([Clyde and Leo still on stage] Olive enters pursued by Belasco. He presses up against her, continuing whatever was happening off-stage. Rhetta enters.)
Rhetta: Enough of this.
Olive: Ah, shit, you again.
Rhetta: This needs to end right now. You are dividing this company and destroying the sanctity of our purpose.
Belasco: Toots, relax-
Rhetta: I was not talking to you. (beat)
Leo: Not it!
Clyde: Not it!
(both exit)
Rhetta: I need to speak to Oliveretta.
Belasco: Well that's tough, she's busy right now.
Olive: I have time.
Belasco: Doll-
Olive: Go away.
Belasco: You're kidding, right?
Olive: Now.
(Belasco stares Rhetta down, gives up. Slaps Olive's butt on the way out. Olive does not flinch.)
Rhetta: Is this really necessary? Must you carry on in this fashion?
Olive: I like this dress.
Rhetta: You know what I am referring to!
Olive: It suits me. This is of my choosing.
Rhetta: He is using you for his own pleasure.
Olive: You are rather daft, you know that? This is not about that silly man. He has no power over me. I am stronger than I look, and don't you forget it.
Rhetta: Then what? What is the goal here?
Olive: I get what I want. He desires me, he follows me. He would do anything I ask.
Rhetta: And how convenient that your requests line up seamlessly with his.
Olive: What do you care of my requests?
Rhetta: You are causing a rift in our company! We are here to create art! We are part of the most important creation of the Fates. Without us, without this art, those living would lose the ability to understand each other.We have this masterful vehicle to express the thoughts and feelings of others, and you are halting that process with your selfishness and libido!
Olive: Oh, you are adorable! Try, for one moment, to utilize what you value so highly. Understand me. Empathize with me, if you have the time. Do I need to put on a play for you to see my point of view?
Rhetta: I see a pithy, flighty girl who wastes her time with a man's emotions for enjoyment.
Olive: I am an intelligent woman who dwells in a space where "wasting time" is of no concern. I-
Rhetta: Not this again-
Olive: I AM AN INTELLIGENT WOMAN with (boobs out) a purpose. I am a powerful woman who uses the tools that make themselves available to her. What can I help it if those tools are so willing to fall at the feet of others, due to these hands?
Rhetta: What have you done?
Olive: I have allowed Belasco to make me happy.
Rhetta: And what, exactly, makes you happy?
Olive: Comedy.
Blackout.
NEXT SCENE
Wednesday, December 31, 2014
Tuesday, December 16, 2014
Ghostlight 2.5
[ INSERT CLYDE AND ALICIA HERE]
Leo: Now you listen to me. You can say whatever you'd like to me. You can insult this company and our profession. You can curse the name of Dionysus. But you treat that man with respect. You don't know where he's been. You don't know his life.
Alicia: We don't have that, remember? Whatever happened in our lives is completely insignificant now, isn't it?
Leo: Wrong. You are wrong. You are such a child.
Alicia: Then teach me. That is all I have been asking for since I got here. Teach me. Tell me why I'm wrong. Don't condescend, don't pat my head and run away, don't send me off to arrange fabric scraps and ribbons. Talk to me, not at me.
Leo: You're right. We've spent so long with only our crew that we've forgotten. No one has joined us in so long. You don't know how to be here, and we don't know how to explain.
Alicia: Try.
Leo: Alright. (pause) Where are we?
Alicia: In the flies.
Leo: Wrong. Where are we?
Alicia: On set?
Leo: Wrong. We are in the theater.
Alicia: Right, I got that part.
Leo: No, you don't. Do you want me to talk? (pause) We aren't in a theater. We are in the theater. The art. All of the physical places. We are in all of them. Each of them. And none of them. We exist in the heart of every space that holds this art. Individually, yes, we localize. Belasco keeps mostly to his namesake, Olivia to the New Amsterdam, but we are everywhere. Our company gathers where the art is. The Fates provide us to the places that need us.
Alicia: But how did we get here?
Leo: In the simplest of terms, we gave ourselves willingly to this art. What did you love the most when you were alive?
Alicia: (considers) The stories. The community, touching lives.
Leo: The stage.
Alicia: Yes.
Leo: The Fates knew. They saw you and brought you to us.
Alicia: So all the religions? They were all wrong? All that is left is nothing-ness or this? Is this limbo?
Leo: Think, dear. Your life, the things you devoted yourself to, your heart, after all of that, do you really believe that this isn't heaven? Your eternity. Mine. Our souls are forever intertwined with these stories, this community. We died to the physical, but we live in this art. (pause) Clyde. We saw his passing. We knew it was close.
Alicia: What happened?
Leo: He was on stage, sharing his soul. His body became sick. We could see, his stage manager could see, but the audience saw only that light in his eyes. When intermission came, his cast worried. The stage manager was preparing the understudy, trying to get Clyde to go to a doctor. He refused. "We have a whole 'nother act, buddy!" By the time the second act was over, an ambulance was waiting outside, ready to take him to the hospital. The lights went out on stage, they exited, and when they tried to rush him into the car...
Alicia: Oh, Dionysus, not right there...
Leo: What? Oh, heck no. Shit, that would be sad. No, no, they tried to get him to leave, and he shouted at them, "Curtain call first, damn it!" It was a few days after that for him. Look, the point is he gave everything. Some of us, our souls came back to our first love. His never left. Only his body did. We weren't responsible for that, by the way. We were there with the show, but we didn't cause that to happen.
Belasco: It has always been Comedy-
Macbeth: So you weigh the mask to ensure your fun?
Leo: I'm trying to explain-
Macbeth: You are responsible for what happens next.
Leo: She wanted to know-
Leo: Now you listen to me. You can say whatever you'd like to me. You can insult this company and our profession. You can curse the name of Dionysus. But you treat that man with respect. You don't know where he's been. You don't know his life.
Alicia: We don't have that, remember? Whatever happened in our lives is completely insignificant now, isn't it?
Leo: Wrong. You are wrong. You are such a child.
Alicia: Then teach me. That is all I have been asking for since I got here. Teach me. Tell me why I'm wrong. Don't condescend, don't pat my head and run away, don't send me off to arrange fabric scraps and ribbons. Talk to me, not at me.
Leo: You're right. We've spent so long with only our crew that we've forgotten. No one has joined us in so long. You don't know how to be here, and we don't know how to explain.
Alicia: Try.
Leo: Alright. (pause) Where are we?
Alicia: In the flies.
Leo: Wrong. Where are we?
Alicia: On set?
Leo: Wrong. We are in the theater.
Alicia: Right, I got that part.
Leo: No, you don't. Do you want me to talk? (pause) We aren't in a theater. We are in the theater. The art. All of the physical places. We are in all of them. Each of them. And none of them. We exist in the heart of every space that holds this art. Individually, yes, we localize. Belasco keeps mostly to his namesake, Olivia to the New Amsterdam, but we are everywhere. Our company gathers where the art is. The Fates provide us to the places that need us.
Alicia: But how did we get here?
Leo: In the simplest of terms, we gave ourselves willingly to this art. What did you love the most when you were alive?
Alicia: (considers) The stories. The community, touching lives.
Leo: The stage.
Alicia: Yes.
Leo: The Fates knew. They saw you and brought you to us.
Alicia: So all the religions? They were all wrong? All that is left is nothing-ness or this? Is this limbo?
Leo: Think, dear. Your life, the things you devoted yourself to, your heart, after all of that, do you really believe that this isn't heaven? Your eternity. Mine. Our souls are forever intertwined with these stories, this community. We died to the physical, but we live in this art. (pause) Clyde. We saw his passing. We knew it was close.
Alicia: What happened?
Leo: He was on stage, sharing his soul. His body became sick. We could see, his stage manager could see, but the audience saw only that light in his eyes. When intermission came, his cast worried. The stage manager was preparing the understudy, trying to get Clyde to go to a doctor. He refused. "We have a whole 'nother act, buddy!" By the time the second act was over, an ambulance was waiting outside, ready to take him to the hospital. The lights went out on stage, they exited, and when they tried to rush him into the car...
Alicia: Oh, Dionysus, not right there...
Leo: What? Oh, heck no. Shit, that would be sad. No, no, they tried to get him to leave, and he shouted at them, "Curtain call first, damn it!" It was a few days after that for him. Look, the point is he gave everything. Some of us, our souls came back to our first love. His never left. Only his body did. We weren't responsible for that, by the way. We were there with the show, but we didn't cause that to happen.
(Note: as this overlap scene begins, they alternate quickly back and forth. As scene progresses, lines overlap more, until tension is highest in both scenes at same time.)
Belasco: You wanted to see me?
Macbeth: What did you do?
Belasco: I don't know what you're talking about.
Alicia: (beat) Have you ever? Caused...
Leo: Yes. As a company, we have been involved in death. Never intentionally, but directly.
Macbeth: Why have you done this?
Alicia: The Fates demand Tragedy and you deliver?
Leo: No. The Fates, when they ask for Tragedy, it results in a poor show, bad reviews, broken friendships from time to time, but never death. They do not desire death. We aren't perfect. We do what we can, but if we mistake the Fates' will, or ignore it, our actions... have an unintended effect.
Belasco: I haven't done anything.
Macbeth: Am I unclear? Your tasks, are they too vague?
Your mission, easily forgot, stays true,
But YOU- your disregard and hubris strong
Cause grief unnecessary once again!
Your mission, easily forgot, stays true,
But YOU- your disregard and hubris strong
Cause grief unnecessary once again!
Alicia: Whistling. I remember- whistling.
Leo: Alicia, please. Don't think on it.
Belasco: Mackie, calm down. It's not a big deal.
Alicia: I remember whistling. I remember that it was different, it wasn't- It was something I hadn't heard before. I remember a snap, a scream-
Macbeth: DO YOU HAVE ANY IDEA WHAT YOU HAVE CAUSED?
Leo: Please, Alicia-
Alicia: Who was it?
Belasco: What happened? What's wrong?
Leo: It doesn't matter now-
Alicia: Who?
Belasco: Tell me.
Leo: We were given instructions. We thought it was a mistake. We hadn't gotten Tragedy in a long time. Some of us tried to- he wanted the laughs. It was wrong. Everything was wrong. We realized early on, we tried to bring the Tragedy, but Belasco-
Macbeth: Belasco you have changed their plans. Again.
Alicia: Dionysus
Leo: -he kept pushing for the laugh. (beat) The Fates balanced the scale-
Alicia: By taking me.
Macbeth: Again, you change the threads of Fates' design.
See! This is not what they desire, you fool!
See! This is not what they desire, you fool!
Leo: This is why we don't talk about it. Alicia, we are a company. If we don't work together, deliver the Fates' will, unite in spirit-
Alicia: What? Someone else will die? The company grows?
Leo: No. No, You are here because of you. The Fates saw you-
Belasco: We followed the scales! I did nothing wrong-
Macbeth: I know what you did-
Leo: Your spirit is not a result of your death. You still would have come to our company in your time.
Alicia: But it was my time to have! And you took that from me!
Leo: You still have that time! Time is not a concern here, please try to see that.
Alicia: Don't tell me what is of concern!
(Clyde enters)
Clyde: What is happening out here?
Belasco: It has always been Comedy-
Macbeth: So you weigh the mask to ensure your fun?
Leo: I'm trying to explain-
Alicia: You took it from me. You all took it from me.
Belasco: It's not a big deal-
Clyde: Dionysus, what did you do?
Clyde: Dionysus, what did you do?
Macbeth: You are responsible for what happens next.
Leo: She wanted to know-
Alicia: Everything is gone, it was taken, I was taken-
(Alicia crosses until directly under the light Belasco focused. She looks out as a snap and scream are heard.)
Ghostlight 1.7
(Alicia on stage, Olive enters backwards, watching wings.)
Alicia: Hey-
Olive: SHHHH.
(pause)
(crash. Olive laughs)
Alicia: Oh my gosh, is he okay?
Olive: He's fine, I just tied his shoes together.
Alicia: He looks hurt.
Olive: He's tough. We've done worse to this guy. You should have seen him in the last show, it was classic! We kept re-painting one wall right before the show every night, and it just so happened to be the wall he leaned against in all of act 1. The costumer was pissed! He never left the stage without a big streak of green on his jacket.
Alicia: Why do you pick on him so much?
Olive: He doesn't believe in us. He's an easy target, really. He does this to himself.
Olive: Nope.
Alica: -what? Yes, I did, I just saw him, and-
Olive: Stop.
Alicia: Why? I need to tell you something-
Olive: No. You don’t. You don’t need to tell me, and I don’t need to hear it.
Alicia: Okay.
Olive: Good. (beat) So, how's the adjustment going?
Alicia: Oh, it's fine. I mean, it still doesn't really make sense to me-
Olive: Can I stop you there? Because it will never make sense. You can't wait for clarity. We've got a gift.
Alicia: Yeah, for tying shoes together.
Olive: Don't be bitchy, that was a solid joke. I'd like to see you do better.
Alicia: Sorry.
Olive: No, I'm serious. Your turn.
Alicia: Sorry?
Olive: Go play.
(Alicia thinks, moves offstage. [play your favorite sound cue])
Alicia: Sorry!
Olive: What are you sorry for? They can't hear you!
Alicia: (enters) Was that good?
Olive: Brilliant. You're a natural. But next time, stick your boobs out more.
Alicia: What? I'm not trying to seduce anyone-
Olive: It's not about sex, honey. Your boobs go out, your chin goes up. You look like you know what you're doing. You're there on purpose. You're there with purpose.
Alicia: But I'm not there with purpose-
Olive: You are here with purpose. You don't have to believe me. But your boobs do.
NEXT SCENE
Alicia: Hey-
Olive: SHHHH.
(pause)
(crash. Olive laughs)
Alicia: Oh my gosh, is he okay?
Olive: He's fine, I just tied his shoes together.
Alicia: He looks hurt.
Olive: He's tough. We've done worse to this guy. You should have seen him in the last show, it was classic! We kept re-painting one wall right before the show every night, and it just so happened to be the wall he leaned against in all of act 1. The costumer was pissed! He never left the stage without a big streak of green on his jacket.
Alicia: Why do you pick on him so much?
Olive: He doesn't believe in us. He's an easy target, really. He does this to himself.
Alicia: Oh. (beat)
Olive, I just saw Belasco-
Olive: Nope.
Alica: -what? Yes, I did, I just saw him, and-
Olive: Stop.
Alicia: Why? I need to tell you something-
Olive: No. You don’t. You don’t need to tell me, and I don’t need to hear it.
Alicia: Okay.
Olive: Good. (beat) So, how's the adjustment going?
Alicia: Oh, it's fine. I mean, it still doesn't really make sense to me-
Olive: Can I stop you there? Because it will never make sense. You can't wait for clarity. We've got a gift.
Alicia: Yeah, for tying shoes together.
Olive: Don't be bitchy, that was a solid joke. I'd like to see you do better.
Alicia: Sorry.
Olive: No, I'm serious. Your turn.
Alicia: Sorry?
Olive: Go play.
(Alicia thinks, moves offstage. [play your favorite sound cue])
Alicia: Sorry!
Olive: What are you sorry for? They can't hear you!
Alicia: (enters) Was that good?
Olive: Brilliant. You're a natural. But next time, stick your boobs out more.
Alicia: What? I'm not trying to seduce anyone-
Olive: It's not about sex, honey. Your boobs go out, your chin goes up. You look like you know what you're doing. You're there on purpose. You're there with purpose.
Alicia: But I'm not there with purpose-
Olive: You are here with purpose. You don't have to believe me. But your boobs do.
NEXT SCENE
Monday, December 15, 2014
Ghostlight 1.4
Belasco: Olive, doll, come back here.
Olive: You think you're in control of me?
Belasco: Hey, you said it, not me.
Olive: There's a lot that I'm willing to put up with, David. My requests aren't difficult. The only legs you get to grab at are mine.
Belasco: Then get over here-
Olive: No. I mean it. You go about your way and I'll go mine.
Belasco: Look, toots, we both know how this goes. You'll get all huffy and I'll be lonely and then you'll miss me and we're right back where we started.
Olive: Is that what you think this is? Some silly game for us to spend eternity playing?
Belasco: Oh, no, babe. If this was a game, I would have won by now. No, this is a sick dance. The band is stuck in eternity with us, and the song is getting old.
Macbeth: What task, exactly, have you been assigned?
I don't recall an argument on list,
Perhaps my mind forgets unpleasant things.
Natalie: Nope, I absolutely did not put "fight center stage" on the assignments.
Belasco: Fight? Who's fighting? This is just the overture, right, toots? (Belasco aggressively kisses Olive, she shoves him off. Macbeth steps between, Belasco exits, whistling.)
Macbeth: My dear, are you-
Olive: I'm not your dear. (exit)
Macbeth: These two exhaust me.
Natalie: I know. I wish we could work without them.
Macbeth: No. They are here for a purpose, just like the rest of us.
Natalie: Oh, I know that. But it would be so nice to lock them up in a broom closet for a couple of shows.
Macbeth: I fear they would emerge worse than before.
(Rhetta enters)
Rhetta: Hello friends!
Macbeth: My child, your smile can cheer the darkest space.
Your temperance is welcome every hour.
Rhetta: Thank you, old friend. Nothing fills me with joy quite like knowing that we have an opportunity to assist the Fates in their masterpiece. I do have a matter to discuss with you, both of you.
Natalie: Sure, what's up?
Rhetta: Our newest member, Alicia.
Macbeth: Yes, she is a charming spirit.
Rhetta: I am not sure of the best way to proceed with her adjustment.
Natalie: We could explain to her how-
Macbeth: No, that really would not be a good option.
Rhetta: Under normal circumstances, we could possibly try to state the cause of death-
Macbeth: Even under natural circumstances, the resulting panic could lead to chaos.
Natalie: Sir, everyone dies. I am under the impression that everyone is aware of this. Maybe if the cause is natural, like with Clyde, we could just put it all out there.
Macbeth: No. Our company members will come to conclusions on their own terms. I will not be responsible for a rift in this community due to a lack of delicacy with natural causes.
Rhetta: And when the cause is... not natural?
Macbeth: Then caution is of primary -even solitary- importance.
Natalie: With respect, sir, pain and panic will always accompany any new member. Full disclosure might be a scary route, but it will allow them an opportunity-
Macbeth: -to tear our company apart.
Rhetta: Macbeth,
May I suggest to you a thought, a deal?
This path of ease and tenderness is true,
Pursue it to its end with our new soul.
I wish it well, both for your sake and hers.
Yet, pain and fear may follow close at hand,
And if they may leave wreckage in their midst,
The path of open knowledge we'll try next.
Macbeth: I cannot argue with one who communicates so clearly.
Natalie: Wait, what? What's happening?
Rhetta: We're going to ease Alicia into understanding on her own terms. If things go wrong, or the transition is too difficult, the next time someone joins our company, you are free to explain everything up front.
Macbeth: Are we agreed?
Natalie: Yes, sir.
Rhetta: Agreement looks well on both of you.
Macbeth: And your smile has returned to its former glory.
Natalie: Well, one mater is resolved, but we still have the trouble with Belasco and Olive.
Macbeth: My friend, there will always be trouble with Belasco and Olive.
Rhetta: Perhaps I can try to reason with them, on behalf of a unified company.
Macbeth: Try to reason with them? You might as well try speaking in Italian.
Natalie: It's worth a try.
Rhetta: Thank you for the vote of confidence, Natalie.
Natalie: No, I meant the Italian.
NEXT SCENE
Olive: You think you're in control of me?
Belasco: Hey, you said it, not me.
Olive: There's a lot that I'm willing to put up with, David. My requests aren't difficult. The only legs you get to grab at are mine.
Belasco: Then get over here-
Olive: No. I mean it. You go about your way and I'll go mine.
Belasco: Look, toots, we both know how this goes. You'll get all huffy and I'll be lonely and then you'll miss me and we're right back where we started.
Olive: Is that what you think this is? Some silly game for us to spend eternity playing?
Belasco: Oh, no, babe. If this was a game, I would have won by now. No, this is a sick dance. The band is stuck in eternity with us, and the song is getting old.
Macbeth: What task, exactly, have you been assigned?
I don't recall an argument on list,
Perhaps my mind forgets unpleasant things.
Natalie: Nope, I absolutely did not put "fight center stage" on the assignments.
Belasco: Fight? Who's fighting? This is just the overture, right, toots? (Belasco aggressively kisses Olive, she shoves him off. Macbeth steps between, Belasco exits, whistling.)
Macbeth: My dear, are you-
Olive: I'm not your dear. (exit)
Macbeth: These two exhaust me.
Natalie: I know. I wish we could work without them.
Macbeth: No. They are here for a purpose, just like the rest of us.
Natalie: Oh, I know that. But it would be so nice to lock them up in a broom closet for a couple of shows.
Macbeth: I fear they would emerge worse than before.
(Rhetta enters)
Rhetta: Hello friends!
Macbeth: My child, your smile can cheer the darkest space.
Your temperance is welcome every hour.
Rhetta: Thank you, old friend. Nothing fills me with joy quite like knowing that we have an opportunity to assist the Fates in their masterpiece. I do have a matter to discuss with you, both of you.
Natalie: Sure, what's up?
Rhetta: Our newest member, Alicia.
Macbeth: Yes, she is a charming spirit.
Rhetta: I am not sure of the best way to proceed with her adjustment.
Natalie: We could explain to her how-
Macbeth: No, that really would not be a good option.
Rhetta: Under normal circumstances, we could possibly try to state the cause of death-
Macbeth: Even under natural circumstances, the resulting panic could lead to chaos.
Natalie: Sir, everyone dies. I am under the impression that everyone is aware of this. Maybe if the cause is natural, like with Clyde, we could just put it all out there.
Macbeth: No. Our company members will come to conclusions on their own terms. I will not be responsible for a rift in this community due to a lack of delicacy with natural causes.
Rhetta: And when the cause is... not natural?
Macbeth: Then caution is of primary -even solitary- importance.
Natalie: With respect, sir, pain and panic will always accompany any new member. Full disclosure might be a scary route, but it will allow them an opportunity-
Macbeth: -to tear our company apart.
Rhetta: Macbeth,
May I suggest to you a thought, a deal?
This path of ease and tenderness is true,
Pursue it to its end with our new soul.
I wish it well, both for your sake and hers.
Yet, pain and fear may follow close at hand,
And if they may leave wreckage in their midst,
The path of open knowledge we'll try next.
Macbeth: I cannot argue with one who communicates so clearly.
Natalie: Wait, what? What's happening?
Rhetta: We're going to ease Alicia into understanding on her own terms. If things go wrong, or the transition is too difficult, the next time someone joins our company, you are free to explain everything up front.
Macbeth: Are we agreed?
Natalie: Yes, sir.
Rhetta: Agreement looks well on both of you.
Macbeth: And your smile has returned to its former glory.
Natalie: Well, one mater is resolved, but we still have the trouble with Belasco and Olive.
Macbeth: My friend, there will always be trouble with Belasco and Olive.
Rhetta: Perhaps I can try to reason with them, on behalf of a unified company.
Macbeth: Try to reason with them? You might as well try speaking in Italian.
Natalie: It's worth a try.
Rhetta: Thank you for the vote of confidence, Natalie.
Natalie: No, I meant the Italian.
NEXT SCENE
Ghostlight 1.3
Natalie and others move gathering further center. Alicia rejoins group, not contributing.
Natalie: OKAY QUIET. Look, we have the main assignments. If you have any spare time once you finish your designated task, feel free to take on extra. There is no reason for anyone to be standing around, there is always SOMETHING to do. And please, please remember to keep it funny. We're here for comedy. Any questions? Good. Get to work!
Natalie and Rhetta discuss, Belasco follows Olive quickly, stopping her. Alicia notices.
Belasco: Olive baby, where are you off to? We have our own work to attend to...
Olive: I gotta chase some fellas around the dressing rooms. I love watching the dancers squirm when they think someone is watching them.
Belasco: But I love watching you squirm..
Olive: Not now. I've got a job to do...
Belsco: Olive-
Olive: I said not now. You go off tot-hunting all you want, I've got important work. (storms out)
Belasco: Tot-hunting? Oh baby, don't be like that. (chases her off)
Alicia: What was that about?
Leo: She heard about the actresses.
Clyde: Belasco likes to give them a good luck pinch before they go on stage.
Leo: He gets a kick out of them turning to slap someone, and nobody is there.
Alicia: Hey, can I ask you a question?
Clyde: Do you want to know why Olive and Belasco keep at it?
Leo: Or why we let the Scotsman run things?
Clyde: Or how it's possible that the company below doesn't see us?
Leo: Or where the bathroom is?
Clyde: Or why the chicken crossed the road?
Leo: Or how we all got here-
Alicia: -THAT ONE. I want to know that one.
(Clyde hits Leo, Rhetta interrupts)
Rhetta: Alicia, right? Hello. Welcome to our company. We're glad you're here.
Alicia: Well thank you, but actually I'm a little fuzzy on that. I don't exactly understand why I'm here.
Rhetta: (delicately) Well, dear, this is hard to explain, but you see, you... well you-
Alicia: No, I know that I died. I mean, I remember- well, I don't remember exactly- but I can feel the- and my body was-
Rhetta: Don't fret on it too much. It can be easy to lose your grasp.
Leo: The important thing is to keep on.
Alicia: Keep on what?
Clyde: That's up to you.
Leo: Look, Alicia-Jo, I know it can be rather jarring at first. But remember, we're here. The fates liked our performance, so we get an encore.
Clyde: An extended engagement, really. Doesn't happen often, most folks take their bow and that's it. Some, though, a select few-
Leo: The cream of the crop-
Clyde: Those that cut the mustard-
Leo: The people who put their best foot forward-
Clyde: The pick of the litter-
Rhetta: You gentlemen are-
Leo: The top of the heap-
Rhetta:-getting a little carried away-
Clyde: The Tour de Force
Rhetta: -with the idioms.
Leo: Let sleeping dogs lie-
Clyde: Don't count your chickens before they're hatched-
Rhetta: Alright. Those idioms don't even make sense in this context. (to Alicia) Do you understand a little more now?
Alicia: I think I understand a little less now.
Rhetta: All in good time, dear. For now, we have tasks at hand. Come along.
(all exit)
NEXT SCENE
Natalie: OKAY QUIET. Look, we have the main assignments. If you have any spare time once you finish your designated task, feel free to take on extra. There is no reason for anyone to be standing around, there is always SOMETHING to do. And please, please remember to keep it funny. We're here for comedy. Any questions? Good. Get to work!
Natalie and Rhetta discuss, Belasco follows Olive quickly, stopping her. Alicia notices.
Belasco: Olive baby, where are you off to? We have our own work to attend to...
Olive: I gotta chase some fellas around the dressing rooms. I love watching the dancers squirm when they think someone is watching them.
Belasco: But I love watching you squirm..
Olive: Not now. I've got a job to do...
Belsco: Olive-
Olive: I said not now. You go off tot-hunting all you want, I've got important work. (storms out)
Belasco: Tot-hunting? Oh baby, don't be like that. (chases her off)
Alicia: What was that about?
Leo: She heard about the actresses.
Clyde: Belasco likes to give them a good luck pinch before they go on stage.
Leo: He gets a kick out of them turning to slap someone, and nobody is there.
Alicia: Hey, can I ask you a question?
Clyde: Do you want to know why Olive and Belasco keep at it?
Leo: Or why we let the Scotsman run things?
Clyde: Or how it's possible that the company below doesn't see us?
Leo: Or where the bathroom is?
Clyde: Or why the chicken crossed the road?
Leo: Or how we all got here-
Alicia: -THAT ONE. I want to know that one.
(Clyde hits Leo, Rhetta interrupts)
Rhetta: Alicia, right? Hello. Welcome to our company. We're glad you're here.
Alicia: Well thank you, but actually I'm a little fuzzy on that. I don't exactly understand why I'm here.
Rhetta: (delicately) Well, dear, this is hard to explain, but you see, you... well you-
Alicia: No, I know that I died. I mean, I remember- well, I don't remember exactly- but I can feel the- and my body was-
Rhetta: Don't fret on it too much. It can be easy to lose your grasp.
Leo: The important thing is to keep on.
Alicia: Keep on what?
Clyde: That's up to you.
Leo: Look, Alicia-Jo, I know it can be rather jarring at first. But remember, we're here. The fates liked our performance, so we get an encore.
Clyde: An extended engagement, really. Doesn't happen often, most folks take their bow and that's it. Some, though, a select few-
Leo: The cream of the crop-
Clyde: Those that cut the mustard-
Leo: The people who put their best foot forward-
Clyde: The pick of the litter-
Rhetta: You gentlemen are-
Leo: The top of the heap-
Rhetta:-getting a little carried away-
Clyde: The Tour de Force
Rhetta: -with the idioms.
Leo: Let sleeping dogs lie-
Clyde: Don't count your chickens before they're hatched-
Rhetta: Alright. Those idioms don't even make sense in this context. (to Alicia) Do you understand a little more now?
Alicia: I think I understand a little less now.
Rhetta: All in good time, dear. For now, we have tasks at hand. Come along.
(all exit)
NEXT SCENE
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