Here we have our big transition in the story. After Alessandro left and had been gone for many days he comes back to the rancho:
In the 13th chapter of the book, before the above scene takes place, there is very little dialogue with most of the characters trying to outthink and out-scheme each other. In my notes I referred to this chapter as the "silent chapter". Ms. Jackson writes this about Senora Moreno:
"There is nothing so skilful(sic) in its own defence as imperious pride. It
has an ingenious system of its own, of reprisals, -- a system so
ingenious that the defeat must be sore indeed, after which it cannot
still find some booty to bring off! And even greater than this
ingenuity at reprisals is its capacity for self-deception. In this
regard, it outdoes vanity a thousandfold. Wounded vanity knows
when it is mortally hurt; and limps off the field, piteous, all
disguises thrown away. But pride carries its banner to the last; and
fast as it is driven from one field unfurls it in another, never
admitting that there is a shade less honor in the second field than
in the first, or in the third than in the second; and so on till death. It
is impossible not to have a certain sort of admiration for this kind
of pride. Cruel, those who have it, are to all who come in their
way; but they are equally cruel to themselves, when pride demands
the sacrifice. Such pride as this has led many a forlorn hope, on the
earth, when all other motives have died out of men's breasts; has
won many a crown, which has not been called by its true name."
Regarding the above scene, there are a couple of crucial differences between what happens in the play and what happens in the book. Alessandro does come back to the rancho at night, and Ramona meets him. He reveals that his family and tribe were forced out of Temecula. The thing about his father being shot is different than the book. In the book he is ill. Alessandro takes him to nearby Pachanga where he dies. He buries his father there. In the play he states the Temecula cemetery had been destroyed, but in the book it is a matter of them not being allowed on the property now that it is owned by the white man.
In the book and the play, Alessandro does give Ramona her new name, Majel, the wood-dove. Ramona states she thinks it might be better as Majella, and Alessandro agrees. They both agree to leave together.
So, after all this time, this is the point of no return. Ramona leaves Felipe a note, but she has left the rancho for good. She is now going to live her life as the Indian she is with Alessandro.
When I get back to this in a few weeks I have a series of about five locations in row that relate to their trek from the rancho to where they are married.
Ramona Epic #16: Tragedy and Escape (Vimeo Version)
