She stuffs her underwear into his mouth, takes his car keys and drives his car somewhere. Roberto is writing down the words of his confession as Gerardo plays them back to him from the cassette recorder. Gerardo blames Paulina for the spare tire in their car being flat and quibbles with her over his missing car jack—which she has loaned to her mother. Around midday, Roberto is still tied up. Teach your students to analyze literature like LitCharts does. Gerardo thinks that a confession, even if it’s false, might “liberate” Paulina from her “phantoms.” Roberto accuses Gerardo of working with Paulina and questions whether Gerardo is a “real man.” If Gerardo thinks he’s guilty, says Roberto, why isn’t he “cutting his balls off” and killing him. A political activist is convinced that her guest is a man who once tortured her for the government. Paulina takes him captive to determine the truth. They remove Roberto’s gag. She instructs Gerardo to go and fetch Roberto’s car. [4], Roger Ebert of the Chicago Sun-Times gave it 3 out of 4, and wrote: "Death and the Maiden is all about acting. The Question and Answer section for Death and the Maiden is a great It was based on the 1990 play of the same name by Ariel Dorfman, who also co-wrote the screenplay with Rafael Yglesias Plot. The original text plus a side-by-side modern translation of. Detailed study guides typically feature a comprehensive analysis of the work, including an introduction, plot summary, character analysis, discussion of themes, excerpts of published criticism, and Q&A. A few months later, Paulina and Gerardo are at a concert. That chance encounter brings up demons from her past, as she is convinced that the neighbor (Dr. Miranda) was part of the old fascist regime that tortured and raped her, while blindfolded. Paulina is torn between her psychological repressions and somber memory, Gerardo is torn between his wife and the law, and Dr. Miranda is forced to endure captivity while husband and wife seek out the uncertain truth about the clouded past. The confession ends with a plea for “forgiveness” and a promise of “repentance.” Paulina insists that he also write that his confession was made of his own free will. Paulina and Miranda cast uncomfortable glances at each other, and look away. She talks about the painful associations she now has with that music; it used to be her favorite piece but has since come to make her physically ill. She asks Roberto if this is the very same cassette that he used to play. Gerardo pleads with Paulina to let Roberto go, telling her that she’s “sick.” She insists that she won’t release him, and that they are going to put Roberto on trial “right here.”. All Right Reserved. Furthermore, Paulina points out that in telling her story to Gerardo, she deliberately added some inaccuracies to see if Roberto would unconsciously correct them, which he did, leaving her fully convinced of his guilt. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. With this in mind, Dorfman adds suspense to the beginning of the play, when Paulina is disturbed by the motor of a car and she subsequently retrieves a gun. Death and the Maiden Summary. Roberto outlines how he came to be involved with the military regime. Among the summaries and analysis available for Death and the Maiden, there Parents Guide, Henry G. Herron .