the wings

__________________________

a play

by Ben Beck

Contact:
Ben Beck
3921 Nicholas St #3
Omaha, NE 68131
402-968-8530
benjaminbeck11@gmail.com
SCENE ONE “NOTES”

Lights up. A stage in an empty theater. The

DIRECTOR (male, 50’s) sits on a folding chair.
The ACTOR (male, 20’s-30’s) sits next to him
on a spike-marked floor. Prop furniture suggests
there is a play in rehearsals. The DIRECTOR
and ACTOR are sharing cheap pizza and beer. It
is late at night after a very long rehearsal.

DIRECTOR
Do you understand?

ACTOR
Yes.

DIRECTOR
You understand?

ACTOR
Yes.

DIRECTOR
Good.

The DIRECTOR eats. The ACTOR remains

quiet, looking down, delicately holding his beer.
He never drinks or eats in the scene.

DIRECTOR
What?

ACTOR
Nothing.

DIRECTOR
Bullshit nothing. What?

ACTOR
Nothing.

DIRECTOR
Stop it. Stop that.
 2.

ACTOR
I’m... I’m not doing anything.

DIRECTOR
Yes, you are. You’re sitting there pouting like a child.

ACTOR
No! I...

DIRECTOR
Like a little bitch.

ACTOR
No!

DIRECTOR
Then what? What is it? Grow up for Christ’s sake!

ACTOR
No! What? I am grown up. I’m just thinking about what you said. What you were saying
earlier. To me.

DIRECTOR
Yes?

ACTOR
...and I’m just... sort of... processing it. I’m taking it all in. Because...

DIRECTOR
What?

ACTOR
Because I...

DIRECTOR
Because... you... what? Want?

ACTOR
Yeah, I want to...

DIRECTOR
You want to... improve.
 3.

ACTOR
Yes!

DIRECTOR
You want to develop. You want to grow.

ACTOR
Yeah! I want to, you know, do it right.

Beat.

DIRECTOR
You fucking twit.

ACTOR
What?

DIRECTOR
You little goddamn moron.

ACTOR
What?

DIRECTOR
Dammit, I should throw you in the goddamn river.

The DIRECTOR takes a slug of beer.

ACTOR
What? I don’t understand?

DIRECTOR
Well, that’s obvious isn’t it? That’s fucking obvious. Tell me dummy, are you getting any
of this? Just a sliver? Or am I just wasting my time?

ACTOR
No! What do you mean?

DIRECTOR
Do not...

He searches in frustration for the right word.

... insult them!

 4.

ACTOR
What?

DIRECTOR
Please, just listen to me. Just listen. No talk.

He puts down his food and beer and leans in to

the ACTOR and speaks to him. Not with
passionate bravado. More like teaching someone
how to defuse a bomb.

DIRECTOR
The very moment you, you believe that there is a “right way”, some “right way” that this
has to be done, well, that anything has be done. The moment you start thinking that there
are rules to what we are doing... wait, no, to what we are trying to do. You limit yourself.
You fucking chain yourself to the wall and you make up these ridiculous, Neanderthal
limits and, and, you also limit them. And in doing that, you insult them. Fuck. You. How
dare you fucking do that! So, what happens then? Well, now, congratulations are in order
because you are now officially an asshole. And deservedly so, because now you are in
room full of people whom you have insulted. And not only are you an asshole, you’re also
fucked then, aren't you? Because you have also lost them entirely. Poof. They’re gone.
Heaven knows where. So, don’t do that. For them. For you. For all one of us. The best
thing you can do, the very best thing, is to be honest. Honesty. Honesty? God, that sounds
dumb as shit.

He thinks a bit.

DIRECTOR
I want to say “real” but then I’d be an absolute prick.

He thinks a bit more, then gives up.

DIRECTOR
Hell, I have no choice but honest, so, honest. You go in front of a room full of fucking
strangers and you be completely honest with every single one of them. No holds barred.
No safety net. What. The. Hell? Jesus Christ, how ridiculous a concept is that? No one in
their right mind would do that. Go out there. Belly exposed. So check out the sack on you!
And they, these... people, they will see all of this happening right before their very eyes.
And they will recognize this humanity. This pure, fearless defiance of any emotional self-
preservation. And they will feel something, something that you gave them. And it will
mean, no, be something wonderful.

The ACTOR looks at the DIRECTOR in an

expression of fear, confusion, and fascination.
 5.

DIRECTOR
And if not? Well... fuck ‘em. That’s it. That’s what you do. You try. You fail. You win.
You lose. That’s what your job. Do it.

Suddenly showbiz-y, over the top, with jazz-

hands.

DIRECTOR
YOU’RE ACTING!

He drops it.

DIRECTOR
You are not here to make everyone like you. Honesty.

The DIRECTOR sits back his chair. He does not

direct his words to the ACTOR anymore.

DIRECTOR
The truth is... truth? God, I’m a prick.

He searches for the right word.

DIRECTOR
No, “truth” is the only word that comes to mind in my current state of sobriety. The truth
about all of us is that we all are very lonely people. Right?

ACTOR
(Praying that this is the correct response.)
Right.

DIRECTOR
Shh. Not yet. Rhetorical. Let me finish. Dammit, where am I?

It takes him a moment to find it.

DIRECTOR
Lonely. We’re very sad people. It’s a fact. And so, because of that, we all inevitably want...
love.

He surprises himself with this logic.

Shit, that's it, that’s what it is, plain and simple. I suppose it would be safe to say that it’s
the one thing every single person has in common. God, I’m a prick.
 6.

DIRECTOR
Now you are not going to get that by... what? Standing in front of all those people and
pretending to cry, or remembering how your dad didn’t play catch with you when you
were six years old. Just, be honest. And if you don't... you are reduced to some...
inhuman... turd.

The DIRECTOR relaxes entirely. Picks up his

beer and takes another slug.

ACTOR
Wow.

DIRECTOR
A big turd.

ACTOR
Uh-huh.

DIRECTOR
You see what I’m saying? What I’m trying to tell you?

ACTOR
Yes.

DIRECTOR
This is important stuff.

ACTOR
Yes.

DIRECTOR
I’m not going to be nice about it, because I can’t be. It doesn’t make sense if I dance and
skip around it just to make it easy on you. I am talking to you.

ACTOR
I understand.

DIRECTOR
You do good work.

ACTOR
Thank you.
 7.

DIRECTOR
(Sighs.)
Dammit, now I’m mad at you.

ACTOR
I’m sorry.

DIRECTOR
It can’t be helped.

ACTOR
I’m sorry.

DIRECTOR
It’s fine.

Beat.

ACTOR
Can I ask you a question?

DIRECTOR
Yes.

ACTOR
Well, it’s sort of two questions.

DIRECTOR
Yes.

ACTOR
Well, you’ve told me all this, and I understand, and I’ve heard you, I really have. I hope
you understand that.

DIRECTOR
Where are you going with this?

ACTOR
Okay. What I want to know is, how did the first act seem tonight?

The DIRECTOR takes off his glasses, leans

back in his chair and rubs his eyes.

ACTOR
I’m sorry did you not want to....?
 8.

DIRECTOR
Let’s just go one step at a time here, okay?

ACTOR
Sure.

The DIRECTOR sits up again and wipes his

glasses with the bottom of his shirt.

DIRECTOR
And?

ACTOR
Hm?

DIRECTOR
And, your other question?

ACTOR
Oh, it’s fine.

The DIRECTOR stares down the ACTOR.

DIRECTOR
Don’t do this to me.

ACTOR
Sorry. Um... what did you think of the second half tonight?

The DIRECTOR gives an exhausted sigh and

finishes the can of beer.

DIRECTOR
It was better.

ACTOR
(Thrilled.)
Oh?

DIRECTOR
Don’t. It was only because the second half is better written so... but still, yes, it was better.

The ACTOR nods.

DIRECTOR
You do good work... but what am I not doing? What am I not doing during all of this?
 9.

ACTOR

Telling me a “right way”.

DIRECTOR
Why?

ACTOR
Because there isn’t one.

DIRECTOR
That is what makes all of this so wonderful.

Beat.

DIRECTOR
You understand.

ACTOR
Yes.

DIRECTOR
If I never gave you any criticism, you would fail, and you would hate me for it. We make
mistakes, we learn, we go on from there. We evolve. We become something new. It goes
on. I’m just talking to you. Stop taking everything so personally. Wipe off your panties and
let’s get to work. Okay?

ACTOR
Okay.

The DIRECTOR surveys the stage.

DIRECTOR
Fuck. Look at this place.

The DIRECTOR starts to clean up, primarily by

shoving items into corners with his foot. The
ACTOR realizes he still has beer left in the can
and in an effort not to waste (as well as not to
endure further criticism from the DIRECTOR)
painfully finishes the beer off out of sight. The
DIRECTOR sees this unbeknownst to the
ACTOR and rolls his eyes as if he’s seen an
obese pug trying to wobble it’s way thru a dog
door.
 10.

Finally, ACTOR picks up a empty grocery sack

on the floor and joins the DIRECTOR, bagging
the trash behind him.

DIRECTOR
Do me a favor and prep that final scene before we start work tomorrow. We’ll need to be
ready for it.

ACTOR
Okay.

DIRECTOR
Meet with up her. Find something. Work something up.

ACTOR
Okay.

DIRECTOR
Can’t be boring. We need a strong button there.

The DIRECTOR stops cleaning, goes

downstage, and picks up a small soft briefcase.

DIRECTOR
That’s all for tonight. Go home. I’ll see you tomorrow.

He exits. After a moment, the ACTOR goes to

bag the rest of the remaining trash.

DIRECTOR
(Offstage.)
Go the fuck home!

The ACTOR bolts off. Blackout.

 11.

SCENE TWO “REHEARSAL”

Lights up. A rehearsal space. No set pieces. Just

a bare room or stage. The ACTOR and the
ACTRESS (female, 20’s-30’s) stand facing one
another. They are both reading a scene from
scripts.

ACTOR
The truth is, after what happened all those years ago, I thought, I thought that...

ACTRESS
What Eric?

ACTOR
I couldn’t imagine, you wanting me. I thought you’d never want to see me again.

The ACTRESS deliberately crosses to the

ACTOR. She takes his face in her hands while
also trying to read the script. It’s difficult.

ACTRESS
How could you ever think that?

ACTOR
Because it’s all my fault!

He pushes her away.

ACTOR
Sandra, I have done so many terrible things, and I’ve hurt everyone I’ve ever loved. But
you’re still here. You’re still here wasting your time with me. You shouldn’t be. You
deserve so much better. Why didn’t you leave months ago?

The ACTRESS interrupts him with a slap to the

face. It was real. It should make the audience
uncomfortable. There’s no way that didn’t hurt.

ACTRESS
Stop it! Now don’t you dare say that me Eric! Don’t you dare! Not now! I love you. I love
you and I will never walk away. Listen, I’ve made mistakes too. I am not going to make
another one by letting you walk out that door and leave me here. Alone.

She holds his face again.

 12.

ACTRESS
I need you to let me in. I need you to trust me. Trust me when I tell you that I believe in
you. With all my heart. Please.

They look into each other’s eyes for a long time.

They stop for a second and can’t remember what
comes next. The ACTOR looks at his script.

ACTOR
(Breaking character.)
Oh.

ACTRESS
(Also breaking.)
What?

ACTOR
(Indicating the script.)
It's um.. I’m sorry, it’s that this is the part where...

ACTRESS
What part?

ACTOR
(Mumbling.)
The part with the kiss.

ACTRESS
Oh, right.

The ACTOR is obviously nervous about this.

The ACTRESS does not have a shred of
hesitancy. It might as well be a handshake to her.

ACTOR
It’s just haven’t rehearsed this part yet.

ACTRESS
Yeah?

ACTOR
Oh? Sorry. Well then, is it okay if I, I mean, do you want me to just...?
 13.

ACTRESS
Oh yeah, it’s fine.

ACTOR
Okay. Great. I mean, not “Oh great!” But great that we can block the rest of it. I mean,
sorry. I’m sorry to stop like that. I don’t have a problem with it if you don’t. I just didn’t
want to go right into it in case you weren’t ready or comfortable or something. I like,
thought I should wait for you to... give me...

ACTRESS
No, it’s okay. It’s...

ACTOR
What?

ACTRESS
Just, sweet. Just, you know, go for it.

ACTOR
Okay then.

ACTRESS
I mean, I slapped you, you’ve got a kiss. It’s only fair. Makes things even, right?

ACTOR
(With a nervous chuckle.)
Right.

ACTRESS
Was the slap okay by the way?

ACTOR
Oh sure, the slap was great.

It was not great, but there is no way that he is

going to let her know that.. The ACTRESS rubs
his face.

ACTRESS
Poor guy. You’re okay? It doesn’t hurt?

ACTOR
Nope. No problem.
 14.

ACTRESS
Okay, good.

ACTOR
Does it look good?

ACTRESS
Well, yeah. It looks good but it makes a big sound and looks like it hurts.

ACTOR
No, I’m fine.

ACTRESS
Okay. Good.

They aren’t quite sure what to do next.

ACTRESS
Again?

ACTOR
Yeah.

ACTRESS
(Grinning.)
Ready for another slap?

ACTOR
(Lighthearted.)
Sure.

ACTRESS
I’m kidding, we’ll skip the slap part.

ACTOR
(Thank God.)
Okay, Thank you.

They each thumb thru their scripts for a place to

start.

ACTRESS
Okay, um.... da, da, da, da, daaaaaaa... from ”I’ve made mistakes too.”?
 15.

ACTOR
Sure.

They steady themselves as they get back into

character. They start the scene again.

ACTRESS
Listen, I’ve made mistakes too. I am not going to make another one by letting you walk out
that door and leave me here. Alone.

She holds his face again.

ACTRESS
I need you to let me in. I need you to trust me. Trust me when I tell you that I believe in
you. With all my heart. Please.

There is a brief hesitation. A very inch by inch

lean into one another for a soft kiss.

ACTRESS
I love you, Eric.

ACTOR
I’m so sorry, Sandra.

The ACTRESS holds his hand.

ACTRESS
Shh. Just take me home. Let’s go home.

They turn and begin to walk away. The

ACTRESS stops him.

ACTRESS
Eric?

ACTOR
Yes?

ACTRESS
You need to promise me something.

ACTOR
What is it?
 16.

ACTRESS
The next time you feel like going on an adventure. Just ask. I’ll go with you. I’ll go
anywhere, as long as it’s with you.

ACTOR
I promise.

They turn and “exit” together. They break hands

as they return to the center of the room, dropping
character.

ACTRESS
Good?

ACTOR
Yeah, not bad.

ACTRESS
Was that okay for you?

ACTOR
Well, yeah. Did you think so?

ACTRESS
I meant the kiss.

ACTOR
Oh yeah. I thought it worked. Uh... did you?

ACTRESS
Yeah.

ACTOR
Good.

ACTRESS
I think it should work out fine.

ACTOR
Sure.

ACTRESS
Do you think we should...

ACTOR
What?
 17.

ACTRESS
One more time? Like, to iron it out?

The ACTOR is ecstatic, but keeping cool.

ACTRESS
Just to make sure that final ending part works.

ACTOR
Okay.

ACTRESS
It’s okay, right? I can if you can. You don’t have somewhere you absolutely, positively
have to be right now, do you?

ACTOR
No, I’ll be okay.

ACTRESS
Okay, good. Same place.

They return to their places.

ACTRESS
Ready?

ACTOR
Yeah.

ACTRESS
Listen, I’ve made mistakes too. I am not going to make another one by letting you walk out
that door and leave me here. Alone.

She holds his face. This time she’s being a bit

more intense.

ACTRESS
I need you to let me in. I need you to trust me. Trust me when I tell you that I believe in
you. With all my heart. Please.

Suddenly, the ACTRESS rushes to the ACTOR,

seizes his face, and gives him a fierce, passionate
kiss. Something of legends.
 18.

Finally, she sensually pulls back and rests her

head against the his chest. They both stay in
character. But it’s a bit trickier for the ACTOR.

ACTRESS
I love you, Eric.

ACTOR
I’m so sorry, Sandra.

The ACTRESS clutches him.

ACTRESS
Shh. Just take me home. Let’s go home.

They turn and begin to walk away. The

ACTRESS stops him. Her lines become deep
and intense with a heavy gaze.

ACTRESS
Eric?

ACTOR
Yes?

ACTRESS
You need to promise me something.

ACTOR
What is it?

ACTRESS
The next time you feel like going on an adventure. Just ask. I’ll go with you. I’ll go
anywhere, as long as it’s with you.

ACTOR
I promise.

This time they do not go. The ACTRESS breaks

character.

ACTRESS
That feels a lot better to me.
 19.

She in no way means this romantically. Again,

handshake.

ACTOR
(Coming back to Earth.)
Yeah.

ACTRESS
So that’s the end of act two! That should work!

ACTOR
(Trying to match her energy.)
Yup!

The ACTRESS looks at her watch.

ACTRESS
Oh, shit!

The ACTOR pretends he also needs to leave.

ACTOR
Oh, yeah!

The ACTOR checks his watch and awkwardly

realizes he’s not wearing one. Meanwhile, the
ACTRESS rushes to a corner of the room and
gets a big shoulder bag, she shoves her script
inside.

ACTRESS
So that’s it! I feel good about that!

ACTOR
Me too! That should work!

ACTRESS
Okay. Well, have a good day. Bye!

She hustles away.

ACTOR
(Calling after her.)
You too. Bye!
 20.

The ACTOR slowly goes to a corner and

retrieves his jacket and backpack. He puts on the
jacket, puts the script in his backpack, zips it up
and slings it over one shoulder. What was that?
Was that real? Probably not. Still, he doesn’t
care. A big goofy smile on his face as he leaves.
Blackout.
 21.

SCENE THREE “THE DRESSING ROOM”

Lights up. The ACTRESS sits in a dressing

room in front of a mirror and makeup table with
the BOYFRIEND (male, 20’s-30’s) standing
awkwardly behind her. He’s not quite sure if it’s
okay to sit in the women’s dressing room. The
ACTRESS wears a wig cap and meticulously
applies makeup. She never looks directly at the
BOYFRIEND, rather looking at him through the
reflection in the mirror. She works while he
watches her. Finally...

BOYFRIEND
Do you go on soon?

ACTRESS
I have about five more minutes.

BOYFRIEND
Okay. I just wanted to say “Hi” before you start. Just wanted to spend a little bit of time
before you go on.

ACTRESS
I know. I’m glad. Just... I only have five more.

BOYFRIEND
Uh-huh.

He watches her some more. Admiring. She’s

pretty. He can’t think of anything to talk about
for a moment.

BOYFRIEND
So, I was thinking, if you weren’t too tired after the show tonight, maybe we could meet up
for dinner or something.

ACTRESS
(Not again.)
Honey...

BOYFRIEND
Or just a drink?
 22.

ACTRESS
I don’t know honey. I don’t know if I’ll be able to. It’s just that I’ve been in rehearsals all
day today, and I have the show tonight, and then I’m back here early tomorrow morning
for more rehearsals.

BOYFRIEND
Well, what time do you start tomorrow?

ACTRESS
(Sighs.)
We start at ten.

BOYFRIEND
Well then, maybe we could go out for a little breakfast or something before your ten in the
morning rehearsal instead!

ACTRESS
Maybe. I also have to sleep honey. Look, I’ll see how I’m feeling after the show tonight. I
don’t know.

BOYFRIEND
Sure. Okay.

A beat. The BOYFRIEND takes all this in. He

didn’t know she was so occupied.

BOYFRIEND
Woo, you are busy now.

ACTRESS
Yep.

BOYFRIEND
Busy girl.

ACTRESS
Sure am.

Beat.

BOYFRIEND
Getting biz-zay!

An awkward beat
 23.

ACTRESS
(Choosing to ignore that.)
Yup.

She finishes her make-up and stands from her

chair. She kicks off a pair of slippers and begins
to undress.

BOYFRIEND
Did um... do you want me to leave? Am I in your way here?

ACTRESS
No, no. You’re fine. You can stay.

The ACTRESS is occupied. The BOYFRIEND

is searching for conversation. Finally...

ACTRESS
So. How was your day?

BOYFRIEND
Fine. You know.

ACTRESS
Uh-huh?

BOYFRIEND
Not as interesting as everything you’re doing. All your great stuff.

In a big, sarcastic voice.

BOYFRIEND
Not like I get to do anything completely artistically fulfilling.

ACTRESS
(She’s told him this a million times.)
Stop it. You’re just in a bit of a slump. You’ll get out of it soon.

BOYFRIEND
Never anything worth talking about when you’re waiting tables. It’s killing me. Every day
lately seems to be turning into, one big day, you know? I gotta get outta this. I’m all wound
up.
 24.

ACTRESS
(A polite chuckle)
Yeah.

Something pops into the BOYFRIEND’s head.

BOYFRIEND
Oh! Guess what I saw!

She is now in her underwear. She begins to put

on her stockings.

ACTRESS
What’s that?

BOYFRIEND
They’re doing “Richard III” next.

ACTRESS
Oh yeah?

BOYFRIEND
I know, right?

ACTRESS
That’d be great.

BOYFRIEND
Yeah!

ACTRESS
Would you want to do that?

BOYFRIEND
Well, yeah!

ACTRESS
Well, that’s great!

BOYFRIEND
It’s gotta be in at least my top ten.

ACTRESS
That could be good for you!
 25.

BOYFRIEND
I hope so. I’d like to think so. I’ve been pretty antsy lately. It’s been so quiet for me
without anything going on, but now “Richard” comes up and that’s something I really like
and something I could get into.

ACTRESS
So, who would you want?

BOYFRIEND
Well, I don’t know. Um, Clarence, Richmond...

ACTRESS
Richard?

BOYFRIEND
(Embarrassed.)
Maybe?

ACTRESS
Well, you should do it.

BOYFRIEND
Yeah! I think I’m going to!

ACTRESS
You should!

She goes back to the table and begins to pin in

her wig. The BOYFRIEND again searches for
conversation.

BOYFRIEND
My mom’s coming to see you tomorrow night.

Silence.

ACTRESS
(Not happy about this.)
She’s seeing the show?

BOYFRIEND
Yeah!

The ACTRESS gazes in the mirror for a

moment.
 26.

ACTRESS
(Flatly.)
Great.

BOYFRIEND
She’s really excited to see you!

ACTRESS
Good.

Beat.

BOYFRIEND
Are you okay?

ACTRESS
Yes, I’m fine. I just, didn’t know she was coming tomorrow, that’s all.

BOYFRIEND
Is that alright?

ACTRESS
Of course it is. That’s why we get comps.

BOYFRIEND
Good.

Beat.

BOYFRIEND
She’s really excited to see you.

ACTRESS
I’m glad she’s coming.

BOYFRIEND
Good. I told her how great are.

ACTRESS
Aw.

BOYFRIEND
Yeah, she’ll really love you.
 27.

Beat.

BOYFRIEND
Um, I forget. I wanted to ask you, do you close on Saturday or Sunday?

ACTRESS
For this one?

BOYFRIEND
Yes.

ACTRESS
Sunday.

BOYFRIEND
And the next one you’re in, that one doesn’t start up until the 11th?

ACTRESS
Right.

BOYFRIEND
So, your nights are going to be a bit more open now, right? I mean at least for a little while,
right?

ACTRESS
(Hesitantly.)
Yeah.

BOYFRIEND
I mean, you’ll only be busy during those days...

ACTRESS
Yeah.

BOYFRIEND
So now we’ll be able to spend time together during your all of your new nights off.

ACTRESS
Yes and... just so you know I’m going to have to check on some things, you know? Other
stuff coming up later and I’ve still got some things going on at night that I do need to take
care of.

She takes a dress off of a hanger and gently steps

into it.
 28.

BOYFRIEND
(He doesn’t understand her excuse.)
I know.

ACTRESS
Zip me up?

He goes to her and gently zips up the back. She

flinches as he does.

BOYFRIEND
Wow. That’s tight.

ACTRESS
(With an exhale.)
Yes, it is.

BOYFRIEND
You look great in it though.

ACTRESS
(Automatically.)
Thank you.

She turns to him for the first time, finally making

eye contact. She takes his hands.

ACTRESS
(As if to a toddler.)
But you’re right, we will spend more time together. We will spend more time together. I
promise. Okay.

BOYFRIEND
(Looking at his feet.)
Okay.

ACTRESS
Hey, I love you.

BOYFRIEND
(Looks to her, smiling)
I love you, too.
 29.

She stands to meet him and wraps her arms

around his waist. She looks into his eyes and
gives him a long slow kiss. More of a smooch
really. She’s making sure her make-up doesn’t
smudge. She eases back and smiles and goes to
put on her heels.

BOYFRIEND
Gotta go?

ACTRESS
Yep. Showtime.

BOYFRIEND
Okay. So... you let me know when you have some...

ACTRESS
(Snapping.)
Honey, it’s just that there is so much going on and I honestly don’t think I’m going to have
the time tonight. I’m sorry

BOYFRIEND
(Spooked.)
Okay!

She goes back to him.

ACTRESS
No, no, no. I’m sorry, I’m sorry, I’m sorry. Look it’s not your fault, but after the show,
you won’t even want to be around me. I’m just going to be a big, smelly, sleepy mess, you
know?

The ACTRESS goes back to the mirror and

makes some final touches.

BOYFRIEND
Okay. Well, I guess I’m going to head out then.

ACTRESS
(Thru the mirror again.)
Okay. Thank you for sitting with me, babe!

BOYFRIEND
Sure. So, call me when you get a chance?
 30.

ACTRESS
Uh-huh.

BOYFRIEND
And I’ll see you tomorrow with my mom!

ACTRESS
That’ll be great.

BOYFRIEND
And we could step out after. Think about it.

ACTRESS
(Snapping again.)
Okay!

Beat.

BOYFRIEND
Well, break a leg!

ACTRESS
Thank you. Have a good night.

BOYFRIEND
I’ll talk to you, I’ll see you later. Bye.

He shuffles out. She exhales deeply to shake off

the conversation. She poses for the mirror in
multiple angles and expressions. She looks good
and she knows it. Suddenly, a cell phone text
alert beeps. She goes her purse under the make-
up table, takes out a cell phone and reads a text
she has received. She giggles, sits back down at
the table, and relaxes while she texts back.
Blackout.
 31.

SCENE FOUR “PREPARATION”

Lights up. A stage. The BOYFRIEND stands

next to a ghost light with a folding chair next to
him. He is dressed semi-formally wearing jeans
and a sport jacket. As the lights are coming up
the STAGE MANAGER (female, 20’s-30’s) is
walking to a center seat in the front row of the
audience in front of the BOYFRIEND. She is
lugging around a huge backpack and a laptop
shoulder bag. She also carries a large binder full
of paper and multicolored tabs. She un-shoulders
everything, plops it all in a seat and sits beside it.
As she settles in she takes a pen and legal pad
from her bag.

STAGE MANAGER
(After she’s settled.)
Okay, go ahead.

BOYFRIEND
You’re ready?

STAGE MANAGER
Yep. Go ahead.

BOYFRIEND
Okay.

The BOYFRIEND adjusts his posture a bit,

trying to appear both professional and casual. It
takes him a bit.

BOYFRIEND
(To the entire audience.)
Good afternoon everyone. Today, I would like to perform a monologue from “Henry the
Sixth Part Three”...um...

He shades his eyes from the lights and looks to

the STAGE MANAGER.

BOYFRIEND
Do I need to say, “...by William Shakespeare”?
 32.

STAGE MANAGER
No. We know that. Everyone’s gonna know. Keep going.

BOYFRIEND
(Again, to the audience.)
Okay. Good afternoon everyone. Today, I would like to perform a monologue from
“Henry the Sixth Part Three”.

He goes to the chair, picks it up and begins to

take it to the corner of the stage.

STAGE MANAGER
Wait. Hold on a sec.

The BOYFRIEND stops and looks out.

BOYFRIEND
What is it?

STAGE MANAGER
Do you use the chair for the actual monologue? The actual thing?

BOYFRIEND
No.

STAGE MANAGER
Okay, I know it sounds weird, but if the chair is out there when you come out, and you
don’t need it for the actual monologue, you need to move it to the corner first, then walk
back to center, then start. They prefer that. They don’t want to have to wait for anything in
between.

BOYFRIEND
Why?

STAGE MANAGER
I don’t know. It’s... what they prefer.

BOYFRIEND
Okay. Can I start over?

STAGE MANAGER
No, we gotta keep moving. I’ve got a meeting soon, so I don’t have too long. Let’s keep
going.
 33.

BOYFRIEND
Okay, sorry. Hey, just... thank you for helping me out here. Wanted to say that. You know,
coming here in the afternoon to help me out.

The STAGE MANAGER waves him along.

STAGE MANAGER
Uh-huh. Go ahead.

The BOYFRIEND puts the chair aside and goes

back to spot, clears his throat and adjusts his
posture.

BOYFRIEND
(Catching up.)
Okay...“Henry the Sixth Part Three”.

The BOYFRIEND turns around with his back to

the audience. A few seconds later, he spins back.
He is bent over to suggest a hunched back. While
his portrayal of Gloucester is not grotesquely
over the top, it’s still pretty rough to watch. It is
very clear that he has structured his blocking
very specifically and performed this many times
in front of the mirror. He clutches a large
invisible “sword” throughout his speech.

BOYFRIEND
(In his Gloucester voice, whatever that is.)
What! Will the aspiring blood of Lan
caster
Sink in the ground I thought it would have
mounted!

He wields his sword to the sky.

BOYFRIEND
See how my sword weeps for the poor king’s
death! O! May such purple tears be always shed
from those that wish the downfall of the house.
If any spark of life be yet remaining,
down...
 34.

He reaches forward to grab the imaginary

shoulder of the king. He tightens his hand and
pulls it toward him suggesting bringing someone
close to his face and thrusts his sword into the air
in front of him.

BOYFRIEND
...DOWN TO HELL! And say that I sent thee thither!

He makes another stabbing motion accompanied

by a fierce grunt of effort, then two more, then an
additional three. All with lots of grunting. He
dramatically lets go of the “king” and watches
him drop to the ground.

BOYFRIEND
I, that have neither pity, love, nor fear.

He looks to the STAGE MANAGER as his

audience. The STAGE MANAGER stares back
at him.

BOYFRIEND
Indeed, ‘tis true, the Henry told me of;
For I have often heard my mother say
I came into the world with my legs forward.
Had I not reason, think ye, to make haste,
and seek their ruin that usurp’d our right?
The midwife wonder’d, and the women cried...
(In a high falsetto.)
‘O! Jesus bless us, he is born with teeth,’
(Back to normal.)
AND SO I WAS! Which plainly signified
that I should snarl and bite and play the dog!!!

He stops cold. He has become so caught up in

his enthusiasm that cannot remember the next
line.

BOYFRIEND
(To himself, barely audible.)
...which plainly signified
that I should snarl and bite and play the dog.
 35.

He stands frozen. Panicking and frantically

searching his brain. Finally, he drops character.
His head sinks down.

BOYFRIEND
Shit.

STAGE MANAGER
It’s okay. Keep going.

BOYFRIEND
I don’t know what comes next.

STAGE MANAGER
It’s okay, just take the time you need to remember it, when you do, go on. Keep going.
Don’t stop or give up or anything.

BOYFRIEND
Shit.

He rewinds and quickly goes through the

blocking and mouthing the words, hoping it will
spark something. Suddenly, it hits him. He races
back to his place, gets into character, and
continues from where he left off.

BOYFRIEND
...Which plainly signified
that I should snarl and bite and play the dog!
Then, since the heavens have shap’d y body so,
(Indicating/emphasizing his posture.)
let hell make crook’d my mind answer it.
I have no brother, I am like no brother;
and this word “love”, which greybeards call divine,
be resident in men like one another.
And not in me: I am myself alone.

Suddenly, he runs (limps/hobbles) to the foot of

the stage.

BOYFRIEND
CLARENCE BEWARE! Thou keep’st me from the light:
but I will sort a pichy day for thee;
 36.

for I will buzz abroad such prophecies

that Edward shall be fearful of his life;
And then, to purge his fear...

He slashes with the imaginary sword in triumph.

BOYFRIEND
...I’ll be thy death!
King Henry and the prince his son are gone:
Clarence, thy turn is next, and then the rest,
Counting myself but bad till I be best.
I’ll throw thy body in another room,
and triumph, Henry, in thy day of doom!

He takes the inside corner of his sport jacket,

whips it around the side of his body like a cape,
and begins to exit stage right. He stops midway,
returns to his normal self and nods to the
audience.

BOYFRIEND
Thank you.

Silence. He starts to exit as if he were leaving the

stage after the audition. Halfway, he turns around
and goes center stage to meet the STAGE
MANAGER.

STAGE MANAGER
(With finality.)
Okay.

BOYFRIEND
Okay?

STAGE MANAGER
No. Good!

The STAGE MANAGER gets up and walks to

the BOYFRIEND.

BOYFRIEND
Yeah?
 37.

STAGE MANAGER
Yeah. Sit.

They both sit onstage facing one another. The

STAGE MANAGER consults the notes she has
taken.

STAGE MANAGER
Now, um... first of all I have to say, this isn’t my job. I mean, I’m not the director so I can’t
really give you any, um, artistic suggestions. I’m not great at the acting thing. I SM. What I
can tell you though is what I’ve seen them, um, respond to in the past. The things that they
look for. So... I’m not sure, you know, how much help I’ll be here. But, I’ll do my best
here.

BOYFRIEND
Great! Yeah! Anything!

STAGE MANAGER
Okay. First, there was the chair thing, but you’ve got that now.

BOYFRIEND
Mmm. Mm-hm.

STAGE MANAGER
All set with that. So... then there was the line thing.

The BOYFRIEND gives a heavy sigh.

STAGE MANAGER
BUT, you know what you’re supposed to do now, right? Stay with it. Don’t freak out.
Stop and think and move on like nothing happened.

BOYFRIEND
Okay.

STAGE MANAGER
Okay. As far as the performance itself. You’ve made sure he... Gloucester, you’ve made
him very... big.

BOYFRIEND
(Very serious.)
Yes. He is.
 38.

STAGE MANAGER
Uh-huh. Well, you make that very clear. To the audience.

BOYFRIEND
Good!

STAGE MANAGER
Yeah. And as part of that you have made some really bold choices and have really...
committed to them. So that’s... good.

BOYFRIEND
Okay!

STAGE MANAGER
I mean, directors hear the same pieces over and over and over. So, when someone comes
along with... big choices, the directors, will definitely... remember them.

BOYFRIEND
(He thinks he’s getting it, but he is
oblivious to the STAGE MANAGER’s
delicacy.)
Riiight.

STAGE MANAGER
So with everything you’re doing, the things, the gestures, the sw-

BOYFRIEND
(Overlapping.)
The sword!

STAGE MANAGER
Right, the sword. They stick out. That’s all, very... memorable.

BOYFRIEND
Thank you.

STAGE MANAGER
So that’s what you’ll give them and they’ll remember you. They’ll think, “Oh, it’s that guy.
I remember what he did.”

BOYFRIEND
Great!
 39.

STAGE MANAGER
And that’s what you’re doing, I suppose. What you’re trying to accomplish. To really
“stand out” among the rest.

BOYFRIEND
Okay.

STAGE MANAGER
(Scanning the rest of her notes.)
Okaaaaaay. Oh! Do you have headshots?

BOYFRIEND
No.

STAGE MANAGER
Yeah, get headshots. They’ll act like they don’t really need one but they really do want
them. Plus, it helps them... remember you.

BOYFRIEND
(Starting to get overwhelmed.)
Okay...

STAGE MANAGER
But this isn’t my thing you know? I can only offer stuff from what I see them do when
they come in and even that changes a lot between who the director is and what the show is
and the character. But, I guess you should just have fun and do your best and have a good
time and stuff. You know?

BOYFRIEND
Yeah.

STAGE MANAGER
Sorry. Probably not what you were expecting.

BOYFRIEND
No, it’s very helpful.

STAGE MANAGER
Well, good.

The STAGE MANAGER checks her watch.

STAGE MANAGER
Sorry, I gotta shoo you outta here and go do this other thing now.
 40.

BOYFRIEND
Sure. Absolutely.

The STAGE MANAGER starts to leave.

BOYFRIEND
Oh hey, there’s one more thing. Lemme ask you something really quick...

The STAGE MANAGER looks up.

STAGE MANAGER
Yeah?

BOYFRIEND
Did you like it?

She stares at him. She opens her mouth to speak.

Blackout.
 41.

SCENE FIVE “A MEETING”

Lights up. The same space as before. The

STAGE MANAGER sits on the edge of the
stage. Waiting. She scans the auditorium and
backstage areas trying to see if anyone is around
all while repeatedly clicking her pen. She checks
her watch. She scans the auditorium and
backstage again. Suddenly, the VETERAN
(male, 50’s - 60’s) booms through the wings. He
is layered in coats and sweaters. His hair is
greasy and his face is unshaven. He carries a dog-
eared script under an armpit.

VETERAN
(Full of friendly energy.)
Hi! Hello!

The STAGE MANAGER gets up and crosses

over to the meet the VETERAN.

STAGE MANAGER
Hi!

VETERAN
How are you?

STAGE MANAGER
I’m fine. How are you?

VETERAN
Oh, I’m just ducky!

Before they reach each other the VETERAN

rushes to the STAGE MANAGER and gives her
a big bear hug, spinning her and lifting her off
the ground.

STAGE MANAGER
Oof!

VETERAN
(Mishearing her.)
Ha ha! Woof!
 42.

The VETERAN puts the STAGE MANAGER

down and gives her a big smile. She gets her
bearings. She obviously did not like that. The
VETERAN tosses the script to the ground and
starts to take off his coat and a scarf.

VETERAN
So, what’s happening pretty lady?

STAGE MANAGER
Well, you know, not much. Just busy.

VETERAN
Yes, well, busy is good! Busy is good, right?

STAGE MANAGER
(Smiling hesitantly.)
Sometimes.

VETERAN
(With a booming laugh.)
Sure, sure.

STAGE MANAGER
Listen...

The VETERAN tosses his coat and scarf to the

floor.

VETERAN
(Playfully.)
Yeeeeeeeeeeeeeeees?

The STAGE MANAGER goes to a corner and

collects a couple of chairs and places them center
stage.

STAGE MANAGER
Thanks for coming in. I wanted to know if it would be okay if we were just to, uh, talk
about some things.

VETERAN
Just you and me?
 43.

STAGE MANAGER
Yes.

VETERAN
Oh. Okay. Is this why you needed me here early?

STAGE MANAGER
Yes.

Beat.

VETERAN
So, no one else is here?

STAGE MANAGER
No. Not yet. Not ‘till six.

VETERAN
The way you said it on the voice-mail, it sounded like several of us were meeting up or
something. To work on a scene or something.

STAGE MANAGER
No. Just us. You know. Just a chat.

VETERAN
(Genuinely confused.)
Okay. Well, sure. Uh, where would you..

STAGE MANAGER
Oh, right here is fine. Is this okay with you?

VETERAN
Sure.

STAGE MANAGER
Good.

They sit facing one another.

VETERAN
So, what’s going on?

STAGE MANAGER
Well, there is something that I would like to talk with you about. With you.
 44.

VETERAN
Alright, what is it?

The STAGE MANAGER readies herself. She’s

been prepping for this.

STAGE MANAGER
I have a question to ask you. There’s something that is very important that I need to ask
you. And you... I need... and I need you to be honest with me because it’s very important.
Okay?

VETERAN
Alright.

STAGE MANAGER
I need you to tell me if you are drinking again.

Beat.

VETERAN
Am I...?

STAGE MANAGER
Yes.

VETERAN
No.

They stare at one another.

VETERAN
No.

STAGE MANAGER
No. You are no longer drinking.

VETERAN
No, I am not.

More staring.

VETERAN
No. I am no longer drinking.
 45.

More staring.

VETERAN
I don’t understand...

STAGE MANAGER
You...

VETERAN
Why are you...?

STAGE MANAGER
We, um... some of us, that know you... and I want you to know that I’m not here
representing the actors. They didn’t ask me to do this. I’m... for the higher-ups. We... we
have all noticed things, and all of these things are problems that we have had in the past.
And we thought they were not going to be problems anymore because they had been
addressed and taken care of.

VETERAN
They are. They... have.

She changes. This was his chance. Any casual

friendliness or delicacy has dropped. She now
becomes the boss.

STAGE MANAGER
It does not seem that way.

VETERAN
Now wait, I don’t understand. What exactly are all of these things you are talking about?

The STAGE MANAGER sighs.

VETERAN
What? What am I doing?

STAGE MANAGER
Well....

VETERAN
(Interrupting.)
What?
 46.

STAGE MANAGER
I’m telling you. First of all, you fell asleep. You fell asleep right in the middle of....

VETERAN
I was in my dressing room.

STAGE MANAGER
You were. You were. But it was right in the middle of a performance. You missed your
entrance.

VETERAN
Look, I have been in heavy techs all week. All of those late nights. I’m also coming in
during the days now. Days like this for instance. More time. Of course I’m going to get
tired for cryin’ out loud.

STAGE MANAGER
No. That is not the point. The point is you had passed out. You were passed out. We could
not wake you up.

VETERAN
I was... exhausted! You know, it’s... that’s probably exactly what it was, exhaustion! I
haven’t...

STAGE MANAGER
That’s not what exhaustion is.

VETERAN
All of that time.

STAGE MANAGER
No, I’m not just saying you fell asleep.

VETERAN
It’s exhaustion!

STAGE MANAGER
No! Not when I have to wipe up fucking vomit off the floor! Not when I have to have a
fucking stagehand who’s name I don’t even fucking know fucking drive you home and
literally put you to bed. What is that? Exhaustion? No. What could that be? What does that
say to you? What would you call that?

The VETERAN thinks. The STAGE

MANAGER waits for a response.
 47.

VETERAN
Listen, what happened that night was terrible.

STAGE MANAGER
Yes. It was.

VETERAN
(Attempting to lighten things up.)
Now, come on, you know me.

STAGE MANAGER
Yes. I do.

The VETERAN thinks a moment to figure out

what she means by that.

VETERAN
(Selecting his words very carefully.)
But you must understand how tired I’ve been lately. We’re rehearsing one thing by day,
performing another thing at night, and now they’ve started these new “morning meetings”.
Also, it’s... I’ll be honest with you, things are difficult for me right now. There are some
things going on, personal stuff. Now, please understand, I’m not trying to make any
excuses or try to get you to...

STAGE MANAGER
Please. Stop. I get that you are tired and that the new schedule is... and you’re right, a lot.
There’s a lot going on. We’re all busy right now. Now, I’m sorry to hear that you are
having personal problems, but you need to remember that you are not the only one that
matters here. We all have our shit, you know. God, knows I do.

VETERAN
I don’t think that...

STAGE MANAGER
(Firmly.)
I am not finished. You have your shit. Fine. But, you need to deal with it on your own. It’s
not my problem. However, when you bring your shit onstage, when you bring your shit
into this entire goddamn building with all of us inside, you make it my problem, and I do
not need that.

VETERAN
Very tired. I have been very tired these past few months and... I suppose... no, you’re right.
It has started to affect my work. Now, that night was a problem. I suppose this is long
overdue, I never really spoke to you or anyone about it. I am... so sorry for the trouble I
have caused. I can’t express the embarrassment and...
 48.

Reading her stare.

VETERAN
... shame and I can’t imagine the severity of all of that and how that has affected all of you.
I can’t escape that, or deny it, or ask for anyone to forget it. I slipped up. I screwed up.
And that is the truth.

She waits for more. He’s not getting out of it that

easily.

VETERAN
That’s the truth. I’m sorry I lied earlier. But that is the truth. I promise you that.

The STAGE MANAGER drops her head. She’s

not getting anywhere.

VETERAN
But... I want you to know that today I feel absolutely fantastic. I really do. I slept all
through the night last night, I woke up this morning feeling totally energized, and can’t wait
to get started for the day! So much better...

STAGE MANAGER
(Interrupting.)
Okay, you may feel that way, but that does not mean the problem instantly goes away
especially not overnight. For all I know, it may never have stopped at all. Did it? And look,
it’s not just a sleep thing. You’re... distant. You forget things. A lot. You are often late to
rehearsals. Example, today... just for this... you were late.

VETERAN
I...

STAGE MANAGER
You’re not taking care of yourself. You’re all...

VETERAN
What?

She wants to address his appearance, but decides

to go a higher route.

STAGE MANAGER
Shaky. Not healthy. You’re making people nervous.
 49.

VETERAN
(Sarcastically.)
Oh, I’m so sorry! I never meant to make anyone else feel uncomfortable!

STAGE MANAGER
(Anger building.)
Stop it. Do you hear yourself? Now you are defending yourself! You’re lying to me, and
you are getting angry, but you know this is all true.

VETERAN
(Building as well.)
So? What now? What do you want from me? What’s going to happen to me? What does
the little errand girl have in store?

STAGE MANAGER
(Fiercely. A command.)
Stop!

This shuts him up. She settles.

STAGE MANAGER
You stop. This moment. Everything. Now. No more second chances. Stop.

Beat.

VETERAN
(Quietly.)
I feel much better today.

The STAGE MANAGER watches him for

another moment. Finally, she rises, and puts her
chair aside.

STAGE MANAGER
Okay. I’m done. I’m not going to keep sitting here talking about this. I’ve said it now. I’ve
done what I’ve been asked to. You know what you need to do, you know what’ll happen if
you don’t. Up to you. I’ll see you later.

The STAGE MANAGER gathers all of her

things and leaves. Not giving a second look to
the VETERAN. He sits motionless. He shuffles
his feet and looks out where the STAGE
MANAGER exited. He closes his eyes and puts
his hands to his face, rubbing it hard.
 50.

VETERAN
(Thru his hands.)
Fuck.

The VETERAN’s takes his hands away from his

face. His face is red and his hands are trembling.
He coughs and wipes his face with one hand,
then wipes it off on his pant leg.

VETERAN
Fucking fuck.

He stares at the floor. Blackout.

 51.

SCENE SIX “AFTER REHEARSAL”

Lights up. The VETERAN and the

UNDERSTUDY (female, 20’s) stand in the
doorway of an auditorium. The VETERAN
wears his coat and scarf. The UNDERSTUDY
wears tight, perhaps slightly inappropriate
rehearsal clothes and carries a tote bag over her
shoulder.

UNDERSTUDY
... but... no. Yeah, I’m very nervous. I’ve, you know, done shows, but I’ve never done one
show and understudied the lead in another one at the same time. I don’t know. I mean, it’s
kinda scary.

VETERAN
Well, of course it’s scary. It’s a lot to ask of a person.

UNDERSTUDY
No, I’m just nervous is all. But this is my thing. This is what I always do, I freak out about
stuff. I just hope and pray, you know, that I never have to actually go out there.

VETERAN
You’ll be fine.

UNDERSTUDY
(Rolling her eyes.)
Uh, we’ll see about that.

VETERAN
No, you’re wonderful! You’ll be great!

UNDERSTUDY
I mean they don’t end up using understudies very often, do they? That never really happens
right?

VETERAN
Well, I don’t think so, I mean not all the time. At least here. Oh, well, it’s been known to
happen, of course. Actually, to tell the truth, sometime last month we had someone go on
for me in “Merry Wives”. I guess it does happen. We’ve had Maria Von Trapps get
pregnant, Willy Lomans with severe nosebleeds. So... yeah they do, but everything always
works out. They pick their understudies very carefully and would never give that kind of
responsibility to someone if they didn’t think they had the chops. So that’s why they
picked you.
 52.

UNDERSTUDY
That’s a very nice thing to say. Still. Blerg.

VETERAN
“Blerg”?

UNDERSTUDY
Yup. Don’t like it. Blerg.

VETERAN
(Chuckling.)
“Blerg”. That’s a new one for me.

UNDERSTUDY
You never heard someone say that?

The VETERAN shakes his head.

UNDERSTUDY
Yeah, you know, blerg.

VETERAN
Hm. I know “meh”.

He demonstrates a slow, impartial shrug.

VETERAN
Do you still say “meh”?

UNDERSTUDY
Yes, we still say “meh”

VETERAN
But “blerg”. It’s like disgust. Basically just a rip-off of “blech”?

UNDERSTUDY
Yeah, I guess.

VETERAN
Hm. Learn something new every day. You kids are cute. Weird, but cute.

The UNDERSTUDY giggles.

 53.

UNDERSTUDY
So, wait... did you ever understudy another role?

VETERAN
(Hesitantly.)
Yes. A few times.

UNDERSTUDY
You did? Tell me about it! What was it for?

The VETERAN groans.

UNDERSTUDY
Ooh, there’s a story! You have to tell me about it!

The VETERAN continues a more labored groan.

UNDERSTUDY
Ooh, it’s a goooooooooood story!

After an exaggerated modest struggle, he relents.

VETERAN
Here’s a story for you...

UNDERSTUDY
Okay!

VETERAN
I was just a pup. Out of school and living in abject poverty in Philadelphia. I was doing
okay. Waiting tables and sharing a studio flat with another guy. But I hadn’t had any real
work yet. Finally, one day, lady luck shows up and I was hired by a summer company to
play an assortment of very small roles for very little pay. Third soldier. Chorus boy.
Servant number five. So on. Yet for some odd reason, and to this day I still can’t imagine
why, they thought it was a good idea to have me understudy for their production of
“Streetcar” that was going at the time.

UNDERSTUDY
Oh wow, as who?

VETERAN
(More embarrassment than vanity.)
Well, Stanley.
 54.

UNDERSTUDY
Oh wow.

VETERAN
Well, understudy. Anyway, it’s opening night. Of course it is, right? Well, Stanley, the real
Stanley, boom! Breaks his ankle that morning. Apparently he got out of a car weird and
was somehow able to break it. Wait, was it his knee? Ankle? Now, I’m not sure. Let’s say
ankle. So, ankle’s broken. He can’t do the show.

UNDERSTUDY
Oh no!

VETERAN
So, he can’t do the show, that means I gotta go on. I’m terrified now. I spend the whole
day panicking and pouring over the script and also trying to get into his giant costume.
Now, this was a big guy. Not fat, I mean. Solid. All muscle. Like a football player. But
that’s how it should be, right? That’s what Stanley is supposed to look like, right? Not me
though, nothing at all, they had to sew me into this thing.

The UNDERSTUDY giggles.

VETERAN
Me basically sweating bullets.

UNDERSTUDY
Sure.

VETERAN
So, we start the show and, surprisingly enough, things are going pretty good. Not bad.
Sure, a few flubs here and there, but honestly, not bad. So, I’m feeling better. I eventually
start to grow a bit of confidence. I’m starting to feel, you know, pretty good now and
then... well, you know “Streetcar”?

UNDERSTUDY
Of course I do!

VETERAN
I’m sorry, of course you do. You probably had to read it for some 20th Century Drama
class when you were out getting your major.

UNDERSTUDY
No, no. I already knew it.
 55.

VETERAN
(Impressed.)
Oh, well good for you!

UNDERSTUDY
Whatever.

VETERAN
No. Good for you! Keep reading. Read all that old stuff. It’s good for you. You’ll be glad
you did. Well, I mean, read the new stuff... that’s important...

The VETERAN has gone somewhere else.

Losing his focus and getting fuzzy. He can’t
remember what he was saying.

VETERAN
... um... I can’t remember...

UNDERSTUDY
(Referring to his story.)
You’re feeling pretty good.

VETERAN
What?

UNDERSTUDY
(Still unaware.)
The show is going okay.

VETERAN
(He comes back.)
Right, the show. So... yes. Show is going good. Okay. So then there’s the part where
Stanley grabs Blanche. So, the Blanche and I are up there and we’re, you know, going into
it, smash the bottle, kiss, blah blah blah. Now, I’m supposed to lift her up and carry her
to...

UNDERSTUDY
(Egging him on.)
Yeah.

VETERAN
So, we get to that part and I lean in to lift her up, and when I do, I can’t budge her. So, I
give another pull. Nothing. I just can’t get a grip or something. Finally, third time’s a
charm, I grab her by the ruffles of her nightgown and heave with all my might. Now, I do
lift her but I only get her up so she’s just barely hanging a couple of inches off the ground.
 56.

It’s awkward and it looks weird. Her butt is pointing out and I’m slouching over. She
looks like she’s sitting in a some big saggy hammock. By the way, this must tell you an
awful lot about my upper body strength, eh?

She giggles. He’s funny.

VETERAN
Yeah. So, I’ve sort of got her off the ground and I sort of shuffle my feet up so that I can
keep my balance and I’m already starting to lose my grip. So I sturdy myself and crawl my
fingertips down, grab some more gown and give one more hoist... and I hear a huge
“RIIIIIIIIIIP!”

UNDERSTUDY
(She can see where this is going.)
Oh no! Oh no! Oh no! Oh no!

VETERAN
The entire gown rips right down the middle and she splats onto the ground in nothing but a
pair of panties.

UNDERSTUDY
Oh my gosh!

VETERAN
So, she shoots me the evil look of death. Everything suddenly goes in slow motion. You
can hear a pin drop. Then whoosh! She gets up and stomps off leaving me alone onstage
with a blank face and a torn nightgown.

UNDERSTUDY
So what did you do?

VETERAN
I stood there and blinked for a while, then I looked offstage after her, and I said the first
thing that popped into my head.

UNDERSTUDY
Which was?

VETERAN
(He hesitates. Then painfully, one word at
a time.)
“Blanche. Come back. We’re not done.”
 57.

The UNDERSTUDY laughs and claps her

hands excitedly. He rolls his eyes and smiles
with her.

UNDERSTUDY
And then what did you do?

VETERAN
I walked offstage and died.

They laugh together.

VETERAN
So, please realize my dearie... It’s not like you could do any worse than that.

UNDERSTUDY
No, I guess not.

Beat. She awkwardly adjusts her bag and turns

to leave.

UNDERSTUDY
Well...

VETERAN
(Overlapping her.)
You know, you...

She stops.

VETERAN
You know, I’ve been meaning to tell you how much I’ve been admiring the work you’ve
been doing here.

UNDERSTUDY
Oh?

VETERAN
Absolutely. You have some really fantastic instincts. It’s... it’s fun to watch. To watch
people explore and discover. It makes the rest of us old fogies get off our duffs so we can
keep up with the young ‘uns.

UNDERSTUDY
No way. You’re so good!
 58.

VETERAN
You’re good.

UNDERSTUDY
(Blushing.)
Well, wow, thank you. That means a lot to me.

She takes a deep breath. She needs to talk to

someone about this.

UNDERSTUDY
I’ve been... having doubts. You know, no one’s been telling me anything. I don’t feel like
I’m getting any feedback or if what I’m doing is right.

She’s not crying. But she is upset.

UNDERSTUDY
I feel like I’m doing so badly, and it’s too late to bring someone else in, so they just gave
up and don’t give me any notes at all.

VETERAN
No, hey, hey, hey! You are very smart and very clever. It’s fun for an old fart like me to
watch young people create.

UNDERSTUDY
You are not! Hush your mouth!

VETERAN
It’s true.

UNDERSTUDY
No! But, thanks. I, uh, that means a lot coming from... I should say... I’ve seen you in so
much and I really admire your work and, well, I’m so glad to be here and to work with
you.

VETERAN
That’s very sweet of you.

UNDERSTUDY
Well, it’s true.

VETERAN
The pleasure’s all mine.
 59.

They smile at one another.

VETERAN
Where are you off to from here?

UNDERSTUDY
Oh, nowhere. I was thinking I’d just pop into a coffee place and go over lines.

VETERAN
Very good.

Beat.

VETERAN
Listen, I was wondering if... perhaps you’d let me buy you a...

He stops for a moment. This might not be a good

idea.

VETERAN
...take you for a meal or something?

UNDERSTUDY
Yeah, I’d like that.

VETERAN
Yeah?

UNDERSTUDY
Yeah. I’d um, I’d really like that.

VETERAN
Well, good!

UNDERSTUDY
Now?

VETERAN
(Taken aback.)
No! We don’t have to...

UNDERSTUDY
I’m hungry. Aren’t you hungry? Let’s go now!
 60.

He really wasn’t ready for this. Should he be

doing this? Finally...

VETERAN
Yeah. You know what? Sure! Let’s go.

They both gather their things and start to leave.

The VETERAN opens the door leading out the
auditorium for the UNDERSTUDY. As she
goes thru, the UNDERSTUDY notices the
VETERAN’s hand on the surface of the door,
visibly quaking.

UNDERSTUDY
Oh! Are you okay?

The VETERAN rubs his hand. Hiding it.

VETERAN
Oh, it’s stupid. I just... I hit my hand on a railing a few days ago and it’s been doing that a
bit since. It’s going away though.

UNDERSTUDY
Ouch. That hurts!

VETERAN
Nah.

The VETERAN holds the door open for the

UNDERSTUDY. He follows her as she exits.
Blackout.
 61.

SCENE SEVEN “BACKSTAGE”

Lights up. The LEADING LADY (female, 40’s -

50’s) sits cross-legged on a large worn sofa in a
backstage green room. She wears a women’s
business suit. She is reading a magazine and
occasionally mouths the faint dialogue heard over
a loudspeaker from the play that is mid-
performance. She picks up a towel sitting on the
couch, drapes it across her chest, and takes out a
pack of cigarettes. She lights a cigarette, takes a
deep drag and sinks deeper into the couch. The
UNDERSTUDY enters. She is also dressed in a
suit, but this one is much sexier and revealing.
The UNDERSTUDY waves to the LEADING
LADY as she crosses to a long bench opposite
the couch. The LEADING LADY acknowledges
her with a nod mid-drag. The UNDERSTUDY
flops onto the bench, takes a deep breath and
sighs.

UNDERSTUDY
Mmm.

LEADING LADY
Mmm?

UNDERSTUDY
Mm-hmm.

LEADING LADY
Mmm.

Beat.

LEADING LADY
Good-sized house out there.

UNDERSTUDY
Yeah? I didn’t see.

LEADING LADY
Mmm-hmm. Good-sized house.
 62.

UNDERSTUDY
Good.

Beat.

LEADING LADY
Hey...

UNDERSTUDY
Yeah?

LEADING LADY
I was wondering if I could ask you something.

UNDERSTUDY
Yeah?

LEADING LADY
Well, you know the scene in the second act with you and the officer and me?

UNDERSTUDY
Officer and you?

LEADING LADY
Yes.

UNDERSTUDY
Yeah?

LEADING LADY
I was wondering if I could ask you something about it...

UNDERSTUDY
Okay.

LEADING LADY
Well, he and I are together, he pulls me aside to the corner downstage, and you’re left up
there by yourself.

UNDERSTUDY
Yeah.

LEADING LADY
What are you doing there?
 63.

UNDERSTUDY
That’s the blocking.

LEADING LADY
No, I mean what are you... like... actively doing?

UNDERSTUDY
Nothing. I’m just watching you guys talk.

LEADING LADY
And that’s all? You’re just watching us talk?

UNDERSTUDY
Well, yeah. Wait, what do you mean?

LEADING LADY
Well, I say, “No, I never did.” Then he says, “You say that, but I don’t believe a goddamn
word.” Then tonight, the audience made some sort of odd... I don’t know... chuckle. Now,
I don’t see how it’s funny. We’ve never had that response in previews and tonight it just
shows up out of nowhere. I wanted to know what it is you’re doing while we’re going on.
If that might be something.

UNDERSTUDY
Well, nothing. He says that line and I’m standing there watching and smiling.

Beat.

LEADING LADY
You’re smiling?

UNDERSTUDY
Yeah.

LEADING LADY
Why are you smiling?

UNDERSTUDY
Because I think it’s funny.

LEADING LADY
You think it’s funny or the character thinks it’s funny?

UNDERSTUDY
Well, the character does. Elsa.
 64.

LEADING LADY
Why would Elsa think that’s funny?

UNDERSTUDY
(Hesitantly.)
Because... she loves him, she admires him, she hates you. So watching him treat you like
that gives... she likes it and it makes her smile.

LEADING LADY
Have you always been doing that?

UNDERSTUDY
What?

LEADING LADY
Have you always been smiling?

UNDERSTUDY
Well, not really. I guess it’s something I just started doing.

LEADING LADY
When?

UNDERSTUDY
Well, I guess... tonight really. I thought of it and it made sense and I did it and it just felt
right.

Beat.

LEADING LADY
I see. Why did you start doing this all of a sudden?

UNDERSTUDY
I... think that it makes sense for the character.

LEADING LADY
Uh-huh.

The LEADING LADY stares at the

UNDERSTUDY with the same expression you
would make if you saw someone with worms
burrowing out of their eye sockets.
 65.

UNDERSTUDY
I’m sorry. Is something wrong?

The LEADING LADY takes a deep drag from

her cigarette. She exhales.

LEADING LADY
No.

UNDERSTUDY
Are you sure?

LEADING LADY
No. I just didn’t know... and... I wanted to know why.

UNDERSTUDY
Okay.

LEADING LADY
Tell me something, did Mr. Director say that you could just add things whenever you
wanted?

UNDERSTUDY
What?

LEADING LADY
Did he say you could add whatever you wanted like that?

UNDERSTUDY
No, but I’m pretty sure that he would like me to continue to explore the character
throughout the run.

LEADING LADY
I see. And he said that you? He specifically pulled you aside and said, “Know what? Keep
adding and doing new stuff during the run. Whenever you want.” Did he say that?

UNDERSTUDY
No.

LEADING LADY
Right. Of course not. That’d be ridiculous.

The LEADING LADY goes back to her

magazine. Silence. The UNDERSTUDY is wary
of what to say, if anything.
 66.

UNDERSTUDY
Is everything okay?

The LEADING LADY tosses aside the

magazine.

LEADING LADY
Well, I’m sorry, I just don’t understand.

UNDERSTUDY
I’m sorry, I’m not...

LEADING LADY
(Interrupting.)
Does he know you’re doing it?

UNDERSTUDY
No. I don’t know!

LEADING LADY
No?

UNDERSTUDY
I don’t know! Maybe he saw it tonight when I did it, but he didn’t say anything.

LEADING LADY
He didn’t say anything, so you’ll just keep doing it because you get a laugh.

UNDERSTUDY
That’s not what I meant! I don’t know...

LEADING LADY
You say that again, you don’t know, but you’re gonna keep doing it.

UNDERSTUDY
Sometimes he comes back to watch. Maybe if he doesn’t think it’s right he’ll ask me to
stop.

LEADING LADY
But only if he does. If he doesn’t, you’ll keep going.

UNDERSTUDY
(Thinks a moment.)
Yes.
 67.

The LEADING LADY laughs to herself as she

puts out the cigarette in an empty soda can and
tosses the towel on her chest aside.

LEADING LADY
Uh-huh. Okay.

UNDERSTUDY
I’m sorry, I don’t understand. Are you angry with me?

LEADING LADY
I am just very surprised and I think it’s very strange. To change the play like that. To treat
your director like that. Not to mention us. I don’t see how you can think that that’s
professional.

UNDERSTUDY
I’m not...

LEADING LADY
You do realize that the rest of the cast thinks the same thing, you know?

UNDERSTUDY
No, I don’t.

LEADING LADY
It’s true. Well. That’s very brave. That’s very brave.

UNDERSTUDY
Brave?

LEADING LADY
It’s really something for you to come in here and behave like that in front of us, as well as
everyone out there.

Silence.

UNDERSTUDY
I don’t think so.

LEADING LADY
Excuse me?

UNDERSTUDY
I don’t think you’re telling me the truth.
 68.

LEADING LADY
You don’t?

UNDERSTUDY
You’re just making things up and being rude and really just rude. Why are you saying
these things to me?

LEADING LADY
(With a sigh)
I just don’t know why you’re here. I mean, do you? You’re vain, you flirt like some
cheerleader with every man in the cast, who knows how many of them you’re sleeping
with. Do you work? Like, actually do your work? No. You do it one way in rehearsal,
then eventually once we’re up and running, everything gets thrown out the window. It’s all
about you. Some sort of little Barbie doll and her dress up time. You just... tire me.

UNDERSTUDY
Stop it!

LEADING LADY
Stop it, stop it, stop... you stop it! Christ, I swear to God it gets worse every year. Worse
and worse and worse and worse. All of these dopey, blinking little twats, coming in here
and doing whatever the hell they want. Can’t you all just please give it a rest for two
goddamn minutes? I mean where the hell’s your goddamn self-respect?

UNDERSTUDY
(Beginning to cry.)
Stop! Why are you doing this?

LEADING LADY
(Rolling her eyes.)
Oh, fuck me.

UNDERSTUDY
I don’t understand! Why are you saying all of this to me? That’s not what everyone
thinks...

LEADING LADY
(Interrupting.)
I can tell you...

UNDERSTUDY
(Continuing.)
I am trying really hard here and I’m doing my best to... do good work for...
 69.

get along with everyone. I’ve never done anything like any of this before and I’m trying!
What did I do? You’re... attacking me like this. Stop!

LEADING LADY
Oh, for God’s sake, I’m not fucking “attacking you”. Where do you get off? You wiggle in
here and you do whatever you want. You don’t work at this! I work at this! And I work
goddamn hard. Why? Because I respect myself too much not to. Coming in here with all of
this. I mean, who do you think you...

The LEADING LADY abruptly stops.

LEADING LADY
(Calm and deliberate.)
You know what? Nevermind. Forget about the whole thing. I’m sorry. I’m sorry. I really
am. It’s not you. To put it simply, I don’t like people that I don’t respect. Unfortunately,
right now in this case that is you and that makes me... get frustrated. I don’t mean to
really... hurt you. It’s not your fault. You just don’t understand. That’s fine. Whatever.

Silence.

LEADING LADY
(Very sincere. Or is she? It’s impossible
to tell.)
I’m sorry about all of that.

The UNDERSTUDY doesn’t know how she

feels that this point.

LEADING LADY
Okay?

UNDERSTUDY
Okay.

There is no way this conversation can end this

way.

LEADING LADY
(Abruptly.)
I do want you to consider this though. There is going to be a day. Probably years from
now and you’ll remember this conversation and you will think to yourself “Oh!” It’ll be so
clear then. “Oh...”
 70.

The UNDERSTUDY snatches up a magazine

from the table. She hurls it at the LEADING
LADY. She then stands and stomps out.

UNDERSTUDY
(Over her shoulder.)
Bitch!

The LEADING LADY watches the

UNDERSTUDY stomps off. She looks at a
wristwatch sitting on the table, considers the time
she has, and goes for another cigarette. Blackout.
 71.

SCENE EIGHT “THE OPENING NIGHT”

Lights up. The LEADING LADY and the

DIRECTOR stand smoking on a porch next to a
stage door. The DIRECTOR wears a suit. The
LEADING LADY wears a blouse and loose
skirt. Flowers, small gift bags, and a make-up
case lie at her feet.

LEADING LADY
And so... you just move on. On to the next one.

DIRECTOR
Yup.

LEADING LADY
Next one’s the Shakespeare?

The DIRECTOR nods.

LEADING LADY
Got a good cast?

He nods.

LEADING LADY
Going well?

He hesitates and nods.

LEADING LADY
Ah. I love that look.

DIRECTOR
What look?

LEADING LADY
Oh, you just get this lovely little look on your face whenever you know something that the
rest of us don’t, and it’s... just lovely.

DIRECTOR
I don’t get a look.

LEADING LADY
Mm-hmm.
 72.

Beat.

LEADING LADY
It’s gonna be good, isn’t it?

The DIRECTOR looks at the LEADING

LADY. He smiles. She smiles. They smoke.

LEADING LADY
It’s so strange.

DIRECTOR
What’s that?

LEADING LADY
It’s always like this. We’ll rehearse and rehearse. Work at it and work at it. And then we
open. And then you leave because you need to go do some other show and you don’t
worry about us anymore. I don’t mean for that to sound mean or anything. You’ve just got
the next thing to worry about. And we go on. But... it’s not the same here after you leave.
It really feels like we’re missing something. It’s different after you leave. Does anyone ever
say anything like that to you?

DIRECTOR
Sometimes. In their own ways. Awkwardly. Anyway, It’s supposed to feel different.

LEADING LADY
I know. I know. But it’s a compliment. You should take it as a compliment. Something is
missing and it’s you and it’s... sad.

DIRECTOR
Well... thank you I suppose.

LEADING LADY
Sure.

Silence.

LEADING LADY
It’s a nice night.

The both look up at the sky.

DIRECTOR
Yes, it is.
 73.

LEADING LADY
Going to the cast party?

DIRECTOR
No. I’m tired.

LEADING LADY
So, if I can ask, how are... things?

DIRECTOR
(He immediately knows exactly what
she’s referring to.)
Fine.

LEADING LADY
Yeah?

DIRECTOR
Yeah.

LEADING LADY
Are you... speaking to her? When was the last time you saw her?

DIRECTOR
Not since I signed the papers.

LEADING LADY
Listen, I hope it gets, um... better.

Silence.

LEADING LADY
I’m sorry, I didn’t mean to butt in.

DIRECTOR
No...

LEADING LADY
It’s really none of my business.

DIRECTOR
It’s kind of you to ask.
 74.

LEADING LADY
You’re just here so much. I feel dumb to say this to you but... I hope you have time for...
you, know, yourself.

DIRECTOR
Thank you...

LEADING LADY
Eating and wondering about you sleeping... I’m sorry. Christ, you’d think I was your
mother. Sorry.

DIRECTOR
No.

LEADING LADY
My point is, if you know, you know that if you need anything or to talk. Call me. Know
that?

DIRECTOR
I know that.

LEADING LADY
Okay. Christ, like I was your mother.

They smoke.

LEADING LADY
How did you think the kitchen scene went tonight?

DIRECTOR
Much better.

LEADING LADY
Better pacing?

DIRECTOR
Yes. Much better.

LEADING LADY
Good.

The LEADING LADY looks at the sky again.

LEADING LADY
Quite a night.
 75.

DIRECTOR
Yup. Hey...

The LEADING LADY looks up to him.

DIRECTOR
You really nailed it tonight.

LEADING LADY
(Touched. He doesn’t lie.)
Thank you.

DIRECTOR
You’re welcome.

Beat.

LEADING LADY
Oh! Oh, oh, oh! I forgot to tell you!

DIRECTOR
What?

LEADING LADY
I counted! This is fifteen!

DIRECTOR
What is fifteen?

LEADING LADY
This show. This show. This makes fifteen for you and I. Together.

DIRECTOR
How did you figure that out?

LEADING LADY
I counted. All the programs and pictures and clippings and reviews and shit. I counted
them!

DIRECTOR
You keep all that stuff?

LEADING LADY
Well, yeah.
 76.

DIRECTOR
Why?

LEADING LADY
I don’t know. I kept the program from my first play my freshman year in high school and I
just kept putting them in a little shoebox thing and now it’s all in this big, deep, drawer...
dealie... thing with pictures and reviews and stuff. Even the really shitty ones.

DIRECTOR
And you counted all of them and it’s fifteen.

LEADING LADY
Fifteen times that you’ve directed a show, that I was in. That we have done... together!

DIRECTOR
Hm.

Beat.

DIRECTOR
God, you’re old.

LEADING LADY
Fuck you!

By now they have both smoked their cigarettes to

the filter. They toss the butts into a nearby coffee
can.

DIRECTOR
Hey.

LEADING LADY
Hm?

DIRECTOR
Come back.

LEADING LADY
(Immediately.)
No.

Silence.

DIRECTOR
Please. Come back. I... really miss you.
 77.

The LEADING LADY considers this.

LEADING LADY
No. No, I don’t think you do.

DIRECTOR
What?

LEADING LADY
I don’t think you miss me.

DIRECTOR
I do!

LEADING LADY
No, I think you miss... missing me. Those’re two very different things. I think you’re
lonely. But I’m lonely too, and that is really hard but... we can’t start anything just because
we want to miss someone again. That’s not fair. Did you ever hear that thing about how a
fish has a short-term memory of like, four seconds?

DIRECTOR
I think so.

LEADING LADY
They do. They do their thing for a few seconds and then it all just goes away and they go
back to doing their thing and that’s why they don’t get sick and tired of swimming around
the same little castle. Lucky fucks. You spend the whole day working and talking and
interacting with all these people, but then you go back home where you have your food and
little bed and that’s it. So you get into bed and you go to sleep, assuming you’re lucky
enough to be exhausted enough to conk right out. Then you wake up in the morning, and
even though nothing has changed overnight you think, “Thank God the sun is up and I’m
not alone at night anymore.” Even if you’re waking up to a damn thunderstorm it’s better
than the nighttime because it’s scary at night and when you’re scared, you miss people. I
miss having someone, having someone to depend on and rely on. Sometimes you make the
mistake of telling someone you love them, just to make sure that they never go away. So
you won’t have to worry so much about being alone. You can really destroy someone
when you do something like that. I was with you once. I hope that will never be someone
that does that, But... who knows? No, I’m sorry. I don’t want to hurt you and you mean...
so much... please believe me. I hate saying that.

The DIRECTOR isn’t saying a word.

LEADING LADY
I’ll say one thing.
 78.

DIRECTOR
What’s that?

LEADING LADY
I don’t love you. But I loved loving you.

Beat.

LEADING LADY
Well, I gotta go to this party.

DIRECTOR
Mmm.

LEADING LADY
Ugh.

DIRECTOR
Wait, you...?

LEADING LADY
‘Fraid so. Peer pressure.

DIRECTOR
Well, how very sweet of you. Roughing it with the common folk.

LEADING LADY
Dick.

The LEADING LADY begins to gather her

things.

DIRECTOR
‘Atsa me. Where you parked?

LEADING LADY
South side.

DIRECTOR
‘Kay. I’m north.

She goes to him and kisses his forehead. She

looks at him intently.
 79.

LEADING LADY
(With deep sincerity.)
Less miss. More mind.

Beat.

DIRECTOR
(Confused.)
That’s a thing to say.

LEADING LADY
(Annoyed.)
Yeah, yeah.

DIRECTOR
Wait, what the fuck is that even supposed to mean?

LEADING LADY
I don’t know! It made sense in my head at the time.

DIRECTOR
“Less miss. More mind”?

LEADING LADY
It kinda makes sense doesn’t it?

DIRECTOR
No, it really doesn’t.

LEADING LADY
Come on!

DIRECTOR
(Loving this.)
Nope, can’t let you have it.

LEADING LADY
Ugh, fine.

She has gathered all of her things.

LEADING LADY
See you when I see you.

DIRECTOR
See you when you see me.
 80.

She exits.

DIRECTOR
(To himself.)
Hm. Honesty.

He smiles then exits. Blackout. End of play.