THEATERWEEK: Have you used the Hans Christian Anderson fairy tale ("The Red Shoes") itself as a source? It presents a horrifying, brutal lesson about the price of vanity.

MARSHA NORMAN: When I first read it, that's what I thought the message was. Here's a warning to little girls: Don't want anything more than what you're given by birth or status.

THEATERWEEK: It's also about decorum, isn't it? If you must have the red slippers, at least don't wear them in church.

MARSHA NORMAN: Yes. Don't wear them in church. Don't flaunt your desire, because we don't want you to have it and we don't want to have to deal with it. We will punish you for having it. Is that a tale that needed to be told over and over throughout history? Does this explain the universal, lasting quality of this story? How we punish girls? On the one hand, you say "Yes," and then you hope that there's maybe some other reason why this tale has lasted. (Carol Rosen, "The Battle for *The Red Shoes*," TheaterWeek, Dec. 6, 1993.)

I doubt if ever the history of the world, or the experience of past ages, could show a larger amount of insanity than that of the present day. (John Hawkes, "On The Increase Of Insanity," 1857.)

CHARACTERS
Melody/Laurel, early twenties
Katie, early twenties
Cramer, thirties
Cohen, thirties
Courtney, thirties
Werner, late fifties
Roland, thirties-fifties
Mrs. Wormwood, of indeterminate age

Act One, Prologue

(Setting: a bar, somewhere in the tropics.  Set is quite minimal: a bar unit,
three tables with chairs, no walls, suggestion perhaps of a ceiling fan,
jungle sounds and ebullient light calypso music at the top of the show.  The
lights rise on a strange and wonderful tableau.  MELODY, a young woman in her
twenties, stands in front of C table.  COHEN and COURTNEY, a dapper couple of
carousing sophisticates, sit at SR table, each holding drinks and smiling
broadly at each other.  At SL table sit WERNER, a former television executive,
and ROLAND, a calm older man with no distinctive features.  MRS. WORMWOOD, a
rather extravagant woman of indeterminate age, is behind the bar, polishing,
smiling.  The stage is bright and tropical, and the freeze has a very
sophisticated, humorous feel to it.

The music fades to silence, and MELODY takes a step forward to speak.)

        MELODY
In the final days before the end of the world, I find myself alone on an island
somewhere in the Pacific.  It is only a matter of time before this little
island, and all of its desperately naive inhabitants, are consumed by the
hysteria.  I have much work to do.  It is the work I was born to do.  Let the
melodrama speak for itself -- listen closely, for I have found quite a spark
nestled deep inside of it, waiting for a breath of life to spread its flame,
a breath that will sound as though a room full of people like you and I gasped
together in sorrow and wonder.  And within this story we know all too well, I
have found myself compelled.  I give you every bit of thanks within me.  I
could not have done the things I will do without you.

(Suddenly the freeze explodes into a motion, as a lovely and energetic tropical
tune comes up.  MELODY raises her arms and holds them high during the next.
COHEN bursts into laughter, MRS. WORMWOOD improvises a harmony.  We catch
WERNER in the process of arguing with ROLAND.)

        WERNER
I've analyzed the situation from a number of different angles, Roland, all of
them very compelling, intriguing, pertinent angles -- I mean, very very
attractive angles, really -- and I have determined, and I say this with the
utmost conviction and sincerity, that this nonsense about the end of the world
is absolutely nothing at all for us to worry about.

        COHEN
Look, Courtney... Courtney... Courtney!  Look, if I could just have your
attention for a few minutes, I mean, I know you're very preoccupied and all,
what with the... bruises and everything, but... I just, uh, I just thought I
should clear up a few things about the situation.  For your benefit.  For
*your* benefit.  For your *benefit*.  Do you understand?  Am I just speaking
into the air here?

        MRS. WORMWOOD
        (bringing drinks to WERNER and ROLAND)
Yes, dear, one way to look at it is that while it certainly might look and
feel like the end of the world out there, especially to those directly
participating in the riots and the mayhem and the generally disturbing level of
anarchy, destruction, and callous disregard for the societal structures that
have, in the past, managed to *keep* us from rioting and destroying things and
people and so on -- *nonetheless*, no one has been able to turn up any
objective, scientific proof that this situation is, in fact, the end of the
world, and not just a really bad day for everyone or some such.

        WERNER
        (growing excited)
Yes yes, I mean, one wonders, doesn't one, what elements specifically were the
ones holding everyone back all those years, you know, who or what was, was
stopping us all from panicking and rioting and killing each other, et cetera,
all the detritus, you know, of a, of a fairly disturbed situation, you figure,
this undercurrent of... of "Jesus fucking Christ!", why, I bet that's been
bubbling underneath the surface ever since humankind first realized that we
were all pretty much *jerks*!

        COHEN
It seems as though I'm not getting through to you, on so many levels.  It seems
as though I've tried nearly everything I could think of to get through to you,
to just plain get through, you know, to you, and I'll be honest, it doesn't
hurt me more than it hurts you, so what's the deal?  Just level with me here.
I'm a man and I can take it.

        MRS. WORMWOOD
No one can *prove* that the mayhem out there is anything more than simple
cosmetic surgery on the same old same old.

        WERNER
Yes yes!  The end of the world isn't a point in space, surely.  It's a process.
Really, the end of the world has been in progress ever since the beginning of
the world.  So... semantically, maybe, you could call this the end of the
world, but don't you think that's a bit of a stretch?

        COHEN
I think it's an emergency.

        COURTNEY
        (emphatically)
It's not an emergency!

        COHEN
I think it is!

        COURTNEY
This is not an emergency.

        COHEN
If it's not an emergency, what would you call it then?

        COURTNEY
Cohen, darling, really, this is all just a diversion from television, wouldn't
you agree?

        ROLAND
I must point out, of course, that I once saw a mongoose walk a tightrope in its
lingerie.  It was, to my mind, something else to see.

(MELODY snaps her fingers twice; the rest of the stage freezes, and lights
shift to a small pink pool of light on her.  A child's musicbox melody rises
softly, absolutely friendly yet so incredibly small, and MELODY slowly lowers
her arms and begins to speak again.)

        MELODY
        (fondly reminiscent)
No one was ever sure why the world had to end.  It was absolutely inexplicable,
the way childhood friends might suddenly turn to hate you as the years go by.
(riot sounds fade in slowly as counterpoint to the music box)  The end of the
world was an inferno on earth, the dissolution of every boundary, the
disintegration of every restraint.  And the brilliant, explosive release of so
many years upon years of human hatred overflowed into the world as so many
breathtaking flashes of red, and violence, and despair.

(Now lights slowly begin to rise again on the others.)

        MELODY
In the final days before the end of the world, I found myself alone on an
island somewhere in the Pacific.  For the fury that was sweeping the earth had
not yet reached this place, this haven for the wealthy and the clever.  Here
the respected ways of western civilization remained as defiant testament.
While the end of the world raged on around them, these my future friends spared
tears alone at night, but otherwise all was well.

        COHEN
        (grandly)
You're right, my dear.  There's no emergency at all, at all, and all is
wonderfully well!

        MELODY
        (a bit sadly)
I've so much I wish I could have said to you, my friends, from this quiet
resting place outside the story, but soon the melodrama will carry me away.
In those horrible days of my youth, oh how I longed for the melodrama to
consume me, waited for the days when I would realize my highest purpose, feel
my deepest flames, revel in poignant and powerful fire.  And now that that time
is here, I must confess, I too will shed some tears the next time I'm alone.
(smiles almost mischievously)  But when the world is coming to an end, there's
not much difference between sorrow and joy, and my tears, she said, could be
my closest friends.  (pause)  And now--

(With a sudden grand sweep of her arms, lights up full, tropical music
resumes.)

        MELODY
Ladies and gentlemen!

        COURTNEY
People of the world!

        WERNER
Friends, Romans, countrymen!

        MRS. WORMWOOD
Children of all ages!

        MELODY
I hope you enjoy your stay on the island...

        COHEN
That's easily said!

        MELODY
        (grimly)
...and save your questions til the end.

(A freeze; the music stops.)

        MELODY
        (awesomely frightened)
You'll know it is time to turn the page when you hear Melody scream like this.

(She opens her mouth and screams, but no sound comes out.  Lights fade to
black.)

Act One, Scene One

(The tropical music from before comes up, but this time on a transistor
radio onstage, so that the sound is tinny and cold.  When the lights rise,
they are not so warm as before, so that the bar now has a much dingier feel
than before.  MELODY is now seated at C table, her suitcase on the floor next
to her.  COHEN and COURTNEY are gone.  MRS. WORMWOOD is preparing drinks for
WERNER and ROLAND.)

        WERNER
        (resigned)
It had to happen eventually.  I mean, I certainly knew all along that this time
would come, and yet... I simply couldn't resist.

        ROLAND
        (without inflection)
You couldn't resist.

        WERNER
No, I couldn't.  She was -- and still is, of course -- such a very attractive,
beautiful, sensitive girl.  She's attentive, responds well to all my needs,
she's demure, yet playful, she's honest, but not intrusively so, and you know,
her eyes are open, I mean, she really knows about the world.  And yet...

        ROLAND
And yet?

        WERNER
Well... there's no getting around the fact that that's what I'm paying her for!

        MRS. WORMWOOD
        (arriving with drinks)
I hope I'm not interrupting, gentlemen.

        WERNER
Ah, our booze is here!

        MRS. WORMWOOD
Booze!  Booze!

        ROLAND
I'm a fan of booze myself.

        MRS. WORMWOOD
Nothing like a good drunken stupor when the world is coming to an end!

        WERNER
        (solemn, loud pronouncement)
Booze is for people with no meaning in their lives.

        ROLAND
That sounds like a toast.

(The two clink glasses and drink.)

        WERNER
        (takes long sip of his drink)
No, Mrs. Wormwood, of course you're not interrupting.  Lovely party last night,
by the way.

        MRS. WORMWOOD
Why, thank you, Werner, that's sweet of you to say.

        ROLAND
Werner's having problems with his love life, it seems.

        MRS. WORMWOOD
What's the matter, Werner, can't afford one anymore?  (laughs loudly and
somewhat inappropriately)

        WERNER
That's the point I was trying to make!  You see, she's all the things I've ever
wanted in a girl, and yet, it's a sort of hollow satisfaction knowing that she
herself is under no obligation to have any actual feelings about me.

        MRS. WORMWOOD
        (heading back to the bar)
You're in quite a smelly pickle then, aren't you.

        WERNER
I most certainly am.  I was thinking perhaps that someone else might do the
trick for me, but of course, she's the only whore on the island, so...

        ROLAND
When do you plan to tell her the news?

        WERNER
        (glances at his watch)
I was supposed to meet her a half hour ago, but... (suddenly inspired)  Look,
Roland, why don't you come with me when I go to tell her?  You can lend moral
support.

        ROLAND
I have no morals, Werner.

        WERNER
Good, you can support mine.  I suggest we finish our drinks.

(As they pause to savor the drinks, COHEN and COURTNEY enter, carousing a bit
of course.)

        COHEN
Well, hello, Mrs. Wormwood!  I'll bet you're glad to see us again!

        MRS. WORMWOOD
Cohen!  Courtney!  My friends!

        COURTNEY
Hi, Mrs. Wormwood.

        COHEN
I'll bet you're glad to see us again!

        MRS. WORMWOOD
I'm so glad to see you again!

        COHEN
We'll take that table over there, and I'd like a bottle of wine and whatever
cheap drugs you have handy.

        MRS. WORMWOOD
Why, what kind of drugs, Cohen?

        COHEN
Well, you know, Mrs. Wormwood, sometimes I like those drugs that make me wake
up and see reality the way it really is, and sometimes I like those drugs that
give me strength and inspiration, and sometimes I even like those drugs that
drown me in what's divine... but tonight, I just want the drugs that make me
PAR-TAY!

(He and MRS. WORMWOOD share a ridiculously loud and long laugh about this.
COHEN moves to the bar while COURTNEY sits at SR table.)

        COHEN
So, how are you, Mrs. Wormwood?  How's business?

        MRS. WORMWOOD
Good, my friend, incredibly good.

        COHEN
I'll *bet* business is good, a bar like this, in times like these, I'll bet
business is positively booming.  Lovely party last night, by the way.

        COURTNEY
        (calling to COHEN)
Get us some food, why don't you.

        COHEN
Listen to her, so imperious these days.

        COURTNEY
I think food's a good idea.

        COHEN
        (snaps)
Shut the fuck up, would you?

        COURTNEY
Just get us some fucking food, why don't you.

        COHEN
        (to MRS. WORMWOOD)
All right, just get us some food and something to drink, okay, Mrs. Wormwood?

        COURTNEY
And get us something to drink.

        COHEN
Please shut the fuck up, Courtney.

        COURTNEY
Like a martini, okay, Cohen?  Get me a martini.  And some food.

        COHEN
        (smiling to MRS. WORMWOOD)
I swear, when the end of the world finally hits this island, she's the first on
my list.

(He makes throat-cutting gesture, and they both laugh knowingly.  WERNER has
seen COHEN and now comes to meet him C, behind MELODY's table.)

        WERNER
Cohen!

        COHEN
Werner!

        WERNER
It's fucking great to see you!

        COHEN
It's fucking great to see you too!

        WERNER
        (a horrible, goofy kind of kidding)
Still beating your wife, old boy?

        COHEN
        (grandly)
Same as it ever was, my man, same as it ever was!

        MELODY
        (to the audience)
That's Cohen, a wealthy debutante, inherited his father's electronics fortune,
moved to the island about a year ago with his wife, Courtney, third generation
rich out of Virginia.  They hate each other.  Cohen's notorious for
brutalizing his wife.  Courtney's said to enjoy asphyxiating small animals.
Werner' used to be in television.  He's also personally tortured, raped,
maimed, and killed some two hundred and twenty-three prepubsecents across the
globe.

        WERNER
        (absentmindedly)
I used to be in television.

        MELODY
And Mrs. Wormwood, wealthy widower and local honorary matriarch, loves
providing this service for the islanders.  Mrs. Wormwood used to be a serial
killer.  Now she only kills occasionally.

        MRS. WORMWOOD
        (smiles brightly, shrugs)
It pays the bills!

        WERNER
I'm sorry I have to go so soon, Cohen, but--

        COHEN
        (finally noticing MELODY alone)
Now who do you suppose that is?  I don't believe I've ever seen her before.  I
thought I knew all the residents.

        MRS. WORMWOOD
Maybe she's another one of those imported prostitutes someone got tired of.

        WERNER
Now that just wasn't polite.

        COHEN
        (taken in)
No, she hasn't the look of a prostitute about her... she looks... why, I'd
swear she looks almost... holy...

(The lights have dimmed subtly and smoothly, an aura envelops MELODY, a soft
entrancing angelic choir is heard deep in the background; the music and the
lights fade slowly, returning us to normal.)

        COHEN
Then again, that just might be a trick of the light.

        WERNER
Roland, are you ready?  Let's go.

        COHEN
Mrs. Wormwood, send a drink over to her table for me, would you?  I've gotta
get back to Courtney.

(COHEN moves to his seat.  WERNER exits.  ROLAND is a few steps behind.  He
stops in the doorway just before leaving, looks around slowly, and then
speaks.)

        ROLAND
        (without inflection)
There seems to be a titmouse in the closet.  (pause)  But I won't tell if you
won't.

(He exits.  Fade to black.)

Act One, Scene Two

(In the darkness, riot sounds emerge.  Much screaming, many explosions and
gunshots, as though quite a distance away from us.  Spot up on CRAMER, an
impressive figure in a sleek, futuristic military uniform.  He addresses
audience as if speaking for a camera.)

        CRAMER
Eliminate the troublemakers, and it goes without saying you eliminate the
trouble.  I'm not trying to sound ominous, merely pragmatic.  We will kill all
the troublemakers now, and if it turns out it *is* the end of the world, it
won't matter anyway, and if it *isn't* the end of the world, then those people
had no business causing trouble in the first place!  And besides all that, we
just don't like those people, do you see?  Certainly you need to trust that the
people *we* like are naturally going to be people who are good for this planet,
and people we don't like... I mean, it goes without saying that people we don't
like simply don't need to be here!  And anyway, I don't believe it would be so
easy to kill all of them if they were actually any good for the planet!  So.
I haven't seen any signs of trouble here on the island, but this outpost is
fully prepared in the event the end of the world decides to light here.  You
can count on the Ministry for Global Defense!  We'll be easy to recognize.
We're the ones in the uniforms who can always get what we want no matter
what...

(Fade to black.)

Act One, Scene Three

(Dim lights up on a small, quiet park.  KATIE sits alone on a small bench,
in ragged dress, poorly made up with hollow features.  WERNER enters from
behind her, can't bring himself to approach her.  At long last, against his
better judgment, he speaks.)

        WERNER
Katie.

        KATIE
        (looks up, almost hopeful)
Werner... what time is it?

        WERNER
My apologies for being late, Katie.

        KATIE
Don't apologize, Werner.  I was glad to wait.  I had time to think.  (long
pause)  Where have you been?  It was difficult to wait, you know.

        WERNER
I... I didn't know how to face you.

        KATIE
        (slight pause)
Something's wrong?

        WERNER
I'm... really, I'm beside myself, Katie.  With guilt, shame... horror at what
I've done to you, how I've manipulated you.

        KATIE
        (another pause)
Have I... displeased you?

        WERNER
It was wonderful the way we came together... back there, in the world... you
have to admit, it was romantic for a while.

        KATIE
Failed to satisfy you in some way?

        WERNER
Let me explain, Katie.

(Long pause.)

        KATIE
All right.

        WERNER
I... I simply... I no longer find the same joy I once found in our affair.  The
sweet, lilting pleasure of holding you in my arms has slowly slipped away.

        KATIE
It really is a wonderful dusk.  Not too warm, not too cool...

        WERNER
And... hell, I may as well be honest with you, it's because I'm paying you to
be with me.  Not because I can't afford it, that's not at all the problem...

        KATIE
And the clouds are so beautiful in the vanishing sun, delicate, wispy...

        WERNER
        (fighting to gain her attention)
It's just... look, you will always be suspect with me, that's all.  And it's
entirely my fault, of course, I'm the one doing the paying, but... I will
always have to doubt that you were ever as sincere as you seemed... because of
the money involved, which was vital to your survival.  Are you following my
logic here?

        KATIE
Maybe we'll have a nice, lovely rain shower later in the evening.

        WERNER
        (disconcerted by her ignoring him)
I would offer to fly you back, but... the end of the world makes that a less
than palatable option, you realize.  I can... give you a small pittance to
keep you settled until you find a job, or... another regular customer... for
all I really know about you, you may already have several, but that's...
beside the point.

        KATIE
My mother used to tell me that when it rained, that meant the angels were
crying.  I couldn't imagine why an angel, in heaven, would ever need to cry.

        WERNER
        (nearly furious)
Look... I'm terribly sorry.  At least... you're here, away from all the
trouble.  Safe.  At least you're safe.

(Long pause.)

        KATIE
But I have no one.

(Pause.)

        WERNER
Well... I mean, surely someone as attractive as you can... find friends
*somewhere* on the island.  I'll bet you'll recieve... lots of attention, now
that I'm no longer in the picture.  (pause)  As I think about it, in fact, why
don't we just forget that small pittance I was talking about.  You need to...
learn *well* not to... rely on people like me anymore.  (pause)  I... trust you
will... remain *discrete* about... all of this.

        KATIE
All of this.

        WERNER
Yes.

(Pause.)

        KATIE
Go, Werner.

        WERNER
Goodbye, dearest Katie.

(ROLAND enters next to WERNER.)

        WERNER
Thanks for your support, Roland.  I have *got* to get out of here.  (he exits
hurriedly)

(ROLAND makes his way to the bench, sits opposite KATIE.  They do not look at
each other.  Pause.)

        ROLAND
If you need someone to talk to, about anything at all, I'm right here.

        KATIE
Werner was very late, you know.

        ROLAND
Very late indeed.

        KATIE
And now I'm late for my next appointment.

        ROLAND
Your next appointment is going to be angry, isn't he.

        KATIE
Yes, and he's... not so generous as Werner was.  I thought... however... that
it was worth the risk, in order to spend this time with Werner.  I would wait,
I thought to myself, it was worth the wait, it was worth what is to come when I
arrive late for my next appointment.  (pause)  Waiting for Werner has proven to
be disastrous.

        ROLAND
You were in love with Werner?

        KATIE
Let's just say you need to lay your head next to someone every now and again.

(Long pause.)

        KATIE
I don't know how to be frightened for this.

(Long pause.)

        ROLAND
Well, all of that was fairly meaningless to me.  If you ever need me again,
I'll be chasing the dwarves out of the cellar.  Good day.

(He goes.  Piano music up, the same melody as the music box in the first
scene.  KATIE stands, begins to sing, but no sound comes out.  She stops
singing.  The music fades.  She sits back down.  Fade to black.)
 

Act One, Scene Four

(Lights up on the bar.  COHEN and COURTNEY are now seated at MELODY's table,
on either side of her.)

        COHEN
Yes, sir, this end of the world thing is driving everyone crazy.  People don't
want to be nice anymore, no sir.  It's a good thing you made it here, Melody.
It just isn't safe out there anymore.

        COURTNEY
Where are you from, Melody?

        MELODY
        (with a straight face)
Oh, I'm from all over the place, really.

(Pause; then she smiles, and they laugh uncomfortably.)

        COHEN
All over the place.  I like that.

        MELODY
Why, thank you.

        COHEN
How'd you find out about the island?  Who brought you here?

        MELODY
Hard to say, really.  Seems like it was... *destiny*... that brought me here.

(Another pause; and then they laugh again.)

        COHEN
Of course, of course.  Nothing straightforward like a plane or some such.
(giggling)  That's rich.

        COURTNEY
And how do you plan to occupy your time while you're here, Melody?  Will you be
attending all the parties, like the rest of us?

        MELODY
Actually... I plan to save the world while I'm here.  (pause)  If you can
believe that.

(Long pause; then they burst out into near hysterics.)

        COHEN
Oh, goodness, Melody, that's completely outrageous!

        COURTNEY
You'd almost say it makes no sense.

        COHEN
Courtney, for Christ's sake, don't be rude.

        COURTNEY
I'm only saying...

        MELODY
Well, I must admit, I've sort of gotten *attached* to the world.

        COHEN
It sounds like it!

        COURTNEY
But really, I don't understand.  What's the gimmick?  What's the real joke?

        COHEN
Courtney, I would hate to lose my temper right here in this bar.

        MELODY
I would hate that too.

        COURTNEY
Not so bad.

(During the next section, the three of them, led slowly and seductively by
MELODY, will begin to dance in front of the tables.)

        MELODY
        (leaning forward, as if suddenly imparting something pivotal)
Let me tell you something, Cohen, Courtney... I will say this plainly, but you
must listen plainly as well, or you are never going to hear me.  I have a fire
inside, a kind of fire that soon will spread, and it is wondrous oh so
wondrous, captivating beyond belief.  It's a fire like any other fire, so
fascinating to watch, providing Life its only solace when the blackest days
emerge.

        COHEN
Pardon me?

        COURTNEY
Where did you get this fire?

        MELODY
It was given to me in a vision, a vision of peace, a vision of harmony,
a vision of shimmering, transcendent harmony.

        COHEN
A vision...

        MELODY
The aliens gave me this vision.  Aliens from another dimension, wanting
desperately to achieve contact with us, wanting desperately to spread their
fire to us, before it was too late.  They succeeded, my friends, they
succeeded... (smiles beautifully)  I can see already it has spread to you.

        COURTNEY
But what about--

        MELODY
Without the fire, you closed your eyes, as I did, and saw things of
unspeakable beauty and hatred and disease and lust.  Those things were things
that made you crazy.  (the dance becomes more dangerous here)  If you ever
watched the television, took a look around this world, saw the horror and the
depravity and the sickening, senseless violence, the frightening ignorance, you
can see it if you look, they don't call it the end of the world for nothing,
and if you ever watched too long, you'd know you were crazy.  You'd know you
were crazy.

        COURTNEY
I have always wondered if I was crazy.

        MELODY
And then--

        COHEN
This fire--

        MELODY
--feels *good*!

        COURTNEY
It *does*...

        MELODY
It will take me some time to explain, and my words will soon escape me, so you
will have to pay attention to my *body language*... (and she spins in an
amazing fashion)  Spin with me, my friends, and do it slowly, fan the fire with
care or you will lose it, and pay attention, pay attention, and you will feel
what purity means.  Now sing!

(COHEN and COURTNEY break into singing, strange and wonderful, pure
vocalizations of sheer emotion with no interpretation attached.  As they
begin -- still dancing all the while -- the music is horribly dissonant, and
COHEN turns to COURTNEY, still singing, in disgust, anger, and she in turn
falters suddenly, until -- MELODY joins the song, and steers their voices to
each other, joins them in the mix, and we hear drumming though there are no
drums and soon we will hear voices that are not on the stage joining
mysteriously and magically in the song.)

        MELODY
        (exclaiming, pure joy)
To think they would have called us crazy *then*, back when we had no choice but
to bear the violence from them!  Think what they'd call us *now*!  They'll call
us crazier still, but so it goes!  If the crazy call *us* crazy, we know full
well who's right!  Now please, my friends, you've given me so much, and I need
so much to give you everything I have and everything I am, in this way will our
fire blaze, in this way will we write the happy ending for our planet...

        COHEN
        (laughing)
That's crazy.

        MELODY
        (smiles)
Yes, it's crazy.

(The dance is starting to subside, ever so subtly.)

        COHEN
Do you have a place to stay while you're on the island?

        MELODY
No, I... sort of came here on the spur of the moment.

        COURTNEY
You're welcome to stay with us.

        MELODY
We're going to bring some drugs, the kind the crazy people always called
dangerous.

        COHEN
        (grins)
I know just which drugs you mean.

(A laugh breaks out quickly, then:)

        MELODY
One last question before our beautiful work begins in earnest.

        COURTNEY
Yes?  What is it?

        MELODY
Do you feel at home here?  Here on this island, away from all the trouble?

(Long pause.)

        COURTNEY
I've never felt at home anywhere in my entire life.

(MELODY holds out her hands.)

        MELODY
Take my hands.

(COURTNEY and COHEN each take one of her hands.)

        MELODY
I do believe it's time to change all that.

(Slowly, they begin to smile, and slowly, they begin to hum, low, soft, yet
powerful.  Fade to black.)

Act One, Scene Five

(Lights up on CRAMER, behind a desk, reading.  MRS. WORMWOOD sits in a small
chair next to the desk, is chatting amiably as lights come up.)

        MRS. WORMWOOD
In short, although the general level of depravity on the island seems to be
slightly on the increase... still a bit of domestic violence here and there,
drug use on the up and up, strange sexual misbehavior... at least, it looks
strange on the camera angles *we* get... nonetheless, the end of the world
itself doesn't seem to have spread this far yet, and I see no indications that
it will.  The world might be coming to an end, but this island will most likely
remain an island.  (pause)  Oh, and a strange woman named Melody has arrived on
the island from America.

        CRAMER
        (looks up slowly)
How did she get here?

        MRS. WORMWOOD
Pardon?

        CRAMER
        (slowly, condescending)
How... did she... get here?  No planes landed, no boats pulled in...

        MRS. WORMWOOD
        (riposte)
Well, I am many things, my dear Cramer, but one thing I am not is this woman's
travel agent.

        CRAMER
Is she attractive?

        MRS. WORMWOOD
        (pause)
Pardon?

        CRAMER
This is not a difficult question, I assure you.

        MRS. WORMWOOD
Don't assure me of anything, Cramer, I feel all slithery inside when you do.

        CRAMER
Is she attractive?

        MRS. WORMWOOD
She... seems your type.  If that's what you're wanting me to say.

        CRAMER
She does.  Well.  Keep an eye on her then.  Start a file.  Pictures.  I want
pictures.  (pause)  Lovely party last night, by the way.

        MRS. WORMWOOD
Why, thank you, Cramer, that's so wonderful of you to say.

        CRAMER
You've had a great many wonderful parties lately, in fact.

        MRS. WORMWOOD
They've been quite a bit of fun, haven't they?  And yet...

        CRAMER
Problem with our fun, Mrs. Wormwood?

        MRS. WORMWOOD
It's just... the same old same old... We need a spark, a little Life in our
parties, and we just can't seem to pull it off.  Every night it's the same old
islanders, the same old booze, the same old party, and it's beginning to get
quite... deadly.  What do you suggest we do?  This is starting to feel
potentially... disastrous.

(Long, studied pause.)

        CRAMER
        (slightly inspired; drolly)
You could try a *costume* party.

(Long pause.)

        MRS. WORMWOOD
Well, I guess I'd better stock up on tights.  (cheerily)  It's been a
pleasure seeing you, Cramer.  Til next time...

(She rises quickly and blows out of the room.  CRAMER returns to reading.
After a pause, KATIE enters.  She stands in the doorway, nearly paralyzed with
fear.  CRAMER notices her, stands slowly.  He lights a candle on his desk,
stares at it for a long moment, then speaks.)

        CRAMER
Well.  Aren't you a little late?

(Long pause.)

        KATIE
Yes.

        CRAMER
Yes.  (pause)  I ask for an hour of your time once a week, Katie.  I
compensate quite well as per the going rate, and... and this is the
disservice you pay me in return.  Yes?

        KATIE
        (pause)
Yes.

        CRAMER
        (laughs softly, speaks very slowly, comes around the desk to speak to
        her)
You know, I had in fact planned something quite romantic for us today, thinking
to myself how wonderfully well you'd served these many days with me.  It was to
have been not a reward... but I would dare say... a gift.  You would have liked
that, I know, you don't get many gifts, would you have liked that?

        KATIE
Yes.

        CRAMER
I thought you might.  And now, instead, I shall have to treat you... quite
horribly.  There's just no getting around it.  There's just no getting around
it.  Just when I prepare to give you something, some small part of me that I
wasn't using, you remind me that I'm... only paying you anyway, and if you
can't even get that right, surely you can see, you don't deserve a gift.
Instead, as I have said, I shall have to treat you... really rather horribly.
Yes?

        KATIE
        (pause)
Yes.

        CRAMER
Do you understand... I have no real desire to do this, or to do, frankly, any
of the things I find myself doing these days... and treating you horribly, as
I am about to do, with obscene brutality, inflicting utter agony and
humiliation upon you... this will bring me only the slightest of pleasures,
do you understand?  Say yes.

        KATIE
Yes.

        CRAMER
Yes.  And I won't be paying you for it either.  Does this sound...
acceptable to you, Katie, or need I be more... persuasive?

        KATIE
        (pause, softly)
That sounds acceptable.

        CRAMER
Good.  (he has moved to directly behind he rnow; she is paralyzed.  He
produces a very large, distinctive golden knife.)  I won't ask you to remove
your clothes.  I believe I can remove them with this.  I don't intend to kill
you.  I may someday desire your simple body once again.  But perhaps, just
perhaps... I might like to try your body without so much of its blood...

        KATIE
        (near whisper)
Oh...

        CRAMER
Close your eyes.  I know the sight of blood is hard for you.

(Fade to black.)

Act One, Scene Six

(Lights up on the park.  MELODY and COURTNEY enter together, sit on the bench.)

        MELODY
This is a beautiful island.  Thank you for showing me around.

        COURTNEY
We have to meet Cohen at the bar soon.

        MELODY
Yes.

        COURTNEY
It's still a bit of a distance.  We shouldn't rest here long.

        MELODY
Just long enough.

        COURTNEY
I'm not sure I know what that means.

        MELODY
        (wistful)
What an absolutely beautiful island.  Absolutely idyllic.  So many flowers,
such delightfully cool breezes, and it always seems as though there's music in
the air.  (laughs a bit)  That was an extremely silly thing to say, I know.

        COURTNEY
I don't hear music.

        MELODY
        (smiles)
Are you listening for it?

        COURTNEY
        (abruptly)
I don't want to pursue this particular metaphor, if that's all right with you.

        MELODY
        (pause)
Yes, as I said, it was a silly thing to say.  My apologies.  (pause)  Am I
making you uncomfortable?

        COURTNEY
        (carefully)
We shouldn't rest here long.

(Long pause.)

        MELODY
        (precisely)
You and Cohen seem to make a wonderful couple.

        COURTNEY
        (almost cold)
Now *that* was an extremely silly thing to say.

(They look each other directly in the face.)

        MELODY
Yes, I believe it was.  That seems to be a habit of mine.

        COURTNEY
        (managing a smile)
It's the thought that counts.

        MELODY
        (smiling as well)
It's still a short distance.  We'd better get moving.

        COURTNEY
        (looking up at the sky)
Why don't you tell me some other silly things?

        MELODY
My mother used to tell me that the clouds were pillows for the angels.

        COURTNEY
Cohen and I make a wonderful couple.

        MELODY
And I always used to wonder if that wasn't somehow dangerous, if the younger
angels who hadn't yet learned to fly wouldn't fall right through their pillows
and plummet to the earth.

        COURTNEY
And our spirits are tied together in a wonderfully bittersweet way.

        MELODY
Only an angel can sleep on a cloud, next to God, between the earth and outer
space.

        COURTNEY
But I'm afraid that I don't have the strength to survive him.  And anyway, it
could be worse.  Reality is creative.  Inventive.  Innovative.  When physical
means to beat a person are no longer available, reality can find ethereal ways
to beat a person.  Beat a person's spirit.  Beat a person's insides.  Beat a
person's gall and spleen, beat a person's kidneys and lungs, beat a person's
heart.  My heart's an abused muscle.  My muscles ache, this is amusing, from
the strain of standing in this reality, the gravity here is something else.
(pause)  Someday it will all be too much for me.  And the worst part is that
after I'm gone, he'll finally See, and then it will be too much for him as
well.  (pause)  It feels like I'm already falling through the clouds.  And
there's just no time to sleep on the way down.

        MELODY
        (offers her hand)
Then we'd better get moving.  We have much work to do before we hit the earth.

(COURTNEY takes her hand, and they rise to leave.  Fade to black.)

Act One, Scene Seven

(Lights up on the bar.  WERNER and ROLAND sit at C table.  WERNER is visibly
upset.)

        WERNER
        (with some derision)
I mean, good God, Roland, she looked as though she'd been struck by a bus.  I
think she took the news rather poorly, wouldn't you say?

        ROLAND
Perhaps a little.

        WERNER
I mean, I swear, she literally looked as though a bus had just come along and
slammed right into her.  I think that's an unreasonable reaction, considering
what I was actually paying her.

        ROLAND
Bus fare, really.

        WERNER
Exactly!  I mean, for heaven's sake, she honest to God looked as though a
large, many-tonned vehicle carrying thirty or forty passengers had just come
along at top speed and collided directly with the poor girl!  Talk about
melodramatic!

        ROLAND
You said a mouthful there.

        MRS. WORMWOOD
        (arriving with drinks)
Here you are, gentlemen, I hope I'm not interrupting.

        WERNER
        (grabbing his drink)
Good God, no, I need to medicate myself like there's no tomorrow! (he slams
his drink)  Booze!  Booze!

        ROLAND
I'm a fan of booze myself.

        MRS. WORMWOOD
Nothing like a good drunken stupor when you've just run over a poor young girl
with a bus!

        WERNER
        (solemn, loud pronouncement)
Booze is for people with no women in their lives!

        MRS. WORMWOOD
Now Werner, that's hardly fair.  What about your good friend Mrs. Wormwood?

        WERNER
Oh, you hardly count, Mrs. Wormwood, why, you're just like one of us.

        ROLAND
That sounds like a toast.

(The two clink glasses, ROLAND drinks, WERNER realizes he's empty.)

        WERNER
Bring out the bottle, would you, Mrs. Wormwood?  I'm in no condition to remain
conscious.

(As MRS. WORMWOOD heads back to the bar, COHEN enters.)

        COHEN
Why, hello, Mrs. Wormwood, I'll bet you're glad to see me again!

        MRS. WORMWOOD
Cohen, my friend, it's been an entire couple of hours!  It's so good to see you
again!

        COHEN
I'm glad to see you again, Mrs. Wormwood!

        WERNER
Cohen!

        COHEN
Hello, Werner, I'll bet you're glad to see me again!

        WERNER
It's so good to see you again!

        COHEN
Roland, how's the pro bowling tour?

        ROLAND
I've never bowled before in my life.

        COHEN
Right, well, the end of the world sure gets in everybody's way, doesn't it?

        MRS. WORMWOOD
Werner, tell Cohen about what you did today with the bus.  It'll help us all
forget how empty and meaningless our lives are.  (laughs loudly for no
apparent reason)

        COHEN
Actually, I've got some news for you.  You remember that strange girl, brand
new to the island, she's from America, absolutely amazing?

        WERNER
But Cohen, what about Courtney?

        COHEN
        (laughs)
No, Werner, it isn't like that at all!  Her name is Melody, and she's with
Courtney right now, in fact.  You're never going to believe what we're up to!

        MRS. WORMWOOD
It's nothing sexual, you say?

        COHEN
That's what I say.

        WERNER
Does it have to do with crime?  Are you going on a killing spree?

        COHEN
You know that's not my style, Werner.

(Pause.)

        ROLAND
        (without inflection)
Are you starting a religion?

        COHEN
Why... why, yes, Roland, yes.  Yes, we are!  We're starting a new religion!
(pause)  How did you know?

        ROLAND
        (shrugs)
Lucky guess, I suppose.

        MRS. WORMWOOD
A new religion, Cohen?  That sounds simply entrancing.  What do you believe in
this religion?

        COHEN
        (can hardly contain himself)
That's the best part.  (pause, then dramatically)  We believe that aliens will
come and save humanity from the end of the world.  (pause)  Well, how would
you like to join?

(Pause.)

        WERNER
        (uncomfortably)
Is there a... right answer to that question, Cohen?

(MELODY and COURTNEY enter.)

        COHEN
Courtney, there you are.  I was beginning to wonder if you were ever going to
show up.

        COURTNEY
Of course I was going to show up.

        COHEN
Yes, well, I was beginning to wonder.  I was really beginning to wonder.

        MELODY
Why don't you introduce me to your friends, Cohen?

        COHEN
Ah, yes!  I'm so sorry.  This is Werner.  He used to be in television.  He's
also personally tortured, raped, maimed, and killed some two hundred and
twenty-three prepubescents across the globe.

        WERNER
        (taking MELODY's hand)
I used to be in television.

        COHEN
And this is Mrs. Wormwood, wealthy widow and local honorary matriarch.  This
bar is her gift to the islanders.

        MELODY
        (shakes her hand)
I'm Melody.

        MRS. WORMWOOD
Charmed, I'm sure.

        COHEN
Mrs. Wormwood used to be a serial killer.  Now she only kills occasionally.

        MRS. WORMWOOD
Only on holidays!  (laughs loudly for no apparent reason)

        COHEN
And this is Roland.  He's a professional bowler.

        MELODY
A bowler, you say!  What was your average?

        ROLAND
I've never bowled before in my life.

        MRS. WORMWOOD
You know, I've just had a wonderful idea.  We should throw a welcome to the
island party for you, Melody!

        WERNER
Mrs. Wormwood, that's an absolutely smashing idea!  That'll give me reason to
stay sloshed the rest of the entire evening!

        MELODY
Mrs. Wormwood, I'd be honored and pleased by a welcome party.

        MRS. WORMWOOD
It's settled then.  Be here at precisely eight o'clock, and dress casually but
not sloppy, all right, everyone?

        COHEN
Well, I swear, things are really looking up around here, aren't they?  It feels
like a permanent good mood has settled in around here.  Hard to believe it's
the end of the world everywhere else, isn't it?

(KATIE enters, stands in doorway.  Her clothes are soaked in blood; thoroughly
bloody bandages are wrapped around her forehead, her wrists, her throat.)

        KATIE
        (softly)
Werner.

(The room falls silent.  All eyes are on KATIE.)

        WERNER
        (thoroughly abashed)
My... my God, Katie... what are you doing here?

        MRS. WORMWOOD
        (pats WERNER's shoulder, taking a step toward KATIE)
Excuse me, miss.  This is a quality establishment.

        WERNER
        (to ROLAND)
Am I drunk, or did Katie just walk in?

        ROLAND
Evidently the bus wasn't moving fast enough.

        MRS. WORMWOOD
What I mean is, you certainly can't come in here, not dressed like that.

        MELODY
Mrs. Wormwood--

        WERNER
What's it going to take, a Sherman tank?

        MRS. WORMWOOD
Well, don't just stand there, dear.  I have customers.

        MELODY
Mrs. Wormwood, it might be appropriate--

        MRS. WORMWOOD
Melody, you're new here, and I'm afraid you don't understand the level of
civility we've come to enjoy here.  I'm not without compassion, you
understand, but I simply won't tolerate--

        WERNER
        (rising suddenly)
I'll handle it, Mrs. Wormwood.  (he crosses to KATIE, tries to speak so the
others can't hear)  I thought I told you we weren't going to see each other
any longer.  What in the hell are you doing here?

        KATIE
        (slowly)
My landlord says you've stopped paying rent on my flat.

(Pause.)

        WERNER
        (agitated)
So?

        KATIE
I have no place to live now.

        WERNER
        (nearly exploding)
You've embarrassed me in front of my friends simply to tell me that you're not
just a whore, but a *homeless* whore at that?  You filthy, putrescent sack of
*slime*, I swear to all that's holy that if I ever lay eyes on you again, I
will have you eviscerated.  I will pluck out your eyes and force them down your
throat.  I will gouge out your nipples with a shrimp fork, and I will rip open
your stomach with a weedeater.  I will destroy your knees and elbows with a
giant hammer, and I will perform surgery on your heart with battery acid.
What I mean to say is, *never* dare to approach me again, *never*, or the
consequences will be so unbelievably dire that Dante himself could never have
imagined them.  Never.  You might just as well bury yourself in a hole and
suffocate.  (he turns to everyone else, smiles brightly)  See you at the
party!  (exits)

        ROLAND
        (rises)
I'd better make sure he doesn't ruin my Jell-O molds.  (exits after WERNER)

(An awkward silence ensues.  MELODY, COHEN, COURTNEY, and MRS. WORMWOOD all
stare at KATIE, who stands motionless.)

        MRS. WORMWOOD
I'm not going to say this again--

        MELODY
        (nearly pleading)
Mrs. Wormwood, she may need help.

        MRS. WORMWOOD
And I am not one to help her.  (pause)  But as you are my guest... (she goes
behind the bar)

        MELODY
        (turns toward KATIE again)
Courtney, Cohen, please leave me.  I'll meet you at the party.

        COHEN + COURTNEY
        (in eerie unison)
All right, Melody.

(COHEN and COURTNEY exit.  Another awkward silence ensues, as MELODY and KATIE
stare at each other from across the room.)

        MELODY
Would you like a drink?

(Long pause.)

        KATIE
Yes.

        MELODY
What would you like?

(Pause.)

        KATIE
Anything.

        MELODY
Mrs. Wormwood, would you please get us each a drink?

        MRS. WORMWOOD
        (pause)
Of course, Melody.  What would you like?

        MELODY
        (slight pause, smiles)
Anything.

(Long pause.)

        MELODY
Would you like to sit?  (motions toward C table)

(Pause.)

        KATIE
Yes.

(Pause.  Then KATIE moves to the table, and she and MELODY sit opposite each
other.  Light slowly begin to dim on the rest of the room.  MRS. WORMWOOD
brings them drinks.  She stares at KATIE intensely, communicating as much
disgust as possible, and then exits briskly.)

        MELODY
Your name is Katie?

        KATIE
Yes.

        MELODY
I'm Melody.

        KATIE
        (pause)
I'm pleased to meet you, Melody.

        MELODY
I'm new to the island, of course.  I... haven't many friends.

        KATIE
I see.

        MELODY
        (pause)
So... I'm pleased to meet you as well.

(Long pause.)

        MELODY
You... you seem to have been injured.  (pause)  Does it hurt?

        KATIE
        (pause)
Is that a trick question?

        MELODY
No, I... (smiles slightly)  No.

        KATIE
What brings you to the island?

        MELODY
Do you really want to know?

        KATIE
Yes.

        MELODY
        (pause, smiles)
I had a vision of this island.  I... (laughs, self-conscious)  What brought
you to the island?

        KATIE
Werner.  (pause)  He's tired of me now.

        MELODY
Was he... I mean, do you have... well, are you able to support yourself?

        KATIE
        (pause)
I have no place to live.

        MELODY
I'll bet you could stay with me for a while.  I'm staying with Courtney and
Cohen, but I'm positive they wouldn't mind.  (pause)  I'd love the company.
If you'd like.

        KATIE
That's a generous offer.

        MELODY
They made a generous offer to me, giving me a place to stay.  I'm simply
extending the kindness.

        KATIE
That's not so simple.

        MELODY
        (smiles)
Of course not.  Kindness is incredibly difficult these days, isn't it?  What
with the end of the world and all...

        KATIE
What really brought you to this island?

        MELODY
        (pause)
I'm not sure I know what you mean.

        KATIE
Reasons.

        MELODY
Motives?  Ulterior or otherwise?  Is that what you mean?

        KATIE
I'm curious, that's all.

        MELODY
Curious...

        KATIE
It doesn't much matter, I suppose...

        MELODY
Oh, yes, it certainly matters...

        KATIE
Why you came here...

        MELODY
It matters why I came here.  I could be anybody, you know.

        KATIE
You could be anyone.

        MELODY
Of course... I'm not.  I'm Melody.

        KATIE
        (pause)
I'm pleased to meet you, Melody.

(Long pause.)

        MELODY
How were you hurt so badly?

        KATIE
        (pause)
What was your vision?

        MELODY
        (smiles; sincerely)
I closed my eyes, and I could see what peace looked like.

        KATIE
That's pretty ridiculous.

        MELODY
Of course it is.  At times I thought my vision must have been a delusion, that
I had to be crazy to have seen what I saw.

(Pause.)

        KATIE
And you weren't?

        MELODY
How were you hurt so badly?

        KATIE
You're not crazy, are you.

        MELODY
I'm not crazy.  I'm human still, have fears and longings, apprehensions, secret
thoughts... but I'm not crazy.  The vision was immense.  I was given
instructions.  (reaches out across the table)

        KATIE
        (rising suddenly)
I have to go.

        MELODY
        (leaps up)
No--

        KATIE
I don't--

        MELODY
You were hurt.  I don't need to know how.  But I won't hurt you.  It's the end
of the world out there, but here... here it's altogether safe.

        KATIE
No--

        MELODY
        (emphatic)
Altogether safe.  If you stay, you will be safe.  (pause, she moves in front
of the table)  These are historic times, magical times, times that call for
desperate measures, desperate and unusual measures, times that call for
ridiculous pretensions and unbelievable risks, times that call for intricate
metaphors and brash exposures, times that call for powerful proofs and
breathtaking leaps of faith.  So.  Take my hands.  (she offers her hands to
KATIE)  You are *here* now, and this is what *here* would like to ask of you.
Whatever it means to you, however you envision it, whatever twists and turns or
simple nods and breaths of acceptance, *take my hands*.

(After a moment's hesitation, KATIE does take MELODY's hands, and MELODY leads
her DC.  We begin to hear drumming in the background, accompanied by the
rhythmic, mysterious sound of voices breathing.)

        MELODY
We are lodged deep within the melodrama, and yet, we can't deny the compelling
nature of the melodrama's effects on us, the singsong irony of knowing at once
how ridiculous and theatrical the situation is, and yet how important and
dangerous it is as well.  The vision, the aliens, they gave me the instructions
but not the power.  The power comes from Us.

        KATIE
        (overwhelmed)
Melody...

        MELODY
You know full well how much the story hurts...

        KATIE
        (overlapping)
Melody, please...

        MELODY
It will have hurt us both by the time it is complete, but we can accept this
as necessary...

        KATIE
        (overlapping, she is choked with tears)
No...

        MELODY
...as what the plot requires, as what the melodrama demands, if we must
sacrifice ourselves -- if we must *sacrifice ourselves*, we will!  We won't
mind the pain so much *because*, in the back of our minds, we have--

        KATIE
--each other--

        MELODY
If you wish to leave this story--

        KATIE
        (overlapping)
No...

        MELODY
        (overlapping)
--I will understand, and so the story will go for you and I, *but* -- *if* you
wish, just possibly, for something other than that--

        KATIE
Yes!

(MELODY kneels, and KATIE kneels facing her.)

        MELODY
        (solemnly)
I am something else now.  *We* are something else now.  Let this knowledge
inform us both as we proceed to what will have been... the conclusion.  (words
spilling out)  I have so much to say to you, now that you and I are some
beautiful kind of we, certainly I assume too much of you, but still there's no
denying that I can always act as though my acting is as though I'm not
denying, and you can always kiss me if you like...

(A sudden pause.  KATIE takes MELODY's right hand, and covers her palm with
slow, sensual kisses.  MELODY takes KATIE's right hand, and does the same.
Then, KATIE takes MELODY's left hand and kisses it; MELODY then takes KATIE's
left hand, and kisses it.  They eye each other for a long time.  MELODY takes
KATIE's hand, and presses it to KATIE's chest.)

        MELODY
What do you feel?

        KATIE
        (pause)
Heat.

        MELODY
        (shakes her head)
*Fire*.

(Pause.)

        MELODY
I... have a party to go to tonight.

        KATIE
I know.

        MELODY
Can I see you when it's over?

        KATIE
Yes.

        MELODY
Where will you be?

        KATIE
I'll find you when you need me, don't worry.

        MELODY
        (pause)
All right.  (smiles)  Goodbye, Katie.

        KATIE
Goodbye, Melody.

(MELODY stands and exits, leaving KATIE alone C in a pool of light.  After a
pause, KATIE suddenly looks up toward the light.  She slowly raises her arms,
closes her eyes.  A bizarre, atonal choir fades in slowly.  KATIE arches her
back in what appears to be a burst of severe pain throughout her body, but
then, a quick laugh escapes her, and as the choir already fades, she opens her
eyes, and tears the bandages from her wrists, her throat, her forehead.  She
rubs the unmarked sin in wonder and amazement, cries and laughs.  Fade to
black.)

Act One, Scene Eight

(Lights up on the party, in the bar.  MRS. WORMWOOD, ROLAND, WERNER, COURTNEY,
COHEN, and MELODY are all present, all with drinks, all having a grand time.)

        WERNER
        (in mid joke)
And so the duck says, "Put away that stapler!"

(In an eerie, choreographed synchrony, they all laugh together, in precise
unison.)

        WERNER
        (all smiles)
Eh?  Eh?  Didn't I tell you that was good?

        MRS. WORMWOOD
You sure told us all right!

        COHEN
That was good.

        WERNER
I told you, didn't I?  I told you.

        COURTNEY
You sure told us!

        ROLAND
You told us.

        MRS. WORMWOOD
I can't believe how you told us!  Just like you were going to -- and then you
went ahead and told us!

        COURTNEY
That *is* hard to believe.

        COHEN
And yet -- there it is!

        WERNER
        (thoroughly pleased)
There it is indeed.

        MELODY
Werner, I'm very impressed.  You sure know how to keep your wits about you when
the world is coming to an end.

        MRS. WORMWOOD
        (offering a tray of fresh drinks)
Would anyone care for a drink?

        WERNER
Booze!  Booze!

        ROLAND
I'm a fan of booze myself.

        COHEN
Nothing like a good drunken stupor when the world is coming to an end!

        WERNER
        (solemn, loud pronouncement)
Booze is for peole with no meaning in their lives.

        MRS. WORMWOOD
That sounds like a toast!

(They all cheer, clink glasses, and drink.)

        MELODY
So, Mrs. Wormwood, tell us about your days of serial killing.

        MRS. WORMWOOD
Oh, Melody, I swear, those were the days.  The trick was to follow some juicy
young morsel home from a bar or a grocery store or some such, find the lonely
little fillies who live all by their lonesomes, scope out the place for alarms
or pesky neighbors or what not, and then, my special treat was to only kill on
a full moon, except of course, when I was busy during the full moon, in which
case anything goes, ha! -- but, my implement of choice was a big black machete
with a label on the blade that said "Caution -- Handle With Care," and the
technique I preferred most was to simply insert the very tip of the blade
underneath the skin and then make an incision down the length of the body, very
smooth, very precise, so that I'd have the pleasure of seeing a small red
stream of blood develop rapidly into a gushing river, replete with tributaries,
followed by a veritable tsunami of blood, a volcanic eruption of organs and
various sundry squishy parts that suddenly found themselves liberated from the
constraints of the skin--

        WERNER
And did you find, for a time, before the final transcendent death burst of
endorphins overtook the hapless victim, numbing them into a horrifying
existential grave, that the internal organs could be teased and tormented
with exceptional, I should say, finesse, or perhaps a kind of terpsichorean
vigor, producing screams and ridiculously eerie facial expressions on the
victim that were capable of brining you to the very pinnacle of orgasmic
release?  Not sexually, of course, but psychically, spiritually...?

        MRS. WORMWOOD
        (pause, smiles)
I can say I've had that experience, yes.

        COURTNEY
My own experience has been limited to animals, of course, but the effect is
nonetheless strikingly similar.

        MRS. WORMWOOD
Well, dear, you simply *must* graduate to *human* victims!  That is, if your
adorable husband doesn't someday bludgeon you to death before you get the
chance.

        COHEN
        (brightly)
Yes, well, I love my darling Courtney a great deal, but one thing I love even
more is beating her to a senseless bloody pulp once or twice a week.

(In an eerie choreographed synchrony, everyone laughs merrily in unison.)

        COHEN
        (suddenly somber)
Of course... those days are all behind me now... now that Melody has come into
our lives.

(All eyes turn to MELODY.)

        MELODY
        (smiles)
I have... special talents.

(There is a knock at the door.)

        MRS. WORMWOOD
Goodness, I wonder who that could be.  Roland, would you mind getting the door
for me?

        ROLAND
I've never bowled before in my life.

(ROLAND opens the door.  CRAMER enters, now dressed in some kind of formal
wear.)

        CRAMER
Good evening.  I... hope I'm not disturbing anything.

(The room reorganizes slightly: COHEN subtly positions himself between CRAMER
and MELODY, WERNER and COURTNEY both edge a few feet further away, while MRS.
WORMWOOD steps toward CRAMER to welcome him.)

        MRS. WORMWOOD
Well, hello there, Cramer!  It's about time you arrived!

        CRAMER
        (graciously shaking her hand)
I'm glad I didn't wear a costume.  What's the occasion?

        MRS. WORMWOOD
We're having a welcome party for a very special guest.

        CRAMER
        (moving fluidly through the room, acquires a drink)
Yes, yes, I understand we have a visitor here to the island.  I'd better
acquaint myself right away, offer the best of the island's hospitality, et
cetera, et cetera.  Ah... (arriving at MELODY)  You must be Melody.

        COHEN
        (moving in)
Uh, yes, allow me to introduce you, Cramer.  This is Melody.  She's from
America, and she's staying with Courtney and I.  Melody, this is Cramer.  He's
the commandant of the local Ministry for Global Defense outpost.

        CRAMER
        (takes MELODY's hand, kisses it)
On behalf of the entire island and myself, welcome, Melody.

        MELODY
Why, thank you.

        CRAMER
And look at you, already surrounded by such distinguished company.

        MELODY
Yes, I've been made to feel quite at home.

        CRAMER
        (taking MELODY by the arm, leading her DS)
What brings you to the island, Melody?  Especially at a time like this, what
with the end of the world and all...

        MELODY
        (smiles)
What if I told you that was a matter of... personal business?

        CRAMER
        (chuckles softly)
Come now, Melody, surely it's apparent there's no such thing as purely personal
business on this island.

        MELODY
Oh?

        CRAMER
Your personal business *is* my business.  Look at your friends' reactions to
me.  The Ministry for Global Defense is not a popular organization.

        MELODY
Yes, well, it sounds quite intriguing to me.  What does your organization do?

        CRAMER
It's our mission to hunt down those responsible for bringing about the end of
the world, and exterminate them, before someone else gets a chance to do it,
before they get a chance to do it themselves.

        MELODY
        (pause)
For what reason?

        CRAMER
        (smiles)
Revenge.  (softer, so that only she can hear)  Allow me to be frank with you,
Melody.  I don't know how you got onto this island, nor do I understand why
you came here, but I do know that I find the whole thing incredibly suspicious,
the way you've managed to instantly surround yourselves with fawning
sycophants.  These gullible, rich debutantes were just waiting for a powerful,
magnetic personality to herd them like sheep from pardigm to paradigm.  Let me
assure you, Melody, it would not be wise to get comfortable on this island,
for I will not hesitate to destroy you should you cause the slightest trouble.
Hell, Melody, I may destroy you anyway, just to stay in practice.  It isn't
too often you get to topple a two-faced demagogue on her way up.  Am I making
myself clear?

        MELODY
        (slowly, smiling, staring him down)
Perfectly clear.  You're so amazingly frightened that I have to laugh -- on
the inside, of course, so as not to embarrass you.

        CRAMER
It is people like you who destroyed civilization as we know it--

        MELODY
--and who will *restore* civilization--

        CRAMER
--or destroy what's left!

        COHEN
Melody's not going to destroy anything!

        WERNER
I think you're being a little hard on the girl, Cramer.

        COURTNEY
Melody's an inspiration!

        MRS. WORMWOOD
Civilization will destroy itself without any help from Melody, I assure you!

        COURTNEY
You simply have to *want* inspiration, Cramer!

        COHEN
Melody's going to save the world!

        WERNER
You have to admit, Cramer, she's got a certain charisma!

        COURTNEY
Don't let us threaten you, Cramer -- we're here to *save* you!

        MRS. WORMWOOD
Just let us go about our business, Cramer -- we won't hurt anyone!

        ROLAND
I'm telling you, this rabbit fetus tastes delicious!

(Awkward pause.)

        CRAMER
        (to MELODY)
You may have won over these mindless irritants, my dear, but you will find I
am a much harder nut to crack.

        MELODY
You don't frighten me as much as I seem to frighten you.

        CRAMER
That's very foolish of you.

        MELODY
Of course.  But I'm *right*.  And that makes all the difference.

(Pause.)

        CRAMER
I see I've failed to communicate with you here this evening, Melody.  But don't
worry.  I will find a more effective way of making myself... clear.  (to the
others)  And with that, I'll take my leave.  Lovely party, Mrs. Wormwood, as
always.

(He exits.)

        COHEN
        (nearly exploding)
That filthy, disgusting bastard!

        COURTNEY
Cohen, stop--

        COHEN
How dare he insinuate that what we're doing here, saving the world, is
anything less than pure and humanitarian?  I could kill the fucking bastard!

        COURTNEY
Cohen, this is not the way--

        COHEN
Shut the fuck up, would you, Courtney?

        WERNER
I think Cohen's right.  Cramer has really gone too far this time.  All we've
done is gathered to welcome a truly charming, wonderful girl to the island--

        COHEN
And he thinks he can walk all over her!  In front of all of us!  As if our
opinions have no weight!

        ROLAND
I myself have no opinions.

        MRS. WORMWOOD
Nothing like a dangerous confrontation with a paranoid villain when the world
is coming to an end!

        WERNER
        (solemn, loud pronouncement)
Paranoia is for people with no meaning in their lives!

        COHEN
We need to find a way to get rid of that bastard.

        COURTNEY
No, we need to show him what we're all about, fight fire with fire, annihilate
his resistance by demonstrating the depth of our sincerity!

        COHEN
But we have nothing to show him, we have only Melody!

        MELODY
Isn't that enough?

(Sudden silence.  MELODY has climbed on top of the bar unit.  Lights begin to
shift to a much weirder atmosphere.)

        WERNER
Excuse me, but what the hell is happening?

        MELODY
        (rousing)
I'll tell you what's happening, Werner.  I'll tell you all why you're here.
You're here because of a vision, a vision of harmony, a vision of shimmering,
transcendent harmony.  I've been given a vision!  I have seen so many things!
Tell me what I have seen!  I said, *tell me what I have seen*!

        COURTNEY + COHEN
Aliens will come and save humanity from the end of the world!

        MELODY
        (shouting)
And how will they know to come here?

        COURTNEY + COHEN
We will call them here!

        MELODY
I've been given a vision!  I've been given instructions!  Cohen, start passing
out the drugs.

(COHEN begins giving pills to everyone.)

        MELODY
        (rapidly)
It would be thoroughly sublime if by this story's end you thought you
empathized with me, you thought you might have insight, understanding, caring
and compassion, if only I could make the right impression, the one that lingers
past the radiant flash and settles down inside your soul, loneliness is a
chilling whisper that needs as many words as possible to keep it company,
follow me and while confusion clouds all possible issues, all other
connections, we at least will have made this agreement, this pact--

        COHEN
The sacrament is ready!

        WERNER
Sacrament?

        MRS. WORMWOOD
        (gleeful)
Sounds entirely entrancing.

        MELODY
Here is my story, then.  In my vision, I saw the aliens, transcendent and
benevolent, wise and beautiful, exalted beyond measure!  And I need you, the
power of your love and trust and commitment, to set up a transmitting station,
so that we can send them our pleas for help, and call them here to Earth!  Do
you want to experience their benevolence?  Do you want to experience their
wisdom?

        COURTNEY + COHEN
Yes, we want to experience their benevolence!

        WERNER + MRS. WORMWOOD
Yes, we want to experience their wisdom!

        MELODY
We will create a sacred space, a sacred transmitting station, a beacon of
glistening order in a world of terrifying chaos, we will tune to the exact
frequency of obscentiy that the aliens call language--

        MRS. WORMWOOD + COURTNEY
Obscenity!

        ALL
Obscenity!

        MELODY
Obscenity to us, truly alien, for how can we call them "aliens" without
pointing to that which is most abhorrent, most unusual, most desperately weird?
Foul, putrescent street drugs will be our sacrament, blind, insidious impulses
will be our litany -- are you ready to follow me into the most sacred
dimensions of horror and blistering beauty?

        OTHERS
We're ready to follow you!  We will follow you anywhere!

        MELODY
All we need now is-- (suddenly stops) is... Katie.

(Silence; action comes to a dead stop.  Then, the door opens, and KATIE
enters.)

        KATIE
        (softly)
Hi.  Have I missed anything?

        MELODY
        (smiles in wonder)
Katie... you're here.

        KATIE
I told you I'd find you when you needed me.

(A joyous cheer rises up.  KATIE rushes to MELODY, they embrace as a circle
begins to form CS.  The circle is actually a semicircle, as close to the
audience as possible.  MELODY and KATIE join the circle at the center.  COHEN
hands KATIE her pills.)

        MELODY
You are here now, and this is what here would like to ask of you.  Take the
sacrament now.  And prepare yourselves for the onslaught.

(Slowly each of them swallows the pills.)

        MELODY
Take my hands.

(They all join hands.)

        MELODY
I am something else now.  *We* are something else now.

        OTHERS
Prepare to receive transmissions!

        MELODY
We are *something else*, we are something other than what we are.

        OTHERS
Prepare to receive transmissions!

        MELODY
This space defines us, gives us the lives we presume to claim.

        COURTNEY
Prepare to receive--

        MRS. WORMWOOD
Prepare to receive--

        ALL
Prepare to receive transmissions!

        MELODY
Life that slips sideways into the present tense!  Life that begs us to pay
attention!

        OTHERS
We are not alone here!

        MELODY
To pay attention to details and flashes!  To focus what you are on what *we*
are!

        OTHERS
We are not alone here!

        MELODY
To live with all your heart no matter what the situation hands us!  To
sacrifice ourselves, to sacrifice *ourselves*, to *sacrifice ourselves*!

        OTHERS
We are not here for very long!

        COURTNEY
Can you feel it?

        WERNER
Those drugs work fast!

        MELODY
The opening phase will be one of disorientation.  The following phase will be
one of ecstasy.  The final phase will be one of transcendence.

        OTHERS
Seamless communication!

        COHEN
Such a strange taste...

        ROLAND
I've never bowled before in my life.

        MELODY
The first phase is about to begin.  Prepare yourselves--

        MRS. WORMWOOD
I swear, this is absolutely entrancing!

        COURTNEY
When does the insanity start?

        KATIE
It's already started, it's already started!

        COHEN + MRS. WORMWOOD
        (rising vocally)
We are not alone here, we are not alone here!

        ALL
        (rising further)
Prepare to receive transmissions, prepare to receive--

(One single, loud gunshot from behind them stops them all abruptly.  In the
background, we see CRAMER, once again in uniform, holding a weapon.)

        CRAMER
        (quietly)
Prepare to receive damnation.

(Another gunshot, and COURTNEY bucks violently and collapses, dead.  CRAMER
strides forward, grabs MELODY by the hair, forces her to her knees; she cries
out in sudden, unexpected terror.  The others scream at first, then move
slowly, as if swimming in quicksand, chanting "prepare to receive" mindlessly
over and over.  KATIE slowly crawls behind the bar in slow motion.)

        CRAMER
You incredible bitch!  You incredible, arrogant bitch!  WHO DO YOU THINK YOU
ARE?

(He fires again; ROLAND collapses, dead.)

        CRAMER
        (yanking her head viciously)
You're going to wish you'd never seen this island!  You're going to wish you'd
never had that vision!  You're going to wish you'd just fucking killed yourself
when you had the chance!  (slaps her, punches her)

        MELODY
No...

        CRAMER
*Yes*!

(Another gunshot; WERNER collapses, dead.)

        MELODY
        (through the pain)
You are making a horrible mistake!

        CRAMER
I will not let you destroy this island!

        MELODY
Don't do this!  You can still save yourself!

        CRAMER
I will not let you destroy the world!

        MELODY
I can save you!

        CRAMER
Who do you think you are?  Answer me!  Who do you think you are?

(Another gunshot; MRS. WORMWOOD collapses, dead.)

        MELODY
        (screams in horrof)
NO!

        CRAMER
Answer me!  Who do you think you are?  Who do you think you are? WHO DO YOU
THINK YOU ARE?

(Another gunshot; COHEN collapses, dead.)

        MELODY
        (mustering an unbelievable amount of resistance)
*I AM WHO I AM*...

        CRAMER
You are nothing, woman, you are absolutely nothing, do you understand me?  You
are absolutely nothing!  And before I'm through with you, you are going to be
EVEN LESS!

(Sudden blackout.  Long silence.  Then a dim light comes up on the corpses;
MELODY and CRAMER are gone.  Slowly, KATIE rises from behind the bar.  She
looks around, absolutely shell shocked.  Then, slowly, she makes her way out of
the room.  Fade to black.)

Act Two, Scene One

(As lights dim, we begin to hear riot sounds once again, somewhere in the
distance.  On top of the riot sounds, in the darkness, we hear the alienating
bursts of static of a radio dial not finding a signal; then, suddenly, a
terrified voice is heard over the radio.)

        VOICE
--fucking Christ, I mean, they don't look human anymore!  People are, they're
just, I mean, they're wearing their insides on the outside, it's a fucking
wonder I made it here alive... (starts to laugh hysterically) And the really
fucked up thing is I killed I don't know how many people just to get up here,
and I just fucking *know* there's no one listening!  There's no one fucking
listening!  It's the end of the world, and there's *no one fucking listening*!
(more laughter)

(Radio and riot sounds fade slowly, are replaced by tranquil jungle sounds, as
lights rise on the bar.  At SR table sit WERNER and ROLAND; MRS. WORMWOOD is
behind the bar.)

        WERNER
You know, I have to admit, I've become a little restless lately when I think
about the good old days of wandering the globe and having my share of innocent
victims to slaughter.  I mean, there's so little to occupy our time here!  And
on an island with such a pitifully small population, a killing spree would
basically amount to poor sportsmanship.  I tell you, the boredom almost makes
me wish the end of the world would hurry up and spread here.  (pause)  Now
here's a thought.  How do you suppose, when the end of the world finally does
spread to the island, we'll know that it's arrived?  What do you suppose the
signals will be?

        MRS. WORMWOOD
There's an old American proverb that I think goes a long way toward answering
your question: "When the sky is filled with blackest clouds, and the air itself
is murky, black, and devoid of light... (dramatic pause)  ...it'll be pretty
dark."

        WERNER
        (nods wisely)
As always, Mrs. Wormwood, you've managed to illuminate the situation perfectly.

        MRS. WORMWOOD
        (enthusiastic and proud)
Yes, well, I like to think I'm good for more than just serial killing and the
occasional party.

(COHEN and COURTNEY enter.)

        COHEN
        (shouting to MRS. WORMWOOD)
Well, hello, Mrs. Wormwood!  I'll bet you're glad to see us again!

        MRS. WORMWOOD
Cohen!  Courtney!  My friends!

        COURTNEY
Hi, Mrs. Wormwood.

        COHEN
I'll bet you're glad to see us again!

        MRS. WORMWOOD
I'm so glad to see you again!

        COURTNEY
Get us some food, why don't you.

        COHEN
Listen to her, so imperious these days.

        COURTNEY
I think food's a good idea.

(COHEN backhands her violently; she crumples quickly to the floor.)

        COHEN
        (as he hits her)
Shut the fuck up, would you?

        COURTNEY
        (rises quickly to her knees, defiant, face covered with blood)
Just get us some fucking food, why don't you.

        COHEN
        (giving in, to MRS. WORMWOOD)
All right, just get us some food and something to drink, okay, Mrs. Wormwood?

        COURTNEY
And get us something to drink.

        COHEN
Please shut the fuck up, Courtney.

        COURTNEY
Like a martini, okay, Cohen?  Get me a martini.  And some food.

(COHEN lashes out with a sickening, powerful kick to her stomach, leaving her
in a heap near SR table.)

        COHEN
        (smiling to MRS. WORMWOOD)
I swear, when the end of the world finally hits this island, she's the first on
my list.

(He makes knowing throat-cutting gesture, they both laugh knowingly.  COHEN
moves to SL table, while COURTNEY struggles into a chair at SR table.)

        WERNER
        (rises, shakes COHEN's hand)
Cohen!

        COHEN
Hello, Werner, I'll bet you're glad to see me again!

        WERNER
It's so good to see you again!  Still beating your wife, I see!

        COHEN
Yes, well, what the hell else is there to do on this island?  Start a
religion?  (they laugh uproariously)  Roland, how's the pro bowling tour?

        ROLAND
I'd like to take this moment to point something out, if I may.

(Awkward pause.)

        WERNER
Why, certainly, Roland, go right ahead.

        COHEN
Yes, Roland, what is it?

(Slight pause.)

        ROLAND
I've never bowled before in my life.

(Pause.)

        COHEN
        (ignoring this revelation)
Actually, I've got some news for you all.  Do you all remember hearing about
that new girl on the island, the one everybody around here was falling in love
with, the one who arrived here from America in order to perform some kind of
bizarre, alien-calling ritual?

        WERNER
I *think* I remember her... charismatic, magnetic personality?

        MRS. WORMWOOD
Intense devotion to a vision of peace and harmony?

        COHEN
Yes, that's the one.  Her name was Melody.  (conspiratorially)  Apparently
there was some kind of welcome to the island party last night in her honor, a
number of very important islanders were there...

        MRS. WORMWOOD
Very important islanders?

        WERNER
Who in the world--

        COHEN
Their names aren't being released, but apparently they were very important
indeed.  And apparently... (glances about furtively, then speaks in a slightly
hushed voice) ...apparently, an unknown band of terrorists crashed the party.

        WERNER
My God!  What is this island coming to?

        COURTNEY
I think I'll pass out from the pain.  (she passes out in her chair; her head
hits the table comically)

        COHEN
Apparently, every one of those important islanders was brutally murdered, and
as for the girl herself... her body wasn't found among the corpses.

        MRS. WORMWOOD
Do you suppose she somehow escaped?

        COHEN
Quite the contrary.  I suppose whoever those terrorists are, they've taken her
away somewhere.  They may very well have something quite diabolical in mind,
but no one's heard a word from them.  (pause)  This may very well be the end of
the world after all.

(LAUREL enters.  She is played by the same person who plays MELODY.  LAUREL's
hair is much longer than MELODY's, her clothes are darker, less flashy.  She is
much more grim than MELODY.  COHEN, WERNER, MRS. WORMWOOD, and ROLAND are
transfixed.  A long, awkward pause ensues.)

        LAUREL
I'm looking for my identical twin sister, Melody.  (pause)  Have any of you
seen her?  (pause)  She would have looked a lot like me.

(Fade to black.)

Act Two, Scene Two

(In the darkness, riot sounds resume.&nbs