A serious ComedianA Screenplay by Otis Thuntwen A play written for the radio.
A SERIOUS COMEDIAN
A Play for Radio by Aatish (Thuntwen)
CHARACTER LIST FOR “A SERIOUS COMEDIAN”
Hector Evans (Protagonist): 32 years old (Voice: Clear, mature, hint of British accent) (Job: Comedian and Writer)
SUPPORTING CAST
Pierre Modiano: 52 years old classical composer. (Voice: Hoarse and mature, strong French accent.)
Samantha Brown: 23 years old Female. Neighbor to Hector’s apartment. (Voice: Typical American accent)
William Heller: 40 years old film maker aggressively pursuing the services of Hector.
EXTRAS
1. Claire Modiano: Pierre Modiano’s sister 2. Taxi Driver 3. Club Announcer
SCENE I: INT: APARTMENT: MORNING
HECTOR (MONOLOGUE): The world taught me how to laugh. (PAUSE) It is not the best medicine. SFX: Refrigerator opens, CAN opening, Stoves being turned on, Cooking sounds SFX: Stoves turned off, footsteps, chairs moving, newspaper pages being turned HECTOR (MONOLOGUE): Oil prices… Should I worry about the oil prices? SFX: Pages turning, sipping from CAN HECTOR (MONOLOGUE): ART REVIEW... SFX: Pages turning, sipping for CAN, fork clicking against china plate HECTOR (MONOLOGUE): I do not even possess a car. What business does the oil prices have to bother my mind? I don’t even own a car. Well I suppose the prices of almonds might go up. (SHORT PAUSE) Oil prices…. SFX: Phone ringing, paper rustle, chair moving, footsteps HECTOR: Hello! WILLIAM: Hello Mr. Evans. I am William Heller HECTOR: How did you get my number? WILLIAM: I do apologize for the slightest of inconvenience I might have caused but I am afraid the matter is a rather pressing one. HECTOR: Please do not call here again. SFX: Phone hung up, footsteps HECTOR: (V.O.) The human tongue (PAUSE) quite possibly the greatest criminal ever witnessed. The horror it is capable of… SFX: Chairs moving, newspaper rustle HECTOR (MONOLOGUE): I suppose I can worry about the oil... SFX: Sipping from the CAN, paper turning HECTOR (MONOLOGUE): They use science to grow hair back on the shining bald patches now. “100% guaranteed” SFX: Paper turning HECTOR (MONOLOGUE): Nothing of interest but the oil prices today. SFX: Paper folding, chair moving, plates clicking, footsteps, plates put in sink HECTOR: Now! Where rest thou oh heavenly towels? SFX: FOOTSTEPS HECTOR: (V.O.) Towel! Towel! Towel! Aha (PAUSE) Stay where you are Mr. Towel. SFX: Footsteps MUSIC: Gustav Mahler - Ging heut´ morgen übers Feld (Canções de um viandante) (00:10) SFX: Footsteps, door opens, Shower sounds HECTOR: (V.O.) (SINGING) SFX: Shower stops, Hector singing. SFX: Door opens, Hector singing. Music Stops SFX: Footsteps, Phone ringing, Footsteps. Phone picked up HECTOR: Hello! WILLIAM: Mr. Evans, William speaking. Please just consider my proposition. HECTOR: I asked you not to contact me. WILLIAM: I under (INTURREPTED)… I understand. I need your services Mr. Evans HECTOR: I know who you are. I know what you do. I even know what you want from me Heller. I am not interested in it. NOW please do not call me again. SFX: Pone hung up, footsteps, door opening.
SCENE II: INT: STAIRWAY: MORNING
SFX: Footsteps SAM: (V.O) Gu’mornin’ Hec! HECTOR: (V.O) Good Morning Samantha. SAM: Gu’Lord Hec! Sam. Call me Sam (SPELL) S. A. M Sam HECTOR: (CHUCKLE) will keep that in mind. SAM: See ya Hec! SFX: Footsteps resume
SCENE III: EXT: STREET: MORNING
SFX: People talking, Horns, Cars HECTOR: TAXI! (LOUDER) TAXI!! STOP TAXI!!! SFX: Taxi approaching SFX: Taxi door opens TAXI DRIVER: Where to Mister? HECTOR: Oh! 7th on 128th Avenue MUSIC: Machito �" Tanga SFX: Street sounds as background HECTOR: (MONOLOGUE) (V.O) what music is this? (PAUSE) HECTOR: (MONOLOGUE) (V.O) Enthralling rhythm… SFX: Taxi Stops, Street sounds (louder) Music stop HECTOR: (MONOLOGUE) (V.O) Traffic! It’s uh (PAUSE) 8 in the morning. What business could these criminals be attending to at this hour? SFX: Taxi starts, Music Resumes HECTOR: (MONOLOGUE) (V.O) The music again!! HECTOR: Take a right here please! SFX: Car screech HECTOR: (V.O) Here!! Here… Stop here SFX: Taxi stops, Music stops TAXI DRIVER: Twelve (PAUSE) thirty two! HECTOR: Ten…Twelve… Twenty… Here Twelve fifty, keep the rest of it. SFX: Taxi door opens… Shuts SFX: Street sounds (Loud)
SCENE IV: INT: PIERRE’S APARTMENT: MORNING
SFX: Footsteps SFX: Door Knock PIERRE: (OFF) Entrez! It’s open SFX: Doorknob turn, Door opens HECTOR: Bonjour Pierre PIERRE: Ah… Bonjour Hector! I need your opinion on something I have written. Would you care to listen? HECTOR: Certainly MUSIC: Ballade pour l’apres midi �" Aatish (PIANO) SFX: Footsteps, refrigerator door opens, CAN opens MUSIC CONTINUES (Total Music duration 01:05) PIERRE: It is not finished yet (CHUCKLE) what do you think? HECTOR: Well I think it is one of beauty and I find it originating out of Impressionistic tradition… but, of course, it’s just my opinion (OFF) its best laughed upon. SFX: Sipping from the CAN HECTOR: What compositional techniques did you employ? PIERRE: (LAUGHS) I call this technique “Tigerism”. HECTOR: Tigerism? (SHORT PAUSE) Intriguing!!! Do explain. PIERRE: A tiger on hunt carefully selects his prey. This prey is not always the easiest to catch but is always the one that the tiger believes to be the best. Similarly, I hunt for the notes. I consider the grandness of it, the beauty it brings to the overall form and the effect it has on me. I, therefore, consider myself a tiger hunting for notes. HECTOR: Splendid! What would the world be without your wit Pierre! PIERRE: I hear your play made it to the theatre. How was it? HECTOR: I haven’t got the slightest of idea. I wasn’t there to witness it. The papers published reviews about it. PIERRE: What did they say? HECTOR: Only they know! I haven’t had the pleasure of reading the glorious literature. (PAUSE) Familiarize me with more “Tigerism” Pierre! MUSIC: Ballade Pour l’apres midi (Music Time 00:15) SCENE V: INT: APT: MORNING
HECTOR: (OFF) (DISTRESSED DREAM) “MEDIOCRITY was substantial last night. “The Fire Dance” in all its sub-par glory failed to impress the unfortunate audience. The feeling of disappointment was more than mutual amongst the horrified viewers, it verged on unanimous. Talent exists in this world but it is evident that Hector Evans has kept all his talented eggs in a single fantastic basket, (SHORT PAUSE) COMEDY. His absence from the world of comedy has been felt by many but if he decides to rest his pens the world would not notice.” SFX: Large crowd laughing SFX: Sharp Screech HECTOR: (IN DISTRESS) Nooooo! SFX: Stumbling, Clattering HECTOR: (V.O) Stop laughing… STOP!!! SFX: Door opens loudly SAM: Jesus Christ!!! Hec, what’s happenin’!!! (LOUD) HEC! HECTOR: (WHISPERING) my pills… (PAUSE) get me my pills. SAM: Where… Where are they? HECTOR: Bathroom… SFX: Rushing Footsteps SAM: Pills…pills…pills… ooh where are the pills? ... Pills… there!!! SFX: Rushing footsteps SAM: Here… Open up. SFX: Sipping SAM: Are you a’right Hec? HECTOR: Yes SFX: Loud Screeching SAM: (PANIC) Hec!!! Hec!! Hector!! Oh my god! SFX: Sobbing Sam SAM: (OFF) Wake up Hec!! (PAUSE) wake up. SFX: Sobbing Sam (FOR SUBSTANTIAL AMOUNT OF TIME MAXIMUM 01:00) HECTOR: Wh… What are… y… ou doing…here? SAM: Hey!!... Hey wake up. Wake up. HECTOR: Wh… What happened? SAM: You were screaming and…and Shaking and… passed out. Don’t you remember? HECTOR: That’s all fine… but how did you get in and…w… why are you crying? SAM: Just showing concern Hec!!! It’s only normal after seeing all this, you know. HECTORS: Oh this is not something to cry about. SAM: What do you mean? HECTOR: It’s nothing. I’ve had it since childhood. I’m used to the pain now. SAM: Bu… But all that screaming and… and shaking? HECTOR: Nothing to worry about here Samantha. SAM: SAM (FAINT CHUCKLE) HECTOR: Yes SAM! (PAUSE) Now I’m sure you have more important matters to attend to. SAM: Are you sure you’ll be a’right? HECTOR: Positive. SFX: Footsteps, door opens SAM: oh! Almost forgot… There was a strange fella asking for you yesterday? HECTOR: For me? Who? Where? SAM: Yes! He was outside the lobby asking everyone about you. What was his name now!!! Will… What was it? William eh… um yes William Heller. HECTOR: (MONOLOGUE) Heller!!! How did they find my address? SAM: I didn’t know so I said I didn’t know you. Is it okay? HECTOR: Oh Excellent!!! SAM: You take care of yourself now Hec!!! HECTOR: Okay. Good day now Samantha. SAM: (CHUCKLE) Good day! SFX: Footsteps, Door closes HECTOR: (MONOLOGUE) Poor soul… troubled in her little world but ever so willing to take on the trouble of others. (PAUSE) How did that snake find my address?
SCENE VI: EXT: STREET: EVENING
SFX: Street noises WILLIAM: Mr. Evans. HECTOR: Wh… What! Heller? Are you following me? WILLIAM: I meant to use more civilized options but you left me with no choice. HECTOR: Well then you must be CIVILIZED enough to understand that I have no interest in being of any service to you or your intentions. WILLIAM: All I want from you is the permission to make a film. I am ready to pay you any amount of money you desire, please just say what will it take for your cooperation. I am ready to meet any demand of yours. HECTOR: If it is money I desired I would have continued working at the club, making people laugh. WILLIAM: Well then, What is it that you desire Mr. Evans? HECTOR: Currently I desire to be left alone to my own devices. WILLIAM: I can change the people’s perception of you Mr. Evans. (SHORT PAUSE) I can change the way people look at you forever. HECTOR: And just how do you propose to do that. LIES, FANTASY, CHEAT? WILLIAM: No Hector. TRUTH. I can give them the TRUTH! HECTOR: What do you know about the truth? WILLIAM: NOTHING. That’s why I need you Hector. I need you for the truth. HECTOR: As tempting as that sounds Heller, I am afraid I am running late. Please tell your dogs they can stop following me now. SFX: Running WILLIAM: STOP! STOP HECTOR! SCENE VII: INT: APARTMENT: MORNING
SFX: Door knocks HECTOR: (MONOLOGUE) Who is it at this time? SFX: Door knocks louder HECTOR: (MONOLOGUE) Samantha? SFX: Door opens SAM: Hey Hec! Here I got you some bagels. SFX: Paper rustle HECTOR: Oh Wonderful. Thank you. SAM: The landlord was looking for you. Are you late for rent again? HECTOR: I suppose. Why else would he come looking for me? SAM: Still won’t work at the club huh? HECTOR: I’d rather live on the streets. SAM: Well you gotta find money for rent or that’s exactly what you’ll be doing. HECTOR: Is there anything else? SAM: No. Wish I could help Hec. HECTOR: Bagels are kind enough from you please don’t trouble yourself any more. SAM: Well… you take care of yourself now. I have to go. HECTOR: You too. Thanks again for the bagels. SFX: Footsteps, door closes. HECTOR: (MONOLOGUE) Money… Money. What else can I do now? Go back to the club? (SHOPRT PAUSE) There’s good money to be made on films I suppose. SCENE VIII: INT: COMEDY CLUB: NIGHT
SFX: People talking, Waitresses delivering, Blues music as background. ANNOUNCER: Ladies and Gentlemen, it gives me great pleasure to invite on the stage one of the true greats of comedy of our time, Mr. Hector Evans SFX: Music Stops, Loud Applaud, People cheering MUSIC: (AS BACKGROUND) Aram Khachaturian - Sabre Dance HECTOR: Thank you! It’s great to be back here. I wouldn’t have to work here if it were not for rent. SFX: People Laughing HECTOR: (V.O) So thank you for being here!! Now let’s get to the funny business. HECTOR: (V.O) You know being fit; slim and dressing good was fashionable once. I look around here and I see the forefront of the fashion-rebels. Fat! Bald… ooh I love the shiny bald patches, shirts bought on a holiday in Hawaii! And with faces that scares the mirrors. SFX: Loud group laughter. HECTOR: (V.O) Forefront of the fashion rebels. YES!! SFX: Applaud, Laughter SFX: Laughter, People talking HECTOR: (MONOLOGUE) (V.O) Laugh you flying morons. Yours is the world tonight. Laugh!!! MUSIC: (Louder) Aram Khachaturian �" Sabre Dance (00:15)
SCENE IX: INT: APT: MORNING
HECTOR (MONOLOGUE): The world taught me how to laugh. (PAUSE) It is not the best medicine. SFX: Refrigerator opens, CAN opening, Stoves being turned on, Cooking sounds SFX: Stoves turned off, footsteps, chairs moving HECTOR (MONOLOGUE): A little music might help release the torments of yesterday. SFX: FOOTSTEPS MUSIC: Claude Debussy �" L’Isle Joyeuse SFX: Newspaper pages being turned HECTOR: (MONOLOGUE) (V.O) Ohh the dreaded oil prices again. As little as it may concern me but surely someone! (SHORT PAUSE) somewhere must be ENRAGED by now. SFX: Newspaper turning HECTOR: (MONOLOGUE) (V.O) Art Reviews. (SHORT PAUSE) “THE DEATH OF ART”. I wonder who had the misfortune. HECTOR: (MONOLOGUE) (V.O) “The arts as we know can now be considered deceased. Its killers? The writers, composers, painters, (SHORT PAUSE) “Artists” who are hell-bent on thrusting their personal agendas to the crowd who so dearly part with their money and time to witness the unfortunate and brutal murder of the arts. What is so fundamentally wrong with involving entertainment with art? Can art no longer be enjoyed? The composers following on the greatness of Wagner, Beethoven can no longer honor the tradition. The painters can no longer paint beauty as the world according to them is filled with absurdity and senselessness. The viewers, the admirers of the art of past are horrified at the state the modern era has pushed them into. The emptiness of theatres, the silence of symphony house and the deserted look of art galleries all scream one thing, “ART IS DEAD”. And it’s killers the artists themselves. I can only pray that the “artists” as they call themselves come to their senses. STOP THIS MINDLESS SELF-INDULGENCE, CREATE MEANINGFUL ART” HECTOR: (MONOLOGUE) (V.O) “Self-indulgence!!! (SHORT PAUSE) Perhaps that is the reason why I am able to hear Debussy, Satie, and Stravinsky. Perhaps that is the reason I can see paintings of Picasso, Pollock and Rothko. SFX: Newspaper turning HECTOR: (MONOLOGUE) (V.O) but why admire art when the fundamental achievement expected out of it is enjoyment. (PAUSE) “Aesthetics” how meaningless the word turned out to be? HECTOR: (MONOLOGUE) Well (SHORT PAUSE) another one bites the dust. Hmm “Another one bites the dust?” this could work brilliantly as a rock song. Wonder if anybody’s stumbled into this?
SCENE X: INT: PIERRE’S APT: AFTERNOON
SFX: PIANO PLAYING PIERRE: (V.O) I hear you went back to the comedy club. HECTOR: (V.O) One has to pay the bills Pierre. PIERRE: (V.O) Money makes men do strange things Hector. HECTOR: (V.O) How is the Tigerism movement? PIERRE: (V.O) You are hearing its product. HECTOR: (V.O) Any plans to publish it? PIERRE: (V.O) I have sent a copy to the New York Philharmonic. When they grow tired of playing Mahler perhaps they might consider playing it. HECTOR: (V.O) What are the possibilities of that happening? SFX: Piano stops, clicking sounds
PIERRE: The days of beauty as I recall All vague in this glorious fall Life’s meaning hangs on a thread As the painter fails for bread
Soon the rose bud will show Beauty: upon the world shall it bestow Then shall we, my friend, rejoice Then shall we revel in choice
Keep faith, my friend, until then For waking up are those men Who shall lead the new age And live forever in history’s page
This is the trend, grand story Repeating itself in the timed history Seek the past for the future Immerse in the glorious music’s rupture
HECTOR: (APPLAUDING) Bravo! Bravo! Pierre Bravo! PIERRE: Merci! SFX: Piano playing (00:05) SCENE XI: INT: APT: NOON
SFX: Door knock, Footsteps HECTOR: Come in WILLIAM: I cannot tell you how glad I am that you finally gave this a chance. HECTOR: Money makes men do strange things William. Now (SHORT PAUSE) what is it that you require from me? WILLIAM: I want story Hector. I want your story. Tell me everything there is to know about you. Start from childhood if you like. HECTOR: (MONOLOGUE) What have I gotten myself into? WILLIAM: This will work out for the best if you spend as little time on contemplating your answers. HECTOR: I had an average childhood, I assume. School, play, home occupied most of my time. Mother died when I was 12 and Father decided it was best to move to California after the incident. So, I spent my teen years in sunny California. SFX: Paper turning HECTOR: It was in California that I started to develop interest in paintings. I recall going to various art exhibitions and gallery when I was 15. (PAUSE) Those places were filled with over-wealthy snobs who preferred to store the treasures of art in their own home rather than let the world be mesmerized by its beauty. WILLIAM: Were you not happy with the move to California? HECTOR: I despised the place. I absolutely despised everything about it. SFX: Coughing HECTOR: Do you know Pierre Modiano? WILLIAM: The name sounds familiar but I don’t believe I know him. HECTOR: He’s a French composer. He performed at the symphony house when I was 17 and I met him afterwards. I said I admired his music and he invited me over at his hotel room for lunch the next day. (SHORT PAUSE) I went there and it ended up being a short lesson in music and French more than lunch. We’re still friends, him and I. WILLIAM: So you are versed in the craft of Music too? HECTOR: No I never took any music class but that one day with Pierre was enough to drag me into the world of music which I never cared for before. Here, listen to this and see for yourself… SFX: Clicks and Clacks MUSIC: Maurice Ravel �" Sonatine (Modere) HECTOR: (V.O) What do you make of this music? WILLIAM: (V.O) It’s beautiful and all but I’ve always been more of a Jazz listener. HECTOR: (V.O) Jazz (SHORT PAUSE) perhaps this might be more to your liking then. SFX: Music stops SFX: Clicks and Clacks MUSIC: Bill Evans Trio �" Time Remembered WILLIAM: (V.O) Whose music is this? HECTOR: (V.O) The intricateness and beauty of the melody suggests Bill Evans. The piece is called “Time Remembered” (SHORT PAUSE) very aptly named. WILLIAM: (V.O) Oh yes Bill Evans!!! (SHORT PAUSE). Now, when and why did you return back to New York? HECTOR: (V.O) I was 18. My father was hell-bent on having me join a university. So I decided to join the NYU. I studied literature for two years then I decided to quit college to be a writer. WILLIAM: (V.O) What did you write? HECTOR: (V.O) Scripts for theatre, essays among others. WILLIAM: (V.O) Were any of those scripts performed? HECTOR: (V.O) Yes just the one! “The Fire Dance” I called it. It got fantastic review too. WILLIAM: (V.O) What did it read like? HECTOR: (V.O) Something about horrified viewers, mediocrity, talented eggs, and Comedy. WILLIAM: (V.O) Talented eggs? HECTOR: (V.O) Ostensibly! WILLIAM: (V.O) What did you do to earn a living then? HECTOR: (V.O) Comedy. I always hoped it would just be for a living but you know what the results are like. WILLIAM: (V.O) I know. HECTOR: (V.O) I’ve exercised my vocal chords enough for the day. Would you mind if I send the rest of the “TRUTH” in writing. WILLIAM: (V.O) Not at all. It was a pleasure to have this conversation with you Hector. HECTOR: (V.O) I feel as if I have set a dangerous criminal free onto the world. (SHORT PAUSE) Which I suppose is a pleasure to some. WILLIAM: (V.O) (CHUCKLE) I will contact you soon to resolve the financial aspects. HECTOR: (V.O) Au revoir! SFX: Clicks and clacks MUSIC: Gustav Mahler - Ich hab´ ein glühend Messer (Canções de um viandante) (00:20) HECTOR: (V.O) (SINGING)
SCENE XII: INT: PIERRE’S APARTMENT: NOON
HECTOR: They say they want the truth Pierre. (SHORT PAUSE) “The Truth”. They’re even prepared to pay ridiculous amount of money for it. PIERRE: What is the problem then? HECTOR: The problem (SHORT PAUSE) is that I realize how senseless reality really is. I already gave my childhood away but the more I indulged in this charade the more I realized that I do not have the sense of the depth of the pool that I am jumping. PIERRE: The pool is never too deep if one’s able to swim Hector. HECTOR: I suppose but at this point I am not sure if I am able to float. PIERRE: I know that the grass always seems greener on the other side but every once in a while we must realize that greener does not necessarily mean the best. What have I got to parade for my achievements? NOTHING. You on the other hand have all the opportunity to gain fame. Tread on uncharted water for once mon amis, life awaits. HECTOR: All I’ve ever desired is to be looked on with a slightest amount of seriousness. The greatest desire is a tough thing to depart with. PIERRE: What do you make of the oil prices though? HECTOR: I find myself wondering occasionally if I should bother about it but I lack a dear enough base to feel any emotion towards it. PIERRE: Good enough but I assume someone must be writhing with anger somewhere. MUSIC: ‘Round Midnight �" Miles Davis (00:25)
SCENE XIII: INT: WILLIAM’S OFFICE: NOON
WILLIAM: I shouldn’t have paid anything upfront. SFX: Numbers being dialed WILLIAM: Pick up the phone! Pick it up!! PICK it UP!!! SFX: Phone hung up WILLIAM: Why that!! SFX: Numbers being dialed WILLIAM: Pick up the phone! Pick it up!! PICK it UP!!! SFX: Phone hung up
SCENE XIV: INT: APT: EVENING
MUSIC: Claude Debussy: La fille aux chevaux de lin: Tres calme et doucement expressif [ Quotes from Anton Chekov’s “Ivanov” Act III] HECTOR: (READING) “LEBEDEV: Caviare goes well with Vodka, too. Only you must know how to serve it. You must use intelligence… Take a quarter of pressed caviare, two heads of green onion, some olive oil, mix it all up and then you know… just a little lemon juice on top… It’s enough to bowl you over! The smell alone makes you dizzy!” HECTOR: (READING) “BORKIN: Another nice snack after vodka is fried gudgeon. Only you must know how to fry them. First you clean them, then roll them in crumbs and fry until they’re brown, so that they crackle as you eat them… Crackle-crackle-crackle…” HECTOR: (READING) “SHABELSKY: Yesterday Babakina had a nice hors-d’oeuvre �" White mushrooms. HECTOR: (READING) “LEBEDEV: Ah, Lovely” HECTOR: (READING) “SHABELSKY: Only they were prepared in a special way. You know, with onion and bay leaf and all sorts of spices. When they took the lid off the saucepan, the steam, the fragrance that came out! It was a real joy! HECTOR: (READING) “Now then! Repetatur, gentlemen! (SHORT PAUSE) Our good health… It doesn’t look as if I’d see Nikolasha today. It’s time for me to be going. You say you’ve had mushrooms at Babakina’s, but in my house there’s not a sign of a mushroom yet. Tell me, Count, why the devil do you go to Marfutka’s so often?” HECTOR: (READING) “SHABELSKY: It’s him �" he wants me to marry her…” HECTOR: (READING) “LEBEDEV: Marry? How old are you?” HECTOR: (READING) “SHABELSKY: I’m Sixty-two.” HECTOR: (READING) “LEBEDEV: Just the right age to get married. And Marfutka is just the right woman for you.” HECTOR: (READING) “BORKIN: Marfutka’s not the point, its Marfutka’s money…” HECTOR: Ahh money again. HECTOR: (READING) “LEBEDEV: Is that what you want �" Marfutka’s money? Perhaps you’d like the moon, too?” HECTOR: (READING) “BORKIN: You won’t talk about the moon when you see this fellow marry and fill his pockets. You’ll be licking your lips with envy then.” HECTOR: (READING) “SHABELSKY: He’s serious, you know. Our great genius here is quite certain that I’m going to take his advice and get married.” HECTOR: (READING) “BORKIN: Well, aren’t I right then? Isn’t it definite anymore?” HECTOR: (READING) “SHABELSKY: What? You must be mad! When was it definite? Pshaw!” HECTOR: (READING) “BORKIN: Thank you very much! I’m very grateful to you. Does this mean you’re going to let me down? Now you say you will marry her, now you say you won’t … the devil alone knows which. Yet you gave me your word of honour! So you won’t marry her, then?” HECTOR: (READING) “SHABELSKY: He’s really serious … What an amazing fellow!” HECTOR: (READING) “BORKIN: In that case, what did you get an honest woman excited for? Now she’s mad to be a countess, she can’t eat or sleep … Is that the sort of thing to joke about? Is it honourable? “ HECTOR: (READING) “SHABELSKY: All right then �" supposing I do do this ignominious thing? Eh? Just to spite them! I’ll go and do it. My word of honour, I will. That’ll be quite a joke!” SFX: Door Knock MUSIC OFF HECTOR: (MONOLOGUE) “Even Chekov cannot get a share of solitude” SFX: Light footsteps HECTOR: (MONOLOGUE) “Who?” SFX: Door Knocks HECTOR: (MONOLOGUE) “Heller? Who are those other people?” SFX: Door Knocks WILLIAM: (OFF) He’s in there. I know he’s in there. SFX: Door Knocks WILLIAM: (OFF) He’s in there!! SFX: Door Knocks HECTOR: (MONOLOGUE) You can knock till your knuckles swell and the blood spills but I am not getting out of this chair. SFX: Door Knocks HECTOR: (MONOLOGUE) Now where was I? Ahh ““SHABELSKY: All right then �" supposing I do do this ignominious thing? Eh? Just to spite them! I’ll go and do it. My word of honour, I will. That’ll be quite a joke!” HECTOR: (MONOLOGUE) There’s just something distinctly pleasuring about enjoying art while ignoring the nonsense of outside. SCENE XV: INT: STARIWAY: EVENING
SFX: FOOTSTEPS (3 men) WILLIAM: (V.O) I know he’s in his filthy little room. SFX: Lighter sound WILLIAM: (V.O) Now listen carefully boys. I am taking a cab back to the office but I want two of you to stay in the car and keep an eye out for that swine. SFX: Footsteps stops WILLIAM: Soon as you see him you call me and start following. By foot, by car, camel, horse, air whatever just DON’T lose him. SFX: Footsteps resume WILLIAM: I want that story by any means. If I have the means to buy the story off him I also possess the means to force the story out of him. SFX: Footsteps continue SFX: Street noise WILLIAM: Remember keep watch, call and follow. SFX: Street noise WILLIAM: (LOUD VOICE) Taxi! Hey… Hey Taxi!! SFX: Taxi approaches and stops SFX: Taxi door opens WILLIAM: WATCH, CALL AND FOLLOW SFX: Taxi door shuts WILLIAM: Uptown keep going till I tell you to stop. SFX: Taxi departs SCENE XVI: INT: PIERRE’S APT: EVENING
PIERRE: Another play? HECTOR: It might be a desperate clutch of the last straw Pierre but I will produce another play. PIERRE: You have to stop Hector. Stop… Don’t you see you’re stuck in a loop? Whatever you want eludes you, Hector. While you pursue that desire whatever you hope to avoid comes to you. You need to stop and reflect on this. HECTOR: No Pierre, these are just ideas and… and thoughts. I cannot stop myself from trying to achieve what I want for the fear of gaining what I do not. PIERRE: (LOUD) YOU CAN STOP. HECTOR: (LOUD) STOP? And do what Pierre? Do What? PIERRE: (LOUD) Give the world what it wants from you. HECTOR: (LOUD) Laughter? The very cheapness of it scares me. PIERRE: (STERN VOICE) Exactly mon amis, laziness and fear are two of the greatest obstacles of success. HECTOR: It’s not fear Pierre. It’s the success that is scary. What do I do if I do achieve success doing things I have no interest towards? PIERRE: Than you will be just like the rest of us. MUSIC: Artie Shaw �" Begin the Beguine (00:10)
SCENE XVII: INT: WILLIAM’S OFFICE: EVENING
SFX: Phones ringing (SHORT PAUSE) WILLIAM: Yes! (SHORT PAUSE) WILLIAM: Where? (SHORT PAUSE) WILLIAM: A’right. Let him know he’s being followed. (SHORT PAUSE) WILLIAM: Box him in to the alley. Do not let him into his room. (SHORT PAUSE) WILLIAM: I’ll be there soon. (SHORT PAUSE) WILLIAM: Do you understand. Do not let him into his room. SFX: Phone hung up WILLIAM: (ANGRILY) I’ve got you now you little rat?
SCENE XVIII: EXT: STREET: EVENING
SFX: Street sounds SFX: Dustbin against each other WILLIAM: You little prick. SFX: Hector being held, Struggle WILLIAM: I need that story whether you like it or not. SFX: Car horn WILLIAM: You think you can hide from me? HECTOR: (STRUGGLING) Let… Let me go. WILLIAM: Listen to me you filth. I want that story on my table before October begins. HECTOR: (STRUGGLING) Let me... WILLIAM: (ANGRILY) If not (SHORT PAUSE) none of your gods will come down to save you. HECTOR: OKAY! OKAY!! WILLIAM: Let him boys. SFX: Car Horn WILLIAM: I understand we have an agreement Mr. Evans. MUSIC: Béla Bart�™k �" String Quartet No. 4 �" Mov. 5 (00: 10)
SCENE XIX: INT: APT: MORNING
SFX: Refrigerator opens, CAN opening, Stoves being turned on, Cooking sounds (CONTINUE SOUNDS) SFX: Stoves turned off, footsteps, chairs moving, newspaper pages being turned MUSIC: Suite from Swan Lake, Op. 20 - Scene Pas d'action (Act II) (READ “ACT I”) HECTOR: (WRITING AND READING) “SERGEI: NO! NO! That is not right. You don’t move. YOU Glide. Here like this. Now do it again”
[Glides along the floor with no clear foot movement]
HECTOR: (WRITING AND READING) “ANNA: Yes Master” HECTOR: (WRITING AND READING) “SERGEI: You are not practicing enough Anna. I can see it clearly.” HECTOR: (WRITING AND READING) “ANNA: I practice with whatever time I get after doing my school work” HECTOR: (WRITING AND READING) “SERGEI: Pfft School work? Do you want to be a ballerina or a girl doing school work?” HECTOR: (WRITING AND READING) “ANNA: Ballerina master. I want to be a ballerina.” HECTOR: (WRITING AND READING) “SERGEI: Do you know what it takes to be a ballerina then?” HECTOR: (WRITING AND READING) “ANNA: Yes master.” HECTOR: (WRITING AND READING) “SERGEI: Yes! Now glide. Glide like you don’t have any legs. Glide like you’re swimming in a lake.” [Anna dances]
HECTOR: (WRITING AND READING) “SERGEI: Listen to the music. Listen to what it tells. Give it the emotion it deserves. HECTOR: (WRITING AND READING) “ANNA: Yes Master” HECTOR: (WRITING AND READING) “SERGEI: No Anna Romanova. I can still see your legs moving. Glide… Glide… Glide.”
[Anna stumbles and falls]
HECTOR: (WRITING AND READING) “SERGEI: Get up… get up and hang your head in shame. Is that what I’ve taught you all this time? Get up.” HECTOR: (WRITING AND READING) “ANNA: I am very sorry master. It will not happen again. Please forgive my mistake.” HECTOR: (WRITING AND READING) “SERGEI: You are a ballerina Anna. You cannot make any mistakes. People watch you fail and my reputation is questioned. Is that what you want? To bring shame to your master?” HECTOR: (WRITING AND READING) “ANNA: (CRYING) No… no master.” HECTOR: (WRITING AND READING) “SERGEI: Stop crying. It is a sign of weakness Anna. Get up and start dancing.”
[Anna gets up and dances perfectly]
HECTOR: (WRITING AND READING) “SERGEI: That’s it. Perfect. Now do it one more time so you don’t forget.” HECTOR: (WRITING AND READING) “ANNA: Yes master.”
[Anna gives another perfect performance]
MUSIC: Fade [Suite from Swan Lake, Op. 20 - Scene Pas d'action (Act II)] HECTOR: (WRITING AND READING) “ANNA: That is all I remember from my childhood. Glide don’t move…Glide don’t move…Glide don’t move… these words dance around in my head like moving train sound.” HECTOR: (WRITING AND READING) “KOTONOVA: I heard Sergei Petrova was a gentle teacher. I heard wrong apparently.” HECTOR: (WRITING AND READING): “ANNA: I don’t want to remember that evil man. Hand me another cigarette Koto.”
[Kotonova hands cigarette packet to Anna]
HECTOR: (WRITING AND READING): “ANNA: Great teacher or “Master” as he made us all call him but he was a horrible… horrible man. He almost made me quit school because I wasn’t giving five hours every day for practice.” HECTOR: (WRITING AND READING): “KOTONOVA: Five hours? That is too much. Even now I don’t practice more than two hours and I am good enough with that.” HECTOR: (WRITING AND READING): “ANNA: Try telling that to Sergei.” HECTOR: (WRITING AND READING): “KOTONOVA: You know, where the best school is? Antonio’s in Rome.” HECTOR: (WRITING AND READING): “ANNA: I’ve heard that too. I hear that if you get through Antonio’s you are sure to get the New York job.” HECTOR: (WRITING AND READING): “KOTONOVA: I hadn’t heard that.” HECTOR: (WRITING AND READING): “ANNA: It must be true. Even the bad students do better than us. They even have weight control programs in there.” HECTOR: (WRITING AND READING): “KOTONOVA: Wow! How do you know so much?” HECTOR: (WRITING AND READING): “ANNA: I read Koto. If I haven’t been a ballerina I probably would have made an excellent something else.” HECTOR: (WRITING AND READING): “KOTONOVA: Why do you say so? Do you not like being a ballerina?” HECTOR: (WRITING AND READING): “ANNA: Sometimes yes… sometimes no. I love dancing but I despise… absolutely despise everything that comes along.” HECTOR: (WRITING AND READING): “KOTONOVA: What? What do you not like?” HECTOR: (WRITING AND READING): “ANNA: I hate that people presume that being a ballerina must mean we can be treated like a mindless stuffed doll. You know, some people think we are stupid to be a ballerina some want us to start living healthy and grow weight.” HECTOR: (WRITING AND READING): “KOTONOVA: That is all their thinking. It has nothing to do with us.” HECTOR: (WRITING AND READING): “ANNA: I thought so too, but, they have started protesting and making ridiculous claims that we are affecting their children too. It doesn’t matter that we desire to live this way because it is easier for us. I think it’s unfair that their shortcomings should result in others being blamed for their choices.” HECTOR: (WRITING AND READING): “KOTONOVA: They cannot hurt us. All they are able to do is make comments and blame. We can go on with our lives as we choose.” HECTOR: (WRITING AND READING): “ANNA: Still it would be nice to know that we will not be ridiculed for our life choices.” MUSIC: Fade [Suite from Swan Lake, Op. 20 - Scene Pas d'action (Act II)]
SCENE XX: INT: PIERRE’S APARTMENT: MID-DAY
SFX: FOOTSTEPS SFX: Door Knock SFX: Door opens CLAIRE: Hello! HECTOR: Hello! Who are you and where’s Pierre? CLAIRE: Excusez my English. I am sister of Pierre. Pierre suffer mental trauma. He in the hospital now. I think they take him to the crazy people jail later. HECTOR: Mental trauma? What happened here? CLAIRE: The doctor called me that Pierre went crazy and I come here from France today. Who are you? HECTOR: I am a friend of Pierre. Do you know which hospital they took him to? CLAIRE: No use. They no allow visitors now.
SCENE XXI: EXT: SUBWAY: NIGHT
SFX: People talking SFX: SAY “THERE… THERE HE IS” HECTOR: (SCREAMING) WHY ARE YOU FOLLOWING ME? SFX: RUNNING HECTOR: (SCREAMING) LEAVE ME ALONE!!! SFX: SAY “HEY!” (FROM SOMEONE HECTOR RAN INTO) HECTOR: NO!! SFX: RUNNING (“TALKING PEOPLE” CANNOT BE HEARD NOW) HECTOR: GO AWAY!! SFX: THUD (HECTOR FAINTING AND FALING)
(SILENCE FOR A WHILE)
SFX: (OFF) People Talking SFX: SAY “Hey man! Are you okay?” HECTOR: Wh… ye. Yes… I am fine. Thank You. HECTOR: (MONOLOGUE) Pierre was wrong. Uncharted water is still only uncharted. SFX: Subway train sound is distance HECTOR: Filthy dogs, Scum of the world. SFX: Street sounds HECTOR: Taxi!! SCENE XXII: INT: APT: NIGHT
SFX: Hector says “ACT III” SFX: Hector says “Two years have gone between Act II and Act III HECTOR: (WRITING AND READING): “ANNA: New York? I am not ready for it right now, Kurtoska.” HECTOR: (WRITING AND READING): “KURTOSKA: Are you sure?” HECTOR: (WRITING AND READING): “ANNA: Far from it. I am astounded and cannot make my mind up.” HECTOR: (WRITING AND READING): “KURTOSKA: Think about it. It’s New York after all.” HECTOR: (WRITING AND READING): “ANNA: I know. Am I ready for it though?” HECTOR: (WRITING AND READING): “KURTOSKA: I cannot believe you were taught by Sergei.” HECTOR: (WRITING AND READING): “ANNA: What do you mean?” HECTOR: (WRITING AND READING): “KURTOSKA: Well, I would have hoped Sergei would have crushed any uncertainty in his students.” HECTOR: (WRITING AND READING): “ANNA: Don’t kid yourself KURTOSKA, if anything he made me believe less in my abilities.” HECTOR: (WRITING AND READING): “KURTOSKA: Terrible. How many hours did you practice?” HECTOR: (WRITING AND READING): “ANNA: You won’t believe it. FIVE… Five hours every day. Can you believe it?” HECTOR: (WRITING AND READING): “KURTOSKA: FIVE hours!!! That’s more than those New York girls… How come you’re so unsure of yourself?” HECTOR: (WRITING AND READING): “ANNA: Unsure? I don’t know!!” HECTOR: (WRITING AND READING): “KURTOSKA: I’ve heard musicians that practice more than what is required often behave the same way.” HECTOR: (WRITING AND READING): “ANNA: Really?” HECTOR: (WRITING AND READING): “KURTOSKA: Yes I’ve read it… It’s just that the more time you spend practicing more than necessary the more time you have to criticize yourself… you know these things never turn out for the good.” HECTOR: (WRITING AND READING): “ANNA: That can’t be true. Whatever happened to “Practice makes man perfect?” HECTOR: (WRITING AND READING): “KURTOSKA: I can’t explain it I only read it and it seemed true to me.” HECTOR: (WRITING AND READING): “ANNA: Oh sweet KURTOSKA, you can’t believe everything you read. You know that an idiot with a pen is a dangerous thing. You better avoid whatever thing that printed this.” HECTOR: (WRITING AND READING): “KURTOSKA: That’s it… you think too much… that must be it. Sometimes I think you’re too clever for a ballerina. You must stop thinking too much. HECTOR: (WRITING AND READING): “ANNA: Now where did you read there can be too much of thinking? HECTOR: (WRITING AND READING): “KURTOSKA: I didn’t read it. I just know it’s a fact. You know your head starts aching and thinking all sorts of nonsense if you give it too much food.” HECTOR: (WRITING AND READING): “ANNA: I had a friend who used to say all the same things you do, sometimes I wonder if I deliberately choose the type of people to be friends with.” HECTOR: (WRITING AND READING): “KURTOSKA: There…just now… again… you’re thinking too much already.” HECTOR: (WRITING AND READING): “ANNA: Well what else can one do. You possibly cannot have a vacant mind most of the time. You know they say that is exactly the kind of mind where the devil works.” SCENE XXIII: INT: APT: MORNING
SFX: Sharp screech HECTOR: (PANICKING BUT WHISPERING) Not again… No. SFX: Footsteps rushing HECTOR: Not the medicine. I can’t take it again. SFX: Medicine bottle opens HECTOR: (SCREAMING) NOO!! SFX: Sound of “Hector throwing medicine bottle” SFX: Panicked coughing SFX: Short Sharp Screech HECTOR: (IN PAINFUL BUT MELLOW TONE) Ahhh… No. SFX: Short Sharp Screech HECTOR: (IN PAINFUL BUT MELLOW TONE) Pills!!! Noo. SFX: Short sharp screech HECTOR: (OFF) (SCREAMING) Get off me SFX: Thud (from Hector fainting)
(ABSOLUTE SILENCE)
SCENE XXIV: INT: APT: MORNING
SFX: Rustles (from Hector waking up) SFX: Footsteps SFX: Refrigerator opens, CAN opening, Stoves being turned on, Cooking sounds SFX: Stoves turned off, footsteps, chairs moving, newspaper pages being turned HECTOR: Oil Prices… Again?… Oh this is all just so monotonous. SFX: Hector throws the newspaper away SFX: Record player being used MUSIC: Ludwig Van Beethoven �" Piano Sonata No. 14 in C Sharp Minor �" Presto (Moonlight Sonata) SFX: Footsteps HECTOR: (MONOLOGUE) (V.O) Slow it down and it makes you weep with beauty and tragedy, play it faster and it makes you excited with inherent chaos. Beethoven, old pal, you made the world better in infinite ways. SFX: Sips from can SFX: Forks clicking HECTOR: (V.O) Maybe I need to buy a piano. That’s it… A piano… or a painting manual… Yes! That’s it… A painting manual… Where will I get the money to buy a piano? A painting manual… Yes!!! SFX: Chairs moving HECTOR: (MONOLOGUE) (V.O) Oil prices!! Hah!! That is beyond ridiculous. What’s your thought on all this Master Beethoven?
(SHORT PAUSE) SFX: Footsteps HECTOR: (MONOLOGUE) (V.O) Yes!! It’s better if you concentrate on your compositions. Let the government and the drivers worry about it. SFX: Record player being used HECTOR: (MONOLOGUE) (V.O) Maybe old Mozart has an opinion on this. MUSIC: Wolfgang Amadeus Mozart �" Ave Maria HECTOR: (MONOLOGUE) (V.O) Do you worry about the oil prices Master Mozart?
(SHORT PAUSE)
HECTOR: (MONOLOGUE) (V.O) The same answer again! You know Bach was far more cooperative. You two keep playing, I’ll make my own mind up on this matter and that’s the end of it. I’ll stick by my principles as soon as I discover it. SFX: Record player being used HECTOR: (MONOLOGUE) (V.O) Meanwhile… MUSIC: Sergei Prokofiev �" Piano Concerto No. 3 in C, Op. 26 �" Theme And Variations HECTOR: (MONOLOGUE) (V.O) How about your opinion young Prokofiev?
(SHORT PAUSE)
HECTOR: (MONOLOGUE) (V.O) Yes! I think there’s some vodka somewhere around here. SFX: Footsteps HECTOR: (MONOLOGUE) (V.O) You know Tchaikovsky liked this one. What do you like? (SHORT PAUSE) HECTOR: (MONOLOGUE) (V.O) Ahh!! Excellent Choice! Rachmaninoff liked that too. You wouldn’t believe this but Picasso was particularly very fond of this.
(SHORT PAUSE)
HECTOR: (MONOLOGUE) Will anyone of you bother to state your stance on the oil prices. The indecision is maddening. Where exactly do you stand?
(SHORT PAUSE)
SFX: Footsteps SFX: Paper rustle HECTOR: Monotonous it may be but still helpful than all of you combined. SFX: Paper turns HECTOR: “National News”!! What’s happening on this country of late? SFX: Sipping from CAN HECTOR: “Frauds nabbed”, “Parties in disagreement”, “Composer dies” SFX: Can put down heavily on table HECTOR: (WITH SHOCK) Composer dies!!! SFX: Paper rustle HECTOR: (READING) “Pierre Modiano, French composer of classical music, has been found dead in psychiatric ward of St. John’s Hospital. Modiano, known for compositions such as “Tiger’s ragtime hunt”, “Ballade pour Claire” and “Living today”, died of what the doctors describe as “intense mental trauma”. New York Philharmonic has decided to pay tribute the late composer by performing some of his recent compositions on August 28th.” SFX: Paper rustle HECTOR: Ohh! Dear old amis!! HECTOR: (In a sad, mellow and singing tone) Fare thee well, dear soul, fare thee well On your memories shall the days dwell What troubles did you see? Things you did to set it free
Fare thee well, poor soul, fare thee well On your memories shall the days dwell Where the kindest of the souls rest There shall you find your old nest
Fare thee well, lost soul, fare thee well On your memories shall the days dwell The dark bird sings it’s gloomy song For your soul shall we forever long
Fare thee well, free soul, fare thee well On your memories shall the days dwell Out of this world and then you’re free While those left behind drown in reverie Fare thee well, dear friend, fare thee well SCENE XXV: INT: APT: MORNING
SFX: Sharp screech HECTOR: (PANICKING BUT WHISPERING) No. SFX: Heartbeats LOUD SFX: Panicked coughing SFX: Short Sharp Screech HECTOR: (IN PAIN) Ahhh… No. SFX: Short Sharp Screech HECTOR: (IN PAIN) Pills!!! Noo.
(ABSOLUTE SILENCE)
SFX: Phone Rings HECTOR: hu… huh SFX: Phone Ring continues SFX: Footsteps HECTOR: Stop!! SFX: Door opens SFX: Tap opens (Phone ringing in distance) SFX: Footsteps (Phone ringing stops) HECTOR: Seven… Morning SFX: Phone ringins HECTOR: How do I get rid of you? SFX: Phone ringing continues HECTOR: OKAY!! SFX: Footsteps (Phone ringing continues) HECTOR: Hello! WILLIAM: Hello indeed Hector. I hope you have not forgotten me. HECTOR: You’ll have whatever you want before the time. Now please stop calling me. SFX: Phone hung up HECTOR: (MONOLOGUE) There’s just no escaping this bear-trap… Perhaps I could give him what he wants. SFX: Phone rings (6 times without answer)
(PAUSE)
SFX: Door knock HECTOR: Already! SFX: Door knock louder HECTOR: (MONOLOGUE) Samantha? Won’t they just leave me alone? SFX: Door Knock SAM: (OFF) (SOFTLY) Where’s he off to this early? (SHORT PAUSE) He must be in. SFX: Door knock SFX: Door Knock (fading)
SCENE XXVI: INT: APT: NIGHT
[The following sounds resemble random, vivid and disturbing recollection dancing around Hector’s head during another one of his attacks. Dialogues are to be sounded in faded and “OFF” manner.]
SFX: Heartbeat LOUD (REPEATED THROUGHOUT THE SCENE) SFX: Short Sharp Screech SFX: “Here some bagels”. SFX: Door knocks HECTOR: (OFF) (SCREAM) NO! SFX: “Do it or I’ll make you suffer” SFX: Phone rings SFX: “Bagels, I’ll make you suffer” SFX: Door knocks and phone rings together HECTOR: (DIZZILY) No!! SFX: “You can stop Hector”, “I want the Truth”, “Call me Sam” SFX: Short sharp screech SFX: Door knocks and phone rings together HECTOR: Stop it… Stop… Leave me alone SFX: People laughing and applauding HECTOR: (SOBBING) Noo!!! SFX: “People talk”, “Human tongue”, “Criminals” SFX: Short Sharp screech SFX: “People talk”, “Human tongue”, “Criminals” SFX: “Bagels, I’ll make you suffer” HECTOR: Human tongue nooooo!! Criminal. SFX: Rushing footsteps SFX: Short sharp screech SFX: Rushing footsteps SFX: Dishes clattering SFX: “Human tongue”, “Criminals” HECTOR: Stop it!!!! SFX: Short sharp screech HECTOR: Criminal…. SFX: “Do it”, “Do it” HECTOR: OKAY!!! SFX: Loud thud (from Hector fainting)
(ABSOLUTE SILENCE)
SCENE XXVII: INT: OUTSIDE HECTOR’S APARTMENT: MORNING
SAM: (OFF) Yes! I heard noises last night but when I knocked there was no answer. SFX: Door knocks SAM: (OFF) See you can’t hear anything. SFX: Door Knocks SAM: We need to bust the door open. I think something terrible has happened here. SFX: Door Knocks SAM: I’m telling you it’s no use. Please let’s just break in. SFX: Door being busted open SAM: Where is he? SFX: Footsteps SAM: You look in the bedroom and I’ll see the kitchen. SFX: Footsteps SAM: (SCREAM) O’ my god!! Call 911. (SOBBING) SFX: Footsteps rushing SAM: Call 911 for ambulance quick. (SHORT PAUSE) Jesus Christ there’s so much blood here. SFX: Footsteps rushing SAM: Where’s the blood coming from? There’s no cut anywhere in the body.
SCENE XXVIII: INT: HOSPITAL: EVENING
SFX: People talking SFX: Ambulance arriving in distance SAM: How long is this taking? I am dying out here. SFX: Groups of doctor arriving SAM: Hey!! Hey!! How’s the patient?
(SHORT PAUSE)
SAM: (IN PHONE) Good news is that he is out of danger but he’s still unconscious. The doctors said he lost a lot of blood and will take a lot of time to recover. SFX: Ambulance arriving in distance SAM: Yeah! I’ll wait here. They say he might wake up in an hour or two. SFX: Groups of doctor talking “This is strange” SAM: I’ll call if I get to see him. SFX: Phone hung up SFX: People talking SFX: Groups of doctor talking “That’s Hector Evans” SAM: What are they talking about? It’s about Hec but what’s happened to him? SFX: TV announcing NEWS!! SFX: People talking SFX: Ambulance arriving in distance SCENE XXIX: INT: HECTOR’S HOSPITAL ROOM: NIGHT
SFX: Groups of doctor arriving SAM: Hey Doc! Is it okay to visit him now? SFX: Ambulance arriving in distance SAM: Great. Thanks a lot again. SFX: Footsteps SAM: (MONOLOGUE) Hope you’ve done nothing stupid Hec. SFX: Footsteps SFX: Door opens SAM: Hey there!! (SHORT PAUSE)
SAM: Nurse! Is he okay? Why isn’t he talking? SAM: HEC!! Hector Evans why aren’t you talking to me? SFX: Female voice “He cannot talk now” SAM: What? What do you mean he can’t talk? SFX: Door opens SAM: Hec!! I warn you not to torture me so much. Tell me what’s going on? (HECTOR OPENS HIS MOUTH) SAM: (SURPRISED) What in the… Why did you do this Hec? SFX: SAMANTHA sobbing SAM: (SOBBING) Why did you do all this? SCENE XXX: INT: WILLIAM’S OFFICE: MID-DAY
WILLIAM: (READING) Oil Prices up again? Blast this government. SFX: Sipping from cup SFX: Page turning WILLIAM: (READING) “Nationals” SFX: Sipping from cup WILLIAM: “Comedy star to talk no more” SFX: Sipping from cup WILLIAM: “Renowned comedy star, Hector Evans, has shut his mouth on the world forever. In an astonishing event, Hector Evans was admitted to St. John’s Hospital yesterday after being found unconscious in his apartment by his neighbours. One neighbor Samantha brown said “I heard disturbing noises from his room and he didn’t answer my knocks. Next day we broke into his room and he was in the kitchen unconscious. There was blood all around him and he was holding a knife.” The doctors at St. John’s hospital said that the reason behind the incident was purely psychological. Dr. Marvin Aikon, the chief surgeon treating Hector Evans, said “The body was admitted at 6: 32 PM and was with a severed tongue.” Hector Evans has regained consciousness but outsiders, well-wishers and media have largely been kept out from contacting him.” SFX: Bang (from William banging on his desk)
SCENE XXXI: EXT: CENTRAL PARK: MORNING
SFX: Birds chirping SFX: People talking HECTOR: (MONOLOGUE) The world taught me how to laugh. (PAUSE) It is not the best medicine. SFX: Car horns
THE END
© 2014 Otis Thuntwen |
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