The Dawning of the Age of Aquarius

Author's Note

There are basically three different kinds of storytelling. They consist of abstractions (theme, moral, philosophical approach, etc.) played on concretes (characters, setting, plot, etc.).

The first kind of story telling is old abstraction with old concretes. This is most the popular kind of writing. It engages the reader at the most basic level, using what they already know and believe to grab their attention. It does not attempt to enlarge their knowledge or challenge them.

The second kind is old abstraction with new concretes. This kind of writing is the majority of the critically praised and widely regarded works. It allows people to look at an old idea in a new way. By presenting old themes from a different point of view it challenges the reader to think as they engage the material.

The third and rarest kind of storytelling is new abstractions with new concretes. This represents breakthrough material. It allows readers to think over new material, and since the material is new it must be by default be presented in a new way. This is the hardest kind of writing but often the most memorable because it allows readers to think in new ways, with new ideas. This is my intent with the following story. (A fourth way of writing, old concretes with new abstractions, is impossible. If the abstraction is new then by definition there are no concretes to work from.)

Dedicated to the woman I'll marry.

(And maybe Manu Samnotra or Phil Haney)

The Dawning of the Age of Aquarius

A Musical Play of Sarcastic Proportions in five and one half acts by Ryan Vooris

"One advantage resulting from virtuous actions is that they elevate the mind and dispose it to attempt others more virtuous still." -Roussau

PROLOUGE: INFANCY

OPEN CURTIAN.

Four souls sit on our stage. Each spotlighted, with their heads bowed. Next to each of them there is a suitcase or a book bag, an indication of a trip completed or one yet to begin. These are the four heroes, our tragic figures if you will.

On the far right sits LYNN, her back relaxed she sits with her hands behind her, her legs bent and spread to the audience. She is defiant, a woman of control and demeanor that makes males tremble at her courage.

Next to her is MARCUS, youngest looking of the group. He sits Indian Style, his head bowed. His right hand clasps the top of the head as if some calamity of great importance has been placed upon it. We shall soon learn the cause of his unholy distress.

Next to him, and one from the far left, sits KRISTEN. Her back is straight and she has wrapped her arms around her looks. She would be rocking in freight if our principles were moving.

On the far left, we have AMY. A woman so sure of her direction in life it would seem the wind itself bore her forth. She sits straight, her legs stretched out in front of her. She appears ready to throw forth a compliment or sting a male wisher with an instant rebuke.

From STAGE LEFT enters or Narrator. He speaks plainly, as if he has better things to do, but in a manner indicating that the current tale he's about to tell has some redeeming quality.

NARRATOR

In fair IC, where we lay our bitter scene there is an air of hope and twinge of futures un-scripted. It is fall that time of year when 18 year-olds from around the world flock to college campuses for that first taste of life on their own. Free to think, free to play, free to drink, free to sleep with whatever their hormones wish�it is a place where anything is possible, but that often shoulders the individual with more then they can bear.

It is here that virginities are lost, where gorgeous young girls from all around America come to be deflowered. Where boys who have masturbated unendingly since the age of 12, think that finally, they can get some ass. In this place it is sex that sells, which inhibits the minds, and motivates the senses. But that is not all.

It is also a place of political strife. Colleges have long been the scene of political discussion, but here things are quite to the extreme. They do not simply protest the status quo and move on, they protest the absurd and fight to the end. This is a school quite unlike any you've seen before.

And here before, on this stage, I present four specimens for you to watch. (Indicating as he speaks) Lynn, Marcus, Kristen and Amy. Each has a story that'll make you laugh, cry and in certain circumstances vomit uncontrollably. Watch them closely theirs more then meets your frail human eye.

Narrator exits STAGE RIGHT.

ACT I: CHILDHOOD

INTRODUCTIONS

CLOSE LIGHTS on all except AMY.

She stands, but does not speak. She walks down stage, across the stage and back again. All along she gestures at the audience disapproving it would seem of their very existence. This is a girl who gives nothing to anyone.

AMY

I know what you're thinking. Here we go, time for a typical college story. Innocent girl comes to college and meets a new life of sex, drugs and politics. (Laugh) I assure you, not in my case doll face. I'm no innocent, if anyone is innocent here it's the college life compared to me.

I've been here two days and I already can't stand what I see. Every guy I meet wants to fuck my brains out and every girl wants me to shave my cunt and become a Nazi Feminist. If only they knew. See their just like every other college guy and girl, oh they think their the first to try a certain line, a certain approach, a certain political dissent�pity the fools. They think they are different but are nothing but heaps upon the common trash bin of society. But me sweetheart�, I'm more then you can handle. As for these three hooligans (indicates in direction of the three persons still sitting on the stage) I say off with them. We will get to their ridiculous, outrageous stories soon enough. Be gone with you now!

The Three Exit.

AMY

Ah, yes just you and me now. Watch, I ask you, my life here at college�see the hell I have to go through with these pitiful people�useless ashes of the human existence�oh never mind the semantics�just fucking watch.

AMY stomps off to STAGE RIGHT.

We hear for the first time echoes of music. It is a hard guitar string, like that played by the immortal Jimmi Hendrix in his rendition of "The Star Spangled Banner." This cord will become known as the protesters theme�whenever the protesters, from whatever point of view, enter the stage we will hear this cord.
The protesters in this particular moment are the lovable meat hippies. They enter from stage right with signs rising and falling amongst cries of, "Save the Earth," "Wheat is Murder," and the always adorable, "Less Wheat, More Meat."

Our Protesters form a semi-circle on the stage, facing the audience. Their cries reach a historical pitch. Suddenly from STAGE RIGHT dashes into view their leader.

It is ALEX - 22, long hair, tie-died shirt, but proudly drinking a cup of Starbucks Coffee. He loves meat, but hates all those who would kill innocent plant life. He speaks only in abstractions; always afraid to name exactly that which it is he's after.

ALEX

Attention murders of the night! Your annihilation of all that is innocent and pure must stop. (Cheers) Wheat is Murder! (Cheers)

My fickle minds of fellow dissent consider our plant friends defenseless in all ways against the threats of an aggressor. He stands there purely, asking simply to enjoy the sunlight of the new day. (loudly, as a command) Plant!

A Plant is brought on stage and placed in-front of Alex.

ALEX

Look to the plant my friends. Is it not pure? Do we not have a right to defend a plant that cannot defend itself? It knows not right, from wrong, up from down�so we as logical, intelligent human beings must stand on guard for it's noble and just purposes. (Cheers)

CROWD

Wheat is Murder! Wheat is Murder!

ALEX

The principle is simple my insecure and petty friends, we cannot carry out murder against a defenseless creature. Is it not peace we seek? You say then why eat meat? I say it is so, because meat comes from a thinking animal, one that lives and moves and can avoid its captors if it is intelligent enough. But a plant is held captive by a cage created by it's own body. It sits innocently in the soil, toiling it's day away in the bright sun we all enjoy, until the day a merciless vegan happens upon it. Unable to flee, our vegetable friends lay captive to a more mobile and intelligent creature. Where is the equality in that? Should we not as the more mobile and intelligent creature show mercy on our friends? For if we fail to do so we are nothing but mere thieves in the night and at worst will stop at nothing to scour the Earth till nothing remains!

CROWD

Less wheat more meat! Less what more meat!

Alex moves towards the plant sitting center stage. He places both his hands beneath it. As he speaks he moves it left and right in-front of the audience. As he finishes speaking he thrusts it skyward above his head.

ALEX

Take arms in our crusade. Declare you love of all things peaceful and benevolent. Defend those who cannot defend themselves. Take arms my friends! Take arms!

SONG

INT. - WOMEN'S DORM ROOM, DAY

It is the dorm room of Amy and her future roommate Rebecca. Amy has sparsely decorated the room. This reflects her hatred of anything superficial. Her bookshelves are lined with the works of James, Feued, Yung, Brandon, Locke, Voltaire, and other philosophers. She seeks continually for a solid philosophy to build her life around. Her bed is covered in a bage comforter. The room is modest.

The room's door cracks open and through it enters REBECCA - 18, shoulder length red hair, wearing a halter top, short shorts. She carries a cardboard box.

REBECCA

This is Jefferson 415?

AMY

You seem to have found the place all right, impressive.

REBECCA

This college is a maze.

She places her box on the floor. We see that it is marked BATHROOM STUFF.

REBECCA

(extending her hand)

Hi, I'm Rebecca Stallsworth.

AMY

(shaking Rebecca's hand)

Amy.

REBECCA

Nice to meet you Amy, guess this is our adobe for the year.

AMY

So it seems.

REBECCA

Where you from?

AMY

Southern New Hampshire, little town called Warren, don't worry you've never heard of it and that's quite all right with me.

REBECCA

(laugh)

Yep, can't say as I have. I'm originally from California but my parents moved us to Alabama two years ago.

AMY

Nice job avoiding the accent.

REBECCA

Actually I've found it kind of charming, especially on guys. But I didn't pick it up during my time down there.

Rebecca crosses to the far side of the room. She rests her hands against her new bed.

REBECCA

My new bed.

AMY

(sarcastic)

Thrilling, isn't it?

REBECCA

Oh yes, can't wait to get out and meet all these new people, experience everything around here, it's going to be a lot of fun.

AMY

Trust me, I've been here two days, there isn't much to see. People around are either nuts, incompetent, or just plain idiots.

REBECCA

Ah geez, can't all be that bad. At least we got placed in a coed dorm.

AMY

That may be the worst of it. I'm perfectly straight but the dummies around here might make me want to eat the muff.

REBECCA

Ha, wow�you're certainly get to the point.

AMY

Not enough time to bullshit.

REBECCA

Well we got a whole year to spend together now.

AMY

(sarcastically)

Oh Joy.

A knock comes from the door. Amy doesn't move toward it at all, but the cheerful Rebecca dashes across the room to open it wide.

We see enter our shy gentleman from the opening scene, Marcus. This is the man the audience recognizes first. He is tall and athletic, well built and always wearing clothes that display these qualities to young women. Quickly butting in front of him is a hipster doofus named Vesuvius (We'll get to it). He is tall and lanky, blue jeans and a T-shirt, a women's fantasy. That is if he wasn't� well�insane.

VESUVUIS

Hey there, what's happening ladies? I'm Vesuvius and this is my man Marcus.

REBECCA

Ah, nice to meet you.

VESUVIUS

We live next door.

REBECCA

Oh, cool. Come in, come in.

Amy obviously appears agitated by their intrusion.

AMY

You're name is Vesuvius?

Rebecca is distressed by the direct question.

VESUVIUS

Oh yeah, but everyone calls me Vic.

REBECCA

Nice to meet you Vic. I'm Rebecca and this is Amy.

VIC

A pleasure to meet both you ladies.

MARCUS

And I'm Marcus.

AMY

Not Mark?

MARCUS

You need to be original.

AMY

Certainly.

REBECCA

Are you guys moved in yet?

MARCUS

(excited)

Yes, all unpacked and ready to go out on my first night at college.

REBECCA

I know it's so exciting isn't? No parents, total freedom�first night at college.

VIC

Well we certainly have a free spirit here.

Rebecca chuckles gleefully.

MARCUS

What's your major?

REBECCA

Undecided.

MARCUS

Hey me too.

REBECCA

It sucks. Too much to decide from�everything feels as good as everything else.

MARCUS

I'm happy though. I'm here to play basketball, have a scholarship.

VIC

(To Amy)

And yours?

AMY

Human incompetence.

VIC

She's fresh.

AMY

Does that frighten you?

VIC

It's intriguing at the least.

REBECCA

I have to get down stairs and help my parents with some more boxes.

MARCUS

Ah, want any help?

REBECCA

If you're willing?

MARCUS

I'm willing, but I have to save some energy for tonight.

AMY

For what? Some senseless bimbo drooling over you drunken romantic line as you keep thinking of way you could get a look at those big melons popping out of her smartly chosen tank top?

Marcus laughs off the comment.

MARCUS

Yep, exactly like that.

VIC

He's a real ladies man.

Amy gets up from her bed and approaches Marcus.

AMY

So you know who to talk to a women, not bullshit her? How to not get caught up in superficial romantic stuff? That sex is more then spewing inside a woman?

The three are a little shocked by Amy's demeanor. But we as the audience are beginning to see the real personality of this woman. She is becoming concrete in the eyes of audience.

MARCUS

Hey, I would never have sex with a woman if she didn't want me too.

AMY

Problem you probably think of sex as a necessary part of the courtship.

MARCUS

Sex is natural, it's human.

AMY

But do you make it otherwise?

REBECCA

(breaking the air)

Ah, I'm going to get those boxes. Marcus?

MARCUS

Sure okay.

REBECCA

I'll be back in a bit Amy.

AMY

And I'll be right here.

Marcus and Rebecca exit.

VIC

Ah, you don't have to be so hard no the guy. Let him do his thing it's none of your business.

AMY

Quite right, I was just having fun.

VIC

Not to much fun for him. I like you style but you need to chill.

AMY

I'm always chill.

VIC

Sure, rightto. (Pause) You smoke pot?

AMY

Hell no.

VIC

Okay then, I'm going to go smoke a bud and chill out, you need to try it someday�might help with that anger issue.

AMY

I will never concede my freedom of consciousness.

VIC

(Confused)

Right. Peace.

AMY

Farewell.

Vic exits.

Amy shrugs he shoulders and sits a moment on her bed thinking. She shakes her head once and very deliberately. Moving off her bed, Amy approaches the audience. The stage lights behind her darken, throwing the dorm room in shadow.

Amy addresses the audiences. She is pleading, in her consistently defiant way, for understanding. She hates part of the way she deals with people. The directfulness, the lack of humor, but she feels this is the way she has to be to the world. She wants the audience to understand and empathizes with her, while at the same time not appearing to do so. A vulnerable opening like that would be much too much for her. Her remarks are brief.

AMY

Carl Jung ascribed the root of human evil to the refusal to meet the Shadow. By the Shadow, Jung meant the part of our mind containing those things that we would rather not own up to, that we are continually trying to hid from ourselves and others and sweep under the rug of our consciousness.

Most of us, when pushed up against the wall by evidence of our own sins, failures or imperfections, will acknowledge our Shadow, But by his use of the word refusal, Jun was implying something far more active. Those who have crossed over the line that separates sin from evil are characterized most by their absolute refusal to tolerate a sense of their own sinfulness. This is because their central defect is not that they have no conscience but that they refuse to bear its pain. In other words, it is not so much the sin itself but the refusal to acknowledge it that makes it evil.

In fact, the evil are often highly intelligent people, who may be quite conscious in most respects have a very specific unwillingness to acknowledge their Shadow. The briefest definition of evil I know is that it is militant ignorance. But evil is not general ignorance; more specially, it is militant ignorance of the Shadow. Those who are evil refuse to bear the pain of guilt or to allow the Shadow into consciousness and meet it. Instead, they will set about - often at great effort - militantly trying to destroy the evidence of their sin or anyone who speaks of it or represents it. (Pause) And in this act of destruction, the evil is committed.

Amy stares out at the audience letting the impact of her words take a moment to sink it. In her face we can see a desire to go out lecturing us about not just the faults of those around her, but about her own. Unwilling to do so she exits stage right.

INT - MARCUS'S AND VIC'S DORM ROOM

The set is the same as the girl's dorm room slightly rearranged. The beds and desks are in different positions. But since this is a play of minimal budget this stables are all we have to establish the dorm room. Setting is of minimal importance.

To make up for this different lighting is used in the man's dorm room then the ladies. Her we have a dark blue lighting, as we had magenta with the ladies.

The boys are getting dressed up for their first night out on the town. Marcus is an especially classy dresser, while Vic is chaotically all over the place with his dress.

MARCUS

Ya know back home they call me the ladies man's, Vic.

VIC

Back home they just call be Vic.

MARCUS

No way.

VIC

Bet I've got a better way to get gals then you.

MARCUS

More charm then me? I think not.

VIC

Ever play gay?

MARCUS

(laugh)

No, strictly a one side of the buffet kind of guy here.

VIC

Not what I mean bro. I mean play to women as if you are gay. Even tell them you're gay.

MARCUS

For what possible reason in heaven would you want to do that?

VIC

To gain their confidence. See if a woman thinks your gay, she doesn�t think you want to shag here. She thinks you're just a friendly guy who likes to go shopping with them and try on makeup.

Marcus laughs.

VIC

But all along the way you're getting closer to them, more intimate. After awhile you admit you might have feelings for them and these fickle women are wooed by the fact they, of all people, might have converted you.

MARCUS

Women know conversion is impossible.

VIC

In an abstract way yes, but if they get to know and trust you then they might think your being honest. And then you can score. And the woman thinks she has the perfect man.

MARCUS

Completely gay except in bed?

VIC

A woman's dream.

Vic sprays some cologne on his neck and begins to rub it in.

VIC

How many times you heard a girl say to bad he's gay? Well you just give what they want.

MARCUS

And a little bit more.

VIC

Or a lot more.

MARCUS

Right. Sounds like too much thinking and planning for me. Tonight I just plan to score the other way, especially after that bitching from the girl next door.

VIC

Amy? She's something.

MARCUS

She's a megabitch.

VIC

Do all intensely independent women become bitches to guys?

MARCUS

No some just are. But tonight I will romance a woman, treat her right and give her some sweet lovin. Not the immature crap she was talking about.

VIC

Somebody's on a mission.

MARCUS

Hell yeah, I'll show that bitch that I know what a women wants and that I know how to give it her. Her lecturing me like my Catholic grade school nun has gotten me even more in the mood for tonight.

VIC

Well she certainly motivated you.

MARCUS

You got that right. A little liquor and the night is mine.

VIC

Don't make it too much buddy, tonight is our first night. We got plenty more when we can trash ourselves and forget completely.

MARCUS

It's college dude. Time to drink with freedom.

Marcus slips on his leather jacket, gives his hair the proverbial final look in the mirror and heads towards the door.

VIC

Isn't that Rebecca chick coming with us?

MARCUS

I asked her, but she can't. Going out to dinner with her parents.

VIC

Bummer.

MARCUS

Got lunch with her tomorrow.

VIC

So if tonight doesn't pan out tomorrow will.

MARCUS

Oh tonight I will, but tomorrow I can swing again and go two for two at the plate.

VIC

I pity the women of our college.

MARCUS

(laugh)

They have no idea!

The two exit their dorm room. Lights down.

EXT. - OUTSIDE THE DORM, LATER THAT NIGHT

Light's up on Amy sitting on bench, next to here is a bush (something to establish that she is outside). We hear crickets chirping and the light is low to establish it is night, and late at that.

She sits idly watching, thinking, learning. In the distance we can here revelry and partying. A few drunken passerbies's cross in front of her. She pays them no attention.

From left enters our NARRATOR.

NARRATOR

There sits our sad female. Thinking over the events of the day, her first foray into college life. But is she really sad? If I asked her she'd certainly deny it, but ask anyone who's meet her this day and they'd say she's a bitch up there on the level of Barbara Striesand. But perhaps her attitude, her independence is just what some of the people here need. On this the first night for many freshman, people are experience their freedom for the first time. But they are only doing what thousands of others have done on their very first night at college. They are part of a large faceless creature that awakens every early August and lives in the body of almost every college student.

She stands alone however. Is this why she sits so sadly? Thinking 'I'm not like everyone else this night or for any night at all.' A troubling thing it is to be truly free. But enough from me for I see coming a women that may stir our melancholy female. Till we meet again�

The narrator exits to the right. Seconds after he does we see enter from RIGHT a slightly intoxicated female. She stands tall and looks older then Amy. This is KRISTEN - 20 and the RA on the floor where Amy, Rebecca, Vic and Marcus live.

She is dressed in cargo pants and long sleeved top that is cut out around her belly. She has a bellybutton displayed proudly to the world. She spots Amy and moves over towards her.

KRSITEN

Amy right?

AMY

Yes.

KRISTEN

I introduced myself earlier�your RA�Ellen.

AMY

Oh right.

KRISTEN

You had to run off though, said something about slaughtering the ideas of Aquarius?

AMY

Tis my mission.

KRISTEN

Good, well did you have a nice night?

AMY

So far. Sitting here thinking, watching, learning.

KRISTEN

You�re the silent type I can tell. That's good for you, but there are certainly thinks to speak up about?

AMY

Like the water shortage?

KRISTEN

Oh that's nonsense.

AMY

Saw it on the news today, the United States seems to be running out of fresh water supplies.

KRISTEN

Probably cause the greedy corporations' bastards are consuming it all.

AMY

Oh no.

KRISTEN

Oh yes they and the Vegan monsters are one in the same.

AMY

(sarcastically)

Vegan monsters?

KRISTEN

Oh yes. Those who would terrorize defenseless plant life. You know, wheat is murder. I've learned a lot about these kinds of things since I joined the People Against Plant Savage - Fauna Atrocities Representatives.

AMY

PAPSFER?

KRISTEN

That's us. They were two different organizations but joined forces.

AMY

Well, of course they did.

KRISTEN

You should join up if you're interested in fighting in the vegetable holocaust.

AMY

There's a vegetable holocaust?

KRISTEN

Don't tell me you're a denier.

AMY

Of a vegetable holocaust, ah yes.

KRISTEN

Sweet mercy, how can you say such things? Wheat is murder. Just go to any supermarket and look at all of the rows and rows of slaughtered vegies. Row upon row of dead soul.

AMY

I'd probably see nothing but some ingredients for my next vegetable stew.

KRISTEN

Savage!

(Pause)

AMY

Moron.

Kristen begins to get really riled up. She struts make and forth a few times and then takes a deep breath trying to calm down.

KRISTEN

I can't talk about this right now; I have to calm down.

AMY

Tell me please why a plant should have anymore rights then a human?

KRISTEN

Because they're innocent!

AMY

(Sarcastically)

Well so am I?

KRISTEN

Huh? Yeah�well, I know what I'm talking about I'm well educated

AMY begins to sing a song about all the people in the world that sees as super smart but dedicated to things that make no sense at all. (Lyrics to come)

Kristen begins to respond to her song, it is a singing conversation. Quickly though Kristen gets disgusted and after one particularly strong rebuke, she storms off stage, fed up with Amy.

AMY continues to sing.

She finishes and moves back to her bench. It has quieted down now. She lies down on the bench; back straight, legs bent. She breathes deeply and closes her eyes. Lights down.

END ACT I.

ACT II: ADOLESENCE

SITUATION'S PRECARIOUS

INT. - MARCUS' AND VIC'S DORM ROOM

It is dark inside the room. Marcus is asleep in his bed with a female. Vic is suspiciously absent from the scene. From left enters the Narrator. He walks towards Marcus' bed and appraises the situation and then addresses the audience.

NARRARTOR

It appears our young friend has been successful in his catch. Has he found true love on just his first night at college? Well I saw him last night and we certainly drunk out of his mind, experiencing the freedom of his first night at college�and his catch�well his catch was something to behold. Let me tell you about her�

At this point Marcus begins to stir and raises from his bed. He yawns and stretches his arms broadly. He inches towards the edge of the bed and looks back to his catch.

She is sleeping on his stomach. Bear back exposed and her long hair sprayed around the pillow.

NARRARTOR

(Smiling broadly)

On second thought I think I'll let Marcus tell you all about her.

The Narrator exits to the right. Marcus is still sitting on the edge of his bed.

MARCUS

(Starting to sing)

What a night.

What a girl.

What fun.

Is it possible that with just one night, just one kiss I've fallen in love?

With just one look she had me.

Close in her hand, close to her heart.

Could it be, please God tell me, could it be love at first sight?

Love in a moment, love like a storm.

Came into my heart and captured my soul.

Could it be true?

Her smile delighted me.

Set me on fire.

I took a deep breath and couldn't believe my luck. This beauty had set her eyes on me.

I can't remember it all.

Who could?

I was gone in my mind, but my heart had been hooked by this beauty from somewhere that looked so ripe. I've broken them wrong.

Love can be true.

It's here, right now in my heart.

Lying like a dove in my bed before me.

I have it; I've found it.

Oh lord could it be?

My heart has captured love.

Marcus belts out the last line of the song loud and clear. He holds it for a moment and then lets it go. The piano hits a high cord and the song is finished. The moment it is we hear a loud yawn. It fills the stage and awakens us to the fact that Marcus' mate from the night before has stirred from his sleep. We pause for a moment; there is no movement on stage.
His mate turns and we see it is a man. He has long hair, a bit hippish, but most differently a man. His name is ANDREW - 20. Marcus turns to see him.

ANDREW

Hey buddy? (Pause) Good night's sleep?

MARCUS looks with horror and then screams.

MARCUS

NO!!!!!!!!!!!!!!

MARCUS holds his scream.

EXT - OUTSIDE THE DORM, SAME TIME

We still here Marcus screaming as we see Amy asleep on her bench from the night before. She awakens in a shock from the sound coming from above.

AMY

What the hell?

REBECCA

(Off screen)

Amy?

MARCUS' scream thankfully finally ends as we hear a large boom! from off stage right.

AMY

What the hell is going on in this place?

REBECCA enters from the right.

REBECCA

Amy there you are, I've been looking all over for you.

AMY

For what logically reason would you do that?

REBECCA

You weren't in your bed last night.

AMY

I must have fallen asleep out here, under the stars.

REBECCA

Oh, well if you do that again�let me know for I don't worry.

AMY

You don't have to worry about me; you don't even know me.

REBECCA

You�re my roommate; I have to care about you.

AMY

(Rising from her bench and sitting up)

Is that in the contract?

REBECCA

Article 4, Section 7 subsection A.

Amy laughs.

Rebecca's carefree and lighthearted approach to life is beginning to grow on us and just slightly on Amy.

REBECCA

(Getting back on subject)

You spend this whole night on the bench?

AMY

Apparently. Though it wasn't the whole night. I was up pretty late. Ran into our RA, you meet her yet.

REBECCA

Yeah I did, went to her room this morning looking for you actually. (She approaches Amy and whispers as if she's telling a secret) She was with that volcano guy, I think they might have spend the night together.

AMY

Well that's their business. I think Vesuvius is smart enough not to get involved with that loaf.

REBECCA

Ah, she didn't seem that bad.

AMY

You just meet her, you don't know about her yet. I had a nice long conversation with her last night. She's a piece of work. Apparently believes all plant life is sacred and should be protected at all costs, never eaten, never hurt and that we as humans have a responsibility to protect them.

REBECCA

People have their own beliefs you can't judge them. I mean she's not a horrible person, you yourself also just meet her.

AMY

True, but I judge people all the time.

REBECCA

Wow Amy you are harsh. You certainly have a way with things. (Pause) Let me ask, who are you judge her�or anybody?

AMY

Judge not lest you yourself me judged. (Laugh) Let me tell you something kiddo�The precept: "Judge not, that ye be not judged" �is an abdication of moral responsibility: it is a moral blank check one gives to others in exchange for a moral blank check one expects for oneself. I say judge, and prepare thyself to be judged.

Rebecca pauses, thinking of a response. Without one coming quickly to mind she speaks:

REBECCA

That's deep.

AMY

(With a smile)

For you.

REBECCA

What's your major? (Then quickly) Please say philosophy.

AMY

Engineering. But I'm going to take a number of courses in philosophy and show these jokes a thing or two about the human mind.

REBECCA

Hmm. (Pause) I wish I had your determination. I still don't know what to do.

AMY

God gives us one gift in life, one thing we're great at. We go with that or live in mediocrity.

REBECCA

Yeah, you boiled that one down pretty well. But I can't decide. I look at journalism and think that would be fun cause I have a passion for the truth and then I look at medicine and think that would be great cause I want to help people.

AMY

Don't like so optimistically on either. They are both impossibly difficult majors.

REBECCA

Maybe, maybe�but I don't know. (She lifts her hands up from he sides and turns them palms up. She looks back and forth.) Can't decide. (Frowns)

She stands up on the bench.

REBECCA

The poet Excalius wrote, 'Even in our sleep, pain which cannot forget falls drop by drop upon the heart, until in our own despair, against our will, comes wisdom, through the awful grace of God.'

AMY

You've got to find what drives you and go with it.

REBECCA

Easier said then done.

AMY

It's not supposed to be easy.

REBECCA

(Tongue in cheek)

Really? You mean my parents were wrong.

AMY

Parents are genetically engineered to be wrong.

Rebecca laughs.

Suddenly Marcus runs on the stage from the right. He is obviously upset and quite confused. He is still wearing the shorts and tee shirt he wore to bed, but he has thrown on his jacket and a pair of sneakers.

REBECCA

Hey speedy, where you headin'?

MARCUS stops and turns. His eyes are wide.

MARCUS

Oh geez, hi�I was just going for a run.

AMY

In a leather jacket and boxers?

MARCUS

Hmm? Yeah, that's what I'm doing.

REBECCA

What in the world is bothering you?

MARCUS

(Nervously)

Nothing, why would anything be bothering me? I haven't done anything wrong.

AMY

Your quivering body says otherwise.

MARCUS

Well�ah�yeah sure�I quiver when I run.

AMY

A rather unique characteristic.

REBECCA

Geez, Marcus�sit down�calm down�get a hold of yourself.

MARCUS

(Looking off to stage right for someone that might be coming)

Can't�can't do that.

Rebecca approaches Marcus and puts her arm around him trying to calm him down. He is still shaking and trembling all over. Rebecca moves him towards the bench and sits him down.

REBECCA

Catch your breath.

MARCUS

(Putting his head in his hands)

Oh my god, oh my god.

AMY

Seems our golden boy has something on his mind.

MARCUS

I got really drunk last night�really drunk�way to drunk�oh my god!

REBECCA

It's okay. It's your first night at college, everybody does it.

MARCUS

That's no excuse.

AMY

Neither is stupidity.

MARCUS

I can't believe this.

REBECCA

(Kneeling down to talk to him)

Tell me what happened.

MARCUS

I...ah�yeah�I had sex.

REBECCA

(Taken back a bit)

Oh okay.

AMY

If this is the way you react to sex, you need to learn masturbation.

REBECCA

Amy! (To Marcus) It's okay that's not a bad thing.

MARCUS

I think�oh god�I don't know�it was�a mistake�I was to drunk.

AMY

Geez, what is it? Did you sleep with a guy?

MARCUS raises his head for a second and looks at Amy. Then fearing he's giving himself away looks down again. But it's been enough for Amy.

AMY

Oh my, now that is entertaining.

REBECCA

You had sex with a guy?

MARCUS

(Shaking his head, body defying what he's saying)

Ah�maybe�I don't remember.

AMY

That's rich. How drunk where you?

MARCUS

I don't know�too much to drink.

REBECCA

Oh Marcus it's okay.

Rebecca hugs him.

REBECCA

Do you want to talk about it?

Marcus now is beginning to calm down but in order to do so he has to walk around. He gets up and begins to chaotically walk around the stage. Rebecca's head follows him as he does so.

MARCUS

I don't know, I don't know�it's so weird�so strange. (Approaching Amy) I mean it's wrong right, it's wrong. (Amy shrugs) But it did feel right, I think it did�oh I don't know. I woke up was happy, I was filled with joy�you should have seen me�God I haven't felt like that since grade school�and then�then�oh god�what am I doing? She�he, turned around and I found out that she was a he! He had never been a she. She who I was all caught up, whose joys but not image carried over to the next morning. How could I be so stupid! Why would I remember only thoughts and not images�feelings not the fact�the fact�that he was a stinking man!

AMY

I'm going to assume you've never been with a man before.

MARCUS

I�m not gay!

AMY

Present situation excluded.

MARCUS

This doesn't make me gay. (Violently shaking his head) I can't be gay.

REBECCA

Marcus this is not the end of the world. You just have to get your wits together.

MARCUS

My wits are already long gone.

AMY

So you gave it some gay up the ass, maybe you are gay.

MARCUS

Oh my god�I had anal sex? Do...could I have done that.

AMY

I sure wouldn't

REBECCA

It's natural. It's okay Marcus, some people are gay�maybe your just discovering this out. (Pause) You said you remembered only feelings from the night before, what were they.

MARCUS

Ah well�there where a number of things.

He begins to slow done his pacing.

MARCUS (con't)

There was the way she�he smelled something familiar about it. Like the dew on the forest floor before the sunrises. Never smelled anything like it�and yes of course�her�damn it his eyes! Very blue, ocean blue�they were perfect�And we just got along so well�I remember thinking it was so great I meet someone the first night at school that I could relate too.

AMY

But you didn't notice he was a man?

MARCUS

I don't remember concrete things�it's all like a big blur.

REBECCA

But the feelings are there?

MARCUS

Yeah, that's it the feelings are there�the connection�and�and�the love.

AMY

The love?

MARCUS

It was amazing�but the fact it was amazing�that's all I can remember. I can't but a face to all the feelings and thoughts. There just there�but�but she is still a man.

AMY

No that's holdup. (Pause) But not one that has to get you down. If you had all that great experience and that connection with him that who cares that it is a he.

REBECCA

Yeah, those are the things that matter�not what's on the outside.

MARCUS

(Slowly)

Huh, right. (Pause) What's fucking with me is what I'm feeling inside came from the inside of someone who's outside I'm not suppose to feel those kind of things from.

REBECCA

Aye, there's the rub.

AMY

Check your premises Marcus, who says you can't experience comradeship and mutual dependence with a man?

REBECCA

You mean love?

AMY

That's another matter.

MARCUS

Geez�I can't love or care for a man�but�it's there all the same.

AMY

Could be just careless, idiotic sex. Ya know the kind that goes on in almost every dorm room in America.

MARCUS

Yeah I thought it was just sex, that's all I wanted was sex but I didn't bet on this.

AMY

Yeah who cares about integrity respect for yourself and for others? (Pause) C'mon, show some backbone.

REBECCA

Amy! The guy is going through a very difficult thing.

MARCUS

I always believed in love at first sight but it wasn't supposed to be like this!

REBECCA

Now you know you love him?

MARCUS

I don't know�maybe�maybe that's the feeling from last night, but this morning was totally different. I don't know if he'll ever talk to be again�or if he'll want to.

REBECCCA

What happened?

MARCUS

Well when I realized it was man I just yell and then fainted.

AMY

(To herself)

That was my early morning wake up call.

MARCUS

When I came to my senses, I was in shock�Andrew asked me what was wrong and I said I didn't feel good and I needed to go for a run. I throw my coat on and got out of there.

AMY

Andrew? Doesn't sound like a homosexual name.

MARCUS

He could still be there for all I know. Oh my god, what the in the world am I going to do.

AMY

If you have any balls you go right back there and face you problems.

MARCUS

Easier said then done.

REBECCA

Maybe you just need a rest, cool off.

MARCUS

I'm supposed to go meet with my advisor, talk about my schedule.

REBECCA

Why don't you go do that, take your mind of things for a bit.

AMY

(To herself)

Run away�run away.

MARCUS

I'm not running; I'm just dealing.

REBECCA

That's the spirit. Remember we have a lunch date.

MARCUS

(Eyes brightening)

Oh yeah.

REBECCA

Why don't you meet be at one at The Dish?

MARCUS

Okay, I think I can do that.

REBECCA

Good now run along and take care of business as usual and we're talk more about things at lunch. And don't worry about the problem/little love in your room, I'll take care of it.

MARCUS

Are you sure?

REBECCA

Positive.

AMY

She's got spunk. You gotta give her that.

MARCUS

(Smiles)

Thanks Rebecca. You to Amy. (Starts to leave) See you girls later.

Marcus exits stage left.

Pause.

AMY

(Looking to the sky)

I love college.

REBECCA

How about that?

AMY

Kid's a cross between Michael Jordan and Michael Jackson.

REBECCA

We'll have to keep an eye on him and you could be a little gentler with him.

AMY

Truth hurts. (Pause) He really got me that thing about love�and love at first sight.

REBECCA

You don't believe in love at first sight?

AMY

(Laugh)

A poet's conceit.

REBECCA

So all the millions of people who say they have it experienced are fooling themselves?

AMY

Basically. I don't believe in love at all. Lust, yes, mutual dependence, need, fear of loneliness, temporary insanity�these are the things we dare call love.

REBECCA

I don't buy that for a second. Love is a constant.

AMY

Haven't you heard, the only sure things are death and taxes?

REBECCA

We live in a country founded by men who rejected the latter and believed the second within the forgiveness of God to overcome.

AMY

Granted, so the only constant is the wrath of God. Comforting.

REBECCA

Think of it as the grace of God. Grace and wrath spring from the same source.

AMY

The desire to hold one responsible for their actions.

REBECCA

And the ability to recognize whether those actions are right or wrong. Experience is a difficult teacher. It gives the test first and the lesson afterwards, we just have to find out what that is.

AMY

So what's the lesson here?

REBECCA

Love is real, in many forms and it exists whether you want to see it our not.

AMY

There's something here, but it sure isn't love�

(Singing)

Love�what a joke!

You speak of angels who sing its songs

And lovers who know its call

Well I don't buy it at all

You say you meet a man and fall madly in love

With just one look your caught

Now you can't escape his charm

One look that's all it took

I'd rather believe that pigs could fly

Love at first sight�

A poet's conceit

It can't happen to those who know nothing

You can fill you head with words and dreams

Of a love you've just realized

One look is all it took

You are a petty fool

Those who say it can happen to them

Are only showing their emptiness

As you drool over a soul you just meet

Thinking you've found your heart's content

You'll soon find it's your heart that is hurting

As you learn love is just dream

And you are too scared to escape

Love at first sight!

Ha, a Poet's Conceit

She stops singing and we see Rebecca is standing next to her shaking her head. However a wry smile crosses her face.

REBECCA

How in the world did you become so jaded?

AMY

What you call jaded, I call me.

REBECCA

But you must admit you have a way about things.

For the first time, Amy is relatively silent. And then we see something we haven't seen before�a real smile from Amy. She continues to smile as she moves to stage left.

AMY

Do I?

She exits STAGE RIGHT, with what might be thought of as a leap in her step.

REBECCA

(To no one)

A mystery wrapped in sarcasm.

Rebecca exits STAGE LEFT.

INT. - PROFESSOR ELLIS' OFFICE

Ellis is a beast of a man. His near 400 pounds protrudes from the too small clothing he is forced to buy because of his unusual size. He is a chain smoker. One cigarette, ash hanging long, rests in his right hand. The other hand writes frivolously in chicken scroll on a starched yellow note pad sitting in his lap.

On his desk is an ash try full of butts. His sparsely covered desk is a mess. It is covered with books and a plant that hasn't been watered in 3 months. A picture of Elvis Presly shaking hands with President Nixon hangs on the wall. Smoke fills the air. The Professor coughs violently.

A knock is heard at the door. It is Marcus come for his visit.

MARCUS

Professor Ellis?

ELLIS

Yes, come in.

MARCUS

Hi, I'm Marcus Joiner one of your adviseries.

ELLIS

Yes, yes, nice to meet you Marcus.

Ellis moves the burning cigarette from his right to left hand and offers the right hand to Marcus. He shakes it.

MARCUS

I came to talk about my major.

ELLIS

Fine, fine�and what would that be? I have your information around here somewhere but why don't you tell me about yourself.

MARCUS

Well I'm undecided at the moment, exploratory I believe you call it.

ELLIS

Yes, silly name really. (Pause) Are you the athlete?

MARCUS

(Shyly)

Yes, I am.

ELLIS

Basketball player, eh? (Marcus nods) Here on a scholarship, nice deal you got. I've never cared much for sports, really unfair business about the whole thing. The ridiculous amounts of money those people get paid, insulting really. You plan to make money like that someday Marcus.

MARCUS

Hopefully, though maybe not in basketball.

ELLIS

Ha. Going to be a rich sycophant, eh? Squash the little man? (Pause) Hogwash. What is it you want me to help you with?

MARCUS

Well I'm wondering how long I have to decide on a major.

ELLIS

One year. You have to declare in the first semester of your sophomore, that is if you can serve the first.

MARCUS

That tough?

ELLIS

It's not tough if you know how to get along with the system. Are you a commie Marcus?

MARCUS

(Surprised)

Excuse me?

ELLIS

A red? You know a communist pig? Reader of Lenin, lover of Marx.

MARCUS

Ah�not really, I don't have any political beliefs.

ELLIS

(Laughs)

You won't last long around here thinking like that. Gotta get some balls, take a stand.

MARCUS

I'm more concerned about settling on a major.

ELLIS

Let me tell you something Mark that's all bullshit. It doesn't matter if you graduated here with a degree in advertising or horse shit, it's who you know and what you're willing to do to get what you want. This (gesturing around the room) is all bullshit; it's not worth the price your diploma will be printed on. You need to find the right people and stick with them. (He puts out his cigarette)

MARCUS

I just got here yesterday. I'm still feeling my way around.

ELLIS

(Lighting another smoke)

Get it with those who know the shit. Your lucky you got placed with me, I know what kind of things a young lad like you has to do to make something of himself. (Pause) You ever read Lenin?

MARCUS

Who exactly?

ELLIS

(Coughing on his smoke)

Vladimir Ilyitch. You do have a lot to learn young boy. I'd like you to take my introduction to Global Studies course. It's for freshman, you'll like I can tell�and since your one of my adviseries your guaranteed a good grade.

MARCUS

I already have my scheduled filled out.

ELLIS

(Sitting up in his chair and looking at his desk)

Don't worry, I'll take care of that. My class starts Monday at 9am, come there and we'll get you your new schedule and start you down the road you need to travel.

MARCUS

If you think that's best.

ELLIS

(Smiling)

I always know what's best for my students. (Pause) Do you believe in genetic engineering Marcus?

MARCUS

I haven't thought about it.

ELLIS

What about the water shortage? You give any word to the rumors about that.

MARUCS

Well I haven't heard too much. Just that pollution and what not has contaminated a lot of the water supply and some states are running low on it.

ELLIS

Bogus story really. It's the big water companies hoarding the water and driving up the price just like they did with the water crisis.

MARCUS

I really don't know.

ELLIS

These are the kind of things you need to be aware about and have an opinion about if you are to become anything. But we'll get started on that come Monday morning.

He slaps Marcus on the knee. Marcus jerks back shocked by the contact with another male.

MARCUS

Yeah�sounds good.

ELLIS

Good, you ever want to talk about things you come see Professor Ellis. We'll talk it over. And get reading� start with Lenin� brilliant man.

MARCUS

(Rising from his seat)

Ah sure�thanks Professor.

ELLIS

(Leaning to put his cigarette out)

Any time Mark, anytime. Remember Monday at nine am.

MARCUS

Right. Bye.

ELLIS

Bye, bye.

MARCUS exits.

ELLIS

(Lighting another cigarette)

Ah yes, fresh new meat.

He begins to laugh but his laugh suddenly turns into one of his trademark violent coughs.

INT. - DINING HALL, LATER THAT DAY

We see a single table seated on CENTER STAGE. Around it is four to six chairs. That's all necessary to set the scene.

Seated at the table eating sandwiches off of paper plates are Vesuvius, Rebecca and Kristen. (Vic and Kristen next to each other.) They each have a tasty soda beverage at their disposal.

KRISTEN

And molecular biology is supposed to be a sonabitch of a course.

REBECCA

I feel for you. I'm stuck taking a writing course because I didn't do well enough on my writing entrance exam. I don't even know what I want to be yet and they're making me take required courses.

KRISTEN

It's bullshit; it's all bullshit. You'll learn that after a year or so here. There are more important things to worry about.

REBECCA

Right, I just don't want to spend too much of my time worrying about anything.

VISEVIUS

Which one of the Barbie�s did you girls like the most?

There is a slight pause at the strangeness of the question. Kristen answers first.

KRISTEN

I always liked outdoors Barbie. With the backpack and big hiking boots.

REBECCA

I�d have to say the summertime Barbie.

VISEVUIS

With the revealing swimsuit.

REBECCA

Well that�s a whole other matter all together.

KRISTEN

(Getting giggly)

And you Vic?

VIC

I�d have to go with the summertime Barbie.

REBECCA

Because of the swimsuit.

VIC

No. Because of what was underneath it.

Kristen playfully slaps Vic on the shoulder after this comment. There is something between them.

REBECCA

I can�t say I ever was really into the Barbie thing.

VIC

Oh I was.

KRISTEN

That�s enough out of you mister.

VIC

What? A guy is entitled to wonder what the hell his sister and her friends are doing all day long.

REBECCA

Those are a lot of words to just say 'a horny kid'.

VIC

Who says it just has to be when a kid?

Vic looks at Kristen. Kristen smiles, she winks.

REBECCA

(Sarcastically)

Hey I think you got something in your eye.

KRISTEN

Nope, I don�t think so.

REBECCA

I know I just saw it blink.

KRISTEN

Ha, ha very funny.

Rebecca smiles broadly.

KRISTEN

One bitch living in your room is enough.

Vic laughs.

REBECCA

We�ve just met her. I�ll admit she�s a bit much�

KRISTEN

A bit much, the girl is monster�I wonder how she ever got into this place.

VIC

Hey don�t judge a book by its cover.

KRISTEN

Well if the cover of the books says, �Fuck Off�, I don't care what's inside.

Vic and Rebecca laugh a bit.

REBECCA

I think the girl has good intentions.

KRISTEN

Intentions are what the guilty use to rationalize their wrongs.

VIC

You have any idea why the girl is so fresh?

REBECCA

No idea. I don�t think she�s on for really getting personal.

KRISTEN

I tried with her last night outside the dorm. She nearly bit my head off. I was upset about it but then I ran into Vic here back in the dorm and things started looking up.

VIC

(Looking at Rebecca, but pointing towards Kristen)

Now she has a way with words.

KRISTEN

Heh thanks�but still she really got to me. We have a meeting of PAPSFER later today.

REBECCA

A meeting of what?

KRISTEN

It�s our plant life rights group. (Pointing) You see that guy sitting right over there�he and I run it.

REBECCA

Here he comes now.

Enter ALEX from STAGE RIGHT.

ALEX

Hiya Kris.

He hugs her�perhaps a bit to affectionately.

KRISTEN

Andrew, this is Vic and Rebecca.

ALEX

Hey nice to meet you. Freshman?

VIC

Right on.

ALEX

They going to join in on the fun?

KRISTEN

The meeting tonight.

ALEX

Well that also.

KRISTEN

What else is there?

ALEX

Oh my you haven�t heard yet have you?

KRISTEN

Heard what?

ALEX

About what Congress is doing�oh it�s horrible�horrible. (Pause) Can I talk to you for a moment?

KRISTEN

(Getting up from the table)

Sure thing. I�ll be right back.

Kristen and Alex exit stage left talking quickly as they do so.

REBECCA

Any idea what that was about.

VIC

Plant rights likely, she was going on and on about it last night.

REBECCA

(Smiling)

Last night?

VIC

(Smiling)

It�s not exactly as you think.

REBECCA

I don�t know my mind can get pretty dirty at times.

VIC

Sweet innocent you, I�d never imagine it.

Rebecca laughs.

REBECCA

So are you two like a thing�after just one night?

VIC

Too early to tell, but she�s something. Really electric when we're together�I don't know it's hard to tell�but I really like her.

REBECCA

I can hear it in your voice.

Vic smiles.

VIC

Do you believe in love at first sight?

REBECCA

You think that's what it is?

VIC

Oh I'm not sure, it's such a hard thing to really come out and say.

REBECCA

You should talk to your roommate about it.

VIC

Why do you say that?

REBECCA

Ahh�actually maybe that's not a good idea.

VIC

Well�do you believe in it?

REBECCA

By word of mouth yes. From experience no.

VIC

Yeah I guess I agree.

REBECCA

I really haven't given�

Suddenly from STAGE LEFT enters Marcus. He is carrying a plate with his lunch on it. He sits down next to Rebecca.

MARCUS

Hey.

VIC

What's happening roomie?

MARCUS

Ah not much�you been back to the room today?

VIC

Not yet.

REBECCA

So that's what that smell is.

VIC

Hey it's got it's own taste.

MARCUS

Ah Rebecca how are you today?

REBECCA

I fine�your little problem from this morning I took care of.

MARCUS

Oh good�thanks.

REBECCA

How did your meeting with your advisor go?

MARCUS

It went okay�the guy is certainly unique�one more thing to have on my mind today.

VIC

What's bothering you roomie?

MARCUS

Ah�nothing really. Just a lot of different things�being at school and what not.

VIC

You'll adjust�so did you score last night.

MARCUS

(Quickly)

No! No scoring�no sex�nothing.

VIC

Sorry bro.

REBECCA

Your roommate seems to have had some success.

VIC

I wouldn't call it a success�just hit it off with someone.

MARCUS

Who?

VIC

Our RA, Kristen.

MARCUS

That's good�I'm happy for you.

VIC

Something really bothering you?

MARCUS

Ah�no�I'll be fine I think.

VIC

I'm here for you roomie.

MARCUS

Thanks.

REBECCA

Me too.

MARCUS

Yeah I wouldn't worry I think I'll be fine. (To Rebecca) Can you keep quiet about this morning?

REBECCA

Of course.

VIC

What happened this morning?

MARCUS

Nothing.

REBECCA

Marcus just had some nervousness about being away from home.

VIC

Hey you can share with me bro.

MARCUS

Ahh�I'm going to fine.

VIC

Not good to keep those kind of things inside�gotta get them out and be free.

MARCUS

I got it under control.

VIC

Suit yourself comrade.

MARCUS

(Pointing to the meal sitting next to Vic)

Who's sitting there?

VIC

Kristen.

MARCUS

Oh, the RA�I get to meet her.

VIC

Don't worry were in with her good�trust me. (Winks)

MARCUS

Sweet�this guy is something isn't he? One day and he's shacking up and getting on the good side of the RA.

VIC

All in the genes.

Suddenly we see Alex and Kristen enter from STAGE RIGHT. Kristen seems very concerned about something.

KRISTEN

You guys aren't going to believe this.

REBECCA

What's going on?

ALEX

You'll find out in a moment.

Alex gestures to some nearby friends. They approach the table and we see that some of them are the meat hippies from the opening scene.

Alex jumps up on the table.

VIC

Shit, dude.

ALEX

(Addressing the audience, the lunch room)

Attention Friends!

MARCUS and Rebecca are suddenly horrified by this action.

ALEX

The time has come for a call to arms! The congress of this country is considering the destruction of millions of innocent plant lives. Our rumored water crisis has increased and they plan to drill for water sources in untamed underground water sources throughout our beautiful land! We can not allow this to happen. Millions of life forms are at risk for but drops of water!

The crowd gathering around the table begins to cheer.

ALEX

How dare we let beaurocrats in Washington order the execution of thousands of plants throughout the United States. We can not allow this to happen. We must speak for those who have no voices! I know you here are people of compassion and love and thus would never allow this happen. We are must be prepared to take action. To fight against the tyrants of death!

More cheers.

ALEX

Tonight at 7 o'clock in McCauly 105 the armies of compassion will be meeting to find a way to fight back. PAMSFER is dedicated to preserving innocent plant life. Come join us! Fight the good fight! Save the plant life of our country. Learn the truth about the evils of the water industries and their plans to eradicate all plant life from our Earth. We will not quietly in the night. We are here to fight...and fight we shall! Tonight at 7pm in McCaully 105. Join the righteous and show your love for Mother Earth.

A large cheer goes up from the meat hippies gathered behind Alex. He stands on the table defiantly. Other rush in to join Alex and chant.

CROWD

Save the Earth! Save the Earth! Save the Earth!

There are cheers are deafening. Rebecca and Marcus get up from the table afraid of what is going on around them. In confused fear they flee the stage. The crowd continues at Alex's beckoning.

CROWD

More life, no death. More life, no death. More life, no death!

They reach a feverious pitch. The lights close and their cheering ceases.

END ACT.

ACT III: EARLY ADULTHOOD

PARADOX

LIGHTS UP.

EMTPY STAGE.

The stage is bare except for our Narrator standing CENTER DOWNSTAGE. He addresses the audience.

NARRARTOR

And so our tangled web begins to take shape. You know the principles, know their personalities and the conflicts in their lives. Let's move our acednine story ahead, shall we�

Sequence of events occur behind the Narrator that are similar to what he is talking about. The numbers in the speech represent when the actions take place.

Series of events taking place behind the Narrator during his monologue:

-The meat hippies enter from the RIGHT; some of them carrying protest signs. They continue from right to left across the stage. Various students of the college cross in front of them some of them stopping to watch or laugh or continue on by. (1)

-More hippies enter the stage. These are covered in dirt and gripe. They are the ones who have given up the use of the college's showers to keep themselves clean. The on-lookers cover their noses and flee the stage. (2)

- The hippies stop crossing the stage and form a throng of protests. The hippies sit down, mimicking their sit in to block the academic buildings. They are positioned UP STAGE RIGHT from where the Narrator is speaking. (3)
- From this group emerges both Alex and Kristen. They speak to the crowd of onlookers that is gathering around them. Their talk is low, mimicked as to not overshadow the Narrator's long monologue. (4)

-Vesvious enters from the LEFT and spots Kristen. His carrying a single red rose and Kristen runs up to him. He gives it to her, they embrace and kiss. (5)

-Professor Ellis enters from the RIGHT and approaches the blockade. Instead of being upset he shakes hands with some of the protesters and strikes up a discussion with them. (6)

-Marcus enters from RIGHT, his hair a mess and upset. He looks around the stage consistently. He has not spotted Vesuvius but when his back is turned to him, Vic approaches him and taps him on the shoulder. Marcus nearly jumps out of his skin but is relieved to see it is only Vic. They start to talk. (7)

-Amy enters from the LEFT modestly dressed, carrying a folder. She spots Marcus, looks back off stage LEFT and approaches him. (8)

NARRARTOR

If you thought those meat hippies were just talk, you are very wrong. (1) They were serious about their protests and when they uncovered that the college got its water from one of the water companies planning to drill for new water supplies, they took action. They demanded that the school resend their contract with the company, named Stanton Water Suppliers, and begin a campaign to fight back. First they organized and advertised water strikes. People refused to drink it, to use it and even to wash in it. Needless to say this caused quite a sight (2) �among other things.

NARRATOR

(Con't)

When the school took no action they began more drastic maneuvers. (3) They took to lining the doors to different academic buildings, barring staff and students from entering. Each day it was a new building they seized. Holding up classes and distributing the college was now quickly getting the colleges attention.

But there are many stories within. (4) There is Kristen Emerald one of the charismatic, intelligent young leaders of the protesters. Filled with energy from a regular diet of steak and wine her passionate speeches resonate with college crowd. (5) At her side, behind the scenes is her lover Vesuvius. They courtship is intense and a distinct love has grown between the two. Just a month and a half into the term their bond is tight and they are already picking out names for their children. (6)

NARRATOR

(Continued)

Vesuvius' caught up in love but under quite different circumstance roommate, Marcus, (7) continues to flee the events of his first night at college. His lover Andrew attempts to contact him but Marcus has thus for evaded him with great effort. (8) However our hate-able female character of Amy will fix that soon enough. She's one to stir up trouble or in her words, 'Make people face the facts.'

Summer is turning quickly to fall and as the leaves turn into a open crayon box of colors so to shall the lives here turn into a carnicapoie of different styles, approaches, and quickly into conflict.

The Narrator exits STAGE RIGHT.

Vic spots Amy and moves towards here. Marcus is none to happy about seeing her arrive on the scene.

VIC

Ms. Amy, how are you today.

AMY

(Gesturing towards the meat hippies)

I was having a miserable day but I think this little display is going to change all that.

VIC

Ah, they're harmless.

AMY

Your little lady friend really think that?

VIC

Oh well she thinks they'll have an impact on the administration.

AMY

Doesn't sound harmless to me.

VIC

The big thing now is that the faculty is behind them. (Pointing towards Ellis) That's Marcus's and mine professor and he's been championing their cause all along.

AMY

The fools following the foolish. Where's your roommate.

VIC

Here's right here.

The two cross the stage to reach Marcus.

AMY

Marcus!

MARCUS

Oh hi Amy.

AMY

So glad to see me?

MARCUS

No, no it's okay just had a tough go of things lately.

AMY

Ah, worry not. Things will take a turn sooner or latter.

MARCUS

They better, basketball practice starts in two weeks and I need to be in top form.

VIC

You'll be there don't bud.

Vic puts his arm around Marcus, and Marcus shudders.

Kristen runs up to Vic.

KRISTEN

Baby, sweetheart did you hear this�Professor Ellis says he now thinks a majority of the faculty is behind us�do you know what this means?

AMY

Anarchy?

KRISTEN

It means it's going to put even more pressure on the administration. The students are finally going to get a voice around here.

AMY

We're hear to learn not to 'have a voice.'

KRISTEN

It's about more then that Amy. It's about life, preserving innocent life.

MARCUS

Yeah but are you going to let us get into class today.

KRISTEN

Are you crazy? The professors are coming over to us�we're opening a dialogue�getting our points across�this is great!

MARCUS

(Shyly)

I just want to get to class.

VIC

That's great sweetie, I'm so proud of you.

KRISTEN

C'mon Vic you have to be a part of this.

She grabs his arm and drags him towards the group of hippies and Professor Ellis. They remain Up Stage while Amy and Marcus are Down Stage Right.

MARCUS

I don't get it.

AMY

Guess who stopped by my room again this morning Marcus?

MARCUS

Oh no.

AMY

Oh yes cupcake�your little friend Andrew stopped by wanted to know if we'd seen you at all. First time I actually got to talk to him, instead of seeing him knock on your door and be turned away by Vesuvius.

MARCUS

You didn't tell Vic did you?

AMY

Not yet�he still thinks the guy is a bible salesman that you want to keep away.

MARCUS

Good.

AMY

He's actually quite intelligent. I think you should sit down and talk to him.

MARCUS

Are you crazy?! I'm not�I can't do that.

AMY

But you can just keep running?

MARCUS

I'm not running�just waiting�till the time is right.

AMY

Love on your time ah? Maybe it's time to spend things up a bit.

MARCUS

(Horrified)

Oh god Amy no�

Amy whistles and looks off stage right.

AMY

Andrew!

Andrew enters from Stage Right. He is the same as before, except that his long blond hair has grown even longer now. He carries a book bag thrown over his left shoulder and looks like any regular college student. Except that for the long hair, it throws the equation of who he should be out the window.

ANDREW

Hey-o!

AMY

Andy, how you doing�good to see you again. You remember Marcus of course?

ANDREW

Yes, yes I do.

MARCUS

(Ready to run at a moment's inclination)

Hi.

AMY

Thought it was about time he stopped avoiding you.

MARCUS

(Through his teeth)

Thanks Amy.

AMY

Ah you're welcome dollface. (Pause) I'll leave you two alone. (To Marcus) Listen to him, he's more then you think.

Amy moves around Marcus and Andrew and almost dances of stage.

Marcus looks very nervous like he wants to flee. He looks left and then right. He takes a deep breath and tries to settle himself. He turns to face Andrew who is standing�waiting for the answer to a thousand different questions.

Andrew is a carefree spirit. With his long hair and casual clothing he is someone the audience immediately thinks of as cool.

Marcus's behavior at the moment displays anything but coolness.

ANDREW

Marcus, where you been buddy?

MARCUS

I been around�been really busy.

ANDREW

Sure, sure that's cool�but not what Amy told me.

MARCUS

Oh god. What did she tell you?

ANDREW

She said you were having second thoughts about our night together and that you had said you needed sometime to think things over. But that today you wanted to meet with me and talk things over.

MARCUS

She told you that?

ANDREW

Oh she's a sweetheart�but what she said, it's true isn't it?

MARCUS

Ah yeah of course it is.

ANDREW

So what do you want to talk about?

MARCUS

Well ya know�you and�me.

ANDREW

Yeah I've been thinking about that to?

MARCUS

(Shyly)

What have you been thinking?

ANDREW

I don't know�it was fun.

MARCUS

I'd never done anything like that before?

ANDREW

(Starting to make a sexual gesture with his hands and mouth)

You mean?

MARCUS

(Cutting him off)

No, no, no, no�not that part. I mean the whole thing all together.

ANDREW

You never been with a guy before?

MARCUS

No, I haven't.

ANDREW

Whew, it sure didn't show.

MARCUS can't contain a brief laugh. These two are flirting with each other. This must come across to the audience, they are like a school yarding couple together�but they are of course both men. They are flirting, feeling each other out, wondering if the other feels as strong as they do. Afraid to name the unspeakable.

MARCUS

But you�you a great guy. I had a lot of fun with you.

ANDREW

Me too, but wow�when did you know you were gay.

MARCUS

Ah�I've always known I was gay.

ANDREW

So your first night out at school and you hook up with me�lucky girl.

MARCUS

When did you know you where gay?

ANDREW

Ah�I haven't always known I was gay. I guess it kind of came to me over time�just as I grew older and had more experiences.

MARCUS

Like me?

ANDREW

Well you were sorta my first too.

MARCUS

You're kidding me?

ANDREW

No, I've known I was gay for sometime but that was the first time I acted on it.

MARCUS

Me too�I mean I didn't even know I was gay�I still don't.

ANDREW

But you just said�

MARCUS

Well I don't know�but I've been thinking about you ever since that first night.

ANDREW

Same here�but what does that mean?

MARCUS

I don't know�I have to be honest�I didn't know I was gay�I don't if I'm gay�but I had a great time with you, I mean a great time and I don't know what to do about that because the whole idea of it is still foreign to me. I can't figure it out yet, but there are certainly plenty of facts and feelings on the table and they involve you. But I can't tell what it all means yet? (Pause) Why are people gay?

ANDREW

Why are people gay?

SONG: Why are people gay?

This is an elaborate production number sung by Andrew. He dances around the stage engaging the hippies who are still seated on UPPER STAGE. He sings to them, dances to them, all along addressing his message towards Andrew.

He's flirting. It might appear to an outside that it's a man romancing a woman, and in fact its superficial qualities are, but we know its Andrew communicating with Marcus.

Marcus is interested by what he is saying. He smiles at Andrew's antics as he dances around the stage. He is being won over by his charm and charisma, the qualities that attracted him to Andrew on that first night.
END SONG.

Andrew approaches Marcus at the conclusion of the song and puts his arm around him. Marcus is not too happy at this but he does not react as violently as we might think. He almost accepts it as something that must be.

ANDREW

So you see it all that bad?

MARCUS

I don't know, I still don't know what to do.

ANDREW

It'll come to you bro.

MARCUS

(Tongue in cheek)

Does this mean I can't avoid you anymore?

ANDREW

(Smiling)

I certainly hope not.

ANDREW

Maybe I'll drop by and we can talk some more?

MARCUS

Ah, yeah maybe. It might be a good idea once I figure some things out.

ANDREW

Can I ask you something important though?

MARCUS

I guess.

ANDREW

Why does your roommate think I'm a bible salesman?

MARCUS

(Laughing)

Ha, it's a long story.

ANDREW

(Pointing towards the protesters who are still blocking the entrance to the academic building)

It appears I have plenty of time.

Andrew and Marcus sit down on the ground next to each other and begin to converse.
From the right enters the DEAN. He is tall and dressed in a suit. He wears think classes and reflects a conservative, old, out of touch with the students' aura. He is the enemy of everything the meat hippies and the protesters stand for.

There are numerous boos from the protesters as he approaches them. He stands up stage from where they are and begins to address them.

DEAN

Hello everybody�I'd just like to make a few remarks on behalf of the school

PROTESTOR

When are you going to shut off the water?

Cheers from the crowd.

PROTESTOR #2

We don't want to drink no stickin water that's killing the Earth!

DEAN

I know you have concerns and I�m here to address them.

The Dean is an intelligent, well-spoken man. His words betray everything about his demeanor, appearance, and statue.

DEAN

You claims have been heard and taken under consideration by the administration of the college. They will have a fair hearing and we will make the proper decision that reason dictates. What I'm here today to talk to you about is your attempts to speed up the process. Namely your blocking of the academic buildings and other intrusions into the academic life of this private college. Civil disobedience may be justifiable, in some cases, when and if an individual disobeys a law in order to bring an issue to court, as a test case. Such an action involves respect for legality and a protest ditunity to prove to be unjust. The same is true of a group of individuals, such as we have here today, when and if the risks involved are their own.

But there is no justification, in a civilized society, for the kind of mass civil disobedience that involves the violation of the rights of others - regardless of whether the demonstrators' goal is good or evil. The end does not justify the means. No one's rights can be secured by the violation of the rights of others. Mass disobedience is an assault on the concept of rights: it is a mob's defiance of legality as such.

DEAN

(Cont'd)

The forcible occupation of another man's property or the obstruction of a public thoroughfare is so blatant a violation of rights that an attempt to justify it becomes an abrogation of morality. An individual has no right to do a "sit-in" in the home or office of a person he disagrees with - and he does not acquire such a right by joining a gang. Rights are not a matter of numbers - and there can be no such thing, in law or in morality, as action forbidden to an individual, but permitted to a mob.

The only power a mob, as against an individual, is greater muscular strength or plain, brute physical force. The attempt to solve social problems by means of physical force, such as the blocking of these doors, is what a civilized society is established to prevent. The advocates of mass civil disobedience admit that their purpose is intimidation. You want us to act now and threaten our jobs, our livelihoods and those of your fellow students in this process. Any society that tolerates intimidation as a means of settling disputes - the physical intimidation of some or groups of others - loses its moral right to exist as a social system, and it collapse does not take long to follow.

DEAN

(Continued)

If the colleges of America - the supposed citadels of reason, knowledge, scholarship, civilization - can be made to surrender to the rule of brute force, the rest of the country is finished.

You will not accomplish your goals by the means you are practicing now. The administration is willing to hear and undertake your case. But will shall not and cannot allow you to continue your current practices. We are a private college and are prepared to take whatever steps necessary to halt your use of physical force against the faculty and students of this college. You must permit others to reach their jobs safely and allow your fellow academics to do what they have come here for. Thank you and that is all.

There is a bit of a silence. It covers the stage, no one seems to move or speak. Then a voice�

PROSTESTOR

That's bullshit!

PROTESTOR #2

Yeah!

PROTESTOR

Go back to hell you scumbag!

CROWD

Yeah!

PROTESTOR

Save the Earth!

CROWD

Save the Earth!

PROTESTOR #2

No more murderous water!

More cheers come from the crowd. They begin to swell towards the Dean who looks absolutely terrified. He suddenly dashes off the stage to the left, in jumbled and un-atheletic manner. A few protesters follow him, booing all along the way.

Alex, the hippie leader gets a group of them fired up. We see Kristen along next to him. They begin a march off stage in the direction the Dean traveled. Vesuvius hangs back.

MARCUS

(To Vic)

You're going to miss the fun dude.

VIC

They might not believe it all the time and that's cool, but I do have to go to class and pass.

MARCUS

Do you really believe any of the stuff those hippies stand for?

VIC

Does it matter? (Seeing Andrew standing next to Marcus) Hey dude I ain't buying no bibles.

MARCUS

Oh, dude�he's a nice guy I just meet him. He's cool trust me.

VIC

You aren't going to be selling me no bibles?

ANDREW

Ah no, nothing to worry about.

VIC

Coolio.

MARCUS

So what are you doing with those people, is it just because of Kris?

VIC

Well some of the stuff they say makes sense doesn't it?

ANDREW

You mean depraving yourself of water? Nope doesn't make sense to be.

VIC

But they want to drill for water on the open plains of America�they want to ruin nature.

ANDREW

So things should be kept in their natural way all the time?

VIC

Well ya, I guess.

ANDREW

(Pointing towards Vic's face and his glasses)

You might want to take those glasses off then.

VIC

Damn.

MARCUS

Where the hell you pull that one from?

ANDREW

It's simple really, if people really stopped and thought that about what the "natural" way of things is they'd realize that nature is only the constant interaction and change of all that is in. We mess with nature everyday, when we treat infection in our bodies, heal broken legs instead of letting them heal slowly over time. We eat food that is planet in the ground and food that has come for living animals. We alter the way things are all the time. The point is that altering nature is exactly the nature of nature. It is constant flux, constant change. A lot of things in nature as most people define it are horrible things, sickness, natural disasters, destruction and death. If we see someone have a heart attack are we to let them lay and die because that's the natural way of things or do we call an ambulance and have then mess with the natural way of things? Do we heal a sick pet or let nature take its course? When you are nearsighted as nature created you do you remain that way or obtain glasses to remedy the situation?

VIC

Yep, you're certainly no bible salesman.

ANDREW

Don't get me started on the bible that's a whole other subject.

MARCUS

When do you have time�to think up all that stuff?

ANDREW

When I'm sleeping. C'mon let's get some lunch.

VIC

I've got to get to class now. I'll see you girls later. (Moving towards and then shaking Marcus hand) You are a wise man my newfound friend.

ANDREW

That's not all I am. (Wink)

MARCUS

See you bro.

VIC

Later.

VIC exits UPSTAGE LEFT.

Marcus and Andrew head for the opposite side of the stage.

INT. - AMY'S ROOM, A FEW MOMENTS LATER

AMY is sitting on her bed and Rebecca is seated on a chair across the room.

REBECCA

I need it Amy. I need it bad.

AMY

And what would that be?

REBECCA

The love�the touch of man.

AMY

Not this talk again.

REBECCA

But it bugs at my heart. I see Kristen and Vic together and they're so happy. He's so good to her; he treats her like a goddess. I want that.

AMY

You wanna fuck Vic?

REBECCA

No, silly. I just want a man.

AMY

See there in lies your problem.

REBECCA

How so?

AMY

You just want a man, a perfect prince charming to ride up on his stead and sweep you away into the night. You have to come to realization that not all men are perfect. Many of them are flawed, hell all of them are, they are as imperfect as you are. And you have to understand what it is you value in a man in order to find one that makes you happy or your just window dressing.

REBECCA

I don't care about that Amy. I just want somebody, anybody to hold me, whisper sweet nothings into my ears.

AMY

Ya know, you sound like a hallmark card.

REBECCA

What's wrong with that?

AMY

What your talking about is impossible unless you understand what you are looking for. If you have a firm grasp of who you are and what it is you look for in a man you'll find him soon enough.

Rebecca gets up from her chair and begins walking around her room. She crosses back and forth, going towards Amy one moment and away the next.

REBECCA

I can't wait.

AMY

So you would rather make a rush to judgment on something you don't understand and very possibly end up worse then you are now.

REBECCA

That wouldn't happen.

AMY

How do you know, it happens every day around this small little world. The only way you will ever find true, lasting love is if you love what you value. A love of something you don't value simply for the sake of love is no love at all. Human love, actual human love, should always be the highest declaration of that which you hold most important.

REBECCA

And what if I'm not sure yet what I hold important? What am I supposed to do until then?

AMY

Then you have to discover what is important to you. In order to say, 'I love you,' one must first be able to say 'I'.

REBECCA

(Smiling)

AMY

Now tell me what that means to you.

REBECCA

It means I need someone. I need something like Vic and Kristen have.

AMY

Need won't get you anywhere Rebecca. Anyone can need. `But you know what you want you go out and get it.

REBECCA

So how do I find out what I want?

AMY

I can't answer that question for you.

REBECCA

(Walking back and forth)

I mean when I think about, really think about it, I believe I'd want a man who was intelligent, not necessarily good looking, and I'm serious about that. Someone that loves me for me and that loves life.

AMY

Someone that loves you for you, but what is you?

REBECCA

I know who I am.

AMY

Then you should know what it is you value in a man and shouldn't go around wishing for anyone to come fill you void.

REBECCA

But I can't wait Amy. Maybe it's easy for you to just sit there and philosophize about what I am and what I need, but I can't do that. I can't just sit by and wait, I'm too anxious.

AMY

I didn't say you had to wait. I said you have to get to work figuring out what you want.

REBECCA

And how am I to do that?

AMY

It's not easy, you have to�

Amy is suddenly cut off when the girls' door flies open and in enters the dean. He is breathing hard, having just fled the hippies. The tall Dean seems awkward and out of place in a dorm room.

He moves towards Amy, his eyes locked on her, addressing her with a million questions. He doesn't notice Rebecca at all, his eyes see her; his mind is directed at Amy.

DEAN

Amy they hated it.

AMY

Just as I said they would.

DEAN

I think they started throwing hot dogs and raw cow meat at me.

AMY

Is that what I smell?

DEAN

Amy that was your speech, your words what am I suppose to do now?

AMY

Keep speaking the truth.

DEAN

They don�t want to hear that. They want me to do something about Northern Lights Water and Power.

AMY

And what should you do shut off the water and electricity to the school?

DEAN

Of course not.

REBECCA

Ah, sorry to interrupt but what the hell is going on here?

AMY

The meat nazis our after our Dean.

REBECCA

But you're writing speeches for him?

AMY

Who else is going to do it?

DEAN

All she did was come to my office and help me script my remarks.

REBECCA

Amy your supplying the administrations response to the meat hippies?

AMY

They needed my intelligence.

DEAN

You can say that again. But you can't get through to them. They won't listen to you or me, or me when I speak your words.

AMY

Oh they're listening their just not hearing.

REBECCA

Ah, I have to ask but did any of them follow you�re here?

DEAN

I most certainly hope not.

REBECCA

Oh god.

Rebecca races to the door and looks outside it. A look of horror crosses her face. She turns back into the room.

REBECCA

By the stench down the hallway I'd say some of them are headed this way.

DEAN

Damn, what do I do?

AMY

Hide under by bed, I'll handle this.

The dean awkwardly and stubbornly climbs under Amy's bed and attempts to hide himself.

A second after he does so the door literally breaks down and Alex and few other hippies enter the room.

AMY

(Brushing her hand in front of her nose)

Whew, who forget their Right Guard this morning?

ALEX

Is the scum crawling in here?

AMY

I'll admit she's not the best, but I'll be damned if you talk about by roommate that way.

REBECCA AND ALEX

What?

AMY

So she's a little too happy and has no direction but she's far from scum, I'd talk to the coward next door about his 'love' if I were you.

ALEX

I'm talking about the greedy capitalist, uncompromising Dean?

AMY

Oh him. (Pause) He's here.

DEAN

What?!

ALEX

(Pointing under the bed)

There he is.

Alex and a few other hippies rush the bed. Amy cuts in front of them.

AMY

Now just a moment, I know you folks don't believe in property rights but this is my room and I want to know what the hell you're doing here?

ALEX

We are here to tar and feather him! To get him to heed our raising voices.

AMY

And why the hell should he do that?

From the back of the room, towards the door, Professor Ellis is heard.

ELLIS

Because they are the students and they have a right to be heard.

Ellis moves through the small crowd and stands next to Alex, facing Amy. He is smoking a cigarette.

AMY

And you are?

ELLIS

Professor Earl Howard Ellis.

AMY

A distinct unpleasure meeting your Mr. Ellis.

ELLIS

Likewise but if you please move aside and let us talk some sense into your Dean that would be much appreciated.

AMY

Why do you have to talk to him? As far as I know he already addressed all your concerns.

ELLIS

Not sufficiently enough I'm afraid.

ALEX

We demand to be heard and represented. We are the students of this college and will not stand by why our school engages in murder!

AMY

Calm down Stalin, you're not giving a speech and you're certainly not talking to a comrade in arms.

ELLIS

Enough of this banter move aside young lady.

AMY

No.

ALEX

You can't do that! (To Ellis) She can't do that.

ELLIS

Correct Alex. These students demand to be heard and have a voice in the way their school is run.

AMY

Bullshit.

Alex and Ellis are taken aback by Amy's quick and complete response.

AMY

In any undertaking or establishment involving more then one man, it is the owner or owners who set the rules and terms of appropriate conduct; the rest of the participants are free to go elsewhere and seek different terms, if they do not agree. There can be such thing as the right to act on whim, to be exercised by some participants at the expense of others.

This is a private university, may I remind you, and there in the Dean and Administrators set the rules. If you don't like to the fact that they've allowed you to be hear then live. But as long as you remain here you must understand the most basic of all rights; that of property. This is the Administers school. They run it. They pay the salaries, build the buildings, buy the food, water, electricity, maintain your dorm rooms, classrooms, rec. rooms, lunch rooms, hallways and bathrooms. You have the ability to ask them to change or improve those policies but if they do not do so you have no right to use physical force against them. You are here under your own free will and by the understanding of the Dean that you are allowed here because they say so. You have no voices that must be heard.

The money you pay to go here, you pay freely. No one holds a gun to your wallet. You have bought a product and you get it as is. If you are unhappy with it return it, throw it away, run form it, but do not go to it's maker and demand changes at the threat of physical violence and the death of their rights.

You would be nothing without this Dean, you dorms would fall apart and you lovely faculty would go elsewhere. Understand their ability, place your grievances but if they disagree with you, do not began a thug and bring violence. If you do so you are nothing but worthless scum.

As before, silence fills the room. Ellis stars at Amy for a long second. He approaches her, takes of his glasses, whips his forehead and replaces his glasses.

ELLIS

You don't know everything there is to know.

AMY

I didn't say I did.

Pause

ELLIS

It's time to go Alex.

ALEX

But the Dean!

ELLIS

Another day, young lad. (Looking at Amy) Another day.

A protesting Alex follows Ellis out the door.

The dean slowly gets out from the under the bed.

DEAN

I don't believe what I just saw.

REBECCA

Neither can I.

AMY

You fear truth?

DEAN

I fear you.

Amy laughs. She moves to lay down on her bed.

DEAN

I'm getting out of here.

REBECCA

Be careful.

DEAN

Thanks I will.

The dean exits.

REBECCA

Amy what the hell is going on here?

AMY

Aren't you getting the picture?

REBECCA

Not at all.

AMY

You know more than you think you do?

REBECCA

Do I?

AMY

Yep, but you got a ways to go.

REBECCA

Right.

Rebecca sits down at her desk. She takes out a book and some paper and begins to get to work. On her half of the room the lights dim and are nearly extinguished.

Amy sits up on her bed. And looks out as us, the audience. She sighs heavily, her chest heaving as if the motion is not one that's required but one she wants us to see.

AMY

Back in the same place, yet so different... life's little quirks and obstacles surrounding, confusing, almost suffocating... but so rejuvenating once you look around.

Those tyrannical bastards, what ever shall I do about them? That Dean is smart but not capable of launching a reasoned response against them. By the virtue of his position he garners no respect from the students that surround us. No, the students respect only one thing, sadly, other students. But will they listen to reason? Perhaps it's time to take action, to gather the troops.

Amy moves further down stage, approaching the audience. The room behind her is now in total darkness. She alone is spotlighted.

AMY

What if there was a group formed against the meat hippies. A rival faction. Yes that's it. One that doesn't fight for the rights of inanimate plants, but that reasons for the rights of men. (Sarcastically) What a radical concept! But how to gather those who believe humans are more important then plants? Where to find individuals who would stand for life?

Pause, Amy thinks.

AMY

Damn it all, it's useless you see. What ever I do, what ever I say they won't listen. They don't want to listen. (Gesturing over her shoulder) Alcohol and sex is all they want to think about. Ain't there more?

Rebecca's voice is heard from the darkness behind Amy.

REBECCA

(Off-stage)

Amy, I'm going next door to the boy's room.

AMY

OK. (Pause) Just a moment. I'll be right there.

The spotlight on Amy goes out in a blink. The stage is black.

Enter our humble narrator. He gets a spotlight of his own.

NARRARTOR

The meat hippies chase the Dean off and it's our complex female that is conflicted. Gotta love the quirks of this small world. But don't worry about the Dean, as I'm sure you are (wink), he got home safely, while the meat hippies set their eyes on their new goal for the evening; shutting down the schools electricity and water supply.

At this point we see a number of meat hippies slink behind and around the Narrator. They have flashlights in hand and are obviously trying to be discrete while at the same time searching for something they, as of yet, have not found.

One of them bumps into the narrator and gives him an inquisitive look. The Narrator makes a face at him and he rushes off.

NARRARTOR

Gotta give those kids credit, they know what they believe in and don't quit till they get it.

But for far, far more interesting happenings that involve plenty of electricity let's see what Amy and Rebecca have come up with as we fast forward the day and watch spirits become intoxicated and whole new problems arise.

INT. - MARCUS' AND VIC'S ROOM, A FEW HOURS LATER

Marcus, Andrew, Vic, Rebecca, Amy and Kristen occupy the room. Kristen and Vic are seated close together on the latter's bed. Marcus is on his bed, Andrew sitting at his feet, quite happy to be on the floor or in the room at all. Rebecca and Amy are each seated in chairs.

We join them in mid conversation:

MARCUS

Dude I live right across the room from you, you cannot tell me you've never gotten it on.

VIC

Indeed, that is what I am telling.

ANDREW

The guy seems convinced.

KRISTEN

I'm saving myself for marriage.

AMY

Finally a noble purpose emerges.

MARCUS

I am not hearing things. When she sleeps over I hear things.

REBECCA

What kind of things?

MARCUS

You know slurping, mussing, and once I heard biting.

REBECCA

Biting?

VIC

There is definitely no biting.

MARCUS

Ah, so you admit that an act, which could cause biting, is taking place?

VIC

It's still not sex.

KRISTEN

Trust me we've never had sex.

AMY

But you given him head?

KRISTEN

(Smiling and looking at Vic)

Perhaps. (Giggle)

AMY

Well then you've head sex.

REBECCA

Oral sex isn't sex.

KRISTEN

Right, even if we did do that, it's not sex.

AMY

What are you high?

VIC

Not yet.

ANDREW

I think what Amy means is that oral sex is sex, and if you have it your aren't a virgin any longer.

REBECCA

What are you crazy, oral sex is not sex.

AMY

Did you just hear what you said? Oral sex, the second word of which is sex, is sex.

MARCUS

It is?

VIC

Only penetration is sex, getting a blowjob with out that is not sex.

AMY

What is it then?

VIC

Not sure, but it isn't sex.

ANDREW

So what about lesbians?

VIC

It's different. Different parts.

ANDREW

So the love between a lesbian and you two is different?

KRISTEN

Well not really.

REBECCA

C'mon guys everybody accepts and knows that getting a BJ or going down on a girl is not sex. That's why everybody is doing.

AMY

Maybe everybody is doing it. And just because everyone is doing certainly doesn't make it true.

MARCUS

So how in the world is oral sex, sex?

AMY

Because the act itself is enough to express a feeling of intimacy. It is an act where one gives a private part of themselves both physically and emotional to another. That my friends is sex.

REBECCA

I'm still not seeing this.

ANDREW

It's sex because to say otherwise is devalue the act, to make it cheap, one that anyone can perform and feel nothing attached to it. And it does dishonor to homosexual relationships.

VIC

Dude, I gotta hear this one.

ANDREW

I'll assume you don't think anal sex is sex either?

VIC

No, not really, but I certainly dig it.

KRISTEN

(Quickly)

Hey!

ANDREW

So then if two homosexuals engage in oral sex or anal sex or say if two lesbians eat each other out and fool around in bed they can't have sex?

Marcus coughs.

REBECCA

Well maybe they can.

ANDREW

The fact remains that any bearing of your private nature to another in an intimate setting where you two are in it for gratification is sex. To say otherwise is simply bullshit.

KRISTEN

So all the people around this college who still claim they are virgins but give BJ's every weekend aren't virgins. C'mon! If I asked a hundred people that ninety of them would say they are virgins till they have sex.

AMY

That's the point Andrew is making. That we devalue sex. We hate the idea of saying to ourselves that we aren't virgins so we say that this act and that act is not really sex. We are so terrified of intimacy and value that we'll do anything to run away from it.

MARCUS

Who's terrified of intimacy?

REBECCA

I'm not. I'd give anything, anything, to have a boyfriend.

KRISTEN

Hey I know what intimacy is; I have it right here with Vic.

VIC

The babe is right, we aren't having sex, but we are sharing intimacy. Now that is not sex, even though you just defined sex as intimacy.

ANDREW

No, no, no. What she's saying is that if you value yourself and you value yourself you will understand that any kind of physical intimacy, which involves the sharing of private parts, is itself sex. To say otherwise means you do not value yourself or your partner.

AMY

Basically your animals.

REBECCA

C'mon Amy don't you think that's a little extreme? I see what your saying, but to say all people just engaging in sex for the orgasmic part of it are just animals or less then human is a pretty low thing.

AMY

Humans are the only species with the ability to recognize itself as an independent entity. We have a mind from which we derive our values. We are not animals, we a better then that. We are smarter. If you recognize that you will use your mind which God or evolution or whatever gave you in order to understand the fact of what intimacy is and that you must place value in order to only get momentary pleasure out of it.

ANDREW

Animals engage in sex for reproduction. We have a brain and a heart that allows us to treat this act as more then animalistic.

MARCUS

I think I'm starting to see what your saying Andrew. But it's such a radical thing. I mean nobody, nobody buys what you're saying.

ANDREW

Perhaps that's what makes it right.

Pause.

VIC

But anal sex does rock!

A laugh fills the room; Kristen grabs Vic's pillow and half seriously, half kiddingly, but very embarrassed, hits Vic with it.

ANDREW

Now I am definitely digging the anal sex.

Marcus gives Andrew a horrified laugh. The others grant him a questioning look. Amy laughs loudly and cheerfully.

AMY

(Laughing)

That you do.

REBECCA

What? You two got something going on.

AMY

Positively not.

ANDREW

Yeah, just friends.

VIC

You gay dude?

ANDREW

Yes I am.

VIC

Oh wow. Damn.

ANDREW

Nothing to say wow about.

MARCUS

It's natural right?

ANDREW

It's a choice I choose to make.

AMY

He's not afraid of who is.

REBECCA

Or anal sex apparently.

Vic leans back and takes his guitar off his bed. He begins to sing.

SONG: Anal Sex Tonight
Marcus is a little agitated at the theme of Vic's song but the others are pleasantly amused by it.

KRISTEN

Now don't get any bright ideas mister.

VIC

(Smiling)

Only when your sound asleep.

Kristen leans over and kisses Vic playfully on the lips.

AMY

Aren't you supposed to be out causing trouble with your meat friends tonight, Kristen?

KRISTEN

I have the night off.

ANDREW

What, they have shifts.

KRISTEN

Sorta, it's kind of complicated.

AMY

Psychotic is more like it.

VIC

Hey watch how you talk about my woman there.

AMY

You'd rather I suck up to her and play fake nice?

KRISTEN

She's okay Vic. She disagrees and that's all right. She just hasn't seen the light yet.

MARCUS

Speaking of light�(Pause and then an awkward silence)�whose coming to my first basketball game next week?

ANDREW

Oh I'll be there buddy.

VIC

I'm there bro.

MARCUS

(Looking at Andrew)

Oh I mean you don't have to come, it's all right. If you busy or something you don't have to go. I wouldn't want to tell you had to go.

ANDREW

You trying to tell me you don't want me there?

MARCUS

No, no of course not.

REBECCA

What the hell is going on between you two?

MARCUS

(Quickly)

Nothing!

KRISTEN

Now, I know there's something.

MARCUS

Nothing I assure you, we are just friends.

AMY

Is that what they are calling it now?

REBECCA

What?

AMY

(Smiling)

Oh I'm not saying anything at all.

VIC

Bro what's going on? You flaming out on me?

ANDREW

Flaming out?

MARCUS

No, I'm not doing that.

ANDREW

What do you mean by flaming out?

VIC

Oh I wasn't talking to you bro, I was talking to my man Marcus. You know your gay that's cool, but my man Marcus here better not be gay.

ANDREW

So it's allergist to insult someone who is gay but if they don't know yet if their gay that's fine?

VIC

Bro, that's not what I was saying at all.

MARCUS

Hold on just a moment folks, just calm down.

REBECCA

I'm still not sure what the hell is going on.

All of the sudden the lights go out on stage and throughout the theater. The Meat Hippies have been successful. The rest of the scene takes place in pitch-black darkness.

AMY

Kristen, I must say your friends are determined.

KRISTEN

Don't worry, we will succeed.

MARCUS

I think I got a candle around here somewhere.

REBECCA

I think something is on my leg.

AMY

I think this is going to be a long night.

VIC

Could be lots of fun.

We hear kissing. And a zipper.

KRISTEN

Vesivious!

AMY

Oh dear god.

ANDREW

How'd you get that name anyway?

VIC

My parents are volcanologists.

AMY

Well that explains it.

We hear a crash and a yelp.

REBECCA

Marcus, what are you doing?

MARCUS

I'm trying to find the bloody candles.

ANDREW

Is that you arm?

MARCUS

Is that your crotch?

AMY

Told you he was gay.

MARCUS

Oh my god!

AMY

Rebecca, I think we should leave the two couples alone.

REBECCA

You guys are having sex?

KRISTEN

It's not sex!

MARCUS

I'm not gay.

REBECCA

I think I found the candle.

VIC and MARCUS

Don't light it!

REBECCA

All right, all right!

AMY

Oh hell yeah, I think I'm starting to like the antics of those meat hippies!

REBECCA

So what do we do now?

Pause.

AMY

Wait till they both cum?

The house lights go up and we see the curtain has been closed.

END ACT III.

PRODUCTION NOTES

CHARACTERS

Amy - Though she is our main character she is not our protagonist. Amy is our main character though and her entrance on the scene must set that tone. Most of the story is seen through her eyes. She is a hard woman, wise in many ways. She must be a woman of great intelligence; an intelligence that many would say is a chip on her shoulder. But the chip is only a greater awareness a greater intelligence of the college surronding her. She is a combination of a number of different personalities. Combative at times, reflective at others. She is nearly a complete individual but lacks the knowledge that she is. She seems to be searching for something more, something greater. She fails to realize that she maybe complete and only to needs to understand this to continue along on the journey of life. Inspiration comes from Dagny Taggert, Ayn Rand, Caroline, Amy and my idea of the woman I'd like to marry.

Marcus - Marcus is a grasping college student. He is a star athelete, excelling in his performance at basketball. He must be introduced as a strong, self assure man. One who thinks he is complete and has figured out the way of life. His experience on the first night of college changes this. He is thrown into confusion and is forced to challenge the assumitions of his life. His journey towards a more solid philosophy is one of the main themes of the story. He must develop a stable and supporting theme of life as the solution to the story. He is the anthesis of Amy after the first night. Grasping, pleading, searching for an identity. Inspirations comes from thousands of atheletes, Rachel, Laura, Random Mike, Matt Chimel.

Rebecca - Rebecca is the middle road between Marcus and Amy. She is half way between desolution and salvation. She is happy, carefree a spirit which is bright. People flock to her, to her charisma and free love. Show how she is great at some qualities of life, frienship, but fails at ours, school. She compartimatizes her life. Her abstaractions on the theme of existence are only half complete. Her outlook which succeeds in some areas she does not apply to others. She most go in either direction by the plays end. Let her realization of her compartimalization be her solution at the stories end. Inspirations come from Myself, Manu, Kristen, Angela, Alex, Meredith R. and most of the common men.

Vic - Vic is the wild card who does not fit into most philosophies. He is one who would say 'There are no absolutes,' without realizing what he has just spoken is an absolute. His carefree, happy go lucky spirit must come through in his character. He is similar to Rebecca in this sense of life. His evolution comes into the play latter when he breaks up with his girlfriend. This tragic occurrence in his life allows him to due with the absense of abstractions in his life. In order to live, he must understand what the intent of living is for. Inspirations come from Jeff, Maniac Matt, Wild Bill, Buff and Silent Jen.

Kristen - Kristen is a penadulom for a lot of the story. She is the representative of the rebellious, protesting community of college. As such her character is not as important as the others, but she does serves a larger purpose. She must be the window into the meat hippies and their beliefs. Her words must be that of the masses. On the other hand her relationship and love with Vic must be clear. Her absolute dedication to the man must be clear and concrete. But her concrete exists with out the abstraction of what their love is. She just knows there is love. Inspirations come from Joanna, Meredtih S., my mother and most the woman I know.

Andrew - Andrew must become the focus of the second half of the script, not the second half of the story. This is a story that cannot be broken down into Syd Field's shit about Three Acts. Fuck convention and his bullshit, this must be an orginal story and Andrew is one of the crutchs on which that rests. He is a homosexual, presented to the in a hilirious incident in which Marcus wakes up to find out he slept with him the night before. But instead of dismissing Andrew, which for awhile the script must appear to do, he reappears later on in the story and is intergal to it's development. He confronts Marcus with his feelings and thoughts on the subject of his and Andrew's homosexuality. Like the Dean, and Professor Ellis, Andrew must not be a cop-out. He must not be stereotype. He must be presented as honestly and completely as a character can be. His feelings and philosophy must be almost as clear or more clear then the other characters. His character, next to Amy's, is the one on which this story swings. His presentation as a strong, atheletic, un-stereotyped homosexual is of paramount importance. Inspirations Andrew Sullivan, Manu and Gordon.

Alex - Alex is our stories Hitler. Not in the full sense but in the sense that he is the leader of the rebellion and his speeches are important and full of mindless wanderings that draw in the masses. His character is not important, his words are.

The Dean - The dean is one of the most important in the story. He must be seen as someone most college kids would instantly hate. He is uptight, badly spoken, afraid of crowds and students. His manner and dress must reflect this. He appears as the typically hated dean with ideas greatly out of touch with the student body. But this is the rule of his character for he is in fact the most intelligent and complete individual of the group. He knows what the motives of the students are, he identifies them, rebukes or accepts them, speaks to them, attempts but fails to communicate with them. He is everything a college dean should be, the problem is that no college student understands this, thus they don't like him at all. He cannot, I repeat for emphasize be an idiot. Such an approach would be a cop-out, an insult to him. It takes much more intelligence to write a character who the audience and players hate, but who is honest and well written. Such is the challenge and rewards of this character.

Professor Ellis - Ellis is our window into the faculty. He sides with the students in all exchanges and like them hates the Dean with a passion. We must show what makes him such. Do not simply present him as a student friendly, liberal faculty member, but show how he got to be one and why he is one. Give him very, very clear motivations. Like the dean don't make him an idiot, such is the easy way. Make him intelligent and ecentric, but wise in way he leads his life. He is the evil to Amy or the Dean's approach. He is at the other end of the spectrum that Marcus is just finding out about and that Rebecca is in the middle of. Make this comparision clear.

Lynn - She is our protaganist. This must be clear when she enters the story at the beginning of the fourth act. I won't say more about her, but it will be interesting if the audience will accept her as the protag when she comes into the story this late in the game.

THEME

The individual mind, striving to learn and grow, against and in humorous conflict with, the collective of a college atmosphere.

Man vs. Himself (Amy tries to come to terms with her individualsim, Marcus learns he's gay, Rebecca and Vic have to find a way to live in harmony with themselves. Vic after Kristen and he break up, Rebecca about her direction in life.)

Man vs. Man (The Meat Hippies and Professor Ellis vs. Amy and the Dean. Also individuals vs. the collective at college.)

Man vs. Nature (Speciafically Amy, Marcus and the Dean vs. the collective at college which is not really a man, but a creation of their minds, and thus a creature of nature. Also the Meat Hippies vs. reason, nature and science.)

SETS

The sets must be minimal. The focus here is not on the sets but the characters. They are literally just a backdrop. Backdrops themselves are not even necessary. Let the mood of the characters speak for the scenary.

Amy/Rebecca's Dorm Room, Vic/Marcus' Dorm Room - Simply motife. A bed and desk. Maybe a book self. The objects used in one room can be used as that in the other room. This should be easy to accomplish once the scenes are divided up. For the BJ scene involving both rooms, one bed can be used in each and the other half of the room darkened.

Outside - A bench and a plant. This is it. The play is a student production the audience should be willing to go along with a minimal set as long as it just presents the audience with an idea of where the scene is taking place.

Ellis' office - His desk, his books and lots of smoke. Should set the mood.

The Academic buildings - Perhaps in this case we will require a simple backdrop for this scene. Nothing complex. This one is open to different uses and thoughts.

Dining Hall - A table with four chairs is easy. Perhaps another table with chairs next to it, with wallflowers seated at it. But a simple table or two should set the set, especially if the characters are eating food.

LIGHTING

I've always thought lighting was most important in a film or play and thus it must be in this case. Hire or pay someone who knows what the heck their doing. Let them read the script and set up a lighting skeme for the play. Give them control of it, tell them you want their thoughts on what the lighting should be. Tell them they must only use the lighting commands set forth in script but the rest is free for their mind to devise.

VAGUE PLOT OUTLINES

(Subject to change whenever I feel like it.)

Introduce young girl who is coming to college (Amy). She is anti-steroetype of young college women, strong, sexually active, and sure of herself. Show how she interacts with college atmosphere. She is not the protag, but a lead character. Allow all other story lines to start or be created by here. She is a woman of value who only gives value when it deserves. She is the comedic center as she remarks on college life and it contrasts with her fiercly independent lifestyle. Her interaction with other characters/themes is the main play for comedic effect. This outline is more story then comedy, intented to present charactars, plot and most importantly establish their relationships to the theme and themes effects on them.

Have politically active group. Meat Hippies are perfect to start with. Don't treat them as absurd. Make their aguements as true and legit as possible. The humor comes from the absurdity of it, but make it serious. To them this is no laughing matter.

Create two young male characters, one who will become gay and one who is straight. The former (Marcus) gets drunk on his first night at college and goes out and sleep with a girl. He wakes up the next morning and sings a song about how he thinks he's in love with here, and how everything from the night before was so magical. Show how college guys can get over their head in love without thinking. Have girl wake up and we learn it is really a guy with long hair. With this introduce the theme that things are not as they seem.

Have Marcus and Amy live right next door to each other and on second day of school discuss theories on sex. Amy believes it is useless, that she can use it to manipulate guys and get what she wants. Marcus is confused and doesn't know if he should be gay or not. Instead of helping him, Amy confronts Marcus depends him to stand up for himself and think like a man.

Introduce Amy's roommate, Rebecca, a coquetish somphomore who is still undecided about what she will do in college. She sings a song about the various choices she has to make (On this hand). Show how her confusion in choosing majors is a reflection of her inability to think, her fear of being an idividual. Amy is a bitch towards here. Thinks she's worse then human.

Then Introduce Visevious, Marcus' new friend and a wacko from California. He is nuts. He has the ability to let slide that in life which truly does not matter. Marcus is frustrated with him because he doesn't obssess about things like grades, looks, etc. but he is friends with him because these are qualities he wished he possessed. Show how they're different life styles conflict and create comedic effects.

Have Amy start an on campus group oppossed to the meat hippies. Have meat hippies fight with her group in a fight sequence. Show how to Amy this is all a great big laugh because she doesn't take it seriouslly. Show how she is comfortable in her own thought/philosipical principles.

Have Marcus become a homosexual but settle into himself. He is strong, atheletic, and not femine at all. He revolts against the gay stereo-type. Guys on his basketball team can't believe his is gay and mock him for it. Marcus is learning from Amy to be an individual.

Continue to have Rebecca go back and forth on a major and from boyfriend to boyfriend discarding them as if they were trash. Show how her indesiciveness and desire to be all things to herself and ours is not working. Have Amy continue to hate her and react against her indecisivness and refusal to respect herself.

Let Marcus and Amy become very good friends. Their values reflect each others, they see things in each other they like. Show how friendship and love work best when one values what they see in each other. Contrast with how Rebecca just wants to love and care without value. Show Marcus and Amy as friends as the moral angle, because they are friends out of respect because they place value in love and friendship and do not give the unearned.

Enter the protag, yes at this point we enter the protag. She is Jocelyn. A girl that Amy meets and respects because she seems the balance between her hard line individualism and Cameron's carefree life style. She bridges the gap. She is the ideal character in this sarcastic play of epic proportions.

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