Eve

EVE

a play

by Stephen Richter

EVE (a stageplay) by Stephen Richter

an Introduction (of sorts) A spectre is haunting the United States of America — a spectre from what seems to be a long and forgotten past. Whether the specter of Marx or the spectre of Steve Bannon, the consequences of a political movement are seldom realized until long after a great deal of unforeseen damage has been done.

As artists and citizens of any society, we have a responsibility to question the actions of our governments, especially when those actions cause harm to other people. I believe our current political moment warrants active responses, along with deep and critical self-examination. Self examination prevents untimely death.

That’s a fact, not “fake news.”

So, why do we make theater, anyway? What is the purpose of the Theater, here and now, especially here and now? The Theater has witnessed and survived every war the world has ever known. The stage has resisted as well as promoted fascism, communism, socialism, capitalism, futurism, modernism, surrealism and every other “ism” human society has been able to articulate. If we want to talk about strange bedfellows, Steve Bannon produced Julie Taymor’s Titus Andronicus, right? My question is, in the wake of a political coup d'état the size and scope of which the United States has never know in its entire history, what are we, as artists, with theater spaces at our disposal, going to do about all of this? Do we, “take Arms against a Sea of troubles, And by opposing end them?” I sincerely hope so - from the Elliott Hall of Music to the smallest elementary school amphitheater. If we do not speak up in response to this clear and overtly present danger, the silence will be deafening. To do so, I propose we let the Theater (capital T) be a theater, and by looking at what the Theater does, what the Theater is, and how a theater works, demonstrate to both audiences and students alike the importance of Theater to democracy and how powerful it can be as an instrument of social change.

EVE, is a metatheatrical conversation between some of the great works of theater, film, and literature, employed to speak to present day issues of nationalism, Immigration rights, the First Amendment, refugees, an expanding opioid epidemic, and the purpose of the Theater itself, in both oppressive and democratic societies. Eve investigates the roles of women, the currency of female youth and beauty, the relationships between mothers and daughters, fathers and daughters, political corruption, and the abuse of power.

In Conversation: Oedipus Tyrannus, Waiting for Gadot, Carmina Burana, Hamlet, All About Eve (1950), À bout de souffle (Breathless) (1960) , Bande à part (1964) In Conclusion: This quarter (Spring 2017) I am taking my final class to complete my coursework required for the PhD in Literature. My area of research is Translation and Adaptation studies. When produced, Eve will be my last production for the stage as a graduate student at UCSC. The production will serve as the final case study I am using to comprise the subject matter and content of my dissertation research. As a graduate student and playwright, I have grappled with translations, adaptations, and the slippery slope of attempting to define either term. When does a translation become an adaptation? When does an adaptation cease to be adaptation anymore and become something else, something other, or is everything that we do in the Theater inevitably a combination of the two? My research investigates the process behind translating and adapting the past, as well as our motivations for doing so in the first place. Eve is very different than anything I have attempted before. Eve is a point of departure for me, in many ways. So, as I tiptoe softly into my cove to write this dissertation, with the California sunset at my back, I can only pray that when I emerge it will not be to pronounce that the Theater is dead.

Excelsior!

SR

“I could just drift, he thought, and sleep and put a bight of line around my toe to wake me. But today is eighty-five days and I should fish the day well.�

- Ernest Hemingway

Dedicated to Steven Richter 1950 - 2016

SCENE ONE. A shady-looking gentleman stands on a street corner. Two MEN in ragged clothing approach him. A transaction is made. The dealer leaves. The men sit down on the edge of the stage, arguing as they prepare their dope. One of the men takes off his shoe, singing to himself.

MAN #1 O Fortuna...

(Man #2 passes Man #1 a syringe.)

MAN #2 (sings) velut Luna...

(Man #1 shoots up between his toes.)

MAN #1 & #2 (singing) statu variabili...

MAN #1 Arrrrr!

(Man #1 falls to the ground, convulsing and vomiting.

Man #2 runs away. SFX: Tires SCREECH. The sound of a horrific CAR ACCIDENT. Lights up on: EVE, she wakes up punching and kicking. Eve looks around her motel room then stops. She turns on a bedside lamp. Eve is in her early 20s. Her hair is long and unkempt. Her mascara, smeared. She lights a cigarette then sits up against the headboard. Eve looks at the wall in front of her. Thumbtacks and push-pins hold index cards, pictures, and twine into place, forming an elaborate array.

Some titles read: Rising Action, Turning Point, Climax.

Eve stands. She approaches a mirror on the wall and brushes her hair aside with her fingertips, revealing the dried scab of an abrasion near her temple.

2.

She touches it and winces. Eve returns to the bed then searches for something underneath it. She produces an empty whiskey bottle. HEAR a knocking at the door.

EVE Just a second...

Eve cracks the door open. An attractive woman wearing an angora sweater over her shoulders stands outside. A security officer stands beside her.

EVE Yes? MOIRA Are you alright?

EVE Yes, I was just having a nightmare.

MOIRA Someone called to report a murder up here. Are you sure you’re okay, Miss Hunter?

EVE Eve. MOIRA (to security officer) Thanks, Chris, I’ve got it. Go ahead and take your dinner break.

EVE Sorry for the trouble.

MOIRA No trouble at all just... strange.

EVE What do you mean?

MOIRA May I come in?

3.

(Moira enters the room. She looks around then returns her attention to Eve.) MOIRA When they called about the noise, I noticed your check in on Friday but I didn’t see a check out date and we don’t have a credit card on file for you. Did you present one when you arrived?

EVE I...

(Moira notices the empty whisky bottle in Eve’s hand.)

MOIRA Are you alright?

EVE Yes, I’m sorry. I’ll get you a credit card right now.

MOIRA No rush. It’s okay. I’ll be at the front desk all evening. Either that or in the Louvre.

EVE The loo?

MOIRA It’s the name of our “bistro” - the cocktail lounge around the back of the building? It’s French.

EVE Sounds nice.

MOIRA It’s not.

(They laugh.)

MOIRA Well, if I see you in the Loo I’ll buy you a drink. How’s that?

EVE What’s your name again?

MOIRA Moira.

4.

EVE Moira, with the angora sweater.

MOIRA You’re funny. Alright, Eve, see you in a bit.

EVE Ciao.

(Moira exits. Eve closes the door behind her.)

EVE Friday?

(Eve places the empty whiskey bottle into a trash can. She looks at herself in the mirror, into her own eyes. She slaps herself across the face. She slaps herself again. Eve undresses. She puts on a red dress. She fixes her hair, gathers up her index cards, journal, and her purse, then turns out the lights.

LIGHTS UP ON: The Louvre - bistro and fireside lounge. Eve sits at a table next to a fireplace, writing in her journal, nursing a whiskey. Enter an attractive couple. Eve watches them from across the room.

JOSIP At least here we can be alone for a moment. Moira, in the name of human decency, please, two whiskeys.

KAREN I don’t know what to tell you, Josip, but it doesn’t work.

JOSIP They are not working. I am working my ass off.

KAREN The story, Josip. You know, I love you, Josip. I even raised you, in a way. I nursed you with a bottle when mama was gone. You probably don’t remember but I didn’t have any toys, so you were my living little boy doll.

JOSIP Karen.

5.

KAREN My point is I know your ass; and I know when you’re making a mess.

JOSIP You stab me in the front.

KAREN You want me to lie to you? You want me to kiss your ass, darling? Come on. At least I’m honest.

JOSIP These are perilous times, Karen.

KAREN Then, I suggest you take a moment to ask yourself, “What is it that I really want to say to these people?”

JOSIP On the brink of an apocalypse.

KAREN Then what speaks to your heart and mind on the brink of an apocalypse, Josip?

(Josip notices Eve watching them.)

EVE The new flavor of fascism. There’s a start.

JOSIP Here here.

KAREN Josip don’t, please.

(Josip walks towards Eve’s table.)

JOSIP Would you mind if we bought you a drink? My name isEVE I know who you are, mister Brodovic.

(They shake hands. )

6.

EVE I’m a huge fan.

(Josip notices the table covered with Eve’s index cards, notes, and her journal. He releases her hand.)

JOSIP What are you writing? Wow. Come on, please, join us. Bring your things, miss...

EVE Eve. JOSIP Eve. It’s a pleasure to meet you.

(They join Karen at the table. Moira serves them another round of whiskeys. Josip watches Moira. A look of recognition passes between them. Moira walks away.)

KAREN What are you doing, Josip?

JOSIP Okay, Eve, I would like to introduce you to my former wet nurse and puppeteer: my sister, Karen. She’s also stage manager of the production we are working on.

EVE Wow, you keep it all in the family, that’s great.

KAREN Fasten your seatbelts, it’s going to be a bumpy night.

JOSIP Be nice.

KAREN Are you an actress, Eve? EVE No. JOSIP Eve is a writer.

7.

KAREN My condolences.

JOSIP Are you any good?

EVE Yes, I am.

JOSIP My condolences. Eve, we are on the verge of a catastrophe. The theater, (gestures) I mean we are all just actors on a stage, right? None of this is real. It’s a performance, a performance with the ability to fly in the face of fascism!

EVE So you’re putting on a play.

JOSIP Oh, Eve... not just a play. It is avant garde, deep...

KAREN Go ahead, Josip, why don’t you tell her what it’s called.

JOSIP She’s not ready.

EVE Tell me. I can handle it.

(Silence) JOSIP Waiting for Godard.

EVE I see.

KAREN It’s a horrible play.

JOSIP Enough!

8.

EVE (laughing) Why is it horrible?

KAREN Nothing happens! I mean, what kind of person enjoys watching two dirty old Frenchmen beat each other off for two hours straight? Actually that would make better theater than what we are doing in that space right now, Josip. I’m just saying. Josip?

(Josip stares blankly) JOSIP Let’s get out of here. Thank you, Moira! (leaves tip) (to Eve) Would you like to come to a party with us?

KAREN Josip, leave her alone.

EVE I’d love to.

KAREN No good can come of this. I’m warning you then I wash my hands of everything. I’m exhausted.

JOSIP You’re drunk.

KAREN (finishes cocktail) I stopped getting drunk a very long time ago, Josip. Thanks to you. Come on, Eve. Welcome to the circus.

(Eve and Karen leave arm in arm. Josip dances up the hillside ahead of them.)

EVE How long has he been like this?

KAREN Four days now, since the accident. I’m sure you heard.

9.

EVE I didn’t.

KAREN Josip’s wife was killed four days ago in a hit and run.

EVE Oh my god.

KAREN And we open in three weeks. And the government is rounding up people...

EVE And we are on the verge of a catastrophe!

JOSIP An apocalypse!

EVE What’s that music?!

JOSIP The company! (Sings) Niko ne zna sta to sija!

(Enter a Gipsy percussion and brass band, playing Goran Bregovic’s Mesecina. Cast and crew members alike dance and drink beneath the vine-covered canopy of the Theban Vineyards’ patio. The music slows. Eve and Josip continue to dance. An ATTRACTIVE MAN in a very official looking police uniform enters the room. He watches Eve and Josip intently. A violin plays. The singer from the band takes a break. She sits at a table and begins to deal out tarot cards, playing a form of solitaire. Eve and Josip continue to dance.)

EVE Why did you invite me here?

JOSIP What were you writing when Karen and I walked into the Louvre?

EVE None of your business. You didn’t answer my question, mister Brodovic.

10.

JOSIP Josip.

EVE What do you want from me, Josip?

JOSIP Nothing.

(Josip spins Eve away from him. He returns to her, shimming his shoulders. Eve takes a bottle of whiskey from a table and drinks from it. People voice their approval. Josip takes the bottle from Eve’s hand then dips her on the dance floor. Eve laughs.)

EVE Josip?

JOSIP Because you are cursed too, and believe me(Eve stumbles away from Josip, laughing. She approaches the table. The singer places a card face-down in front of her. Eve turns it over.)

DELPHINA Holy crap.

EVE What is it?

DELPHINA You might want to reconsider your options, honey.

EVE What does it say?

DELPHINA It says, “A dream you have will come true.”

EVE Sounds like a fortune cookie.

11.

DELPHINA (eating cookie) It is. Here... (hands Eve a paper fortune) I think it’s a better fit for you.

(Josip takes the deck of cards from Delphina.)

JOSIP Okay... now I will tell my own fortune, watch this: the fool... this guy who has like ten swords in his back... the Devil... Death... the Hanged Man... alright, enough of this shit.

The cards are not to be taken literally, right Delphina?

DELPHINA It doesn’t take a genius, Josip, to see that you are burning a candle at both ends on this production.

JOSIP So, I should just hang myself then?

CAPTAIN ADDISON Not on my watch. How you doing, mister Brodovic? Acting police captain Tyrell Addison. Do you have a moment sir?

(They shake hands. Two uniformed officers enter behind Captain Addison.)

JOSIP Of course, captain. Enough with the music! Give us a second please.

(Eve backs away, next to Karen. Karen and Addison smile at each other. Eve notices.)

CAPTAIN ADDISON Mister Brodovic, this is a search warrant signed by judge Davis. We’d like to take a look at your vehicle. Is it parked in the garage, sir?

JOSIP Yes. (Addison nods to a uniformed officer. The officer speaks into his police radio.)

CAPTAIN ADDISON Mister Brodovic, have we met before?

12.

JOSIP No, captain.

CAPTAIN ADDISON How come I get the feeling that I know you from somewhere? (Beat) How long have you been in this country, mister Brodovic?

JOSIP Twenty two years.

CAPTAIN ADDISON You a citizen?

JOSIP No. CAPTAIN ADDISON I see. (to officer) We good to go?

(The officer listens to his police radio. He gives Addison a thumbs up.)

CAPTAIN ADDISON We’re good to go. You have a good evening, mister Brodovic. And mister Brodovic?

JOSIP My name is Josip.

CAPTAIN ADDISON Josip, I also want to advise you not to leave the county until you are contacted by my office. You have a good night, sir. Oh, and you... (points to Eve) miss, come here please.

(Eve approaches.)

CAPTAIN ADDISON May I see your identification please? Thank you. Corona del Mar... Sounds like a magical kingdom, doesn’t it? And where are you staying in our fair city, miss Hunter?

EVE At the Fireside Inn. CAPTAIN ADDISON Never heard of it.

OFFICER #1 Next to the Lou, captain.

13.

CAPTAIN ADDISON Ah, yes, the Loo... that stain on our community. Is your registered vehicle down there in the parking lot, Eve? EVE Yes. CAPTAIN ADDISON And when did you arrive in our beautiful township?

EVE Friday? What is this all about, captain?

CAPTAIN ADDISON What is the purpose of your visit to Amity Harbor, miss Hunter?

JOSIP She’s working on the play.

CAPTAIN ADDISON Sounds very exciting. Congratulations, miss Hunter, I would also like to advise you not to leave the county without contacting my office first. Break a leg. You all have a good evening.

(Exit Captain Addison and the officers. The band begins to play a Beirut - inspired rendition of Ederlezi. People sing and dance. Josip stands and stares. Eve watches him with concern. She reaches out to touch him. Josip snatches a bottle of whiskey from the table and SMASHES it over his own head. Eve screams. Blood flows from Josip’s scalp, pouring over his face and shirtfront. People are shouting. Thunder rumbles. Lightning flashes. Rain begins to fall. People scatter. Only Josip and Karen remain now.

Sparks flash. Josip SCREAMS like a beast. The SOUND of an electric breaker blowing then tires SCREECHING.) LIGHTS OUT. LIGHTS UP ON: (Eve bolts upright in her bed at the Fireside Inn. She was having another nightmare. She looks at the clock.)

14.

EVE Shit, I’m late!

(Eve runs to the mirror, slaps herself a couple times, gets ready... Hear a knocking at the door. Eve freezes. The knocking commences.)

MOIRA (OFF STAGE) Eve, it’s Moira.

(Eve exhales. She opens the door.)

EVE Hi, Moira. I’m late for work. Wanna walk me downstairs?

MOIRA Eve, I need to talk to you about those people you were hanging out with last night.

EVE Maybe when I get back, okay?

MOIRA Eve, it’s important. Captain Addison...

EVE What about captain Addison?

MOIRA He’s... there.

CAPTAIN ADDISON Good morning, ladies. Off to the office? I’ll walk with you. We can chat along the way.

(Exit Eve with Captain Addison. Moira exits in the opposite direction. House Lights up on the Riverside Theater. Karen wears a headset and carries a clipboard.

She climbs onstage and addresses the house.)

KAREN Five minutes until we start our run-through!

EVERYONE Thank you five!

15.

(Josip is seated in the third row, wearing a beret, sunglasses, and a hoodie. He stands.)

JOSIP Hey, can I get the band back out here at the top of this que please? And bring the house lights down a bit. I want to get a look at Truffaut’s special real quick. So from Delphina’s solo to the blue special on Truffaut. Delphina to Truffaut. Can we see that?

KAREN Yes, we can, darling. We are back in three minutes, people! Three minutes!

EVERYONE Thank you three!

(Delphina and the band return to the stage. Delphina stands on a X of Gaffer’s tape, bathed in blue light. She sings a jazz version of “Revelations.” (Maiden United) DELPHINA (sings) O God of Earth and Altar Bow down and hear our cry Our earthly rulers falter Our people drift and die The walls of gold entomb us The swords of scorn divide Take not thy thunder from us But take away our pride (Two men wearing short sleeved shirts with black skinny ties on, sit on a park bench, waiting, listening. Eve and Addison enter the theater. Josip smiles.)

JOSIP Keep going... You’re late! Quickly, quickly, over here. This is the moment of the peripeteia, the reversal in the action of the play. It is also a moment of realization, that their waiting for Godard may actually be in vain. Watch, here it comes.

EVE Okay. I got it.

CAPTAIN ADDISON Who are they waiting for?

16.

JOSIP Please! And now it builds...

(The music builds. A blue gel illuminates the park bench.

The music stops. Truffaut turns to Éric Rohmer.)

FRANÇOIS TRUFFAUT So, where the hell is he? ÉRIC ROHMER Line?

KAREN I have no idea. ÉRIC ROHMER Excuse me?

KAREN Your line is, “I have no idea.” ÉRIC ROHMER I have no idea...

(Karen looks at Josip.)

JOSIP Don’t speak. How can I help you, Captain?

CAPTAIN ADDISON I just need a couple more minutes of your time, Josip.

JOSIP Of course. This way please.

(They step on stage. Eve climbs on stage and introduces herself to François Truffaut and Éric Rohmer. Truffaut places a fedora on Eve’s head. Eve speaks with the accordion player. ) CAPTAIN ADDISON So, all night Thursday and well into the morning on Friday, you were where again?

JOSIP Right here in this theater. All of us, including Lila. She left at two in the morning.

17.

(The accordion plays Nouvelle Vague’s Dance With Me. Truffaut, Rohmer, and Eve dance the Madison from Godard’s A Band Apart.)

CAPTAIN ADDISON Local lore has it that you used to be some kind of cabana boy, Josip, a beach bum. Is that true? They say Miss Collins brought you home with her from a couples resort on the Black Sea. KAREN This is much more interesting, Josip.

JOSIP Yes, it is...

(Josip walks towards Eve. Addison follows.)

JOSIP A play I wrote in Kosovo won a Pulitzer Prize. Karen and I came here as refugees.

Brilliant choice, Eve! Alright, everyone back to the blue special. This time, let’s start with the accordion. Truffaut, give us, “Maybe we should hang ourselves,” then deliver your next line after the two of you finish dancing one full square of the Madison.

EVE You like it?

JOSIP I’m stealing it, aren’t I? (Eve takes the beret off Josip’s head. Josip’s head is completely bandaged with white gauze.)

CAPTAIN ADDISON Kosovo, I see. Are you a Muslim, Josip?

JOSIP Why do you ask?

CAPTAIN ADDISON Because something isn’t kosher about you, Josip and I can’t put my finger on it... but I will and I assure you the truth will eventually out.

JOSIP Everybody loves a good outing, is that what you’re saying, Captain?

18.

CAPTAIN ADDISON Yes we do, especially around this neck of the woods, Josip.

EVE That sounds sinister.

JOSIP What do you mean we? You just moved here.

CAPTAIN ADDISON You mean, I just returned here a couple months ago. The past returns, Josip.

JOSIP Then why don’t you return to figuring out what happened to my wife, captain, instead of asking me again whether I’m sure I was surrounded by twenty other people when she was killed?! That’s what you should be trying to figure out. Who is responsible?

CAPTAIN ADDISON Who is responsible, Josip?

(Josip looks around the theater, at the audience, the people busy at work behind the scenes. He sighs.)

JOSIP I suppose I am.

CAPTAIN ADDISON All I see, Josip, is that you wear an awful lot of black but it don’t look like you’re grieving much to me.

JOSIP Excuse me?

KAREN We’re back, people!

EVERYONE Thank you back!

CAPTAIN ADDISON Thank you back.

EVE Karen, do you have a second?

19.

KAREN No. EVE Please.

KAREN Alright, two seconds.

CAPTAIN ADDISON I like the way you all repeat orders in here. That’s good. Communication is everything, Josip. (Hands Josip a business card) Miscommunications cause tragedies. They really do.

EVE Karen, are you my biological mother?

KAREN (laughs) What?! I’m too young to be your mother. I’ve never had children, Eve. Why do you ask me this?

CAPTAIN ADDISON Eve, I’ll let you get on back to doing whatever it is you intend to do for these people. And if you don’t mind, once you finish doing it, why don’t you stop on by my office real quick.

Sound like a plan?

EVE Sure, captain.

CAPTAIN ADDISON Excuse me sir. Stand up please. May I see some identification? (examines audience member’s ID card) And just my humble opinion, Josip, I’m no Siskel and Ebert, but the play sucks. It makes no sense and all the naked Frenchmen in the world aren’t gonna be able to save it.

JOSIP What naked Frenchmen? They’re wearing clothes!

CAPTAIN ADDISON I see where it’s heading. It’s not brain surgery. My point is that if you put on this play, this filth, the way it is now, in this town, at this time of the month, with tensions as high as they are in the world... We’re gonna have us a riot on our hands, Josip.

20.

People are gonna flip out. That’s my opinion. Thank you mister Ramirez (hands back ID card). You have a nice evening, sir. Do the right thing, Josip. Think of the greater good.

And remember, “It's all psychological. You yell barracuda, everybody says, "Huh? What?"

You yell shark, and we've got a panic on our hands on the Fourth of July,” Comprendo?

(Exit Captain Addison, laughing. Josip looks after him long after he leaves. Eve approaches.)

JOSIP O cursed spite...

EVE That I was born to set it right?

(She offers Josip a carrot.)

JOSIP With a carrot.

EVE Or a turnip. What do you think, should we do it?

JOSIP I don’t know...

EVE They’re props. Do you plan on using them in Godard?

JOSIP Oh, Jesus. Right, the carrot. Oh boy, Eve...

EVE What?

JOSIP What do you know about theater riots?

EVE What, like actual riots inJOSIP In a theater... or involving writers, directors, or producers of theater. Why are you laughing?

21.

EVE Because, actually, I know like a lot about theater riots. I mean, a whole lot.

JOSIP I sure hope so. Tell me some of the more notable ones so I can feel in good company.

EVE Okay, most notable would probably be the Belgian revolution. The Flemish poured out of the theater, into the streets, singing lines from an opera the entire time and took over the country.

JOSIP Was the writer at the performance?

EVE Sure was.

JOSIP What happened?

EVE His body was too damaged to do anything with at that point, but the crowd carried a burning likeness of the writer, right at the front of the mob, even when they stormed the national treasury.

JOSIP So, he was paid after all... what a faustian deal.

EVE Pretty much. I’m fucking with you, Josip.

(Josip laughs.)

JOSIP Burning likeness...

EVE A burning likeness of you and me if we put on this horrible play, right? This filth?

JOSIP Where are you going?

22.

EVE I can’t concentrate like this. I might as well just get it over with and see captain Addison now. Then I can focus on what we’re doing.

JOSIP Eve, wait.

DELPHINA An easy way for the blind to go.

EVE What did you say?

KAREN We’re back, people!

EVE (to Delphina) Why are you always soEVERYONE Thank you back!

KAREN Whenever you’re ready, Carlos.

(Carlos plays the piano. Delphina steps beneath the blue light again. She watches Eve.) EVE so cryptic.

DELPHINA (sings) An easy way for the blind to go A clever path for the fools who know The secret of the hanged man, the smile on his lips JOSIP Eve, listen to me. I don’t trustEVE Jesus, Josip, I’m not a child! I can handle myself.

23.

(Eve kisses Josip on the cheek then turns to leave.)

EVE I’ll be right back.

DELPHINA (sings) The light of the blind, you'll see The venom tears my spine The eyes of the Nile are opening, you'll see...

(Eve stops at the top of the aisle. Josip walks up behind her.)

JOSIP We all see, eventually. That’s what I’m saying. You’ve read a lot. You’ve heard a lot but you haven’t done very much. There is nothing wrong with that, darling, but it’s a fact.

EVE Okay, Josip.

JOSIP I know things you don’t because I have experienced things that you haven’t!

EVE Josip, I understand.

JOSIP Just because someone is wearing a uniform does not mean you can trust them, Eve! KAREN Josip!

JOSIP I’m coming!

EVE Josip.

JOSIP What?

(Eve smiles)

24.

EVE I’m a big girl. I’ve got this.

DELPHINA (sings) For the one who will be queen The watcher and the ring It is you... It is you...

(Exit Eve. Josip watches after her for a moment then falls into a fit of coughing. He covers his mouth with a white handkerchief. It fills with blood. Josip quickly stuffs it back inside his pocket. He turns and walks down the aisle.)

JOSIP Okay, music, great... Now, after the solo let’s keep going. Run through the dialogue, and bring the house lights down for this, please! We’re at the crux of the story here. This is the message, people... this is it!

(The house lights dim. Josip and Karen sit next to each other in the first row. A spotlight illuminates François Truffaut and Éric Rohmer on their park bench, stage right.) ÉRIC ROHMER I have no idea... Maybe he’s with his agent.

FRANÇOIS TRUFFAUT He doesn’t have an agent. Besides, I’m the one who wrote the treatment for the film. ÉRIC ROHMER We’ve no rights anymore?

(Truffaut looks stage left, contemplating the question. An overhead light illuminates Captain Addison’s office: filing cabinets, military awards, framed photos. An MCIOC flag (Marine Corps Information Operations Center ) adorns the wall behind a well organized desk. Addison enters his office, still wearing his dress uniform.)

FRANÇOIS TRUFFAUT What did you say?

25. ÉRIC ROHMER We’ve lost our rights.

FRANÇOIS TRUFFAUT We got rid of them.

(Enter Eve. She walks down the aisle. Addison watches her. He smiles then removes a bottle of Wild Turkey and two glasses from a filing cabinet. The lights dim on Truffaut and Rohmer. Patsy Cline’s He Called Me Baby plays over Addison’s desktop radio. He fills the two glasses with whiskey on top of his desk then sets the bottle down. Addison motions for Eve to take a seat in the chair in front of his desk. She complies.)

EVE What did you want to see me about, Captain?

CAPTAIN ADDISON Here, drink up. You’ll need it.

(Addison unbuttons his jacket, takes a drink, then sits in his chair behind the desk.)

CAPTAIN ADDISON Eight nights ago, Lila Collins, Josip’s dead wife, was in Corona Del Mar. EVE Corona del Mar? CAPTAIN ADDISON Surprised? That’s good whiskey, you know? Go ahead. A little hair of the dog.

EVE No thank you.

CAPTAIN ADDISON Eight nights ago, Lila had dinner with two other people. One of them was a chemist named David Gadot. Gadot used to work for Guangzhou Pharmaceuticals in China. Know what they talked about?

EVE No.

26.

CAPTAIN ADDISON Fentanyl.

EVE Who’s that?

CAPTAIN ADDISON Not who, what. A hundred times more potent than morphine, 50 times stronger than heroin. Are you alright, Eve? EVE No. Wait a second. His name was Gadot?

CAPTAIN ADDISON Sound familiar?

(Addison takes another drink. Eve stares in disbelief.)

CAPTAIN ADDISON The money, the honey, and the mule...

EVE What are you saying?

CAPTAIN ADDISON Three people, 250 thousand dollar investment, ten million dollar profit. Josip’s wife was there to put up the cash: half up front, the other half on delivery. Gadot provided the dope.

The mule made the trip with him here to Amity Harbor to close the deal and to make the exchange.

EVE What does this have to do with me, Captain?

CAPTAIN ADDISON Why do you think I am telling you this story?

EVE I don’t know.

CAPTAIN ADDISON Gadot never showed up. He disappeared. But the word on the street says that the mule between Gadot and the end client here in Amity, the person who drove with him from Corona del Mar... is you.

27.

EVE That’s a lie! I... (begins searching her purse) I can prove it. I drove to Amity because I received this letter from my biological mother. She finally wants to...

CAPTAIN ADDISON What?

EVE That’s impossible! It’sCAPTAIN ADDISON Gone?

EVE (beat) Yes. CAPTAIN ADDISON What, no evidence? Oh, Evie... Evie... sweet little Evie. Don’t you know? Evidence is everything.

EVE I swear, I have nothing to do with any of this.

CAPTAIN ADDISON Let me tell you a story. It happened when I was stationed in our nation’s capital. There was a young woman, very attractive, a lot like you. She used to hang out at Gipsy Sally’s in Georgetown, where she did a lot a drinking, a lot of screwing, you know - a party girl. So, one night, she had a bit too much to drink and on her way home, she runs over a pedestrian crossing the street near the Patomac. Killed her instantly. But it was late, no witnesses to identify her, so she just kept driving and left the old lady there dead in the road. (Drinks whisky) Now, her vehicle wasn’t really damaged, it just had some blood on it. So, she goes to an all night car wash and runs her vehicle through three times. After that she went home, went to bed, and tried to pretend that the whole thing never happened. The problem was, even though no one saw her at the scene, someone got her plate number. Add that to the fact her credit card was run three times at a car wash that same night, and of course the final nail in the coffin was the autopsy, where the medical examiner found a chip of cherry red paint, that matched the cherry red paint from her Mustang, and that’s when they had her ass, stone-fucking-cold. Why? The chain of evidence. You see, Eve, just because someone doesn't see you do something, doesn't mean you didn’t do it.

EVE Why are you telling me this?

28.

CAPTAIN ADDISON Because it makes my pussy wet. I am an officer of the law, Eve, and that makes my pussy sopping wet. (Drinks whiskey) Does my story make your pussy wet?

EVE No. CAPTAIN ADDISON How can I be sure?

EVE Because you’re not that good of a storyteller.

(Addison laughs. He walks from behind his desk, slowly, approaching Eve.) CAPTAIN ADDISON You see, Eve, some are born great... Some achieve greatness... And some, well...

(He appears to reach between Eve’s legs.)

CAPTAIN ADDISON Some just have greatness... thrust upon them.

(Captain Addison produces a little plastic baggie of white powder from beneath Eve’s chair. He holds it up for her to see.)

CAPTAIN ADDISON I think you may have dropped something.

EVE You know that’s not mine.

(Captain Addison tucks the baggie into his inside breast pocket, dusts his hands off, then shows Eve that they’re empty. He smiles.)

EVE I want to go now.

29.

CAPTAIN ADDISON Of course. You’re free to go. Just a friendly chat, that’s all. Please don’t mistake my passion for pressure, Eve, but this community is in the grips of a deadly and foreign plague. I will do whatever it takes to make Amity safe for her citizens. Do we understand each other?

(Eve is trembling. She stands. Addison watches her intently.)

CAPTAIN ADDISON Oh, one more thing. How did you get that scab on the side of your temple there?

(Eve freezes. She thinks for a moment.)

EVE Mountain biking.

CAPTAIN ADDISON Mountain biking.

(Eve turns and walks away, up the aisle.)

CAPTAIN ADDISON Well, let’s just hope they don’t find any paint from your vehicle in Lila Collins’ autopsy, or that little scab of yours is gonna look like Death Race 2050. Say hello to Josip for me.

(A violin plays the opening to Kadda Cherif Hadria’s “Madanitche” (“I Didn’t Know”) Captain Addison finishes his Wild Turkey. Eve exits the theater, running.

Lights up on Josip sitting in a chair, on the opposite side of the stage. He doubles over in pain, holding his abdomen then covers his mouth with a handkerchief. Enter Eve. The theater is empty now, except for the two of them. Josip sees Eve approaching, visibly upset. He stands. Eve notices the handkerchief in Josip’s hand. Josip shakes his head. He stuffs the handkerchief into his pocket then extends a hand towards Eve. She runs into his arms. They sway, back and forth to the music. Josip caresses Eve’s hair. They begin to dance, gracefully, full of longing and sorrow. Josip spins Eve. She laughs. They turn circles, faster and faster. Eve throws her head back and shrieks with delight. Enter the band, playing along to the music.

Delphina sings. One of the stage hands takes Delphina into his arms and begins to dance.

30.

Enter Truffaut and Rohmer, waltzing together. Soon, the stage is full of couples, dancing circles to the music.

Liquor pours. Glasses shatter against the floor. Enter Karen. She observes the impromptu gypsy ballroom and shakes her head. Josip and Eve stop dancing. They gaze into each other’s eyes. Eve caresses Josip’s cheek. They are about toKAREN That’s enough, people! We have five minutes!

(The music stops.)

EVERYONE Thank you five!

EVE & JOSIP Thank you five.

KAREN Alright, listen up. We officially have only two weeks left until opening night. That meansYURI Karen! Josip! They’ve taken Elena!

KAREN What?!

(The sound-board operator bursts into the theater followed by a group of carpenters from the scene shop.)

YURI She was picking up the children from day-care and they took her away!

JOSIP Immigration?!

YURI I don’t know! No one will tell me anything!

CARPENTER #1 Are we finished for the day or what?

31.

CARPENTER #3 What the hell’s going on, Josip?!

YURI My children, you bastard!

CARPENTER #1 Look, I hear what you’re saying, man, but that is not our problem. I haven’t been paid in over a month! I got a family too!

CARPENTER #2 Where’s our money, Karen?!

JOSIP Look, guys, your checks haven’t been cut yet. I already told you it’sCARPENTER #3 You keep giving us the same tired-ass excuse, Josip! Now we’re working on a Sunday, man! This is horseshit.

KAREN You will all be paid, please, just try toEVE Is anyone listening?! His wife and children have been taken! What’s wrong with you people?

CARPENTER #1 Well, if he spent less time drinking and partying with these fuckers and decided to pick up his own kids, they’d still be here, now wouldn’t they?

YURI You son of a bitch!

KAREN Yuri, wait!

(A fist fight breaks out. Eve takes an elbow to the side of her head. She drops to the floor but keeps kicking and punching. Josip dives into the middle of the fray. People roll on the ground, grappling and choking one another, as the brawl spreads into the aisles. Carpenter #1 puts Josip into a headlock.)

32.

KAREN Josip!!!

(Karen jumps onto Carpenter #1’s back. She beats him with her clipboard.)

KAREN Let go of him!

CARPENTER #1 Get off me!

CARPENTER #2 Call the union, Marty, quick!

CARPENTER #3 (being choked with an XLR cable) I can’t!

(Carpenter #1 flips Karen over his shoulder. He slams her onto the floor, knocking the wind out of her, then realizes what he’s done.)

JOSIP No!!! Here, you want to hit someone, hit me! Me! I’m the one to blame!

(The theater goes silent. Karen gasps for breath on the floor. Everyone stops.)

CARPENTER #1 Karen, I’m sorry. I didn’t mean toKAREN (gasping) Don’t touch me!

EVE What the hell’s the matter with you?!

(Eve helps Karen to her feet.)

33.

CARPENTER #3 See, that’s what happens when youFRANÇOIS TRUFFAUT You feel like a man now, mister tough guy?!

CARPENTER #3 That’s what happens when you don’t pay your workers!

(Josip stares at Karen and Eve.) CARPENTER #1 I’m so sorry...

CARPENTER #2 I don’t know how you do things wherever the hell you people come from, but in this countryDELPHINA Asshole!

CARPENTER #2 In this country, these conditions are unacceptable, you hear me?! Un-fucking-acceptable!

JOSIP Here! You want to see how people do things where I come from?!

(Josip rips his shirt open and throws it to the floor. People gasp.)

JOSIP Here! Look at me! This is what people do for their country! This country! My country!

Look at me! This is nationalism! Patriotism! Homeland! Yeah! Look at me!

(Josip raises his arms. He turns so everyone can see his body. His entire torso is covered in horrific burns and scar tissue.)

JOSIP (out of breath) Right here and now, in this country, you are not far behind, my friend. Believe me. That is why the play is so...

34.

KAREN Josip?

(Josip stumbles then catches himself. Karen tries to help him. He pushes her away. He places his palms on his knees and breathes for a moment.)

JOSIP I apologize for your pay being so late. The police froze all of the accounts after Lila was killed.

CARPENTER #2 Why didn’t you just tell us from the beginning so we’d have a choice? You can’t do that to people.

(Eve pulls Karen aside. Max, the saxophone player, begins to play the solo from Pink Floyd’s “Us and Them.”

Delphina and the rest of the band nod their approval.)

EVE Karen, I need to talk to you about what I asked you, earlier today.

KAREN Eve, I already told youEVE About my motherKAREN I don’t have time for this.

EVE Karen, please.

KAREN I don’t know!

EVE But, the letter you sent me saidKAREN What letter?! Just leave it alone.

35.

EVE Please!

(The theater doors burst open. The sax solo approaches its climax.)

ICE AGENTS Down! Everybody down on the floor! Put your hands behind your head! Do it now!

(ICE agents wearing tactical gear rush into the building, their MP5 sub machine-guns at the ready. They snatch people from the audience and throw them to the floor, pointing automatic weapons at them. Yuri is handcuffed and dragged out of the building along with stagehands, musicians, and Truffaut!)

JOSIP What are you doing?! You have no right!

KAREN Yuri!

ICE AGENT Let’s go, amigo, move your ass!

FRANÇOIS TRUFFAUT I’m not Mexican! ÉRIC ROHMER He’s French, you fascist!

ICE AGENT Bullshit. ÉRIC ROHMER Very very French!

FRANÇOIS TRUFFAUT Okay, okay, I’m Algerian, alright?! I’m a Algerian citizen. Check my passport! ÉRIC ROHMER François..?

EVERYONE Leave him alone! Shame-on-you! Shame-on-you! Shame-on-you!

36.

(The agents separate people into groups then begin checking identification papers. As the chaos subsides, those without documentation are escorted out of the building in an orderly fashion. Max almost finishes his solo when an ICE agent takes his sax away. Enter Captain Addison, wearing his dress uniform. He surveys the scene then notices Josip, Eve, and Karen, sitting on the edge of the stage, sharing a cigarette. Eve holds an ice pack to the side of her head. Captain Addison smiles.)

CAPTAIN ADDISON Hell of an evening, huh?

JOSIP What is it now, Captain?

CAPTAIN ADDISON Didn’t mean to break up your rehearsal there, Josip. Sorry about all this. I really am, but I don’t make the laws. I just enforce them. (To Eve) Mountain biking again?

(Eve glares at Addison. She scoots closer to Josip. Karen stands. She turns to walk away.)

CAPTAIN ADDISON Now, hold on a second there, miss, come on back here, please.

KAREN Miss?

CAPTAIN ADDISON That’s right. Why? Do we know each other?

KAREN Are you serious?

CAPTAIN ADDISON Serious as the plague.

(Captain Addison laughs.)

CAPTAIN ADDISON We good to go, boys?!

37.

(The last of the ICE agents give Captain Addison a thumbsup then exit the building.)

CAPTAIN ADDISON Now, let’s see... a mountain biking accident, a hit and run homicide, a life insurance beneficiary, all in the same week, in the same room for that matter... It does make one think a bit.

JOSIP You’ve been doing a lot of thinking.

CAPTAIN ADDISON I certainly have. (To Karen) You wouldn’t have any drugs on the premises would you, miss..?

KAREN Karen.

CAPTAIN ADDISON Miss Karen.

KAREN No. CAPTAIN ADDISON Is that the truth?

(Captain Addison looks at Eve, then Josip, then back at Karen. They remain silent.)

CAPTAIN ADDISON John 8:32, “Then you will know the truth, and the truth will set you free.” Yes indeed.

JOSIP I didn’t take you for a religious man, Captain.

CAPTAIN ADDISON Hell, I was an altar boy, Josip.

EVE Hard to picture.

CAPTAIN ADDISON Excuse us for a moment.

38.

(Addison leads Karen away from Josip and Eve by her elbow, stage right. He speaks almost directly into Karen’s ear.)

JOSIP You alright?

EVE Are you?

JOSIP No. EVE Want to get a drink?

JOSIP (smiles) At the Lou? EVE That’s not really what I had inCAPTAIN ADDISON Well, time to hit the road. Sorry about the inconvenience, folks. Just doing my job. Oh, and, Josip, please try not to start a riot with this show of yours. The community’s already pretty riled up about it. You all have a good evening.

(Addison walks up the aisle.)

JOSIP Were you really an altar boy, Captain?

(Addison stops.)

EVE Is that the truth?

CAPTAIN ADDISON (sings) Júdica me, Deus, et discérne causam meam de gente non sancta (he turns around) ab hómine iniquo et doloróso éripe me.

39.

JOSIP You have a beautiful voice, Captain.

EVE What does it mean?

(Addison looks at Josip with unfiltered hatred.)

CAPTAIN ADDISON Judge me, O God, and distinguish my cause against the unholy nation, deliver me from the unjust and deceitful man. I’ll see you in my office, Karen.

(Eve’s smile fades. Captain Addison turns then walks out of the building. Karen steps on stage. She addresses the remaining cast and crew members.)

KAREN That’s it for tonight, people! I’ll email everyone their call times for Monday morning by midnight.

(Exit Karen. The cast and crew members exit as well.)

JOSIP Ready?

EVE Actually, I think I’m gonna just get some rest. It’s been a lot to process... I gotta go.

JOSIP Sure, of course.

(Exit Eve. Josip exhales with a sigh. He reaches into his pants pocket and removes a small baggie of white powder.

He contemplates the bag for a moment, opens it, then looks out at the audience. Josip doubles over, holding his abdomen. The baggie falls to the floor. Josip exhales deeply until the pain subsides a bit. Enter MAN #2 from the first scene of the play, low-crawling to the foot of the stage. Josip picks up the baggie, puts it back into his pocket, then walks off stage. He turns off the theater lights. A single spot remains, illuminating the place where Josip was standing. Man #2 hums to himself as he slowly lifts his head above the stage to look in the direction Josip exited.

40.

He carefully scoops up the small amount of spilled powder into a plastic baggie of his own. He sings as he slips away into the darkness.)

MAN #2 (sings) Nunc obdurat...

Et tunc curat...

LIGHTS OUT. CAPTAIN ADDISON (V.O.) (whispers) Where is Gadot? Where is Gadot? Filthy, filthy, filthy....

(SFX: the sound of a car driving, accelerating through its gears.)

CAPTAIN ADDISON (V.O.) Lila died in a hit and run homicide. Why did you kill her, Eve? EVERYONE (V.O.) Tell us.

(Lights up on Eve, tossing and turning in her bed at the Fireside Inn. The sound of the accelerating car grows louder.)

CAPTAIN ADDISON (V.O.) You killed her.

EVE Leave me alone.

CAPTAIN ADDISON (V.O.) Filthy, filthy, filthyEVE Leave me alone!

EVERYONE Filthy, filthy, filthy!

41.

CAPTAIN ADDISON (V.O.) The filth, is you...

(SFX: Tires SCREECH. The sound of a horrific CRASH. Eve bolts upright in her bed.)

EVE You’re filthy!!!

(The sound of a Casio watch alarm pulsates with the same two syllable beat as the word “fi-thy.” Eve snatches the watch from the night stand and throws it against the wall.

The alarm stops. Eve looks around the room. She exhales into her hands and flops back onto her pillow. She groans.

Eve gets up, dresses, then walks across the stage to the Louvre. Her hair is still a mess. Moira is behind the bar, polishing highball glasses.)

MOIRA What’s the matter, kid, another nightmare?

EVE (Points to her hair) You think?

(They laugh. Moira places a glass in front of Eve. Eve sings as she takes out her notebook and places it on the bartop.)

EVE So set 'em up Mo, I've got a little story I think you should know...

(Moira takes out another glass and pours two generous whiskeys.)

MOIRA (sings) Make it one for my baby...

42.

EVE & MOIRA (sings) And one more for the road.

(Eve stares, right through Moira.)

MOIRA Cheers. You okay?

EVE Yeah... Cheers.

(They drink. Eve finishes her whiskey in three swallows.)

MOIRA What were you dreaming about?

EVE Death.

MOIRA It comes to us all, honey, you can’t just sit around thinking about it all the time.

EVE I don’t.

MOIRA What’s the matter?

EVE What were you trying to tell me when Captain Addison interrupted us?

MOIRA Why have you been spending so much time with Josip Brodovic?

EVE I asked you first.

MOIRA Really though, what have the two of you been doing together these last few nights?

EVE (scolding) Moira...

43.

MOIRA Have you slept with him?

EVE (smiles) No. MOIRA Don’t you think he’s a little old for you?

EVE Why are you so curious?

(Moira returns the bottle of whisky to its place on the shelf behind the bar.)

EVE Moira, did you and Josip ever...

(Moira rearranges the bottles on the shelf, keeping her back to Eve.) EVE Oh my god, Moira, you’re terrible. When did the two of you hookup?

MOIRA Don’t be vulgar. You make it sound trashy.

EVE You did, didn’t you? (mischievous) What was he like?

MOIRA Please stop. It’s not... I was in love with him, Eve. EVE I’m sorry. I didn’t mean it like that.

MOIRA It’s alright. It was a long time ago.

EVE Well, if it’s any consolation, it’s not like that with us. Though, I have to admit, there’s something about him that just drives me crazy. It’s weird.

44.

MOIRA Us? EVE Yeah, maybe it’s because we’re so much alike.

(Eve finishes Moira’s whisky.)

MOIRA I’ve noticed.

EVE So, why did you guys break up?

MOIRA We weren’t together. I was with someone else.

EVE Wow. Any regrets?

MOIRA One. (Beat) Eve, I’ve been meaning to ask you something.

EVE Sure.

MOIRA How long have you known Captain Addison?

EVE I don’t.

MOIRA Then why did he check you into the motel on Friday?

EVE What?

KAREN Because she’s up to no good, that’s why, just like that pig.

(Enter Karen, wearing a short dress and heels. Her lipstick is smeared.)

MOIRA Hello Karen. Long night?

45.

KAREN Don’t change the subject.

EVE You’re drunk.

(Karen sits on a stool next to Eve at the bar.)

KAREN I already told you, I drink. I don’t get drunk anymore.

(She lights a cigarette.)

EVE You went to see Captain Addison.

KAREN Oh, you're a bad pony, Eve, and I'm not gonna bet on you anymore.

EVE House of Games.

MOIRA Leave her alone, Karen.

KAREN Yes it is, a house of games... Why are you doing this, Eve? EVE What are you talking about?

KAREN Why now? Revenge?

MOIRA Alright, Karen, that’s enough. I’m cutting you off.

KAREN You haven’t even served me yet, Moira.

EVE Why do you hate me so much?

(Karen laughs for an uncomfortably long time.)

46.

KAREN Me, me, me... It’s all about Eve, right?

MOIRA Come on, Karen, I’ll get you a cab.

KAREN Let go of me!

(Karen backs away. She straightens out her dress then wipes her lipstick off with a bar napkin. She looks at Eve and Moira, standing next to each other. She raises her hands to frame them like a director framing a potential shot.)

KAREN Now that is dramatic irony. (laughs) I see what you refuse to see.

EVE Karen, please. Come onKAREN No! I will not. This is my story and I am making my exit now.

(She bows to them then turns to leave.)

KAREN Ciao bella... Bella ciao... bella ciao...

(Karen staggers her way to the door then pauses. She turns back around.)

KAREN You know, even if you won’t serve me, Moira, you are still serving, darling. Believe me.

We all are serving (Looks at Eve) ...as characters in someone else’s plot.

(Exit Karen. Eve and Moira look at each other.)

LIGHTS FADE. (Lights up on Captain Addison’s office. Addison sits at his desk, staring into the void. Patsy Cline’s Crazy plays over his desktop radio.

47.

A half-empty bottle of Wild Turkey stands beside an empty glass in front of him. Enter Josip. Addison sits up in his chair, surprised.)

CAPTAIN ADDISON Well, speak of the devil...

JOSIP Good evening, Captain.

CAPTAIN ADDISON Come on in. Have a seat.

(Addison takes out another glass. He looks at Josip. Josip nods. Addison fills both glasses with whiskey.)

CAPTAIN ADDISON Atta boy, Josip. I took you for being lighter in the loafers than that.

JOSIP You know, Captain, we’re not so different, you and I. Cheers.

(Addison drinks without toasting.)

CAPTAIN ADDISON Let’s get one thing straight. You and I are nothing alike. You understand me?

(Josip laughs.)

CAPTAIN ADDISON You think that’s funny?

JOSIP No. (Beat) Captain, why do you want to destroy my show so badly?

CAPTAIN ADDISON It must be stopped, Josip.

JOSIP Why? CAPTAIN ADDISON Because it’s obscene, because it was written by socialists, because it’s un-American, because it’s bad for the common good, take your pick.

48.

JOSIP Why, Captian? Really.

(Addison finishes his glass of whisky.)

CAPTAIN ADDISON Because I hate your guts. That’s why. You still don’t know who I am, do you, Josip?

JOSIP Our new police captain.

CAPTAIN ADDISON Acting police captain, yes. You really don’t remember, do you? Think, think hard.

JOSIP I have no idea what you’re talking about.

CAPTAIN ADDISON Let me tell you a story then. You like a good story, don’t you, Josip?

JOSIP Yes. (Addison refills their glasses.)

CAPTAIN ADDISON Once upon a time, in a village by the sea, there lived a fine and upstanding young prince: captain of St. Mary’s football team, nice Irish girlfriend, homecoming queen, the whole nine yards, apple pie, 4th of July, the American Dream, Josip.

JOSIP And then?

CAPTAIN ADDISON And then, one day, an evil magician came to town, a sorcerer, Svengali...

JOSIP And Svengali took the nice Irish girl away from the handsome young prince.

CAPTAIN ADDISON No, he wasn’t man enough to take her away. Instead, after one of his filthy, pagan, orgies he would host these infamous orgies every Friday night.

(Josip’s smile fades. He sets his glass down.)

49.

CAPTAIN ADDISON At one of the orgies, Svengali filled her virgin womb with his demon seed then sent her home to her prince, without so much as a second glance.

JOSIP Moira.

CAPTAIN ADDISON Ah, starting to come back?

JOSIP Oh, my God. I... I swear I didn’t know she wasCAPTAIN ADDISON Horseshit!

(Addison leaps to his feet.)

CAPTAIN ADDISON You destroyed my entire life, you cock-sucker! The least you can do is own up to it like a man.

JOSIP (stands) I have spent the last twenty years mourning, every single day, that I will never be able to know my own son.

CAPTAIN ADDISON Do you have any idea what I have spent the last twenty years doing? (laughs) Butchering and torturing men and women, children?! up to my EYEBALLS in blood and gore for God, country, and corps, you weak piece of shit! All because of YOU!!! So, let’s get one thing straight. I hate you, Josip. I hate you with every fiber of my being.

JOSIP I’m sorry.

CAPTAIN ADDISON That’s not enough.

JOSIP Captain... I’m dying.

CAPTAIN ADDISON That’s not enough.

50.

JOSIP I understand. Thanks for the drink.

(Josip turns then walks slowly across the stage. Captain Addison stands behind his desk, his chest heaving from his breathing. He downs the last of his whisky then throws the glass against the wall. It shatters. Lights fade on Addison’s office. A lone spotlight illuminates a piano on the other side of the stage. Delphina’s deck of tarot cards have been left on top of it. Josip notices the deck. He hesitates then turns over the top card.)

JOSIP The hanged man...

(Josip laughs until he falls into a fit of coughing. He sits down at the piano then lifts the cover. He plays a melancholy tune.)

JOSIP (sings) I wanna meet a friend In a bar tonight The evening is long So long I hardly move (Enter Delphina. She watches Josip, smiling sadly. She walks over to join him.)

JOSIP (sings) A can in my hand JOSIP & DELPHINA (sings) A picture in my mind (Delphina sits next to Josip on the bench. They sing together. One by one, members of the cast and crew enter.

They join in, singing.)

51.

EVERYONE I need to see a friend tonight Or see the people in a bar DELPHINA I wish they could not see me at all How I wish I could describe their pain Or mine (Enter Eve, carrying a manila folder. She walks down the aisle.)

DELPHINA The mystic light, the choir of smoke The smell of wood, the pose, the joke (Enter Captain Addison. He walks down the opposite aisle then hides in the shadows, watching the scene with disdain.)

DELPHINA The dirty little world inside That needs to come out Needs to come out (Enter Karen, wearing dark sunglasses. She walks past Eve, climbs on stage, then shakes her head at the impromptu sing-along.)

KAREN Alright people, this is our first tech! Tech rehearsal will officially begin in five minutes!

EVERYONE Thank you five!

(Stagehands finish setting up the tech table on one corner of the stage. They place the soundboard, lightboard, and projection designer’s monitors on top of it. Eve walks over to the piano and hands Josip her manila folder. Josip looks at Eve questioningly then begins to read. Eve walks over to Delphina. They speak in private. She draws a card from Delphina’s deck. Delphina shakes her head.)

52.

JOSIP Yes... yes... No... Yes! Eve, you little shit, you did it. Come here!

(Eve walks back over to Josip. He lifts her off the ground, spins her around, then sets her back down.)

JOSIP How many pages does Waiting for Gadot have?

EVE Sixty? I think.

JOSIP What page are we on, right now, in Godard?

EVE Fifty-two.

JOSIP Perfect! Hurry up. Go make copies.

KAREN What’s going on?

(Karen sets her coffee down on the tech table then takes off her microphone headset. She walks over to speak with Josip. Eve runs up the aisle and hands the new pages to a production intern. The intern runs out of the theater.

Captain Addison slips over to the tech table. He watches Josip and Karen arguing on the opposite corner of the stage. Addison opens a little plastic baggie then descretely taps some of its contents into Karen’s coffee cup. Eve returns, almost catching Addison in the act.)

CAPTAIN ADDISON Hello there, Eve. Just uh... checking in on the progress. Break a leg.

(Addison walks back up the aisle then exits the theater.

Eve watches him with suspicion. Karen returns to the tech table and picks up her coffee cup. Eve moves out of her way.)

53.

KAREN Two minutes people!

EVERYONE Thank you two!

(Karen notices Eve watching her.)

KAREN What?

EVE Nothing.

(Eve steps off the stage then takes a seat in the front row.

Karen drinks her coffee. Stagehands move the park bench into position, aligning it onto pieces of gaffer’s tape. They set up a streetlamp behind it.)

KAREN Is the projector on yet?! I want to see the full moon clip before we even get started here.

(Clapping) Come on, let’s go! Truffaut, Rohmer, Lucky Film School Intern from UCLA. Let’s get them out here, now! Do I have to do everything?

(Karen swoons for a moment then regains her composure.

Josip notices. He walks over to the tech table.)

JOSIP You alright?

KAREN Just let me do my job, Josip.

JOSIP Fine.

(Josip takes a seat at the tech table. Truffaut and Rohmer sit down on the bench. Enter a young man with a rope around his neck, wearing a vintage 1959 UCLA sweatshirt and a black beret. He carries a tripod case and a camera bag in his hands. Karen bursts into laughter. Other people laugh sympathetically.)

54.

JOSIP You want to run the dialogue?

KAREN (regaining composure) Sure, why not? Where the hell is Pozo? Pozo!

JOSIP You mean Claude Chabrol.

KAREN Don’t correct me, Josip. You always correct me. I resent you for that. I really do.

JOSIP What is wrong with you today?

KAREN This play of yours, that’s what’s wrong. It will be the end of me. Lucky Film Intern!

Think! Speak!

LUCKY FILM INTERN The Nouvelle Vague rejected the idea of a traditional story in the Old Hollywood sense of stories based on narrative styles and structures lifted from earlier media, namely books and theatre, since New Wave directors did not want to hold your hand through each scene and direct you, the audience, emotion by emotion through a fixed narrative, since there was a general feeling in the air that this sort of storytelling interferes with your ability to perceive and react to film (or to theater, in our case) just as you would perceive and react to real life so the directors wanted to break up the filmic experience and make it fresh and exciting and jolt you, the spectator, out of complacent viewing and make you think and feel, not only about what you are watching, but about your own lives, your thoughts and emotions, so the dialogue has to be as realistic and as spontaneous as possible, like my dialogue is right now, or at least philosophical in a way that will make you think, beyond film, beyond theater, so we can express the truth, the whole truth, and nothing but the truth - truth is of the utmost importance, now more than ever before, so the object is not simply to entertain you... but to communicate(Truffaut snatches the beret off Lucky Film Intern’s head.

Lucky goes silent. He stands there holding the tripod case and camera bag with a blank expression on his face.

Everyone applauds.)

JOSIP Yeah, baby! Bravo! Well done! Karen?

55.

(Karen wanders over to the piano, stumbling a bit. A bouzouki begins to play. Karen climbs on top of the bench. She sings to Josip.)

KAREN (sings) See the letter "K" there on my notebook Cross out my name forever, tonight (Karen continues to sing Jesli Bóg Istnieje (If God Exists).

English supertitles are projected overhead. Delphina sings harmony with Karen. They march toward Josip, scolding him with a finger. Josip loves it. He backs away from them, laughing, dancing. Glasses fill with liquor. Everyone sings the chorus together, happy and surprised with Karen’s unexpected change of attitude. Eve watches with concern. She looks at the coffee cup on the tech table then back at the scene unfolding on stage.)

KAREN (laughing & crying) Jo-sip! My Josip!

(Karen kisses Josip on the lips then slaps him across the face. She shoves him away from her with both hands in the chest. People cheer. Everyone continues to sing. Karen climbs all the way on top of the piano.)

KAREN (points) I curse you!

(The song reaches its climax. Karen sways to the music.

She extends her arms toward Josip, her face full of pain and heartbreak. Karen collapses, crashing to the floor with a horrific crunch of bone, the sound of wood slamming, and the echo of the piano keys. People scream. Karen’s chest rises, falls, then stops moving all together. Josip rushes to her side but is too late. He feels Karen’s neck for a pulse. He gathers her into his arms, sitting on the floor, rocking her back and forth.

56.

Josip screams like a dying animal. HEAR violins play a heartbreaking version of Underground Tango by Goran Bregovic as the Paramedics arrive and pry Karen’s limp body from Josip’s arms. Enter Captain Addison with two uniformed officers. The paramedics cover Karen with a white sheet then roll her away. One by one, everyone leaves the theater, except for Josip and Eve. Josip kneels on the stage floor, beside the spot where Karen passed away only moments ago. He covers his face with both hands. Eve approaches him, slowly. She touches Josip’s shoulder. He laces his fingers with hers. Eve kneels down beside Josip then embraces him. The music becomes eerie and foreboding. Eve wipes the tears from Josip’s face. She kisses him on the forehead, then on the lips, tenderly, then passionately. Eve stands. She offers Josip her hand. He takes it. Eve leads Josip off stage. Enter two men in ragged clothing. They creep over to the tech table, whispering / singing to one another.)

MAN #3 Egestatem...

MAN #4 Potestatem...

(They take the coffee cup from the table then tiptoe back up the aisle, smiling with satisfaction.)

MAN #3 & #4 Dissolvit ut glaciem...

MAN #3 & #4 (OFF) Sors immanis et inanis rota tu volubilis...

LIGHTS OUT. (HEAR violins, then an accordion playing. Trumpets and other brass join in. Enter pallbearers carrying a casket, with Karen’s picture on top of it. Josip, Eve, Delphina, and the rest of the cast and crew follow the casket, barefoot, dressed in white. They sing tearfully.)

57.

EVERYONE Stani, stani, Ibar vodo... Ibar vo-do! Kuda zuris tako? Kuda zuris tako?

(The procession continues slowly around the front of the stage then back up the opposite aisle. A line of police officers stand watch above them, on stage. Captain Addison stands among the officers. Josip lunges at Addison, but members of the crew hold him back.

Addison adjusts his sunglasses. He dusts off his uniform then chuckles with his men. The funeral procession continues up the aisle and out of the theater. Once they are gone, Addison dismisses the officers. He remains behind for a moment, looking after the procession, lost in thought.

He spits on the ground then exits.)

(Projection: Motion Graphics - ANC Headline News. A female news anchor sits at a desk. Theme music plays.)

NEWS ANCHOR Our final story tonight comes from Amity Harbor, where Pulitzer prize winning Balkan playwright, Josip Brodovic’s controversial new play, “Waiting for Godard,” opens amid strong resistance by local law enforcement to shut the play down that many are calling Brodovic’s greatest work to date. We are going live to Ismene Rodriguez and the drama unfolding at the Riverside Theater. Ismene?

(A well-dressed woman holding a microphone, stands in the aisle in front of a video camera. Stagehands set up the bench and streetlamp on stage, behind her.)

ISMENE RODRIGUEZ Thank you, Diana, and yes, tensions and anticipation are high this evening as we await the opening of “Waiting for Godard.” The production raises much larger questions surrounding the First Amendment, immigration rights, refugees, and what some are calling a disturbing increase of nationalism in theASSISTANT STAGE MANAGER Excuse me. You cannot be in here. I’m going to have to ask you to leave, please. This way...

(The ASM escorts Ismene and her crew out of the theater.

Cast and crew members gather in front of the stage. Eve and Josip enter the theater, dressed in black. They walk down the aisle, hand in hand.

58.

They pause in front of the steps. Eve straightens Josip’s tie then kisses him on the cheek. She joins the cast and crew at the foot of the stage. Josip climbs on stage and faces them.)

JOSIP Well, here we are, opening night. You know, I had a speech planned and I was going to say all of these wonderful things. Actually it’s right here.

(Josip pulls an index card from his pocket and holds it up between two fingers. He smiles at Eve. She rolls her eyes.

He tosses it into the house.)

JOSIP I guess what I really want to say, is that all of this... (gestures) the theater, the reason we do what we do, despite pain, loss, rejection, ridicule, financial hardship, and all of the other reasons that anyone in their right mind would tell you, you shouldn’t do what we do...

(People smile at each other.)

JOSIP yet we do it anyway, again and again, to our own demise, sometimes. Sound familiar? We are not normal people, and yes, maybe we’re crazy. But to do nothing? To say nothing when the entire world goes mad? Well, I think that is much worse. Don’t you? And that is why the world needs the theater, why they need us: to hold up that mirror and say, “Look, look what you have become.” So unlike Gadot, who never shows up, we showed up here tonight, to face our destiny. And unlike Didi and Gogo, we are going to do something about it, right here, right now and people will leave here different than when they came in, they will be changed. Even if it’s just a little bit, that’s enough, and we will have done our job. So, when that curtain goes up tonight, and all those people are watching, young, old, conservative, liberal, the police... let’s not forget the police. Just remember, you are doing the most important work in the world - to entertain. We enter in, we hold them close, then send them back into the streets with a new way of seeing the world. Okay?

YURI Yeah!

(Everyone laughs.)

ASSISTANT STAGE MANAGER House is ready to open, Josip. We’re officially sold out.

59.

JOSIP Okay, just two more minutes. Eve, want to lead us in “whether the wether” real quick?

(Eve, nods, smiling with excitement. Captain Addison walks across the stage slowly, towards Josip.)

EVE (whispers) Wether the weather is cold... Wether the weather is hot...

EVERYONE (whispers) We’ll be together whatever the weather, wether we like it or not.

CAPTAIN ADDISON Well, congratulations, Josip. Looks like you pulled it off after all.

JOSIP Thank you, Captain.

EVERYONE (low voices) Wether the weather is cold... Wether the weather is hot...

CAPTAIN ADDISON Maybe it’s about time I tell you where your son, Evan, is. Would you like that? Call it a peace offering, an opening night gift.

EVERYONE (low voices) We’ll be together whatever the weather, wether we like it or not.

JOSIP How do you know? Where is he?

EVERYONE Wether the weather is cold! Wether the weather is hot!

(Addison speaks but can no longer be heard over the cast and crew.

60.

Josip’s expression transforms from shock to horror.

Addison smiles. He walks away then stands beside a wall near the front row.)

EVERYONE We’ll be together whatever the weather!! Wether we like it or not!!

(Everyone rushes to their places. The front doors open.

Ushers inspect tickets and help people find their seats.

Uniformed Police officers stand at the back of the theater, observing. Josip stands on stage, catatonic, in front of the curtain. Eve is in the aisle, near the fourth row, smiling and speaking with Moira. Josip and Eve see each other across the room. His expression fills Eve with fear. Josip steps off stage then walks briskly up the opposite aisle. He runs out of the building. Eve rushes over to Addison.)

EVE What did you say to him?!

CAPTAIN ADDISON The truth.

EVE Bastard!

(Eve runs up the aisle and out of the theater. The lights go down. The curtains open. People applaud. Truffaut is sitting on the bench. Rohmer stands by the streetlight. On the other side of the stage, beneath a spotlight, Carlos begins to play O Fortuna on the piano. (Piano Guys version) Moira stands. She looks at Addison then back to the front doors. She runs up the aisle. Addison follows her. Projection: A full moon rises behind Truffaut and Rohmer) ÉRIC ROHMER What’s wrong with you?

FRANÇOIS TRUFFAUT Nothing.

(Enter Josip, walking down the opposite aisle in a daze.

He opens an imaginary door then walks up the steps.

61.

He is home now. Josip stands next to the piano. Carlos continues to play. Josip stares off in thought.) ÉRIC ROHMER Was I long asleep?

FRANÇOIS TRUFFAUT I don’t know. ÉRIC ROHMER Where shall we go?

FRANÇOIS TRUFFAUT Not far.

(Josip runs his hand over the top of the piano. He looks up at the rafters. A chain with a hook at the end of it hangs from a cross beam, overhead) ÉRIC ROHMER He’d punish us. (Silence. He looks up at the streetlight) The power’s all out, except for this one.

FRANÇOIS TRUFFAUT (Looking up at the light) What is it? ÉRIC ROHMER The light.

(Carlos stands. Josip drags the piano bench away, across the floor. He places it alongside the piano. Carlos continues to play.) ÉRIC ROHMER Why don’t we hang ourselves?

FRANÇOIS TRUFFAUT With what? ÉRIC ROHMER Haven’t you go a bit of rope?

FRANÇOIS TRUFFAUT No.

62. ÉRIC ROHMER Then we can’t.

(Josip steps up onto the bench then climbs on top of the piano as Karen once did. He stands. Carlos continues to play.) ÉRIC ROHMER Wait, there’s my belt.

FRANÇOIS TRUFFAUT It’s too short.

(Josip removes his belt. He examines it then looks back up at the hook and chain. Rohmer removes his belt and looks up at the streetlight. His pants fall down. Audience members laugh. A bass drum joins in with Carlos’ piano.

A procession of people in ragged clothes enter the theater.

They walk down the aisle towards Josip, glass pipes in one hand flaming cigarette lighters in their other. Their faces are illuminated by the flames. They sing in unison.)

CHORUS OF THE PLAGUE obumbrata et velata michi quoque niteris nunc per ludum dorsum nudum fero tui sceleris (Josip secures his belt around the iron hook. He twists it, then tests his weight against it. Rohmer and Truffaut each take hold of one end of Rohmer’s belt. They nod to each other. The Chorus of the Plague gathers at the foot of the stage, in front of Josip.)

CHORUS OF THE PLAGUE Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria.

63.

(Josip takes a deep breath. He slips the opening of his belt / noose over his head then secures it tightly. Rohmer and Truffaut pull Rohmer’s belt taut between them, in a tug-awar.)

CHORUS OF THE PLAGUE Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

(SILENCE. Carlos plays single notes. Josip looks out at the audience. He closes his eyes then steps off the top of the piano, hanging himself. Across the stage, Truffaut and Rohmer fall over backwards as the belt snaps between them. A cello accompanies Carlos. The chorus slips away into the shadows. Josip’s legs twitch for a moment then fall still. His body swings gently, back and forth. Carlos closes the keylid then exits. Enter Eve, running down the aisle. She slowly climbs the steps. She looks up at Josip and SCREAMS. ) LIGHTS OUT. (Lights up on Truffaut and Rohmer standing beneath the streetlight. Each holds a piece of Rohmer’s belt in their hand.) ÉRIC ROHMER You say we have to come back tomorrow?

FRANÇOIS TRUFFAUT That makes no sense. The festival ends tonight. ÉRIC ROHMER And Jean-Luc? FRANÇOIS TRUFFAUT Godard is probably closing a deal with Beauregard right now, even as we speak.

64. ÉRIC ROHMER Without us?

FRANÇOIS TRUFFAUT Oui bien sûr. ÉRIC ROHMER Then what was all of this for? Why would he do such a thing?

FRANÇOIS TRUFFAUT To distract us from the truth, mon ami.

(Lights up on the Louvre, on the opposite side of the stage.

Enter Moira. She hangs up her coat then pours herself a drink.)

CAPTAIN ADDISON Hello, Moira.

MOIRA (startled) Jesus, you scared me. I didn’t hear you come in.

(Moira notices the pistol in Addison’s hand.)

CAPTAIN ADDISON You look good, Moira. How you been?

MOIRA I’ve been okay, you know, keeping busy with work and everything.

(She backs away from him.)

CAPTAIN ADDISON Where you going? Come here.

(Moira dosen’t move. Addison cocks the hammer of his pistol.)

CAPTAIN ADDISON I said, come here.

(Moira complies. She approaches him slowly.)

65.

CAPTAIN ADDISON That a girl... now give me a hug.

MOIRA Addison, you’re scaring me.

CAPTAIN ADDISON What? We used to be so close, Moira. Come on.

(He opens his arms, still holding the pistol in one hand.

Moira inches her way into his embrace.)

CAPTAIN ADDISON There we go... Mmmmm, just like old times.

MOIRA Okay... Okay...

(She pats Addison on the back. Addison places the barrel of his pistol to side of Moira’s head.)

MOIRA (terrified) Please don’t.

CAPTAIN ADDISON You know, it really threw me a curve ball seeing you in that theater tonight, Moira, paying money to go see that filth. After all this time, you still want it, don’t you? You want his filthy, greasy, foreign spunk again. (Breaking) Is that what it is? Answer me!

MOIRA No! CAPTAIN ADDISON Get up against the bar!

MOIRA You’re hurting me!

CAPTAIN ADDISON Bend over, goddamnit!

MOIRA Stop! What are you doing?!

66.

CAPTAIN ADDISON I can do whatever I want with your filthy ass!

(Addison presses the side of Moira’s face against the bar top. He fumbles with his zipper to no avail, the pistol still in his hand.)

CAPTAIN ADDISON I’m the hand of justice! That’s what I am, the law! The... Aw, fuck it...

(Addison gives up on the pistol. He slides it across the bar top, away from them, then opens his belt, unzipps his fly, and drops his pants down with his free hand. Enter Eve. She picks up the pistol and points it at Addison.)

EVE Get away from her.

CAPTAIN ADDISON Well, kiss my grits... Look who’s here. Sweet little Evie.

EVE I said get away from her!

CAPTAIN ADDISON What you gonna do with that gun?

(Eve shoots Addison in the stomach.)

CAPTAIN ADDISON Oh...! You filthy bitch.

(Addison falls onto his ass. He scoots away from Eve, across the floor.)

EVE You killed him!

CAPTAIN ADDISON I didn’t do shit!

EVE What did you say to him? Tell me! I want to know before I kill your sorry ass.

(She cocks the hammer of the pistol.)

67.

MOIRA Eve, don’t do it. He’s not worth it.

CAPTAIN ADDISON You bitches are going to jail... I’m a fucking law enforcement officer! Officer down!!!

Officer Down!!!

(Eve shoots Addison in the leg. Addison screams.)

EVE What did you tell Josip?!

MOIRA Eve stop!

CAPTAIN ADDISON I told him the truth!

EVE What did you say?!

(Eve shoots Addison’s other leg.)

CAPTAIN ADDISON Woooooooo! Damn! Just hold on a second, Eve, shit! We’re going way past the close here, just wait! (Hyperventilating) I’ll tell you everything.

(Eve cocks the hammer again. She aims the pistol at Addison’s crotch.)

CAPTAIN ADDISON Okay... I did it, I did it, I did it, alright?! I ran over Josip’s wife with my truck, knocked you over the head with my fishing bat, I even killed Karen’s stupid ass, but that’s nothing compared to what you’ve been doing, little miss Evan Delaney. (Coughing up blood) (Moira screams. She covers her mouth with her hand.)

EVE What are you talking about?!

CAPTAIN ADDISON You’re the filthy love-child of Moira Delaney and Josip Brodovic.

68.

EVE (shaking her head) No...

CAPTAIN ADDISON (laughing hysterically) Congratulations, Evie, you’ve been rolling around in the same honey jar with your old man... you filthy slut!

(Eve unloads. She fires round after round into Addison’s torso, pulling the trigger long after the weapon is empty.

Moira carefully takes the pistol away from Eve. Eve is trembling. She stares, catatonically, at the carnage of Addison’s body.

MOIRA Eve? (Eve walks to the bar, picks up a bottle of whiskey, and SMASHES it over her own face.)

MOIRA Baby, no!!!

(Eve screams. Moira screams. Blood pours from Eve’s eye sockets. She has blinded herself. Moira runs for a bar towel and wraps it around Eve’s eyes. She rushes Eve down the steps then carefully helps her walk up the aisle.

On the opposite side of the stage, Rohmer looks to Truffaut.) ÉRIC ROHMER I can’t go on like this.

(A whistle BLOWS. Uniformed police officers march into the theater.)

OFFICER #1 This show is officially closed! All cast and crew members are ordered to vacate the premises immediately!

AUDIENCE MEMBER #1 Let them finish!

69.

AUDIENCE MEMBER #2 It isn’t over yet!

OFFICER #1 You, with the tuba! Step down here, sir. Show me your hands!

DELPHINA (sings) Una mattina mi son svegliato...

EVERYONE (sings) O bella ciao, bella ciao, bella ciao ciao ciao!

OFFICER #7 Put the instrument down! Do it now!

FRANÇOIS TRUFFAUT (sings) Una mattina mi son svegliato...

OFFICER #1 This is your final warning! ÉRIC ROHMER (sings) Eo ho trovato l'invasor!

(The officers attempt to arrest cast and crew members who evade them, running around the theater as they refuse to stop singing and playing their instruments. The whole theater fills with song. Even those being hauled away continue to sing and play along.)

EVERYONE O partigiano porta mi via O bella ciao, bella ciao, bella ciao ciao ciao!

(The music builds to a frenzy. Audience members are snatched out of their seats and handcuffed, as the “theater riot” Josip once feared takes beautiful shape.

70.

Singing and shouting can be heard outside the theater, in the streets. Finally, only Truffaut and Rohmer remain, humming quietly to themselves. Rohmer’s pants are around his ankles.) ÉRIC ROHMER Alors, on y va ?

FRANÇOIS TRUFFAUT Allons-y. ÉRIC ROHMER Well... shall we go?

FRANÇOIS TRUFFAUT Yes, let’s go.

(They do not move.)

(Projection text: “RESIST.”) LIGHTS FADE.

FIN

Josip Brodovic

EVE SOUNDTRACK 01_Mesecina_Goran Bregovic 02_Ederlezi_Beirut 03_Revelations_Maiden United 04_Dance With Me (Lords Of The New Church) / Nouvelle Vague 05_Madanitche 06_Us And Them (Sax Solo) 07_In a Bar_Tango with Lions 08_Jesli Bog istnieje (If there's a God)_Goran Bregović & Kayah 09_Underground Tango_Goran Bregovic 10_Sasa Matic - Stani stani Ibar vodo 11_O Fortuna (from Carmina Burana) - The Piano Guys 12_Bella Ciao_Goran Bregovic_( LIVE ) Paris 2013 13_Patsy Cline - Crazy (Josip in Captain Addison’s Office) 14_Patsy Cline - He Called Me Baby (Eve in Captain Addison’s Office) 15_Shantel - Planet Paprika (Curtain Call or Intermission Music) 16_Judica me Deus_sung by Captain Addison “Fil-thy Fil-thy” Casio Watch alarm sound FX

FORTUNA IMPERATRIX MUNDI O FORTUNA

FORTUNE EMPRESS OF THE WORLD O FORTUNE

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O Fortune, Like the moon You are changeable, ever waxing and waning.

Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back To your villainy.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Fate is against me in health and virtue, driven on and weighted down, always enslaved.

So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me!

Ederlezi Lyrics in Romani

Lyrics in English

Sa me amala oro khelena Oro khelena, dive kerena Sa o Roma daje Sa o Roma babo babo Sa o Roma o daje Sa o Roma babo babo Ederlezi, Ederlezi Sa o Roma daje Sa o Roma babo, e bakren chinen A me, chorro, dural beshava Romano dive, amaro dive Amaro dive, Ederlezi E devado babo, amenge bakro Sa o Roma babo, e bakren chinen Sa o Roma babo babo Sa o Roma o daje Sa o Roma babo babo Ederlezi, Ederlezi Sa o Roma daje

All my friends are dancing the oro Dancing the oro, celebrating the day All the Roma, mommy All the Roma, dad, dad All the Roma, oh mommy All the Roma, dad, dad Ederlezi, Ederlezi All the Roma, mommy All the Roma, dad, slaughter lambs But me, poor, I am sitting apart A Romany day, our day Our day, Ederlezi They give, Dad, a lamb for us All the Roma, dad, slaughter lambs All the Roma, dad, dad All the Roma, oh mommy All the Roma, dad, dad Ederlezi, Ederlezi All the Roma, mommy

"Ederlezi" is a popular traditional folk song of the Romani minority in the Balkans.

The song got its name from Ederlezi which is a Spring festival, celebrating the return of springtime, celebrated especially by Romani people in the Balkans, Turkey and elsewhere around the world. Ederlezi is the Romani name for the Bulgarian, Macedonian and Serbian Feast of Saint George. It is celebrated on 6 May [O.S. 23 April] (occurring approximately 40 days after the spring equinox). The various Balkan spellings (Herdeljez, Erdelezi) are variants of the Turkish HĹdĹrellez, a holiday signaling the beginning of spring, occurring on the same day.

If the God exists

Jeśli Bóg istnieje

Where the letter "K" in the notebook, Cross out my name there tonight Put a cross and at this cross A silence sign, sprinkle it with ash If the God exists

Gdzie k litera w notatniku skreśl dzisiaj w nocy imię moje i postaw krzyż a przy krzyżyku znak ciszy posyp go popiołem jeśli bóg istnieje

Hundred winters but none summer And sometimes a crumb from your table I was waiting painfully for this Changed to a little ashes' handfull If the God exists

Sto zim i ani jedno lato a czasem okruch z twego stołu czekałam aż do bólu na to zmieniona w małą garść popiołu jeśli bóg istnieje

And when you go away, when you die, If you aren't here tonight Suddenly two women wake up.

One is your motherShe will shed a flood of tears Another is me I will curse your name And then laugh out loud Cursing every day When I by your side, Didn't say anything, was standing for hundred years As your wife And I'm laughing loudly Cursing every night And finally I will curse myself For that I loved you

A kiedy odejdziesz kiedy umrzesz gdy cię nie będzie nocy tej wtem przebudzą się kobiety dwie jedna to matka wyleje łez lawin druga to ja ja przeklnę twoje imię i roześmieję się przeklinając każdy dzień gdy przy boku twym nie mówiąc nic stałam sto lat jako żona i się śmieje w głos przeklinają każdą noc a na końcu przeklnę samą siebie za to że kochałam ciebie

I still see you as an angel Who is here for a while, then fly away To whisper me, lying on my pubis "You have to make kids like cookies" If the God exists

Wciąż widzę w twoim ciele anioła co chwilę stoi a za chwilę leci by szeptać mi u mego łona jak ciastka musisz robić dzieci jeśli bóg istnieje

And when you go away, when you die, If you aren't here tonight Suddenly two women wake up.

One is your motherShe will shed a flood of tears Another is me I will curse your name And then laugh out loud Cursing every day When I by your side, Didn't say anything, was standing for hundred years As your wife And I'm laughing loudly Cursing every night And finally I will curse myself For that I loved you

A kiedy odejdziesz kiedy umrzesz gdy cię nie będzie nocy tej wtem przebudzą się kobiety dwie jedna to matka wyleje łez lawin druga to ja ja przeklnę twoje imię i roześmieję się przeklinając każdy dzień gdy przy boku twym nie mówiąc nic stałam sto lat jako żona i się śmieje w głos przeklinają każdą noc a na końcu przeklnę samą siebie za to że kochałam ciebie

https://www.youtube.com/watch?v=Gudy01UbVes

Stani, stani, Ibar vodo

Stani, stani, Ibar vodo.

Ibar vodo, Kuda zuris tako?

Kuda zuris tako?

I ja imam jade svoje, Jade svoje.

Meni nije lako, Meni nije lako.

Ponesi me ti sa sobom, Ti sa sobom, Do Kraljeva grada, Do Kraljeva grada, Tamo mene ceka jedna, Ceka jedna, Devojcica mlada, Devojcica mlada.

Pokraj Ibra, ona ceka, Ona ceka, Skoro svake noci, Skoro svake noci.

Stani, stani Ibar vodo, Ibar vodo.

Moram dragoj poci, Moram dragoj poci...

Stop, Stop, Ibar river waters of the Ibar where are you rushing like that?

I also have my sorrows and it is not easy for me There where Ibar water in Morava streams, one lonely house hides my darling.

There she waits me almost every night.

Stop, Stop, Ibar water, i have to go to my dear.

Una mattina mi sono svegliato, o bella, ciao! bella, ciao! bella, ciao, ciao, ciao!

Una mattina mi sono svegliato, e ho trovato l'invasor.

O partigiano, portami via, o bella, ciao! bella, ciao! bella, ciao, ciao, ciao!

O partigiano, portami via, ché mi sento di morir.

E se io muoio da partigiano, o bella, ciao! bella, ciao! bella, ciao, ciao, ciao!

E se io muoio da partigiano, tu mi devi seppellir.

E seppellire lassù in montagna, o bella, ciao! bella, ciao! bella, ciao, ciao, ciao!

E seppellire lassù in montagna, sotto l'ombra di un bel fior.

Tutte le genti che passeranno, o bella, ciao! bella, ciao! bella, ciao, ciao, ciao!

Tutte le genti che passeranno, Mi diranno «Che bel fior!» «È questo il fiore del partigiano», o bella, ciao! bella, ciao! bella, ciao, ciao, ciao! «È questo il fiore del partigiano, morto per la libertà!»

One morning I awakened Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye! One morning I awakened And I found the invader Oh partisan take me away Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye! Oh partisan take me away Because I feel death approaching And if I die as a partisan Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye! And if I die as a partisan Then you must bury me Bury me up in the mountain Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye! Bury me up in the mountain Under the shade of a beautiful flower And the people who shall pass Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye! And the people who shall pass Will tell me: "what a beautiful flower" This is the flower of the partisan Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye! This is the flower of the partisan Who died for freedom