Although this scene in the farce is unsigned, it follows the sequence and style of the prior scene; thus, it can be attributed to Graciela (Gachita) Amador. The woodcut print that illustrates this scene is signed by Xavier Guerrero, but bears no evident relationship to the plot, as it shows a worker/teacher giving classes to some children. Regarding the content, it is characteristic that the intellectuals are judged after the traitorous soldiers, since they are considered to be similar types. As opposed to the prior figures referred to in the abstract, this act uses the actual names of intellectuals and artists categorized by the publishers of El Machete as enemies; by extension, they are considered enemies of the people. In spite of its lack of literary qualities, the scene would not go unnoticed based on its angry, biting, iconoclastic tone, as well as its invitation to lynching. Like the Holy Inquisition, the imaginary leftist court draws up an index of writers and painters prohibited in the society of the future. Notable entries on the list are Francisco Bulnes, José Elguero, Antonio Caso, Dr. Atl, Juan Sánchez Azcona, and Jaime Torres Bodet.Through discourse of this type, the communists were shameless about making enemies since, in spite of their marginal position, they held the profound conviction that they were the receivers of the only possible truth—an attitude that David Alfaro Siqueiros (1896–1974) would sum up years later in the maxim "no hay más ruta que la nuestra" [Ours Is the Only Way]. In fact, his relationships with some intellectuals not mentioned but belonging to the same circles criticized was better than the communists were prepared to admit. In short, this episode should not be read as an outburst of anti-intellectualism of the type that certain leftist groups carried out from time to time throughout the twentieth century. It was rather a statement of assumed political, artistic, and intellectual superiority.