Like the last scene in the prior act, this text can be attributed to Graciela (Gachita) Amador, and the woodcut print to Xavier Guerrero, although it is unsigned. In this act, the image is indeed associated with the text, since a painter appears with a revolutionary on either side of him, while he paints a mural with the hammer and sickle emblem. Three bats circle around their heads, one of which bears the legend "reactionaryism." The print contains elements of Masonic symbology, indeed paradoxical in terms of the plot, and which considers the Masons as one group among the "mummies." The scene creates a farce within a farce and offers a caustic response to the charge against the mural painters on the part of the established intelligentsia. To add even more satirical elements, a scenario from a German Expressionist terror film is described. The metaphor becomes childish: the intellectual "vampires" take over the minds of the youths and replace them with their own, turning them into "little bats." The mummies, beings of other times, are unaware of the new scientific ideas. In this way, this scene sets up the contradiction between the pre- and post-revolutionary worlds.Faced with acts of vandalism against the murals at the Escuela Nacional Preparatoria reported in July 1924 and later, the painters of that guild had few options. They did manage to enter into a duel of defamatory remarks and reject the opinion of those who called them "daubsters," as being unaware of the supreme values of modernity and revolution. For obvious reasons, the name that is conspicuous for its absence from the list of reactionary intellectuals—whether mystic or institutional—is José Vasconcelos (1882–1959).