Tinker's Nebula
A Comedic Drama in Two Acts
by
Michael Thomas Tower
Approximate performance time: 2:00
© 1998-2002 Michael Thomas Tower
Including material previously copyrighted 1988 as Sanctum Humanitas
All Rights Reserved
Query regarding production, performance or presentation of this play
in any manner whatsoever should be directed to the author
MTTower@aol.com
TN0209a
Characters
G'tzn (g'TZEEN). Male, female or androgynous being of a very mature adult age.
V'dz (v'DEEZ). Similar to G'tzn, but strikingly younger.
Hishi (HEE-shee). Male of any adult age.
Aya (AH-yah). Male of any adult age.
Ramugel (rah-MOO-g'l). Female, on the threshold of adulthood.
Feton (fey-tone). Female, at least thrice as old as Ramugel.
Bibar (BEE-bar). Male, very old.
Kretch (khrretch). Female, very old.
Note: The actors playing G'tzn and V'dz may also play Bibar and Kretch. Either male or female could play any of these roles.
The nature of this play is such that the portrayal of the characters will be greatly enhanced with a racially mixed cast.
Synopsis
In some undetermined time, a period long past or an age in the distant future, in a desolate and unforgiving land, bands of primitive people who speak a lyrical language encounter each other. None of them trust strangers for they've never seen other such creatures. Slowly they come to realize that their survival is best assured if they work together. Thus begins their discovery of cooperation, friendship, bonding and harmony.
Staging
Time: The time in which the play takes place is deliberately obscure. It is at a time when a basic "nothingness" is, once again, being given the opportunity to produce and nurture Life. Maybe it's in the distant past, maybe it's some future time. All we know for sure is that it's a long time from Now.
Set: There is only one set, which may be as simple or as elaborate as one wishes to make it. In any case, it should give the feeling of a landscape that is spare, crude, primitive. It includes a small, crudely made tree and boulders or large rocks that are obviously not real. Some smaller rocks and pebbles are needed, and these can be real.
Costuming: This is another aspect of the production that can be as simple or as elaborate as one wants to make it. As long as the costuming is designed to fit the style of the overall production, it will work.
Light & Sound: There are some special sound and lighting effects, which may be simple or elaborate, none of them being beyond the limitations of most theatres' standard equipment and capabilities. (It is intended that each animal sound is obviously the product of a human voice.)
Special Props
Sled: There is the need for a functional "sled," which may be pulled easily by one woman harnessed to the sled by rope. The sled must be big enough to hold a person and a collection of clothing and "household" items.
Flute: A simple wooden flute, which can actually be played, is needed. A likely source would be an "import" store (something like Cost Plus).
The Speech: The speech of the characters is to be very precise and mannered -- exact, distinct and carefully enunciated. A standard conversational ("realistic") delivery will not fit the style of the language.
Playwright's Notes
Imaginative designers will have a lot of fun figuring out the design for the production because there are so many things that can be done. In the notes above, you noticed the several references to aspects of the production being as simple or as elaborate as one wants to make them. And there is much room for that variance.
In the original production, the designer used Salvadore Dali paintings as guide and inspiration, resulting in a surreal stage setting that, still, was quite simple. Variations in stage levels were accomplished with the use of circular platforms of various heights and sizes that appeared to be floating in space. The tree was similar to one from a Dali painting. The "sled" was actually a boat, modeled after one in a Dali painting.
For that production, thought was given to using attire from the Middle Ages as inspiration for costuming. Then serious consideration was given to using typical dress of the 1950s. In the end the designer went for a simpler and more "timeless" kind of undefined crude dress.
Act I
(At rise, no one is on stage. There are a few pebbles and rocks scattered around. There are two lanterns, upstage, on the ground, putting everything in near-silhouette. Any other lighting is subdued and barely noticeable. There are sounds from off stage indicating some kind of construction in progress. g'tzn and v'dz scurry on and off stage, putting lightweight "rocks" and "boulders" in place. At a point when both are off stage, the sounds cease and v'dz enters, carrying what is supposed to be a tree, constructed inexpertly from strips of cardboard fastened to a wooden stick and painted a dark, drab color. As he moves the tree to approximately center stage and sets it up, g'tzn enters, carrying a huge "boulder." g'tzn stares at the tree as he drops the boulder in place. they pick up the lanterns and bring them down stage, giving a little more light to the scene.)
g'tzn
Is that as good as you could do, V'dz?
v'dz
I was hoping you'd think it exquisite.
g'tzn
It's awful and you know it!
v'dz
Weathered sticks, crumbling paper -- rusted nails and crackled glue. What more could I have done?
g'tzn
We have had better stuff with which to build, have we not? The best is all used up.
v'dz
And not much to show for it, G'tzn. It seems that way to me.
g'tzn
You're right, I fear.
v'dz
And though I do not mean to quibble, I cannot help but question: Are those objects meant to be rocks?
g'tzn
Large rocks ... small boulders ... whatever ...
v'dz
They're wobbly, G'tzn.
g'tzn
And rickety, as well, if you want to get technical. I, too, did the best that I could ...
v'dz
They haven't much weight.
g'tzn
There was nothing of substance with which to cast.
v'dz
And the form is ... well, rather something other than rock-like.
g'tzn
Oh, it's more than the lack of material -- you know that. It's these hands, the eyes, the spine and the feet. Everything's going, V'dz. Everything's slipping away.
v'dz
I apologize. I should have served you better.
g'tzn
I'm not blaming you, V'dz. It's just been a very bad eon.
As bad as it is, this job -- the finishing of it -- makes me a bit nostalgic, for it may very well be our last.
v'dz
Even if this one's not successful?
g'tzn
We'll just have to wait and see.
(they stand back to check the look of things.)
(continuing) g'tzn (continuing)
How terribly, awfully wretched. You wouldn't believe it from looking at this, but I once made a mist-shrouded waterfall in one single leisurely morning, and a rain forest enhancement that same afternoon. That was before your time.
v'dz
I should have majored in decorative landscaping rather than astral calculus.
g'tzn
It wouldn't have made the difference. It's the material ...
v'dz
The lack of it. Have we nothing of color?
g'tzn
The reds, the blues, the greens, the brights -- wilted and weathered and gone.
v'dz
I hardly recall them.
g'tzn
There were few still here when you were young.
v'dz
And things of softness?
g'tzn
Almost as rare. Feathers, fur, fleece and fluff -- nearly never felt. Nothing cool, little wet, no drifting honeyed smells. Oh, we haven't much to start them with.
v'dz
What's never known is never missed.
g'tzn
That isn't true at all, V'dz. You're patently unprepared for proverbs, so be cautious with your speech.
Have you the kernels with you?
(v'dz reaches into his pocket and withdraws a handful of small egg-like objects, not necessarily round or hard with shell.)
v'dz
Such as they are. Here, too, was much concession.
(g'tzn glances at the "kernels.")
g'tzn
You're sure they're fertile? And there's one for each of the genders?
v'dz
Yes, but quality's in question. Of the libidinous ingredients left to use, some were rather long expired. We'll be lucky if all the sexes make it.
g'tzn
That would throw things out of balance.
v'dz
Don't you think they would adjust?
g'tzn
Adjustment, I think, will have to be one of their greater talents. I just hope they don't grow some aberrant appendages for which they find no use.
v'dz
We've had that happen before.
g'tzn
The task will be to find a place where these will grow and multiply.
(v'dz puts the eggs in his pocket as g'tzn looks upward.)
(continuing) g'tzn (continuing)
Well, there's one more thing to do.
v'dz
Oh, this is my favorite part!
g'tzn
This will be no fancy show, you know. We're working with less than full charge.
v'dz
But if this doesn't work, nothing will.
g'tzn
If this whole blasted experiment doesn't show some sign of success soon, it might as well be suspended. Withheld, perhaps, for another time. Recoup, rebuild, rethink. Get some fresh ideas, new supplies. Or drop it. Perhaps just drop it altogether. It seemed like such a good idea in the beginning ...
v'dz
You were in on the original planning?
g'tzn
Oh, V'dz, it was my idea.
v'dz
I didn't know.
g'tzn
Such thought and planning and excitement that went into everything. And the funding! At the time, one couldn't imagine ever using all the resources just handed to us. But things got out of hand. There were miscalculations. Some very bad ones. Everything went farther, deeper, faster, hotter, bigger, brighter, colder, darker, longer than we'd ever figured on. In one great blinding flash, we had this massive complication, totally out of hand and never to be explained.
By the time we'd reached this final stage, the best of everything had all been used up. And what was still functioning was obviously unstable. It was, by that time, nothing more than one enormous salvage operation. But we felt we must proceed, for this was the aim of it all. We thought we had nothing to work with then, but those early days of this final stage were certainly better than now. Failure after failure, and still we keep trying. We are more stubborn than wise. And so now, here we are, down to sheer dregs, and not one expectation in sight.
(A beat)
V'dz, you have a go at it.
v'dz
Oh, I don't think so, G'tzn. I've never been trained in that at all.
g'tzn
But you've seen it done.
v'dz
Well, I've observed ... casually ...
g'tzn
Your observation must never be casual, even when viewing failure. You're here to learn. Do what you can. This may be your only opportunity to ever try it at all.
v'dz
Well ... now I wish I'd paid closer attention.
g'tzn
As do I.
(Doubtful of his ability to pull this off, v'dz stands straight, stretching himself to his full height, drawing in a big breath, then speaking loudly ...)
v'dz
Let there be ... something besides dark!
(they wait with anticipation for a few seconds. Nothing happens.)
(continuing) v'dz (continuing)
See? I didn't think I could do it.
g'tzn
Though your method's meek and meager, it's more the missing of matter, I think. There's little left to ignite. And I know my memory isn't what it was, but, uh ... are you sure those are the correct words?
v'dz
As I said, my observation was casual.
g'tzn
Well, belief is supposed to be the stronger part of the command. Try it again.
v'dz
I don't think I'm up to this, G'tzn. You do it, and I promise to observe closely. In case there is a next time.
g'tzn
This is not likely to be the performance you can learn from.
(g'tzn prepares himself, then speaks loudly and authoritatively ...)
(continuing) g'tzn (continuing)
Let there be ... something besides DARK!
(g'tzn coughs from the strain of his yelling. Nothing happens, of course.)
(continuing) g'tzn (continuing)
Regardless of the grand intent, I've no longer the lungs to do it, or the energy, either. You try once again, V'dz. Otherwise we'll have to go for another ice age. And those things are so terribly boring.
v'dz
I'm not sure I have the faith ...
g'tzn
Then augment with fervor. Whenever you're unsure, speak louder.
(Once more v'dz prepares to give the command. Standing even straighter, even taller, taking an even bigger breath, he gives it his all.)
v'dz
Let ... there ... be ...
g'tzn
(Interrupting; scrabbling through his pockets)
Wait! Wait a minute! This is what I wore the last time we ...
(Finds a small book, hands it to V'dz.)
Here, this is the manual. Page I-V, I believe ... check it to be sure -- about the middle of the page ...
(v'dz takes the book, looks at the page, becomes intrigued with the subject matter.)
v'dz
Oh, I'm afraid I was a bit off. Hmm. Illumination ... photosynthesis ... thermal currents ... evaporation. My word, there's lots of interesting stuff involved with this.
g'tzn
Just do it! Then the rest should fall in place.
(v'dz prepares himself for one final attempt. v'dz reads from the book to assure accuracy.)
v'dz
Let ... there ... be ... LIGIT!
(Quickly g'tzn grabs the book from v'dz.)
g'tzn
What? ... That's light! Light! Not ligit!
v'dz
Are you sure? It looks like "ligit" to me.
g'tzn
There's no such word as "ligit"!
(g'tzn flicks something off the page.)
v'dz
You're sure?
g'tzn
It's light! Let ... there ... be ... light!
(Suddenly all lights go up and then instantly out. High over the stage there are flashes of light and electrical sparks, which continue as a sound starts up and builds -- the grinding and clashing of gears and pulleys and winches and what-all, building until, at last, there is a gigantic explosion -- and one inadequate light comes on at floor level just offstage.)
(continuing) g'tzn (continuing)
Oh, well, that's just great!
(they look intently at the light.)
v'dz
Is it rising or setting?
g'tzn
Just ... lying there, I think. Well what could we have expected. We're working with debris. Rubble and dross and litter and waste. Mismatches, mad dashes, and patches galore.
(Suddenly the light fades to almost nothing.)
(continuing) g'tzn (continuing)
Oh would you look at that! Come on. We've got to work on the generator again. This could take forever. And we've got to find places to hide the eggs -- if it isn't one thing, it's another ...
(they exit, taking the lanterns with them.
(There are sounds and lights to indicate the passage of time -- gaining strength, hitting a peak, then subsiding. The lighting ends up where it was before the time-passage began. Then silence.
(A few seconds pass and then there is the sound of a bird chirping.)
(offstage) hishi (offstage)
No, no, no, no, NO, NO, NO!
(There is the great sound of aya's big grunt, and the bird's chirping ceases as a fist-sized stone comes clattering onto stage and a few feathers drift down.)
(continuing; offstage still) hishi (continuing; offstage still)
Don't kill the birds! Aya, you must not kill the birds!
(hishi enters running from the direction of the light.)
(continuing) hishi (continuing)
I've asked you! I've begged you! Don't kill the birds! There will be no wingéd creatures left. In the whole range of our being, not one remaining. I implore you, I beseech you, friend Aya, please don't kill the birds! You're killing the sounds of the great dry sky! You're killing the music! ... the songs! And besides, it's weighing us down!
We travel from place to place to place, and whenever we stop you seek them! I will steal food, Aya. If you want raw meat, I'll yank from the growler's mouth. I'll burgle the burrows and pilfer the webs. I'll find things for us to eat. But please spare the birds! Don't slay them, friend Aya!
(hishi runs off stage, away from the light. Immediately there is the sound of a loud and ferocious growl. hishi screams and enters running.)
(continuing) hishi (continuing)
Kill that, Aya! I ask you! -- I beg you: Kill the beast that tries to consume us! The beast, Aya! If it devours me, it will devour you. And then where will you be? I know where you will be. It is not a good remembrance.
(sound of another growl. hishi screams, runs off stage, away from the sound and in the direction of the offstage light.)
(continuing) hishi (continuing)
Aya!
(Again the sound of a bird -- this time the squeaky chirp of a little chick. A slow-moving shadow covers the light, there is a grunt and loud thwack and the sound of the bird ceases.)
(offstage) aya (offstage)
Get out of the way, Hishi! Get out of my way!
(The shadow moves from the offstage light and the sound of the little chick is heard again. hishi enters, unsteady on his feet and rubbing his head.)
hishi
I can do it! I see now that I can do it! I do not want him to kill the birds, you understand, so to keep him from killing the birds -- it's so simple -- all I have to do is get in his way so he hits me instead. I don't know why I didn't think of it sooner. So many wingéd creatures would have been spared.
(The sound of another explosive grunt from aya off stage. The chick's chirping is silenced; a feather or two float down.)
(continuing) hishi (continuing)
Of course, I must be there. I must cleave to him as flea holds to hound -- as lichen nuzzles rock. Or else he will void our land of every wingéd thing. He does not understand that if everything that flies is brought to the ground, the weight would be too much and we'd sink! And then there are the sounds of the birds, of course -- more pleasant than his harsh tongue. More pleasant than the growls of hunger.
(There's the sound of a clock's cuckoo, another loud grunt from aya, the splintering of the wood as the mechanical bird is silenced. A sliver of wood and the little wooden bird fly in from off stage and land at Hishi's feet. he reaches down and gently picks up the bird, holding it tenderly.)
(continuing) hishi (continuing)
Oh, Aya, you shouldn't have done it. He didn't do much, but did well what he did.
(hishi exits. Again, the sound of ferocious growl. hishi screams and runs across stage and off in the direction of the offstage light, where he yells at Aya.)
(continuing; off stage) hishi (continuing; off stage)
Aya, your force is misdirected! You are misguided! You are tormenting me! I try to be your friend, but --
(hishi is interrupted by the sound of another great grunt from aya and another great thwack, coinciding with a cry from hishi and a jumble of shadows. The light quickly goes down to leave the stage in near darkness. Then we see the dim figure of aya dragging the body of hishi on stage. aya struggles and grunts and mutters with the task, conveying his concern with what has happened -- ad libbing: "Oh, dear." "Oh, my." "What have I done." Etc.
(At last aya reaches a point where he stretches the lifeless body out on the ground and begins to cover it with pebbles, rocks and boulders.)
aya
Oh my poor friend Hishi what have I done ... I meant you no harm -- but you got in my way! Oh, give me your pardon, I didn't know what I was doing. You know I'm always doing something like that ... not this bad, but stuff, you know ...
And now I am alone. It's been so long since I've been alone. I don't want to be alone!
How awfully, stupidly careless I was -- to have bashed my dear friend Hishi ... then the darkness that ensued. Will that go on forever? And now, I see, he's gone. Oh, his skin is here -- scarred and worn and ugly it is. But his breath ... his breath has gone away. I know, for ... I cannot smell it. I shall miss him -- my dear departed colleague, Hishi.
(Places boulder on Hishi's face)
Oh, I cannot abide the darkness! -- cannot bear to be alone!
hishi
You are not alone, Aya.
aya
What ...?
(aya looks around for the source of the voice.)
hishi
I said you're not alone!
aya
But who? ... where ...?
(aya continues looking around, wondering where the voice is coming from.)
(continuing) aya (continuing)
Oh. Oh! Oh, of course not, God. How could I have been so blasphemous. You are with me always.
hishi
It does seem, oftentimes, that I have been with you always.
aya
And your name shall be praised and thanks will be proffered.
hishi
Being always with you is a fate I've not been tempted to give thanks for.
aya
I am undeserving, my God.
hishi
Don't be so misty-brained, Aya. It is I -- your weary companion of long duration.
(aya stirs and the "boulder" falls from his face. Realizing the source of the voice, aya prostrates himself before the still-suffering Hishi.)
aya
Thou art! Thou art, indeed!
hishi
If my head weren't so hard, I'd have slept for three days!
aya
My true and enduring companion, my God.
hishi
And why can't we have some light?!
(Immediately the offstage light floods the stage. hishi struggles to get up as dialogue continues without interruption.)
(continuing) hishi (continuing)
I'm not God, goodness knows.
aya
But such proof! When all was darkness and insufferable void, you said, "Let there be light!" And there's light!
hishi
That's not exactly what I said.
aya
Close enough. I'll tell it to all I meet, and someday people will come to believe it -- even as I believe it, my Lord.
hishi
Your destiny is not, I think, to be that of the oracle. Try for shepherd or jester -- something more in keeping with the confines of your talent. Look at me, Aya -- I speak as a friend. A bruised and set-upon friend.
aya
You look a great deal like my weary and tiring old traveling comrade, Hishi. But you cannot be, because he no longer exists -- ineptness in my aiming, I admit -- accidental, I swear. If confession is needed to cleanse within, then consider this to have been a confession.
(A beat)
There. I do feel expurgated! So you must indeed be God. I find it rather odd that you're not a beautiful God, but of course you must know that, for you created everything and would have taken a look at it all. But still ... yes! Yes yes, listen to me! I see that you are God and don't know it! Think of the discovery I have made! Me -- worthless, useless Aya -- the discoverer of the true God! You're excited, too, aren't you? Finally you are known!
(Kneeling before Hishi)
May I worship you?
hishi
Anything to silence you. Each word tramps down on my aching head. So get it done. Kneel slowly, for I know how your bones pop and crackle.
aya
I am kneeling.
(Aside)
I thought God would know that.
hishi
I heard you.
aya
Ah, yes, it is God. He hears my every word. Now shall I worship thee, my Lord.
(aya launches into strange movements that involve touching his body. hishi peeks at Aya.)
hishi
Are you picking nits, or what?
aya
I'm contriving an act of worship, my Lord. I fear I'm so unworthy.
hishi
Methinks you're beleaguered with lack of practice.
aya
I do confess, my Lord, I've not spoken earnestly with you for a teeny little while ...
hishi
Never, would be my guess.
aya
... and not entered a lair of adulation for some time or so ...
hishi
Never seen the inside of one.
aya
... and my acts of contrition ... well, perhaps they have been, uh ...
hishi
Non-existent?
aya
... and no sweet-smelling bark or dry, tasteless crackers ...
hishi
No metal or gems?
aya
... no wicks stuck in wax, and no carvings or choirs.
hishi
Nothing to offer?
aya
No tangible gift.
hishi
A pillow would be so awfully nice. This stone is excessively hard.
aya
You made it so, didn't you, my sweet blessed Lord?
hishi
There's sand and there's dust. But you found the rock!
aya
Oh, you know me, my Lord! You know me so well. For all of my life I have found the hard places ...
hishi
Your thought of a deity's queerly misplaced.
aya
I'm speaking to God!
hishi
You're speaking to me!
aya
So my prayers reach to Heaven!
hishi
They don't!
aya
Yes, they do! You carry them with you, in your heart to your home! Don't you know how this works? It's you made the rules!
hishi
I'm Hishi, you moron! My home is my shoes. The only sole that we possess, we wear -- and that grows thin.
aya
You're God! You are! I know that you are!
hishi
I'm not!
aya
You are!
hishi
I'm needy and troubled -- I'm dirty and tired. My past is askew and my future is, too. Does that sound like God to someone like you?
(aya thinks a moment, then reaches conclusion.)
aya
You're testing me, aren't you? Determining faith. Well, check my
tenacity -- examine intent! You'll find that I'm ready to follow and serve.
hishi
And maybe you're god -- of the stubborn insane!
aya
Perhaps I'm a prophet. I could be, you know.
hishi
You're as crazed as a loon -- which you've almost polished off.
aya
Your judgment is humbling.
hishi
And yours is awry.
aya
I'll serve thee forever and ever.
(offstage) ramugel (offstage)
A man!
(ramugel's words follow immediately and in rhythm. hishi is still propped against the boulder. aya is kneeling. they freeze until indicated. The light shifts from early morning to midday. ramugel and feton enter.
(ramugel is seated, as comfortably as possible, on a crude sled made of old and weathered wood. The sled has a ragged rope harness attached to it, which is worn by feton who struggles to pull the sled and its burden. Besides ramugel, the sled carries the women's belongings -- old cloth bags with a little clothing, small clay pots, broken and chipped, for food preparation, etc. they take no notice of the men.)
(continuing) ramugel (continuing)
A man, Feton. What we need is a man! Don't you agree? Our troubles would be over, I'm sure.
(they reach a spot where feton halts but remains in harness.)
(continuing) ramugel (continuing)
I've heard that men are good for so many things, if properly trained and nightly penned up. A camel is better for long desert trails, and a sure-footed goat may be best for the hills. But for flat, boring plods, a man can do well. He doesn't eat much, and wipes his own sweat -- though often he strays. Well, that's what I've heard.
feton
I, too, have heard tales of the beasts.
ramugel
Tall as a sand storm, strong as an earthquake, stubborn as death ...
feton
With about the same smell. That's what I've heard.
ramugel
But that I could bear if we had one, Feton. He could do for me tricks, or tell us some jokes, or I'd make him roll up for a bolster. He could save me, I'm sure, from the ravaging doldrums of this long and despicable trek.
(A beat)
Well, don't you agree?
feton
Of course I agree. Why would you ask? Beautiful lips, like yours, my child, so sweetly reveal useless drivel -- the kind no one denies.
ramugel
Are we halting here?
feton
I'm getting my breath.
ramugel
You're breathing more often of late.
feton
I've been thinking how nice it would be to stop -- at least, for a little while.
ramugel
But if we're to find a better place, we cannot tarry long.
feton
Perhaps there is no better place. We never see a change.
(ramugel reaches into a bag and pulls out a long scarf which she ties around her waist. she treats it as though it were of precious silk.)
ramugel
Well, if we're to linger, perhaps I will groom. But what good is beauty if nothing will see it?
feton
I could see it.
ramugel
I wish that I could.
feton
You will someday ... I fear.
ramugel
Oh, I'm languishing here.
feton
You languish more often of late.
ramugel
If a beautiful woman falls in a forest, will anyone actually see her?
feton
Would anyone actually care? ... and what do you know of a forest?
ramugel
Do you think there's anything worth searching for here?
feton
Of course there is nought. I have searched here before.
ramugel
You're old, and near deaf, and you're half-way to blind. How can you be sure you've been here?
feton
Because I'm old, I've had the time to search in every place.
ramugel
Here?
feton
I'm sure.
ramugel
You have been here?
feton
There is here and yonder is too. The difference no longer exists.
ramugel
When I was but a little child, you told me I should always look -- keep going, you said -- keep looking, you said. Go on and keep looking, you said!
(Suddenly ramugel and feton freeze. v'dz and g'tzn saunter onto the stage, looking at the people there.)
v'dz
I find it intriguing that they don't throw themselves off some high cliff and just end it all, the way they complain of such gloom and such woe.
(g'tzn stops and looks at v'dz with astonishment.)
g'tzn
Oh, my ...
v'dz
What is it, G'tzn?
g'tzn
I've just realized that you do not know ... what is at the heart of these creatures' being.
v'dz
What do you mean? I know enough. I've got a doctor's degree.
g'tzn
Should you ever complete your thesis. And it isn't enough to write by rote of highlighted quotes and think you're dispersing wisdom.
v'dz
What itches unscratched do they have?
g'tzn
Oh dear. How can I explain to you ... show you, in some way ... how things could be. I thought you understood better ...
v'dz
Oh, come now, you act as though I grossly devalue some primary premise. We're talking about elements of existence within these strange entities who, as near as I can tell, are capable of experiencing only smatterings of whatever there is that really ... smatters.
g'tzn
I must find a way to show you ... that they have such a powerful, undying need! They will not easily give up. They will seek it, for it is the key to their completion!
v'dz
You know I've worked with others, G'tzn, who haven't your concern.
g'tzn
And then they wonder at the fail rate. Oh, we cannot let them lose it altogether. If it dies out now -- if that should happen -- we could lose that spark for all time. It would be gone forever -- as fire seems to be.
v'dz
Fire?
g'tzn
I have some slides. I'll show you ...
(they exit.)
(As ramugel resumes, she repeats both words and actions exactly as she did them moments ago.)
ramugel
When I was but a little child, you told me I should always look -- keep going, you said -- keep looking, you said. Go on and keep looking, you said!
feton
Until you found what?
ramugel
You never did say.
feton
When you were a child, you listened too well. We see that I led you on.
ramugel
I thought you sincere.
feton
Oh, I was. But sincerity flags if need isn't fed.
ramugel
You're bitter.
feton
I'm patient.
ramugel
You're terse.
feton
I'm tired.
ramugel
Tiredness and patience seem so much the same.
feton
The older one gets, the less difference there is -- and the more unlike is it all.
(ramugel notices Hishi and Aya.)
ramugel
There's something quite strange over there, Feton. I don't know what to make of it.
feton
Don't go up too close, would be my advice. The odor is wafting and worrisome.
(ramugel tries to inspect Aya and Hishi, keeping a safe distance away.)
ramugel
Mummified remnants? Or carcasses bleaching? The classification escapes me.
feton
Shall I take a look at the puzzle you found?
ramugel
Yes, do go, old lady. It seems to me that ugly should serve some useful function.
feton
Only the ugly can know their true worth.
ramugel
Only the ugly have need of true worth.
feton
Your tongue and your mind writhe in restless disorder.
(feton has stepped from the harness and goes to the men, observing them carefully. she kneels, bows deeply, then rises and returns to the sled, pulling the harness back into place. Thinking feton may never tell her finding, ramugel grows very impatient.)
ramugel
Well? ... Well? ... Well, tell me, old thing, what it is you found!
feton
I'm much too enchanted to speak.
ramugel
Enchantment becomes you as mange becomes dogs. Now shake your senility -- tell me the news.
feton
One of them I do not know. The other one ... is God.
ramugel
It's God?
feton
Yes. God.
ramugel
You're sure?
feton
I remember the hands. A memory from childhood -- barely recalled.
(ramugel scrabbles through the contents of the bag, flinging its contents on the sled, and pulls out another scarf -- much like the first one -- replacing that first one with this one. she drops the first scarf casually onto the sled.)
(continuing) feton (continuing)
I cried when I saw him, so great was his power.
ramugel
You're not crying now.
feton
Once was enough -- that's all he requires. And his stench was less pungent back then.
Your room is a mess; clean it up.
(ramugel hurriedly crams all the items back into the bag and makes a final adjustment to her scarf and dress.)
ramugel
Is one's residential conveyance beholden to some ancient God expectation?
feton
Everything is.
ramugel
What makes you such authority on the subject of this God?
feton
If it weren't for frustrated women, the concept of God would have never survived. God exists only for women and wives. He's just aggravation for children and men.
ramugel
Then I must learn of him, for someday I, too, may have purpose.
(Finally through with her preparation)
Now. I am prepared to meet God.
feton
He may not be ready for you.
ramugel
How could he ban attendance of someone as winsome as I.
feton
His eyesight is very much better than yours; he may not see you at all.
ramugel
He created beauty. He will bless me.
feton
He created ugly. He may scorn you.
ramugel
We shall see.
feton
Indeed, we shall.
(ramugel goes to the men. she starts to bow before Aya, then moves to bow before Hishi, Confused, she rushes back to Feton.)
ramugel
Which one is God?
feton
The ugly one.
(ramugel races back to the men, looking at one, then the other. she runs back to Feton.)
ramugel
They are both ugly!
feton
Could it then be that God didn't create himself in your image?
ramugel
You're taunting me. What is your point?
feton
You're young and you're lively, you're foolish and strong. I'm everything else. We best preserve ties if we want to survive.
ramugel
You're right, of course. Sometimes I forget. My need of you ... your need of me. Our bonding is unity's grace and accord.
feton
There's also the matter of fighting off dogs, and searching for food, and finding a bed. We must keep the priorities squared.
ramugel
Yes yes, that too. Now tell me, which one of those beasts is our God?
feton
The one that's more hideous.
ramugel
How can you know?
feton
I've studied the odds. The ugly are more in need of God, so God would manifest himself as an ugly creature. It's simple.
ramugel
But is not his spirit a beautiful thing?
feton
Learn for yourself. You believe my words only with much heaving and scratching.
ramugel
I shall do that; I shall learn for myself. Beauty need not be bathed in ignorance.
feton
Occasionally you are accidentally inspired!
ramugel
Am I?
feton
It passes.
(ramugel returns to the men. Still unsure of which is God, she kneels to encompass both in her worship. Suddenly she looks back to Feton.)
ramugel
How does one pray, Feton? What do I say?
feton
Speak simply what is in your heart. Tears are allowed, but not cursing.
ramugel
And he hears me?
feton
Every sigh and each grievance, and well-meaning wish. If it can be brought to mind, it may be the petitioner's theme.