Saturday, June 11, 2011

A start on 2.4 day 22

Scene 4
It is afternoon, Mdala sits at a table drinking Perrier eating soup. Marie and Anne return, Anne carrying shopping bags from upscale stores.

Marie: You sure you don't want me to drive you over to the hotel first?

Anne: No, that's fine. I'll have a glass of wine and something to eat and wait for Matt. His text said he'd be back soon. It's better to keep the bags here to show him I've been having fun.

Marie: I did have fun.

Anne: Oh, Marie, I didn't mean it that way. I had a ball. Meet you here later for a drink?

Marie: Maybe. I need to take care of some stuff at home and then I need to see if I can track down Gil—without upsetting him.

Anne: Give him a ring, or text or whatever people do now, rather than go over. If he wants space give him space. Just check in. Offer to bring food to the starving artist

Marie (laughs): That might work. Thanks Anne.

Anne: Thank you. (They embrace) Ciao.

Marie: A bientôt.

Anne sits at a table near Mdala and Steve comes over.

Steve: Bon jour madame.

Anne: Bon jour Steve, the Chardonnay please.

Steve: Anything to eat?

Anne (looking over at Mdala): What's the soup?

Steve and Mdala: Billi Bi.

Anne: Billi Bi?

Steve and Mdala look to see who will answer

Steve: It's a mussel soup, cream, wine, onions.

Anne to Mdala: Is it good?

Mdala: Wonderful.

Anne: Billi Bi pour moi s'il vous plait. (to Mdala) Thank you and sorry if it was rude to intrude.

Mdala: Not at all. You are Americain?

Anne: It's impossible to miss isn't it?

Mdala: We are all impossible to miss I think.

Anne: I couldn't guess where you're from. It could be here, but it could be ….almost anywhere...except America (laughs).

Mdala: It's Senegal. But my point was that we all have qualities that are apparent, and of course lots that are not. Are you here alone?

Anne: No, my husband is here too. He is up at the space center. He's a rocket nut and found a kindred spirit here in a local young woman.

Mdala: This does not bother you?

Anne (laughs): I was the one who set them up! No. I don't share his passion for rockets, but I don't object to it, and Jeanette was a way of proving I wasn't holding a grudge.

Mdala: A grudge?

Anne: For dragging me to Guiana under false pretenses. He came for the launch tomorrow, but pretended he had just discovered an alternative to our usual Caribbean haunts.

Mdala: Ah. Why does he like the rockets?

Anne: Probably for the same reason all men do, they're . . . . oh, I should probably stop myself before I embarrass us both.

Mdala: For what it is worth, I do not like the rockets. In fact I'm organizing a protest against tomorrow's launch—but for the first time I feel like that perhaps impugns my masculinity.

Anne: Oh, this is too good, I'm making friends with the enemy, and I'm sure your masculinity is just fine.

Steve brings the soup and wine.

Anne: Will you join me in a glass of wine?

Mdala: Pardon, but I don't drink (he lifts his glass of water) but to your health.

Anne: And yours.

2.3 for day 21

A day without the internet so couldn't post yesterday, but here it is. 22 will come later today.

Scene 3

It is still early, Monsieur is at his table reading the paper, Celeste is sweeping and arranging the outdoor tables. Jacob approaches him.

Jacob: Pardon, is it alright if I put up a poster?

Celeste: What's it for?

Jacob: I'm giving a lecture and healing service tonight as the community looks forward to tomorrow.

Monsieur: It is the only direction you can face when discussing tomorrow.

Jacob: Pardon?

Celeste: I think we'll pass on the opportunity.

Jacob: You won't let me put it up?

Celeste: Correct.

Jacob: Are you the owner?

Celeste (pauses briefly): You asked me, I gave you my answer.

Jacob: But you may not be the final authority.

Celeste: I suppose that depends on your world view.

Jacob (turning to Monsieur): Excuse moi, Monsieur, do you know who is the owner of this establishment?

Monsieur (eyeing Jacob): I do.

Jacob: May I ask who it is?

Monsieur: Yes.

Jacob: You are toying with me sir.

Monsieur: I am answering your questions.

Jacob: But not my intent.

Monsieur (sitting back): How far into your intentions do you wish me to probe? Do you wish me, for example, to imagine the intentions behind your lecture and, what did you call the rest?

Jacob: A healing service.

Monsieur: A healing service—yes for that I would have to imagine your intention because the words mean nothing to me.
Jacob: It is an opportunity for people to heal themselves with the Lord's help.

Monsieur: Heal what sorts of things? Regrets, broken hearts?

Jacob: Certainly those.

Monsieur: Wounds, disease?

Jacob: Yes, sometimes those, indeed, the Lord can cure anything.

Monsieur: Do you bring back the dead?

Jacob: You mock me.

Monsieur: No.

Jacob: You do sir.

Monsieur: So raising the dead is not something your particular god can do?

Jacob: There is only one God. (Monsieur shrugs) Do you think there are many?

Monsieur: I am aware of many people who believe in many different gods.

Jacob: That does not make them real.

Monsieur (waits, finally speaks): Does it not? You seem to think otherwise about your own beliefs.

Jacob: I have seen the Lord's work. Indeed, I'm an example of it Monsieur. I don't know if you heard of Air Mexico flight 419? (Monsieur spreads his hands) It crashed about a year ago in the jungles of the Yucatan. Ninety-six people died—one did not. Me. (Monsieur continues to listen) Do you understand? One survivor out of almost 100 people. I know what it is to be touched by the Lord's grace.

Monsieur: And so? So you survived the crash and now you want everyone to believe in your god?

Jacob: Not my god. God.

Monsieur: Pardon, but there are so many and they all say the same things. Do you not think that the followers of other gods can also tell you of their gods' beneficence?

Jacob: There's only one God and Jesus was his son.

Monsieur shrugs.

Jacob: I knew from the moment I woke up in the hospital that he had a plan for me.

Monsieur: Which was to crash?

Jacob: You are a cynic. I was the only one of 97 passengers and crew to survive. When you experience something like that it changes you.

Monsieur: Of that I have no doubt. But it is your claim that your god had no plans for the other 96?

Jacob: What?

Monsieur: Or that god's plan for you necessitated the snuffing out of the lives of 96 other people in order for your plan to come to fruition? Or that the plan for them was to die so you would believe?

Jacob: No. I don't know why I was the one chosen to survive, but having survived I realized I could not waste my life.

Monsieur: I agree; so why do you?

Jacob: I'm not. I'm spreading God's word.

Monsieur: That there is a plan for every 97th person to believe?

Jacob: What do you mean?

Monsieur: That is all you are saying. You keep talking about a plan, a purpose, yet you say you don't know why you survived. So you don't know the plan. And you aren't doing anything.

Jacob: I am doing something. I know there must be a plan and that's the message I'm sharing. And when I share it, I see its effect on other people. I have seen the sick healed and the

Monsieur: And the dead rise?

Jacob: No. I have not seen the dead rise but if served God's purpose as it has before, I'm sure it could and would happen. In fact, I think you could say I am the proof of it. What is surviving something like that but returning from the dead?

Monsieur (thinks): Perhaps you are right. I know something of returning from the dead. In your sense I have done it too. But that did not lead me to proclaim a miracle. To claim my restoration, which did not restore others who died as evidence of a master plan of which I was the singular focus.

Jacob: I'm not saying I'm special.

Monsieur: It has been your entire contention—one in ninety-seven.

Jacob: But God has a plan for everyone.

Monsieur (starts, resists the circular argument): Pah. All religions claim there's a purpose, a reason, some more adamantly than others, but none of them can tell you what it is, so it does not matter. If you want a reason for your life you're the only one who can give it one. I agree that you have a powerful motive, more than most, for finding a reason—but you have not found it. You are just congratulating yourself.

Jacob: How dare you. You think I do this to brag?

Monsieur: I think you do it to ask forgiveness. Something you do not need to do. (He picks up his paper again)

Jacob (flustered): May I hang up my poster or not?

Celeste (who has been hovering): As I said...

Monsieur (cutting him off): If you wish.

Celeste: Monsieur?

Jacob: Well, thank you. I certaily invite...

Monsieur (laying his paper down): Do not tempt me to change my mind. I do not approve of you, not of you making a living off of other people's woes. You may put up your poster and depart.

Jacob starts to answer, nods curtly, crosses to bulletin board, which is covered with a variety of notices. Seeing neither a spare thumbtack nor space, he pulls a box of thumbtacks from his coat and pins his poster so it dangles below the rest, and exits.

Celeste: It sets a bad precedent (he turns and goes back behind the bar with broom).

Monsieur: Do not fret Celeste. He is a scared man, who cannot understand what has happened to him and he needs to be consoled.

Celeste: It is a consolation that can extract a heavy price from those who do not share it.

Monsieur: Maybe, but this is personal, it is not the abstracted ritual and demands of the Church.

Celeste: I think there you are mistaken Monsieur. You know he is living off this story. It may be true; it may not be. But now he tells it so that others will drop money in his hat, so that he can tell it to others....you know how this goes. It is no different. It's effect on people is no different: it is a promise of hope elsewhere, not a demand for actions that could alter their present.

Monsieur: You are still the revolutionary.

Celeste: And you still have better reason than most to know the damage of ritual beliefs (Monsieur shrugs).

Mdala: Bon jour messieurs. Permit me to post a flyer for a protest demonstration at tomorrows launch?

Monsieur and Celeste exchange glances and smiles.
Monsieur (waving at the board): But of course. May I ask what it is you are protesting?

Mdala: The spending of a nation's wealth on the destruction of our environment. The denial that sending men into space produces. Oh, we when we finish destroying this place we'll go live on some edenic other world. It's insanity.

Celeste: The space center has brought money to this nation.

Mdala: It has brought money to this department [Guiana is a “department” of France, something like a state in the US], but it is billions out of France's and Europe's economy.

Monsieur: I thought other countries were paying to launch satellites and so forth.

Mdala: It does not begin to cover the cost—and that is without calculating the enormous costs to the environment. Add those in, and the losses are staggering.

Monsieur: Interresant.

Mdala: Perhaps we can continue this later. I have other posters to put up, and I want to go up to the center today.

Monsieur: Bon jour, monsieur.

Mdala: Bon jour, the name is Mdala if anyone inquires, pleased to meet you. Ce soir perhaps. (exits)

Celeste: Perhaps I should put up some of the old posters.

Monsieur: For the revolution? I think the board is full Monsieur Celeste. (looks at his coffee) Celeste? Vin, s'il vous plait.

Celeste (smiling): We will change all our ways by the end of the day maybe.

Monsieur: Maybe.

Lights out

Thursday, June 9, 2011

2.2 for day 20

Scene 2
Lights up and Celeste is preparing the bar and talking

Jeanette (entering and going to the bar): Celeste! Bon Matin! The day is beautiful no? I am meeting the American to go back to the space centre. Coffee s'il vous plait et le petite burre.

Celeste: Bon Jour Celeste. Yes, it is a beautiful morning. I do not understand your obsession, but I'm glad you are happy. (hands coffee and cake) But is this so wise? The going with the American man? His wife?

Jeanette: She is the one who asked me to take him.

Celeste: Just because people say things, they do not necessarily mean them or want them.

Jeanette: Celeste, I'm getting a ride to the space center, I'm happy to show him around in exchange. I'm not going to seduce him. Unh, he's old Celeste.

Celeste (smiling): I'm older.

Jeanette: And you're French and if I ever made a move on you, you would be so offended and righteous and telling me how you love your wife...

Celeste (shrugs): Doesn't mean I want to be written off completely....

Jeanette: Enough. Ah, here they come (she leans in to him). Look if it looks bad I just won't do it, ok? (Celeste nods approvingly) Bon Jour Madame, Monsieur!

Anne: Ah, bon jour Jeanette, please call me Anne.

Jeanette: Anne (she gives her the obligatory cheek pecks). Monsieur (shakes hands)

Matt: Please, call me Matt. (there's an awkward moment where Matt seems to lean in for cheek pecks that don't happen. Then they sit at a table out front)

Anne: Do they serve breakfast of any sort?

Jeanette: Some pastries, cheese, fruit, the usual.

Matt: I miss real breakfasts.

Jeanette: These things, they are not real?

Matt: Bacon, eggs, pancakes, that sort of thing.

Jeanette: you can get these things in the hotels.

Matt: My wife doesn't like big hotels—likes to go native, except it really isn't, it's just not the Marriot or whatever.

Anne: I freely confess to wanting it both ways. I don't see Steve--does everybody work 16 hour shifts here?

Jeanette: I suppose people work as they need to. Steve does not come in usually till around noon. If you'd like something you can go to the bar, or if you like, I can get it for you.

Anne: Cheese, fruit, and pastries sounds irresistible; why don't you help her Matt?

Jeanette is clearly surprised both by the acceptance of her as wait staff and the assignment of Matt as busboy.

Jeanette: D'accord. Matt, shall we (she gestures to the bar, and Matt crosses to it with her. As they go up, Marie arrives).

Marie: Bon Jour (hesitates a moment before using the name) Anne.

Anne: Bon jour Marie, comment allez vous?

Marie: Ça va....I haven't seen Gil this morning, and I'm concerned. I'm concerned in general I guess.

Anne: Of course. Do you want anything? Matt and Jeanette are fetching.

Marie (glances): Oh, some coffee (calling to her) Jeanette, café et compote s'il vous plait. (Jeanette waves) So, what do you want to shop for?

Anne: Oh, I'm not shopping for anything, I'm just shopping—it's sport.

Jeanette and Matt return with a tray with coffees and one with bread, cheese, fruit and Marie's compote. They serve it out and sit down so Matt is between Marie and Jeanette.

Anne: This is lovely, thank you.

Jeanette (to Matt and Anne): No, thank you for hosting.

Anne: Our pleasure. So what are our travel arrangements?

Matt: Oh, I assumed we would take the car...but, I suppose you should have it if you are shopping.

Jeanette (disappointed in losing access to a car) Vraiment? But, of course, well (pulls out her phone and checks the time), if we are taking the bus, we need to go now.

Matt: Really? We don't have time to eat?

Marie: We can take my car. It is not fancy, but...

Matt: Could you? We'd be happy to buy the gas.

Jeanette: That would be nicer all around

Anne (smiles): Of course, your car it is Marie.

Gil appears.

Marie: Gil! Where have you been? (runs to him) I was worried.

Gil (obviously sleep deprived and distracted): Were you? I crashed at my place. (Looks at the group) So what's going on?

Marie: Oh, Matt and Jeanette are going up to the space center and Anne asked me to take her shopping in Cayenne....but if you'd like...

Gil: Non, that sounds good. You should go. That would be nice. I really should keep working. You know...I should get back really.

Matt: Would you like something? Happy to have you join us.

Gil: Ah, non, monsieur, merci, but I will get some coffee and go home. I, I want to keep working (he gives Marie a peck and goes into the bar. Marie, watches him and returns to the group)

Jeanette: It is good Marie. If he is working, let him work. (Marie nods)

Anne: Yes, let him work, we'll do some shopping. If you'd like we can all have dinner later. (murmurs of agreement).

Gil comes back out, Marie steps to him, a quick embrace, he leaves. As he does so Monsieur appears inside and watches him go and looks at the group-–lights fade out.

Wednesday, June 8, 2011

Finish 2.1 (day 19)

Marie: No. I suppose you know we had a bit of quarrel last night. He's started painting again and that's good. I'm sure he just fell asleep, probably with a brush in his hand.

Monsieur: You think he went back to painting last night?

Marie: I'm sure so. I know he was rude last night, and we fought, but that's often when he goes off and does his best work.

Monsieur: He does this often?

Marie: No. Well, I guess he's got an artistic temperament as they say. He blows up easily, but he doesn't go crazy. He's not violent, just gets angry.

Monsieur: The line between non-violent and violent—it barely exists it is so fine. A man can suddenly do something that if you had described it to him only a moment before he would have said it is impossible, it could not happen. But then someone is dead.

Marie: Dead! He may be drunk and maybe he wasn't painting but now you're talking crazy! (exits)

Monsieur holds his head, looks toward the beach and moves into the shadows of his regular table as lights fade out.

Tuesday, June 7, 2011

ACT II begins (day 18)

ACT II

It is very early morning. The sun slants low across the tables all of which have their chairs upside down on top of them except one which Marie has taken down and is sitting at. Monsieur comes up from the beach. He is in swim trunks and an open shirt with a towel―all of which reminds us just how old he is.

Marie: You swim Monsieur?

Monsieur: Ah, mademoiselle, these days it is more that I sit in the water. But as long as I can, I do.

Marie: Why not later when it is warmer?

Monsieur: It is warm now, and later the sun is too bright. It bounces off the sand and stabs me. The water I remember fondly, but not the sand and the sun.

Marie: What do you remember?

Monsieur: Ah...a Marie...but it is no matter. So, you are here, because?

Marie: Oh. I'm sorry for intruding. I know you're not open....I....Gil did not come home last night, and I thought he might be here, or will come.

Monsieur: d'accord. There should be some coffee now. You would like some?

Marie: Yes, thank you, can I get it?

Monsieur (acknowledging the need): I suppose it would be best.

They walk into the bar and return, Marie carrying a tray with cups and a plate with bread. Monsieur follows some fruit and a knife.

Monsieur: So you and Gil, you live together?

Marie: He has his own place, but really he just works there usually. He paints, some sculpture.
Monsieur: Ah, an artist.

Marie: Well, he works in an office to make a living, but he's very good.

Monsieur: And you?

Marie: Nothing right now. I had been the projectionist at the cinema, but when it closed....well, when it closed I did not have a job. There are not a lot of jobs in Kourou—at least not for someone who only knows how to thread film through sprockets and time the second projector.

Monsieur: Could you not work in Cayenne?

Marie: Eh bien, the theaters have their own projectionists and we are a dying breed anyway. Everything will soon be digital and all you will only need someone to sell the tickets and the Coca-Cola and maybe not that. Pretty soon, we will figure out that we do not need ourselves I think.

Monsieur: Oh, no, mademoiselle. I think you are right that the world it seems to be trying to do this, but it is only that we find new ways to sell ourselves what used to be free and also new ways to find each other again.

Marie: It seems like we keep trying to lose each other.

Monsieur: Once, anyone could sit by the fire and tell a story. Why did we tell the story? Because our world it was not full enough. Then we made actors and paid them to tell us a story, so we could see those people not just hear about them. 
Marie: And then we made movies and got rid of most of the actors.

Monsieur: Ah oui, and then we made the TV, but then we don't see anyone anymore. So then we bring the TV to the bar so we can all be together again. We make cars so we don't have to walk, but the people get fat and lonely in their cars and so they go to the gym (he smiles and winks) or so I hear. We are mad, but we always need the people He gestures to the bar, so I have my world that comes to me new each day.

Marie: Is that it? We are your movie?

Monsieur: Oh, no, mademoiselle, you are life itself. . . . But your Gil, he did not come home.

Marie: No. I suppose you know we had a bit of quarrel last night. He's started painting again and that's good. I'm sure he just fell asleep, probably with a brush in his hand.