Color Me Blind Page 4
NAOMI looks at the gun in HER hand. It's a fearful relic of pain, but at the same time it has the power to cure HER of HER pain. SHE aims at one soldier and fires.
SFX: Lighting strike. Sounds of distorted screams begin.
The first soldier mimes agony and is pulled offstage by invisible winds.
NAOMI shoots another. And another. And another.
SFX: Lighting strike for each shot.
Each soldier flies away.
SFX: The heart beat returns.
The light's beat with red along with the heart beat. NAOMI laughs with rage and deadly release.
DEED
You see?! Forcing your enemies to suffer your pain will set you free!
DEED laughs loudly along with NAOMI.
Suddenly, everything goes silent, and the lights shine brightly down on NAOMI.
SFX: Heart beat and screaming stops.
NAOMI feels the wound in HER belly.
NAOMI
I'm bleeding.
DEED
Well, that's the price you pay for war, little girl.
NAOMI
I was shot. I was bleeding. I was dying.
DEED
Yep, yep, and yep. Your little boy toy Jerry left you to die.
NAOMI
He left me there. He left me to die. [beat] I'm alone. I'm all alone.
SFX: A low pitch hum rises, like the kind of hum one hears when being hit in the head really hard.
DEED
Ahhhhh, shit. Seems like you're not ready for the service yet, Mrs. Boyd. You just don't have enough evil in you is all. Come back when you're ready to fully enlist.
NAOMI
You're leaving me?
DEED
No, little girl. You got it wrong. You're leaving me. Seems you've got some moralistic problems to work out before you can become a killer. [to offstage] PRIVATE!
The man is now in a wheelchair and wheels himself to DEED's side.
NAOMI
I killed them all.
DEED
That you did. That you did. I've got some immoralistic battles to organize and execute. See you when you grow a pair of balls, little girl.
DEED sits down on the man's legs, much to the man's pain.
DEED
LET'S GET A MOVE ON, SOLDIER! MOVE, MOVE, MOVE!
The man and DEED exit.
NAOMI
I'm sorry. I'm sorry.
SFX: The hum gets very loud and then completely goes silent.
NAOMI
I'm sorry.
END ACT I, SCENE III
ACT I, SCENE IV
The lights rise. NAOMI is exactly where SHE was left, but the scene is back in purgatory.
COLOR walks onstage and is taking much joy from looking at an oversized daisy HE's holding in HIS hand. HE notices NAOMI.
COLOR
Oh, hello! You're back. How was your trip?
NAOMI
I'm sorry.
COLOR
I'll take your apology, but I don't think I've earned it.
NAOMI realizes where SHE is.
NAOMI
Where'd they all go?
COLOR
You left them.
NAOMI
They left me.
COLOR
Noooo. You-left-them. You're here now, and they're elsewhere, because you left.
NAOMI stands up.
Beat.
COLOR
Daisy?
COLOR hands the daisy over to NAOMI, and SHE takes it.
COLOR
Feel any better?
Beat.
NAOMI
No.
COLOR
Didn't think so. But, in all fairness, I don't think you're done moving around. Once that's through, I suspect things will be a little better for you.
NAOMI
I want to go home.
COLOR
Do you? And even if you did, do you know where home is? You've called many places your home, but which one really was home? I'm meaning home with a capital "H". Home! Home! Home! Home? And even if you did know where home was, would you go there? Do you belong there? Have you earned it yet?
NAOMI
Why do you keep fucking with me?
COLOR
Language.
NAOMI
No, answer me. What's the point of this? Why the fuck are you putting me through all this shit?! Who made you God and gave you the right to screw around with my head like this? Huh?
COLOR
I am not God. I'm also not in charge here. Wherever you've gone, wherever you're going to go, I've had no hand in it. It's all been you. You, you, you. You.
NAOMI
It's all been me?
COLOR
Affirmative.
NAOMI
Then I think I wanna go someplace nice now. Someplace away from peace-loving hippies or trigger happy Nazis. Someplace I feel good for a change. Can I go there now?
COLOR
How many times am I going to have to tell you this? You go where you want to go.
COLOR takes back the daisy.
SFX: Chimes can be heard in the background rising in volume.
COLOR
And it seems like you've chosen a place. Thanks for dropping by, Naomi. It was a real pleasure. Next time we'll have to do something fun, and there will be a next time. Tah-tah for now.
COLOR exits the stage. NAOMI takes one step in HIS direction.
NAOMI
No you don't, you son of a--
SFX: A guitar rift. Heart beat starts. A crowd of thousands can be heard in the distance, like a crowd at a rock concert.
The lights go slightly dark. The red light flashes with the heart beat. NAOMI feels HER heart as the sounds get louder and louder. SHE feels a jolt of happiness flow into HER veins, and SHE knows that this is HER moment to shine.
SFX: All sounds get louder and louder, then suddenly cut off.
A spotlight shines down upon NAOMI.
MARRY (OV)
Okay, you rockers, here's the bitch that's gonna knock your socks off. It's Naomi Boyd!!!!!
SFX: Crowd noises rise.
NAOMI triumphantly holds up HER fist in the air. The spotlight turns off.
SFX: Crowd noises slowly die down.
All lights turn off.
END ACT I, SCENE IV
END ACT I
ACT II, SCENE I
Darkness.
SFX: The crowd noises rise.
Multi-colored lights rise, revealing that NAOMI is still in HER last pose and hidden in the shadows.
MARRY (OV)
Wow! That's was a mind-blowing show by the wonderful, famous, and loved Naomi Boyd. Shout out your love, people!
SFX: Crowd shouts louder. One person says, "I love you Naomi!"
MARRY (OV)
And she loves you, too. [beat] Okay, Naomi. Now that you've had your fun, it's mine time. You can't have all the spotlight, little miss sunshine. Get ready for me, because here I come!
MARRY LAUPER enters, and a spotlight is positioned on HER. MARRY is Hollywood glamour formed into a golden idol. SHE's the woman every woman wants to be and every man wants to be with. With a smile and a laugh, the keys to paradise are hers to keep.
MARRY walks over to NAOMI and touches HER. NAOMI is put under spotlight as well. The spell is broken, and NAOMI realizes who she is with.
NAOMI
Oh...my...god. You're her. You're her! You're Marry Lauper! Marry fucking Lauper!
SFX: Crowd noises die down.
MARRY
Yeah, I am. And you can me just Marry if you want.
NAOMI
I have all your CDs, all your movies, all your magazines...my god, I'm talking to Marry Lauper!
MARRY
I said you could call me Marry, sweetie.
NAOMI starts to hyperventilate.
NAOMI
I can't...I c
an't...
MARRY
Oh, sweetie. Breathe. Breathe!
NAOMI finally takes in some air.
MARRY
You're going to have to take it easier, or you're going to fall down and hit your head.
NAOMI
Okay. Thank...wait. You're Marry Lauper.
MARRY
In the flesh.
NAOMI
But you're dead. You died from overdose in the Mirage five years ago.
MARRY
And you got shot in the tum-tum and was left for dead. Things have a way of working out.
NAOMI
I guess I really am de--
MARRY
Shh! Don't say the "d" word. You don't know if you are, and if I am, I don't want to know. Okay?
NAOMI nods.
MARRY
Good. Now, let's have some fun. Ever ride in a Porsche before?
The man enters wearing a radio earpiece and a black t-shirt that says "STAFF" in white letters. He brings in two chairs and holds a steering wheel in his hands. MARRY sits down on the driver's side of the car and grabs the wheel.
MARRY
[to man] Thank you, Juan. You're such a gentleman. [to NAOMI] Well? Hop in, sweetie.
NAOMI sits on the passenger seat. MARRY turns the key and pushes on the gas pedal.
SFX: Sports car engine turning on and revving up.
MARRY
Here we go!
MARRY stomps on the pedal, and THEY feel the G-force.
SFX: Wheels screeching.
MARRY
Hollywood, here we come!
Lights change from the onstage style to that of blue skies and yellow suns seen in every LA based movie ever. MARRY and NAOMI are laughing.
MARRY
So...Naomi, what kind of girl are you?
NAOMI
I...I don't know.
MARRY
Oh, come on. You can tell me. Are you a car girl? A fame girl? A music girl? A big money girl? Tell me. What turns you on?
NAOMI
Guys.
MARRY
Oh, don't be silly. Tell me what type of guy turns you on. You must have a type.
NAOMI
I--
MARRY
I like actors. The way they can change to whoever they want to. It's like [snaps HER fingers] "Hey, I'm a cowboy," or "Hey, I'm a space cowboy". It's fun!
NAOMI
I bet you meet tons of actors when you're doing movies.
MARRY
I do. I guess that's why I do so many of them. Movies. Not guys. Well...those too.
THEY laugh. MARRY pulls the car over.
SFX: Brakes.
The man enters with a t-shirt that says "Staff", but it's a white shirt with pink letters.
MARRY
I love shopping. Don't you?
NAOMI
Sure--
MARRY
[to man] I'd like an Alexander McQueen necklace from Prada, uuuuuh...a pair of those new open-bootie high heels from Gucci, uuuuh...Naomi, do you want anything?
NAOMI
I don't have money.
MARRY
Oh, sweetie, this is my world. You don't need money.
NAOMI
A new dress?
MARRY
[to man] Get her a little slip from Saks, would you? Thank you.
The man exits.
NAOMI
You don't have to get me anything. Just sitting here with you in your car is...great.
MARRY
You're so homely. How sweet. [to offstage] Where's my stuff?! I'm waiting here.
Man enters with bags. MARRY grabs them.
MARRY
Took you long enough. Bye.
MARRY pushes the foot pedal down.
SFX: The car speeds off.
The man falls back offstage as if being left behind.
NAOMI
That...was kind of cool.
MARRY
I know, right? You get famous and you can be as mean as you wanna. It's great! Oh, we're here.
MARRY pushes down the break.
SFX: Tires screeching. Techno-bar music plays in the distance.
MARRY throws the shopping bags offstage like they're trash bags.
NAOMI
We're where?
MARRY
You don't know? It's like..the best party place ever! It doesn't even have name it's so awesome.
NAOMI
Then how do you know where it is?
MARRY rushes out of the car and to offstage.
MARRY
Come on, lazybones! You're going to miss it!
NAOMI follows. THEY run offstage.
SFX: Techno-bar music rises in volume.
The man, wearing a silver dress shirt with black sequins spelling out "STAFF", enters and removes the chairs and the wheel. The light's change to represent the inside of the bar, and two couples dance out onto the floor.
MARRY and NAOMI enter.
MARRY
Wooooooo! This is the best hotspot ever!
NAOMI
This place is jumping!
MARRY
I need a drink. [to ALL] Someone get me a drink! Now! And my friend a drink, too!
The man enters with two shot glasses. He hands THEM the shot glasses, and THEY shoot the drinks. THEY hand back the shot glasses, and the man dances offstage.
MARRY
[tipsy] Woooooo! I wanna dance. Will you dance with me? [sing-songy] Naomi, Naomi, will you come out to the dance floor and show me...how you dance?
NAOMI
Uhhh--
MARRY
That's a yes!
MARRY pulls NAOMI out onto the dance floor. MARRY immediately dances to the beat, but NAOMI is a little self-conscious at first. MARRY dances provocatively by HERSELF, and then dances with HER body against NAOMI's. NAOMI gradually gets into the spirit of the things, and dances with MARRY.
MARRY, NAOMI, and the other dances dance in sequence. The number is very sensual, seductive, and powerful, but it ends quickly.
SFX: The song changes to another techno-bar song.
MARRY
[drunker] What?! Ugh! I hate this song. Come on, Naomi. We gotta go.
NAOMI
Where?
MARRY
To my photo shoot. You can be in it too. I don't care.
NAOMI
But my clothes are crap.
MARRY
You're not naked, are you?
NAOMI
[laughs] No, but my shirt's got blood on it.
MARRY
What? Oh, don't worry about that. Blood's in this year. Vampires are soooo sexy, you don't even know. Come on!
MARRY drags NAOMI along with HER. The MAN enters, wearing a red dress shirt with black letters spelling "Staff", and hands cameras off to the dancers.
SFX: The music continues.
The spotlights return with more brilliance. MARRY and NAOMI run to be under the lights, and MARRY immediately does poses. The dancers/photographers repeatedly take flashes of both girls. NAOMI is blinded and off balance, but MARRY is in HER natural habitat.
NAOMI
I can't see.
MARRY
Don't look. Just be.
More poses.
MARRY
Where's my coke? My coke! Where's my coke?!
The man returns with a mirror resting on the palm of his hand. On the mirror is lines of white powder. MARRY snorts up a few lines, and then enjoys the rush. The man walks over to NAOMI.
NAOMI
You sure? Out in the open like this?
MARRY
Naomi, don't be such an uptight bitch. Just do it.
NAOMI snorts up a few lines.
SFX: The techno-bar music changes to either a slowed down version of itself or another techno-bar song that is natural muddled and slow-motion sounding.
The pho
tographers, MARRY, and NAOMI all move slowly. NAOMI is caught up in all this fame and glamour, and SHE looks like SHE's about to drown.
MARRY
[in slow-motion] Uppers! I need uppers! Juan!
The man returns with a pill bottle in hand. HE shakes a few pills in MARRY's hand, and SHE swallows them. NAOMI is losing HER balance, and the man has to hold the pills in HER hand as SHE swallows them.
Everyone starts moving at normal pace again.
SFX: Either the song speeds up to normal pace or another techno-bar song at normal pace is played instead.
MARRY
I'm..I'm beautiful. Naomi? Naomi? Am I pretty?
NAOMI
You're pretty.
MARRY
Don't fuck with me, Naomi! Am I pretty or not?
NAOMI
You're pretty!
MARRY
Good. And so are you!
MARRY falls down, and the photographers kneel down to help HER up. MARRY simply laughs.
NAOMI
[laughing] Are you okay?
MARRY
[laughing] We gotta go. We gotta go, again.
NAOMI
Where to?
MARRY
Onstage, where magic happens.
NAOMI
I don't know. I'm feeling a little--
NAOMI trips, and THEY laugh.
NAOMI
I'm feeling a little sick. I need to slow it down.
MARRY
You're not listening. You're not listening to me. We...gotta...go. Now! Now! Now-now-now-now--
NAOMI
Okay. We'll go.
MARRY
Thanks.
MARRY kisses NAOMI on the lips.
MARRY
You're a good friend.
MARRY exits, pulling NAOMI behind HER. NAOMI is wiping of HER lips.
The photographers leave. The lights change back to the stage area as before.
SFX: Audience cheering.
MARRY (OV)
Hey, everyone! I'm back and ready to make all your dreams come true. Are you ready for me? I hope you are, because here I come!
MARRY and NAOMI enter the stage. MARRY is starting to look very ill and is barely standing, but SHE still has HER smile firmly planted on HER face. NAOMI is feeling just the same, but noticing how sick MARRY is keeps NAOMI from enjoying the moment.
NAOMI
Marry. You should sit down or something.
MARRY
Fuck that. I have a show to do.
NAOMI tries to hold back MARRY.
NAOMI
No, come one. You really need to--
MARRY pushes NAOMI away.
MARRY
Listen to me, bitch, this is my time to shine. My time! And I'm not letting anyone take it away from me. You can stand in the light with me, or hide in my shadow.
MARRY turns to the audience.
MARRY
Do you all love me?
SFX: Audience gets louder.
MARRY
Do you really, really love me?
SFX: Audience gets louder.
MARRY
You see? They need me. My people need me. [to audience] Then let's get to rockin'! On with the sho..on with the..
MARRY passes out on the stage.
SFX: Audience changes from excited yells to booing.
NAOMI rushes over to MARRY.
NAOMI
Come on, Marry. Wake up. Wake up! What...what am I going to do without you? They all love you. I love you. You can't go out like this. Not again. MARRY!
SFX: The audience noise immediately goes silent.
MARRY awakes and is fully aware.
MARRY
This is it. This is where it happens. I mess up a show, my fans love me less, I do more drugs, and then I'm dead. It happens every time. Every time.
NAOMI
No. Not this time. Not again.
MARRY
Take a chill pill, Naomi. This is my world. I don't have to live the bad years anymore. I just close my eyes, they take me offstage, and I wake up young and alive again. Forever. It lasts forever.
NAOMI
But you always end up here. What's the point of it all if you're just gonna get hurt over and over again? It's stupid.
MARRY
It's what you did. Running around with boys, doing drugs, searching for love...you were a rockstar and didn't even know it, sweetie.
MARRY goes limp.
SFX: The heart beat sound.
The lights begin to flash red with the heart beat.
NAOMI shakes MARRY.
NAOMI
No. It can't be like this. I can change it. I can change my life.
MARRY
I know you can.
NAOMI
Don't leave me, Marry. Don't leave me!
MARRY
Everyone's gotta go once in awhile. How else are you going to miss me?
MARRY passes out again. The only light visible is the red light along with the beating.
NAOMI's bullet wound flashes hot red pain in HER stomach, and SHE's practically paralyzed. The man in the "STAFF" t-shirt comes onstage and puts MARRY over HIS shoulder. He takes a moment to look at NAOMI, feeling like he should do something, but he exits anyway.
Four people dressed as doctors walk onstage with a gurney. They pick up NAOMI, put HER in a straitjacket, lie HER down on the gurney, and then restrain HER to it. They stand by HER and wait.
SFX: The heart beat stops.
The red lights turn off.
SFX: The crowd cheers one last time, and then goes silent.
END ACT II, SCENE I
ACT II, SCENE II
The lights are up. They are very bright and florescent like a mental hospital. NAOMI is still bound to the gurney. The doctors are gone.
NAOMI
Where am I? Hello? Hellooooooo? [beat] I'm in a straitjacket. Am I crazy or somethin'? Guess it'd make sense. [beat] Helloooooooo! I'm ready for my appointment. Fresh, crazy brains here and waitin' for someone to cut 'em up! [beat] Why am I here?
DOCTOR VISION enters with the four doctors following HER and taking notes. VISION is a left-brained, logical, human robot. SHE cares not for emotions, good or evil deeds, or even intentions. SHE is the evolution of human disconnection.
VISION
That is exactly why we are here, Mrs. Boyd. We are here to answer that for you.
NAOMI
Who the hell are you?
VISION
My name is Doctor Vision, and I am your rationale.
NAOMI
Huh?
VISION
Your ability to think, or rather, everyone's ability to think. You will find not one sliver of human emotion in my existence, and I ask that you keep yours down to a minimum, thank you.
NAOMI
Uh, okay. Get me out of this.
VISION
I'm afraid not. Not until I have diagnosed your existential dilemma.
NAOMI looks at HER body to see what VISION is talking about.
VISION
Not your skin. Your..philosophical issues.
NAOMI
Oh. Sure. Whatever. It's not like I have any control over this ride anyhow.
VISION
[to doctors] You see? Our patient here is still denying any responsibility for her current state of affairs. Such denial is founded upon two very important things; an iron will and an unhealthy childhood. Experiencing intensely negative emotions at an early age continue to do damage even when the environment changes. However, for Mrs. Boyd here, she is a special case. Her childhood was so damaging that her iron will continued to support her unproductive surroundings in an attempt to latch onto anything familiar. Overall, she strives to attain a happiness impossible for one who is only comfortable in discomfort. Write that down.
The doctors scribble away on notepads.
NAOMI<
br />
I do not!
VISION
Oh, really? Then tell me one thing you've done to improve your quality of life. One thing, that's all I ask.
NAOMI
I...It's...It's hard to think of one on the spot.
VISION
I understand. Take all the time you need.
Beat.
NAOMI
Then why'd I do all those drugs, huh? Answer that one.
VISION
Narcotics are symbolic of your existence, Mrs. Boyd. They give you a temporary euphoria only to take it away and replace it with discomfort. Try again.
NAOMI
What about when I was living with my foster parents?
VISION
A change of circumstances, I agree, but it was forced upon you. When you were given the chance to stay with the Beatty's, you decide to escape with your Aunt and live with her instead.
NAOMI
I was only a little girl.
VISION
Noted. Now, I will give you one last chance. Please, think of one instance when you truly attempted to change your surroundings.
Beat.
NAOMI
Fuck you.
VISION
Can't think of one, no? I have an answer if you do not. [to doctors] Before the state placed her into foster care, Mrs. Boyd was in the custody of her grandmother until her untimely death. And before that, she was still in the custody of her mother. Her mother, who was employed legally at a gentlemen's club and illegally by a prostitution business, was by all standards a neglectful mother to our patient here.
NAOMI
Shut up.
VISION
Mrs. Boyd rarely ate well, was generally unprotected by the elements, and was lucky if she was able to take a shower. Overall, she lived a life of poverty in a First-World county.
NAOMI
I said shut up.
VISION
Little did her mother know the genius within our patient.
NAOMI
I said shut the fuck up!
VISION
Mrs. Boyd discerned that her mother was performing illegal activities and that if she were to inform such to the law officials nearby--
NAOMI
Shut up!
VISION
Her mother would be incarcerated--
NAOMI
Shut up!
VISION
And Mrs. Boyd here would be given a replacement mother.
NAOMI
Okay! I called the cops on my mom! What the fuck was I supposed to do? I was a little girl, and I couldn't even go to school. The teachers saw how dirty I was, and when they asked my mom about it, she never let me go back. "They'll steal you away from me, Naomi. They'll seal you away, and you'll never see me again." I wanted them to steal me away. I wanted what other kids had. I wanted a bed, food, and a goddamn dog! I wanted a life! Was that so fucking bad? Was I wrong?
VISION
Not by my standards. [beat] You looked at your life status logically and made a decision devoid of human compassion. I commend you for it. Rarely are people capable of making such a decision, much less a child. Honestly, if it had not been your grandmother's death to reaffirm your self-destructive tendencies, I would have guessed you'd matured into a powerful woman by now.
NAOMI
[sarcastically] Thank you.
VISION
Mrs. Boyd, you have the ability to see the flaws in the human society and use them to your advantage. Being denied a true education, you used your time with your Aunt to experience the imperfections of your country's legal and social guidelines. You embraced your criminal status and manipulated all those around you to support your clinical and physical addictions. However, as with all illegal activities, you and your mate Jerry's operations were discovered, and you lost all your investments. In an attempt to rebuild your empire, you accepted higher risk robberies, but the bullet wound in your abdomen is clear proof of what came of that. [to doctors] Write that down.
The doctors scribble away at their pads.
NAOMI
Yep. Now I'm dead. Dead, fucking dead. No one's deader than me.
VISION
As those have informed you before me, I have no way to determine if your life has indeed been terminated. We are only capable of observing your mind and your emotions. The latter of such I have solutions for.
NAOMI
Wow. That's great. You go ahead and cure me. You have...consent or whatever. But before that, can you do one thing for me? UNTIE ME AND GET ME OUT OF THIS COAT!
VISION motions to HER doctors, and they untie NAOMI.
NAOMI
Thank you.
VISION
You are welcome.
NAOMI goes to run away, but before she does...
VISION
Before you vacate the premises, would you like to know what I can do for you?
NAOMI stops.
NAOMI
What can you do for me?
VISION
Your emotions. They've caused you much frustration and failure, yes?
NAOMI
I guess.
VISION
I can remove them.
NAOMI
You can do what?
VISION
I can remove them. All of your hate, all of your despair, all of your desires, I can remove them for you.
NAOMI
Why would I want that?
VISION
Why wouldn't you? It is your constantly changing emotional status that has caused you to fail all your life. If you had not been feeling so lonely and depressed, you would have not allowed your Aunt to take you away from that private school that would have most certainly given you a wonderful education. If you had not been feeling so angry and confused, you would have realized that your addiction to illegal substances was impairing your judgment and other mental facilities.
VISION (CONT.)
If you had not been swayed by your sexual desires and aligned yourself with Jerry, you could have avoided sharing in his downfall. There is rarely much to be gained from one's emotions except for unproductive decision making.
Beat.
NAOMI
You can take it all away? All of it? How I feel? All this pain? Make me normal? You can do that.
VISION
I can make you superior to normal, but...the choice is yours.
VISION motions to the gurney. NAOMI hops onto the gurney.
NAOMI
Fine. Take it all. Get in my head and rip it all out. I'm tired of being me. I'm tired of feeling all this shit. I want it gone. Make me someone else.
VISION
With your consent, we proceed. [to offstage] Nurse?
The man enters with a nurses uniform on. He does not look happy.
VISION
Strap Mrs. Boyd down again. I must prepare the formula.
SFX: The heart beat returns, but very softly.
VISION leaves, and so do the doctors. The man helps NAOMI put on the coat and then straps HER down to the gurney. HE looks very sad to see HER doing this.
VISION reenters with a large needle in hand.
VISION
Nurse, you can leave now. [half-beat] Leave now.
The man exits.
VISION
Mrs.Boyd, before I inject you with this formula, I must make you aware of the side effects. You will experience all that makes your identity slipping away from you. Piece by piece, your psyche will shatter, and in that process you will feel much discomfort. However, at the end of it, you will neither remember or feel anything for your past life. Do you still wish to continue?
NAOMI nods.
VISION
I need an audible confirmation, please.
NAOMI
Yes. Do it. I don't care anymore.
VISION
As you wish.
VISION injects NAOMI with the solution in
the needle directly into the heart.
SFX: The heartbeat noise rises in volume. The sound of strong winds can be heard to rise in the distance.
The hospital lights go off, and the red light with the heartbeat returns. A spotlight shines down upon NAOMI and VISION.
SFX: Winds become louder. Thunder can be heard.
NAOMI
What the hell is going on? Huh? Answer me, goddamnit!
VISION
[to doctors] Subject is beginning to let go of her psyche. The first stage of this process is the release of her higher desires for human connection on a spiritual level. Observe.
SFX: BOBBY's song can be heard, but it is distorted by this process.
A spotlight shines down upon the other side of the stage to reveal BOBBY.
BOBBY (OV)
People call me Bobby. You can call me that. I don't mind.
NAOMI
Bobby? Bobby!
BOBBY (OV)
I wouldn't let you in here without first knowing who you were. This is my home, and only friends are allowed here.
The spotlight on BOBBY turns red.
NAOMI
[to VISION] What's happening to Bobby?
VISION
In order to reform your psyche, we must sever your connections to it.
NAOMI
What does that mean?
VISION
You will never again know this figure, nor relive it's world of love and compassion.
NAOMI
What?! I didn't want that!
VISION
I explained to you the side effects of this process. You gave consent.
BOBBY (OV)
You think so, do you? You'd feel the pain, but not in your skin. It'd be in your spirit. No matter what you do to the body, you can't kill your spirit.
The red spotlight goes out on BOBBY.
NAOMI
Bobby!
BOBBY (OV)
[distant] The love's never gone. Only forgotten.
SFX: BOBBY's song fades away.
VISION
[to doctors] The first stage is complete. Second stage of this process is the release of all her hatred and destructive desires toward herself and others. Observe.
A normal spotlight turns on and shines down upon GENERAL DEED.
SFX: The battlefield sounds can be heard distantly.
NAOMI
Deed?! [to VISION] You fucking, motherfuckers! I'll kill you! I'll kill you all!
DEED (OV)
I, the greatest warrior ever, General Deed, am now your god. And I am a cruel god.
NAOMI
Stop this! Stop this now!
VISION
Once the process has begun, there is no medical way to stop it. It must run its course. This happens with every patient.
DEED (OV)
Not you, soldier. Not you. No, you're different. Aren't you?
The spotlight on DEED turns red.
NAOMI struggles with HER bindings and growls and shouts like a mad animal.
VISION
[to doctors] In order that the patient might never again experience such aggressive tendencies, we force the psyche to attack itself, causing it to consume it's more bestial attributes.
DEED (OV)
Each one of these people pushed you, tortured you, hated you. Don't you think it's time to hurt them back?
The spotlight turns on DEED turns off.
NAOMI
I'll kill you allllll!
VISION
[to doctors] Write that down.
The doctors scribble on their pads.
DEED (OV)
[distant] Well, that's the price you pay to war, little girl.
SFX: The battlefield sounds fade away.
VISION
And the second process is complete. The third stage of this process is to release her of her natural tendency for self-love and preservation. Observe.
A spotlight turns on and shines down upon MARRY.
SFX: One of the techno-bar songs can be heard distantly.
MARRY (OV)
You can't have all the spotlight, little miss sunshine. Get ready for me, because here I come!
NAOMI
[to VISION] No. Not her. Anyone but her! She's suffered enough!
VISION
Note how the subject still disembodies her valued traits upon an external force.
MARRY (OV)
I like actors. The way they can change to whoever they want to. It's like [SFX: fingers snapping] "Hey, I'm a cowboy," or "Hey, I'm a space cowboy". It's fun!
The spotlight on MARRY turns red.
NAOMI
Noooooooo!
VISION
Destroying one's self is never a pleasant experience, but it's a necessary one. A necessary evil, if you will.
MARRY (OV)
I'm..I'm beautiful. Naomi? Naomi? Am I pretty?
The spotlight on MARRY turns off.
NAOMI
Marry!
MARRY (OV)
[distant] Everyone's gotta go once in awhile. How else are you going to miss me?
NAOMI passes out.
VISION
The third stage is complete. Now that all her psychic defenses have been eliminated, we can now inject the second serum. Afterwards, she will no longer resemble anything like she was. She will be a clean slate: emotionless and without identity. She will become one of us. Doctors, observe closely.
The doctors move around NAOMI and VISION. VISION prepares to inject NAOMI with the needle.
SFX: The heartbeat stops.
The red light stops flashing. It instead remains on. VISION and the other doctors are surprised by this turn of events.
VISION
What is the cause of this? What has happened? What is going on?!
SFX: A rolling thunder.
The ground for VISION and doctor trembles with the thunder, making them lose their balance. A spotlight shines down upon COLOR.
SFX: The thunder stops.
COLOR
I'm the cause of this. It's me, Color. How nice to see you again. How have you been?
VISION is fearful of COLOR.
VISION
No! I had her. She is mine!
COLOR
If that were true, I wouldn't be here. But since it isn't true, I am here. She's mine.
VISION
She is not yours! I have injected her with the first serum! She has no more holds on her psyche! She is mine!
COLOR
She still has a soul. She still has her guardian. I think that's enough for salvation. Don't you?
VISION
[to doctors] Destroy him!
The doctors go to fight COLOR. The lights turn off, and then a white light flashes repeatedly.
SFX: A loud burst of harmonic music.
The doctors die where they stand, gasping for air and feeling their heart stop. VISION is weakened, but not destroyed.
VISION
No! Noooooooo--
VISION rushes at COLOR with the needle in HER hand. COLOR grabs VISION by the throat and the hand.
COLOR
Time to go bye-bye!
A flash of gold light.
SFX: The winds grow stronger.
VISION is blow back by the wind and light, and SHE exits the stage.
COLOR
Now for the rest of you!
The bodies of the doctors rise and are blown away by the wind as well. They walk backwards like zombies.
SFX: All noises fade away.
Silence.
The light pattern from the first scene returns. The man enters, wearing a halo and angel wings.
COLOR
[to man] Thanks for the heads up. I really appreciate it.
The man nods and then unties NAOMI from the gurney. HE leaves the strait jacket. COLOR picks up NAOMI and sets HER on the ground.
COLOR
&nb
sp; Now all we have to do is wait.
The man pushes the gurney offstage.
COLOR
[to man] See you around, sometime.
Beat.
COLOR
[to NAOMI] Naomi. Naoooooomi. Anyone there? Come on, Naomi. You can't keep the inevitable from happening. One day, you realize...you just have...to wake...up.
The lights turn off.
SFX: Heart beat noise continues for a few beats, and then turns off.
END ACT II, SCENE II
ACT II, SCENE III