The World Is Very Round: Six Full Length Plays

By Maurice Siegel

Unlike words of a novel where the author may wish to inform the reader of unspoken but intended feelings for the reader, the author adds an aside with additional lines. Such asides in a play will cause the listener’s building emotional connection to get diminished. But it is the double purpose with the words spoken that produce both information and emotion, each with their separate purposeful existences struggling with each other at the very same moment. That is so fascinating in plays and makes me want to try my best at this art form.

• Language: English
• Publisher: Xlibris US
• Release date: Dec 20, 2014
• ISBN: 9781503520714

Maurice Siegel

After living long enough to suspect everything and enjoy the experiences of people rushing off into every possible direction and also being cynical enough to wonder what’s going on around me, I’m not likely ever to get my sought after answers to the biggest of the thoughts I wonder about. Me and most of humankind, and maybe some animal here or there not as yet understood by us, remain endlessly curious. What remains true, I’m not able to crack open the big answer into any of the unknown we are all staring at. My only destiny, along with centuries of others like me, is to make every attempt to handle the job of being one more of the strange species that have to be perplexed and by writing about it. —Maurice Siegel

Book preview

The

World

Is Very Round

Six Full Length Plays

Maurice Siegel

Copyright © 2014 by Maurice Siegel.

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

Any people depicted in stock imagery provided by Getty Images are models,

and such images are being used for illustrative purposes only.

Certain stock imagery © Getty Images.

Maurice Siegel

4 Horizon Road, #1005

Fort Lee, NJ 07024

201-224-4347

(cell) 917-533-2626

Rev. date: 07/21/2023

Xlibris

844-714-8691

www.Xlibris.com

696715

CONTENTS

Introduction

Devout Enemies

The Night Country

Pick A Century. Any Century

Portrait Of An American Traitor

The Right Hand Of God

Shopping For A New Life

INTRODUCTION

Plainly said, I love plays as so many people do when seeing them put on.. That is because they can take me where I can’t go on my own but just as if I were there and, yet, somehow from a shortdistance also participating.

In writing plays, it’s my chance to go where I think I’ve been for momentss of time but I would like some changes to those memories to move along a somewhat different path, one I would like to trt getting more out of. That means there is the danger of falling off the path into a world I’ve never completely been to. Yes, that is the gamble of going too far from oneself. The problem is always present but I can do nothing about it when I’m so curious as to where my mind can sometimes take me, to places farther away from where I’d been living and experiencing. This is very true for ‘The Right Hand Of God’. After a lifetime of being surrounded by a world involved in religious history put down from the very moments when history had its beginning and then the addition to my life of the patchworks of hearsay as if it has been unalterable information, I considered an update to be in order. Try to bring that early history to what it would come to look like with critical observations available.’ The Right Hand Of God’ is my modernized version of the oldest story told and not one that I have any better first hand knowledge of than anyone else seemingly has.

Another pleasure I get writing plays is that of the solitary trip into and out of my mind by cutting my way through overheard and remembered conversations all around me. All of us collect and rearrange them. To my surprise, some have turned into an epiphany that can alter my reality for heading into the future. It is this outcome that makes me attempt to bring characters together to seek out directions in their meeting that forces them towards new endings, often leading to disaster. This is, for me, exemplified in ‘The Night Country’.

Regarding the play ‘Portrait Of An American Traitor’, I had the deep feelings of regret when an injustice prevailed in an open society that is supposed to have legal self corrections built into it. It is the story of the spying for Israel and trial in 1989 and the incarceration of Jonathon Pollard to this very day. When seen from a distance, the story is boringly obvious and a spy is to be punished by being in prison. But on close-up scrutiny, courts are to protect against abuse but did not. I attempted to stay to all the public facts that I could gather. Jonathon Pollard, still incarcerated in a jail to this very day, is with a touch of irony. A number of spies, caught and imprisoned for Russia spying on the United States, were caught in this period of time and were freed a few years later. That period of American history was still filled with many anti-Semitic federal employees in the highest positions. It is a story of manipulation when the accused and his wife were in a state of being frightened to death at the power of a government on the attack, a conflict of virtuous purposes faced by many righteous people for centuries, driving them to a state of terror. This is when honorable motives are crushed every time. Such situations cannot stand up against perverted jurisprudence.

We all dream of a chance to have a true love in our lives. The best of the true loves have come out of the past for a good reason. They are myths or required a very early death to seal the outcome in place forever. I made an attempt at a modern true love story. What makes it modern? It is a story that has to survive, sexual angers, uncontrolled hateful impulses coming from deep disturbing memories, life’s repeated abuses, to mention a few. Out of this a love can arise to be considered a true love to the ends of time. The play ‘Devout Enemies’ is my collected experiences of a search for a great love before I did find it but with the setting chosen not of my background for purposes to advantage how long this searching, in its many forms, has been going on.

One added note. Writing a play leaves the writer a very lonely form of expression for two reasons. Firstly, it’s not like sharing one’s work as a painter or sculptor or musician by inviting friends to come and have a look or listen to what has been an attempt at creativity. Because it is a rare person who will voluntarily read plays as a personal preference when not being a requirement of schooling, there is an impassioned reluctance to read plays. Hardly anyone has read a play for the longest time. There is a second reason. Plays as written are not finished artistic products for public scrutiny. When a play is finished, it is but, at best, a hopefully completed work of art. No matter how many rewrites undertaken, it remains incomplete of bringing out all the potentally incorporated meanings. Still to come is the honing by the director and the special redirections of the characters by actor interpretations.

DEVOUT ENEMIES

"True love has to be found through a

forest of angers" – Anon

CHARACTERS

ERIC, 35, ALSO PLAYS FATHER JOELLE AND THE POPE AND THE DOORMAN. HE IS STRIKINGLY HANDSOME

MARGARET, 37, ALSO PLAYS THE MOTHER SUPERIOR AND THE CARDINAL

THE MUTE BISHOP, SMALL, FORTIES

THE STAGE IS DARK EXCEPT FOR A SINGLE

CANDLE BURNING FROM A LONG CANDLE HOLDER.

ORGAN MUSIC CAN BE HEARD AND WOMEN SINGING

EVENING VESPERS. FURNISHINGS ARE IN DEEP

SHADOW. A LARGE PAINTING OF THE CRUCIFIXION,

IN THE SUFFERING STYLE OF EL GRECO

DOMINATES ONE WALL. A DESK IS TO ONE SIDE

WITH A SMALL CANDLE BURNING. THE ROOM IS

AUSTERELY FURNISHED. FATHER JOELLE STANDS

BEFORE THE PAINTING, LOOKING UP AT CHRIST

ON THE CROSS. HE IS EXAMINING THE PAINTING

VERY CAREFULLY. FATHER JOELLE WEARS PRIESTLY

CLOTHING. THE MOTHER SUPERIOR ENTERS BEHIND

HIM AND WATCHES SILENTLY FOR A MOMENT,

EXAMINING THE PRIEST CAREFULLY. SHE WALKS

WITH A LIMP. SHE WEARS THE SEVERE HABIT

OF THE NUN. TWO CROSSES DANGLE FROM AROUND

HER NECK, ONE LONG ONE DOWN TO HER WAIST.

SHE IS TENSE AS SHE APPROACHES CLOSER. HE

IS AWARE OF HER AND TURNS SLOWLY. SHE TAKES

A STEP BACK. SHE TRIES TO APPEAR CALM AND

IN CONTROL AS HIS GLANCE FALLS ON HER. HE

BOWS IN A COURTLY MANNER. HE HAS AN ASSURED

EASE.

ERIC

YOU STARTLED ME, MOTHER SUPERIOR. HOW QUIETLY YOU MOVE.

MARGARET

(LOOKING UP AT THE PAINTING) HE SUFFERED FOR EACH OF US, DID HE NOT, FATHER? HE NEVER ASKED FOR ANYTHING. WE ARE FOOLS FOR CHRIST’S SAKE, BUT YE ARE WISE IN CHRIST

A PAUSE

ERIC

CORINTHIANS. CHAPTER FIVE. WERE YOU TESTING ME?

MARGARET

I TEST EVERYONE FOR THEIR FAITH.

ERIC

SO I HAVE BEEN TOLD, MOTHER SUPERIOR. YOU ARE WELL KNOWN WITHIN OUR ECCLESIASTICAL ORDER.

MARGARET

OUR ECCLESIASTICAL ORDER? HOW LONG HAS THAT BEEN FOR YOU, FATHER JOELLE?

ERIC

FIVE YEARS.

MARGARET

FIVE YEARS? I HAVE BEEN WITHIN THESE WALLS TWENTY ONE YEARS.

ERIC

AND ALWAYS SPOKEN OF WITH REVERENCE.

MARGARET

(CROSSES TO HER DESK, SITS HEAVILY FROM FATIGUE) I AM SPOKEN OF AS UNALTERABLE IN MY REQUIREMENTS FOR CHURCH FAITHFULNESS. WHAT OF YOU, FATHER?

ERIC

I HOPE IT WILL BE MUCH THE SAME.

MARGARET

DO YOU BELIEVE IN SORCERY, FATHER JOELLE?

ERIC

WE ARE APPROACHING THE LAST OF THE EIGHTEENTH CENTURY. THE POPE HAS CLEARLY STATED-

MARGARET

I AM ASKING YOU AND NOT HIS HOLY EMINENCE.

ERIC

I HAVE HEARD STORIES ALL MY LIFE. MANY ARE FABLES.

MARGARET

I BELIEVE IN SORCERY AS I BELIEVE IN THE DEVIL. WHAT OF THE DEVIL, FATHER JOELLE?

ERIC

IT IS OUR TASK TO DEFEAT ALL HIS EFFORTS, SAVING AS MANY SOULS AS WE CAN. BY DOING THAT, WE HAVE DONE CHRIST’S WORK, MOTHER SUPERIOR.

MARGARET

CAREFULLY SAID. AND--?

ERIC

AND?

MARGARET

HAVE YOU BEEN SUCCESSFUL?

ERIC

I HAVE TRIED TO BE.

MARGARET

WHAT ELSE HAVE YOU TRIED TO BE?

ERIC

(NO LONGER UNCONCERNED) THE BISHOP HAS REQUIRED THAT I APPEAR IN YOUR PRESENCE. THERE ARE QUESTIONS YOU ASKED OF HIM. WHAT IS THE PURPOSE FOR THOSE QUkESTIONS?

MARGARET

AH. I SEE A KEEN EDGED INTEREST COMING INTO YOUR EYES. WOULD THERE BE A REASON I WISH TO MEET WITH YOU?

ERIC

MOTHER SUPERIOR, YOU’RE LEADING ME ON. I DON’T LIKE IT.

MARGARET

AT LAST WORDS THAT STEP WELL IN FRONT OF YOUR PIETY. NOW I CAN SEE YOU MUCH MORE CLEARLY.

SHE APPROACHES WITH HER CANDLE, EXAMINES

HIS FACE. A MOMENT OF ATTRACTION FOR HER.

SHE QUICKLY LOOKS AWAY, CLUTCHES THE

CROSS AROUND HER NECK NERVOUSLY.

HARDLY AT THE END OF YOUR TWENTIES. THE GREAT MISFORTUNE YOU HAVE CAUSED. ARE YOU DRIVEN BY AN ILLNESS NOT COMPREHENDED BY OUR GOOD DOCTORS OR ARE YOU IN LEAGUE WITH THE DEVIL? I AM LEFT WITH NO OTHER COMPREHENSION THAT HAS A MEANING FOR WHAT YOU DID.

ERIC

TERRIBLE WORDS YOU HAVE JUST SPOKEN. I AM A PRIEST. I HAVE A PARISH. I STAND BEFORE ALL TO BE SEEN AS I AM!

MARGARET

ARE YOU THE DEVIL IN CLEVER DISGUISE? ONE OF THE MANY HE HAS BEEN KNOWN TO USE UPON US. I AM NOT AFRAID TO WITNESS WHAT LIES WITHIN YOU.

ERIC

WHY WOULD YOU ACCUSE A LOWLY SERVANT OF THE LORD, MOTHER SUPERIOR, OF SUCH EVIL INTENTS?

MARGARET

SO YOU ARE BACK WITHIN YOUR PIOUS GARMENTS ONCE MORE. DO YOU FRIGHTEN SO EASILY? I THOUGHT THE DEVIL AN UNYIELDING ADVERSARY.

HE BEGINS TO RELAX. HE IS NOW AMUSED.

ERIC

SO IT IS THAT NOW I AM NO LONGER THE MESSENGER, BUT THE VERY DEVIL HIMSELF.

SHE CAREFULLY AND WARILY LIMPS AROUND

HIM, FASCINATED BY HIM, YET FRIGHTENED.

HE LAUGHS ABRUPTLY. SHE JUMPS.

AND? WHAT IS IT THAT YOU SEE?

HIS SMILE CAPTIVATES HER. SHE TRIES TO LOOK

AWAY BUT CANNOT. SHE REACHES FOR THE BIBLE

ON A STAND, HOLDS IT UP BEFORE HIM.

TELL ME WHAT I HAVE DONE IF I AM TO SWEAR ON THE HOLY SCRIPTURES LIKE A DISOBEDIENT CHILD.

MARGARET

WHY ARE YOU WAITING?

HE MAKES A QUICK MOTION, TAKING THE BIBLE

FROM HER HAND. SHE HOLDS UP THE CROSS FROM

AROUND HER NECK. HE SOFTLY KISSES THE BOOK,

PLACES IT BACK ON ITS STAND.

ERIC

NO SULFUR. NO BRIMSTONE. NO BLACK CLOUD. JUST ONE MORE HUMBLE PRIEST SEEKING WORTHINESS IN GOD’S EYES.

MARGARET

YOUR POWERS MAY BE DIMMED WITHIN THIS HOLY SANCTUARY OF GOD.

ERIC

DO YOU HAVE ANOTHER TEST FOR ME? SHALL WE GO OUTSIDE THE BARRICADE OF WALLS SO I HAVE BEEN TOLD YOU HAVE NOT ONCE STEPPED BEYOND IN THOSE TWENTY ONE YEARS? WHAT AN EXTRAORDINARY THING, NOT TO WALK ONE STEP UPON EARTH BEYOND THIS CONVENT’S GARDEN. ONE DAY YOU MUST TELL ME WHY. THE REASON MUST BE EVER PRESENT IN YOUR MIND.

DEFEATED, SHE SITS. SHE RUBS THE CALF OF HER

LEG TO EASE THE PAIN OF STANDING.

MARGARET

YOU KNOW WELL ENOUGH WHY I HAD THE BISHOP SUMMON YOU. (HE MAKES NO REPLY, WAITING) THERE HAS BEEN THE MOST GRIEVOUS ACT COMMITTED WITHIN THIS SANCTUARY OF GOD.

ERIC

SO I WAS TOLD.

MARGARET

(TO REGAIN HER AUTHORITY) I AM SPEAKING! (HE BOWS HIS HEAD SLIGHTLY) ONE OF OUR NOVITIATES LOST THE FACULTY OF HER MIND. SHE SAW CHAIRS FLY BEFORE HER EYES AS IF CARRIED BY INVISIBLE BEINGS. SHE SAW YOU HOVER ABOVE HER. THE ROOM SPUN WILDLY. WHEN HER MIND RETURNED, SHE LAY ON THE FLOOR, HER CLOTHING NO LONGER UPON HER BODY. BLOOD WAS ON THE FLOOR. (HOLDS UP A HAND TO STOP HIM FROM SPEAKING) BRUISES WERE UPON HER ARMS AND LEGS. SHE IS NOT YET HARDLY FOURTEEN. I AM NO ONE’S FOOL, FATHER JOELLE. THE ACT IS CLEAR. HER PUNISHMENT MUST BE VERY SEVERE UNLESS- UNLESS YOU ARE AN INSTRUMENT OF THE DEVIL. SHE IS A CHILD TO DARK POWERS. YOU WERE NOT STRUCK DEAD BY A THUNDERBOLT FROM HEAVEN. WAS IT A TRICK TO MAKE ME BELIEVE I SAW YOU PUT YOUR HAND ON THE HOLY BIBLE? SUCH POWERS EXIST. I WAS WARNED YOU POSSESS EYES AND FACE ALMOST PERFECT. (TURNS FROM HIM AGAIN BECAUSE OF FEELINGS AROUSED) THE FACE OF THE DARK ANGEL MUST HAVE BEEN LIKE THAT TO SIT AT GOD’S SIDE AND GO UNNOTICED FOR SO LONG.

FATHER JOELLE GLANCES AWAY AS IF GETTING BORED.

THE NOVITIATE I SPEAK OF IS MARIE-DANIELLE, NIECE TO THE CARDINAL.

HE JERKS HIS HEAD AROUND QUICKLY TO LOOK

AT HER.

AH. THE DEVIL CAN BE SURPRISED. I SEE, NOW, A DIFFERENT LOOK.

ERIC

WITHOUT DISRESPECT, MOTHER SUPERIOR, BUT WOMEN OFTEN SEEM MOST DESIROUS FOR BELIEVING THE SUPERNATURAL TO HAVE POWER OVER THEIR LIVES.

MARGARET

AT YOUR AGE WHAT COULD YOU KNOW OF WOMEN? IS THIS YOUR CUNNING WAY TO SAY MARIE-DANIELLE DREAMT IT?

ERIC

THE GIRL COULD HAVE EASILY.

MARGARET

CHILD! FATHER JOELLE! SHE IS A CHILD! WHAT OF THE BRUISES ON HER BODY?

ERIC

HER OWN DOING.

MARGARET

OF THE BLOOD?

ERIC

ANY ANIMAL WILL DO FOR THAT.

MARGARET

AND THE NAME OF FATHER JOELLE THAT SHE SPOKE ALL TOO EASILY? SO AGAIN I HAVE YOUR MOST KEEN ATTENTION. IF I WERE TO GO TO THE VILLAGE OF YOUR PARISH, WHAT WOULD I FIND?

ERIC

A MOST PEACEFUL AND CONTENT PLACE.

MARGARET

I INTEND TO ASK THE CARDINAL FOR AN INVESTIGATION OF THAT PEACEFUL AND CONTENT PLACE WHEN I PRESENT MY CHARGES AGAINST YOU.

ERIC

(A MOMENT OF FURY) I CANNOT ALLOW THAT!

MARGARET

YOU - CANNOT - ALLOW?

ERIC

FORGIVE ME. PLEASE FORGIVE ME.

MARGARET

YOU ARE ACCUSTOMED TO COMMAND AT A YOUNG AGE, YOUR FAMILY NAME?

ERIC

MORBILLON.

MARGARET

MORBILLON...SO WE BOTH COMMAND, YOU FROM BIRTH, I FROM ADORATION.

ERIC

IT IS THAT GOOD BIRTH THAT BROUGHT ME, A FORTNIGHT AGO, TO THIS CONVENT TO WITNESS THE PAINTINGS YOU POSSESS BY RAPHAEL. I AM A FOLLOWER OF THE NOBLE, ARTISTIC PAST OF OUR CHURCH. FOR ME, A RELIGIOUS PAINTING BY RAPHAEL IS A SOUL LAID BARE.

MARGARET

DID YOU TOUCH HER?

ERIC

WHAT? NO. SHE-TOUCHED-ME. NATURE WEAKENS EACH OF US FROM WITHIN FAR MORE THAN FROM WITHOUT. JESUS UNDERSTOOD THAT. IT IS OUR MIRACLE OF REDEMPTION. EVENING IS ALMOST UPON ME. I HAVE A LONG WAY TO TRAVEL.

SHE MAKES NO REPLY. HE BOWS, CROSSES TO THE

DOOR.

MARGARET

THERE IS A DARKNESS IN MEN’S SOULS TO RIVAL THE MASTER OF HADES.

FATHER JOELLE STOPS TO EXAMINE HIS ADVERSARY

FOR A MOMENT.

ERIC

....A MOST UNUSUAL REMARK. WOULD I NOT BE CORRECT?

MARGARET

DON’T ATTEMPT TO LOOK WITHIN ME.

ERIC

A MOTHER SUPERIOR CLOISTERED HERE FOR SO LONG. WHAT WOULD YOU KNOW OF MEN’S SOULS? AND OF NEEDS AND DENIED FEELINGS. MEN MUST LIVE WITH THEM WHEN THEY RUSH FORTH WILDLY FROM BEHIND STUDIED THOUGHTS, EVEN FOR ANYONE IN GOD’S HOUSE, MOTHER SUPERIOR. (CATCHES HIMSELF) I SPEAK NOT OF ME BUT OF SAINT FRANCIS AND HIS STRUGGLES TO REGAIN HIS SOUL, NO MAN POSSESSES AN EASY PATH, NOR ASSURANCE FOR THEIR ATONEMENT.

FATHER JOELLE NOTICES HER SOFTENED

LOOK. HE APPROACHES HER FROM HER

SIDE TO BETTER SEE HER FACE. TRYING

TO HIDE HER EMOTIONS, THE MOTHER

SUPERIOR RISES FROM THE CHAIR AND

LIMPS TO A DARKER PART OF THE ROOM.

MARGARET

DO NOT EXAMINE MY FACE. ONLY THROUGH PUNISHMENT CAN WE EXPIATE OUR SINS. THAT IS WHERE THE CHURCH RISES TO ITS GREATEST GLORY. TO SEE THAT THE CHURCH IS NOT HARMED, I HAVE RISEN TO MY GREATEST GLORY. I AM READY TO CONFRONT THE DEVIL HIMSELF.

ERIC

SO YOU HAVE MADE YOUR DECISION ABOUT ME.

MARGARET

YOU ARE TO LEAVE THE CHURCH, FATHER JOELLE. I WILL NOT HAVE IT HARMED.

ERIC

I LOVE THE CHURCH. MOTHER SUPERIOR.

MARGARET

YOU LOVE YOURSELF FAR MORE. YOU ARE GRACED WITH A COMFORT THAT YOU BELIEVE IS RIGHTFULLY YOURS TO KEEP. I CAN BE NOTHING LESS THAN YOUR DEVOUT ENEMY.

IN SEVERE PAIN, SHE LIMPS TO HER CHAIR. HE

APPROACHES TO ASSIST. SHE SITS, LEANS DOWN

TO RUB HER ANKLE.

STAY WHERE YOU ARE! HE THAT HATH CLEAN HANDS AND A PURE HEART; WHO HAS NOT LIFTED UP HIS SOUL UNTO VANITY NOR SWORN DECEITFULLY, IS THAT WHO YOU BELIEVE YOURSELF TO BE?

ERIC

WHAT CAN I SAY OF THOSE WORDS? IN THE LONG HISTORY OF MANKIND, THAT HAS BEEN TRUE FOR BUT A VERY FEW. I AM NOT THAT NEAR TO THE PERFECTION I SEEK, THOUGH I STRIVE FOR IT DAY AND NIGHT. DO YOU CONSIDER YOURSELF TO BE ONE OF THE FEW WHEN SAFELY CLOISTERED AS YOU ARE.

THE MOTHER SUPERIOR SUDDENLY JUMPS UP,

PUSHES BY HIM AND STRIDES ACROSS THE

ROOM, WALKING WITHOUT A LIMP. SHE

SWITCHES ON TWO THEATER WORK LIGHTS ON

THE SIDE, REVEALING THE STAGE OF A SMALL,

EMPTY THEATER WITH THREE PARTLY COMPLETED

SETS ON THE STAGE. ONE IS THE RECTORY

ROOM OF THE CONVENT THEY ARE IN, ONE OF

A CORNER OF A COMFORTABLE STUDY ADORNED

WITH RELIGIOUS ARTICLES, AND A THIRD OF

AN ORNATE BEDROOM WITH RELIGIOUS ICONS

AND PAINTINGS AND A FIREPLACE. AT STAGE

FRONT IS A FOLDING TABLE WITH PLASTIC

GLASSES, A BOTTLE OF SCOTCH AND A SANDWICH

ON A PAPER PLATE.

MARGARET

I WANT TO BREAK IT RIGHT HERE, ERIC.

SHE REMOVES THE NUN’S HAT. SHE IS OBVIOUSLY

ANNOYED. SHE BRUSHES HER HAND THROUGH HER

HAIR TO PUT HER HAIR BACK IN PLACE.

ERIC

WHAT’S WRONG? WHAT’S WRONG, NOW? (SARCASTIC HUMOR) WASN’T IT GOOD ENOUGH FOR A ‘TONY’? (SENSING A PROBLEM COMING. WITH ADDED HUMOR) OH, MAN. HERE WE GO AGAIN. LIFE IN A RAINSTORM WITHOUT A HAT.

MARGARET

(HIDDEN ANGER AT FIRST) STOP IT AND LISTEN TO ME, ERIC. WHAT YOU DID IS NOT WHAT I’M AFTER. YOU KNOW IT.

ERIC

(TEASING TO GAIN UPPER HAND) TO TELL YOU THE TRUTH, MARGARET, I THINK IT’S THIS OUTFIT I’M WEARING. IT WAS SOWN TOGETHER TWO SIZES TOO SMALL. I’VE GOT TO GET IT OFF BEFORE I GO CRAZY.

ERIC PULLS AT THE CROTCH, LET’S OUT A

LONG SIGH OF EXAGGERATED RELIEF.

MARGARET

(TRYING NOT TO LAUGH) GREAT TECHNIQUE YOU GOT THERE.

ERIC

TOOK A LOT OF PRACTICE POLISHING IT UP. IT’S LIKE A HABIT, THE ONE YOU’RE WEARING. GET IT? HABIT AND HABIT? (LAUGHS) I’M GOOD AT THOSE.

ERIC TAKES OFF THE PRIEST’S CLOTHING m

KNOWING SHE IS WATCHING FROM THE

SIDE OF HER EYE. HE STRIPS TO HIS BLACK

TIGHTS.

AND HOW ABOUT YOURS?

MARGARET

MY WHAT?

ERIC

THE TRUE SIZE OF YOUR HABIT.

MARGARET STOPS TO SEE IF HE INTENDED

WHAT IT COULD MEAN BEFORE SHE STARTS

TO LAUGH.

MARGARET

(PLAYING THE DOUBLE ENTENDRE GAME) DON’T YOU WORRY YOURSELF ABOUT MINE. (TOUCHES HIS BELT LIGHTLY AS SHE WALKS PAST) WE CAN HAVE YOURS ALTERED.

ERIC

VERY GOOD, MARGARET! HOW COULD YOU WHEN I’VE HAD IT ALL MY LIFE THIS SIZE?

MARGARET IS AMUSED BY THIS UNDERCURRENT

OF MEANING FOR THE MOMENT AS HE SLIPS

OFF THE TIGHTS AND DELIBERATELY ZIPS

UP HIS JEANS WITH DIFFICULTY OVER HIS

CROTCH.

MARGARET

ERIC, LET’S GET SERIOUS. I KEPT YOU AFTER OUR WORKING REHEARSAL TODAY BECAUSE, WELL, I HAVE THE FEELING YOU’VE BEEN HOLDING SOMETHING BACK. IT’S BEGINNING TO AFFECT THE OTHERS.

ERIC

(STILL TRYING TO BE FUNNY) ME? NOT ME. I WOULDN’T DO THAT, MARGARET. I’M TOO PROFESSIONAL, HONEY.

MARGARET

I SAID I WANT YOUR ATTENTION. (ERIC HOLDS UP HIS ARMS IN MOCK SHOCK) STOP THAT! A GREAT DEAL OF MONEY IS INVOLVED, MOSTLY MINE. FORTY THOUSAND SO FAR, EVEN WITH ALL OF YOU WORKING FOR THE LOVE OF IT.

ERIC

THAT’S A LOT. HOPE YOU GET IT BACK.

MARGARET

I WILL. AT THIS POINT IN MY LIFE, I’M NOBODY’S FOOL. I’VE PUT ON ENOUGH OF OTHER PEOPLE’S STUFF TO KNOW MY WAY THROUGH THIS MAZE.

ERIC

YOU REALLY BELIEVE IT’LL GET PICKED UP BY A A GROUP LIKE ’ROUND ABOUT’? YOU KNOW WHAT BULL ARTISTS THEY CAN BE WHEN WE’RE THE ONES GOTTA DO THE DANCING. I HAD TO SAY IT RIGHT OUT. YEAH, WELL. I’VE DONE MY SHARE OF SWEATING IT OUT IN THESE TWO BIT, PASTED TOGETHER THEATRES. JUST LIKE YOU, I’LL BET.

MARGARET

ERIC, LET’S GET IT ALL ON THE TABLE BETWEEN US, HOW MANY TIMES HAVE I TOLD YOU I WANT THE PRIEST MUCH DARKER?

ERIC

(STILL TRYING TO TEASE) LET’S SEE. THREE TIMES, WASN’T IT, IF I DON’T COUNT THE TIME YOU TOOK MY COFFEE AWAY?

MARGARET

JOKE TIME IS OVER.

ERIC

YOU WANT GLOWERING. I CAN GIVE YOU GLOWERING.

ERIC MAKES A FACE.

MARGARET

(GETTING TIGHTER) STOP JOUSTING WITH ME, ERIC. I DON’T HAVE THE TIME FOR IT. I’M VERY TIRED. THIS HAS BEEN AN AWFUL DAY OF CAST ISSUES.

HE REALIZES HE IS LOSING CONTROL.

HE TOUCHES MARGARET’S SHOULDER, LOOKS

INTO HER EYES WITH THAT MALE TO

FEMALE UNDERSTANDING.

ERIC

OKAY, OKAY. I GOT IT. WHAT YOU’RE AFTER. IT’S IN GOOD HANDS.

HE SMILES DOWN TO HER. SHE PERSONALLY

RESPONDS TO HIS TOUCH. HE SEES IT, AND

LETS HER KNOW IN A MOMENTARY LOOK OF

SATISFACTION. HE BREAKS THE MOOD BY

PUTTING THE BLACK TIGHTS OVER HIS

HEAD AND BLINDLY REACHING AROUND FOR

HER AND MAKING THE INSANE SOUNDS OF A

MENACING PERSON. SHE IS UPSET WITH

HERSELF THAT SHE ENJOYED HIS BEHAVIOR.

SHE PULLS OFF THE TIGHTS.

MARGARET

STOP IT, ERIC!! JUST STOP IT! I MEAN IT. I SAID DARKER, NOT PATHOLOGICAL! WHAT’S WRONG WITH YOU?!

ERIC

(SAVING FACE) HEY, YOU KNOW HOW I LIKE TO KEEP IT OPEN AND EASY, SO WHEN I GOTTA PULL IT FROM THE GUT, I’M READY AT FULL INTENSITY. NOT LIKE THOSE OTHERS YOU GOT IN THE CAST. JESUS, MARGARET, BUT THEY’RE UPTIGHT AS A BUNCH OF RED ANTS, EVEN IF I HAVE TO BE THE ONE, HONEY, TO TELL IT TO YOU.

MARGARET

DON’T USE THAT WORD WITH ME.

ERIC

WHAT WORD? OH. HONEY? NOT BY ME ANYMORE. I’M EASY.

MARGARET

ERIC.

ERIC

WHAT?

MARGARET

THE REST OF THE CAST IS RIGHT ON THE MARK. JUST WHERE WE SHOULD BE WITH EIGHT DAYS TO GO.

ERIC

MARGARET?

MARGARET

WHAT?

ERIC

THEY WON’T DO IT.

MARGARET

DO WHAT?

ERIC

COME THROUGH FOR YOU. RUN WITH IT HOOK, LINE AND SINKER. THEY DON’T REALLY HAVE A GRASP OF THIS PLAY. ’ROUND ABOUT’ WILL MISS THE POINT, TOO. THEY MAY TAKE THE PLAY BUT NOT US, LADY. IT’S HAPPENED LOTS OF TIMES. AS THE PLAYWRIGHT, YOU COME OUT SMELLING LIKE A ROSE EITHER WAY.

MARGARET

SO THAT’S WHAT THE HELL’S ON YOUR MIND! WHY DIDN’T YOU BRING IT UP BEFORE? I SPOKE TO THEM NOT A WEEK AGO. IT’S ALL OF US AND THAT MEANS BROADWAY. (POKES HIS CHEST) DON’T YOU FORGET IT.

ERIC

CAN’T BELIEVE IT. CAN YOU, MARGARET?

MARGARET

YES! NOW, LET’S GET TO OUR PROBLEM. THAT HASN’T CHANGED ONE IOTA.

ERIC

WHAT YOU WANT IS THE PRIEST TO BE A ONE DIMENSIONAL, FLAT OUT VILLAIN. IS THAT WHAT YOU’RE AFTER? I WANT TO HEAR IT FOR MYSELF.

MARGARET

(SUDDENLY SLAPS AT THE WALL IN FRUSTRATION) STOP IT, ERIC! I WON’T HAVE IT! EIGHT DAYS IS ALL WE’VE GOT!

ERIC

I WAS DESPERATELY TRYING TO KEY IN ON WHAT YOU’RE LOOKING FOR.

HE THROWS UP HIS ARMS.

MARGARET

(SARCASTIC) IT’S SIMPLE, ERIC. SINISTER AND VILE, YET ABLE TO CHARM A BIRD OFF A BRANCH. THE PRIEST’S BACK STORY TO BE SEEN IN HIS FIRST LINE. EVERY STEP HE TAKES WITH THE MOTHER SUPERIOR IS THE PRIEST PLANNING TO FIND A WAY TO BE POPE ONE DAY. ALL OF IT DRIVEN BY HIS FEELING NOTHING IS RIGHT IN HERE. (TOUCHES HER HEART) THAT’S WHAT I MEAN BY MUCH DARKER! I WANT THAT AUDIENCE TO HATE WHAT IT’S LIKE TO HAVE NO HEART!

SHE SLAPS HER BOSOM HARD. REALIZES

HER RESPONSE.

(QUIETLY) IS THAT CLEAR? I WANT HIM MONSTROUS FROM START TO FINISH.

ERIC

(MIFFED BUT KEPT HIDDEN) UH HUH. ANYTHING ELSE?

MARGARET

I WANT HIM TO BE CAPABLE OF DOING WHAT HE DID TO THE NOVITIATE AND LIKE HIMSELF FOR IT. THIS PROBLEM IS GETTING SQUARED AWAY IF WE HAVE TO STAY HERE ALL NIGHT TO GET IT DONE. IS THAT ALSO CLEAR? (HE NODS, APPEARS HURT. AMELIORATING HIS FEELINGS) I KNOW YOU LONG ENOUGH< GOING BACK TO THAT PARTY WE MET AT, MUST BE ABOUT EIGHT YEARS NOW AND WE TALKED ALL THAT NIGHT ABOUT WHAT’S WRONG WITH THE THEATER. WE ATE UP ALL THE HORS D’OEUVRES. SINCE THEN, I’VE SEEN YOUR WORK AROUND THE CITY. ALWAYS TOP LEVEL. YOU’RE SO GOD DAMN GOOD, I’M AMAZED A TOP AGENT HASN’T PICKED YOU UP BY NOW. I HAVEN’T TALKED TO YOU LIKE THIS, AS I’VE DONE WITH THE REST THE CAST BECAUSE I DIDN’T EXPECT IT TO BE NECESSARY.

ERIC

LOOK, MINE IS THE SMALLEST PART. NOT MUCH COMPARED TO THE CARDINAL AND THE POPE MANIPULATING THE HELL OUT OF EACH OTHER EVERY CHANCE THEY GET, SO I WANT THE MOST I CAN GET OUT OF IT.

SMILES BETWEEN THEM.

MARGARET

BUT STILL YOURS IS THE CRUCIAL ROLE AROUND WHICH SO MUCH PIVOTS. I NEED IT JUST THE WAY I WANT IT.

ERIC

SURE. AND YOU’LL GET IT. BY THE WAY, I GOT TO SEE YOUR ACTING A COUPLE OF TIMES. YOU HAD A PRESENCE ABOUT YOU I DID ADMIRE, MARGARET. I RESPECT WHEN AN ACTOR CAN GO BEYOND THE CHARACTER’S REASON FOR BEING ON THE STAGE FOR MOTIVATING THE OTHER ACTORS AND GET FAR DEEPER DOWN INTO THE PSYCHE USING THE VERY SAME WORDS. IT’S ELECTRIC WHEN IT HAPPENS, ISN’T IT? (SHE NODS) BETTER THAN A LIFETIME OF PIE A LA MODE.

MARGARET

(SMILES) THEREFORE, LET’S GO FOR WHAT YOU DO THE BEST, ERIC.

ERIC

(UPSET) YOU MEAN WHEN I PLAY A MONSTER.

MARGARET

I MEAN YOU DO IT WITHOUT MAKEUP. THAT’S WHAT I’M TALKING ABOUT. JUST WITH YOUR FACE. DID YOU SEE THAT VERY OLD MOVIE JEKYLL AND HYDE WITH JOHN BARRYMORE? YOU’RE THE ONLY ONE I EVER SAW DO THE FACIAL CHANGES LIKE BARRYMORE WITH NO MAKEUP. IT WAS LONG AGO.

ERIC

WHEN YOUR LONELY, IT’S NOT THAT HARD. THE FEELINGS POURING OUT ONLY ABOUT YOURSELF AND NO ONE ELSE.

MARGARET

YES!! THAT’S WHAT I’M AFTER! I’M CURIOUS, ERIC. WHAT DID YOU MEAN ONLY ABOUT YOURSELF?

ERIC

NOTHING.

MARGARET

COME ON. TELL ME. THIS COULD BE OUR PROBLEM.

ERIC

FOR YOU, IT’S A CURIOSITY.

MARGARET

NOT WHEN IT COMES TO BEING LONELY.

HE WATCHES HER FOR A BEAT. A MOMENT OF

PERSONAL COMMUNICATION BETWEEN THEM.

ERIC

YOU SEE,....YOU SEE, I GREW UP WITH AN AUNT AND HER HUSBAND. BELIEVE ME, MARGARET, YOU CAN NEVER BELONG WHEN YOU’RE A HAND-ME-DOWN, NO MATTER WHAT YOU DO FOR ATTENTION, NOT IN THIS WORLD. THEY LIKED IT WHEN I PUT ON LITTLE SHOWS AND MAKING ALL SORTS OF FACES. THAT’S WHEN THEY LIKED ME BEING AROUND. THE REST OF THE TIME I WASN’T FOOLED. THEY WERE HOPING I’D DIE OF A CHILDHOOD DISEASE.

MARGARET

THAT’S AWFUL TO THINK THAT.

ERIC

A KID DOESN’T NEED THE PROOF AN ADULT NEEDS.

MARGARET

HOW OLD WERE YOU?

ERIC

SIX. SEVEN. EIGHT. MY AUNT GOT VERY SICK. AFTER THAT, I WENT TO A FOSTER HOME.

MARGARET

(TOUCHES HIS HAND) I’M SORRY ABOUT ALL THAT.

ERIC

YEAH. AND I’M SORRY YOU GOT TO KNOW A LOT ABOUT LONELINESS. (VOICE OF AN OLD COWBOY) I’M AGAINST IT, GAL, BEIN’ TAKEN ADVANTAGE OF.

HE LAUGHS AT HIS JOKE, DRAWS OUT AN

IMAGINARY GUN FROM A HOLSTER.

THEM DAYS ARE OVER FOR YOU, MAM. WE SHOOT HOLES RIGHT THROUGH THEM LONELY TIMES. BANG, BANG, BANG.

MARGARET

THANK YOU, ERIC, FOR THINKING ABOUT ME.

ERIC

I FEEL BETTER, SAYING ALL THAT TO YOU.

MARGARET

STILL BOTHERS YOU? YOU KNOW WHAT I MEAN.

ERIC

(SHRUGS) SOMETIMES. SOMETIMES IT COMES WITH A BOATLOAD OF ANGER.

MARGARET

(PERSONAL) JUST WON’T GO AWAY, EVER...ISN’T IT AMAZING HOW CAPABLY ONE CAN DEAL WITH IT?

ERIC

YOU’RE GONNA THINK THIS IS STRANGE AS ALL HELL. CAN I GIVE YOU A HUG?

HE TAKES HER AROUND AND HOLDS HER.

SLOWLY, SHE PUTS HER ARMS ON HIS

SHOULDERS FROM NEED BUT WITH

RESTRAINT TO KEEP IT IMPERSONAL.

A BEAT. HE STEPS AWAY. AWKWARD MOMENT.

WOW. SOME WAY TO REHEARSE. MY GOD. THAT OLD STANISLOVSKI METHOD IN REAL LIFE. ACTORS ARE EMOTIONAL CREATURES.

MARGARET

NO APOLOGY.

ERIC

MARGARET, YOU CAN COUNT ON ME. (LOOKS AT HER)SO WHERE DID I BEGIN

TO LOSE IT? (HOLDING ON TO CONTROL THE MOOD) HEY, MARGARET, YOU KNOW SOMETHING? HONEST TO GOD, I SUDDENLY REALIZED THAT FATHER JOELLE I’m PLAYING, HE’S FROM THE EIGHTEENTH CENTURY AND I’M FROM THE TWENTY FIRST. IN THOSE DAYS PEOPLE HAD A WAY, YOU KNOW WHAT I MEAN, A MANNER OF TALKING TO EACH OTHER.

MARGARET

WHAT ARE YOU GETTING AT?

ERIC

I GUESS YOU DON’T SEE IT. (REALIZING HER INTEREST IN HIM. HE GIVES HER FACE A TOUCH, SMILES DOWN AT HER, USING HIS FULL HEIGHT TO STAND OVER HER) I’VE BEEN READING UP ON THE EIGHTEENTH CENTURY SINCE YOU GAVE ME THE PART. I APPRECIATED THE CHANCE YOU GAVE ME, ESPECIALLY WITH YOU PLAYING THE MOTHER SUPERIOR. YOU’RE GREAT TO ACT AGAINST. THE MOTHER SUPERIOR IS A POWERFUL WOMAN. YOU KNOW HER BEST. FATHER JOELLE INTRIGUES ME, SEEING HIM FROM THE TWENTY FIRST CENTURY, SO I BEEN WONDERING WHAT HAPPENED IN HIS CHILDHOOD TO MAKE HIM SO COLD.

MARGARET

(BEGINNING TO TENSE UP) ERIC, HE’S A MONSTER. HE HAS NO FEELINGS FOR ANYONE BUT HIMSELF. EVERYONE IS TO BE SACRIFICED.

ERIC

THERE WAS A STYLE WHEN THEY SPOKE TO EACH OTHER IN THOSE DAYS THAT WE DON’T USE ANYMORE. THERE WAS A REASON.

MARGARET

(INTERRUPTS SHARPLY. PERSONAL ISSUE) I DON’T CARE ABOUT ANY CENTURY BUT THIS ONE! THIS IS THE ONE THAT COUNTS FOR ME!

ERIC

HEY MARGARET, JUST LISTEN TO ME. THIS PLAY TAKES PLACE ALMOST TWO HUNDRED AND FIFTY YEARS AGO, RIGHT? NO ONE SHOULD FORGET THAT.

MARGARET

(FLARES) I TOLD YOU! I DON’T GIVE A DAMN ABOUT THE EIGHTEENTH CENTURY!

ERIC

BUT IT MEANS SOMETHING WHEN WE EXAMINE WHAT THEY DID.

MARGARET

(DEEPLY EMOTIONAL RESPONSE) AND I DON’T GIVE ONE DAMN ABOUT THEIR FUCKING DAMN STYLE!! I’M TALKING ABOUT THE ONLY WAY THE PRIEST IS GOING TO BE PLAYED!!

ERIC

(MIFFED AND WITH CONDESCENSION) BUT-, BUT THEN, WHY DID YOU HAVE ME GO SO FAR INTO ALL THE REHEARSALS? I MEAN, I’D LIKE TO KNOW THAT.

MARGARET

(DEFENSIVE) DAMN IT, ERIC, ISN’T THAT OBVIOUS?! I WAS HOPING YOU’D WORK YOUR WAY INTO THE ROLE. I SET THE TONE EVERY DAY! NOT VERY PROFESSIONAL, FOR ALL THAT EXPERIENCE YOU HAVE.

ERIC

(HURT) THANK YOU.

MARGARET

OH, COME NOW, ERIC. WHAT DID YOU THINK WAS GOING ON?

ERIC

I’M NOT SURE.

MARGARET

(TRYING TO DENY TO HERSELF WHAT ERIC HAD PICKED OUT ABOUT HER) OF COURSE YOU WERE. YOU’RE A GOOD LOOKING GUY BUT I DON’T NEED YOU PRESSED UP CLOSE TO ME AT THE END OF THAT SCENE. (SHORT LAUGH) NOW, I’M MAKING A JOKE AND IT WENT OVER YOUR HEAD. OKAY, LET’S START THIS AGAIN. TRY NOT TO GET ME UPSET, RIGHT NOW. I HAVE A LOT ON MY MIND. I SHOULDN’T HAVE TO BY NOW. IT’S LIKE WE’RE PLAYING SCHOOL GAMES. I TOLD YOU WHAT I WANTED AND THAT SHOULD BE IT!

SHE GRABS A BEER AND DRINKS FROM THE

BOTTLE. HE APPROACHES HER.

ERIC

(LIKE A CARNIVAL BARKER) TELL YOU WHAT I’M GONNA DO. AT NO COST TO YOU, I’M GONNA GIVE THE DARKEST, MEANEST RELIGIOUS PERFORMANCE OF A PRIEST YOU’RE EVER GONNA SEE IN YOUR LIFETIME, SO STEP RIGHT UP. (ACCENT CHANGES) WHEN YOU SAID, (WOMAN’S TONE) I WILL NOT HAVE THE CHURCH HARMED AND I SAID, (DRACULA LIKE, EVIL-TONED) ‘I LUFF THE CHURCH AS MUCH AS YOU. IT’S THE FRESH BLUUD’.

HE SHOWS HIS UPPER TEETH AND SHE TRIES

NOT TO LAUGH. BOTH LAUGH.

MARGARET

ERIC, YOU ARE SOMETHING ELSE. STILL, YOU’RE NOT EASY TO DEAL WITH.

ERIC

SO WHAT? ISN’T THAT WHY TWO PEOPLE TRY FIGURING OUT WHAT’S GOING ON BETWEEN THEM?

MARGARET TRIES TO READ WHAT HE MEANS,

LOOKING AT HIM CAREFULLY. HE SMILES,

TAKES THE BEER BOTTLE FROM HER, DRINKS,

HANDS IT BACK. ERIC FEELS IN CONTROL,

AGAIN.

NOW WHAT’S GETTING YOU ON MY CASE? THE PRIEST IS PUTTING IT TO THE MOTHER SUPERIOR THAT THEY’RE BOTH ON THE SAME PAGE OF GUILT AND OF SIN AND IN DESPERATE NEED TO BE LOVED. THEY BOTH DON’T KNOW HOW TO BRING THAT ABOUT, WOULDN’T YOU SAY.

MARGARET

(SUDDEN MOOD CHANGE) THE HELL THEY ARE!

ERIC

HEY MARGARET, TAKE IT EASY. I’M KIDDING TO MAKE A POINT. OKAY? YOU FLARE UP SO EASILY. I’M TRYING TO HELP WHERE I CAN. (SEXUAL) I’M READY TO HELP YOU WHERE I CAN. (SNAPS HIS FINGERS) I KNOW WHAT’S WRONG. I’M HUNGRY. WITH A WHOLE DAY OF REHEARSALS AND NOW THIS.

ERIC REACHES AROUND HER AS IF HE WERE

ABOUT TO DO SOMETHING ELSE AND PICKS

UP THE WRAPPED SANDWICH ON THE TABLE,

STEPS AWAY TO UNWRAP IT. HE IS ABOUT

TO TAKE A BITE WHEN SHE PLAYFULLY

GRABS THE SANDWICH FROM HIM. HE GRABS

FOR IT. MARGARET HOLDS IT AWAY. HE

TRIES TO REACH FOR IT, LIGHTLY RUBBING

AGAINST HER.

YOU KNOW, I HAVE TO SAY THIS ONE THING. I KNOW WHAT YOU SAID ABOUT THE PLAY AND ALL THAT, BUT THIS IS SOMETHING ELSE. IT WAS A LOT DIFFERENT IN THOSE DAYS. THAT’S WHAT I FOUND OUT. I MEAN WHEN YOU THINK ABOUT US, YOU AND ME. (MAKES A PLAYFUL LUNGE FOR THE SANDWICH) HERE WE ARE, WORKING TOGETHER BUT YOU’RE MAKING ALL THE DECISIONS. YOU DIRECT AND ACT AND YOU WROTE THE PLAY. NOW, THAT MAKES YOU UNUSUAL, ANYTIME. YOU’RE A WALKING TRIPLE THREAT.

SHE LOOKS AT HIM SUSPICIOUSLY.

MARGARET

A WHAT?

ERIC

(LAUGHS) HEY, IT’S AN EXPRESSION IN FOOTBALL WHEN SOMEBODY IS SO DAMN GOOD AT EVERYTHING. THROWS, KICKS, RUNS. (EMBELLISHING) THIS IS ABOUT YOU, NOT ME.

MARGARET

(SUSPICIOUS) IS IT?

ERIC

OH, YEAH. (SMILES WARMLY) LET ME TELL YOU, YOU’RE SPECIAL. WHO KNOWS WHEN I’D GET MY CHANCE TO SHOW MY STUFF ON GOOD OLD BROADWAY. THIS MEANS A LOT TO ME, MARGARET. AT THIS POINT IN MY LIFE, I GOTTA BE SEEN AND BE APPRECIATED FOR WHAT I CAN DO ON STAGE. (A LOOK BETWEEN THEM) YOU’RE AFFECTING MY LIFE. THIS CENTURY IS LIKE NO OTHER ONE BEFORE IT, YOU GIVING ME THE CHANCE. KNOW WHAT I MEAN? THAT’S CALLED PROGRESS.

HE REACHES FOR THE SANDWICH AGAIN.

WITH GOOD FEELING, THEY STRUGGLE,

BODIES IN CONTACT AS SHE TRIES TO

KEEP IT FROM HIM. HE PICKS OFF THE

SANDWICH FROM HER HAND, IS ABOUT TO

TAKE A BITE WHEN HE LETS HER GRAB

IT BACK.

HEY, HEY, YOU GOTTA GIVE ME A CHANCE AT THIS, MARGARET. YOU DIDN’T ASK ME TO GET YOU ONE, NOW DID YOU?

MARGARET TAKES A LARGE BITE. HE COMES

BEHIND HER AND REACHES AROUND WITH

HIS ARM ACROSS HER FRONT TO TAKE THE

SANDWICH BACK. HE OPENS UP THE TWO

SLICES OF BREAD. ERIC KNOWS HE HAS

WRESTED CONTROL FROM HER. LOOKING SAD.

(A LITTLE BOY’S TONE) YOU ATE ALL THE FISH. I HAVE NO FISH.

MARGARET

TOO BAD, ERIC. THAT’S CALLED PROGRESS.

SHE GIVES HIM HER MOST TANTALIZING

PUSH OF HER HIP INTO HIS SIDE

AS HER PLAYFUL SHOVE OF READINESS

FOR CONTROL.

YOU’RE A PRIEST. THINK PIETY. THINK OF RENUNCIATION.

ERIC

I CAN’T. I’M AN ACTOR. I’M STARVING.

MARGARET

(RUMPLES HIS HAIR TO KEEP THE MOOD GOING) OH, POOR BABY.

ERIC

(FOR HUMOR, STARING AT THE EMPTY BREAD) I TRY MY BEST. I REALLY DO. THIS IS WHAT I GET. I COULD BE HOME WITH MY WIFE AND I WOULDN’T BE HAVING ALL THIS FUN.

MARGARET

(LAUGHS) I HEARD YOU JOKING ABOUT YOUR WIFE TO THE CAST. IT SEEMS SHE WANTS YOU DOING A LOT FOR HER.

HE NODS. THEY STARE AT EACH OTHER. HE

DOESN’T MOVE TOWARDS HER. SHE WAITS,

THEN TAKES HIS HAND, LOOKS UP AT HIM.

I KNOW I YELL A LOT. THAT’S NOT ME INSIDE. THE WORDS COME OUT ALL TANGLED AND TWISTED AROUND SOME STRANGE FEELINGS THAT AREN’T MINE. I DON’T KNOW HOW THEY GOT THERE. DID YOU EVER LOOK IN A MIRROR AND NOT KNOW WHO IT WAS WATCHING YOU SO INTENTLY?

ERIC

BUT THE BREAD DOESN’T EVEN HAVE MAYONNAISE ON IT.

ERIC HOLDS IT UP, TOSSES THE BREAD

ON TO THE TABLE AS A SHOW OF HIS

ACCOMPLISHMENT WITH HER. REALIZING,

SHE TRIES TO GET THE CONTROL BACK TO

HERSELF. SHE CLAPS HER HANDS ONCE IN

A BUSINESS-LIKE MANNER.

ALRIGHT, ERIC. WE LOST TOO MUCH TIME.

ERIC

(STILL THINKING HE HAS CONTROL.) SURE, MARGARET. WHAT I WAS SAYING ABOUT THE PRIEST WAS MY WAY OF SAVING TIME. GIVING JOELLE A MORE INVOLVED REASON--

MARGARET THROWS THE PRIEST’S OUTER

VESTMENTS AT HIM.

MARGARET

PUT IT ON, ERIC. WE HAVE A LOT TO GET DONE!

HE REALIZES HE WENT TOO FAR. HE

GETS OUT OF HIS JEANS BY PLAYING

FOR THE HUMOR BY HOPPING AROUND

AND MUMBLING TO HIMSELF.

ERIC

BOY OH BOY, IT WAS A SUGGESTION. FRUSTRATING, I’LL TELL YOU.

MARGARET

CUT IT OUT! I’VE SEEN YOU ACT VILLAINS LIKE YOU WERE AN ICICLE HANGING FROM A ROOF, READY TO IMPALE SOMEONE. I WANT THAT FROM YOU!

ERIC

COME ON. YOU DON’T HAVE TO BE ANGRY. LOOK, FATHER JOELLE’S OBJECTIVE IS TO GET THE MOTHER SUPERIOR NOT TO TELL THE BISHOP WHAT HAPPENED BY ANY MEANS HE CAN MUSTER. WE AGREE ON THAT. ANYONE IN HIS SHOES WOULD BE AFTER THE SAME. BUT--

MARGARET

WHAT THE HELL IS GOING WITH YOU?!

ERIC

(REALIZING HE IS LOSING HIS CHANCE) ISN’T HE FIGHTING FOR HIS ECCLESIASTICAL LIFE?! SINCE HIS GOOD LOOKS GOT HIM INTO TROUBLE, HE’D USE HIS GOOD LOOKS TO GET HIMSELF OUT OF TROUBLE! THAT SEEMS OBVIOUS TO ME. HE HAS TO GET HER FEELING SORRY FOR HIM, SO HE CAN BREAK DOWN HER WALL THAT’S BEEN CRACKING FOR YEARS!

MARGARET

NO, DAMN IT! YOU’RE MAKING SMALL OF WHAT HE DID TO THE NOVITIATE! HE’S NOT VULNERABLE INSIDE LIKE YOU AND ME! HE’S UGLY INSIDE! UGLY! SELFISH! BRUTAL! THE ULTIMATE BASTARD! YOU KNOW DAMN WELL WHAT I’M TALKING ABOUT! I WANT THE WORLD SEEING HIM THE WAY HE IS!! (TAKES A DEEP BREATH. REALIZES SHE EXPOSED SOMETHING)) DON’T PUSH ME. I DON’T LIKE IT. YOU HAD JOELLE IMPLYING SEXUALITY BY LEANING UP AGAINST THE MOTHER SUPERIOR LIKE SHE’S IN NEED OF SEX. I WANT THE AUDIENCE TO SEE HIM THE WAY HE SEES HIMSELF. MAKE HIM SOUND TOTALLY INDIFFERENT FOR THE GIRL AND ALL THAT HE DID TO HER FOR HIS SATISFACTION! (LOUD AND PERSONAL) YOU GOT THAT?! (HE DOESN’T RESPOND) HE WILL NEVER REPENTANT THROUGHOUT HIS LIFE. HIS BODY SHOULD INDIFFERENTLY TEASE THE MOTHER SUPERIOR. THAT’S THE HIDDEN SEXUALITY I’M AFTER. IT’S WHAT CAUSES HER LONELY BODY TO INEVITABLY BREAK DOWN. (TALKING ABOUT HERSELF) HE’S ABLE TO LEAD HER ON LIKE A FLICKERING LIGHT IN HER VIGILANTLY GUARDED FOREST OF DENIALS AND REPRESSIONS. SHE’S A REAL WOMAN!

ERIC

WHAT HE DID, SURE IT’S BAD ENOUGH. WE’RE ALL AWARE OF THAT. BUT WHY MAKE HIM SO DISTASTEFUL? THIS MAN HAD HIS OWN GOOD INTENTS FOR THE CHURCH EVERY SINGLE DAY.

MARGARET

(SUDDEN BURST OF ANGER. BANGS ON TO THE EDGE OF THE TABLE) ALL HIS INTENTS ARE TO FEED HIS HARMFUL PURPOSE!!

ERIC

NOT NECESSARILY!!

MARGARET

GOD DAMN YOU, ERIC!! WHAT DO YOU THINK A VILLAIN IS?!! NOT THE ONE IN THOSE HORROR FILMS WITH AWFUL FACES!! RIGHT NOW, ON THE STREET RIGHT OUTSIDE, IS A FATHER JOELLE, AND IF IT SHOULD PLEASE HIM, HE IS READY TO FOOL SOMEONE HE JUST MET SO HE CAN GET WHAT HE’S AFTER!! (TAKES A DEEP BREATH, LOOKS OFF FOR A MOMENT.) STOP FIGHTING ME. YOU’RE THE ONLY ONE IN THIS CAST I’M HAVING TROUBLE WITH. I’M NOT GOING DOWN THE TUBES BECAUSE OF ONE ACTOR WITH A his SMALL PART. NOT WITH THE CHANCE I GOT FOR MYSELF. DID YOU HEAR ME, ERIC? (HE IS LOOKING PAST HER.) DID YOU?!

ERIC

I’LL PLAY IT ANY WAY YOU WANT.

MARGARET

ABOUT TIME.

ERIC

(SULLEN) YOU’RE THE DIRECTOR. SHOW ME.

MARGARET

(INCREDULOUS. INSULTING) I HAVE TO SHOW YOU HOW TO USE YOUR BODY TO SEDUCE?

THEY EYE EACH OTHER A LONG MOMENT IN THAT

MALE-FEMALE STRUGGLE FOR CONTROL. SHE TAKES

UP HIS CHALLENGE. SHE STEPS AWAY FROM HIM.

WHEN I SEE A MAN I WANT TO ATTRACT BUT I WANT THE MAN TO THINK I’M AS UNTOUCHED AS NEW BLOWN SNOW, WHAT I WOULD LIKE TO DO IS TO GET HIM AROUSED. NO, NOT AROUSED. INTRIGUED ENOUGH TO SNIFF AROUND. AND STILL HAVE HIM BELIEVE I’M PURE AS HIS FAVORITE DREAM. STILL, I HAVE TO USE SEX AS A COME-ON. THAT’S THE WAY THINGS ARE. I WOULD TALK ABOUT THE WEATHER. THEN I WOULD STOP SPEAKING. SLOWLY, VERY SLOWLY I WOULD WALK TO A PICTURE ON THE WALL THAT NEEDS STRAIGHTENING.

SHE CROSSES TO THE WALL, STANDS BEFORE

THE PAINTING OF CHRIST, LIFTS HER ARMS

TO STRAIGHTEN THE PICTURE, GETTING UP

ON HER TOES.

STRETCHING, MY SKIRT WOULD MOVE UP. I WOULD HOLD THAT POSITION JUST AN EXTRA SECOND. ENOUGH TO MAKE HIM AWARE OF MY ENTIRE TORSO AND NOT WHO I AM. I CAN’T DEPEND ON WHO I AM. ALL THAT WITHOUT ONE SEXUAL ACT. DID YOU SEE ONE SEXUAL INTENT? YOU SHOW ME HOW A MAN AROUSES A WOMAN.

ERIC

(TRIES TO APPEAR CALM BUT IS ANGRY.) YOU WERE STANDING OVER THERE, AS I RECALL.

MARGARET PUTS ON HER NUN’S HAT. AS THE

PRIEST, ERIC SLOWLY MOVES CLOSER AND

CLOSER AS HE TALKS UNTIL HIS KNEE

TOUCHES HER.

(LEERING LOOK) IN THE LONG HISTORY OF MANKIND, THAT HAS BEEN TRUE, UNFORTUNATELY, OF BUT A VERY FEW. I AM NOT THAT NEAR TO THE PERFECTION I SEEK. (STROKES HER ANKLE) I STRIVE FOR IT DAY AND NIGHT. DO YOU BELIEVE YOURSELF TO BE ONE OF THOSE FEW WHO HAS ATTAINED PERFECTION? CLOISTERED AS YOU ARE.

HE STROKES HER LEG. EMOTIONALLY DISTURBED,

SHE ROUGHLY PUSHES BY HIM. SHE CROSSES TO

THE TABLE.

MARGARET

THAT - THAT IS A BEGINNING. HOLD ON TO IT AS WE GO ON.

SHE PICKS UP THE SCRIPT FROM THE TABLE,

STILL SHAKEN BY HER NEEDS. SHE WALKS

TO THE DOORWAY, EXITS A MOMENT, REENTERS

WITH HER HEAD BOWED AS THE SUPPLICANT,

MARIE-DANIELLE. SHE WEARS A SUPPLICANT’S

HEAD COVERING. SHE ENTERS TENTATIVELY,

NOT LOOKING UP, HER HAND HELD AGAINST

HER BOSOM. SHE READS THE NOVITIATE PART

FROM THE SCRIPT SHE IS HOLDING.

MAY I, MAY I SPEAK TO YOU, DEAREST MOTHER? I AM LATE AGAIN FOR VESPERS. PLEASE ASK MY LORD, JESUS CHRIST TO FORGIVE ME. AS YET MY ARMS AND LEGS STILL SUFFER THE PAIN. I HAVE NOT THE STRENGTH WITHIN THEM FOR THE WORK TO BE DONE BUT I SHALL NOT LEAVE IT UNDONE, MOTHER SUPERIOR.

THE NOVITIATE BOWS RESPECTFULLY, GLANCES

TO THE SIDE, SEES THE PRIEST FOR THE

FIRST TIME. SHE JUMPS FEARFULLY, CROSSES

HERSELF TWICE.

DEAR GOD! THERE STANDS THE PERSON I BROUGHT TO SEE THE PAINTINGS IN THE GREAT HALL! (CROSSES HERSELF AGAIN) GOD HELP ME. CAREFULLY DID HE EXAMINE EACH PAINTING WITH A SMILE OF PLEASURE. SO DEEPLY WAS HE MOVED BY WHAT WAS BEFORE HIM, HE BRUSHED AWAY TEARS. HE TURNED. HE LOOKED AT ME. THEN I SAW IT, DEAREST MOTHER. HIS FACE CHANGED BEFORE MY EYES! THE SUN FELL FROM THE SKY AS IF FOREVER TORN FROM GOD’S GLORY. THE FLOOR DROPPED FROM BENEATH MY FEET. CHAIRS FLEW AND I WAS SUSPENDED IN THE AIR. WHAT COULD I HAVE DONE TO PROTECT MYSELF FROM HIM? WHAT COULD I HAVE DONE?

ERIC

(STEPS TOWARDS HER MENACINGLY) IN ALL THAT IS KNOWN TO HEAVEN, WHAT COULD I HAVE DONE TO PROTECT MYSELF FROM YOU?!

IN A FURY, FATHER JOELLE RAISES HIS ARM

TO STRIKE HER. SHE BACKS AWAY IN FEAR.

HE LOOKS UP AT THE PICTURE OF CHRIST.

HIS RAISED ARM COMES DOWN TO HIS CHEST IN

A POSITION OF PIETY. HE SPEAKS TO THE

PAINTING.

THERE ARE MOMENTS THAT WORDS FLY AHEAD OF ALL REASON, POSSESSING NO SUBSTANCE. I AM KNOWN TO SUFFER SUCH AN AFFLICTION WHEN I LOOK UPON THE CRUCIFIXION.

HE BOWS HIS HEAD. SHE WALKS OFF, REMOVING

THE HEAD COVERING, TURNS, PUTS DOWN THE

SCRIPT, PUTS ON THE COVERING OF THE

MOTHER SUPERIOR AND LIMPS TO HER CHAIR,

FATHER JOELLE STILL LOOKING AT THE PAINTING

OF CHRIST. m

WE ARE BORN IN NEED TO FIND OURSELVES. WE ARE BORN WITHOUT STRENGTH AND FEARFUL WHERE TO LOOK. TO SEEK ANSWERS WITHOUT YOU HAS BEEN MY CURSE. I HAVE STRUGGLED TO REGAIN MY SOUL FOR MY ARRIVAL BEFORE YOUR DEVINE PRESENCE.

MARGARET

(SARCASTIC TONE) FATHER, YOU FOOL NO ONE. YOU CAN NO BETTER ESCAPE, WITH YOUR DISGUISE, BEFORE THE SON OF GOD THAN I CAN FLY AT WILL INTO HIS OPEN ARMS.

ERIC

(WHIRLS AROUND) I HAVE NO INTENTION TO ESCAPE WHO AND WHAT I AM! (CALMING HIMSELF WITH A HALF BOW) I REMAIN A SERVANT OF GOD, AS YOU, MOTHER SUPERIOR. I HAVE HARDLY BEGUN MY JOURNEY OF DEVOTION, WHILE YOURS HAS BEEN EVERYONE’S ENVY. THERE IS NO ONE MORE DEVOUT KNOWN TO THE CHURCH, THAN YOU.

FATHER JOELLE BOWS IN AN EXAGGERATED COURTLY

MANNER. SHE ANGRILY PULLS OFF HER HAT AND SLAMS IT DOWN.

MARGARET

I CAN’T BELIEVE THIS!! WHERE THE HELL DID IT GO?!! WHERE’S THE DELIBERATELY INTENDED SEXUALITY?! IT WAS THERE TO START AND THEN, AND THEN IT WAS GONE. LIKE THAT!!

ERIC

MARGARET, IT MAKES NO SENSE WHEN ASKING FORGIVENESS OF JESUS TO ACT LIKE SOME MASS MURDERER READY FOR A KILL!

MARGARET

DAMN YOU, ERIC, THE PRIEST WAS REALLY TALKING TO THE MOTHER SUPERIOR WHILE BLAMING GOD FOR THE LUST IN HIM! IT’S SO OBVIOUS, A CHILD WOULD SEE IT! YOU KNOW WHAT YOU DID? DO YOU? YOU MADE HIM INTO AN UNFORTUNATE INSTRUMENT TRAPPED BY NATURE INSTEAD OF THE SON OF A BITCH WHO COULD BEAT UP AND RAPE A THIRTEEN YEAR OLD CHILD!

ERIC

Okay, okay. I hear you. It’s only a play. i’m trying to make a point. you don’t have to beat up on me. I can see what your point is. We’re disagreeing on what’s in his head. You wrote it, so you decided what that would be. but that priest is real to me, lady. So I can make my guess what’s going on in here for him, man to man. (Points to his head) That’s where I a know him. (Reaches out to touch her arm) Sure, I know what you want, but listen to me. (She removes her arm. He turns anxious) WE’RE ALL AT IT, MARGARET. WE’RE ALL MAKING AN ATTEMPT TO PEER INTO THE HAZE OF HISTORY TO UNDERSTAND WHAT’S BEEN GOING ON BETWEEN MEN AND WOMEN. DEVOUT ENEMIES CAN GET THAT ACROSS TO THE AUDIENCE WHEN IT’S PLAYED BY EIGHTEENTH CENTURY RULES. THEY MANIPULATED EACH OTHER’S WEAKNESSES UNTIL ONE OF THEM WAS DESTROYED. IT WAS ALL OR NOTHING.

MARGARET

....ARE YOU FINISHED?

ERIC

I THINK SO. YEAH. I’M STRUGGLING TO TIE TOGETHER A PRIEST WHO CAN FORCEFULLY, SEXUALLY ABUSE A NOVITIATE AND AT THE SAME TIME, BELIEVE HE IS ON HIS WAY TO A PURE LIFE FIT FOR HEAVEN. IT’S STRONG, REALLY STRONG, GETTING THAT ACROSS. I CAN DO IT, EVEN THOUGH IT’S THE MOTHER SUPERIOR’S STORY. HER STORY IS SOMETHING I CAN RESPECT.

MARGARET

YOU THINK YOU’RE TOUGH, DON’T YOU?

ERIC

ME? (SHAKES HIS HEAD. TRIES TO SMILE) I THINK YOU’RE TOUGH.

MARGARET

YOU’RE GOING TO MAKE ME THROW YOU OUT ON YOUR ASS WITH SEVEN DAYS TO GO.

ERIC

(INNOCENT, WIDE EYED LOOK) CHRIST! TAKE IT EASY, MARGARET. I’M DOING MY BEST TO HELP THE PLAY.

MARGARET

(LIVID) HOW?!! HOW?!! BY PEERING INTO THAT HAZE OF MALE HISTORY?! YOU’RE NOT THAT STUPID, ARE YOU?! MEN MADE THAT HISTORY. THEY SHOULD BE THE LAST ONES TO PEER INTO IT! GET THAT STRAIGHT!!

ERIC THROWS UP HIS HANDS IN FRUSTRATION, KICK AT A CHAIR.

ERIC

(SPOKEN DRAMATICALLY) WHEREVER I GO, IT’S ALWAYS MEN AGAINST WOMEN, WOMEN AGAINST MEN. IT’S ALL OVER THE PLACE. EVERYWHERE YOU GO. NOBODY IS HAPPY. EVERYONE IS BEATING UP ON THE OPPOSITE SEX! (TOUCHES MARGARET PERSONALLY) NOBODY I KNOW ISN’T AT THE OTHER SEX! I’VE HAD ENOUGH OF IT. DO WHAT YOU WANT. I TRIED MY BEST. DO WHAT YOU WANT.

HE WATCHES HER, NOTICES HER BEGINNING

TO SOFTEN. GENTLE VOICE.

IF YOU DO IT YOUR WAY, YOU KNOW WHAT’S GOING TO HAPPEN? I KNOW IT LIKE I KNOW TOMORROW IS COMING. THE AUDIENCE WILL LOSE THE LAST LITTLE VESTIGE OF SYMPATHY FOR THAT PRIEST. WHAT GOOD IS THAT?

MARGARET

YOU DON’T MEAN FOR THAT PRIEST. YOU MEAN FOR YOU.

ERIC

(TRYING TO CONTROL HIMSELF) MARGARET, HONEST TO GOD, I UNDERSTOOD FATHER JOELLE THE MINUTE I READ THE SCRIPT. WHAT HE DID, WHAT HE FELT, WHAT HE WAS SUFFERING FROM. EVEN WHY HE WAS DESPERATE TO ATTAIN RELIGIOUS SALVATION. EVEN WITH WHAT A BASTARD LIKE HIM DID TO THAT CHILD. I CAN GRASP ALL THAT IN ONE PERSON, BELIEVE IT OR NOT. YOU HAVE TO UNDERSTAND MEN, MARGARET, AND WHAT MAKES MEN THE COMPLEX CREATURES THEY ARE. (SEES MARGARET IS ABOUT TO EXPLODE, HE LOSES CONTROL)AND WHY NOT FOR ME?! ONCE, WHY NOT FOR ME?! GOD DAMN IT, WHY NOT! I’VE BEEN ACTING MY HEART OUT, NEVER KNOWING WHO COULD BE IN THE AUDIENCE! ONE DISGUSTING AND TWISTED AND UNMERCIFUL VILLAIN AFTER AND WHERE THE HELL HAS IT GOTTEN ME?! YOU SAID WE’RE ONE STEP AWAY FROM BROADWAY!! I’M A TERRIFIC ACTOR TO MAKE PEOPLE WEEP AND CRY RIGHT IN FRONT OF ME! I CAN DO IT! (HURT) GO ON. ADD ON ONE MORE CORNY VILLAIN TO THE BATTLEGROUND LITTERED WITH THE BODIES OF DEGENERATE MEN AND LOVE SICK WOMEN. I’M PERFECT FOR THAT! (TURNS AWAY) SO FIRE ME.

A LONG MOMENT.

MARGARET

(SOFT VOICE) SO YOU FINALLY SAID IT. WHY YOU’VE BEEN RESISTING WHAT I TELL YOU TO DO.

ERIC

(SULLEN, LITTLE BOY LOOK) SO YOU THINK YOU KNOW A WHOLE LOT ABOUT ME.

MARGARET

(NODS) I KNOW WHAT I HAVE TO TAKE CARE OF. (TAKES HIS FACE IN HER HANDS, TURNS IT TO HER) I DIRECTOR’S JOB. IT’S YOUR TURN TO LISTEN TO ME. YES, A DEGENERATE BASTARD HAS TO BE SHOWN UP AS DEGENERATE AND A BASTARD OR THE PURPOSE OF THIS PLAY IS LOST AND WHAT THE MOTHER SUPERIOR DID WILL HAVE BEEN WASTED BY HISTORY FOR ALL TIME. SHE’S ONE OF THE FIRST OF THE MANY. WHEN SOCIETY WAS FIRST STRUGGLING TO FIND A WAY TO CHANGE. THAT’S WHY I NEED YOU, ERIC. IT’S REALLY ALL SIMPLE. YOU’RE THE BEST TO DO JUST WHAT I’M TALKING ABOUT. NO ONE IS BETTER.

ERIC

(Sullen) THANKS.

MARGARET

POSSIBLY YOU DON’T KNOW HOW GOOD YOU ARE. (HE SHRUGS) YOU HAVE A TECHNIQUE OF - IT’S AS IF YOU ARE BLAMELESS. NONE OF IT IS YOUR FAULT, AFTER YOU DO SOMETHING THAT’S TERRIBLE. THERE’S A LOOK ON YOUR FACE THAT YOU’VE DONE NOTHING OUT OF THE EXPECTED FLOW OF LIFE. THAT’S PRECISELY WHAT I’M AFTER.

ERIC

IT MAKES PEOPLE UPSET. MAD AT ME. I GOT LETTERS HOPING I DIE.

MARGARET

IT’S WHAT I NEED. LET’S GET THIS FINISHED UP. AFTER ALL THIS, WE’RE BOTH PRETTY DAMN EXHAUSTED.

SHE KISSES HIM LIGHTLY ON HIS LIPS,

HESITATING A MOMENT LONGER. HER

HANDS REMAIN ON HIS FACE. HE MAKES

NO MOVE. SHE STEPS AWAY.

ERIC

(TO HIMSELF) JOELLE IS SO MUCH MORE.

MARGARET

(TURNS TO HIM) WHAT WAS THAT, ERIC?

ERIC

NOTHING. NOTHING.

MARGARET

WHEN YOU SAY TO THE MOTHER SUPERIOR, NO MORE DEVOUT KNOWN TO THE CHURCH THAN YOU, AND I GO ON DEMANDING YOU SEE THE CARDINAL FOR PUNISHMENT AND SO ON, WE’LL SEGUE TO THE CARDINAL AND YOU. THAT WILL COVER YOUR TWO SCENES. WE’LL GET THEM BOTH CLEANED UP. (SHE PICKS UP THE SCRIPT, POINTS TO A PAGE) START RIGHT THERE.

ERIC

(PICKS UP THE ACTING) I HAVE NO INTENTION TO ESCAPE WHO AND WHAT I AM.

MARGARET

HOLD IT, HOLD IT. LET ME GET READY.

SHE PUTS ON THE NUN’S HAT, POSITIONS

HERSELF.

ERIC

I HAVE NO INTENTION TO ESCAPE WHO AND WHAT I AM. (VOICE TURNS INTIMATE.) I REMAIN A SERVANT OF GOD, AS YOU, MOTHER SUPERIOR. (APPROACHES, LEANING CLOSE TO HER FACE, ALMOST TOUCHING) I HAVE HARDLY BEGUN MY JOURNEY OF DEVOTION, WHILE YOURS HAS BEEN EVERYONE’S ENVY. (A PERSONAL WHISPER) THERE IS NO ONE MORE DEVOUT KNOWN TO THE CHURCH THAN YOU.

MARGARET

(HARD TONE) THEN GO TO THE CARDINAL. HE WILL KNOW WHAT TO DO WITH YOU. DO NOT HESITATE A MOMENT.

ERIC

WHY MUST I?

MARGARET

I REQUIRE IT!

A BEAT. ERIC STARES INTO HER EYES WITH

INCREASING ANGER. SHE INDICATES HE IS

TO KEEP ON STARING AT HER. HE TURNS,

EXITS THE CONVENT SET. MARGARET LOOKS

AFTER HIM INDICATING CONFLICT. SHE

PULLS OFF THE NUN’S HAT, DROPS IT AND

CROSSES INTO THE PARTLY FINISHED STUDY

SET. SHE WRAPS HERSELF IN A BLANKET,

RECLINES IN THE SOFT CHAISE LIKE CHAIR

BY THE FIREPLACE AND PLACES A BIBLE

FROM A SMALL TABLE ON HER STOMACH, THE

BIBLE COVER IS DECORATED IN GOLD AND OPEN

IN THE MIDDLE. SHE SLUMPS AS THE TIRED,

OVERWEIGHT, AGED MAN. SHE BEGINS TO SNORE

IN GASPS. SHE PLAYS IT FOR HUMOR AS A

FUSSY, SMUG AND SELF SATISFIED CARDINAL.

AS FATHER JOELLE ENTERS ON TIP TOES, THE

BIBLE FALLS TO THE FLOOR. FATHER JOELLE

WAITS, THEN PICKS UP THE BIBLE, PLACING

IT BACK WHERE IT WAS ON THE CARDINAL’S

LARGE STOMACH. IT FALLS AGAIN. HE PUTS

IT BACK AGAIN, THEN LOUDLY CLEARS HIS

THROAT. THE CARDINAL GRABS FOR THE BIBLE

AS IT IS ABOUT TO FALL.

WHAT?! WHAT?! OH, IT’S YOU, MY BOY. WHAT ARE YOU DOING HERE, FATHER JOELLE? THIS IS MY REST TIME.

ERIC

I COME IN SHAME. I HAVE FALLEN FROM GRACE.

MARGARET

YOU CANNOT FALL FROM GRACE MY BOY. YOU HAVE NOT YET ATTAINED IT. (SADLY) NEITHER HAVE I.

THE CARDINAL FALLS ASLEEP. THE BIBLE FALLS

TO THE FLOOR. ERIC RETURNS IT TO THE CARDINAL’S

STOMACH.

ERIC

YOUR GRACE? (THE CARDINAL AWAKENS WITH A START, CATCHES THE BIBLE.) I HAVE COME TO SEEK YOUR HELP ONCE AGAIN.

MARGARET

I TOLD YOUR FATHER I WOULD TAKE CARE OF YOU. YOUR FATHER WAS A GOOD MAN AND MY DEAREST FRIEND. SO NOW?

ERIC

I- I- I HAVE ALLOWED A GIRL- TO- BE WITH ME. MY FLESH WEAKENED, YOUR GRACE. ALL RESOLVE VANISHED.

MARGARET

(A LONG SIGH) FOR US, THE WEAKNESS OF THE FLESH IS THE ONE SIN WE MUST CONSTANTLY STRUGGLE TO OVERCOME.

ERIC

I AM FRIGHTENED TO MEET JESUS’ EYES. WOMEN KEEP ME CURSED. (NOT MEANING IT) I SHOULD BE CAST OUT FROM THE CHURCH.

MARGARET

(STERN) THAT IS FOR ME TO DECIDE! I HAVE WRESTLED WITH THIS PROBLEM. WOMEN. MEN. PAIN. SORROW. THE WAYS TO FIND ONESELF INTO HEAVEN. (SIGHS) AS YET I HAVE NOT COME TO A WORTHY ANSWER EXCEPT - EXCEPT THAT GOD KNOWS EXACTLY WHAT HE IS DOING.

THE CARDINAL BEGINS TO FALL ASLEEP.

ERIC

YOUR GRACE.

MARGARET

(OPENS ONE EYE. POMPOUSLY POINTING A FINGER UPWARD) WE MUST FACE THAT FUNDAMENTAL SIN