For producers, directors, and actors.

And for whoever else would like to read

The D.C. Bianchino Play

A story in music and poetry about True Love and Letting Go

AA VViissiioonn

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© D.C. Bianchino, All Rights Reserved 2013

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I dedicate this play for all

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Presenting The D. C. Bianchino Play.... Revised March 2013 All Rights Reserved.

Whitebear72@hotmail.com thefourthpath.com

"The Pitch For You Can't Stop The Music."

This is the story of Adam and Eve who after having an argument in the Garden of Eden go their separate ways (leaving paradise). They meet 5000 years later at an open mic where they find each other once again only this time having true parity. Characters: Narrator - Robert Doyle Bob Muldoon – Emcee - singer songwriter Dave Black - Poet dissident Jacob – Barista - wise man Chief Red Eagle - elder White Owl - chief's sister - wise woman Two Feather's - chief’s cousin - poet Stark – songwriter - blues Iris - Stark's wife – Peter - wandering minstrel and jester Carl – Was Adam. Flower – Was Eve Sylvia - crazy poetess Gertrude - singer Sarah – Woman who doesn't have time Directors Notes [DN Opening scene for "The Pitch For You Can't Stop The Music" Partial projections Garden of Eden displayed on stage. Sound track for “You Can’t Stop The Music” playing in back ground. Adam and Eve (who meet five thousand years later as Flower and Carl) are enjoying paradise. This is being done as the audience takes their seats. Once everyone is seated and it's show time, Eve runs off, she is wet from her swim-Adam comes out of water naked as well curious as to where

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she ran off to. On coming back Eve is teasing Adam with her hands behind her back. Adam is raising his head as if to say what have you got? Quickly she shows the apple and bites into it. Then she offers it to Adam with a reassuring look. Adam believing her, takes a bite, and quickly drops it on the ground, while looking at his naked body.] Then says: “What is this guilt and shame you've just given me?” She replies: “What do you mean, I've given you. Why are you blaming me, no Why are you using me?” Adam says: “Blame you! Use you! Screw you.” She comes back with “No, screw you!” [DN With that Adam quickly heads back towards the water. Eve shouts out] “That's it Adam, just run away.” [DN - She picks up the apple looks at it with disgust, then, throws it in his direction. With that, it explodes in mid air and projected on to a screen 5000 years of suppression such as the crusades, witch hunts, all male boards, all male priests, and final stoning of woman, etc. Scene Ends. Just as soon, Adam and Eve, who are now Flower and Carl, and now in street clothes, and with a backdrop of many mountains of life's experiences, with the center one and tallest of all called Mount Parity appear on opposite sides of Parity...And wearily but willingly while making its climb sing the song “Sometimes I Cannot See The Mountain." He sings the first several verses while she sings the last three until together singing (repeating the last line) Song: Where the breeze blows silent Is where I shall build my home. In a dream of morning last Its site I freely roamed.

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Over snows pristine white On the highest of plateaus. I overlooked a thousand peaks Each one I'll come to know. Just sometimes I cannot see the mountain, When clouds keep it from sight. Sometimes I feel so damn lonely, I guess it's just my fear of height. Eve sings Life is a poem never finished. A song spoken from the grave. Sometimes I cannot see the mountain. Though I know I go there with the brave. Sometimes goodbye means no turning back. And pain postpones another start. Sometimes my eyes fill with moonlight, Reflecting off the ocean in my heart. My tears are the feelings I had yesterday, And of the future I fear to be without. In the meantime reason as with destiny, keeps testing me to overcome this doubt, Both sing When sometimes I cannot see the mountain, When sometimes I cannot see the mountain, There are sometimes I just can't see the mountain...." [DN Just then, a tableau. Peter the minstrel man comes out and recites "The Heroes Path" going back and forth to Flower and Carl who are on different sides of Mount Parity. He also includes audience.] The Hero's Path: Peter: "Are you ready to face the guilt, fear and the remorse. Are you ready to enter the house of fire, ready to suffer the loss? Are you ready to feel the shame, prepared to think insane? Are you ready to kill the ferocious Beasts, the two that are the same?

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Are you ready to face the wolves, who call from the mountain top, willing to make the climb, though doubt may want you to stop? Are you willing to climb the mountain, then make its awesome descent? Willing to find that innocence, and Do it without relent. Are you willing to be that hero, for not power or greed or the like? Are you willing to wait for the ashes, to bring in this age of new light? For this is the path of destruction, to end the powers who reign. And here lies the path of True Hero's, who are called to face Up to that pain. So if you're ready then, [DN Starts to sing] (Peter)There’s a promise straight ahead don't you know? [DN Some cast members sitting in the aisles with over the top face make up, quickly face with a smile the person sitting in the seat next to them on their right point and say] (Cast)Don't you know? (Peter)There's a promise straight ahead don't you know? [DN cast members repeat turning to left](Cast) Don't you know! [Then minstrel man continues.] (Peter)There's a promise straight ahead where the hungry will be fed, With so much love it just overflows. Come on and hop on, (cast members) hop on. (Peter): Come on and hop on. (Cast) hop on. (Peter): Don't worry if you have to stand. Come on and hop on (cast) hop on. (Peter): Come on and hop on, 'cause we're heading to the Promised Land. [DN As minstrel is calling people to hop on he points to cast sitting in the aisles waving them to come up on stage, they do this in a joyful dance...Minstrel continues with song.] (Peter)We're heading to the land where it is free (cast) It is FREE! (Peter)We're heading to the land where it is

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free (cast) it is FREE! (Peter): We're heading to the land that God himself has planned, And he's here today calling you and me... Come on and hop on (cast) hop on. Come on and hop on (cast) hop on. (Peter)Don't worry if you have to stand. Come on and hop on (cast) hop on. (Peter): 'Cause we're going to the Promised Land. CHORUS: [sung by cast members]"The light of the lord illumines the dark, Night and day as long as I pray He promised me that to show me the way. The light of the lord can never blow out and that's good news we all can shout, And that's good news we all can shout the light of the lord can never blow out! The light of the lord is on in my heart night and day as long as I pray He promised me that to show me the way, the light of the lord can never blow out. And that's good news we all can shout, the light of the lord can never blow out.” [Minstrel picks up] (Peter)So hop on come on and hop on there's a promise straight ahead we're going to find. So leave that baggage you've been carrying leave it all behind, 'cause we're heading To that place where the sun always shines. Come on and hop on (cast) hop on. (Peter)Come on and hop on (cast) hop on. (Peter)Don't worry if you have to stand. Come on and hop on (cast) hop on. (Peter)Come on and hop on (cast) hop on. [All join in the last line. A rousing finish] 'Cause we're heading to the Promised Land. [DN Again Peter, after a quick change comes back out to sing and with pomp play his alter Ego. He is dressed in drag (with a beard I might add), has on black nylons, A puffy loose

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short skirt, a long cigarette holder...recites and sings this number while strutting his stuff with exaggerated self confidence....It's called Ego... Peering at the audience and side exists where cast left.] Starts... “I am ego and I want you to know, don't try to get rid of me, ‘cause I ain't gonna go! I am emotions, I am each thought, I am ambition, I'm in everything you've got. I am ego, I am the clothes you wear, I am self righteous, and really I don't care. I am ego, and I am always right, I am the bottom line, I'm your personal insight. I'm the one who talks to you; I am in your head. I am all the chemicals; it's me to whom you're wed! Just listen as I speak right now, you that I divide, I’m the one who looks through you, There's no place you can hide... Sometimes I am sad, or full of despair, sometimes I am mad, with rage I declare!!!! See, here I am in you, dictating words that flow. Don't try to get rid of me, I know you well, you know. I am all the stuff you have, all you hang on to. I am critiquing this, 'cause I am really YOU! Just look in the mirror, who is it you see? Take one more look my friend, 'cause you is really ME. I am EGO!” [DN When he finishes, he walks towards the exit on stage and just before he leaves he looks back at the audience and flips up the back of his skirt exposing his bare butt.]

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Introduction: [DN Man walks out on the stage faces the audience. He is wearing a Harris Tweed smoking jacket, a black turtle neck shirt, and jeans. His hair is down to his shoulders, thin and on the gray side. He is in his early sixties. Narrator Robert Doyle also fills in the blanks throughout play.] "Welcome, my name is Robert Doyle and I'm going to read a play I wrote called 'The Pitch For You Can't Stop The Music'-Actually I'm going to explain it as if you're the producers and I'm making a pitch to you. As you have seen, I brought some friends of mine to help me do this. The setting is a coffeehouse with several tables and chairs. [DN as he explains this, the cast actually starts setting the stage.] In one corner, the one to the left and furthest away, there is a small one step up stage. The corner to the right and again furthest away, a small counter for coffee containers. It is the place where the barista also stands behind. Along the back wall there are four large window shades. Images of Marilyn Monroe, Humphrey Bogart, James Dean and Sylvia Plath respectively adorn each shade. When the coffeehouse closes a shade will be brought up to the center stage they are on rollers. A scene where a performer lives will appear. [DN When the shade is brought up to the center of the stage, the cast will set the scene up behind it. After scene ends it is put back in place] NARRATOR: Now, how this gets started and what the story is about. Well, a popular local musician and poet want to secure a place for the sole purpose of bringing musicians and

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lyricists together in order to inspire new pieces of work, and by the passing of a hat try to raise money for recording equipment, and just maybe get them published. So they approach a local coffee house and the owners enthusiastically embrace their idea. The night they choose is on a Monday. Word quickly spreads because of their popularity, and right from the beginning they have an audience in attendance, and it picks up each week thereafter, as THE place to go. The audience; many of whom become the regulars; are made up of Granolas like those who work for The Appalachian Mountain Club. Grunges, a step to the left of the Granolas. Hippies, all the way to the left, gays, conservatives, trench musicians (those who make their living from their play), and intellectuals: oh yes, even some Indians. It is definitely a diverse audience, and, everyone getting along, accepting each others space. Everyone seems humble and tolerant. In the beginning there are no mics, or electrical instruments, just acoustic guitars and the like, although there is a keyboard. Sometime later where the story picks up a mic has been added. This is a play in two acts, and is the story of an effort very successful till 'The inevitable demise. But, “You Can't Stop The Music”, as you shall see. Now, sit yourself at one of those tables and enjoy the show. Oh yes, what we have is a story about relationships, the coming together, the going apart and the coming together again. It is a story about seeing ourselves the way we are, and that possible evolution to the point of giving up ALL the controls. It is OUR song. Hopefully, I can make my vision clear to you." ACT 1 NARRATOR: "It’s 8:30 and people are starting to fill the coffee house.

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Guitar cases are being stacked near the stage. A lot of small talk is going on, catching up on one thing or another. The MC a man who stands over six feet tall, dressed casually, makes an announcement." [DN The man pitching the play now fades out and the play fades in.] BOB MULDOON: (at mic)"Listen for those who want to perform tonight, there's a sign up sheet up here on the table, (DN points to table) so I suggest you do that now. My name is Bob Muldoon, (DN: By now the microphone has been added) and for the sake of anyone new, I'll tell you our objective. (DN "This he repeats every Monday night") One, it is to inspire new works and to take the best of what we get and record them. If you hear a poem or lyric and think you can work with it, and then get together with that person during one of the breaks. Also, we pass a hat trying to raise money for recording equipment. (Then sarcastic says) Most of you can’t afford to put anything in, even though you don't mind spending six or seven dollars at a movie, oh well, maybe think about that. NARRATOR: The reason for the sarcasm; here he was in his forties without his dream being realized, he almost made it with a song he wrote while in New York, but someone else stole the piece which became successful, and so went his big chance. [Here we have a tableau, and Jacob the barista faces the real audience and says] JACOB: The poet Li Zhong said, People who are not depressed by living in obscurity or lack of recognition, when at that level, then the Tao is in them.’ (DN Finishes goes back behind coffee counter)

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BOB MULDOON: (cont) Last, when a performer is up here on the stage; please give them your attention. If you feel you must talk, please go outside. We have a lot of material since we started and the juices seem to just keep flowing. We want to thank Bob and Jan for having us here in their coffee house (DN 'Round of applause) speaking of which, the coffee is in the back. OK, I think that covers it, so, I'll start with a song I wrote and then go to the sign up sheet. [DN By this time the place was filled and it was a standing room crowd Bob picks up his guitar starts to tune it then adds] I don't know about you, but I always have this slight bit of fear being up here in front of a sober audience. The people I play for are in the bars, and I'm just the background music while they get sloshed. (Laughter) Having said all that here's a piece I wrote when the lights went out during a lightning storm at a gig I was playing, we had to light candles. So, I hope you like it. It's called "Nighttime Turns The Blues Away" [DN Bob starts his song, he has a deep raspy voice, the melody has a slow blues sound and he has everyone's attention] The brightest side of heaven comes when it turns night, and we're sitting here together in its soothing light, and there's no place I'd rather be than here with you tonight, singing songs that make life seem like it's alright. While the candle burns nighttime, turns the blues away, just some candle light an old up right and some songs to play, the guitar man, the music stand and some folks who want to stay, while the candle burns nighttime turns the blues away. Our troubles will return sure as the sun comes up, another day just drinking

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from the same old cup, trying to get someplace, that's never quite far enough, another day just filled with all that old life stuff. While the candle burns nighttime turns the blues away, just some candlelight an old up right and some songs to play, the guitar man, the music stand and some folks who want to stay, while the candle burns nighttime turns the blues away. But in the meantime you and I will stop, no need to run, 'cause no matter what has happened, what's been done is over and done. So let tomorrow have those troubles that we'll leave behind tonight, and I'll sing some songs that make life seem like it's all right. While the candle burns nighttime turns the blues away, just some candle light an old up right and some songs to play, the guitar man his music stand and some folks who want to stay, while the candle burns; nighttime; turns the blues away". [DN Bob finishes, the audience gives a big hand with whistles and catcalls. Bob goes over to the sign up sheet then walks back to the mic] BOB MULDOON: Most people express fear when performing up here, so know you're not alone, as I said, even us musicians who do this for a living feel the same way. [DN A tableau. Just then cast sitting at the tables, one by one stand and address each fear. That person stands starts to dance and sing while characterizing a few lines from the poem "FEAR". Each person follows again dancing and playing out the next lines to the poem.] (Dance modern) First person: Fear, fear, where do we go from here? Fear, fear, let's give them a kick in the rear. Fear of worms, fear of snakes, fear of germs, fear of quakes. Fear to laugh, fear to

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cry, fear to change, fear to try. Fear I said fear; let's make them all very clear. Second person: Fear of losing, fear of winning, fear of endings, and beginnings. Fear of ghosts, fear of demons, fear of monsters when we're dreaming. Third person: Fear of aids, fear of spades, fear of bombs, razor blades. Fear of spiders, fear of bees, fear of birds, tiny fleas. Fourth person: Fear of buses, fear of planes, fear of cars, fear of trains. Fear of dogs, fear of cats; fear of lobsters and of bats. Fifth person: Fear of water, fear of fire, fear of falling, going higher. Fear of mothers, and of fathers, boyfriends, girlfriends, sisters, brothers. Sixth person: Fear to smoke, fear to eat, fear to go across the street. Fear of silence, fear of violence; fear to dance and of tridents. Seventh person: Fear of Satan, fear of sex, fear of witches and their hex. Fear of pain, fear of pleasure, fear of things we cannot measure. Eighth person: Fear of failure and success, or not looking at our best. Fear of women and of men, fear to make another friend. Ninth person: Fear of lightning or tornadoes, and erupting of volcanoes. Fear of insects, all things creeping; fear of waking and of sleeping. Tenth person: Fear of truth, fear to seek, fear to look and to speak. Fear of God, and the dark, fear that we may have the mark. Eleventh person: Fear of dating, and of waiting, fear of not participating. Fear of sailing, and of flying, fear of biking and of driving. Twelfth person: And so they go ad infinitum, one or another we all got 'em. (This last line is said by all.) Fear to love, fear to give, fear to die, fear to live!

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Tableau ends. BOB MULDOON: "Okay, next on the list is our Indian friend chief Red Eagle" [DN The chief walks up slowly, he is an old man, a chair has been placed in front of the mic, Bob the MC adjusts the mic for him. The chief speaks.] CHIEF RED EAGLE: I am going to read a few poems by a cousin of mine, his name is White Bear. But before I do, a man once asked me "How much land did you have?” I Said: "From here to there" [DN Making a sweep with his hands. The chief then starts to recite, he is reading it. Indignities are projected on to a screen in the background] You took my dignity away. You took my women and children, you made us dependent like you, now I eat fruit from a can, and you took my dignity away. You took my dignity away. You took the Buffalo, now the fish. You made me dependent like you, now I eat from one whose eyes I never saw. You took our dignity away. You took my dignity away. You took my wild flowers and the grasses scent; you made me dependent like you. Now foul smells fill my nostrils. You took my dignity away. You took my dignity away. You took my land like a thief. You made me dependent like you, now I must pay to live and move on the land once free. You took my dignity away. You took my dignity away. You took voices from the trees and the winds song; you made me dependent like you. Now I listen to loud offensive noises, they are everywhere. You took my dignity away. You took my dignity away. You even tried to take my religion, to be dependent like you on some God no one has connection with. You took my dignity away.

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You took my dignity away, but like the Beaver, I too mutate, and will, until the scent of sweet grass returns, for my spirit patient stays, even though, you took my dignity away.' Sacred is the land the tree the sky. Sacred are the birds the bees the fly. Sacred are the grasses so alive. Sacred is the stone through time survives. Sacred are the fish lakes and streams. Sacred are the mountains and those no see-ums. Sacred are the creepers that crawl the earth. Sacred are the babes given in birth. Sacred are the animal’s rain and wind. For Sacred is this breath WE all live in. Hey I Hey, Hey I Hey, Hey I Hey. Hey I Hey, Hey I Hey, Hey I Hey. Hey I Hey, Hey I Hey. I sing my song to the sky above. I sing my song to the land I love. I sing my song from my heart because; I sing my song for the way that was. Hey I Hey, Hey I Hey, Hey I Hey. Hey I Hey, Hey I Hey, Hey I Hey. Hey I Hey, Hey I Hey. [DN The Chief finishes, people give him a standing ovation. He goes back and sits down.] BOB MULDOON: Ok next we have Jacob. He is also our Barista. JACOB: Thanks Bob. Hey you will see me during the breaks…I’m your coffee man. Now this is a song I wrote while in Texas and it’s called The Hollow Drum…See I was sitting outside a coffee shop and listening to a lot of traffic inside and out if you know what I mean. So, this is it. Song. Some people paint in pictures. Some people paint in verse. Some people put up fences. Some people put up words. But when behind those walls I found the hollow in the drum, something told me what lies

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there, lies still in everyone. Lies still in everyone it does lie still in everyone. The sound that's really found inside lies still in everyone. Lies still in everyone it does lie still in everyone. The sound that's really found inside lies still in everyone. I looked and saw confusion when thoughts try to compete. And when their noise became too loud, I listened to the beat. And when behind those walls I found the hollow in the drum, something told me what lies there lies still in everyone. Lies still in everyone one it does lies still in everyone. The sound that's really found inside lies still in everyone. Lies still in everyone it does lie still in everyone. The sound that's really found inside lies still in everyone. Now no matter how the drum is played or where the drum is brought. I know there is a special place inside that has this spot. 'Cause when behind those walls I found the hollow in the drum, something told me what lies there lies still in everyone. Lies still in everyone one it does lie still in everyone. The sound that's really found inside lies still in everyone. Lies still in everyone it does lie still in everyone. The sound that's really found inside lies still in everyone. [DN Big applause] BOB MULDOON: "OK, I think this is a good place for a break, so let's take ten. Our Barista's name is, well you just heard him Jacob. He'll help you with your coffee needs" [DN Stark, one of the regulars walks over to get some coffee. He says to the Barista] STARK: Hey mister, have you ever been in love? ‘Cause I've got to know something, got to know because, when I'm with my woman, I don’t want to be, and when I am not, I want her back with me.

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Hey mister, I think you understand, 'cause you look like someone, who’s seen it, all firsthand. JACOB: Yeah son, I've been there once or twice, yeah son, I've been there once or twice. STARK: Hey mister, please tell me what you found. Why do I feel the way that I do, 'cause the way that I feel is nothing really new. JACOB: Well son, here's some advice, everything's temporary, I've been there once or twice, I've been there once or twice. STARK: Hey mister, what's that all mean? JACOB: Well son it happens in between, a heart needs to go through the molten fire to open up to things that are much higher. We've got to learn the dance in order to see, otherwise son, we're never really free. STARK: Hey mister, tell me one more thing, have you found that freedom, is there such a thing? JACOB: Well son, I've been there once or twice, I've been there once or twice. See son, man and woman have been living in unequal terms since the myth of the Garden of Eden, and now it's up to us to change all that psychologically. This mutual hate goes that deep. But now we're being given the chance to right the wrong; that is, stop the dependence and using each other. So it's all about finding your Jaimie. STARK: My what? What the hell is a Jaimie? JACOB: It's another name for your soul. STARK: Who told you that, I've never heard that before?

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JACOB: Oh, I just made it up. ha ha. STARK: Well thanks Jacob that's really awesome, ha ha. [DN Stark goes to sit. Just then a lady is walking by so Stark says] Hey, have you found your Jaimie yet? LADY: Huh, Stark, Oh never mind, ha ha. [DN Break ends.] BOB MULDOON: Let's get this thing going; next we have Gertrude. Let’s hear it for Gertrude. [DN Gertrude has a good size paunch] GERTRUDE: Well it’s so good to be here. The song I wrote and now will sing. Is about that feeling we get when we fall in love. I know most of you have felt this too. (During song she keeps grabbing hold of her belly and shaking her body.) The Jelly Belly Song. OK here goes. I can feel you in my belly, I can feel you in my toes, and my belly feels like jelly, and it's doing belly rolls. And if you're feeling what I'm feeling, like I'm feeling too, then maybe it's our jelly bellies, saying I love you. [DN: Some of the audience (cast) yell shake it baby, ya hoo] I've got a jelly belly feeling, it's a jelly belly feeling, I've got this jelly belly feeling a jelly belly feeling, and it's all because of you. Now this jelly's really special as far as jellies go, 'cause this jelly tells my belly and my belly jelly knows. And if you're feeling what I'm feeling like I'm feeling too, then maybe it's our jelly bellies saying I love you.

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I've got a jelly belly feeling, it's a jelly belly feeling, I've got this jelly belly feeling a jelly belly feeling, and it's all because of you. See I wake up in the morning and this jelly belly's there, it's the same when it's afternoon I feel it everywhere, and when the evening comes along this jelly belly knows, all I need is see you and my jelly belly rolls.. I've got a jelly belly feeling, it's a jelly belly feeling, I've got this jelly belly feeling a jelly belly feeling, and it's all because of you. [DN:Big applause and whistles] [DN MC Bob Muldoon gets up to the mic and says] BOB MULDOON: Well no one is going to top that, so I think this is a good time to say goodnight, and come back next week [DN Night ends with the passing of the hat which as usual no one puts anything in. Someone says hi to a girl walking out.] "Hi" [Curtly she replies] GIRL: Look I haven't got time to talk right now. [DN This is her standard reply whenever anyone says hi to her. She thinks people are out to steal her time, or hit on her, when a simple hi would have sufficed. She does this at each of the breaks. With the coffee house closed the shade with James Dean is brought up center stage. Cast arrangers a kitchen scene behind it. It's where Stark lives with his wife Iris. Stark is sitting at the kitchen table. He has his guitar in hand, and as usual is creating new work. His wife Iris has always taken a back seat when it came to his music. He plucks away, and then writes something down on paper. Iris had just come in late after work as a waitress, then cheerily asks.]

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IRIS: How was your night? STARK: It was great, but don't bother me right now, because I'll forget what I'm doing. [DN Iris reaches over to touch him. Stark annoyed, brushes her off and disappears into the other room. Iris thinking, looks towards the room where Stark entered then walks towards the audience and says] IRIS: I really love this guy and supporting what he does, but he just doesn’t see me…It’s all about him, what he does, and never about what I do or would like to do, or have from him.[DN When she finishes she, still facing the audience sings this song "With A Little Romance" being very vulnerable] IRIS: With a little romance, you could have it all. I'd bend like the willow, like a star I would fall. You have nothing to lose, just give it a chance, 'cause I'd do anything for a little romance. Flowers with candy, dinner for two, a walk holding hands would do nicely thank you. A passionate kiss, a gentle touch, I'm really not asking for very much. With a little romance, you could have it all. I'd bend like the willow, like a star I would fall. You have nothing to lose, just give it a chance, 'cause I'd do anything for a little romance. Tell me I'm pretty, recite me a poem. Make me feel special let it be shown. A telephone call just to say I love you and you'd be surprised at what I would do. Steal home from work some afternoon, go for a drive wait for the moon. Look at the stars shift through the night, and when the sun starts to rise, hold me real tight. With a little romance, you could have it all. I'd bend like the willow, like a star I would

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fall. You have nothing to lose, just give it a chance, 'cause I'd do anything for a little romance... [DN When Iris finishes singing; she sits down at the kitchen table. Under her breath she says, and teary] IRIS: I will leave him [DN Just then there's a tableau, (a freeze frame) Jacob the barista walks on stage and in front of the audience recites] JACOB: When the honey's gone, you will know it is time, to search for those flowers that hold its gold. For when the honey's gone, it's time to move on, in order for purpose once more to unfold; when the honey's gone. [DN No sooner does Jacob walk off when another man comes out to face the audience. His name is Peter. He is Peter the wandering minstrel, we saw him in the beginning. He smiles a lot. He has an English accent. The shade has been put back against the wall.] PETER: Right now I would like to recite this poem to you. It's called "A Tale Of Two Loves" 'Tis the tale of two loves who had parted their ways, one went to sea, while the other would stay, and when she returned, they had this to say, and this is their story, on that homecoming day. Where have you been lass? Where have you been? 'Cause your sails look torn, a bit ragged and thin. Did you find what you went for? Would you do it again? 'Cause your riggin looks worn lass, as the vessel you're in. And she said: "You know why I left, you know why I left. 'Twas the thing to do and I've got no regret.

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'Cause the thoughts that I had, inside that I kept, I could feel them each morning, and every night as they wept. Now I caught the waves, few days out at sea, and the wind it blew, just as hard as could be, and I prayed and I cursed, as I cried out for THEE, and when it turned calm, I knew I was free! Yes my sails were torn, a bit ragged and thin, and my riggin was worn, as the vessel I'm in. But my SOUL came alive, I can feel it again, and that's why I left, and where I have been. I was looking for me; feeling so lost, and was willing to chance it, no matter the cost. 'Cause if I had stayed, I would not have crossed, but sank to the bottom, to be covered with moss. Now my sails will mend, and so will my mast, and the vessel I'm in will make its way back, and I'm glad that you cared, and I'm glad that you asked, 'cause I know that I love you, and I am your lass. And when she was through, a smile filled his eyes. He was glad she was back, and her soul had revived. And they stared for a time, to let the silence just pass, when he finally said,” Welcome home again lass". Then he added, "And while you were gone, I wanted to run. To chase you down, for what I thought I had done. But the truth of it is, my soul was as lost. And I had to stay back, till this devil was tossed. And I ranted and raved, and I fought with desire, and I felt the burn of a furious fire, and the dragon I clung to rode me on higher, as I swung with my sword till the flame did retire. Now I'm glad that you went, and I'm glad that I stayed .For our lives will be different, as we are this day. For we answered the call, that woke us the same, that came from our souls, to each other by name. So here we are together at last, and I don't think it matters, whatever will pass, 'cause I see it now, so clear as fine glass, that this love is true, my beautiful lass. [DN Peter smiles and says]Oh I’ll be back later,

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there’s something I need you to help me with. [DN Again smiling walks off.] [DN Months pass. You can suggest this by a change in close like the seasons.] (It's another Monday.) BOB MULDOON: OK, first tonight we have Stark, let’s hear it for Stark. (Applause) STARK: Well a lot of you know my wife left me a few months ago, and believe me, I've never felt anything so strong in my heart; and my stomach feels like it's catching my heart's sadness; like a soot is dripping from it. So as you can imagine, a lot of blues have been coming to mind; as well as many questions. That's one thing about relationships ending; it always makes for good songwriting. It's really soul searching isn't it? Here goes, this is called "The Woman I Love Up and Left Me" The woman I love up and left me, tired of all my mental games. The woman I love up and left me, now I'm tired, alone and insane. Happened through the years when our love was young, and I couldn't see the hurt when it was being done, the woman I love up and left me, I was blind, I just couldn't see. Said too many things that caused her awful pain, don't know why I said them, but I said them all the same. The woman I love up and left me, now I'm tired, alone and insane. I don't pretend to understand this mystery, why two that come together cause such misery, the woman I love up and left me, I was blind and I just couldn't see, I was blind I just couldn't see, I was blind I just couldn't see...Thank you. (Applause)

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BOB MULDOON: OK, now we have Carl, let's hear it for Carl. (Applause) [DN Carl gets up, he has an air about him; an air of just being free, like he has real peace of mind.] CARL: My name is Carl, and here's a tune I wrote, that I hope makes you feel good. "The Morning Song" Here goes. It's the morning song with a good old beat, it's the morning song to get you on your feet, it's the morning song day or night, it's the morning song to keep you in the light. And it's all right, you're going to be all right, there's peace in sight stay in the light dance through this night, it's gonna be all right. Just smile smile smile, smilin gets ya high. Just smile smile smile, don't believe the lie. Just smile smile smile, know that you can fly. Just smile smile smile, all you need is try. When in the middle of a storm and your sails are torn, and you cannot see the shore, and your boats adrift and pain you suffer it, and you feel all alone. When life is cruel as it can be, and you ask this question why why me, and no answer comes no matter what you do, then this morning song is just for you. It's the morning song with a good old beat, it's the morning song to get you on your feet, it's the morning song to make you want to dance, the morning song says you have another chance to Smile smile smile, smilin gets ya hi. Just smile smile smile, don't believe the lie. Just smile smile smile, keep light and love alive. Just smile smile smile,'cause you're the reason why. And it's all right, you're gonna be all right, there's peace in sight stay in the light dance through this night it's gonna be all right, you're gonna be all right; you're gonna be all

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right oh yes you are....(Big applause, whistles and cat calls) BOB MULDOON: OK, now we have Flower, how about a nice hand for Flower [Flower like Carl has that air of peace about her, it's a humble confidence] FLOWER: I’d like to read you this poem by Slovina that just spoke to me. It’s called The Purple Gown. [DN Just then a woman boldly walks into the room, she is in her early thirties, short cropped hair, she wears glasses. She stands beside some tables Flower starts to begin ( The music to You Can’t Stop the music is heard in the back round the same way it was in the opening scene in the garden of Eden the music only. When The woman who boldly walked in says] WOMAN: " Tell us your name, where you're from; and speak up." [DN People at the coffee house are in shock. This is the first time tolerance wasn't observed. Someone in the audience, a male, yells.] CAST MEMBER: SIT DOWN! Sylvia: Screw You! (Same male member) No screw you! Sylvia: Fuck you! (Same member) Fuck you too! [DN: This is a heated exchange. With that he starts to walk out in a huff. Under his breath he says, passing by Sylvia] CAST MEMBER: ‘arsehole [Sylvia gives him the finger. He leaves the building slamming the door behind him.]

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[Flower smiles she is still very calm] FLOWER: Well, my name is Flower; and, I'm from a very far off place, and I’m really glad you’re here. Is this loud enough? [DN Woman nods her head yes.] [DN Flower is smiling at the woman, perhaps remembering a time when she was where she was at.] [DN With a tableau the Barista walks up to the real audience, says] JACOB: Don't know what will come tomorrow, be it joy, or be it sorrow. Don't know what if need to borrow, be it sword, or be it laurel. Only know what comes to follow, be it full, or be it hollow. [Tableau ends and once again we’re back with Flower] FLOWER: This is a poem I want to share, I read it the other day and it had such an impact on me, that I thought you might feel it as well. It’s a poem about our relationship with this conscious living being of a universe, that we are all part of. So here’s the poem. ‘The Purple Gown’. And the tide swings, As the Mountain bows the Moon, and they dance the night till day as Bride and Groom. And if they voice be heard, it’s wind and wave, with stars that hold their seat. Laughing by the water’s edge with guests now called to meet. To celebrate this wedding with heart on hallowed ground, when day still sleeps, and silence weeps, for Bride; with Purple gown. [Flower walking back to her seat says to the woman] FLOWER: And what's your name? WOMAN: Sylvia

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FLOWER: That's a beautiful name… nice [DN Flower smiles] [DN Bob Muldoon goes to the mic; he's a little perturbed] BOB MULDOON: I think we better take a break. [DN People are buzzing, this was a first. Stark walks over to Jacob the coffee guru. Says] STARK: What the hell do you think about that? JACOB: I had a vision back in 1995. I saw a Crow in mid air. There was a circle of mosquitoes around it so thick the Crow was stopped in its flight. There also was another, a baby Crow, it was off to the side on the ground in a nest, and a circle of mosquitoes was around it as well. I thought, those mosquitoes are going to kill that Crow in mid air, but just as soon as I thought that the mosquitoes disappeared and the Crow in mid air was now a white lamb. So I knew this is how transformation was going to happen, through irritation, until so much irritation humbles us too finally, and willingly; give up control and give that control back to God. In fact I even wrote a poem about it called 'A Plan Coming Down'. Would you like to hear it? STARK: Of course I would. JACOB: I will sing it. There's a plan coming down so at least I have found, and at times it's so painful I just cry. There's a change going on and I hope it won't last long, 'cause I feel if it does I'm going to die. I'm trying to hang in but my skin is getting thin from the fire that is burning me inside.

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But I know I'm not alone, that's because I have been shown, and it's something to do with my pride. And it's painful; 'cause there's no place to hide. I stumble and I fall and believe me that ain't all, I kick and scream to let me have my way. But, I've also kissed the snow for times it was no go, 'cause I wouldn't have the chance I have today. I've seen mosquito's circle crows so thick the mind it blows, and felt their irritation like my own. But, there was a transformation which seems this destination when I also saw a place above I'd flown, and I knew that I would go there; it was home. STARK: You know, that really makes sense, that irritation and all because that's what I feel has been happening to me... thanks Jacob. [DN Dave Black the poet walks over to the three Indians sitting together] DAVE BLACK: Can I sit with you for a minute? I have something I've been wanting to ask you." [DN The chief motioned with his hand offering Dave a chair] DAVE BLACK: I've been wondering about that pipe I see you smoking, I notice you light it from the bottom, and I've never seen anything like that before. How does it work? CHIEF RED EAGLE: You light it through the bottom. It means to think a new direction. [DN When the chief finishes then he adds] CHIEF: The stem of the pipe reflects male energy, the bowl; female. When you put the two together, you create a spark. The spark turns into a flame, and purifies what's inside. Then when it is freed in

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the smoke, there is a perfect balance of male and female energy never to be separated. Just thought you'd like to think about that. [Chief laughs] [DN As Dave starts to walk away, the woman with the chief (His sister) says to Dave] CHIEF’S SISTER: I think your job is to slay the monster. [DN Dave turns and says] DAVE: Who is this monster? CHIEF’S SISTER: OH, you are. [She follows this with a laugh] [DN Dave is dumb founded. Then asks the chief’s sister.] DAVE: How long does it take you to get to the res from here? WHITE OWL: Oh, I don’t know that. See when we leave we just go and when we get there we just do! DAVE: Wow. [DN: Dave walks back to his seat] [DN Just then Two Feathers after having heard Dave ask How the pipe works has this quick thought. Sees each person in the coffeehouse coming up to them asking a couple of questions. They have formed a line and one by one walk up and quickly ask their question, then stand aside waiting for a reply, Two Feather's thinks Ever since the white man first stepped on to this soil, he has always asked them how to do this and how to do that, and still this HOW continues to this day. Conga drum plays a fast beat, first person walks up to the Indians who are now standing near the real audience]

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[First person] [DN This is done very quickly] How do you plant the corn? How do you fish the streams? [Next person] How do you ride your horse? How do you stitch your seams? [Next person] How do you reach the stars? How do you travel so far? [Next person] How do you know these things? How do you get your wings? [The three Indians answer while doing the Macarena. They do this every time they answer. Those asking the questions then mimic the dance.] INDIANS: How? It's a pow wow, we listen now, then do the how how how how. [Next person] How do you sow your seeds? How do you fill your needs? [Next person] How do you string your beads? How do you stop what bleeds? [Next person] How do you sing your song? How do you stay so strong? [Next person] How do you let it be? How do you live so free' INDIANS: 'How, It's a pow wow, we listen now, then do the how how how how. [Next person] How do you give your heart? How do you even start? [Next person] How do you fix your stare? How do you see what's there?' [Next person] How do you paint with life? How do you feel its worth? How do you plant the corn? How do you love this earth?

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INDIANS: How? It's a pow wow, we listen now, then do the how how how how. [Next person] How do you heal the sick? How do you make it stick? [Next person] How do you face the sun? How do you know you're one? [Next person] How do you deal with doubt? How do you go without?' How do you rise up high? How do you touch the sky? INDIANS: How? It's a pow wow, we listen now, then do the how how how how. How? It's a pow wow, we listen now, then do the how how how how. How? It's a pow wow, we listen now, then do the how how how how. How? It's a pow wow, we listen now, then do the how how how how. [Two Feathers’ ends his thought (Day Dream); he has a big smile on his face.] CHIEF RED EAGLE: What is that smile all about TWO FEATHER'S: Oh nothing, hee hee. [DN MC opens it back up] BOB MULDOON: I’m going to sing another song I wrote; it's called "Simple Lives The Bird" [Slow beat] An old man once had told me, and his eyes they seemed to know. If you want to have some peace of mind, keep it simple as you go. Then he said, here's a poem, keep it by your side. And if you want your freedom, in these words you need to try. Simple lives the bird, master of the sky, barely flaps a wing, holds its freedom high. Simple lives the bird, master of the sky, doing

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what comes naturally, naturally to fly. Let it go, let it be, letting go is to be free. I had a lot of wood to burn; I was thicker than a fur, 'cause what the old man told me was nothing but a blur. I was taught to lie cheat and steel, and to cover up my sins, and nothing really mattered, except that I must win. Simple lives the bird, master of the sky, barely flaps a wing, holds its freedom high. Simple lives the bird, master of the sky, doing what comes naturally, naturally to fly. Let it go, let it be, letting go is to be free. I lived to work , not worked to live , with nothing more to show, I guess I forgot what the old man said, keep it simple as you go. I'm working so much less now, enjoying it much more, I got rid of all the useless strife, I truly did endure. And I really just don't give a damn if I'm a loner or I'm poor, the old man's poem changed my life, and this is what I'm striving for. Simple lives the bird, master of the sky, barely flaps a wing, holds its freedom high. Simple lives the bird, master of the sky, doing what comes naturally, naturally to fly. Let it go let it be, letting go is to be free... (Applause) BOB MULDOON: Thank you and that's it for tonight. So thanks for coming, and see you next week. [DN The shade with Marilyn Monroe's picture is brought up to the center stage, while behind it the scene is set up by the cast. The scene is Flower's porch. Flower has a day dream, sees herself singing a song she wrote called "Fairy’s Dancing". She is at the coffeehouse, a tree has been erected in the middle of the floor and Fairies dance around it while she sings.]

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FLOWER: In the evening when the moon comes up from behind the sycamores and the fairies dance, just above the fields, to the sounds of the outdoors. You can see them twirl and spin around, as they gladly take encores, in the evening when the moon comes up from behind the sycamores. Fairies dance twirl and spin, circling 'round the trees, fairies dance with their kin, an evening summer breeze. You can see them there if you look real hard, with a heart that's really pure, in the evening when the moon comes up from behind the sycamores. The moon, the stars, the nighttime shades, the peepers in the woods. The smell of flowers that kiss the air, from dreams under their hoods. Fairies dance, twirl and spin, having done their daily chores, in the evening when the moon comes up from behind the sycamores. [DN When the fairies leave after dancing, a circle of mushrooms pop up around the tree. It is called a fairies ring, a sure sign of their presence. Again months pass. A lot has happened since Sylvia broke the code of tolerance. Many others who had been holding back started adding their two cents. Half the usual crowd is gone. Bob opens, skipping his usual introduction, Bob irritated says.] BOB MULDOON: Okay, there is no more smoking, and no passing of the hat, which really doesn't matter because no one put anything into it anyway. Look the chord to the P.A needs some adjusting, should only take a few minutes, be right back. [With that Carl walks over to Flower and says] CARL: No chance it is that we should meet, yet never known for sure. Your face, your hair, those smiling eyes, I've seen them all before.

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No doubt it was another time, predestined by our fate. I know it now for seeing you, there could be no mistake. You've touched the deep, some call it soul, I've known it as a void. Yes you somehow a part of me, it's you that I've adored. Oh yes my fair, I know you well, and heaven isn't far. When all I do is close my eyes, and there again you are. You know it really seems like I’ve known you forever, like from the beginning of time.” FLOWER: I feel that too, from the first moment I saw you…Perhaps we were together in the beginning and we represent those living today. Perhaps it’s just some of us have had many more life times here and some of us are on that last wheel. CARL: So this feeling of being equals and the calm. FLOWER: ya. Maybe this feeling familiar is some kind of DNA thing that’s in the memory.’ [Flower gives him an understanding smile. Both are glowing.] BOB MULDOON: Okay, that's fixed. Next we have Carl, let's hear it for Carl. (Applause) Carl: Tonight is a special night for me, and what I have is a song and poems that reflect that. [Carl glances in Flower's direction and begins] This first one is called, "So Would I". [DN He sings this.] 'If the moon had wings it would leave the sky, to come here below to be by your side; so would I.

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If trees could walk I know that they would, to be closer to you; that is if they could; so would I. And if rivers and streams backwards could flow, the ocean would follow letting you know; so would I. And if birds could talk in our own tongue, they would say to you that you are the one; so I try. And our sun and stars and planets above would shape into hearts beating with love, and if could change as truly should, to what can be instead of could, you would fly; and so, would I. (Big applause) Thank you. Next a poem. I could stare at your face for a lifetime, while looking out at the sea. I could stare at your face for a lifetime, because your face is so beautiful to me. I've seen the blue bird lift its wing, the sun kiss the dew. I've watched as night stood helplessly, when the moon came passing through. I've looked upon the rich red rose, and the lilies tender skin. But I've never seen a face like yours, no matter where I've been. I could stare at your face for a lifetime, looking out at the sea. I could stare at your face for a lifetime, because your face is so beautiful to me. (End of poem) And last. Love is all I have, no more, no more. Love is all I have, no more. But if it's love that you want, love you're looking for; I won't keep what I have, no more; no more. Thank you. (Applause)

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[DN After Carl takes his seat, Flower walks over to him. She sits on the floor beside his chair.] [DN A tableau Jacob the barista recites the poem "When Souls Connect" he does this in front of the audience.] JACOB: When Souls connect So will thoughts And a feeling You are home. When Souls connect So will hearts No more to be Alone. No mountain, sea, Or prison bars Will ever come between, For when Souls connect A love is there, Just there; as one In being... [DN Tableau ends] BOB MULDOON: Well that’s it for tonight, drive safe. [DN Right after this, Carl and Flower start seeing each other, eventually staying with her. During that time of exploring and getting to know each other fully, he writes two poems which she and their experiences inspires. He's sitting at her table and is writing them for her. She comes in and he looks up and says] CARL: You know Flower since we've been together, I don't feel guilt, or shame, or distractions. [Flower injects] FLOWER: Judgments? CARL: No judgments. Just a peace.

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FLOWER: Like peace in the mind? CARL: Yes FLOWER: Well I think that means no control. CARL: That's it! FLOWER: Just think Carl, maybe we can achieve enlightenment at the same time while making love. I mean without that Ego, wouldn't it be just pure innocence losing oneself in the other no ego, no selfishness? By the way, what are you writing? CARL: Oh a few poems one is what I feel when I’m with you and again when away. It’s truly about being in the moment’. FLOWER: Can I see them? CARL: I'm not finished yet, soon though and then I'll give them to you. But read them when I'm not here. FLOWER: Oh you intrigue me. ha ha. [DN Carl finishes folds the paper and hands it to Flower saying:] CARL: OK here, and now I have a few things to do down town, I'll be back later. [DN When Carl leaves, Flower can't wait, and sits down to read them. She’s reading it to herself but the audience hears Carl’s voice.. We hear Carl’s voice that comes through on theater speakers] [DN FLOWER reading] CARL’S VOICE: My beautiful Flower. The first

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poem is called ‘Here Lingering’ Hope you like. I felt you like the flora in my soul floating like a tide, renewing, waving. Freed of emotions, not knowing. Just kissed by the coral, breathing, inhaling, exhaling, in lighter movements. Able once again to extend. Rocked by the sea around it from a love seducing, yet untouched by the wind. Just THAT THAT IS, the ME that’s YOU, here lingering. Before my second poem, let me tell you I saw you in a vision, at that time I knew you were my soul mate. I asked, what is it, meaning where are you, and you said patience, and now you are here. The very next day I also had another vision. Another face appeared only this time it had one eye centered between where brows would be. There were no facial features, and nothing was said. It seems this was showing us the next spiritual evolution concerning that connection. I know you have said that you also have such experiences. This is certainly a leap for humanity, connecting us with THAT, with what some consider the other side, but here we are going back and forth. It's all pretty exciting. Any way now the second poem. YOU You teased my heart Till it played It's song of love The one it held so deep I didn't even know Where it was Or, if it even existed. Yes you The one that awoke This music within That music that some May even call its sin As if it's a place

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Not to be crossed Like a place reserved For some false Gods. Yet when the music played It rose within me Like a magical wave That washes, polishing Stones into gems Gems to be set and worn By the newly ordained Kings and queens. With the rest being strewn About the sea Setting it afire. And in this song This feeling, a texture In music I could touch Pressing my fingers deep Into its liveness As much so to taste it On my finger tips Like one might a tear That comes to the eye Of a love. And now I wonder How I ever could have forgot When you were always there You- You This song in my heart.... So Warm, So Warm! [DN Flower finishes reading and presses the pages to her lips and heart. Open Mic resumes.] BOB MULDOON: OK, folks don’t forget to sign up here. Now we have Gertrude. Let’s hear it for Gertrude. (Big applause) [DN Gertrude gets up. She is a true free spirit. Free and energetic.] GERTRUDE: You know, I am one of those who really

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doesn’t want commitment. Ha ha…So this song I wrote. ‘I’m not looking For Commitment.’ I’m not looking for commitment, I’m not looking for no strife. I’m just looking for a good time, if and when the time is right. I need to have my freedom, I need my time alone, don’t need to feel the pressure, just freedom from the known. Like the moon that comes full circle, never is the same, so too with hearts that meet again they too will always change. Now the other night was good, and loving you was right, but now it’s time to let it go, and keep our feelings light, in the meantime let’s be friends, no reason not to be, let’s move along with the tide that changes in the sea. And the moon that comes full circle that never is the same, so too with hearts that meet again they too can make the change. I need to have my freedom, I need my time alone, don’t need to feel the pressure, just freedom from the known. Thank you….. (Big applause) BOB MULDOON: Thanks Gertrude, love your song. Next we have Dave Black (Applause) DAVE BLACK: Thanks. I have this Monster's Manifesto I would like to read. Awhile back, one of my Indian friends; back there, (Points a finger) said that my job was to slay the monster. When I asked who this monster was that I was supposed to slay. The chief’s sister White Owl said, I was that monster. So, I contemplated that and this is what came out. 'The Monster's Manifesto' Distance speaks through candles, a cluttered table, and the envelope I write on. Today I saw it in vacant eyes; tonight, the moon, appearing at the end of clouds that funneled.

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A night without wind, smell, or sound. Just distance. Death seems friendlier; closer, closer than this hand that just rubbed its forehead, or the smoke sucked from my pipe, or the leg crossed over the other; like my back hunched, or this heart I cannot feel beating. Hell must be this place, this distant place, where thoughts don't stop. Thoughts, one and the same, the same one that drives us, drives us to add another room to an already over sized house. Or; another item on a crowded menu, to our shopping sprees for those extra clothes, and of course the toys, none of which we really need. Just thoughts introduced and carried out by the monster out of control. Thoughts, one and the same, that took the corner market to the supermarket, to the mega market. The diner to fast food chains. It is the same collective obsessive ness shared by the megalomaniac, the rapist, the pariah, the law maker, the law breaker. It is the same energy, the same action, thoughts consuming the thinker. Thoughts, reflections swimming through cartilage of bone called brain, like a chunk of coral that accepts the sea around it without challenge, swinging with each tide. It is the same action from thoughts that permeate sleep, devouring the sleeper with anger, hate, jealousy, envy, fear and the like. It's the ism, the next cause, the next franchise, the next library. It computes, salutes, and shoots. It's the monster of the Dali’s, Picassos, we call it being prolific. But it's the one hundredth song, the one hundredth book, the one hundredth chip, the one hundredth monkey. Starting locally, it spreads regionally to nationally, till globally. It is a cancer, a fungus, a virus. Now it is spreading faster than a shadow when sweeping a landscape, as it does just before a cloud blocks

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the sun. Neitche discovered it in Zarathustra, soon after which he went insane. T.S. Eliot in his Wasteland, though he continued to live like the bourgeois. Ezra Pound realized it in his final years with the knowledge he was a moron. Einstein, when envious of a plumber’s life. And so it is I finish 'Thoughts manifesto', and welcome putting THIS Monster's bones to rest.' [DN Big hand] [DN: Tableau Jacob the barista walks up in front of audience and says] JACOB: This world is where the silvers left from all the tears that one has wept. Inside the heart the gold is kept while thieves not knowing; on it slept. (Tableau ends) BOB MULDOON: Well that's it for tonight, be careful going home. [DN Bob Muldoon stops Gertrude, he needs to ask her something.] BOB MULDOON: Gertrude, can I ask you something? GERTRUDE: Please do. BOB MULDOON: Living the way you do, is trust an issue? GERTRUDE: OH, that four letter word, trust. Well, for me, if there is no trust, then, there is no betrayal. That word just adds the fuel for its ultimate failure. For me again, trust lies beneath its ashes. That is the real means to the end for me… See, even broaching the subject sets one up for its failure…Ha ha. It really is a test of true courage for that ultimate freedom.

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BOB MULDOON: I had to ask, because, it’s something that I have been taking on, and it hurts like hell. GERTRUDE: Of course, but there is a light that waits, so just hang with it and shake, and rattle till the fire subsides. BOB MULDOON: Thanks Gertrude, hope to see you back here soon. GERTRUDE: Well, it’s wherever the spirit takes me. Have a great night, and thanks again for being here. I love this open mic. [DN Once again months are going by; during that time only a few people are in attendance each Monday. Bob Muldoon is gone, all the musicians; even the girl who first broke the code of tolerance. Once the audience was gone, so was she. Jacob the barista hangs in as do a few poets.] [DN The shade with Sylvia Plath is rolled up to center stage. Behind is Sylvia's bedroom Cast sets up scene behind it. When scene is over the shade is placed back where it was. Sylvia sleeps on the floor. This is a carry over from her stay in a mental institution she had been released from when first coming to the coffeehouse. Sylvia dreaming has a spirit woman appear to her. It is White Owl Chief’s sister. Looking at Sylvia sleeping she says.] WHITE OWL CHIEF’S SISTER: Woman, through your womb pyramids were built, empires destroyed towers that tilt. Through your womb rainbows appear; chaos, confusion, reason and fear. Through your womb waves they rise, tempests, droughts, changing skies. Through your womb the candle was born, the flax, the flicker, from flame it adorns. Through your womb every war has been fought, winners and losers, and peace that

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was sought. Through your womb new stars are found, new tears, new joys, new destinies bound. Through your womb light was shed, over darkness death from wounds that bled. Through your womb every gender must pass every shade, every type, every size, every class. Through your womb comes anger and hate, with love relentless sealing their fate. Through your womb the magic and myth, illusion and beauty that all somehow fits; through, your womb. Sylvia, those who take on the world raise themselves, while those who take on themselves, raise the world. SYLVIA: ya but. [DN Spirit woman adds…Listen…this goes back and forth. Though Sylvia is still dreaming she sits up for this exchange, then lies back down for the dance that takes place after] WHITE OWL: Listen SYLVIA: But I have something to say WHITE OWL: Listen SYLVIA: But my memory plays WHITE OWL: Listen SYLVIA: But you don’t understand WHITE OWL: Listen SYLVIA: But I’m making my stand WHITE OWL: Listen SYLVIA: But who will I be WHITE OWL: Listen

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SYLVIA: But who will I see WHITE OWL: Listen.

[DN Sylvia still in her dream state, responds to spirit woman with a rant, until finally seeing herself at the end. It is done fast and furious. She is reciting aloud. This is in reply to Spirit woman's last statement that ended with Listen.] SYLVIA: Ya But, If it wasn't for Osama, if it wasn't for Saddam, If it wasn't for the Sunnis, if it wasn't for Islam. If it wasn't for the Shiite, if it wasn't for Iraq, If it wasn't for Afghanistan, the opium the crack. If it wasn't for the Bush plan, Taliban or Iran, If it wasn't for Somalia, or those along the Sudan. If it wasn't for the Chechens, and Russia's intervention, If it wasn't for the U.S, tortures and detentions. If it wasn't for the Christians, Muslims and the Jews, If it wasn't for the terrorist, insurgents and the news. If it wasn't for the clans, if it wasn't for the tribes, If it wasn't for the warlords, if it wasn't for the pride. If it wasn't for Milosevic, Putin, Kim Jong, If it wasn't for Castro, Rumsfeld, Pope John. If it wasn't for the Chinese, the Buddhist, Tibet, If it wasn't for Zarqawis, Al-qaida and the rest. If it wasn't for the socialist, the capitalist, the communist, If it wasn't for the royalist, the deist and economists. If it wasn't for Wal-marts, K-marts and food marts, If it wasn't for the so smart, the young one and the old farts. If it wasn't for the Aryans, or purest vegetarians. If it wasn't for the gays, straights and those Kavarians. If it wasn't for the Co-ops, and those Corporations.

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If it wasn't for our brains, and all those inspirations. If it wasn't for Harold, if it wasn't for Maude, If it wasn't for the devil, if it wasn't for God. If it wasn't for, if it wasn't for, if it wasn't for OH SHIT, it isn’t them? It isn’t they? There’s only one who has all the say? It is I? It’s not we? For true peace, it’s up to me! Oh shit, I don’t want to hear that, it is ME! ME! Oh crap, It’s ME! It's ME!

[DN She gives a kind of reluctant but light sobbing at the end like a boo hoo poor me.]

[DN Spirit woman is dressed in black and white, and with several of the cast members circling around Sylvia they sing this song “Let it Go”.] Let it go Sylvia let it go. Let it go let it go. Let it go Sylvia let it go. Let it go let it go. Let it go mm mm Sylvia let it go, let it go. Let it go let it go. Let it be Sylvia let it be. Let it go let it go. Let it be Sylvia let it be. Let it go let it go. Let it be mm mm Sylvia let it be, Let it go. Let it go let it go. Come on home Sylvia come on home. Let it go let it go. Come on home Sylvia come on home. Let it go let it go. Come on home mm mm Sylvia come on home, let it go let it go let it go. Here's the Key Sylvia here's the key. Let it go let it go. Here's the key Sylvia here's the key. Let it go let it go. Here's the key mm mm Sylvia here's the key, let it go let it go let it go. Sing this song Sylvia sing this song. Let it go

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let it go. Sing this song Sylvia sing this song. Let it go let it go. Sing this song mm mm Sylvia sing this song. Let it go let it go let it go. When the sun comes up when the sun goes down let it go let it go When the wheel it turns and night comes 'round let it go let it go When the heat is on mm or its stone cold mm mm When the rain hits hard mm and those rivers flow. Let it go, let it go let it go. Do it now Sylvia do it now. Let it go let it go. Do it now Sylvia do it now. Let it go let it go. Do it now mm mm Sylvia do it now, let it go let it go let it go. Just be love Sylvia just be love. Let it go let it go. Just be love Sylvia just be love Let it go let it go. Just be love mm mm Sylvia just be love, let it go let it go let it go. You will see Sylvia you will see let it go let it go. You will see Sylvia you will see let it go let it go. You will see mm mm Sylvia you will see, oh ya Letting go, mm mm is to be free. Let it go let it go let it go. When the sun comes up when the sun goes down. Let it go let it go. When the wheel it turns and night comes 'round let it go let it go. When the heat is on mm mm or its stone cold mm mm When the rain hits hard mm mm and those rivers flow Let it go, let it go let it go. Let it go mm Sylvia let it go. Let it go let it go let it go

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Just be love mm Sylvia just be love let it go. Let it go let it go. Do it now mm Sylvia do it now let it go let it go let it go.... [DN Spirit woman and cast disappear and Sylvia has this instant catharsis.She gets up and walks towards the audience and Sings] SYLVIA: I'm tired of all the fixin, and the messin with the mixin, trying to improve the recipe. You see on closer introspection, I've been messin with perfection, and things don't need to change; it's only me? Oh no, things don't need to change? Oh God things don't need to change? What will I do if things don't need to change, when the only thing that needs to change is me? Now the reason for the friction is I have this one addiction that wants to change everything I see. But I'm tired of all the fixin and the messin with the mixin 'cause I can't improve a perfect recipe. [DN Whimsically she says this] I took the caffeine out of coffee, the sugar out of ice cream, the spices out of pizza and some cheese. Then I went to regulatin, like smokin and spectatin; then almost passed a law; that said no one could sneeze! Oh no, things don't need to change? Oh God, things don't need to change? What will I do, if things don't need to change? When the only thing that needs to change is me! [END OF FIRST ACT] INTERMISSON

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ACT 2 [DN A shade (Humphrey Bogart) is brought up to center stage while cast sets scene in the back of it showing a small back yard studio. It's sometime after September 11th. Bob Muldoon is putting the best of the music that came from the coffeehouse on to a finished tape, just as he said they would. He is in the studio with Stark, who is helping him. They are just finishing up, when Iris comes bursting in. She's almost out of breath.] IRIS: Guess what just happened; they liberated Kabul, and guess what the first thing the people did there? BOB MULDOON: The men cut their beards off. IRIS: NO STARK: The ladies showed their faces IRIS: NO; you know what they did; they turned the music back on! [Bob quickly replies] BOB MULDOON: Holly Shit, can you imagine they turned the music on and they have all that crazy shit happening with them? All the bombs and killings, that horror', Jesus Christ, what the hell is wrong with us. Same shit different place. I think it’s time for us to turn our music back on! I guess that only proves that YOU CAN'T STOP THE MUSIC. Let's call everyone and get back to the coffeehouse; what do you say?' STARK: That's a great idea; let's do it! BOB MULDOON: Look its Tuesday; let's shoot for next Monday.

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STARK: Sounds good to me. [DN Iris, Stark, and Bob Muldoon wrap their arms around each other with a look of having an epiphany. So the coffeehouse music night is back on. Bob takes his place as emcee which everyone welcomes.] BOB MULDOON: Well it's really great to be back here again, and to see all you regulars, I've missed you all. (Applause) Well needless to say, I know how shocking September 11th was, and it sure has changed things, hasn't it? You know the first thing they did when Kabul was liberated, was to turn the music back on, which only proves you can't stop the music. (Big applause, whistles, and banging on the tables) And when Iris broke the news to Stark and me, we were just completing this tape I have here in my hand, (Holds it up) which was our objective. And in spite of our going apart, it's true; you can't stop the music, no matter how you try! OK, first on our list is Sylvia and it looks like she can't wait to get up here. SYLVIA: It's so good to be up here, and, like a lot of us, I can’t stand rules, so here it is Don’t Give Me Any Rules. 'Don't give me any rules that say conform. It only makes for waves like in a storm. Don't tell me what is right or what is wrong; just let me have some space where I belong. No rules will ever teach me how to see, because those answers are inside of me. And if I am ever to be free, I need to have that place where I can be. I've watched a thistle flower and spread her wings; I've also come across the bee that stings, yet known the joy that only laughter brings, when finding pleasure in the simple things. So don't give me any rules that say conform,

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don't tell me what is right or what is wrong, I only need someplace where I belong, and then just maybe we might get along. When I am left alone it all comes naturally, 'cause everything I do I know comes back to me. Don't give me any rules, don't give me any rules, don't give me any rules.' BOB MULDOON: Man you've got to love it, people saying what's on their mind and giving us some other perspective on looking at situations, thanks Sylvia, sometimes I need a kick in the ass. Thanks, you gave me a boot. [DN Sylvia makes her way back. Flower stops her saying] FLOWER: Thank you Sylvia for such insight, it felt like my shadow was being fed this radiant food. Well done. Thanks again. MC: Next on our list is Stark, let's hear it for Stark. (Big applause) STARK: Well, it sure is nice to be back here. I also want some of you to know that during that long break my wife Iris and I have gotten back together and are working it out. I sure needed to make some changes. In fact she's here tonight she doesn't know it but I wrote this song for her it’s how I feel about her. She hasn't heard this. It's called I Need You. Here goes. I need you like a forest needs rain; I want you as a little boy, who is in a lot of pain. You're the soil, you're the sea, you're the air surrounding me, and I need you like a little boy to take away my pain. You are liquid, I am mass, you're the sparkle in the glass. You inspire I defend, you inquire, I descend. You're my youth, you're my sight, you're the dream I have each night and I need you like the

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forest needs rain. You're the flower in the wild, you give birth to every child you’re the shimmer, you’re the mist, you're the dew when softly lit. And like a stem you're the flower that sits upon the end and I need you like a forest needs rain, and like a stem you're the flower that sits upon the end and I need you like a forest needs rain and I need you, I need you just the same. (Song Ends) (Big applause) STARK: Thank you. Tonight after this open mic Iris and I are going for a ride and wait for the moon and watch the stars shift through the night. Hey that would make a great song...Ha ha [DN Cast all laugh] (Applause BOB MULDOON: Next we have Peter. (Applause) PETER: Thank you…I’ve asked Gertrude to help me with this next song. [DN She gets up from her seat, walks up to the stage. As was said she’s on the plump side and dressed conservative. In fact her dress is long and black she’s pretending to be shy. But then a surprise.] PETER: We already rehearsed this number outside. So we're ready, aren't we? [Round faced and smiling; twitching body nods yes] Here we go. PETER: I fell in love three times today, one more time than yesterday that's Okay. [DN Gertrude smiles and lifts up her hands and says] GERTRUDE: That's Okay.

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PETER: Four times was the day before, tomorrow who knows maybe more, who can say? [Again lifting up her hands] GERTRUDE: Who can say? PETER: 'Cause when I meet someone I find my heart just wants to make them mine, that's my way, 'cause I fell in love once fifteen times and that before the clock struck nine; what a day! [She stretching her hands up smiling says] GERTRUDE: What a day! PETER: So glad to meet ya, gee you're looking well, I know that I love you 'cause my heart I know just fell, maybe see you later, maybe we can dance 'cause today I'm feeling lots of love and ready for romance. Gertrude Gertrude what a name, Gertrude Gertrude do you feel the same 'cause today I fell in love three times but tonight I'd like to make you mine Gertrude stay, Gertrude stay, is that Okay?' GERTRUDE: That's Okay, it's Okay. [DN Then Gertrude breaks out with this, after tearing off her black conservative dress revealing a provocative out fit with lots of cleavage] Four times was the day before tomorrow who knows maybe more who can say. 'Cause when I meet someone I find my heart just wants to make them mine that's my way that's my way. Peter Peter, what a name, Peter Peter do you feel the same 'cause today I fell in love three times but tonight I'd like to make you mine Peter Stay Peter stay, is that Okay?' [Peter laughs] PETER: That's okay, that's okay. [DN Bob Muldoon still laughing along with the audience, says]

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BOB MULDOON: Let's take a break. [Laughs some more] [DN Sylvia walks over to Jacob] SYLVIA: I’ll have a coffee. (Jacob asks) JACOB: How would you like it? SYLVIA: Black. JACOB: Ah, just how I like my women. [DN Sylvia starts to walk away pissed. Turning to Jacob says] SYLVIA: Jacob, I don’t find that very funny, it’s insulting. JACOB: Wait a minute. Don’t run away. I really liked your song. And was testing you to see if what you had to say in it, also applied for me? [DN Sylvia walks back for her coffee.] Everyone has their place, as was said, suppression retards evolution. See wisdom comes with patience, that's how we learn. A shaman friend of mine once told me when I was talking about the crap that comes out of L.A. He said you have to see the beauty in the shit [DN Sylvia jumps in] SYLVIA: Ya, but you don't have to stand in it. JACOB: Ah, you are a wise woman. [DN Both Laugh] JACOB: Sylvia, let me tell you this story. A man once told me he was having a conversation with a woman outside this supermarket where she worked. She was on break. When her break was over she was heading back in when she saw this canary lying on the ground in front of the glass door. It must have slammed into the glass. So she

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picked up the bird and brought it over to my friend. She asked him if he would try to revive the bird that appeared dead. She herself had to get back to work. So, here's my friend with this bird in his hands. He started stroking its head and after about fifteen minutes, the bird started to come back to life. Then after awhile, it got up on one of his fingers, it was wobbling quite a bit. My friend was really happy and said to the bird, hey you're going to be OK, and you’re going to make it. When the bird finally got its composure back, and noticed the man, the bird started chirping. My friend thought the bird was thanking him. But then the bird flew to a nearby tree. And soon a grackle came out of nowhere and attacked the little bird. It fell to the ground when another grackle came and finished the canary off. It was as if the grackles heard the canary's cry for help; that it was its time to move on. My friend thought how intelligent those birds are, and that's when he also knew; there was nothing to fix. SYLVIA: Jacob, are you one of those enlightened gurus? JACOB: Sylvia, if I could remember where pencils or pens, or pockets where keys or matches are in; I'd stand like the Buddha’s right beside them, just as enlightened, as soon as I can. No, I have more holes in me than Swiss cheese. No, I'm only a man and if you think I'm more; I'll disappoint you. [DN Both smile; she walks away. Sylvia then notices the girl who never has time to talk.] SYLVIA: Hi [DN the girl stops.] SARAH: Hi. SYLVIA: What's your name?

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SARAH: Sarah. [DN Both are staring at each other Sarah then says.] God you're so brave getting up there in front of everybody and singing your song. I wish I had that courage. I really admire you. SYLVIA: Hey, how about you and I getting together after, would you like that? SARAH: I'd love too. [DN Sylvia begins to walk away. Sarah turns to get a second look and sings. There is a tableau] I need a second look 'cause the first one told me it was you I need a second look 'cause my heart and soul it told me too. I've never seen a face to stop me in my tracks before and so the second look 'cause I knew I had to have some more. See my heart agreed like a river racing towards the sea I felt this desperate need to take that chance that was before me and with that second look the doors to hell they all opened wide And a light poured in and an angel stood before my eyes. 'Cause with that second look my body just started to shake I felt this ecstasy that swept me inside I couldn't fake It was that face of yours and the way you looked that said it was sure it was the second look what was the first time I saw love so pure And the shadows danced with feet that never touched the ground And so this poem I wrote laced with notes because of you I found It was the second look when I saw in you my music score Through that second look and your face that I

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was looking for It was amour it was amour It was that second look what was the first time I saw love so pure It was amour. [DN: Tableau ends.] [DN Flower walks over to where the Indians are sitting. She addresses White Owl] FLOWER: Please, what does the symbol you are wearing mean? [It is a circle with three parallel lines within] WHITE OWL: This symbol first appeared to my cousins the Anasazi almost a thousand years ago. Then recently it was revealed in a vision to another cousin. Only this time it came with a message. 'The path that's neither left nor right, nor in the middle, is the one that circles all three' In other words all paths are sacred, yours as well as mine, and the potential we have, is the fourth path that embraces all. FLOWER: Oh thank you, so perfect. It just makes so much sense for our time. [DN Tableau. Peter walks up to center stage and unzips an invisible curtain stepping through and closing the zipper] PETER: There, we’re alone. Hey, I told you I’d be back. I have two songs I want to sing and this seems like a good enough time, besides I need a break from all this. Besides I’m also Ego, remember? [DN Pointing to his back side] Now, after I sing this first song, I’ll need help with the second. That’s where you all come in. And maybe those characters back there will join in. I have a feeling they will. It’s in the script. Ha ha. So here is my first one.

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I love Jesus my brother and Mary His Mother and God the Father of all. I love Krishna and Buddha Mohammed and Judah and all those who rose from the fall. I love what can be with peace that is free and right here for anyone, It’s the sea it’s the land, the place where we stand and all because what love has done. It’s the feelings we have the joy and the sad as each day that’s filled with surprise, it’s life it’s the death it’s the sun that will set that someplace always will rise. It’s the things that we hoe and the things that we grow that give us a little insight. But it’s love with its grace and mysterious face that I sit here and think and to writ, that I sit here and think and to write. Now, this song is kind of like a chant…When I finish a line, I will put up my hand and you will sing AUM, and stretch it out like this AUMMMMMMMM. I’ll give you the signal to start it and stop…If you have a hard time with Aum just say home. Sounds the same and, that’s how I do it. I like the idea of home. OK so here we go. ‘Aum Father Father you’re my Father, you’re my only Father Father my fatha. (Raise his hand)AUMMMMMMMM. ‘Aum Mother Mother you’re my Mother you’re my only Mother Mother my Motha. (Raise his hand) AUMMMMMMMM. ‘Aum Sister sister you’re my sister you’re my only sister sister my sista. (Raises his hand) AUMMMMMMMM. ‘Aum Brother brother you’re my brother you’re my only brother brother my brotha. (Raises his hand) AUMMMMMMMM ‘Aum Krishna Krishna you’re my Krishna you’re my only Krishna Krishna my Krishna. (Raises his

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hand) AUMMMMMMMM ‘Aum Buddha Buddha you’re my Buddha you’re my only Buddha Buddha my Buddha. (Raise his hand) AUMMMMMMM ‘Aum Jesus Jesus you’re my Jesus you’re my only Jesus Jesus Joshua. (Raises his hand) ‘AUMMMMMMMM ‘Aum Mary Mary you’re my Mary you’re my only Mary Mary Maria. (raise his hand) ‘AUMMMMMMMM one more time AUMMMMMMMMM. OH Thanks, you’ve given me the chicken bumps. [DN Someone from the cast in back will say “They are Goose bumps”. Peter will say] I knew that, I was just seeing if I had your attention. [DN Peter will laugh] I knew they’d wake up back there… Well, thanks again and let’s see what happens next. [DN Peter goes to unzip and says] PETER: To hell with that I’ll just walk off stage…ha ha. By now Tableau ends. [Break ends] BOB MULDOON: Moving right along, next we have Dave Black. DAVE BLACK: Back in the eighties I had a vision. In the vision an old man appeared to me. He was at peace. I asked him his secret; and he said; 'To kill'. I thought he meant to kill desires. One year later, I am shown in another vision the old man's meaning. This vision involves a black dog and a white dog. One has me by the left hand and one has me by the right. I see how they are pulling me apart, and how ferocious they both are. I then have them both killed, and for the first time felt peace and freedom. I could see how they

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represented good and evil, and were tearing the world apart; and needed to be killed psychologically. I adapted this experience into a poem called 'In Their Names'. 'In Their Names.' Here we go again with the same thing, in a world still just insane. Each side choosing sides on all sides, each thinking they are right, with something to be gained. It's a world still mad, and it's really, really sad, 'cause we're not that bad, just think we've all been had. Mohammed and the Jesus Christ, or those who we pray to, I think they would have stayed away, seeing what we do, it's so insane, it's in their names. Every form of prejudice makes somebody rich, so with those who think they're not when off to fight this itch. Good against the evil ones each thinking they are good, trying to kill the so called beast, while it hides right under hood. Arms dealers fueling fires playing deadly games, countries seeing lots of jobs, in each cross exchange. Profits are the motives in those deadly flames, dividing each by their beliefs, inflicting words of pain. Compassion waits the message, let go step aside, while those who think an eye for eye, I think they call that pride. Still makes you wonder why, prophets ever came, when here we go again, in a world still just insane. It's so immature when all is said and done, but the pain and sorrow that is real and felt by everyone. It's a world still mad, and to think that we are had, while some are even glad and that's really, really sad. Mohammed and the Jesus Christ, or those who we pray to, I think they would have stayed away, seeing what we do, it's so insane, it's in their names, it's so insane, it's in their names, it's so insane; it's in their names.

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(Applause) BOB MULDOON: OK next. Let’s hear it for Flower. (Big Applause) FLOWER: After reading Slavina’s poem, I got inspired to write this, hope you like it. My poem is about our Mother earth called "Simplify Or Die." There is a dire need to help her as you well know. The poem. Simplify or die, now let me tell you why. It concerns our planet earth, for which we all do share her worth. Right now she needs our help, you can tell, it can be felt. For the ice caps that now melt, are her tears to us that shout. And there's a hole in her sky, that keeps growing in size, Underneath things seem to die, all because of you and I. But it's really not too late, if we treat her as soul mate, Because she loves us all so much, she's in everything we touch. So let's see what we can do, and take a vow to all renew. Because inside we know it's true, for future life we all have to. So now you know the why, it's the truth and not a lie, On her we all rely, we must simplify; or die! [People stand and cheer] Thank you. BOB MULDOON: Well it's been another great night, see you all next week, and be sure to drive safe. [DN Back at Flower’s and Carl’s. Shade with Marilyn is brought up as the others have.]

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FLOWER: Carl, I know this coming together of ours has happened smoothly and very natural. And we both agree that vows are not necessary, that there is just this knowing between our souls. So, how about if we celebrate this union of ours with those back at the coffee house. We can have a reception there and have the chief add something, like a blessing. I mean we’ve really gotten to know him well, and I would really love to share our coming together with all our friends there. I mean we met there and I just think that would be such a special spot. We could do a pot luck or something and just party. What do you think? CARL: That sounds great. I’ll call Bob and ask him if it would be all right. Then he can announce it next week for the following week. Is that ok with you? FLOWER: Perfect. I’ll call the chief and see if it would be ok with him. OH, and when you talk to Bob be sure to tell him to have the others bring their dancing shoes. CARL: For sure…Will do. Mine are ready. [DN People get the message and we hear some of them calling each other to see what to bring.] [The Night] BOB MULDOON: Well, I’m glad to see that everyone got the message. (Cheers) And that you brought your dancing shoes. (More cheers). Flower, would you like to say anything? FLOWER: Yes first thank you for bringing the pot luck everybody, I can’t wait to dive in. [DN Food is set on some tables off to the side

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as is a pipe from the chief.] FLOWER: Secondly, thanks to Bob and Jan the owners here for allowing us. (Round of applause) And Bob Muldoon for calling everyone and all. So, as some of you know Carl kept wooing me till I was wooed! Ha ha…And I’m really glad he did. Most of you were here when we first met and so we felt this was just the right place to have this reception of ours. We’ve all been in this together haven’t we? (Applause) So, that’s it for me and thank you all for coming out tonight.’ And let’s have some fun!’(Big Hand) [DN She has flowers in her hair and her simplicity of dress only accentuates her natural beauty.] BOB MULDOON: OK, Chief I guess I’ll turn it over to you. (Another applause) CHIEF RED EAGLE: Flower and Carl, please walk over here in the center. [DN Chief points to a spot where he wants them to stand. Where he also is standing.] That’s good. Now my sister has a gift for you both. [DN With that White Owl walks up to Flower and Carl. She places a necklace of the Path symbol around each of their necks. Bowing to them with a slight gesture of head. They do the same. She goes back joining those in the circle. Chief continues.] CHIEF: I also have a gift of one of those new pipes that some are calling the new peace pipe. I will give it to you after. OK, now everyone else I want to form a circle around us and to hold hands. Perfect. It is said when you love someone’s soul and they love yours then you are soul mates. Having known you both, you certainly embody that. See, I also know you

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both made that arduous journey to the top of the mountain where the pair of wolves meet. I also know it is the horse that encourages one to do so, that is not to quit. Now, the horse is one of our many guides and represents true freedom of the Spirit. Think of a horse running out in an open field without restraints with an eagle flying by its side. Then you will get the picture of how such freedom travels. I know that the both of you also need your spirits to remain free and so it is I say may you journey together without restraint, continuing together into that great unknown and too guide us with your experiences into that great mystery. Now, may you howl together to wake the wind, because you are now together in unity of body mind and spirit. May the winds carry your joy down from the mountain; and may your love spark the field, to fire.(Applause and cheers) Now please Kiss. [DN They give each other a very long passionate kiss. Off to the side Sylvia says] SYLVIA: I want to kiss her like that. [DN Sarah says while pushing at Sylvia’s shoulder] Sarah: I’ll be you do!...ha ha [A Tableau: Jacob the Barista comes out and recites the definition of a soul mate.] JACOB: This is the Definition of a Soul Mate. Two separate beings Equal in part United by love Right from the start. Completing the circle Two halves become whole Each in the other AS ONE in their soul.’ Tableau ends. CARL: This is a song that Flower and I heard

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that really reflects how we feel and it’s a great dance tune so don’t be shy. It's called, "Together Together”. [DN Song has a Boss nova beat. It plays on a boom box. Peter Dances with Gertrude. Sylvia with Sarah. Iris with Stark. Flower with Carl. White owl with Dave Black. Bob with Two Feathers. Others just cut in.] You're the reflection of who I would be, you're the reflection inside of me. I knew who you were the moment we met, I've carried your picture, how could I forget. And when we're together the wind we will ride, 'cause you are the wing, my other side. Together, together, I just like the sound. Together, together, we will be found. Together, together, high off the ground, together, together, circling around. Now it's just a heart beat a heart beat in time, it's just a heart beat that you will be mine. But the beat that I have as long as I live, will be beating for you with all it can give. Together, together, I just like the sound. Together, together, we will be found. Together, together, high off the ground, together, together, circling around. When I look in the mirror I always see two, one who's like me who looks just like you. For you are that mirror that woke me from sleep, you're my reflection that my eyes can now keep. Together, together, I just like the sound. Together, together we will be found. Together, together, high off the ground, together, together, circling around. [DN During the song Carl, while dancing with flower, reaches down into a basket filled with apples and starts passing them out to the guests. In the meantime Flower and Carl biting into theirs laugh.]

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BOB MULDOON: I'd like to propose a toast to Carl and Flower, Hey, we need some wine. Jacob do you have any wine back there? [DN Jacob lifts his head as if in afterthought and walks back behind the coffee counter bringing out a large clear jug filled with water. He places it on a table. Bob says.] Jacob we need wine not water. [With that Jacob snaps his fingers and the water turns purple.] [Stark yells out] STARK: Jesus Christ Jacob? [DN Everybody laughs.] [DN Everyone takes a cup filled with wine for the occasion and Bob adds] BOB MULDOON: OK, now the toast. May the light that shines on your head, reflect off the soles of your feet! [Everyone] Here Here [DN Narrator Robert Doyle walks up to Jacob people are dancing and having a great time and says] NARRATOR Robert Doyle: I think we've all done a lot of growing up since we started this project. JACOB: We're just people, different faces leaving traces here in time. Just people; like those that came before to leave behind. And today tomorrow mourns, leaving memories to be born, people different faces will define. Now, take my hand and you will touch the reason why. Touch my face and you will know what will one day say good bye. Touch my heart and you will take what was only meant to fly. Touch my soul and you will see what is known to

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never die. People, we're just people, different faces leaving traces here in time. People, just people, people different faces will define. Now the sadness that you feel, came from joy that made it real, from those traces that are sown into are minds. But when the tracing it is done, like a weaving will be one, with each face to be seen for all times. People, we're just people, different faces leaving traces here in time. People, just people; people different faces will define. NARRATOR Robert Doyle: So true so true. Hey look at them back there just all acting as teenagers. [DN With that Sylvia hears this and says.] SYLVIA: Teenagers? Well, I want you to know. [DN Cast joins in dancing and singing] 'Our teenage years are done Mom, our teenage years are done. We finally reached adulthood, our world is twenty one. We've been through adolescence, been through puberty, I'm sure we'll use our senses; in this century. It's time to use our heads, connecting with our hearts. Stop punishing each other, might be the place to start. Let's put away our differences, though different let us be, like leaves that have their place, though all from the same tree. Our teenage years are done Mom our teenage years are done. We finally reached adulthood, our world is twenty one. We've been through adolescence, been through puberty, I'm sure we'll use our senses, in this century. The fish rose from the water to give birth high on land, this sign of Capricorn suggests we to expand. Let's put away those childish things,

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put behind our fears, let's celebrate this entry, with six billion cheers. Our teenage years are done Mom our teenage years are done. We finally reached adulthood, our world is twenty one. We've been through adolescence, been through puberty, I'm sure we'll use our senses, in this century. Two thousand years let's penetrate, two thousand years, this year that's finally come, two thousand years let's dedicate, remembering how we got here, thanking everyone; Oh, our teenage years are done Mom, our teenage years are done, we finally reached adulthood; our world is; twenty one.' [DN Flower and Carl then walk up to the audience and sing this song facing each other along with facing the audience as well. She says] FLOWER: You know it really all comes down to this. Will you remember like this song And forgive what all went wrong We had a history when together you and me But then it came to end When life called us back then And we had to both transcend No longer to pretend. Now looking back I see Why things they had to be It was just our destiny Adding to our history It's a song about our souls Inside where love it holds Saying things we need to know About true love and letting go 'Cause when all is said and done

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There's no blaming any one There were things we had to learn And so we had to have our turn But it's love that ends this song And forgiveness for the wrongs For love it has to be In the end that sets us free It's a song about our souls Inside where love it holds Saying things we need to know About true love and letting go Like this song that speaks with words So love can now be heard Filled with simple poetry With a perfect harmony But it's love that ends this song And forgiveness for the wrongs For love it has to be In the end that sets us FREE! BOB MULDOON: If there's one thing I've learned here tonight, [DN Music starts to play, from score of You Can’t Stop The Music. Cast gets into position facing audience. Just then Jester comes back out dressed as before with puffy skirt and all. Sashays across stage pretends to pick up the dress again but looks at audience throwing a hand out as if to say na not this time.] Is that, 'You Can't Stop The Music, can you? [DN This song and dance is like a Broadway show tune the whole cast then starts] No you can't stop the music, no matter how you try. No you can't stop the music, no it's not about to die. No you can't stop the music, or the words that make it fly. No you can't stop

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the music once the music finds the sky. No you can't stop the music, no, no no no. No you can't stop the music, no, no no no. No you can't stop the music no matter how you try. No you can't stop the music, no matter how you try. No you can't stop the music once it has the wings to fly. No you can't stop the music it will never say goodbye. No you can't stop the music 'cause the music flies too high. No you can't stop the music, no, no no no. No you can't stop the music, no, no no no. No you can't stop the music, no matter how you try. No you can't stop the music once it has the wings to fly. No you can't stop the music no it's not about to die. No you can't stop the music or the words that make it fly. No you can't stop the music; no matter, how, you, try. [Robert Doyle man pitching the play then takes his place in front of the cast. Each performer then takes their bows until finally the whole cast, together, do the same. Peter takes two bows, one for Ego and one for the minstrel man.] THE END. ROBERT: Well, that's my pitch, what do you think? The end.....

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The Journey

Photos by: Dennis Coughlin