e ALile F inthe z Theatre David Mamet olra0 see AN EVERGREEN BOOK 18080; | e024 5067The Characters Roserr An older actor Tous A younger actor The Scene Various spots around a theatre, ‘The scenes in this play ean be divided into ontage and heclstage scenes In the omtage scenes, we see on and sons portraying characters in various plays inthe repertory these for which they work. beautflsokton for staging A Lie te ‘the Theatre io « proscenium howse was arived st by Michael Merritt and Gregory Mosher, the plays fit designer and lector, respectively, in their production at the Goodman ‘Theatre Stage Two, in Cheago, They decided that it might be rovoratve i «second eurtaln were inal upstage, hind Which the aidience fr whom you and nomen ply Ch onstage scenes sits This curtain opened when jou and -onent work onstage, whichis toy, plying pa Thane se the acto’ backs ig ter ona snes ord al ie of them during the backstage scene-in efit tre vw Ickitage, je fA Life in the Theatre was first de Lys, New York City, and opened on October 20, 1977, with the following cast: 4 Jou Peter Evans Rovert Ellis Rabb Stace Manacen Benjamin Hendrickson ‘The production was directed by Gerald Gutierrez; set by John Lee Beatty; lighting by Pat Collins. The New York production of A Life in the Theatre ‘included a silent character, the StACE MANAGER. Produced by the Theatre _ Scene 1 Backstage, after a performance, nosexr: Goodnight, John. so: Goodnight. nonent: I thought the bedroom scene tonight was brilliant, sous: Did you? nonenr: Yes, I did. (Pause.) Didn't you think it went well? sou shrugs open: Well, I thought it went brilliantly. youn: Thank you. one: Iwouldn’t tell you if it wasn't 0. Pause. you: Thank you. xonent: Not at all. wouldn't say itifit weren't 9.12 + Dav saner Jom: The show went well tonight, Roser: I think it did. JouN: They were very bright. Bosuxr: Yes. They were, your: Iwas... Pause, ‘Ronenr: What? JOHN: An intelligent house. Didn't you feel? sosenr: did. Joune: They were very attentive. ‘osext: Yes. (Pause.) They were acute. Jou: Men, ‘nosenr: Yes. (Pouse,) They were discerning. youn: I thought they were. ‘Ronexr: they saw the sh it (pause) on ao saw Sore tie inn 9 notes level of mening De you aa “Tin not sure Ido, 4 are oe rear 13 nomex: Yes. I fee! perhaps they saw a better show thas the one we rehearsed. sone: Men overt: Yes. What are you doing tonight? some: What am I doing now? onexr: Yeu ow: Going out ower: Men Pause. Jou: For dinner, owes: Yes. Jou: I'm famished. ones: Yes. son: [haven't had an appetite for several days ‘owext: Well, we've opened now. youn: Yes. (Pause) I'm hungry. ‘nopext: Good. Pause, Jou: It almost makes me feel. ‘owen: Go on, yow: AS HET earned the right.14+ paw Maer say “to eat,” but I'm not sure that that ig really meant. what | ‘osear: What did you mean? yous: A show like tonight's show... nonent: Yeo? yous: Going out there ..- osest: Yes, g0 on. json: It makes me feel fulfilled. soseer: Ah. Pause.) Well, it can do that, Pause. jos: [liked your scene. noserr: You did. som: Yes. osert: Which scene? som: The courtroom. Rowen: You liked that? son: Yes, _ Honea: [felt it was of tonight, (Aare 0 rae Tamer» 15 yon: I didnot seem of to me. sone: el that was ll a Jou: If you were off you didn’t look it. sonenr: No? yore: No. sons: Min, yor: The doctor sene .. nonent: Yes? youn: ... may have been a trifle. ‘Ropent: Yes? youn: Well... ‘ROBERT: Say it. What? The doctor scene was what? ‘Pause. sony: Brittle Pause. ‘owen: You thought that it was brittle? you: Well, I could be wrong, Ronext: I trust your judgment, sons: No, Tcoutl be wrong. Ihave b ‘abt beet ites ;16 + pavin Mame jou: Perhaps. may have found it so. A bit. nopext: Overly brittle? youn: No, not necessarily. Pouse. xnopexr: The whole scene? yous: No, no. No, Not the whole scene, no. oper: What then? sou: A part. A part of it, perhaps. open: I wish that you would tell me if you found the ‘whole scene so. jou: It’s only an opinion (of a portion of the scene)* and, fn the last analysis, we're talking about a word ... Pause. nonenr: Yes. ony: I'm sorry fT sounded... ‘onext: Not at all. I value your opinion. omy: Yes. 1know you do. onent: Young people in the theatre ... tomorrow's Pause, Some pons ofthe aaloge appear in parentheses, which ‘ere to marka sight change of ostook onthe part ofthe speaker sSamomentay shag toa more latroxpectiveregard.—Dat ‘Aare IN THE THEATRE * 17 youn Yes soserr: Both of us, or was it only me? sous: Of course not. I told you that I thought you were superb. (Paus.) She was of ones: You felt that too, ch? youn: How could Tnot? osent: I know. You felt that, ch? did. om Ronen: Specifically tonight. yon: Perhaps tonight especially. open: Yes. (Pause) Especially tonight. yon: Yes. ‘onent: Interesting, (Pause) Yes. jou: To me it’s a marvel you can work with her at all. (Pause.) But to work with her so well. oszer: You do the best you can. JOHN: It's enviable, nonent: The show goes on. Jou: [find much in that Tmust admire, Ronzxr: Well, thank you. JOHN: Not at all.18 + DaviID MAMET Pause. open: You have a job to do. You do it by your lights ‘you bring your expertise to bear, your sense of right. ‘ness. .. fellow feelings... etiquette . . . professional procedure ... there are tools one brings to bear .., procedure. sou: No, it's quite inspiring. nosert: Thank you. (Pause,) The mugging is what gets me, eh? jou: Min. ‘ostar: Stilted diction and the pregnant pauses I can live with. youn: Yes. osexr: The indicating and the mincing, these are fine, ‘can accept them. son: Yes. ‘osexr: But the mugging... yous: Yes. ‘Robes: Itrots my heart to look at it. ALIFE IN THE THEATRE + 19) youn: No, osent: I want to kill the cunt, sors: Don't let it worry you. oven: It doesn’t worry me. It just offends my sense of fitness youn: Mmm. nose: If T could do her in and be assured I'd get away with it, 'd do it with 2 clear and open heart. Pause. yous: Minm. rover: That she should be allowed to live (not just to live... but to parade around a stage...) sou: Yes. nopent: And be paid for it... jor: totally agree with you. oper: She would make anyone look brittle, jou: Mmm, nosexr: You bring me the man capable of looking flex: ‘ble the moment that she (or those of her ilk) wall. on stage. J jou: Fean't Roper: No formal training, a alt20 + DAVID MAMET yon: No. ‘oper: No sense of right and wrong, jou: Sho exploits the theatre. nosent: She does. son: She capitalizes on her beauty. Pause. open: What beauty? jou: Her attractiveness. owen: Yes. sot: It isnt really beauty. open: No. Jon: Beauty comes from within, ones: Yes, fee it does. yon: She trades on Noses: She'll find out. (Pause.) Perhaps. Jon: It isa marvel you can work with her. ‘onrrr: It’s not a marvel, John, you learn. You learn control, (Pause,) Character. A. sense of right from ‘wrong, JOUN: Yes. Pause, Ronen: [tune her out, ‘Are were Team © 21 youn: Men nonen: When we're on stage, she isn't there for me, yous: Monn. Pause. oven: How'd you like the table scene? sous: Loved it nonent: My, that scene was fun tonight. sou: It looked it, open: Oh, it was sonex: [wanted to be up there with you, nopent: Did you? youn: Yes. nonexr: Where? jouw: Up there, owen: At the dinner table? (Pause.) You mean up there around the dinner table, or up upon the stage? Pause, JouN: In the house. Ropest: Around the dinner table? sou: Yes, ones: Oh, yes, that scene was heaven. (Pause,) It made me glad to be alive,jo showed poner, The eon jo Yes vesorr That scene was «Ht play. TE 88 & pop tonight pum To poner Jot ik tle wat yore Yes (How do you rena?) power: You ow or No Powe souer: Well {mean that it was meaty. owe Yes. ‘none: Ub, meaty on the inside» yous: Yes? ‘sowent: And tight all round. ons: Ab Pause. owe: Now thats superior theatre. Jor: Yes. Pause.) Mmm-hinm., Rosext: Where did you say you were off to? sos: Now? LIP Oe Tee Taam + 89 nomen: Yes ing for dinner. Ah oun: I've been feeling ike «tober omen: Ab youn: All day, ones Menen. Shelf yonv: Yes Pause, nowent: I can't eat at night youn: No. owen: No. My weight Jou: You're having trouble with your weight? nonenc: Yes, always. I'8 a constant fight. Jou: But you're trim enough. nosent: Do you think so? son: Yes. onenr: Then that makes it worthwhile. (Pouse,) Thank ‘you, JOHN: Not at all. What are you up to this evening? Ronent: Now, you mean? JOHN: Yes,‘ag + pave MAME thought might go home and read i creck ice seus: No real reason at al. (Pause) Unless you'd like to join me for asnack? ooeer: A “snack” Ireally couldn't eat... Pouse. Jot: Well, then, some coffee. I could use the company. open: I'l walk with you a ways, then, sores: All right osexr: Good. Pause, Jott: You have some makeup on your face, ‘ALIFE IN THE THEATRE + 95 ontxr: Where? jon: There. Behind your er. nosexr: Yes? ons: Here. I'l get it. Tl get you some tissue. owen: W's all ight, yon: No. Wait. Well gett of. Jou goes after tsue; nosear stands on the stage, sar does cocal exercises, nopext: Did get it on my coat? soun: No. (i moistens tissue with his saliva and rubs tt (on nosent’s face) There. nose: Did we gett off? son: Yes. Rosent: Good. I didn’t get it on my coat? youn: No. ost: Good. Good. Thank you. sor: Not at al Pause. ‘RoBERT: Shall we go? sou: Yes JOHN casually tosses the crumpled tissue toward the trash receptacle Stage Right. It misses the container «and falls on the flor.96 + paviD MAMET ‘oper: Mmm. One moment. rosea crosses right picks up the tissue, and depos. its i in the appropriate receptacle. ANI right. Al] gone. Let’ go. (Pause, Eh? sous: Yes ost: I'm famished. oH: Me to. nonin: Goo suey exitScene 3 Onstage. oun and nosent in the trenches, smoking the last fag. sou: They left him up there on the wire. Roser: Calm down. JouN: Those bastards, oven: Yeah, youn: My God. They stuck him on the wire and left him there for target practice. nosent (of cigarette): Gimme that. JOHN: Those dirty, dirty bastards, osez: Yeah, Jon: My God. omer: Calin down, Youn: He had a home: he had a famil them. He thou, xi ‘@ family. (Pause.) Just like thathe was goinghome. ... 3 ‘s10Re AN Te Tara + 99 nosenr: Relat, welll be going home, your: On the last day, Jona, onthe lat day... none: That’ the breaks, kid. yon: Ob, my God, theyre signa’ it at noon, Poor Mahoney. Goes to raise the lousy fag, Jerries cut him down like wheat ..: Johnnie, ‘more hours and we're going home. (Pause) ‘those bastards went and ent him down. Pause ose: That's the breaks. youn: No. Not by me, Ub-uh. Not by long shot. osenr: What are you doting? youn gets up and peers over the trench. ‘What ae you doing, Billy? JOHN starts over the top. sows: You hear me, Heinies? Huh? This is for Richard J. Mahoney, Corporal AEF, from Dawson, Okla hhoma. (Fause.) Do you hear me? Is not over yet Not by a long shot. Do you hear me, Huns? nN shot is heard, then “nc une ies on hg dept ‘tout. ue: uncocks his rifle. onent: Well, looks like that’s the end of it.Scene 4 ponent and jouw hace fust completed a curtain call {foran Blizabethan plece. onewr: Say, keep your point up, will you? son: When? ‘osenr: When we're down left, eh, right before the head ‘cat, You've been getting lower every night: | oun: I'm sony. ‘rosin: That’s all right, Just make sure that you're never {nine with my face. PU show you: Look: nosent begins to demonstrate the fencing combination. You parry... pary ... THRUST, but, see, you're thrusting high. .. aaand head cut. May we try it one more time? sou nods. ‘Roses: Good. ALPE IN THE THEATRE * 31 ‘racy strike a pose and prepare toe the routine as nome speaks lies, mine And: “But fly my Hege and think no ; Aaacand head cut igen Eh? You're never in line with my face. We dont ‘want any blood upon the stage, ce owner knocks wood. ones: No. Pause rosie: Please knock on wood. Pause sou Knocks, Good. Thank you.Scened cx ond yosx are in. Dance Room, jouw is jeep auc, for working out ait OE working at the bare ‘omens: Isn't it strange + youn: Yes? ‘onexr: That people wil spend time and money on thelr face and body.» son: Mann? rostar: On smelly textures and appearances... on Uh hub. nose: And yet are content to sound lke shopgirls and sheepherders. son: Ummm, Pawse. ‘osEnT: It's quite as important as physical beauty. Jou: On the stage, you mean, 3B ane om ean Ss sony: Mmm. nonent: Sound. yon: Yes. onn:The erown prince of phenomena, oun: Quite, rossi: An ugly sound, to me, is more offensive than an ugly odor. oun: Really? nooeicr: Yes. To me, an ugly sound is an extension of an vgly soul. An indice of lacking aesthetic. (Pause) 1 gee >_>Scene 1] Onstage, JOHN: Oh, the autumn, Pause, Rosenr: Yes, JOuN: Autumn weather, ROBERT: Yes, JOHN: Oh, for the sun, Foseer: Will you pass me my robe, please? Jon»: Your laprobe. Ronen: Yes. (Business,) Jot: Maman says jst one more day, one more day, another week. ae Rosen: Mmm. JouN: One more week. ‘onerr: Would you please close the window? 52+ A VIFE IN THE THEATRE * 5B. pm sorry? what? im sorry om Do you fel a draft? ae (Pause) Shall T close the wr A alight draft, es window? nose; Would you mind? No, not at all. (ove this window.) (Fause.) (Cl the window.) sosent: Thank you. yous: Mm. 01 sone: This room... this room. jon: Ifwe could leave this afternoon. rossatr: Mmm? jou: If we could just call... bring the carriage round, just leave this afternoon open: It's much too cold. son: Just throw two shirts into abag...asearf.. owen: (... the roads.) son: Just meet the train. (Pause) Venice . Pause. Roser: It’s much too cold. Pause. on: Would you like a glass of tea?$4 + Davin saseer JOHN: like this room, ‘ROBERT: Yes, so do I. JOHN: Talways have. Scene 12 ‘ROBERT: So have I. Jou: Il ring for tea, ‘Backstage. nowext and jou changing clothes. ‘osext: Thank you, sovent: I wish they'd wash this staff more often. sous: Mom noneser: Smells like a gym in here. sony: The building's old. owen: Yes, Yes, Pause.) Tired? sou: No. A little. nopexr: Mmm,JOHN: “IC rain soon” 5 ‘ z i saltwater ‘ROBERT: Eh? Joun: I'm sorry. What? 56+ ** ROBERT (musing): Salt... ALIFE IN THE THEATRE * 57 tn jst Ovking Sally Salater. Eh? The x Te yo se the thought hee Passe Minm: os Pause soornr; Salt! Sweat. His life flows out. (Pause,) Then saltwater! Eh? yon: Yes. rostic: To the sea youn: Yes, oats: AIL right. Good sue go buck “One day blends into the next. Salt Saltwater.” yous: “Ie rain soon,” one: “Rain? What do you know about it” (Pause) “ve spent my whole life on the sea, and all that I know is the length of my ignorance. Which is com- plete, sonny.” (Pause.) “My ignorance is complete.” Jou: “It's gotta rain.” onenr: The motif, eh, the leitmotif. He takes the des- ‘cant through the scene—"It's got to rain,” You look ‘at it, he does the same thing through the play. Pause,98 * Davi seamen Joun: Mam, ‘ROBERT: Go on, Pause, JOHN: “It's gotta rain,” ROBERT: “Tell t to the marines” JoUns Tt doesnt rain, Pm going of my nut. ont: You see: it will rain, 1S G0 to tla, i doggy wi “allright, all ight. "Jus take easy, kid. "Booval Yate do nw aves “Believe me.” : Pause, Joun: “We're never getting out of this alive.” (Pause) “Are we?” 4 RoBERT: “How do you want it?” JOHN: “Give it to me straight.” Pause. ‘Robext: “Kid, we haven't got a chance in hell.” Musing) “We haven't got a chance in hell. We' never getting out of this alive.” (Pause,) Eh? He it on the sea, we are marooned, he tells us that : sea is life, and then we're never getting out of alive. (Pause,) EhP_q.yine IN THE THEATRE * OF jose: Manm. rev: You can’ contro what someone tis o& JOM Fonemr makeup eee eating Chinese ie FY aa ropes: That sup to them. They may be glum, they may. Ronee: You had an ‘audition this ‘be out-ofsorts, Perhaps they are neurotic. eS ef you: How's your duck? ‘nr: Fine, (Pouse.) One can control, however, one's owemr: How dd te ie actions. One's intentions. JOHN: Well, I thought, open: Yes? sons: Pass the bread, please, Pause, osent: That is all one ean control. Jou: Please pass the bread. 108: They were receptive, , * Uthoughe it went well, nonent: You're eating bread? ‘Ronent: How did you feel2 Jour: Tl good; they ike it ROBERT: That's nice. Jorev. Tthought so. ROBERT: That's ¥: Clases of sens, Pate: Eating) There ae two 60+ sous: Yes aM onexr: Oh, (Pause) Here itis. son: Thanks. nosent: If they hadn't liked you, that ‘would not b Sif tht you werentageetacton orn: No. think Tknow that. :‘omen: Yes. I think perhaps you do. (Pause) Yes, lad they liked you, though. ee SS Le oer ‘Ronenr: Well, Thope they do. Be Pe a iaya JOHN: Yes, this whole fr oe vo es, you know? EMP Peet ert cai son: Yes. sosenr: Eh? And give it son it, Pause.) And to he7 Scene 16 Onstage. The Barricades, Roser: And the people ery for truth; the People freedom from the vicious lies and stander oft and package it, va brush oF tO. ~ yrs: Would you plese Set fortune. Now: we must dedicate ourselves to sprit: to the spirit of human. ity; to life. (Pause) To the barricades! (Powe) Bread, bread, bread. <€8 + paw suet ‘Ropenr: John .. som Ys? Xonerr: When ones ben nthe theatre as long ag Jon: Can we do this later? 4 ‘Ronen: ‘you Jon: You do? feel that there i something here of worth open: Ye. 1 (gh) Let us hea it then, tom: All ight. You know the best. eis’. Iejust tart, Jobin snot JOHN (Passe): Tis’ t? nights, the felings the eg Senses (pause) loa ‘a LIFE IN THE TH but organically. Joan eping your mouth shuts kee scours Jom px Yes And per pone titudes sp Before we £00 a rea: Yes: ut what sean stage” Buta ons (Pause): What? ps this isnt the place sonrat: Damn litle, Pause. yon: May Tse your brush? rosen: Yes. (Hands ous. these things, John society. yours: Which is ones: Take65 + ban starr tone: Na Pause, Joux: Would you pas me the cream, Rosen: Cert tainly. (Passes the, youn: Thank yu, ram, Here ith, scene 18 ‘The famous lifeboat scene. overt, One day lends into We DEBE Scorching 512 ae ting moon Salt Salt Water === Onstage. jou: Train soon. oxen: Rain. ..? What do you Tre spent my whole life on the set and all that I ews the Tength of my fgnorance. Which is 22m tere sonny. (Pause) My ignorance is comple yon: Tes gotta rain. ose: Tell it to the marines. yon: It doesnt rain, mm going off my Aut: open: Just take it ensy, kid. What you don't wanna donow is sweat, (Pause) Believe me Pause. vom eve es _gotting out of this alive, (Pause)you down. And you know hy? “Cause a he Samble. That's what life on the ea isabeate Jon: Can tell you something? omens: Shoot ons: You're full ft, I mean i, Don't you tell me Men and the Sea, because that’s been out of Uti fo Years It ever ented. No, probaly did. Back in the days when a man had a stake in what he went out after, when he had a stake in his Ship = anda stake in himself... But now... Neg we're dyin’ "cause some black bastard shipowner in Pause. The x1p breaks down, Ronrnt: Danny... Danny... shipllA SHIP Scene 19 oun is ind novexr are standing in the wings ‘and noBEs! yous ‘about to g0 OM. ‘ ‘Ephemeris, ephemeris, eh? sons: What? : sonent: Ephemeris, ephemeris Pause. oan: What are you saying? rogsxer: Time pases a nen got together, ma‘am, comes after: “The i ee ee kind ofthe you'd like tohave you.” nonenr; She says “Thank: ee Tron aware of that, I think: After that. youn after that? ‘nosent: Your ine?_ 72 + navn ant ose: Uh... Jon: Have you gota seript? onent: What would Ibe doing with a seripe? 101: Tm going to go gt a seript. ovenr: Wait, [know what the line i 101: Whai? ont: Ub, ater you give her the watch, sight? son: Yes Nouerr: Right. You give her the watch. You give her the watch. JOHN: And? you hand the cunt the watch: RoseRr: Ab, Christ “Ma'am, we kinda thought that maybe Jon: “The men all ot together, ma'am tum... this is ridiculous ... You (What's her line?) nosexr: Yes. And give her the wate JoHN: “Thank you.” Pause. Ronen: Ah, fuck. You'd better get a script. You = it. You want me Jou: Sshhhhh! Pause. Roper: What? ALIFE IN THE THEATRE 73 hut wpm ying to Bear my ee yo Pause rar: What's happening? Pause. ink I missed my cue, (Pause. ) I think 1 missed wy: 1th oe Pause. ower: What's happening? oun: Sshhhhhhh sovent: Can you see? sons: Tm going on. (Pause) Yim going to g9 on. (Pause) ‘What do you think? one shrugs, Pause Christ. Fm going out <= oven: You want me toget «senpt? jos: ve ane my coe. Tve missed my 60+ nopenr; Well, go out there --- 80.0n- Pause. in God. ve mised my cue. - ut there» S his entrance): “Missus Wilcox??? Missus rna‘amn? The men all got together...” JOHNScene 20 Scene 21 iting, BOBERT sacatage sous 0 enters. ints am ‘apiece. They’ 2 noone: And everbody in.” to geta piece: Spy rns yar pa ms nach ok a beat one, ce ema jous: What? ‘sosexr: What is it? Cashmere? ‘Jom: I don't know. soweex: Looks good on you, Joss: Thanks, 4+ >76 onto: And what oft? (Pause) What of humanity Pose TORN: What? TonENT: dot know. (Pause) Lets got den 301 Tm on the phone. nosent: Hangit up. 308% (nto phone): ello, Bonn Rontner: We enslave ourselves, 010 (into phone): No! nose: (God) JOAN (into phone): Why, thank you. Thank you y Imuch (Pause) On tho fl... Ye? Yor tee my book. 1¢? ohn, How are you. Rosent: One does not have to check one’s “book” to a drink. (To himself) A drink cannot buy itself JOHN (covering phone): Do you know who this is? one I am going to drink. For I must drink now. Do ‘you know why? Jou: Why? Pause. ROBERT: It i fitting, (Exits) 011 (into phone) Yes. Eleven’s fine. Pause.) Wonderful — scene packstage. noes and youn are taking off thelr makeup. souen: Fucking leeches. Minin. Pass me the tissue, please? ai youn: Mant “They pase yo fr the things you neve vere pan you for asp son glins, Wat 02 they know? They create nothing. Tey Tred dooney dont evenbuy ticket yous: No. to too much, 1do not mean. open: They've praised you se, John, tet fam your feviews-you deserve pr.suearne +79 ALIFE INT ae 4 you hand me my sea, ple Would 78» pavip Maver ton Yes bn Fon mv yg SEL ee ta a ou fucking TWIT tthe advice, ene: ¥ som Yes ' 1 pardon? eg 908 ae onenr: Never take advice eee nk that you beard me, (Bakes toe om Jon: Yes. vrux’s area and begins t0 use it) ower... fom pope. owe Jot May Ihave my comb, please? sn: Rabe one do ot havea vested inter, Jot, oven: What? c your own towels from now on. sons: Use y Your eventual success rer: They're atthe laundry. J0HN: Twon't, Poncet: OF, barring that, in Beauty inthe Theatre, Pint Thought that they were rather tothe pont Ronsnn: You di. JOHN: Yes, ROBERT: Your reviews, JOHN: Yes, onznr: All false modesty aside, JOHN: Yes. ‘JouN: The Farmer in the Dell, ‘OBERT: Oh, Isee.save 1s THE THEATRE © BE “rine ete he ens Fee eee 1, Jt, You sil A, don't MP1 not good for you, no: And thas =e ern: ose) Whi san: Anda thal per That ta hustl faults Job: ‘confuse sin- sown with weakness: (Pause) And Tams tell YO ‘Something: Yes. yous oven: About the Theatre—and this sa wondrous ing, bout the Theatre—and John, one of the ‘which ts most like fe jon; And what is that? Pause. sosext: Simply this That in the the Theatre i, of course, partHint Good ight (Cong noice) 100 examines the sy Following th Pause. Fornow sts Expectation ia the ai Pause, And hides a sword. Pause. ne talks into the wings Are you back in (Pause) Yeee you osent (offstage voice): Ym jut leaving, oot fon - me Yate ware he Goodnight, apron? Holm? gy oud Paws, JOHN: Coodnighy NOMEIY: Goodnight. 1 With the ged hel as Engin ee, there? Robert? Are you back in ther? in there. Isee you there, Robert Tous: You were not just leaving, you were... ooking at me, — wu, pio. Os ya 0 oO el on my a you crying? Are you ening, Raber, foe po, 3 SG ne nog oul om vo roe vou ch yo aa Oe ‘work surmore, eh?) xonenr: Then T SUpPO : ‘anyoay) (Pause)4 Davo sane our (far of declaiming, one Go fro JOHN: No, Ronen: You're sure? Jou: Yes Fause, Pause, Rober? Pause. onea: Yes, John? JOHN: Are you out there? once: Yes, ohn JOHN (otto voce): Shit fase) You're Scene 24 (Onstage, nomes and jouN are dresed in surgical . and stand behind a form on an operating table routn: Give me some suction there, det, Wl you. that’ good. youn: Christ, what L woulda’ give fora eget overt: Waaal, just a few more minutes and hisk jain you in one (Pause) Nervous Jina? sont: No. Yes ‘sone: No need to be. A few years, youll be dang these ‘nyo step Sutin Reta) No he large retractor you: Sony, z. ont Isl right, Give me (Business) son (pointing):86 + Davin saneer Pause nOsERY shakes his head min his head, a What's that? RODENT minutely Dut emphatically Shakes ie haa, Pause Jou mumbles something nove. oneny bles something to jou. es Pause, NovniT Would you, th, can you give me some stg Wear on 8 elect... un = tna Mould You get me one, please? (motioning yg ofstage) No ... on the, uh... would you get net reading on this man? JOHN (pointing): What's that? Ronent: What is what? Eh? Jous: What's that near his spleen? (Pause) A curious ‘growth near his spleen? onext: What? ‘Jou: A Curious Growth Near His Spleen? (Pause) Ie that one, there? ousnT: No, T think no. I think you cannot ee a growth near his spleen for some tine yet. So would you as this man’s in shock) .. would you get me, peas, give me a reading on his vital statements. Uh, Funo. tions...? Would you do that one thing for me, please? ra sot Bld yu? (Ps) Fer De ease? jae IN THE: ye've done that one, Robert. (otto 0008) " say Lust ar Hf other part ot oe): Tata a yan 088— ‘ALIFE IN THE Scene 25 Nees oPReA, holding He eng Ronen: Oh God, oh God, ve cut myselt JORN (entering): What have you done? nonenr: I'm bleeding. Ob, my God... Jou: Christ Rosser: What silly accident. Can you believe tha? Joun: Come on. Roper: Where? JOHN: We're going tothe hospital. nonext: Oh, no. Ob no. Fin ll ight, realy, J Jon: Come on, Rover: No. What would they sayp Kidding aside, (Pause) No. 'm quite all right. My razor slipped And now Yim fie. I had a moment, though did. (Pause,) Jobn ... Pause.) John... i ro oot on ye? in olden times they Did YO Ho sn actor"? (Pause) Did ef Jean-shaveD that? all ight? po e300 on, yeu Hm fine. ve lost ite rome thing, really. (Pause) A mishap. ‘haven God, what's wrong with you? youn God rest. Its much 00 tired. (Pause.) You90 + bavi sear moment: Pause) TI be att y tomorow. I be my rahe. 1 beat a ol ee (Snile,) Pause.) Ym on n IY going to tf “rand hen Tigo home, 8 "Ft a nga at 208% looks to nomeer for ¢ a RoneRr remains ona OE th ey ee Oe Aloe for an oe scene 26 Backstage, aflera show, owe: Toved the tia seme night sons: You did? oot: Just like a poem, Pause, nonrer: No. You didn’t, youn: Yes. did. Pause, xosenr: Thank you, Ge soun: Yes.92 + Davo scarcer Powe ODERT: 1s raining? om: hink wil You gota tage OWE: Ys. Always wanted me to be, onERT hands jouw a ctgaretie Jou: Thank you, ope: Minn, J0UN: Got a matehe Ronee: You going out? JOHN: Yes. onear: Where? A party? Jove No. Tm going with some people, onzser: Ah 0H: You have a mateh? owen: No, {04 hunt fora match on th makeup ab 401: Are you going out tonight? ‘onenr: I don't know; I suppose so, Jou: Minn, owent: Tm not eating to well tes days JOHN: No, ch? ‘ALIVE 1 THE Taam « gg ne wy? ee Not HOO picks up matchbook, struggles ight mach, ven rilgett. you mind? jours: DO ost: No. ; ‘ ‘takes matchbook and lights you's cigoatie, ony: Thank you. Pause, ones: A life spent in the theatre, yous: Mmmm, ones: Backstage son: Yes, ‘ronent: The bars, the hous, the drafty halls. The pen cilled scripts. HN: Yes. g yoime Pee oot. Sto A esta son: Thaow 2 t94 + Davin Manner *sovsat: What, yout short on cusp JOUN: Yes, won Ch Ob Pinas) OF ome a Finds money and hands ito ones Jon: Youre sure you won't need tp ‘ROBERT: No. No, not who does? Pause, Jou: Thank you, * ata. No. IT dot know OBERT: Minm, Goodnight, i 01 Goodnight, ROBERT: You have a nice night JOHN: Iwill, oP tmaginary ape You've been so kind .,. YOU, you've 50 kind. You know, and I speak, 1 oa ‘ALIFE IN THE spose moments make it all +. terol arn os quell COPECO oust youknow sent e@8 JOH: oy locking up. They dike s leaving. er Was Just ee. now, (Pause) Vell them yorns YES, sosenr: Would you? yon Yes, Pause. rogsse: Thank you. youn: Goodnight. nosext: Goodnight.