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Chapter VII:

Life in the workshop.

After Rosy’s appearance on the “Ed Sullivan Show”, I didn’t know how to make her notice me. I had wanted to meet her, talk, stay with her, but I did not know how. During the day everyone stayed in their own box and if we did not have rehearsal or shows we would rest. We would sleep, read and wait till night, but at night it was all different. As you already know, we puppets finally could move around and at nightfall I would do everything to have Rosy notice me. I knew she liked music and so one night I went under her box and sang some songs.

At that moment I thought she liked my songs, as I heard her sing along from inside her box, by improvising some duets, that gave me hope that she too wanted to meet me. Then I opened the lid and there she appeared. Oh boy what a vision! Even this time I remained breathless. As I was doing my best to string together some words, at least a nice introduction, there he was that abrasive Ino. Ino was a little mouse that Maria created as an antagonist to my role, the classic city sleeker, very elegant, with the right “savoire faire”, fascinating and a smooth talker.

His purpose was to accentuate my anti-rethoric, self-deprecation and ingenuity, qualities that should have been thought to children, according to Maria, a life of values, far from consumerism that reigned in the 60’s, along with refreshing sense of irony. On paper she was right, but at that moment Ino with all his qualities knew how to enchant Rosy, a very coquette girl mouse that loved to be courted, complimented. She had no use for a clumsy mouse like myself that did not have his way with words! Furthermore, Ino had his pockets full of tokens, god knows where he got them, and he invited her to the corner where the pinball and jukebox machines were located, and she would play and naturally win, then he would invite her to dance, trying to charm her anyway he could.

I really felt terrible watching the shipwrecking of all of Maria’s theories on the Values of Life and the irony of self-deprecation, which instead of making me strong were destroying me! But at one point I started to react and I dressed with a Gigio-Fro, with long pants and a woolen cap down to my eyes, I took some drums and performed to dangerous dances as my friend Michael Jackson had thought me. Then dressed as going to a Bronx night club, with a sparkling vest (I have plenty of costumes) and accompanied by a chorus of little spiders, that sang in beautiful low tones, I improvised an imitation of Louis Armstrong singing “High Society”.

At last, I remade the NY scene that we had constructed on the “Ed Sullivan Show”, to exhibit Armstrong’s music, aided by huge skyscrapers that took up life of their own dancing to a perfect Tip-Tap on their pilasters that transformed into legs and sang with heads of men, with the classic fedora and the hands slipped into white gloves, while the horns of cars perfectly mimicked Armstrong’s trumpet. All the puppets had left their boxes and they all applauded at the end of my skit. What mattered the most was Rosy was clapping her hands, but instead of seizing the moment, I showed off with a “See you later!”.

I left the partying, returned to my box, naturally after plugging the jukebox back in and give a challenging look to Ino. From the cracks of the box I followed Rosy, who instead of going back to dance to the dingy music of the jukebox, she chose to go back to her box and rest, so for that night I can say that I won against Ino one to nothing.

Chapter VIII - Topo Gigio does unheard things for love >>