Results!

Premiered December 1, 2003

Perceptions -- Interscene 2-3

As the lights go out on main stage, the lights on the telephone booth go up. RICHARD enters from stage right, and stands by the telephone booth. He appears very secretive and flattens himself up against the stage wall. Then the phone rings, and RICHARD quickly steps into the booth, where he answers the phone.

RICHARD

Hello? (pause -- i.e. ad -- with an added dramatic flair) The condor flies with a limp. (ad) Macadamia nuts prevent incest. (ad -- becoming even more precise and conspiratorial) Be sure and tell Aunt Maude. One. I’ve met several new friends. Two. My teacher is a very interesting fellow. Three. Happiness is learning new things. Four. Send money.

RICHARD listens intently, his expression slowly becoming puzzled.

RICHARD

What!? (with shrugging resignation) Yeah, okay. Catch you later!

Suddenly, he straightens as if to salute, but then catches himself in the act. Whereupon he merely answers as if he were a marine sergeant.

RICHARD

Yes sir! Can do! Will do! Consider it done!

RICHARD hangs up the telephone, smiles with the smile of someone who is absolutely convinced of what he is doing, and then turns to get out of the telephone booth. He immediately finds himself unable to open the door, begins to struggle with it, and becomes more and more panicky as it becomes obvious that he is not going to open it. Then visibly fighting panic, he turns back to the phone and dials. After a brief pause:

RICHARD

Hello, telephone company? (ad -- as RICHARD draws on all his courage) I want to report an extremely dangerous situation. Your telephone booths are a menace to society. I may be in danger of suffocating. The situation is critical. It is imperative that corrective action... (ad) What!? (ad) Well then hurry!! This is a life and death situation!

There is a long pause, while RICHARD becomes more and more agitated. At one point RICHARD makes a subtle attempt to open the door, and finding it unyielding, dismisses it as so much sour grapes. Then he turns his attention back to the telephone.

RICHARD

Hello? Customer service? This is an emergency!! Notify the authorities immediately, code 87!! (ad) What do you mean: this is a recording? (ad) Hello? Is anyone there?

ANN enters on the cue, “recording!!!?”. She watches RICHARD for just a second, then pushes the door open on the telephone booth after RICHARD asks: “Is anyone there?”. Very sweetly, ANN asks:

ANN

Will you be long?

RICHARD immediately panics at the unexpected and screams in terror. ANN is taken aback, but RICHARD, seeing who it is, quickly controls himself. Then he does a double take, realizing that the telephone door is now open. He turns back to the telephone and in a totally self-possessed, in-control tone says:

RICHARD

Never mind.

With great pomp, RICHARD draws himself up and pushes past ANN. He is momentarily nonplused as he brushes up against ANN’s very willing body.

RICHARD

Excuse me.

He then manages to complete his escape and exits.

ANN smiles as RICHARD brushes pass her. Then, as he leaves hurriedly, she sighs at the rejection. Whereupon she shrugs it off and smiles again. Stepping into the telephone booth, she dials and waits for an answer. In a very happy, enthusiastic tone, she speaks into the telephone.

ANN

Hi! It’s me!

There is a brief pause (ad), and then with a very sultry voice ANN says:

ANN

I’ve met him! (ad) No name yet, but I just know it’s him. It’s got to be! He fits all the descriptions! (ad) Well, I think he’s a photographer. (ad) Yes, I know: You can’t live off a photographer’s salary. So he does something else for a living. You’d expect that, wouldn’t you? I mean he’d have to be a man of many talents. (ad) Yes, I know. People are seldom what they seem. (ad) Yes. I’ll be careful. Don’t worry.

A sound from off stage suddenly reminds ANN of the time.

ANN

I’ve got to go! I’ll call you back as soon as I can. (ad) Don’t worry. I know what I’m doing! (ad - with increasing exasperation at not being believed) I can take care of myself! (ad - angrily) I don’t care about what happened in Topeka! Topeka is in the past! (ad - hurriedly) I have to go. Bye!

With that, she hangs up, and then takes a deep -- turning to romantic -- sigh. ANN exits.

BLACKOUT—END OF INTERSCENE 2-3

adadadadadad

Perceptions -- Act I, Scene 3

Scene is early morning. Lighting on stage is noticeably dimmer than normal.

The closet door opens and SPY looks into the room. His manner is extremely secretive. Just as he steps into the room, the sound of a ferocious dog is heard and SPY fairly leaps into the room, slamming the closet door and shutting off the sound of the dog.

SPY looks around the empty room, then moves toward SCOTT’s desk. He notes a clock on the counter, picks it up and looks at it. As if reminded of the early hour, SPY yawns heavily. Then he moves to the cabinet with the tape recorder. He opens it slightly and turns on the tape recorder. [The audience does not get to see the tape recorder at this time.] SPY then rifles through some of the papers on SCOTT’s desk. He sees nothing to interest him.

He then notes the “windmill”. [The windmill is a contraption to be used at the end of this scene and at the end of the play. It is designed to be free spinning -- and such that the audience can readily see it when it does spin -- and also to spin under the power of a small electric motor. See Description of Props.] SPY uses his finger to rotate the windmill for second, then moves on.

When SPY sees the computer paper on the table, it suddenly occurs to him that the computer printout might be valuable. SPY whips his leg up, where a camera is strapped to his leg with electrician’s tape. He tries to unwrap the tape, fails, struggles with it, succeeds only in entangling the tape and the camera all the more, and then limps to SCOTT’s desk to retrieve a pair of scissors. With the scissors, SPY cuts the camera off his leg. Then he rushes back to the computer printout.

He starts to take a picture, comes up short and very proudly remembers to remove the lens cap. He again starts to take a picture, only to realize that it’s too dark. SPY looks around and sees a goose-neck lamp on SCOTT’s desk. SPY runs to it, picks it up, and turns the lamp to face him directly. He then turns it on, in order to check it out. Naturally, the light coming on blinds him [The stage has only dim lighting—early morning light.] SPY staggers back for just a second, fighting the blinding effect of looking directly into the light. Then as his sight clears, he turns the light off. He stops, trying to remember what he was supposed to do. Looking around, he sees the computer printout, and remembers. He moves quickly to the table.

The goose-lamp light is, of course, plugged in, and the cord is too short to reach the table. The backlash almost rips SPY’s arm off. [The effect should be the same as a cartoon dog which runs as fast as possible to the end of its leash, only to be jerked back when it suddenly reaches the end.] With obvious frustration, SPY yanks at the cord in order to have the light reach the table. The cord, of course, parts, and SPY is left holding a lamp with the plug ripped off. SPY, naturally, does not realize that the plug’s ripped off, and instead feels as if he’s won a small battle. He fairly staggers over to the table and sets up the lamp over the computer printout. He discovers his new problem when he bends down with his camera, ready to take the shot, and turns the light on. He clicks the light switch several times, before realizing that it’s not working. Then he runs the cord through his fingers until he arrives at the cord’s bare wires -- and no plug. The look on SPY’s face tells the rest of his story of sudden realization.

SPY turns and walks with drooping shoulders to the office door, where with utter resignation he turns on the overhead lights, lighting the room in a normal fashion. SPY then walks back to the table dejectedly. With his energy and enthusiasm slowly returning, he begins taking pictures of the computer printout. He goes through several pages, at ever increasing speed, when he suddenly stops. SPY then flips through the pages of the large computer printout, and looks at his small camera. It should be obvious that he could not possibly have enough shots on his roll of film to even make a dent in the computer printout. Again SPY looks totally frustrated.

Then his eyes light up, and he grabs the computer printout in his arms and rushes to the closet door. SPY dumps the computer printout in the closet, on the right hand side [The “secret entrance” to and from the closet.]. Suddenly a ferocious dog begins barking, and SPY has to duck back into the room and again slam the closet door.

SPY wanders back into the room and begins looking around. He sees the “Naked Girl on Stool” computer printout poster, and with his camera, begins taking pictures from a variety of angles. Then something outside the office door alerts him. SPY runs for the closet door, opens it, reacts to the sounds of a ferocious dog, slams the closet door, runs across the room toward the storeroom, stops, runs back to the light switch (just as one hears the sound of someone outside pulling out keys to open the door), turns off the lights [Lights dim.], and runs once again to the storeroom. Once inside the storeroom, SPY shuts the door. There is then heard the sound of a large CRASH from within the storeroom. This is the cue for the office door to open, whereupon SCOTT enters, followed by GERALDINE, SHELA and KELLY. SCOTT is yawning as he enters.

SCOTT

I hope this early morning meeting is necessary.

SHELA

If Geraldine... that is, Ms. Murphy, has decided that we need to meet this morning, then it’s important. Ms. Murphy is, after all, the official representative of the Federal Funding Agency.

GERALDINE

I might add, Professor Conner: I have complete budgetary authority over your project, as well as total technical supervisory authority, report writing and editing authority, overall review authority, and... termination authority should the exercise of such authority be deemed necessary by higher authority.

SHELA

It is certainly to our advantage that Ms. Murphy, with her delegated authorities, is as interested in the project as she is. Having direct access to someone with such authority is particularly good news.

SCOTT

It’s just that I don’t normally get up this early.

KELLY

Seven thirty in the morning?

SCOTT

(to KELLY)

I don’t have to be here before nine, you know.

SHELA

(to GERALDINE)

The university is, of course, now operating on Flex Time, where many of the faculty and staff have various starting and stopping times. Naturally, they all put in their eight hours a day, and then some. (with a glance at SCOTT) Professor Conner, for example, is well known for working late.

SCOTT

(aside to KELLY)

Usually three-thirty or four in the afternoon.

KELLY frowns at SCOTT’s flippancy.

GERALDINE

That’s perfectly understandable. But I felt it was important that we have this little meeting, prior to meeting the ESP test subjects.

SHELA

An excellent idea. We agree with you completely.

DICK enters through the office door, yawning and struggling to open his eyes.

DICK

Somebody gonna tell me why we had to be here this morning at the crack of dawn?

KELLY

Mr. Watson had to work rather late last night.

DICK

(ala John Wayne)

You’d better believe it, pilgrim.

SHELA

More research on the project, no doubt.

DICK

You could say that.

GERALDINE:

I’m certainly glad to see the project staff is... dedicated.

SCOTT

Yes. Dedicated is certainly the right word.

DICK

Even devoted.

KELLY

Say... why don’t we get on with our meeting?

SHELA

Absolutely! Let’s get started. I’m sure that Ms. Murphy has some really significant information to pass on to all of us.

GERALDINE

That’s true. I think that I speak for the highest echelons of our government, when I say that the work being done on this project has enormous potential. Not only is the work extremely important, but it is also highly sensitive.

SCOTT

Sensitive?

GERALDINE

Definitely! And for that reason I believe that it is now essential that each one of us review the projects extensive security precautions and reacquaint ourselves with the absolute need for confidentiality. The results of this project are simply too important to be disseminated to anyone, except on a need-to-know basis. Loose lips sink ships, you know.

DICK

Run that by again... the part about the ships.

SCOTT

(to DICK)

We don’t want anyone to know what we’re doing.

GERALDINE, SHELA and KELLY all smile at SCOTT’s apparent understanding. But then the smiles all fade

SCOTT

Which is no problem, since we don’t really know ourselves.

Everyone frowns, except DICK.

DICK

Considering the quality of the research being done today in most universities, it’s probably better that way.

GERALDINE

(studiously ignoring SCOTT and DICK)

I’m afraid that most colleges and universities are rather lax in their security. One can only shudder, when one considers the average university’s inability to prevent critical knowledge from escaping the institution’s confines.

SCOTT

Colleges really must learn to keep things to themselves.

GERALDINE

Precisely! The flow of information must be controlled, and not disseminated so... (showing disgust at the word) ...liberally.

SHELA

Hear, hear!

GERALDINE

(with a curious glance at SHELA)

Our current project is particularly sensitive. The extreme importance of the results, with the attendant national security aspects, makes it doubly important that the flow of information be controlled to the nth degree. There are undoubtedly organizations and individuals, not in agreement with our democratic ways, who might wish to subvert and misuse our results. This must not be allowed to happen.

SCOTT

“Misuse our results”?

GERALDINE

Surely it is obvious that a person with ESP talents will be extremely useful in achieving our democratic goals. But, by the same token, these patriotic Americans may very well be sought out by undemocratic forces to be used by them. We can’t allow these un-American forces to use our people. That’s our responsibility!

DICK appears suddenly very concerned.

DICK

Are you suggesting that someone with ESP talents might be kidnapped and held against their will, so that they could be used!?

GERALDINE

Definitely. And we must protect them by keeping them within our own defenses.

SCOTT

What’s the difference between our using these people and “the other side” using them?

GERALDINE

We’re Americans and they’re not! The difference is between patriotism and criminal kidnapping.

KELLY

If we find someone with extraordinary talents, what would happen to them?

GERALDINE

We would, of course, invite them to Washington in order to investigate ways that they could better serve their country. But the main emphasis would be to protect them, and to ensure that they did not fall into the wrong hands.

For a moment, SCOTT and KELLY silently look at each other, both very concerned. DICK also looks worried.

SHELA

When one thinks about how our government would be willing to protect these people, it makes one proud to be an American!

GERALDINE

It really does, doesn’t it!

SHELA

So what can we do to help out?

GERALDINE

The first thing is to ensure the integrity of this laboratory. We need to check for “bugs”!

DICK

“Bugs”?

GERALDINE

Illegal surveillance equipment. Microphones, hidden cameras, and so forth.

GERALDINE walks over to the table and picks up the lamp that SPY had used, and begins to examine it for hidden microphones.

GERALDINE

For example, this simple lamp might contain a hidden microphone.

As GERALDINE picks it up, DICK picks up the cord and follows it to the end. DICK looks at the ripped out cord for a moment, very puzzled by it. GERALDINE does not notice DICK’s discovery.

GERALDINE

Apparently, this one is clean. But there are always other possibilities. One simply has to know where to look.

SCOTT

Actually, I have had some experience in spy equipment.

GERALDINE

Really!?

SCOTT

Well...

(smiling at KELLY)

most of it is theoretical.

KELLY brushes her hand across his typewriter and smiles knowingly.

KELLY

That’s comforting to know.

GERALDINE

It certainly is. Then you can assist me greatly while we check out this room.

SHELA

I’m sure that you can see that our choice of Professor Conner to continue the project was an excellent one.

Reaching for the telephone, GERALDINE begins to examine it.

GERALDINE

Of course.

At the same time, SCOTT picks up the telephone cord. The telephone wire has a second wire “spliced” to it, with a ton of electrician’s tape. It is an extremely Rube Goldberg solution and obviously amateurish. SCOTT holds the “T” for a moment, until GERALDINE finally discovers it.

GERALDINE

A wire tap!!

SCOTT

You don’t tap... electrical cord wires!

GERALDINE

No, no. It’s a wire tap!!

SCOTT

I don’t think it works that way.

GERALDINE

Quick! Let’s follow the extra wire and see where it leads us.

SCOTT reluctantly responds and follows the wire to the cabinet with the tape recorder in it. SCOTT opens the cabinet, where the entire audience can see an operating reel to reel tape recorder, disguised as a poster with a well endowed lady—e.g. Dolly Parton. [The two tape reels are her breasts, and inasmuch as the reels are rotating, the poster looks extremely weird.] For a moment, everyone just states at it. Then SCOTT stops the tape.

GERALDINE

Just as I suspected! Someone has already been here. We’ll have to search the entire room.

ALL begin to look around the room. Meanwhile SCOTT closes the tape recorder cabinet. Then, thinking about it, he reopens the cabinet, and readjusts the stopped reels -- with his two hands in the “appropriate posture” -- so that the breasts of the poster girl are upright. Then SCOTT smiles with a self-satisfied grin and closes the cabinet door. KELLY gives him a questioning look, just as GERALDINE discovers a funnel attached to a vacuum cleaner hose, which she yells into:

GERALDINE

Hello!!!

An anguished scream is heard off stage. GERALDINE reacts to the scream, by holding the funnel to her ear, in order to listen for more sounds. When there are none, she simply rips out the hose and tosses everything into the trash can.

SHELA opens a cabinet, only to be blinded by a hidden flash camera. The flash signals the action to speed up, as everyone scurries around at double speed, ripping our microphones, finding old cameras (perhaps a genuine Brownie Reflex or two), and dumping all sorts of old, antiquated, and potential “spy equipment” on the table. Caught in the melee are SCOTT’s physics apparatus, which have no spy features at all. Even the Van de Graff if included in the sweep. SCOTT spends his time, putting things back into their proper place. Finally the others appear to have finished their search and SCOTT puts back the last of his apparatus.

GERALDINE

I think that we can safely say that there are no bugs in this room that we haven’t eliminated!

As she says this, an old microphone is lowered from the ceiling to a position directly above GERALDINE. The microphone will remain in this position for the remainder of the scene [and removed at the end of Act I]. No one on stage ever becomes aware of it, but the microphone is sufficiently obvious that the audience is well aware of it.

SHELA

I’m certainly glad that you were here to lead us in this investigation.

GERALDINE

I must admit that things don’t often get past me.

SHELA

I’m sure that’s true.

GERALDINE

However, it is obvious that the locks on the office door need to be changed. Why don’t you take care of that?

SHELA

I’ll call a locksmith immediately.

SHELA goes to the phone, dials and goes through the motions of ordering a locksmith.

There is a KNOCK at the office door, it opens immediately and ANN enters, leading the four other subjects: ESTHER, RICHARD, FRED and SHARI -- with SHARI taking care to lead FRED. As ANN enters, she mimics the voice from the movie, Poltergeist.

ANN

We’re bacckk!

When SHARI enters, DICK immediately goes to her side in a semi-protective fashion, a fact which SHARI senses immediately, and in which she reacts positively.

KELLY

Ms. Murphy, these are our testing associates.

GERALDINE

Wonderful!

SHELA

Ms. Gregg, why don’t you demonstrate to Ms. Murphy one of your typical tests?

GERALDINE

Excellent idea!! (causing SHELA to beam!)

KELLY

But we’re not exactly prepared.

GERALDINE

It doesn’t have to be anything elaborate.

SHELA

Of course not!

KELLY

It’s just that we’ve nothing planned.

SHELA:

Surely we can show Ms. Murphy some sort of simple test that will demonstrate the basic methodology.

GERALDINE shows her agreement with SHELA, and looks expectantly at KELLY.

KELLY

I’m not sure it’s fair to the subjects.

RICHARD

I’m certainly agreeable to anything that will assist in the project and continue to improve life in this democracy as we know it.

DICK

(to RICHARD)

Huh?

ESTHER

Why not? (sexily) Let’s do it!

FRED

Hot damn! I love Physics’ tests.

Then FRED notices everyone turning to him in wonder.

FRED

I think. Do I?

When FRED turns to SHARI for confirmation, she simply smiles and hugs his arm comfortingly. Meanwhile, GERALDINE's voice becomes more insistent.

GERALDINE

I really must insist.

SHELA

Ms. Gregg, our project monitor is insisting!

SCOTT

Wait a minute!

When everyone turns to frown at him -- except KELLY, who is looking hopeful -- SCOTT smiles.

SCOTT

What I mean is, I don’t think Ms. Gregg should have to come up with something on the spur of the moment.

SHELA

(to SCOTT, her voice threatening)

Of course, she can.

GERALDINE

I wouldn’t want to... pressure anyone. But...

SHELA

No problem. We’ll be happy to give you a demonstration.

SCOTT

Well, of course, we can have a demonstration. I just didn’t think Ms. Gregg should be pushed into one of her well-thought out tests, prematurely. Many of Ms. Gregg's test can only be used effectively once on any given test... associate. We wouldn't want to use one without complete preparations.

As the others continue to frown, KELLY begins to wonder about SCOTT.

SCOTT

Instead, we’ll do one of my tests.

SHELA

Oh! Excellent!

GERALDINE

Yes. A very good idea!

KELLY

(aside to SCOTT, worried)

What are you going to do?

SCOTT

(aside to KELLY, smiling to the others)

I have no earthly idea.

ESTHER

What do you want me to do, Professor?

RICHARD

Sure! Show us what you want! You lead; we’ll follow!

FRED

I’ve got it!! The square of the hypotenuse is...

(his smile fades to a thoughtful guess)

...located in downtown Nairobi?

EVERYONE looks at FRED, while SCOTT desperately searches for an idea. In response to everyone looking at him FRED asks:

FRED

Did I get it right?

SCOTT

(suddenly)

Everyone sit at the table.

ANN

Oh boy!

ANN immediately grabs a chair. Then the others begin taking their seats, while DICK and SHARI exchange asides.

DICK

(aside to SHARI)

Why don’t you skip this one?

SHARI

(aside to DICK)

I can’t. But don't worry. It won’t affect me.

As the other subjects sit and the non-subjects begin to gather around the table, SCOTT motions to his “windmill” [see Description of Props]. SCOTT’s voice suddenly shows some confidence.

SCOTT

This will be a very simple experiment, but nevertheless, in keeping with the principle of “blind” results.

FRED puts his hands over his eyes and leaves them there.

SCOTT

That is, everyone will participate at the same time, and in the event that we obtain a positive result, no one will know who is responsible. This will ensure a greater degree of security for all concerned.

EVERYONE smiles, indicating understanding. GERALDINE also shakes her head approvingly.

SCOTT

The object of the experiment will be to cause this windmill to rotate by the use of telekinesis. Each of you is to attempt in whatever way best suits you, to cause the windmill to rotate, by mental powers only.

EVERYONE stares at the windmill.

SCOTT

Don’t start until I tell you.

EVERYONE looks at SCOTT.

SCOTT

Is everyone ready?

All five shake their heads in the affirmative.

SCOTT

Okay. Go!

ANN and SHARI concentrate on moving the object, but without noticeable effort, while RICHARD thinks about it, spending most of his time looking at the others. FRED and ESTHER go through enormous efforts, complete with body English and strange facial contortions to get the object to move. FRED is, of course, still holding his hands over his eyes.

FRED

I can’t see it.

DICK

Try looking at it.

FRED removes his hands from his eyes and looks at the windmill. Then he smiles.

FRED

Yeah. That helps.

Suddenly very excited, ESTHER jumps up.

ESTHER

It moved!! Did you see it? It moved!!

RICHARD

It did!? I didn’t see it!!

FRED:

Somebody move?

SHELA

I think I saw something.

SHELA is suddenly concerned and turns to GERALDINE.

SHELA

Did you see it move?

GERALDINE

No.

SHELA

(to SCOTT, with great authority)

I don’t think it moved.

SCOTT

I can’t say that I saw anything.

ESTHER

But it did!! (then turning on the sex) Didn’t you see it move, Professor?

RICHARD

(skeptically, to ESTHER)

Are you sure you saw it move?

ESTHER

(to RICHARD)

Are you doubting my word!?

KELLY

Esther, Richard, please!

Suddenly the door opens and SPY appears, dressed in a workman’s coveralls. He carries a small carpenter’s tool chest. EVERYONE turns to see him.

SPY

Locksmith!

SCOTT

Not now!

SHELA

Go ahead. It’s that door. It needs a new, secure lock.

SPY

Check! Get right on it!

SPY sets his tools down and with the door open, begins to work on the lock.

SCOTT

(to SHELA, pointing to SPY)

You really want him to change the lock right now?

SHELA

Of course. Never put off today what you can do tomorr...row.

Her voice trails off, as she realizes that the clique is being said incorrectly.

GERALDINE

Let’s get back to the experiment, shall we?

(to ESTHER)

You say you saw it turn?

ESTHER

Absolutely!

RICHARD

Probably just a gust of wind.

ESTHER:

(to RICHARD)

The only wind in here is coming from you.

RICHARD

What!? What did you say!?

ESTHER

I said, the only wind in here...

RICHARD

(pointing his finger and very upset)

That’s slander! Or libel! Or something!!

SCOTT

HOLD IT!!

When the bickering stops, SCOTT looks around at each person.

SCOTT

We’ll just have to try it again.

GERALDINE

Replication of the experiment, excellent idea!

SHELA

Yes, yes. A very good idea.

KELLY

Maybe everyone wasn’t really trying.

GERALDINE

What do you mean?

KELLY

Previous work has suggested that intense efforts will be essential for anyone attempting telekinesis. We will need strong and extraordinary emotions, along with a dedicated effort to accomplish one’s goal. It is the fixation of the mind on a particular result that can yield positive results.

SCOTT

Good point.

When everyone looks to him for further guidance, he continues.

SCOTT

In addition, we can't have a doubting Thomas among us. Overt skepticism might influence the results. Accordingly, this time I want everyone -- not just the test associates -- to put his or her full mental effort into causing the windmill to rotate. Everyone will need to be very quiet, while each person concentrates.

EVERYONE becomes quiet, while the five subjects begin to concentrate again. Slowly the others in the room, begin to congregate around the table as well, each of them staring intently at the object. Even SPY, setting down his tools, joins them.

EVERYONE on stage is now concentrating on the object. Then the windmill begins to rotate, first as a slight sputtering, then in a continuous motion. [The rotation is accomplished by a small electric motor, which is turned on by a switch, located off stage.] As the windmill continues to rotate with a vengeance, there are gasps of astonishment and surprise. EVERYONE appears to be surprised and amazed!

BLACKOUT—END OF SCENE 3 / END OF ACT I

Back to:

Act I, Scene 2 -- Psychics Anonymous

Forward to:

Act II, Scene 1-- Real Talent

Results!

The Library of ialexandriah