Scene 1
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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.
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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."
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PAPUPPY
"Papuppy here.
Hi sweetie - how’s Robert tonight?"
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SPRAKIE
(typing)
"Hi Papuppy. Cool,
you know. Getting near the end of my shift."
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MAX
(typing)
"You like my smile?"
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CUMDOGGY
Cumdoggy says, "My,
my - let’s see that smile"
(Max stands up
and presses his face in a big smile to the monitor)
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That’s my Max. Love
that smile
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PAPUPPY
Papuppy says, "Robert
- show us your ass!"
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BONERMAN
Bonerman says, "Yep!
Show it to us now!"
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SPRAKIE
(typing)
"Hi bonerman -
you know the rules."
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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)
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CUMDOGGY
Cumdoggy says, "Max
more than the smile. By the way, I’ll be in New York this weekend."
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MAX
(typing)
"So, are you saying
something?"
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CUMDOGGY
Cumdoggy says, "Hey
Bonerman, how are you this evening."
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BONERMAN
"Would be better
if you were here, Cumdoggy"
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SWEETCA
SweetCA says, "Hey
Anyone here from California!"
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CREAMPUFF
Creampuff say, "I
am"
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SWEETCA
Where?
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CREAMPUFF
Cupertino
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SWEETCA
Cool! C U
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MAX
(laughing)
(typing)
"To Bonerman -
how old are you?"
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BONERMAN
Old enough
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MAX
(typing)
"No fair! You
can see me."
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CUMDOGGY
Cumdoggy says, "Show
us more -"
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MAX
(typing)
"Teasers. How
old Bonerman?"
(Bonerman signs-off"
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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.
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SPRAKIE
Fuck! I could have
told you that - you dumb ass newbie!
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MAX
I’ll come over there
and kick your ass.
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SPRAKIE
What’s Guy doing -
Awfully quiet over there.
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MAX
I hear heavy breathing
- he’s earning it, girl - doing the jack-off supreme!
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SPRAKIE
Go for it Guy!
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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 . . .
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MAX
(laughing) and
again. . .
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SPRAKIE
(typing) "to Papuppy
- Are you still there?"
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PAPUPPY
Here, dear. Are you
queer or what?
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SPRAKIE
(typing)
"I’m a Kinzie
6."
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PAPUPPY
What the fuck’s that!
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SPRAKIE
(typing)
"Men only. I thought
you knew. What do you do?"
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PAPUPPY
I do them all.
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CUMDOGGY
Cumdoggy says, "Max,
how long do I have to wait here?"
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MAX
(typing)
"tell ‘em Monitor
1"
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MONITOR
1
Monitor 1 says, "Just
press the button for a One on One and Max will be yours."
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ASSPOUNDER
(with a french accent)
Asspounder say, bon soir Robert.
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SPRAKIE
(typing)
Good evening Asspounder.
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ASSPOUNDER
Missed anything?
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PAPUPPY
To Asspounder from
Papuppy. "You missed an exciting show from Robert. He’s the
best"
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SPRAKIE
(typing)
"Thank you, Papuppy"
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(Moaning sounds
come from Guy. Both Sprakie and Max laugh wth abandon.)
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CUMDOGGY
Cumdoggy says, "Max,
what’s so funny?"
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MAX
(typing)
"Just felt like
a laugh, Cumdoggy."
(he suddenly decides
to take his shirt off, slow and sexy)
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CUMDOGGY
That’s it, Max. Wonderful.
Keep going.
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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."
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CUMDOGGY
Yes sir!
(Max’ phone rings.
He answers using his headset)
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ASSPOUNDER
Asspounder says, "Robert,
how long have you been In this room?"
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SPRAKIE
(typing)
"About to sign-off,
Asspounder. Phillip will be strutting his stuff soon."
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ASSPOUNDER
Oo la la!
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MAX
So Cumdoggy, do you
have a name?
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CUMDOGGY
I do - but let’s not
waste time with that crap. Start taking it off.
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MAX
Oooo. A real brute.
What do you want to see?
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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).
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PAPUPPY
Papuppy says, "Robert,
how much longer?"
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SPRAKIE
Time’s up, Papuppy.
(typing) "See
you all tomorrow."
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PAPUPPY
What time?
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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
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MAX
Oh Cumdoggy! Wouldn’t
you like to be here in my . . . (moans)
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PHIL
Wow Guy, he’s really
into it tonight!
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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)
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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.
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PHIL
It was a busy afternoon.
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GUY
Oh, my break’s up.
(offers the rest
of his sandwich to Phil - who declines)
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SPRAKIE
Guy, you’re always
eating and always tempting others. Get thee behind me Satan! I
hope those aren’t Max/ M&M’s.
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GUY
(laughs) You’re
so funny Sprakie.
(he goes back into
his chat room, removes the sign and begins to type - his room
dims)
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MAX
(heavy heated) Oh that’s
the way you like it Cumdoggy.
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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 . .
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PHIL
Hungbastard.
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SPRAKIE
What does that have
to do with dogs?
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PHIL
A bastard hound.
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SPRAKIE
Fuck you. I’m too tired
for this! Come, Tell Sprakie what or who you did today. Come,
‘fess up.
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PHIL
Actually, I took a
long steamy bath and curled up with a book.
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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.
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PHIL
What ever happened
to Doctor Dick of Death!
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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.
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PHIL
(laughing) Did
you meet on-line?
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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.
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PHIL
Sprakie, they’re not
all that bad.
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SPRAKIE
I forgot - you’ve made
the rounds there. Well, tell me. Have you found the sugar daddy
of your dreams yet?
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PHIL
No. But some of them
are interested in more than a one nighter.
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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.
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PHIL
Tdye.
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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.
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PHIL
I believe it’s Thomas
- and he’s a writer - and he’s very gentle in One on One . . .
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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.
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PHIL
(laughing) I
doubt that. You’re just jealous because your tricks turn out to
be losers.
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SPRAKIE
They’re all losers
- If you spend money for sex . . . come on hon!
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PHIL
Yeah, but look what
they get!
(poses - then points
to himself)
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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 . . .
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PHIL
Jimmy was into heavy
drugs, man. And I think he was out of control. He’d go with anything
that walked.
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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)
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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 . . .
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PHIL
It’s time for work.
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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!
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PHIL
I promise.
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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)
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(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.)
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MAX
(typing)
"I’m back boyz
and available!"
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FUNPUD
Funpud says "Max
that was hot."
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MAX
(typing)
"Thanks, Funpud!
Like what you see in the small box, come have me full screen."
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FUNPUD
How’s your cold?
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MAX
(typing)
"Oh you sweetie.
You remembered. Took lots of crap and its gone. "
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PRISSYQUEEN
Prissyqueen says, "Back
in the saddle hon!"
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MAX
(typing)
"U bet, Prissyqueen!
Riding those horses."
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MONITOR1
Monitor 1 says, "Max
can be yours by pressing the One on One button. He’ll do anything
you want."
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ASSPOUNDER
Asspounder says, bon
soir Phillippe!
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PHIL
(typing)
"Hi Asspounder.
How’s it going?"
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ASSPOUNDER
Fine here in Montreal
- cold. Come up and warm me up. How’s your French.
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PHIL
(laughing) (typing)
French is fine! And
so’s my Greek!
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PRISSYQUEEN
Prissyqueen says, "Max,
my lad! How long’s your shift."
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MAX
(typing)
"Prissyqueen,
I don’t know - how long’s yours?"
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PRISSYQUEEN
(laughs) Long,
longing and ready. You bad boy.
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ASSPOUNDER
Asspounder says, "You
look so luscious tonite, mon Phillippe!"
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PHIL
(who sees Tdye
come on-line - typing)
"Evening, Tdye."
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TDYE
(TOM)
Tdye says "Ah
sweetheart. How are you tonite?"
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ASSPOUNDER
Well Phillippe, are
you ignoring me? You look so luscious tonite.
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PHIL
(typing)
"Sorry, Asspounder
- thanks for the compliment!"
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TDYE
Tdye says "Phil,
Can we talk?"
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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."
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TDYE
Private chat.
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PHIL
(typing)
"We could, but
. . ."
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TDYE
I know where the "button"
is. I’m coming.
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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."
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TDYE
Tdye says "Good.
I wanted to tell you how much I enjoyed our little session 2 days
ago. "
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PHIL
(typing)
"Well, you better
start commanding me now - as this is costing you a fortune."
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TDYE
No discounts?
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PHIL
(typing)
"Tempting."
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TDYE
Well I just want to
talk.
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PHIL
(typing)
"Talk or not,
I’m getting naked for you."
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(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)
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Hello - Tom
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TOM
Well, well there’s
a voice of an angel in that sweetheart’s body.
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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.
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TOM
Can you do that? Won’t
you get in trouble? I don’t want to cause you any problem.
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PHIL
No problem. I’m their
star attraction. Losing me would be like closing the place down.
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TOM
I am greatly honored.
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PHIL
Well, not so fast.
I can’t be on here like this forever. So, I have a question for
you?
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TOM
Shoot!
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PHIL
We’ve been chatting
for 2 weeks. And you’ve seen every part of me.
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TOM
Mmmm, and how.
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PHIL
And you seem to like
what you see.
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TOM
I’m here, am I not?
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PHIL
Am I not? (laughs)
I love the way you speak professor. You know I love
to read good stuff.
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TOM
So you’ve said.
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PHIL
I mean like, Moby
Dick
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TOM
How appropriate.
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PHIL
Bitch! I’m serious.
I’ve seen the movie and thought it really . . . really . .
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TOM
Wet?
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PHIL
Shut up! Compelling.
But then I picked up the book. I said to myself, who the fuck
could get through this big motherfucker . . .
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TOM
(laughs)
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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!
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TOM
Brave New World?
No, I just have never heard Moby Dick referred to as a
Mother-fucker.
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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)
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TOM
You know, Melville
was gay?
(pause)
You know, the mother-fucker
who wrote the book.
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PHIL
Are you making fun
of me?
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TOM
Not fun of you - enjoying
the exhuberance of your youth. It’s infectious.
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PHIL
That’s nice.
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TOM
Have you ever seen
a whale?
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PHIL
Like in the flesh?
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TOM
Like in the aquarium?
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PHIL
In books only. Have
you?
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TOM
Yes, at sea.
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PHIL
That’s wonderful. I
would love that. Where can you do that?
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Tom
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At Sea!
(pause)
Actually at Provincetown
- they have whale-watching excursions.
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PHIL
At P’Town. I’ve never
been. Love to go. They say the boyz are hot there and it’s wonderfully
gay.
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TOM
And now another reason!
PLUS they have some great new plays performed there. Have you
been to the theatre?
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PHIL
Drags and such.
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TOM
Ah! I would like to
be with you when you see your first live theatrical performance.
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PHIL
You would?
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TOM
I would! But you know,
you never asked me the question you wanted to ask me.
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PHIL
Oh yeah. How old are
you?
(pause)
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TOM
48
(pause)
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PHIL
That’s not that old
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TOM
Who said it was?
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PHIL
No one.
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TOM
I mean, I have friends
who are still alive at 54.
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PHIL
Oh I didn’t mean .
. .
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TOM
Don’t worry - I know
you’re a tad younger than me.
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PHIL
A Tad. When you were
my age, I wasn’t even born yet!
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TOM
Now it’s my turn.
(pause)
Bitch!
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PHIL
And are you like old
and wrinkly - walk with a gimp and have a hunchback!
(pause)
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TOM
Actually, I’m in a
wheel chair - and lost a testicle in Vietnam.
(pause)
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PHIL
I’m sorry.
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TOM
(laughs)
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PHIL
You bitch! How could
I know?
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TOM
Let’s not make assumptions.
If you want to know what I look like - I could email you a picture
- a jpeg . . . .or . . . .
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PHIL
That would be nice
- maybe a naked one ---- but we could like . . .
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TOM
Like what?
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PHIL
Meet somewhere
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TOM
That would be fine
with me. You won’t mind my seeing-eye dog?
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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?
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TOM
Know it well. What
day?
(pause)
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PHIL
Tonight?
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TOM
Great!
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PHIL
I’m off at 9.
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TOM
Come as you are. (laughs)
I’ll see you then.
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PHIL
See you then
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TOM
Yes, my sweetheart.
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PHIL
Bye
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TOM
Bye
(hangs up) (click)
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PHIL
Yes! Yes, yes, yes!!
(Max comes out
for his break)
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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?
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GUY
(typing)
"My, my somebody’s
grumpy."
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PHIL
(on the phone) Hi -
Sprakie! Guess what? What are you doin’ now? I’ll meet you at
. . .
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(black out)
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Scene 2
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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.
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Enter Sprakie.
He looks at the two men and retreats to the door.
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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)
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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.
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PHIL
Not so loud. But what
if it’s the other one?
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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)
|
|
|