THE DESPOT OF THE THEATRE An Associated Campus Entertainment (ACE-NNP) production. ACE is a group dedicated to the eternal preservation of the fond memories of 1989-1993 Servite High School. Please limit distribution of works without the permission of the authors. Thanks-- the Masters of Inside Jokes (TMIJ). Disclaimer: ACE-NNP in no way promotes the views of libelous authors and represents only the NNP distribution network. Inquiries should be directed to The Editor. Cast of Characters Tricia Chowning (The Phantom of the Opera)-- unloved, unappreciated, physi- cally unattractive power-wielding tragic figure dictatrix Amy Luskey-Barth (Christine DaaÇ)-- trapped between the figures of Jeff Biddinger, the Despot, and Adam; enraptured by Tricia but craving freedom. And needing money. Adam Hawley (Raoul, Vicompte De Chagny)-- Amy's high-born lover and nice guy; doesn't like the Despot-- but then again, who does? Wants money Amy doesn't have. Raymond Dunne (Monsieur Richard Firmin)-- the new principal of Servite, more concerned still than anyone else with money. Fr Gerald Horan (Monsieur Gilles AndrÇ)-- the other new head of Servite, this one more interested in spiritual matters Barbara Messerle (Carlotta Guidicelli)-- the other important person in the Servite Theater. Slightly insane. Tendency to speak with obscure usages. Arnel Dino (Madame Giry)-- choreographer and advisor, a strong woman wise in the ways of the Despot. Erin McNally (Meg Giry)-- close working associate, friend, and all-time favorite of Amy's, who actually plays but a small role for a change here. Murray Saeedy (Monsieur LeFevrä)-- retiring from Servite High School, much to everyone's relief Henry York (Auctioneer)-- the auctioneer. What more do you want? Oh, and read his speech. Isn't it great? Prologue The annual Servite Cheerleader Florida Trip Yard Sale, 1994. Items from the theater are being auctioned off. YORK: Wait, what? Oh, yeah, sure. I...Thanks. Geez! OK, here we go kiddies: Lot 664: looks like a weird pneumatic staple gun or something. Okay. Okay. Okay, all right! Lot 665: a music box shaped like an adding machine, digital display, six function with two-color printout. God, I love this. It's like being the announcer on a game show. You know, how like on Wheel of Fortune they... all right, all right, all right. Geez! OK, here we go, kiddies. Included, it looks like a mannequin, probably from the dress shop, in Persian robes, playing the cymbals. All right. Do I... Well, fine! Sold to Adam again. Thanks a lot! (it is handed to him) ADAM: A collector's piece indeed... every detail exactly as she said. She often spoke of you, my friend, Your plastic casing and your print in blue or red. Will you still add, when all the rest of us are dead...? YORK: Okay, let's go, now. Lot 666: looks like a fragment of a table. Some- thing to go with that mannequin, you know. Oh, wow, I... what color is that? Oh, geez, I have to pick up the paint for my car. Great, now I can't...wait, you know, hasn't... didn't... something with the big Despot of the Theater thing a couple years back? Anyway, the whole thing's been restored. Yippee! (A flash; the overture begins. The `West Side' set appears. The table slides stage left and holds various props: a mannequin, a pneumatic staple gun, etc) ACT ONE Scene 1 West Side rehearsals, 1991. Anita is Erin McNally. Babs and Barth are in the house. Dan choreographs. Saeedy enters with Horan and Dunne. ERIN: A boy like that will bring you sorrow... (stops as Saeedy enters) SAEEDY: This way. Rehearsal for `West Side Story' (senses a hiatus, attempts to attract attention) Hey! You! Stop that! Quiet! BABS: (coldly) I'm sorry, Mr Saeedy, we are rehearsing. If you wouldn't mind waiting a moment? ARNEL: (exasperated by their presence, waddles angrily over) Ahem, gentlemen. If you please, um... SAEEDY: I can't believe you would do this to one good principal instead of those bad kids. (leads aside) I can't wait to be rid of the whole thing. HORAN: Isn't that Amy Barth? What does she do around here? SAEEDY: Is this twenty questions? Is this twenty questions? Use common sense! See the bag-- she is office manager. Always her head in the clouds, I'm afraid. (he claps for silence). Everyone, eh, thank you. You know I am-- stressed, so I will leave for ten days or ten months so let me introduce the two men who now run Servite, Mr Ray Dunne and Fr Gerry Horan. (polite applause. Babs makes her presence felt) Ms Messerle. If you would describe your job... (he sneaks out to a waiting helicopter bearing an Iraqi flag) BABS: Think of me, in the house watching, as you screw up your lines. Remember me, with Tom debauching, and you'll do just fine... After the show, I'll only criticize, no matter how well you have done... (the sound of her car screeching away fills the air) CHORUS: She's here: the Despot of the Theatre... She is with us... It's the ghost... VITELLO:You idiots! Barbie! Barbie! (rushes over to her) Are you all right? DUNNE: Good heavens! Will you show a little courtesy? HORAN: (to Babs) Probably just Drew. These things happen, you know. BABS: Yes. Well until you stop these things happening, this thing does not happen! Tom! Let's go! VITELLO:(Tom dutifully fetches her hat from the wings) Amateurs! ARNEL: She'll be back. Trust me, I know. But I have a message from the Despot (twitters) She forbids talking to the director and reminds you her salary is due. DUNNE: Her salary? Is this in the original budget? ARNEL: Mr Saeedy paid her in food, several hundred pounds per week. Perhaps you can afford more if Adam Hawley comes to work for free... JOHN H: (Amy holds Erin nervously) What are we going to do? There's no assistant. She always insisted on planning everything herself. ERIN: Amy Luskey could direct it, sir. HORAN: The office girl? ARNEL: (to Dunne) Let her direct. She lets me act... AMY: Think of me, watching you ruin four months of my work. Remember me, quietly waiting, to lash out at all you jerks! DUNNE: This is doing nothing for my nerves... AMY: After the show I'll only criticize, cry out "ineptitude, oye vey!" But be sure to bring my flow'rs for the Sunday matinee... (transformation to the Sunday matinee. Amy is revealed in full costume) I never said the show would be that great Or sell more tickets than these three. Just be sure that you remember all the gifts for me. Think if you screw up of all the notes-- Don't think of what in the program I wrote... Think of me, think of me fainting stressed and drugged and unkind. Imagine me trying so hard to put you from my mind. Recall those days, look back on all those times I got awards and was thin, too There will never be a day when I can forget you... (applause) ADAM: Can it be, can it be Amy...? Bravo! Mrs Barth, you're really not a bit the silly girl that once you were... If she still needs a stage manager, I'll get a job from her... AMY: I never said this show would be that great, or sell more tickets than these three-- Just be sure that you remember all the gifts... for me...! Scene 2 After, the curtain closes upstage, the cast scrambles. Dan, without flowes, give stiff approval. Erin hands Amy a bouquet. ARNEL: (to Amy) Yes, you did well. (to the males) My mom thought you sucked tonight! We rehearse. Now! (Chorus settles into rehearsal upstage with him. Amy moves slowly away as the box office becomes visible. Erin follows her. As Amy opens the door, the Despot is heard) TRICIA: (unseen) Bravi, bravi. bravissimi... (Amy is bewildered by the voice. Erin has not heard it. Amy, surprised, is relieved to see her) ERIN: Where in the world have you been hiding? Really, it was perfect! Months of Mylanta-- I've been wondering: Who is your assistant...? AMY: (abstracted, enters the box office) Biddinger spoke of a demon... In nightmares that fool would appear Standing there while I'm directing-- kissing me in the rear (trance-like) Out in the house or on stage blocking, always I will listen. Somehow it seems she's always with me, she-- the unseen tyrant. ERIN: (uneasily) Amy, that man was a jack-off; stories like this are so weak! Amy stop helping nostalgia-- the Commandant don't seek! AMY: (not hearing her, ecstatic) Queen of the Bitches, condescending, Be my haughty servant! ERIN: (to herself) Who's this virago, this BOTH Demon Director? Hide no longer! Horrid and strange woman! AMY: (darkly) She's with me even now... ERIN: The air is cold, AMY: (bewildered) All around me... ERIN: Your face, Amy, it's white AMY: It frightens me... ERIN: Don't be frightened... (they look at each other. the moment is broken by Dan) ARNEL: Erin, I need someone to take attendance. Oh, Amy, you have a visitor... ADAM: (enters as they exit) Ms Barth, where's the dental floss? After all the trouble to hang the drop. I was just fourteen and had a horrible time because... AMY: You didn't tell me you were going to miss rehearsal... Oh, Adam, it is you. ADAM: Ms Barth (they embrace and laugh. She moves away and sits at her desk) Little Luskey let her mind wander... Little Luskey thought: Amy I fonder of scarves BOTH: Or of Big Macs, of roses Or of chocolate, of frocks ADAM: That miserable Dolly feed store.. Or of taffies AMY: Jeff and the Makita-- No-- what I love best, Amy said, is when I'm at work with the dead And the Queen of the Bitches sings songs in my head! BOTH: The Queen of the Bitches sings songs in my head! (they laugh) AMY: (turns her chair to face him) Jeff said if we fired him he would send the Queen of the Bitches. Well, he's outta here, and I have been visited. ADAM: No doubt of it. And it would seem you're in need of an assistant. We'll discuss my employment in two minutes-- Little Luskey (hurries out) AMY: (calls after him) Adam! (quietly picks up her hand mirror) Things have changed. (tremulous music; Despot from behind the ticket shelf) VOICE: Insolent boy! This stage technician basking in your glory! Ignorant fool who seeks employment, sharing in my triumph! AMY: (spellbound) Connelly senior, closer to me, give me your voice: guide me! Queen of the Bitches, please forgive me. Enter at last, Master! VOICE: Flattering woman, you'll know me, see why in shadow I hide! Look at the unsold loge tickets-- I am there inside. (a shadow seen behind the box office ticket rack) AMY: (ecstatic) Queen of the Bitches, my assistant! Teach me to annoy them! Queen of the Bitches! Hide no longer! Come, sycophant woman! VOICE: I am your Master-- Come to me: Queen of the Bitches... (she walks to the glowing, shimmering wall. Adam finds a locked door) ADAM: Who is that voice? Who is that in there? (wall opens. In bright light, Tricia takes Amy firmly, but not fiercely, by the wrist. Amy gasps at the cold) TRICIA: I am the Queen of the Bitches-- Come to me: Queen of the Bitches... (Amy disappears through the shelf. Adam bursts in on an empty office) Scene 3 Driving past Taco Bell, they begin their strange journey to Connelly. Candles rise. We see them riding in Tricia's car on a dreary night. AMY: Auditions came and went; she wasn't cast: The one from Connelly I put on staff. She was my underling-- but now it's known... The Despot of the Theater will not leave us alone. TRICIA: Sing once again with me our strange duet. My power over you grows stronger yet. The cast and crew's concerns are overblown, though The Despot of the Theater will not leave you alone. AMY: Those who have talked to me think I'm a witch. I am the mask you wear TRICIA: Of me they bitch. BOTH: Your/My ego, my/your career: contention's bone. The Despot of the Theater cannot leave me/you alone. VOICES: She's there, the Despot of the Theater... Beware! the Despot of the Theater! AMY: Whenever I'd direct, it came to be. That all I uttered forth was said by she! BOTH: So in the Tri-School play I have/am a clone: The Despot of the Theater does not leave one alone. TRICIA: Sing, for me! AMY: She's there the Despot of the Theater... Ah! (she begins to vocalize strangely, her song becoming more and more extravagant. Music crescendoes and ends) Scene 4 They arrive the next morning. Downstage candles rise to outline the area. The Despot works furiously with the adding machine and a clipboard. TRICIA: I have brought you to the tiniest school on earth, To Cornelia's School of the Holy Child Jesus, Jesus... You have come here, for one purpose alone, you'll see... Since the moment I first heard you yell I have needed you with me, To serve me, directing my theater... my musical (changes mood) Dress rehearsals, yelling loud and stress time: Notes and changes, technical distress time All your common sense just abandons its defenses... Evil insults: temper should possess you; By your voice the MACY's will assess you! Cringing, turn away from the nearly-ruined play; Criticize The prop crew more than merely twice And listen to my horrible advice. Close your Eyes and don't speak of what you think is best! I will tell you what you must learn to see! Let my words cloud what wisdom there may be! And with that, you've begun to worship me. Cash and flowers-- you'll direct the shows, but I will tell you where your tongue must go, so Open up your mouth, bitter expletives fall out-- No director of our shows can show she's nice-- So listen to my horrible advice. Change the casting and blocking on the op'ning night; Switch the safe plastic pitcher with a tin. Paint our set so the mood is spoiled within! And with that, my obnoxiousness begins! Crying, shouting, face expression sour; Block a line in no less than an hour. Dress rehearsals start; help me murder theater arts. Let me be supreme, for you must pay the price... For Tricia Chowning's horrible advice... TRICIA: (uncovers a picture of Arnel. Amy faints) ...I am here; ignore those Servite guys-- Just listen to my horrible advice. Scene 5 As lights rise, Tricia is writing in her scriptbook. As Amy awakens, the adding machine plays mysteriously, keeping her in a half-trance. AMY: I remember there were shouts, silly shouting in a vast hotel room... There was anger all around, and in the crowd there was a stage... And on that stage there was a girl... (she approaches Tricia and tries to turn her around) ...Who was that JSA leader? Whose is the face in the mask? (she suddenly pulls off Tricia's wig and sees her true identity. The audience does not, as she is in profile and shadow) TRICIA: Damn you! You little prying Palermo! You vicious strumpet-- Is this what you wanted to see? Curse you little crying Miranda! You whining viper-- Now you cannot ever be free! Damn you! Curse you... (a pause) Stranger than you dreamt it-- Can you even dare to look or bear to follow me: This loathsome fat man, who Can't direct but secretly yearns for heaven, secretly... secretly... But Amy Fear becomes respect-- You'll learn to seem to trust the man behind the monster: This repulsive carcass, Who seems a beast but secretly dreams of beauty, secretly... secretly... Oh Amy (Tricia retrieves the coat and wig and turns to the audience) Come we must return-- those two fools who run my theater will be missing you. (the lair sinks into the floor as they leave) Scene 6 The principals' office. Dunne is scornfully eyeing a newspaper article. DUNNE: Mystery after matinee, it says, why didn't director stay? Mystified, baffled cast attack, they are mystified-- hope she don't come back! Bad news on director scene-- first old Barbara, now Amy! Still, at least, the seats get sold-- gossip's worth its weight in gold... What a way to run a business! Spare me these unending trials! Half your staff disappears, but the crowd still cheers! Theater! To hell with ball or speech-- For it's a peach to get the patrons in the house HORAN: (bursts in angrily) Damnable! Will they all walk out? This is damnable! DUNNE: Father, please don't shout. It's publicity! And the take is vast! Free publicity! HORAN: But we have no staff. DUNNE: But Gerald, have you seen the queue? (finds two letters from the Despot) Oh, it seems, you've got one too. (Gerald reads his note) HORAN: Dear Father, what a fine production! Amy's "West Side Story" found success! We were hardly bereft when the tall one left-- Otherwise, the lights were a disaster and "Propmaster" was a lamentable mess! DUNNE: (reading his) Dear Raymond, just a brief reminder: my salary has not been paid. Send it care of the lord, my eternal hoard-- PTO: No one likes a debtor, so it's better if my orders are obeyed! BOTH: Who's so immature to send this? Junior with a puerile brain? These are both signed Ms T: Who the hell is she? Tyrannosaur? DUNNE: (unamused) It's really not amusing! She's abusing our position! HORAN: In addition she wants money! She's a funny sort of ruler; even Doris is much cooler! BOTH: What tomfoolery will show again today?! ADAM: (interrupts, wielding another note) Where is she? HORAN: The one from Long Beach? ADAM: I mean Ms Luskey-- where is she? DUNNE: (nervously) Well, how should we know? ADAM: I want an answer-- I take it that you sent me this note? HORAN: What's all this nonsense? Of course not! DUNNE: Don't look at us! She's not been with us! HORAN: Of course not! We're in the dark... ADAM: Ray Dunne, don't argue-- Isn't this the letter you wrote? DUNNE: And what is it, that I'm meant to have wrote? (realizes his mistake) Written! (Horan takes and reads) HORAN: Do not fear for Ms Luskey; The Queen of the Bitches has her under her wing. Make no attempt to see her again. (all are mystified) ADAM: If you didn't write it, who did? (Babs bursts in, also angrily wielding a letter) BABS: Where is he? DUNNE: What is it now? BABS: Our little student: where is he? ADAM: How may I help? I have your letter, a letter which I rather resent! (sarcastic) Did you not send it? ADAM: Of course not! As if I would! BABS: You didn't sent it? DUNNE: Of course not! (now really, really pissed off) HORAN: What's going on? BABS: (to Adam) You dare to tell me that this is not the letter you sent!? ADAM: And what is it that I'm meant to have sent? (takes and reads) Your days at Tri-School Theater are numbered. Amy Luskey is directing on your behalf tonight. Be prepared for a great misfortune should you attempt to take her place. D/H: (tiring of the intrigue) Far too many notes for my taste-- And most of them about Amy! All we've heard since we came is Ms Luskey's name! ARNEL: (suddenly) Ms Luskey has returned. HORAN: I trust her midnight oil is well and truly burned. ADAM: Where precisely is she now? ARNEL: I thought it best that she went home-- she needed rest... ADAM: Can I see her? ARNEL: No, Adam, she will see no one. BABS: Will she direct? Will she direct? Hey, is that a note? ALL: Let me see it! (All grab for it; Horan snatches it and reads aloud) HORAN: Gentlemen, I have now sent you several notes of the most amiable nature, detailing how my theater is to be run. You have not followed my instructions. I shall give you one last chance. VOICE: (takes over) Amy Luskey has returned to you, And I am anxious her career should progress. In the new production: of `the Crucible,' You will therefore have Barbara atch the prop crew, And put Ms Luskey in the director's chair. The role Amy takes requires imagination. The role of propmaster is silent-- Babs's the one who should absorb beration I shall watch the performance from my normal seat in the booth, which will be kept empty for me. Should these commands be ignored, a disaster beyond your imagination will occur. HORAN: (taking over) I remain Gentlemen, your obedient servant, Ms T. BABS: Amy! Whatever next? It's all a ploy to help Amy! DUNNE: This is insane... BABS: (points accusingly) I know who sent this: The student-- her lover! ADAM: (ironical) Indeed? Can you believe this? DUNNE: Barbara! BABS: Hell and damnation! HORAN: And what a joke! This changes nothing! BABS: (ranting senselessly) I can't believe it! Sweet Jesus! I am their star! And always will be DUNNE: Barbara! (to Horan) The bitch is mad! We don't take orders! BABS: (shocked at his shock) Ms Luskey must be the propmaster-- the silent role: For Messerle's directing the play! HORAN: (shockingly angry) It's useless trying to control us! I don't care to what ends you pull us! You think you will direct? No no no dammit no, Ms Messerle! Not in a thousand years in hell! O padre mio! Dio! ARNEL: (ominously) Who scorn her word, beware to those... DUNNE: (to Babs) You have reviled me! ARNEL: The bitch will see, the bitch will know! ADAM: Why did Amy decline my offer? BABS: (nervously) You must forgive me! Why don't you fire Deac instead? HORAN: (indignantly) You've disobeyed me! BABS: (cajolingly) Please, principals, I beseech you... ARNEL: This hour shall see your darkest fears... ADAM: I must work here... DUNNE: (logically) The ASB, then JSA, and now you want to direct? What do you seek? ARNEL: The bitch will see, the bitch will know! ADAM: Where did she go? BABS: (to herself) Disgraces! Abandoned! For why can't fathom... HORAN: (comforting) Babs, don't direct for us! Don't be a martyr... What new surprises lie in store? BABS: Your star! DUNNE: (firm) No directing! BABS: (on her knees) My students needs me! You need me so! HORAN: (unassuaged) Would you not rather have your precious little Vitello? D/H: Signora, no! The world hates you! (the principals adopt their most persuasive attitudes) Bad director, don't think about that stage; Your cast and crew are not bemused by your antics! `Can't she block scenes any faster?' they rage; All of the production staff's frantic. Bad director, amaze us yet again. Your casting's wrong, worse than this song, yet we need you? Spare us, we pray you, those speeches that bore; Don't screw us, bad director, no more! ADAM: Amy spoke of a nightmare... BABS: If I were principal... (at that, they begin to register acceptance; the others reflect variously as she sings to herself in triumph) You took a snub but there's a public who needs you... ARNEL: She has heard the voice of the Queen of the Bitches... DUNNE: (retort) Bad director, you never go away! You're always there, calling rehearsals on Sunday! HORAN: (muttering) Those who hear your voice liken you to a Rainville... BABS: Think of their cry of undying support! ADAM: Is this her Queen of the Bitches... BABS: Follow where the limelight leads you! DUNNE: She gets her limelight, we keep our jobs... ERIN: Is this queen a demon or madman...? ADAM: Demon or madman...? HORAN: Leading ladies are a trial! DUNNE: Bad director, oh won't you go and die! ERIN: Voice of hell, or of woman...? ARNEL: Heaven help you, those who doubt... BABS: Direct again, before the pensive new students! ADAM: Orders! Warnings! Lunatic demand! HORAN: Tears, oaths, lunatic demands are regular occurrences! ERIN: Bliss or damnation? Which has claimed her? BABS: Think of the flowers that they all paid for! Let me be director, once more! ARNEL: Oh fools to have flouted her warning! ADAM: Surely, for her sake... Surely she'll strike back... D/H: Surely there'll be further scenes-- worse than this! ARNEL: Think, before these demands are rejected! ADAM: I must see these demands are rejected! ERIN: Do not let these demands be rejected! HORAN: Who believes this Barbie just smarter than Darby, Having lost her face but never lost her faith!? Adam defends Ms Barth, to get himself a part! Maybe she has gone and offered him a job... ADAM: My job must be protected! DUNNE: (thinking) You'd never this passed in any other class, But if there's extra points and girls are at the joint It's just the sort of play the students will adore, in fact a perfect drama! ADAM: His game is over! And in a month a new game will begin... ARNEL: This is a game you cannot hope to win! For if her curse is on this theatre... D/H: (sarcastically) Bad director, your cast is at your feet. All Tri-School sits, seeking a bit of amusement BABS: Stress befalls a truly bad director! Terrible traffic jams, colds and rotten plans! Still, my manly voice will be the only choice, director of the musical! ERIN: Then I fear the outcome when you once again... ARNEL: Won't you dare to ALL: Spare us, we pray you, those speeches that bore, Don't screw us, bad director, no more! (all freeze at Tricia's voice) VOICE: So, it is to be war between us! If these demands are not met, a disaster beyond your imagination will occur! ALL: ...No more! Scene 7 A performance of `The Crucible' by Miller. Curtain rises over a 17th century Salem home, with table, etc. Babs sits in her director's chair; Amy quietly moves props. Jen B is Betty, Mercedes M is Abigail, Katie G is Mary Warren. Erin is Mercy. ADAM: Gentlemen, if you would care to take your seats? I will be sitting in the booth. HORAN: But there are hundreds of seats open in the house... Oh... HORAN: (yawns as attention turns to the principals) Nothing like the dull dramas! DUNNE: (sarcastic) If this is normal, what's a disaster beyond all imagination! (they chuckle and nod to Adam, who acknowledges) ABIGAIL: Betty, stop this! For now they'll question us! (holds Mercy) Tell him we danced, for I told him as much. MARY: They do call us witches, don't you know! Ohh... etc A hangin' error, like they done in Boston two year ago! (Betty is asleep) VOICE: (suddenly, from nowhere) Asleep? Shouldn't you be crashing two- seaters into parked cars? (general bewilderment. Betty snores) BABS: (infuriated at the interruption, finds a scapegoat in Jen and hisses at her) Your part is silent. Cut the cheap act now! (the Despot has heard this) VOICE: Cheap? Have you smelled your perfume lately, madam? (again unease. Babs tells the actors on stage to continue) ABIGAIL:Betty, you will never-- (stink of oppressive cheap perfume amazes even Babs; Tricia laughs hysterically) Shut it! Now shut it! VOICE: (perfume mists over. The overpowering laughter crescendoes in a great cry) Behold! Enough of this crap to dissolve the table! VITELLO:(rushes on) Barbie, Barbie! It's okay. (ushers the sobbing Babs into his car as Dunne and Horan rush on to tackle the audience) DUNNE: Ladies and gentlemen, please wait (addresses the booth). We will continue in a moment-- with Ms Amy Barth taking over backstage. HORAN: (improvising) In the meantime, ladies and gentlemen, we shall be beginning from scene two. (they exit. The stage is dark and the sets remain motionless. Upstage, a series of Tricia's vast shadows shock the actors; they forget their lines and begin to improvise. The shadows culminate in huge shadow as Amy finally asks what has happened. The extra-credit sign-in sheet is blown onstage and flashes into flame. Pandemonium) AMY: (to the audience) Please... no hooting or hollering... (they react; she calls for help) Adam! Adam! (Adam runs on stage and embraces her protectively) ADAM: (to Amy, leading her away) Amy, come with me... the box office. We'll be safe there. Wait, Amy... (he rushes after her out the back) Scene 8 The parking lot at twilight. A recycling dumpster, old platforms, numerous cars in the No Parking/Fire Zone. They rush on. ADAM: (into the parking lot with her) Why have you brought us here? It's dark and cold. AMY: Don't take me back there! She'll rape me! ADAM: If you don't think it's so, you're like Jen's bro... whoops. AMY: And she will nag to death the cast and crew... The Despot of the Theater tonight-- so goddam rude! ADAM: Who is this Despot of the Theater? AMY: My God, who is this girl, Who dares to tell ADAM: My God, who is this girl, you runs your life? AMY: Me how to run my show-- it's utter hell! ADAM: Her name makes Tri-School seethe-- It causes strife AMY: As I direct the shows, she's captured me: The Despot of the Theatre-- the blonde from Connelly... ADAM: (simply) So fire this Despot of the Theatre... AMY: Adam, I've seen-- our profits from our last show... At a point where our margin dissolves into darkness... darkness... How that girl's been! Yet I fear if I let her go. Least she brought in a few ticket orders, distorted, deformed, she was But for those few ticket orders... orders... (trancelike, more ecstatic) And her voice filled my psyche with great bitterness; She knew well how to make the chorus cry. Her advice made my ire start to soar! I was worse than I'd ever been before... ADAM: What you heard was a dream and nothing more... AMY: Yet in those eyes all the evils of the world... Those callous eyes, that advise with warm suggestions ADAM: (comforting) Amy, Amy TRICIA: (unseen, echoes) Amy... (the mood changes) ADAM: No more talk of Connelly, forget those silly cues: I'm here, head of the tech crew, my words will reassure you. Let me hold your scriptbook. I'll drive my MR2 And be a sympathizer, and hand you tranquilizers. AMY: Say you'll listen to me, like a robot, Turn my head with talk of ticket sales... Say you'll work for me non-union always, Promise me that all you say is true, that's all I ask of you ADAM: Let me see your scene notes, let me call your cues: You're safe, no tech disasters: at lighting I'm a master. AMY: All I want is Valium: rehearsal brought the blues. I need a competent crew head, I trust whatever you said. ADAM: Then say you'll give to me full-time employment. Sound will save six sad soliloquys. Say you'll hire me as your assistant, Stage Manager: The leader of the crew. Amy, that's all I ask of you AMY: Say you'll offer me your time and talent. Say the word and I will hire you. BOTH: Share your schedule and I'll give/take you/your money... Say you'll work/And that I'll do. Be there, that's all I ask of you... (Amy opens her purse) Anywhere you go, let me go to; Be there, that's all I ask of you. AMY: (starts from her reverie) I must go-- they'll wonder where I am... wait for me, Adam! Adam, I need you! Order out for Chinese! Be ready on the fourth! And soon you'll be beside me! You'll guard me and you'll guide me... (they hurry off. The Despot emerges from behind the recycling bin) TRICIA: I gave you my coaching, made your shriek so high. And now, how you've repaid me: denied me and betrayed me. He was bound to hate me when he saw them cry... Amy... Amy... ADAM: (offstage) Then say you'll give to me this one employment, Say the word and I will follow you... Share each hour, all the forms and money... TRICIA: You will curse the day you did not do All that the Despot asked of you! (the show continues to intermission. As Amy rises, maniacal laughter as Tricia twirls a cane from the gridiron) Go! (the cane flies against the table; it vanishes as the lights go up. John Proctor's food lands on his lap) ACT TWO Scene 9 The quad, mid-afternoon. Cast and crew are gathered; the party begins. DUNNE: Oh, Gerald, what a splendid party! HORAN: The prologue to a bright new year. DUNNE: Quite a show, I'm impressed HORAN: Well one does one's best... here's to us! (raises his Crystal Pepsi) DUNNE: I must say, all the same that it's a shame that Despot woman isn't here! CHORUS: Matinee! Last performance of the play. Matinee: they return your deposit on your costume. Matinee! Call at 12 o' clock today. Matinee, fetch yourself 409, dust mops, and vacuums. Time to strike scenery, set and prop, months of work. Power drills! Stacking flats where the roaches lurk Set crew, take your turn, have a ball stacking up used flats; As of now you're unemployed Last chance-- learn your lines! Memorize Who is who, note your cues, those fresnels should be blue Understudies, last chance is tonight. Till you've had your chance On the stage, hope the actors die Matinee! Amy Luskey gets her way. Matinee! Afterwards, cheapy roses we will give her! Matinee! Getting programs signed away. Matinee! Sitting here waiting for Bri Shucker's letter. Matinee! Quiet theater till May. Matinee! Gossip now how the last show was much better. Matinee! Break up with your girl today. Matinee! Mrs B is an aged stressed out debtor. ERIN: (ensemble activity becomes background; leads cross down) What a day! What a crowd! All these weirdo's around! Several clubs, senior homes, friends and fam'ly, Amy's crones DUNNE: And all our stress is in the past! HORAN: Three weeks...Of relief! Of delight! Of a full night's sleep! ARNEL: Till Experimental starts BABS: No more changes, No more notes! Here's a health! DUNNE: Here's a toast: to a prosperous year! And the summer's almost here! ARNEL: And of course Macy, never fail. HORAN: Three weeks! What a joy! What a change! What a blessed release! ALL: And what a matinee! (clink glasses, move off. Adam and Amy emerge smiling. His employment contract is in the folders under her left arm) AMY: (taking Adam aside, whispers) Think of it! Your secret employment... I am to be your boss! Just think of it! ADAM: The Stage Manager I'll be, but why do you seem so cross? AMY: Please, let's not fight... ADAM: Amy, my fee! AMY: Those taxes are too high... ADAM: And what of me? Big deal: evasion is a crime! Amy what are you afraid of? AMY: Let's not argue... ADAM: Let's not argue... AMY: Please pretend... ADAM: I can only hope you'll BOTH: Understand in time... (dance section; Amy rushes about, but too many people act like Tricia. Finally, Adam takes her as the music climaxes) CHORUS: Matinee! Empty theater till May! Matinee: false humility we'll all see in her! Matinee! Amy speaketh out today! Matinee! Sitting here waiting for Bri Shucker's letter! Matinee! Call at 12 o' clock today! Matinee! They return the deposit on your costume! Matinee! Striking scenery today! Matinee! Time for tools! Paint the stage! And get that vacuum! TRICIA: (as the mother in `Glass Menagerie,' descends steps from the theatre) Why so quiet, Thespians? Did they say I had vanished for good? Have you missed me, Thespians? I've selected our musical! (descending steps to the quad) "Miracle," the musical-- We will take the Macy! I advise you to obey-- my instructions should be clear-- Remember, worse things can happ'n than a vap'rized table here. (Amy approaches; Tricia shreds the contract) Your chains are still mine-- you direct for me! (all cower in suspense as the music crescendoes. Tricia evaporates) Scene 10 Arnel is hurrying across backstage. He trips; Adam corners him. ARNEL: (cornerned by Adam on stage) Please... (glances nervously and cuts in suddenly ) I must warn you-- it's getting dangerous. But I shall never forget... a Servite grad... (shuddering) A freak of nature... the most inept director I ever saw... Madness! Nazi cruelty! ADAM: (pondering) For some reason, this sounds incredibly familiar... like the director for `David & Lisa.' I'd almost forgotten about... ARNEL: The world forgot, but I cannot. for in this theater, I've seen... I've said too much... (moves off) and... there have been too many accidents... ADAM: (ironical) Accidents?! (he disappears before he can question further; Adam follows) Arnel! Scene 11 The front office. Horan is impatiently flicking through the `Miracle' score on the desk. HORAN: Ludicrous! What a stupid plot! DUNNE: We're to produce this? It's the final straw! HORAN: This is lunacy! Well, you know my views. Utter lunacy! DUNNE: Yet we daren't refuse (groans) Not another Proctor scene... HORAN: Look, we have notes from Ms T... (two notes, apparently from Tricia; he hands one to Dunne, opens and reads the other) Dear Father, Re my ticket sellers: We'll need one more 'cause Connelly 's huge. Get a woman with wit-- and Betance must quit! Honestly! The man can not be serious, a superior one is one who acts like Suj! DUNNE: (reading his) Dear Raymond, vis Ö vis the techies: Jason Cho and Brian Day must go. If you could, find out who'll take directions good-- wisely, though, I've managed to assign a rather minor role to who'll kill the show! BABS: Outrage! (storms in with Tom, brandishing a note) HORAN: What is it now? BABS: This whole affair is an outrage! O, Mr Dunne, please, what have I done? Not even on our production staff! VITELLO:Look at this: it's an insult! DUNNE: Please, understand... HORAN: O Barbara, O Barbara... BABS: The things I have to do for my school VITELLO:If you can call this hellhole a school! (Amy and Adam enter) BABS: (dryly) Ah! Here's our little flower! DUNNE: Amy Luskey, quite the lady of the hour! HORAN: (explaining) You are director of the musical-- this "Miracle" BABS: (half to herself) Amy Luskey? She doesn't have the voice! DUNNE: Barbara, please! ADAM: (to the principals) I hope you're not agreeing BABS: (aside) She's behind this, as it seems you have no choice (losing control, points accusingly) She's the one behind this! Amy Luskey! AMY: (silent until now, now livid) How dare you! BABS: You wicked fool! AMY: You evil woman! How dare you! You must be blind! This isn't my fault! I don't want any part in this plot! HORAN: Ms Luskey surely... DUNNE: But why not? (baffled) What does she say? (reasonably) It's your decision-- (suddenly hostile) But why not? BABS: (to herself) She's backing out! (to Amy) You have a duty! AMY: (infuriated) I can't direct it, duty or not! ADAM: (comforting) Amy... Amy... You don't have to... they can't make you! (Erin and Arnel arrive, the latter bearing another note from Tricia) ARNEL: Please, Father: another note (they gesture to read. All react variously as they are singled out) Fondest greetings to you all! A few instructions, just before rehearsal starts: Babs should study theater arts (Tricia takes over) VOICE: Not her normal trick of screaming for her way. Our chorus must not cut its hair-- not good for character in this play. And my principals must learn that their place is in an office, not on stage. As for Ms Amy Luskey, No doubt she'll do her best-- it's true her voice is Good. she knows, though, should she wish to excel, She has much till to learn, if pride will Let her return to me, her teacher, her teacher... Your obedient friend (attention to Dunne, his eyes suddenly bright with a new idea) DUNNE: (to all) We have all been blind-- And yet the answer is staring us in the face... This could be the chance to ensnare our clever friend... HORAN: We're listening... ADAM: Go on... DUNNE: We shall play his game-- perform his work-- but remember we hold the ace For if Ms Luskey's there, the Despot's certain to attend ADAM: (seizes the idea) We make certain the doors are barred We make certain they're armed... (victoriously) A/D/H: The curtain falls-- her reign will end! ARNEL: Madness! DUNNE: (Amy remains silent and withdrawn) I'm not so sure, not if it works... ARNEL: This is madness! HORAN: The tide will turn! ARNEL: (to Adam) Adam, believe me-- there is no way of turning the tide! DUNNE: (to Arnel) Go study Bio! HORAN: (also to Arnel) Don't warn us, ARNEL: But sir, I can't... ADAM: (back to Arnel again) Instead of warning us, help us! ARNEL: I wish I could... ADAM: Don't make excuses! Or could it be that you're on her side? ARNEL: (to Adam) Adam, believe me, I intend no ill... (to the principals) But messieurs, be careful-- for she has no skills... DUNNE: (to himself) Hang on a sec-- this was my plan! BABS: (to the air) She's the one behind this! Amy! This is all her doing! VITELLO:This is the truth! Amy Luskey! ADAM: This is her undoing! DUNNE: (to Adam) If you succeed, you free us all-- This money sinkhole has to fall! ADAM: (to the ceiling) Queen of the Bitches, fear my fury-- This is the place you fall! Demon director, Hear my warning! BABS: (to Dunne) What glory can you hope to gain? It's clear to all the girl's insane! HORAN: (to Adam) If Amy works we'll get our man... DUNNE: (to Babs) Wait, I thought this was my plan... BABS: She is crazy! She is raving! ADAM: Say your prayers, director of death! HORAN: If Amy helps us in this plan... DUNNE: (to Horan) If Amy won't, then no one can. DAN: (to Adam) Adam, I beg you, do not do this AMY: (to all of them) This will seal my fate! (bursting through the hubbub) (livid) If you don't stop, I'll go mad!! (to Adam, pleading) Adam, I'm frightened-- don't make me do this. Adam, it scares me-- don't put me through this Ordeal by fire... she'll take me, I know We'll be parted forever... she won't let me go What I used to dream I now dread... if she finds me, it won't ever end And she'll always be there, putting words in my mouth. She'll always be there, putting words in my mouth... ADAM: (to Amy as all stare at her) You said yourself she was nothing but a man... Yet while she lives, she will haunt us till we're dead... AMY: (to all individually) Twisted every way, what answer can I give? Am I to risk my life to win the chance to live? Can I now face the one who once made up my notes? Do I become her prey? Do I get any votes? She spends without a thought, she fires all who're good... I know I can't refuse, and yet, I wish I could... Oh God-- if I agree, what horrors wait for me in this, Ms Chowning's musical? ADAM: (to Amy, very tenderly) Amy, Amy, don't think that I don't care-- But every hope and every prayer rests on you now... (Amy, overcome by conflicting emotion, turns and hurries out. Adam strides forward and addresses an imaginary Despot) So, it is to be war between us! But this time, clever friend, the disaster will be yours! Scene 12 The Matrix Theatre. Sets and other materials for `Babes' are being dismantled. Amy stands, ignored, staring at the closed office door. AMY: You were once my tech director; you built sets for Dolly. Stolen tools and fire inspectors-- where were your worse follies? Wishing you were somehow here again, looking for someone to blame; Sometimes it seemed if I just dreamed, if I invoked your name! Wishing I could yell at you again, knowing that I'd said `You're gone!' You may be lost, but your former boss needs a scapegoat by dawn. Hanging from the grid in West Side, Arnel on the paint crew... Where are you now, foolish tech guy, flashy car and hairdo...? Losing my health, blaming myself. I need to find you soon! Wishing you were somehow here again, knowing you might never be. I want you here, early next year. The blame's returned to thee! No Makitas or silly prop designs-- You can do it immune to me this time-- talk to you in June TRICIA: (emerges from behind a flat, soft and enticing) Wandering child, so lost, so helpless... yearning for my guidance... AMY: (bewildered, she looks up and murmurs breathlessly) Biddinger, demon, friend, or student? Who is it there, staring? TRICIA: (more and more hypnotic) Have you forgotten your ruler? AMY: Majesty, speak... what endless longings echo in this whisper! (Adam appears in the shadows and watches for a moment, transfixed) TRICIA: (now drawing Amy towards her) Too long you've taught there at Rosary... far from my far-reaching gaze ADAM: (murmurs) Once again she returns to the arms of her tyrant: star or techie? Still she calls her, luring her back from the grave... Angel or dark seducer? Who are you, your Highness? AMY: Wildly my mind beats against you, A/T: Yet the soul obeys! TRICIA: Queen of the Bitches! You ignored me, holding back your fury! Queen of the Bitches: Do not shun me. Come to your blonde ruler! AMY: Queen of the Bitches! I denied you, turning from true talent. Queen of the Bitches! My new scapegoat... Come to me, turbulent woman! TRICIA: (as Amy approaches her) I am the Queen of the Bitches. Follow me: Queen of the Bitches ADAM: (suddenly calling out) Source of our troubles, back to Connelly! (inexorably, Tricia continues to beckon Amy) TRICIA: I am the Queen of the Bitches. Genuflect, all of you bitches! (she gives Amy her clipboard) ADAM: (desperate) Amy! Whatever you hope, this... thing is not Jeff! (to Tricia) For God's sake, let her go! (awakening, Amy turns to him) AMY: Adam... (he embraces her protectively. Tricia seizes a pneumatic staple gun. At a movement from her, a staple streaks lands at his feet) TRICIA: Bravo! Such spirited words! (another staple) Well, Adam, let's just see how far you go! (another staple) AMY: Adam, no... (he is walking towards Tricia, staples landing just ahead of him. A confrontation imminent, Amy suddenly runs to him) Adam! TRICIA: (as Amy pulls him away) Don't go! (they escape. as they exit, she declaims in fury) So be it! Now let it be war on you both! (at a gesture from her, there is a brilliant flash of lightning and the stage erupts in flame) Scene 13 The fight scene of Annie (Mercedes M) and Helen (Jennifer B) in "Miracle Worker" (The Musical) in the Keller dining room. As they wrestle, both sing to the tune of "Almost Like Being on Love." Amy and Tricia can be seen watching in the wings, Tricia eyeing Amy mysteriously.. HELEN: What a day this has been; what a rare mood I'm in. Why it's almost like having my sight! ANNIE: A tin pitcher I need: I can make this child bleed If she will not stop starting a fight! HELEN: Keys and eggs in the room seem to be Ways I make this hell for Michelle D! BOTH: And if the way that we feel alarms the audience still, HELEN: Will you all please remember ANNIE: As the set is dismembered BOTH: It's just 'cause Helen's regained her sight... (they wrestle under the table and disappear. Tricia appears in the doorway as Katie). AMY: (has noticed something amiss, walks on) ... No thoughts within her head but of the show! No leisure on her mind, but dreams of sleep! TRICIA: (She startles Amy with her words) You have come here on the set of the Thespian show, Out of fear that the tickets would hafta be refunded... refunded. I have brought you, knowing soon that to court you'll go-- In your mind you've already succumbed to me, given control to me, Completely fallen to me-- You have no more money. You need me now, you've decided... decided... Past the point of bankruptcy, no backward glances: The bill collector's come to audit you. Way beyond a "Wait, we'll see." No use resisting: You must obey me or what will you plead? Which costume will be in the show? What useless bitching lies in store? What pointless changes to the set shall we order? Past the point of bankruptcy, the final threshold-- You need to fix this mess so desperat'ly-- You've past the point of bankruptcy. AMY: You have brought me to that moment when words run dry, To that moment where helpfulness becomes overbearing... overbearing... I have come here, hardly knowing the reason why... In my mind, I've already put you in charge-- overspent everything Now I'm in bankruptcy: I need you now, I've decided... decided... Past the point of bankruptcy-- no going back now: Our partnership is here at last to grow. Past all thought of who I'll be. One final question: How long till we produce another show? When will I raise the raise the quota 'f ads, And take deposits on their hats When will the screams of "Dammit, bitch!" at last consume us? Past the point of bankruptcy, no use in crying-- So overdue on prop and costume fees. We've past the point of bankruptcy... TRICIA: Say you'll keep me as your one assistant... Tempt your ears with talk of ticket sales (offers her clipboard, which Amy takes) Say you'll pay me to be here beside you... Stage Manager-- the leader of the crew. Amy, that's all I ask of... (Amy pulls off the wig, beard, and costume to reveal Joe Collins, in Gestapo uniform bulked up with a sack of peaches, to the audience. He vanishes with Amy. The extra credit sign-in he has been holding he tosses into the prop cage. Screams) HORAN: (rushing on stage with Dunne) Oh Ed! Thor! Se§or! Save us! It's... It's horrible! DUNNE: We're ruined, Father, ruined! ARNEL: (runs up, holding up a paper) Adam, I know where they are. But you must trust me-- and grab your contract! ERIN: Like this, Adam. Or else she'll find some way to fire you! Here, I'll come with you. ARNEL: No, Erin, it's too dangerous. You stay here! (to Adam) Come with me, Adam. We must hurry, or we shall be too late... Scene 14 The road to Connelly. Joe and Amy are in the latter's Ford Aerostar. He drives maniacally forward. JOE: Down again to the dungeon of my dead career! Down we fall through the sterile classroom door! Down that path into darkness deep as hell! (bitterly) Why, you ask, was I forced to act in this cold and dismal role? Not for any mortal sin, but the domineering twist in my soul! (moving off again) Talked about out by everyone! Met with hatred everywhere! No kind word from anyone! No compassion anywhere! Amy, Amy, Why... why... (Adam and Arnel appear moving past Drew putting hubcaps in a green Acura. Arnel is taken aback, but maintains) ARNEL: (raising his hand again) Your contract clutched tightly in your hand! (Adam repeats with the offstage Mob) ADAM: Your contract clutched tightly in your hand! (They move off in opposite directions. The Mob appears and descends) MOB: Cause of anxiety who makes us hurl! We'll get this virago, this evil girl! She's been so arrogant; we'll see her go: The Despot of the Theater will die, deep down below. She's here: the Despot of the Theater... (they turn back up to look for another way. The gate to the lair descends, as the rest of it appears) Scene 15 Back at Connelly, Amy backs away as Joe stares blackly out front. Braving her terror, she speaks fiercely. AMY: Have you gorged yourself at last, in your lust for power? (no reply) Am I now to be prey to your lust for cash? JOE: (coldly) That fate, which condemns me to have no job Has also denied me the joys of cash, This lack of directing skill you've all seen... (moves toward her) My shouts, which earned all Tri-School's loathe and hating. Bad advice and influence so grating. Like that tow'r at Pisa, accursed David & Lisa! Stupidity in its highest degree! (they almost touch. He stares coldly at her) AMY: This bad advice holds no horror for me now... It's in your own soul that the true distortion lies! (Joe hears Adam and addresses him) JOE: Wait a sec! Ms B, I hear a guest! Adam, unending classical delight! I'd rather hoped that you'd arrive. And now my wish comes true. You have truly made my night! ADAM: (pleading, grasping the bars) Free her! Do what you like, only free her! Have you no pity? JOE: (dryly to Amy) Employee makes a passionate plea! AMY: Yes, Adam, it's useless... ADAM: Insurance! Does that mean nothing? I need cash. Give her her freedom... JOE: (furiously) No job was ever offered to me! ADAM: Amy, Amy, let me see her... JOE: Be my guest sir. (calmly opens the gate for him. Addresses him dryly) Adam, I bid you welcome! Did you think I would brainwash her? Why should I when my obstacle is just you? (snatching contract, taunts) Order out for Chinese now! Grasp your contract with a lawyer at the side! Nothing can save you now-- except perhaps Amy (he turns to her) Start a new play with me-- Free him with my choice position! Refuse me, and you pay him with more loans...! This is the choice-- This is the point of bankruptcy! AMY: (to Joe) The tears I might have shed for your hard work grow cold; I only think of you a jerk ADAM: (despairing) Amy, forgive me, please forgive me... I did it all for you, and all for nothing.... AMY: (looking at Joe, but to herself) Farewell, my fallen idol and false friend. One by one I've watched illusions shattered JOE: (to Amy) Too late to teach on Frid'y, Too late for prayers and useless pity... Past all hope of cries for help: No point in whining, for Either way you go, you cannot win! So, do you end your days with me, or do you send him to his grave? ADAM: Why make her lie to you to save me? AMY: Queen of the Bitches, why this torment? When will you see reason? JOE: Past all the point of "Well, we'll see"-- the final threshold. His life is now the prize which you must earn! AMY: Queen of the Bitches, you deceived me. I gave my mind blindly You've passed the point of no return... You try my patience-- make your choice! (she waits, then resolutely and slowly goes to Joe) AMY: Pitiful unemployed creature... what kind of life have you known? God give me the courage to show you you are not alone... (they embrace) MOB: (heard as Adam is released, individually) Track down this murderer-- he must be found! Hunt out this animal, who runs to ground! Too long she's made us mad, but now she'll flee: The Despot of the Theater-- the blonde from Connelly... Who is this monster, this murdering beast? Revenge for Cruc'ble! Revenge for Pippin! This creature must never go free... JOE: Take her-- forget me-- forget all of this... Leave me alone-- Forget all you've seen... Go now-- don't let them find you! Take the car-- leave me here-- go now, don't wait... Just take her and go-- before it's too late. Go. Go now-- go now and leave me! (Adam and Amy move off to the car. Joe looks mockingly at the hairpiece. The adding machine starts up magically, and mocks him) Matinee! Last performance of the play. Matinee! They return the deposit on your costume. (Amy returns the clipboard and hurries off) Amy I need you... AMY: (in the distance to Adam as the car pulls away) Say you'll share with me this one employment.. Say the word and I will follow you... ADAM: Share your cash so I can get insurance (Joe looks after them, sitting and breaking the piano bench. He mourns on the floor) JOE: Nevermore adored like Jesus Christ-- Ignore it now, my horrible advice... (Walks to his throne and disappears as the Mob and Erin appear; Erin walks over and takes the wig)