,Originals: A Comedy of American Injun Love Performed on the International Stage,
copyright 1997 by Roy Culver
Cast of Characters
(Curtain rises on a special effects stage which must, as often as is functional, make performers seem like live actors on a real stage. The audience will see a great t.v. screen that reaches from top to bottom, stage right to stage left. It is able to carry huge images but at the same time it will reveal scenes that may be on the stage but may not, no one can tell unless perfomers walk out before the screen as if they've walked downstage and through it. It will look very glassy at first with the usual plastic frame that is around the front of most t.v. sets.
Faintly the Sacred Spirit music comes up while a starry night sky begins to appear as the t.v. screen effect diminishes and disappears. Now the stars increase and seem to move out over the audience. A distant storm is seen with lightning over the horizon. As the Cherokee voice of the music begins to sing, subdued as it is for background sound, a stronger voice, that of the character, Future, begins speaking in the dark.)
Future-Ya-hey! Ya-hey! I'm the new future of the American Injun which has begun now with the Spokanes, the Kiowas and Navajos, the Apaches, the Chippewas, wandering, searching for the new beginning, wandering the sacred earth to finally come, of course, to the city of all great beginnings, middles and ends, Athens, Athens old and Athens new.
(As Future speaks, the effects continue on the giant screen. Many birds pass and, in places, perhaps after all it isn't night because now and then visible patches of prairie are seen with animals passing through. But in the center, as if onstage, first small and then increasing in size as coming out of the darkness of time, white plaster sculptures of the Greek gods increase in number center stage. Men in white technician robes are moving them on and off. Some are giving finishing touches, maybe scraping plaster off a shoulder or putting on a spray. One of them lifts a sheaf of papers to read from it to the others.)
Kostas-The Poseidon and the Ares go to Washington, D.C., the Aphrodites go to Hong Kong, the Athena, the Hermes, the Zeus and the Hera all to Johannesberg and the two Antikitheras go to Moscow and Kiev along with the Poseidon and Aphrodite they ordered last week.
Theodoros-(comes striding, long-legged, across the stage, urgently exclaiming)-My God, we're late! We're late! We've got to get it all together! It's late, Kosta! It's late! They're already out there watching us. And you haven't put those gods away?
(Instantly there is one unified choral movement of all the others except Kostas. As they speak they raise first the left elbow and then the left hand high.)
All-(except Kostas and Theodoros)-Don't let it, Theodoro! Don't let it! You've got to forget it. They don't want Greeks to exist anymore so tell them to get out of our goddamn store.
Theodoros-(commanding, his finger pointing hard on them)-It's all right. We've got to fix it. It's all right. We've found the way. We can handle all they throw at us. But get ready. Get ready. Don't let them see those gods anymore.
Erikos-(as all the gods disappear from the stage and on a huge screen across the back appear the images of Presley, McCartney, Joplin, Hendrix, Bono and others, all very big)-There! There! We've got the connections made to the ways that go. Time for ideas to expire. Time now for the live ones coming in strong, those we all of us tie right into. No departures and no detours. Back to the whirl, the ascendant flame that made the beginnings and start it all again. We. Here. Now.
Kostas-Hey! Hey! Cut all that out! There are people out there already and we've got to get started!
Theodoros-Are you ready, Future?
Future-(off-stage, the same voice)-Man, I've been ready.
Kostas-What was that ?
Theodoros-Sherman Alexie, the Great Spokane.
Theodoros-Yeah, the Great Spokane!
All the others-The Injun? The Injun? The Great American is ready for us?
Future-(off-stage)-The only question is are you ready for us?
Kostas-We're here, aren't we? We love you real Americans, don't we?
Future-(as a long, long arm, jazzily painted, comes out with a big whiskey bottle)-Then drink with us from the real peacepipe.
Future-It's what keeps us from understanding the English, the Germans, the French and Washington, D.C. For 500 years it's kept us. Now drink with us-Ya-hey! Ya-hey!-so with us you will never understand.
Theodoros-(taking the bottle, drinks and blows out huge, gushing flames which make fractal designs across the entire screen continually changing until they fade out. With these visuals, there is an exhilarating burst of Andean mountain Pan-pipe type music that will come every time the firewater is let loose. The icons of singers on the back screen have disappeared with this.)-It's great! And those flames! They're like flames out of the bowels of the earth!
Kostas-Give me.-(drinks, blows fire out that takes the designs of his sculptures)- What's that? Look! It's my sculptures! Hey! We've got to take this to the Sculptors' Union tonight!
Erikos-(taking the bottle)-Give me that. Sculpture, poetry, theatre, that's not all that made the great beginning.-(drinks and blows out a storm of Grecian struggles and turmoil all culminating in the full glory of the Acropolis)-Look!-(holding up the bottle)-We've made the mixture, Greek to Injun. Who needs to understand Germans, English, French and Washington? We've Injun firewater taking us up like Sophocles, Phidias, Aristophanes, Thucydides.
Thommas-(comes running on to stop and shout)-Where's Athena?
(All freeze in a choral position. They make all together one choral step then freeze again and all together start to speak but the firewater is gaining on some as Theodoros loses his balance and giggles while the others are beginning, "Ahhh. . . ", only Erikos turns and swats him on the shoulder so the giggle becomes laughter that breaks out across all of them, breaking up their formation into hand waving, arms waving ridicule of themselves until all suddenly turn together with one foot and one hand forward to shout )
Thommas-Yes! Yes! Look!-(He brings on stage a large sculpture as they help him)-This is not Athena.
(Across the huge screen go vast images of mothers with their babies, their children plus people loving mothers of every kind in every way.)
Theodoros-No. That's Hera.
(They all concur. Nodding heads. Clapping on backs. Gesticulating.)
Thommas-Okay and this? This, too, is not Athena.-(He hauls on another and violence of every kind breaks across the screen. Huge onslaughts of horses. War. Explosions.)
Orvilos-Ela Tora, Thomma. That's Aphrodite!
Thommas-Then where's Athena?
All--(in a freeze with arms up)-Athena!
Future-(off-stage)-You mean Big Mom?
Theodoros-No, Sherman Alexie. Athena!
(Their hands go higher as smoke boils across the stage hiding them all. Suddenly screaming cars are heard, horns, crashes. Out of this mess, on the huge screen upstage, the immense, helmeted head and shoulders of Athena rise. She is choking, coughing and spitting.)
Athena-(looking down and stomping)-These stupid little vermin in their foreign-made cars!-(Stomp! Stomp! A few kicks and the air clears.)-There! Now I can breathe my own city air again.-(looks around upward)-Even see some stars.-(She looks straight out at the audience, her eyes monstrous and terrific.)-Scare hell out of you, don't I! Ha! What am I doing here, you want to know? Well, I'm loose, you greed-gutted pigs! -(pointing her spear out at the audience)-The Christians are pulling away toward the West. The Muslims are jerking at everything they can in the East. We've got the barbarians in the North trying to tear our heads off and Africa is vying to claim all our glory so your cheap covers are pulled every one off of me and I'm free. There!-(pointing out at the audience)-I see you there, Sam Huntington, trying to make everyone believe that those who conceived and gave everything worthwhile to your otherwise bean-counting little world are no longer allowed to be part of it. So we're freed of the narrow-souled likes of you, and the only open-souled people you've ever known are active again, out-reaching again, going beyond your petty Sumerian walls again! There!-(She looks down at the stage and as she does, she begins to diminish in size. She is looking down at a wide space with one large, long table and several small. Spaced about are sculptures by artists of Greece today so that while the scenes among the members of the Sculptors Union are played out we see their work exhibited but only if it is done beautifully while the same men as before are tending to them and to the tables. Around the large table and at some of the others are gathered, standing and seated, men and women, some very well dressed, some in rough clothes, some just entering. They are mostly quite arrogant. All are acquainted with one another.)
Athena-(She has continued talking.)-This new freedom has already taken them away from you and they are out beyond, as before they were, out beyond all those tied to the narrow histories of your middle class nations. But they hate one another. Ha! That's my kind! When they fight one another like Pericles and Phidias, at one another's throats all the time, all the time in and out of prisons, many of them dying in terrible ways, but from it all coming the grandest glory the world has ever known, Athens!
Paraskevas-(standing at the head of the long table)-I am telling you every one, the women have given our power to other lands. They show no one our strength of realization, our forces that are confronting the Germans, the Americans, all those that would stand over us. They are making us ass-kissers, every one.
(On the screen with Athena, the god of war Ares, helmeted and bristly bearded, comes shouldering his way into view beside her, pointing down at Paraskevas. Even as he comes on, they are both diminishing in size to where they will be on the stage with the others, who will mostly ignore them.)
Ares-That's right, laddy! You're right! Stop those women in their priestessy, prissy paths and plump their sweet bottoms down in soft beds where we can all get at em!
Athena-Do you have to shove in again?
Ares-Hey, I belong here more than you! These people can't live without war!
Athena-I do not give you the right!
Ares-But the weapons makers do, so I'm everywhere. Hey! Where's the laddy's sword, his shield? What kind of man is this, anyway?
Athena-That's a different hero, Warhorse. No bloody stabbings of throats and hearts in these or in him. His heart is his shield. The women have shot their arrows in it and that's why they're meeting.
Vivi-I was made president legally by council, Paraskevas, so why are you standing in my place?
Paraskevas-But the majority voted for me and you women stole it.
Vivi-Stole?-(She is small. He is large and well-built but she circles in on him with arms back like fierce wings.)-The council was elected and the council decided. That's the law and you have only to obey it. Read the rules.
(While they speak, the previous technicians are carrying about trays of food which they put on the tables. The sculptors accept that they are waiters and most take their seats before the accumulating food.)
Paraskevas-(to all)-That's why we are here now and are going to settle this. Aspasia has said we should have a general vote of the entire creative body.
Vivi-Aspasia! She is behind all this?
Paraskevas-Not at all. It is my purposes that have brought us together. We have to understand with all fairness and good judgment that we cannot get the attention of the world if we continue being more and more a social club of women dabbling in the arts and trying to make such obsolescent people as the French believe in us.
(Several women stand erect at this including Aspasia and Rosa. Their talk is faded out, however, as Athena picks the bottle of firewater off a tray that Kostas is carrying.)
Athena-What 's this?-(Kostas grabs the bottle. She holds it and he looks her in the face, laughs and gives it to her, going on about his business. She sniffs it.)-I know this. It's nothing but ambrosia.-(She holds it high and stares defiantly at the audience with those monstrous eyes again.)-Made from one of the sweetest, most delightful substances of all our earth, absolutely pure, uncontaminated baby shit straight from the bowels of mother Gaia the creator of all good things large and small.. Ha!-(She laughs wildly.)-That should tear Sam Huntington right out of his ridiculous little Harvard sand box! Ho-pa!-(She takes a drink and blows out fire from which Vika, a Greek sculptor, comes walking to sit among the others as a participant..) Well! I definitely didn't expect you, but yes! Vika, the loved one, the mother sculptor always proud in any age to emerge from among baby shit and baby piss,-(Vika turns, looks at her, smiles as if in surprise, waves at her and then turns back to give her attention to the others. Athena holds up the bottle to look at it again.)-It certainly is ambrosia, but with its own special touch. Just the thing to get all our sweethearts started.-(She pours in the glass of Rosa, who is talking, then directs Ares, who has become a smaller than average figure on the stage, to pour in all the others.)
Rosa-I am not a dabbler! What I create goes as beyond the time as any you do.-(She lifts the glass, drinks and blows out flame that is like her sculptures. At first she's frightened but then moving with the music is fascinated as are the others.)
Kostas-(removing his waiter 's napkin from his forearm and taking a seat among the sculptors, laughing at the effects and at Rosa)-Beyond the time. You think you're to win the Beyond the Time award? With your comic book creations?-(laughing, without thinking, he lifts a glass toasting her and blows out flames that again are like his sculptures and he again is amazed, then delighted so that he climbs on a chair to study the images in the air as they fade. All the others are gathering around looking at the glasses.)
Kostas-(to Paraskevas)-You! You try it.
Paraskevas-(intrigued but wary)-I don't know.
Others-Try it. Go ahead.
Vivi-Wait! Wait! Before we get into our usual state of Bacchic behavior we have this visitor who has come for the Beyond the Time exhibition between the Greek nation and our American Injun friends, Mr. Carl Ponca, one of the great sculptor-painters of the Osage-American nation.
(There is general applause and the tall, good-natured Carl Ponca comes to the head of the table.)
Carl Ponca-Well, I just want to tell you how glad I am to be here, really glad to be among all you free-minded Greek sculptors. And I see you're all drinking firewater to celebrate. Well, I think that's just grand cause we people at the Santa Fe, New Mexico, art center, we get all our great creative visions straight out of that same source. Here, lemme show you.-(And he takes a drink out of the bottle, puts it back in Athena's hand and blows his great metal sculptures out on the air. Everyone is astounded.)
Paraskevas-(eager now)-All right! All right! Let me!-(He drinks and blows out immense images of his work that merge and blend in with visions from the Hubble telescope of light-year high columns of unbelievably vast forms out of which galaxies are born. He turns to Vivi.)-There! And you still believe you or any woman should be president of our Union?
Vivi-(clutching up a glass defiantly)-We'll see about that!-(She drinks and immediately across all the screen is seen again the images that came with Aphrodite but struck through now with the sweep of Vivi's designs.)
Aspasia-No! No! That's too much! Let me!
Others-No! Let me!
Kostas-Quiet, everybody. Where are your manners? Show some hospitality to our great guest.
Rosa-Oh yes! Yes. Dear friend of all our artists, what message do you bring us from the true Americans?
Carl Ponca-Yeah, well we Injuns have prepared a few words about it all. Do you wish to hear?
Aspasia-All of us.
Many-We wish to hear.
Carl Ponca-All right, then.-(He reads from pages he holds up before him.)-We are all being put under social control by the World Trade people of Germany, France, England and Washington. A major purpose of social control is to defeat the free ranging of general mentality and bring it into line with the preconceived but totally artificial and repetitive, understand that, now, totally artificial and repetitive requirements of the prevailing system.
Freedom of the spirit to fly about the world today and mix our children in the best blends-That's what we all want, right? Yeah!-Freedom of the spirit demands free ranging and vigilant rebellion in the right places and at the right moments. This may be designated, Education of the soul.
Now we get to the chickens-(He points at the pages and leans down to Vika, laughing.)-I like this part of it. How'rya, Vika, honey? Haven't seen you for years!-(goes back to the reading)-Unless you educate your soul, my friend, you're merely an artifice, a tool of the system like those people out on Mir, just tools of the system. In other words, a technologically designed chicken in the world-wide chickenyard of packaged humanity, the American chickenyard, the German, the English, the French, the others.
So it seems-now get this-it seems that the soul only begins to awaken when it catches sight of life outside the chickenyard, and that's the job of the firewater artists.
Sure, there are the artists who slave and labor to create the chickenyard so that all their art is chickenwire fencing, the Leonardos, the Picassos, all that sort, but we want the artists never to be mastered.-How do you like that now? -Master the artist and he or she is dead. The artist must live in the light, the immeasurable dimensions of light and so here you are. We have found you -multi-dimensional lights all together here creating new universes of realization out of your independent spirits-We have found you and we love you. Yes, we love all you Greek sculptors coming together, fighting for your Union against all the assembled efforts of control, ranging your great gifts of light and of continual change against the Black Hole full of anti-matter at the center of the World Trade Organization, and we are with you, with you with the great power of Injun love for you.--Now get ready for this!
Somewhere out there wandering in the mist of love
The Future of our Injun nations waits above the waves,
Waits for landings, bows or sterns, arrivals.
When to come?
Petty nets all left behind,
Dispersed, all vanished from the mind,
Nothing known but these guarantees
That love is here.
As space exists through all the universe
So love is here
The assurance of the heart is here
All concern for permanence left behind
Thoughts based on mirrors in other minds
That never were
But imagined, only imagined as real
Deferring better realities
To trap the wings and enmesh the soul until
At last we know love waits out there,
Out beyond the barriers, beyond confines,
Waits out there, fair hands beckoning Come! Come!
And easefully, all nets dissolving, easefully,
Dull shores recede, dumb cities dwindle,
Stars appear, the sigh of waves is heard.
Once more the Grecian beginning. my friends!
Once more the shallow approach to Troy!
Once more Cassandra's sounds!
And then beyond, my friends, beyond the time!
As far beyond as love may go.
All of them-(with applause)-Hey! Wonderful!
Aspasia-Yes. Yes. Very beautiful. But now I want you to see when I drink. Just see.
Carl Ponca-(taking the glass away from her lips)-Please! Please! Be so kind. Could I have a request? Just one request, please?
Paraskevas-Of course, friend. Anything you like.
Carl Ponca-(his arm around Vika's shoulders)-My dear friend here whom I've not seen for years. Mother of the three most beautiful women in all the world except my own, whose forms and shapes I've not seen for so very long. Could we just let her drink for me?
Vika-(taking up the glass happily and toasting Carl)-Yes, old friend, I'll drink for the beautiful American Injuns we all love so much.-(She drinks and blows out fire that takes the shape of Big Mom, who is standing there on the stage as real as any of them. Obviously Injun, she has braids down past her knees, is very big but not obese, just thick and heavy. With a grandmother's wrinkled face but with the youngest of eyes.)
Carl Ponca-Big Mom! Ya-hey! What are you doing here?
Big Mom-(throwing her arms around him)-Well, I don't know, Carl.-(She goes around embracing everybody.)-I guess it's just a big party and I just had to come.-(She embraces Ares.)
Ares-(awestruck)-Who are you?
Big Mom-I'm your memory of your mother.
Ares-Do I have a mother?
Big Mom-Of course, son. Everybody's got a mother and that 's why I'm your memory of yours. Just do a little thinking, sonny boy. Just a little., enet?
Ares-Why-why yes. Gaia! My mother! My beautiful sweet mother Gaia. Oh how nice!-(He puts his head on Big Mom's shoulder and she pats it lovingly.)
Athena-(laughing)-Look, he's weeping. The great god of war is weeping!
Ares-(straightening his head up)-I am?
Big Mom-But nice, like you just said. Isn't it nice loving your mother instead of going around making wars, all the shit-head military morons killing mothers everywhere?-(She puts his head roughly back on her shoulder. He resists a little and then gives in.)
Ares-Momma!-(Athena gives a great laugh as do others. Ares turns pointing at Athena.)-Well, then what is she?
Big Mom-(going to lift her hands toward Athena as does Carl Ponca in the Injun greeting to the day)-She? She's the beginning of the beautiful day.
Vika-(going to Athena, who smiles at her lovingly and embraces her)-Oh yes! Each day I am as newborn in her light. She brings the day to me so all the things I see, the window curtains, the dust on the window glass, the balcony railing, the glass of water by my bed, my shoes, the chairs, everything small and large is like a center of enchantment, every object, not just my sculptures there about me, the whole day every day in Athens is beautiful for me. Now the city is full of those who never look to her temple when they wake but think first of the clock and chase their schedules, but she is the beginning of the beautiful day so that every day is for me her wonderful day.
Carl Ponca-Why, honey, I'd say you're telling about the Injun day, every day.
Theodoros-Yes, I read that in Kazanzakis.
Kostas-What did you read, you joker?
Theodoros-He says that each day of Athena's is like a beautiful island isolated in the seas of night. No tiresome repetitions of Monday, Tuesday, Wednesday, never such stupefying idiocies, this curse upon the creatures of the earth to confine and diminish them, that each day of Athena is born from the mind of God for which we are given the privilege of realizing each day's full magnificence. Each day unlimited in far-reaching values and beauty just as one Greek island never has the same beauty as another, but you arrive at one and it's like another universe with its own vast and limitless complexity like immensely spacious beads all alive in which we are only foolish strings passing through.
Carl Ponca-Hey yo and ya-hey!-(throws an arm around Athena's shoulders as she laughs up into his face)-I'll take a lot of that!-(Then he turns to the others and they all forget the gods, who are simply there in the group of them.)-But we've got to take care of what we came for. And I'm going to get your help, right? You did say you would help us, didn't you, Aspasia?
Aspasia-Of course, Carl. Surely. So what was that you needed again?
Carl Ponca-Well, look, we've got this new kind of firewater circulating among the reservations and we think you're the only ones that can help us.
Paraskevas-Why that, Carl?
Carl Ponca-Well, you know where the old firewater put us. But this new thing. Well, it was lately mixed up by Alexie, Momaday, Kingsolver and Erdrich from some stuff, well, they keep it all secret, you know, and Erdrich calls it love medicine, and well it puts us somewhere so different it's like the difference between a Grecian urn and pots made for MacDonald's hamburgers. The only thing comparable we know is a world of Greek poetry, the kind that Ilitis and Kassis have made today, so that's why you're the only ones we can think to help.
Athena-But no one wants to be in a world of Greek poetry anymore. They want Minnie Mouse and Barby dolls.
Carl Ponca-That's surface life. That's before kids could escape all the Mickey Mouse chickenyards and fly back and forth, looking for something worthwhile in their lives And now you bring us a day in which all days blend, Injun day, Greek day. No living in shallow, routine memories of the same chickenyard all our lives but everything wonderful. everything new like the earth is really every day always new.
Theodoros-(reaches up high and pulls down on an invisible cord so a steam whistle blows)-Let's take a break!-(Every figure on the stage freezes like sculpture except the technicians, who all gather around the big table, taking empty seats.)
Kostas-Yeah, it's lunch time. Here, try one of these sandwiches.-(He puts a lunch box
up among the food already there and distributes sandwiches.)
Erikos-(putting his foot on the table, pouring some coffee and relaxing back)-I thought those were fairly good things the guest was saying. Is that a Greek playing the Injun?
Kostas-Who knows who's playing what? Who's playing you?
Theodoros-Hey, cut that out!-(gets up and looks at the frozen figures)-You think some day we'll be making copies of these Gods and Goddesses and filling everywhere the world's museums and universities?
Thommas-Of course-(goes to Vivi)-Can't you just see Vivi in the Metropolitan Museum out in the middle of the big hall where the fake Etruscan warrior used to stand?
Erikos-And Paraskevas in the J. Paul Getty, the sculptor of the universe twice life-size?-(Vivi beside him hits her hand against his head so he gets up staring at her.)-Diavolo! Can't we take a little break?
Theodoros-(rising along with the others)-Oh, all right..-(He reaches up and pulls down an invisible cord so a whistle blows hard.)-Break's over! Let's go!
Aspasia-Carl! Carl! I can't remember what you were saying!
Carl Ponca-Neither can I but never mind. Let's just have a big dance right now. Nothing's better than that.-(They all start a circle dance. He motions to the audience.)-Get those people out there in it. Ya-hey! Are we real or just electronic shadows fooling everybody's mind?-(He stomps, dances and yells)-Must we always be afraid of being real?
Vika-(dancing)-So that's what you want?
Carl Ponca-Ya-hey!-(dancing)-Ya-hey! Time is not real and the earth is not real! The only thing that's real is love!
Kostas-(dancing)-So that's what you want?
Carl Ponca-(cutting into energetic stomp dancing)-Everybody wants love! Everybody needs love! Love is what everybody's really got to have!
Paraskevas-(as music blares out, dancing hard)-Everybody wants love! Everybody needs love! Love is what everybody's really got to have!
Madonna-(on the big screen upstage, singing and dancing)-Everybody wants love! Everybody needs love! Love is what everybody's really got to have!
(The dancing is getting wild.)
Hillary Clinton-(on the big screen upstage, singing and dancing)-Everybody wants love! Everybody needs love! Love is what everybody's really got to have!
(Across the same screen many celebrities dance and sing the same thing, all of it getting wilder, and the curtain begins coming down.)
Theodoros-(running out on the stage before the widest screen)-Hey! It's not time to bring the curtain down!
Future-(offstage)-To quote the holy book of the Spokanes, "Reservation Blues", Shit, shit, shit!
Theodoros-Don't bring the curtain down, Sherman Alexie.
Future-Look. I'm not Alexie, enet! Alexie says, inet, I say, enet. I'm the future of the American Injuns and nobody is going to get a message.
Theodoros-But how can anybody get the message?
Future-Nobody's going to, because there is no message!
Theodoros-But nobody understands!
Future-Good! Drink the firewater, make the great music and get those new realizations rolling.-(curtain falls on Theodoros)
_Theodoros-(crawling out in front of the curtain)-Is that the end of it all?
Future-(He comes out on stage left to lean his back against the proscenium arch. He would be the perfect touristish Injun but he wears a logger's shirt and jeans..)-Whattaya want? You want a bunch of people painted red with feathers and war whoops? What've we got here, a bunch of tourists come to gawk like chimpanzees and buy souvenirs? No. This is a theatre audience, something you Greeks created to raise the human spirit with catharsis, enet? So if you have catharsis, the beginning has no end, enet?-(As he speaks he reaches offstage, pulling one hand downward so the house lights go down.)
Theodoros-(as he disappears in the growing darkness)-What's a beginning with no end?
Future-(All is dark.)-Beginnings with no endings in a fun and games world would be originals, enet?
Theodoros-That can only be the future talking about the second act.
Future-You're right. It's the future. So take a break.-(The steam whistle blows and the house lights come up on an empty stage, the curtain closed.)
End of First Act.
(Curtain on a screen undulating and pulsating with the textures and colors of the magnified insides of a flower, orchid, gardenia, whatever, to give the effect of the most innocently pure of vaginal interiors with which we are treated to a medley of floral interweavings which climax and then are invaded by select visions of infant faces, the intelligence of eyes and expressions, the inescapable beauty of the burgeoning human mind. This is covered over by the super-cute faces of cartoon animals crowding out, blotting out the human to then be replaced by a replay of children's faces and eyes filling the screen again but now as debrained as any idiotic cartoon. The music is the kind of tuba-booping, trumpet blaring frisky friskiness usually heard with such.
Suddenly helicopter shadows pass through the entire theatre, not just on the screen, passing upward diagonally from below stage right upward to stage left and to the ceiling. Then the diving screams of Stuka bombers shake the theatre as Dolby sound slams out explosions and howling gunfire with general screaming and bedlam.)
Future-(offstage, very excited)-The Germans are moving down through the Balkans again. Yes, the Germans are on the move again with thousands dying in their paths, mothers, children, families, who cares? They are attacking Macedonia again, wanting a way to the world again.-(Bombs crash; Planes scream.)
(Silence. Stars drift overhead. Sacred Spirit music.)
Future-Now for some bad writing. Every good play has some bad writing. So listen now. Bad writing.
Sweet Voice-The Christian world must stand beside our dear Turkish friends in this great hour of need when the Greeks are terrorizing the villages of the poor Kurds of Eastern Turkey. These arrogant Greeks who are never a part of our western civilization-oh, you say they created it? Well, never mind, these Greeks whose art today is never respected-oh, you say their art is better than ours today? Well, well, never mind, these Greeks, these Greeks, I tell you who in modern competitions like Atlanta are never mentioned-but you say they got more gold per capita there than did America, England or China? Well, these Greeks are rejected, contemned, ignored by all the histories of modern civilization written in America, and if our historians say they are of the lowest caste, the same as Serbians, and if our politicians-a moment of silence for our beloved Lyndon Johnson of our Alamo-crested Lone Star state, please-say they are mice while we are elephants, then it has to be true. It has to be! So it is! It is true! They are nothing newsworthy at all! Nothing, nothing, nothing!
(While this is happening, the entire screen is filling with a slightly bearded, moustachioed face which becomes stronger and clearer. It is the face of a quietly determined young man with a freshly lit cigarette in the right side of his wide mouth, his expression sardonic. As if the camera pulls back from him, the face diminishes until we see his entire figure with his arms clutching the bottom of a flagpole as he begins his climb. The Sacred Spirit music becomes very loud all around with its insect sounds rising as the bullets crash into Solomos Solomou, and he falls. But his body does not go to the ground. Instead we see his figure descending through the air before a background of immensely magnified Grecian pottery, down past the wall-paintings of Thyra, past great fluted columns colored and sun-smitten like the urns. down past wide-spreading vistas of the Greek islands which take on a view of a wide-spreading bed sheets under which Athena is lying naked with Future. She comes up clothed now, her eyes on Solomos, her tunic open to bear her breast to him so he disappears into her heart as she closes her tunic and turns to walk away, looking back, smiling victoriously over her shoulder to speak.)
Athena-(as she goes from the overall screen to the other screen upstage where she sits at a restaurant table with Big Mom and Ares who are being served by black waiters.)-So much for the bully boys!
(Below their screen the sculptors' meeting is still going on although the large crowd has gone and only the long table is being used. At this point, camera work brings us in on them applauding Aspasia as if she has been telling all the foregoing like stories. We get a shot across Carl Ponca seated opposite her as he slaps dust off his pants leg, shaking his head and smiling.)
Carl Ponca-Ya-hey, Aspasia! That's pretty good. But let me tell you one about the coyote.-(The coyote from the Road Runner cartoons lifts his head, as large as anyone's, up out of the dirt of his Southwest locale and stares Carl in the face.)-No, not you, clunk-head. Beat it!-(The cartoon disappears.)-Now this all happened back there in all the gatherings of things that go on all the time, yeah, when old Coyote and his cousin Bear hadn't anything to do so Coyote said to Bear, since we've nothing else to do this afternoon, let's create the universe. "Fine,"said old friend Bear, "but we've got nothing for sure that we can make it out of." "But that's just fine," replied his good pal old Coyote, "since that's all anybody's ever made any universe out of yet." "What's that you mean?" asked Bear, mightily intrigued. "Just that," answered the standing on hind legs, mean as all tarnation old Coyote. "Whattaya mean, just that?" went on the also upright and back-arched Bear. "Why nothing for sure. We've got so much nothing for sure that we can even throw in some quarks to keep things from being overly understood or even underly." And so that's how the universe got made one afternoon by old Coyote and his cousin Bear.
(All the Sculptors clap their hands in admiration.)
Paraskevas-I'll bet your coyote left his shield on the battlefield.
Carl Ponca-(laughing)-Like any good Anaximander-style Greek, enet? Just to make the difference between western individually inspired culture a la Osage and Attican and those totally obedient, absolutely sure instruments of science out there on Mir.
Vivi-But when are you going to tell us what you need, Carl? What you really need from us.
Carl Ponca-(standing)-I'd like to, Vivi, but right now I've really begun to think I've gotta get my ass in the saddle.
(In a choral movement, all the sculptors and technicians, some of them rising from chairs, turn toward him in one motion of protest. On the upper screen, Big Mom, Athena and Ares stop whatever they're doing, look at Carl and then at each other.)
Paraskevas-You're not leaving? Why? What did we do?
Carl Ponca-Yeah, well, I really have to go, you know. Gotta get back to my little spread. The horses need tending to, the dogs and the sheep, you know.-(He speaks to the higher screen.)-Ya-hey! You coming, Big Mom?
Big Mom-(She starts to rise but Athena puts a hand on her arm and she sits back happily.)-Well, Carl, I gotta tell you, Athena's been showing me the sights around her city. She's even invited me to have Greek coffee at sunrise on the Acropolis with some guy named Kozokos. Whatta ya think of that! I've begun to wonder where they been keeping these Greeks hidden. Hey, the histories all talk like the real Greeks are dead and here they are, the most live people I've ever seen. (Views of the streets of Athens can come in here with crowds moving along, cars, motorcycles, people on trolleys and buses.) Full of life! Bustin' with life! Ya-hey! You go out in the streets here and you see all these Athenians going along with this great consciousness of one another as if they're all in harmony. They sit back in it like the seat of some car and just coast along syncopating with each other and you can see they all feel real good. They feel so good because of one another that some of them go around with tears of pleasure in their eyes. And the way they just talk right out to one another, everybody to everybody else, immediately , spontaneously about any little old thing. It's like a great, live animal rippling through the streets and Athena says it's all over Greece, especially in the islands, and that's why people love to come here, not for the beaches and the sea, but just to be with the good-hearted Greeks. And look here, Carl,-(She catches the hand of a black waiter and holds him, laughing.)-they've got our black brothers and sisters here, lots of them. This is an Ethiopian; whattaya think of that? Really wonderful people, the Ethiopians. And in Athens. But Athena says they're Greeks like anybody else that lives here and raises kids. She says I can be a Greek! I can have a home here! Those shit heads in Washington don't want me to have a home anywhere, but the Greeks say Yes! Come live with us, they say! Hey, Carl, I like the idea. I'm gonna stay!
Carl-But don't you sort of think Sherman Alexie's going to get end-of-the-world mad if these Greeks steal you away from the Spokanes?
Big Mom-He had Thomas and Checkers and Chess run like hell out of that Auschwitz the Americans call a reservation, didn't he? All those concentration camps they still keep us in and the American people don't give a damn?
Carl Ponca-You will come see us sometimes, enet, Big Mom?
Rosa-But we were going to do so much together, Carl!
Carl Ponca-(waving at them happily)-Some other time, okay? It's been real nice, really nice, but I've gotta be rolling so so long, my friends-(Exit)
(They all of them, many in chairs, slump back with a big moan.)
Kostas-Now what can you say about that?
Theodoros-Nothing for sure.
Future-(offstage, laughing with a loud shout)-Now they're getting the idea, enet, Big Mom?
Erikos-(standing up in surprise, looking at Big Mom)-So that's what you want!
Vika-Then it's the same as Kornelius Kastoriadis' question: How many sides has a modern Greek sculpture?
Paraskevas-Yes! Of course! The same as a cloud the way Black Elk said. One side!
Kostas-(rising in alarm)-No! No! Cut that out! Or we'll never get those people back from Mir!
Future-(offstage)-Do you care? Do any of you really care?
Aspasia-Of course, we care!
Many of them-Yes. Everybody cares!
Vika-Of course. The whole world cares!
(In a choral movement, all their arms raised, they progress downstage.)
Vivi-Oh you on Mir so far from home, we care. We all of us care. And our sculptures will never endanger you in any way.
Paraskevas-But we do have to answer that question. Here. Now. We are all gong to have to answer that question.
Vika-Better if we break up the entire union of Greek sculptors living all over the dear earth.
Theodoros-And send the Future wandering again?
Kostas-So there's the rub? So it's to be either the future of the Injuns or the future of those out on Mir?
Ethiopian-(He is the waiter that Big Mom caught by the hand. His face is huge on the back screen.)-But what of the little Hutu girl lost to her parents on one of those roads down in Ruanda? Do any of you care about her?-(He has tears.)
(Big Mom and Athena rise and turn toward him in a choral movement. At this point the figures on the stage and on the upper screen get mixed so that all are together and through their forms is seen that of Ares who remains seated, totally indifferent.)
Vika, Vivi, Aspasia, Rosa-Oh yes, we are all for her. We do. We all of us care.
(The camera closes in on the face of Ares, totally bored, cold so that in his eyes that now fill the screen, snow begins falling. As the camera pulls back, Athena hits across the top of his head and the snow is scattered, so it begins falling across the bigger screen also.)
Big Mom-(She stands among the gently falling snowflakes holding out her hands.) -
The snows are here
And it's not time
Not that time of year.
We fools of love wandering lost roads
Little boys, little girls
All our eyes aching for new views of the heart,
Giddy with our thundering blood
Everywhere looking for the change that is love-
(She takes the Ethiopian in her arms and begins a slow dance.)
-With eyes that come popping out of little tree frogs
Leaping down through green forests
From every direction in the green air
They see, they really do see
With love's blind hunger
The universal need to care.
(She leans down to Ares.)
Do you care?
(He looks away indifferently. Athena looks him scornfully in the face and with a wave of her hand streaks the entire screen with a dark, rich color, and a throbbing beat begins. Ares
looks puzzled and immediately the snow stops falling.)
Oh we fools of love
Horned in by armour of isolation
I tell you we care, we all of us care
And our separateness will soften
All of it soften and crack
For painful new eyes and wings
To meet the air
The everywhere trembling and innocent air
For the combinationsØØØ that go.
(The beat gets stronger.)
While colored birds cry and flash past
(The screen is ripped across with hot colors.)
No longer asking only for ourselves, those
Myriad multiplications of self
Like mirrors fluttering around us
Asking do they care? Do they really care?
Oh fools of the world, lean back,
Lean back indifferent in chairs
And let it all come in,
All the sounds of all the earth's friends,
For we are soundly loved
(Great flashing of colors.)
And all the earth, yes, all the earth
In all her loveliness
And snows that are falling
All snows that are falling
Swiftly are melting everywhere.
(During the last lines of Big Mom's poem, this hot, savage beat and the dark, rich colors have made video-style horizontal streaks across the two screens and as she finishes, there is a wildness on the screen behind her. Athena puts a hand on Big Mom's arm, pulls her back to her chair at the table and makes wide gestures with her other hand which change the whole setting into a nightclub scene in which there is no longer a division between the upper screen and the rest. Except for the dancer, everyone will be seen at nightclub tables, blacks and whites evenly mixed, enjoying themselves.)
Big Mom-What's that?
Athena-It's Aphrodite. Her music. She's coming on.
(Movements of the dancing form take over the entire screen all in dark, rich colors out of which emerge the totally sexual shapes of young, black Aphrodite.)
I'm going to teach myself a brand new way to dance
Lots of fresh romance
Plenty of stuff that life's made of
And precious little that isn't sweet love.
I'm going to get myself a new style of life
Shake it around and bring it on down
So no one can tell me I don't know what's wild
I'm not anyone's child
I won't do anything mild.
I'm going to leap right into the middle of every day
Let no love get away
With the dolphins play.
I'm going to teach everybody just how they all should live
And really give it all, give it all, yeah, give!
I'm going to shake it all up and run it right through the town
And run em on down. I'm going to go! go! go! go!
(She seems to be leaving in an exit with this but suddenly fills the screen again.)
I'm going to get right down to the ways things really should be
With a lot of sweet talk just about you and me.
I'm going to chip chop, handy hop
Remake myself from toe to top.
(As she finishes, she is surrounded at a bar by very stylishly dressed,
stylishly beautiful young blacks among whom she disappears.)
I'm going to be what everyone thinks we should be
And you'll surely see, yes, surely you'll see.
I'm going to go and you will certainly know
Everyone of you will absolutely see
All of these things I am going to be.
Ares-(at the table with Big Mom and Athena)-What? A black Aphrodite?
Athena-Of course, stupid. You know, you military creeps are so dumb. You don't know that I'm sometimes black? Do you think there's no black wisdom and no beautiful day for those darker than you? No black sex? No black mothers?
Ares-(standing)-I'm not going to take this! I'm getting out of here!
Athena-Good! Go! We want to get rid of you forever.
Ares-Ha! War is forever!
Athena-You bully boys that broke up our sweet life want everybody to think that. But there are too many changes for your kind to keep hold of and we're just going to find out about you, aren't we, Big Mom?
Big Mom-(laughing)-Anything you say, honey.
Ares-(sitting, amazed)-You can't do anything to me. I'm immortal.
Athena-The other bully boys have made that up with their big fiction. But we are the truth and you're a fabrication.
Ares-Look at me! I'm still here!
Athena-Only because the shit-loving weapons makers are still here. And we women are in their factories now everywhere.
Ares-(mouth open, leaning close)-What are you saying?
Athena-(shoving him away so he falls ass-splat on the floor)-Your days are numbered, storm trooper, so get used to it.
Big Mom-Enet, though? I didn't see him show any sympathy at all for the little girl lost from her mommy and daddy.
Paraskevas-(Standing over Ares)-No, I didn't either.
Ares-(getting up, straightening his garments. ignoring them all)-Oh why don't you all grow up. It's war. Those things happen.
Paraskevas-(completely outraged and furious, seizing Ares and smashing him back
to the floor)-Those things happen? Children are lost forever from their parents and die alone? Because of you, you rotten,. worthless fabrication you?
(While this is happening, Athena stands, puts a hand under the end of the
table, lifts a little and she with Big Mom is withdrawn upward to the higher screen
where she sits again to watch, cheering the men on.. As the table rises, a horizontal yellow cord takes its place above the table within easy reach for Athena.)
Kostas-(kicking Ares mightily)-Yes, who needs you, you piece of stench?
(The women sculptors take one another by the hand and leave.)
Theodoros-(bringing a chair down on Ares who is indestructible but is being dam-
aged anyway)-Give him what he likes so much.
Erikos-(coming in and adding kicks)-Look at this will you? Every time someone new gets in, the idiot becomes smaller! Thomma, come give this god a kick.-(Thommas does so laughing. They are all laughing now.)-You see? See how he gets smaller?-(At this point, Athena waves a hand and from her palm, the black Aphrodite emerges to take over the entire upper screen, sprawling voluptuously across it. Slowly she changes every kind of color.)-Again smaller! You see what it is? Every man man enough to smash war around makes it smaller. The devil! I'll bet all the generals are smaller now, the great bomber pilots, think of it! I'll wager the bombs are smaller. If we get him smaller, the nukes can't tear down an outhouse. We can keep the American pentagon in a shoebox. Come, all of you, Orvilo, Erico, everybody, kick him all together!-(They pitch in, and Ares is reduced to small dog size.)
Aphrodite-(chuckling sensually, her colors continuing to change)-Come now, fellas, let up. You might as well let up? It's going to do no good, really. The next time some lying president says the enemy is at the border, war will be back bigger than ever.
All of them-Aphrodite!
Aphrodite-Yes, it's me. Wait! Wait! Don't grab your crotches like that. The
world is watching.
Kostas-But, Aphrodite, honey. You make all our dickies stand up like flagpoles!
Aphrodite-You have to think how the American Supreme Court these days is
straight out of Salem, Massachusetts, and . . .(One of her breasts flops
down over the edge of the screen.)-Oh-oh! They won't like that!-(As she
puts it back, the other flops out.)-Well, dear us. I guess there's no way to get on Internet now, so fuck it! Right, fellas?
Theodoros-Oh, yes. Oh, yes, Aphrodite, oh, yes. Fuck it!-(Ares sneaks offstage.)
Aphrodite-Now you see? You've forgotten all about war, and he got away.
Aphrodite-No, wait!-(standing above them in various Venus poses)-You can never stop war that way, so wait a sec. The real way to stop war is right there in your own hands.
Erikos-Ha! I know what you're saying. It's Diogenes' thing.
Aphrodite-Well, a real Greek among the Greeks. Tell them all what he said, sweetheart.
Erikos-Diogenes said the way to stop war is to masturbate. And then he said, like this!-(General laughter and back-slapping as they cover up the demonstrating Erikos.)
Thommas-But that was over 2000 years ago.
Orvilos-So, Aphrodite, what about that? What did it ever change at all?
Aphrodite-He couldn't expect to change anything then. It could only catch on in a time like the present. Haven't you heard the lady say, let me change into something more comfortable? And it is 2000 years, you understand. 2000 years later when everyone can fly free of it all and change, then change and change again their chickenyards again and again-(She is changing wildly into a variety of lascivious shapes in an expanding, sensual dance.)-And today we have become electronic. The lady can change into a dolphin or anything she likes. And with these little Japanese devices-(She tosses black boxes with big bright buttons down on the stage and they grab them up.)-You can make me whatever sex thingy you want me to be and they give you complete, total sexual satisfaction like never in all time before. Let's see you do it, Kosta!-(He hits a button and she becomes a Roumanian gypsy garbed in black lace with salacious parts coming to view and disappearing until Kostas howls and leaps until the others cover him up the way they did Erikos.)
Aphrodite-All right now! Theodoro!
Theodoros-Oh no! Oh no, I couldn't.
Aphrodite-All right. Thomm . . .
Theodoros-Wait! Wait! I'll do it!-(He hits the button and she becomes Melina Mercouri singing, dancing and driving all the men wild, but they cover Theodoros as before.)
Aphrodite-And now, Thomma!-(She begins changing into a sprightly version of Marilyn Monroe but is interrupted by Paraskevas.)
Paraskevas-Will you please tell us what this is all about? You are as usual making chaos of all our procedures here.
Aphrodite-(swinging down out of the upper screen, becoming his size and backing him away)-What procedures? The kind that make story lines? The kind that took the children of Athens from glorying in Springtime, in the growth of all things, in the beauty of every day and every life into these plays, these plays, these plays we're all caught in like shadows on the wall where male forethought, male planning, male obedience and male direction is your only reality like the supposed reality of Mir?-(She has him against the wall, paralyzed, then she turns away, totally slinky, rubbing her lifted forearm as if putting on a long glove while saying)-and speaking of shadows, luscious shadows, sensual shadows, desirable, embraceable, completely, totally, amazingly satisfying shadows, it's now available, Daddy-O's, thanks to dearly beloved Tokyo. Yes, you can get it right now! Total sexual satisfaction like you've never had before in your life. Marilyn Monroe? Kyoko Da-teh? You rotten souls out there who commit sex with children, here, take the electronic kind that will do every horrible, terrible, soulless thing you want and give you whatever it is you imagine more than you can ever dream of. Yes! It's in the shops now at bargain prices and the social controllers can't stop it, censor it, destroy it more than they could whiskey or drugs. And you see-(She puts one finger on the nose of Paraskevas who remains transfixed against the wall.)-Total sexual satisfaction will stop war everywhere and these mother-murdering generals, these children obliterating bombardiers . . .
Big Mom-Hey, cutie! Ya-hey! Don't you have anything for us women?
Big Mom-Don't you have any sex for us women? You seem to have been made up by men for men.
Aphrodite-Just stop yelling at me, you fat old bat!
(Big Mom reaches out a suddenly huge, long arm with the same gaudy paint on it as had Future's in the first act. She scoops up Aphrodite and holds her up before herself and Athena.)
Future-(offstage)-Big Mom! Big Mom! Control yourself!
Big Mom-I can't help it, Sherman Alexie. She got me fired up like fried bread!
Future-Will you people stop calling me Alexie? I'm the Future of all the Injuns. I'm Momaday, too, and Erdrich, even Kingsolver enet she's not much Injun, but we are the conscience of America, not such foppish, chickenyard-worshipers as your Henry James or Tea Sipping Eliot or Pound. We're the reality of conscience and without us there's just no future. But put that pretty thing down, Big Mom, before you damage her honey-sweet flesh.
Athena-But it's a good question, enet, Aphrodite sister? Why only sex for men and not for women?
Aphrodite-Are you her advocate now?
Big Mom-(shaking her a bit )-We think you should answer the question. I think Russell Means is sexier even than any Tin Cup, and Robbie Robertson really opens my oven door!
Aphrodite-(to Athena)-I've had enough of this!-(Silence-Looks at the two again)-Well, it's just a fact I was made by men for men and that's all the sex I know.
Big Mom-(bringing her near)-Just as I thought. All one-sided.
Athena-Be careful. She's a male idea. I'm a male idea. Don't get things mixed. Oop!-(Big Mom gets Aphrodite too close to Athena and suddenly they merge, Aphrodite disappearing into Athena who then gets more curly-haired and flashy of teeth, her helmet disappearing.)-There! You see, what we're talking about here is a three-sided monstrosity created by men out of what I and she represent with what they left of the mother you remember so well.
Big Mom-Well don't you think that's gone on too long? As the saintly Bobby said, The times they are achanging. Get back to being part of something human here on earth stead of part of some faraway idea. You hear about those people that killed themselves at Rancho Santa Fe to go and be part of their faraway ideas?
Athena-No. What was that?
Big Mom-You kidding? You didn't hear about that?
Athena-If it's not wisdom, I don't hear much.
Big Mom-Right you are there, enet though?-(to those down on the stage)-Did you lads hear of it?
Big Mom-There, you see? All killed themselves together because they didn't want to be human. Ha! Just look at you Greeks, Athena. Just look at that hand, so beautifully human. And your breasts, your lips, your eyes. How human when you've got wisdom, got sex, got music, got love. Why'd anyone want to not be human?
Erikos-They learn about life in boxes.
Athena-What's that? Boxes?
Erikos-Classrooms, Athena. They think life is how you behave in a coffin. Like those out on Mir. They learned in boxes that are classrooms how to live in boxes like their classrooms,. and humans can't do that well in any way at all. Big Mom, did you learn about life in a classroom?
Big Mom-Do I look like it, Eriko?
Erikos-(to Theodoros)-Theodoro, how does she know me by name?
Kostas-She's been listening to us. Who am I, Big Sweetheart?
Big Mom-Kostas Zourlas, son of Elainie Zourlas.
Theodoros-You know his mother? You know my mother?
Big Mom-I know all your mothers.
Big Mom-Since all mothers' hearts everywhere beat as one heart and are all together the living heart of the living earth, the Greek heart, Turkish heart, French heart, Spokane, just as there is one day we share with many multiple beginnings, each day born fresh as a virgin getting into bed with her lover, the Future.-(She pats Athena's tummy)-Seems to me you've got something in there, little girl.
Erikos-No! Athena pregnant?
All those below-(in a choral movement)-Athena!
Athena-Bring down the curtain!-(Curtain starts down.)
Athena-Bring that curtain down now!-(Curtain coming down)
All-The virgin is pregnant?
(Athena lifts her hand and pulls down on the cord. The whistle blows and the curtain comes down in a rush.)
End of Act II
(Sacred spirit music. Light coming up on the inside of the columns of the Parthenon at sunrise. Stars are thinning and the music fades as the sound of sirens and traffic take its place while the camera tracks down the columns to show packed buildings holding up huge billboards which rise until they fill the sky, overpowering the vision, showing tremendous athletic shoes, automobiles, Marlboro, Marlboro, athletic shoes, automobiles, motorcycles, cigarettes, cigarettes.
The profile of Athena, her eyes again powerful and awesome, is part of it all, seen inside the columns, and as the totally disastrous effect upon the human soul of the billboards, creating chickenyard confinement, is realized, she lifts on her palm a gleaming, pulsating orb of light, very small at first, which we cannot doubt is the result of her pregnancy. As it appears, the Pan-pipe music begins to excite the hopes and hearts. Closing in on it, all its interior elements take over the entire screen, firewater flames churning and billowing in which become apparent the highly magnified details of Vika's Bronze Inspiration that move across and the entire sculpture turns into full view with blurred images of her working on it, the name Vika smeared across to give way to an image of a Kostas Zourlas piece, blurred images of him with Zourlas smeared across it, and then a Carl Ponca piece, the same, and as a Paraskevas piece comes in, behind are seen the horsemen of the Parthenon, the Pan-pipe music accompanying, so that behind and blending with the creativity of now is that of Athena's golden age in the procession of the hecatomb, the frieze and other architectural elements of the Parthenon so that, say, when the Maria Calas piece is seen with Aspasia working on it, the maidens in the procession may show in the background or may blend with a painting by Scott Momaday, behind which are seen images of the totem sculpture of the American northseries of Northwest Coast totem art followed by a piece by Vivi and then a Grey Cohoe and then, tumbling in from the background, comes a slab with an artist's name on the edges, the face of it on view showing the work of this artist with a blurred image of the person.-Whenever stage instructions ask for such an image of the artist, we should understand that the image will be that of the actual artist referred to and not some actor who may be playing the part of the artist elsewhere in the production.-Now another slab comes tumbling in of another artist to show new creations, and this will be done for as long as it continues to be visually rewarding.
And now applause begins as if the play has ended with cheers and a general outcry as the sculptures and paintings spin before your eyes. Kostas Zourlas is seen moving sculptures about as if magically, weaving them together in a medley. But all this is diminishing now and the hand of Athena is visible with her fingers gigantic but all reducing in size to where we have Athena holding the orb on her palm while seated between columns of the Parthenon with Big Mom and Vika. In the sky beyond are seen the dominating billboards which shift and move threateningly. Kozokos, Paraskevas and many of the others come bringing many trays with Greek coffee.
Paraskevas-(to Athena)-Kozokos told us you would be here! Welcome! We are all here to welcome the beginning of your beautiful day.-(They join in the applause, all of which then stops.
Kozokos-But look, Paraskevas, look at this.-(He runs up to Athena, staring at the orb on her palm.)-It's her gift of the year 2000, greater than the olive tree! And see how it grows like a runaway child!
Athena-Yes, my child that was inside and is out in the open and will belong forever to my sweet love of the future.
Big Mom-Sherman Alexie or whoever you are, what have you been up to with this goddess?
Future-(offstage)-Don't get fired up again, Big Mom. You had more to do with it than I, falling in love with all the Greek people and their syneethisee.
Big Mom-Syneethisee? What's that?
Kozokos-Oh hey! That's a terribly important word that goes to the root of everything in Greece. Consciousness. Conscience. Costas Gavras says it also is our belief, our identity, our confidence, our deep emotion even. But look. It's almost as big as I am already. And it even has a nucleus, or is it the heart or a yolk maybe. But why does it look so familiar?
Vika-It's yours, isn't it? It looks so much like one of your pieces.
Kozokas-Oh, that's embarrassing! That's too embarrassing! And yet . . . I feel such love for it.
Athena-(laughing)-And it is yours, Kozokos. Without your vision it could never exist.-(She steps into the orb, which is now larger than she and quite transparent. The sky seen beyond the orb is a clear blue and shows no billboards.) Everyone knows your work, so full of enchantment than none can understand. Your name is on it. You see? Kozokos!
Aspasia-(standing beside the orb and staring through it, amazed)-But my dear Athena. What happens to the sky?
Athena-(holding her hand out to Aspasia invitingly)-Come inside, my only Aspasia. Come and see.
Kostas-Oh no! Papathoperaki, how could you even come near something so tender with your all your fierce lines like porcupines? Keep her out, Athena. She'll damage anything as delicate as this.
Athena-Come in with me, my Aspasia. Come.
Aspasia-(doing so and looking around in total astonishment)-Athena! Athena! What is it that I see?-(She steps out again and stares about, putting a hand to her forehead to shield her eyes.)-What have you done to my vision? And to my lines? My lines!-(She sits on a stone and covers her face with her hands while Kostas stares at her.)
Kostas-Yes! You have changed her lines. I have never seen such lines!
Paraskevas-What are you talking about? What lines?
Kostas-Don't you see? All about her now you can see qualities that are only hers and no other's. And you, Paraskevas, I see your rhythms and continuities like seeing deeply into you.
Paraskevas-Right, something is happening to our eyes like something we've always needed, something we'll always need.
Vika-(sitting beside Aspasia to put an arm around her)-Calm down, Aspasia. It can't be anything really bad.
Aspasia-Go and see! Just go and see!
Vika-(seeing Athena beckon her in and rising)-Could I then?-(She goes inside the sphere, raises her hands and smiles while nodding to Athena.)-Oh, Aspasia, the courage of you, the sheer courage of you, and yes, I do believe!-(She returns to Aspasia, embracing her again.)
Apasia-(standing, irate)-What do you mean, you believe?-(She looks about and sits again with Vika.)-And are you still seeing it now, around you? I am still seeing it now, my lines curving and not curving among the green columns alive with vines, grapes, flowers like in a forest.-(She stares about in awe.)-I am still seeing it. And it's so beautiful! But my lines!
Athena-Tell us, our marvelous Kostas, how magnificent her lines.
Kostas-I never saw into her works, so hard, so unrelenting. But now I see her in them. Yes. It's true. I see the unquestionable value of woman in all such lines that are as if they curve but do not.
Aspasia-(standing)-But my lines curve only at infinity. Is that it, then? Is it what we see?
Vika-Yes, a truth beyond the numbers you fought so fiercely to subdue.
Athena-Numbers! Nothing on this earth belongs to them, and those who depend on them make nothing but fiction and fabrication like those bean counters out on Mir, so that all this world of the bully boys counting their bullets and their warships is lost to any beautiful and poetic reality the same as ants in an anthill gathering grain and waging war with other anthills.-(She steps out of the orb and puts an arm around Vika.)-And none of them wish to remain as completely part of the earth as those like my Vika. Her kind like the morning mist, are breathed forth only where the waves of the sea and grains of sand along the shore are to be counted, where counting begins at infinity, even as Aspasia knows. Knows that nothing on this earth is truly numerable and when you do you leave it. You become fiction and fabrication. ~And you set forth with your wonderful courage, my Aspasia, to recover for all of us infinity in a woman's form, your vision surmounting and dissolving a world of numbers. Infinity in a woman's embrace, and we shall keep it because of you.
(The orb is now higher than everyone and expanding toward them though they back timidly away. The "nucleus" as it grows always retains the look of a Kozokos piece. People can sometimes be seen in it with perhaps some of the Athenian street scenes shown before. Kozokos goes in to look at it and begins touching it up, almost dancing before it, sometimes burying his arm inside it and laughing.)
Athena-(to Kozokos, laughing)-Houzouri!
Kozokos-(freezing, then looking at her in amazement to leap happily and shout)-You knew! Yes! Houzouri!
Athena-(to the others)-It's the Greek enjoyment of life no matter what. In 400 years of enslavement to Washington D..C.'s closest friends, the Turks, my people enjoyed their lives so openly the Turks called it all houzouri. Little prime ministers who want to keep them counting their beans, destroy their coffee houses, tear down their homes on the sea but nothing can stop their houzouri.
Kozokos-Yes!-(pointing into the nucleus)-You see? With houzouri you never miss the enchantment of all poetic changes. It is the Greek readiness for change, houzouri, which he will never let be taken from him, change in everything and to the devil with permanence in anything. Houzouri keeps you relaxed so you can lay it all back and let it all come in and keeps you always focused on the centers. And look! Every center is changing, every center a stargate. Nuclei within nuclei within nuclei. Multiplying, multiplying, all of them multiplying like the stars so no one can count them. Always in flux. No permanence anywhere because houzouri is everywhere!
Kostas-(stepping into the orb beside him)-No permanence in sculpture?
Kozokos-(pressing up against Kostas and staring him in the eye)-Every piece moves with the light, changes with the hour if you are blessed with houzouri. Glory to the nexus, man, no one steps into the same sculpture once, for with houzouri you'll have changed, your eyes have changed and all the world is forever new to you, each day is new to you, each flower, each stone, each piece of cheese.-(He pushes Kostas away, laughing.)-But you know that!-(He is back at the nucleus again and abruptly plunges his head into it then snaps it out again with eyes and mouth wide to sit just as abruptly on the ground quite hard.)-Ho-pa! I have a thousand eyes! I see columns of green caryatids beautiful and a ceiling of great cedar beams!
Kostas-(giving him a kick and looking around with amusement. The larger orb has now grown to where it includes everyone.)-It's what we are all seeing, vlaka. It's the temple of wood that stood here for hundreds of years before the Persians came and burned it down, the real Parthenon more wondrous than the stone.-What's the matter with you now?-(He turns and sees that Kozokos is staring at Carl Ponca who is brought on, stage right, by five policemen, a chief and four cops. The four cops are Theodoros, Erikos, Thommas and Orvilos from acts one and two.)-Well, what you're gaping at is Carl Ponca, the great Osage.
Kozokos-(Going to Carl, fascinated)-Amazing!
The Police Chief-(He is perhaps 40 years of age, a fine-looking Greek of excellent physique. To Kozokos he says)-Do you know this man?
Kozokos-No. I've never seen him before.
Chief-(taking Carl's arm to lead him off again)-All right, then. Enough of this nonsense.
Big Mom-Carl! We thought you'd left!
Athena-Bring that man back among his friends.
Chief-(reversing)-Yes. Of course. If you say so. He said you had invited some people to come here at sunrise.
Vika-Why do you have him?
Chief-He will answer to charges of terrorism. We watched him at the airport violating every form of security. He is charged with gathering information for terrorist acts.
Carl Ponca-(to Kozokos, offering to shake hands)-Ya-hey! I don't think I've met you. I'm Carl Ponca.
Kozokos-(smiling, shaking hands, turning to the others and pointing at Carl)-You see here walking houzouri!
Chief-(taking out a citations book to write in it)-That's another charge against him.
Paraskevas-What? Houzouri is a crime?
Chief-(tapping his notebook with the pencil)-I would make it a crime not to know that it is a crime. Either you're a working member of the state or you're an enemy of the state with your houzouri.
Paraskevas-(stepping up to him face to face. T he other cops surround him.)-You sound like some stupid American president.
Carl Ponca-(laughing and putting his arms around the shoulders of the Chief and Paraskevas)-You know, I just love you Greeks and the things you talk about. But just what is this hoozoory you're saying to me?
Chief-(turning to him abruptly and putting a finger in Carl's face)-It's wasting your time when you should be working. It's loitering. Sitting round in coffee houses and cutting back on national production.
Carl Ponca-But I've seen statistics, I'd like to tell you, that say you Greeks are more productive workers than Americans or English or even Germans so maybe you guys know something we don't.
Chief-(to his men)-These foreigners never understand the true nature of the Greek and why he should be kept in plaster.
Carl Ponca-But I understand your true nature, Chief, and can see it's just fine. I'm going to have to keep you here.
Chief-Look. There are too many questions unanswered about you, far too many charges against you still outstanding, so you will be so kind as to come with us.-(He directs Theodoros to put manacles on Carl, but as the former pulls forth the handcuffs, they are closely surrounded by all the others onstage and Carl plucks the irons out of the other man's hands.)
Kostas-How was this man gathering information that was criminal?
Chief-I don't have to answer to you, sir.
Athena-But you will answer to me. Now tell our sweet Kostas what he wants to know.
Chief-This man, this Carl Ponca as he says . . .
Kostas-Did you know he is from the Osage nation of American Injuns?
Chief-Ah-ha!-(looking at his men, who nod their heads in agreement with they know not what, and writing in his citations book)-One of the first reasons for suspicion since they are so lawless.
Vika-They have all the truth of law written in their hearts, true conscience, and they obey it without police clubs and police guns.
Carl Ponca-(going to embrace her)-Ah Vika, you sweetheart.-(He turns to them all.)-We have a poem of her written in the Osage language. It goes something like this:
They were fallen and no one had come there for so long.
She could see the ones, those that were fallen.
Over them eyes by the thousands had peered
Seeing only the ones that were standing,
Standing where they had fallen .
Eyes had come in waves beating across the land,
Cresting the ridges to froth in the churning sun
And fill all the crevices, indentures of the clefts,
But she put a hand on the fallen
And her heart spread all through them,
Through all of them,
Through them all.
Athena-(She is gaining in height and is now applauding so others applaud too and the Chief and his men are obliged to join in. She embraces Vika and Carl to say)-Am I to understand you are bringing charges against this ambassador from the Osage?
Chief-(putting away his citations book)-Ambassador? You give him immunity? My apologies then to your great office, sir, which means we shall be leaving.
Carl Ponca-(snapping the handcuffs on his and the Chief's wrists)-Oh no, it's not so easy as that, Chief. I gotcha!-(He laughs and the police are aghast.)
Chief-Let go!-(to Theodoros)-Give me the key!-(Theodoros holds up the key, which Carl immediately snatches.)
Carl Ponca-(pulling his captive to center stage)-Now, Athena, this man told me he is Ponti, so let's just have a great big Ponti dance. Nothing could be better than that!
Chief-Help me!-(His men crowd up close, not knowing what to do, reaching for their guns.)
Aspasia-Don't you dare touch those weapons!
Carl Ponca-Chief, I insist upon this dance with you!
Chief-You are insane! I don't dance! And never, never in uniform!-(Carl has brought him near to the nucleus which the Chief sees and cries out, shielding his eyes.)-And what is that? It's blinding me!
Kozokos-It's your new conscience, Chief. But it's not so bright as all that.
Theodoros-(pulling out his sidearm)-It's coming toward you, Chief! Look out!
Kozokos-No! No! It's simply growing bigger. Don't be afraid.
Athena-Throw down your weapons. All of your weapons on the ground now.-(They obey.)-All of you start the music and get ready to dance with the Osage.
Carl Ponca-Ya-hey! Cut loose, Chief! We're all going to dance in these beautiful green woods.
Chief-Green woods? Are we going totally mad? Green woods in the Parthenon?
Paraskevas-(coming near again)-Chief, do you mean you see no green caryatids all around you?
Chief-(bewildered, reaching forth an uncertain hand to pat Paraskevas reassuringly on the shoulder)-Oh yes. Oh yes. That's very rich, indeed.. Green caryatids now.-(waving out toward the Erechtheion)-Aren't those we have enough for you?
(Paraskevas put his hands to his head, walks away and sits on a rock. He is followed by Kostas.)
Kostas-What's the trouble?
Paraskevas-He is here the same as we are but he sees none of the changes.
Kozokos-(coming to the Chief)-It's that simple, Chief. Without houzouri, once they give you a dried-out and empty Parthenon to picket, it stays a dried-out, empty Parthenon for you to picket.-(He points to the nucleus growing toward them.)-But you've got new eyes coming your way.
Chief-(to Carl Ponca)-Ambassador, do you have any idea what these people are talking about?-(He is a bit shaken.)-If you can all see a green temple here, vines and girls, why can't I?
Carl Ponca-Chief, old buddy, you can fool yourself but you can't fool me. I see what's down in those eyes of yours and soon you're gointo be bringing all your relatives to look at this emerald green temple along with you.
Athena-What you see in the man is syneethisee.
Kozokos-(pointing to the nucleus)-And what you see coming is syneethisee.
Carl Ponca-(laughing and lifting two cups of coffee from the trays, one for the Chief and one for himself)-Well, okay, Chief, let's drink together on that, on syneethisee.-(He and the Chief clink their cups.)-That's what really turns the Greeks on. I just love to hear these people talk about anything but especially that.
Chief-This man was going around the airport listening to the families while they were greeting and kissing each other. He was laughing about so much Greek love, he said.
Carl Ponca-Yeah, it was all "Hello, Grandma!"-"Hello, Ianni and Niko and Elainie" and then all this beautiful Greek I couldn't understand a word of but so beautiful and warm. I could tell they were talking about football and cars and travel a lot but always this word syneethisee I was hearing, and you ask almost any Greek what that means and, I swan, you're suddenly standing in some holy place listening to a preacher. Okay, okay, Chief, let's ask you what it means. Okay? Syneethisee?
Chief-Syneethisee? Well, my friend, with syneethisee you speak back into all the great lawmen of Athens who gave their lives and those who would give their lives for the good ways, the right ways we all believe in. To protect the children and their mothers howevermuch we can, and . . .
Carl Ponca-You see? It makes every place into a Greek church, into a . . . -(to the Chief)-Now tell me you don't see a green temple.
Chief-(hesitates some)-No. No, I don't.
Carl Ponca-And you, Kozokos? You say this-(indicating the nucleus)-is it? This wild balloon here?-(He pulls the Chief over with him to look around it.)-Is somebody blowing this up?
Kozokos-(seizing his arm)-Bring your friend and come with me. Let's go inside. I can't wait!
Carl Ponca-(throwing his arm high to get it free)-Yahhh! That's too scary, man. What's inside there?
Kozokos-New roads running through from center to center with Athena involved everywhere. A new conscience in which everything and everybody belong and we all must go into it, you see?-(He steps into it, disappears and then is immediately thrown out to land again on his bottom, very surprised.)
Carl Ponca-(laughing)-Maybe you went in from the wrong side.
Kozokos-(rising)-No. No. Don't talk of sides. That's for the bean counters. All inside will be unison with the earth that is all unison.
Future-(entering stage left and walking up to Kozokos)-To begin it all again you are going to need the combinations that go.-(He takes Kozokos upstage and points out between the columns.)-What did that first circle give you, the one out there spreading off over the rooftops now?
Kozokos-Love. What everybody's really got to have.
Future-So there is a key made of love that opens the way. Vika, would you come here, please?
Vika-(coming to him)-Who are you?
Future-You don't know my voice?
Vika-The future of all I love?
Vika-What do you want from me?
Future-(taking her in his arms)-I want so much to make love to you.
Vika-(embracing him willingly)-Right here? Right now?
Future-(gesturing to the Conscience)-In there.
Vika-(taking his hand and leading him directly in)-Come, sweet future.
(They go in and disappear as if stepping out of sight through a door just within the swirl of the nucleus, which continues to present images in a Kozokos manner while being mostly transparent. Everyone onstage, including Athena, applauds. This sets off the kind of roaring, cheering applause which was heard before but which now offends the policemen, especially the Chief. With Carl alongside him, he takes a position center stage confronting the house seats.)
Chief-All right now. A little less noise out there! A little more respect!-(His men take positions either side of him, hands on hips so they are as a line of guards.)-As you surely know, you are now on the most noble hill in all the world. The brutal hills of Rome, the self-satisfied slopes of London, the style-conscious flats around the Seine, the greenback-hungry humps of Washington and nothing Berlin has ever done can approach the nobility that remains the essence of the Greek Acropolis.
Carl Ponca-Aw,. Chief, old pal. Loosen up!-(He brings a foot over and down to the ground and the music picks up.)-Vika taught us all Greek dance and we know you Ponti all dance like madmen so come on and dance with us in this greenest of temples for it may be gone with the wind again like the Cherokee nation.
Chief-(pleading to Carl now)-But why can't I see it? Why do you all see it except me.-(to his men)-What's the matter with me?
Theodoros-I don't see them either, Chief.
Erikos-Neither do I, and there's nothing the matter with me.
The four of them together-
Oh there's nothing the matter with any of us
There's nothing the matter at all!
We've got the job for us!
The right kind of job for us
Where we tell everyone else they'd better
All get on the ball!
There's nothing the matter at all with us
So let's not make too much of a fuss
Over green columns and grapevine girls
And things that don't belong in this world
For it's up to us to keep right and wrong
Running right on along like a song.
So don't go thinking you'll get away
With any of these silly games you play.
We're here to straighten you out,
To punch you right in the snout!
If you don't get along with us!
So we're okay! Enet, enet and ya-hey!
Kozokos-We all know it's not you people. It's those uniforms.
Kostas-That's the real truth. Don't you know that uniforms take away responsibility for being a man? They're nothing but diapers put on overgrown babies to keep them from dirtying themselves.
Paraskevas-Well,. Kosta, that's too much. The Chief doesn't deserve that.
Chief-Oh, I know Kostas. That's just his way. But I know I would see everything the same even if I had on a pair of flapping Ponti dance pants. .
_Someone in back of the others-(tossing it over their heads)-Here's a Ponti shirt!
Chief-But it's a green shirt. Ponti shirts aren't green.
Kozokos-(laughing)-That gives you away, Chief! It's a Ponti shirt and you're seeing it green because you're seeing green all around you. Try putting it on!
Carl Ponca-(unlocking the manacles)-Let me help you, old buddy.
Chief-(stripping to the waist only to look all around him in sudden awe.)-What in the world! It can't be! But it is!-(to the other policemen)-All right, you men, strip down. Strip to the waist, men. That's an order!-(The others do so and, looking about, they are all taken with astonishment, two or three with obvious fear. The Chief dons the Ponti shirt.)-It's a dream! It can't be! But it is! A dream! A dream I've had long ago in mountain country, Ponti mountain country. And now it's reality! The green temple is real again. And I know that music! Here, men! We're going to dance!-(He strips off his pants and makes a whirling series of leaps to stage left where he crouches with a laugh and a huge smile, his body expressing a great, sudden eagerness for what is coming.)-Yes, that is the music of Euripides' song. I sang that song with-(He makes a whirling leap to center stage.)-all my companions in the Ponti mountains.-(He beats one foot on the ground as he turns to all of them.)-Come now! Come now! We'll sing again with Euripides and dance as we never danced before!
(Now begins an ensemble dance as wild as possible as the nucleus swells up in a complementarily moving backdrop and embrace that is containing them without hiding anything.)
The song of Euripides-(translation of Gilbert Murray):
Will they ever come to me, ever again,
The long, long dances,
On through the dark till the dim stars wane?
Shall I feel the dew on my throat and the stream
Of wind in my hair? Shall our white feet gleam
in the dim expanses?
O feet of a Fawn to the greenwood fled,
Alone in the grass and the loveliness.
Leap of the Hunted, no more in dread,
Beyond the snares and the deadly press.
Yet a voice still in the distance sounds,
A voice and a fear and a haste of hounds,
O wildly labouring, fiercely fleet,
Onward yet by river and glen --
Is it joy or terror, ye storm-swift feet?-
To the dear, lone lands untroubled of men
Where no voice sounds and amid the shadowy green
The little things of the woodland live unseen.
(At this point the men will perhaps form a Ponti dance line in the crouching movement while all the others, with Athena over them all, compose the general dance scene. At the climax, the growth of the nucleus as it fills out the entire screen will have taken on the clear impression of a huge sphere expanding. But as it reaches the point of filling out all the screen, a fade-out of the dance music will begin as over it comes the singing of Some Injun.)
Some Injun- Rivuh. Gonna flow on fohevah.
Gonna flow down to mah town.
Carry me to thuh sea.
Come now, all uh thuh days uh summer.
Carry me off in sunshine.
Outta this misery.
(When the growing sphere of the nucleus reaches the edges of the screen, it will start contracting again while the dancing continues within it, the music of the dance still strong while the singing of Some Injun, casual, lazy singing, is heard on top of it. As the sphere diminishes, the whole of it begins bobbling a little as it would in a truck going along on a dirt road and this time around its edges will come into view not the Parthenon, but an old road in America as seen through a not too clean windshield, with trees, bushes, a blue sky and a gigantic hand and fingers are seen holding it all.
The sphere diminishes until it is a very small orb on the palm of Vika, who holds it before her eyes and smiles at it, riding in the cab of an old, maybe 40 years old, white Chevrolet pickup. Beside her, driving, is the blanket-wrapped bulk of Some Injun with a dirty old hat, no real view of his face at all as he drives and sings. The trees are passing, the old engine coughing along.
Some Injun-That thaing ain't growd none at all thet I can tell.-(They go on a ways with her watching the Kozokos kind of changes in the orb.)-Whattaya gointa do with that thaing ennyway? It don't look like it's gonna grow up and take over all the skies like them others. Looks like it's gonna just stay little and pretty like it is right now.-(They go on a ways.)-Yuh know what I'd like yuh t'do with it, if'n yew want t'know. Yew want t'know?-(She looks over at him with a smile)- Ah'd like yew to put it in there with Solomos Solomou, yuh know?-(He reaches over and taps her lovingly over her heart.)-Right in there where everything good really does belong.
(Suddenly the screen is filled with Athena's hands undoing her tunic and exposing her breasts, and the orb with all the dancing, if possible, still going on as it is put into her heart where it disappears. Vika is seen closing the top of her dress and smiling then we see her head as through the back window of the truck, her mouth laughing , saying unheard the words. "So much for the bully boys!". We see now through the back window hung on racks there an old shotgun and a rifle. Behind the window in the bed of the truck are two tents and two big dogs. Then we see, flat on the bottom, Vika's bronze sculpture of Dionysos Emerging from the Flames while leaning on the sides are her Bronze Inspiration, Bronze Embrace, Bronze Exuberance and maybe others as the truck goes away from us on the huge television screen and disappears over a hump in the road, leaving only a scene of an American countryside. With the firing of a rifle, a hole and cracks appear in the upper right side of the screen. Then more shots and the screen becomes pieces that slide down showing the internal parts of the television which dissolve under a hail of bullets as the Peruvian Pan-pipe type music takes over and the credits begin to rise. The t.v. effect is shot away.
Behind the credits there is a beautiful view down into a valley across which on a paved road in the middle distance below, the old pickup is gliding along. The credits continue and behind them is another scene of the pickup pulling out onto a point overlooking the Pacific with a long beach visible and just a glimpse of Vika and Some Injun. Then the pickup wheels are seen rolling down a desert road in the Southwest and then many scenes with the pickup are shown while it travels along behind the credits, one with an old Injun standing by the cab, one boot up on the running board, talking to the driver while beyond them are seen Injuns dancing. The last scene will be Vika and Some Injun waking up in the cab of the truck under his blanket as they look out at the light of dawn coming onto one or two semi rigs and a trailer in a truck stop. They turn their faces to each other, kiss, pull the blanket over them and make LOVE.
(And everybody went down to the beach with Joulie and Melina.)
Copyright l997 by Roy Westernsky Culver
Aghion Apostolon 5
Cast of Characters
In order of appearance