Audience Is Our King ACT 1 (The TV studio for a news program. A table is placed at the center of the stage, with three chairs side by side facing the audience seats. At the left-hand side of the table, a door with only framework separates the studio from the outside downstage left. This setting is used for all acts and scenes.) SCENE 1 (Daytime. The lights are off and the studio is not being used. GUARDMAN and FRANK HAMILTON (20's) come up in downstage left. Guardman opens the door and enters the studio.) GUARDMAN Here we are. This is Studio Three. From here, they broadcast the news show throughout the country. You know Cambie TV News? That show is produced at this studio. FRANK It's small. GUARDMAN (smiles) Yes, small and nasty. But on the screen, it looks like a suite at a fancy hotel. It's the magic of TV. You know April Greenberg? Famous for her good looks? The real one is, uh, a babe if you want to call it that. But she looks much better on the screen. You may feel disillusioned when you see her in person. This is where April reads her draft to the camera. (stands in front of the table and imitates the news reporter) Today we have new staff member Frank Hamilton in our department. Frank will work twelve to seven a.m. starting next week and will also help us on holidays. He came here from New Lombok to attend the College of Fine Arts and study literature. He'll be a famous writer someday. (returns to his own voice) Now, your news has been sent throughout the world. You're already famous. Tomorrow, when you walk down the street, tons of young girls will come in swarms to speak to you--I saw you on TV last night. You're great. Give me your autograph! Date me! Kiss me! Marry me! So, what'll you do? FRANK Hmm. How many girls do you think will come to me? GUARDMAN Oh, tons of girls. At least five, oh, no, one dozen a night, so almost a hundred every week. Too many! Will that be okay? FRANK TV has such a huge influence? GUARDMAN Definitely. FRANK It's not good for us. I mean, for society. GUARDMAN (laughs) That is TV. You're already a part of it. Popular TV personalities are always trailed by many fans. You're gonna be popular soon if you work for this station. FRANK But I can only marry one girl at a time! GUARDMAN (laughs for a while) You're incredible. You've never seen a TV show in your life? Very unique. Interesting. I don't think I can spend even one week without TV. (laughs more and more) FRANK I watched TV when I was a kid. It was prohibited when I was twelve. Before then, I liked to watch it. I was crazy about it. GUARDMAN Okay, Okay. TV can be a bad influence. Yeah, it's true. I hate TV. It makes us lazy and crazy. I'm so stupid 'cause I've seen a lot of stupid shows. (laughs) FRANK Don't joke with me. GUARDMAN No, no. I envy you. You stay smart 'cause you keep away from the bad virus TV is spreading. FRANK You think I'm stupid. Wait... (tries to listen to Guardman from his chest) Wacky, square and booby. This bozo can't get with it in the big city, jackass. Isn't it how-- GUARDMAN Whoa, a surprise! No, no. I didn't mean it. But, you know, I don't think you're stupid, but other people might get that impression. FRANK You did. GUARDMAN Sorry. But how can you say that? FRANK I have telepathy. (Guardman steps back with fright.) GUARDMAN Telepathy! You mean...? FRANK I've had training. We have special courses in our town. (closes his eyes) First, we clear our minds and look into ourselves until any clear image pops up. Useful information is stored somewhere in our memory. We just take it out when we need it. GUARDMAN (scared) Oh, I've heard of it. (beat) Does it work? FRANK (thinks a little) Uh, sometimes. GUARDMAN Huh, interesting. (beat) But watch out. It'll cause you a lot of sweat around here. FRANK Why? GUARDMAN Envy. FRANK Envy? GUARDMAN Yes. TV's made everybody stupid and if you stay sane among crazy people, they feel irritated. Or feel guilty, maybe. FRANK Oh, I see. I'll be careful. GUARDMAN You should. Do you think you can get along with us? FRANK Sure, I'll forgive them. GUARDMAN I mean, do you think you can, uh, pretend to be stupid like me? FRANK I'll try. I'd like to study the influence of TV and find how TV makes people stupid, like you. GUARDMAN No, no. I'm warning you. You'll get into trouble if they find out you're really smart. You're better off acting a little insane around us. FRANK Insane? Why? GUARDMAN 'Cause it's a big city. We are selfish and easy-going. You'll freak them out if you speak this way. Is that clear? FRANK No. I was taught differently at school. GUARDMAN Oh, school. Yes, I know, they teach a lot of useful things at school... FRANK (like reading from a textbook) TV networks have a big responsibility to society and the staff to do their best to send their viewers non-biased, correct information, as well as entertainment. GUARDMAN Oh! I didn't know they're so great. FRANK I would like to see how they take responsibility. GUARDMAN Nobody cares about such responsibility. FRANK They ought to. (like reading from a textbook) TV is one of the greatest inventions in modern time. It gives people tremendous access to a wide range of information and contributes to the improvement of living standards. Recently, however, it turned out that TV had many adverse effects on its viewers. The TV producers must make the programs for the public, by the public, and about the public. GUARDMAN You're too serious. Don't speak so much. (Frank is scared and looks around. They hear many young girls scream and yell outside the studio.) FRANK What's that? Street fight? GUARDMAN (with a smile) No, a rock singer is coming for a recording. Right on time. He's always trailed by his fans. Open the door and you'll see a bunch of crazy people you'll have to forgive. (Frank slowly opens the door. The screams become louder.) GIRLS (V.O.) (screams) (Frank is surprised and slams the door.) FRANK What's that? GUARDMAN Tons of stupid girls. You'll be responsible for them. (Guardman laughs and exits downstage right, followed by Frank.) ACT 1 SCENE 2 (Early morning. Frank in uniform stands downstage left. In the studio, staff member LUISA works. Frank yawns and checks his wristwatch.) FRANK Still five o'clock. I'm sleepy. (Frank stretches a little.) FRANK It's lonely to see such a deserted street. There're so many people strolling around by day but where are they? C'mon! It's a big city! A TV station! A famous place! Tons of people visit here for fun. I was told this in my town. (like reading from a textbook) In big cities, people walk around on the street all day long and talk about nothing with joy and laughter. Every day passes like a festival. This endless spree harms most residents of a big city and often destroys them, both physically and mentally. (yells out in frustration) It's why I'm here! I mean, I want to study the immorality in a big city. I'm looking for corrupt culture to write a good story about. It's my assignment. But there're no crimes, no burglars, no murders at all. What a bummer! Look at this. They told me a lie! People sleep at night! I don't like to see such a run-down city. There is no excitement even around the TV station. It makes me feel miserable. I miss the people. Where have they gone? What are they doing? Let's see with my telepathy. (Frank closes his eyes and meditates. But soon, he falls asleep. He opens his eyes.) FRANK I see. They're sleeping. Happy time. But I can't join them. (Frank stretches again but stops.) FRANK Somebody's coming. (Frank closes his eyes and meditates.) FRANK (V.O.) The director is coming. His name is Jeff Dennis. Whoa, he looks like quite a gentleman. He's an excellent director and a very severe boss at this studio. He sounds like a very smart guy. But watch out. He seems cold and cruel to anybody outside the company hierarchy! I'm afraid he'll give me a dirty look. (Frank opens his eyes. JEFF DENNIS strides in downstage left.) JEFF Good morning. You're new? Nice to meet you. (Jeff shows his ID and walks into the studio before Frank says anything. In the studio, Luisa greets Jeff.) LUISA Good morning. JEFF Good morning. Is there any good news? LUISA Not so much. We're looking for something more exciting. (Luisa hands Jeff the document file. Outside, Frank looks at the door.) FRANK Is he real? I've never met this type of man in my town. He looks good. But what's that? Good morning. You're new? Nice to meet you. (Frank mimics Jeff and then shrugs.) FRANK So many mysteries are taking place in this city. (APRIL GREENBERG dashes up stage left. Unknown YOUNGSTER follows her and stands in her way.) YOUNGSTER Are you April Greenberg? Could you give me your autograph? I'm a fan. APRIL Sorry. I'm in a hurry. (The Youngster blocks April. Frank notices them and walks up. The Youngster is aware of Frank and runs away. April heads for the door but Frank stops her.) FRANK Can I see your ID? (Frank is dumbfounded after he said it and keeps staring at April.) APRIL Oh, shit! (April checks her handbag. She rummages through the handbag in a panic. Beside her, Frank looks at April in admiration. Frank falls for her. April looks up at Frank.) APRIL I didn't bring my ID with me but I work here. Hi, I'm April Greenberg. (April offers her hand to Frank. Frank keeps looking at her without response. April is embarrassed.) APRIL Call Jeff or somebody. They'll identify me. (Frank completely falls for April and doesn't reply at all.) APRIL (irritated) I'm in a hurry. Ask somebody here right away. I ought to be there. Are you listening to me? (Frank comes to himself.) FRANK Ah, yes. May I help you? APRIL Are you kidding me? I'm asking you to bring Jeff over here. I'm in a hurry. Please hurry up. FRANK Oh, yes. (When Frank turns back, Jeff opens the door and looks out stage left.) JEFF (to Frank) We're waiting for April. Doesn't she-- APRIL Oh, Jeff. I'm here. (April runs up to Jeff, in a friendly manner.) JEFF Hurry up! The show's on the air! APRIL I know. This guy was in my way. (April points at Frank but Jeff doesn't look at him.) JEFF Show him your ID. APRIL I didn't bring my ID with me. JEFF (under his breath) Where did you put it last night? APRIL (under her breath) I don't know. You should know. JEFF Why me? It's your ID. APRIL Last night you took my ID and laughed at my photo in bed... JEFF AND APRIL Oh. (Jeff feels his jacket and pulls her ID from his pocket. He hands it to April in silence. April snatches it up and shows Frank with a smile.) APRIL Here you go. (Frank doesn't look at the ID, keeping his eyes on April. April smiles at Frank and then goes into the studio with Jeff. Frank continues looking at April. When Jeff closes the door behind him, Frank comes to himself.) FRANK Oh, what happened to me? (Frank looks at the closed door and remembers what happened.) FRANK What a beautiful girl! I've never seen such a beautiful girl before. Who is she? I can't imagine she is a real woman. Am I dreaming? Yes, it's a dream. Wake up. (Frank stretches, powerfully.) FRANK I feel better. (beat) Wait. What happened? My telepathy didn't work. (Frank thinks for a while.) Oh, another mystery in this city. We can never expect such a beautiful girl to live on this earth. It's an illusion. It's why I couldn't feel what she had in her mind. I've gotta wake up. (Frank exits downstage left. Within the studio, April and Jeff talk with each other under their breath.) JEFF You're late! Why didn't you leave the apartment earlier? APRIL What? I can't believe this. Last night I told you to leave my apartment but you stayed there till midnight! JEFF Because you asked me to stay longer. APRIL No, before that. When you came to my apartment, I said you shouldn't come there anymore, remember? What did you say? (loudly) You said you loved me. You want to stay with me. Do you remember, Jeff? JEFF Shhh! Quiet, April. APRIL No, I'm not finished. Jeff, it's you who visited my apartment and said you want to stay with me. Not me! JEFF Okay. Let's talk about it later. APRIL Not later. Now! Did you forget what you said to me? JEFF Please, April. I love you. APRIL You said that you're leaving your wife and sons. JEFF I did. I did. APRIL Do you love me? You want to go out with me, visit me and sleep with me, but you also want to keep your family, don't you? (Jeff sweetly reaches his hand to April but she slaps it away.) JEFF Please don't be so tough, April. I love you. APRIL Don't touch me. You're cheating me. (Jeff again tries to give her his hand. Luisa comes in stage right and Jeff steps back and pretends that nothing happened between them.) JEFF (with composure) So, April, we want you to make up for the shortage of news with your performance, like this. (Jeff shows April a stilted gesture. Luisa sees April.) LUISA Good morning, April. Are you ready? JEFF Yes, she is ready. Let's start the meeting. LUISA Yes. Wait. Where did I put my stuff? (Luisa looks around and exits stage right. April loses her smile and nags at Jeff.) APRIL I mean it, okay? Leave your family! JEFF Let's talk about it later. APRIL I don't care who hears us. I'll tell everybody. JEFF Please, I'm going to have a nervous breakdown. APRIL Good! (Luisa comes in stage right, reading the document. Jeff and April smile at each other.) LUISA Hmm, long list. But we don't have exciting news at all. (Luisa hands Jeff and April the print. They take their seats and read the documents in silence.) JEFF Is this all we have for today? (Nobody answers as they check the file of documents with grim faces.) JEFF Local news... not exciting. Domestic news... Oh, my! What are the people doing? Are they still alive? They'd get up steam to make news. Hmm, no international news... (Jeff closes the file.) JEFF It's not enough. We can't find any news for today's program. LUISA How about this? We have the result of a public survey. JEFF Do you think it'll appeal to the viewers? LUISA No.... But wait. How about this? (like a TV reporter) According to the recent study, the percentage of men who have nervous breakdowns is found significantly higher among those who have girlfriends and wives than the other group of men. (Jeff is scared while April grins.) JEFF (disgusted, to Luisa) Is it interesting to you? APRIL Yes, very interesting. LUISA Not so much... But listen! If we have a sex scandal or celebrity gossip, it'll look good. APRIL Good idea! So, where is the sex scandal? JEFF Think harder. The clock's ticking. LUISA Oh, somebody sent the airline a threatening letter! JEFF Again? How did they respond at the police department? LUISA They don't take it seriously. JEFF Then it's not news. (They flip the pages in silence.) ACT 1 SCENE 3 (Morning. The news show has just finished. April nervously waits in her seat. Luisa stands beside the table. Jeff paces the floor in the studio. Frank, in uniform, is stationed downstage left.) LUISA You did a good job, April. Don't worry. APRIL Thank you. (April looks at Jeff. Jeff looks irritated.) LUISA Today, we have only a few prominent news items. We can report incidents but can't make up stories. We're just unlucky. JEFF It's not a cop-out. APRIL But we did our best. JEFF It doesn't excuse the low rating at all. LUISA (prays) Oh, Jesus Christ! Please give us a high rating. JEFF It's no use. We need more shocking news! APRIL Don't yell. It's good for everybody if nothing bad happens. (Victor dashes into stage right with a paper.) VICTOR Here you go. (Victor hands the sheets of paper to everyone in the studio. They open the pages and read the report.) LUISA Oh, my. Is this the right one? (Luisa checks the title page. Jeff says nothing with a grim face.) VICTOR Yeah, it's incredible. But the ratings stuck to the low level these last couple of months. LUISA But it's too much. VICTOR Just a temporary result. But I don't think the research company's made a mistake. APRIL It means we live in peace, doesn't it? LUISA We've gotta do something about this. APRIL Let's look for stories that will make us feel warm and fuzzy. JEFF Look for more shocking news. LUISA But how? JEFF Don't ask me. Check any source for more shocking stories. Gossip, scandal, accidents, homicide, conspiracy, swindle, whatever works if anybody is unhappy and it makes the audience happy. APRIL Crazy. (Others don't say any more. Victor silently takes off stage right. Downstage left, Frank feels somebody is coming.) FRANK Somebody's coming. She sounds familiar to me. I've seen her before. (Frank closes his eyes and listens.) FRANK (V.O.) She is Vivian Schulz, freelance journalist. Hmm, a nice person. Very enthusiastic about her job. But it's why she's isolated. She doesn't have many friends. She hates to depend on anybody else. She doesn't trust them and they don't accept her. She feels lonely in this big city. Ooh, another mysterious type. But wait. I've seen her somewhere. I can't remember where. (Irritated, Frank opens his eyes. VIVIAN SCHULZ comes in downstage left and sees Frank.) VIVIAN Hello. FRANK Your ID, please. VIVIAN Yes. (She shows her ID and looks at Frank.) FRANK Sorry. It's just routine. We're ordered to take precaution. (Frank stares at Vivian while speaking. Vivian also seems to remember him.) VIVIAN Excuse me. If I take you for anybody else, I'm sorry. But I think that I've seen you before. FRANK Yeah. I think so too. VIVIAN Your accent! You're from New Lombok, right? FRANK Yes. Have you been there? Oh, I've got it. You visited us for coverage! VIVIAN Yes, six years ago. So, I've met you there. Did I have an interview with you? FRANK No. I was just a kid. But I remember you 'cause they said you're a famous person. VIVIAN I'm not famous. But that documentary got a high reputation throughout the country. Very interesting. The mayor's brave. He made the right decision. Don't you think so? FRANK (shrugs) He's square. VIVIAN Yes, probably. But he's right. The TV gives us tremendous influences but scarcely good ones. FRANK But he keeps us behind the times. We have a hard time after we leave that town 'cause we don't know beans about anything. VIVIAN You have special educational courses and trainings. Your academic record is higher than other parts in our country. FRANK Only special kids get high scores. For average students like me, it's better to take ordinary courses and live with TV 'cause TV has a big influence on the youth everywhere. I often have trouble talking to my friends in this city. VIVIAN It's the most dreadful effect of TV shows. It makes everybody similar. Your mayor prohibited TV to give the youth chances to try and think for themselves. FRANK I don't know. I think he just believed the TV news. The TV said TV shows might slow down the IQ growth of teenagers and he saw this and said, OK, let's ban TV and we'll have smart kids 'cause TV said so. Simple-minded. VIVIAN (laughing) Maybe. FRANK He only expects great men from our town, say, politicians, scientists or artists. He doesn't care about ordinary kids like me. VIVIAN (smiles) But you look quite healthy, don't you think? FRANK (smiling) Yeah, undoubtedly. VIVIAN Anyway, nice to meet you. I'd like to talk to you later, okay? FRANK Sure. Good day. (Vivian opens the door and enters the studio. In the studio, they have a serious meeting.) VIVIAN Hi, guys. (Everybody in the room looks up at Vivian. Jeff soon looks the other way but April gleefully stands up to greet her.) APRIL Hi, Vivian. How are you? VIVIAN Okay. How about you? You're very popular. Congratulations. APRIL Thank you. (They hug each other.) APRIL So, how is everything going? Are you still pursuing social issues? VIVIAN Yes, it's my calling. I brought a very interesting report with me today. (Vivian looks at Jeff.) JEFF We're busy. VIVIAN We have an appointment. Don't you remember? JEFF No. We're in an important meeting. Wait outside. Or you can leave. I'm not interested in your report at all. APRIL Don't be rude, Jeff. Vivian, come on. We're thirsty for good news. Did you bring anything exciting? VIVIAN Of course. We have very interesting research on the water reservation. Our water supply is polluted. JEFF Typical. You're anti-social. You refuse adaptation and harp on your evangelist-like jargon. You never listen to others. APRIL Jeff, you're not listening to her at all. VIVIAN It's important news the mass media ought to report. Everybody needs to know this fact. JEFF You don't understand this business. We're in the entertainment business. VIVIAN Yes. And we ought to report the truth. APRIL Oh, cool. I like your policy. JEFF I said entertainment! Don't be so serious. VIVIAN But it's how the journalists are supposed to-- JEFF We're working based on the TV ratings. They judge us with these statistics. VIVIAN Yes. And we also lead people in the right direction. JEFF Give me a break. Vivian, if you want job, you've gotta keep the ratings in mind. You'll follow the rules. VIVIAN But the TV rating is criticized by-- JEFF I mean the rules of entertainment. VIVIAN Rules of entertainment? JEFF Stories must have happy endings. Is it a happy ending? (Vivian shakes her head in silence.) JEFF We offer common issues the people can talk about. Without happy endings, they can't speak about the news in their conversations. APRIL Wait! If this is true, why are we looking for sad news all the time? JEFF Second, the story has some unhappy characters. People are looking for the story of unhappy victims. VIVIAN Of course. All of us will be unhappy. Some contaminants are-- JEFF Not all. Some of us. Others enjoy watching unhappy people. They laugh at them. It's entertainment. APRIL No, it's not. JEFF Yes, it is. We're cruel, ugly animals. We cannot feel satisfied without any loser or dropout around us. The entertainer's gotta show them unlucky people to mock them. At the same time, the viewers want to feel they're safe. Different from losers and unlucky victims 'cause they're smart and honest. We've gotta meet these requests. Otherwise, they won't be interested in our story. Your coverage will scare the viewers and force them to turn off the TV. APRIL (murmurs to Jeff) You're screwed up. We're responsible for making people happy. JEFF We broadcast the news people are looking for. We broadcast exciting news. Do you have any? VIVIAN (beat) How about this? Academy Award actor Tom Ford is blackmailed. He's said to have a group of rivals who hate him. JEFF Hmm, is it a sex scandal? VIVIAN Maybe. He often goes out with a blond. APRIL Oh, he is a married man? Did he have a nervous breakdown too? VIVIAN Yes. His wife got mad and he had a nervous breakdown. APRIL (keeps her eyes on Jeff with smile) I see. He is unhappy to make everybody happy! (Jeff holds his head.) VIVIAN You can find this news in the file. But the police don't take it seriously. JEFF (suddenly shouts) Get out! (Everyone looks at Jeff in surprise.) JEFF Get out, everybody. I'll shoot you all. (Jeff gestures as if to shoot them with guns. Vivian and April are scared and run off upstage right. Luisa appeases Jeff.) LUISA Jeff, calm down, calm down. What's happened to you? JEFF I want to kill someone. Disgusting, disgusting. LUISA Don't be so serious. You're tired. It's okay. It's okay. JEFF They're animals. The viewers, the TV rating company. They push me around and watch me and laugh. They're worse than animals. Animals don't laugh. LUISA Take it easy, Jeff. Get a hold of yourself. JEFF They pressure the company and I ought to be preoccupied with the ratings. They're the mob. I'd like to kill them and defend myself. The president. Oh! Yes, Mark Parkinson. The president of this station. He is responsible for everything. LUISA I know, I know. But think more carefully. JEFF He's disgusting! (imitating the President) Boost the ratings. Why are they going down? If you hide the truth, they won't miss our show. (shouting with his own voice) He doesn't understand at all! (Jeff cries. Luisa puts her hand on his shoulder and appeases him.) LUISA You're right. He's disgusting. So, calm down. JEFF (crying) We're living in a peaceful world. What kind of shocking news can we find? LUISA Nothing. JEFF After the Soviet Union crashed, we don't have a virtual enemy that might threaten our security. He hates it. LUISA You're right. Completely right. JEFF The world's getting better and we can't scare the people. LUISA They know an accident has nothing to do with them and show less sympathy for the victims. JEFF If we broadcast shocking news, they want more. We're not looking for tragedies. They are. LUISA How can we satisfy them? They want to see the bloodshed on the screen, lying on the couch, and say in tears... JEFF (dramatically) Oh, it's terrible. How many people died? Why are the people so stupid? I can manage it much better but no chance. (returns to his crying voice) They are looking for victims because they want to feel better after saying this. (Victor enters upstage right.) VICTOR Excuse me. (Jeff doesn't care.) JEFF Why should we satisfy them with awful news? We're drowning in the horrible news here and spilling it over to the viewers' houses. We're polluting the country with uncomfortable information. LUISA You're not wrong. He's wrong. So, be yourself. JEFF Mark is disgusting. LUISA Yes, he is. But don't say it. JEFF Mark likes me 'cause I keep the ratings much higher than the other directors. LUISA You're a good director, Jeff. JEFF Yes, I am. LUISA Okay, Jeff. If it'll make you feel better, try this: Mark, the ratings are not all we care about. We're showing the news we believe to be good for our society, despite the low rating. (Victor interrupts him.) VICTOR Mark is coming. We got a call from his secretary. LUISA Now? (Jeff stands up and looks Luisa in the face. The president MARK PARKINSON comes in downstage right.) MARK Hello, guys. How are you? LUISA (with a big smile) Very good. The ratings are all we care about. (Jeff greets Mark.) MARK Hello, Jeff. How is everything going? JEFF Everything's okay. We're doing our best to boost the ratings. MARK Very glad to hear it. The TV ratings are going up, do you mean? JEFF Yes... I mean, we have a plan to boost them. LUISA Yes. We're working to broadcast the news we believe to be good for high ratings. MARK Ho, ho, ho. What a delight! So, tell me, what's your plan? JEFF How about this? Popular actor Tom Ford receives blackmail calls more than a hundred times a day. MARK Actor receives blackmail calls? Jeff, we're not-- JEFF But the police take it seriously. MARK Why? JEFF Because this blackmail has some similarity to other cases like the airliners and governmental offices. MARK Oh! LUISA Yes. The police take it VERY seriously. JEFF I heard that the police suspect the connection between this case and recent terrorist attacks. MARK That's big news. So why are you so calm? JEFF We were about to start research when you came in. MARK Oops. Sorry. I'm leaving. Does any other station have this news? JEFF No. Absolutely not. Only our station. MARK Okay, good luck. I believe you'll make it. JEFF Of course we will. MARK Good. This news may save innocent people if released. It's how we are supposed to be in this business. For society. For the people. For freedom. I expect you to get a break. (Mark pats Jeff on his shoulder and goes out through the door and exits downstage left.) END OF ACT 1 ACT 2 SCENE 1 (Daytime. In the studio, Jeff, April and Luisa have an important meeting. Frank and Guardman are stationed downstage left. Frank yawns and Guardman approaches him.) GUARDMAN Sleepy? FRANK Yeah. It's too quiet. GUARDMAN It's a beautiful holiday! But we have to stick around here and watch for only a few tourists we aren't sure are even coming or not. So, how is your class going? FRANK I have to come clean. I don't like the school. GUARDMAN Oh, bad boy. FRANK My classmates tease me. I can't join in their conversations. GUARDMAN Maybe they're ruining their minds talking about their favorite TV shows, huh? FRANK Right. They look in the groove when they discuss TV shows. I'm totally screwed up. I've seen many TV shows since I came here. Are they exciting? Maybe. But I can't share their enthusiasm. GUARDMAN That's not good, Frank. You should join them when they discuss something. They want to feel that all of them-- FRANK I know. But I can't understand them. GUARDMAN C'mon! You're working here. Make up a story to amuse them. Say you see April Greenberg every night. You talk to her often. Say, last night, she gave me a cookie, or something. FRANK But that's not true. I know nothing about this place except for empty rooms and hallways! GUARDMAN It doesn't matter. You don't need to tell them the truth. They're looking for stories to entertain them. They want to stay together, talk together and laugh together. They need something to talk about to kill time with somebody else. (They hear footsteps and Frank and Guardman shut their mouths.) TOURIST 1 (V.O.) Look at that huge antenna. They use it to broadcast the show. TOURIST 2 (V.O.) Cool. TOURIST 1 (V.O.) You know, Cambie TV News is sent through that antenna everywhere in our country. TOURIST 2 (V.O.) Really? April Greenberg speaks to us through this antenna? TOURIST 1 (V.O.) That's right. She's your favorite reporter, isn't she? TOURIST 2 (V.O.) Yes. I think she's the most beautiful girl in the world. TOURIST 1 (V.O.) (laughing) Ohh, you can check it out for yourself. We may run into her in this building. TOURIST 2 (V.O.) Oh, cool! I will hang around here until she comes up. TOURIST 1 (V.O.) No, the guardman will kick you out. TOURIST 2 (V.O.) I'll fight with them and talk to April Greenberg. (Frank and Guardman smile in silence. The footsteps go away and it becomes quiet again.) GUARDMAN See? They talked about TV so nicely. FRANK Yeah, I can't understand them. Where are they from? GUARDMAN They believe the TV shows are absolutely right and can't imagine anything else. They are happy when they feel close to the TV characters. FRANK Oh, I've heard of that! (like reading a textbook) Because the TV network attempts to show accurate information, the audience tends to excessively trust any information sent through the TV network and believe it to be their own opinion. The TV gives people reasonable information and liberates them from any prejudice and authority, but takes away the chances to achieve their own goals after trial and error. GUARDMAN (wryly smiles) Anyway, we absolutely believe in TV, professor. Like that boy, we confuse TV characters with real women and wish to become close to them. Or even try to become such characters. FRANK Oh, I get it! People get confused about a hero on the screen and jump out the window after they see them do it on the TV show! (Guardman shrugs and turns away.) GUARDMAN Something like that. (beat) You'd better laugh when your friends do. Otherwise, they will think you are anti-social. FRANK Hmm, what a mess! (Guardman points at the door.) GUARDMAN Look at them. They're looking for some kinky news behind the door. They're responsible for truth and entertainment. It's the center of this country. (Guardman pats Frank on his shoulder. In the studio, April holds her head.) APRIL I can't believe this. How could you do that? It's not true. JEFF Doesn't matter. APRIL Yes, it does. I feel ashamed of this coverage. JEFF You just read it. You don't need to worry about anything. LUISA We wrote the draft and passed it on to you. APRIL The people won't take it that way. They saw me reporting this news on the screen. You let me tell a lie in public. LUISA Don't be so serious. You did a good job. You looked fresh and sharp. APRIL I looked worse! JEFF We're working as a team. That's your part of the responsibility. That's it. LUISA You know, April Greenberg on the screen is not you. Just your image we have created for our program. APRIL I can't believe you said that. Incredible. (beat) I blew my lines 'cause I was surprised at this draft. Vivian said that this blackmail had nothing to do with the crime the police would worry about. Nothing to do with terrorism. How could you-- JEFF Okay, Okay. Quit it. Vivian is not a member of our team. LUISA Right. She never worries about the show ratings. APRIL I want to report the truth. Feel-good stories to make people happy. It's what I want to do. JEFF I'm with you. I'm with you. But we're employed by this company. We ought to follow the rules here. APRIL I know. But I also have my dreams and desires. JEFF It's okay to have your dreams. Nobody will blame you. But follow the rules. It's how society functions. Otherwise, you can't survive here. (April sharply glares at Jeff.) APRIL Are you threatening me? JEFF If you take it that way. APRIL Okay, if you mean it, I have to make up my mind. I'll-- JEFF Hold on. It's just a job, April. (Victor rushes into downstage right.) VICTOR Big news. He was shot. LUISA What's happened? VICTOR Send the reporters out. We can't rely on the police release. We've gotta collect the information. LUISA Calm down. Who was shot? VICTOR George Richard. ALL George Richard! VICTOR Yes. He was shot in front of his apartment. APRIL Oh, no! JEFF Is he dead? LUISA Who shot him? APRIL Why was he shot? Love triangle? VICTOR We don't know. We only know that he was shot. Here, the release from the police. (Victor hands the paper to all of them. They carefully read it.) VICTOR Send the reporters to the street. Check the response of the people. Write the draft. Don't stay here. Get busy. JEFF Okay, April, go downtown to report the response of the people. (to Luisa) You should go to the hospital. Which one? (Jeff checks the paper but others are about to take off.) JEFF Hold on. It's in New York. Let's write the draft first. (The people stop there and look at Jeff. Only Victor exits stage right.) JEFF It's hot news. LUISA Absolutely. JEFF We ought to report it for the people, for the society, for the freedom. LUISA That's right. Nobody'll blame us if we report this. JEFF Nobody! LUISA Why didn't we get this just a half-day earlier? We didn't need to worry about the ratings, hunt for shocking news or report the blackmail of Tom Ford at all. APRIL Nothing can justify our exaggeration. JEFF Anyway. It's good to have good news. LUISA It's our duty to show the news people are waiting for. JEFF Absolutely. (They laugh loudly. Victor dashes into downstage right again, with the faxed letters.) VICTOR Jeff, April, look at this. We got several faxes from our viewers. JEFF From our viewers? VICTOR Yes. They support us. Overwhelmingly! LUISA Oh, they support our coverage. JEFF Incredible. They write to us before we bring them the news. It's the first time for me. Oh, this is the best day in my life. APRIL It's a tragedy. JEFF Of course. Such a gloom. But we're happy to work for an enthusiastic audience. VICTOR No, not this news. That news. LUISA That news? VICTOR Yes, what April reported this morning. APRIL Which one? VICTOR The blackmail of Tom Ford. ALL Tom Ford! APRIL Oh, no! It's not me! JEFF Easy, easy, April. Nobody's going to kill you. Are they upset with us? VICTOR They appreciate our courage. They accuse the police of negligence. LUISA Negligence of police! VICTOR Yes! They didn't take precaution against the attack of celebrities. Many crazy people are hanging around but the police didn't protect our heroes from them. That's what the people are upset about. JEFF (beat) That's right. It's exactly what we've warned them about. LUISA At last, the people have woken up. JEFF We can't believe the police can be so insensitive to the security of celebrities. They don't care until someone is killed. LUISA Oh, poor George Richard. He was killed by a psycho and police negligence. APRIL We don't know if he is dead or not. JEFF If the police had taken precaution, he wouldn't have been shot. We must emphasize this fact on our show. LUISA Okay, I'll call up the police and check their response. JEFF Call up right now. VICTOR No, we can't. LUISA Why not? VICTOR All lines are busy because so many people are calling us. JEFF Oh, are they supporting us? VICTOR Yes, all of them. JEFF Great! This is the best moment in my life. VICTOR And most of them speak highly of April. APRIL Me? (Puzzled, Jeff and Luisa look at April.) VICTOR Yes, they believe that she's decided to release this news. Otherwise, the TV station would broadcast the same news as the other stations. JEFF (beat) Oh, yeah... That's right. She was brave. She insisted in tears that we should report this blackmail. Didn't you, April? APRIL (embarrassed) Yeeeees. JEFF (laughs) You're the heroine of our station. LUISA Of our country. JEFF In the world. A new national heroine. You're responsible for reporting the truth. Is that okay? APRIL (with a big smile) How can I say no? (Jeff smiles and turns to the staff.) JEFF Okay. We're responsible for telling the truth, helping our heroine April Greenberg. Are you guys ready? LUISA & VICTOR Ready. JEFF Let's get started. (Victor runs out stage right. Luisa and April sit down and write the draft. Jeff gladly paces the floor.) ACT 2 SCENE 2 (Night. The studio is dark but April, Jeff and Luisa hide there. Frank stands downstage left. He looks around restlessly but nothing happens. Frank paces the floor.) FRANK I can't believe the people in this city. As told in my town, they are rich and well educated but lazy and selfish, and only care about themselves. There're so many dangerous people. Why do they have to wear such shabby clothes? They don't have any money? (Frank hears something moving and turns back with a start. He doesn't see anybody. He feels relieved.) FRANK Give me a break. This is creepy. What a night! (Frank looks around again and then returns to normal.) FRANK Yeah, the people are odd here. They're so easy-going. I can't imagine what they feel in their minds. What are they doing? What are they gonna do? Totally inscrutable. They buy everything with money and kill time with money. They are proud of such a lifestyle and lose something most valuable. (frightened) What should I do if they attack me? They'd even commit a murder if they could get some fun out of it. Oh, telepathy! But I'm losing it. Let's check it. Let's check it. (Frank closes his eyes and listens. Suddenly, he hears mechanical noise sounds.) CROWD (V.O) Q@#$M>&^%$#@!XXCVBGF%^&#@M<$FGFA^%!@! (Frank and Guardman push back the crowd. In the studio, Jeff, April and Luisa are scared and listen to the fuss outside.) GUARDMAN Step back. Keep out. You can't come in. Frank, are you all right? FRANK Yes, I hope I am. But who are they? GUARDMAN Fans of April Greenberg! No, don't push me. Step back! FRANK She's a superstar! GUARDMAN Right! TV created the star! No, asshole! Get off! (In the studio, they worry about the commotion outside.) JEFF Oh, what's going on outside? LUISA I don't know. I'm sure they're all right. JEFF No, I mean how long should we stay here? LUISA I don't know. Did you see that big crowd? We've gotta stay here for a while. JEFF Awesome! What made such a fuss? Why do they come in flocks? LUISA Hopefully, they won't get in here. Trust our guardmen. They'll hold back the crowd. APRIL But we can't hide here forever. Jeff, you go out and check. JEFF Me? No. They're cranky. Stay here and they'll leave soon. Let the guardman take care of them. (Outside, the screams subside and Frank and Guardman stop the struggle. But in the studio, they don't know what's going on. The telephone rings on the table. Scared, they watch the phone continue to ring. Luisa slowly picks up the phone.) LUISA Hello? Hello? Who's it? Oh, no. (Luisa looks at the phone in her hand and hangs up. She shakes her head to Jeff and April.) JEFF Again! APRIL It's too much! Who the hell is it? How come he calls so often? LUISA Maybe, he's just a lonely, smart guy teasing us just to kill time. JEFF It's because you're so popular, April. APRIL I hate fucking prank calls. I want to kill that guy. JEFF Speak more elegantly! You're a superstar. APRIL I don't want to be a star any more. JEFF Calm down. Speak more intelligently. APRIL I'll tell them the truth and things will go back to normal. JEFF (scared) Don't panic. It's required for any celebrity. Take it if you want to be a winner. APRIL A winner? Do you say I'll be a winner? No way. Only you. JEFF C'mon! You've agreed with us. APRIL You made up the story and got high ratings. You let me read it and it made the audience happy. Why? To tell the truth? To make society better? JEFF Shhh, April. They are outside. APRIL No, to make the president happy and give you a chance for promotion. Why should I be unhappy for you? What did you pay for this? Are you sure it is a happy ending? Tell me. Tell me. JEFF Okay, okay. Go ahead. But don't forget, you're one of us. APRIL You've pulled me into the gang. JEFF If you quit, do you think you'll have any chance in this business? We're professionals. We're working as a team and you're gonna ruin our project because of your impatience? APRIL (yells out in tears) I'm not impatient. JEFF Go ahead and look for another job. What kind of position are you looking for? You're destroying our teamwork and your career as well. Do it. Do it. APRIL (sobbing) It's not what I want to do. (Jeff appeases April.) JEFF We'll go the route. We're all in this together. (Outside, president Mark comes up downstage left and meets Guardman and Frank.) MARK Hello. How is everything going? GUARDMAN Hello. Not bad. We've just pushed back the crowd; they're flocking to see April Greenberg. (Frank carefully listens to Mark in his mind.) MARK Good job. It means she's popular, right? GUARDMAN Yes, she is. MARK Good! (Mark reaches to the doorknob and looks back. The Youngster passes by in front of him.) MARK There are plenty of unfamiliar people in this city. Be careful. (Mark grabs the knob again to open the door. At the studio, they panic. But Frank closely follows Mark as he turns back to look at Frank with suspicion.) MARK Do you have anything to say to me? FRANK Nope. But I think you'll want to talk with me soon. MARK Excuse me? FRANK Nothing. I'll talk to you later. (Frank leaves Mark alone. Mark raises his head and opens the door. In the studio, they are frightened and hiding.) MARK Hello, folks. How are you? (They come out in surprise and keep their eyes on Mark.) JEFF Very good. MARK Good. Hi, April. How are you? APRIL (sobbing) Fine. MARK What's wrong with you? You're the heroine of our station. Tired? JEFF She made a big contribution to our program. Maybe, she is a little nervous. Right, April? APRIL I'm a little tired. MARK Oh, you should be careful. The people are waiting for your report. APRIL Thank you. MARK Jeff, are you sure we've taken precaution for her security? I hope you're ready for it. JEFF Certainly. We'll do our best. MARK Good. So, what did you do for her? JEFF Uh, we're gonna disconnect the telephone line... LUISA We have a very good guardman. He can tell what's going to happen with his telepathy. MARK I beg your pardon? Did you say telepathy? LUISA Yes. It is exactly how he is. MARK Uh, we must be reasonable because we have a big responsibility to society. There's no supernatural power like telepathy in this world. Study science and you'll understand what I mean. LUISA Yes. But he is not supernatural. He had training. MARK I can't believe it. Ah, if you're right, why do they say nothing about him on TV? LUISA Probably, the TV companies don't have good directors. JEFF Anyway, you can meet him and check it out yourself. I've heard about it but haven't checked it out because this stuff has kept us so busy. MARK Okay, when is he available? LUISA Just a second. Luisa opens the door and sees Frank. He is already standing in front of the door. LUISA Oh! Hi, Frank. We've gotta talk to you. FRANK Yes, I know. (Frank comes in before Luisa and greets Mark. Mark is surprised.) MARK Oh, you! FRANK (with a smile) Nice to meet you again. MARK Oh, you mean... (beat) Is it real? You can predict the future? FRANK (laughs) No. I can just listen to the voice in your mind, sometimes. Only when I'm in condition. MARK But you told me that I'd want to talk to you soon when we met just a moment ago. FRANK It just came up in my mind. I don't know why it happened. Sometimes it happens, sometimes it doesn't. On top of that, I've been losing my telepathy since I moved to this city. I can't predict when it will return to me at all. (Mark laughs, relieved. Frank also laughs.) MARK So, is it possible for us to ask you a favor? FRANK What about? MARK Uh... Are you sure you don't already know what it is? FRANK (laughs) I said that I'm losing my telepathy. I can't even imagine what is in your mind. (Both men laugh again.) MARK Of course, we'll pay you for this. FRANK If you like. (Frank laughs but others are surprised.) LUISA Let's talk about it later. We'd make headway. MARK Okay, you know that we have a big problem in our station, don't you? FRANK Yes. Frantic people are coming in flocks. It's amazing. LUISA Do you know why? (Frank shrugs.) LUISA Because she's become famous. (Luisa points at April. Frank looks at her and gets nervous.) LUISA Many fans come to us because they want to see her. So, we need to be sure of her safety. MARK So can we ask you to protect her? FRANK (astonished) Me? (Frank looks at April. April smiles at him. Frank cannot say any more and unconsciously approaches her. Jeff gives Frank an angry glimpse.) MARK Many unknown people come here to see her. We can't keep them away. At the same time, we'd also like to make sure of her safety. LUISA There are psychos everywhere in our society. Some of them might get mixed in with ordinary people in the crowd and approach her. (Frank doesn't hear them, just looks at April. She bashfully turns away. Jeff gets offended by Frank. April notices Jeff and looks the other way in triumph.) MARK So, we would like to ask you. Please stay with her and eliminate any risk with your telepathy. LUISA You're the only person we can count on. Could you ... Are you listening to me? (Frank still remains silent, with his eyes on April.) LUISA Frank! FRANK Ah, yes! LUISA Would you mind if we asked you this favor? FRANK Ask? What shall I do for you? LUISA We're asking you to stay with April and protect her. FRANK With her! MARK Do you have any problem with this? FRANK No! Not at all! (murmurs) Is it episode two of my dream? (Frank stretches powerfully. The people are surprised. Frank stops the exercise and smiles at them.) FRANK I feel better. So, may I help you? MARK Yes. Could you stay with April Greenberg and guarantee her safety? FRANK Yes, of course. MARK Done! (Mark smiles and looks at everybody there. Everyone smiles, except Jeff.) MARK April, you don't need to worry about your safety any more. We have a super bodyguard. Do you feel better? APRIL Yes, thank you, Mr. Parkinson. MARK You're welcome. (to Frank) So, my friend, you have to keep close to her while she is in the station. Even while the show is on air, you should stay somewhere in the studio and watch her, okay? FRANK Yes, okay! MARK (to Jeff) Is that all right, Jeff? JEFF (reluctantly) Of course. No problem. MARK So, we got it. We'll attract a bigger audience for our show. I expect you to do a good job, okay? ALL Sure! Why not! MARK How about you, Jeff? JEFF Of course. I COMPLETELY agree with you. I VERY much appreciate your leadership. I love this company. MARK Good. So, I'm going. Good luck with your job. See you. ALL See you. (Mark heads for the door and stops.) MARK Jeff? JEFF Yes. MARK Just one thing. Be careful of a scandal. JEFF Scandal! MARK April is a star who gave us a big success. Sexual harassment or even this kind of rumor may spoil the popularity of our program. I hope you know that. JEFF (strained) Of course! We shall use caution not to allow any scandals to occur. MARK Good. Have a good day. (Mark exits downstage left. Luisa approaches Frank and pats him on his shoulder.) LUISA Welcome to our team, Frank. (April approaches Frank too.) APRIL Frank, I need your help. (April holds his hands and comes closer, staring at Frank.) APRIL Please, Frank, help me. (Frank is dumbfounded. Jeff clears his throat beside them but April comes rather closer to Frank.) APRIL Stay with me. Forever. Don't leave me alone. (Frank holds back. Jeff paces the floor in frustration and Luisa looks at Jeff and April in turn.) ACT 2 SCENE 3 (Daytime. April, Jeff and Luisa have a meeting in the studio. Frank stays in the corner of the studio and looks happy. Irritated, Guardman stands downstage left. Suddenly, he gets scared.) GUARDMAN Phew! A black cat's passing. How ominous. (beat) When are they coming back? I don't know. It's the most annoying aspect of fashion or trends. So catchy! Who could have predicted such an April Fever only one week before? It's come on the spur of the moment and we have no idea when it will end. Yesterday, tons of her fans swarmed here and yelled out till midnight: Let me in! I've gotta talk with April. Hey, guardman, don't monopolize her! Watch out. Or I'll kill you. (returns to his voice) It was crazy! What will happen today? (Guardman gets scared and turned back. Soon, he is relieved.) GUARDMAN Just homeless. I hope he is not one of them. (beat) Oh, Frank! I miss you. Come back here! (Guardman looks at the door.) GUARDMAN The arrogant managers! I wish they'd return him to our department. I'm afraid he's too smart to work with them in there. He'll be happier with us. (In the studio, they have their meeting, reading the paper.) LUISA We don't need to worry about the material for today's program. There is enough news! The only problem is our coverage. It's up to you, Jeff. (Luisa looks at Jeff. Jeff takes a look at the paper.) JEFF Huh, we've got the stuff to fill the main part. So, is there any good news for the rest of the time? We should connect all coverage to this tragedy during the show. LUISA Oh! A gorilla gave birth to a baby at the zoo. JEFF Come on! George is still in critical condition. After such sad news, can you read gorilla baby news? Think harder. (April waves to Frank. Frank notices it and bashfully waves back.) JEFF Wait. The George's murderer came from a rich family, right? That's something. What made him kill the famous actor? He doesn't seem to have a money problem. Is he mentally ill? LUISA The doctors gave him a test. He probably is. He confessed that he looked for the media coverage, by killing a celebrity. Totally psycho. (April asks Frank to give her a ride by gesture. Frank asks "Me?" by gesture too. They communicate in silence. Jeff notices them and is offended.) JEFF If we get the test results, we'll report it at the top of our show. What do you think about it, April? (April stops gesturing in surprise.) APRIL Yes, good idea, Jeff. JEFF Which one? What're you talking about? APRIL Uh, the coverage of Cambie TV News, of course. The murder of George Richard. Did the murderer confess the reason for his attempt? JEFF You should be listening to our discussion. APRIL Yes. Oh, how about this? The oil market is tight. (Jeff gives her a scornful look.) LUISA Oh! We have a report from a nutrition research institution. Our character may be affected by our dietary habits. (April again gestures to Frank.) JEFF That's already been done. LUISA But it's the latest report. It can be also connected to the George case. The people who eat more meat are more likely to burst into an outrage. It may explain why the murderer jumped to the gun so abruptly. JEFF I don't think food can explain anything. (Jeff sees April and Frank communicate in silence.) LUISA Jeff, I know your taste in beefsteak, but we're talking about our show. Your private issue is the... JEFF (outraged) April! What the hell are you doing? APRIL What? JEFF We're talking about our show. That's inappropriate. APRIL I'm just saying "Hi" to Frank. He is supposed to protect me-- JEFF Frank, could you stay outside for a while? APRIL Jeff, you can't say that to him. He is here for me. Do you remember Mark-- JEFF We're talking about the show. Your private issue is the last thing-- APRIL That's not private! Mark told him to stay with me at all times. FRANK I'll wait outside. (Frank stands up and heads for the righthand.) APRIL Frank, hold on. You stay here. (April chases Frank and catches him.) FRANK But I don't need to stay-- APRIL Please, Frank. You should always stay with me. JEFF April, come back. We need to finish the meeting. (Frank exits downstage right.) APRIL Wait, Frank. I'm going with you. JEFF April, I said come back. We don't have enough time. April! (April also exits stage right. Luisa stares at them in astonishment. Jeff clicks his tongue and looks back at Luisa.) JEFF Leave them alone. Let's continue. LUISA So, what will we do with this eating habits report? JEFF (outraged) Food explains nothing about us! LUISA Okay, if we can't use this news... how about this? Tom Ford at last got a divorce. JEFF That's his private business. Nobody'll care. We'll make Mark angry again. Look for better stuff. (Outside, Mark comes up downstage left and meets Guardman.) MARK How are you? GUARDMAN I'm good. Thank you. MARK Good. (Mark opens the door and strides into the studio. Jeff and Luisa look up at him and greet him.) MARK Hello, how are you? JEFF We're all fine and working toward high ratings, Mark. (Mark looks around the studio.) MARK Where are they? JEFF April's just left for a quick stretch. She'll be right back. LUISA I'll bring them back. (Luisa takes off stage right.) MARK So, Jeff, how about him? That psychic? JEFF Frank is with April. He sticks with her. MARK Hmm... So, she is okay? JEFF Yes. Fortunately, the guy seems to be forgetting about us. We haven't had any prank calls yet today. That's good news. MARK No, that's bad news. The audience is also forgetting about us. How many calls did we receive from our audience today? JEFF Uh, less than yesterday, so far. MARK Awesome! What are you going to do, Jeff? What accidents will you cover on today's show? JEFF Yes, we'll first report the most recent announcement on George Richard's condition and then, the test result of... (Mark motions Jeff to shut up him.) MARK Listen! I have a good idea, Jeff. (very privately) Is he real? JEFF (in astonishment) You mean...? MARK Yes. That psychic. JEFF It's not confirmed but they say he can predict anything. MARK This is what brought me here today. If he really has such power, he has the tremendous potential to contribute to society and our network. Don't you think so? JEFF Yes, of course. MARK For example, have you ever asked him about the ratings before a show? (Jeff looks at Mark in surprise.) MARK If he can tell, we'll use it for editing and cut off any campy news and send more knockout events. JEFF Is it possible? MARK (outraged) I am asking you! JEFF Oh, sorry! Such strategy has never come to my mind. MARK (indignantly) That's why you're still working at the bottom of the company. Be smart, idiot. JEFF Yes, I will check it out. (with admiration) You're smart, Mark. It's a VERY unique idea. MARK I'm the chief executive and you're my staff! JEFF Exactly. (Luisa comes back in stage right with April and Frank. April speaks with Frank in very friendly manner.) MARK Hello, my friends! How are you? APRIL I'm terrific. Thank you. MARK Good. So, Frank, is everything okay for you working in our company? FRANK Yes, very okay. (Frank smiles at April.) MARK (looking for words) I'm pleased to hear it. If you are happy, we are happy. April is also happy. Everyone is happy because we are all one big family. Don't you think so? FRANK Yes, I'm very glad to be here with you. Especially since I'm from the country and not familiar-- (Mark approaches Frank.) MARK Very good, very good. So, I have one question, my friend. Do you mind if I ask? FRANK Not at all. MARK Can you really... uh, figure out what is happening around you or what are supposed to be in the trends in the future, what will happen in the world, and so on? I mean... (Frank listens to Mark in astonishment and finally chuckles.) FRANK No, I can't feel anything like that. I have even no idea of... what did you say? Uh, trends. No idea of trends. I've just come from the countryside. MARK Oh, beautiful! It's why you still keep some natural power we humans all inherited from our ancestors. You're unique. FRANK (with a big smile) Do you really think so? MARK Yes, you're a natural. We've already lost your power in our urban lives. You are here to remind us of something very important we've lost in the industrialized, corrupt society. You're the Saviour. (Frank turns back to April and looks her in the face with a big smile.) MARK So, can I ask you a big favor, Frank? FRANK Yes. MARK At the board of directors meeting, we decided... Oh! You can say that, can't you? FRANK No, I can't. MARK Okay, anyway. We're in trouble. We're running neck and neck but unfortunately behind. Our ratings are soft. We must take action to give them a boost. FRANK I'm sorry but I don't think I can help you in such serious-- MARK No, no, no. It's not serious at all. You just stay with April. That's it. APRIL With me? MARK Yes. We plan to start a new type of show for better achievements. Our current program is not a hit at all. JEFF Another show! You mean you'll cancel our show! MARK (gestures to shut up Jeff) We're always looking for high ratings. We must start something fresh and striking to touch our audience. You know? FRANK But what can I do for you? MARK Yes, now April is very popular and we plan to use this April Fever for a new show. APRIL Me? You mean I'll manage the program? Conceive and do research on my own? MARK Yes, it's what we want you to do. We will rely on your management. Do you mind, April? APRIL Of course, not! Whoa, my dream almost comes true. (Jeff tries to interrupt them but Mark stares at him and keeps him out.) MARK So, do you think that you can make it? APRIL Yes, I will try. No, no, no. I swear I will make it. Thank you, Mark. It's my dream to produce my own show. I will meet all your expectations. MARK You are welcome. So, Frank. Could you help her? She needs somebody reliable who can assist her for this new show. FRANK Yes. But how can I help her? I'm just-- MARK Don't take it so seriously. Relax and chat with April. You can tell her anything that's on your mind. This is good, this is, uh, dynamite, something like that. JEFF You mean that we'd have him participate in the meetings? MARK Why not? It's supposed to be easy for you, Frank. You just forecast the result of our program and tell us before the show is aired. FRANK I--I am not so smart. I'm studying communications at school but I'm just a student. I don't think I can participate in a professional meeting. MARK No, you're very special. You can make it. APRIL Yes, you are, Frank. FRANK Do you really think so? MARK Sure. It'd be very easy if you use your telepathy. Push the button and get it! FRANK No, telepathy is not a supernatural power like that-- MARK Please, my friend! (Mark smiles and Frank also smiles.) FRANK I want to help you. But you misunderstand. MARK Oh, you are so modest. I am afraid you underestimate yourself. FRANK My telepathy doesn't work this way. It's inference. First we look into ourselves and find the core experiences-- MARK You are the Saviour. April needs your help. Can you abandon her in the midst of an ocean where tons of drowning newscasts are vying for one tiny boat? You'd be her boat. APRIL Please, Frank. Be with me. (April approaches Frank. Jeff clears his throat.) FRANK But I cannot predict anything unless it has something to do with me-- MARK Of course, everything has something to do with you here because we are a family. (Mark laughs. Frank laughs and then tries to say something more. But Mark starts speaking before Frank.) MARK So, we're done. You can help April make her own show. (to April) April, you can talk with Jeff about the details of the show. And you can also depend on Frank for higher ratings. APRIL Wonderful. Thank you, Mark. Thank you for your beautiful arrangement. I know I can make it. MARK Good. So, work hard, everybody. I'm going to a restaurant for a big dinner with my old friends. (Mark steps toward the door. Jeff follows him.) MARK I have a thing with beefsteak at that restaurant. JEFF But... Uh, do you know, Mark? They say that meat is not good for our health. MARK Hmm, who cares? Some smart professors are spreading groundless rumours. I cannot miss that steak tonight. JEFF I agree with you. But, listen, Mark. How come you trust her? MARK C'mon, we can eat anything we want when we like to eat. That's the best thing to do for our health. LUISA (from behind) But it's true. We got a report from an official organization. They say that meat makes us angrier. MARK (frightened) Are you sure? LUISA Yes, they say more. High cholesterol blocks our arteries and causes various disease like high blood pressure, heart disorder and memory lapse. Enjoy your dinner, Mark. MARK Oh! I almost forgot. April, you should give us a pitch. What do you want to report in your program? APRIL Yes, I'd like to focus on our daily life. For example, the roads are narrow and traffic is busy during rush hour in that area so it's very likely that an accident may happen. MARK (skeptically) Hmm, interesting. Do you think you can make it? APRIL Yes, of course. I'd like to report more good news and eliminate the bloody ones. We want to report it before an accident happens and prevent people from being wounded. MARK (angrily) It will hardly attract the attention of viewers. JEFF Never! APRIL And how about this? The information on good restaurants. Or report on popular places. It will also make our sponsors happy. MARK (outraged) Do you mean to produce a long commercial tape? LUISA And how about health problems? We can check with the research institutes to find out statistics on our daily life. For example, our characters have something to do with dietary habits and persons who eat more meat are more likely to get offended. (Mark is stunned and tries to calm himself down.) MARK Very interesting. LUISA I hope the top executives of our network are not ignorant of such hot issues. MARK No, they aren't. April, let's talk about the contract next time. Good luck. (Mark opens the door and takes off stage left. Jeff looks at the closed door. Behind him, April and Luisa gleefully talk with each other. Frank keeps a distance from them.) LUISA Congratulations, April! APRIL Thank you. I cannot believe it. I feel like I'm dreaming. LUISA It's not a dream. Mark represents the executives. You can manage your own program. JEFF Time for work. We should be up to today's program. APRIL Oh, I am not the tool for the promotion of my greedy boss. I can collect the information and report for my own program. LUISA Yes, you should work hard. I want to work with you. APRIL Cool. We can work together to keep the ratings high. JEFF Let's talk about it later. Let's face it. The main coverage should be the motivation of murder and ... what else? LUISA Nothing exciting. Other stations will cover similar news. We need to change our point of view. JEFF (outraged) What the hell do you think we'd cover beside George's assassination? APRIL We can cover more daily issues. JEFF We are competing. You should care about the ratings. APRIL Don't worry. I can keep them high. JEFF It's not so easy. APRIL I'll anchor the news I've picked up. How come people change the channel when they see me on the screen? LUISA That's right. (Luisa glimpses at Jeff. During the discussion, Frank goes away from them little by little and grimly reflects on something.) JEFF Anyway, check the AP report for international news coverage! LUISA It's still early, Jeff. APRIL Jeff, you can check it if you don't want to wait. JEFF We're here to discuss today's news. That's an order! (Luisa indignantly stands up and exits stage right. Jeff looks at April. April turns away.) JEFF (under his breath) Why don't you take it seriously? APRIL What? JEFF You know Mark. APRIL Of course. He's the top leader of our network. JEFF Don't trust him too much. He only cares about the ratings without long-term strategy. (Frank pricks up his ears in a fret.) APRIL It's none of your business. JEFF You'd have a hard time if you take his words-- APRIL It's the big chance I was looking for. I can't miss it. JEFF Cool it. Do you really think you can make it? APRIL C'mon! You're jealous. JEFF No. I worry about you. You know how hard it is? APRIL You're doing it. Why can't I? (Frank stands up and heads for the door in silence. April turns to him.) APRIL Frank! Where are you going? FRANK For fresh air. APRIL Please, stay here. (April runs up to Frank.) FRANK But you look serious-- APRIL Don't worry. You've promised to stay with me. (April tries to hold his hand but Frank keeps his distance.) FRANK I really need it. I'll be right back. (Frank opens the door and goes outside. April returns to her seat. Outside, Frank sees the Youngster walking around.) JEFF April, I love you. Please, don't tease me. (Jeff tries to hold her hand. April slaps his hands.) APRIL Don't touch me. You don't love me at all. JEFF Believe me. I'm leaving my wife as you've said. APRIL No! You'll never do anything bad for your career. You're only interested in your job. You're using me for this. JEFF April, I apologize. I didn't want you to read that draft. But I had no choice because I've gotta-- APRIL You are not up to the director so you failed to find better coverage. I'm different from you. I'm up to the new program. I'll tell my viewers the truth and keep the ratings at a high level. I can make it. JEFF Oh, April. You're too optimistic. APRIL Let me try. I want to talk with ordinary people. I want to be an ordinary person, not your doll. Oh, yes! I have Frank to count on. He's gonna help me. I don't need you. (They keep discussing. Outside, Frank looks up at the sky and emotionally speaks.) FRANK Oh, telepathy, telepathy, telepathy! I can't believe it! They are using me. What is miracle? What is prediction? I'm not a TV channel. They're nice only because they're looking for something with my telepathy. How do they feel about me? Dork. Jackass. "Good watchdog, eh?" The dog has the sixth sense? Disgusting. (emotionally) Hey, did you call me "my friend?" Did you call me your friend? What do you mean by that? Friend? What the hell are you? Hey, you just want to use me for your business, right? Money! Everything is money for you! You're sneaky, greedy and a crappy bastard. Don't call me "friend." I stormed them, scolded them and cried out swear words... (returns to normal.) In my mind, I'm afraid that they've heard of my telepathy somewhere. It's why they've suddenly changed their attitude. I hate to work with them. They are ugly. Even April said... (Frank stammers and suddenly smiles.) FRANK April is okay! She is different from the others. She is popular but sweet and gentle. Everybody likes her. (seriously) Wait! But why me? Did she say that? Yes, she did. Was she serious? Please help me. Stay with me. Forever. (smiles) Hmm, not bad. But she is famous. There're tons of smart boys around here. Handsome boys too. She can choose anybody she wants. I'm not smart, not handsome... maybe a little bit but not enough, compared with other guys here, and not fashionable at all. I can't imagine what she feels in her mind. Can I communicate with her? The telepathy! (Frank closes his eyes and tries to listen but soon smiles. He tries for a while with a happy smile and gives up.) FRANK It doesn't work at all! (In front of Frank, the unknown Youngster walks around. Frank keeps his eyes on him. The Youngster passes and exits.) FRANK Who is he? I can't imagine at all. I feel nothing about anybody here. Oh, I can't use my telepathy any more! (Frank sighs and exits stage left. In the studio, Luisa comes back in stage right, reading the faxed letters. Jeff swiftly separates from April.) LUISA Nothing new. But we got his test results. (Luisa hands some to Jeff and a pile of papers to April.) LUISA Look at these faxed letters. You're popular. (reads one of letters) April, I was struck with your courage. You've told us the truth, pushing back the pressure from your stupid boss and executives. We're fed up with stereotyped news edited by timid directors and greedy managers, looking for high ratings. APRIL (laughs) Yes, ratings, ratings, ratings. The people are crazy about the ratings here and the people are waiting for the truth in front of their TV sets. JEFF Oh, the assassin of George Richard was found sane. That's big news! He must stand trial. LUISA But he had a nervous breakdown. (to April) Let's have an interactive session between April and the viewers. They'll be happy if they talk with the star broadcaster about current issues. JEFF Oh, bullshit! Why did you miss this? We've got such shocking news. Look! A teenager sent a threatening letter to the U.S. President. He was inspired by the assassination of George Richard. Isn't this shocking for you? What did you check? LUISA We had similar news yesterday, too. JEFF You don't understand at all. This blackmailer was inspired by the assassination. Can you see the implication? It means that similar incidents may happen subsequently. First George Richard and next... next-- APRIL You're advocating murder. JEFF No, we're warning people about violence. APRIL You're not. All you have in your mind is the burning desire for power. JEFF Why not? Everybody has ambition. You've-- APRIL You're burning to be in a high position. You're irritated because I'm-- JEFF I'm working for society. APRIL You're sacrificing the public interest for it. JEFF We're telling the truth to the public. APRIL You want more teenagers to take guns and kill celebrities because it brings more people in front of their TV sets. You're sending such news on purpose. You agitate the youth. You encourage the criminals. You're a cheerleader for criminals. JEFF The public has a right to know what is happening in our society. We're the witnesses of what's going on in our time. We help them share common experiences and identify with each other. (Jeff runs short of breath.) APRIL You abuse the influence of TV to push the teenagers into desperate vandalism. It's why so many similar violent attempts follow big incidents. It's why we're getting so many prank calls here. LUISA Oh, prank calls! Wait! We got it. (April stops yelling out and looks at Luisa.) LUISA At last, he gave us his name! Oh! Where is Frank? We've gotta ask him to spot the suspect. APRIL He is outside getting fresh air. Is anything wrong? LUISA He told us his name. JEFF Calm down. Don't yell. Tell us clearly. Who are you talking about? LUISA The prank caller. We got a call and he gave us his name. His name is Edward Smart. APRIL Oh! LUISA He wants to meet April. JEFF Where is he now? Can we contact him? LUISA I have no idea. We will contact the police and ask them to pinpoint his location. JEFF Oh, too bad! (Jeff murmurs something alone.) LUISA Anyway, you should be careful, April. You'd better stay with Frank. APRIL Thank you. I'll take your advice. LUISA Okay, I'll bring him back here. (Luisa heads for the door. April follows him.) APRIL Wait. I am going with you. (They open the door and exit stage left. Jeff stays at the studio alone. After the both leave, Frank walks in stage left with Vivian.) VIVIAN So, how do you feel about this city, Frank? Do you like it? FRANK I'm screwed up. VIVIAN Why? You look all right. FRANK I feel uncomfortable when I talk with people here. I don't know why. I don't think they're mean, but I'm afraid of them. VIVIAN You're afraid of them? They're not afraid of you? FRANK No, I'm afraid of them. I feel that they are using me. VIVIAN Hmm, probably. They seem too complicated to you, right? FRANK I don't know. I can't communicate with them. I'm afraid that they are preoccupied with their own business and looking for something good for them. They're interested in me only when they find me useful for their interest. They use everything for this. Even friendship, camaraderie, and love. I don't feel any warmth from them. VIVIAN Do you get homesick? FRANK (shyly smiles) A little bit. VIVIAN (laughs) Brace yourself! Oh! I have news about your town. Your people are doing well. FRANK Oh, really? VIVIAN Yeah. They're using solar energy to reduce oil consumption. They're going ahead with the fossil energy free society-- FRANK Oh, the caveman is still rampaging! VIVIAN I beg your pardon? FRANK The mayor. We call him caveman because he sticks to such old- fashioned ideas. He's bringing us back to the Stone Age. VIVIAN (laughs) No, he's bringing you to the new age. He's a forerunner in our time. He's a well-motivated, great politician. FRANK For you, maybe. For the local residents, he is a stubborn old man from the theocratic age. He hates everything modern. He calls it the devil's device. VIVIAN You'll be proud of him and your town soon. FRANK I hope so. VIVIAN He keeps you sane and healthy. There are many mad people in our society. You're much better than that. (Vivian opens the door and enters the studio with Frank. Jeff is there, alone.) VIVIAN Hello, Jeff. How are you? JEFF Terrible. I'm not in the mood to talk with you, old-guard journalist! VIVIAN I'm bringing an exciting report. They've made big progress in solar energy development. We don't need to worry about-- JEFF (shouts) Go away, you loser. You can't adapt to our circle and stick to worn-out ideas from the textbooks 'cause you know nobody can deny you if you harp on such jargon. Nobody will deny but nobody will listen either. Get out. Never come back. (Jeff holds his head. Frank and Vivian stand there and watch him. Luisa and April come back in stage left and talk with each other by the door.) LUISA But anyway, you should be careful, April. Jeff is strange these days. He is so emotional. He almost had a nervous breakdown after the severe ratings race. APRIL Yeah, poor guy. LUISA You'd better count on Frank for your safety. He is a healthy man. And a good watchdog. (Luisa laughs and opens the door to see Frank and Vivian there. Jeff looks up at them and cries out.) JEFF Get out, losers! (April and Luisa are astonished.) APRIL (murmurs to Vivian.) What's wrong with him? VIVIAN I don't know. He started yelling when I spoke to him. He looks messed up. LUISA He's probably irritated at April's popularity. VIVIAN Oh, he's jealous? LUISA He's eaten too much beef. VIVIAN April, you should be careful. APRIL I know. But I can't be. The people are crazy about me and he's jealous. I can't make a hysteric guy normal. VIVIAN No, I mean the recent fiddle-faddle. The April Fever. You're agitating the people. APRIL No, I'm not. They are. And the audience is crazy about me because they think I'm good. JEFF I said get out! No solar energy. You're in the wrong place. Better go to elementary schools to preach. Get out. VIVIAN Ooh. He looks like he's in a bad mood. I'll be back. (to April) Could you give it to him later? It's my research. (Vivian hands the document to April.) APRIL No problem. VIVIAN Thank you. But watch out, April. You don't deserve it. You've made a lot of mistakes during the show. APRIL (with wry face) Yeah... JEFF Get out. Don't come back. Keep away from this loser. You'll get her loser virus. Frank! Kick her out. (Frank looks at April and Vivian and shrugs.) JEFF Frank, did you hear me? I said kick her out of this studio. It's an order. Do it right away. FRANK I don't like to be ordered this way. JEFF Get out. All of you. Get out. VIVIAN I'd better go. Goodbye. (Vivian opens the door. Jeff holds his head and others keep their eyes on him.) FRANK I would like to go with you. APRIL No, Frank. Stay here. Please. FRANK I don't like this place. I want to go. (Vivian shrugs and exits stage left. Frank follows her. April tries to follow Frank but Luisa stops.) APRIL Wait, Frank! Stay with me. LUISA Wait, April. We should talk about today's show. Jeff is out of his mind. What should we do? APRIL Oh, we can handle it! (Suddenly Jeff raises his head.) JEFF No! I can handle it. Sit down here. (April looks at Luisa and tries to run after Frank.) LUISA Don't go, April. APRIL But you said I should stay with Frank. LUISA Not now. You can take over this program. APRIL Oh! (April looks at the door. Luisa nods at her and goes back to the table.) JEFF April, come here. We're gonna air the show soon. (April reluctantly follows Luisa and sits at the table.) JEFF (in a good mood) Welcome back. We'll cover the motivation of murder and then... uh, what should we report? (Jeff gladly talks. April and Luisa just listen to him.) ACT 3 SCENE 1 (Daytime. In the studio, Victor explains to Jeff the statistics using the note-type computer.) VICTOR Here we go. These are the statistics I told you about before. This curve indicates the audience rating of Cambie TV News and this one shows the popularity of April Greenberg. This is the number of April calls after that coverage. Can you see the tendency? JEFF All curves are going down in these two weeks. VICTOR Yes. Four weeks after the assassination, we've had no calls to April, not even a prank call. The program's rating mirrors a similar pattern. It's going down to the level before the tragedy. Only April's popularity keeps it higher but it also keeps on going down. We conclude that the people are starting to forget the shock of his assassination. JEFF Fewer mourners are visiting his grave this week. VICTOR Right. TV shocks people but they soon get used to it. We won the first round of this race but we can't keep the lead forever. It's time to look for something exciting again. JEFF We're going back to the tough competition again. VICTOR Absolutely. (beat) One more ominous statistic other people have missed so far. The oil price has been steadily going up for the last two months and the rate of increase sharply went up these past two weeks. JEFF Another oil crisis is coming? VICTOR I don't know. Maybe, a crisis or just an ordinary fluctuation. But in either case, it will definitely push up the commodity prices. JEFF If it disturbs traffic and logistics, April Fever will be blown out. VICTOR Undoubtedly. That's the science of it. At least, regarding April Fever, the tide is on the ebb. JEFF Hmm. We should work out a new strategy. (beat) Okay, good job. I'll report to Mark when I meet him there. VICTOR Good luck. It's not easy to make him happy. JEFF Yeah. He's gloomy but more reliable than the psychic. (clicks his tongue.) Frank is desperate. He never made his point and always excused himself. VICTOR (sneers) He's just a wacky nerd. (Victor turns off the computer and puts it into his briefcase. Victor checks his wristwatch.) VICTOR What time will we meet Mark? JEFF Two o'clock at Cambie Hotel. We should go. (They stand up. April and Victor come into stage right.) LUISA Oh, Jeff. Here you are. May I come in? JEFF Go ahead. We're just leaving. (Jeff and Victor avoid eye contact with April. They open the door in silence. Suddenly, screaming is heard.) CROWD (V.O.) (screams) JEFF What's that? (Jeff and Victor go out and slam the door behind them. The screams subside. The unknown Youngster follows the crowd in front of them, waving his hand.) VICTOR The rock star is here. On the dot. Wait. Look at him. (Victor points at the Youngster.) JEFF This guy? Is there anything wrong with him? VICTOR I've seen him before. I think it's him. JEFF Huh? Just one of the groovy rock fans. VICTOR Yeah, probably, now he is. But a couple weeks ago, he chased April around. JEFF Hmm, he's changed his mind? He's a quitter! VICTOR I think he is Edward Smart. (Jeff keeps his eyes on the Youngster. The Youngster waves his hand and exits stage left. Jeff and Victor look at each other and follow him. In the studio, Luisa shows April the (invisible) digital equipment.) LUISA So, it's what I told you about. APRIL Wonderful! LUISA We've purchased it for the new show. APRIL Unbelievable. LUISA You should thank Mark. He approved our request for the purchase. APRIL Oh, he's the greatest executive ever. He respects the audience and the audience looks forward to seeing me! LUISA Let me show you how it works. (Luisa points at the camera.) LUISA Can you see the camera? It's the digital camera developed for TV programs. With this, we can put your image into any background we want. (Luisa motions shooting the camera.) LUISA We take your picture and combine it with a picture of a street, forest or any scenery. Now, this camera is sending your picture to the screen. Look at your lefthand side. (April looks around in surprise.) APRIL Oh, am I in the mountains? LUISA It's a three-dimension virtual screen. You feel like staying in the real mountains, right? APRIL Incredible. It's hard to tell from the real scenes. LUISA Yes. This scene itself is on the screen. You can see the mountains but other people cannot see anything from the different angle. APRIL Oh, it's exciting. I can see. But you cannot. I feel like I'm smarter than they are. LUISA It uses illusion. With this, you can go anywhere on the screen. Talk with the audience on the street, accident spot, or in their house. Everything's displayed as if it were real. For example, if I turn this switch to the right... (Luisa turns the camera switch to the right and April edges away from her.) APRIL Oh! My image is getting smaller. LUISA Yes. And if I turn it to the left... (Luisa turns the switch to the left and April edges forward to her.) APRIL Whoa. I stay here but I look like I'm moving back and forth. LUISA (serious, looking into the camera) It's a very cheap system. You can stay on the set or in the field as you like. Say something. APRIL Good afternoon. I'm April Greenberg on location. Today, I'm at downtown Cambie. I'm here to talk with people about the recent economy. (Frank dashes into downstage right, carrying a big bag.) FRANK Oh, I'm on time! The show is not on yet. (He looks at April and is taken aback.) APRIL (with a smile) Hello. Welcome to our virtual studio. What's your name? (April extends her hand to Frank's mouth like it was a microphone. Frank is puzzled. ) FRANK Hi, I'm Frank Hamilton. What's going on? APRIL Camera test. I am in front of you. But you are looking at my virtual image. FRANK What do you mean? I feel weird. APRIL Behave yourself. You're on the air. FRANK (stiffly) Really? LUISA (smiles) No. It's just practice. But it looks real, eh? (Luisa turns the switch to the right. April edges away from Frank.) FRANK Whoa! Are you going away? No, you stand there. APRIL (laughs) I didn't move at all. You're looking at my virtual image. FRANK Incredible. You look real. APRIL Yes, I am. I stay here. But I'm moving. (April edges away and waves her hand. Luisa turns the switch to the left. April edges forward.) FRANK Whoa! You're coming back. APRIL Hello, Frank. I love you. Don't leave me. (Luisa and April stop pantomiming. Frank feels relaxed and sighs.) APRIL We're preparing for our show. Are you leaving? FRANK (gleefully) I'm on my way home. I am sick. I need a rest in my country. APRIL Sick? FRANK Yes, I am VERY sick. I failed to foretell anything about our TV shows and offended Jeff. At last he fired me. (laughs with one arm on his eyes, pretending to cry) APRIL Oh, no. He can't do this. I'll talk with Mark to help you. FRANK No, no, no, no. I really need a break. I almost had a nervous breakdown. The people were laughing here so I asked them. "What is so funny?" "Nothing." "So, why are you laughing?" "I don't know. Maybe, because other people laugh. Laugh, Frank. Laugh." I can't understand that. (gleefully and proudly) Sorry. I'm just a jackass. APRIL You have to stay with us. We're gonna have tons of jobs-- FRANK It's done. Have a good day. (Frank dashes out through the door into stage left.) APRIL Wait, Frank. (April tries to chase him but Luisa speaks to her.) LUISA Let him go. He looks so happy. He needs a break to recover from being homesick. (April stops, looking at the closed door.) APRIL Yeah, maybe. LUISA We are using him too much. (checking her wristwatch) It's late. What time did he say he would be here? APRIL Three o'clock. Mark is punctual. He'll be here soon. (They restart the TV camera motion. Outside, Mark comes up stage left with Jeff and Victor.) MARK But we can't dismiss April. She is still popular. JEFF Yes. We can use her in another way. But she should not lead her own program. MARK Interactive sessions don't work. Participants have similar opinions that they got from other TV shows. JEFF So, we won't start a new program? MARK (outraged) I'm worried about the low ratings! Who will see another show? (Jeff and Victor look at each other with a smile. Their smile further offends Mark.) MARK The ratings are going down! What is so funny! Don't smile until you have a solution. So, what's your pitch? JEFF Sorry. How about this? We are making headway in alternative energy. We can take the leadership in the next-generation energy development. MARK (skeptically) Hmm! Sounds exciting. JEFF We have a VERY interesting documentary on alternative energy around here. The solar energy is hopeful in the future but it has a long way to go before replacing fossil energy. MARK (outraged) Get to the point. Don't mess around. The ratings are going down-- JEFF Yes, yes. Let me finish my story, please. Oh, you know Frank. MARK Frank? Who is this? JEFF Uh... psychic boy in charge of our rating forecast. (beat) Anyway. It's the report on his hometown. They are using a system combining solar power and geothermal power. This town is covered with heavy snow in the winter and has only a few sunny days. So, they generate the power using the temperature gap between the frozen ground and warm underground when it is covered with snow and use the solar system when it is sunny. It's a wonderful idea! They are bravely making their way toward the new era. MARK Bad timing. JEFF (with a start) Ha, timing? MARK Now, the world should activate the economic activities using cheap oil because the economy is slow. There is no room for high-cost alternative energy. JEFF Absolutely! I don't like this documentary and, especially, this reporter. (Mark sneers at Jeff and opens the door to see April playing the motion. Both are surprised.) APRIL Oh, Mark. (They stop the motion.) APRIL We're checking the new equipment you've purchased for us. Thank you, Mark. I'll work hard for you. (Mark gives the equipment a wry glimpse and makes no reply.) LUISA We'll show you. Look. (Luisa turns the switch to the right and April edges away from Mark with a smile. Mark makes a face. Meanwhile, Victor exits stage right.) LUISA She is just standing in front of you. But she looks like she's moving freely. It's an amazing system. (Luisa turns the switch to the left and April edges toward Mark. Mark and Jeff just keep their wry eyes on April in silence. She is getting uneasy and at last stops the motion.) APRIL We're talking about the new show. This equipment will be a big help for us. Thank you, Mark. JEFF What show are you talking about? APRIL No! You keep out of this. JEFF He is here to discuss an action to stop our audience ratings from going down and to pick them up. How come you suggested a new show? APRIL You promised... (April looks at Mark. Mark looks the other way.) JEFF Be realistic, man. MARK Let's get started. JEFF Yes, certainly. (Jeff and Mark take their seats. April stands still blankly. Luisa follows Mark.) LUISA (murmurs) April. Come. APRIL (absent-mindedly) Yes. (beat) I can't believe it. JEFF (very kindly) April, don't mind. Everybody makes a mistake. Now's the time to think about today's program. APRIL You bastard! You've whispered my slander to Mark to wreck my plan because you are jealous. What a crook! Okay, I've gotta defend myself. You seduced me. You came to my apartment without my permission. I will tell them. Our viewers! You're gonna get bogged down in deep doo-doo. (Everybody avoids eye contact with her while April screams. April pauses to check their response.) JEFF (sighs) It's not news any more. You're not popular enough to make a headline. (April is stunned and then bursts into tears. The people look down at her. Victor comes into stage right, holding a faxed letter.) VICTOR Hot news. The oil prices are skyrocketing since this morning. ALL The oil prices! VICTOR Yes. Unfortunately, our prediction was proved. Our country panicked. The truck drivers can't fill their tanks and leave their trucks on the highway and block the traffic. The airliners fly with the halfway fuel, something like this. The whole world is probably terrified. JEFF Okay, dig into this story. You should check with the police for any accidents from the oil hike. And you should check with the stock market for the economic impact. So, a next wave is surging up. Catch it! MARK Oh! Jeff, I said it's a good idea, didn't I? JEFF Excuse me? MARK Alternative energy! We got it. JEFF Oh, sorry about that. I didn't mean it. MARK Don't turn down my proposal. It's good timing. JEFF I don't think I understand what you are talking about. MARK Let's send the documentary on alternative energy. JEFF Oh, yeah... Can we? MARK Why not? Things have changed. People are scared. Soon, they will swarm to the supermarkets. They would jump from windows without a proper guide. We shall lead them in the right direction! Hurry up. Let them know what energy sources we have to replace the oil. The fossil energy is not trendy any more. JEFF Oh, yes! Certainly. (Jeff and the other staff start working. April stays there and looks up at them. Mark sees the others working.) MARK Don't forget, everybody! We are working for the new era. It's a good chance to move into the fossil-energy-free society. Catch the wave. We are changing the world. (They look at Mark in surprise.) VICTOR Cool! (They resume their work.) MARK We must broadcast the good news for society, the people and for freedom. (Mark paces the floor with a smile.) ACT 3 SCENE 2 (Daytime. Victor checks the note-type computer in the studio. The Youngster sits down outside with a crowd waiting for the rock singer. Luisa comes back into stage left. She is amazed at the crowd.) LUISA Whoa, what is this crowd for? Oh, the music show is recording. Free shows attract tons of desperate jerks. Hmm, the oil hike is hitting the world but these doofus' miss the signs. They'd find themselves dead by the time they realize there is a real danger. (Luisa scornfully watches the Youngster and enters the studio through the door. Victor gives her a glimpse and keeps checking in silence. Luisa avoids eye contact and sits at the table, turning her back to Victor, and takes out a small camera and photos from her bag.) VICTOR Whoa, many airports are closed all over the world. Look at this picture. LUISA Hmm! It's just a photo. People are scared downtown. Many punks are strolling around and looking for fireworks. A real reporter must be brave enough to throw herself into such danger. (While discussing this, Luisa and Victor confront each other.) VICTOR We're watching the changing world in real time. Oh, Los Angeles turned off its lights. Look at these dark streets. A real reporter must look through this rich information and get a clear image of the ongoing incident. LUISA Oh, the poor homeless man! This guy handed him bread and a blanket. It's an impact of the first-hand information the picture can never give. VICTOR We are in the information business. Compile the information according to our needs and interests. LUISA A reporter must be shocked at the real incidents and then compose our specific image. Otherwise, they cannot be free from prejudice. VICTOR You will be drowned in the ocean of information. LUISA Without the brave reporters, you should sit down and just figure out what is going on behind the wall. VICTOR You can't be free from your private bias if you are too confident in your own experiences. LUISA If all reporters keep away from dangerous areas, all available information will be screened out to protect the interests of lazy reporters like you. (Luisa and Victor turn their backs. Jeff and April come up downstage right. Jeff looks to be in a good mood but April seems disappointed.) JEFF Hi. What is going on? LUISA & VICTOR It's terrible! LUISA The downtown area is deserted. Most department stores and superstores are closed. A bunch of people are looking for the open stores and buying anything that is available there. VICTOR In Chicago, the state army was mobilized. LUISA Our downtown is okay. JEFF Is it safe? LUISA I don't think so. But many cops are placed there and I don't think any serious collisions will take place. Anyway, we'd better watch it. JEFF Oh! Nobody expected such a mess. VICTOR We'd better report the Chicago curfew first to urge them to take precaution. JEFF Uh... Yeah. Do you think it'll work? LUISA No, it won't. VICTOR Why not? LUISA Our audience is sensitive to this kind of intentional coverage. VICTOR It's not intentional. We'll show them the truth. LUISA Hmm, the truth? The audience will judge that. Our alternative energy feature got only conservative reactions from them. JEFF Exactly. LUISA They are looking for first-hand information, not your interpretation. Look at this. (Luisa shows Jeff a bunch of instant photos. Jeff is excited at the photos.) JEFF Oh, a terrible car accident! LUISA We have the video of this accident. It's even more shocking than this photo. Blood is spread all over the road, the wall of the building was dented, the hood was crushed... (Jeff gets more excited while listening and checks the photos one by one. He screams at each photo.) JEFF (with excitement) Oh, this is terrible. Nothing is left on the shelves at the supermarkets. The homeless will have the hardest time of all. Oh, look at this languid guy! He looks really blank. LUISA Huh, it's a photo in front of this building. (surprised) Wait. It's him. JEFF Who is he? He lost everything in an accident, didn't he? He looks really sloppy! LUISA No, he's not a victim of an accident. It's a photo of rock fans in front of this building. I've seen him over there... Wait. (Luisa rummages in her bag and takes out another photo.) LUISA I got it. Look at this. (Luisa shows them the two photos.) JEFF What's that? LUISA It's from the surveillance camera. It's the same guy. Each time we had a prank call, he hung around here. We suspect he made a series of threatening calls to April. (April raises her face, frowning.) JEFF You mean he is planning something? LUISA I don't know. But one thing is clear. Now he is one of the rock star buffs. JEFF (laughs) Let him go. Congratulations, April. You're free. April looks sulky. JEFF So, tonight we can send April downtown for a report. (Luisa and Victor look at April. She makes no response. Jeff smiles and looks down at the photos again.) JEFF (with excitement and a smile) What a terrible photo! We can't release such a bloody scene on the screen! LUISA They are editing the tape for broadcasting. JEFF (murmurs while looking at the photos) We have such disorder in only one week without petroleum. We are living on awfully fragile ground. LUISA Yeah. All sigh. JEFF We're warning people about this in our feature program but why are the ratings so low? Our viewers are dead from the neck up. APRIL Too late for medicine to cure the dead. VICTOR We are the only station that sent the constructive program at this timing. We should be proud of this. JEFF Right. It's a good program. VICTOR Absolutely. The low rating doesn't matter. JEFF (scared) Yes, it does. It's her problem. Vivian is screwed up. LUISA We have to send more reports on the current happenings. JEFF Right. We've gotta compete with Californian Network and North American TV LUISA You've gotta give up that series. JEFF Right... what? LUISA We need to increase the audience rating. JEFF Uh... Right. But we need to save his face. It's his favourable series and meets his news philosophy. (Mark comes up stage left.) LUISA C'mon. You're a director, aren't you? You've gotta take care of everything here. Say that. Mark is a pain on the neck. VICTOR Can you say this? LUISA Why not? Easy: Hi, Mark. I've gotta talk to you. (Mark opens the door and greets them. Luisa smiles at him.) LUISA You're very welcome. MARK Thank you. (Mark walks into the studio and stands near the table.) MARK So, are you discussing our feature program? JEFF Yes. And the downtown situation. Yes! This abnormal oil price is showing us the fragile ground of our society. (Luisa nudges Jeff but Jeff ignores Luisa.) MARK It's what I am here about. So how is it going, Jeff? JEFF Beautiful. The audience was happy to see it. MARK Are you sure? JEFF Of course. I can't understand why you doubt me. MARK I am afraid that you are flattering me. Be honest. I know it's not an interesting story, is it? JEFF I-I-I am being honest. It's interesting, indeed. But a little problem in the ratings... No, no, no, it's not the problem of this report. People are not smart enough to understand such an intellectual program. (Jeff is in trouble because Luisa, Victor, and April nudge him to say it clearly to Mark but he can't.) MARK Don't talk about our audience this way. They're our king. JEFF Yes, of course. Our audience is great. We've gotta broadcast a good program for them. That's what we're talking about. We're proud of such a good program we are broadcasting. The low ratings don't matter. MARK What else do you mind besides the ratings? JEFF Of course, the low ratings are a big problem. So, we will cover more shocking accidents to increase the ratings. LUISA For example, we need more staff to report what's going on downtown. MARK Do you think we can discriminate our show from others if we have more staff downtown? I doubt it. JEFF Impossible. Totally impossible to overwhelm other stations in such chaos because any coverage is going to have a similar impact. MARK Good point! Too many shocking incidents are happening and people are fed up with the hot scenes on the screen. It's the TV. TV gives us too big an impact to last for a long time. JEFF You are completely right. We want a sweet after a big steak. MARK We can't stick to one topic. We have to jump from one to another quickly. Our audience watches us running around on the screen and coldly watches as we go. They are guests and are looking for clowns. Guests never trust clowns, they just mock them. It's why we've had no Napoleon or Hitler since TV appeared. The audience is greater than any character or even dictator on the screen. JEFF Napoleon? Hitler? They're too old to appeal to our viewers. MARK We can boast of our contribution to the democracy. But we should be careful. Our audience believes that TV would send only correct information and depend on TV networks as a lifeline under such disastrous situations. We must cope with their expectations. We should always broadcast the correct information. JEFF Yes, we will. I swear we will. MARK Today, I am here to tell you the opinion of the board of directors. It's no obligation but please listen carefully. Now, TV has too big an influence. Without TV, people may feel paralyzed and jump from windows. Or take their guns and go to the street. We must prevent it. We ought to be VERY careful with our coverage. LUISA It's why we must face reality. We ought to take more photos of the disasters and show them what is going on. MARK Hold on. No disaster is happening yet. LUISA It's about to happen-- MARK Yes, yes. It's why you should keep yourselves under control. We need to send high-quality news from the long-term viewpoint and lead society in the right direction. Never agitate them. They're looking for peace, not disorder. Please meet this request of our audience. JEFF Yes, of course. Audience is our king. MARK Therefore, I want you to carefully select the materials for coverage. We warn you not to jump on the bandwagon, only looking for the ratings. You need to be loyal to your philosophy as journalists. LUISA But TV producers shouldn't include any morality into our programs to intentionally lead our audience in a certain direction that we prefer. The audience has the right to know everything and determine for themselves. MARK Nothing can be unintentional for broadcasting. Only one shot or even a spotlight could easily reverse the impression of our viewers. Each scene is shot and edited according to our conscious or unconscious intention. LUISA We ought to try our best to be transparent between the incidents and viewers without any intention. Many tragedies are taking place downtown. We can't ignore them. (Jeff motions to Luisa not to speak more. Mark stares at Luisa.) MARK Is the tragedy everything around here? JEFF No. We are living as usual. MARK Right. It's the bad effect of TV. If we report only the bloody scenes all day long, people will believe that another world war is going to happen. JEFF It's not true. MARK Don't forget our rule. TV shows must have happy endings. JEFF Yes, we show somebody else's misery to make others happy. MARK Exactly. The entire audience must not be miserable. Yesterday, I talked with Vivian by telephone. JEFF Oh, Vivian is a great reporter. MARK She told me about that unique town. They're going forward with a series of pilot projects. JEFF I know. So we plan to send our crew there. We can give the people hope if we report their project. It's what we were talking about before you came in here. (Luisa stares at Jeff in amazement.) MARK Good suggestion. I hope it won't end up as only a plan. APRIL I am going there. (All look at April.) MARK Oh, April. You agree with this project? APRIL Yes. I want to work on this project. The small town is going to save the world. It's wonderful. We are fed up with bloody news. We'd find out more warm episodes from ordinary people to make the world better. JEFF That's right. You're smart. (Flattered, Jeff looks at Mark. Mark nods.) MARK A big wave is surging up but we are not ahead in this race. If we miss the wave, we'll drop out of the race or even this business. Good luck, folks. You could make a trend with your hands. (Mark looks around at the staff. They keep silent.) MARK Okay, let's get started. LUISA I've gotta prepare for the trip. APRIL I should pack my luggage. (They exit stage right. Jeff also tries to leave but Mark speaks to him.) MARK Jeff. JEFF Yes. Jeff turns back to Mark with a smile. MARK Never forget the ratings, okay? JEFF (surprised, but smiling) Yes, of course. MARK (grimly) Many people are looking for opportunities with our company. You'd make them happy if you give up your job for them. (Jeff stands still in astonishment. Mark opens the door and exits stage left. Jeff holds his head.) JEFF Oh, it's Mark. He gives directions but does nothing himself. Keep ratings high! But how? There is tons of exciting material downtown. I could keep them high only taking these photos and broadcasting shocking pictures. The people are happy if they see anyone else is unhappy. It's so easy. But why can't I do this? (Jeff squats down, holding his head. He has a hallucination.) JEFF Why should I have such hard time? (In the hallucination, Mark comes up stage left and opens the door. Jeff is not aware of him.) JEFF I hate this business. I hate the TV station. All TV stations. I wish TV would totally disappear and I would be free from this everlasting distress. Ratings, ratings, ratings! I want to kill anybody to make a good news story and boosts ratings. (laughs) MARK Good idea. (Jeff looks back in surprise to see Mark. Mark strides toward Jeff.) MARK You're so smart that we can leave this studio to you. I appreciate your brave suggestion. You are supposed to get ready for it, aren't you? JEFF Yes. I am. MARK I am pleased to hear it. But you should be careful with your plan. I hope you fully understand it. Are you all right? JEFF Yes. I am. MARK So who do you plan to kill, Jeff? JEFF I-I-I want to think about it more carefully... MARK What? What do you want to think about besides the audience? JEFF Oh, sorry! MARK We should portray somebody who is unhappy to make everybody happy, understand? It's how we work in this business. JEFF Yes, of course. MARK You are allowed to do anything because you are in the TV business. No restrictions. Understand? JEFF Yes, of course. MARK You can do anything you want. Nobody would care as long as you take the responsibility. Understand? JEFF Yes, of course. MARK Okay, you can do it. Don't forget that many people are looking for opportunities at our company. Good luck. (Mark turns back and exits stage left. After they leave, the Youngster walks up stage left and strolls around outside. Jeff holds his head again.) JEFF Yes, of course. I understand what you are saying. I won't give way to anybody else. It's hard to find another job. Without this job, my wife may leave me. April is leaving me. I can't leave here. What should I do? The last time, we were lucky. The audience misinterpreted our coverage. Only good looking April could expect such good luck. But she is screwed up. No lucky accidents any more. Wait! (Jeff thinks about something but soon gets frightened.) JEFF No, no. I can't do this. MARK (V.O.) You can do it. JEFF (frightened) Yes, I can do it. I can do anything I want. Why not? (beat) I can boost the ratings with my telepathy. (Jeff closes his eyes and tries to listen. Suddenly he opens his eyes.) JEFF Oh, my telepathy works. I found a goofy oaf I can blow off. (Jeff opens the door, dashes out of the studio and speaks to the Youngster who still hangs around there. The Youngster is surprised and looks back at Jeff.) JEFF Hi, are you Edward Smart? YOUNGSTER Edward Smart? No. Who is that? JEFF Oh, I'm Jeff Dennis. Director of Cambie TV News. You like April Greenberg, don't you? YOUNGSTER I used to like her. But she is not cool any more 'cause most friends of mine say she is an idiot. She often blows her lines during the show. Dyke! JEFF Our audience is so harsh. That's why she has a very hard time now. Did you know that? YOUNGSTER Hmm, I didn't know. JEFF Yes, she does. The company's sent her to a remote town. Don't you want to help her? YOUNGSTER Me? How come? JEFF C'mon. It's a good chance to make friends with her. She's not a star any more but she's still very attractive, isn't she? YOUNGSTER Yeah... Do you think I can do that? JEFF Sure, you can. You will make her happy. (Jeff approaches the Youngster and whispers to him.) ACT 3 SCENE 3 (The program is about to start. Victor and Jeff stand by in the studio and April and Luisa, in winter coats, are outside the door. Beside Luisa, the TV screen displays the mountain covered with snow, indicating that they are in the mountains. They communicate with each other using earphones between the studio and outside.) VICTOR So, how are you? Is everything going well? LUISA No, it's terrible. Look at this snow. It took us three days to get here. It's freezing. VICTOR (sniffs and then chuckles) Oh, poor thing. It's hot and cozy at the studio. It's good for the reporters to stay cool outdoors. LUISA Shut up! JEFF So, did you find anything interesting there? LUISA It's just a country town. Nothing unique. VICTOR C'mon! We work for the TV station. You've gotta show the audience something ordinary as extraordinary. (April interrupts them.) APRIL Yes. Tons of exciting things. They have a lot of unique projects here. The adventurism, organic farm stay, the tour, even the psychic training tour. On top on that, there is the rich nature. The audience will envy the people in this town. JEFF (murmurs) You don't need to worry about the audience. LUISA Oh, Vivian is crazy. Why did she visit such a remote town? APRIL It's Frank's hometown. JEFF Okay. Time to go. Ready? LUISA Okay. APRIL His mother said that he'd left here before we arrived. VICTOR Rehearsal, start! (April reports to the camera, with the microphone in her hand.) APRIL Hi, I am April Greenberg. Today I am in New Lombok, a small town in our country. I want to report the unique projects going on in this town. As you can see behind me, this town is covered with heavy snow during the winter and is isolated from the outside. The people try to generate electric power with their own system using the local resources. Their uniqueness is not their energy policy. It's known as the town without TV. Instead, people take various training courses throughout the year to improve themselves. The high schools offer many special courses to give the students unique training, including music, painting, writing, natural and social science, sports, yoga and psychic instruction. They expect their children to grow up healthy and intellectual. (Frank runs up into downstage right, carrying a big bag.) FRANK Wait. Stop it. Don't broadcast the show. (Jeff and Victor turn back to him.) FRANK Where is April? She is in danger. Let her go. VICTOR Stay out of this. We are on the air. FRANK It doesn't matter. Somebody is trying to kill April. Cancel the show. JEFF Get out. You are not allowed to be here any more. FRANK Oh you! (Frank points at Jeff.) APRIL Hi, Frank! Why are you there? (Frank cannot recognize April and looks around.) APRIL Frank. I am here. Look at the screen. FRANK Oh, you're on location! There's a lot of snow around there! APRIL (with a smile) Yes. It's your town. FRANK So it looks very familiar. APRIL I expected you here. Why are you there? Did you recover? FRANK Yes, completely. I got my telepathy back. I realized you're in danger and came here to stop it. (Frank gives Jeff a glimpse. Jeff gets scared.) FRANK Run away! You're gonna be in trouble. JEFF No, April. The program is under way. FRANK Don't listen to this guy. Escape from there. Right now. APRIL (laughs) What are you talking about? It's a peaceful town. I don't feel any danger at all. FRANK My returned telepathy tells me about their ugly plot. APRIL I feel better after coming here. I like this town. Your friends and relatives are beautiful. FRANK No, not my fellows. Many people visited there and some of them are involved in a conspiracy. You are risking your life. LUISA She can't leave here without a reason. Why do you think she is in danger? FRANK Something wicked is going on around her. JEFF What are you talking about? Get out. FRANK Come on! I can imagine what you think, how you feel, how you suffer. (Frank points at Jeff again. Jeff steps back.) FRANK You have nothing in your mind besides self-conceit. It's just empty. It's what you're suffering from. You're looking for someone else's tragedies to fill up the emptiness in yourself and, this time, picked her up for prey. JEFF Shut your big mouth. If you're psychic, why don't you save her with your telepathy? Why are you here? You should have stayed there. VICTOR Right! You missed it. FRANK Sorry. My telepathy is the insight into myself. We have five senses developed tightly connecting to the reality. We've just regained what you have forgotten in the big city. JEFF (scared) This is not the time for a psychic lecture. Let's start the show. (Luisa and Victor start working.) FRANK (shouts) Stop! You are killing her. (Nobody listens to Frank.) JEFF Time for the show. Ready? FRANK Don't go ahead, April. He is sacrificing you as prey. APRIL Don't worry, Frank. I can do this. I want to pursue my dream. Protect me. FRANK I wish I could. My telepathy doesn't work this way. Escape! APRIL Thank you. But I can't. Frank, you're right. I have nothing in my mind. I want to broadcast my own show as I want. But I actually don't have anything I really want to report. I'm only pursuing something vague, just because it's good for my career. I am also one of those I secretly hate. When I visited this town, I was amazed at the people. Your people are nice. They live simply but peacefully. I feel at home. I would like to report it. If we miss this opportunity, no TV crew may ever visit here again. I would like to report the truth, which will give the people a dream. FRANK I see. Take care. LUISA Okay, the camera is ready. (Luisa motions to shoot the camera.) JEFF Standby. Five, four... (The Youngster appears upstage left and sneaks behind April.) FRANK Oh! Catch him! (The Youngster grabs and hugs April from her behind and puts a knife onto her neck.) JEFF Shit! Too early! (Luisa is surprised but continues the motion.) YOUNGSTER Keep the show going. I will kill her. JEFF (pacifying) Who are you? We are about to air the news show. You'll be on the show if you are a little late. YOUNGSTER I gotta tell the public the truth. Start the show. JEFF What are you doing? YOUNGSTER I'm doing what you told me to do. Are you ready? (Jeff motions to Victor.) JEFF Yes, we are ready. So, what do you want? YOUNGSTER I want to send a message to the audience. (with a smile) Hi, I am Edward Blum, a big fan of April Greenberg. Today I am at New Lombok, a small town at the center of our country. I want to report the unique projects going on in this town. People here try to train themselves at their leisure. I also had psychic training for four days. Through this spiritual training, I got an inspiration and feel it is my duty to give you a warning. (concerned) Are you sure it is on the air? (Jeff gestures "Keep on.") YOUNGSTER The world is corrupt! Repent! You look for anything artificial and forget what is most valuable. You gotta watch more of April's show. JEFF So, what do you want? Any specific message? YOUNGSTER I am a genius. You people should notice it because the world is going to self-destruct. VICTOR (under his breath) He really looks nuts. JEFF (under his breath) Easy to diddle the jerk. (to the Youngster loudly) So, what is your message to save the world? Do you want to help April Greenberg? YOUNGSTER It's why I am here today! TV sucks. Audience, you should not watch TV. Turn it off. There are no intelligent shows on because they refused to report on me. JEFF If they turn it off, nobody will see you. Is that all right? YOUNGSTER No! You're nuts! You don't understand me. JEFF You want April to be in the spotlight, don't you? YOUNGSTER This is why TV people are stupid. I am a genius. I got the Revelation. You don't know it, do you? FRANK So, what can you do? YOUNGSTER Shut up! I am a natural. I am great. FRANK Yes, you are. You're a genius. Therefore, you're lonely. Because a genius cannot find a place among ordinary people. YOUNGSTER That's right! FRANK You are the same as April. YOUNGSTER The same as April? FRANK She is not understood by anybody else, because she is extraordinarily charming. YOUNGSTER Oh... FRANK Most people admire how she looks but totally ignore how she feels. YOUNGSTER People are stupid. TV has made them stupid. FRANK Are you ignored by anybody else? YOUNGSTER They ignored me. They are selfish. They are using me for their own interests. FRANK Now she is with you because you share her loneliness. (The Youngster takes a look at April in his arms.) FRANK So, we are listening to you. What can you do? You almost got it. Let's go further. Could you tell us what you can do? YOUNGSTER (astonished) I don't know. Uh, I'm thinking about it. FRANK Oh, is that why you are taking the psychic courses? YOUNGSTER Yes. I got it. This course is great! It's what I want to tell the people-- FRANK I had this course, too. I finished the two-year course. YOUNGSTER Oh, you did? FRANK Yes. Do you like it? YOUNGSTER Absolutely. I am much better than the other idiots. FRANK Oh, I like you. But you are going too far. Our telepathy is nothing special. Just share your feelings. We should face reality and look into our own minds. Without sad experiences, we can't feel for sad people. YOUNGSTER I've just learned it. Everything is hidden in ourselves, not outside. Face it. I don't know how to do it. FRANK It's easy. Remember when you've felt sad. You had a hard time, didn't you? YOUNGSTER (excitedly) They rejected me. I hate TV! I want to kill them. FRANK Poor guy. What happened? Were they mean? YOUNGSTER Absolutely! They hired only the rich applicants and kicked me out. They hire only stupid staff. FRANK What company rejected you? YOUNGSTER Cambie TV Station. I went to interview, but they shut the door on me. JEFF We offer an equal opportunity for any applicant. YOUNGSTER TV's making people stupid! FRANK TV shows us a perfect image and deprives us of the chance to think for ourselves. All of us are looking for a similar goal that TV whispers to us. I hope you are not. YOUNGSTER Of course. I am different from the nuts without any ground to stand on but the TV info. (Frank steadily approaches the Youngster without passing the door.) FRANK TV is nice because you are a customer. They want you to believe them and follow their advice. They want you to buy the products with special brand names. (The Youngster is scared because Frank is close to him.) YOUNGSTER Don't come over here. FRANK Easy, easy. It's the digital technology. I am hundreds of kilometers away from you. (beat) Do you still want to hurt her? YOUNGSTER I didn't mean to hurt her at all. I just... (The Youngster releases April.) YOUNGSTER I was pissed off. I was looking for real life. But I have no idea what it is. So, I've found April Greenberg. She's cool because most of my friends said so. If I date her, I will gain fame. I want to be a hero. FRANK She is not a medal for your vanity. She is alive like you. YOUNGSTER Yes. I'm sorry to scare you. You always smiled at me on TV. You never barked out. So I thought you'd help me. FRANK You have a communication problem, don't you? YOUNGSTER Yes. I am sorry for everything. APRIL It's okay. Don't do it again. YOUNGSTER I promise. (Guardman comes up downstage left and takes the Youngster away.) FRANK Poor boy. He couldn't control his desire for fame, power or everything the humans hide in ourselves. Who made it? (Frank stares at Jeff. Jeff and Victor step back.) APRIL Frank. FRANK Yes. APRIL I faced it. Isn't that what you said? FRANK Uh...? APRIL We should have insight into ourselves. I didn't escape from reality. FRANK Oh, yeah! You're brave. APRIL Do you think I deserve you? (Frank stares at April in surprise. Both look each other for a while.) APRIL I've filled my empty spot with my challenge a little bit. FRANK Oh, April! I love you. You're the person I've been looking for. APRIL Oh, Frank. I love you, too. (Frank and April step forward and try to hug each other. But one meter before, they stall and cannot get closer. Both cross their hands without holding the other.) LUISA Sorry to interrupt you. But you're seeing the virtual images of each other. Real ones will be available after this show. (Both smile and wave to each other.) END