRAVE.
Yes, sir.

~-- - - - - - --- ------ ---

 [9] Scene Nine: Viva's Boy [10] Scene Ten: My Brother Called
2nd Interr. What is the meaning of''unmaterialistic, multilingual?" The Agent The outcome was not cleai-.
The Agent As you might suppose, the code was neither literai nor obviously descriptive. lt The line went dead, as l have told you.
covered age and sex. Color and length and treatment of hair. Various ways of The waiter appeared alrnost immediately.
saying how tall, how heavy for the body-size. Apparent physical strength, style of He brought the bill for the food that I had ordered,
clothing, whether something was carried - a purse or briefcase. Any special fact which was untouched, except for what appearances required
chat might serve as some sort of warning. I don't know how long the scene had lasted.
3RD lNTERR. WHAT WAS THE PURPOSE OF THE CHOICE OF PERSONAL SOLICITATIONS AS A SUBJECT?
It was dark outside now.
The Agent The simple purpose was to repeat a description in a different code. The person The lights in the cafe had corne on.
described as "sought" is the same persan in a different code. 1 believe it is a kind of And the light was on in the apartment,
confirmation, both for the listener - whoever that was - and for the speaker. A as it must have been on from the beginning,
double-check against the memory. in readiness, but unnoticeable in the twilight.
2nd Interr. !t seems unlikely that something as peculiar as the reciting ofa list ofpersonals to a Finally, my attention softened.
phone-calier would go unnoticed in a cafe. I paid the waiter and forgot why I had corne.
The Agent As I understood the assignment, my job was not ta go unnoticed. As you must His indifference canceled the urgency of the past.
know, no arrangements can be perfect in this calling. Or, perhaps they were I have nothing more to report to you.
perfect. 1 did as I was told. I learned long ago that there is never any news.
3RD lNTERR. THERE WERE TOO MANY WORDS OF DIFFERENT SORTS FOR YOUR EXPLANATION TO BE
BELTEVABLE.
The Agent It is not important to me that you believe me. You called me here. I hav.e been
trained. 1 have described my role as best I can. The "menu" was not such that you
could order food from. Most of what happened makes no sense to me.
2nd Interr. Can you remember enough ofthe code to be able to describe yourse/fto us now?
The Agent No. Nor would it have any meaning, if I could. The words were as senseless as they
seem. Maybe they were the most important words I have ever spoken. Maybe it
was just another test.
3RD INTERR. WHAT WAS THE OUTCOME?
 \

The Personnals
Honest, lonely country lawyer. Here I am.
Warm, affectionate, intellectual, nonsmoking Pretty S.J.W.
51. Another petite, attractive woman.
S.W.M. 39.
Phi beta kappa. Psychotherapist.
Professional, 40's. Successful.
Trial-weary. 41.
Many interesrs, cultured, artistic, humorous. Super-smart.
Wants to yield to proven screen-writing Nurturing.
Unmaterialistic, multilingual. Sensuous.
abilities. Sensitive.
Disenchanted by business values. Sensitive.
And proclivities. Intuitive.
Unaddicted to weekending ot getaways. Cuddly.
Seeks congenial woman. Looking for that man.
Seeks S.W.F. Affectionate.
Substantial independent means. Caring, imperfect.
Gentle, incellectual, unmaterialistic, attractive. Seeks sarne.
Who needs a trustworthy professional. Non-smoking.
Unmarried, 35 to 40, no kids. InS.J.M.
As a life-mate. Professional.
For fun, laughter, intelligent conversation. Articulate.
Promises additional glitter. There are no new words.
Sharing cultural interests. For fun, friendship and fantasy.
For the remaining golden years.
Romance.
lntellectual. Original thinker.
Love the outdoors. Professional speculator.
Well-achieved, vulnerable man. Non-wealthy gentleman.
Tennis. Handsome, successful, intelligent, educated.
37. 54.
Long walks. Passion for Piero, Palladio.
Alive and humane. Loves marble, gardens, mountains, sea.
Ballroom dancing. Puccini, pasta.
Attractive and fit. Would share Provence.
Also baroque music. S.W.M.,41.
Seeks similar woman for friend. Or domestic equivalent.
Cozy evenings. Seeks woman panner.
Playmate, lover. Seeks musically sensitive lady.
Good conversation. Discerning.
Non-religious, friendly to libertarian thought. 40-ish.
Youthful 50's. Pretty.
Etnotionally open, intellectually honest. I seek not wealth.
S.W.C.F. Young.
Hugger, cuddler. But sharing beauty.
Seeking male companion. Bio. Photo.
Bach-lover, keyboard hacker. Caring.
To share interests. Replies confidential.
Nonsmoker, modest runner. Family.
Humor and good rimes.
Art Deco fan, occasional collector.
 ~,J.~-,~j '~

Southern belle. Zan y.

Exuberant. If you are a successful single active man. G.WM.
Blonde.
Green eyes. Leggy. Around 60 more or less. 39.
Merry widow. lnterested in music, good food, investrnents. 5'11"
Slender.
Well-educated, traveled, business woman. Looking for good time. Travel, birds, scrabble, arc. 155.
Long-term. Books, movies. Strongly committed to feminism.
Oivorced.
Active with many interests. If you love the theater. Gardening, family. And civil-rights issues.
Movies. Or almost anything else. Seeks long-term relationship.
Can relocate.
Romantic walks on the beach at sunset. How about having dinner? With other male.
Seeks refined gentleman.
Send letter. See how the conversation goes. Caring and supportive.
Sincere.
Please. I am a presentable woman. lncerests include theater and psychology.
Successful.
I love to write. Easy to be with. Literature and film.
Legally free.
Drop me a line. Travel.
Divorced male. Concupiscent.
Affiuent. Southern woman, 28, single Caucasian. Southern physician.
60. 5'11". 185.
Pacifie. Petite and feminine, professional and successful. 40 years old.
Attractive, educated.
Northwest. Hard-working and goal-oriented, living in a man's Tal! and handsome.
Intelligent, warm, supportive.
Independent means. Ph.D. world. D.J.M.
Wise in the ways of the world. Former shrink. Seeking a sensuous man with a desire and a Non-smoker.
Turned investor. persistence. Seeks missing link.
Seeks slim woman.
Seeking fcmale. To pamper me, an abilicy to conquer my fantasies. Successful, stunningly beautiful, blonde
Sensual, bright, attractive.
Height/weight proportionate. And explore my confusions. A man with an easy woman.
Educated, professional.
Combination. laugh. Intelligent 25 to 39, tall and slender.
50-ish.
For serious, monogamous, fun-filled Companion, long-term. An understanding heart, a dominant spirit and wit. To share good times.
And swinger. A man more financially successful and older than Sunny beaches.
relationship.
myself. Travel.
Recent photo a must.
With an inner strength, and an outer tolerance. Hopefully new future.
A man with an abilicy to help and yet to soar.
A man with whom I can learn.
And occasionally be defenseless.

J ··~
·-':,'°·-)