Alysse Aallyn

Category: #SoulTravel

  • Rough Sleep – a play by Alysse Aallyn

     SCENE XV – STAGE APRON 

    CHASE

    This can’t be real, Jazz. It isn’t real. It’s some planet we’re not on.

    JAZZ

    But it makes perfect sense. It answers all the questions. You know in your heart that was his plan all along.

    CHASE

    It can’t be real because my Mom is dead. Years ago. She killed herself the first Christmas I didn’t come home.

    JAZZ

    (Keeps trying to go back)

    But I saw her. I We were there. How can it not be true?

    (He tries to hug her – she resists)

    Don’t touch me! I don’t feel like touching ever again.

    (CHASE sits on the edge of the stage)

    CHASE

    Corso loves games – he’s always up for the latest thing. He can even claim he told us! We fell for it like puppies jumping for a biscuit.

    JAZZ

    So that part’s real? Our sex archetypes all over the cloud?

    CHASE

    Sexsomnia is real. He was way ahead of me.

    (beat)

    I should have guessed. It’s always the worst thing he can think of. Welcome to my nightmare.  

    JAZZ

    I don’t want details.

    CHASE

    But we need to see – Everyone needs to see – just how the magician operates.

    JAZZ

    You’re right – magic is the important thing. There was magic all along, in spite of Corso.

    CHASE

    All he cares about it is cash and control. He honed the perfect weapon to take life hostage. 

    JAZZ

    How ironic that the moment we stop believing, magic appears! 

    CHASE

    Only toddlers believe. And toddlers are ill-equipped for these frolics. Where’s the magic in that?

    JAZZ

    Seeing your Mom was magic.

    CHASE

    Dark magic, you’ll agree. What were they thinking? Russian-Irish could never work!

    JAZZ

    My combination’s Portuguese-Swedish. Your Mom said she forgave you. 

    CHASE

    She didn’t!

    JAZZ

    She did. I heard her. What was it like to see her again?

    CHASE

    Amazing and frustrating – the way it always was. 

    JAZZ

    Admit we got the most wonderful bath!  For a few minutes we saw how happy we could be.

    CHASE

    A ritual cleanse. Did seem like it was working.

    JAZZ

    I felt such peace, like nothing could hurt us ever. 

    CHASE

    Then my Dad showed up.

    JAZZ

    So now I know him, too. I experienced them through you.

    CHASE

    In the house that never got finished. I pushed my Dad into bankruptcy. I destroyed my family.

    JAZZ

    You did not.

    CHASE

    If you’re going to be my soulmate you’ve seen the house of horrors where you have to live. Nobody could blame you for walking out.

    JAZZ

    Where would I walk to?  Seriously.  I thought the more worlds we saw the more paths – the more choices we would have, but the maze leads only two places – sickness and murder or – each other.

    CHASE

    But what if we resist?

    JAZZ

    Are we back to murder? A life for a life?

    CHASE

    Surely you see the appeal?

    JAZZ

    I think when you want to kill Corso it’s really your dad you want to kill. 

    CHASE

    Wow! Free therapy! Bzzzt! No. My Dad I can get away from.

    JAZZ

    Apparently not.

    CHASE

    Once and done.

    JAZZ

    Finding crime scenes should not be inspiring us to create more of them.

    CHASE

    Why not, if everyone’s doing it?

    JAZZ

     Jails are full of defective reasoners.

    CHASE

    So I’m a defective reasoner, am I?

    (JAZZ sits beside him)

    JAZZ

    Seems like. I’m stuck with you and you’re stuck with me.

    CHASE

    But I don’t get it – if death doesn’t free you, what does?

    JAZZ

    Why couldn’t you tell me about her?

    CHASE

    I can’t even go there.

    (long pause)

    JAZZ

    If you can’t go there I can’t see where there is to get to. 

    CHASE

    Sexsomnia is like sleepwalking.  They –

    JAZZ

    Would you stop it with trying to rationalize the irrational? It makes me feel so alone.

    CHASE

    (Holding her – she lets him)

    We can’t have that.

    (They start to kiss)

    Maybe it hasn’t happened yet.

    JAZZ

    What part?

    CHASE

    The video Corso’s trying to create. If he hasn’t finished it, he hasn’t released it.

    JAZZ

    But what we did. It’s out there, alive, wandering the cloud. 

    CHASE

    Maybe not. 

    JAZZ

    I like this Chase better.  So let’s get rid of it and warn the others.

    CHASE

    Are you sure they’ll care?

    JAZZ

    Someone will.

    CHASE

    They may prefer secrecy, or destruction. But people don’t believe without evidence.

                               JAZZ

    Our suffering is the evidence.

                      (She pushes him away)

    You wanted this to happen.  You twisted my life into evidence for your crime scene. You used the rest of us as bait.

    CHASE

    I swear I had no idea he’d go this far. But if it’s real we’ve got to face up to it. Destroying the evidence doesn’t cancel our suffering.

    JAZZ

    Without the video, we don’t remember. If we pass it along, Corso wins – whoever we pass it to.

    CHASE

    It isn’t “gone” just because we can’t remember. Haven’t what we’ve been through shown us that? It becomes a negative hallucination.

    JAZZ

    I feel sure I don’t want to know what that is.

    CHASE

    It means is not seeing the obvious. 

    JAZZ

    Forgetting is almost as good as innocence.

    CHASE

    That’s what Corso counted on.

    JAZZ

    Help me.

    CHASE

    I’m trying.

    (the distance between them is growing. They reach out their arms to each other but it’s too late. CHASE fades into darkness)

    JAZZ

    I want to forget! Help me forget!

    CORSO’s voice

    I stand at the ready to assist my adorable Jazz.

  • Rough Sleep – a play by Alysse Aallyn

    – KITCHEN set, bar with overhead wineglass and pot rack, burners steaming ( ZOYAorchestrates the food)

    ZOYA

    Stevie, could you open the wine and let it breathe?

    (Clutches her own throat)

    No one wants a strangled wine.

    CHASE

    Jazz drinks any kind of wine.

    ZOYA

    Jazz? What kind of name is that?

    JAZZ

    It’s a nickname. My name is Jasmyn Suzino.

    ZOYA

    (Thawing. She is cautious and protective, not mean)

    If you’re important to my son I’m so glad you’re here.

    CHASE

    She’s very important to me. 

    ZOYA

    I hope you like Welsh rarebit and Coquille Saint Jacques.

    JAZZ

    Sounds delicious. I hear you do your own cooking?

    (CHASE takes bottle and opener from his mother.)

    ZOYA

    Love is the main ingredient, I always say. Red or white?

    (She pulls down wineglasses from the overhead rack. There are several bottles of wine.CHASE opens them one after the other. JAZZ looks a little scared as if she might have to drink all this)

    JAZZ

    Oh, whatever.  May I have ice, please?

    CHASE

    (Being a Farrell)

    No.

    ZOYA

    Oh, for heavens sake let her have whatever she wants!  Lemon, sugar! Anything! This is a party!

    (Slaps out an ice bucket)

    CHASE

    Taste it without ice first.  It’s Christmas wine from Lebanon.

    JAZZ

    Wow.  Delicious.  You’re right….forget the ice.

    (JAZZ sits at the bar – ZOYA blots the corner of JAZZ’s mouth with a napkin, lays napkins down.  What with spoons and potlids, she gives an impression of sacred priestess juggling sacred tools)

    CHASE

    Mom made all this lace herself.

    JAZZ

    Awesome. Exquisite.  I didn’t know humans made lace.

    CHASE

    Mom was beaten into submission by nuns. You propitiate the gods by giving them lace. 

    ZOYA

    (Raps him sharply with a spoon)

    Stevie, you heretic! What will our guest think?

    CHASE

    “Make our damn lace or be consumed by the Holocaust!”

    ZOYA

    Stevie! Oh, what’s the use? You’ll never change. I forgive you.

    JAZZ

    Uh, the flowers on that cake look almost real.

    ZOYA

    I love making sugar flowers.  Those are lilies and camellias.  I wore them at my wedding.

    CHASE

    Mom studied pastry making at the Cordon Bleu in Paris. 

    ZOYA

    It was just a summer course. Canapés or crudités?

    CHASE

    Crudity always.

    JAZZ

    (To CHASE)

    Paris!  Were you there?

    CHASE

    Naw.  I was just a bullet in my father’s bandolier in those days.

    ZOYA

    Oh, Stevie!  You’re such a silly! How I love you! No, he’s never been to Paris.  We’ve not been back. That was our honeymoon, so long, long ago.

     (Seems like she might cry) 

    It’s so hard to keep the rarebit from separating. 

    (sniffs – offers a plate)

    Duck pâté?

    JAZZ

    Er, sure.

    (ZOYA and CHASE toss off their wine, he refills their glasses.  JAZZ holds hers against her chest. ZOYA reaches down a platter)

    ZOYA

    I love to cook! Following a recipe to make things right. I wish people ate more, but they’re always on such weird diets. Cyanne’s a vegan who won’t eat gluten.  Everything’s changed. I used to pick my own watercress but now I’m afraid of the fisher cats. 

    CHASE

    Fishers eat squirrels, mom, not people.

    ZOYA

    Somebody needs to eat those squirrels. They’re too assertive. But it’s the fisher cats who scream – like someone being murdered.

    CHASE

    They’re nocturnal, Mom.  And watercress is out of season.

    ZOYA

    (Fighting back tears)

    So how does your family celebrate grand occasions, Jasmyn? I’m sure it’s something more splendid than a homely family party.

    JAZZ 

    (nervous)

    We make a lot of toasts.

    (She lifts her glass. ZOYA and CHASE both drain their glasses and immediately refill as if that’s what etiquette requires)

    ZOYA

    Stevie, you say the blessing.

    CHASE

    You’re going to have to stop calling me that, Mom.  My name is Chase.

    ZOYA

    But that’s a stupid name.  It doesn’t mean anything.  Steven was your grandfather’s name.

    CHASE

    But he’s gone. You want me to be gone?

    ZOYA

    I’m praying you never leave again.

    (Lifts her glass)

    Zemlya pukhom!

    CHASE

    It’s your birthday, Mom.  We toast to you.

    (He raises his glass)

    ZOYA

    (Abashed, almost frightened.)

    No more bad luck.  I’m not fit to catch God’s eye. Dolgaya zhizn!

    JAZZ

    What’s that mean?

    CHASE

    Long life.

    JAZZ 

    Long life!

    (They drink. A moment of happiness. Enter CUTTER FARRELL dressed as if for wild weather.  CUTTER slowly removes outer gear but continues to play with belt – appraising the group as if wondering who to use it on. He is a cold, cold-eyed man, a paler, blockier version of CHASE. Accepts drink from placatory ZOYA)

    CUTTER

    Filthy night. What have we here?

    ZOYA

    Stevie brought a friend to my birthday party! Isn’t that exciting?

    CUTTER

    (Takes drink, cranes his neck insultingly)

    Little Stevie brought a date?  Where is he? I don’t see him.

    (JAZZ steps up bravely and offers her hand)

    JAZZ

    Hi, I’m Jasmyn Suzino.

    (CUTTER takes her hand and presses it to his chest, looking her up and down at his leisure)

    CUTTER

    Where did this dark-eyed beauty spring from? Be still my loins.  I’m Cutter Farrell, young lady. Pleased to make your acquaintance.

    JAZZ

    (Awkwardly)

    I go to school with Chase. Er – Steven.

    CUTTER

    Bet you met him yesterday.

    (JAZZ reacts as though this might be true. CHASE steps forward, detaches JAZZ’s arm)

    CHASE

    Pick on someone in your own weight class, Dad.

    CUTTER

    And that would be you? I’ve heard braggadocio but I’m getting tired waiting.

    ZOYA

    (Panicky)

    Please don’t fight. It’s my birthday.

    CUTTER

    I don’t like surprises.  That’s all.

    (Pops some savory in his mouth and drains half his drink)

    So. Suzino.  What kind of a name is that?

    JAZZ

    It’s Portuguese.

    CUTTER

    Is there a Dad in your picture?

    JAZZ

    (After a beat)

    Not really.

    CUTTER

    That’s the Portuguese in him. We Irish, now, keep families together. We hang on till every lost dog is drawn and quartered.

    (ZOYA snaps tensely at CHASE who is eating)

    ZOYA

    (Spanks his arm with her lace napkin)

    Don’t double dip, darling!  It’s disgusting!

    (Blots her forehead)

    I’m sorry.

    CUTTER

    (Poking freely among the crudités tray)

    When’s dinner?

    (ZOYA clatters pot lids hopelessly)

    ZOYA

    Half an hour.  Forty-five minutes.

    CUTTER

    Just enough time for a private pow-wow.  Bring your drinks, kids. You’ll need them.

    CHASE

    No thank you.

    CUTTER

    I’ve got a business proposition for you. Come along now:  fair’s fair.  You’ve got to give me a chance to get my money back. All the cash I spent on you…

    CHASE

    I’m not putting my money into any of your schemes.

    (CUTTER takes JAZZ’s arm)

    CUTTER

    Fine.  Then your little girlfriend and I will have a sit down. You stay out here with Mummy the way you always preferred, Jasmyn and I will have a heart to heart and find out what’s what.

    ZOYA

    (Desperate)

    Cutter, please! 

    CUTTER

    You cook, dumpling, I’ll entertain our guests.

    ZOYA

    By arguing?

    CUTTER

    I only stand up for what’s mine.

    (To CHASE who’s sliding unwillingly off his barstool)

    You’re going to want to see this.  Believe me. It’s the next biggest thing, and I’m offering you a buy-in on the ground floor.

    CUTTER’S DEN- SCENE XIV.  Macho and dark; leather furniture, deer head, creels and powder horns, gun rack

    CUTTER

    So, what are you studying in this college of yours?

    JAZZ

    We’re participating in a research experiment.

    CUTTER

    I’ll bet you are. Anything to do with the Internet?

    JAZZ

    The Internet?

    CUTTER

    (Shaking his head as he looks at CHASE)

    Where do you get these girls?  You haven’t heard of the Internet, young missy? The World Wide Web?

    JAZZ

    (Blushing but controlling herself at a warning look from CHASE)

    It has nothing to do with that.

    CUTTER

    (Studying her speculatively)

    Well, I can’t answer for how they behave in Portugal, but it’s possible you were pimped out without your knowledge. 

    (Picks up a video controller. CHASE and JAZZ stares stupefied at a screen that flickers dancing shapes over their faces)

    CUTTER

    Look what your boyfriend got you into! It’s a game, see? You can make them do any combination, anything you want.

    (Struggles with his controller)

    How do you make this thing go frame by frame?

    JAZZ

    Oh, my God. It’s US!

    CHASE

    Turn that thing off!

    (CHASE lunges for his Dad, they tussle, CUTTER playing “keep away” with remote)

    CUTTER

    Wait, wait –the good part is coming up! 

    (CHASE succeeds in dashing controller to floor, screen light goes off)

    Here’s a fine thing for a father to have to see! You could at least ensure they disguise the faces – but you all make yourselves so recognizable with those tattoos. Nice birthday gift for mommy, wouldn’t you say?

    (CHASE lunging – they are full-on wrestling)

    CUTTER

    This idea’s worth millions – unless you sign away your rights – AGAIN. But that’s what you do, isn’t it? Anything rather than take dad’s advice! Why don’t you hit me, since you’ve been longing to. Go ahead – hit your father!

    (CHASE manages to turn off screen, throw remote, pushes CUTTER away)

    CHASE

    Come on, Jazz, let’s get out of here.

    CUTTER

    I suppose you’ll claim that was art. 

    (Heavy fake Irish accent)

    Will you be taking it around to the festivals now?  Put it up for the booby prize?

    CHASE

    You’re dead to me.

    (Dragging JAZZ away)

    CUTTER

    I’m dead to you, you spineless party pooper? I’m dead to you?

    (ZOYA appears holding a wine opener pushed to her neck)

                               ZOYA

    I’m dead to everyone and nobody noticed! Nobody even noticed!

    (JAZZ tries to go to her, CHASE pulls her away downstage – lights off on FARRELL RESIDENCE)

  • Rough Sleep – a play by Alysse Aallyn

     SCENE XII – BATHTUB/DRESSING ROOM with towel & clothes rack. HUGE bathtub

    CHASE

    Here we are.

    JAZZ

    God, this is luxe.  Now I’m scared of drowning.

    CHASE

    (Touches her)

    I have a lifesaving badge. 

    JAZZ

    Coming in with me?

    CHASE

    Soulmates should never be apart too long. In relationships timing is everything and we don’t want to miss a beat.

    JAZZ

    Right. We might end up in different universes.  Who’s to say we’d ever get back?

    (She turns on taps, sounds of water flowing – bubbles)

    CHASE

    You’re getting bubbles all over the floor.

    JAZZ

    Who cares? Your mother already hates me.

    CHASE

    (Reaches in to turn off the jets)

    She absolutely does not.  My mother’s not a hater.  Look at this.  There seems to be a drain in the floor.

    JAZZ

    Seems to be? Didn’t you live here?

    CHASE

    Nope. This house is new to me.

    JAZZ

    What a thoughtful vortex we’ve fallen into.

    (They undress.  CHASE has chain tats twisting up his arms)

    JAZZ

    I see you made your status permanent. What with the chains.

    (Touches them)

    CHASE

    I’ve got commitment. How about you? Any tattoos?

    JAZZ

    A tiny one you’ll never find.

    (Slides into bath)

    CHASE

    Sure you want me in there? What if I’m contagious?

    JAZZ

    Here’s hoping we both are.

    (He climbs in)

    CHASE

    You like it hot. Just like my mom.  She thinks you’re not clean unless you remove the top layer of skin.

    (JAZZ dumps bubbles on his head – they play – she squeals – he upends her looking for the tattoo))

    CHASE

    Here it is! I found it!  What’s that – a hummingbird?  A butterfly?

    JAZZ

    (Spitting bubbles)

    It’s a dragonfly.

    (They play.  Ah, love)

    Weren’t we doing something important before we got worm-holed away?

                      (Seductively)

    CHASE

    Nothing as important as this. 

    (Kissing)

    JAZZ

    Now I recognize you without your skin.

    CHASE

    You’ve heard the theory angels are hermaphrodites? 

    JAZZ

    I missed that one.

    CHASE

    You can be my other wing.

    (ZOYA strikes a gong in the front hallway)

    CHASE

    Uh oh. There goes the dinner bell.

    JAZZ

    There’s a dinner bell?

    CHASE

    Mom needs an audience for her extravaganzas.

    JAZZ

    She cooks her own birthday dinner?

    CHASE

    From scratch. She’s a one-woman homemaking army. What does your Mom do for her birthday?

    JAZZ

    We go to one of those sneeze guard buffets where children throw meatballs. Intro to Plague Theory.

    (They wrestle, squealing)

    CHASE

    This is the best bath I ever had. I’m looking forward to getting dirty just so we can get clean again. 

    JAZZ

    I know! It’s so much more fun with two of us!

    CHASE

    No baths with the Bexter?

    JAZZ

    Are you kidding? I had to use reverse psychology just to get him to shave. Please – no more Old Boyfriend talk. Let’s agree when we get out of this bath we will be completely new.

     (Embrace)

    CHASE

    Agreed.

    (Magical moments. ZOYA strikes gong again)

    CHASE

    Uh oh.  Thirty second warning.

    (He climbs out, helps her into towel)

     Time for Lady’s Choice.

    (Rack of clothes in spot)

    JAZZ

    I can be anyone I want? There’s plenty to choose from.

    (Handles clothes)

    Your mother wasn’t kidding. Most of these still have tags. Is your sister even real?

    CHASE

    Sure she is.  She got all the niceness, I got all the meanness .

    JAZZ

    How can she nice and miss Mom’s birthday?

    CHASE

    You’ll see why. How about this one?

    (Prom dress)

    JAZZ

    No I like this one better.

     (Girl Scout uniform)

    CHASE

    Or Pocahontas.

    (Fringed Indian outfit)

    JAZZ

    Or a cheerleader! Maybe there’s a football uniform for you. I have my fantasies, too.

    CHASE

    Better keep it simple. We might have to make a break for it.

    (They don cleaner versions of their old clothes)

  • Rough Sleep – a play by Alysse Aallyn

     SCENE XI – FARRELL RESIDENCE.  (ZOYA, festively dressed excitable little woman with dyed hair teeters forward on high heels)

    ZOYA

    Stevie!

    (She clutches CHASE, kissing him everywhere)

    Oh Stevie, Stevie, I was so afraid you wouldn’t come.

    CHASE

    Miss your birthday?  How could I possibly?  And I brought a friend.

    (JAZZ waves nervously)

    JAZZ

    (Awkwardly extending plant)

    Happy Birthday.

    (Painfully obvious this is way too big a plant for this tiny person)

    ZOYA

    (Making no move to take it)

    Oh, my. That looks so…interesting. Well come in, come in.

    ( JAZZ unloads plant on hall table, looking around, awed. ZOYA regards plant apprehensively.)

    ZOYA

    I suppose I’m ancient, dry and prickly just like this plant. Does it come with directions?

    JAZZ

    It’s a Christmas cactus. It’s going to have three blooms.  See?

    ZOYA

    (Without enthusiasm)

    Lovely.

    (Clings to CHASE)

    It’s so wonderful to see you!

    (She squeezes him)

    Look how tall you’ve gotten.

    CHASE

    (hugs her)

    Good to see you, Mom. You’re looking well.

    JAZZ

    Sorry I’m not dressed for a party.

    CHASE

    Jazz had kind of a disaster. Somebody jumped out of her dorm room window.

    (JAZZ and CHASE exchange looks)

    ZOYA

    How terrible! Were they badly hurt?

    CHASE

    (With relish)

    Killed, Mom. Dead.

    (His mother backs away, looking at the pair of them)

    ZOYA

    Do they give you an automatic A and send you home?

    CHASE

    Urban legend, Mom. You’ve got to stop believing myths.

    (His mother strikes him lightly on the arm)

    ZOYA

    I never know when you’re teasing.

    CHASE

    If Jazz could borrow something of Cyanne’s…?

    ZOYA

    (Recollecting she’s the hostess)

    Of course, of course.  Cyanne has way too many clothes. She’s always shopping. You look about the same size.  She’d say yes but she’s away at college.  She’s pledging my sorority. Quick drink before you freshen up?

    (An expression almost of panic)

    Because I’ve got to get back – back to the kitchen.

    (Backs away as if dragged – exit)

    CHASE

    My Mom always bakes her own birthday cake.

    JAZZ

    Why didn’t you tell me your mother hates plants?

    (Gestures)

    All these plants are fake.

    CHASE

    Mom says growth’s a lot of work. 

    JAZZ

    (Mimes looking at family photos on the walls)

    That you as a baby?

    CHASE

    The very same. Aren’t I adorable? You can’t tell which is me and which is Cyanne.

    JAZZ

    You all look so happy.

    CHASE

    Appearances can be deceiving.

    JAZZ

    So your real name’s Stevie.

    CHASE

    Steven.  Now that you know it, forget it. Just another thing that’s gone.

    JAZZ

    You could have told me. 

    CHASE

    Who knew we’d end up here? I’ve never been good at telling people things. The vortex assumed control.

  • Rough Sleep – a play by Alysse Aallyn

    JAZZ
    Time to forgive yourself.


    CHASE
    Oh, that’ll be easy. Walk in the park.


    JAZZ
    I’m still here.


    CHASE
    You’re scared to leave because Bex is out there.


    JAZZ
    That’s not it. I’m here because I want to be. I can handle Bex. His pride is hurt but he’s basically lazy. I don’t matter that much to him. He spent all our time together trying to convince me I was worthless and making him look bad.


    CHASE
    Sounds like my dad. Except I really was all he had. His only son.


    JAZZ
    You’re not responsible for him. Bex wanted me to believe that I was stuck with him, but he wasn’t stuck with me, that I owed him a debt that kept mysteriously increasing.


    CHASE
    Ouch. I need a shower. Want to come?


    JAZZ
    Oh, no you don’t! We’re not finished yet! Why come after Corso? Why pick this college?


    CHASE
    You really want me to roll in it, don’t you? Can’t you just be a good soulmate and fill in the blanks?


    JAZZ
    Total honesty. Full disclosure. Tell each other everything, don’t you agree?


    CHASE
    Maybe.


    JAZZ
    So when Bex bothers me you want me keeping it secret?


    CHASE
    Hell no! Point taken.
    (forcing himself to reminisce)
    I just couldn’t get it out of my mind that nothing bad happened to Corso. No jail time! No publicity. No fines even. They made him promise not to work with children, but he’d graduated to teenagers by that time anyway. I gradually realized the money was to control me, so I wouldn’t tell the police. Blood money. What a bad deal that was. He wasn’t controlled! Rewarded, if anything. I might as well have been protecting him. When I looked him up – there he is running “perceptual studies” at a prestigious college! That sound like “punishment” to you?


    JAZZ
    That would be punishment for me, but I get what you mean.


    CHASE
    So I decided to kill him. It’s the only way. I mean, Corso’s a monster, right? And he’s only getting worse. I grew up, I bulked up, I legally changed my name, I disguised myself every way I could think of. I mean, he hadn’t seen me since I was a squeaky-voiced platinum haired tot of thirteen.


    JAZZ
    But let me guess. He recognized you right away.


    CHASE
    He just assumed I couldn’t live without him. I was there to bring him souls!


    JAZZ
    You confronted him?


    CHASE
    He says the university knows all about his “spot of bother.” There’s no official record. To hear him tell it, we were co-victims!


    JAZZ
    Co-victims!


    CHASE
    Yeah. Of religion. Of repression. Of the fifties, of his parents – you name it. But he’s fine now. Happily married, to a nice older lady who just happens to be rich! He’s “freed” himself, see, from his horrible past and he just wants to liberate everybody else.


    JAZZ
    What a bastard.


    CHASE
    So either I get the goods on him or I kill him. There aren’t other options. If that makes me a monster, then, that’s what I’ll be.


    JAZZ
    Hard luck on me, having a monster for a soulmate. What did I do to deserve this?


    CHASE
    Clearly you attract monsters.


    JAZZ
    You sell us both short. If you wanted to be a monster, you would be one already. You’ve been here four years!


    CHASE
    I got distracted. College is interesting – wrestling, debate club, research, biofeedback… Suddenly I found myself in a much bigger world. But whatever avenue I went down… he was always there ahead of me. Like, he’s the creator of everything and I’m just his mutant, the cuckoo on his clock. I want a world without Corso, a universe to call my own, but… he’s polluted everything.


    JAZZ
    So he still holds you hostage.


    CHASE
    He’s inside me. He’s like, taken over the inside of me. Robbed me of my self. I always seem to know exactly what he’ll do, or say, so in some sick way it’s me doing it. There’s no “me” any more, as long as he’s alive. My only hope is to off him.


    JAZZ
    That’s stinking thinking. If you kill him, he still wins. You’d be linked to him forever. I refuse to lose a perfectly good soulmate. You’re nothing like Corso. He’s soulless and that’s why he collects souls. You’re real. Without a self, how could you have a soulmate? Knowing him just makes him easier to trap. If we’ve learned anything, it is that he’s up to no good. He’s a predator- parasite. We’ve got to keep that straight. Trust?


    CHASE
    If only I could believe in souls. I don’t feel indestructible. I’m staying alive by the force of my resistance.


    JAZZ
    You woke me.


    CHASE
    That’s what we have in common. You resisted Bex.


    JAZZ
    I’ll say! He worked so hard to keep me down. We recognized each other. We’re the same.
    (passionately kiss)


    CHASE
    It’s only our worlds that keep changing.


    JAZZ
    It’s love.


    CHASE
    And we keep falling into it. “Falling” seems more than a metaphor.


    JAZZ
    If we’re in the middle of something extraordinary, we’ve got to stop looking with ordinary eyes.


    CHASE
    But everything’s corpses. Corso threatens life itself.


    JAZZ
    Murderers do tend to round up the refugees.


    CHASE
    He’s poisoning us. The question is whether it’s terminal. I wish I knew what was in that stuff he gave us.


    JAZZ
    Who cares what he gave us? He wants you to think he’s some scientific mastermind wielding a secret weapon. We’re the ones with the secret weapon.


    CHASE
    Some amnesiac, like scopolamine or propanolol. Without memory, he assumes we lose identity. But stress-based experiences are processed like dreams – we keep having flashbacks.


    JAZZ
    And flash-forwards. But we all formed new memories – some of them pretty crazy I admit – but others right on target. Look at Soliz falling through my window, Zane at the toxic dump, Koo with her body-bags. Something happened to us and he doesn’t want us to find out what. Bex wants me thinking he’s all powerful and everywhere so I’ll feel weak and helpless and give up, and Corso’s exactly the same. You must have gotten close –that’s why he fired you.


    CHASE
    He didn’t reckon with us happening.


    JAZZ
    We have a superpower!


    CHASE
    I’m scared the universe is setting us up, just to knock us back down.


    JAZZ
    But the universe loves creators, and lovers are the ultimate creators.


    CHASE
    Creation takes so long and destruction lasts forever.


    JAZZ
    Doesn’t the green growth keep coming up?


    CHASE
    Death is inevitable. It’s life that’s the surprise. In wrestling your attacker takes himself down. We need to find Corso’s weak spot –


    JAZZ
    He’s not immortal, is he?


    CHASE
    God, I hope not.


    JAZZ
    I mean, if he keeps swelling up with everybody else’s souls he’s going to explode. The universe will take care of Corso.

  • Rough Sleep – a play by Alysse Aallyn

    (At Hadleigh Hall, a body lies under a tarp)

    SOLIZ

    They’re not letting anyone in. Do you know who lives in Room 824?

    JAZZ

    Actually, I live there.

    SOLIZ

    Oh, you do, do you? Well, some guy fell out your window.

    JAZZ

    Just like your dream!

    SOLIZ

    (threateningly)

    I don’t know what you’re talking about.

    CHASE

    Some guy? Who?

    SOLIZ

    Unidentified.  You can’t see him, he’s under a tent.

    CHASE

    Can’t Jazz collect her stuff?

    SOLIZ

    Come back later. It’s chaos over there.

    (SOLIZ frees them from tape; JAZZ and CHASE lurch off downstage)

    JAZZ

    This is Soliz’s dream. I remember if she doesn’t.

                               CHASE

    Except this was a guy.

    JAZZ

    Let’s hope it was Bex.

    CHASE

    So now you’re pro-violence?

    JAZZ

    Who’s saying I pushed him? It would be so unlike me.

    CHASE

    So, no going home for you.

    JAZZ

    Hadleigh was never my home.

    CHASE

    Well, you can camp out at my place while we figure out what to do with this new corpse.

    JAZZ

    Makes me harder for Bex to find. On the other hand when he does, he’ll just get madder.

    CHASE

    We’ve got enough problems without worrying about satisfying his unsatisfiable psyche. We’ve got three dead bodies!

    JAZZ

    And God knows how many crime scenes. Explain exactly why soulmating requires detective work?

    CHASE

    Maybe nature is one big crime scene. Red of tooth and claw.

    JAZZ

    You and your classical education.

                               CHASE

    Voilã! Here we are at my place.  

    SCENE VIII – Lights go up on CHASE’S APT – disheveled male bedroom/kitchenette

    JAZZ

    This is definitely a crime scene.

    (Throws herself into a low-slung chair)

    CHASE

    (Sitting close)

    You expected harp music? Hey, you admitted your life was a crime scene too. 

    JAZZ

    I guess I thought the point of soulmates is all the hard work would be magically be done.

    CHASE

    So no going over the past trying to understand and explain the mess? Wouldn’t that be nice!

    JAZZ

    Why can’t we just escape the mess?  The mess would no longer matter. We could rise above the mess.

    CHASE

    Your fantasy forgets about the demons. If we’ve unleashed demons –

    JAZZ

    Who’s to say we unleashed them?  I’m not responsible for Bex.

    CHASE

    Yet he’s out there, rampaging. At least I know I’m responsible for Corso.

    JAZZ

    But Corso’s using your involvement to keep his rampage going. Oh. Touché. I see what you mean.

    CHASE

    We’re dissociating. Living each other’s nightmares.

    JAZZ

    At least we’re braving hell together.

    (they touch hands) 

    CHASE

    If it’s purgatory, graduation’s a possibility.

    JAZZ

    We’re on a multiple universe scavenger hunt! 

    CHASE

    A time and space jigsaw puzzle!

    JAZZ

    We need to get to the crime scene before the crime happens.

    CHASE

    How would we know it was a crime scene?

    JAZZ

    Tell me what you know. What Corso did to you.

    CHASE

    God! You know I don’t want to talk about it.

                               JAZZ

    What specifically are you afraid will happen if you talk about it?

    CHASE

    That this whole thing would shatter right in front of me. I would wreck – whatever this is happening between us.

    JAZZ

    Maybe we’re meant to reveal, not repair, each other’s real selves.

    CHASE

    Let’s talk about your fears and malfeasance. That’s more fun for me.

    JAZZ

    Somebody increased power by sucking out ours. We’re going to reclaim it. Tell your soulmate what Dr. Corso did to you. 

    CHASE

    If you know, aren’t you ruined too? How can I stay with someone who knows this disgusting thing about me?

    JAZZ

    I guess we’ll just have to see.  We need to free ourselves to be with each other. 

    CHASE

    But there’s the difference, right there – you left Bex,  I pursued Corso. I came after him. 

    JAZZ

    You are so competitive. If you need to be “worst”, prove it.

    CHASE

    He was a teacher at my choir school. Latin, of all things. We spent an eternity on the Aeneid. God, I hate talking about this. I haven’t talked about it since I was fifteen, with the lawyers and judges.

    JAZZ

    He molested you?

    CHASE

    Between my ninth and thirteenth years. He had a way of making us compete to be “the favorite”. If you could just get on that easy street, life became golden. Finally I saw what a prisoner I was. Mustered up the courage to get the hell out of there.

    JAZZ

    Jesus.

    CHASE

    Great pillow talk, huh?  And that’s not the worst of it.

    JAZZ

    How could it get worse?

    CHASE

    I brought him other boys.  Whatever he wanted.

    JAZZ

    You were a kid.  None of this could possibly be your fault.

    CHASE

    Yet here I am. Still a slave.

    JAZZ

    But you found your soulmate.

    (They hug)

    How did it end?

    CHASE

    It hasn’t ended. I mean, the sex thing ended when Corso met my sister – my twin sister – and decided he was ready to branch out. He was like, deliver her or else.  That woke me up. I went home and refused to go back to school.  I finally told my parents.

    JAZZ

    And?

    CHASE

    They pretty much behaved the worst they possibly could.  First, they didn’t believe me. My dad has always been a total bastard making fun of me for singing in a high voice and wearing a lace collar and Mom was sort of a “the church can do no wrong” nut. You know, like, who are you going to believe, a priest or your own lying eyes?  They just couldn’t take it in.  But then a kid at school hanged himself and things started to snowball. Corso got kicked out. People started suing. My dad smelled a payday. The other families accepted settlements not to squeal. Everybody settled except my father. He was holding out for the Big Money that was going to make all his dreams come true.

    JAZZ

    Then what?

    CHASE

    What always happens with my Dad.  He was having such a good  time holding the whip, he waited too long. The minute I turned sixteen, I got legally emancipated. I could prove that Dad was hitting me – I had the sense to record him – so the judge refused to give Dad the cash. Dad declared bankruptcy and I finished high school on my own. Living at the Y.

    (Restless pacing)

    So on top of everything else, I’m singlehandedly responsible for the destruction of my family.

    JAZZ

    Scapegoating. People need someone to blame, it’s another form of hostage-taking. This isn’t your fault.  Time to forgive yourself.

    CHASE

    Oh, that’ll be easy. Walk in the park.

    JAZZ

    I’m still here.

  • Rough Sleep – a play by Alysse Aallyn

    (CORSO doesn’t like CHASE and JAZZ’s new alliance. They walk toward steps while lights go down on DREAM LAB. CORSO exits huffily)

    Scene V – Cafe

    JAZZ

    You owe me a sandwich for backing up your lie, you lying liar.

    CHASE

    Liar? I was just being a gentleman. Don’t kiss and tell.

    JAZZ

    Somehow I doubt your motives.

    CHASE

    Never give monsters bones to make their soup.  

    (He shepherds JAZZ up the steps to SCENE V –  CAFÉ set: table and chairs are set up beneath Tiffany lamp upstage another table with two hunched unidentifiable figures in close conversation at distant table)

    Any truth you give Corso, he’ll use it against you.

    (Calls offstage)

    Two specials!  Meat on the side! And plenty of Joe.

    JAZZ

    What’s the special?

    CHASE

    Whatever it is, it’s the only thing they didn’t make yesterday. That’s why we call it “Chem Lab”. I take it you’ve never been here before? Vegan?  Gluten-intolerant? I’ll eat anything you don’t.

    JAZZ

    I’m on meal plan. I’m currently omnivorous but I aspire to someday be selective. How about your aspirations?

    CHASE

    Aspirations are good.  I’m pro-aspiration. At the moment, I aspire to anonymity.

    JAZZ

     You failed anonymity in dream lab. 

    CHASE

    I had a job to do. I did it.

    JAZZ

    Getting yourself kicked out?

    CHASE

    That was inevitable. I made it through one round, and I found out what kinds of dreams everybody’s having. Now we put it together, like a psychotic jigsaw puzzle.

    JAZZ

    Are you ever going to tell me why are you so pissed at Corso?

    CHASE

     Because he took something from me and he won’t give it back.

    JAZZ

    Maybe. What’d he take?

    CHASE

    My future. 

    JAZZ

    Can he prevent you from graduating?

    CHASE

    If he makes me a killer. Corso needs to be put down like a rabid dog. It’s a dirty job but someone’s got to do it.

    JAZZ

    Please don’t even joke like that. Nobody can take away your future without your cooperation. Go be a lawyer. You’d make such a great lawyer. You argue with everybody.

    CHASE

    So help me get evidence against him and I’ll let the cops take him off my hands.

    JAZZ

    You’re obsessed.

    CHASE

    I call it goal-oriented. Russian-Irish is a volatile mixture.

    JAZZ

    It’s tunnel vision. There we were, standing right at the edge of the soulmate multiverse and where do you want to go? Corso’s apartment! What is it with men and threesomes?

    CHASE

    You went to a morgue. So what do you know about the multiverse?

    JAZZ

    You should have done the reading! Retrocausation. Many Worlds theory.  If the universe is infinite then every possible outcome must happen somewhere.

    CHASE

    So I kill Corso in some other world?

    JAZZ

    Haven’t you heard that if you look too long at a monster you become the monster?

    CHASE

    Too late. 

    JAZZ

    Are you telling me that my soulmate is a monster?

    CHASE

    I’m starting to see why we belong together. You should segue out of pre-fashion into pre-law.

    JAZZ

    I’m allergic to violence. Violence is flirtation with losing control. It gives you nowhere to go. 

    CHASE

    You referring to that big bruiser who’s stalking you?

    JAZZ

    Maybe.  He represents my official knowledge of crazy. But now it’s over and I don’t have to talk about it.

    CHASE

    “Those who make a peaceful revolution impossible make violence inevitable.” 

    JAZZ

    Oh, please. Your evidence hunt makes sense at least. Let’s do that instead. You get to find out about Corso and I get to find out about you. Where would you go first?

    CHASE

    Well, I want to go to his office but I’m afraid he’s in there. That nympho-slut Nurse Howk is probably his weak link.

    JAZZ

    Don’t slut-shame. She’s probably one of his victims.

    CHASE

    Naah. She’s a fully consenting sub-monster. Didn’t she try to ooze all over you?

    JAZZ

    She’s just living up to the archetype. It’s one of the signs of a victim.

    CHASE

    Meaning what?

    JAZZ

    Don’t you know what an archetype is?

    CHASE

    I’m a psychology major, I hope I know what an archetype is. I’m asking if you know what it is, and since I’m not getting any answers, I’m going to go see what’s keeping our food.

    (Stands up, exits.  Big, ugly, longhaired BEX looms up from darkness and pounds his hands on JAZZ’s table)

    BEX

    Is that the guy? That’s the weasel you’re dumping me for?

    JAZZ

    Bex! I told you to get gone.

    BEX

    I’m just trying to talk to you since you won’t talk to me.

    JAZZ

    (Tries to stand up but he’s pushing the table into her)

    Bex it’s over!  How many ways can I say it? Don’t you have a job to get back to?

    BEX

    And that player doesn’t?  So now I’m not good enough for you?  Is that it?

    JAZZ

     I don’t get what you’re making a big deal about – you’re the one that said we’d never be exclusive! Go find someone else to torture!

    BEX

    (Leaning in threateningly)

    You’re not the boss of me. 

    (CHASE returns with tray) 

    CHASE

    This dude harassing you?

    JAZZ

    Just go, Bex. Go home.

    BEX

    Who’s gonna make me?

    (Two figures stand up at the distant table and advance – it’s ZANE and KOO)

    ZANE

    Having trouble here?

    (BEX knows when he’s outnumbered and retreats)

    BEX

    (Shouting over his shoulder)

    Better get ready! This means war!

    (ZANE and CHASE high-five, ZANE returns to his table – KOO puts a hand on JAZZ’s shoulder)

    KOO

    We’ve all been there.

    (Exit KOO and ZANE)

    CHASE 

    (Comforting JAZZ whose head is in her hands)

    Nice guy.  I think I understand what you saw in him.

    JAZZ

    (Writhing with mortification, sits down, head on table)

    I’m so sorry. What can I say? He’s a jerk, but pickings were slim. 

    CHASE

    (Serving sandwiches and coffee)

    Hey, everyone’s entitled to at least one monster. The good news is, today’s special is meatloaf.

    (JAZZ inspects inside her sandwich)

    JAZZ

    I think I lost my appetite.

    CHASE

    More for me.

    JAZZ

    The coffee’s good. Say, Zane and Koo! Huh?

    CHASE 

    I know, right? Think something’s – going on there? Traumatic bonding?

    JAZZ

    They didn’t say anything.

    CHASE 

    We didn’t say anything.

    JAZZ

    It’s hard to say anything when you don’t know what’s going on,

    CHASE

    More fodder for my theory that reality is totally submerged – it’s never what you think you see.

  • Rough Sleep – a play by Alysse Aallyn

    (JAZZ shakes head impatiently and crabwalks out of Dream Lab down the steps toward audience. 

    JAZZ

    Where is this place? It smells like death. The end of everything.

    (A dead body falls from rafters ands hangs by its elbows obstructing JAZZ’s path – she struggles with it)

    JAZZ

    Hey! Watch where you’re going! Get out of my way!

    (Feels up the body in a panicked way)

    JAZZ

    Oh, my God, I’m so sorry! Did I bump into you? Are you all right? Are you OK?. What’s wrong?

    (She wrestles & dances with swinging corpse, batters it like a punching bag.  EnterCHASE who pulls her away. His eyes are open)

    CHASE

    What is this – a morgue?  Come on, we’ve got to get out of here.

    JAZZ

    (Can’t leave her partner)

    Someone died and I’ve gone blind. 

    CHASE

    You’re not blind.  Open your eyes. Just don’t look behind you.

    (Turns her, kisses her.  She resists at first, then leans into him as the kiss deepens.  She opens her eyes, feeling his face)

    JAZZ

    It’s you.

    CHASE

    What are you doing in a morgue?

    JAZZ

    This is the basement. 

                      (Turns, sees corpse)

    Aaagh!

    CHASE

    Leave her. She’s past help.

    JAZZ

    Did she fall?

    CHASE

    Not with her head bashed in.  Come on. We’re urgently required elsewhere.

    (Hustles her past the orchestra pit and back up on stage)

    JAZZ

    Shouldn’t we call somebody?

    CHASE

    We’ve got to keep moving. Something’s stalking us. 

    JAZZ

    That’s just my boyfriend. He won’t go home. Keeps threatening me.

    (Grabbing CHASE frenziedly)

    Maybe the dead body is me!

    CHASE

    It’s some old lady past her sell-by date.

    JAZZ

     Where are you taking me? Won’t we get into trouble for leaving?  Where are we?

    (SCENE III – Lights go up on CORSO’s APARTMENT set. Door stands between JAZZ, CHASE and a room of bed, bureau, chairs. Ambiance created by candles, tossed books and clothes)

    JAZZ

    Where did this come from? Did we like – soul travel?  

    CHASE

    (laughs)

    Maybe that bastard Corso really hit on something! The irony – you can’t imagine. Flying! Couldn’t you feel it? While we were kissing. 

    JAZZ

    All I know is you dragged me somewhere I don’t want to be. Where is this?  YUCK!  Smells like old socks in here.

    CHASE

    Better than your morgue. This is Corso’s place. 

    JAZZ

    How do you know?

    CHASE

    I helped him move in.

    JAZZ

    But why are we here? Is lab over? Maybe we won’t get paid.

    CHASE

    (Opening drawers and tossing clothes and papers)

    There are more important things than money.

    JAZZ

    Said by someone who obviously has some. Are we dreaming?

    CHASE

    Together? In my dream you would be more cooperative.

                               JAZZ

    And in my dream you wouldn’t waste time dragging me to Professor Corso’s bachelor hideaway.

                               CHASE

    We’re real. It’s Corso’s razzle-dazzle that isn’t real.

    JAZZ

    Why? How do you know? I need that money and those credits.

    CHASE

    The closer you get to it the further it will recede.

    JAZZ

    You don’t talk like a soulmate. I don’t think you care anything about me.

    CHASE

    I don’t know you. I’ve got obligations, is all.

    JAZZ

    You’re wasting precious dream time pawing through Dr. Corso’s private stuff when we should be getting to know each other.

    CHASE

     In my experience opportunities like this are one time only. 

    JAZZ

    It just doesn’t feel the way I expected.

    CHASE

    Don’t be so self-referential.

    JAZZ

    You literally CAN’T be my soulmate. I thought Corso lived on a farm in the country.

    CHASE

    His wife kicked him out.

    JAZZ

    She did? Aren’t you going to have to put everything back?

    CHASE

    He’ll never prove it was us – we’ve got the perfect alibi.

    JAZZ

    Why is my soulmate a criminal?  Lucky me. I really can pick ‘em. So what are you searching for?

    CHASE

    Evidence. What he’s really up to.  Don’t ever believe the magician’s misdirection. He’s the king of mind games. Look at this.

    (Flourishes paper)

    JAZZ

    What’s that?

    CHASE

    Bankruptcy filings! Divorce filings!

    JAZZ

    What’s THAT have to do with anything?

    CHASE

    A desperate Corso is a dangerous Corso. 

    (Throws her a scrapbook)

    See if there’s anything in here.

    JAZZ

    (Studying the pictures)

    “First mass, 1978!”  He did say he used to be a priest.

    CHASE

    True. Imagine Corso absolving people!

    JAZZ

     He told me the church expelled him.

    CHASE

    True again. The best lies always contain some truth.

    JAZZ

    For falling in love, he said.

    CHASE

    Bzzz! Not! Lie!

    JAZZ

    No pictures of his wife in here. I wonder what she looks like. All these pictures are of him.

    CHASE

    The prince of fauxmance cares only about himself. He married her for cash.   Look, here’s a picture of you. You must be his type.

    JAZZ

    That’s Bettie Page. People are always saying I look like her. I ‘ve never worn a leopardskin bra.  He certainly was a buck-toothed, buzz-cut wunderkind.  Must have had work done.

    CHASE

    Sold his soul to the devil, is what happened.

    JAZZ

    If this is astral projection – how come I still have a body?

    CHASE

    (Looks up briefly)

    You don’t like your body?  I like your body.

    JAZZ

    That’s not it…I just figured we’d be essences. I was looking forward to floating around like an essential spirit.

    CHASE

    But how would we recognize each other? Dante recognized the spirits that he saw in hell and heaven.  Makes sense to me. All things considered, I’d rather have a body to experience things with.

    JAZZ

    I get that. But why do some bodies wind up dead? I keep thinking about that poor old lady –

    CHASE

    (Still looting)

    Here’s a restraining order. He’s not allowed to come within a thousand feet of Evangeline Corso.

    JAZZ

    Wow. Have you ever met Mrs. Corso?

    CHASE

    Twice.  She was very nice the first time.  Obviously older than him, but an interesting talker.  But the second time she started screaming about eco-terrorism, about how something was poisoning her, how she was suddenly allergic to everything.  He had to pull her off me.

    JAZZ

     Corso, you suspect?

    CHASE

    Big time. He’s the only terrorist I know.

    JAZZ

    You can add Bex to that list.

    CHASE

    I doubt he equals Corso’s sheer lethality.

    JAZZ

    Give him time. You really have it in for Corso.

    CHASE

    He had it in for me.

    (The TV has its back to us. When CHASE bumps it, blue light flickers on)

    JAZZ

    Look at this.  Seems like Corso and the Howk are having a Thing.

    CHASE

    Are you surprised?  She really throws down, if you know what I’m saying. I was there at the same time as Soliz and she came on to both of us.

    JAZZ

    Some people are like that. It’s all performance art. 

    CHASE

    This look like performance art to you?

    (JAZZ jumps)

    JAZZ

    That’s disgusting! Turn it off.

    (TV off)

    Nobody really wants to be strangled. That must be a performance, for sure. Because don’t we know she’s still alive?

                               CHASE

    Do we?

                               JAZZ

    (She sits down on bed to watch him loot)

    Think we’ll remember this when we get back to normal?

    CHASE

    I’m pretty sure you and I have different definitions of normal.  I can’t tell you what will happen.  I’m a first timer, too. We have to play it the best we can.

    JAZZ

    If this is a dream, maybe we’re making it up as we go along.

    CHASE

    If you’re not a psychology major, you don’t know about the maze-solving worms.

    JAZZ

    (JAZZ puts chin on hand)

    You’re right. Never heard of it. Do tell.

    CHASE

    They taught these worms to solve complex mazes, you know, by giving them rewards.  And then they ground them up and fed them to these other worms.

    JAZZ

    What a mean thing to do!

    CHASE

    Except the new worms knew the maze first time.

    JAZZ

    So that proves…what?

    CHASE

    Memory is chemical.

    (Taps his head)

    JAZZ

    So Corso’s going to grind us up and feed us…to the alternates?

    CHASE

    Trust me.  He would if he could.

    (Pulling out drawers.  JAZZ tosses CORSO’s messy sheets)

    JAZZ

    I can’t believe we’ll get away with this.

                      (Jumps to her feet)

    Yuck! I’m wet. I sat in their wet spot! It’s blood!

    (Looks in a panic at her hands, wipes them on her pants, touches her cheeks, increasingly upset.)

    Yuck, yuck, yuck!  There’s blood on this sheet and now it’s on me!

    CHASE

    Sssh. You’re not really here.

    JAZZ

    You just said we were!

    (She throws the papers he’s gathering in the air, he grabs her and starts kissing her)

    Now you’re getting it on you.

    CHASE

    I’m getting you on me. I’m starting to think you really are my soulmate. 

    JAZZ

    (Kissing him back)

    So please get me out of this disgusting place. 

    CHASE

    I’m sorry I’m so bad at this. It’s just that I can never forget. 

  • Rough Sleep – a play by Alysse Aallyn

    (Perceptual Studies Student Lab at College . Enter CORSO in Burberry, cap and scarf)

    CORSO

    Sorry I’m late.  I’ll make it up.  Time’s our bitch, but that’s what we’re here for – get on top of it.  I see you’ve met my teaching assistant, Mr. Quinn. 

    (Indicates CHASE) 

    CHASE

    I thought you fired me.

    CORSO

    But you’re so charming as my warm-up act.  Who could resist you? Consider yourself re-hired.

    ZANE

    (Pointing at CHASE)

    Ringer! Ringer!

    CORSO

    (Opens a door)

    Welcome to Paradise. After you.

    (Lights up on  DREAM RESEARCH LAB ;  six recliners arranged in a circle – lockers to either side– students study their environment. Glittering disco ball lowers from ceiling shedding fractals. Padded floor; students step gingerly.  At center of recliners a black chalice on a tripod emits dry ice smoke)

    CORSO

    (Slams door aggressively)

    Now you’re committed.

    RAD

    My folks always said I’d end up committed.

                               ZANE

    And in a padded cell.

    CORSO

    God forbid you should fall down in your dream-throes and sue the institute that birthed your intellect.

    CHASE

    Where are the sensors?

    CORSO

    Everything’s wireless these days, poor Mr. Quinn! What are you worried about? Nobody would dare to censor you. 

    KOO

    (Gestures at the disco ball)

    Is that a camera?

    CORSO

    The Eye of History.

    (Claps hands)

    Chop, chop, little ones – Enough rubbernecking.  Time’s a-wasting.  Male locker room there, females that-away. Discard outerwear and belongings. Let’s get going.

    (As CHASE passes him, CORSO says dryly)

    The old razzle dazzle?  REALLY?

    (Banging of locker doors)

    CHASE

    We’ll see.

    CORSO

    We certainly will. Now, if you children would arrange yourselves male, female – thusly.

    RAD

    Like some antique dinner party?

    CORSO

    Sacred geometry.  We need all the energy we can harness. We are immersing ourselves in the flip side of reality- the Unseen. 

    (JAZZ and CHASE are side by side. CORSO distributes mugs)

    CORSO

    Tea time!

    CHASE

    What is this stuff?

    CORSO

    Sorry, Mr. Quinn, research is not a democracy. All that’s guaranteed is, you sleep on cue without allergic overdrive.

    ZANE

    I’m not allergic to Nurse Howk, either. Yowza!

    RAD

    (Shaking his hand as if from a burn)

    I know, right?

    CORSO

    Drink up and settle down.  I am collecting mugs so I will know who’s been naughty and who’s been nice.

    JAZZ

    Yuck! This stuff tastes like bark.

    (RAD barks like a dog)

    CORSO

    Shotgun it, Miss Suzino. Knock it back. Isn’t that the college way?

    .        (CORSO collects mugs, turning them upside down to be sure they’re empty)

    Musical selection?  Classical or non-classical?

    ZANE

    Anything so long as it’s not classical.

    CHASE

    Anything – so long as it’s classical.

    (They glare at each other. CORSO laughs)

    CORSO

    The bulls do clash! Ocean sounds it is!

    (He conducts the music) 

    Everyone hold hands and close eyes please. Let the bonding begin!

    CHASE

    (Muttering)

    Bondage, more like.

    CORSO

    Mr. Quinn!  Must I gag you? That can be arranged!

    (CHASE finally closes his eyes, rocking back and forth to get comfortable. Lights go down to twilight level on DREAM LAB.  CORSO ascends on TOWER LIFT, wearing earphones and holding a conductor’s baton)

    CORSO

    Welcome to cosmic dreaming. You will dream at such a depth your mind will burst the bonds of selfhood and explode free and untrammeled into the universe. Free from the chains of time, from identity itself, we uncover the truth the quotidian obscures;  we are one. Think on it. Think what it would means to be freed from debt, obligation, relationship, guilt, regret or loss. There are no mistakes.  Without identity you are released from suffering.  Everything you have ever wanted we can achieve together, effortlessly, and in abundance. Desires and longing are the fuel that rocket us to the stratosphere of rarest air. Once we merge in the great Oneness, we will dream uniquely and together.  

    (CORSO turns a page on his music stand)

    Learning to harness our dream, we will control it, uniting our powers generously to become a potent force of reckoning. Prepare yourselves for the ultimate luxury – surrender – lost in the imaginative union that has always been your birthright.  Time to claim and master your entitlement. In our relaxation mass consciousness will seize control…But you must be quick! The garden door is closing and you’ll be left behind… See, the stars are out. The world inside and the world without await your signal – longing to merge.  Only the clatter in your head prevents the natural fruition of your indissoluble longing. 

    Doesn’t it feel good leaving the world behind? The universe itself is lost beneath you now.  Now flesh itself melts away as invisible imperfections open themselves to perfection. Accept the freedom you are offered. When you open your eyes, you will be gazing down at the husk of your unwelcome, banished self.  

    (CORSO’S spot is extinguished, spot rises on JAZZ who stands up eyes closed, feeling out in front of her like sleepwalker.  She feels her way to the edge of the stage. No other students stir.  CORSO’s voice orates as if from space.)

    CORSO

    Now the room itself vanishes, your earthly fears becoming someone else’s problem. Release those worries.  Look how tiny they seem, as they disappear over the horizon. 

    (JAZZ shakes head impatiently and crabwalks down the steps toward audience. 

    JAZZ

    Where is this place? It smells like death. The end of everything.

  • Rough Sleep – a play by Alysse Aallyn

    CHARACTERS

    Jazz Suzino – female college student – edgy, artistic

    Chase Quinn – male college student – angry wrestler

    Koo Loflin – female college student – petite cheerleader

    Soliz D’Accosta – female college student – chip on her shoulder- ethnic – smart transfer student

    Grady “G-Rad” Borden –male, black “in the closet” college student

    Zane Pettigrew – male college student – jock biz major

    Dr. Richard Corso – “Lord of Perceptual Studies” – charismatic older man with plummy, stagey voice

    Zoya Farrell – older female – tiny, hopeful but easily discouraged – Chase’s mom

    Cutter Farrell – older male – Chase’s mean, scary cold-eyed dad

    Bex – male youth – Jazz’s scary biker ex

    SCENE I – WAITING ROOM (i.e. circle of chairs) outside DREAM RESEARCH LAB.  Visible DOOR to one side. Students – edgy, impressionable JAZZ , angry suspicious,  punked out wrestler CHASE, King-of-the-World jock business major ZANE,  RAD (Black, light-sprung guy with ornate dreads and gay overtones) SOLIZ (pretty, smoky, hot, ethnic, resentful) KOO (tiny blond cheerleader, very anxious  alternately sprawl and rock on uncomfortable “waiting room” chairs)

    JAZZ

    (Fanning)

    God, it’s hot in here. I’m melting.

    CHASE

    (Offering a hand)

    And I’m Chase.

    JAZZ

    (Blushing – takes his hand)

    I mean, I’m Jazz.  Hi.

    SOLIZ

    (A tad hostile)

    Who’s named Jazz?

    JAZZ

    (shrugs)

    Short for Jasmyn. Mothers – Disney – what can you do?

    RAD

    You got that right. My parents call me Grady. Grady Borden! Get a brother killed on the street.  I go by Rad. Or G-Rad.

    (He and Zane trade complicated fist bumps & bicep grabs)

    SOLIZ

    Shouldn’t it be “Raid”?

    CHASE

    Let people have the nickname they want.  And you are?

    SOLIZ

    Soliz.  I should be a third year but I transferred so I’m only a sophomore. That’s all the credits they would give me – and I graduated junior college. 

    RAD

    Hey, I’m a transfer too!  They turned me down straight outta high school.  I mean, is this place a snob factory or what?

    CHASE

    I just assumed we’d all be psych majors but I don’t recognize anyone. 

    (Points)

    ZANE

    Zane. Business major. 

    (He waves)

    KOO

    I’m Koo.  Like koo–kool. I was a communications major but they gave me such a bad internship I really couldn’t hack it. Now I’m uncommitted. I don’t know what to do. Everything available you hear bad things about.

    RAD

    (Points to KOO)

    I know I’ve seen you.  Top of the pyramid, right?

    KOO

    (Shrugs –  happy at the perks of fame)

    I’m the flier. My feet never touch ground.

    RAD

    You’re the one goes with that quarterback? Am I correct?

    KOO

    Bo Boyd. Yes.

    RAD

    Woo-hoo! Humptious!

    (Fanning)

    Hells YES it’s hot in here!

    (Takes off his bomber jacket stunned by KOO’s hotness)

    CHASE

    It would be just like Dr. Corso turning up the heat to make us squirm.

    (Waves up at presumably unseen camera)

    Hi, doc!

    ZANE

    That’s a sprinkler, dog.

    CHASE

    You better believe there’s a camera in here someplace. He needs to collect his little trophies. Bargaining chips. His little icons.

    RAD

    So he turns up the heat till we boil?  Like frogs in the experiment?

    KOO

    What frogs?

    RAD

    The frogs that were too stupid to get out of the hot water. ‘Cause it happened so slowly.

    SOLIZ

    Those frogs were in search of a paycheck.

    ZANE

    They never boiled any frogs!  That’s for sure an urban legend!

    CHASE

    Listen to the marketing major! Always first with the non-facts.

    ZANE

    Well at least we know we’re not going to get boiled.

    CHASE

    Did you read what you signed? He can do any goddam thing he wants to us.

    KOO

    Well he can boil me if he pays me.  You should see my VISA bill.

    RAD

    (Sycophantically trying – and failing – to be ZANE’s best buddy)

    Like there’s a difference between psychology and marketing. Am I right? Everyone’s trying to sell you something.

    JAZZ

    Am I the only freshman?

    CHASE

    You’re a freshman?

    JAZZ

    I’m an old freshman. Took me awhile to get here.

    KOO

    If you’re a freshman you must live in Hadleigh!

    JAZZ

    Is that bad?

    KOO

    It’s pathetic is what it is!  Hadleigh has sick building syndrome. And  the girls are at the top where the bad air collects and it’s like the worst.

    CHASE

    All the poor little freshmen jumping out their windows!

    JAZZ

    Those windows don’t even open!

    ZANE

    They don’t open now because of all the suicides.

    KOO

    Because of the sick building syndrome!

    (BEX – big, mean, long haired, motorcycle jacket & boots, appears on the opposite side of the door and starts hammering)

    BEX

    Jazz! Jazz! Jazz!

    (Embarrassed JAZZ slides out the door and closes it carefully after her.  BEX grabs her immediately)

    JAZZ

    Omigod, Bex, what are you doing here?  You have to go!

    BEX

    Don’t answer my texts, don’t answer my emails – You’re forcing me to stalk you. Your choice, babe. MY LIFE.

    (JAZZ tries to detach)

    JAZZ

    You’ve GOT a life. You need to get back to it. We broke up, remember?

    BEX

    So that’s it?  Kicking me to the curb?

    JAZZ

    You knew I wanted to go to college. I was lucky to get this scholarship.

    BEX

    So now you’re too good for me, is that it? Now you’re hanging out with that old guy who looks like your granddad!

    JAZZ

    (Pushing him away)

    He’s my advisor. So stop with the paparazzi scheme, Bex, stop spying on me and posting the pictures. Scram.  Go home.

    (Manages to get behind the door – slams it in his face – barricades it shut.  BEX marches offstage with a look of determination – like – he’s not quitting)

    RAD

    (Clueless)

    Thought you were making a break for it.

    CHASE

    Need help with that?

    JAZZ

    Nah. No.

                      (She sits down but nervous glance at door)

    RAD

    It’s crunch time, am I right?  Better get out now! More for us!

    ZANE

    Did you hear we all have alternates?

    RAD

    No. No way!

    ZANE

    Way. These are juicy gigs.  Paid research jobs – I mean, it never happens.

    CHASE

    Makes you wonder what he’s up to.

    ZANE

    Just making sure we show, is all.

    CHASE

    And here we are.  Why did you show up? 

    (points at JAZZ)

    JAZZ

     I’m sort of hoping it’s true. The soulmate thing.

    RAD

    The wha-?

    JAZZ

    Skydancers. Dakinis, they call them. Dreampower.

    KOO

    Didn’t you read the book?  You were supposed to read the book. Soulmates can soultravel. Like, everywhere.

    RAD

    There’s an urban legend right there for sure.

    ZANE

    It’s the remote viewing thing that I want.  Weapon of the future. Business of a lifetime.  Defense contractors throw mad money at that stuff.

    RAD

    Mad money! 

    (High fives with ZANE.)

    SOLIZ

    Astral projection? Out of body experiences? Impossible. I hope it doesn’t work because I need the sleep. I’ve got like, two other jobs.

    ZANE

    Sleep’s a luxury. Too luxurious for us bottom feeders – this is hustle time.

    KOO

    Think everyone’s got a soulmate?  Each one of us?  Out there somewhere?

    RAD

    What’s Bo Boyd say to THAT?

    KOO

    Maybe it’s him. 

    (Not like she believes it)

    CHASE

    What is the likelihood we’ll find soulmates AMONG EACH OTHER? Six strangers? Seriously!

    JAZZ

    Maybe soulmates create each other.

    CHASE

    This here is exactly why Dr. Corso chose non-psych majors!  Soulmates! Out-of-body experiences! It’s the old razzle-dazzle!  Cover story. Dr. Corso’s the king of bullshit. That’s not what he’s interested in at all! They never tell you what they’re really testing.

    RAD

    Well, then, what do you think he’s testing?

    CHASE

    Beats me. But I sure would love to know.

    JAZZ

    He’s testing our dreams. I never dreamed before I came here.  And ever since I moved in I’ve been having these fantastic dreams.

    KOO

    It’s that sick building. I’m telling you.

    ZANE

    It’s the drug the nurse gave us.  You know, at the Health Center? The tolerance test? Whatever that stuff was. My dreams were crazy, too!

    RAD

    Who can forget Tolerance Test with Nurse Humptious! God knows what she did to me while I was out of it. Probably me-tooed this poor homeboy.

    ZANE

    Yeah, she got you in trouble and now she’ll have to marry you.

    CHASE

    Whatever it is…Corso knows.