If This Archetype Chooses You – Do you ever dream of hummingbirds? Of the ‘impossible” flight of the bumblebee? Your soul is speaking. Listen. According to C.S. Lewis, we are not a Body with a Soul, we are a Soul with a Body. Our bodies may be all too mutable, but our souls can be eternal. Do you dream of past lives? See yourself in historical contexts? Do you have dreams of utter bodilessness in which you are totally free, seeming to travel invisibly through the power of your mind?
What Are Creatives Fighting For? Immortality is not a given, but an achievement. Souls are under threat. What is the Sin Against the Holy Spirit that the Bible talks about, the one sin that cannot be forgiven? It is any attempt to slaughter the soul, the stifle your inborne, God-given ability to detect the numinous and to access the sphere of eternality. Creatives therefore fight the greatest battle there is, to protect the power of their own Souls’ immortality and those of everyone else.
Accept Your Immortality – Can we destroy our own immortality through abuse and disbelief? Sadly, yes, and some of us act like we want to! If “heaven” represents eternal bliss and “hell” eternal pain who would ever choose the latter? Those who find life itself such a stacked deck they turn away from the gamble. It’s soul suicide. This is as tragic as battling against one of our talents (“I’m never going near that guitar.”) Who exactly are you trying to harm? The direction we need to travel is in uncovering who we really are and freeing ourselves. To become a Self worth being.
Everyone Has Experienced the “Flow “of Bliss– We have knowledge of eternality in our daily life – actual accessible ecstasy in which Time and Impossibility vanish while we experience full connectedness with the universe. We become Creatives just to master this ability – and to transfer it to others. This skill alone makes merely being ourselves a reliable, eternal pleasure.
Creative Challenge – Obviously, our minds change the same way our bodies do. We grow up! Think about the differences between you now, and you at say, three years old. Imagine the joyous understanding with which you will eventually “get” what seems now incomprehensible. If you just accept that possibility, you can enjoy the Now.
Creative Danger – What Christians call “sin”, Buddhists call “clinging”. We grab on to any passing thing in fear, to halt the frightening mystery of our flight but of course it doesn’t work! The G forces build up as space revolves around us, meanwhile we are clinging to some crappy object, or some person who is experiencing a different trajectory. Let those things go. Don’t be frightened by your feelings, just study them, turn them into huge iridescent bubbles, and spin them away. Learn to enjoy this flight, no matter how wild it gets.
Creative Opportunity – Think about the Biblical parable in which everyone is invited to a glorious feast. These “guests” are so threatened by this invitation, they not only don’t go, they murder the messenger. Watch the glorious film, Groundhog Day. Poor weather forecaster Bill Murray is sentenced to living the same reality over and over and over again, trying everything he can think of to escape, including suicide. Finally he decides to learn how to just enjoy the life he has been granted, and to be as nice as possible to the other frightened, enraged, confused souls around him. Only then is he able to move on to the next level which turns out to be the rewarding love of his dreams. That is the Progress of the Soul which we defend.
Models & Mentors – “the living soul, once conscious of its power, cannot be quelled” – Horace Mann
“The soul always knows what to do to heal itself. The challenge is to silence the mind.” – Carolyne Myss
“Without applied awareness of the soul, happiness can’t arise” – Dada Bhagwan
“The desire to know your own soul ends all other desires” – Rumi
#Haiku: Last Minute
Bone grows Mind crashed Soul merge Skin graft Intervention – Light shaft Angel…? Laughed.
(Ordinary dorm room with desk lights, two twin beds, built ins. JAZZ feels her body as if to reassure herself that it’s still there. CORSO – bare-chested –is sitting on one of the beds, studying a laptop)
CORSO
Lose something?
JAZZ
I lost everything. What are you doing here?
CORSO
Installing fun software. You seem distraught– your mood begs improvement. Come over here into the light and let me look at you.
JAZZ
I’m not distraught, I’m disgusted. Hey, that’s my laptop.
CORSO
Nothing human disgusts. Take it from me, you’re going to love your new social media interface.
JAZZ
The thing that disgusted me wasn’t human. Is your software a game?
CORSO
Everything worth doing devolves into game. As your administrator, I’m in charge of upgrades. We’ll do Mr. Quinn next. Any idea where he’s been hiding?
JAZZ
Stevie Farrell, din’t you mean? How did you get in here?
CORSO
I’m loco parentis, poor, suspicious little Jazz, just checking up. You’ve been keeping such bad company. And Stevie’s not the worst of it – there’s a prowler around campus who seems to have it in for you. Let’s hope it’s not too late to put your feet on a better course.
JAZZ
I’m leaving if you’re not.
CORSO
Poor Jazz, what can we do to mitigate these fears?
JAZZ
(Throws herself impulsively on the other bed)
I’m not afraid of you.
CORSO
I see we have much work ahead.
JAZZ
(She finds his shirt – reacts like it’s infectious and throws it at him)
Why can’t you keep your clothes on?
CORSO
(Catching the shirt effortlessly)
Stevie and I were very informal; I was hoping we could be informal too. I gather he confessed his proclivities to you?
JAZZ
I heard a lot about how you can’t be trusted.
CORSO
Credulous Jazz! We must teach you discernment. Education is challenge, not safety or comfort – I strengthen minds and bodies to appreciate, manipulate and surmount reality. Recreate your own world. If you don’t want those things, then you’re fodder like the rest of them.
(fans himself with the shirt)
These rooms are very hot. Do you know the trick to opening these windows? Aren’t you feeling overdressed?
JAZZ
I saw your game.
CORSO
I borrowed bodies that weren’t being used! And aren’t you the better for it? Restful sleep, interesting dreams, AND a paycheck, now there’s a deal. I’ll throw in little Stevie to be your guide.
JAZZ
How can we converse when you pervert language? You pervert language and ideas. You pervert bodies.
CORSO
Debate’s not your forte, Jazz. I can assist with that. You entered this room requesting an upgrade in your selective amnesia. It’s something we all must have, otherwise none of us could function. I can help you control it.
JAZZ
If it comes from you, I don’t want it.
CORSO
Poor little Jazz! Who could you be channeling – me or him? Or perhaps it’s that desperado asking everyone for scuttlebutt?
JAZZ
I went with the flow till the flow tried to drown me. I’m becoming my own person.
CORSO
All freshmen think that. Is the real Jazz so robotic? You used to be so much more fun. You were quite the adventurer.
(laughs)
Let’s laugh together. Why so serious?
(mimes a ridiculously pulled down clown face)
Life unlocks all its secret pleasures once you master the key.
CHASE
(Bursts into the room)
Is the key murder? Soul murder, followed by physical murder to make sure the souls stay dead?
(JAZZ vaults to her feet, they hug, obviously drawing strength from one another)
CHASE
Stand up, you bastard.
CORSO
Oh, can the paranoia, little Steve. Victimology is so limiting. Jazz and I aren’tinvolved, if that’s what’s bothering you. We share a strictly business relationship. There’s room for you, too if you down your tools of self-destruction.
(Rises imposingly. He’s bigger thanCHASE)
CHASE
We have all the proof we need. You can’t get away with it.
JAZZ
The bodies are piling up.
CORSO
But they long to pile, and not feel guilty! Everyone wants to be a porn star!
CHASE
We know what you did.
CORSO
What a shame, then, that you felt the need to mime unconsciousness. When will feel your feelings and live your truth? Isn’t that what youth is all about?
JAZZ
Being drugged isn’t truth!
CORSO
Yet you – both of you – acceded to all of it. Names along the bottom line. The law says you’re adults.
JAZZ
I know what you did is illegal!
CORSO
Fashion to law, little Jazz, and with such startling speed! Too bad the law is amorphous, the law’s in transition, it’s a creature of fashion just as you were. Things that were illegal last year are perfectly legal today. People go to court and bankrupt themselves to “win” – ask your sad friend – but the law doesn’t help them feel they have won. They spend the rest of their lives trying to recapture the glow of surrender.
CHASE
You are vile and despicable – everything about you is saturated with evil.
CORSO
I see that you two have made loserdom your bond. It’s so unhealthy, all this focus on the past. You could enjoy both youth and wealth, but you consciously choose misery. Let’s try ratiocination for a change. Who gives benefits and who gives problems? Haven’t I made all your tiny dreams come true? You can have Mr. Quinn if you want him, Jazz, anyone can. Now let’s concentrate on upgrading these immature fantasies.
CHASE
What if we tell the Dean?
CORSO
Who, Bernie?I’m sure you’ll find Bernie doesn’t expect me to police my students’ very randy sex and dream lives.Bernie and I understand each other perfectly. People loveporn, everyone wants an avatar and to feel like a creator. Let’s consecrate all this blood and shit to transcendental purposes.
JAZZ
You use words you can’t understand.We’re soulmates. We’ve seen worlds of possibility, of universe and time.
CORSO
You’re welcome!
JAZZ
You’ll never know what we can do.
CORSO
Pretty sure I can guess. Everything except freedom?
CHASE
Your freedom is all fake. You’re nothing but an appetite. All youcreate are slaves.
CORSO
Oh. Slaves! In a limitlessuniverse, slaves are no fun at all. It’s such a bore always having to direct.
(fanning himself)
Jazz, how can you tolerate this hideous heat? I know there’s a trick to these windows.
(Successfully opens window)
Stevie, get us a drink. Let’s sit down and talk this over like grownups.
CHASE
Not a chance.
(BEXappears spot-lit on the TOWER LIFT, scanning with his binoculars, holding his shotgun at the ready. He sights his quarry & racks his slide)
JAZZ
Look out the window, Dr. Corso.
(She pulls CHASE away)
Tell me what you see.
CORSO
(Peering)
Who’s out there, Jazz? Bile stained, piss stained revenants skulking home for parietals?
(BEXclimbs awkwardly out on the tower lift, hooking his leg, trying to get a good shot)
CORSO
(Waves out at the world)
Run home, littleoneironauts! Your memory cards expired!
(JAZZ grabsCHASEand pulls him to the floor. Shots ring out.CORSO, looks down at his chest as red stains bloom across his back. Plummets slowly out through the window. Recoil causes BEXto lose his footing – drop his gun – throw his arms up – cry out – fall)
JAZZ
Set a demon to catch a demon!
CHASE
May the aspirations of murderers always overreach.
JAZZ
And those of lovers override.
CHASE
Time to free the others? Whether they like it or not?
JAZZ
Kiss me.
(They kiss.Sacred music, pink glitter.DARKNESS. FINAL CURTAIN)
– 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.CHASEopens 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.
(JAZZsits at the bar – ZOYAblots 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
(ToCHASE)
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. ZOYAandCHASEboth 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 FARRELLdressed 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.
(JAZZsteps up bravely and offers her hand)
JAZZ
Hi, I’m Jasmyn Suzino.
(CUTTERtakes 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.
(ZOYAsnaps tensely atCHASEwho 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?
(ZOYAclatters 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.
(CUTTERtakesJAZZ’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.
(ToCHASEwho’s sliding unwillingly off his barstool)
You’re going to wantto 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 atCHASE)
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 fromCHASE)
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. CHASEandJAZZstares 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!
(CHASElunges 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!
(CHASEmanages 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’mdead toyou?
(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)
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 ithot. 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 yourMom 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.
(BEXappears in a spot on theTOWER LIFT, holding a pair of binoculars and a shotgun. Scans the stage)
CHASE
(Holding JAZZ close)
You’re making me feel incredibly powerful
(They kiss with increasing urgency. BEX appears to focus on them. He racks his gun angrily, climbs down, his spot dissolving. JAZZ and CHASE’s “shadows” explode hugely against the back wall, seeming to rise up in the air)
JAZZ
Feel that?
CHASE
I do. Don’t fight it.
JAZZ
Who’s fighting it? You’re the one fighting it.
SCENE X – SWAP MEET. (When the lights come up the curtain has fallen and JAZZ and CHASEstand outside it, hand in hand, staring into the audience.)
JAZZ
Where are we?
CHASE
Looks like a swap meet. But all they’re selling is Christmas stuff.
JAZZ
That’s weird.
CHASE
Especially since I hate Christmas.
JAZZ
Who could possibly hate Christmas?
CHASE
It never lives up to its billing.
(RADappears, pushing a shopping cart. Sets up a table and starts laying out junk)
RAD
Hi, guys! Long time no see. You in the market for a knickknack? Ganja? Electronics? Jewelry?
CHASE
Is this your gig?
RAD
Gotta have a side hustle – gotta get the scratch. You’d be amazed what some people just throw away. How about a nice Christmas cactus? I did have a shotgun but I sold it.
CHASE
You sold a shotgun? Who to?
RAD
Biker dude from out of town. He said if it didn’t work he would come looking for me.
JAZZ
Does it work?
RAD
Let’s hope so. Just passing on whatever I find.
CHASE
We don’t want anything.
JAZZ
Speak for yourself. I’d love a Christmas cactus.
(RADreaches into the depths of his cart and produces an unflowering – apparently dead plant –JAZZ takes it)
CHASE
Great. It’s dead.
JAZZ
It is not. It only blooms once a year. Says here, this one’s going to have three blossoms.
RAD
Can’t go to the party without a present.
CHASE
What party?
RAD
Isn’t life a party?
JAZZ
So far.
CHASE
More like a bribe for the deadboat captain. So we poor ghosts don’t get shoved into steerage.
RAD
That’ll be a hundred bucks.
CHASE
A hundred bucks!
RAD
This is a rare, one time offer. Not shown on TV. I’ve got bills.
JAZZ
Blood money, remember?
CHASE
If that’s what you want. You got giftwrap?
(RAD produces pink foil and a massive ribbon)
JAZZ
Wow. This says “Happy Birthday.” Do we know anybody born in December?
CHASE
My mom.
JAZZ
Oh, my God! Hide!
(She drags CHASEdown the stage steps to cower behind the stairs. BEXappears with a shotgun, racking the slide. RAD hastily packs up. Both exit offstage)
Back in DREAM LAB – CORSO calling with baton and headphones)
CORSO
Children! Come back! Playtime is over! Wake up, children! Don’t get lost in NeverNeverLand!
(CORSOconductsFlight of the Valkyrie. JAZZandCHASEare sucked apart to opposite sides of the stage. Lowlights come up on Dream Lab. CHASEfalls back on his recliner. Other students thrashing and moaning. JAZZ falls to floor, CHASEstruggles to her side to help her up)
JAZZ
(Retching)
I think I saw death.
CHASE
And I saw the face of evil.
CORSO
(Appearing with a roll of paper towels and a bucket of water bottles – lights up all the way, music down)
Rough sleep?
CHASE
Yeah. But was worth it.
CORSO
I’m talking to Miss Suzino. Gave yourself a bloody nose there, sport.
(CORSOhands out bottles of water)
JAZZ
(feels her face)
I did? Is it my blood?
KOO
I’m definitely going to throw up.
CORSO
First times are always the worst times. Care for a basin?
KOO
No, I want a bathroom.
(Staggers off futon, SOLIZ reaches out to her)
SOLIZ
I’ll help her.
(They lurch off behind Ladies Locker)
CORSO
Any more foreheads require mopping? Allow me to audition my Florence Nightingale impersonation. I’ve been universally praised for my bedside manner.
JAZZ
(Mopping herself)
Maybe I’m the one who died.
CORSO
Forget the safe word?
RAD
There’s a safe word? Now he tells us.
CHASE
How about “Stop”. Or “No”?
CORSO
The problem with that is behind the fear lies the wish.
CHASE
Behind the wish lies the demon. So there is no safe word.
CORSO
How about “I quit”? Is that what you’re trying to say, Mr. Quinn?
CHASE
You first.
CORSO
(They glare at each other. Horrible retching noises from locker room)
Now, now, now. Just when we were getting along so well.
(ZANEhas stood up and is lurching around as if sleepwalking.)
CORSO
Mr. Braden, assist your colleague back to his launching pad.
(RADstands up, goes toZANE, wakes him, and leads him to his futon to sit.SOLIZbrings a green-facedKOO out of the Ladies’)
RAD
My name is Borden.
CORSO
Now wasn’t that fun? Good times. Upchucking can hardly be an unusual experience for you, Miss Loflin.
SOLIZ
Don’t give her so much next time. She’s little. She can’t get the same dose as everyone else.
CORSO
I wish the guinea pigs would stop wrestling with me for control of this experiment. I make the decisions around here. The doctor knows what he’s doing.
SOLIZ
Sorry.
CORSO
Now I posit the ultimate question. Anybody “fly”? Did we achieve liftoff?
SOLIZ
I think I fell. It seemed so real. Maybe it was only a dream.
CORSO
Only a tear in the fabric the universe, a burp from the hippocampus, a haiku from the collective unconscious, an oracle of future empowerment? Speak to us, Miss D’Accosta. Tell us everything.
SOLIZ
(Stands up to act out events she describes)
I was in the elevator at Hadleigh – for some reason I was in a big hurry. I remember looking at my watch but my watch had stopped. It was an analog watch without any hands.The elevator opened on the top floor and I rushed out. All these people were staring at me and they started to laugh. I realized I was naked. I couldn’t get back in the elevator – the doors had melted. The floors were melting and the whole building lurched to one side. I panicked. I was thrown against people and I hate people touching me but I was helpless. No soulmates, just a gang. I’m scared of gangs. They were herding me. But there was the window so I jumped right through, thinking, maybe I can fly. I felt the glass tearing apart my body. At first I felt this great release. A sense of excitement. Like I can do anything I want, like I got away with it. I was trying to move my arms and legs – it seemed like slo-mo – so I pumped and pumped – moving more frantically – but I knew all along it wouldn’t work. It doesn’t work with swimming. You’ve got to find the peaceful center but there was no peaceful center. So I fell – knowing you’d be disappointed and maybe flunk me but hoping my crushed body could tell the scientists something. That second before I hit I was – it was the most disgusting feeling – suspended, staring at the chalk outline where I my corpse would be. I remember thinking, “I hope we get a second chance” but all I heard was laughter. Others were getting it. Others were doing it. Splat! Face-first into the pavement. I felt my face pushed into my brain, my spine crumbling– body turning inside out, I became “the visible woman” with her organs on the outside. That was right before my organs exploded like water balloons and there was nothing left. I was completely gone and so there was nothing left to go to heaven, no welcoming light, no happy faces. Just sadness and loss; a night of blackout drinking. That couldn’thave been an out of body experience. It was more like a nightmare. Right?
(SOLIZ’s face is sweaty, anxious. CORSO, hand to chin, considering)
CORSO
A classic shame dream. You felt humiliated by your naked body – a very nice body I might add – as if by some unwilling revelation of your essential self. A common anxiety dream, I assure you. Hampered by cultural imperatives your attempted “escape” was disguised as self-punishment; you “looked down”, ergo tumbled and fell. Almost Greek in its simplicity. I especially liked the note about the handless watch. Very Dali-esque.
RAD
I’m all for naked dreams.
JAZZ
Our naked selves aren’t our essential selves.
CORSO
(Looking at her very displeased. Those guinea pigs again)
How so, Miss Suzino?
JAZZ
I mean, everyone’s naked body is alike. Choices reveal our essential selves.
CORSO
Spoken like a fashion major. How jejeune.
CHASE
I know what she means. It’s why people get tattoos.
CORSO
Says a tattooed denizen of the underclass.
ZANE
Everybody’s naked body is not alike! I wish!
RAD
(Trying so hard to be ZANE’s buddy)
Right! I mean, if only!
JAZZ
I mean generally.
CORSO
We split hairs. Nevertheless you expose the dangers of word selection, Miss D’Accosta. Forget “flying”. Who went elsewhere? Absolutely elsewhere? Just tell me that.
Alysse Aallyn 