The Woman Between

Adapted from the short story La Intrusa, by Jorge Luis Borges
CHORUS
I sing of two brothers
so like to each other
no knife can cut
no hand can undo
the bloodknot that binds
in one these two
alike in heart
alike in mind
two brothers so kin
they share one skin
1. Tavern. Night. A pair of dice rolls across the stage; MARTIN runs after; he crouches to look at the dice. EDUARDO follows with MURANO. They exclaim simultaneously:
double sixes!
MURANO
this knife says you cheated!
EDUARDO
it’s a lie
MURANO
not so
MARTIN
you can fight me any time
MURANO
my quarrel is with Eduardo
MARTIN
my brother’s quarrel is mine
MURANO
fine
                               (HE pulls out his knife. MURANO
                            and MARTIN start to fight.)
VOICE
stop them!
they’ll kill each other
VOICE
break it up, men!
if you two want to fight
go outside
                                 (THEY are pulled apart)
2. House: Night. Hoofbeats. The brothers arrive home, come on stage with saddles, enter house. Lights go on. Shadows at the window passing back and forth.
CHORUS
they drink from one cup
they eat from one plate
they keep one house
they share one fate
                                   (The lights go out.)
3. Tavern. Night. Men drinking, playing cards.
Guitar: Milonga of the Two Brothers (CHORUS I)
Remember the brothers Iberra
where danger was, these two were there
outlaws whose name was a terror
and lovers as faithless as fair;
hustlers gamblers and brawlers,
they lived without forethought or care.
No one knew which of these brothers
was quicker at picking a fight
the blade in one hand or the other’s
would flash like a zigzagging light
and the dice in one cup or the other’s
would rake in the winnings all night.
But Eros, that lover of carnage,
shot home in one brother his bolt,
and the thing looked to end in a marriage
and a brother forsworn by default
and envy, compounding the damage,
set the other in secret revolt.
He put on a face of fair seeming
but spite ruled his heart and his mind
and inwardly voices were screaming:
Pay back betrayal in kind –
and he cursed like an unbridled demon
Love’s action for fatal and blind.
The deed that was done by the river
was planned to a T, and once done
none knew what had served to deliver
the death blow that noonday, not one:
an arrow drawn straight from the quiver
or a bullet shot straight from a gun.
Now I’ve told you as well as I’m able
the age-old story of Cain
who murders his brother Abel
again and again and again
                       (JULIANA dances with a handkerchief.
                        At the end of the dance, she throws it at
EDUARDO. MARTIN catches it.)
4. Early morning. House. JULIANA comes out of doors. Empties slops. Looks at the sun.
CHORUS I & II
the day begins
the clear unclouded day
what will it bring? how will it end?
CHORUS II
is this day her enemy?
is this day her friend?
CHORUS III
it is too soon to say
too soon to say
CHORUS I
why does she stand in this doorway?
how has she come to this place?
why is she willing to share
a stranger’s embrace?
CHORUS III
she scarcely knows herself
she scarcely knows
she is here because for her
there is nowhere else to go
a woman with no family of her own
a woman with no kin
is like a fallen leaf that’s blown
from place to place
from man to man
she does what she can
to settle in
to make herself at home
it isn’t what she wants
but it’s what she has got
better not to ask
better not to worry her heart
better for her not to question her lot
CHORUS II
but where is she from?
where did she start?
CHORUS III
it’s been so long
if once she knew
by now she has forgot
everything went wrong
but how she cannot say
no matter what we do
things have a way
of happening to us
if we want them to or not
CHORUS II
I know what you mean
again and again
I have seen it happen
with women and with men
a person leaves somewhere
and by and by arrives somewhere
but how he got from one place to the other
he does not know and cannot say
even though
he never missed
a step along the way
yes he was there
at every step of the way
CHORUS I
she must have had some end in view
where did she think she was going?
CHORUS III
she went without knowing
by placing one foot in front of the other
CHORUS II
what did she want?
CHORUS III
to be a wife to be a mother
that’s what a young girl dreams
life will bring
it isn’t much and yet to her
it is almost everything
CHORUS I & II
it’s clear she has been careless and unwise –
I won’t reproach you for past mistakes
but I advise you, dear
to leave this place
and leave this man
it bodes no good
to linger here
leave
leave while you can
MARTIN (entering from the house)
woman, why are you idling here?
come inside
set the kettle to boil for tea
pour mate for my brother and me
now is no time to laze in the sun
today is market day
we should have been underway
long ago
we must yoke the oxen
pile the wagon high with hides
hurry up before
the best deals get done
what are you waiting for?
come back inside
                               (As SHE goes in, EDUARDO is coming  out.
 They almost collide.EDUARDO steps back in
confusion. SHE passes. HE looks after her.)
CHORUS
I like it not
I like it not
this tapestry is not of my making
my hand would stay
the shuttle’s play
the pattern troubles my sleeping and waking
5. Sunset. House. Enter EDUARDO carrying harness followed by MARTIN with packages. HE calls:
Juliana!
Juliana!
where are you, woman?
                             (Enter JULIANA)
MARTIN
a sack of flour for the kitchen
a sack of seed for the barn
wait – here’s a package for you
you’ll never guess what it is
CHORUS
what can it be?
knitting needles? yarn?
I can’t wait to see
MARTIN
let me
untie the string
(JULIANA takes out oversize fake jewelry, puts it on)
CHORUS
a necklace!
earrings!
a garnet ring!
CHORUS I
all of it paste
CHORUS II
in terrible taste
CHORUS III
incorrigible snobs!
curmudgeonly churls!
she’s as pleased as can be
why must you rob
the girl of her pleasure?
cut her some slack
for her, it’s the stuff
of a pirate treasure
                               (SHE tries them on, turns her arms,
 her head this way and that.)
MARTIN
tonight there’s a party
at Julio’s place
we two will dance holes in the floor
(To EDUARDO)
look how they glitter
see how they shine
don’t they look fine?
they couldn’t suit her more
                                 (producing another package)
and here is a skirt
the color of wine
go put it on
tonight we will dance
until dawn
                                 (JULIANA goes inside)
EDUARDO
aren’t you overdoing it?
MARTIN (shrugging his shoulders)
it cannot hurt
to show her off a bit
EDUARDO
brother, have a care!
suppose she starts thinking she’s a fine lady
then you’ll be sorry!
MARTIN
brother, don’t worry
I’ll keep her in line
                             (JULIANA comes out in the skirt, twirls around and smiles;
 MARTIN goes to her, puts his hands around her
  waist and they tango across stage to the
 party; EDUARDO follows looking grim.)
6. Julio’s Place: EDUARDO is dancing with a partner. As the dance ends, he abruptly stops, turns away and walks off leaving her in the lurch. He sits with a bottle and stares grimly ahead.
MAN (CHORUS I)
what’s wrong with the man?
what turned him sour?
he sits there drinking
hour after hour
sullen and morose
half comatose –
they’ll sweep him out with the sawdust come dawn
MARTIN (putting his arm on him)
Eduardo, come on!
dance with Juliana
EDUARDO (shrugging him off)
leave me alone
MAN (CHORUS II)
it’s his brother’s woman
weighs on his mind
he needs a woman of his own
WOMAN (CHORUS III, approaching Eduardo)
buy a drink for a girl?
EDUARDO
go away, woman!
I’m not in the mood
WOMAN
well, you don’t have to act so surly
I meant no harm
EDUARDO (standing up abruptly)
Martin, it’s getting late!
it’s time to go home
we must get up early tomorrow
MARTIN
No. I don’t want to go just yet.
EDUARDO
Think how tired you will be.
You will blame me for feeling half dead.
MARTIN
I promised the girl
I’d dance until dawn
you go ahead
I’ll catch up with you later on
EDUARDO (moves downstage, outside)
WOMAN, two MEN (CHORUS)
trouble is brewing
between these two
a storm of trouble
mark my words
7. House. Night.
EDUARDO (alone)
her face in the windowpane
her face in the glass
her face in the pool left by rain
will not pass
I am drawn to her like a magnet to the pole
I am drawn to her like a part to the whole
a dozen faces are lovelier than hers
but when I see her
a trembling in my hands commences
a dozen voices are sweeter than hers
but when I hear her
a tightening in my throat commences
in her absence such a longing seizes my senses
I forget she is my brother’s woman not mine
my blood is drunk on her wine
my blood is drunk on her wine
8. House. Daylight. EDUARDO is in the courtyard, drying his face after washing it at the pump. Enter JULIANA, with jar for water. She smiles at him. He turns his back, goes to pick up his saddle, SHE draws water goes inside. MARTIN comes out. Long look at Eduardo.
MARTIN
brother, where are you going?
we have hides to deliver
EDUARDO
I’m going to Junin
I need a break
MARTIN
wait until tomorrow
we have a deal to make
EDUARDO
do it without me
MARTIN
we drive a harder bargain
when there are two of us
EDUARDO
this time you must
rely on yourself
MARTIN
how can I persuade you?
EDUARDO
don’t even try
it isn’t any use
                    (HE leaves, hefting saddle, toward the stable. WHINNY of horses.)
9. Tavern. Two men, one woman (CHORUS)
MAN
there’s a woman at the Nilsens’
Martin has got hold of
she has driven a wedge between them
a thick impassable wedge
WOMAN
Eduardo is in love
but Martin had her first
MAN
their rivalry
is the talk of the neighborhood
how will it end?
MAN
God only knows
MAN
Surely in blood
MAN
if it comes to blows
my money is on Martin
MAN
Eduardo is stronger
MAN
Martin is faster with the knife
                           (MARTIN, who has been standing in the
       shadow of the door, steps forward.)
MARTIN
did I hear my name?
WOMAN
they were praising your skill with the blade
MARTIN (looking at MEN)
whoever wants to trifle
with my brother’s name or mine
is welcome to taste its edge
WOMAN
no harm was intended
talking is no crime
MAN
no one questions
your reputation for courage
or the honor attaching to your name
MAN
I’ll drink to it anytime
WOMAN
this is a dispute soon mended
MAN (gesturing to bar)
you there, more of the same
all around
10. House: EDUARD0
I can’t go on this way
sixes I leave
twos I stay
                                     (rolls the dice)
I don’t believe it!
a two and a six!
the dice are blind
what am I to do?
uncertainty is making me sick
MARTIN (calling)
Eduardo, where are you?
                                     (enters, dressed up)
I’m off to a party tonight
I’m leaving the woman behind
do with her as you like
                                   (HE leaves. The stage darkens.  A light goes on
 in JULIANA’s room. EDUARDO’s shadow
is seen passing the window. The light  goes out.)
CHORUS I
two men, one heart
two men, one will
two men, one Boy of Love’s lethal dart
                         (Dumbshow: EDUARDO comes out and smokes a
 cigarette in the dark  while the lights go on and
MARTIN’s shadow crosses the window from the left.)
CHORUS I & II
what shall I say
of this unholy pair
each with a share
of the woman in there –
each one in love
with a love each denies
in love with her smile
in love with her eyes
in love with her high white breast
in love with her long white thighs
CHORUS I & II (cont’d)
this love is monstrous
this love is vile
it troubles me now
it will trouble me still
when all three are long laid to rest
                                   (MARTIN comes out and smokes a
       cigarette in the dark while the  lights go
on and EDUARDO’s shadow crosses the
 window from the right.)
CHORUS I & II
such are the plots
the gods devise
such are the knots
no cunning unties
CHORUS II & III
(JULIANA appears at the window)
which of the two does she favor?
which is the one she prefers
Eduardo? Martin?
this is the secret she keeps
that is hers
on her breast he lays his head
seeking rest
on her heart he lays his head
her heart/her heart/ of lead
never guessed
which is the one she loves best
Martin? Eduardo?
what can she say?
how whisper his name?
Eduardo? Martin?
night covers her mouth with shame
she is dumb to speak
from day to day
from week to week
like the dogs she is
who eat kitchen scraps
like the mules she is
who bear heavy packs
patiently she bears the burden
the heavy burden
of man’s will
she cannot speak them fair
she does not speak them ill
Martin! Eduardo!
she will not betray his name
Eduardo! Martin!
night covers her mouth with shame
night covers her mouth with shame
11. Day. EDUARDO and MARTIN at the cart, loading hides.
MARTIN
Be careful.
The bottom one is thin
                           (EDUARDO snags it on the edge of the cart.)
clumsy fool!
look what you’ve done!
you’ve ruined the skin
it has a big tear
EDUARDO
(turning away toward house)
who cares?
it was badly tanned to begin with
MARTIN
that’s no excuse
                           (EDUARDO kicks the earth. Dust
   flies up in MARTIN’s face.)
you did that on purpose
EDUARDO
I don’t need your abuse
MARTIN
is that a dare?
EDUARDO
it’s yours to say
                           (MARTIN lunges at EDUARDO with his
           knife. Eduardo meets him with his. They disarm
 each other, lock  arms and wrestle to a standstill.)
MARTIN
Brother, listen!
stop a minute – think!
we can’t go on this way
from day to day
from night to night
something’s out of sync
when brothers pick a fight!
MARTIN
Brother, you’re right
it is base and demeaning
to let her come between us
she is just a woman nothing more
no woman is worth fighting for
EDUARDO
she is just a woman nothing more
no woman is worth fighting for
MARTIN
I’ve thought the whole thing through
it’s clear what we must do ….
                                     (THEY move to the side, whisper)
CHORUS
they can’t go on this way
from day to day
from night to night
two men one woman
strung up tight
in passion’s noose
one of them
must die or be cut loose
12. Day. House. MARTIN and EDUARDO sit drinking tea.
MARTIN
Juliana, where’d you go?
come out on the patio
JULIANA (enters with kettle, starts to pour)
MARTIN (gesturing)
no
never mind the mate
go pack your things
your rosary and cross
your bangles and rings
we’re leaving right away
for Moron
Eduardo, fetch the cart
I’ll hitch the oxen up
let’s get an early start
woman, get ready
go on
                                       (The MEN leave. JULIANA  goes inside)
CHORUS I
has she no pride?
no self-respect?
see how she obeys
without saying a word
now is no time
for meekness
now is the time to speak
now is the time to object
has she no care for her fate?
at least let her remonstrate
she is not a slave
CHORUS IIII
that’s how women live
silent and submissive
as the dust on their knees
aching to serve
aching to please
CHORUS II
it hurts me to see her
so servile and dumb
(VOICES heard offstage)
Juliana, come!
CHORUS III
what would you have?
a woman survives
as best she can
in a world that is run
by master and man
CHORUS I
can’t she strike out
why not revolt
CHORUS II
can she cut with a knife
can she shoot with a gun
CHORUS I
weapons will rust
words are undying
revolutions are born of defiance
if she doesn’t say no
nothing will change
or change will be endlessly slow
CHORUS III
but where can she go
she has no family
or kin
who is there to take her in?
CHORUS II
she bends her knees
to the rosary
and makes the sign of the cross
before Jesus
but this faith of hers
must be weak and dim
if she cannot seek
a better life
trusting in Him
CHORUS III
faith teaches her
to know her place
and suffer her wrongs
with patience
all necks are yoked to gravity
only the spirit is free
(JULIANA come out of the house with her
 belongings tied in a sack; she stands a
 moment)
CHORUS I
does she know what these brothers intend?
CHORUS II
can she guess how her journey will end?
CHORUS III
Oh do not ask her
like others of her kind
she puts one foot in front of the other
not knowing where she is going
she cannot read minds
CHORUS I and II
then let her do as she will
each person has his own fate
each soul has its destiny to fulfill
EDUARDO & MARTIN (VOICES offstage)
woman, hurry up
don’t keep us waiting
                         (JULIANA moves offstage)
13. The Brothel
MADAM (CHORUS III)
here’s the money for your girl
count it it’s all there
my dealings are fair
her figure is good
she has a big smile
she will earn it back
in a very short while
                                         (to MARTIN)
what did you say her name was?
EDUARDO
Juliana
MADAM
Juliana, you have come to a good house
you can thank your stars and the Madonna
                                     (takes her inside)
CHORUS
what of Eduardo
what of Martin?
have they rid themselves
of the demon of love?
poor brothers!
what can they be thinking of!
when passion speaks
the image it seeks
remains in the eye of the mind
not heaven not hell
can erase that face
indelibly drawn
in the mind’s eye
not in flood not in fire
will it burn will it drown
poor brothers!
the woman is gone
the image remains
both are still pawns
to unquenchable desire
14. The Tavern. Night. MARTIN and two men playing cards. One of the men deals.
DEALER
where is Eduardo?
MARTIN
gone on an errand
MAN
where to?
MARTIN
I don’t know
MAN
what a lousy hand
MARTIN
two cards here
MAN
three for me
DEALER (dealing himself one card, to MARTIN)
your play
MARTIN
I’ll stay
MAN
I’m out
DEALER
I’ll raise you and see you
MARTIN
two of a kind
DEALER
full house beats a pair
there’s a cockfight tonight
MARTIN
where?
DEALER
Farias’ at nine
MARTIN
I’ll be there
CHORUS
not heaven not hell
can erase that face
indelibly drawn
in the mind’s eye
not in flood not in fire
will it burn will it drown
Poor brothers!
the woman is gone
the image remains
but both are still pawns
to unquenchable desire
                             (EDUARDO and two men playing  cards.
 One  of the men deals.)
DEALER
where is Martin?
EDUARDO
gone on an errand
MAN
where to?
EDUARDO
didn’t say
MAN
what a lousy hand
EDUARDO
I’ll take three
MAN
me too
DEALER (dealing himself one card)
I’m in
EDUARDO (pushing money to the center)
I’ll double and see you
MAN
I’m out
DEALER
You win
EDUARDO
let’s see your cards
nothing
you were bluffing
DEALER
another hand?
EDUARDO
the deal is mine
MAN
There’s a cockfight tonight
EDUARDO
where?
MAN
Farias’ at nine
EDUARDO
I’ll be there
CHORUS
not heaven not hell
can erase that face
indelibly drawn
in the mind’s eye
not in flood not in fire
will it burn will it drown
Poor brothers!
the woman is gone
the image remains
both are still pawns
to unquenchable desire
15. The Brothel. Day. EDUARDO is coming out as MARTIN about to enter.
MARTIN
you of course!
I recognized the horse
EDUARDO
how else could it end?
how foolish we are
trying to pull wool
over each other’s eyes
MARTIN
it’s hardly a surprise
EDUARDO
brother, we were better off before
there was no pretense
and we did not need to travel so far
MARTIN
brother, right you are
We were better off before
EDUARDO
it would make more sense
to keep the woman close at hand
MARTIN
we understand each other
there’d be no need to ride
to Moron anymore
EDUARDO
it would save us the bother
of a tedious journey
MARTIN
spare your horse and mine
the strain and the lather
EDUARDO
let us talk to the madam
and buy her back again
what do you say?
MARTIN
she’ll drive a hard bargain
EDUARDO
either way we pay
16. The house. Night. DUMBSHOW as before. Lights on in JULIANA’s room, EDUARDO’s shadow crosses the window from the right, lights go out. MARTIN’s cigarette glows outside in the dark. Lights go on in JULIANA’s room, MARTIN’s shadow crosses from the left. EDUARDO’s cigarette glows in the dark.
CHORUS (during the dumbshow, reprise)
what shall I say
of this unholy pair
each with a share
of the woman in there –
each one in love
with a love each denies
in love with her smile
in love with her eyes
in love with her high white breast
in love with her long white thighs
this love is monstrous
this love is vile
it troubles me now
and will trouble me still
when all three are long laid to rest
17. The house. Day. MARTIN and EDUARDO sit a table on the patio.
EDUARDO
woman, where are you?
bring in the tray
                                 (After a minute)
MARTIN
where is the mate?
don’t keep us waiting
JULIANA enters. Wordlessly serves them.
EDUARDO
lazy skirt!
MARTIN (picking up a cup)
look at this cup!
didn’t you wash up?
the rim is dirty
                                   (SHE starts to leave)
EDUARDO (grabbing her arm)
when my brother addresses you, answer him!
CHORUS
defend yourself, speak
tell him he’s hurting
                           (wrenching away SHE knocks over the kettle.
 The liquid spills. It burns MARTIN’s hand.
 HE knocks a plate off the table as he stands
 abruptly and gives  her a cuff.)
MARTIN
clumsy fool!
you have spilled the mate
EDUARDO
and broken the plate
MARTIN
why are you waiting
sweep up the patio
                           (JULIANA leaves)
EDUARDO
come on
let’s go to the cafe
MARTIN
No, I think I’ll take a walk
I’ll join you later
EDUARDO
Whatever you say
                           (THEY leave in different directions.
                          As EDUARDO goes off stage a dog yelps
                           as if kicked. EDUARDO’s voice)
damned dog
get out of the way
CHORUS
restless the sleep
troubled the dreams
of these two brothers
Eduardo Martin
since this pliant woman
has slipped in between
like a fiery brand –
how must they see each other in her eyes
how must they meet enclosed in her thighs
it is more than a man can bear
it is more than a man can stand
CHORUS II
which one is Abel
which one is Cain
which one will go
which will remain?
18, The road. Dusk. MARTIN is tieing canvas over the cart. Enter EDUARDO.
MARTIN
hello, brother
jump in
EDUARDO
where are you going?
MARTIN
to Pardo’s with the skins
EDUARDO
why now
MARTIN
the heat is too great
to bear by day
at night the air
is cooler
EDUARDO
brother, you are right
                                   (HE gets in. They clip-clop along.)
CHORUS
clippoty-clop
clippoty-clop
moving along
to Destiny’s tune
what is she singing?
what is the burden of her song?
night falls
the moon is rising
rising rising in the wide starry skies
rising over the tracks
of the foolish and the wise
shining on the secrets
of the children of men
secrets without number
known only to the moon
to the all-seeing eye
of the lady on high
and soon to be forgotten
even by her
as her lamp grows dim
and fades from view
behind the slow curve
of the earth’s rim
clippoty-clop
clippoty-clop
the cart is turning
the cart is slowing
the cart is coming to a stop
EDUARDO
why are we stopping, brother?
MARTIN
this place is as good as another
the earth here is soft as a pillow
the grass here is tall as a candle
EDUARDO
but we are not even halfway there
MARTIN
Here is a shovel
now help me, brother
the buzzards will soon take over
I killed her this afternoon
let her lie in her trinkets and rings
with the earth for a cover
we are quit of the trouble
the lasting trouble
she brings
                                       (THEY lay out the body
                                       and start digging)
CHORUS
she lived in silence
she died with violence
innocent as a beast
killed like a beast
CHORUS l
why must she pay?
CHORUS II
she stood in the way
the knife with the name of another
found her breast
CHORUS III
the knife with the name of a brother
gave her rest
a sacrifice
on the altar erected
to the love
CHORUS II
a sacrifice
perfected
by the love
CHORUS II
of brother for brother
that bloody breast
that spreading stain
pays the debt
CHORUS III
lays to rest
II & III
the debt owed to Abel by Cain
CHORUS III
such is the price
CHORUS II
a blood sacrifice
CHORUS I
when brothers compete
one lives one dies
CHORUS II
their love is complete
blood purifies
CHORUS I
listen!
can you hear?
the singing is clear
it is her blood that sings
it wells from the earth
in a second birth
from sorrow’s springs
JULIANA SINGS
(rising ghostly beside the two men as they bend to the shovel)
I am the blood of the innocent
I am spilled every day every hour
I am death’s most virulent flower
nothing contains me, no cup no bowl no jar
I water the ploughed field, I water the roots of war
once I was quick and brimming with life
I was a young man, an old man, a daughter, a wife
now I am nothing, I am one with ashes and dust
do not speak to me of justice
speak to me of the earth’s cold crust
speak to me of the earth’s cold crust
19. The house. Night
MARTIN
where is the Bible?
EDUARDO
in the storage room
in the cabinet with glass doors
MARTIN
wait
I’ll bring it here
CHORUS
the blood of the dove
drips from their hands
the blood of the dove
muddies the waters
the swift-flowing waters
the life-bestowing waters
of love
MARTIN (returning with Bible)
look!
the names of our parents
and the names of their parents
are recorded in this book.
CHORUS
one name they will never name
Juliana Burgos
one past they will never reclaim
Juliana Burgos
EDUARDO
and here are our names
and the dates of our birth
CHORUS
these names will soon pass from the earth
MARTIN
do you swear?
EDUARDO
I swear
TOGETHER
released by this act of violence
CHORUS
released by this act of violence
MARTIN and EDUARDO
I Martin/ I Eduardo
swear
CHORUS
they swear
MARTIN & EDUARDO
ever to wear
the mask of silence
                          (THEY cut their wrists and mix their  blood)
CHORUS
ever to wear
the mask of silence
MARTIN & EDUARDO
now it is done
now we are one
CHORUS
two men one mind
two men one heart
MARTIN & EDUARDO
not the sun not the moon
can pry us apart
CHORUS
not the moon not the sun
can pry them apart
CHORUS III
two men one crime
swallowed by time
CHORUS
when brothers compete
one lives one dies
CHORUS II
their love is complete
silence complies
CHORUS: finale
the wind blows
no man knows
whence it came
whither it goes
the cold wind and warm
the mild wind and wild
sweeps like a broom
through history’s room
man and his deeds
are swept away
swept away
only the winds
know where they go
only the winds –
hear how they blow!
warm winds and cold
wild winds and mild
carry the tales
told and untold
carry the words
carry the deeds
the cruel and the kind
the just and unjust
the wind the wind the wind
carries them all
out of mind
scatters them all
like dust
like dust

The Alcodiaboliholic Wish Elixer*

PROLOGUE

RALPH, a raven with an umbrella, is pushing his way through the swirling snow and moaning wind toward a house in the distance. The dark is scattered with pinpoints of light from festively lit windows.

RALPH: IF ONLY

If only If only
I were upbeat and cheerful
  could think on the bright side
speak COMFORTing words
but no! it’s my doom to be gloomy
it’s the nature of ravens
most thankless of birds
just look at me now,
I’m doubting, unhopeful
off on a mission
that doesn’t bode well
why can’t I be less a depressive
and BELIEVE there’s no cloud that
the sun can’t DISPEL
It’s new year’s eve
I want to make merry
like BIRDS everywhere
but something quite scary
is in the air
I don’t know just what
but it’s churning my gut
there’s a wizard in the picture
and a witch
and their hearts are blacker
than the blackest pitch
IF ONLY If ONLY
LiKE robin or swallow
I never made trouble,
spread worry or dread
were spared from the urge to sing dirges –
but chirp sweet hosannahs
from treetops instead
On new years eve
who heeds the DARK warning
blown out by my horn:
“disaster’s aborning
look out Come morn!
it’s feeling not fact
so i can’t be exact
but there’s a wizard in the picture
and a witch
AND THEIR PLANS ARE BLACKER
ThAN THE BLACKEST PITCH
   IF ONLY IF ONLY
   AHEAD IN THE DARKNESS
   NO DANGER WERE LOOMING
   AND I COULD RELAX
   BUT NO! IT’S MY DOOM TO BE GLOOMY
   AND ALWAYS BE SOUNDING
   A PLAGUE-STRICKEN SAX

(He gives a hair-raising croak at the end of the song. A big gust of wind catches his umbrella and blows him offstage)

ACT I

 Scene i: Wizard’s laboratory. Books, bottles, alembics, testubes, glasses, globes, coils, etc. A fire beneath a tripod flickers against the hearth. There is a large cuckoo clock on the wall. IRRWITZER, a wizard, is at his desk writing. From somewhere distant the sound of off-key scales, gradually fading into silence.

                                      IRRWITZER
(looking up)
Being of sound mind and body, in my hundred and seventy-third year. . .
                         (leaning back, reflectively)
Much too young to go to hell…
(bending to his task again)
I hereby bequeath …
(pausing again)
No. Not that grasping hag. I don’t care if she is my last living relation . . . Perhaps a Foundation? For the dissemination of bad ideas disguised as good ones?
(Enter MAURIZIO, a nondescript, overweight cat)
MAURIZIO
Scales always make me thirsty.
(goes to cupboard, opens it)
Nibblets? Cream?
(takes out a bottle of milk, chuga-lugs)
Ahhhhhhhh. . .
(sniffing)
Master, it smells bad in here. Do you think I should open a window?
(no answer)
Master, what are you doing?
IRRWITZER
What am I doing?
                       (sotto voce)
What’s it look like? Idiot cat!
                       (out loud)
I’m writing, my pet.
                         MAURIZIO
What are you writing? Resolutions for the New Year? . . . Or, or . . . could it perhaps be a new remedy for my voice?
                         IRRWITZER                                                            (ironic)
Just so. A new remedy for your voice! I can’t wait to hear it in the full bloom of its glory. A second Pavorotti.
                         MAURIZIO
Oh Master! Pavorotti!
         (Silence. IRRWITZER continues to write)
Do you mean it? Do you really mean it?
IRRWITZER
                                (absent-mindedly)
Yes, yes, I really mean it.
                   MAURIZIO
                   (overcome)
You’re so good to me. No one has ever been so good to me. And I don’t deserve it! . . . If you knew . . . If you only knew – (screwing up his courage) You SHALL know . . .
                 (still hesitating)
IRRWITZER
Well…
                 (losing patience)
WHAT IS IT!?
                           MAURIZIO
                         (very meek)
Oh, dear. Now I’ve made you angry.
                     IRRWITZER
(controlling himself, patently hypocritical)
No, no, nothing of the kind. Dear boy. What is it?
                                   MAURIZIO
I’m not the innocent stray
you found on your doorstep one day
a starving cat, more dead than alive
SHAME On me, SHAME on maurizio
HE’S not who HE appearS to be
you fed me, enlisted your skills
to restore with remedal pills
the voice I’d lost and ached to revive
SHAME OH me, SHAME oN maurizio
HE’S NOT WHO HE APPEARS to be
IRRWITZER
(muttering to self)
Who is?
MAURIZIO
You know how the health of of the planet and the lives of all living creatures are at risk..

(Animal cutouts or puppets are silhouetted; singing as if from far away)

WATERS ARE POISONED, AIR IS POLLUTED
FIRES ARE IGNITED, EARTH IS LOOTED
creatures inhabiting earth sea and air
SALMON AND EAGLE, TIGER AND BEAR
furry and feathered, scaly and finned,
TRAPPED AND DISMEMBERED, SHOT DOWN and skinned
IRRWITZER
Mmmmmmmmmmmmm
MAURIZIO
Well, last fall the animals met in council to take steps to save themselves.
                           (again – puppets sing)
              earth and its creatures are under attack
              OUR TASK IS IN NEON, UNITE AND FIGHT BACK
                (neon lights flash: UNITE AND FIGHT BACK)
And they drew up a list of enemies, and Master – it hurts me so to say it: your name was high on the list!
             I’m a spy, a dirty spy, that’s who I am
             I’m A SNOOP AND DECEIVER NOT WORTH A DAMN
             I have come under your roof
             to RETURN with HARD proof
             THAT YOU ARE AS BAD AS THey think you are
             and THEN WATCH OUT! watCH OUt!
         you’ll be tossed on a horn or trampled under-    hoof
But master!
THE animal council’s wrong
you’ve BEEN ON OUR SIDE all along
AT WORK, REPAIRING THE ATMOSPHERE
Shame on them, shame on the animals
THEY’VE ALL BEEN BLIND, BUT I’LL MAKE THEM SEE
YOU’re NOT WHO YOU APPEAR TO BE
(tears roll down his cheeks)
MAURIZIO
Can you ever forgive me?
IRRWITZER
                        (with a wave of his hand.)
You’re forgiven. Now let me –
(banging on the door; IRRWITZER freezes; beat)
MAURIZIO
Master, someone is at the door.
IRRWITZER
I’m not deaf.
MAURIZIO
Maybe it’s the same visitor you had earlier.
                                      IRRWITZER
(sharply)
What do you know about that?
MAURIZIO
Nothing. I heard voices… Don’t you want me to answer it?
IRRWITZER
No. Yes. Say I’m not here.
MAURIZIO
But that’s a lie.
IRRWITZER
Oh, so now you can’t lie!
MAURIZIO
Oh, Master! Is that fair?
IRRWITZER

All right. Don’t answer it.

 (desperate, to self, looking around for a place to hide)

 It’s too early. I still have time!

(Banging gets louder)

 MAURIZIO
Perhaps it’s a neighbor come to wish you Happy New Year.
IRRWITZER
I have no neighbors.
(More banging)
Oh, hell! Answer it.
(MAURIZIO flings open the door – RALPH is blown in by the wind. Shakes himself looks around)
RALPH
Isn’t anyone going to say hello?
MAURIZIO
Hello.
IRRWITZER
Who are you? What do you want?
RALPH
(signals to MAURIZIO. winks broadly, brandishing what’s left of the umbrella)
Just a minute. Let me dry out. I’m soaked.
RALPH and IRRWITZER: I’VE TROUBLES ENOUGH
THE MESSENGER’S LOT IS A HARD ONE
THROUGH HOWLING WIND
AND BLINDING SNOW
HE TRUDGES ON HIS THANKLESS WAY
CHILLED TO THE BONE
TIRED ALONE
I’VE TROUBLES ENOUGH – IT DOESN’T PAY
(HE winks again at MAURIZIO)
                      IRRWITZER
Get to the point!
                          RALPH
I’VE BEEN SENT BY YOUR AUNT GRUELLA
SHE’S ON HER WAY
           IRRWITZER
WHAT FOR?
           RALPH
                      CAN’T SAY
SOMETHING ABOUT A RECIPE
   (HE signals to MAURIZIO again)
                       IRRWITZER
TREACHEROUS HAG
CUNNING OLD BAG
I’M ON TO HER TRICKS SHE CAN’t fool me
What’s wrong with you? Why do you keep winking?
RALPH
Nerves. Rheumatism. I’m in terrible shape.
             IRRWITZER
(Ignoring him, runs around madly, shoving papers in            drawers and cleaning up)
WHO CARES IF SHE’S MY ONLY LIVING RELATION
IF SHE THINKS SHE CAN PICK MY BRAIN
SHE’S INSANE
SHE GET NOT A SHRED of FORMULA, a scrap of equation
A Smidgeon of COMPUTATION
  WE’VE NOT MET FOR A GOOD HALF CENTURY
  THE TIMING STINKS
  I SMELL A RAT
  THERE’S MORE TO THIS THAN MEETS THE EYE
  MEDDLESOME WITCH
  RICHER THAN RICH
                SHE’LL STEAL WHATEVER SHE CANNOT BUY
         IRRWITZER

(still dashing about)

NASTY SNOOPING GREEDY THING

I’VE TROUBLES ENOUGH

NOW SHE’S ON HER WAY

         RALPH

(warming himself at the fire)

CHILLS,ARTHRITIS,CRIPPLED WING I’VE TROUBLES ENOUGH

NO WAY DOES IT PAY

     IRRWITZER
(muttering, about to leave with an armful of papers)
I bet she’s got wind of… I’ll put everything in my spell-proof safe. No telling what she’s after. . . Maurizio, you take this bird of ill omen to your room and lock him up there. And don’t let him out of your sight. Not for one second!
(He leaves on the fly, dropping a large slip of paper as he goes.
Scene ii: MAURIZIO and RALPH.
(MAURIZIO takes RALPH in hand.)
                                        MAURIZIO
You heard my master. Prisoner, march!
                                        RALPH
Oh, kitty. Take it easy. He’s out of earshot now. We can talk.
                                      MAURIZIO
Talk!? A bird and a cat? What can we possibly have to talk about?
RALPH
In desperate times like these, you ask me a question like that?
                                    MAURIZIO
Do you know to whom you have the privilege of speaking?
I am Maurizio di Mauro, the world famous opera singer.
                                    RALPH
Oh, come off it. You’re a secret agent.
MAURIZIO
(not listening, with bravado)
If you don’t obey, I’ll show my claws. March!
RALPH
The Animal Council, remember? Spies, remember?
                           MAURIZIO
No. I can’t place you at all.
                           RALPH
That’s because they sent me to the witch the day after they sent you to the wizard. I kept winking but you didn’t catch on.
                           MAURIZIO
But why didn’t you come right out and say so?
                             RALPH
What? In front of your master? Oh, sure, right…
                           MAURIZIO
But he knows anyhow.

RALPH

What? He found out?
                            MAURIZIO
No. I told him.
                             RALPH
Will you run that by me again?
                           MAURIZIO
It was the honorable thing to do.
                               RALPH
You nitwit! You idiot! You credulous fool! I don’t believe it! I do believe it! Cats are the pits! Cats are patsys. Cats take the –
                              MAURIZIO
                               (grandly)
I will ignore your insults. I am the scion of a long
line of opera stars. I have the gift of song.
(HE practices a few scales, failing miserably)
RALPH
Kitty, no offense, but I hear nothing to brag about.
                                        MAURIZIO
That’s because I’ve hit a sticky patch. But, fortunately, my master is a patron of the arts: In the goodness of his heart, he is helping to restore my voice to all its former glory.
RALPH
The goodness of his heart!
                                 MAURIZIO
Yes. He is treating my voice with special remedies.
RALPH
I bet. Special remedies to make you nod off most of the day, so you won’t see him for what he is.
MAURIZIO
And what in your opinion is he?
RALPH
Why, a black magician, of course, a cunning and powerful enemy.
MAURIZIO
That’s not true!
RALPH
I’ll tear my feathers out – I’ll – How can I convince you?
(kneels suddenly, eyes to the ceiling)
Ramona! Sweetheart! Help me. Help! If you ever loved me, if ever I loved you, I implore you, come to my aid.
                                             MAURIZIO
Who is Ramona?
                                                 RALPH
       (gets up, looking around the laboaratory, off hand)
 My darling wife, my childhood sweetheart, my devoted helpmate, my one and only lo – Hello, what’s this?

(he picks up a piece of paper dropped from Irrwitzer’s bundle:  to self, in awe) Kitty, look! Look at this!

                           MAURIZIO
It’s just a bunch of numbers and stuff. So what?
                            RALPH
No, no. There on the margin – Don’t you see what he’s drawn?
RALPH and MAURIZIO: A PICTURE IS WORTH A THOUSAND WORDS
         RALPH
This is you
There is no doubt
The bulging eyes
Protruding tongue
FROM a gibbet’s ARM
TRUSSED and hung
         MAURIZIO
It’s NOT true
It can’t be me
         RALPH
The scruffy tail
         MAURIZIO
How rude you are!
         RALPH
underneath your chin
The same white star
There’s truth in the doodles
HATCHED BY the brain
They tell oodles and oodles
makE SEcRET THOUGHTS plain
A DRAWING wears no
disguise
it never lies
ONE PICTURE IS worth a thousand words!
          MAURIZIO
IS IT TRUE?
Can this be me?
Am I deceived?
CAN he HAVE LIED?
       RALPH
Pictures as clear as this
CAN’T BE DENIED
       MAURIZIO
HE WAS always SO GOOD
TO ME
HE FED MY FAVORITe FOOD
TO ME
TUNA MELTS
SARDINES AND SMELTS
utterly scrumptious delicious tidbits
OH Oh OH IT’S VERY HARD
TO SWALLOW!
THE SHAMELES CAD!
The hypocriTE!
SO MANY PROMISES
ALL HOLLOW!
BUT I HAVE TO ADMIT
IT’S TRUE
THIS PICTURE DOESN’T FIT
IT’S TRUE
Oh OH OH IT’S VERY HARD
TO SWALLOW!
MY HIGH HOPES DASHED
MY DREAMS ALL SMASHED
SO MANY PROMISES
ALL HOLLOW!
   RALPH
GIBBET-ED!
MAURIZIO
HE WANTS ME DEAD
IT’S NOT JUST SUSPICIOUS
IT’S PROOF POSITIVE
     RALPH
THERE’S TRUTH IN THE DOODLES
HATCHED BY THE BRAIN
THEY TELL OODLES AND ODDLES
MAKE SECRET THOUGHTS PLAIN
A DRAWING NEVER LIES
IT WEARS NO DISGUISE
ONE PICTURE IS WORTH A
THOUSAND WORDS
MAURIZIO
HOW COULD HE
HOW COULD HE
FEED ME SUCH LIES
WEAR A DISGUISE
BUT

ONE PICTURE IS WORTH A THOUSAND WORDS

 

 

                             MAURIZIO
Oh, Ralph! I’m so ashamed. How will I ever live it down!
                               RALPH
His aunt Gruella tried the same tricks with me. Only I caught on. She’s a money witch.
MAURIZIO
What’s a money witch?
RALPH
She makes money make money, she snaps her fingers and there it is. The nephew makes the poisons and the aunt finances them.
                                       MAURIZIO
Is she really his aunt?
RALPH
Sure thing.
MAURIZIO
How do you know?
RALPH
Snooping. They’re both centuries old. But she’s older. She raised him. But he hates her. And vice versa.
MAURIZIO
Why? What did she do to him?
RALPH
Nothing. Ugly feelings are just second nature to them.
                                       MAURIZIO
So why is she coming here?
RALPH
I don’t know – but she’s up to no good, I can tell you that. I came ahead – she doesn’t even know I’m here – so I could find you and clue you in. I’m counting on your help.
                                       MAURIZIO
My help? What can I do?
                                         RALPH
Two heads are better than one. I need to nail this thing down,
once and for all, and tonight is the night, there’s something in the wind, I feel it in my bones, I –
(suddenly emits a hair-raising involuntary croak)
Sorry. It comes over me. Anyhow, we’re partners now.
(Wind howls in the chimney. Underneath a voice is heard singing)
Gruella: MONEY MAKES MONEY
MAURIZIO
Listen! What’s that?
RALPH
(looking around)
It’s Milady Witch. We’ve got to hurry! Can you read?
MAURIZIO
(condescending)
Can’t you?
RALPH
(RALPH points to a barrel marked POISON)
What does that say?
MAURIZIO
(making it out slowly)
F – no, P – P-O-I-S-O-N – P – P – spells PACKING.
VOICE OF GRUELLA
DINERS AND DOLLARS AND RUPEES AND YEN
MONEY MAKES MONEY MAKES MONEY MAKES MEN
TRA LA TRA LA TRA LA TRA LA TRA LA
RALPH
Will you move it?
           (coins come spewing down the chimney as
the VOICE of GRUELLA gets louder
GRUELLA
           THE KRONER THE ZLOTY THE FLORINT THE FRANC
(MAURIZIO jumps up, RALPH helps him down inside and pulls the lid across.)
            MONEY MAKES MONEY MAKES MORE IN THE BANK
            TRA LA TRA LA TRA LA TRA LA
 
 
Scene iii: GRUELLA and IRRWITZER
(GRUELLA lands in a spray of coins in the pot which hangs from the chimney on the hearth, where she rocks back and forth as if she were in a swing. The fire light against the wall temporarily freezes, but resumes flickering as she steps into the room. SHE carries a pocketbook shaped like a safe.)
               THERE’S SO MUCH TO BUY
               AND SO MUCH TO SELL
               IF MONEY WERE WATER
               I’D BE A WELL
          THE SHEKEL THE MARK THE PESO THE POUND
          MONEY MAKES MONEY MAKES INTEREST COMPOUND
          TRA LA TRA LA TRA LA TRA LA
                                    GRUELLA
Yoohoo! Anyone home?
(Receiving no answer, SHE begins to snoop around, poking here and there, trying to open drawers, etc. SHE is interrupted as IRRWITZER enters, and tries to cover by rushing forward to embrace him)
Ah, Beelzebub Irrwitzer, my precious nephew. Let me look at you.
                           IRRWITZER
Don’t precious me. It’s been a half-century.
                            GRUELLA
You haven’t changed a bit.
                           IRRWITZER
You have. You’ve aged horribly.
                            GRUELLA
And you are as ugly as ever.
     (Long silence. THEY stare at each other                    hatefully)
                           IRRWITZER
All right. State your business.
                           GRUELLA
Business?
                           IRRWITZER
Yes. I was hardly expecting a social call.
                           GRUELLA
You knew I was coming?
                           IRRWITZER
Of course.
                            GRUELLA
How?
                            IRRWITZER
Your raven.
                            GRUELLA
He was here?
                           IRRWITZER
Didn’t you send him?
                           GRUELLA
                             (vexed)
I did not. I intended it to be a surprise.
                           IRRWITZER
Too bad.
                           GRUELLA
He’s a spy sent out by the Animal Council. He thinks I don’t know. Typical birdbrain.
                               IRRWITZER
I’ve got one too. A cat. Gluttonous, gullible, and vain. I’ve flattered him, pampered him, and stuffed him with tranquillizers from day one. He’s even persuaded he has a great voice I’m bringing out. It’s pathetic.
           (MAURIZIO, peering out from under the lid, suppresses a sob, and almost tumbles out, while THEY laugh uproariously)
                            GRUELLA
Where are they, anyhow?
                           IRRWITZER
In Maurizio’s room. I told him to take your bird there and keep him under lock and key.
                           GRUELLA
Can he be trusted?
                           IRRWITZER
You can bet your last penny.
                            GRUELLA
I don’t have such a thing.
                             (beat)
                          IRRWITZER
So? May I inquire again what brings you here?
                             GRUELLA
Remember dear Uncle Virus?
                            IRRWITZER
How could I not? He remembered ME and very handsomely. Unlike you.
                              GRUELLA
That’s water over the dam.
                             IRRWITZER
It is? You were very nasty about it at the time. Threatened me with a law suit, as I recall. Until you realized how many cans of worms it might open.
                                GRUELLA
Look, Bubby, it was fifty years ago. You can’t hold a grudge forever. Anyhow, I didn’t come to fight. I’ve come in a true spirit of reconciliation. It’s the New Year. A time for new beginnings.
                                IRRWITZER
Oh? Explain yourself.
                                  GRUELLA
Among the items in his will was a certain scroll. It was about two and a half yards long.
                   IRRWITZER
It’s worthless. He tore the original in two during one of his spectacular temper tantrums. I only got half. Margaret Mummycase got the other. He had a soft spot for movie stars.
                             GRUELLA
Since it’s worthless, you won’t object to making me a present of it, will you?
                            IRRWITZER
A present? I never give presents.
                             GRUELLA
All right, I’ll buy it.
(SHE mutters while fiddling with the combination to her safe-pocketbook which SHE has set down against a wall or on a surface with a drop, through which she can draw endless amounts of paper bills through a false bottom or side.)
                                     MAMMON, GREAT PRINCE,
                                     RULER OF MANKIND –
                                     GIVE DOLLARS AND CENTS
                                     TO LOOSE AND TO BIND.
           (drawing out huge wads of bills)
         One thousand, two thousand five thousand, ten
                           IRRWITZER
No.
                           GRUELLA
               (SHE throws out a lot more money)
         I’ll double to twenty, and double again
                        IRRWITZER
No.
                          GRUELLA
           My very last offer, a COOL hundred THOU
          (SHE throws out another pile of bills)
                        IRRWITZER
No.
                           GRUELLA
     YOU USED TO LOVE MONEY WHY DON’T YOU NOW?
What makes you so stubborn?
                           IRRWITZER
What makes you so eager?
                            GRUELLA
(ignoring him, SHE wonders toward the fire place, staring into it, meditatively)
Bubby, dear, remember what good times we use to have when Uncle Virus was still alive? How the whole family used to get together, before your dear parents died, there was Grandaddy Deadwood, and Aunt Tarantula, and your cousin Jaundice and his sister, Salmonella – remember the day we all went on a picnic, and –
         GRUELLA
   (very sentimental)
we SET the woods on fire HANDILY
WE WATCHED THE SKY TURN RED
and SANG TO WAKE THE DEAD
A SIMPLE, POOR HARD-working FAMILY
what BRILLIANT times we had
we were so very bad
so wild, so willful, raising hell together
There was no stopping us
no overtopping us
                  those days are now all one with                   wind and weather
we used to spread confusion handily
we cut the power lines
reversed the traffic signs
a simple poor hard-working family
what BRILLIANT times we had
         TOGETHER
(IRRITZER joins in despite himself)
we were so very bad
so wild, so willful, raising hell together
there was no stopping us
no overtopping us
those days are now all one with wind and weather
                 IRRWITZER
remember how we bit the wings off butterflies
                 GRUELLA
and tied tin cans to tails of dogs and cats
             IRRWITZER
and painted CHURCH YARD tombstones with graffitti
                 GRUELLA
and colonised the movie house with rats
                 BOTH
we spit on Law and order handily
we sawed the bars off jails
AND sTREWED the roads with nails
a simple poor hard-working family
WHAT BRILLIANT TIMES WE HAD
WE wERE SO VERY –
               Irrwitzer
               (cutting off abruptly)
Stop! You’re not getting away with this! It’s no use tugging at my heartstrings. I don’t have any. Neither do you, you old hypocrite.
                       GRUELLA
(she turns around sharply and catches her dress on a table corner. She tries to yank it free.)
You are the rudest person in the world! You’re just as nasty stubborn little boy, you haven’t changed a bit since I took you in as an orphan and –
(SHE has kept tugging until it suddenly releases and she stumbles backward. As she does, her hat falls off and a scroll concealed inside it tumbles out. SHE stares at it ruefully)
All right. I have the other half. I went all the way to Hollywood to buy it from Margaret Mummycase. She drove a hard bargain, too.
(IRRWITZER extends a hand, she slaps it back, laying it out.)
Keep your distance, boy-O.
IRRWITZER
(puts on glasses, peering)
Hmmmmm. Yes…It appears to be – some kind of recipe…
For what?
GRUELLA
                    (looking at the clock)
Nothing special. Just a punch. The very thing, I thought, to celebrate the New Year …
IRRWITZER
Oh, sure. You come all this way to share a drink with your favorite nephew. Com’on, spit it out.
GRUELLA
                 (again looking at the clock)
We’re wasting time. Promise you’ll sell me your half if I do?
(HE nods in a way that can be interpreted as yes)
GRUELLA
All right. It’s a recipe for the legendary Alcodiaboliholic Wish Elixer. It can be brewed only on New Year’s Eve, the midpoint of the twelve days between Christmas and Epiphany when black magic powers are at their height. Each glass of punch represents one wish. You state your wish, chugalug the lot, and Bob’s your uncle: Your wish comes true.
IRRWITZER
Blazes and brimstone!. . . How do you know?
GRUELLA
It’s written on my half of the scroll.
IRRWITZER
(walks about the room, pauses and drums his fingers on       the  barrel)
If this is true –
                                       GRUELLA
It’s true –
IRRWITZER
Don’t interrupt. If this is true, there’s no end to what can be accomplished in very short order. But there’s a hitch: Those blasted spies. You know our agenda: Everything we do to cripple nature and spread blight must SEEM to be beneficial. At all costs, we are to remain undetected. I don’t know about your raven, but my cat is convinced I am a benevolent magician working for the good of mankind. If it hadn’t been for the Animal Council, I would have vivesected him by now. But if those two come to harm, or can prove what we’re up to, it’s all up with us: Suppose armies of termites, or warrior ants, or squadrons of attack birds or herds of elephants were sent against us, it would top the Egyptian plagues, and –
GRUELLA and IRRWITER: YOU BETTER BELIEVE
 
GRUELLA
WAIT A MINUTE, LET ME SPEAK
WE WANT THE SPIES TO HEAR US
THIS PUNCH GRANTS MAGIC WISHES
WITH A FEATURE THAT’S DELICIOUS
AND UNIQUE:
IT REVERSES WHAT YOU WISH
THEY’LL THINK US SAVIORS OF MANKIND
THEY’LL NEVER KNOW OUR WISHES
ARE MALICIOUS
THEY WILL BE BLIND BE BLIND
Here is how it works.
YOU MAKE A WISH FOR WHITE
WHEN WHAT YOU WANT IS BLACK
YOU MAKE A WISH FOR FRONT
WHEN WHAT YOU WANT IS BACK
YOU WISH FOR FERTILE SOIL
TO ROT THE HEALTHY SEED
TO MAKE THE MARKETS ROIL
YOU WISH AN END TO GREED
TO GET THE CROPS TO FAIL
YOU WISH FOR THEM TO GROW
TO MAKE THE STREAMS RUN DRY
YOU WISH FOR THEM TO FLOW
IRRWITZER
But this is made to order! They’ll hear us wishing, and never know …
                       GRUELLA
You said it, Boy-0!
                       BOTH
(dancing around ecstatically)
THE FATE OF THE WORLD
IS IN OUR HANDS
UNBOUNDED POWERS
WILL SOON BE OURS
WE’LL WORK SUCH WOE
AS HASN’T BEEN SEEN
AS HASN’T BEEN SEEN
GRUELLA
SINCE WHEN?
          IRRWITZER
                            I KNOW
SINCE THE TIME OF EDEN AND ADAM AND EVE
             BOTH
YOU BETTER BELIEVE
YOU BETTER BELIEVE
SINCE THE TIME OF EDEN AND ADAM AND EVE
THE CHANGES WE’LL MAKE
ARE SIMPLY COLLOSSAL
THE WORLD AS WE KNOW IT
WILL SOON BE A FOSSIL
WE’LL WORK SUCH WOE
AS HASN’T BEEN SEEN
AS HASN’T BEEN SEEN
SINCE WHEN?
                           WE KNOW
SINCE THE TIME OF EDEN AND ADAM AND EVE
YOU BETTER BELIEVE
YOU BETTER BELIEVE
SINCE THE TIME OF EDEN AND ADAM AND EVE
A WISH FOR WORLDWIDE PEACE
WILL BRING ON GLOBAL WAR
YOU WISH FOR FABLED WEALTH
YOU’LL END UP AS DIRT POOR
THE FATE OF THE WORLD
IS IN OUR HANDS
UNBOUNDED POWERS
WILL SOON BE OURS
THE WORLD WILL BE UPSIDE DOWN
NO HAND WILL SET IT RIGHT
WHAT FUN BLACK MAGIC IS
WHEN IT PRETENDS IT’S WHITE
                GRUELLA
                  (looking at the clock)
We’d better get started. Time is short.
                           IRRWITZER
(suspiciously)
What’s the hurry? I bet there something you’re holding back!
                            GRUELLA
Of course not. It’s just that when midnight chimes ring, at the very first note the punch loses its reversing power.
                           IRRWITZER
You’re not going to tell me that magic straight from hell can be canceled by a stupid bell! Now a rooster at daybreak maybe –
                            GRUELLA
No no. The magic isn’t canceled. The reversing power is canceled. At midnight, if you haven’t finished, if one drop remains, your wishes will come true. If you wish for peace, you don’t get war, you get peace!
IRRWITZER
How awful!
GRUELLA
So where is it? Where’s your half?
IRRWITZER
No. Wait. I know you, you’re still hiding something.
GRUELLA
Hiding? Nonsense. I merely want to celebrate the New Year. See? (producing New Year’s paraphernalia) I even brought hats and horns with me! My only mistake was to think you might want to celebrate too.
                       IRRWITZER
After fifty years? Uh uh. It doesn’t wash.
                         GRUELLA
Dear nephew, why must you credit me with such bad –
                       IRRWITZER
You keep your half and I’ll keep mine.
(HE starts to leave the room. GRUELLA has a tantrum, jumps up and down, mayhem in the laboratory, fire, smoke, thunder, the floor opens up, fire breathing monsters form in the air and dissolve, or whatever effects can be managed.)
Control yourself, please. I don’t appreciate bad manners.
(SHE restores everything to the status quo ante. Starts              weeping buckets of crocodile tears)
Oh, stop it. You’re an embarrassment.
                         GRUELLA
                   (stops, sits down)
All right. … I’ll tell you. I’m in a sticky situation. A few hours ago I had a visitor …
Scene iv: GRUELLA, IRRWITZER, MAGGOT. The hands on the clock slowly turn backwards by an hour and stop when Maggot’s name is pronounced by all three.
IRRWITZER
Wait! I had a visitor too.
                          GRUELLA
Was he dressed in black?
                          IRRWITZER
He was dressed in black. Did he have a briefcase?
                        GRUELLA
He had a briefcase. Does his name contain an M?
                        IRRWITZER
His first name or his last?
GRUELLA
Both.
MAGGOT
(Appears on a central raised area, perhaps at balcony level; he removes his bowler hat, revealing a bald head with two small glowing red knobs, as he introduces himself. All three say his name simultaneously.)
Maledictus Maggot!
(MAGGOT continues as spotlights isolate the wizard and witch, who move to separate areas, so that during the following they are not aware of each other.)
Representative of His Infernal Highness, your patron and benefactor, who, in return for your cooperation, has granted you powers far out of the ordinary.
(bows to each, sits)
IRRWITZER & GRUELLA
(strangled voices)
What an honor.
                                  MAGGOT
There is a little matter of a contract.
         (opens the briefcase on his knees, withdraws papers)
IRRWITZER
Oh! A contract.
GRUELLA
Fancy that. A contract.
MAGGOT
The contract you signed a year ago tonight.
IRRWITZER
A year ago tonight. Is it really?
GRUELLA
Time flies, doesn’t it.
MAGGOT
The contract in which you agreed to –
(music under, first to IRRWITZER¸ then to GRUELLA, in a sonorous voice, intoning in a sort of chant )
(to IRRWITZER)
pollute five rivers once or one river five times;
                       (to GRUELLA)
produce triple digit inflation in three countries;
(to IRRWITZER)         ]
kill ten thousand trees;
(to GRUELLA)
bankrupt half a million individuals or a quarter million companies;
(to IRRWITZER)
make ten species extinct;
(to Gruella)
enlarge the worldwide gap between rich and poor by fifty percent;
                   (reading to himself)
Etcetera, etcetera …… ah yes:
(to IRRWITZER)
cause widespread flooding or drought through manipulation of the climate;
         (to GRUELLA)
       corrupt eighty percent of the politicians in five of the richest countries.
                               (TO BOTH)
Half your quotas are unfilled.
(music under)
GRUELLA & IRRWITZER
But… but…but
                                        GRUELLA
It’s not my fault. It’s my nephew’s fault! I depend on him for the products I bring to market.
   IRRWITZER
There are extenuating circumstances.
                                         MAGGOT
Oh?
(very fast, overlapping)
IRRWITZER
Yes, it’s that wretched cat! I should have –
GRUELLA
How could I do my part when
IRRWITZER
vivesected him. I lulled his suspicions only –
GRUELLA
I never got his products
IRRWITZER
curiosity can kill a cat but you can’t kill –
GRUELLA
on time. My hands were –
IRRWITZER
a cat’s curiosity. He was always snooping, he still had a sharp –
GRUELLA
tied. He was always behind – What could I –
IRRWITZER
eye and keen nose, and how would you like to work with a spy breathing down your neck – suppose he’d reported –
GRUELLA
do? Besides, that stupid raven was in the way, sticking his nosy beak into everthing –
IRRWITZER
me. I had to work below the radar. The Animal Council is not to be sneezed at. Did you ever try to hypnotize a wild boar? Or a locust? Just think what would happen if they suspend the laws of nature and unite!
TOGETHER
Tell your master –
MAGGOT
Stop. Enough. You’ve failed to meet your commitments. You know what the penalty is.
MAGGOT, IRRWITZER, GRUELLA: I’M TOO YOUNG TO DIE
             TOGETHTER
an extension
just grant me a brief extension
that’s all i need
to make good
       IRRWITZER
in the coming year
i promise to exceed
my PRESENT quota
THE blueprint’s IN THE PIPELINE
for a new addictive soda
         mAGGOT
not good enough
       GRUELLA
I’ve devised a WAY
to MARKET fear and greed
as flavored water
in malls and supermarkets
and even by mail order
       MAGGOT
not good enough
You’ve come up short
and that’s the bottom line
you know what’s in store
the print is not so VERY fine
     IRRWITZER
I’M TOO YOUNG TO DIE
I’M ONLY A HUnDRED and seventy-three
I’VE JUST HIT MY STRIDE
MY life is still waitng for me
       GRUELLA
I’m too young to die
I’m only three hundred and FIFTY-one
I’VE JUST REACHED MY PRIME
MY best years have BARELY begun
      IRRWITZER
talents like mine are rare very rare
       GRUELLA
where will you find another like me
         MAGGOT
no one is indespensable
         GRUELLA
besides it’s not midnight yet
       IRRwitzer
I still have time, don’t forget
         MAGGOT
WHAT CAN BE DONE BETWEEN NOW AND THEN
PROTEST IS indefensible
         GRUELLA
I’M TOO YOUNG TO DIE
NOT EVEN THREE HUNDRED AND FIFTY-TWo
JUST THInK WHAT A CRIME
THERE’S SO MUCH I STILL WANT TO DO
             I HAVE SUCH VISIONARY PLANS
             I’LL OUT-TYCOON YOUR TOP TYCOON
             WITH HIS MINIMUM TAX BASE
             I’LL PRIVATISE THE GALAXY
             SELL SHARES IN OUTER SPACE
ACQUIRE REAL ESTATE ON THE MOON
                                 (kneeling)
                          I’M TOO YOUNG TO DIE
IT’S MUCH TOO SOON
                          FORGIVE ME AND give me
                          just another fifty years
     IRRWITZER
I’M TOO YOUNG TO DIE
NOT EVEN A HUNDRED AND SeVEnTY-FOUR
I’M BARely full growN
I OUGHT TO HAVE CENTURIES MORE
I’LL MULTIPLY MY EXPERTISE
AND PERPETUATE MY NAME
WITH IRRWITZERS IN SMALL
a dozen MONSTER IRRWITZERS
ALL AT MY BECK AND CALL
                    to miss this chance would BE such a    shame
                                     (kneeling)
                          YOU CAN’T LET ME DIE
                          AT THE TOP OF MY GAME
                          FORGIVE ME AND GIVE ME
  JUST ANOTHER FIFTY YEARS
       GRUELLA
I’ll make it worthwhile name your price
       MAGGOT
I NEVER TAKE BRIBES
       IRRWITZER
I’ll teach you to make fire from ice
         MAGGOT
I NEVER TAKE BRIBES
           TOGETHER
JUST THIS ONCE, PLEASE O PLEASE
         MAGGOT
HOWEVER YOU PLEAD YOU WILL NOT SUCCEED
SO GET OFF YOUR KNEES
”FORGIVE ME” AND “PLEASE”
ARE NOT IN MY VOCABULARY
     IRRWITZER           GRUELLA             MAGGOT
I DON’T WANT TO DIE
IT’S MUCH TOO SOON
OH, WORTHY SIR
GRANT ME THIS BOON
ANOTHER TWENTY YEARS
TO BREATHE THE AIR

ANOTHER TEN YEARS

THAT’S ALL THAT’S ALL

JUST ANOTHER WEEK
TIME TO PREPARE
I’M TOO YOUNG TO DIE
IT’S MUCH TOO SOON

 

 

 

 

 

 

NO-O-O-O

I DON’T WANT TO DIE
IT’S MUCH TOO SOON
OH, WORTHY SIR
GRANT ME THIS BOON
ANOTHER TWENTY YEARS
IT ISN’T FAIR
ANOTHER SUMMER
ANOTHER FALL

IT ISN’T FAIR
IT ISN’T FAIRJ

JUST ONE MORE DAY

JUST ANOTHER SUN
JUST ANOTHER MOON

I’M TOO YOUNG TO DIE
IT’S MUCH TOO SOON

 

 

 

 

 

NO-O-O-O-O

 I DON’T DEAL IN FEELINGS
THERE’S NO REPEAL
A CONTRACT’S
A CONTRACT
I DON’T MEAN T0 HAGGLE
IT’S IN THE BAG
A CONTRACT’S
A CONTRACT
HERE’S WHERE YOU SIGNED
ON THE DOTTED
LINE
I ADVISE YOU TO MAKE OUT
YOUR LAST WILLS AND TESTAMENTS
AT MIDNIGHT I’LL RETURN
IF YOU’RE STILL IN ARREARSTHE ONE THING CERTAIN IS
CURTAINS!

 

(A curtain drops – when it lifts MAGGOT is gone. GRUELLA and IRRWITZER return to the center.)
GRUELLA
Horrible. . .
IRRWITZER
Horrible. .. I’d even started to write my will,
but now –
TOGETHER
The elixir!
GRUELLA
There’s not a minute to lose.
IRRWITZER
I’ll fetch the other half. You stay here.
GRUELLA
Uh uh. I’m coming with you. I trust you of course, but nothing serves like one’s own eyes.
(THEY leave together.)

 Scene v: RALPH and MAURIZIO

(RALPH and MAURIZIO climb out of the barrel and stagger     around as if they were drunk)

                            RALPH
My head feels funny. What kind of packing did you say was in that barrel?
                           MAURIZIO
I can’t believe it: “gluttonous, gullible, and vain” – The – the humiliation!
                             RALPH
I wish I felt better… My wings… I thought it was bad before. I bet I’m crippled for life.
                              MAURIZIO
Me, the last of a noble line of minnesingers, Maurizio di ….
                     (abruptly sits down)

I feel terrible.

                               RALPH
You too?
                            MAURIZIO
                 (beat – in a small voice)

Ralph……..I … I …. I owe you an apology.

                            RALPH
Tell me about it.
                           MAURIZIO
No, I mean… I mean…
                             RALPH
Yes?
                           MAURIZIO
I can’t read.
                             (Beat)
RALPH
I should have stayed in the nest with Ramona.
(beat)
MAURIZIO
Do you think they really mean it?
RALPH
Mean to destroy the planet? You can bet your last whisker.
MAURIZIO
But we have to do something!
RALPH
Oh, sure. What?
MAURIZIO
I had an aunt Mia, she wasn’t really my aunt, but we all called her Aunt Mia, and she was known to be very wise and her advice, when you didn’t know what to do, was –
  
SONG: THINKING CAPS 
                 
                  MAURIZIO
   (HE mimes putting on hat)
JUST PUT ON YOUR THINKING CAP
AND TIE IT UNDERNEATH THE CHIN
SOME HAPPY THOUGHT WILL TELL US WHAT TO DO
TO HEAD OFF PLANETARY RUIN
SOME HAPPY THOUGHT – A TINY HINT, A HELPING CLUE ….
                 RALPH
PERHAPS …
(MAURIZIO hands imaginary cap to RALPH, who puts it on)
                 MAURIZIO
PERHAPS ….
                    BOTH
         THINKING THINKING THINKING
                           MAURIZIO
I know what! Let’s throw her half of the recipe into the fire!
(He goes toward the scroll, touches it, and is flung back as if electrocuted)
                             RALPH
Kitty, we’re out of our depths.
           MAURIZIO and RALPH
WE’VE GOT ON OUR THINKING CAPS
WE’VE TIED THEM TIGHT BENEATH THE CHIN
WE’LL THINK A THOUGHT TO JINX THEIR MAGIC BREW
AND TELL THEM: NOTHIN’ DOIN’
IT’S UP TO US, TO THINK THIS KNOTTY PROBLEM THROUGH
    THINKING THINKING THINKING
                                  MAURIZIO
The Animal Council?
                                    RALPH
Too far. Too late.
                                  MAURIZIO
People in town?
                                    RALPH
People and animals? Hah! People either put us in cages or hunt us down and kill us.
MY THINKING CAP IS FAILING ME
MY HEART IS SINKING LOW
THE OUTLOOK IS SO DARK AND GRIM
WE CAN’T STOP HER,
WE CAN’T STOP HIM
PUSSIKINS, WE’RE OUT OF LUCK
MY MIND’S A BLANK, MY BRAINS ARE STUCK
               MAURIZIO
IT’S DARKEST BEFORE DAWN
                WE CAN’T GIVE IN WE MUST GO ON
                THINKING THINKING THINKNG
    Mix up their ingredients?
                                       RALPH
Oh, sure. You saw what just happened. They won’t let us watch them at work, anyhow. It’s all I could do to find out what I have about the old witch, she always kept me at arm’s length when she got busy with her spells and stuff. Same with her nephew and you, I bet.
                                   MAURIZIO
It’s true, he worked at night, and I spent a lot of time in my room sleeping. And whenever I came around, he always stopped doing whatever it was, as if I were more important. . .Oh, Ralph, how could I have been so blind . . .
                                    RALPH
Never mind. They’ll just call us in for the finale, when they start wishing. So we won’t have a shred of proof.
BEFORE IT’S MIDNIGHT BY THE CLOCK
WHEN THEY HAVE DRUNK THE FINAL DROP
THE WISHES THAT THEY MAKE WILL SEEM TRUE-BLUE
AND NOTHING THEN CAN STOP THEM
THINKING CAP, O THINKING CAP, THINK ME WHAT TO DO!
MAURIZIO
You know what? Why don’t you ask Ramona again.
RALPH
I don’t want to tempt my luck twice.
MAURIZIO
It can’t hurt, can it?
                   RALPH
OK.
(kneels, same as before)
Ramona! Ramona! Darling! Help me. Help! If you ever loved me, if ever I loved you, I implore you, come to my aid.
(They wait. Nothing happens)
I guess that was a nonstarter.
   (the clock strikes: It is a cuckoo clock that extends a thumb, while a hammer hits it nine times: Ow! Ow! Ow! Etc.)
                                      RALPH
Nine o’clock. Maybe it’s wrong…
                                   MAURIZIO
What time is it by the clock on the cathedral?
                                     RALPH
                     (goes to the window)
The same.
                                   MAURIZIO
Three hours! Just three hours before the chimes ring in the New Year.
                     (pause: they sit glumly)
                                     RALPH
The chimes! The bell tower! That’s it. Of course!
                                   MAURIZIO
The chimes?
RALPH
Remember what milady witch said?
MAURIZIO
That money was magic?
                                          RALPH
No. Yes. No. I mean when she said the wishes have to be finished by midnight, or they don’t get reversed.
                                        MAURIZIO
Oh! . . . But I don’t see how that –
                                          RALPH
What if it’s midnight before it’s midnight?
MAURIZIO
. . . yes?
 RALPH
If it’s already midnight and they don’t know it and keep wishing … If somehow the bells ring early… and the good wishes come true…
MAURIZIO
Ohhhhhhhhhhhhh – but how can that happen?
RALPH
We’ll make it happen! Com’on, let’s go check out the bells.
MAURIZIO
Ralph, you’re a genius bird!
                                           BOTH
         THINKING CAP, O THINKING CAP,
         JUST THINK– WE KNOW NOW WHAT TO DO!
         WE DO WE DO WE KNOW NOW WHAT TO DO!
(RALPH goes to door, forces it open and is sucked out by the wind. )
   MAURIZIO
Ralph, Wait! Wait up! I’m coming. I’m right behind you.
                                         (HE runs after him)

 

                              ACT II
 
Scene i: IRRWITZER’s laboratory.
(Just after the doors slams behind RALPH and MAURIZIO, IRRWITZER and GRUELLA enter, one behind the other, Irrwistzer holding the front part, and Gruella the back part of the missing half of the recipe.)
                           GRUELLA
                  (huffing and puffing)
Slow down, you jerk. I’m right behind you. Do you want to tear the precious thing?
(If it can be managed, the two halves fly to meet each other; otherwise THEY fit their half to the other half)
                                    GRUELLA
The halves join together of themselves. True love.
                                IRRWITZER
That word gives me the creeps.
                                         GRUELLA
Will it hold?
                                        IRRWITZER
Of course.
                                         GRUELLA
How did you do that?
                                        IRRWITZER
I doubt you can grasp the scientific premise. Movement and heat can exist only in positive time. In negative time, created by anti-time particles, they cancel each other out. Result: the fire freezes.
                              GRUELLA
Can you touch it?
IRRWITZER
What’s to stop you?
                            GRUELLA
                        (touching it)
Teach me how to do that.
                           IRRWITZER
Professional secret.
                            GRUELLA
All right. Let’s get started. Only don’t get sloppy.
 
COOKING SONG
When you’re cooking up a magic brew
You cannot skimp or overdo
No indeed
You have to follow the directions
One by one
Until you’re done
             No need for butter
             No need for oil
             No need to bake
             or fry or bRoil
             NO NEED, indeed
             Just combine
GRUELLA
(reading off the ingredients, as IRRWITZER fetches them from drawers and cupboards)
           A half cup of despair
           TWO DABS of envy-ointment
           a drop of parting’s sorrow
           a pinch of disappointment
BOTH
As they drop the items in the cauldron:
No need for poultry
no need for MEAT
NO NEED TO BRAISE
or slice or beat
No NEED indeed
MERELY ADD
GRUELLA
(continues reading as IRRWITZER drops in items)
a lunatic’s mad laugh
TO a salamander’s fire
MIX IN a Broken promise
AND thE WORD OF A BORN liar
IRRWITZER
So far so good.
GRUELLA
Now for the thickening.
(GRUELLA reads and IRRWITZER takes notes)
THREE tiger stripeS
A scorpion’S sting
TWO grasshopper hops
a barfly’s wing
six mermaid SCALES
a wolf cub’S CRY
Some crocodile tearS
a Cyclop’s eye
(HE goes to a rack and takes out the items in spice bottles.)
                             IRRWITZER
All at the ready…
             (pauses)
… except… except – that last item’s hard to come by … Where’s my thesaurus for substitutes?
(HE goes to a shelf, takes off book, checks
index, then turns to the page)
Hmmmmmmmm…
             (Goes to a drawer)
Ah Ha! LISTEN:
(Takes out a packet, drops it with the other items in the cauldron.)
TO WORK THE SPELL
THE EYE OF NEWT
WILL DO AS WELL
AND ALSO SUIT
yes indeed…
LAST you need
a dose of early disillusion
THEN stir UNTIL it thickens to a                     paste
dilute with CHOAS AND confusion
                 GRUELLA
           make sure The texture’s not too runnY
(looking over the cauldron, then, having prepared it in the meantime, SHE produces a bottle and stirs in her contribution. The cauldron gradually takes on a fiery red glow)
           then top it off with liquid money
           JUST ENOUGH to taste
(they stick their fingers in and lick them, smacking  their lips )
IRRWITZER
A tad more?
GRUELLA
                 (She complies, then tastes again)
 Perfect!
                                         BOTH
                  NOW WE HAVE THE StOCK
                 ON WHICH THE BREW IS BASED
                             IRRWITZER
First we let this neutral layer settle. Then, we’ll add the powers of magic, and we’ll be halfway there.
 

Scene ii: The backward tilted bell tower of the cathedral. RALPH and MAURIZIO are laboriously making their way upward through wind and snow. MAURIZIO is in front.

                                          RALPH
How much farther is it?
MAURIZIO
Not that far. We must be halfway there..
RALPH
We were fools ever to start. We’re going to die on this steeple.
MAURIZIO
The cathedral doors were locked. What else could we do?
(beat)
RALPH
I’ve had it. I’m played out. You go on without me..
MAURIZIO
I will not!
                                           RALPH
Sorry, Kitty. I’m at the end of my tether. Whatever was in that barrel about did me in.
                                          MAURIZIO
We’ve come this far. You can’t give up now.
RALPH
I don’t see why not.
MAURIZIO
Because you can’t. That’s why. You just can’t.
RALPH
Give me one good reason.
MAURIZIO
Well, how about Ramona? Isn’t she worth it?
RALPH
Oh, Kitty. Ramona… I’m afraid I’ve given you the wrong impression.
MAURIZIO
You mean you don’t love her?
RALPH
I adore her.
MAURIZIO
She doesn’t love you?
RALPH
She used to.
                                      MAURIZIO
Oh, dear.
RALPH
Oh, Maurizio, it’s me, my gloomy nature. I can’t be positive. I just can’t. She got sick of it, said I’m contagious! So we decided on a breather, a trial separation. That’s why I took this assignment. I’m sorry if I led you on. I didn’t want to burden you with my troubles.
MAURIZIO
You led me on! Oh, Ralph. You don’t know! Listen to this: I’m not the great swell you take me for. I’m just a two-bit alley cat. As for Maurizio, hah! My name is Morris!
                                    (pause)
                                            RALPH
What made you say all those things?
                              MAURIZIO
It’s this way, Ralph: when brickbats are flying, and you’re half-starving, and life is a blind alley, and what you truly want is to be a great artist, if you don’t call on your dreams, you’re never going to make it.
     RALPH
I dunno … I’m not the dreaming type.
       MORRIS
And Ramona .. you don’t dream of being together again?
                                              RALPH
Where would I start?
 
A SONG ON THE TONGUE: RALPH AND MORRIS
MORRIS
It’s simple: you tell her you love her.
RALPH
She knows.
                             MORRIS
Then tell her how sorry you are.
RALPH
She knows.
MORRIS
Promise to turn over a new leaf.
RALPH
I have, but it brings no relief
I keep thinking dark thoughts, dark thoughts
and hopelessness GROWS and grows.
                             MORRIS
to get rid of dark thoughts, replace them with bright ones.
so said Aunt Mia, and that cat was wise
RALPH
How can wrong thoughts be turned into right ones?
MORRIS
you picture the opposite
of what you are thinking
come on now, at least try it on for size
What are you thinking?
RALPH
How cold I am.
MORRIS
What should you picture?
RALPH
The sun in July.
MORRIS
What else?
RALPH
How bleak is the outlook.
MORRIS
What should you picture?
RALPH
The dove that brings news of dry land.
MORRIS
What else?
RALPH
I have aged ten years in an hour?
MORRIS
What should you picture?
RALPH
The fountain of youth.
MORRIS
There you go, Ralph! Don’t tell me you don’t understand. Now come on, just imagine:
It’s a lovely morning,
the world is young
and we are young with it
how cloudless the sky
how SUNNY the sun
what a blessing to have a song on the tongue
(MORRIS conducts while RALPH continues)
It’s a lovely morning
our love is young
and we are young with it
how sweet is HER touch
how gentle HER eye
what a blessing are words of love on the tongue
HIGH OFF THE GROUND
with leaves all around
my love and I
perch two abreast
in our hidden nest
with leaves all around
high off the ground –
MORRIS
with desperate sadness your heart was wrung
TOGETHER
now hope is MY/YOUR mantra
a mind that’s made quiet
and heart that’s at peace
may JOIN to bring forth a song on the tongue
                     RALPH
High off the ground
where love-songs abound
MY LOVE AND I
WILL BILL AND COO
AS ALL couples DO
High off the ground
where love-songs abound
                   TOGETHER
Let’s look to the angels, whose harps are strung
to celebrate loving
what heavenly joy
what earthly delight
let praise and thanksgiving LIFT OFF MY tongue
       MORRIS
Feel better?
       RALPH
Oh Morris, do you think something you pretend can come true?.
       MORRIS
That’s what I’ve always thought and still think, and will never give up thinking. Are you ready now to go on?
                                              RALPH
I’m ready. Let’s go.
                  (THEY scramble on up the tower)

Scene iii: The Laboratory. GRUELLA and IRRWITZER have been working steadily. They are staring into an enormous transparent punch bowl; it glows a violet color.

                       IRRWITZER
I think it’s ready now.
           (rubbing his hands)
Step two: Magicalization! What does the scroll say?
                         GRUELLA
           (consulting the scroll, reads aloud)
To run the show,
take day-glo flow
iced from the fattest egg;
blow into glass
the furious gas
twice through a hollow leg.
                                  IRRWITZER
I beg your pardon.
                                  GRUELLA
It’s GibberWitch. Not a widespread language, but not difficult if you know the substitutions.
                       IRRWITZER
Substitutions?
                       GRUELLA
Yes, for example if it says “jar,” it means “dog,” and if it says “scatter” it means “fight” and if it says “table,” it means “cat.” So “jars scatter tables” means dogs fight cats. Let’s see now… First it calls for … brain jelly, equal to … half the length of… your favorite color. Do you have brain jelly on hand?
                       IRRWITZER
Of course. It’s standard. Do you know how to measure the length of a color?
             (goes to a jar, returns with it
                                           GRUELLA
What do you take me for? You refer to the table in the Wizard’s Book of Weights and Measures. It was in the library you inherited from your mother.
                                 IRRWITZER
(moving to his magic computers, linked up to the hellish computer center. They start running full steam, chirping, squeaking, rattling, flickering and spitting out formulas and diagrams.)
                           IRRWITZER
I computerized the entire library ages ago. Just a minute while I check out the length of my favorite color.
GRUELLA
Your favorite color? You mean my favorite color.
IRRWITZER
(coldly)
Oh? Why is that?
GRUELLA
Why is that? Because it’s written on my half of the scroll. That’s why is that.
IRRWITZER
(punching in numbers, while computers whirr and spit              out papers)
You forget: It’s my laboratory.
GRUELLA
I don’t care. It’s my favorite color!
IRRWITZER
Nonsense. Mine!
GRUELLA AND IRWITZER: MY FAVORITE COLOR
                            GRUELLA
thanks to my financial skills
you had a super education
you owe your aunt GRUELLA
Sulfur yellow is my favorite color.
IRRWITZER
thanks to greed and folly pills
you caused financial devastation
you owe your CLEVER nephew
Venom purple is my favorite color
(Clock strikes ten)
TOGETHER
Hurrry! hurry! don’t you see
time is passing rapidly
we can’t afford to linger, loiter
dither, dawdle, pause
THE EXECUTION OF INFERNAL LAWS
AT MIDNIGHT SPELLS CATASTROPHE
GRUELLA
                   IT’S MY CALL: SULFUR YELLOW!
                   SHARP, EVOCATIVE … PERKY
IRRWITZER
                    MY EYE! It’S VENOM PURPLE
                    DARK, MYSTERIOUS … MURKY
(TOGETHER, pointing at each other)
                    THANKS TO YOUR PIG-HEADEDNESS
                    we’RE STARING AT extermination
GRUELLA
                    I’M OLDER – SULFUR YELLOW
IRRWITZER
                    I’M SMARTER – VENOM PURPLE
(holding up a computer-generated paper)Venom purple measures four inches!
GRUELLA
                           (reading over his shoulder)
Look! So does sulphur yellow!
BOTH
                   THERE ISN’T ANY DIFFERENCE
                   VENOM PURPLE EQUALS SULFUR YELLOW
Hurrry! hurry! TIME WON’T SLOW
NOTHNG STOPS ITS ONWARD flow
we can’t afford to linger, loiter
dither, dawdle, pause
AT MIDNIGHT WE KNOW WHERE WE’RE GONNA GO
IF WE DON’t Join in COMMON CAUSE
IRRWITZER
(puts dropper in jar and squeezes out four inches)
All right, so that’s settled. Four inches of brain jelly. What next?
GRUELLA
(at the scroll, on her hands and knees, reading
in a gradually diminishing voice)
                   Twirl three corks
                   on twisted forks
                   forlorn in morning clocks
                   flick the pickle
                   stitching nickel
                   perpendicularly on socks
                   take a dive
                   hurrahing live
                   in inky pink and purple phlox
                   break the tusk
                   of Leo’s cusp
                   looking neither left nor right
           (light fades and scene segues to)
Scene iv: The Belfry. MORRIS, huffing and puffing, climbs onto
the belfry platform with great effort, falls kerplunk, and passes out. After a moment, RALPH, also clearly exhausted, appears over the edge and lands beside him. He looks around and sees MORRIS stretched out beside him. He shakes him roughly.)
                           RALPH
Morris, Morris, MAURIZIO! Are you all right? Are you alive?
                          MORRIS
                  (reviving, rubs his head)
 I must have passed out . . . That’s funny: I m not cold anymore. And the wind has stopped blowing.
                           RALPH
You gave me a bad moment there, Kitty. I thought I’d lost you.
                           MORRIS
Where are we?
                             RALPH
In the belfry.
                           MORRIS
You mean we made it?
                           RALPH
Uh huh. Look up there! Overhead . . .
                          MORRIS
The bells! There they are . . .  Come on, let’s go ring them. We’ll pull on the ropes.
                             RALPH
Stop! Don’t. It won’t help.
                           MORRIS
Why? Why not? It’s why we’re here.
                           RALPH
It was a bad idea from the getgo. Say we ring them, it would be just any old ding-dong bell. It has to be the first stroke of midnight, remember? Otherwise it’s pointless. And besides, it would alert those two that something was up.
MORRIS
You mean, we’ve come all this way for nothing?
RALPH
I’m afraid so.
(beat)
MORRIS
It’s all over for the world then?
                                           RALPH
Looks like it.
MORRIS
Ralph there’s a bright side. There always is.
RALPH
Oh yes, of course – the bright side.
MORRIS
No, really. Listen, listen to me:
NATURE
Nature is a stubborn girl
she makes it known she’s always right
(and most of the time she is)
but if a cat and BIRD CAN get along
WHen All the odds predict the two must fight
it proves that even Nature’s sometimes in the wrong.
Whoever has HEARD of A creature like me
an insignificant, addlepated cat
a kicked about, knocked about, back alley cat
whoever has hEARD OF a type like that
MAKING friends with a bird
in deed and in word
so clever as you
                 RALPH
On the contrary:
whoever has heard of A creature like me
an old rheumatic and doom-PREDICTING bird
unpopular, sickly, whose warnings go flat
whoever heard of a type like that
making friends with a cat
with cultural eclat
as brilliant as yours
nature intends us not to be friends
nature intends us for war
If nature had its way
this is what I’d say:
Fatso cat! Parasite!
And you would go:
MORRIS
Muckraking raven scum!
Talk about stupid!
Talk about dumb!
Bird of ill omen, featherwipe
RALPH
And I would go:
Stuckup useless vocal pipe!
I would peck at your wiskers
MORRIS
I’d hiss at your beak
RALPH
and nature would say if she knew how to speak:
BOTH
“all’s well and good
when the fur and feathers fly
till one’s been so clawed
or so pecked he will die”
yes that’s what nature would surely say
mother nature has erred
when Kitty and bird
agree as we do
for
nature intends us not to be friends
but the heart of a bird
and the heart of a cat
beat stronger and faster and truer than that
and prove mother nature has made a mistake
let’s say the world ends
you and I have made friends
[they embrace]
and nature, mother nature, can go jump in the lake
(beat)
                                           MORRIS
Ralph?
RALPH
Yes?
MORRIS
What now?
RALPH
I guess we wait.
(gradually the area fills with a golden mist)
                               MORRIS
Just wait?. . . I know what. Let’s dream.
                                 RALPH
Dream?
                               MORRIS
Yes. let’s ring the bells anyhow. I mean let’s pretend. We can’t go down like this. We can at least CELEBRATE defeat!
RALPH
You’re crazy.
MORRIS
I know. but I don’t care. Come on. Say after me!
sing a song of bells
ding dong ding dong
cancel wicked spells
ding dong ding dong
Come on
TOGETHER
                           (louder and louder)
                           sing a song of bells
ding dong ding dong
cancel wicked spells
ding dong ding dong
                        VOICE of ST. SYLVESTER
ENOUGH!
(ST. SYLVESTER steps onto the platform, an animated stone figure. His robe is gold brocade, snow lies on his shoulders; he wears a bishop’s mitre and holds a crosier. He raises his right hand, the effect of which is to paralyze the cat and raven.)
                            ST. SYLVESTER
So! You plan to steal my music, do you? I can’t say I think much of that. Fun, yes, I wouldn’t be St. Sylvester if I didn’t approve of fun, but not that kind of mischief. Well, what have you two scamps to say for yourselves? I have a good mind to turn you into stone until tomorrow, that would teach you to dream of running interference with my chimes.
(They are silent)
Well? I’m waiting … Oh, yes of course, your tongues are tied …
(He makes another gesture, which releases them.)
RALPH
Are you really a saint, sir?
ST. SYLVESTER
Indeed I am.
MORRIS
With all respect, sir, what kind of saint?
                                    ST.SYLVESTER
Why, the Spirit of the New Year.
RALPH
Then the bells are in your keeping, right?
ST. SYLVESTER
Indeed tney are. And I won’t stand for any interference.
RALPH and MORRIS
(excitedly, both speaking at once)
Oh, sir, you have to help us. We desperately need your help. You see, there’s this wizard and witch, he’s her nephew, she’s his aunt, and they’re in cahoots, and they’re going to brew this Alcodiaboliholic Elixir that’s a magic punch which turns things backward when they make wishes, and they’re going to destroy the world, because they’re trying to save their lives, it doesn’t make much sense, but that’s the way it is, that’s the kind of people they are, they don’t think twice about things, after all, what good is a world if they’re still alive and everyone else is dead, and you see, we need your help to…
                         ST. SYLVESTER
One at a time, please. There’s no hurry.
                             RALPH
But there is! There is! You see, it’s like this: There’s a wicked wizard and witch who are going to wreak havoc at midnight if we don’t stop them.
                         MORRIS
Yes, even now as we speak\
                          RALPH
\even now as we speak\
                         BOTH
\they are hard at work in their laboratory . . .
Scene vi: Transition to laboratory with “even as we speak,” continued in the dark as lights come up on GRUELLA and IRRWITZER crouching over the scroll. THEY read out loud together:
                              HACKAMORDAX MUMMY PAX
             ZAPA PAPADOOLA:
             RAGAMUFFTI MEGAFAX
             PUSTOVA BAZOOLA
Screamsram kicker gobold
Circlekill sickwicket
Frapam chark custogold
liqui dexsen ficket
waswere ster dramolax?
Oopsi marshmagoola
hackamordax mummy pax
zapa papadoola
                             GRUELLA
So what does it mean?
                           IRRWITZER
It’s Old Hell Hyperbolic.
                             GRUELLA
And?
                             IRRWITZER
These are the instructions for adding the power to grant wishes.
                             GRUELLA
So?
IRRWITZER
We zap the cauldren from the Fourth Dimension.
                          GRUELLA
What’s the point of that?
                             IRRWITZER
The elixir has a Genie. One: We summon him up. Two: We make his will obedient to ours. Three: We seal him in. It’s quite simple.
                             GRUELLA
But how do we get to the Fourth Dimension?
IRRWITZER
By Injection. Lucifer’s Supersonic Dreamdust
GRUELLA
Oh!… Have you done it before?
                                           IRRWITZER
Oh, I’ve made a few trips. Partly for pleasure, partly for research.
(preparing a syringe)
The dose must be exact though. A fraction too much and you will turn as flat as a paper doll. A fraction too little, and if you come back at all, it may be with an extra leg, or an ear coming out of your neck. Roll up your sleeve, Auntie.
                            GRUELLA
You don’t frighten me, Witzy boy. The last step is in Witchwelsh, remember? not a language you are acquainted with. I trust you one hundred percent.
                           IRRWITZER
Hrummph. Only joking, of course.
             (He injects her, injects himself.)
It will take effect in a few seconds.
(HE waves his hand and the laboratory turns pitch dark. A Recording: THEIR VOICES, weirdly transformed but recognizably their own, sometimes thin and sometimes sonorous, now come from all over the room, to indicate that she is twirling in air and he is levitating up and down. )
                       GRUELLA
                 (from high overhead)
Beelzebubby, where are you?
                     IRRWITZER
          (far right, hovering over scroll)
Over here.
                         GRUELLA
I can’t stop spinning. Eeeeeeeeee!
                     IRRWITZER
Spread out your arms.
                     GRUELLA
               (far left, mid level)
I’m dizzy . . . I think I’m going to up –
                   IRRWITZER
     (sound of something swishing across)
No. Don’t! Catch!
                         GRUELLA
You almost hit me, you klutz! It’s passed. I’m all right now. Oh oh oh – I’m slowing down.
                         IRRWITZER
Stay away from the elixir!
                         GRUELLA
I’m… Eeeeeeeee – I’m speeding up again!
                        IRRWITZER
Ein, Zwei, Drei…ZAP!
(A zigzag flash of light hits the cauldren. A shape emerges
   and bobs up and down, weaving and shifting and singing.)
                         WISHING SONG
 
 
                                  GENIE
                 i am the genie of wishes gone missing
            in my cauldron those WISHEs are long laid to rest
             when somebody near has turned a deaf ear
             to wishes wished for
             come knock on my door
             I’ll open and say “Be my guest”
                         SUPPOSE THAT A BOY ONCE WISHED A WISH
TO have a ferret for a pet
TO be the drummer in a band
to stop his dad from fretting about debt
TO VISIT UR or samarkand
AND none of THESE wishes ever came true
where are they now
DROWNED IN THE DEPTHS of MY MAGIC BREW
                     wishes wishes
                     forlorn, forgone, unborn wishes
                     sunk to the bottom of my my magic brew
                     sUpPOSE A GIRL ONCE WISHED A WISH
for curly hair instead of straight
TO wow them on the tennis court
or grow up quickly, cutting short the wait,
FOr mom to lose her worry wArt
AND none of THESE wishes ever came true
where are they now
DROWNED IN THE DEPTHS OF my magic
wishes wishes
                      forgone, unborn wishes
                      sunk to the bottom of my magic brew
                        IRRWITZER
Ein, zwei, drei…ZAP!
 (ditto:flash of light)
                 GENIE
TURNING my wishes
FROM LOST TO FULFILLED
FALLS TO THE POWER
OF THOSE WHO ARE SKILLED
IN SPELLS THAT ARE POTENT
TO DO WHAT THEY’VE WILLED
IRRWITZER
Ein, zwei, drei .. ZAP!
(ditto:flash of light)
         GENIE
whatever the size of the wish
to live again a happy day
observe THE EARTHBALL FROM the moon
to make the fear of spiders go away
or safely sail a ship through a typhoon
wishes wishes
though small or tall, any at all wishes
come fish them out from my magic brew
(There is a brilliant flare of light from the             cauldron and the figure disappears. The laboratory                lights flash back on. GRUELLA and Irrwitzer, lie                  exhausted on the floor, propped against furniture.)
GRUELLA
Why is sorcery so demanding?
IRRWITZER
Out of shape, are you?
GRUELLA
You don’t look so spry yourself… All right. The wishing power has been added. Now what?
                                       IRRWITZER
The last step: we add the reversing power. Just think!Are there going to be some surprises (pointing to the floor) down there! And there’d better be some rewards!
                                          GRUELLA
I will be crowned queen of witches.
                                       IRRWITZER
My powers will be enlarged. I’ll go after the Elementals for keeps. It’s not enough to bottle them.
                                          GRUELLA
I’ll be a money witch role model. I’ll have my portrait painted.
                                       IRRWITZER
I will attend conferences, summits, consort with heads of – join the Bilderbergers!
                                        GRUELLA
I’ll get fan letters from all the world’s witches. I’ll need a secretary!
                                       IRRWITZER
                 (energised as the clock strikes eleven)
Brimstone and Blazes! Eleven already. To work! to work! There’s no time to lose.
      (scene segues to)
Scene vii: The belfry. MORRIS and RALPH with ST. SYLVESTER
                              RALPH
So you see, there’s no time to lose!
                           SYLVESTER
But what can be done?
                             RALPH
If Monsignore might be so good as take it on himself personally to ring the midnight bells in advance …
                           SYLVESTER
I can’t do that. Everything in the world has its laws, including the end of the old year and the beginning of the new. . . .
                             RALPH
Of course. Laws must be obeyed, even if the world goes to hell in a hand basket.
                             MORRIS
Oh, sir! You can’t let those evil creatures get the better of us! If you help us, the world will be eternally in your debt!
                           SYLVESTER
     (distantly; his attention easily wonders off to worlds unseen: when this happens there is an uncanny music, in contrast to the down to earth song of the RALPH and MORRIS)
Ah yes, eternity . . .From the standpoint of eternity, things are very different. From the standpoint of eternity, evil will always be seen to serve the good….
                          RALPH
                         (whispering)
Morris, stuff it with “eternally” and “ evil.” Words like that make him wonder off into metaphysics.
                           MORRIS
What are metaphysics?
                           RALPH
Unseen worlds. We’ve got to get him back. Help me. (tugging at his cloak) He can’t feel it, he’s made out of stone. He heard us before, if we’re loud enough he’ll hear us again. Come on,
RALPH and MORRIS: WE KNOW YOU KNOW HOW
Don’t wonder away where we cannot follow
look at us
look at us
pay attention to the here and now
you must help us, please, help us
we know you know how
Our speeech is not yours, but still we entreat you
listen up
listen up
             RALPH
to my cawing
           MORRIS
my meow meow meow
           TOGETHER
plainly we’re saying: Please help us!
or else we’ll GET flattened: bam! pow!
suppose you do nothing
the nephew and auntie
may blow even you
and your tower skyhigh
believe ME, this isn’t a lie
you’re off in the clouds, but danger is present
think of us
think of us
we stand before you in the here and now
oh, help us, please, help us
lest the planet go crying out OW!
         SYLVESTER
Eternity. . . eternity
                             MORRIS
Ralph, what are we going to do? He doesn’t hear us!
                              RALPH
I knew it! I knew it all along! It’s hopeless.
                              MORRIS
There you go again.
                              RALPH
Well, you think of something. I bet you can. I bet you’re a lot smarter than you think you are.
                             MORRIS
You do? You really think that?
                               RALPH
I really think that. Put on your Thinking Cap.
             (MORRIS mimes putting it on. Beat)
                             MORRIS
You know what, he came to life when were talking about the bells. What if we pretend we want to ring them again?
                       (loudly)
Let’s climb the belfry and get to the bells.
                       RALPH
Right on. LET’S RING THE BELLS, LET’S RING THE BELLS!
                       TOGETHER
BELLS! BELLS! BELLS!
                 ST. SYLVESTER
                   (returning)
What? What’s this about the bells?
                         RALPH
                     (nudging MORRIS)
We were just wondering if you were really a saint.
                         MORRIS
Yes, a real saint helps. A real saint doesn’t blow off prayers.
              TOGETHER
we don’t know much about saints IT is TRUE
But we know that a saint intercedes
and what kind of saint can it possibly be
who refuses to do saintly deeds
and help us, yes, help us
when we know he knows how
          SYLVESTER
What’s that my young friends… what are you saying?
         TOGETHER
this much is known about saints It is true
if the wizard and witch have their way
the world as we know it will come to such harm
all sainthoods will soon be passe
RALPH
Remember St. Francis?
MORRIS
Yes, remember St. Francis!
         THere was a saint to take for a teacher
         A saint known to be on brotherly terms
         with the lowest of every low creature
                             MORRIS
         not only cats, like me
                             RALPH
         OR RAVENS, LIKE ME
         but with spiders and toads
                             MORRIS
                 and even earthworms
                 WHEN ST. FRANCIS HAPPENED TO PASS BY
                 the wolf emerged from his lair
and the fox crept out of his den
merely to wish the good man good day
and the birds flew down from uppermost air
to perch on his shoulders and sing: Amen:
when Francis knelt down to pray
he’d help us, he’d tell us
“I’ll foil their plan
or my name isn’t fran!”
what good is a saint who doesn’t reply
when he is implored to right a great wrong
his canonization must be a mistake
he’s crept in where he doesn’t belong
the only real job of any real saint
is listening to prayers of intercession
so if not for the sake
of us here and now
for the sake of your saintly profession
help us, sir, help us
with your saintly know-how
                   SYLVESTER
Ahhhhhhhhhhh. . . yes, it’s a long time since anyone asked . . . I thought they’d forgotten all about me. Well, my young friends, what would you have me do?
RALPH
The planet, sir! We have to save it!
SYLVESTER
But what? What’s to be done?
                       RALPH
Make midnight come just a tad early!
                                       MORRIS
That’s Ralph’s idea. Can’t you do it, monsignor?
RALPH
The chimes are your department, aren’t they?
                                   ST. SYLVESTER
Well, yess-s-s- perhaps . . .
                 I CAN spare a note from my medley of chimes
                 (ONE NOTE FROM SO MANY’S NOT MISSED)
TO PUSH UP THE HOUR AND CANCEL THE POWER
that reverses the wishes they’ve wished
SO BAD ONES won’t happen
AND GOOD ONES COME TRUE
AND MAKE THE –
the … the … What did you say it was called?
MORRIS
The Alcodiaboliholic Wish Elixir, sir.
SYLVESTER
Ah yes. The alcobolido – alcoholidol –
             MAKE THE hellish mix delish!
             I’m sure it’s just what saint francis would do
MORRIS and RALPH
             INDEED,it’s just what saint francis would do
RALPH
Are you sure one note is enough? Maybe two or three?
                                     SYLVESTER
Certainly not. One is already more than I can comfortably afford because the order of the world …
RALPH
Of course. The order of the world.
MORRIS
                                  (waving him off)
Ralph, be quiet. You’ll set him off again.
SYLVESTER
(HE leans up and strokes the side of the curved bell, and withdraws his hand to hold a glittering cube of ice between thumb and forefinger and hand it to RALPH)
Take this note back with you and drop it into the elixir. It’s a midnight chime; it will ring the hour silently before the bells ring out together. And be careful. It can’t be replaced.
MORRIS
(deeply bowing)
Thank you from the bottom of my heart, Monsignore. We will be eternally grate-
           (claps his hand over his mouth, remembering)
SYLVESTER
(wondering off again)
In Eternity, we live beyond space and time. In eternity there is no before and after, in eternity…
MORRIS
Oh, dear. He’s gone all spacey again. What IS he saying?
RALPH
Search me. We’ll have to trust him. Look! The note is inside this cube.
MORRIS
Wait! Wait! Monsignore, before you go, how are we going to get back?
RALPH
Louder.
TOGETHER
Monsignore, please …
SYLVESTER
(with a blissful smile, returning from far away)
What did you say, little friend?
                                   TOGETHER
we must return to the world below
But the drop is impossibly long
                    RALPH
My wings are so crippled I barely can fly
                   MORRIS
and my hind legs are NOT FEELING strong
                 together
so help us please help us
we know you know how
                 SYLVESTER
If you hold on to each other, the note will fly you wherever you want to go. Now, you must excuse me. It’s been a pleasure to meet two such brave and upright creatures. You can be proud of what you’ve done.
(Music. He turns back into stone.)

Scene viii. The laboratory. The wizard and witch are staring into the cauldron.

 I                         IRRWITZER
It’s done! Once the sediment has settled we can start wishing.
                            GRUELLA
No. You’re forgetting: The seasoning.
                           IRRWITZER
What?
                            GRUELLA
We have to add the seasoning. The last instruction. In WitchWelsh. Remember……… dear?
                             IRRWITZER
Oh yes. Of course. What does it say?
                           GRUELLA
It says….
(moving to the scroll, she reads haltingly, translating as she goes):
                       WHEN IS THE ELIXIR READY?
                       WHEN A WITCH’S SPIT
                       AND A WIZARD’S WINK
                       HAVE SEASONED THE BREW                                              YOU CAN START TO DRINK.
                           IRRWITZER
Are you sure it doesn’t say a witch’s wink and a wizard’s spit?
                            GRUELLA
                         (grinning)
Sorry, Witzy boy, that’s what it says: I get to spit and you get to swallow.
(They go to the punch bowl and stare over the rim into the liquid. Gruella spits in it, Irrwitzer winks. Nothing happens.)
GRUELLA
I don’t understand.
IRRWITZER
You misread it! You’ve ruined everything!
GRUELLA
I did not. I know my WitchWelsh! It was my first foreign language. It’s your fualt. You’ve messed up! You two-bit wizard.
IRRWITZER
Superannuated witch!
(There is a sudden explosion, a huge flare up of color and shadows dance on the wall. Of the many changes, from color to color, etc. this one is the most impressive. It settles down as before. Silence.)
                            GRUELLA
We did it!
                           IRRWITZER
We did it!
                            GRUELLA
We’ll be famous!
                           IRRWITZER
We’ll be great!
                           GRUELLA
Think of the rewards!
                         IRRWITZER
Re-negotiation!
                           GRUELLA
Ironclad contracts!
                           IRRWITZER
Revenge!
                         GRUELLA
Our Enemy is our footstool!
     (GRUELLA produces the paper hats and horns she brought      earlier. They laugh together uproariously and do a little jig)
Reprise: YOU BETTER BELIEVE (reprise)
                                GRUELLA
                     A GREAT BIG CHANGE
                     IS ON ITS WAY
                     A GREAT BIG CHANGE
                             IRRWITZER
                     ON NEW YEAR’S DAY!
the windows drawers and doors
                        will open of themselves
                       the picture frames will shake
                       the plates fall off the shelves
                       SUCH SIGNS WILL TELL THE TALE
                       OF TROUBLED TIMES TO COME
                       BUT NO ALERTS WILL WAKE
                       A PEOPLE DEAF AND DUMB
                         IRRWITZER
                      THE FATE OF THE WORLD
IS IN OUR HANDS
                       UNBOUNDED POWERS
ARE OURS ARE OURS
WE’LL WORK SUCH WOE
AS HASN’T BEEN SEEN
AS HASN’T BEEN SEEN
                                      GRUELLA
                                              SINCE WHEN?
                                      IRRWITZER
                       WE KNOW
                       SINCE THE TIME OF ADAM AND EVE
                      BOTH
             YOU BETTER BELIEVE
             YOU BETTER BELIEVE
SINCE THE TIME OF EDEN
             AND ADAM AND EVE
            THE CHANGES WE’LL MAKE
        ARE SIMPLY COLLOSSAL
       ]
                GRUELLA
         (coloratura trill)
         COL -OOOOOOOOOOOOOOOO- SAL
THE WORLD AS WE KNOW IT
WILL SOON BE A FOSSIL
                 GRUELLA
           (coloratura trill)
         A FOOOOOOOO-OOOO- SSILE
   WE’LL WORK SUCH WOE
AS HASN’T BEEN SEEN
AS HASN’T BEEN SEEN
SINCE THE TIME OF EDEN
AND ADAM AND EVE
YOU BETTER BELIEVE
YOU BETTER BELIEVE
SINCE THE TIME OF EDEN
AND ADAM AND EVE
                   BOTH
         It’s party time, HURRAH
         LOOK Lively step smart
         TR LA TRA LA TRA LA
         the fun’s about to START.
(Singing this song, THEY put on their hats and toot their horns, then after settle down)
                             IRRWITZER
Now for our witnesses. Where are they?
                              GRUELLA
Yes, where are they? Why don’t you go get them?
                             IRRWITZER
Why don’t you come with me?
                              GRUELLA
It’s your house.
                             IRRWITZER
It’s your raven.
                             GRUELLA
It’s your cat.
(THEY stare at each other, locking eyes. Each wants to be alone to make the first wish. MORRIS and RALPH peer through the window. The clock strikes. The spell is broken.)
TOGETHER (overlapping)
This is stupid.\We’re wasting time! Let’s go.
(They leave. MORRIS and RALPH slip in the door and go straight to the punch bowl.)
                             RALPH
Holy Moses. It looks like it’s alive.
                            MORRIS
Quick! Drop it in. They’ll be back any minute.
                             RALPH
(takes the cube out of his pocket holds it over the brew)
Cross your paws.
                            MORRIS
Let go, will you? Let go!
(RALPH drops the note in. There is a shivery sound. After a pause)
                             RALPH
It looks no different.
                            MORRIS
We have to have faith.
                      VOICE OF IRRWITZER
It’s very odd. They should be in Maurizio’s room.
                             RALPH
Listen!
                       VOICE OF GRUELLA
Well, they have to be here somewhere … Yoo-hoo, Ralphie… Where are you are?
                      VOICE OF IRRWITZER
Maurizio… Here, kitty, kitty. Come to your master, that’s a good kitty!
                             RALPH
It’s them. C’mon. Let’s hide!
               (Morris makes for barrel.)
Noooooooooo! Not there!
       (grabs him and drags him behind a screen).
                           IRRWITZER
                           (as he enters)
I don’t understand it. Maurizio was under strict orders.
                       (MORRIS sneezes)
                           IRRWITZER
What’s that? Who’s there? Come out this minute!
                            MORRIS
Master, is that you? It is I, Mor…. Maurizio.
                             RALPH
                 (coming out behind MORRIS)
Mistress mine, you’ve arrived. Thank heavens. Will you please tell this cat to let me go!
                           MORRIS
I have been guarding this bird of ill omen, just as you said, dear master.
                           IRRWITZER
I just went to fetch you. Where were you?
                            MORRIS
In my room. For hours and hours.
                           IRRWITZER
No you weren’t.
                           MORRIS
I – I got tired of waiting, so I brought him back here. Just now.
                           IRRWITZER
Why didn’t I pass you in the corridor?
                            MORRIS
                       (has a coughing fit)
I… I… I…
                             RALPH
Because I made a dash for it, natch. You can’t think it’s much fun for a bird to be the prisoner of a cat. When I flew out the window he pounced on me and dragged me back. My wing still hurts.
                            MORRIS
Yes, I’ve caught a dreadful cold.
                             RALPH
We must have been outside when you were looking for us.
                       (to GRUELLA)
You might tell him I come as a friend. You might tell him I’m not dangerous.
                            GRUELLA
Well, you’re not supposed to be here anyhow. Did I ever tell you to run ahead and announce me?
                             RALPH
I was only trying to be helpful.
                             GRUELLA
Ah, well, yes. But you should ask me first. Irrwitzer, this is my little helper, Ralph. He doesn’t deserve to be treated like a prisoner. You can call off your cat.
                           IRRWITZER
Ralph is a friend, Morris. We must treat him like a friend.
                            GRUELLA
And you’ve arrived in the nick of time, anyhow.
                           IRRWITZER
                                 WE’ve been slaving away
while you were gone
and now at last –
     GRUELLA JOINS
hurrah! HURRAh!
(to RALPH and MORRIS, as she conducts:)
Sing with us!
(They join in half-heartedly)
hurrah! hurrah!
         irrwitzer & GRUELLA
the party is on
                   yes, it’s party time
(beckoning the others, again, to join in, as they do faintly on the hurrahs)
                     hurrah! hurrah!
                     look lively step smart
                     tra la tra la tra la
                     the fun’s about to start
(She goes and finds a ladle and two glasses. Each takes a glass. They draw stools up to opposite sides of the punch bowl and sit)
                      IRRWITZER
And guess what! you, dear creatures, not only shall witness the wonders in store, you shall be the very first to benefit from them.
       (HE ladles punch into his glass and gulps it down)
                 NECTARS OF NECTARS, GREAT IS YOUR POWER
GRANT ME THIS WISH, ‘ERE THE STROKE OF THE HOUR
                 let THE OPERA WORLD REJOICe
                 TO hear MAURIZIO IN VOICE
                          MORRIS
                           (aside)
Oh, my whiskers! What if it doesn’t work? I’ll turn into some mangy cat yowling in back alleys.
                             RALPH
Odds are you’re right. I bet one note wasn’t enough. I bet it takes three. I should have been firmer! I should have insisted! Oh oh oh… Why am I so stupid!
                            GRUELLA
     (after downing her glass and sneezing and choking                      on its potency)
And Ralph, dear, you’ve been such a help to me, I want to reward you, too, as you so richly deserve.
                             RALPH
               (shrinking as before a blow)
No, please. I’m happy the way I am. I don’t need a reward.
                    IRRWITZER
                       (giggling with GRUELLA)
You lucky devils! Just wait until you realize what these wishes mean!
                            GRUELLA
You will never tire of thanking us!
           NECTAR OF NECTARS, GREAT IS YOUR POWER
           GRANT ME THIS WISH,’ERE THE STROKE OF THE HOUR
Ralph, receive as he deserves
cheerful thoughts and steady nerves
         (in a whisper)
Oh, Morris, I’m a goner for sure! Sick and depressive ever after!
                              IRRWITZER
And now, let us turn to the condition of the world! Whoever is ready first, begins. One, two three…
(He jumps in. They continue, competing for turns, each complementing the other’s couplet, until they try to beat each other out and begin fighting; the wishes can be intoned in a chant against a musical background, or sung. IRRWITZER’S theme is the environment; GRUELLA’S is money. As they drink more and more and faster and faster they become thoroughly drunk. They stumble on the rhymes, burp, hiccup, and slur their words.)
         IRRWITZER
BLIGHTED TREES and GRASSLANDS heal
         GRUELLA
My turn! My turn!
FATCATS STARVE AT EVERY MEAL
                       IRRWITZER
save THE species under threat
                 GRUELLA
    creditors forgive bad debt
                          RALPH
                       (aside to Morris)
You know what, Morris? I’ve changed my mind: They are going to get exactly what they wish for. And serves them right, the wicked old windbags.
                         MORRIS
Whatdoyou know, my hind leg has stopped hurting. Come on, let’s get out of here. They’re too busy to notice us now.
                     (They tiptoe out)
               IRRWITZER
smoke pollution disappear
                 GRUELLA
mortgaged land be free and clear
               IRRWITZER
FRACKING ENTERPRISES FAIL
               GRUELLA
crooked bankers go to jail
                       GRUELLA
WORKERS earn a decent wage
             IRRWITZER
global warming turn the page
SILENCE GUNS, defuse mines
                       GRUELLA
           Punish profiteers with fines
           PRIZE THE NURT’RING HEART LIKE GOLD
                     IRRWITZER
           GRow grEEN roofs a thousandfold
                       Gruella
           MONEY madness FIND A CURE
                    IRRWITZER
           nucl’ear PLANTS BE MADE secure
              (both are very drunk by now, slowing down and        articulating with difficulty)
          gruella
           PROFITS plummet dug from earth
     IRRWITZER
Hey, ha – hang in there thas’s my de-part-ment. Thas’s the en-vi-ron-ment. You shtick ta your buzzinesh and I’ll shtick to mine. etc. etc. in the followng.
                              GRUELLA
Wrong . . . wrong, a hundred pershent. Tha reason they attack earth is greed. Greed greed greed for money money money, tha’s my shpehiality! Come to think of it, it boils down to money. I should never have let you make any wishes at all.
IRRWITZER
Oh? Is that so? Well, you peshtilential hag –
GRUELLA
Watch what you’re doing boy-o. You almost made me drop my glass.
IRRWITZER
Serve you right if I did, you two-bit witch!
GRUELLA
What! who do you think you are, you upstart brat. You better watch it, or I’ll wish you –
IRRWITZER
Yeah, go right ahead, I wish you –
(together, they dip in the remaining punch and gulp down                          glasses and wish, pointing at each other)
young and beautiful and good
          (They fall backward behind the cauldren. Lights dim and
come up downstage front, where MORRIS and RALPH
are revealed, fully transformed)
RALPH
Look at you! Aunt Mia wouldn’t recognize you. The very picture of Maurizio di Mauro.
                               MORRIS
And you! Glossy wings – shining eyes…
                                RALPH
Ramona …
                               MORRIS
– will love you!
                            RALPH
Will love me.
                             MORRIS
A happy thought!
                             RALPH
A happy thought!… Good gracious, that’s right!
                             MORRIS
You see? You pretended and it came true.
                            (beat)
                           TOGETHER
And us?
                           (beat)
                            MORRIS
Friends no more. . .
RALPH
As St.Sylvester would say it’s the order of the world…
                             MORRIS
I will remember you as the finest creature I have ever met.
                             RALPH
For me, you will always be a prince among cats.
(Lights up on the laboratory, GRUELLA and IRRWTIZER crawl out of the shadows as two charming attractive teenagers, still rather drunk.)
IRRWITZER
Is that you, Gru? Is that really you?
GRUELLA
Witzy, you’re so handsome!
IRRWITZER
I don’t undertand. How – Oh, my goodness! You know what it means!
GRUELLA
Our wishes came true. The reversing power . . .
                               IRRWITZER
The reversing power . . .
                                TOGETHER
Didn’t work!
GRUELLA
Thank heavens!
IRRWITZER
Praise God! Gru, forgive me if I ever said a word against you. You don’t deserve it.
GRUELLA
What a fine young man you are! How could I have been so blind!
IRRWITZER
Do you smell something . . . disgusting?
(beat)
       GRUELLA
Oh, my golly! Our contracts –
IRRWITZER
Our quotas –
     GRUELLA
Not fulfilled!
     IRRWITZER
The penalty!
     GRUELLA
Wait. Quick. There’s just enough left –
                       (They dip together)
                  NECTARS OF NECTARS, GREAT IS YOUR POWER
GRANT ME THIS WISH, ‘ERE THE STROKE OF THE HOUR
                          GRUELLA
                 void the contracts due tonight
                           IRRWITZER
                 MAGGOT SELF-DESTRUCT FROM SPITE
(Midnight strikes. The bells erupt in a sweet and joyful clangor. As it fades, MAGGOT is revealed in the room.)
IRRWITZER
Excuse me, sir. Can I help you?
                                          GRUELLA
Are you looking for someone?
MAGGOT
Yes. (takes out briefcase, consulting contracts) A wizard and witch, respectively Irwitzer and his aunt, Gruella (reading)… “having failed to meet their contractual obligations, are condemned to –
GRUELLA
Oh, dear. You must have the wrong address. There’s no one here like that.
MAGGOT
On the contrary.
MAGGOT, IRRWITZER, GRUELLA, MORRIS, RALPH: GOING PLACES
You don’t fool me
I know who you are
hiding behind new-made faces
Come along with me now
like it or not, you’re going places
(he advances, but cannot pass through an invisible barrier)
IRRWITZER & GRUELLA
You’re out of luck
those two have cleared out
poof! vamoosed! leaving no traces!
we are safe from you here
safe from thAT “place” you threaten us with
in the midst of your desert
we’re in an oasis
(still trying to get through)
You can’t do this to me,
You can’t –
I’ll get you you’ll see
just wait and I’ll –
help! what’s happening to me?
there’s a churning and A turning
in my stomach’s pit
I’ve a funny sensation
my skin doesn’t fit
hell and damnation
come to my aid –
I can’t see my hands
I’m starting to fade
I’m GOING I’M —-ohhhhhhhhhhhhhh!
(he self-destructs in a puff of smoke)
GRUELLA AND IRRWITZER
             GOING PLACES
             he’s HISTORY
             we can’t sympathise
             Painful for him as the case is
             we are quit of him now
             some things there are that mem’ry erases
MAURIZIO and RALph
         (from opposite sides of the stage)
YOUR HEART, say, WEIGHS LIKE LEAD
and then
YOU SAY LIFE’S NOt FAIR
i’m giving up –
STOP! YOU MUStn’t despair!
UP AHEAD AROUND THE CORNER
THERE’S ANOTHER VIEW
OPEN VISTAS, far horizons
are beckoning you
               IRRWITZER
I can’t let go magic
              GRUELLA
It’s hold is too tight
              TOGETHER
There’s just one solution
make black magic white
we’ll keep up the practice
ENLIST every skill
to bring about good
             IRRWITZER
                       wizard
                                     GRUELLA
                      and witch
                           TOGEtHER
                      are in business still
                            RALPH
Ramona my love
the button’s re-set
               MORRIS
La Scala, milan
the fenici, the met
what’s gone is gone
pack up and move on
nothing is ever in stasis
good bye and good luck
we’re on our way, we’re going places
ANIMAL CUTOUTS
(pop up and sing)
it’s just a story, it’s all make-believe
raven and cat,
wizard and witch
are made up of words
just empty words and phrases
but we are for real!
we live and we feel
remember us!
REMEMBER HOW DIRE OUR CASe is
and how sacred the earth as a place is!
   CURTAIN
*Adapted from Michael Ende’s

Der Satnarcholugenialkohollische Wunschpunsch

Cupid and Psyche

PROLOGUE

                                       AT RISE: Street corner. A political rally. A burly figure at the microphone,
                       surrounded by fans with placards: PRESTANOVSKY FOR PRESIDENT;
PUT THE “PREZ” BACK IN PRESIDENT.”
“PRES   FOR PREZ” etc.

 

PRESTANOVSKY

So that’s my platform, folks: Elect Prestanovsky and get yourself a president for the people. Just remember those two letters: PP: President for the People. For every one of the people: old young middle-aged: JOBS! and with jobs what do you get? FOOD on the table; CLOTHES on your back! a ROOF over your head! And with a roof 0ver your head, what do you get? A BED to lie down in! And without a bed to lie down in, what do you get? SWEET DREAMS? You better believe it!

                 Are you thrashing are you turning
                 in a narrow bed at night
                 are you aching are you burning
                 from a fire that gives no light
                 Do your arms embrace a pillow
                 when they reach to touch a cheek
                 are you weeping like a willow
                 where your heart has sprung a leak
                 O all ye broken hearted lovers
                 Listen up to Prestanovsky
                  Listen well to what he sez:
                 if you’re kinky or you’re straight
                 if you’re homo or you’re lez
                 he will mend your hearts like
                         broken cups and saucers
                 when you vote him in as prez
                  It’s a promise it’s surefire
                  he will regulate desire
                 he will make a law
                 a law a law a law against
                   UNREQUITED LOVE
                   You no longer will remember
                   sleepless nights and hopeless days
                   not a cinder not an ember
                   will remain from that hot blaze
                   you will be as peaceful as the sheep
                   in the psalm who safely graze
               It’s a promise it’s surefire
               he will regulate desire
               Hurrah for Prestanovsky
               our next PREZ!
                           STRANGER
Hey, hey! hold on a minute.
                         PRESTANOVKSY
Who are you and what do you want?
                           STRANGER
Never mind who I am. I have a question for you.
                         PRESTANOVSKY
Fire away, Mister. This is Prestanovsky. Happy to answer any question within reason. Questions are the salt of the earth. Where would we be without questions? What time is it? How are you? How much does it cost? That’s an important one. That’s a big one. Too much. Always too much. Under Prestanovsky that’s going to change. Let me tell you –
                           STRANGER
                 (interrupting)
How do you intend to deliver?
                         PRESTANOVSKY
What?
                           STRANGER
How do you intend to deliver on your promise to cure the lovesick?
                         PRESTANOVSKY
Simple: I’ll set up a commission of experts, they’ll study the matter, both houses will vote, and there you are!
                           STRANGER
You’re going to legislate against love?
                         PRESTANOVSKY
That’s the ticket, Buddy. You heard me. You think I can’t do it?
                           STRANGER
No. No. Of course you can do it. I have every faith in you. Not only do I believe you can do it. I believe you will do it.
                         PRESTANOVSKY
So what’s your gripe, fellow.
                           STRANGER
I don’t think it’s wise.
                         PRESTANOVSKY
Wise? You want the human race to keep suffering the way it does now? Do you have any idea how much human folly is the product of unrequited love? How much in this world goes wrong, thanks to the miseries of the heart?
                             WOMAN
My daughter can’t get out of bed. She can’t eat. It’s killing her.
                         ANOTHER WOMAN
I can’t work. I hate my face in the mirror.
                              MAN
I lost ten years to that bitch!
                              MAN
You said it. Love is hell. It’s a great new idea.
                         PRESTANOVSKY
Listen: the Vox Populi! There you go, folks. Prestanovsky! He’s the first to recognize this burden to the soul. Vote for Prestanovsky!
                 (to STRANGER)
And you favor the status quo? Com’on, mister. Get smart. Don’t you believe in progress?
                           STRANGER
Progress?
                         PRESTANOVSKY
Sure, you know. The wheel. The steam engine. Outer space.
                           STRANGER
What about the flip side?
                         PRESTANOVSKY
The flip side?
                           STRANGER
New and horrible diseases. Destruction of the ecosystem. Nuclear night.
                         PRESTANOVSKY
You’ll have to excuse me, fellow. I don’t see what the wheel has to do with nuclear night. Now look, I’ve been very patient with you. Ain’t I patient, folks? When Prestanovsky’s prez, everyone will have a voice!
                       (to STRANGER)
Let’s wrap this up –
                           STRANGER
Wait. Wait a minute. Think of the consequences of such a policy. It’s …
                         PRESTANOVSKY
                       (getting angry)
You heard me. Let’s move on here.
                           STRANGER
               (to crowd: suddenly charismatic and  authoritative)
I’ll spell it out. I’ll spell it out so you’ll never forget it.
                         PRESTANOVSKY
OK, Buster, this has gone far enough! There’s a limit to patience, even for Prestanovsky.
                   (gesturing to his goons)
You better get moving, or…
                             VOICE
No, wait! Let him speak! If you really mean that about everyone having their say, let’s find out what he means.
                           GUARD ONE
                   (trying to grip the STRANGER’s arm, somehow
                                  can’t manage)
What’s going on here?
                   (makes another effort, grabs the other
                   GUARD instead)
                           GUARD TWO
                   (jerking free)
Whaddya doin’ to me, Fred. Take it easy.
                               STRANGER
Look, folks. I’ve got no stake in this election. I just want to tell a story – It’s a good story. You’ll enjoy it. That’s a promise. And I never break a promise.
                            VOICES
Let him talk. No harm in talking. Give him the floor. I’m for it, etc.
                           STRANGER
And Mr. Prestanovsky, you’re going to thank me. It’s a promise. And I’ve never made a promise I haven’t kept. If you don’t believe me, I’ll back it up with security –
             (removes a stickpin from his tie)
– the arrow is gold, the feathers are diamonds; if you don’t thank me, you can put it in your campaign kitty. How’s that?
                         PRESTANOVSKY
             (biting stickpin and turning it over)
Where do you get an item like this in times like these?
                           STRANGER
Family heirloom. Is it a deal?
                             CROWD
Give him the time, Prez.
                         PRESTANOVSKY
I bet it’s worth…. You know what, folks? You’re the people! You want to hear this guy’s story, be my guest. PP – President for the People! Young middle aged old. That’s the ticket. Go ahead, Mister. The floor is yours.
                           STRANGER
OK, everyone. Pick a place. Get comfortable. Settle down.
                 (Blankets and pillows fly in from the wings.
                 Everyone pulls back to the side of the stage
                 as lights start to dim.)
Once upon a time in a far away country, there was a king who had a beautiful daughter named…
                             ACT I
 Lights up on a courtyard. The KING and his DAUGHTERS, one petite, one statuesque.
                             KING
Psyche! Psyche! Where is that girl? New suitors have arrived.
                             MARY
She won’t be interested.
                              ANN
She cares no more for one than another.
                             MARY
She is incapable of love.
                              ANN
Who are they, Father?
                             KING
Handsome young men of good family.
                              ANN
What are their names?
                             KING
I don’t remember. I see so many of them, the names go in one ear and out the other.
                             MARY
It doesn’t matter.
                              ANN
YOu should put your foot down. That’s what fathers are for. If you told her to marry, she’d have to obey you. You’re too soft. I know what you’re thinking: I don’t want to lose her. I won’t be able to look at her until I die. But think how selfish!
                             MARY
Ann’s right. We can’t get married until she does. But as soon as our suitors look at her, they forget us. All they can think is Psyche Psyche Psyche. Marriage would remove her from sight. Then we’d have a chance too.
                              ANN
The longer you wait, the more dangerous it gets. DOn’t you want grandchildren, Father?
                             MARY
YOu have three daughters. Two are being sacrificed to the beauty of the third.
                              ANN
It isn’t fair.
                             MARY
It isn’t fair.
                             KING
It isn’t fair.
                              ANN
And that’s the least of it. Everyone is so in love with Psyche they have neglected their duties.
                             MARY
The farmers read her life story instead of plowing.
                              ANN
And she’s not even old enough to have a life story.
                             MARY
THe shepherds ie all night dreaming about her instead of watching their sheep.
                              ANN
The astronauts refuse to leave the earth with Psyche on it.
                             MARY
Worst of all is what’s happening to the altars of Venus.
                              ANN
Unfrequented.
                             MARY
Overgrown with weeds.
                              ANN
Mute testimony to a dying civilization.
                             MARY
And there will be trouble in high places.
                              ANN
You can count on it: Trouble in high places.
                             MARY
I don’t think Venus will stand for it much longer.
                              ANN
She is a jealous goddess.
              (ENTER two young men, one husky and tall,
               one small and wiry)
                          CHRISTOPHER
We got tired of waiting.
                             KING
Come in, come in. Let me introduce you to Psyche’s sisters.
                              ANN
I’m Ann.
                             MARY
I’m Mary.
                             JOHN
I’m John.
                          CHRISTOPHER
I’m Christopher.
                              ANN
Father, why don’t you see if you can find Psyche?
                             MARY
Yes, it’s too bad to keep these nice gentlemen waiting.
                              ANN
                       (to CHRISTOPHER)
I’m sorry. Her manners are atrocious.
                             MARY
                           (to JOHN)
You’ll have to forgive her.
                              ANN
But we’ll be glad to keep you company until she arrives.
                             MARY
Do go look for her, Father.
                              ANN
I think I heard her say she was going to the library.
                             MARY
You’ll probably find her there reading.
                              ANN
(to CHRISTOPHER)
She has scholarly interests, you know.
                             MARY
I pity the man who is married to her.
                              ANN
She’ll lie in bed at night taking notes. With her glasses on.
                             MARY
Her eyesight is bad. She’s blind without her contacts.
                             KING
All right. I’ll go see. My other daughters will be happy to entertain you. They are very accomplished.
                              ANN
I can sing.
                             MARY
I can dance.
                              ANN
Sit down. We will entertain you.
                   (SHE takes centerstage and sings while
                   MARY accompanies on the flute)
                         ANN’S AUBADE
                       My voice is as pure and clear                                                  as the voice of Chanticleer
                       whose song is herald to the dawn
                       Ki ri coo coo
                       Ki ri coo coo
                       The night with its delights is through
                       Time to put your shoes & socks back on
                       My voice is as clear and pure
                       as a Callas signature
                       on a coloratura trill
                       (SHE trills)
                      Ki ri coo coo
                       Ki ri coo coo
                       Whoever lies in bed with who
                       Mary Jane with Jo, Elaine with Bill
                       (or Murgatroid with Sue)
                       Wake up! Wake up!
                       The day is breaking!
                       Good heavens, how much time you’re taking
                       Her ring is on the chiffonnier
                       Go hook the back of her brassiere
                       Your wallet’s lying on the chair
                       Forget the shave but comb your hair
                       Ki ri coo coo
                       Ki ri coo coo
                       It’s time to cease your bill and coo
                       and heed your Barnyard Balladeer
                       Chanti – Chanti – Chanti – cleer!
               (SUITORS clap politely without enthusiasm)
                             JOHN
But where is Psyche?
                             MARY
Possess your souls in patience. She’ll be here soon enough. In the meantime I will perform for you the famous dance that Salome danced to win the favor of Herod Antipas and the head of John the Baptist.
                           (to JOHN)
Nothing personal. It’s my best number.
 (SHE dances while ANN accompanies on the flute. The dance is erotic and threatening. At the end, the SUITORS clap politely without enthusiasm. Enter PSYCHE with KING. Following them at a discrete distance is a COLLEGE OF ASTROLOGERS)
                             JOHN
Oh, how beautiful!
                          CHRISTOPHER
Oh, how beautiful!
                             JOHN
More beautiful than rumor rumored.
                          CHRISTOPHER
More beautiful than imagination imagined.
                              ANN
(sotto voce)
Beauty is in the eye of the beholder.
                             MARY
Handsome is as handsome does.
                            PSYCHE
Forgive me for keeping you waiting. We have had terrible news.
                             KING
Terrible news.
                          ASTROLOGERS
Terrible terrible news.
                            PSYCHE
If you had come yesterday, I would have refused you because I don’t love you. Today I must refuse you because I am engaged.
                             KING
THis college of astrologers –
                          ASTROLOGERS
Terrible terrible news –
                       A rare configuration of the stars
                       The conjunction of Venus and Mars
                             KING
… informs us that Psyche is demanded in marriage by a monster
who will lay waste to the kingdom if she is not delivered to him by sundown on top of –
                   (Pointing)
yon high mountain.

ASTROLOGERS

                     Virgo in the quadrant of the moon
                    The eclipse of the sun at high noon
                          CHRISTOPHER
What kind of monster? The world is full of monsters, some more dangerous than others.
                           JOHN
Yes. You’ve got to be very careful what kind of monster you’re getting mixed up with.
                     SONG ABOUT MONSTERS
                  (Christopher and John)
     There are old-fashioned monsters who belch smoke and fire
     There are newfangled monsters who favor mustaches
     uniforms epaulets medals and sashes
     these are world class monsters
     when you see them coming, woman or man,
     run, run for your life as fast as you can
     But the monster you really must fear
    Is the monster who does not appear
    to be a monster as such:
    He’s a monster you cannot see or touch –
    He doesn’t hole up in a cave or a palace
    He isn’t equipped with a beard or a phallus
    He’ll give you no warning, woman or man
   He’ll ruin your life as fast as he can
   Whether you call him newfangled Unconscious
   Or dub him old fashioned Sin
  He’ll gobble you whole and spit out the bones
  then lick his chops and wipe his chin
  Oh the monster to fear is the monster you know
  and the monster you know is [the monster] within!
                          KING
 Well,  this is a one hundred percent monster, that’s all I can tell you. When the astrologers say he’s a monster, it’s a monster.
                       CHRISTOPHER
                      (to astrologers)
What’s his name?
                           JOHN
Yes, what is his name?
                            ASTROLOGERS
                   Two stars in the Belt of Orion
                   Unrest in the Sign of the Lion
                             KING
You’re not going to get much help from them I’m afraid. But it is folly to ignore them. Their predictions always come true.
                            PSYCHE
They predicted my birth, to the day and hour.
                              ANN
And mine.
                             MARY
And mine.
                            PSYCHE
I have to go. I don’t want to but I have to.
A SHADOW OF FEAR LIES OVER MY HEART
                 The day that dawned was bright and mild
                 The sky was clear as a mirror
                 But a cloud came sailing sailing sailing
                 and cast a fearful shadow
                 over my heart.
                 I was as carefree as a child
                 at play in a grassy meadow
                 when a bird came flying flying flying
                 and cast a fearful shadow
                 over my heart.
                 Goodby, my grassy meadow
                 Goodby, my clear blue sky
                 Carefree days are gone from me
                 My world has gone awry
                 A phantom terror haunts my mind
                Each step I take is unwilling
                 But my fate is calling calling calling
                 “do not keep me waiting” –
                 Though a shadow of fear lies over my heart.
KING             My dear, my darling, my own precious heart
PSYCHE           My way lies before me I must depart
SISTERS         Beauty is never sacrificed in vain…
SUITORS         We shall cut out the monster’s heart
SISTERS                                               in vain
ASTROLOGERS     Consider the data on Psyche’s chart
SUITORS         We shall boil his liver and stew his brain
SISTERS                                                in vain
KING             My dear, my darling, my own precious heart
SUITORS         And mince his gizzard in a cuisinart
SISTERS                                                in vain
PSYCHE           Goodby, goodbye, now our ways part
(as SHE goes off escorted by the
ASTROLOGERS)
ALL             Psyche, Psyche, take heart
                 Heaven preserve you, and see you safe home again
                           ACT II
Scene i: CUPID’s palace, somewhere on the Mediterranean. Daytime. A glittering blue sea is visible through colonnades. CUPID and PSYCHE are sitting sage right eating breakfast. Throughout this scene, Psyche can see no farther than a foot in front of her.
                            PSYCHE
Life is full of unexpected reversals. A week ago I was cast up on a naked rock. Today I live in luxury’s lap. A week ago I expected to die. Today I feel immortal. A week ago I had no inkling what love was. Today I cannot live without it. Are you there? Do you hear me?
                             CUPID
Yes.
                            PSYCHE
Are you really so ugly?
                             CUPID
I have blond hair and I am incredibly handsome.
                            PSYCHE
Then why can’t I have my contacts back?
                             CUPID
It’s Verboten.
                            PSYCHE
Who says so?
                             CUPID
The Powers that Be.
                            PSYCHE
But why? It makes no sense.
                             CUPID
Ours is not to reason why. Ours –
                            PSYCHE
… is but to do or – I didn’t know there was a war on.
                             CUPID
There is always a war on.
                            PSYCHE
Oh, why wasn’t I given decent eyes!
                             CUPID
You were. You see with the eyes of love.
                       The Eyes of Love
               The eyes of love are wide awake
               When ordinary eyes are dim
               They see what’s wonderful in her, in him,
               The eyes of love see through the walls men make.
               Look! There goes a harridan
               But he who sees with the eyes of love
               sees the one he wants to marry
               The eyes of love are visionary
               They see beneath the skin
               Look! there goes an ugly troll
               But he who sees with the eyes of love
               sees the one she wants to marry
               The eyes of love are visionary
               They see into the soul
                     Love is bold and love is daring
                     Love is no nambypamby simp
                     Love can see the lady in the whore
                     and the gentleman in the pimp
               O, my darling, O my dear,
               Mortal eyes are as good as blind
               Their sight is cloudy and unseeing
               Love’s eyes alone can see immortal beauty’s being
               Immortal beauty’s being
               forever far, but always near,
               reach out and touch it –
(he touches her)
               Look! It’s here.
(they kiss)
                            PSYCHE
Well, but then there’s what other people see. The servants, for example. I can’t see them either.
                             CUPID
Neither can I.
                            PSYCHE
What?
                             CUPID
They are invisible. Like the wind that brought you here.
                            PSYCHE
Oh…. But they can see you…
                             CUPID
Yes.
                            PSYCHE
And I can’t.
                             CUPID
(patiently: they have had this conversation
before)
Psyche, I’ll do anything in my power to please you. But that isn’t in my power. If you look at me, the evil consequences will be irreparable. Not only will we lose each other, you will bring a mountain of tribulation down on yourself.
                            PSYCHE
Well, if I can’t see you, I could at least see my sisters. Let them pay me a visit.
                             CUPID
Psyche, your sisters are not your friends.
                            PSYCHE
(not listening)
I want them to know that I’m safe. And happy. And I want my father to know it. They must think I’m dead.
                             CUPID
All right. I’ll have them brought here. But I warn you: they mean you no good. They are vipers.
                            PSYCHE
How dare you speak that way about my sisters? Mary is the soul of kindness. So is Ann.
                             CUPID
You are blind. Believe me, I know them better than you do.
                            PSYCHE
I’ve lived with them all my life. You haven’t even met them! And who are you anyway? Some stupid voice! You have a nerve!
(SHE gets up in a fit of pique and thrashes around  trying to find him. HE dances around teasing her from different directions.)
                             CUPID
Here I am! Stupid voice! Here I am!
(SHE lunges at his voice each time, while he deftly sidesteps.)
                            PSYCHE
Oh, I hate you!
                             CUPID
No, you don’t.
                            PSYCHE
It isn’t fair.
                             CUPID
It isn’t fair.
                            PSYCHE
(SHE sits)
Can I? Can I see them? Can they visit?
                             CUPID
Yes, but be careful. I’m not joking. Don’t let them turn you against me.
                            PSYCHE
Nothing could do that.
(FADE OUT)
Scene ii: Same. LIGHTS UP stage left where ANN and MARY are drinking coffee
                              ANN
It looked different last time.
                             MARY
I don’t think that lamp was there.
                              ANN
It wasn’t. The lamp that was there was the one she gave you. It must be a replacement.
                             MARY
I like this one even better.
                              ANN
And those screens are new.
(moves closer, takes out a magnifying glass,
examines the painting.)
Masterful!
                             MARY
(squinting)
Looks mythological. What’s the scene?
                              ANN
Venus trapped by Vulcan with Mars.
                             MARY
Tch-tch. Did you remember to bring her contacts?
                              ANN
Yes.
                             MARY
Better check your pocket. It was pretty rough riding on that wind. Rougher than last time.
                              ANN
I know. I’m not looking forward to the trip home.
                             MARY
Oh, that will be a breeze.
                              ANN
What makes you think so?
                             MARY
He doesn’t want us to be here and he’s glad when we leave. Psyche said she had to jump through hoops to get him to let us come back. You heard her. And besides, you can feel it.
(looks around and shivers)
The atmosphere is unfriendly.
(The screen falls over)
You see?
(SHE goes over to place it upright, then stops herself and comes back.)
Oh, let one of those invisible servants do it.
                              ANN
You don’t think he knows about the contacts?
                             MARY
No. He’s just generally suspicious. If he knew, he wouldn’t have let us come back. Period.
                 (The screen rights itself.)
                              ANN
I’m dying to find out who he is.
(Enter PSYCHE, stage right, carrying tray with fresh coffee and cake. She pauses uncertainly)
Over here, dear!
(As PSYCHE nears the table, the tray is  invisibly removed from her hands and set on the table, while the chair is pulled out for her. SHE  sits, feeling for the coffeepot with her hand, grabbing it possessively on contact)
                            PSYCHE
Ann, give me your cup.
                   (SHE pours, ditto with MARY)
I think I’ll go mad if I can’t start doing things for myself.
                             MARY
Darling, that’s a beautiful screen. I wish you could see it.
                            PSYCHE
Do you want it? Take it.
                             MARY
It might be a little hard to carry.
                            PSYCHE
Oh, Zephyrus can carry anything. He can carry whole houses. If I ask him, I’m sure he’ll be glad to do it.
                             MARY
Psyche, are you any closer to finding out who he is?
                              ANN
Yes, has he told you his name or how old he is or if he plans to marry you?
                            PSYCHE
I thought we were already married.
                             MARY
Oh? Who are the witnesses?
                            PSYCHE
Witnesses?
                             MARY
Yes. To be married, you must have witnesses.
                            PSYCHE
I never thought of that.
                              ANN
He could drop you any minute.
                             MARY
You really can’t know anything until you see him.
                              ANN
If he had nothing to hide, why didn’t he court you in the open?
                             MARY
Because he knew you would refuse him, that’s why.
                              ANN
That’s why he won’t let you see him.
                             MARY
That’s why.
                              ANN
That’s why.
                            PSYCHE
I can’t answer your questions. But he wouldn’t do anything to hurt me. He loves me. And besides, if I look at his face, I pay a terrible price. I bring down on myself a mountain of tribulation. I told you.
                             MARY
Threats.
                              ANN
Conditions.
                             MARY
And you talk about love!
                              ANN
What do you know about love anyhow? You’ve spent your whole short life thinking about astronomy and mathematics. You come to it like a lamb to the slaughter.
                         Sister, Sister
Sister! Sister!
Heed our advice!
The god of love
is not very nice
He’ll burn you with fire
and freeze you with ice
Sister! Sister!
Heed our advice
Love can devour
your heart in a trice
Remember Medea
Dido and Phaedre
They trusted love
and they paid the price
Sister, be careful!
Sister, beware!
Love has a side
that’s hidden from sight
Love has a side
that’s darker than night
Sister, be careful!
Sister, beware!
Love is delusion
Love is a snare
Sister, sister!
Heed our advice
Love is a gamble
against loaded dice
Sister, Sister
Sister, think twice
                            PSYCHE
But what am I to do?
                           MARY
(hiding her hands behind her back)
Left or right?
                            PSYCHE
Oh, I don’t know. Right. I thought you were going to help me.
                              ANN
We are!
(MARY holds out her hands.PSYCHE bends over very close peering into her palms. SHE gasps.)
                            PSYCHE
Contacts!
                             MARY
We found your extra pair.
                              ANN
They were lying beside the telescope.
(As PSYCHE reaches for them, they are mysteriously knocked out of reach. ANN rescues them and brings                 them back, protectively handing them to PSYCHE,  who slips them down her dress front)
But don’t put them on until its nighttime.
                              ANN
That way, he can’t possibly notice.
                             MARY
We’ve figured it all out Wait until he’s asleep and then take a look at him by candlelight.
                            PSYCHE
I don’t know…
                             MARY
Of course if you don’t want to….
                              ANN
Only if that’s what you decide.
                             MARY
We just want you to have the option.
                              ANN
It’s only fair.
                             MARY
It’s only fair.
                            PSYCHE
It’s only fair.
Scene iii. The same. Night. Dumbshow.
                       CHORUS OF HOUSEHOLD SPIRITS
                       Psyche is waiting
                       for Cupid tonight
                       Psyche is waiting
                       Cupid is late
(Simultaneous shadowplay: PSYCHE reclining on a couch, turning from time to time and throwing back an arm.)
                       Her body is restless
                       Her blood is like sap
                       welling in summer
                       It must have a cap
                       What keeps him from her?
                      Why is he late?
                       Hurry! Hurry!
                       Psyche can’t wait.
(CUPID moves from stage right toward the couch. PSYCHE rises silently, listens and holds out her hand. He takes it and she draws him down. There is an interlude of music.The stage is in
total darkness. By and by a dot of light appears to the side of the couch. It flickers fitfully.)
                         REPRISE
             (ANN and MARY, in PSYCHE’s mind)
                     Sister, be careful
                     Sister, beware
                     Love is delusion
                     Love is a snare
(The light flares getting bigger and bigger.
PSYCHE can be seen in a circle of light to her waist,              holding the lighted candle and bending over the                   couch. She does not move.)
                         CHORUS OF SPIRITS
                     Hot wax is dripping
                     drop after drop
                     sliding and slipping
                     Too late to stop
                     Plop…..plop!
(CUPID sits up suddenly jerking his arm so it knocks over the taper. PSYCHE gasps and covers her eyes, falling back. The stage lights up when the light  goes out.)
                             CUPID
(roars in pain)
No!
(stares at taper, pickes it up, looks at it
carefully, puts it down)
                            PSYCHE
I was tempted.
                             CUPID
Your sisters. It was your sisters, wasn’t it?
                            PSYCHE
They brought my contacts.
(Her hands go involuntarily to her eyes)
But I didn’t have to put them in. It was my choice.
                             CUPID
I warned you.
                            PSYCHE
I know. I didn’t listen… How beautiful you are. … I think I know… who you are… You’re … Love… aren’t you?
CUPID
(gloomily)
Yes.
                            PSYCHE
I knew anyhow. But I didn’t believe it… But why me? What made you choose me?
                             CUPID
My mother was jealous. She wanted to punish you. She sent me to join you irrevocably to a loathsome beast. Instead I took a wound from one of my own arrows. Don’t ask me how. Don’t ask me why.
                            PSYCHE
What happens now? Something awful will happen now. Won’t it?
                             CUPID
Yes.
                            PSYCHE
What?
                             CUPID
It’s over.
                            PSYCHE
No.
                             CUPID
Yes.
                            PSYCHE
I have to live without you?
                             CUPID
Yes.
                            PSYCHE
Live without love… I can’t.
                             CUPID
You’ll have to.
                            PSYCHE
Isn’t there anything I can do?
                             CUPID
I doubt it.
                            PSYCHE
Nothing?
                             CUPID
Ask my mother.
                            PSYCHE
She hates me, doesn’t she?
                             CUPID
Yes.
(PSYCHE starts to weep silently. CUPID turns and walks away)
                 CHORUS OF HOUSEHOLD SPIRITS
                       Troth with a god
                       is broken not lightly
                       broken not lightly
                       the high holy oath
                       What sacrifice
                       of blood will suffice
                       to make whole again
                       the body of faith
                       when eyes violate
                       its most sacred rite
                       It loses not lightly
                       loses not lightly
                       its pure virgin state

ACT III

Scene i: Nondescript hotel room, the present. A full length mirror hangs on the back of the  bathroom door. PSYCHE is standing at the window in a slip. JOHN is on the bed. He has  a mustache.
                              JOHN
Get away from the window.
                            PSYCHE
Why?
                             JOHN
Because I don’t want anyone else looking at you.
                            PSYCHE
It doesn’t matter.
                             JOHN
Yes it does. Why should someone else enjoy what’s mine?
                            PSYCHE
                 (moving away)
No one can see. It’s raining.
                             JOHN
My name is Juan. I’m a good fellow. My friends will tell you.
                            PSYCHE
Where are you from?
                             JOHN
               (looking at watch)
San Sebastian. I have to get back to the store.
               (dressing)
Will you meet me tomorrow?
                            PSYCHE
               (lying)
Yes.
                             JOHN
I’ll make you a good boyfriend.
               (pointing out the window)
At the entrance to the park. Four o’clock. I’ll shut the store early.
               (HE goes into the bathroom. PSYCHE goes back to the window, in the same position as before, looking           out. CHRISTOPHER comes out of the bathroom combing his hair. HE wears glasses.)
                          CHRISTOPHER
I thought you were celebrating your graduation.
                            PSYCHE
Why?
                          CHRISTOPHER
Because you ordered lobster. No one eats lobster without a special occasion.
                            PSYCHE
What time is it?
                          CHRISTOPHER
Four o’clock. This time yesterday was my cousin’s funeral. He was buried by a cardinal.
                            PSYCHE
The last funeral I went to was my father’s. That was a special occasion. My sisters left the coffin open.
                          CHRISTOPHER
What did he die of?
                            PSYCHE
A broken heart.
                          CHRISTOPHER
Who broke it?
                            PSYCHE
I did.
                          CHRISTOPHER
How?
                            PSYCHE
I lost my looks.
                          CHRISTOPHER
You look all right to me.
                            PSYCHE
He saw me with the eyes of love.
                          CHRISTOPHER
My girlfriends are usually rather odd. The last one was on the borderline of sanity.
                            PSYCHE
What happened to her?
                          CHRISTOPHER
She got married. It didn’t help, though. She’s in the asylum.
                            PSYCHE
Oh.
                          CHRISTOPHER
I go to brothels. I have special tastes. We might work something out. Think it over.
                   (HE leaves. PSYCHE goes back tothe window and  writes on the misty pane: CUPIDON)
                       The Counsels of Despair
A devil is beating
on the walls of my skull
He can’t get out
A devil is beating
on the walls of my skin
Who let him in?
There is no window
There is no door
There is no doctor in the house
There’s only a carpet that hates my feet.
There’s only a mirror that hates my face.
There’s only a phone that hates my voice.
(SHE picks up the phone)
Operator, help!
Get me my husband
Get me my father
(The KING’s bass through the telephone)
The case is open and shut
You are a worthless slut
Your beauty is a lie
Daughter, you deserve to die
(CUPID’s voice through telephone)
The case is open and shut
Your heart is ash
Your mind is smut
Your beauty is a lie
Wife, you deserve to die
       PSYCHE
My beauty is a lie
(leaves the telephone and goes to stand in front of the full-length mirror)
I deserve to die
(On the last note she picks up an ashtray an smashes the image. The glass shatters. MARY and ANN reach out and draw her through the frame. In the background, very muted, is the sound of the hurdygurdy fair music that will open scene iii.)
(Scene ii. An elevated platform. VENUS at her dressing table, putting on makeup. CUPID sitting in a leather armchair with h is legs crossed, smoking a cigarette. Art Deco decor. When VENUS gets up at the end of the scene the audience sees she has been making up a mask, which covers half her face. She selects a wig and puts on a gown that resembles a chiton.)
                             CUPID
Why do you hate her so much?
                             VENUS
I don’t hate her.
                             CUPID
Oh, stop lying.
                             VENUS
That’s no way to talk to your mother.
                             CUPID
You’re jealous.
                             VENUS
Of course, I’m jealous. There can’t be two goddesses of love.
                             CUPID
But Mother, she’s not a goddess. She’s not immortal.
                             VENUS
But you are. And knowing you, you’ll find some way to make her immortal too.
                             CUPID
Mother, this isn’t worthy of you. You are a great and revered and indispensable goddess. Why are you being so mean and petty? No one cares about Psyche but me.
                             VENUS
She had one chance. Why should she have two? She’s only getting what she deserves. I don’t see why you stand up for her anyhow. She’s completely promiscuous. She’s screwing around with other men.
                             CUPID
That’s because she can’t replace me. She’s in despair.
                             VENUS
She’s tougher than you think. She resisted suicide.
                             CUPID
Yes, but she’s afraid she’s going mad.
                             VENUS
Darling, you’re making mountains out of molehills. What’s one more unhappy girl more or less in the world?
                             CUPID
I warn you, if you don’t let up you’re going to regret it.
                             VENUS
Is that a threat?
                             CUPID
Yes. It’s a threat. A serious threat.
                             VENUS
I look peaked lately.
               (yawning and looking over the edge of the platform)
I think I’ll send down to the Underworld. Persephone has a beauty renewal preparation that’s guaranteed. I tell you what: If Psyche can fetch me the box without opening it, I’ll let you have her back.
                             CUPID
Word of honor?
                             VENUS
Word of honor.
 Scene iii: The other side of the mirror. Night. A Psychedelic     Carnival. There are booths for food and games. Crowd milling about. Hurdygurdy fair music, rap rythmns for the barkers. MARY, ANN, snd PSYCHE enter  from the archway through the mirror. Mulit-lightbulbs flash on and off in an arch over the
entrance way: NOTHING’S WHAT YOU THINK IT IS.
               Competing Travel Booths
BARKER l (JOHN)                   BARKER 2 (CHRISTOPHER)
Hey folks hey                       Hey, folks hey
                                          If you’re at an all time low
When you don’t know where to go
                                          then why not get hip
take  an interstellar trip
                                          buy yourself a high
on a supersonic ship
                                          let your fancy rip
take a flight to the moon
                                         on a heroin balloon
 any weekday afternoon
                                         fly out of this world
spread those cocaine wings
                                         discover Saturn’s rings
hey, yeah, man
outta this world                   hey, yeah, man
                                        outta this world
check it out at JFK
                                   check it out at O’Hare
fly into the stratosphere
                                    take the first flight outtahere
other planets, other stars
                                    check out Venus, check out Mars
 outta this world, man
                                     outta this world
Hey man, get a whiff
                                   all the dope you can smoke
all the coke you can sniff
                                   in a pipe or just a toke
only don’t shoot up
                                   don’t shoot up
one little prick
                                    with a dirty needle
will do the trick
                                   you’ll crash so quick
you’ll get so sick
                                   it will take you outta this world
it will take you outta
this world
hey, yeah, man                     hey, yeah, man
outta this world                    outta this world
                 (like a round, the chant can repeat itself  indefinitely from “check it out at JFK” it continues to be heard under, graudally fading until it is overtaken by the FORTUNE TELLER at  Booth 2)
                             MARY
C’mon, Psyche, let’s fly!
                              ANN
Wheeeeeeeeeeeeeeeeeeeeeeeeeeeee!
                            PSYCHE
No. I don’t want to.
                             MARY
Party poop!
                              ANN
Spoil sport!
                            PSYCHE
No. I’ve been there.
                             MARY
Been where?
                            PSYCHE
I’ve been in heaven and I’ve been in hell. No artificial stimulus needed.
                             MARY
Aren’t you Little Miss Sensitive. Well, I’m gong to get a ticket to Aldabaron, whether you want to or not.
                              ANN
Me, too.
 (THEY go over to the Travel Booth. PSHCHE wonders off past the Fortune Teller’s Booth)
                               FORTUNE TELLER
                       I have a little crystal ball
                       a little crystal ball
                       It’s just a dirty piece of glass
                       alas!
                       I have a little pack of cards
                       a little pack of cards
                       It’s just a dirty dogeared pack
                       alack!
                       You have a pink and wrinkled palm
                      a pink and wrinkled palm
                       It’s just a little wrinkled palm
                       but to me it is
                       the Map of Destiny
                   (SHE catches PSYCHE by the hand as she passes.
                  Stares at her palm)
                        FORTUNE TELLER
Your name is PSYCHE. You have a long row to hoe.
                            PSYCHE
Let me go.
                         FORTUNE TELLER
Faith is your stumbling block. Don’t open the box.
                   (PSYCHE breaks free and moves on)
                           FUN HOUSE BARKER (CUPID)
Ladies and gentlemen, step right up and buy your ticket
Don’t miss the opportunity to pay a flying visit
to the fabled underworld of Greek antiquity
with punishments designed for each iniquity
Cross the River Styx and pet the threefold head
of dreadful Cerberus, the watchdog of the dead.
Pity Tantalus, who thirsts but cannot drink,
the water rising round him to his hips
Pity Tantalus, who hungers but can’t eat
the grapes that cluster inches from his lips
Pity Sisyphus who rolls a rock uphill
that will never never never reach the top
Pity Sisyphus, whose toil is nonstop
Pity Tantalus Pity Sisyphus
visit in the flesh
the misty world of myths
Visit Hades and the court of Dis its King
And Queen Persephone, the goddess of the spring
She has the gift of giving beauty back to earth
She knows the secret of perpetual rebirth
Her art can rescue beauty past its prime
Her art can remedy the damage done by time
                       PSYCHE
             (approaching BARKER)
Is it true? Can Persephone renew beauty?
                            BARKER
If winter is here, can spring be far behind? Buy your ticket and find out for yourself.
                            PSYCHE
How much is it?
                            BARKER
Whatever you want to pay.
                            PSYCHE
What do I do?
                            BARKER
Go right in and take a seat in the boat. It’s about to leave.
             (PSYCHE goes in through the door. Enter
             MARY and ANN)
                              ANN
There she is! She’s going into the funhuouse.
                             MARY
Psyche! Wait! Wait for us. We want to come too.
             (THEY run after her; the BARKER stops them)
                            BARKER
You’re too late. The boat just left.
                             MARY
Oh. When’s the next one?
                            BARKER
In half an hour.
                              ANN
We’ll wait.
             (THEY sit down. Images of PSYCHE appear in projections in the back. SHE is wondering through a maze of  buildings and deserted streets, frightened and lost, trying to find a way out. The streets turn into the  aisles of a crowded department store where she  rides up and down escalaters, and searches among                      counters,frantically looking for something)
                              ANN
I’m flying. The world is beautiful.
                             MARY
The world is beautiful. What do you see?
                              ANN
               Rubies flashing in the fiery eyes of Mars
What do you see?
                             MARY
               Venus blazing in a diadem of stars
                           TOGETHER
               The crystal mountains of the moon
               The coral forests of the sea
               The gold and silver apples
               on the tree of paradise
               shining in eternity
          (as they finish singing, PSYCHE emerges from the door
             of the Fun House looking shaken. Her sisters rush up               to her)
                             MARY
Psyche, dear, are you all right?
                              ANN
We’ve been waiting for you.
                             MARY
What’s in the box?
                              ANN
Oh, let me see it.
               (SHE snatches it, holds it up and shakes it)
                            PSYCHE
Oh, Ann. Be careful. it wasn’t easy to get.
                             MARY
Look. There’s something written on it. What does it say?
                              ANN
               (reading)
For hand delivery.
                             MARY
Hand delivery to whom?
                            BARKER
To me.
                            PSYCHE
You! I thought… You know there’s something rather odd about you. You look ….vaguely familiar. If it’s really meant for you, tell me the return address.
                            BARKER
               (Leans over and whispers in her ear)
Now, may I have it, please,
                            PSYCHE
It isn’t easy to give up. When I give this up, I give up hope.
                              ANN
Psyche, what is it?
                             MARY
Tell us, Psyche. We’re on tenterhooks.
                            PSYCHE
It’s the essence of springtime, the genius of rebirth. It will make me beautiful again.
                            BARKER
Is there Beauty without Love?
                            PSYCHE
                   (earnestly, to BARKER)
That’s just it: I lost Love before I had barely begone to know him. And after I lost him, I got uglier and uglier. And how can I ever get him back without Beauty?
                            BARKER
Haven’t you got the cart before the horse? Here. Better let me have it.
                   (HE holds out his hand; she hesitates)
                             MARY
Psyche, be careful.
                              ANN
Psyche, beware!
                            PSYCHE
No.
               (SHE breaks and runs, then stumbles and falls. The box falls out of her hand and opens. A dark mist                   flows out of it, and envelops her. The others run up to her.)
                         MARY and ANN
She’s dead!
                            BARKER
No. She’s in a coma.
                         ANN and MARY
Oh, Psyche, how could you!
                            BARKER
That’s it. Her second chance to hell and gone.
                             VENUS
                            (spotlighted overhead, as she looks  down, laughing triumphantly.)
Oh, my child. My poor ignorant foolish child of love!
                                      ACT IV

Talk show studio. At an elevated level to the left and right are large frames, simulating TV screens. In    a living room set at stage level sits VENUS with the    ANCHORWOMAN and ANCHORMAN. Technicians fuss around  briefly adjusting microphone on VENUS) ANCHORWOMAN waves them off frantically before turning to face  front with artificial smile.)

                      ANCHORWOMAN (MARY)
Good evening, Ladies and Genetlemen. I’m Mary Allen and
             (nods to ANCHOR)
                       ANCHORMAN (JOHN)
I’m John Tippet. Amd welcome to the NOW SHOW and tonight’s Special Report on the Total War of Love vs. Beauty. As you know, Eros has withdrawn from human affairs until his mother, Venus, agrees to restore Psyche to her former status as his bride. In the absence of love the world is not faring well. The effect on the economy has been no less than catastrophic. Here is a report on the latest developments from Prexy Nesbit, our Financial Analyst.
FINANCIAL ANALYST (CHRISTOPHER)
Wall Street is bleeding to death.
the Dow Jones is in a coma
business is at a standstill
from Fairfield to Sonoma
without underlying fantasies of lust
Hollywood has gone bust:
                                  BEAUTY QUEEN
 Venus Venus
                                     in the name of the sex
                                         symbols of the world:
                                             Relent!
In the rock industry there is confusion and dismay
all the way:
                                             ROCK EXECUTIVE
    Venus Venus
                                            in the name of the
                                             Grateful Dead
                                             Nirvana and Zero
                         on the Left
                                                                                  Relent!
The purveyers of romance and its atmosphere
are everywhere in parlous condition.
Listen:
                                            FLORIST
                                             I’m out of business
                                              Roses no longer sell
                                             RESTAURANTEUR
                                                 I’m out of business
     I’ve lost my clientele
                                             TELEPHONE EXECUTIVE
                                  I’m out  of  business
                                  No lovebirds on the wires
 MATTRESS SALESMAN
                                             I’m out of business
                                             I don’t have
any buyers
                                             ROMANCE NOVELIST
                                             I’m out of business
                                            I’ve lost my readership
                                             TRAVEL AGENT
                                             I’m out of business
                                            another canceled trip
                                             ALL
                                             Venus Venus
                                             In the name of the merchants:
                                             Relent!
Panic and pandemonium among the makers of chocolates, condoms,
cosmetics, greeting cards, perfume, clothes, jewelry, and their
personnel is endemic
                                                       WORKERS
                                             Venus, Venus
                                   in the name  of the workers
                                             and manufacturers
                                             Relent!
While Venus remains intransigent they can’t pay the rent.
Venus, O Venus, Relent!
                          ANCHORWOMAN
Thank you, Prexy. Sounds pretty desperate out there, doesn’t it? And now, from the cultural end of the spectrum, we have a report
from Ann Smith, our special correspondent for the arts. Ann:
(Reverse screens: ANN on the right,  spokespesons on the left)
ANN
The news isn’t good, Mary. As everyone knows in this post-Freudian world, art is an indirect effect of Eros. No Eros, no art. It’s as simple as that.
A world without Eros
is a world without art
In a world without art
the artists depart:
Thousands of painters
are jumping out windows
hundreds of poets
are opening their veins
countless composers
are leaping off bridges
myriads of sculptors
have blown out their brains
asylums are bursting
with dancers and singers
musicians and actors
are gong berserk
behind every bush
bneath every stone
an artist is languishing
out of work
                                                   PAINTER                                                           Venus Venus
                                                   In the name of Leonardo
and Vincent
                                                  Relent!
                                                   COMPOSER
                                                   Venus Venus
                                                   in the name of Ludwig
                                                   and Wolfgang
                                                   Relent!
                                                 POET
                                                 Venus Venus
                                                 in the name of William and TS
                                                 Relent
ANN
The sun will set on civilization
in the flower of its discontent
if Venus withholds her consent
to the marriage of Cupid and Psyche
Venus 0 Venus, relent!
                          ANCHORW0MAN
Thank you, Ann. It’s a pretty grim picture out there. But we here at the Now Show pride ourselves on our balanced coverage. So before introducing you to tonight’s Mystery Guest, I would like to remind you that there’s a bright side. John:
JOHN
The pornography industy has been wiped out.
Overpopulation is a back issue.
Venereal disease is history.
And if war is defined as Eros run amok
the makers of tanks and missiles and guns
are out of luck!
                                                   ARMS DEALER
                                                   Venus Venus
                                                    the engines of death
                                                   are silent.
                                                   In the name of the  violent  Relent!
                                                   GENERAL
                                                   Venus, beloved  of Mars
                                                   In the name of the mongers of wars:
                                                   Relent!
JOHN
The threads of life and death
are so closely woven together
love and war are interdependent
Venus 0 Venus, relent!
                          ANCHORWOMAN
That wraps up our crisis report. And now for tonight’s Mystery Guest. We are privileged to have with us this evening a woman adored by the whole world, but one who lately has become a contraversial figure. I mean of course, none other than Golden Aphrodite herself, or, as she is more commonly known, Venus.
Venus –
                     (turning toward her)
May I call you Venus?
                             VENUS
Everyone does.
                          ANCHORWOMAN
Venus, I want you to know first of all how deeply I sympathize with you. I can imagine it is not very pleasant at this moment to be you. Perhaps you would like to share some of your thoughts on your dilemma with our viewing audience.
                             VENUS
It’s not my fault. I am the victim of blackmail.
                          ANCHORWOMAN
You mean, because your son has made Psyche’s return the condition of his consent to restore the libido?
                             VENUS
She has struck out twice.
                          ANCHORWOMAN
It’s an appalling situation I agree. But with all due rspect, isn’t it true that relations between mother and daughter-in-law are often vexed?
                             VENUS
I will not capitulate.
                          ANCHORWOMAN
But isn’t that cutting off your nose to spite your face? I mean, if no one ever falls in love again, what happens to the role of Venus? What happens to the ideal of beauty? Assuming of course that along with the collapse of nature, mankind is not abolished. Or do you look forward to being worshiped by testtube babies in Outer Space?
                             VENUS
He is trying to make me obsolete. Me, Venus, obsolete!
                          ANCHORWOMAN
Thank you, Venus. And now, in view of the catastrophic implications of what started out as a simple family quarrel, we have arranged to have with us this evening a second Mystery Guest, whom you will recognize as none other than…
                         (Enter CUPID)
                             VENUS
                            (gasps)
You!
                             CUPID
Hello, Mother.
                          ANCHORWOMAN
That’s right, Cupid himself. And now, John, will you take it from here?
                             JOHN
Good evening, and thank you for consenting to be with us this evening. Now tell us, Cupid – somehow it it doesn’t seem right to address you as Cupid –
                             CUPID
I know what you mean. It lacks dignity. It makes people think of a fat baby with curly hair and gossamer wings and a quiver full of pointed arrows. Not a picture to take seriously.
                             JOHN
Nobody is going to make that mistake again. I can tell you that. I mean, artists and poets have always paid attention to you, of course, and psychiatry has generated a new respect –
                             CUPID
You know, I agreed to be here tonight only on condition that –
                             JOHN
Yes, of cousre. That’s the third surprise for our viewing audience. Can you fellows bring in …
(Enter pallbearers with open coffin in which the unconscious PSYCHE is lying.)
                             CUPID
You didn’t have to put her in a coffin.
                             JOHN
It seemed the easiest thing to do.
                             VENUS
(going to look at her)
I wouldn’t say she’s more beautiful than I am.
                              ALL
Of course, she’s not.
                             CUPID
It’s a different kind of beauty.
                             VENUS
Oh? I wasn’t aware there were two kinds.
                             CUPID
Of course there are. There is your kind, which is self-sufficient. And Psyche’s kind, which needs me. And I need her.
CUPID
Mother mine
heed my plea
Give my darling Psyche back to me
ALL
Let divine
sympathy
stir your mercy:
Give her back to him
CUPID
Give my darling Psyche back to me
ALL
Ve-nus Ve-nus
Have pity on our plight
We’re the ones who pay for
love’s interrupted bridal night
CHRISTOPHER and JOHN
We are two
soul-less clones
MARY and ANN
Hearts of ice
freeze our bones
Here she lies
kiss her eyes
Bring dear Psyche back to life again
CUPID (kneels)
Mother, dear
Forgive a son
who has been
disobedient
Mother, hear:
I repent!
I repent!
ALL
Ve-nus, Ven-us
Give Psyche back to Eros
Give Eros back to US!
Relent!
VENUS
               (visibly shaken)
Shall I?
                              ALL
Yes, yes!
                             VENUS
You will bring sacrifices to my altars and keep incense on them burning?
                              ALL
Yes, yes!
                             VENUS
You will always bear in mind that no single instance of beauty is superior to its absolute embodiment?
                              ALL
Yes, yes!
                             VENUS
Men and women are fickle and there is not a promise you have made you won’t break. But this war has gone on long enough.
(SHE bends over PSYCHE and kisses each eyelid.  PSYCHE slowly sits up, opens her eyes, looks at CUPID, and recognizes him.)
              DUET: MY LOVE HAS COME AGAIN TO ME
PSYCHE         Is it you, my love?
               Is it you I see?
               Are you truly truly there?
               Oh, don’t dissolve like smoke in air
CUPID           It is me, my love
               My love, it is me
               I am truly truly here
               I won’t dissolve or disappear
PSYCHE         How wrong I was to doubt you
CUPID           How long the time without you
PSYCHE         Around a heart
               that cannot feel
               ribs of bone are bars of steel
               My love is true
               though I am false
BOTH           He reached to me
               (I’ll reaach to you)
               through prison walls
               and set (you) me free
               My love has come again to me
               (THEY embrace)
                             MARY
                       (with microphone)
Ladies and gentlemen, you have been witnessing events of the greatest historic import. Venus has capitulated. Psyche has revived. Eros is back in the world. In case you are wondering…
(There are twanging sounds, one right after the other, as if two arrows had been released. MARY and  JOHN stagger backwards clutching their hearts and  look at each other as if for the first time.  Simultaneously, CHIRSTOPHER and ANN come in holding hands.)
                              ALL
               (Reprise: Psyche is waiting)
                 Sings the soul in its prison
                 glory and light
                 glory and light
                 the soul has a vision
                 it loses not lightly
                 it loses not lightly
                 its vision of light.
EPILOGUE
(return to electioneering scene of the opening)
                             Listen up to Prestanovsky
                             Listen up to what he sez
                             If you’re kinky or you’re straight
                             If you’re homo or you’re lez
                             If you find an open coffin
                            thrills you to the very marrow
                             If a whip or pair of handcuffs
                             runs your heart through like an arrow
                             It’s a promise it’s surefire
                             YOU WILL GET YOUR HEART’S DESIRE
                             When you vote in Prestanovsky as your prez
                             Are there kises in the till
                             Left to give to someone still
                            But you think that love can’t happen
                             on the downside of the hill
                             It’s a promise it’s surefire
                             YOU WILL GET YOUR HEART’S DESIRE
                            Hurrah for Prestanovsky, your next prez
(CROWD cheers loudly, wave their placards: Hurrah! Hurrah! Hurrah! A brilliant light shines from                     overhead.)
                             VOICE
Will you look at that!
(ALL look up. The STRANGER, now CUPID undisguised,
waves from the top of a cloud, PSYCHE at his side)
                             CUPID
There’s something I forgot to say. Venus was right: after Psyche was reborn …
                             PSYCHE
… I was made immortal!
                             CURTAIN

Emma Zunz

Emma Zunz: Adapted from the short story by Jorge Luis Borges

1. FACTORY CAFETERIA. THE FACTORY WHISTLE BLOWS. IT IS LUNCHTIME

 

EMMA and her friend, CLARA, walk on  with their lunchboxes. They sit down and  take out their sandwiches.

 

CLARA: Chicken with mustard.

 

EMMA: Meatloaf with catsup.

 

CLARA: Do you want to trade?

 

EMMA: No. But I’ll have some of your lemonade.

(Holds out her cup, Else pours. Enter CONSUELA and

LUISA, also with their lunchboxes. They join CLARA

and EMMA.)

 

LUISA: Do you think the strike will come off?

 

CLARA: It all depends.

 

EMMA: Depends on what?

 

CONSUELA: On Manolo, of course.

 

LUISA: He’s with us. I know.

 

EMMA: How do you know?

 

LUISA: From Maria who got it…

 

CLARA: …from the mouth of the horse.

 

LUISA: Loewenthal thinks it’s a bluff.

 

CONSUELA: Loewenthal sucks.

 

CLARA: Loewenthal doesn’t pay his workers enough.

 

CONSUELA: He keeps a gun in his desk.

 

CLARA: A pistol. I know.

 

LUISA: In the front left drawer.

 

EMMA: How do you know?

 

CONSUELA: From Maria who got it …

 

CLARA: … from Manolo who got it …

 

LUISA … from the mouth of the horse!

 

EMMA: I hate violence.

 

CLARA: It makes no sense.

 

LUISA: If they call in scabs….

 

EMMA: Let’s talk about something else.

 

CLARA: What’s at the movies?

 

CONSUELA: (looking in her paper) Sailing to Zanzibar.

 

LUISA: (over her shoulder) “A turbulent drama of passion and betrayal.”

 

EMMA: Thank you, I’ll pass.

 

CLARA: Who is the star?

 

LUISA: Zabeta Tomas.

 

CONSUELA: Maria looks like Zabeta Tomas.

 

CLARA: Manolo is sweet on Maria.

 

CONSUELA: She comes in late –

 

LUISA: She isn’t to blame.

 

CONSUELA: Misses a day –

 

LUISA: It’s all the same.

 

CONSUELA: I wish I looked like Maria!

 

EMMA: Consuela. For shame!

 

LUISA: Her looks are great.

 

CONSUELA: She’s beautiful.

 

LUISA: It must be heaven. That’s what heaven is.

 

CLARA: Heaven is sleeping late.

 

EMMA: In heaven there is justice.

 

(They look at her oddly)

 

TRIO: Emma does not sing.

 

LUISA & CONSUELA

If I could be anything else and still me

I’d be beautiful beautiful beautiful

that’s what I’d be

A gull on the wing is a heavenly thing

a beautiful girl is more heavenly still

A peacock in spring is a heavenly thing

but beautiful eyes

[beautiful hair

beautiful skin]

are more heavenly still

 

CLARA

The looking-glass eye is a readymade lie

 

LUISA & CONSUELA

The looking-glass eye is a karmic charm

 

CLARA

The looking-glass eye is marred by a stye

 

LUISA & CONSUELA

The cold of the glass by breath is made warm

 

CLARA

The looking-glass eye will wink you to death

 

LUISA & CONSUELA

The glass is made glad by beauty’s sweet breath

The gold in the sun is a heavenly thing

the gold in a ring is more heavenly still

If I could have one –

 

CLARA

Husbands! We will!

We just have to wait until we are older

 

LUISA & CONSUELA

I’d trade the looking-glass eye for the eye of the beholder.

 

(The factory whistle blows. They pack up their lunchboxes.)

 

LUISA: Until Sunday at three?

 

CONSUELA: We’ll meet in the park.

 

CLARA: But we haven’t decided what movie to see.

 

CONSUELA: Tomorrow we have a half day at work.

 

LUISA: Then we’ll decide.

 

CONSUELA: All right.

 

CLARA: All right.

 

CONSUELA: See you inside.

 

(LUISA and CONSUELA leave.)

 

2. EMMA and CLARA

 

CLARA: Emma, you’re so quiet. Aren’t you feeling all right?

 

EMMA: I’m fine.

 

CLARA: Are we going to join the gym tonight?

 

EMMA: Yes. I’ll meet you there at eight.

 

CLARA: They have strict rules of hygiene.

 

EMMA: What do you mean?

 

CLARA: There’s a physical exam.

 

EMMA: I know. It’s disgusting.

 

CLARA: But if you’re a swimmer…

 

EMMA: I am.

 

CLARA: And you want to use the pool –

 

EMMA: I love to swim. I used to swim every summer

in the river near our house in –

 

CLARA: Where?

 

EMMA: Never mind.

 

CLARA: You know Emma, with a little more care …

 

EMMA: Yes?

 

CLARA: Some lipstick, for example…

 

EMMA: Yes?

 

CLARA: Some shadow, some eyebrow pencil …..

 

EMMA: Yes?

 

CLARA: You’d outshine us all.

 

EMMA: (leaving) Boys don’t interest me.

 

CLARA: (calling after) But you’re almost eighteen.

 

EMMA: (almost off) I’ll grow into it I guess. …(afterthought) You know what though …

 

CLARA: What?

 

EMMA: Bring me your makeup. I’ll give it a shot.

 

CLARA: You mean it?

 

EMMA: Why not?

 

CLARA: Good. What do you want?

 

EMMA: I don’t know. Lipstick. Liner. Bring it all.

 

CLARA: All right….. You let something fall.

 

EMMA: (she turns) What?

 

CLARA: (picking it up) You dropped a letter … it’s from Brazil.

 

EMMA; (lunging for the letter) Give me that!

 

CLARA: (holding it back) What makes you so rude?

 

EMMA: I don’t know. Let’s not fight.

 

CLARA: You’re in a strange mood.

 

EMMA: Sorry. You’re right.

 

CLARA; (handing it back to her) I didn’t know you had friends in Brazil.

 

EMMA: I don’t. It’s nothing. A misaddressed bill.

 

(Freeze on CLARA. Flashback: EMMA opens the letter for the

first time, and reads it. VOICE over)

 

Dear Ms. Zunz: I am writing to inform you that Emanuel Maier, who was a boarder of mine, was found dead last Wednesday of an overdose of Veronal. He had been released from prison only recently and was not in a positive frame of mind. I found your name and address on an envelope among his few posssessions which I am forwarding to you under separate cover. Sincerely …

 

EMMA: (dropping the letter) Emanuel Meier…. Manuel Zunz.

 

Father Father

What have you done?

Where have you gone?

Why have you left your daughter alone?

 

(SHE picks up the letter and puts it in her pocket. Then she

opens the box and goes through its contents. Takes out a

watch. Winds it.)

 

Time has stopped ticking

Time has stopped ticking the way it did then

Time has stopped ticking at twenty past ten

 

The river’s stopped flowing

The river’s stopped flowing the way it did then

the river’s stopped flowing like ink from a pen

 

Who will nail down the lid to the coffin

What can make the lid of the coffin stay shut

like a shutter banging in the wind

like a gate swinging on its hinge

the lid on the coffin will not stay put

 

(SHE sets the watch aside; takes out a photograph):

 

Mem’ries go drifting

Mem’ries go drifting like clouds through the blue

Mem’ries go drifting of me and of you

 

Who can bring back one day of the summer

What can make me carefree the way I was then

like a leaf floating on the stream

like a wish buried in a dream

the long light of summer slips out of ken

 

(Further flashback #l):

 

MOTHER’S VOICE

 

Emma, where are you?

Oh, there you are.

Stand with your father

in front of the car.

A little big closer.

There. Give a big smile.

Hold it! Terrific!

Now don’t go too far.

I’ll pack up the picnic.

We still have awhile.

 

FATHER’S VOICE

 

The long days of summer [run on and] blend into one.

The long days of summer are never done.

 

MOTHER

Go get your father! It’s time to come in.

Go get your father! The food’s getting cold.

 

FATHER

Go get your mother! We’ll go for a spin.

 

BOTH

Happy Birthday, Emma. You are twelve years old.

 

EMMA

The long days of summer [run on and] blend into one

The long days of summer are very soon done.

 

EMMA: Look, Father: I found a four-leaf clover!

 

FATHER: That’s good for one wish.

 

EMMA: I wish – I wish summer would never end.

 

FATHER: That’s impossible. But it will come back again.

 

EMMA: Will it? Sometimes I get frightened.

 

FATHER: Whatever for?

 

EMMA: I don’t know. I love you so much, Father. Perhaps it is wrong, and I’ll be punished for it.

 

FATHER: Punished for loving? What nonsense.

 

 

 

ARIA: EMMA:  A Catalogue of Lovely Things

 

There’s no where I would rather be

when you are with me, Father.

 

There’s nothing that can bother me

when you are with me, Father.

 

[When you are with me, Father

the world is right and good.

When you are with me Father,

should turns into is, and is is always should.]

 

When you are with me, Father

The world is full of good and lovely things:

 

bells that ring, folk who speak,

birds that sing, boards that squeak,

water running silent in a creek

 

The world is full of good and lovely things:

trees that grow, light that spills

worms that glow, food that fills

thunderstorms, pampa grass, the distant hills

candlesticks [and] postage stamps

rocking chairs [and] table lamps

dragonflies [and] finger paints

bicycles [and] pillar saints

 

FATHER: Pillar saints?

 

EMMA: Yes, pillar saints.

 

FATHER: What do you know about pillar saints?

 

EMMA: They’re in the Encyclopaedia. Another good and lovely thing –

 

Who can count the good and lovely things:

 

Earth below, sky above

minds that know, hearts that love

Endless things I’ll never tire of

When you are with me, Father.

 

(Return to first flashback: EMMA in her room with the box

of her father’s effects. SHE puts aside the photograph.

Takes out a Bible. Opens to a marker. Reads):

 

Deliver my soul, O Lord, from lying lips and from a

deceitful tongue.

 

(Further flashback #2):

 

MOTHER: There was another poisonous letter this morning.

 

FATHER: Tear it up.

 

MOTHER: Did you see the headlines?

 

FATHER: Embezzlement scheme exposed at Tarbuch textile mills.

 

MOTHER: How can I face the neighbors? The shame…..

 

FATHER: Emma, I have to talk to you.

 

EMMA: I know. Something’s wrong.

 

FATHER: How do you know?

 

EMMA: The whispering. Your face. That letter that came.

FATHER: I’ve lost my position; it won’t be long

before I lose my freedom as well.

 

EMMA: Why, Father? What for?

 

FATHER: For a crime

I did not commit.

For another man’s wrong,

I will sit in a cell.

 

EMMA: What crime?

 

FATHER: Stealing.

 

EMMA: What man?

 

FATHER: You must give me your word never to tell.

By all that is sacred, swear.

 

EMMA: By all that is sacred, I swear.

Who is it, father? Who is the guilty man?

 

FATHER: The manager: Loewenthal. Aaron Lowenthal.

 

EMMA: How can they say it is you?

 

FATHER: I’m the cashier.

I had the temptation.

What could be easier?

I was there.

 

EMMA: But you’re innocent.

Why don’t you tell the police?

 

FATHER: He is a very clever man, Emma.

He is far more clever than I.

I have no proof, and he knows it.

And he has managed the thing

so the evidence points to me.

 

EMMA: It’s wrong! Wrong!

If they take you away, I’ll die.

 

FATHER: Don’t say that. You’re strong.

You’ll manage without me. You’ll see.

 

ARIA: FATHER

The cup of sorrow is passed among us

by a hand that is unseen

And then one day it stops, it is carried to

your lips

And you must drink it down,

drink it to the last bitter drop

no matter who you are:

a humble cashier or a mighty king or queen

 

An unseen hand has passed me sorrow’s cup

Now I must drink the portion I am served

I must drink it down,

drink it to the last bitter drop

deserved or undeserved:

This is how things are

for each of us, great and small:

This is how things are.

Be patient, child:

Patience carries far               EMMA

 

Child, do not sorrow          Grief in my marrow

Wait until tomorrow            Grief in my bone

This too will pass                I am alone

This night will never pass

 

VOICES: Are you Manuel Zunz?

 

FATHER: Yes.

 

VOICES: You are under arrest.

 

EMMA: No. Don’t! Don’t take him yet.

 

VOICES: Sorry, miss.

 

EMMA: Father, I won’t forget.

Father, I’ll never forget.

 

(Further flashback #3: Hammer strokes are heard as the house

is boarded up. Mother and daughter stand looking on.)

 

Elegy for Lost Childhood

 

Enchanted skies

enchanted grass

enchanted world beneath the glass

of memory

enchanted world – gone, alas!

enchanted world – gone, alas!

 

Goodbye house. Goodbye Eden. Goodbye Golden Age.

 

(Spoken through music)

 

EMMA: What will become of us, Mother?

 

MOTHER: We must throw ourselves on God’s mercy.

 

EMMA: And if God should have none?

 

MOTHER: Then we must trust to his Justice.

 

(Fade out, return to First Flashback: EMMA is still

holding the Bible)

 

EMMA: God has no mercy. Let me be the instrument of his Justice.

 

[ variations on this couplet:

 

My body is my shield my body is my sword

I will destroy him in the name of the lord.]

 

(End of flashbacks. Return to factory.)

 

CLARA: Emma, are you coming?

 

EMMA: Don’t wait for me. I have to make a phonecall.

 

(CLARA leaves.)

 

3. EMMA alone.

 

EMMA: Hello? Mr. Loewenthal?

 

LOEWENTHAL: Yes, who is this?

 

EMMA: Emma Zunz, sir.

 

LOEWENTHAL: Emma Zunz….

 

EMMA: Yes, sir. I’m in the dye works.

 

LOEWENTHAL: It’s a name I seem to recall.

What do you want?

 

EMMA: I want to speak to you…

 

LOEWENTHAL: Yes.

 

EMMA: In private, sir.

 

LOEWENTHAL: Can’t you speak to the manager?

 

EMMA: No. It’s for the owner’s ears alone…

Something you need to know, only….

 

LOEWENTHAL: What is it about?

 

EMMA: I don’t want to take any risks, you understand …

If the other girls were to find out..

You see, it’s in regard to the strike .

 

LOEWENTHAL: Oh….. Come to my office

this evening after work.

 

EMMA: Tomorrow would be better, sir.

I could come in the evening, around eight.

 

LOEWENTHAL: All right, tomorrow then. And don’t be late.

 

EMMA: Yes, sir. I’ll see you then.

 

(SHE hangs up and repeats)

 

Yes sir. I’ll see you then.

 

(SHE takes out the letter, sings.)

 

Father, father,

before the earth has turned again

turned once again

around the sun

I will complete

what I’ve begun

 

Father, father,

before the earth has turned again

turned once again

around the sun

It shall be done

It shall be done

 

(SHE tears up the letter and throws it in the trash. Blackout.)

 

4.The next day at noon. The Factory gate. Whistle is heard. EMMA is leaving work with CLARA, LUISA, and CONSUELA.

 

LUISA: Tomorrow at three then.

 

CLARA: “Sailing to Zanzibar.”

 

CONSUELA: Unless Emma changes her mind….

How about it, Emma. Will you?

 

EMMA: No.

 

CONSUELA: How stubborn you are.

 

EMMA: I’ll take a raincheck.

 

LUISA & CONSUELA: All right. Let’s go.

So long, girls.

 

EMMA & CLARA: So long.

 

CLARA: Here’s my makeup kit.

 

EMMA: Good. You remembered.

 

CLARA: I still can’t get over it. I mean that you said yes.

 

EMMA: Sometimes, I’m too inflexible. I know.

 

CLARA: Like with the movie just now.

 

EMMA: Romance is so heavy. I prefer something light.

 

CLARA: You’re probably right. See you tomorrow, Emma.

 

EMMA: Goodbye, Clara.

 

4. EMMA alone.

 

(She goes over to a kiosk.)

 

A copy of La Prensa, please.

 

(She pays for it, opens to shipping news.)

 

Pier four. Pier four. The Nordstarjam.

Leaving tonight.

Leaving tonight for Norway’s fjords

and Sweeden’s frozen coast

By you I will steer

By you I will steer, my guiding polar light.

 

She crosses to a cafe, disappearing inside. The flat turns reveal-ing on the other side

 

5. A bar: Three sailors sit drinking. The jukebox is just coming to the end of a popular tango.

 

RED: Friggen tango. I’m sick of ’em.

 

(sings)

I done a bad thing in Mandelay

and the devil knows, but the cops don’t care

I broke a gal’s heart and she’s crying all day

And I’m never gonna go back there

 

Oh, lock up m’bones in Davy Jones and throw away the key

and that’ll be the end of me

and that’ll be the end of me

 

I done a bad thing in Zanzibar

and the devil knows, but the cops don’t care

I trashed the whole bar, and I wrecked my pal’s car

and I’m never gonna go back there

 

Oh, lock up m’bones in Davy Jones and throw away the key

and that’ll be the end of me

and that’ll be the end of me

 

Oh, lock up m’bones in Davy Jones and throw away the key

and that’ll be the end of me

and that’ll be the end of me

 

BJORN: What’s your ship, friend?

 

RED: The Brisbane.

 

BJORN: Australia, right?

 

RED: Right, mate.

 

I done a bad thing in Mazatlan

and the devil knows, but the cops don’t care

I popped a few pills and cut up a man

and I’m never gonna go back there

 

Lock up m’bones in Davy Jones, and throw away the key

That’ll be the end of me

 

 

C’mon. Sing with me: That’ll be the end of me.

 

They sing together:

 

That’ll be the end of me

That’ll be the end of me.

 

BJORN: I’m on the Nordstarjam, out of Malmo. So’s m’pal here.

 

RED: Red’s my name.

 

BJORN: Bjorn. This is Sven. (mighty clap on the back: in Swedish*)

This is Red. He’s on the Brisbane. (to RED). He can’t speak the lingo.

 

SVEN: (in Swedish or Finnish, which ever sings better)

Ask him if he’s ever sailed to Borneo.

 

BJORN: You ever sailed to Borneo?

 

RED: Sure.

 

SVEN: (in Swedish) Ask him if there are cannibals in Borneo.

 

BJORN: Are there cannibals in Borneo?

 

RED: You bet your friggin’ ass.

 

SVEN: (in Swedish, followed by uproarious laughter:) Ask him if he

got eaten while he was there.

 

EMMA walks in. She is heavily made up. She goes to the jukebox and puts in a coin. The same popular tango starts up.

 

BJORN: Look what just walked in.

 

RED: Too skinny.

 

BJORN: (in Swedish) Red here thinks she’s too skinny.

 

SVEN: (in Swedish): A cunt’s a cunt.

 

BJORN: She looks good to me: (goes over) How about a dance, sweetheart.

 

(EMMA shakes her head. She doesn’t know how to dance.)

 

A drink then? May I buy you a drink?

(They go to the bar. She stands next to SVEN.)

 

What’ll it be? Whiskey? Gin?

 

EMMA: What are you drinking?

 

BJORN: Half and half.

 

EMMA: (staring at SVEN) I… What is your ship?

 

BJORN: The Nordstarjam. That’s my mate, Sven. He only speaks Swedish.

 

SVEN

(To EMMA, in Swedish) C’mon, girlie. Let’s go.

 

(EMMA nods. He grabs her arm and hustles her out.)

 

RED

It looks like you just got the shaft.

 

BJORN: (shrugs) The sea is full of fish.

 

Lights dim. The flat revolves to the outside again.

 

6. PANTOMIME In the shadows SVEN backs EMMA into a doorway and brutally yanks up her skirt. Black out.

 

7. Lights up. EMMA is alone. There is money in her hand. She looks at it with disgust and drops it. She walks over to a fountain and wets her handkerchief to wipe off her makeup.

 

The dirt still clings

the dirt still clings

to the roots of my hair

between my legs

beneath my nails

my body broken

like a bowl

who did this thing

[who did] this vile atrocious thing

forgiveness fails

nothing can make me clean

nothing can make me whole

 

As she leaves she doubles up:

 

It’s killing me

It’s killing me

there’s a purpose still

there’s a purpose still

to fulfill.

 

Blackout.

 

8. The Factory: LOEWENTHAL is standing at the window of his office, looking out. He looks at his watch.

 

LOEWENTHAL: Eight o’clock. Where is that confounded girl?

 

(He walks around the office nervously. Straightens a calendar on the wall.)

 

A year has gone since Minna died.

 

(Walks back to the window.)

 

 

Minna, my dear, I mourn your passing.

I mourn your passing

but even now I am not alone;

remembering you,

I remember always

I remember always

the textile mill I own.

The mill is with me, it fills me to brimming

at the hour of dusk, when I miss you most, my Minna.

How lovely you were the day we married

the day we married;

your dowery was more lovely still

remembering it,

I remember always

I remember always

you helped me to the mill.

The mill is with me, it fills me to brimming

at the hour of dusk, when I miss you most, my Minna.

 

(The dog starts barking in the courtyard. He calls down.)

 

It’s alright. He can’t get off the chain. Come right up.

 

(He drags a chair in front of the desk. Dusts off his cuffs.

Sits down facing the door. EMMA walks through the door.

She looks exactly as she did before the episode in the bar.)

 

LOEWENTHAL: Miss Zunz is it? Please sit down.

 

EMMA: Are you sure we’re alone, sir?

 

LOEWENTHAL: Yes, yes. Quite alone.

 

EMMA: If it got out I would die….

 

LOEWENTHAL: You can rely on me.

 

EMMA: No one would speak to me again.

 

LOEWENTHAL: Come come. What, is it girl?

 

EMMA: Well, you know…. about the strike…

 

LOEWENTHAL: Yes, yes, the strike.

 

EMMA: This isn’t easy… The foreman, Monolo….

 

LOEWENTHAL: Yes yes Monolo …

 

EMMA: Could you get me a glass of water?

 

LOWENTHAL: A glass of water?

 

EMMA: It would help calm my nerves. Please.

 

LOEWENTHAL: (humoring her) All right. Just a minute.

 

(He gets up and disappears behind a screen: The sound of running

water. She goes to his side of the desk, opens the top left drawer

and pulls out the revolver. He returns with the water glaas.

He stops dead in his tracks as she confronts him with the gun.)

 

LOEWENTHAL: What are you doing?

 

(as he advances, she shoots. He staggers and falls.

The glass falls and shatters)

 

LOEWANTHAL: You bitch! You bitch out of hell!

 

EMMA: That’s for my father. That’s for six years locked in a cell.

 

(He reaches out, she shoots again)

 

And that’s for me.

 

LOWENTHAL: Fry! Fry in hell, you bitch!

 

EMMA: The shame!

 

LOEWENTHAL: Zunz! Emanuel Zunz!

 

ENNA: The dishonor!

 

LOWENTHAL: Now I remember the name!

 

EMMA: Die! Die for it!

 

(She shoots a third time: he is quiet. The dogs starts barking.

She disarranges the divan, unbottons his jacket, takes out his glasses,

puts them on the filing cabinet.)

(spoken)

Operator? Get me the police…. Police? Yes. My name is Emma Zunz. I am a worker at the Tarbuch and Loewenthal Textile Mills. Mr. Loewenthal had me come to his office tonight on the pretext of the strike. He violated me and I killed him… yes. Please come at once.

 

Blackout.

 

9. Lights up. Police, reporters, etc. crowding through the door. The cameras flash. EMMA sings in triumph and outrage, pointing at the corpse:

 

EMMA:

The dirt still clings

the dirt still clings

to the roots of my hair

beneath my nails

between my legs

my body is broken

like a bowl

he did this thing

[he did] this vile atrocious thing

forgivenesss fails

nothing can make me clean

nothing can make me whole

black is his guilt

black is the guilt on his soul

 

 

CURTAIN