Turning Idolator by E. C. Patterson

Act I: Loomings

Scene 1

The scene is set in NYC at the manluv.com on-line cam one on one chat room studios. (We’re on the internet folks). The stage is set with three compartments (chat rooms) each with computer and digital video "cam" and a young scantily clad model in each.

In station one is Guy Wikie, who is naked dancing in front of the camera. Max Ballard is in the second station. He wears a headset and busily types on the keyboard. Robert Sprague - aka "Sprakie", is in the last compartment and is laughing at the computer screen.

There are 3 (4 if it can be managed) off stage cast members, who are "miked" to take the lines of the "chat room" characters. These characters have "screen names" which are used during this scene. The only chat voice to be designated to a principle player is "tdye" - who is Thomas Dye. All the chat room typing is accompanied by an off-stage clicking-effect.

SPRAKIE

Jesus Marie - I can’t believe he asked me that.

(types)

"If you want to see my dick, you need to pay for a One on One."

PAPUPPY

"Papuppy here. Hi sweetie - how’s Robert tonight?"

SPRAKIE

(typing)

"Hi Papuppy. Cool, you know. Getting near the end of my shift."

MAX

(typing)

"You like my smile?"

CUMDOGGY

Cumdoggy says, "My, my - let’s see that smile"

(Max stands up and presses his face in a big smile to the monitor)

That’s my Max. Love that smile

PAPUPPY

Papuppy says, "Robert - show us your ass!"

BONERMAN

Bonerman says, "Yep! Show it to us now!"

SPRAKIE

(typing)

"Hi bonerman - you know the rules."

MONITOR1

Monitor 1 says, "Guys! Press the One on One button and Robert will be all yours."

(Guy continues his sexy, naked dance all during this segment)

CUMDOGGY

Cumdoggy says, "Max more than the smile. By the way, I’ll be in New York this weekend."

MAX

(typing)

"So, are you saying something?"

CUMDOGGY

Cumdoggy says, "Hey Bonerman, how are you this evening."

BONERMAN

"Would be better if you were here, Cumdoggy"

SWEETCA

SweetCA says, "Hey Anyone here from California!"

CREAMPUFF

Creampuff say, "I am"

SWEETCA

Where?

CREAMPUFF

Cupertino

SWEETCA

Cool! C U

MAX (laughing)

(typing)

"To Bonerman - how old are you?"

BONERMAN

Old enough

MAX

(typing)

"No fair! You can see me."

CUMDOGGY

Cumdoggy says, "Show us more -"

MAX

(typing)

"Teasers. How old Bonerman?"

(Bonerman signs-off"

Shit! He signed off. I scared him away.

(Max gets up, bangs on the wall)

(to Sprakie) Never ask their age Sprakie, it scares ‘em away.

SPRAKIE

Fuck! I could have told you that - you dumb ass newbie!

MAX

I’ll come over there and kick your ass.

SPRAKIE

What’s Guy doing - Awfully quiet over there.

MAX

I hear heavy breathing - he’s earning it, girl - doing the jack-off supreme!

SPRAKIE

Go for it Guy!

GUY

(in ecstasy) Shut your holes! You’ll make me blow this big spender’s dime. He’s been on for 25 minutes - nearing the $200 mark - and I want him again and again . . .

MAX

(laughing) and again. . .

SPRAKIE

(typing) "to Papuppy - Are you still there?"

PAPUPPY

Here, dear. Are you queer or what?

SPRAKIE

(typing)

"I’m a Kinzie 6."

PAPUPPY

What the fuck’s that!

SPRAKIE

(typing)

"Men only. I thought you knew. What do you do?"

PAPUPPY

I do them all.

CUMDOGGY

Cumdoggy says, "Max, how long do I have to wait here?"

MAX

(typing)

"tell ‘em Monitor 1"

MONITOR 1

Monitor 1 says, "Just press the button for a One on One and Max will be yours."

ASSPOUNDER

(with a french accent) Asspounder say, bon soir Robert.

SPRAKIE

(typing)

Good evening Asspounder.

ASSPOUNDER

Missed anything?

PAPUPPY

To Asspounder from Papuppy. "You missed an exciting show from Robert. He’s the best"

SPRAKIE

(typing)

"Thank you, Papuppy"

(Moaning sounds come from Guy. Both Sprakie and Max laugh wth abandon.)

CUMDOGGY

Cumdoggy says, "Max, what’s so funny?"

MAX

(typing)

"Just felt like a laugh, Cumdoggy."

(he suddenly decides to take his shirt off, slow and sexy)

CUMDOGGY

That’s it, Max. Wonderful. Keep going.

MAX

He’s going for it. Going . . . Going . . . he’s in!

(jumps with joy)

(typing) "Hey Cumdoggy - we can fuck around with this keyboard or for an extra charge - dial me at 1-876-manlove."

CUMDOGGY

Yes sir!

(Max’ phone rings. He answers using his headset)

ASSPOUNDER

Asspounder says, "Robert, how long have you been In this room?"

SPRAKIE

(typing)

"About to sign-off, Asspounder. Phillip will be strutting his stuff soon."

ASSPOUNDER

Oo la la!

MAX

So Cumdoggy, do you have a name?

CUMDOGGY

I do - but let’s not waste time with that crap. Start taking it off.

MAX

Oooo. A real brute. What do you want to see?

CUMDOGGY

Do you have toys?

(Max’s chat room dims - and he begins to get naked and dances during this next segment in semi-darkness. Meanwhile Guy has dressed and fishes out the "Model is On Break" sign and places it in front of the camera. He comes down stage and eats a sandwich).

PAPUPPY

Papuppy says, "Robert, how much longer?"

SPRAKIE

Time’s up, Papuppy.

(typing) "See you all tomorrow."

PAPUPPY

What time?

SPRAKIE

Check the fucking schedule asshole!

(typing) "I think I’m back at the same time sweetie. Have pleasant dreams."

(stands) And don’t swallow any wooden dicks!

(He switches the camera off)

Phillip enters and goes center stage

MAX

Oh Cumdoggy! Wouldn’t you like to be here in my . . . (moans)

PHIL

Wow Guy, he’s really into it tonight!

GUY

Hi Phil. Want some M&M’s.

(Phil declines - he stoops down and kisses Guy - Guy is a bit dim)

(Sprakie comes out of the chat room, sees Phil)

SPRAKIE

Well hon, it’s about time you got your ass out of bed. Was he good-looking - but more important, did he pay well?

(They hug and kiss - Sprakie squeezes Phil’s ass).

Too much lard here? A little more Gold’s Gym could be in order. Too many hours watching Millionaire and wishin’ in one hand and jerking off in the other.

PHIL

It was a busy afternoon.

GUY

Oh, my break’s up.

(offers the rest of his sandwich to Phil - who declines)

SPRAKIE

Guy, you’re always eating and always tempting others. Get thee behind me Satan! I hope those aren’t Max/ M&M’s.

GUY

(laughs) You’re so funny Sprakie.

(he goes back into his chat room, removes the sign and begins to type - his room dims)

MAX

(heavy heated) Oh that’s the way you like it Cumdoggy.

SPRAKIE

All these doggies. The internet’s filled to the brime with dogs. I have a papuppy, and didn’t you have a schlogdoggie or fido or something . .

PHIL

Hungbastard.

SPRAKIE

What does that have to do with dogs?

PHIL

A bastard hound.

SPRAKIE

Fuck you. I’m too tired for this! Come, Tell Sprakie what or who you did today. Come, ‘fess up.

PHIL

Actually, I took a long steamy bath and curled up with a book.

SPRAKIE

A book! Listen to Lady Chatterley here! Back copies of Advocate Personals or just some hard rock candy stuff? A book. The last time I picked up a book it was to call a florist, Jesus Marie - and that was to decorate for a doctor.

PHIL

What ever happened to Doctor Dick of Death!

SPRAKIE

Please - I still can’t sit down. It was Doctor Brian McMoldau of the Gustave McMoldaus, East Hampton’s finest. Well . . I thought I told you this, sis - He was hung like a you-know-what, and rich as Margaret Truman - but he had one flaw - a small flaw. (pause) He was as ugly as a Goddamn monkey’s ass - and although he made it worth my while, there definitely was no call for me to be the permenant houseboy. So, when the Doctor was in, my eyes were shut else I’d start laughing - and giggles would mean no supper - no little spending money at Saks.

PHIL

(laughing) Did you meet on-line?

SPRAKIE

Never date them (points to the chat room) Be polite, get them in the One on One - make fucking penpals out of them and they’ll come back and spend hundreds. Take your commission and go.

PHIL

Sprakie, they’re not all that bad.

SPRAKIE

I forgot - you’ve made the rounds there. Well, tell me. Have you found the sugar daddy of your dreams yet?

PHIL

No. But some of them are interested in more than a one nighter.

SPRAKIE

That’s the problem. Some of them are freaky with the love and romance. And . . . Oh, I know who you’re tinking of. No, no - that one you keep telling me about was not on tonight.

PHIL

Tdye.

SPRAKIE

Tdye - what kinda screen name is that. I can live with Fuckmonger and Asspounder, but Tdye. What’s that Tie Dye - like they did to pants before we were born.

PHIL

I believe it’s Thomas - and he’s a writer - and he’s very gentle in One on One . . .

SPRAKIE

Jesus Marie, you’re pathetique. Listen to me, I love you like my best set of luggage. Don’t fall for that line. He’s probably an old Troll. Or he’s a 10 year old kid using his father’s sign-on - or worse yet, he’s a straight serial killer.

PHIL

(laughing) I doubt that. You’re just jealous because your tricks turn out to be losers.

SPRAKIE

They’re all losers - If you spend money for sex . . . come on hon!

PHIL

Yeah, but look what they get!

(poses - then points to himself)

SPRAKIE

(poses) Remember, I’m Saks - you’re J C Penney’s. But really - I worry about your little romantic notions. It’s ok to make the cash - I taught you well. But when you decide these dudes are worthy of more than that, I caution you! Remember what happened to Jimmy . . .

PHIL

Jimmy was into heavy drugs, man. And I think he was out of control. He’d go with anything that walked.

SPRAKIE

Or crawled. He’d fuck a knot hole and worry about payment later!

(Moaning comes from Guy’s chat room. Phil and Sprakie turn in that direction)

Dumb-ass Boy’s making the bucks tonight. He doesn’t need any words of wisdom from Mama here. I think the dumber they are the more natural common sense comes to them in these matters. But, Jimmy . . .

PHIL

It’s time for work.

SPRAKIE

Be home on time. And . . . call me later.

(pause)

You listening? I don’t want to pick up a paper and see you sprawled across some Goddamn fence in the middle of Wyoming. I love your sorry ass - and worry about these romantic notions you get.

(Phil starts into his chat room)

Call me later - promise me.

(pause)

Hey!

PHIL

I promise.

SPRAKIE

And give my regards to all those boyz out there in the dark - Sprakie’s ready for his close up Mr. Bill Gates

(exits like Norma Desmond)

(The lights come up in all three chat rooms. Phil turns the camera on and strips to shorts and tee shirt. Max has finished his One on One and is dressed now, sitting by the keyboard. Guy is dancing naked in front of the monitor.)

MAX

(typing)

"I’m back boyz and available!"

FUNPUD

Funpud says "Max that was hot."

MAX

(typing)

"Thanks, Funpud! Like what you see in the small box, come have me full screen."

FUNPUD

How’s your cold?

MAX

(typing)

"Oh you sweetie. You remembered. Took lots of crap and its gone. "

PRISSYQUEEN

Prissyqueen says, "Back in the saddle hon!"

MAX

(typing)

"U bet, Prissyqueen! Riding those horses."

MONITOR1

Monitor 1 says, "Max can be yours by pressing the One on One button. He’ll do anything you want."

ASSPOUNDER

Asspounder says, bon soir Phillippe!

PHIL

(typing)

"Hi Asspounder. How’s it going?"

ASSPOUNDER

Fine here in Montreal - cold. Come up and warm me up. How’s your French.

PHIL

(laughing) (typing)

French is fine! And so’s my Greek!

PRISSYQUEEN

Prissyqueen says, "Max, my lad! How long’s your shift."

MAX

(typing)

"Prissyqueen, I don’t know - how long’s yours?"

PRISSYQUEEN

(laughs) Long, longing and ready. You bad boy.

ASSPOUNDER

Asspounder says, "You look so luscious tonite, mon Phillippe!"

PHIL

(who sees Tdye come on-line - typing)

"Evening, Tdye."

TDYE (TOM)

Tdye says "Ah sweetheart. How are you tonite?"

ASSPOUNDER

Well Phillippe, are you ignoring me? You look so luscious tonite.

PHIL

(typing)

"Sorry, Asspounder - thanks for the compliment!"

TDYE

Tdye says "Phil, Can we talk?"

PHIL

Talk. O yes, I want to talk to you. And I’d better do it fast, ‘cause Asspounder’s horny tonight and he’ll beat all to the "button."

(typing)

"Tdye - we could talk."

TDYE

Private chat.

PHIL

(typing)

"We could, but . . ."

TDYE

I know where the "button" is. I’m coming.

PHIL

O yes. O yes. Press it. Press it. He’s in!

(lights dim in the other 2 chat rooms)

(typing)

"Tom. You’re in."

TDYE

Tdye says "Good. I wanted to tell you how much I enjoyed our little session 2 days ago. "

PHIL

(typing)

"Well, you better start commanding me now - as this is costing you a fortune."

TDYE

No discounts?

PHIL

(typing)

"Tempting."

TDYE

Well I just want to talk.

PHIL

(typing)

"Talk or not, I’m getting naked for you."

(Phil quickly strips and sits back down at the keyboard)

(typing)

"Now, I want you to call me - but use the special number"

(typing).

(He puts the headset on - after a minute the phone rings)

Hello - Tom

TOM

Well, well there’s a voice of an angel in that sweetheart’s body.

PHIL

I’m blushing - and you can see it. Wait.

(Phil presses a few keys - and the enter key with bravado)

Since we’re just talking, I went on a break - You can still see me, but all the others can’t. And the meter’s not running.

TOM

Can you do that? Won’t you get in trouble? I don’t want to cause you any problem.

PHIL

No problem. I’m their star attraction. Losing me would be like closing the place down.

TOM

I am greatly honored.

PHIL

Well, not so fast. I can’t be on here like this forever. So, I have a question for you?

TOM

Shoot!

PHIL

We’ve been chatting for 2 weeks. And you’ve seen every part of me.

TOM

Mmmm, and how.

PHIL

And you seem to like what you see.

TOM

I’m here, am I not?

PHIL

Am I not? (laughs) I love the way you speak professor. You know I love to read good stuff.

TOM

So you’ve said.

PHIL

I mean like, Moby Dick

TOM

How appropriate.

PHIL

Bitch! I’m serious. I’ve seen the movie and thought it really . . . really . .

TOM

Wet?

PHIL

Shut up! Compelling. But then I picked up the book. I said to myself, who the fuck could get through this big motherfucker . . .

TOM

(laughs)

PHIL

What are you laughing at? You’re not one of these snobby assholes who find me amusing because I am exploring a brave new world!

TOM

Brave New World? No, I just have never heard Moby Dick referred to as a Mother-fucker.

PHIL

Oh! Well, that’s OK. I started reading it and it’s transformed me. The words are like little paintings - I can’t tell you - much better than the movie.

(pause)

TOM

You know, Melville was gay?

(pause)

You know, the mother-fucker who wrote the book.

PHIL

Are you making fun of me?

TOM

Not fun of you - enjoying the exhuberance of your youth. It’s infectious.

PHIL

That’s nice.

TOM

Have you ever seen a whale?

PHIL

Like in the flesh?

TOM

Like in the aquarium?

PHIL

In books only. Have you?

TOM

Yes, at sea.

PHIL

That’s wonderful. I would love that. Where can you do that?

Tom

At Sea!

(pause)

Actually at Provincetown - they have whale-watching excursions.

PHIL

At P’Town. I’ve never been. Love to go. They say the boyz are hot there and it’s wonderfully gay.

TOM

And now another reason! PLUS they have some great new plays performed there. Have you been to the theatre?

PHIL

Drags and such.

TOM

Ah! I would like to be with you when you see your first live theatrical performance.

PHIL

You would?

TOM

I would! But you know, you never asked me the question you wanted to ask me.

PHIL

Oh yeah. How old are you?

(pause)

TOM

48

(pause)

PHIL

That’s not that old

TOM

Who said it was?

PHIL

No one.

TOM

I mean, I have friends who are still alive at 54.

PHIL

Oh I didn’t mean . . .

TOM

Don’t worry - I know you’re a tad younger than me.

PHIL

A Tad. When you were my age, I wasn’t even born yet!

TOM

Now it’s my turn.

(pause)

Bitch!

PHIL

And are you like old and wrinkly - walk with a gimp and have a hunchback!

(pause)

TOM

Actually, I’m in a wheel chair - and lost a testicle in Vietnam.

 

(pause)

PHIL

I’m sorry.

TOM

(laughs)

PHIL

You bitch! How could I know?

TOM

Let’s not make assumptions. If you want to know what I look like - I could email you a picture - a jpeg . . . .or . . . .

PHIL

That would be nice - maybe a naked one ---- but we could like . . .

TOM

Like what?

PHIL

Meet somewhere

TOM

That would be fine with me. You won’t mind my seeing-eye dog?

PHIL

Cut it out! I need to get back to work. So, do you know where The Imperial Coffee Mug is in the East Village?

TOM

Know it well. What day?

(pause)

PHIL

Tonight?

TOM

Great!

PHIL

I’m off at 9.

TOM

Come as you are. (laughs) I’ll see you then.

PHIL

See you then

TOM

Yes, my sweetheart.

PHIL

Bye

TOM

Bye

(hangs up) (click)

PHIL

Yes! Yes, yes, yes!!

(Max comes out for his break)

MAX

(looking in his food bag for his M&M’s - he can’t find them)

Where’s my M&M’s. Who fucking stole my funcking M&M’s?

(he peaks into Phil’s chat room)

Did you eat my friggin’ M&M’s?

(Phil points towards Guy’s chat room)(Max bangs on the door)

(Phil dials the phone)

Guy! Did you eat my fucking M&Ms?

GUY

(typing)

"My, my somebody’s grumpy."

PHIL

(on the phone) Hi - Sprakie! Guess what? What are you doin’ now? I’ll meet you at . . .

(black out)

Scene 2

The Imperial Coffee Mug. There are three tables set up - high tables with bar stools. These are in front of a large window that gives a good view of the street. There can be several street passer-bys during this scene - and if that can be accomodated - there should be emphasis on Gay strollers, same-sex couples holding hands, etc.

Thomas Dye sits at one of the tables. At another table is a much older man, heavy set - dressed shabbily. Thomas looks anxiously around.

Enter Sprakie. He looks at the two men and retreats to the door.

SPRAKIE

Now, now - here’s a question. Which one? I told him so!

(Phillip passes by the window looks in and spies Sprakie - also sees the two men)

(he enters and Sprakie immediately accosts him to a corner of the shop)

Look, miss Romantic Notion - I bet your lover troll is that shabby guy with the snot hanging out of his nose. Distance is his friend.

PHIL

Not so loud. But what if it’s the other one?

SPRAKIE

Too young. You said on the phone he that was 48. This one’s about 40 --- maybe 41, even in dog years. No, you’d best retreat before trolly-guy spies you. Remember that he knows what you look like.

PHIL

Shit!

(The shabby man looks around - gets up and starts toward them)

SPRAKIE

Too late!

(Tom Dye suddenly notices Phil and jumps up)

TOM

Phillip! Over here.

(Shabbyguy leaves) (Sprakie seems disappointed)

PHIL

(relieved) Tom?

TOM

Ishmael?

(Phil greets him with a friendly hug)

SPRAKIE

Ishmael?

PHIL

Shut-up Sprakie. It’s from a book I’m reading.

SPRAKIE

Well, pardon my breath.

(sulky) (Phil pulls him over)

PHIL

Tom - this is my sister, Sprakie.

TOM

Robert? from manluv.com?

SPRAKIE

Just call me the chaperone. You see, Phil, he’s seen all of us from top to . . . .

PHIL

. . . so, I’m glad to see its you. I mean . . .

(Looks back towards the door)

TOM

(catching on - laughs)

You thought that that older gent was . . . (laughs).

Well, I take it you’re surprised that I’m not on my last legs.

SPRAKIE

Told you he’d have a wooden leg.

PHIL

shhhh

(to Tom) Don’t pay attention to him.

TOM

I never do!

SPRAKIE

Ouch!! That’s a low blow. I may turn out to like you after all.

TOM

Coffee?

PHIL

Never touch the stuff.

TOM

Then why . . .

SPRAKIE

Welcome to hustle central Mr. Dye.

PHIL

They call it that, but that’s not necessarily so in all cases.

TOM

Well, maybe something sweet? A turnover?

(Phil assents and Tom exits to an offstage counter to buy the sweet)

SPRAKIE

Well, Ishmael, he’s obviously passed the looks test - now find out whether he has any marketable securities?

PHIL

Actually, Sprakie, when he gets back, you’re gonna tell me that you have a hot date and need to leave right away.

SPRAKIE

Bitch. You won’t even let me come along and watch. I can make change you know. Who’s gonna work the credit card machine? Who’s gonna operate the winch?

PHIL

A hot date - you have - hear me - you have a hot, hot date.

SPRAKIE

(pouting) Well, little Ishie - if you insist. What’s this hot date I have look like? Well, whatever my date is --- will be --- he’ll be age appropriate.

PHIL

Why are you pestering me about his age? It isn’t the first time I’ve seen an older man.

SPRAKIE

This one’s much older - If I didn’t know better, I’d say he cruised Miss Nancy’s Schoolyard after work to get you.

PHIL

Shhh. He’s coming back.

(Tom returns with a turnover)

SPRAKIE

What none for me?

TOM

(shrugs) Robert - why do they call you Sprakie?

SPRAKIE

My name is Robert Sprague (cocks his nose). My Dahddy used to call me the little sprig. That became Little Spraguey - and that became a little pukey - so I changed it to Sprakie and it stuck.

(Phil laughs)

Be careful, Little Ishmael can stick too.

PHIL

I was wondering, Tom . . .

(pauses - looks at Sprakie)

. . .(pause)

SPRAKIE

Oh! Oh! I forgot. I met this wonderful guy last night and I promised to give him a blow job tonight - and if I don’t go he’ll start without me. Pardon my sudden flight of forgetfulness. You don’t mind if I slip out gracefully.

(Tom and Phil both assent)

Then onward I go. Gee I hope this cutie I met last night is not married - but what’s that to me. If you can’t make a new family - break one up!

(exits with flare)

TOM

Is he . . .

PHIL

Always.

TOM

I mean, is he always with you?

PHIL

He’s with me a lot. But we’re just good friends. He helped me when I first came out - and he’s guided me to better things.

TOM

So, you’re not together . . .

PHIL

Me and Sprakie?

TOM

He looked protective.

PHIL

He’s always protecting me. Don’t give it another thought.

(eating the turnover).

Mmm, this is good, thanks.

TOM

Don’t mention it.

(pause)

You know what I like most about you?

PHIL

My eyes.

TOM

How did you know?

PHIL

Everyone likes my eyes. They say they are compelling.

TOM

They’re more than compelling. They are non pariel.

(Phil shrugs)

Without comparison.

PHIL

That’s sweet. And do you know what I like about you?

TOM

My business?

PHIL

(hurt) How can you say that?

TOM

Well, you have been very honest with me. You have clearly stated over the last two weeks that we are a business arrangement. Only tonight the meter was shut down . . .

PHIL

Because, every once and a while I like to stop the entertainment crap and touch something real. What I like most about you is that you haven’t asked THE question?

TOM

What question?

PHIL

Well, you can’t imagine the bastards I put up with in this business. But since the Internet’s been around, it is a helluva lot safer than before. I’ve had some tight spots with some weird people.

TOM

I bet.

PHIL

But when I bump into someone who’s gentle and seamingly kind - they ultimately ask me the Question? Why do I need to sell myself?

TOM

How judgmental!

PHIL

Exactly. I like what I do. I can do dozens of other things. I like to show my body off to others and let them pay for the pleasure. I have fun. But you haven’t asked that question yet,

(pause)

unless you were about to?

TOM

"What is a girl like you doing in a place like this?"

PHIL

Stop. (laughs)

TOM

Then, why is a man like me with a girl like you?

PHIL

(gives him a hug) Exactly.

TOM

There’s something else I like about you.

PHIL

I bet.

(holds his crotch)

Tom

Well, I like that - but I also like the way you respond to me and others on-line. You’re kind and sweet, but honest and intelligent.

PHIL

Intelligent?

TOM

Yes, intelligent. You don’t take yourself so seriously as to ignore the needs of other people. When we did our first One on One - I told you I was a One on One virgin - and you guided me step by step.

PHIL

Well, we are taught to slow you all down . . .

TOM

Taught?

PHIL

Well, manluv.com tells us to slow One on One’s down so you’ll run out of time. Then you’ll be hot and bothered and be willing to extend the time and it costs more per minute then. There’s a different rate when you’re extending. And my commission’s better if I get someone to run out of time and extend.

TOM

That’s highway robbery. You’re bursting my little fantasy.

(Phil touches Tom’s arm)

PHIL

Does this feel like a fantasy to you?

TOM

I don’t know. You can touch fantasies you know. Remember, when you read books, you go into a virtual world. But the whole time you’re holding something in your hand.

PHIL

Well, all I know, is our One on One’s have been gentle and respectful.

TOM

Yes, you danced like Salome around my head.

PHIL

Lost your head, eh?

TOM

Intelligent boy.

PHIL

(holds up turnover)

Boy with candy.

(Florian Cooper enters, sees Tom and comes over)

Flo

Tee - here you are?

TOM

Flo (to Phil) it’s my agent. Not good timing, but still.

(to Flo) Come join us. Phil this is Flo, my agent . . .

FLO

Phil, glad to meet you (shakes hand).

(to Tom) I’m glad I caught up to you. We had an offer for Bright Darkness - so I’ll need you to look over a contract (takes contract out) (Tom stops him)

TOM

Ah - actually Flo, Phil is my date. You know, this can wait until morning.

FLO

Ah! Sorry.

(looks a Phil)

You look familiar - have we ever met?

(Phil starts to answer)

TOM

I don’t think so.

(to Phil) Tom is a family member.

FLO

Gay as a goose.

TOM

In fact, he’s the one who popped me out of the closet long before my career started as a writer.

PHIL

So you’re sisters. Like me and Sprakie?

TOM

Something like that.

FLO

I like that. Sisters. So, are you guys going out dancing? I won’t be in the way.

(Phil looks at Tom with panic)

TOM

Actually, Flo, we’re going to go back to my place . . .

FLO

Great. And we can pick up some Chinese food. Do you like Chinese?

TOM

Actually, we’re going to go home and discuss Moby Dick.

FLO

What? That old fish tail.

PHIL

He isn’t a fish - he’s a mammal.

FLO

Hey kid, I read the book in High School. So, Tom you’re saying . . .

TOM

(to Phil) Excuse us a minute.

(Tom takes Flo to the side)

Flo, give me a break. I just met him and I like him and I think he likes me.

FLO

Give ME a break! You’re twice his age. Is he jail bait?

TOM

Please Flo, don’t get out of line. I want to get to know him. And if you come with us, you’ll just rattle on about the army and the stories of us in the old days - and this is not about us in the old days. It’s about me in the now days. So, please.

FLO

Tom, Tom, Tom.

TOM

You sound like a friggin’ bongo. Just. . I’ll see you tomorrow.

FLO

I just hate to see you get hurt.

TOM

Bye and wave bye-bye to Phil.

(Florian leaves quite upset)

PHIL

I hope I didn’t cause any trouble. You know you asked about Sprakie and me - but I never asked you if you were together with someone.

TOM

Flo and Me? No, I don’t see that.

PHIL

Somehow, I think he may.

TOM

No, you have to know Flo - he’s like my oldest piece of furniture. He’ll be OK.

(long pause)

Well, what’s next?

PHIL

Shall we go to your place and discuss Dick?

TOM

You mean Melville’s Dick? I mean Moby's. . .

(pause)

PHIL

I like your smile.

TOM

You make me laugh. You make my heart feel . . .

PHIL

Young.

TOM

Well, young - what’s age anyway? Isn’t that just another number somewhere out there that we’re supposed to live up to?

PHIL

Just a number - no other meaning.

TOM

Quite clinical. Even when we feel our age, and it makes us restless, we still need to . . . need to . . .

(pause)

 

(From Moby Dick)

"Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzily November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; then, I account it high time to get to sea as soon as I can."

PHIL

Ishmael?

(Tom nods)

Loomings?

(Tom nods)

But Tee, can I call you Tee?

(Tom nods)

The time for sadness is over. Come swim in the sea with me. Take a deep breath - what do you smell?

(Tom does)

TOM

Coffee.

PHIL

No do it again! (he does) Smell the salt air.

TOM

Yes, yes - now I do.

(touches Phil arm)

Guide me to it. Let me be a child again, guided to the senses I never felt when I was truly young. Guide me to the warmth of May days that I thought were long dead on the treeless plains. Show me the heart of youth through your beacon eyes. Take me to the edges of the springtime sea.

(Phil is stunned and amazed)

PHIL

That is beautiful.

TOM

I am a writer you know, sweetheart.

PHIL

(sighs) Sweetheart. Let’s go find the book. My beacon eyes are dying to see your hairy ass.

TOM

(indicating they should leave)

Lead on.

(They start out, then Phil stops suddenly)

PHIL

I take MasterCard, Visa, and American Express.

(Tom looks concerned - then laughs)

TOM

(sees it’s a joke)

You make me laugh. Besides, I always pay cash.

(They leave. The stage is empty for a short time - then, outside through the window we see Florian who watches the couple as they cross the street. He then bangs his fist against the glass)

(black-out)

Scene 3

Tom’s apartment. Center stage is Tom’s bed with Tom and Phillip naked under the covers and in each other’s arms. On each side of the bed are 2 clothes trees each holding the costume the two players will be using in the Flashback sequences. Stage left (audience’s left) is dark - but here will occur the Flashback to 1971 for Tom Dye. Stage right (audience’s right) is dark - but here is where the flashback to 1996 will occur for Phil.

Tom stirs, sits up - kisses Phil, then sits on the edge of the bed.

TOM

(from Moby Dick)

"We had lain thus in bed, chatting and napping at short intervals. The more so, I say, because truly to enjoy bodily wamth, some part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. So, I kindled the shavings, kissed his nose; and that done, we undressed and went to bed, at peace with our own consciences and all the world. "

PHIL

(sitting up)

Dick again?

TOM

(placing his finger on Phil’s lips)

"How it is I know not; but there is no place like a bed for confidential disclosures between friends. Man and wife, they say, there open the very bottom of their souls to each other; and some old couples often lie and chat over old times till nearly morning. Thus, then, in our hearts’ honeymoon, lay I and Queequeg - a cosy, loving pair."

PHIL

Melville was Gay!

TOM

He was - but I’m not so sure about Queequeg and Ismael. Actually, it’s passages like this that well up from the golden soul of the sensually discriminating palatte that glow universally to all that hear it. Gay or not - it is true.

PHIL

Disclosure of the soul?

TOM

Chatter in bed.

PHIL

Better than sex?

TOM

Not better. Different - and with it - the full blend.

PHIL

Wow. The words flow out of you like . . . like . . .

TOM

Diarhea

PHIL

Aww. No, silk.

TOM

Silk - as in silk stockings or silk and satin sheets.

(holds him)

PHIL

Oh that feels good.

TOM

Ah, but remember - for it to feel good and warm, some part of you must be cold.

PHIL

I’m afraid a good deal of me is cold.

TOM

I don’t believe it. And you think me warm? Actually, I was as shy and diffident as they come. I knew I was different - but was very afraid to face it all.

PHIL

How did you come "out?"

TOM

I was in the Army.

PHIL

When?

Tom

1970-72 - in Germany.

(Tom stands and goes over to the clothes tree and begins to get into his old Army fatigues. He dresses during the following narative).

I was stationed in a little town in Bavaria - but a big military installation. I was a clerk-typist and also was responsible for driving the commander’s jeep. Sort of a Radar O’Reilly. One duty of the Battery Clerk was to show training films - so, I was sent off to "Projectionists" School. Now, this school was in a city near Nuremburg - a place called Fuerth. I was sent alone - and as it turned out there was only one other guy in the class.

Now the barracks where I stayed was called O’Darby Kaserne. I sounds Irish, but it was quite German and was built next to the Military Prison. The barracks were virtually empty - as they were, what they call "transient" barracks - only used for temporaries at the Kaserne - which the projectionist school students - the two of us - were. It was very run down - pretty scary in fact, especially to a shy guy like me.

(the lights begin to dim to a black-out center stage - while the stage left scenery gradually fades in.)

Scene: 1971 O’Darby Kaserne - Fuerth, Germany. There are 2 bunk beds set near a high window. Turrets can be seen through the window. The walls have peeling paint. Only one of the beds are made. There’s a door at the back of the stage. In the top bunk bed is Florian Cooper - in shorts and tee shirt. As the scene lights up, we can hear the marching and drilling of the Prisoners from the prison.

(still in the dark center stage set.)

The prison was the most eery thing about this place. Morning, noon and night they drilled those prisoners.

Tom enters the flashback area, carrying a full duffelbag - he wears his fatigue cap. He slowly walks towards one of the bunk beds - then throws his gear on an empty bottom bunk. He notices Florian.

TOM

(refers to the prison noise)

What a racket? They don’t drill us like that in Grafenwohr

FLO

You’re stationed in Grafenwohr?

TOM

Afriad so.

FLO

I was there for 2 weeks. This noise here is nothing compared to the tanks firing all day long at Grafenwohr.

TOM

Shakes the windows. But you get used to it.

FLO

You can get used to anything. And, that next door is a Prison . . .

TOM

Prison? Well I’ll be damned.

(pause)

How long have you be here?

FLO

(sits up with his feet dangling over the bunk)

Four days. I’m Florian Cooper.

TOM

Tom Dye. Has it been this quiet?

FLO

Quiet? You just complained about the noise. You mean empty. Yep. And I think we’re it.

TOM

Projectionist’s School?

FLO

We are it. So, relax - enjoy the quiet - or noise - and get ready for a week of spockets and film repair - old newsreels and other shit.

TOM

Sounds boring.

FLO

Well, have you been to Nuremburg?

TOM

No.

FLO

(jumps off the bunk)

Well, stow your stuff - wash up. Have you eaten yet?

(Tom nods no)

Well, there’s good food - and let’s hit the town.

(freeze)

TOM

(narrating to the audience)

So, that’s what we did. And Nuremburg - well, they pronounced it Nuernburg - was a short mini-Bahn ride away (that’s a trolley). And I was amazed at the place. It was completely surrounded by an ancient wall - with torrets and towers - and old churches and cobbled stone streets. I never saw anything like it in my life. Years later I found out the whole place was bombed to shit during the war and the Kraft Cheese company rebuilt the city - so it wasn’t really that old at all - sort of like a living Disneyland - but, I was young, foolish and in love with novelty.

We ate in a Bulgarian restaurant, complete with old saddles hanging from the wall - and then hit a few bars and a risque movie. While in the movie, I noticed my new friend Florian, that is Flo, had a bit more to drink than he should - and his hand was straying in the movie - his leg was rubbing against mine. Now, I took it to be the beer - but still I found it quite enjoyable. So, when we returned, I helped him undress - and got him into bed.

(scene reanimates - Tom helps Flo up to the top bunk)

TOM

Flo - perhaps you should sleep on the bottom.

FLO

(really drunk)

Didja fold up my grood pants --- in case I puke?

TOM

Don’t worry.

FLO

I had a grood time - a really, really grood time - anight and I. In fact, I feel like a king, a regular king. I feel like the fucking Lawrence of Arabia.

TOM

Literally. Well, Lawrence - let’s get your ass to bed. (laughs)

FLO

Where’s my camel? Where’s my fucking camel.

(the Prison sounds start. Flo goes to the window).

Shut up out there!

TOM

Not so loud, they’ll shot you.

FLO

Shot me? Me? As long as they leave my fucking camel alive.

(pause - he stares at Tom, then kisses him).

TOM

To bed with you. Now. I’ll put your camel to bed. Trust me (laughs)

(Flo passes out on the bed)

(freeze)

TOM

(narrating to the audience)

And the next morning, except for his headache, he didn’t remember a thing. But I did. I remembered that kiss. It made me feel alive and nothing any woman ever gave me could compare. I had known that I was different by let’s say eight or nine - I peeked at all my friend’s dicks whenever I got a chance. I scrounged for all those Muscle Boy books, those meagre lot of flesh we had in those days to inspire the sexual imagination. I even went to the Gay section of Riis Park once with a randy High School friend - whose gaydar was working - but I didn’t bite. I stayed in that closet. But Flo’s drunken kiss woke up the wonder in me. But that next morning, he didn’t even mention it.

So, we went to this boring Projectionist’s class - and then on the last day I was sitting on my bunk writing . . .

(Tom takes off his clothes down to tee shirt and skivies. Flo is now in the top bunk watching Tom write)

FLO

Hey T, you’re always writing. Letters?

TOM

Sometimes.

FLO

Now?

TOM

You don’t want to know.

FLO

No, I do!

TOM

You’ll laugh

FLO

I won’t.

TOM

(hesitates)

I’m writing a poem.

FLO

Dick-head. Let’s hear it.

TOM

No I don’t . .

FLO

Please. I won’t laugh.

TOM

(stands near Flo - who is still in bed).

"They march and drill all day

Like fire kept at bay

And left to smoulder in the sun

To quench their sense of burning.

I hear them and am filled with yearning

Not to be inside them

But to have them inside me

To drill and march on my prison soul

To smoulder in my sun.

Locked away in a dark place,

A fetid place that allows no growth

Or truth be told

This high wall holds the soul from flowing

Through to the ebbing sea.

Not the prisoned marchers drilled.

But, the soul that speaks of me."

(Flo jumps off the bed - hugs Tom, who resists at first, then hugs back. This leads to kisses. Flo pulls Tom to the bottom bunk and they start disrobing as the lights dim. As they dim to a black-out - the prison sounds start once more.)

TOM

(comes to a spot light. He takes off the rest of his clothes as he walks back to center stage. By the time he gets back to Phil, he is naked once again and the lights are on center stage.)

TOM

Never was sex so wonderful. And Flo and I stayed together through the night. We met every other weekend in Munich, got a hotel and fucked like bunnies. So, I guess I was out to at least one person. But if we were ever caught, we would have been put in that Prison. Not too much difference today in the military - if you ask me, I’ll tell. But it was a scary, secret time.

(sits at the edge of the bed)

And I wrote and wrote. I got a job with Newsweek. Flo got a job with Dun & Bradstreet; and we moved in together in a walk up in Brooklyn.

PHIL

So you were together?

TOM

Never really.

PHIL

That’s bullshit. He brought you out of the closet. You scurried all over Germany to hide the salami, you get dicharged, live together and . . .

TOM

Not sleep together. In fact, I became interested in other men - and he became interested in pedalling my short stories, poetry and novels, So, I let him become my agent. Soon, I moved to New York and so did he -- but to a separate apartment. So, we see each other every day - we vacation together at P’Town every year. But, sometimes Flo can be very smothering in his attention to my affairs.

PHIL

Did you love him?

TOM

I love all my friends.

PHIL

That’s a pat answer, Mr. Give-me- a-Prison-Guard.

TOM

Where did you pick expression up? Robert?

PHIL

Now, when it comes to friends - Robert has been true and blue. And he’s always Sprakie to me.

TOM

Have you ever read Dicken?

PHIL

No.

TOM

Well, friends are not always what they seem. Artful Dodgers are on every street corner waiting for poor orphaned waifs.

PHIL

Don’t bad-mouth Sprakie.

TOM

Sorry.

 

 

(Phil gets up and during the following narative, dresses himself in high, tight shorts and tight tee-shirt.)

PHIL

Sprakie was there when I needed him. You know, you came out gently and naturally. It wasn’t that easy for me. I mean I was out fooling around - and I knew other guys - I mean friends. But, I never told my family. But when I did!

(black out stage center - Part of stage right brightens to show a street outside an apartment building. There are shouts coming from inside the apartment house.)

PHIL’S DAD

(inside the house) You faggot! You fucking dirty little bastard faggot. I don’t ever wanna see your sissy ass here again!

(Phil tumbles onto the scene - there’s a shower of clothes thrown out a window at him)

Take your pansy ass out of here! Do you hear me!

PHIL

Dad!

PHIL’S DAD

Don’t you Dad me! You’re dead to me! Do you hear me? Dead to me! (to Phils’ mother) No I won’t calm down. He’s your son too.

PHIL

Mom - let me back in.

PHIL’S DAD

She ain’t gonna help you. She’s out of your life too, you hurtful little son of a bitch! I don’t care what happen to you.

PHIL

Mom

(hysterically crying, trying to pick up his clothes in heaps).

Mom let me back in. I’m sorry. I’m sorry.

PHIL’S DAD

Mildred, if you let that asshole back in this place - I swear you’ll go next. Don’t try me! He’s dead to us! Dead to us!

PHIL

Oh, Mom. I’m sorry. What can I do? I can’t help how I feel. I can’t help it. I’m not like you. I’m not like the rest of you. Where will I go?

(it starts to rain- He bangs on the door)

Mom it’s raining! It’s raining! It’s raining. Look at me Mom and Dad. I’m adrift here - nothing - no shore or anchor. What am I to do?

(he falls to the ground - the apartment house blacks out. There’s a spotlight on Phil)

I have nothing to hold on to. Nothing. Look at my clothes. They’re all wet. I have nothing to feed me - to feed my soul. Mom . . . Dad . . . My heart - my heart is breaking.

(weeps like a baby)

No mend. No mend. My heart is breaking and there’s no mend!

(Phil weeps for some time before the lights come up)

(lights come up on Sprakie’s apartment. Phil is outside the door and slowly catches his breath - he gets up and bangs on the door. - no one answers. Bangs again. Sprakie enters from another room, getting a robe on his otherwise naked body).

SPRAKIE

 

I’m coming. Jesus Marie, who’s there?

PHIL

Robert, it’s Phillip Haxie.

SPRAKIE

Who the fuck is Phillip Haxie?

(remembers) Oh

(pause)

Oooh. Nice.

(opens the door)

Jesus Marie, you’re all wet.

(Phil enters).

PHIL

Do you remember me?

SPRAKIE

I remember your dick. What the fucks the matter? You look like shit.

PHIL

Robert…

SPRAKIE

Call me Sprakie. I hate that other name.

PHIL

Sprakie, my parents threw me out.

SPRAKIE

Out. You mean they didn’t know?

PHIL

No. It was terrible.

SPRAKIE

Oh, parents always know. They’re in permenent denial, until they hear the words - "I’m Gay" (sings it). Even the liberals one are in shock, like they didn’t know. You know, "Build the new highway through anyone else’s backyard but mine."

PHIL

No Sprakie. They were violent. At least my Dad was. My mother cried. My Dad called me horrible things. (cries)

SPRAKIE

(Hugs and holds him)

Calm down. You’ve been called those things before. I know it sounds awful when a parent says those things - but remember . . . oh shit. I’m on the clock.

PHIL

On the clock?

SPRAKIE

I have something baking in the next room.

PHIL

Baking?

SPRAKIE

Baking. Panting. Sighing for my ass. A trick!

PHIL

Oh, I’ll go.

SPRAKIE

No, you sit hear, dearie. I’ll get rid of him.

(goes into the next room)

(off stage) I hate to tell you this guy, but you’re the worst lay I’ve ever had - and here’s a refund. Get dressed.

(Sprakie returns - wiping his hands of the trick, who dresses himself on the way out, fumbling with clothes and money).

PHIL

(in better spirits)

You're. . . ah, I mean . . .

SPRAKIE

A hustler. Not a prostitute. I don’t go out for pizza - I have it delivered. Now, enough about me. What do you do for a living?

PHIL

I live at home.

SPRAKIE

Not any more you don’t.

(pause)

Mmmm. But you know, with that baby face and body you certainly could get work. Dancing even.

PHIL

I don’t know whether I could just do anyone.

SPRAKIE

I think you could.

PHIL

I don’t think that’s who I am.

SPRAKIE

Listen, Lamikins - no matter how much you are, you can always be more.

(looking him over)

You’re so sweet. Where did I pick you up?

PHIL

At the Monster.

SPRAKIE

And we came here? Oh, yes we must have - how else would you know to come here? But, why did you come knocking at my door?

PHIL

Well, I liked you. And most other men were kind of rough and hard on me. You were gentle and I knew . . .

SPRAKIE

. . .I was a soft touch and had an apartment. Smart thinking. I like that.

PHIL

Well, it’s raining - but when it stops I can go.

SPRAKIE

No, no --- get out of those wet things. Let me help.

PHIL

Oh yes.

(he strips with Sprakie’s help. Then, Sprakie gives him a hug)

SPRAKIE

For every boy, there’s a toy. In the scheme of things, you can either hunt for the one - or find them by the dozen, fast and disposable. But while they pass through, you make them pay.

PHIL

And me. Will I need to pay?

SPRAKIE

Well nothing’s free. But I think you’ll be a keeper. You can stay here until you find something better. And since you already know the way to my bedroom, I’ll meet you there after you wash away the mud.

(Sprakie gives Phil a big squeeze and goes into the other room)

PHIL

(Coming back into the main center stage scene - still quite naked - while the stage right scene blacks out)

So, Sprakie is a good friend. Four years ago he helped me out of a bad scrape. I live with him still.

(sits back down on the bed)

TOM

You live with him still - and you’ve gone to bed with him, and you deny that you two are together.

PHIL

I slept with him that night - and we actually slept. By the time I got to his room, he was snoring. We hug and are affectionate - but as sisters. And I pay him rent for my little cubby.

TOM

And your parents?

PHIL

I pass there once and a while, but I haven’t spoken to my father since that night. I sometimes see my mother. I wait across the street and see her come out. I know she sees me. But I am afraid to speak - I don’t want him to harm her.

TOM

Maybe some day?

PHIL

I’m dead to them. I’m invisible.

TOM

You my dear glisten in the morning sun - and that which glistens is not invisible.

PHIL

(hugs him)

I don’t know whether you’re just a sweet man or a sweet talker.

TOM

Probably a little bit of both. I like you a lot.

PHIL

Sex was good, eh?

TOM

Sex was magnifique - but, it scared me.

PHIL

Scared you? I know you’re not a virgin, especially as you told me . . .and

TOM

Especially at my age!

PHIL

Back to that.

TOM

That’s what scared me. I am much older than you. And yet, you make me feel young, and I was never young even when I was young. But, when we get physical, I am reminded of my saging belly, my shrivelled balls and that I can’t go a long time like . . .

PHIL

Like who? Don’t believe all you hear or read. Too many porn flicks! They tell you every dudes got a big schlong, and can go for 30 minutes and then again and again. Guess what? I’m still lookin’ for Mr. 30 minutes.

TOM

So, you’re saying I’m ok.

PHIL

I’m saying, you’re great - and you have such passion and experience.

TOM

I thought you were the one with all the experience.

PHIL

No, I’m the one who’s had the variety pack.

TOM

Well, I guess age makes us children once again. That would make you older than me . . .

PHIL

In dog years maybe. Listen, I have no problem with your age, Mr. Not Quite 30 Minutes. In fact, your age makes you more . . .

TOM

Settled?

PHIL

Easy on my soul - and on my bones - and on my lips. (they kiss)

TOM

Why go home to the Sprakmeister?

PHIL

Not tonight. I’m here tonight.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

End Act One

TOM

How about if you came here tomorrow.

(they kiss)

and the next day

(they kiss)

and the . .

(they fall back into bed)

(black out)

 

 

continue