Twenty years ago, thinking more about politics than about theater, I published in Mexico and Spain a dialogue, or rather a chorus, entitled All cats are brown (21st century). It was a passionate, immediate, but reflexive response to the events of 1968 in my country, culminating in the Tlatelolco massacre on October 2. There was proven the incapacity of the PRI-president system to give a political answer to our political problems. Enclosed in arrogance, self-congratulation, and obsessive denial of problems, the system had no more word than crime. The cultural challenge of the university students and the middle strata of the country, looking for solutions to the sclerosis of the Institutional Revolution, knew no answer more symbolic than that of a collective murder in a place called the Three Cultures. The present version maintains the title of the French translation of Céline Zins published in Paris by Gallimard, but its content has been modified both formally and materially: new structures, new characters and situations; A new rhythm. This is the result of the work done in Berlin, a couple of summers ago, with the directors of Schillertheater.