Pinnacle Star: The Seven Failures of The Little Professor – Chapter 1

CHAPTER 1
TWENTY-SEVEN DOGS

[Read the Prologue here]

In Solinus, the sky was always black as onyx. When the white sun rose, its crystal-clear light illuminated the Town and the Beach and the Hilltop and the Golden House brightly, but the sky was always black as the Sea of Stars. The migration of the stars would sometimes cast the town in shades of violet or indigo, green or gold, and sometimes even red, and celebrations were often held to enjoy these events. They were unpredictable, but such was life in the sleepy town that everyone was happy to accept what the new day gave them. The local tanner might wake up to find her bedroom swathed in a gilded glow and elect not to open her shop that day. Tutors might find their students distracted with the effulgent undulations of blue and purple at the window and decide to end the day’s lessons early. The Mayor would observe these habits and, depending on how many citizens had decided to take the day off, she would determine whether a celebration should be held that night. Sometimes the Queen would demand one, sometimes the citizens would, sometimes an astral coloration would coincide with the Mayor’s birthday. Whatever the reasons, and there were many, Solinus was a town given over to frequent celebrations and few historical accomplishments, and this was exactly how the townspeople liked it.

There were exceptions, of course, and two exceptions were assumed to be the Little Professor’s parents. This assumption was made the day they disappeared off their long-dead cabbage farm, leaving behind their twenty-seven dogs of various breeds and diverse degrees of pedigree. Miz Toonix suggested, and Mister Borgins confirmed, that the couple often complained of the frequent frivolities of the Town whilst heading to or from work the day after a celebration. The fact that they never attended these festivities meant that few others were aware of their opinions or indeed were aware of them at all. So little to no effect was achieved when the couple gathered up their belongings and left town, presumably in search a more serious home, where people invested more sincerely in their labor. Their child (not that anyone knew he was their child) was not aware of this development until a few days passed, and by and large no one was affected by the miniature exodus.

No one except the dogs, of course.

One late morning when they were still children, the Princess Miricet was receiving lessons on the second floor of the Lighthouse. It was a large but cluttered room, filled with chalkboards, notepads, various writing implements in various states of use and decay; beakers, gourds, bowls, jars; compasses of every kind, rulers, weights and measures; virtually anything you could desire or imagine to measure or record something could be found on the second floor of the Lighthouse, and it was there that the Princess was drawing upon a chalkboard the formula to determine the circumference of a circle. Though a remarkably enthusiastic student, her efforts were a bit muted this morning due to the unusual brightness of the sky filtering in through the windows.

“It’s incredible, isn’t it,” she remarked, “that every circle follows this formula? What is there to say that a circle must always cultivate a relationship between its radius and circumference? Yet every circle obliges us with this partnership.”

The Little Professor, who had now been tutoring children of various ages (and a handful of adults) for two years, seemed to be paying little attention. He had a large lens grasped in both hands, and was holding it before the window. Bright, clear, sharp beams of light seemed to dance around the room as he guided the lens about. “They have no choice in the matter,” he offered with a kind of mild condescension, poorly veiled but innocent and ineffective. “These are not laws or rules like societies have. We call them the laws of nature, but they’re really just observations. All circumferences are linked to radii, just as all light is refracted by glass.”

“Yes,” she acknowledged, either ignorant of his scorn or supremely indifferent to it, “but who says that must always be the way things are?”

“No one says it,” he answered, already growing bored and consequently terse, “it just is.”

Even though he wasn’t watching her, the Princess offered him a smirk. “That doesn’t sound very scientific to me.”

The argument, if it could be called thus, was interrupted by a single high-pitched bark. It was joined shortly by a canine cacophony of diverse volumes and keys, underscored by a handful of voluminous growls.

Both children had been distracted in their studies all morning. The sky was unusually bright, something that happened barely once a year, and there was no question that local businesses would all be closing in anticipation of an evening’s celebration. Indeed, the Professor himself suggested cancelling lessons when the Princess arrived that morning, but she would not hear of it. Now, however, they found themselves staring briefly at one another as the barks echoed around them.

A minute’s time found the two children outside. The Princess was running about, playing with the dogs, giggling maniacally, transported beyond elation. The Little Professor was slowly, subtly, and with seeming indifference dissuading the dogs away from a long silken rope that was lying on the beach. This rope was connected to a thick, strong post built of shaped meteorite, firmly planted several feet deep into the ground and standing just outside the first-floor window facing the shoreline. The rope led straight out into the Sea of Stars, presumably anchoring something beyond sight. Several dogs had been gnawing and worrying at the rope, and the Little Professor was casually strolling about, gently nudging the dogs away with his foot.

It was in this manner Weather learned of his parents’ departure and his subsequent inheritance of a long dead cabbage farm and twenty-seven dogs. He had little use for the farm, but even less use for the dogs, who a mere thirty seconds into their tenure had demonstrated their ability to distract thoroughly from his studies and exercises. The Princess played with them for several hours, wrestling and rolling and even occasionally entrancing them with her unusual ability to sedate with her eyes. Other children joined her shortly, and the beach was soon far more crowded than it had ever been during the afternoon. The Little Professor briefly tried to encourage the dogs elsewhere by tossing a leftover starlet or two, but quickly gave up and returned to the Lighthouse. On occasion he would reemerge to dissuade a random dog from worrying the silken rope, but otherwise he was engaged in his studies; or whatever it was he did in the lighthouse all day while the other children played.

Predictably, there was a festival that night. The Mayor called it the Silver Festival, as the bright sky became coated with shimmering gray halos as the sun set. There were donkey rides, dances, and the usual games that were thrown together when a festival was anticipated: hay-tosses, stick fights, sprints, and star-races; where two people would each choose a star in the sky in the hopes that it would traverse and wink out of sight first. The Princess invariably lost at star-racing, but she continued to play in furious hope that some night she would succeed.

On this night, the Silver Festival, the children were all distracted with talk of the dogs at the beach. They had all given them names, chosen favorites, and were endlessly and delightedly describing the day’s play to each other and their parents again and again. Many a star-race was declared a draw that night, as so few children could keep their heads craned up to watch the migration of the stars. They were continuously distracted with discussion of the dogs. Many had not even known the dogs existed before, having so rarely interacted with the now vanished prior owners. There was some idle speculation that the dogs signified an omen of good times to come, like a comet or a black cow or a pair of red nights, but nobody admitted to taking such talk seriously. Whatever their intent, however, every neighbor had something to say about these new animals.

Consequently, it should come as little surprise that a tense and anticipatory silence swept through the fairgrounds when the Little Professor appeared. To see the reclusive child was itself cause for surprise, but more alarming still was the large wooden skiff he was pulling behind him with a coarse manila rope as a leash. The skiff, which was painted a brilliant powder blue, had four wheels installed upon it, essentially transforming it into a large wagon. And sitting in that wagon, restless and bouncing, were twenty-seven dogs of various breeds and dispositions. The skiff-cart came to a stop near the center of the fairgrounds, and everyone stared.

A single dog, a mastiff, let out a tentative bark. Instantly, the fairgrounds exploded in squeals and cries of delight. The children charged in to free the dogs from the skiff, and the ecstatic atmosphere compelled many of the dogs to free themselves first. More play ensued, and even a number of the parents joined in. It was several long minutes before the Little Professor managed to achieve some level of quiet. He had an announcement for everyone.

It seemed that the Little Professor was not interested in owning twenty-seven dogs. He found them to be quite a distraction and was not sure he had the means to care for them. He had brought them to the festival in hopes that other families might take them. The crowd reacted poorly at first, booing and hissing that anyone could respond with such coldness to such adorable creatures. Slowly it dawned on each child, however, that they might own these dogs for themselves.

The children swarmed their parents. They begged. They howled. They promised such saintlike behavior that no parent would ever believe. In time, finally, Dobar the tailor (who was learning biology from the Little Professor) agreed to take a plump terrier called Wumpus for the sake of his daughters.

As Dobar took the little terrier up in his arms, however, he was approached by four other children, from four other families. Each one had hoped to bring Wumpus home with them. Dobar’s daughters explained that one dog could only have one owner, and after all their father had been the first parent to agree, so shouldn’t they get to bring Wumpus home? Nobody cried, but there were many wet eyes and tight lips, followed by a lot of uncomfortable shuffling of feet.

It was silent again. Everyone was looking around at the twenty-six other dogs. The air was thick as chowder, and twice as unpleasant. Tension was short-lived, however, as with a sudden twang everyone was racing after the remaining dogs. There was jostling, shouting, grabbing, and once or twice a little tripping. The normally peaceful town had become so unexpectedly tumultuous that the Mayor was at a complete loss what to do.

At last, another tense silence was produced. The Prince, whose name was Arafin, stood upon a small hillock holding a beagle and a bloodhound, causing everyone to point an accusatory finger at such greed. Once he had the town’s attention, though, he explained that he had no intention of taking either dog. Was it not a shame, he asked, that taking a dog home should deprive so many other children of such joy? Why should any one family take a dog, he said, and cause other families grief, when they could just as easily leave the dogs at the beach where they came from, so they all might enjoy them every day? Wouldn’t it be better, he wondered, if they stopped being so selfish, and just continued to share their happiness with each other? He then stepped off the hillock and placed the beagle and bloodhound gingerly back into the Little Professor’s blue skiff.

In five minutes’ time, the Little Professor was dragging his makeshift wagon away with twenty-seven dogs of various breeds. The children all congratulated Arafin on his ingenious observation, and the parents all complimented him on how mature and selfless he was. The Queen was not present at the festival that night, but she soon learned of her son’s altruistic actions and officially named him her heir.

The next morning, every child in town came to the beach to collect starlets, even those who felt they were getting too old for it. The dogs, however, were all sleeping, and were so adorable that no one wished to disturb them. So for the first time in years, the entire beach was picked clean of starlets as everyone waited for the dogs to awaken. Soon after, late morning romps at the beach became common for the children of Solinus, even those who felt they were getting too old for such things. These parties would often continue into the afternoon, and some could observe the Little Professor silently going to and from his Lighthouse. Miz Toonix, who collected stones from the meteorite quarry, reported to her neighbors that the boy had turned his parents’ dead cabbage farm into a rabbit farm, which he used to feed the twenty-seven dogs. Toonix found it a grizzly business, especially considering how the boy showed no real love for the dogs himself. But then, the boy had never asked for anyone’s love, nor their approval, and neither did he express any consternation when these things were denied him.

For Arafin the Prince, however, this was the beginning of his ascent to leadership. He learned that the greatest joy was in bringing happiness to everyone, and that if we all agreed to act just a little less selfishly, we can all find contentment in our lives.

Pinnacle Star, Stories

Twelfth Night – The Catholic Conspiracy

Originally written in 2014

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SPOILERS AHEAD!

Twelfth Night was written in the opening years of the 17th Century, near the end of the reign of Queen Elizabeth I. While her sister and predecessor, Queen Mary I, had been both Catholic and violently anti-Protestant, Elizabeth was a Protestant and (perhaps paradoxically) far more tolerant of papal followers. Elizabeth believed that Catholics should be allowed to follow their own faith (relatively) openly, so long as it did not interfere with the peace. This of course did not stop the occasional persecution from other figures both public and private, but it was generally an era less bloody than Mary’s.

However, Twelfth Night was written near the end of Elizabeth’s reign, long after the death of Mary, Queen of Scots. This second Mary was a figurehead-champion (both willing and unwilling) of numerous Catholic plots (small and large, hypothetical and genuine) to retake the crown from the Protestant Elizabeth. Put simply, the religious freedom endorsed by Elizabeth I was, although presumably more liberal than her predecessor, a shadow of the freedom we enjoy today.

So the Twelfth Night Catholic Conspiracy is, by a wide margin, not the most ridiculous conspiracy theory linked to Shakespeare (witness the continually debunked and continually resuscitated Anti-Stratfordian movement).

In essence, the idea is this: Twelfth Night was written as a semi-covert celebration of Catholicism and a barely disguised mockery of Protestantism. At the time, British Catholicism was the sect associated with celebration, festivity, and casual liberality. Conversely, Protestantism was against excessive celebration, idolatry, and most tellingly: saint-worship (which they viewed as pagan), even going so far as to call Catholicism the “Cult of Mary” for their veneration of the Virgin Mary.

I know. There’s a lot of Marys.

Sebastian (Glenne Widdicombe) is wooed by Olivia (Bridgette Well)

Sebastian (Glenne Widdicombe) and Olivia (Bridgette Well), framing a Virgin Mary (Photo by Danielle Levings)

So what’s so Catholic about Twelfth Night? To begin with, it’s named after a holiday. Protestantism was the more puritanical of the two sects (this will come up again later), generally opposed to holidays (also considered a pagan concept) and festivity. Moreover, Twelfth Night features an unusually large number of characters named after Catholic saints: Andrew, Antonio (Anthony), Sebastian, Valentine, even Maria (another name for the Virgin Mary). All of these names can be found in other Shakespearean plays, but only in Twelfth Night are they all together. It’s also worth noting that Olivia is called Madonna several times (also a reference to the Virgin Mary).

Speaking of names: I am hardly the first to point out that Viola, Olivia, and Malvolio all have the word “lov” mixed into their names (“lov” being an easy misspelling of “love” in the earliest days of Modern English, when it was entirely commonplace for words to have several different spellings). “Viola” is presumably a reference to the musicality of love (Twelfth Night has a lot of music, and many references to music), “Olivia” perhaps alludes to the peaceful or peace-making qualities of love (kind of ironic, given her mercurial nature for most of the play). “Malvolio,” meanwhile, means ‘bad love.’ Olivia herself says of him, “you are sick of self-love.” Malvolio, then, is the Duessa to Olivia’s Una (or Viola’s Una, if you prefer).

Malvolio (Mike Speck) shows off the goods to Olivia (Nathan Ducker)

And what do we know about Malvolio? He is called prideful, a poseur, pompous, vain, easily deceived. He is called something of a puritan, is accused of practicing formalities to his own shadow, and most intriguingly: he is several times insulted with terms typically used to insult a “loose” woman. Almost all these terms could easily be applied to Duessa, Spenser’s spokeswoman for the ‘False Church’ in his epic The Fairie Queene. Of course, Spenser’s false church was the Catholic church, and here the false church is Protestantism, but all the same: the symbolism is powerful. Malvolio is a puritan who hates celebration, has pretensions above his rank, tells Maria how to behave, and presumes to speak for Olivia, the Madonna.

Although Viola is clearly the romantic lead of this piece, and Sir Toby is the largest role and (intended) fan favorite, it’s Malvolio who has commanded the most attention historically (King James, in his copy of Shakespeare’s works, crossed out “Twelfth Night” in the table of contents and wrote “Malvolio” in its place). Maria and Feste’s deception and abuse of Malvolio are the clear comedic center of the play. So we see the Puritan (whom Sir Andrew boasts to beat “like a dog”), duped and made a fool by Maria, then abused and driven mad by Feste the Jester: festival in human form and the musical (and ritual) emcee of the play.

The madly used Malvolio (Ethan Hall)

The madly used Malvolio (Ethan Hall)

Feste (Tawnie Thompson) sings to Sir Andrew (Eric Scherrer)

Feste (Tawnie Thompson) sings to Sir Andrew (Eric Scherrer)

Taken in this light, Twelfth Night seems to be a merry ribbing of the dominant belief-system, and a good-natured celebration of celebration itself. But with Shakespeare, things are never that simple (except in Comedy of Errors, of course).

A quick look at these Catholic namesakes reveals a less than flattering picture of the sect Shakespeare is championing.

Maria (Alexandra Boroff), Olivia (Danny Pancratz), and Malvolio (Chad Tallon), 2014

Antonio, by turns portrayed as the avuncular guardian of Sebastian or more often (and more successfully, I’d argue) as the boy’s enamored admirer, is shunted aside by Sebastian the instant Olivia presents herself. Saint Anthony is the patron saint of finding lost things (and people), which is exactly what Antonio does: he rescues the drowning Sebastian and expects nothing in return. He gives the young man money to buy himself trinkets and even risks venture into Illyria; Antonio is an enemy of the state and likely to suffer dearly if seen. Whether Antonio is genuinely in love with Sebastian or just a kindly older man, his sacrifices and his risks are ultimately rewarded with nothing: Sebastian offers him a single kind word in 5.1, and Antonio is forgotten for the rest of the show.

Sir Andrew (Jessie Mutz) & Fabian (Emma Couling) '13

Fabian (Emma Couling) & Sir Andrew (Jessie Mutz) 2013

Andrew Aguecheek is a clown and a dope of the first order. No doubt played by John Sinklo, a Shakespearean actor know for his bony physique and sickly pallor, Andrew is portrayed either as a wan-looking wimp or a flamboyant fool (sometimes both). Most interesting is his sacrilegious oaths (he swears by God’s eyelid at one point) and his utter inability to comprehend Latin. This is particularly interesting: one of the major points of contention between Catholicism and Protestantism was Latin. Catholics insisted that the Bible (and all readings therefrom) should be in Latin, as they had been for over one thousand years. Protestants argued that the Bible should be written in ‘the Vulgate,’ so everyone could understand it. Andrew the knight’s complete ignorance of it and Feste’s presumably deliberate mangling of it show a less than holy respect for the traditionally biblical tongue. And let’s not forget that Andrew is also a braggart, a prodigal, and a clueless coward, ultimately no better than Malvolio, save for his love of festivity (if that’s a virtue).

Valentine is a minor role, but even he has one or two intriguing lines. When the Duke asks if his words of love were delivered to Olivia, Valentine replies:
“So please my Lord, I might not be admitted,
But from her handmaid do returne this answer:
The Element it selfe, till seven yeares heate,
Shall not behold her face at ample view:
But like a Cloystresse she will vailed walke,
And water once a day her Chamber round
With eye-offending brine: all this to season
A brothers dead loue, which she would keepe fresh
And lasting, in her sad remembrance.”
(italics mine)

In order for the Scansion to work (if you’re interested in that sort of thing), Valentine must say “vail-ed,” not “vailed,” and even more interesting: “remem-berance,” not “rememb’rance.” Even more, why does Valentine need to say “The Element itself, ’til seven years heat / Shall not behold her face at ample view,” rather than simply “She’ll see no one for seven years,” or instead of “And water once a day her Chamber round / With eye-offending brine,” why not simply “She’ll weep once per day for her brother’s love.” There are absolutely many ways to interpret this, but one such interpretation is that Valentine is more than a little stuffy, more than a little pompous himself. Such stretched out fancy-talk is not uncommon in Shakespeare, but slightly unusual for a mere messenger. And why does Valentine, an incidental messenger, even have a name? He is a courtier, and has a handful of lines in 1.4, but again that hardly justifies such fanciness. It’s a weak argument, but only one among several stronger.

Sir Toby (Christopher Elst) and Maria (Sarah Thompson) wed in 2013

Maria is a gentlewoman, or so called, but she behaves little better than the coarse knights Toby and Andrew. She is both cunning and cruel, demands the same quiet that Malvolio does, and visits cruel deception and vengeance upon the Puritan, ostensibly for nothing more than a casual chastisement that she aught to discipline the rowdies more effectively.

We are led to believe that Malvolio couldn’t have fallen for Maria’s tricks if he weren’t so pompous, so vain, but how do we know he’s so vain? Everyone says so, especially Maria, but all his behavior in Acts 1 and 2 are at the behest of Olivia. Olivia demands quiet, so he demands it. Olivia demands harsh treatment of Orsino’s messengers, so he is rude to Caesario. Maria does exactly the same: she demands quiet of Toby and Andrew, mocks Feste and tells him to behave himself, and is rude and dismissive of Caesario. Yet Maria is ‘clever’ and Malvolio is ‘foolish.’ If talking to no one (“practicing behaviors to his own shadow”) is a sign of vanity, then every Shakespearean lead is far vainer than Malvolio, including Orsino and Viola.

Malvolio (Chris Aruffo) languishes in his good fortune, 2015

So what are Malvolio the Puritan’s crimes? He mocks Feste, just as Olivia does. He is rude to servants and demands quiet, just like Maria. His overt pomposity, his clear claims of superiority, don’t show up until Olivia’s (fake) letter tells him to be dismissive and superior. In fact, when he first enters in 2.5, he is already fantasizing about Olivia, wondering if she might have feelings for him. Malvolio is easily duped, not because he is vain, but because he is desperate for Olivia’s love. Sure, he daydreams of talking down to Sir Toby, but who hasn’t had the same thoughts about a belligerent and drunken superior? Any other alleged crimes are only spoken, not proven. And for that, he is imprisoned and abused, humiliated and terrified, nearly driven mad, deposed and replaced in favor (if he ever had favor) by the pretty and vacant Sebastian. And when all’s said and done, we’re treated by Feste to another beautiful song with a strong hint of melancholy: “For the rain, it raineth every day.”

Feste (Andrew Behling) & Sir Andrew (Jessie Mutz) party '13

Feste (Andrew Behling) & Sir Andrew (Jessie Mutz) party, 2013

So what does Twelfth Night really say about religion, and about festival? More than anything else, it says that Shakespeare was wise enough to keep his political opinions (if he had any) well hidden behind three-dimensional speakers. Incredibly, this play also features the same terribly tasteless jokes (one of Viola’s most beautiful speeches may well contain a seemingly-random bit of scatological humor), the same vapid fools, and (if Unrehearsed theory is right) the same cartoonish gesticulations, as any other Shakespearean comedy. And like every other comedy, it still has a volume of commentary on the zeitgeist and human nature as a whole. Even the Bard’s simplest, most cartoonish comedies still offer a wealth of insight about our species.

Except for Comedy of Errors.

 

Theater Stuff, Unrehearsed Shakespeare

Top 10 Favorite Harry Potter Characters

Because I can.

10. Horace Slughorn. Just fun to observe in-book, barely edging out Gilderoy Lockheart.

09. Professor McGonagall. Gains major points in Book 5, but consistently salty throughout.

08. Phineas Nigellus Black. Love-to-hate without hating too much.

07. Griphook. Clever and consistent, sticks to his guns. Doesn’t make whiny excuses for his actions like Harry.

06. Ron Weasley. Overshadowed without being too underdog-preachy.

05. Fred & George. No justification required.

04. Hermione Granger. Book deliberately tries to make her unlikable with consistently sexist descriptions (“shrill” again and again and again). Likable for obvious reasons.

03. Remus Lupin. Loses major points in last book for being a selfish drama-king.

02. Dumbledore. I relate to smart people. Sue me.

01. Luna Lovegood. Book makes her slightly more obnoxious and therefore more human and relateable. Major props to anyone who elects to live in their own world.

Random Stuff

TWELFTH NIGHT UNREHEARSED

Theater Stuff, Unrehearsed Shakespeare

The Pretension of Richard IV

220px-perkin_warbeckToday, I put the final words on the first draft of The Pretension of Richard IV, which follows the exploits of the man who claims to be Richard IV, second son of England’s Edward IV. In the eyes of Henry VII, who rose to power after killing Richard  III in the Battle of Bosworth (and damningly defaming him), this was just another pretender to the throne: Perkin Warbeck the boatswain’s son. Given Henry’s record for slandering his enemies, however, the truth of the naive would-be conqueror’s identity will likely never be known.

Theater Stuff

November 8 (apocalypse): Apocalypse Cow

Lights up on an idyllic pasture. Flutes are playing. A trio of cows is grazing.

A red sun rises. The cows are moved from their lethargy. They look up in mildly output surprise as a great light flashes.

We hear a long, bassy, enormous explosion.

Lights out.

Silence.

Lights slowly rise. We hear gunshots in the distance. Someone curses loudly.

Two cows rush onstage. BESSY is wounded and holding her rifle in one hand. She is limping along, supported by DOWSIBEL. They collapse by rock.

BESSY
Oh gawd I fucked up. I fucked up bad, Sarge!

DOWSIBEL
Yer gonna be a’right, kid.

BESSY
I don’t think we’re ever gonna take that hill, Sarge.

DOWSIBEL
That’s bullshit, Private! We’re gonna take that hill, we’re gonna graze, we’re gonna chew our cud, and we’re gonna have a magical time. You hear me?

BESSY
Yeah, Sarge.

DOWSIBEL
You here me, Private!

BESSY
I hear ya, Sarge.

DOWSIBEL
Yer gonna chew yer cud, Private. Ya got it?

BESSY
Yeah.

DOWSIBEL
Say it!

BESSY
I’m gonna chew my cud!

DOWSIBEL
A’right! Let’s take a look at that wound, Private.

BESSY
Aw jeez. Aw jeez it’s real bad, Sarge.

DOWSIBEL
I don’t wanna hear that, Private.

BESSY
I’m gettin’ all woozy.

DOWSIBEL
That’s just the shakes, you know it, you had ’em before.

BESSY
I ain’t had no shakes in nearly a year, Sarge, you know that.

DOWSIBEL
Shut up, Private!

BESSY
You got it, Sarge.

DOWSIBEL
Medic!! Bessy. Bessy!

BESSY
Yeah Sarge?

DOWSIBEL
I want ya to take ya hooves and yer gonna hold ’em right over this and yer gonna press down hard, got it?

BESSY
Yeah Sarge.

DOWSIBEL
Do it!

BESSY
Okay, Sarge.

DOWSIBEL
MEDIC!!!

BESSY
Medic’s dead, Sarge, you saw ‘er.

DOWSIBEL
No way.

BESSY
You saw ‘er get blown to Farmer John’s, Sarge, you saw ‘er. I know cause I seed you watchin’.

DOWSIBEL
I ain’t seen nothin’.

BESSY
I saw you watchin’, Sarge. I seed ya starin’ while ‘er farm-forsaken guts flew up in the farm-forsaken air, Sarge! You saw it!

DOWSIBEL
I ain’t seen nothin’!

BESSY
You seed it, Sarge!

DOWSIBEL
A’right I seen it! So what!? There’s other medics out there! MEDIC!!!

BESSY
It’s gettin’ dark, Sarge.

DOWSIBEL
‘salways dark these days, Bessy.

BESSY
Not like this, Sarge, not like this. I’m gettin’ cold.

DOWSIBEL
Sun’s settin’.

BESSY
Sun ain’t settin’, Sarge! I’m dyin’, dammit, I’m dyin’!

DOWSIBEL
You ain’t dyin’!

BESSY
I’m dyin’, Sarge!

DOWSIBEL
You ain’t dyin’, Bessy! Yer the only one left! You ain’t dyin’ on me, Private! That’s an order!

BESSY
Sarge…

DOWSIBEL
You ain’t dyin’ on me, Private. Say it!

BESSY
Sarge–

DOWSIBEL
I gave you an order, Private, now say it!

BESSY
A’right Sarge, a’right. I ain’t dyin’, Sarge, I ain’t dyin’.

DOWSIBEL
That’s farm-damn right, yer not. Yer gonna make it, Private, ya hear me? MEDIC!!!

BESSY
Sarge…

DOWSIBEL
Where’s the farm-damn medics!? Get me a medic over here!

BESSY
They’re all dead, Sarge…

DOWSIBEL
MEDIC!!!

BESSY
Sarge… Sarge…

DOWSIBEL
Huh?

BESSY
Sarge?

DOWSIBEL
Yeah, Bessy, what is it?

BESSY
Sarge?

DOWSIBEL
What!?

BESSY
You ever… You ever wonder, Sarge…

DOWSIBEL
I ain’t wonderin’ nothin’ and neither are you, now you hold them guts in!

BESSY
I’m holdin’, Sarge…

DOWSIBEL
Medic, farm-dammit! MEDIC!!!

BESSY
Sarge … Sarge… You ever wonder, Sarge…

DOWSIBEL
I don’t… I ain’t… … What, Bessy? I ever wonder what?

BESSY
You ever wonder… what it was like? Before we got smart? Before all the guns shown up?

DOWSIBEL
No, Private, I ain’t ever wondered that. I ain’t got time for wonderin’, just fightin’.

BESSY
Sometimes when I’m dreamin’… I can still see it… Just a clear field… everybody just standing… chewin’… grass everywhere… everywhere, Sarge… Clear blue sky… Clear Green Fields… Clear Green Fields…

DOWSIBEL
I ain’t gotta sleep for a clear green field, Private. There’s a clear green field on that hill, and we’re gonna take that hill! Ya hear? We’re gonna take it for Nudgins and Oreo and Clackers, for Milky White and Bullaboo. Ya hear me? We’re takin’ that hill! And we’re gonna eat. We’re gonna eat ’til we burst! Eat ’til we turn green! And all our buddies gonna be looking down on us from their Clear Green Fields and wishin’ they was here with us, cause there ain’t no grass so good, no field so green, no nothin’ so great as the field ya take yerself, ya hear? The field ya fight for, that’s your field, farm-dammit, and there ain’t nothin’ in no yesterday dreamland as sweet as that. And that’s why we’re takin’ that hill, ya hear me? Ya hear me? … Private, ya hear me? … … Bessy? … Bessy! … … Bessy…

Silence. The stage grows a little darker. DOWSIBEL looks up and seems to recognize several someones. DOWSIBEL releases BESSY and stands.

DOWSIBEL
Take me to the Clear Green Fields.

DOWSIBEL readies her weapon to fire. Blackout.

We hear many guns firing.

Flutes are playing.

END.

November Scripts

November 7 (Shapes): Post-Facto

A bunch of Triangles crowd onstage. They are furious. They speak only in obscenities. On a podium before them is a Diamond. The Diamond is wearing a triangle on its head. Many Triangles kowtow and worship the Diamond, but it is not long before they are howling and screaming again. It is unclear what they are angry about.

A Square charges onstage and shouts “No!” Instantly, the Triangles turn to the Square and start howling. Primate dominance displays are made. The Diamond waves its arms furiously. A pair of Squares wearing Diamonds and Triangles on their heads emerge and take the Square away. Triangles howl and scream at the Square as it goes. Some throw things or kick petulantly at the Square before it vanishes.

The Diamond makes a farting sound. Everyone screams with laughter. More howling erupts. A pair of Circles emerge, but are quickly attacked. The Squares wearing Diamonds and Triangles on their heads reemerge and watch as the Circles are beaten brutally. After at least thirty seconds, the Squares intervene and drag the Circles off. More howling. Triangles are now jumping up and down, screaming, chanting. Chaos ensues.

A large poster-picture is unfurled. It features a Diamond wearing a Square on its head. The chaos, impossibly, intensifies. The Diamond wearing a Triangle on its head points furiously at the poster. Several Triangles leap up, tear down the poster, and rip it apart.

The Diamond wearing a Triangle waves to everyone. Every fist is thrown up. Howling and cheering dominates. Another pair of Squares wearing Diamonds and Triangles on their heads emerge, and they escort the Diamond offstage.

The Triangles disperse, still howling and chanting.

A bare stage. The lights alter.

A pair of Squares emerge, strolling casually. A sing Triangle emerges opposite. The Triangle spies the Squares and flees, terrified. The Squares register this with mild irritation, then stroll on.

A pair of Circles emerges and acknowledges the Squares as they pass. The Squares ignore them and exit. A crowd of Triangles emerges and follows the Circles. The Circles try to act casual but soon are running offstage. The Triangles chase after them. Howling and chanting is heard everywhere.

Lights fade out.

End

November Scripts

November 6 (Farce): The Hubris of Asmodeus

A red light rises on ASMODEUS, a demon in tattered finery. He is standing at CS, staring upward into the Abyss. Nearby BABD, also in tattered finery, reclines on a divan, or some such thing. She begins by looking up, but in time examines her own outstretched hand, almost as though it were a mirror by which she looks into herself. A very low, quiet hum is (just barely) heard. ASMODEUS’S attention drifts downward. He briefly looks back at BABD, then back upward into the ABYSS.

PUKA, another demon in tattered finery, runs onstage, and quickly starts circling ASMODEUS. PUKA is flailing hands, freaking out. The humming subsides.

PUKA
OmigoshOmigoshOmigoshOmigoshOmigosh! We’re all gonna DIIIIYEEEEYAIAAWWWWWIYYYY!!!

BABD
Unlikely.

PUKA
The Abyss is in total disorder. To-tal Dis-order!

BABD
Hence the name.

PUKA
(crosses to BABD) But what happens when they see it!?

BABD
Plenty of people have seen it. Puka, what’s wrong with you?

PUKA
The Light-Bearer is coming!

PUKA receives instant attention from BABD and ASMODEUS.

ASMODEUS
What?

PUKA
Luciel is coming here! The Light-Bearer is coming here! ‘s got some kind of… plan… to reorganize the Abyss.

ASMODEUS
Reorganize?

PUKA
And if’e sees thiiiiis… we’re screwed! Skay-rooooood!

ASMODEUS
Well, when? When’s the arrival?

PUKA
… Uhhhhhhhhhhh–

BABD
You don’t know?

PUKA
I panicked! I panicked! Tell me you wouldn’t have panicked!

BABD
I would not have panicked.

PUKA
Pride goeth–

BABD
Don’t say that.

ASMODEUS
All right. You say there’s a plan, a plan to reorganize. So. Seeing an Abyss in… disorder… should hardly be a cause for upset.

Silence.

ASMODEUS
Maybe we should clean up a little.

BABD
Maybe.

LUCIEL enters. Another demon, but dressed much more impressively. LUCIEL seems immensely self-confident, yet equally confident in the capacity of others to agree with anything he says.

LUCIEL
Greetings!

PUKA shrieks, loud and long, and flees behind the divan.

BABD
Good morning, Luciel, how can we help you?

LUCIEL
Morning? Is it morning?

BABD
… Yes?

LUCIEL
Time is an illusion. Babd, Asmodeus… Puka… I have been reborn.

Silence.

ASMODEUS
Where did you go this time, Luciel?

LUCIEL
A magical place called… Earth.

ASMODEUS
Earth again?

LUCIEL
You’ve been?

ASMODEUS
No Luciel, we’ve been here.

LUCIEL
Well, all the same, Earth is an incredibly… diverse place. It’s so… so, so, so so so… evolutionary. Revolutionary! Things are just constantly… changing.

BABD
Oh, I think we get enough of that.

BABD indicates the Abyss, above. LUCIEL glances up.

LUCIEL
Oh! Oh, no, no, no no no no, not that revolutionary… Actually, I was rather expecting it to be a bit cleaned up by now.

PUKA
We’re sorry! (collapses at LUCIEL’S feet) We tried! We triiiiiiiiied! (completely breaks down) It was just too big, it was too big it was too biiiiiiiiiiiiiig… Oh gwaaaaaaaaaaaaah…

A long time. They wait for PUKA to run out of gas.

LUCIEL
Yes, well… All the same, I think we can make use of this, this, this… chaos.

ASMODEUS
Wonderful. I’m glad we could keep the fires going for you.

LUCIEL
You see! Everything happens for a purpose.

BABD
Did you just say everything happens for a purpose? You?

LUCIEL
Yes! You see, that’s the power, the power of Earth! I have seen something new, something so new… it’s incredible!

BABD
What is it?

LUCIEL
(takes a big breath) Musical Theater!

Silence.

BABD
Okay.

LUCIEL
Babd! Babd. Do you remember Athens?

BABD
It’s still around, isn’t it?

LUCIEL
No! No no no no, old Athens. With the performances. The orgies. The singing? The singing; you must remember the singing.

BABD
Vaguely. I was only there briefly.

LUCIEL
Yes! This, this is like that. But not! It’s so much… bigger! So complicated, so vibrant, so colorful, so… (points to the Abyss) chaotic! I’m working on a script.

ASMODEUS
That sounds delightful, Luciel.

LUCIEL
Hell is too, too, too too too… sterile. I mean, we torture, we prod, we assault, but where is the love I ask you?

BABD
Lacking, sadly.

LUCIEL
Precisely. I’m working on a script.

ASMODEUS
You don’t say.

BABD
What’s it called?

LUCIEL
I’m de-lighted you asked. It’s called… “The Pony Express.”

Silence.

PUKA
(sincerely) I love it.

LUCIEL
Don’t you love it!?

PUKA
I do!

LUCIEL
Ponies. Dozens of ponies, singing their pony hearts out!

PUKA
About what?

LUCIEL
Who cares? That’ll come later, later, the point is it’s raw, and yet innocent, and yet… sincere!

PUKA
Totally!

LUCIEL
And the best part is, the best part is: their horns… glow… when they sing.

PUKA
What!?

LUCIEL
I know!

PUKA
What!? What!? What!?

LUCIEL
I know, I know, I know!

PUKA
Genius!

ASMODEUS
Ponies don’t have horns.

Pause.

LUCIEL
What?

ASMODEUS
Ponies don’t have horns. You’re thinking of unicorns. They don’t exist.

Pause.

LUCIEL
Well, all the same… that’s… that’s why I came here! Where else can I get something that doesn’t exist except out of the Abyss?

ASMODEUS
But you’re still calling it The Pony Express?

LUCIEL
Pony just sounds better!

ASMODEUS
(muttering) Why don’t you just put dildos on their heads.

LUCIEL
What?

ASMODEUS
… Nothing.

BABD
He said, “Why don’t you just put dildos on their heads.”

Silence.

LUCIEL
Asmodeus.

ASMODEUS
Yes, Light-Bearer?

LUCIEL
You’ve been here some time, have you not?

ASMODEUS
Yes, Light-Bearer.

LUCIEL
Cut off from the rest of the world, cut off from… station… degree… respect… So let me assure you… You are… a genius!

ASMODEUS & BABD
What?

PUKA
Dildos on heads?

LUCIEL
Yes! It’s so meaningful, so vibrant, so…

PUKA
Dildoey?

LUCIEL
Exactly! Brilliant! Brilliant! Now where can I get five dozen dildos?

PUKA
I know just the place, Light-Bearer!

LUCIEL
Well let’s go then!

PUKA
Listen, while I’ve got you, I’ve got some ideas about the script.

LUCIEL
I am all ears.

LUCIEL and PUKA walk off.

BABD
Well… We got rid of him.

ASMODEUS
For now.

BABD
Do you really think he can pull unicorns out of the Abyss?

ASMODEUS
Do you think he’s going to impale the dildos on their horns? Assuming he can find either?

BABD
I suppose.

Pause.

ASMODEUS
What do suppose he really wanted?

BABD
Ponies, evidently… with dildos on their heads.

ASMODEUS
Does anyone ever know what they want?

BABD
(sighs) How can something so banal emerge so close to the Abyss?

Silence. ASMODEUS looks up into the Abyss. The hum returns.

The lights fade out.

END

November Scripts

November 5 (made-up): The Emperor’s New Thesis

Lights rise CS on The EMPEROR: a magnificently dressed despot. His brilliant robes are being pinned, trimmed, trussed, and tended to by a DRESSER. Also in the room is an image COACH and a RESEARCHER. The EMPEROR is facing US and gesticulating extravagantly, much to the consternation of the DRESSER. The RESEARCHER is orbiting the EMPEROR hoping to catch his eye, and failing. The COACH is observing his gestures with obvious approval.

EMPEROR
The armies immediately stood down and offered me their swords. The men rejoiced, and there was much feasting and festival that night. And that was how I conquered the Western Reaches without shedding a single drop of blood.

COACH
(applauding) Magnificent, You Excellency. Mag-nificent.

RESEARCHER
Excellency?

EMPEROR
In truth, the victory was bitter-sweet. As I reclined on my throne, I studied the demeanors and snatches of speech radiating from my army. I received the impression that many were disappointed, saddened that they were not allowed the opportunity to risk and perhaps sacrifice their lives on my behalf.

COACH
Truly a melancholy celebration.

EMPEROR
Yet this is the nature of life: every success means the loss of other opportunities. Every choice, however wise, means other roads are lost forever in the shadows of the past.

COACH
So eloquent! So true! So relatable! Your Excellency, I fear I may swoon with admiration.

EMPEROR
You would, of course, not be the first. I remember my coronation ceremony.

RESEARCHER
Excellency?

EMPEROR
I was younger then, of course. Fitter, more ravishing in frame.

COACH
Your Excellency, please! Though your wisdom reverberates in the very Halls of Eternity, I fear I must raise a tremulous hand and circumspective objection. You are, to this very day, as statuesque, as regal, as handsome, and dare I say, as smoldering as that day you first dawn the crown of your ancestors. Your Excellency, we all bow before your aura of divinity.

RESEARCHER
Excellency?

EMPEROR
You are too kind.

COACH
Not at all. Not At All! We all bow before your gracious magnificence, and your magnificent grace. We All Bow!

The COACH bows deeply. After a moment’s hesitation, the RESEARCHER bows as well. After further hesitation, the DRESSER (already kneeling) bows even lower.

EMPEROR
I am born anew in the light of your generosity.

COACH
Any kindness you find in our faces is a reflection of your own beneficence, Your Excellency.

RESEARCHER
Excellency?

COACH
But where are my common manners. I have interrupted you, Your Excellency. Please continue.

RESEARCHER
Excellency please!

EMPEROR
Yes?

The EMPEROR turns at last to face DS. He is an affable but unimpressive-looking person. Short, not particularly fit, not ugly but certainly not especially handsome. He radiates confidence in himself and indifference to the opinions of those who fall under his brilliant gaze.

RESEARCHER
I have some numbers that might interest you.

EMPEROR
Yes, yes! How many are coming to my speech? How many?

RESEARCHER
Well, Sir, projections are set at eight million.

EMPEROR
(as though he has just triumphantly proven a point) Eight million!

COACH
Out-standing, Your Excellency! Beyond all expectation!

RESEARCHER
Well, attendance is mandatory, and those numbers reflect about ninety-eight percent of the population–

EMPEROR
(again, QED) Ninety-eight percent! There you have it.

COACH
In-credible, Your Excellency! In-cre-di-ble!

EMPEROR
And how many sausages do we have for the crowds.

RESEARCHER
I’m afraid we only have four million!

EMPEROR
(his enthusiasm not yet dampened) Oh?

RESEARCHER
Bu-ut we do have over ten million potatoes, and several million roots.

EMPEROR
(a slight hesitation) Roots?

RESEARCHER
Roots, Excellency.

Pause.

EMPEROR
Well, that will just incentivize the most patriotic to show up early, won’t it?

COACH
Beautiful, Your Excellency. Beautiful! You are a very font of wit.

EMPEROR
You flatter me.

COACH
Not one jot; not one tittle, Your Excellency.

RESEARCHER
Excellency?

EMPEROR
Your kindness reminds me of the Czarina Marguita, whose pulchritude was outdone only by her grace, her grace only by her intellect, her intellect only by her polity, and her polity only by her insatiable desire for a certain young Emperor.

COACH
Oh! Do tell, Your Excellency.

RESEARCHER
Excellency?

EMPEROR
I am not one to spread rumors, however accurate they might be, but let us just say: saying “no” was the most challenging decision in my long and difficult career as your Emperor.

RESEARCHER
Excellency?

COACH
I should dare say! Such fortitude! Such forbearance! Such… fore… … knowledge!

RESEARCHER
Excellency.

EMPEROR
You hit the proverbial nail, Sontis, the absolute nail. An alliance with the Russians, though enormously beneficial in the short run, especially for a certain charming Emperor–

COACH
Oh my–

EMPEROR
Would have proven a damning drain on our resources. Too many debts to resolve. To many famines to feed. A tragedy that such a effulgent woman should come attached to such a doomed nation.

COACH
Truly the stuff of an Epic, Your Excellency.

RESEARCHER
Excellency!

EMPEROR
Perhaps I should compose one.

COACH
Brilliant, Your Excellency! Brilliant!

RESEARCHER
Excellency! Please!

Pause. The EMPEROR and COACH stare at the RESEARCHER; the former with polite confusion, the latter with open hostility. The DRESSER takes great advantage of this stillness to adjust and measure the EMPEROR’S clothes. Silence.

EMPEROR
(mildly reminding everyone just who is in charge) Yes? How may we help you?

RESEARCHER
Excellency, Sir, I have some numbers that may interest you.

EMPEROR
(he exhales, happy to avoid the discomfort of having to discipline a subordinate) Oh, is that all? You already gave me those numbers. They were disappointing, but sufficient.

RESEARCHER
No, Excellency, not those numbers.

EMPEROR
(with infinite patience) I assure you, you did. Allow me to jog your memory–

RESEARCHER
Excellency–

EMPEROR
You had just interrupted the story of my coronation day–

RESEARCHER
That’s not entirely–

EMPEROR
I turned toward you beneficently, like so…

The EMPEROR turns away, then turns back again. It is magnificent.

RESEARCHER
Yes, but–

EMPEROR
I then asked you what numbers you had for me.

RESEARCHER
That’s not entirely–

EMPEROR
And you then informed me that we were short on sausages. I displayed my disappointment, but heroically forgave you.

COACH
He-ro-ically, Your Excellency.

EMPEROR
(still with infinite patience) Do you remember now?

RESEARCHER
Excellency, please, I am talking about different numbers.

EMPEROR
(with a polite laugh) I assure you, you were speaking of the sausages.

RESEARCHER
No, now, now I am–

COACH
Your Excellency, I don’t believe you ever finished the tale of your coronation.

RESEARCHER
Excellency–

EMPEROR
Too true! Now! There I was, my handsome, charming face turned into the Sun.

COACH
Outshining the Sun, I don’t doubt.

EMPEROR
Oh, stop.

COACH
How could I, Your Excellency! How could I possibly stop?

RESEARCHER
Have you ever tried?

EMPEROR
I looked out into the crowd, and flashed them my now legendary smile.

The EMPEROR smiles. It is, if nothing else, disarming.

COACH
A thrill runs through me, Your Excellency.

RESEARCHER
I’d like to run something through you–

EMPEROR
Funny you should say: I looked out into the crowd, and there I found not one… not two… not three… … not four–

RESEARCHER
How many?

EMPEROR
Guess.

RESEARCHER
I’d rather not.

EMPEROR
Oh, go on. Guess.

RESEARCHER
Excellency, there are other numbers I would–

COACH
Five-thousand!

RESEARCHER
You exaggerate.

COACH
I? Exaggerate?

RESEARCHER
Never.

COACH
Never!

EMPEROR
Then in this case, I’m afraid you’ve missed the mark. It was a mere three-hundred young ladies, taken by my brilliant smile… and, I don’t doubt, the heat of the Sun–

COACH (And RESEARCHER)
Never.

EMPEROR
There swooning on the ground below me. We almost had to delay the closing ceremonies. I wanted to see to them, but the Clergy insisted that we conclude the rites.

COACH
The Churches are heartless, they say.

DRESSER
They are not!

Slight shock. Silence. Everyone looks to the DRESSER. There is a longer, awkard silence. The DRESSER gets back to work, taking advantage of this second stillness.

RESEARCHER
Excellency. There are other numbers I need to show you.

EMPEROR
Nonsense. It’s time to practice my speech.

RESEARCHER
I don’t think that’s a good idea, Excellency.

COACH
Brilliant as always, I say.

EMPEROR
Yes! Now!

The EMPEROR takes a few steps forward, inadvertently knocking the DRESSER over.

COACH
Move us, Your Excellency! Command us!

EMPEROR
My loyal Subjects–

RESEARCHER
Well…

EMPEROR
My loving Subordinates–

RESEARCHER
Actually…

EMPEROR
My… plucky little duckies–

RESEARCHER
I’m not a hundred percent sure–

EMPEROR
It has recently come to my royal attention that many of you are concerned about… what was it?

RESEARCHER
Unwanted pregnancies.

COACH
I believe it was unwanted pregnancies, Your Excellency.

EMPEROR
Ah yes! The entire point! It has recently come to my royal attention that many of you are concerned about… yes! Unwanted pregnancies. I’m afraid you do not seem to understand just how pregnancy works. Allow me to royally elucidate for you.

RESEARCHER
Excellency! Please! … Is this, really…

EMPEROR
(with infinite patience) Go on…

RESEARCHER
Is this really, your area of expertise?

EMPEROR
… I do not understand.

RESEARCHER
Do you not think that, perhaps, there might just be someone else in the empire who understands pregnancy better than you?

EMPEROR
… I do not understand.

RESEARCHER
Well, Excellency… you cannot get pregnant.

EMPEROR
(chuckling, with infinite patience) Ahhhh, I see. I understand, of course, but just because someone does not experience something directly, does not mean they are incapable of understanding it. You are a researcher, after all. You didn’t prepare all those sausages yourself, did you?

RESEARCHER
(holding in a sigh) No.

EMPEROR
But you do understand how many are prepared, yes?

RESEARCHER
I do, and I’d actually like to talk about that shortage.

EMPEROR
So you understand, I’m sure, that just because I am not a woman, that does not mean I cannot become an expert on something.

RESEARCHER
But are you an expert, Excellency?

EMPEROR
I am the Emperor.

COACH
Magnanimously eloquent, Your Excellency!

EMPEROR
Now where was I?

COACH
The flushing system, Your Excellency.

EMPEROR
Yes! The female reproductive organs feature a flushing device that, periodically, expels unwanted pregnancies naturally, without the need for outside intrusion.

RESEARCHER
Excellency, please listen.

EMPEROR
I rather think you are the one who needs to listen. You might learn something.

Brief, tense silence.

RESEARCHER
As you say… Your Excellency.

EMPEROR
Very good. Now, this flushing system is the Heavens’ way of solving these so-called–

The DRESSER suddenly draws a large pin and uses it to stab the EMPEROR to death. The COACH and RESEARCHER are paralyzed with shock. The EMPEROR dies horribly.

The DRESSER stands, CS, looking at the other servants. Silence.

COACH
(screaming) GUAAAAAAAAARDS!! Guards!!

Silence. We here the rumble of boots on the floor.

DRESSER
It just took too long. Listening took too long. Waiting took too long.

Lights slowly fade.

November Scripts

November 4 (Compliments): The Tortoise, the Raven, and the Cat

Lights up. A TORTOISE is hauling a stack of bricks slowly across the stage.

In time, a RAVEN appears. The RAVEN observes the TORTOISE’S labor for some time. Eventually, the RAVEN starts rearranging the bricks in a manner that seems more secure, more efficient. The RAVEN seems not quite satisfied with hits design. It removes a single brick and helps carry it Offstage. As the RAVEN returns, however, a CAT slinks onstage. The CAT is very energetic and distracting. Whether bounding about or marching in circles, the CAT’S intense focus and attention is fascinating to the RAVEN, and even distracts the TORTOISE slightly, though the TORTOISE continues to move largely in the same direction.

Eventually, the CAT’S antics knock most of the bricks off the TORTOISE’s back. The TORTOISE slowly starts gathering up the bricks as the RAVEN and CAT caw and hiss at each other, arguing furiously. Unbidden, the RAVEN starts re-stacking the bricks in a manner similar to its previous design. As the RAVEN stacks, the TORTOISE returns to slowly marching, and the CAT starts playing again. In time, the CAT decides to frustrate the RAVEN’S designs and knocks the bricks over again. Again, the RAVEN and CAT argue as the TORTOISE slowly gathers everything up.

The RAVEN, trying to demonstrate a point, takes some of the bricks and lays them out in front of the CAT in a specific design. The RAVEN points out various features of this design, presumably proving a point. The CAT is unimpressed. The CAT moves the design around. It is clearly a poor design. The RAVEN moves the bricks back into its own design. This goes on for some time. Finally, the CAT knocks over this design as well and returns to playing. The RAVEN fixes its own design, though it is frequently distracted by the CAT’S playing. It caws at the CAT occasionally, but the CAT ignores it. The TORTOISE is still gathering up the bricks that were not taken by the RAVEN.

Time goes on. The RAVEN caws. The CAT plays and spits. The TORTOISE gathers.

Realizing the CAT will not engage, the RAVEN takes its purloined bricks and returns to the TORTOISE. Again, the RAVEN gathers and stacks all the bricks in its chosen design, as the TORTOISE returns to slowly marching across the stage. Again, the CAT approaches. The CAT and RAVEN argue over the design as the TORTOISE marches. The CAT makes small alterations to the design, which incenses the RAVEN. The RAVEN moves the bricks back. They argue more. The RAVEN and CAT scuffle physically, but the CAT quickly disengages. They stare furiously. The argue some more. The CAT knocks a single brick off. The RAVEN caw furiously and knocks the whole design over. The CAT and RAVEN argue some more, as the TORTOISE slowly begins gathering the bricks again. In a huff, the RAVEN storms out. The CAT goes back to playing, occasionally knocking a brick or two about. Eventually, the CAT gets bored and leaves. The TORTOISE is left, slowly gathering all the bricks.

House lights come up. Audience is free to leave or watch the TORTOISE work.

END

November Scripts