1

Ghostligh
By David Alfor

(Rev. 1/10/22

615-585-533
rhinocerosfan@gmail.com

CHARACTER

WENDI (30-ish) British. Reserved but warm. Insightful and

articulate, but outside her comfort zone

VIC (30-ish) TV good looks. Self-obsessed but also very self-

aware. A tad reckless, yet eager to please. Somewhat puppylike

STEVEN (30-ish) Passionate. Idealistic. Driven

SETTIN

2004. A small newly-renovated theatre space, probably (but not

necessarily) geographically between New York and Los Angeles.

STAGIN

An empty theatre space with a single ghost light. The entire

theatre, including the house and the light booth, is to be used
in the performance

Ghostlight is performed without an intermission

NOTES FOR THE READE

Script in italics indicate lines from the play the characters are
rehearsing. A lone ellipsis (“. . .”) indicates that the
character has a nonverbal reaction that causes another actor to
respond. An ellipsis in the interior of a line indicates that the
character is searching for their next thought

GHOSTLIGHT

(The theatre is dark, the stage

empty except for a ghostlight
center. The sound of heavy rain,
thunder.

(A scratchy old recording of the

gospel song “This Little Light
of Mine” begins playing. It
sounds distant, echoing.

(The bare bulb of the ghostlight

slowly glows to life, the only
light in the theatre.

(The music stops abruptly.)

(Someone opens a door in the

back of the theatre, behind the
audience.

WENDI (O.S.
Hullo

(Wendi enters through the

audience wearing a coat and
carrying a large shoulder bag.
Her clothes are nearly soaked
through with rain.

WEND
Hullooooooo. Anybody home

(She walks up on the stage. She

notices she’s dripping on it.

Oh, bloody hell

(She takes off her bag and coat,

looks around. She moves off into
the wings. We hear her trying a
door. She knocks.

Hullo

(A moment. She comes back on,

ill-at-ease. She digs in her
bag, pulls out a phone, dials.

Steven, it’s Wendi. Ummm... I hope you’re going to get this, I’ve
got a bad connection or something. I’d go outside but it’s
pissing down out there. Fucking monsoon. You probably already
know that. Ummmm.... Anyway, listen, I’m at the theatre and
there’s no one else here. I don’t know if I got the time wrong or
something, I don’t think I did, but... anyway, if you get this
call me and let me know what’s going on. And if I should just
wait here or what. Okay. Bye

(She hangs up. A moment. She

dials the phone again.

Steven, Wendi again. In case you don’t have my number with you,
it’s 646... 219... 3876. 6462193876. Okay

(She starts to hang up, stops.

And I love the space. What I can see of it. Here in the dark.
Assuming I am in the right place. Okay. Call me

(She hangs up. A pause. She puts

the phone back in her bag,
starts rummaging through it.
It’s too dark to see. She goes
over to the ghostlight and sits
on the floor next to it. She
takes some things out of the
bag: a water bottle, pencils, a
pink high-liter, throat drops,
some vitamin bottles.

(She hears something. She looks

out at the audience. There’s
nothing there.

(She pops a couple of pills in

her mouth, washes them down with
the water. She closes her eyes,
becomes still.

Why are you stuck on that? Why? You’re just saying the same thing
over and over, Paul. You can re-phrase it as many times as you
like, you can re-state it until you’re blue in the face, play as
many variations on your theme as you have breath in your body but
it’s the same bloody thing

(beat
Why are you stuck on that? Why? You’re just saying... you’re
say..? No

(She pulls a script in a three

ring binder out of the bag. The
pages are worn, dog-eared. She
flips through it, finds her
place.

You’re just REPEATING the same thing over and over. You’re just
repeating... Yes, and that would be the problem, wouldn’t it?
You’re just repeating you’re just repeating you’re just fucking
repeating. You’re just repeating the same thing over and over,
Paul. You can re-... re-state? Shit

(She looks at the script.

You can re-PHRASE it as many times as you like, you can re-STATE
it until you’re blue in the face..

(She stands as she works,

investing more conviction.

You can re-phrase it as many times as you like, you can re-state
it until you’re blue in the face, play as many variations on your
theme as you have breath in your body but it’s the same bloody
thing
(beat
Paul. Paul, listen to me. Everything that came before this
moment: all the history, all the religion, all the philosophy,
the poetry, the paintings, the music, everything anybody ever
sang or believed or felt. Was about this. This moment, right now.
And it’s ours. Yours and..
(beat
Jesus, Steven
(beat
Yours and mine. And all the rest can fall away. Let it go. It
doesn’t matter. Let it go. My angel

(She hears something.

Hullo

(Nothing.

Why are you stuck on that? Why? You’re just saying the same thing
over and over, Paul. You can..

-


 6

(She stops again, looking out at

the audience.

Is someone there
(beat
Steven

(She shudders: a sudden chill.

That does it. She starts shoving
things back in her bag, then
exits fast, through the house.
Her phone remains on the floor,
next to the ghostlight.

(Silence.

(She comes back on, heading for

the phone.

This is stupid this is stupid this is stupid this is really

really really fucking stupid

(As she steps onto the stage,

the ghostlight flickers. She
freezes. Then she takes a couple
of tentative steps towards it.

(It goes out. Utter darkness.

Her breathing is audible.

Shit
(beat
Okay
(beat
I just want my phone

(It pops back on. A moment. She

starts to take a step. It
flickers, but remains on.

I just want my phone

(It stays on. A moment. She

starts to take another step...

(BOOM: the outside door being

thrown open. Startled, Wendi
drops the phone.

VIC (O.S.
I know, I’m late, I’m sorry, I suck, I am a total loser

(Vic enters through the house,

dripping wet.

I would like to blame it on the weather, but I can’t, since I

knew what the weather was like when I got up this morning. So
basically I have no excuse and I am just a tardy bastard and I
suck

(Wendi tries to gather herself.

Vic looks around.

Am I in the right place

WEND
..

VI
Rehearsal’s here, right

WEND
Yeah, um, I think --

VI
Where’s Steve

WEND
I don’t know

VI
He’s not here

WEND
..

VI
Son of a bitch. I nearly killed myself driving in that shit

(Vic looks around some more,

takes off his cap.

So... the new space. Nice. Neighborhood’s a little..

WEND
Yeah

VI
So how long you been working with Steve

WEND
I don’t. I mean, it’s been a while

VI
You work with him here, or...

WEND
No. Atlanta, actually

VI
Oh, the Alliance

WEND
No, something else. I’ll think of it in a -

VI
(overlapping
So I brought my bio. And the contract. I didn’t fill out my
little… insurance card doo-dad thingy whatever. So are we gonna
have to have, like, the whole Equity meeting electing a deputy
and all that, or can we just...

WEND
..

VI
I mean, I wouldn’t even ask, but you know. We’re out here in the
middle of fly-over land. It’s not like Equity’s got undercover
spies running around or whatever

WEND
..

VI
Or maybe they do, I don’t know. Maybe you’re one
(beat
You’re not, are you

WEND
No

VI
Oh. Cool. Thought I was busted there for a second

(He laughs. She doesn't.

I wouldn’t ask, but you know Steve’s been pretty loose about that
stuff in the past. But hey. Things change. I guess

(He offers some papers to her.

You want these now, or...

WEND
I’m not the stage manager

VI
You’re... what

WEND
I’m not the stage manager. I’m playing Grace

VI
(sudden awareness
Oh, shit. Oh, shit, I’m sorry

WEND
It’s all right

VI
What a dope. Oh, man

WEND
Sorry if I was abrupt, I just -

VI
(overlapping
No, no, that’s cool

WEND
(overlapping
-- thought we should get that straight

VI
No, hey, thanks for straightening me out
(beat
Yeah, of course. The accent. Sorry. I’m an idiot

WEND
No, it’s okay

VI
So you’re Grace

 10

WEND
Well, I’m playing Grace. I’m actually Wendi

(She offers her hand. Vic takes

it.

VI
Yeah, yeah, of course. Nice to meet you.

WEND
Nice to meet you

VI
I didn’t actually think your name was actually Grace, I was
just... anyway, yeah. Nice to meet you

WEND
Right. And you are

VI
(sighs
Shit
(beat
Can I, like, have a do-over on this

WEND
Umm..

VI
Should I go out and come back in, or...

WEND
No

VI
(“composing himself”
Okay: Hello. My name is Vic Boone. And I’m playing Paul

WEND
Nice to meet you. I’ve heard a lot about you

VI
Oh, shit

WEND
No, all good

 11

VI
So you’re Grace. You’re playing Grace

WEND
Yes. And you’re playing Paul

VI
Yeah

(Pause.

Well thank God we got that worked out

WEND
Yes

(Pause.

VI
I love your accent. What is that, London

WEND
Very good, yeah

VI
Yeah

(Pause.

So where the hell is everybody?

WEND
I was hoping you could tell me

VI
You have a key

WEND
No, the door was open

VI
You mean like, open open or...

WEND
No, not... just unlocked

VI
Really

 12

WEND
Yeah

VI
That’s weird

WEND
I thought so, yeah

VI
Maybe they had to run out for something

(He heads for the offstage

door.

WEND
I tried that already. It’s locked

VI
Really

(He goes off anyway. We hear him

check the doors. He returns.

Isn’t that a fire code violation or something

WEND
No idea

VI
(checking his phone
Anybody call you

WEND
No. I mean, I don’t think so. I’m not getting a very good
connection. I left Steven a message, but I don’t know if he’ll be
able to hear it with the... going in and out, you know

VI
Yeah, I’m not getting many... little signal bar thingies either.
Stage Manager called last night. Let me..

(He hits a button on the phone,

waits.

Hey, it's Vic Boone, how you doing? So we're at the space, me
and... uh, Grace, and the door was open so we let ourselves in.
Wondering where you might be, and what's up. Didn't know if the

 13

rehearsal got moved or changed or whatever. So... I guess we're

gonna hang here until we hear from you guys. Give me call back.
Bye

WEND
It's Wendi

VI
Shouldn't affect the phones, though

WEND
..

VI
Wind's not gonna blow over a cell tower

WEND
(beat
No, my name. Wendi

VI
Oh, shit
(laughs
I thought you meant..

WEND
You called me Grace

VI
No, no, I know. Wendi. That must happen a lot, right? "Windy"
"Wendi" "Windy.

WEND
Not really, no

VI
No

WEND
Not really

(Pause.

VI
Wendy with a "Y"

WEND
With an "I" actually

"

 14

VI
Wendi with an "I". Got it

(Pause.

So I guess we're waiting

(beat
They gotta show up eventually, right

WEND
Right

(Silence. Wendi still has her

bag on her shoulder. After a
moment, she drops it on the
floor. She does the same with
her coat. She finds a nearby
spot on the floor and starts
stretching.

(Vic watches her for a moment,

then starts checking out the
space.

VI
"The Space.

(He looks at the upstage wall.

Huh. Crack in the wall here. If it goes down into the foundation
they're gonna be screwed

WEND
Really

VI
Yeah. My dad was a contractor. This is an old building

(Pause. The rain becomes

audible.

Jeez. Cats and dogs

(Pause. He's watching her

stretch again.

That help you

"

 15

WEND
Help me what

VI
Whatever. Act

WEND
Yeah, it does. Helps me focus

VI
Am I bothering you? I'm sorry

WEND
No

VI
Yeah, no, I'll shut up

(Pause. The rain becomes

louder.

Hope they patched the roof

(He wanders, starts whistling

"Raindrops Keep Falling On My
Head."

WEND
Listen, do you want to run lines or something

VI
Ummmm... okay

WEND
As long as we're waiting

VI
Sure
(getting his script
You off-book already

WEND
Pretty much. Steven asked us to be, so..

VI
(hesitant
Yeah

 16

WEND
Are you not

VI
I got the first scene. I think
(squinting
I can't see shit. Mind if I turn some lights on

WEND
That would be lovely, actually

VI
Yeah. Spooky in here, right? Wonder if they lock the booth

(He exits through the audience.

A pause. Wendi's alone again.
She tries to stretch again,
stops.

(She shivers. She rubs her arms.

Dead silence.

WEND
Having any luck

(Silence.

Hello

(Silence.

Are you up there?

(Wendi jumps as Vic's voice

booms over the speaker system's
"God Mic."

VIC (on speakers

(satanic
GET. OUT
(beat
Sorry. Hee hee. Little over the top there

(He breathes heavily into the

mic, a la Darth Vader.

Luuuuke. I am your father..

 17

WEND
Jesus

VIC (on speakers

Okay. Oooooookaaaayyyyyy. Check. Check one. One, two. Can't find
the booooth lights. Were are the boooooth lights? Check one.
Check
(English accent
Hello. What's this

(The booth lights come on.

YES! I kick so much ass. Okay. Light board, light board.

Stagecraft 101

(A spot comes up onstage.

Hey now. Hey now

(Vic plays with the faders in

the booth, bringing the lights
up and down on the stage. He
accompanies the light moves with
sound effects.

Woooooop. Wooooop. Wup. Weeee-up. Shhhhhhoooop

(He settles on a general wash.

(off mic
How's that

WEND
It's fine

VIC (back on speakers

(big voice
WHAT

WEND
IT'S FINE
(indicating ghostlight
Actually, could you turn that thing off? It's blinding the hell
out of me

VIC (off speakers

Let me see if it's on a fader

(A pause. The ghostlight goes

out. Wendi is visibly relieved.

 18

Better

WEND
Lovely, thanks

VIC (back on speakers

WHAT

WEND
LOVELY

VIC (back on speakers

(satanic
YOUR SOUL IS MINE, SUB-CREATURE

WEND
Would you mind not doing that

(A pause as Vic comes down out

of the booth, crossing towards
the stage.

VI
Sorry. I couldn't resist

WEND
You scared the piss out of me

VI
I'm sorry

WEND
Please don't do it again

VI
It was a joke, I'm sorry

WEND
Well, I didn't find it funny

VI
Okay

WEND
Thank you

 19

(Silence. Chastened, Vic strolls

over to his bag and pretends to
look for something.

You want to run lines

VI
(checking his watch
Um, yeah

WEND
I hope nothing's happened

VI
Maybe just traffic

WEND
They'd call though, wouldn't they

VI
..

WEND
From the top

VI
Uhhhh. Sure

WEND
Or wherever

VI
No, great. Are you done with your... stuff? "Warming up"

WEND
I can do two things at once

VI
Okay

WEND
Okay: This breath

VI
Uhhh, This... heartbeat

WEND
This moment

 20

VI
This... Hold on a second. Sorry

(He looks at his script.

WEND
You should try it sometime. It helps your focus

VI
What

WEND
Warming up.

VI
Oh, I have. Believe me. More than my share

WEND
You don't find it useful

VI
Only when I want a big honking dose of post-traumatic stress
disorder

WEND
A what

VI
Never mind

WEND
(beat
Okay.

(Pause.

Was that a Juilliard reference

VI
A what

WEND
You went to Juilliard

VI
Why, does it show

WEND
Ummmm..

 21

VI
Don't answer that. Yeah, I went to Juilliard. I got over it

WEND
Steven told me you were roommates

VI
Yeah, and that would be the only good thing I got out of it

WEND
Really

VI
Yeah. Yeah, Steve and I shared a foxhole together

WEND
I take it you didn't enjoy the experience

VI
You could say that

WEND
Why

VI
Why? Because it sucked

WEND
In what way did it suck

VI
Uhhh. In a supermassive black hole kind of way

WEND
Hm

VI
Probably had something to do with the staggering level of
bullshit and hypocrisy

WEND
Right

VI
Don't get me started. Seriously

WEND
Sure. So: the lines then, yeah

 22

(Pause.

VI
Okay, here's the thing
(beat
It's a school to train professional actors. Professional actors,
right

WEND
Um hmm

VI
But they don't tell you anything about the profession. The actual
profession. Instead, we get, like, voice, and diction, and
movement, mask work, whatever, freaking tap class, all this
useless esoteric bullshit

WEND
Useless

VI
Yeah, in the real world. In the real world, nobody's gonna hire
you for your technique, they're gonna hire you based on whether
you can act or not

WEND
Right

VI
I mean, the whole thing is based on this humongous lie

WEND
Is it

VI
Absolutely

WEND
What sort of lie

VI
They tell you..
(beat
Okay
(beat
They tell you if you go through their "program", if you go
through all their artsy-fartsy European conservatory art-school
"program" shit, if you let them "break you down" and destroy your

 23

"bad habits" and then you build you back up into this uber-actor,
you know, "Master of Acting Technique" -- and don't even get me
started on the psychological brutality of THAT shit, the fucking
mental, you know, beat-down -- anyway, if you let them do that to
you, then you're gonna be successful, you're gonna work. And it's
just not true. Nobody cares about your technique. Not in the real
world
(big actor voice
"It's Tuesday. and I can't get any work. No one will hire me. Why
won't they hire me? My articulation is perfect." You know
(big actor voice
"DROP THE GUN, MOTHERFUCKER OR I SHALL POP A CAP IN YOUR SCRAWNY
ASS.
(normal voice
I mean, come on

WEND
Uh-huh

VI
But that's cool. 'Cause when you're flipping burgers or waiting
tables or whatever you can console yourself with the fact that
you're a motherfucker with iambic pentameter. Yippy-fuckin'-
skippy

WEND
But a lot of them are quite successful, aren't they?

VI
Who

WEND
Juilliard graduates

VI
Yeah, but -

WEND
(overlapping
So it's not really a lie, is it

VI
It's..
(beat
No. Okay. Point taken. But that's not the lie part

WEND
Okay

"

 24

VI
The lie part is this: They do all this stuff to you, and they
tell you the reason they're doing it is to create "the next
generation of American actors for the stage", right? And that
we're all supposed to go out there and "save American Theatre".
Now, mind you, this is coming out of the mouths of a faculty led
by a bunch of Brits, fucking technique whores who wouldn't know
an honest acting moment if it bit them on their limey asses. I
mean, no offense, but..

WEND
..

VI
You know, their paragon of acting virtue is crusty-ass John
Gielgud who plays BUTLERS to great acclaim

WEND
Uh-huh

VI
So it's all this "Don't sell out, be an artist, stay true to your
discipline" bullshit, right? Right, but behind the scenes? And
I'm talking about the faculty, the teachers, okay? They're all
telling us to go get on TV.
(whisper
"Don't be stupid. Take the money."
(normal voice
And then -- oh, shit, this is the kicker -- we used to have these
question-and-answer sessions, seminars, whatever, with graduates?
And who did they bring in? Did they bring in Joe Blow Regional
Theatre Actor who makes a living playing small roles in, you
know, Hartford? Do they bring in Bob Schmo, Artistic Director of
Artsy-Fartsy Fringe Theatre in Des Moines? No. They bring in
Robin Williams and William Hurt, Kevin-fucking-Kline, and blah de
blah de blah. Now what kind of message is that supposed to send?
I'll tell you. The message is: "Don't listen to all that stuff we
told you. Don't fall for it because if you do you will wind up an
unknown, mannered hack that nobody cares about with a shitload
bag of tricks that makes you such a bullshit faker that you will
become unemployable. Thanks for the tuition. Now go be a movie
star. And don't forget your donation to the alumni fund.

(Pause.

WEND
Wow

"

 25

VI
Okay, so maybe I'm not so over it.

WEND
Hm. So how is it that they lie again

VI
They lie because they don't believe it. They say they want to
save theatre but they don't give a shit. Not really. The only
people that really care are... you know, people like Steve

WEND
You think

VI
..

(He gestures around the space.

WEND
Yes.

(Pause.

VI
All that shit about saving the art form, saving the world? All
that shit they pretended to believe? He actually believed it. He
still believes it.

WEND
Why

VI
Why

WEND
Do you think

VI
Because it ought to be.
(beat
It's not.
(beat
But it ought to be

WEND
Yes

 26

VI
(beat
But that's Steve

WEND
He's... pretty remarkable

VI
(beat
Weren't we supposed to be running lines or something

WEND
Yes, let's

VI
Or I'll have to keep haranguing you with my brilliant insights.
God knows we don't want that

WEND
No

VI
Yeah. Stop me before I kill again

WEND
Ready

VI
Yeah

(They run the lines deadpan.

WEND
This breath.

VI
This heartbeat.

WEND
This moment.

VI
This time.

WEND
Will you listen? This time? Will you?

VI
I'm listening.

 27

WENDI
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so.

VIC
I'm listening.

WENDI
You say I came to you, yes?

VIC
You did.

WEND
Why?

VIC
Why

WEND
Why did I come to you?

VIC
Ummmmm... because... fuck, I know this
(looking at script
God sent you. What a dope. Yes, of course, I'm a raving
fundamentalist. God sent you.

WEND
You want to start over

VI
No, let's go on

WEND
Why did I come to you?

VI
Uhhhhh... God sent you.

WEND
Again

VIC
Yes, fuck me, I'll pay attention

WEND
Why did I come to you?

 28

VI
God sent you.

(Wendi hears something. She

looks upstage.

WEND
Shhh

VI
Wha...? Am I supposed to whisper that

WEND
Shhh

VI
What

WEND
Did you hear that

VI
Hear what

WEND
I heard something

VI
Like, a person something, or...

WEND
Someone walking

(Pause. They listen.

VI
I don't hear anything

WEND
No. It's gone

(A pause. Wendi listens.

VI
You want to start again

WEND
Yeah, just -

 29

(Wendi looks up abruptly.

VI
What

(A moment, then:

(A BOOM from the back of the

house. They're both startled.

Okay, now that I heard

WEND
Is someone...

VI
Hello? Somebody out there

(Pause. Another THUMP. Vic walks

through the audience, towards
the source of the sound.

WEND
You want me to come with you

VI
Nah.
(calling
Hello

(He exits. Wendi's alone again.

She gets another chill, much
stronger this time.

(A distinct THUMP is heard from

the door in the wings, behind
her. She turns towards it.

(Vic comes back in.

VI
Wind blew the door open. Guess I didn't shut it all the way
(noticing her staring
What's up

WEND
Would you mind checking that door

 30

VI
Why

WEND
I think someone just tried to get in

VI
You're kidding

WEND
No

VI
That door

WEND
Yes. You mind

VI
Yeah, I mind

WEND
..

VI
Cause this is the part where I wander off and then leatherface
jumps out and cuts me in two with a chainsaw. Or a cat jumps out.
Either way.

WEND
..

VI
I'm kidding. Yeah, I'll check it

(He creeps off upstage,

singing "scary movie music".

Dummmm. Dum dum de de dummm. Dummmm. De de dum diddly dum

("calling"
Here kitty. Heeere kitty kitty kitty. Come here, Jonesy

(He's gone. He's heard trying

the upstage door. A moment.

(off
Oh my God

 31

(He comes back on, wiping his

hands.

Filthy back there. It's still locked. Probably the air pressure.
You know sometimes how you'll close a door somewhere and you hear
another one someplace else

(Wendi's visibly troubled.

You okay

WEND
Yes. No. I... I don't understand why someone hasn't called. You
have any messages

VI
I don't think so
(checking
No

WEND
You have a signal

VI
Yeah, a little

WEND
Should we call the stage manager? Or you did that already

VI
Yeah. You know what? Let me call Steve at home

(He pushes a button on his speed

dial.

Probably sitting there watching the Daily Show

(Pause. He listens.

God, this is like the longest outgoing message of all... Hey

there, Moses family, this is Uncle Vic. Anybody there? You there,
Steve? Andrea? Little Stevie? Caroline? Anybody? If you're there,
pick up
(beat
Okay, I guess you're not there... um... well... we're over here
at the theatre, the new space, and there's nobody here. Except
us. Me and, um... Wendi. With an "I". And, ummm... I guess... I
guess we'll just hang here for a little bit, maybe like, I don't
know, like thirty minutes or so

 32

(He looks at Wendi and shrugs.

WEND
..

VI
... and then I guess we'll... I don't know what. But ANYWAY, if
you get this Steve, or Andrea, or whoever give me a call back on
my cell and let me know what's up. Bye

(He hangs up. Pause.

I keep having this urge to call you "Didi"

WEND
Didi

VI
Yeah

WEND
Why

VI
Never mind

WEND
No, really

VI
No, it's stupid

(Pause. He laughs.

WEND
Well, you have to tell me now

VI
No, it's just... absurdist play reference. You want to run those
lines again

WEND
(beat
Sure

VI
Bring it

 33

WEND
This breath.

VI
This heartbeat.

WENDI
This moment

VIC
This time.

WENDI
Will you listen? This time? Will you?

VI
I'm listening.

WEND
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so.

VIC
I'm listening.

WEND
You say I came to you, yes?

VIC
You did.

WENDI
Why?

VIC
God sent you.

WEND
Ummmmm. No, actually, I think you say "Why?

VI
What

WEND
Yeah, you say "Why?" back to me first and then you say the thing
about God

"

 34

VI
(getting script
Do I

WEND
I think so, yeah

VI
(skimming script
... this heartbeat this moment this time... I'm listening...
(finding the spot)
You say I came to you, yes? You did, why, why..
(beat)
You did. Why? I'll be damned. That's the same line I flaked on
the first time. You did, why, why? Okay. You did. Why? Why? Okay.
Sorry. I got... I still got TV head.

WEND
TV head

VI
Yeah, it's like... you know, it's like waking up dormant muscles
or something. The other thing, it's... not exactly a challenge
from a memorization standpoint. So it's kind of like..
(gesturing to his head
Bzzzzzzzt. THEATRE. You know

WEND
You've lost me entirely

VI
Well, it's just... TV land

WEND
(realizing
You're on a TV show

VI
(realizing
Oh. Oh, yeah

WEND
Really

VI
Yeah, I'm sorry. I thought... No wonder

WEND
Well, I don't watch much television, so..

 35

VI
No, that's cool. Neither do I

WEND
What show are you on

VI
Was, was. I'm not on it anymore

WEND
Oh

VI
No, it's called IAD? "Internal Affairs Division?

WEND
Police show

VI
Yeah, cop show.

WEND
Really

VI
Yeah... you know. Good cops, bad cops. Cops investigating cops.
Cops arresting cops, cops shooting cops, cops sleeping with cops,
cops cops cops. A cop-fest.

WEND
Who did you play?

VI
"Carter McEwen." The hothead. Mr. Intensity. That guy. I was
always threatening to nail people's asses to something. The
floor, the wall, the sidewalk, whatever.
(TV voice
"I'm gonna nail your ass to that patrol car." Or... "That... hot
dog cart." Whatever. Got to be a joke. Wardrobe people started
putting nails in my pockets

WEND
That's funny

VI
Yeah, to them. Laugh fucking riot

"

 36

WEND
But you're not on anymore

VI
No. I died

WEND
Ah

VI
I didn't want to come back for the fourth season so they killed
me off

WEND
And how did you die

VI
Ummmm... I was sodomized and beaten to death by a gang of corrupt
patrolmen

WEND
Wow

VI
Yeah, the producers were a little pissed at me for leaving the
show.

WEND
So what are doing now

VI
I'm... I don't know. Taking a break from the whole TV thing.
Trying not to whore myself out for a little while.

WEND
(beat
Okay

VI
They don't call it "Show Art", right

WEND
No.

VI
We're all ho-bags on some level

WEND
..

 37

VI
I'm sorry, am I being offensive

WEND
No

VI
(leading her
But..

WEND
No, nothing

VI
Okay
(beat
You want to go from the top

WEND
There are a lot of people who would kill to have that
opportunity, you know

VI
What? TV

WEND
And you know, calling it "whoring". It's a bit of an insult,
isn't it

VI
I didn't intend it to be

WEND
But it is

VI
I'm just talking about myself

WEND
But that's not what you said

VI
Look, I'm not ungrateful. I'm incredibly grateful. It just didn't
have anything to do with my "talent" or whatever. I just got
lucky. That's all I'm saying

WEND
Okay

 38

(Pause.

From the top

VI
Sure

WEND
(beat)
This breath.

VI
That's what it is, though

WEND
"Whoring?

VI
Yeah, we whore out our talent to make some cash. We sell what God
gave us, right

WEND
You do realize that you're calling me a prostitute

VI
No, I'm saying we all are

WEND
So I'm a prostitute

VI
Just metaphorically

WEND
I'm a metaphorical prostitute

VI
It's not personal -

WEND
(overlapping
Not everyone's been on the telly, you know. You're one of the
lucky few

VI
I think I just said that

"

 39

WEND
So you're a lucky whore. You're a fortunate slag

VI
(beat
I don't know what that word means, but I guess so, yeah

WEND
..

VI
Look, it's... I mean, come on. We're... we're just there to be
used. The "talent" right? I mean, that's what they call us: "The
talent. Let's get the talent on the set." We're cogs in a
machine. You know what it's like

WEND
No, actually, I don't. I have no idea what it's like

VI
(realizing
Oh.
(beat
Well, I mean, you know... I'm sorry. Never mind. Let's -

WEND
No. Tell me

VI
..

WEND
Tell me. I want to know
(beat
Really

VI
It's just... it's just not "all that", that's all I'm saying

WEND
So no more television

VI
It's just… it’s a job. That's all it is, really. A job.

WEND
A job

 40

VI
Yeah, I mean... You get up at 5:30. Go to the set. You get in
makeup. They give you your sides. You wait around in your trailer
for, like, two hours while they set up the shot, you get called
to the set, you say your three lines or whatever, they cut, you
sit around some more while they set up the next shot, you do it
again, you know, the same three lines, for the master, two-shot,
the over-the-shoulder, the closeup, and then you're done and you
go back to your trailer and sit around some more, and then you go
home. And that's it. That's what you do every day. That's your
job.

WEND
Hm

VI
That's what you do. You do your job and then you go home. And
then you wait around.

WEND
For what

VI
For the thing to come out. Get aired, whatever

WEND
I see

VI
You wait around. And you hope they use your best take, and the
director won't fuck you over in the edit, and the DP has made you
look good because you have absolutely NO CONTROL WHATSOEVER over
the final product, I mean, none. That's why I love theatre.
'Cause when you're doing it, it's like you're the point of
contact, there's this juice, I mean... you're driving the bus.

WEND
Right

VI
Anyway, and then it comes out, and people think you're great, and
they recognize you in the street, and then all of a sudden it's
like YOU'RE THE ONE, you know, you're the one everybody's talking
about, your stellar performance or whatever, when in actuality
you had almost nothing to do with it. It could have been anybody.
THAT'S what I'm saying. That's where people get fucked up. They
see their face on a magazine and they think they're "important",
that they have some sort of intrinsic value, but the fact is,
we're interchangeable. We’re cogs

 41

(beat
But they need us, see? They need us. 'Cause we're the fuel.
They'd love to do it without us, believe me, but they can't.
We're the fuel that runs their machine. So what do they do? They
create this recruiting tool. This myth, right? The fame myth.
Okay? And I mean they start working on us early, right? EARLY.
Like, from the time we're old enough to understand words and
pictures we get bombarded by this idea of how great it is to be
rich and famous. They created that myth. To keep us going. To
keep us dreaming that dream, right? Way past the point when
anybody with any self-respect would just say "fuck this" and walk
away. Uh, Lana Turner, or whoever, discovered at the lunch
counter at Schraft's, um, so-and-so didn't do his first film
until he was forty so don't give up, whatever you do, don't give
up, because "It Could Happen To You." Yeah. Right. Yeah. Could
you give me a reach-around while you got that thing up my ass?
That'd be swell. If you're not too busy
(beat
And we beg for that shit. We BEG for it. And THAT'S what I mean
about being a bunch of whores. We WANT them to use us. It's not
LIKE prostitution, it IS prostitution. "Yeah, I want that. I want
the house and the car and my face on a billboard, I want those
flashbulbs popping in my face, I want papparazzi taking nude
pictures of me in my backyard, yeah, do me, just freaking do me
anyway you want as long as you GIVE ME THAT." So we dive
headfirst into this machine like lemmings or star-bellied
Sneetches or whatever.
(beat
And then a few years later VH-1, uh, True Hollywood Story tracks
us down and we're living in a trailer in Bumfuck, Arizona and
we're bitter and pathetic or what's even WORSE we've done a
string of straight-to-video soft-porn slasher movies and we're
holding on to this hope we're gonna make a comeback. A
"Comeback", you know
(beat
And then, you know, sometimes it happens, the machine sucks us up
again and the publicists trot out some lame shit about how we
persevered and overcame addiction to painkillers and the bitter
breakup of our umpteenth marriage and oh my God what a beautiful
story of triumph over adversity and it's so fucking inspiring and
yes, oh, yes, we have another moment in the sun and bask in the
glory of a resurrected career! Woo-hoo
(beat
And then a few months later the machine chews us up and spits us
out again and now we're REALLY pathetic: fucked over twice and
left in an alley to die like the used-up skanky-ass whores we
are. But we keep hoping, you know. "Someday I'm gonna make it
back. I'm gonna make it back to the top."
(beat; without irony

 42

But yeah, I guess if the part was right, I'd do it again

(Silence.

Okay, yeah. That was totally inappropriate

(beat
Fucking egomaniac
(beat
Sorry
(beat
You look like you want to say something

(Pause.

WEND
That was a lovely speech

VI
Thank you

WEND
But you're full of shit

VI
Yeah, I know

WEND
I'm sure your fellow TV stars and Juilliard friends find your
little rants very amusing -

VI
(overlapping
I know, I -

WEND
(overlapping
-- but you shouldn't expect the same reaction from those of us
less fortunate

VI
Okay

WEND
Not everyone gets to go to Juilliard

VI
Okay, you're -

 43

WEND
(overlapping
Not everyone gets to be on television

VI
(overlapping
-- you're totally missing -

WEND
(overlapping
And you can't expect people to sit and listen to you -

VI
(overlapping
You are totally missing the point

WEND
(overlapping
-- while you piss all over their dreams

VI
(overlapping
What I'm saying is that we -

WEND
(overlapping
I am not a whore

VI
(overlapping
I'm saying in the big picture that we're just -

WEND
MAY I SPEAK

VI
..

WEND
I am not a whore. And I don't believe for one second that you
think you're one. Not really. Because if you did you wouldn't
keep doing it. Would you
(beat
Right. Well
(beat
I love what I do. I love it. I know that probably makes me
hopelessly naive or something, but there it is. I suppose I don't
have the requisite cynicism to be clever in that way, but... I
love it. And I always have. I went to see Peter Pan when I was

 44

six or something. Six or seven. And I sat there, and I knew...

even at that age, I knew... I knew what I wanted to do with the
rest of my life. Because I was watching magic. Not rabbit-out-of-
a-hat magic, not illusions or stage tricks or anything of that
sort, but Magic. The real thing
(beat
I mean, that's what we do, isn't it? We're magicians. We bend
reality, we... we make something out of nothing and it affects
people, it changes them. It becomes real
(beat
And when we do it, it feels right, doesn't it? It feels as though
we're doing exactly what we're supposed to be doing. And it's so
incredibly generous, you know. We pour our heart and soul into
this stuff, into making these moments, we invest... well,
everything, if you think about it. And then we turn right round
and we give it away. Not to family or friends, mind you, but to
an audience, a bunch of complete strangers. What sort of sense
does that make? I mean, really. No wonder the rest of the world
thinks we're mad. We create the purest thing we can imagine and
then we just... give it away
(beat
That's the opposite of prostitution, isn't it
(beat
I understand what you're saying. And you're right. We're all a
bit pathetic, we're all freaks in some way. No one in their right
mind would get up in front of people and behave the way we do,
would they? We're all of us quite mad.
(beat
But this mad profession has given me friends, a home, a husband,
two wonderful, fantastic children. Dreams. Purpose. Purpose
(beat
Because when I'm onstage, I know that I have the power to change
someone's life for the better. Like mine was changed when I was
six years old. And I suddenly understood what it would feel like
to be able to fly.
(Silence.

VI
You said you're married

WEND
Yes. Happily

(Pause.

VI
No, you're right. I mean... you're right. I know what you're
talking about. That thing

 45

WEND
Course it doesn't make it any easier to get a job

VI
No

WEND
Just makes the waiting a bit easier to bear

(Pause.

VI
How do you know Steve

WEND
Well, that's actually... one of the perks of the accent and
living in the States is that I get to do all the big British
playwrights. Shaw, Shakespeare, Wilde. Steven and I did "The
Importance of Being Earnest" He was Algernon and I was Cecily.
Long time ago

VI
How was that

WEND
(beat
Amazing. Inspiring
(beat
Intense

VI
Yeah, he'll do that to you. He makes you want to be better. You
know

(They share a moment.

WEND
Yes

VI
I guess the rest of us can just... aspire

WEND
Yes

VI
Shit. I'll just be happy if I can figure out what I want to be
when I grow up

 46

WEND
I think you're already what you want to be

VI
A smartass

WEND
No

VI
(beat
Egomaniac

WEND
No

VI
(beat
Prick

WEND
No, an -

VI
Cock?

WEND
(smiling
No, an art -

VI
Dickhead

WEND
(laughing
No! An artist

VI
Oh, God

WEND
Aren't you

VI
No. Steven's an artist. I'm a hack. I make TV

WEND
Don't confuse what you are with what you do

 47

VI
..

WEND
You do what you have to to survive. We all do. I own a catering
business, but that's not who I am

VI
Oh

(She stands.

WEND
So: You want to run the lines again, Gogo

VI
Did you just call me "Gogo"

WEND
Your absurdist play reference. "Waiting for Godot", right

VI
Ohhhh, nice. Nice

WEND
Yeah

VI
You're sneaky

WEND
Am I

VI
Yes, very clever. Yes, indeed

WEND
You think so

VI
Oh, yes. Yes, indeed

(He looks at her, smiling.

WEND
And

VI
And you have the most amazing eyes

 48

WEND
..

VI
I'm sorry. I'm not trying to hit on you or anything, I just -

WEND
(overlapping
No, no, it's fine

VI
(overlapping
-- I have a tendency to say whatever pops in my head. Sorry

WEND
Don't be, it's... thank you

(Pause. Wendi shivers

violently.

Jesus. Did you feel that

VI
What

(SOUND comes blasting over the

speakers, startling them both.
jumble of noises: most present
in the mix is the distant
sounding recording of "This
Little Light of Mine". Under it
throbs an electric buzz and
static, pulsing in volume. They
have to shout at each other to
be heard over the noise.

That's weird

(A distorted male voice becomes

audible, some sort of garbled
recitation. Then squealing
tires, distant, distorted
applause, a siren

Dude, that is freaky

-


.

A



 49

WEND
What is it

VI
Probably a police radio coming in over the speakers. Happens
sometimes

WEND
Where's the music coming from

VI
I don't know. Radio radio? Freaky though, right

WEND
Can you turn it off

VI
I thought I did

(He goes up to the control

booth. Wendi covers her ears,
disturbed After a few moments,
the sound stops.

(As it does, the ghostlight

glows to life, shining
brightly.

(Vic returns.

I left the amp on before, so... it's off now

WEND
(indicating the ghostlight
Did you turn that back on for a reason

VI
(looking
Huh

WEND
What

VI
That's really weird

WEND
What is

.
)

 50

VI
I didn't turn it back on. I didn't touch the lights, I just
flipped off the amp

(Pause. Wendi has a

realization.

WEND
Fuck you.

VI
What

WEND
Just... fuck you

(She starts gathering her

things.

VI
What

WEND
It isn't funny

VI
What

WEND
Your little joke, all right? It’s not funny

VI
Whoa whoa whoa I'm not -

WEND
It’s not funny to fucking scare people for your own fucking
amusement, all right? It just isn't

VI
Hey, I'm not —-

WEND
You know what it is

VI
I'm not playing a joke

WEND
It's a bullshit male dominance thing, that's what it is

 51

VI
Oh, God, can you just hold -

WEND
(overlapping
That's exactly what it is. "Oh, let's scare the female. Let's
give her a fucking heart attack. Let's make her piss herself.
Won't that be fucking hysterical?

VI
Can you wait a second

WEND
You got here before me, didn't you? You got here and did
something to that light

VI
Wait a second

WEND
Where’s Steven

VI
Okay, A

WEND
He's here, isn't he

VI
A

WEND
God

VI
A

(Pause. Wendi takes a breath.

Reluctantly listens.

A: I don't know what you're talking about, playing with the

light, okay? And B: I would never do that. I don't play jokes
like that on people because I hate it when people play jokes like
that on me. And three: Even if I did I wouldn't do it to someone
I didn't know, that doesn't make any sense, and D: I'm pretty
sure Steve's not here. I could be wrong, but I don't think so

(Pause. She studies him.)

?

"

 52

WEND
You didn't turn that on

VI
I swear to God I did not turn that on

WEND
Then how did it...

VI
..

(Wendi starts to exit.

WEND
I'm not staying here

VI
I didn't do anything

WEND
Fine, I believe you

VI
Where are you going

WEND
Just... out of here

VI
Okay, but... before you go out there? In the freezing rain -- ?

WEND
(interrupting
Look, I get here, the door's unlocked, I hear music playing, I
come in, the music stops all of a sudden and there's nobody here
and it feels like a fucking tomb and that light starts flickering
on and off whenever I get close to it and I keep hearing things,
PEOPLE, and I keep on hearing them and the doors are slamming and
now THIS and I'm sorry but I don't think it's that unreasonable
that I'm a little freaked out right now and I want to leave.
Okay

VI
Okay.

WEND
Look. I'm not... I don't need... rescuing, all right? I'm not
that type. I'm not asking you to come with me. I just need to go

 53

VI
Great. Hey, and you know, that is totally cool. But if I may?
Before you go? Would it be all right if I addressed a couple of
the points you made
(beat
Okay

WEND
..

VI
Okay. First: this building? Is like... at least a hundred years
old which means the wiring is probably old as shit, too. And when
you're putting in new electrics, lights and sound and all that
shit it is EXTREMELY possible that somewhere or another some
wires are gonna get crossed. Like I said, my dad was a contractor
so I know whereof I speak, okay? Now what is most likely is that
somebody left the sound system on, which is what you heard when
you came in, and that the sound system has a short or something
and has gotten cross-patched into the same dimmer circuit that
the ghost light is on, and that's what's causing it to come on
and off. That's what is probably happening
(beat
It's either that, or the place is haunted

WEND
..

VI
I'm sorry, I'm sorry, look: all I'm saying is, there are any
number of completely rational, scientific explanations for what
just happened, okay
(beat
Okay. Now. I don't know about the... the people... that you're
hearing. I'm not saying you didn't hear them, I'm just saying
that I haven't

WEND
..

VI
Doesn't mean you didn't, I'm not saying that. I'm just saying I
didn't
(beat
And you know what? Hey, this place could be crawling with ghosts.
It could be Spook Central. But personally, I just need a tad bit
more evidence before I jet.
(beat

 54

Plus it'd be really cool to see one, don't you think

WEND
..

VI
Okay, how about this? I told them we would be here for thirty
more minutes and that was twenty minutes ago so why we don't just
run the scene a couple more times, in here where it's warm and
dry, and if they don't show up, fuck 'em. We'll go get something
to eat. Or whatever. Cause I need the practice. Okay

(Pause.

WEND
(indicating the ghostlight
Turn that fucking thing off

(Vic goes to the ghostlight and

pulls the plug out of the wall.
It goes out.

VI
Yeah, come back on NOW, punk

(Silence. Vic digs a pack of

sunflower seeds out of his bag,
sits, and starts munching them.
Wendi joins him during the
following.

You want some of these

WEND
I'm sorry I lost my temper

VI
That's cool

WEND
No, it really wasn't. It was stupid of me

VI
Sure you don't want some? They're mighty tasty

WEND
Sure

 55

VI
Groovy

(They munch.

So. You know why they call them ghostlights

WEND
Um. No

VI
This guy told me one time... I don't know if it's the real origin
of the term or whatever, but anyway, I used to think they called
'em ghostlights because they made the theatre look kinda spooky,
you know? But this guy told me... actually he was an English guy
so you probably already know this..

WEND
No

VI
He said it's because all theatres are haunted. You know, they're
all supposed to be haunted

WEND
Great

VI
No, no, but it's good, it's good. They put the ghost lights up so
the ghosts can see. Keeps 'em happy.
(beat
Or maybe it scares them off. I can't remember.
(beat
Something like that

WEND
I thought it was so people wouldn't fall off the stage in the
dark

VI
Yeah, there's that. You ready

WEND
Yes

VI
Smack me

 56

WEND
(beat
This breath.

VIC
This heartbeat.

WENDI
This moment.

VI
This time.

WEND
Will you listen? This time? Will you?

VI
I'm listening.

WEND
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so.

VI
I'm listening.

WENDI
You say I came to you. Yes?

VI
You did.

WEND
Why

VI
Why?

WENDI
Why did I come to you?

VIC
Ummmmm... God sent you.

WEND
Why?

VI
Because I needed you.

 57

WENDI
You believe that.

VIC
Yes.

WENDI
What for?

VIC
What for?

WENDI
Why did God send me?

VI
To...

WENDI
Say it.

VIC
To save me.

WENDI
To save you.
(beat)
Do you see? Do you see?

VI
YES! I ROCK THE HIZ-OUSE

WEND
Again

VI
Yeah, hold on

(Pause. He looks at his script.

Fuck. It's really good, isn't it

WEND
Yes. It is

VI
Yeah, he outdid himself
(beat

 58

I have no idea why I'm playing the part, but..

WEND
Why

VI
Well, I mean it's obvious why you're doing it

WEND
Is it

VI
Yeah, he wrote it for you

WEND
(sudddenly
Did he tell you that

VI
(beat
No. I mean, he didn't have to. She's you. She's an artist. She's
British, brilliant, sexy. She's you
(beat
Me? Not so much

WEND
You don't have any Paul in you

VI
Uh-huh. Right. What about me says southern fundamentalist
preacher to you

WEND
I can see it

VI
Shit. My hairy agnostic ass

WEND
..

VI
No, seriously. The only thing Paul and I have in common is that
we would both have an affair with some chick we met on the side
of the road
(cheesy redneck accent
"Howdy, ma'am. Looks like you got a flat there. Well, lil'
darlin' you jes' set tight while I whip out mah tar arn. You'd
best avert yer eyes.

"

 59

(beat; no accent
Okay, so that was like, so far over the line I don't even want to
talk about it

WEND
No

VI
Anyway

WEND
So why'd you say yes

VI
'Cause Steve asked. He says I'm right for it, but, you know.
There's other stuff, too

WEND
Like what

VI
Like he wants to make a big deal out of opening the space, use
the celebrity thing, make a big splash

WEND
That's all right with you

VI
Oh, yeah. Fuck yeah. I don't care. He can use me like a rug. I
just hope I don't suck ass

(Wendi smiles.

Again

WEND
Yes

VI
You mind if I stand up

WEND
Not at all

(They stand.

VI
But this first part... this first part is out to the audience,
right

 60

WEND
Yeah, I think that's what he wants. It's a framing device

VI
No, I know, I just..

WEND
But no, you're right, it feels like it should be out

VI
Yeah. Okay

(This time a little intention

and passion creeps in.

WEND
This breath.

VIC
This heartbeat.

WENDI
This moment.

VIC
This time.

WENDI
Will you listen? This time?

VI
I'm listening.

WENDI
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so

VI
Yeah, you're good

WEND
Excuse me

VI
You're good. Steve told me you were, but... yeah

WEND
Well... so are you

 61

VI
No, I'm shit. You're good

WEND
You're quite self-deprecating for someone who claims to be an
egomaniac

VI
Hey, I'm not much, but I'm all I think about

(Wendi laughs.

Okay, you ready

WEND
(still laughing
Wait, wait
(beat
You're funny
(beat
Okay. Hmmmmm

VI
You ready

WEND
Yes

(They start committing to the

scene.

This breath.

VIC
This heartbeat.

WENDI
This moment.

VI
This time.

WEND
Will you listen? This time? Will you?

VI
I'm listening.

 62

WEND
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so.

VI
I'm listening.

WENDI
You say I came to you. Yes?

VI
You did.

WEND
Why

VI
Why?

WENDI
Why did I come to you?

VIC
God sent you.

WEND
Why?

VI
Because I needed you.

WENDI
You believe that.

VIC
Yes.

WENDI
What for?

VIC
What for?

WENDI
Why did God send me?

VI
To...

 63

WENDI
Say it.

(Vic is acting, his character

looking for what to say. A voice
comes from the audience.

STEVEN (O.S.
There's no pause there

(Startled, they look into the

house.

WEND
Steven

STEVEN (O.S.
If you put a pause in there, you're gonna wreck the momentum

VI
Hey, man

(Steven walks through the

audience and onto the stage. He
is wearing a jacket, maybe a
ball cap of some kind. He is not
wet.

STEVE
That line has to surprise you, right? It needs to feel like you
stumble across it. "To save me."

WEND
(overlapping
How long have you been sitting out there

STEVE
(overlapping
-- THEN the pause. After the line. You pause because you
understand where she's leading you. And that she's right

WEND
Steven

STEVE
If you break up the line, they're gonna get ahead of you. We need
'em to get there simultaneously. Okay

 64

VI
Yeah

STEVE
Are you just saying that, or do you understand

VI
No, I get you

STEVE
You disagree

VI
No

STEVE
'Cause we can talk about it if you do

VI
No

STEVE
Good. Let's take it back

WEND
Have you just been sitting out there watching us

STEVE
(walking back into the audience
Back to the top, please

WEND
Steven

STEVE
Yes

(A pause.

Yes
(beat
Did you want to say something

WEND
Hello

STEVE
Hi. Good to see you. Let's go back to the top

 65

WEND
So we're rehearsing

STEVE
That's why we're here, right

WEND
Just like that

STEVE
You have something else to do today

WEND
Wow

STEVE
You need a break

WEND
No

STEVE
Cool. Let's go back to the top

WEND
You're not going to say hello

STEVE
Did we not do that

WEND
You're not going to say hello to your friend

STEVE
Hey, Vic

VI
Hey, Steve

STEVE
(to Wendi
How's that

WEND
(beat
Piss-poor if you must know

STEVE
Okay

 66

(beat
Hello, Victor. I'm very glad to see you. Hello, Wendi. I'm very
glad to see you. I can't tell you how excited I am that you're
both here. This is a perfect cast, my dream cast, really, and I
am deeply honored that you've agreed to come down here and work
with me on my first script. And in the immortal words of the
Bard: "Thanks, thanks, and ever thanks.
(beat
Let's go from the top of the scene

(Pause. Steven takes a seat in

the house.

WEND
You know what? No. I'm sorry

STEVE
You have a problem

WEND
Yes, I have a problem

STEVE
What is it

WEND
Well, for starters, we've been here for an hour and there's no
one else here

STEVE
I'm sorry. I got held up

WEND
Well, a call would have been nice, Steven. From someone

VI
Is the stage manager not coming, or...

STEVE
No, she won't be here

VI
Oh

WEND
Look, Steven, I'm not trying to be a prima donna or whatever,
but, I mean... it's a bit disconcerting to show up where you were
told at the time you were told to a place you've never been
before and then have to let yourself in. You know? I mean, if

"

 67

there was a change in plans or something then at the very least

we should have been contacted. I mean... it's just professional
courtesy
(to Vic
You know

VI
..

WEND
Am I out of line

VI
No

(Pause.

WEND
Is there a reason we don't have a stage manager

STEVE
The reason we don't have a stage manager is the stage manager's
in the hospital

VI
Something happen

STEVE
She was in an accident

VI
Oh, shit. Is she...

STEVE
She'll be okay

VI
What happened

STEVE
She hydroplaned or something. Ran into a tree

VI
What, like, today

STEVE
On the way to rehearsal

 68

VI
Holy shit

WEND
Oh, God

VI
You need to go over there

STEVE
No. That's where I've been

WEND
Are you sure

STEVE
She's gonna be fine

WEND
Jesus, why didn't you tell us

STEVE
(overlapping
She'll be fine, but she won't be here. Broke her arm or
something. Bumps and bruises.

WEND
Jesus

STEVE
But since we've already lost an hour I'd really like to get
started

WEND
Are you sure

STEVE
Yes. Let's go from the top

WEND
Look, we don't have to do this for us. We'll be fine

VI
Yeah, dude, we don't have to do this now. Why don't you go back
over there? We can catch up

WEND
Really, Steven

 69

STEVE
We don't have time

VI
Sure we do

STEVE
No, we don't

VI
Sure we -

STEVE
NO, WE DON’T! All right? We don't

VI
(beat
Okay

STEVE
Now can we please go from the top

WEND
I have to go to the ladies room

STEVE
..

WEND
I'm sorry, Steven, I have to take a piss

STEVE
Fine

WEND
Would you mind telling me where it is

STEVE
(pointing towards the backstage door
Through there

WEND
Right. It's locked

STEVE
No it isn't

WEND
Yes, it is. We tried it

 70

STEVE
We don't lock it. Try again

WEND
..

(She goes. We hear her bang

against the offstage door.

VI
You okay

WENDI (O.S.
It's open

VI
Huh. You need some company

WEND
I can manage

VI
(to Steven
She got a little freaked out earlier, being in here by herself
(beat
I could've sworn that thing was locked

STEVE
It sticks

VI
Ah
(beat
So dude, you need to check your wiring. You got a couple of
channels crossed somewhere. We had a little adventure with the
ghostlight. Little freaky
(beat
You all right

STEVE
I'm fine

VI
You sure

STEVE
I just want to get to work

 71

VI
That's cool
(beat
Your play kicks ass.

STEVE
Thanks

VI
Seriously
(beat
Has Andrea read it

STEVE
What

VI
Andrea. I mean, I know you told her, but still

STEVE
Told her what

VI
You know, the thing

STEVE
..

VI
Oh, come on, you're gonna make me say it
(beat
The thing. The affair

STEVE
She knows. I told her.

VI
Yeah, I know, you told me you told her. But still...
(indicating script
Kinda close to home, isn't it? I mean, shit. You got some iron
balls, bro

(Pause. Vic looks in the

direction Wendi left.

You ever talk to her? The girl? Other woman, whatever? I mean, I
don't want to get into your business, but..

 72

STEVE
It's a metaphor

VI
What is

STEVE
The play. It's a metaphor

VI
Just because it's a metaphor doesn't mean it isn't true. One of
your favorite quotes, right

STEVE
..

VI
I mean, obviously it's not literally true. The guy winds up
killing her.

STEVE
Yes
(beat; looking at Vic
He does.

VI
(beat
Yeah. Which I'm a little... not sure I get that. Why he does it,
but..

STEVE
He doesn't have a choice

VI
Yeah, right. I mean, of course
(beat
No, actually, I totally don't get it

(Wendi enters, unnoticed, and

stands listening.

VI
He's living in his own world. A world he made for himself. His
world. He built it slowly, making it just so, one piece at a
time. A family, a church, a congregation. Hidden away from the
outside world, from temptation. From Greed. Lust. Ambition. He
hid it away. To keep it safe. To keep it pure
(staring

 73

And then he meets Grace. And in one day she demonstrates to him
the possibility of a world that's everything he's been trying to
achieve: beauty, compassion, bliss, forgiveness. She shows him
the world he's built is unnecessary. That she can give him
everything he needs. And he wants to go with her, but he can't.
Because if he does, he will destroy everything he's made. He
can't live with that. But he knows..
(beat
He knows that he'll never be able to forget her. He knows he'll
never be able to forget... her body. Her laugh. Her instant
understanding of his... of the ache he's always felt, the ache,
his soul-crushing need to be loved, despite his sins, despite his
imperfections. He'll remember her willingness to hold him while
he cried. He'll remember her eyes..
(beat
And he knows that as long as there is the slightest chance of
reuniting with her he'll never be able to have peace. Because one
day he'll go to her. And if he does that, he'll destroy the world
he's built, and everything -- and everyone -- that's in it.
(beat
So he does what he has to do. To save his world.

(Pause.
VI
Dude, you are so freaking me out right now.
(beat; laughing
You didn't kill her, did you

(Pause.

STEVEN
Are you cold

VI
Ummm... Maybe a little, yeah

STEVE
I'm freezing my ass off
(to Wendi; without seeing her
You're back

VI
(to Wendi
Oh. Hey

STEVE
All right, let's go from the top

 74

VI
(to Wendi
Did you wanna --

WEND
(overlapping
Actually, Steven

STEVE
Yes

WEND
I was wondering if we couldn't just sit down and read through it

STEVE
Are you not off-book

WEND
Well, yes, I am, but -

So what's the point

WEND
I'm sorry. "What's the point?

STEVE
What's the point of sitting down and reading it when you're
already off-book

WEND
Well, I haven't actually read it with Vic and I thought it would
be nice to -

STEVE
Let's not waste any more time, okay

WEND
I don't think it would be a waste of time
(to Vic
Do you

VI
..

WEND
It would be helpful for me

"

 75

STEVE
It would be more helpful to just do the first scene. You're gonna
learn a hell of a lot more about the characters on your feet than
you are with your face in the book, right? Jesus, what have you
guys been doing for the last hour

WEND
..

STEVE
Are you off-book, Vic

VI
Some

STEVE
You either are or you aren't

VI
Then I guess I'm not

STEVE
Jesus

WEND
Could we at least read through the first scene

STEVE
(to Vic
Are you off-book for the first scene

VI
Yeah

STEVE
Then let's do it. We're wasting too much time here

WEND
How much time is it going to take to run the lines in the first
scene, Steven

STEVE
WENDI. This is extremely important to me. I know this is awkward
for you. I know we got off to a bad start. I'm sorry you showed
up and no one was here. I'm sorry I didn't call you. And you're
absolutely right, I should have called, but frankly, I was in the
middle of a rather intense situation and it just didn't occur to
me. But you are in the right. And I am in the wrong. That

 76

established, it would be a great favor to me if you could somehow

find the strength to move past it so we can get to work

WEND
Don't you dare patronize me, Steven

STEVE
I'm not patronizing you

WEND
You most certainly are

VI
I don't mind reading through it if that's something -

STEVE
WE'RE WASTING TIME

VI
..

WEND
(beat
Fine
(beat
Where would you like us to start

STEVE
At the top

WEND
Where, on the stage, would you like us to be

STEVE
Just start where you are and we'll see where it takes us.

VI
Just anywhere

STEVE
Anywhere, yes

(Pause. Vic and Wendi shuffle

into place.

VI
This okay

 77

STEVE
Yes, Vic, That's fine

WEND
(to Vic
Ready?

VI
Just a second

(Vic puts his head down. He

takes a deep breath, exhales.
(to Wendi
Okay

WEND
This breath.

VI
This heartbeat.

STEVE
What are you doing

WEND
The top of the scene

STEVE
That's not the top of the scene

WEND
They're the first lines

STEVE
It's a framing device. Those lines get repeated every time we
revisit the scene

WEND
We're aware of that

STEVE
Then why are you saying them

WEND
Because you told us to start at the top

STEVE
At the top of the scene. That's not part of the scene. It's a
framing device

 78

WEND
We know it's a framing device, Steven

STEVE
Then why are you doing the lines

VI
Where do you want us to start from

STEVE
The top of the scene

WEND
Which line

STEVE
The first line of the scene, Wendi

WEND
Which line is that, Steven

STEVE
The first one

VI
How about "Will you listen?"

STEVE
Yes. Thank you. The first line of the scene

WEND
Fine
(to Vic
You ready

VI
(looking at script
Just a sec
(beat; takes a breath. Putting it down
Okay

WEND
Will you listen? This time? Will you

VI
I'm listening.

 79

WEND
You say I came to you, yes?

VI
(uncertain
... Yes

WEND
..

VI
I'm sorry. Fuck me

(He picks up his script again.

STEVE
It's "You did.

VI
I know, I'm sorry

STEVE
It's not arbitrary

VI
Yeah, yeah

STEVE
There's a reason you're blowing that line. You want to know what
it is

VI
Uh..

STEVE
You're not making it important enough. You can't just agree with
her. No. You're saying "You did." You're re-affirming something.
It's not her idea, it's your idea, yeah

VI
Uh-huh

STEVE
Buddy, I really need you to be off-book for this

VI
No, I got it. I am. Let's go

(He drops the script.

"

 80

WEND
Will you listen? This -

VI
Just a sec. Sorry

(He lowers his head and takes

deep breath, exhales.

STEVE
You all right

VI
Yeah, just... trying to give you what you want, big guy

STEVE
Whenever you're ready

(Pause. Vic looks up at Wendi

and nods.

WENDI
Will you listen? This time? Will you?

VIC
I'm listening.

WEND
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so.

(Vic's cell phone rings. He

tries to ignore it.

VI
I'm listening.

(It rings again.

STEVE
Jesus fucking Christ

WEND
(she's out
I'm sorry

STEVE
Whose it it

a
 81

VI
It's mine. Sorry

(Vic goes for the phone.

STEVE
Could you turn it off, please

(Vic looks at the phone.

All right. Let's go again

VI
Hold up. Somebody's texting me

STEVE
Will you please turn it off

VI
Just a second

STEVE
FUCK

VI
It says it's urgent, Steve. What do you want me to do

STEVE
I want you to rehearse the scene

VI
Buddy..
(beat
You're pissing me off.

(He exits through the audience.

Silence.

(Wendi stands absolutely still.

She puts her face in her hands.
Steven stares at the wall.

(Silence.

WEND
Your behavior is shit, Steven
(beat

 82

You insisted, you fucking insisted that everything would be fine.

You remember? You remember saying that
(beat
Well it's not. It's not fine, Steven. It's shit
(beat
I've gone through hell the last six weeks, you realize that?
Lying to my husband. Again. He wanted to read the script. "Why
don't you want me to read it?" "Oh, It's not really all that
good, it's just a first draft. It’s… you wouldn't like it, it's
terribly artsy." Checking my bag a dozen times a day to see if it
was still in there. Picking up the house over and over again,
afraid I might have...
(beat
Last week I went to work on it and I noticed a page was missing.
I went through the house in a blind panic, knowing for certain
I'd been found out, that it had finally blown up in my face after
all this time. You know where I found it? Sarah's room. On her
little desk. She'd drawn a picture on the back of it of the three
of us. In red crayon. "My family.
(beat
Goddamn you, Steven
(beat
I sat there, reading it, the first time, hating you. Hating you.
Hating you for it. I wanted to scream, I wanted to... I couldn't
believe it. How could you write those things down? How could you
ever think for a moment...
(beat
But of course, I read to the end, didn't I? Of course I did. And
everything that happened came... flooding back on me.
(beat
I had forgotten. What it was like. How beautiful. It was.
(beat
And then you called me. At home. There we were, at supper. And I
picked up and I heard your voice for the first time in five years
and my stomach started doing flips like a little girl. And my
husband, the man I love, the father of my children, is sitting
five feet from me at the dinner table. And you asked me to do it
and you said you really couldn't do it without me and I knew that
it was wrong, but of course I said "Yes." Because God knows I
don't want anyone else doing it
(beat
And of course it was a huge fucking mistake. I've been completely
fucked up since I got here. Shaking. Hearing things
(beat
Do you have any idea how much courage it takes for me to be in
the same room with you, Steven? To look at you? Do you have any
idea? And then for you to behave this way? To me? Me, Steven
(beat

"

 83

I need you to give me a good reason to stay here. Because I can't

think of one

STEVE
..

WEND
Are you just going to sit there and stare at me

STEVE
You're beautiful

(Pause.

WEND
Well, that's lovely. That's just fucking brilliant

STEVE
I love you. I never stopped

WEND
Oh. God

(She starts gathering her

things.

I can't..

STEVE
Wendi

WEND
I can't do this, Steven

STEVE
Please

WEND
No, it was a bad idea. I'm sorry

STEVE
You have to stay

WEND
I can't

STEVE
You have to

 84

WEND
Why? WHY? Give me a reason. Not "I love you." A reason

(Pause.

STEVE
Because it won't mean anything without you.
(beat
It has to mean something. It HAS to. Otherwise
(he looks around the space
It was just a waste

WEND
What was

STEVE
(beat
All of it. Everything

(He looks at her, pleading. She

doesn’t understand. Starts to
respond…

(The outside door opens. Vic

enters.

VI
Sorry about that. You know somebody named Tom Carmann

STEVE
My brother-in-law

VI
Well he just sent me an urgent text

STEVE
Probably my sister

VI
I called the number like four or five times and kept getting
voice mail. You think she's trying to get in touch with you

STEVE
I don't know, Vic

VI
Why would she call me

 85

STEVE
Maybe she wanted to remind you to memorize your lines

VI
..

STEVE
All right, let's go from the top, please. Wendi

(Wendi’s still shaken. Vic

realizes something's up.

VI
Do I need to go back outside

STEVE
No. Wendi

(Pause. Wendi makes a decision.

She suddenly launches into the
scene with full commitment. Vic
struggles to keep up.

WENDI
Will you listen? This time? Will you?

VIC
I'm listening.

WENDI
Are you? Because if I'm wasting my breath I think the least you
could do is give me the courtesy of saying so.

VIC
I'm listening

WENDI
You say I came to you. Yes?

VIC
You did.

WENDI
Why?

VIC
Why?

 86

WENDI
Why did I come to you?

VIC
God sent you.

WENDI
Why?

VIC
Because I needed you.

WEND
You believe that.

VIC
Yes.

WENDI
What for?

VIC
What for?

WENDI
Why did God send me

VIC
To...

WENDI
Say it.

VI
(beat)
To save me.

WENDI
To save you.
(beat)
Do you see? Do you see?

VI
And then we kiss

STEVE
Good. Stop. Thank you. That was beautiful, Wendi. Thank you. Vic:
you cannot take a pause before "To save me.

"

 87

VI
Did I do that again

STEVE
Yes, you did

VI
Huh

STEVE
You can't do it, buddy. You're not on TV. This is theatre. I'm
sure what you're doing up there would be riveting in a close-up,
but nobody out here can see it, and if we can't see it, it didn't
happen

VI
..

STEVE
Let's take it back to "Why did God send me?" Your line, Wendi.
"Why did God send me?" whenever you're ready

WENDI
Why did God send me?

VIC
To...

WENDI
Say it.

VIC
To save me.

WENDI
To save you.

STEVE
Where's the tree

VI
(beat
What

STEVE
Script says you're standing under a tree. I'm not seeing the
tree

 88

VI
That's because there isn't one

STEVE
Well, I need you to make me believe there is one

VI
You want me to mime a tree

STEVE
No, I want you to invest in the physical reality of your
environment. We're not gonna have a real tree, buddy

VI
I'm aware of that, bro

STEVE
So show me the tree

VI
..

STEVE
What

VI
I just feel like I need to focus on her

STEVE
You can't do two things at once

VI
It's not...

STEVE
It's not what? You do it in real life all the time. You're doing
it right now. You're looking at the floor but you're also
listening to me. You're pissed off but you're also trying to
control it. Right

VI
..

STEVE
You need a tree

(Steven gets the ghostlight and

places it between Vic and
Wendi.

 89

There's your tree. I don't want to tax your imagination. From

"Why did God send me?

WEND
(beat
Why did God send me?

VIC
To...

WENDI
Say it.

VI
To sa-- OW!

(Vic grabs his head and winces.

WEND
You all right

VI
I bumped my head on a branch

(Wendi smiles.

STEVE
Come on, guys

VI
Dude, I'm investing in the reality of the environment

STEVE
Let's go, come on

VI
From the same place

STEVE
Yes

VI
(to Wendi, sotto voce
You're standing on the picnic basket

WEND
(playing along
Am I

"

 90

STEVE
Can we move on, please

(Wendi tries to get serious.

VI
Hey. Pssssst. You got a little pimento cheese on your shoe,
there

WEND
Do I

(She looks at her shoe, then

tries to "wipe it off" on Vic's
pants. He dodges.

VI
No fucking way

(They laugh, then become aware

that Steven is not amused. They
stop.

STEVE
You guys done

VI
Just trying to lighten up the proceedings, man

STEVE
Thank you for your contribution. From "Why did God send me?

VI
Dude..

STEVE
What

VI
(beat
Whatever. Never mind. Let's go

WENDI
Why did God send me?

VIC
To...

"

 91

WENDI
Say it.

VIC
To save me.

WENDI
To save you. Do you see
(beat)
Do you see?

VI
And then we kiss

STEVE
What are you doing

VI
There's a kiss there, right

STEVE
Right. So..

VI
You.... you want us to...

STEVE
What is this, a high school production? Kiss her

VI
Like, right now

STEVE
You don't find her attractive

VI
..

STEVE
Because I'd have to guess you actually do find her attractive
considering the amount of time you've spent flirting with her

VI
Okay, whoa whoa whoa

WEND
Steven -

 92

STEVE
(overlapping
You know what's funny about you, Vic

VI
That's not cool, Steve

STEVE
What's funny about you is that you are so involved in trying to
figure out how everything relates to you that you are completely
out of touch with how you relate to everything else. It's not all
about you, "bro"

VI
Steve -

STEVE
It's not about you, or your agent, or your manager, or your
publicist-

VI
(overlapping
Steve -

STEVE
(overlapping
-- or your lawyer, or your accountant -

VI
(overlapping
Steve

STEVE
(overlapping
-- or any of that shit, it's about these people
(gesturing to the audience
These people out here. And until you figure that out -

VI
(overlapping
Fuck you, Steve

STEVE
NO. I've been watching you do this for years and I got news for
you: you are never ever going to be anything more than a TV hack
unless you learn what it's like to get outside yourself and bring
that to your work

 93

VI
Steve, shut the fuck up, all right

STEVE
Transcendence, Vic. Transcendent moments. That's what I'm talking
about. I get 'em all the time, and I bet you do, too, except
you're so wrapped up in your own head you can't see them for what
they are

VI
..

WEND
Steven..

STEVE
You listening to Mahalia Jackson. You're not thinking about how
hungry you are, about all the stuff you were supposed to get done
today, or anything but where she's taking you. That's
transcendence
(beat
Or how about this? You're walking through the woods, it's early
morning, and you come across a web, a spider's web covered in
dew, the sunlight is hitting it, and it's shining, this pattern:
delicate feathery glass, and the perfect geometry of the thing
draws your gaze to the center where you discover the spider: wet,
crouched, hairy: a horror, a monster, and you can't take your
eyes off it, and you're amazed that such beauty can be created by
something so terrifying, that this art all around it spirals down
into death. That's a transcendent moment
(beat
You're in a car, on a wet road, spinning. The landscape rolls
past the windshield, right-to-left, over and over. A red barn
with a white roof. A stop sign. The tail-lights of the school
bus. A maple tree. Then the barn again, the stop sign, the tail
lights, the maple tree. They keep coming around. But every time
they do, the perspective has changed. And you realize it's
because you're not just spinning, you're also... moving on a
straight line. And this thought of being a giant metal frisbee
pops in your head. And every time you see the barn it's farther
away. And every time you see the tree it's closer. And you're
helpless. All you can do is watch. Time slows to a crawl: the
barn. The stop sign. The tail-lights. The tree
(beat
Transcendence

(Pause.

 94

VI
Wait. You were in the car with her

STEVE
What

VI
You were in the accident

STEVE
Of course

WEND
Why didn't you tell us

VI
Jesus, Steve

STEVE
She's okay, I told you

WEND
What about you

STEVE
What about me

WEND
Did they check you out

STEVE
Let's go back to the top

WEND
Steven

STEVE
What

WEND
Did you get checked out at hospital

STEVE
GOD! Why is it so fucking cold in here?

WEND
Did they take you in an ambulance

 95

STEVE
Top of the scene, please

VI
No no no, hold on a second

STEVE
We don't have time for this

VI
This is important, bud

WEND
Did they take you to hospital

STEVE
..

VI
You remember how you got here?

STEVE
Can we please rehearse

WEND
You could have a concussion, Steven

VI
That would explain a couple of things

(Wendi heads out through the

audience.

WEND
I'll be back in a second

(Pause.

VI
Buddy, if you're okay like you say you are, then I need to
understand why you didn't tell us

STEVE
..

VI
How'd you get here? You remember?

 96

STEVE
..

VI
Why didn't you tell us

STEVE
I wasn't supposed to be in the car with her. I promised

VI
What

STEVE
I promised her

VI
Promised who

STEVE
I promised Andrea I wouldn't do it again

VI
You're...
(beat
Steve.
(beat
Please tell me you're not sleeping with your stage manager

STEVE
..

VI
Ah, shit, Steve

(Wendi returns.

WEND
Did you drive a white Range Rover

VI
Yeah

WEND
There's no other cars out there but yours and mine. So he either
walked or got a ride from someone. We need to get him to
hospital

STEVE
We're wasting time

 97

WEND
We have plenty of time

STEVE
I want to rehearse

WEND
We're not going to rehearse, Steven. That's not going to happen.
(to Vic
Is it

VI
I think she's right, buddy

STEVE
Why is so fucking COLD in here

WEND
Steven..

STEVE
Top of the scene

WEND
No, we're -

STEVE
Your line, Wendi

WEND
No, Steven

STEVE
YES, Wendi! YES! YES YES YES YES YES, fucking YES! I NEED this
MOMENT! I HAVE TO HAVE THIS MOMENT! WHY IS THAT SO HARD TO
UNDERSTAND
(to Vic; almost pleading
It's not "a kiss". It's not just "a kiss", it's bigger than that.
It's LIFE. It's the REASON WE'RE HERE. Connection, communion, two
single souls, two spirits bound together, fusing together,
burning into each other so that neither one can tell where they
start and where they begin.
(beat; to Wendi, tender now
And when you feel it, you can never go back, can you? You can
never let it go. You'll walk through hell for it. For that
moment
(moving towards her, almost overcome

 98

When the rules that govern everything, all the rules that keep us
bound in place no longer apply: family, community, society, love,
hate, gravity, space, time, life, death. Nothing means anything.
Everything falls away. So that there is just this

(They are very close now.

This moment. This. Right now

(Pause. Wendi is crying. She

can't look away.

Say the line

WEND
..

STEVE
Please

(Pause. They say the lines to

each other. They're not acting.

WEND
Why did God send me

STEVE
To..

WEND
Say it

STEVE
To save me

WEND
To save you
(beat
Do you see? Do you see

(They come together slowly. The

kiss.

(Wendi pulls back suddenly,

gasping. She shudders violently.
Steven holds out his hand to
her.

y
 99

STEVE
Stay

(Wendi backs away, horrified.

She runs out.

(Pause.

(Thunder. The lights flicker.

VIC
Shit, bro
(beat
It was her, right
(beat
Yeah. I get it
(beat
You okay

STEVE
Don't answer that

VI
Don't answer wh --

(Vic's phone rings. Vic looks at

Steven.

How did you --

(Thunder: excruciatingly loud.

The lights go out: full dark.

Ah, shit

(Vic's phone continues to ring

in the darkness. We hear him
trying to find it.

Shit

(Vic finds his phone. He starts

looking around, using the
phone's screen for light. What
little it provides reveals the
dim form of Steven sitting on
the floor next to the
ghostlight, hugging his knees
tight to his chest. Vic walks

 100

right past him, but can't see

him.

Steve
(beat
Steve
(beat
Where'd you go, buddy

(Steven speaks in a normal

voice, but Vic can't hear him.

STEVE
(smiling
You remember that tour we did? That damn van we had to take
everywhere. You couldn't drive worth a shit

VI
Steve, are you in here
(Vic goes out towards the back
door.

STEVE
We had to get up before dawn, middle of January, and walk those
twenty blocks up to the garage. Nobody on the streets. Ten below.

VIC (O.S.
Steve

(We hear Vic try the offstage

door. It won't open.

Damn

STEVE
The wind ripping down. Cut through everything we had on.
(laughing
And we had on everything, man. Face numb. Fingers stiff with your
gloves on and your hands in your pockets.

(Vic comes back on.

VI
Steve, this isn't funny, bro

STEVE
And then we'd see John's. Oh, yeah. Plate glass glowing warm.
We'd go in: that warmth, that light. Smell of bacon and eggs.

 101

Hell, yeah. We'd sit. Stiff. Lean over a cup of coffee and let
the steam condense on our faces. God, that was sweet

(Vic crosses and stands right

next to Steve. He still can't
see or hear him.

I think... I need to go there. But I can't remember... where it

is

VI
Steve

("This Little Light of Mine

begins playing over the
speakers. Vic hears it.

Jesus

STEVE
Vic.

(Steven reaches out and touches

Vic. Vic shudders violently and
spins around. He can now see
Steven.

I got a lot of stuff to do. I'm gonna stay here a while

(Steven reaches over for the

ghostlight. It illuminates at
his touch. The plug is plainly
visible on the floor.

Try to keep warm.

(beat
You want to stay

(Vic backs away. He turns and

bolts from the theatre. Steven
watches him go.

(Pause. Steven gets his face as

close as he can to the bare
bulb, feeling its heat.

(The ghostlight fades as the

song plays. Steven sings along
softly.
.

 102

(singing
"This little light of mine, I'm gonna let it shine. This little
light of mine, I'm gonna let it shine. This little light of mine,
I'm gonna let it shine... Let it shine, let it shine, let it
shine.

(The song ends. Steven looks

directly at the audience.

Thank you

(The ghostlight fades out.

"

 103

A NOTE FROM THE PLAYWRIGH

This play is set in 2004. Although I think many of the topics and
much of the vernacular feels contemporary, it’s still very much
of its time. There are specific plot points and references to pop
culture which don’t really track if the setting is updated to the
present. There’s the smartphone revolution, of course. And the
characterization of Juilliard isn’t really applicable to any
student who attended the school after, say, the year 2000. Change
is inevitable.

That’s sort of what Ghostlight is about

I wrote this play as the final production of Mockingbird Theatre

in Nashville, a company I co-founded and for which I served as
Artistic Director for the entirety of its brief (but happy) ten-
year existence.

From a plot standpoint, it’s a fairly straightforward

supernatural mystery/thriller. But really, it’s a love letter to
theatre, and more specifically, to theatre people. It’s an
examination of why we do what we do, and why many of us continue
to keep on doing it even though it can sometimes feel like a lost
cause. The need to experience that elusive moment of perfect
communion between artist and audience is all-powerful. It has
consumed me for more than thirty years now. It might well consume
me (like Steven) into my next life

The adage “write what you know” inevitably leads to too many
books about writers, movies about the film business, and plays
about theatre people. There’s no question this piece falls into
the last category. However, my hope is that in addition to
writing for theatre folks, I’m also opening a window into the
rehearsal process for the layman. In my experience, this has
always involved hard work, intense concentration, boundless
metaphors, profane language, and wild flights of conversation
that touch on everything from politics to potty humor

After we closed the company, I put the play on a shelf for

several years. I always considered it extremely site- and event-
specific, and never pursued further productions or publication.
That said, I am delighted that a few kindred spirits have felt
strongly enough about the piece to mount their own productions.

I sincerely hope it will continue to enjoy some kind of (after)

life