^outkhjlltc '97. Sponsored by: The Hssociation of British Columbia Drama. Printed by School District 67. Gkanagan-Skaha. Educators

Transcription

1 r r outkhjlltc '97 a sc. Drama Educators Sposored by: The Hssociatio of British Columbia Drama Educators Prited by School District 67 Gkaaga-Skaha

2 I,flO0KSi-l0 \mm.

3 1 outkhjtlte '97 Oiaira. <-> Eyucabofs Sposored by: The Rssociatio of British Columbia Drama Educators Prited by School District 67 Okaaga- Skaha

4 INTRODUCTION TO TH 1997 YOUTHWRITE ANTHOLOGY by Joh Lazarus #205, 2225 W. 8th Ave. Vacouver, B. 0. V6K 2A6. Phoe/fax (604) April, 1997 Just last year, 1heard ofthe Youthwrite Festival for the first time- whe Coordiator Geoff Burs ivited me to adjudicate it. Ad as Iwrote i the itroductio to last year's athology, it was a dream come true to see Caadia studets writig their ow plays, ad at a high level of quality. So this year, whe they asked me to do it agai, I happily coseted, but asked if this time Ibe o the team that reads all the plays ad picks the oes for productio at the Festival. Ad the motto ofthat story is, Be careful ofwhat you wish for, lest the Associatio of British Columbia Drama Educators give it to you. What they gave me was forty scripts to read, assess ad write otes to the authors about. Fortuately Ishared this dautig task with two isightful, kowledgeable ad tireless teachers: Harold Baker of Merritt ad Lida Beave of Summerlad. We agreed most ofthe time, disagreed ofte eough to keep thigs lively, ad had some excitig coversatios ad ; ad they patietly educated me i some of the realities of makig theatre i a high-school cotext. As I read the plays, I realised Iwas beig privileged with a look at tapestryof all the cocers of teeagers i the 90's. There were thoughtful, melacholy plays about sesitive kids; outrageous, deraged comedies; clever parodies of folklore ad pop culture; sagas of lifelog loves, friedships ad hatreds; satires about datig, exams, bureaucracy, ad the pressures of tee life; suspese thrillers; covetioal dramas; ad a couple of plays that were simply uclassifiable. Ager- usually of a quiet ad righteous variety- figured strogly as a recurret theme; ager at abset parets, at abusive frieds ad relatives, at the ufairess of life i geeral. We thik that the six we chose for the provicial festival i Powell River are represetative of the quality of this year's work ad the rage of its cocers. At the Tide, by Nichole Bach of Lord Tweedsmuir, Surrey, is a softly melacholy ecouter betwee two kids o a beach at suset at the ed of summer. This is oe of a few plays this year about teeagers o the road- vulerable kids, a little lost, ad ot above feelig just a bitsorry for themselves. It is rare for a studet playwright to pay such close attetio to settig ad mood, ad this play, though without overt sex or romace, still proves strogly but subtly romatic. The boy's complimet, which chages the girl's destiy, has may levels to it.

5 Flowers for Amy, by Corrie Willard of Maple Ridge Secodary, depicts a ecouter betwee a girl at her graduatio ad the father who left her log ago. The emotios are raw, but the dialogue is measured; it begis as a sustaied exercise i rage ad becomes a dace betwee hurt ad forgiveess. The edig came as a bit of a jolt to this middle-aged reader: I ted to expect edigs that reassure us with a ote of hope. But Ms. Willard is more iterested i a stab of uforgivig reality. At the other ed of the emotioal spectrum, we received quite a few examples of a kid of off-the-wall, out of focus humour that has bee a popular gere for several geeratios ow: the sort of absurd sketch comedy desiged to make the audiece say, "What the heck are we doig up there?" Oe of the weirdest of this year's lot, You've Got Somethig i Your Teeth, Comrade by Agela McKiey of L. V. Rogers i Nelso, was (by its author's ow cheerful admissio) Tossed off a casual homework assigmet, which her teacher, Geoff Burs, the submitted behid her back. Geoff may perhaps be forgive for a excess of zeal, as he is also the Coordiator of Youthwrite, ad as this is a fuy piece. It may ot be much more tha a revue sketch, but i its peculiar fury ad its ever-decreasig repetitios, it has a chillig edge to it ad it made me laugh out loud. Readig this thig is like descedig ito a whirlpool. I also could't resist the false teeth, or the blithely arbitrary Commuist settig. Aother example of irrepressible adolescet goofiess- with a whole other kid of edge to it- is Carry Me Over the Threshold, Superhukll, writte ( ad performed, I'm told) by a quartet of obviously dagerous youg ladies at J. L Crowe Secodary i Trail: Dia DelBucchia, Maria Simpso, Patti Berukoff ad Lisa Veturii. I this Campy ad politically-icorrect bit of vegeace, Catwoma, Woder Woma, ad Spiderma's log sufferig wife all atted Lois Laes bridal shower, at which they dish the dirt at heroism, femiism ad romace. The Truth, the Whole Truth, ad Nothig Like the TruthI, by Lisey Fair of Dover Bay Secodary, Naaimo, offers a tightly orgaised, highly-barbed little satire o the pretetios ad isecurities of high-school kids. This play is a poited remider that the truth is always the first casualty of datig. (I also liked it because, readig it, I suddely remembered writig a short story alog similar lies whe Iwas i high school. But Lisey's works better.) Ad fially there is Dead Geraiums by Amy Bespflug of David Thompso Secodary i Ivermere. This is a poetic, sweetly hautig piece of Theatre of the Absurd. With its strage little puzzles ad oddly satisfyig surprises, it brigs to mid the great surrealists ad absurdists: Cocteau, loesco ad perhaps Beckett- ad yet this playwright's eye ad ear ad sese for the uexpected coectio are ieluctably her ow. Amy has created a highly origial, miiature world here, with its ow atural laws ad with the looped,delirious logic of a dream.

6 Ihav0 bg8 askgd to poit out that thg drafts you will road i this athology aro thg drafts that wars first submlttgd to us. Iwrits this prior to thg Fsstival at Powell River, ad the authors have bee makig chages i the plays sice that first submissio, based o their discoveries as they rehearse the plays for presetatio at Powell River, ad o otes ad suggestios offered by us three readers. Some of them would ow' prefer, ideally, to share the ew, improved versio of their plays. But i order to get this athology ready i time for the festival, we have chose to ru the drafts origially submitted. Ad, as my fellow reader Lida Beave succictly poits out, 'Ihe script that we read was what got the play chose." If last year a dream came true for me, the this year Ibegi to appreciate the size of the dream: the wide extict of our studets' ethusiasm for playwritig, eve as this art form appears to be slidig scarily close to obscurity i the adult world. What I wrote last year seems eve truer this year: "Though we older folks may be experiecig a slump i fudig ad audieces, there does appear to be a fie ew crop of theatre artists growig up aroud us. Here are six of them. Ejoy their book." Could't put it better. Joh Lazarus

7 At the Tide by Nicole Bach At the Tide was first preseted Jauary 30, 1997, at Lord Tweedsmuir Secodary school Surrey B.C. uder the directio of the author. ADAM Keith Forbes JANEY Alicia Devries Cautio: Professioals ad amateurs are hereby wared that At the Tide by Nicole Bach is subject to royalty. It is protected uder copyright law. Iquiries regardig performace rights ad royalties should be directed to Nicole Bach B Aveue, Surrey, B.C V3S 4L5. Fee for a the first performace is $10.00, $5.00 for subsequet performaces.

8 At tih# Tadl<i A Drama i oe act for a youg male ad female Characters JANEY ADAM A iexperiecedruaway A experieced street kid TIME: The preset; early morig, approachig daw. PLACE: A beach frot with a walk way (eg. the Sea Wall at Eglish Bay, Vacouver) SETTING: The stage is bare except for a park bech UC. Blue lightig at rise creates a ight-time, silhouette effect. Acoustic guitar music ca be heard as Adam waders ostage with a guitar ad a large travellig pack, ad seats himself o the bech. I the distace stretches the Ocea. He places his ope guitar case o the groud ad either strums a few chords o the guitar, or recorded music ca cotiue to play. He begis to speak to passers-by, which are imagiary. Their replies are uheard by the audiece, but heard by Adam as he respods. Adam: Spare some chage, sir? It's for food, I promise... (i respose to the ma's reply)...get a job? - That's origial. (strums a few more chords) Hello ma'am, (pets her dog) that's a ice dog you've got. Could you possibly- (She walks away. He searches through his ow pocket, ad couts the small amout of chage he has i desperatio. Jaey eters DL, dressed lightly, carryig a backpack. She walks over to a payphoe DL. She puts dow her pack as if she has bee carryig it all ight. She searches through her wallet, ad fially fids a quarter after much searchig. Before she closes her wallet, she otices some pictures of her family ad leafs through them. She goes to make a call home, hesitates, ad hags up bitterly. As she turs aroud to get her thigs, she otices Adam, ad tosses the quarter i his guitar case) P. 3

9 Adam: Adam: Thaks. (Jaey smiles ad walks DC, ad sits facig the audiece, pulls out her sketch book ad begis to draw. Adam strums the guitar, ad observes her. She gives up drawig ad starts skippig stoes ito the water ahead. Adam walks up beside her.) The flat rocks work best, like this oe. (Throws the stoe ad couts umber of skips) Oh ma, I ca usually get at least eight. (Jaey looks startled) Hey, sorry about seakig up o you. Jaey: That's all right. Adam: Jaey: Adam: Jaey: Adam: Jaey: Adam: Jaey: Adam: Jaey: It ever fails, that phoe always gives the wrog umber. It was the wrog umber....so what's your ame? Jaey. Yep, I thought so. What? You look like a Jaey, or Rhoda Rhoda? Why Rhoda?... Who are you ayway? I'll aswer to aythig, most people call me Adam. Adam is fie. Adam: So what are you doig here? It's pretty early... Jaey: Just thikig. Adam: About what? Jaey: Some stuff. P. 4

10 Adam: Some stuff... oh yah, I kow about stuff. I thik about stuff too. Like alie ivasios... ad life forms o Mars ad-...oh o (Pause as Adam looks troubled.) Jaey: What? Adam: They told me ot to tell ayoe about that. (She looks cofused, util Adam laughs, she the catches the joke ad smiles.) No really, what're you doi' here? Jaey: I like to be by the water. I used to come here with my Mom all the time whe I was a kid. Adam: Yah, me too. Hey, you kow that huge old tree stump o the south ed, the oe that's hollow i the middle? Jaey: I thik so... yes... ad you ca fit a car uder it, it's so big. Adam: That's the oe. I used to hide i there, with my fried, ad throw popcor at people whe they walked by. It was so fuy, they could ever figure it out. (Pause...) I've see you aroud. Jaey: Adam: Where? O Mai a couple days ago, waderig aroud... You do't see too may ew kids out at the ed of the summer. Jaey: I was tryig to fid a place to stay. All the shelters are full, so here I am. Adam: Jaey: Yah, I kow what that's like. The weather is still warm, so I've just bee stayig here o the beach. Adam: You stayig aloe? Jaey: For a while, yes, the I met this other girl. Califoria yesterday. P. 5 She left for

11 Adam: Jaey: Adam: Jaey: That's where I'm goig. It'll be gettig cold soo, summer's almost over. Most of us take off if we ca... I leave for Sa Fracisco i the morig. Are you takig the bus? Nah, too expesive. I'm hitchig a ride. They leave at surise, with or without me. I was goig to crash here last ight, but I stayed up to get some more moey for the road. There's ot may people aroud ow. Adam: Yah, I kow. I've got to get there o te bucks. Jaey: Adam: Jaey: Adam: Jaey: Adam: So, what's i Sa Fracisco? A place to stay, a chage of sceery. I've got a sister who lives there, she says I ca stay with her for the witer. She kows where I might fid some work. That's pretty hard to fid here without a address. It might be a chace at somethig. I've bee here for way too log, everythig is startig to look the same. So I'm takig off. So... how log have you bee here? Seems like forever, I mea it does't matter aymore (pause)... Four years ow. I guess. I was twelve. My Dad fially got sick of me. I was pretty sick of him too. That guy ever did oe good thig for me. So he kicked you out? He'd tell you that. I came home oe day, after oe of our fights, ad all my stuff was piled o the frot law. I ca take a hit, so I left. Never bee back. (Pause) What about you? Could't have bee that log. Jaey: Why's that, have you got E.S.P. or somethig? abductio? P. 6 Aother alie

12 Adam: Do't take it the wrog way. You just seem kida ew, that's all. I guess it's a good thig... With most kids we ever talk about home. We ever tell ayoe if we're thikig about it either. We just keep goig o like othig makes a differece. You almost forget about it that way. Jaey: That's what I'm tryig to do. Adam: Parets? Jaey: No, my Mother. My Dad's ot aroud much. He's always goig away o 'busiess'... How stupid ca she be? I mea, if I were him I would't wat to be with her either. Adam: What's her problem? Jaey: What is't her problem? Whe she's ot sellig overpriced real estate to the filthy rich, she's locked i her bedroom with a bottle. She goes o for hours listeig to old records, tellig me the same stories about whe she met my Dad, how pretty she was, ad how i love they were. She just feels sorry for herself. (They are quiet for a momet, tryig to thik of what to say. Jaey opes her sketch book ad begis to draw the water.) Adam: Oh, a artist. Jaey: Yes... At home it's the oly thig that kept me sae. Whe my Mom was o aother bige, I'd sit i my room ad draw places as far away from home as possible. Ay where else but there. Adam: Ca I see them? Jaey: Adam: Jaey: They're ot very good- I do't mid... please? Fie, but you ca't laugh. P. 7

13 Adam: Why would I laugh? {Takes it ad flips through.) These are really good...(looks up) Is that here? Jaey: Yes, I just started that yesterday. (She smiles. Adam otices some school work betwee the pages, holds it up.) Adam: Is this book from school... Hey, a Academy girl (Jaey takes the book back.) Thigs could't have bee that bad- (she turs away. Pause.) Sorry I said that. Jaey: Well you did... I am so sick of hearig that, Adam: Jaey: Adam: Jaey: Adam: Liste, I'm sorry, I did't mea it. (silet for a while) It does't matter, (stads ad walks DR) Jaey- I am so tired of everyoe seeig my house ad my parets, ad thikig that othig could be wrog. (Silbce for a while, the Adam stads.) I was't thikig... What ca I say... Maybe I should go. (Walks UL by the bech to leave.) Jaey: You do't have to leave. I'm sorry, I should't have blow up like that. It's just hard, you kow. Adam: Of course I kow. That's why I'm leavig ad tryig to put my life together. Jaey: Adam: Jaey: Adam: Ad I'm some spoiled rich kid, right? I'm o your side. At least someoe is. I kow what it's like... My Dad's bee drikig for as far as I ca remember. (He pauses as if usure whether to cotiue.) Sometimes he did't eve get out of bed i the morig. He'd be P. 8

14 sleepig whe I got up for school. His boss would call, woderig where he was. After the third time that week you ru out of excuses. How may times ca you get food poisoig? Jaey: {Their eyes meet for a momet, as she relates ad smiles.) I always told them that I had the flu, ad she was takig care of me... Wishful thikig I guess. Adam: I leared to fight back though, whe he hit me. I practiced o all the eighborhood kids. ( He gives her a soft puch i the shoulder.) I was eight whe I fially hit him back. Boy, was he surprised. Jaey: I'll bet What about your mom? Adam: What about her? Ca't tell you much. Jaey: Was she there? What did she do? (Adam is quiet) Adam: Jaey: Adam: She ever got aroud to that. Aroud to what? Hittig him back-...ma, she should have kocked him out the first time he touched her. I do't kow why she did't. Jaey: He would have hit her back, that's why... It's ot that easy... for a girl I mea. I'm pretty lucky. My mom ever got violet, just pathetic. So where is she ow? Adam: She walked out whe I was five. My Dad says I was too youg to remember it, but I do. It was the middle of the ight. She did it real quiet, so he would't hear. She came ito my room, whispered somethig about beig a good boy ad blew me a kiss good ight. She slipped out the back door, that was it. Never saw her agai. Guess it was oe puch too may, for her too. Wish she would've take me though. Jaey: Do you remember what she looked like? P. 9

15 Adam: Yah, I got this oe picture of her. Hid it from my Dad i a old shoe box. She had dark hair, lots of makeup. Kid of pretty. But there was somethig missig. Her eyes looked so empty... Used to dream about her whe I was a kid, that she'd come back ad take me away... (sarcastic) like Superwoma or somethig... I stopped wishig after a while. Now, it's just some stupid picture of a lady. Jaey: Sometimes, I wish my Mom would leave, better off without her. woder if I would be Adam: Really thik so? That's easy to say whe she's still aroud. You still got a house ad a bed... ad a Mom who's probably thikig about you. Jaey: (stads) I do't care about her. She is probably too druk to otice that I'm eve goe. All she cares about is her booze. I do't eve kow if she loves me aymore. Adam: I thik she does. Jaey: How ca you say that? You do't kow what she's like. You've ever eve met her. Adam: I met you. (Silet for a while, Jaey realizes the complimet, turs to him ad smiles. Adam, looks off i the distace ad stads.) I gotta go, it's gettig light out. Ca't miss this ride, it's ow or ever. Jaey: You'll miss the surise. Adam: That's okay, there'll be aother oe... Here, you might wat this. (Adam hads her the quarter that she gave him earlier) Jaey: I'm bad at this part. Adam: Yah, me too. I do't say bye to people. You ever kow if you'll see 'em agai oe day. I just say, 'later.' (Starts to leave.) P. 10

16 Jaey; Adam... That was't the wrog umber. Adam: kow. Jaey:.Thak you. Adam: For what?- later, Jaey. (exit) Jaey: Later. (Jaey remais o stage for a while i thought, as music fades i. She rises, gathers her thigs, ad waders alog the shore to the payphoe DL She recosiders callig home for a momet, smiles as she cofirms her decisio, the picks up the phoe ad dials.) Hi Mom... -FADE TO BLACK- P. 11

17 3 owm6. (Zm Qmim WMCmd Cautio; Professioals ad amateurs are hereby wared that Flowers for Ary by Gorrie Willard is subject to royalty. It is protected uder copyright law. Iquiries regardig performace rights ad royalties should be directed to Gorrie Willard Dewdey Trk Rd. Maple Ridge B.C. V4R 2G3. Fee for a sigle productio will be $10.00, ad all publicity material must iclude the ame of the author. The producer should feel free to cotact the author about questios about the script, characters or the iterpretatio.

18 _ Corriiie Willard DewdevTrk. Rd Maple Ridge, BC, Caada V4R 2CS After graduatio ceremoies, a girl (Amy) cofrots her " fatlier about what it was like growig up without him. Father, stadig doimstage cetre, is holdig a bouquet ofroses. He appears to theaudiece to beaxious, cotiually lookig at his watch, as he awaits his daughters etracefrom stage left. After 5 beats daughter eters the stage, talkig to a imagiary perso i the wigs. Amy: I kow. We're meetig i the hotel baquet room. I've just got to go home ad pick up a few thigs. I'll see you guys there, give me a hour... No, I'll take mv ou car, thaks. Amy makes a dowstage tur ad otices herfather waitigfor her. Amy: (A expressio cf disbelif.) Dad! Father: Hi, Amy. (Ackowledgig her appearace.) You look beautiful. Amy: What are you doig here? (She looks aroud, waitig.) What o ote, o card apologizig for your absece. Or better yet, sicere message left o my aswerig machie. Oh, ad I was so lookig forward to it. Father crosses stage ad hads Amy theflowers. Father: Here these are for vou. (Waits 2 beats.) You're welcome! No, o, o thaks eeded. Just the look o your face is appreciatio eough...\my: If this is your way of apologizig, I'm ot listeig. I've met my quota of apologies for the week. (Shehads theflowers back to her

19 father.) Sorr)', it's ot goig to work this time. Give those to someoe, who wo't see right threw them. Father takes back theflo'.vers, shakig his head. He turs slightly away-from his daughter. O Fatlier: Amy, please. I did't mea to upset you. I just wated to see )'ou. I wated to see my daughter graduate, today. agai. Shakig her head Amy crosses past herfather, the faces him oce Aiuy: Why? You'x'e had otliig to do.with me i god kows how log. What is it coveiet, ow? Cai\ you fit me ito your schedule? Do't you uderstad? The day you left, you gave up today. Ad eveiy other day that a fatlier should be pait. of. Father: Dey it if you wat. I'm still your father. Ary: Oh, I do't dey it. Though mav times I preteded you were't. See to me, vou are othig but a selfish, mthless ad icosiderate ma; who I fid repluske. Aid it makes me sick to have to admit I am ay extesio of you. You disgtist me. Ad I could so easily hate you if it did't... if it did't take so much effort. Father: Amy, please stop. I do't wat to do this. Amy: I do't care what vou wat. I Father: Amy, I'm your father ad you owe me some degree of respect. Amy: (laughig sarcastically) Respect. Mv fatlier. You're a strager. Towards you 1feel otliig good. I have oly ever see your faults ad they are umerous. My etire life you ha\'e w;ilked i ad valked out; makig a etrace wheever you da\ed well jileased.

20 Not a\tiiore. I'm eightee years old, ot a child waitig for your call. I do't eed you. r Father: Eightee years old aiid you tliik you do't eed a father. How aive. Amy: Perhaps, but whe I did eed you, you v\'ere goe. There was always a appoitmet, a cliet, a cjcial busiess trip, the weeked of my biithday. It was secretarys tliat left messages cacellig plas because you just could't get to tlie phoe. It was moey owed to me I was ever give because of a mortgage, or car paymet or some little toke for your ewest sweetheart.softertf:) Dad, you missed eveiytliig; everythig I wated you at. (Log pause. ) You do't eve kow who I am. Or tlie fact tliat you were my ispiratio ivhe choosig a career. But, do't flatter yourself. I'm goig to be a judge ad I'm goig to make the lives of fathers like you miserable. Like you made me. Father: Amy, please let me explai. Amy: I'm tired ofyour explaatios. Your excuses. I ca't do this aymore. I wat you to leave. Fatlier: Amy, just give me a chace. I do't wat to fight with you. Amy: I do't wat to fight with you either. I just wat you to leave. No explaatio is goig to chage that. I do't have the eergy for you. Not today. Do't rui this for me, too. Dad. Amy: Hoey, ca't you just liste to me? Amy: No, I'm tired oflisteig. Tliat's all ayoe ever\' w-ats me to do is liste. This time I'm doig the talkig. You liste to me. I feel othig for you. Ad it's best that ivay; because, the, whe you walk away from me agai, like I kow you will, I will have othig to regret. To miss. A log time ago I realized that you would alwavs walk awav, Dad; Ad that 1 could't wallow i iv 111

21 ow self-pity forever. What good would that do, because you i would ever kow. You ca't begi to uderstad how much you've hurt me. Ad I ca't ask you to feel my hurt, wiie you ca't eve feel vour owm. Father suddely gets agry ad steps itoamy. Father: You're so sure of that ai*e't }'ou. You thik itwas easv for me to leave, do't vou? Is that how vou reallv see me? You thik I did't miss you or wat to see you? ' rj..aaw: You did't have to leave. Dad. That was your choice. I Father: That's right, it was. I chose to leave a wife who had stopped lovig me. Ad I do't regret leavig her. But, eveiyday I regret leavig my daughter. Not beig able to see you, tliat killed me. Kowig you were growig up, probably to despise me, ad tjiat I could do othig about it. I did love you, Amy. It was ever about lovig you. I'm sorr\' if you were made to thik otherwise. But, the oly perso that stopped lovig ayoe here, is your mother. Amy: Mom, did't stop lovig you. Father: She ever let o. Not to you. Not to ayoe but me. She preteded to be so devoted, threw galla dier parties, ivited the whole dam tow. Just to parade aroud i extravagat dresses ad drik too much champage, to make a fool of me. You put your mother o a god dam petastol. Oe she does't deserve. Amy: She's bee a good mother to me. I ca say a lot more for her tha I ca for vou. ' Father: God, dammit, Amy. This is like ai'guig with your mother. She's made a bloody cloe. She's spet the past 14 years turig you agaist me for her ow beefit. But v'ou refuse to see that because she has you blided, just like she was. I i IV

22 Amy: You leave my mother out of this. Father: I'm sorry. Amy: Yah, well if you thik I'm goig to stad here ad allow you to bash my mother you've reached a poit lower tha I've give )'ou credit for. r-* Father: I apologize. This is't easyfor me, Amy. You seem to thik it is. Amv: I do't care if it is. " Amy: What! Father: Yah, well vou should because I'm the oe that wated vou. Father: She ever told you? I should have kow. She always could twist the tith i her favour. Amy, your mother is't who vou thik she is. Amy: What are you talkig about? Father: Amy, we did't eve kow if you were mydaughter. We had blood tests after you were bom. Ad, ufortuately your mother did't get what she wated. You were my daughter. Amy: Why are you doig this? You're tiyig to tur me agaist my mother! Father: No, o I'm ot, Amy. I'm just tryig to make you see what the truth is.

23 Aiy: So, ow ot oly did my latlier abado ie, but 1was illegitimate ad mother was a slut. Is dtat what you're sayig? Father: No. I'm just tryig to show that your mother has her side ad I have mie. Amy, maybe I'm ot the oe to be tellig you this, but your mother was goig to have a abortio. She ever wated childre. Or at least she did't wat tltem util she tliought it was his. Amy: Who is he, this guy you keep metioig? Father: Someoe from her actig class i college. She slept v\ith him o closig ight of some play tliey were ii\ together. Amy: What was his ame? Father: That's ot importat. Amy: What was his ame?! Father: I do't kow. Mai'k or somethig. Amy: Ad you guys were togetlier? Father: Yes, for a few mollts by the. I do't tliik shewas goig to tell me about him or about what had happeed. She told me she was pregaiit, we got egaged. Oe ight, we got ito a fight ad the trutli came out- That she'd slept \vith some strugglig actor ad that she did't wat vou or me for that matter. Amy:(cTjo) Shut up! Shut up, 1do't waiu to here aytore. Father: I'm soirv, Amy. Please do't crv. Do't doubt your modier VI

24 loved yoii oce you bom. She just did't love me. Soo, you were the oly perso i her life she cared about. The actor was goe ad she hoped that soo I would follow. You were too youg to kow ayof this, Amy. I heldout as logas I could. For four years I put up with that wome ad that life for vou. Amy: You should't have doe mo am' fa\'ours. Father: The ight I fially decided to leave, vou were sleepig. I apologized to you, kissed your forefiead ad you woke log eough to whisper, " 'Nite Dadd)'." Do you kotv how hard it was for me to leave after that? I kew oce I shut that door, that I would ever be allowed back i, ad yet I had to do it- Amy: (Sits dois'fi oil the bech to the rightside of the podium) So, whdid't you come back ad explai whe I could uderstad. Ever'- time you came back you oly stayed log eough for it to hurt agai whe you left. Ad vou always did leave, did't you? Father turs army, his back to his daughter. He is embairased. Father: It just seemed too late. You were already bitter ad happy witli your mother. She had bee good to you. I do't thik I could have tade you uderstad. Your life did't iclude me, I felt like a itisio. I thought I should just move o. To try ad forget about you. But, I could t, as determied as I was to shut you out. You were always there, i the back of mid. God dammit, Amy I feel so guilty.f Turs back aroud tofaceay) I ca't e.xplai it, ca't justifv' why I did, what I did. All I kow is at the time it seemed right. Ad 1had coviced myself I was doig the best for vou. Amy, I was still )'oug. I did't kow what I was doig. All I kev was that I could't cotiue livig with your mother, cotiuig the charade. I thought as log as you had your mother, that you would vii

25 M be okay. Maybe I was wrog. Ajfij stads up,quickly. She is aoyed. Amy: Dam right, you were wrog. You did't have the right to make that decisio for me. I loved you. You were w fauier. You leli. me with a mother wiio did't eve wat me. Fatlic.r: It was't like that, Amy. Your mother had leamt to love vou. Aiuy: Iamt!? She had to lear how to love me? No, I do't believe ay of it. I do't believe you. I asked about ' ou. Father: Ad what were you told? Amy: That you were you aiidyou would ever chage. She wa\ed me of your lies. Ad she was right. She said that her ad I had't fit ito your lifestyle. Fatlier: It was your mother's lifestyle that I could't adjust to. Ad theywere her lies ot mie. But, oe of it had aythig to do with you. You are mydaughter ad oticig ca chage that. I came here today to make peace ad perhaps right sote of my wrogs. I did't come to brig up all the thigs that I ca't chage. It's become quite redudat. I've tried to apologize but o oe will hear me. At least give me the chace to apologize for my mistakes. r-i Amy: Dad, apologizes wo't do it. Do't vou see how hard this is for me. I wat a father. B\Jt, I wated oe at five, too ad at six ad seve ad eve at sevetee. But, \'ou were't tliere. Ad apologizes, ad regrets, eve Bowers, \'o 't chage that. f** viii

26 Fatlier: Fhe, what Aiiiv? What am I suppose to do? Am 1just suppose to leave agai? Am I supposed to prove vou right? That's what vou really \vaiil is't it? You do't wat to cofrot the truth. If! could just cotiue to fit vo\)r iage of me, be the absetee father that does't carc. who abado hi.s daughter because he was seliish. The vou could live v\ith yourself, you could push me away, ajid be tlte oe who does't have ay regrets. You're more like me tha vou wat to admit, /\mv. Amy: That's vh.hf. I'm altaid of. Father: Amy, vou ever heard mv side, because it was easier lor you just to liste to v'our mother. Amy: She was the oly peiso that :vas there for me to liste to. Fatlier: I kow. I do't wat vou to reset your mother, I'm ot tryig to do that. I made my mistakes too. I've told mv share of lies, made my share of e\pty promises. But, I wat you to be a part of mv life. I eed you, Amv. I thik you eed me, too. Father passes the floiveis agai to Amy. Rehrtatly, she takes them. Amy: (waitig 2full beats, bites her Up) I'm soy, Dad. (She hads him hack theflowers) But, I ca't. Rather I wo't. Not ow. You make me promises but wh' should I believe \'ou, why is this time ay differet? I'm so cofused. My head is just a mess. I love mv mother, ad the tiligs that you're accusig her of...just let me live m\' life ad vou get o with the rest of vours. I could't forget eversaiiig, Dad, eve if I wated to. I'm soy. Leaig fowird she kisses her father o the cheek. :X

27 Amy: i giiess i my ow twisted way I do feel sometiiig for vou. I m ot sure if I love you, I do't kow amblig amore. Ma\'be 1 do't eve kow what love feels like. I do't wat to hurt you, but I wo't let myself fall for your sicereity. There were too may empty promises, Dad. Oes that were too importat to me. I'm ot iterested i tlte mid games, aymore. Goodbye, or should I s.'jy, goodite,.., (Pause.)... Daddy. Amy exits thestage, ivalkig domt the stairs, stage right. Herfather lurfis ad i\'atches her. She tuis agai to look at him ivhe she reaches the door. S'.yiiig othig she pushes domt the hadle ad leaves. lather retais o stagejor ajeiv heats ajter she leaves. He looks doiv at the flotvers, the getly lies them o the bech. E.xits stage right behid the curtai. ujjywqjyyi) ujujjcmc/

28 You've got somethig i your teeth. Comrade By: Agela McKiey L.V. Rogers Secodaiy School Origial Productio Directed by Agela McKiey 2 Cast Joel Cottigham Patrick Metzger p-i Music: Rowa Ticheor Stage Maager: Michelle St. Deis Assistat: Kristia Hus Dedicatedto myfriedadteactier, GeoffBurs Cautio: Professioals ad amateurs are hereby wared that You've Got Somethio I Your Teeth. Comrade by Agela McKiey is subject to royalty. It is protected uder copyright law. Iquiries regardig performace rights ad royalties should be directed to Agela Mckiey Silver Kig road. Group Box # 28, Nelso B.C. V1L 1C9. Fee for a the performace is

29 The cm-lai ses o a hare surc with oly a hech ofokl wood du \s IX \ Scaled o Rside is a small ma w'uh a hrow paper hay. dressed ma hrow suir hrow shoes ad ahrow hat. He sils, opes the hay. lakes out asadwich, tries to take abite hut caot. He opes his hay ayai ad takes om aset ofwmd-up teeth. He bites the sadwich with the.se. chews the bite i them ad.spits it out ofthem over the Rside of the bech. At the.same tue, he is miimy hitmy, chewmy. ad.swallowiy with his mouth as if he IS really eatiy. Ihis should yo ofor about 20 secods. hver hi ama ma idetical.suit, hat ad.shoes with apaper hay. He XIX' ad sits o the L side ofhech. This ma is /. ' I ; H = 1: Hello! =2; Mmmmfff shorv' (mouth isfull ofmimedfood) ~I; Oh o, excuse me. Idid't realize you had your mouth full. =2: Thaths... (pause. / opes hay. looks i. takes out a.sadwich, tries to eat it hut caot) =1: Uh. you do't have a fork, do you? (ashamed, cautious) ~2: No. (di.sdaifill) -1 Oh, well, it's ot importat, (eye's 2's luch) You sure'!> =2: Yes. Sorry. =1; Oh well. Iusually have oe. Ipack my ow food... but Iwet to the Ceter last ight so Icould tad my mother did ad she's abit, well, vou kow, ot all there That's why it's ot. The fork, I mea. ' H (all above should he.said i oe loy breath i a toe ofjustificatio) =2: Oh. iloyer pause) H =1 Did you pack if!* =2: Whaf,* - i; Your food. Did you pack it yourself? \

30 #2; Yes. #1: Oh. Ijust thought that maybe you had't sice you do't have afork either ad well that would bestrage, see, us both ot... uh, well... uh #2: Ipacked it myself ad will eat it myself, (sierh)?? 1; Yeah. Well, it looks good. #2; What? (exasperated) #1; Your food looks good, (slowly, as ifto a child) 2; OOOhhhh. (exageratedly slow) (logpause. / starts to drool over ~2's hmch. 2riotices ad, gettig eve more aoyed, looksfor a way toget hack at L) 2: Did you say you live with your mother? (tautig) #1: Me? #2; Yes, you, the grow Comrade who lives with his mother. Pathetic! #1; It is ot! #2: AND, you do't eve have a fork, (malicious) #1:1 do too! Ad Ido't live with my mother. I live aloe ad she... visits...ofte. #2; Ofte. How ofte? (mockig) r?l: I do t kow, (idigat) ft2: Was she there yesterday? #1; Yes. (hesitat) 2; The day before? 1; Yes. (softly) ~2; Last moth!? =L yes. (verysoftly)

31 *t2. Every sigle year sice you were bor!!? (viciorious) il; Weil, you do't have fork!!! What kid ofa fully-fledged Comrade does't eve carrv a fork with him? #2. Imay ot but at least 1ca pack my ow food! Without help from my mother. #1: Ad that says alot! Ca't eve follow simple rules for utesils ad you thik you're superior! I should report you for ot havig oe! #2; Repo me? Ishould have you take i for askig me for oe ad tryig to make me a cospirator to your sick life. Me, report me who is calmly eatig my food with a perfectly hygieic ad acceptable utesil. Me, who is asked ad the accused. I'd like to see you try to report me! #1; You call those filthy teeth hygieic? Disgustig ew techology that should't eve be ratioed out! #2: i have you kow that Igot these teeth from the Commader himself i the House of Ratios ad 1kow for afact that he eats with them, too. You're just behid the times. # 1; I bet you do't eve ow a fork. #2:1,1 have forks, (choked) "1:1 do't thik you do. (smug) 2:1 do! il; Let's see oe, the. Mister Teeth-from-the-House-of-Ratios! rrl. Alright! That sit! You wat to see forks, I'll show you forks. You'll see so may goddam forks you wo't kow what to do with them all! (risig) -1. Oh, I 11 kow exactly what to do with them. Ad they'd better be the real thig, ot some cheap imitatio you picked up o your trip to the ''House ofratios"' I'Tl break those teeth i two if the forks are fakes! 2-. They'll be real! Ad do't you tiy to ru off while I'm goe 'cause I'll be back! (walkig off R, leavig leeih o ihe bech) Uhygieic, mv ass. Fakes! Could't eve get oe offthe mother. Had to ask me

32 ( Isays o the hmchjammo (al,dow, he opes his ha}; agai ad takes out the sadwtch. He oce agai ies to eat il hw eaol. He searches through his hag hat fids othtg He eyes the teeth o the other stde ofthe hech ad shwlv slides over to them ' adpicks them up. He is mm-. ottig where 2had hee fit.stde,'. He begis to hile the.sadwich with the teeth, chew with them ad.spits the hues out with them o the It.side of ihe hech. By ow, there should he aoticeuhie amout ofbites o the side ofthe hech. He IS mimig hitig, chewig ad swallowig ad the while. This shouldgo o for about /:> secods. Eter HE i idetical suit, hat ad.shoes, a ma with apaper hag. He XDC ad sits o (he Eside ofhech. This ma ca he played hy the sate 2as before or a ew actor hut ow becomes 2Jor thefollowig dialogue. XOTE: AH ofthis.scee should he doe at aoticeablyfaster pace the the first scee.) #2: Hello! I: Mmmfff... shory (mouth isfull ofmimed food) Oh, Idid't realize you had your mouth full.??1; mm... (hriefpause. 2opes hag, grabs sadwich, tries to eat it hut caot) tr2: Do you have a fork? t1; No. (di.sdaiful) 2: (eyes / '.v hmch) You sure? 1; Yes. #2; I usually have oe. My mother packed my food ad she's ot all there so it's ot. (the above lie is.said i oe breath ad directly before the lie, -2 takes a huge breath, as if he was gettig readyfor a big.speech. At the ed, he realizes how much breath he * has ad is cofused, like he had somethig more to say hut ca Vremember.) = l:oh. =2; Did you pack if. = 1; Yes. =2; Oh. 1thought maybe you didy sice you do't have a fork, either.

33 #1:1 packed it myself. <t2: It looks good, (slowly, as ij to a child, hut ot sure why he is speakig like that) ff 1; OOOhhhhh (e.xageratedly slow hut usure why) (pause, -2 drools over ~l sluch. - / otices adgets eve more aoyed ad looksfor a way to get hack at -2.) f\: You live with your mother? (tautig) 2\ Me? 1: You, a grow Comrade ad you live with your mother! #2. I do't live with my mother she visits ofte. tr 1: How ofte? (mockig) r?2; Do't kow. 1. Was she there yesterday? #2; Yes. 1; Last year?! 2: Yes. (very.softlyj 1. Sice you were bom?!!! (victorious) #2; You do't have a fork!?? 1: But I pack myow food! 2. You ca t eve tollow simple rules. Ishould report you!?1: Me? Ishould have you take i for askig! Me, eatig hygieically ad the accused! ==2: Hygieic? Disgustig ew techology. =1:1 got these teeth from the Commader i the House of Ratios! tt2\ Bet you do't ow a fork!

34 #1:1 have forks! #2: Let's see oe! IT I. You wat to see forks, I 11 show you torks! (risig) Uhygieic mv walkig offr) (tjuicklv (=2 stays o bech, fumig. Quickly, he opes hag, grabs sadwich, slides as if compelled io the teeth ad begisferociously to eat the.sadwich with them, mimig eatig with his mouth all the while. This.should take o more the 10.secods. Eter 111=I with paper bag. Ruig XDC, thumps oto the bech as tfpushedfrom behid. He is very cofused. NOTh: /l.v die scee goes o, this cofusio must mout.) #l:hi. #2: Mmmmff... H: Excuse me. (opes his bag,.slams it.shut without lookig (like a automatic reflex}. Looks at the bag, cottfused) Do you have a fork? #2: No. #1: Usually have oe, mother, it's ot there? #2: Oh. #1: Pack it? #2: Yes. #1: Thought maybe you did't because I you do't have a fork. #2: It looks good. 0\\...(as ifsaidwrog fie) #1: It looks good, (.same time as --l) #2: A grow Comrade without a fork... 1: She just visits. ~2\ Yesterday. = 1: Last moth.

35 #2; Last year. F1 & #2; YOU do't have a fork! #1 & #2: But I pack my ow food! I; Ca't eve follow rules! #2; I should report you! U\: HYGIENIC! #2: Got them from the Commader! (holdig out teeth) #1; Got them from the Commader! (grabbig the teeth, at the same time as 2) #1 &#2: Disgustig techology! (droppig teeth o thefloor ifrot ojthe bech) #1: Do't have forks? #2; Have! # I; See oe (completely lost) Ul: Showme? You! Showyou. #l:me?! #l & #2: I'll show you!! (-I exit L, ~2 exit R) (Fade oflights to ligerig tight spot o the teeth o thefloor. Fade to black)

36 Carry me over the Threshold Superhukll A bridal shower for Lois Lae writte by the cast first prgssted at th 1996 Koot ay R gioal Drama F stival Woderwoma (WW) Dia DelBucchia Mary Jae Parker(MJ) Maria Simpso Lois Lae(LL) Patti Berukoff " Catwoma(CV\/) Lisa Veturii p*i Cautio: Professioals ad amateurs are hereby wared that Carry me over the threshold Superhuk by Dia Del Bucchia, Maria Simpso, Patti Berukoff ad Lisa Veturii is subject to royalty. It is protected uder copyright law. Iquiries regardig performace rights ad royalties should be directed to Dia Del Bucchia Box 333 Fruitvale B.C. Fee for a the first performace is $10.00, $5.00 for subsequet performaces. 1*1

37 (9rry lie Over The Threihold superhuk! Settig: Lois Lae's apartmet. WIV, MJ, ad CWsurroudIJ. i a semi-drde. Voice over- We fid our heroie Lois Lae i quite a pickle. We kow she's smart, ad a fatasticjouralist, but ca she hadle the pressure ofmarriage? Ad marriage to Superma at that? Will her frieds sway her decisio to wed the "Ma of Steel"? What darig adveture are these four embarkig o ow? What will become of Lois Lae? We will soo fid out! WW- Cogratulatios Lois! MJ- I'm so happy for you. CW- So Mrs. Superma huh? LL- Well I thik it would be wise to refer to me as Mrs. Ket. Hece the phrase "secret idetity." Ad we are't married yet. Well it was ice of you to show up i costume. WW- Well it's useful to walk aroud as Woder Woma as opposed to Diaa Price. CW- If we go out later, 1ca get you ito all sorts of places, free ofcharge. LL-Oh how rude of me, why do't you all sit dow. (Removes stufffrom couch ad table.) Look at how I'm dressed. I'll go slip ito somethig a little more practical. (Disappears behiddivider. (lothesfly over divider while others talk.) AH.sit WW- Ca you believe that Lois is gettig married to Clark? MJ- Is't it woderful! CW-1 do't kow. Marriage just seems like such a hassle. WW- Hassle? A icoveiece most certaily! Lois always seemed like a level-headed, dedicatedjouralist. Maybe she will float back dow to earth ad thik about what she's gettig ito. MJ- Now, wait a miute? How ca you make such judgemets about matters such as this?

38 f*l CW- C'mo, Mary Jae. I kow Spider-ia isquite a catch but, do't you ever get bored? I mea just a little? WW- Boredom is't what 1was talkig about. I was cocered for Lois's self-idetity. MJ- Marriage is a woderful uio of love. To share a special bod with aother perso ad to grow ad mature. Ad 1most certaily have't lost my idetity. I've developed it. WW-Poor Mary Jae; to commit yourselfito depedacy o a ma. I do feel sorry for you. MJ- Well, maybe 1 feel sorry... f.ois emerges u eari aitos/ exactly what she was wearig before. Clothes cotiue to fly over divider. LL- Sorry, I took so log. Now that I look decet, is there aythig I ca get for you? Coffee, tea, cream? (/// CW's directio) CW- That is oly speculatio, I do't really drik cream. It'sJust the outfit. f LL-1 oly meat cream for your coffee or tea. Make yourselves comfortable. back i a secod. I'll be LL walks away. WW- Do't brig too much. CW- 1will have some tea...without CREAM thak you. To other.s. Do you thik she figured out what we're up to? MJ-1 do't kow but I'm glad Peter did't mid me goig. WW- Oh, so Spidey lets you out ofthe web? MJ- Beig married to Spider-ma is't so bad. Especially sice he's so proficiet with kots. Ad beig able to walk o walls, there's o problem washig the skylights or chagig lightbulbs i our apartmet. Lois eters carryiga hi tray full ofpa.stries. LL-1 Just brought a little somethig. Lois.sltyyles with tray. Woder Woma picks up tray with oe had ad carries it to the table.

39 WW- Let me get that for you. Cf'V lays i Ihe chair ics dayiiy; over the ed. LL looks at CW i distaste. CW- Well you said to make myself comfortable. I really do like this chair. It's very ice to louge i. You ca just lie back ad sik ito aother world. Your body is trasported to a place where you're lloatig ad you might ever come dow agai. It's exhilaratig, but calm at the same time. You throw your head back ad stare up ad just wish that you were... ( regais her compo.sre) 1 mea I like this chair. It's really ice. MJ- Oh there was a chair exactly like that i a hotel alog the Riveria, where Peter ad I stayed last Valetie's Day. CW-1 ca't eve remember what I did last Valetie's Day. WW- Valetie's Day is the same as ay other day, uless somethig mometous happes. Lois were't you supposed to get married last Valetie's Day? LL- There were diftlculties at that time. But ow I... MJ- It is hard to be married to a crime fightig husbad. You are't havig secod thoughts are you? LL- No, o ot at all. CW- You were havig dilticulties eh? Maybe he is't so super all the time. LL- No it was't that, I mea we've Q\/Qv...(gets cut off) CW- He could be flyig aroud havig affairs all over the world. I probably would be. MJ- Whe you're married, there are commitmets you have to make to each other. But it is worth it, though. CW- The what's the poit of tyig yourself dow to a ma? Uless ofcourse it's literal tyig dow. LL- Oh but Clark would ever cheat o me, he just spet too much time savig the world, ad ot a whole lot with me. We've talked thigs over. Everythig is fie ow. freeze frame-vvi- 1ca't believe I'm listeig to this. Where are these wome's self respect? Makig all kids of commitmets to me. I just do't have the time. But sometimes I wish... LL- We would't be egaged if we had't talked it out.! I

40 MK AH s/arf eati} while so ("h'af" hyfurace/ace) plays i hackgrod MJ- Why do me always commet o wome's sizes? CW- Why do't they ever put o ay weight? WW- Wome do't feel the same way about me. LL- They always say " Oh I do't thik you're fat," but you kow that they're lyig to you, because they kow that you'll be mad at them if they say "yes". MJ- If Peter ever told me that I was fat, I'd be so depressed I'd eat a whole box of douuhuts. WW-1 mea it's ot like we eat that much (shovespastry i her face) CW- We do't commet o me's thighs. Catwoma picks up a pastry ad chows dow. r» WW- How do you maage to fit ito that paited o viyl if you keep eatig that way? CW- Its ot as if I wear this same outfit everyday, I have a whole closet full. All differet sizes ofcourse. m MJ- Well, I'm watchig my weight. I have a importat actig role comig up. My character o "Secret Hospital" gets straded o a deserted islad i the Pacific while o the way to meet her lost fiace; I have to wear a palm leaf bikii for eight episodes. Actresses must remai svelte, you kow. Not everyoe i Hollywood is i this good of shape. freezeframe- LL-1 woder if those are her real...you kow? She is a actress. MJ- But some people choose to work for it, istead of takig the easy route with a little help from moder sciece. WW- Persoally, I've ever had a weight problem. Havig the body ofa goddess is oe ofthe advatages ofsavig the world. Ofcourse it should't really matter. We're wome. We're smart. We should't have to prove ourselves by havig perfect bodies. LL-1 was ever too cocered about my weight. That is, util the weddig came alog. I've bee o a strict diet ofchic peas ad Soya yogurt for the past two moths. MJ, dv, ad WIV are eatig like pis ad look over at Lois i bewildermet. Crumbsfly everywhere. Lois vaccuums it up.

41 CW- Just leave it there, or sweep it uder a rug becomig the perfect housewife. My goodess Lois, you're already LL- Housewife' A housewife yeah. But ofcourse Til still work. I ca do both. MJ- It is dilvicult to have a career ad a husbad might thik, but I'm sure you're ready for it. It's a lot more resposibility tha you LL- Yup! Ready as I'll ever be VVW- Where is your Super ma toight? LL- Actually, I'm ot really sure, l-l have't talked to him i at least ati hour. Gosh, I wish he would call or somethig. Maybe I should call him. CW- Who kows where he is ow. He could be halfway across the city flyig with some exotic dacer i distress i his arms. MJ-1 kow that sometimes I'm a liille cocered about the compay that Spidey's keepig. LL- I'm sure he's just stayig late at the olllce. There's bee cocer about someoe smugglig defective Captai America blow up dolls. They've bee sittig i some warehouse sice the I980's. WW- Yeah, I heard about that. Now they've jacked up the price to almost double what they're worth. That's ludicrous. CW- Some people's etire lives are built aroud those dolls. They ca't do this. MJ- Ad I hear the plastic that they're made out of sticks to certai types of ski. LL- Maybe we ca do soiethig about this, put a stop to all this isaity. Two ofus are superheroies. Let's start the fight right ow. Ad if thigs get too rough, Super-Ma will always help us. WW- Sorry Lois, we've got other plas. LL- What do you mea? WW, CW, admj kiiih, ad crowdaroud her. LL- Hey what arc you doig? (WIf' Hcs up LL) What's goig o? {MJ blidfolds her) C\M-(brigsof hadcuffs) Do't ask.

42 IVIfihrow's Lois over her shoulder LL- Where are you takig ie? HELP! Voice over- Where is Lois beig take by these wild wome? Wiiat sort of demoic pla have they plotted for her' What usightly creatures will she ecouter' We will soo fid out. Scee 2 Message o aswerig machie; (Superma's voice) Ili hoey, I'll be over later. Gee I hate these machies I ever kow what to say (soudofcrashiu}-) I'm havig a little trouble pullig my uderwear over my tights. See ya soo. Love you sweetie, (kissy oises). (W. MJ. d' WIV retur from strip dub all wearig various costumes (firema \s hat, police hat, stethoscope etc.) LL walks i ad trips o chair. LL-Whe did that get there? r> AH lauyh loudly. MJ-1 like the outfits we picked up dow there. LL-Hey you guys... it's a bird, it's a plae, it's... (fliys.skimpy, Speedo-like uderwear across the room. AH lauyh loudly.) CW- (walks over to uderwear) How did he fit these over that... LL-Stop that! Do't talk that way. I've ever really... CW- Hey Lois, does Clark have several differet outfits, also? WW- Ad does he wear uderwear udereath his lights as well as over top? MJ- Yeah Lois, does he? CW- Has his costume ever slept over? (muffles a lauyh.) LL- No, actually. No it has't. MJ- Are you serious? Lois! You do't mea that. All- You're a virgi are't you? ('IV, ad MJ ya.s/).