When Anne Maimone heard about Audrey Hepburn…



The Note, Act 3

The Characters:
Professor Theodore Goetz

Matthew Raford

Small Korean Woman

Young Theodore Goetz

Young Theodore’s Papa



Professor Goetz’s office – Dawn.

Goetz is still slumped in his seat. The Korean woman is still sitting like a statue. The conductor comes onto the stage and conducts the invisible orchestra. Tchaikovsky’s 4th Symphony, 4th movement begins. It is loud and bombastic – contradicting the image of our two players sitting still and unmoving. After 3-4 minutes, the music abruptly stops and the conductor walks off.

Just then there is a projection of a young boy eating food at a small table. It slowly fades in as Goetz sits motionless in his chair. The boy is eating rather quickly, and after some furious chewing, he pushes the plate away.

BOY: I’m done!

Just then the man from earlier comes into view. Although now he wearing a face mask and a fedora hat.

MAN: Good boy. You ate it all up. Poppa is so proud of you.

BOY: Papa?

MAN: Yes, son?

BOY: I know I’m not supposed to ask, but when are you going to take your mask off?

The man’s body language changes slightly.

MAN: I’ve told you. Papa can’t take his mask off. The sight of my face would disturb you.

BOY: I’m older now, papa. I’m not scared.

MAN: It doesn’t matter how old you are. The fear will always be with you. You are a fearful child.

BOY: Papa. Show me.

The man actually contemplates this.

MAN: Son. If I take it off, will you promise not to be afraid?

BOY: I promise.

The man takes off his hat. He is missing clumps of hair from his head. Then he slowly removes his mask. His face looks grotesque – like a skull covered in melting wax. The boy is frozen, and is trying not to show fear.

MAN: You are afraid. I can smell you.

BOY: No I am not Papa!

MAN: Yes you are. Give me your arm.

BOY: Why papa?

MAN: Give me your arm, boy.

The boy tentatively extends his arm toward the man. The man lowers his head down and without warning bites a huge chunk of skin off the boy’s arm. The man chews on the skin and the boy screams, running away. The projection fades out.

Goetz rises from his seat and walks towards the Korean woman.

GOETZ: Excuse me.

He moves behind her and tears the garbage bag off the window, exposing the window and allowing the early morning light to enter the room.

GOETZ: (to the woman – snickering to himself) Sleep well?

Just then there’s a knock on the door. It is Matthew again.

MATTHEW: Professor?

GOETZ: Come in, Matthew.

Matthew enters and closes the door behind him. He stands at the door though, as if he does not want to cross a threshold.

MATTHEW: Professor. I wanted to apologize for the things I said last night.

Goetz hands him a cup of coffee.

MATTHEW: So I’m here. And I apologize.

GOETZ: Matthew, come closer. I promise I won’t hurt you.

MATTHEW: I’d prefer to stay over here if you don’t mind.

GOETZ: Matthew. Please. You know me. I-I may not always act like myself these days, but I’m still me. I’m not a violent person, you know that.

MATTHEW: You never were.

GOETZ: And I’m still not. Come on.

Matthew takes a few steps into the room. He suddenly notices the Korean woman.

MATTHEW: Um, Professor?

GOETZ: Yes, Matthew.


MATTHEW: Who’s that?

GOETZ: (snickering) Huh? Oh her! That’s my Korean woman.

MATTHEW: Your Korean woman?

GOETZ: Yes! Isn’t she wonderful?

MATTHEW: (to the woman) Pardon me, ma’am.

GOETZ: Oh don’t do that.

MATTHEW: Don’t do what?

GOETZ: She can’t hear you. Or, she can hear you and chooses not to. She’s a miserable cunt. Starting to remind me of Elizabeth.

MATTHEW: (not taking eyes of the woman) Why won’t she respond?

GOETZ: (laughing maniacally) Fuck if I know! Women, right?!

MATTHEW: Would you like me to leave you two alone?

GOETZ: Matthew. She’s a fucking statue.

MATTHEW: Wait, she is? She looks so real.

GOETZ: No no no, she is real. But…she’s frozen. Or something. I don’t know.

MATTHEW: This is very odd.

GOETZ: Fuck yes, it is.

Matthew walks over to the woman tentatively.

MATTHEW: Ma’am? Can you hear me?

GOETZ: That doesn’t work, Matthew.

MATTHEW: Sir I think she may have had a stroke.

GOETZ: What?

MATTHEW: I’ve heard about this. They’re rare cases but I’ve heard of people stroking out and going into a kind of locked position. Almost like a statue.

GOETZ: Should I – Should we call a doctor?

MATTHEW: I think we should.

Goetz reaches for his phone.

MATTHEW: No need to call anyone. The police are right outside.

Matthew starts towards the door, and opens it. Goetz races over the door himself and slams it shut, standing in Matthew’s path.

GOETZ: (maniacal grin) You almost got me there Matthew. That was pretty fucking smart.

MATTHEW: Almost got what? This woman needs medical attention. Stand aside, Professor.

GOETZ: You had me all the way up to that last moment. I almost forgot about this whole thing. I even went to pick up my phone.

MATTHEW: Professor this is no trick, please get out of the way.

GOETZ: I will do no such thing, Matthew. You think you can just nonchalantly call the police in here? They’re not coming in here, and I am not going out there.

MATTHEW: But, Professor…

GOETZ: The note, Matthew.

MATTHEW: Excuse me?

GOETZ: Where is the note. I would like you to give me back the note.

MATTHEW: I don’t have the note anymore. The police have it.

GOETZ: Fuck right, they do. I don’t believe you.


Goetz begins to pace slowly, but confidently. He keeps his eye on Matthew.

GOETZ: Matthew you said last night…that you are not a liar.

MATTHEW: Yes. I did say that.

GOETZ: And that is true.


GOETZ: You are not a liar.


GOETZ: Because, when you DO lie, I can spot it ten thousand miles away.

Matthew starts to look nervous.

GOETZ: The police don’t have my note. You have my note. I can see it spray painted and neon-signed all over your fucking face.


GOETZ: The fucking note, Matthew.

Matthew looks defeated. He takes a small slip of yellow paper out of his jacket pocket and hands it back to the Professor. Goetz rips it up into many pieces, and throws them up into the air like confetti.

GOETZ: (to no one in particular) Mardi Gras!

MATTHEW: I made a copy of it.

GOETZ: I don’t care, Matthew.

MATTHEW: I want to go there. I want to see if the answer is there.

Goetz begins to laugh. Then he cuts his laughter abruptly short.

GOETZ: It’s not.

MATTHEW: So why did you write about it in the first place?

GOETZ: Why did I write about it in the first place? You’re asking why I wrote that Taco Bueno holds the secret to the universe?

MATTHEW: Not the universe. The resurrections.

GOETZ: You’re asking me why I wrote that the mexican fast food chain Taco Bueno holds the secret to the resurrections?


Goetz approaches Matthew.

GOETZ: You wanna know why I wrote you that note?! Because I’m a fucking looney tune, Matthew!

Goetz briskly walks over to the object in the corner of the room. He tears away the towel to reveal a plastic cactus wearing sunglasses and holding a guitar.

GOETZ: Because I’ve spent the last three months of my life communicating with a plastic fucking cactus!


GOETZ: You know they always say you’re only crazy if you don’t realize you’re the craziest one in the room?!


GOETZ: Well I’m so crazy, I KNOW I’m the craziest one in the room! I wake up every day and say to myself ‘hmm, what fucked up, batshit thing am I gonna do today?’ It’s like being trapped in a fucking cage! It’s a nightmare!

Goetz is half laughing at this.

GOETZ: So pardon me, Matthew, if I find the notion that you’re taking me just the least bit seriously…a fucking riot.

Matthew turns and exits the room, slamming the door behind him.

Goetz turns back to the cactus.

GOETZ: There. You happy now?!

Just then the Korean woman rises and exits the room as well. Goetz is left speechless for a moment because he was not expecting this. He is alone in the room once again. He meanders over to the coffeemaker and pours himself a cup. He sips it slowly.

The conductor enters and begins to conduct the invisible orchestra again. Tchaikovsky’s 4th symphony is coming to a close. We hear the remaining two-three minutes of bombastic music. When the final note is played, the conductor walks off stage. Goetz is left alone.

The End.



The Note, Act 2


The Characters:

Professor Theodore Goetz

Matthew Raford

Small Korean Woman

Young Theodore Goetz

Young Theodore’s Papa



Dr. Goetz’s office. Night.

Goetz is slumped in his chair, still in his bathrobe. He is fast asleep. The room is exactly the same except there is a small Korean woman sitting by the window. She is in her mid-70s, and sits sternly staring at nothing.

The conductor walks out onto the center of the stage and once again uses his baton to conduct an invisible orchestra. Tchaikovsky’s 4th Symphony, 2nd movement begins to play. It is a pastoral and contemplative piece, and it matches the lull of the evening.

Goetz is startled awake. He takes a moment to get his bearings and slowly rises. He makes his way to the coffeemaker and pours himself a cup of coffee. He sips it and begins to pick objects and books up from the floor, cleaning up a bit. He turns to pick up something by the woman and sees her for the first time.

GOETZ: Ahhhhhhhhh!!

He backs away, startled.

GOETZ: Who the FUCK are you?!

She does not acknowledge him.

GOETZ: Hello? Hello? Can I help you?? How did you get in here??

Goetz looks towards the door, as if expecting to see it open. But it is closed. The window is still covered by the garbage bag. Goetz is flustered by this new turn of events. He takes a moment to get his bearings.

GOETZ: Listen. If you’re here as some weirdo sympathy bait to get me out of here, they got a lot of nerve!

He says the last part of this statement louder and staring out towards the door, as if someone outside could hear him.

GOETZ: And it’s NOT gonna work. I feel no sympathy for you, or your people, or for anyone right now in particular!

She continues to sit like a statue.

GOETZ: Hello?!

Goetz approaches her tentatively.

GOETZ: Hello?

He waves his hand in front of her face. Snaps his fingers in her eyes. She doesn’t blink or move.

GOETZ: Ok this is weird.

He backs away and begins to pace, trying to figure out what is going on. He’s talking to people he believes are right outside the door.

GOETZ: Ok so you might…you might not have gotten my sympathy but you sure as hell are giving me the willies!

Goetz stops and stares at the woman. He gathers inner strength and approaches her more assuredly now.

GOETZ: Madame, can you please wake up?!

He shakes her. First gently, then getting more violent.

GOETZ: Madame! Madame! COCK-a-doodle-doo madame!!!

Goetz gives up and paces some more.

GOETZ: What the hell IS this? Are you playing mind games with me??

Goetz stops and looks over at the object in the corner, covered with a towel.

GOETZ: Oh. It’s you. It’s you, isn’t it.

Goetz approaches the object.

GOETZ: Isn’t it?!


GOETZ: You’re behind this. Of course it’s you. You miserable fuck. You’re trying to drive me insane. You’re trying to mindfuck me, aren’t you!!


GOETZ: She’s an hallucination, isn’t she!! She’s not really here.

He runs over to the lady and gets right in her face.

GOETZ: You’re not reaalllly heeeeeeere…. Oh shit yes you are!

He backs away. Something on the woman smells. He turns back to the object under the towel.

GOETZ: Get her out of here! I mean it! Tell her to leave!


GOETZ: Fuck you!

Giving up, Goetz wanders back to his chair and slumps down in it.

GOETZ: (to woman) So. What brings you here?

Goetz chuckles to himself. The chuckle turns to full on laughter. Pretty soon he is having a laughing fit. His laughing fit dies slowly and he puts his head back, staring up at the ceiling.

GOETZ: I wasn’t always like this, you know.


GOETZ: I used to…be preeminent in my field. You know what preeminent means?


GOETZ: I was fucking famous.

GOETZ: I won an award.

He points over at a shelf with cobwebs on it.

GOETZ: The Manfred Lautenshluggen – Lautenschlaggen – shit. Hahah. Fuck it. It’s got a facacta name. It’s an award that has a name that takes too long to say.


GOETZ: It’s an award for Theological Promise. Theological Promise. Apparently I showed promise. Who knew!


GOETZ: You want to know the truth?


GOETZ: That award was like a fucking noose. Tightening. Every year. Every year I didn’t live up to that promise. I’d come in here and look at it and want to throw it across the fucking room.


GOETZ: There was a boy in here before. His name was Matthew Raford. This boy idolized me. I was like…like a fucking rock star to him.


GOETZ: And I blew it. I blew it right in front of his eyes.


GOETZ: But…even before I blew it…before my life went to shit…I never felt…like I deserved any of it. That award. I didn’t deserve it. I didn’t show promise. I – I was just an asshole kid trying to get his doctorate.


GOETZ: But Matthew.


GOETZ: Matthew is the true golden boy. He’s like if Robert Redford and Matt Damon shitted out a perfect baby.


GOETZ: He’s genuine. And he’s kind. He’s decent. He’s honest. He has faith. He believes in people and he believes in the goodness of a higher power. He’s everything you want in a student.


GOETZ: I fucking love him. He’s amazing.


GOETZ: And I’ve let him down.


GOETZ: I blew it.

Goetz slumps further in his chair.

The conductor comes out and stands at center stage. He conducts the last two-three minutes of Tchaikovsky’s 4th Symphony, 3rd Movement. The pastoral music comes to a slow end, and the conductor walks off.


The Note, Act 1

The Characters:

Professor Theodore Goetz

Matthew Raford

Small Korean Woman

Young Theodore Goetz

Young Theodore’s Papa



Professor Goetz’s office. Evening.

Professor Goetz is sitting quietly in his bathrobe. He is at his desk. He slowly sips a cup of coffee and looks almost absent-mindedly at some papers on his desk. His desk and his whole office are a complete mess. There are stacks of papers everywhere. The windows are covered with black garbage bags. There’s a fine layer of dust on everything. There is an object in the corner of the room, sitting on a shelf. It is covered with a towel.

A man in a tuxedo enters from stage right, and walks to the middle of the stage. He takes out a baton, and begins to conduct an invisible orchestra.

Tchaikovsky’s 4th Symphony, First Movement begins to play. It’s first few minutes are loud and brash. There is almost a crack of thunder in the music. It contrasts oddly with Professor Goetz, who sits still as a statue in his chair, slumped. The light changes in the office according to the change in the music. Different colored lights illuminate various sections of the office.

As the music is blasting, Goetz rises from his chair and moves over slowly to the other side of the office and pours coffee from a coffeemaker sitting on a cluttered countertop. He sips it slowly.

He makes his way back to his desk chair and sits down, picking up a newspaper and leafing through it methodically. The music comes to an abrupt stop, almost midway through a note, and the conductor walks off stage, leaving Goetz alone.

Suddenly his cell phone rings. He ignores it for two rings. Then he lowers the paper and picks up the phone, swiping to answer.

GOETZ: Margaret.


GOETZ: (impatiently) Yes. I’m fine. I’m on campus.


GOETZ: Is that all?

(longer pause)

GOETZ: You can’t be…

(quick pause)

GOETZ: Tell that miserable cunt I am in my bathrobe because I cannot get inside my own house. Can you tell her that please?


GOETZ: I just told you. Please stop asking me that.


GOETZ: Thank you.

He hangs up, tossing the phone angrily on top of his desk.

GOETZ: (under his breath) Fucking cunt.

He sits back in his chair, staring up at the ceiling. Just then a projection appears behind him by the coffeemaker. It is a scene in daylight, that appears to have taken place in the same office. Goetz the projection is dressed in a full suit and tie, pouring himself a cup of coffee, reading a paper. This Goetz looks almost like a different person. He seems well groomed and well rested. Suddenly the Goetz projection looks up, over at the real Goetz in the chair. A sadness overcomes the Goetz projection. He folds the paper up and walks over to the real Goetz, sitting down on top of him. The Goetz projection slowly disappears and we are left with the real Goetz, alone again.

Suddenly there is a faint and weak knock on the door. Goetz doesn’t respond. The knock is a little stronger the second time.

GOETZ: Away with you!

The voice from the other side is a college student named Matthew Raford.

MATTHEW: Professor?

GOETZ: Matthew. Begone!

MATTHEW: Professor?

GOETZ: Oh for god’s sake.

Goetz rises and angrily stomps over to the door. He opens it quickly. Matthew is soaking wet. He is a clean-cut, attractive boy. A young Robert Redford-type.

GOETZ: Matthew. I am very tired. I would like to be left alone.

MATTHEW: Um, I’m afraid I can’t do that professor. I’ve got orders.

Goetz takes this in for a moment.

GOETZ: You’ve got orders.

MATTHEW: Yes sir. I-I’ve been told to speak with you. To make you come out.

Goetz allows him to enter.

GOETZ: You are wet, Matthew.

MATTHEW: Yes, sir. That is correct.

GOETZ: I didn’t know it was raining.

MATTHEW: Yes, sir. It is. Raining, I mean.


Goetz slumps back in his chair.

GOETZ: Ok what’s wrong.

MATTHEW: Pardon?

GOETZ: With you. What’s wrong. You’re acting fucking tweaky. Th-This is not you. What is up?

MATTHEW: Sir, I don’t know if I’m supposed to tell you.

GOETZ: Matthew I will find out one way or the other, whatever it is you’re hiding. Please spill it now.

MATTHEW: It’s about the note.

GOETZ: Oh jesus.

MATTHEW: It’s been seen.

Goetz rises, begins to pace around the room.

MATTHEW: It’s been read.

GOETZ: (muffled) That was for you.

MATTHEW: Pardon?

GOETZ: (yelling) That was for you! That was only for you! Not for anyone else!

MATTHEW: I know you’re upset.

GOETZ: (increasingly anxious) Ohhhhh…Fuck me!

MATTHEW: It’s been in front of quite a few eyes now sir, I’m afraid.

GOETZ: How many.

MATTHEW: Pardon?

GOETZ: How many eyes? How many eyes has it been in front of?

MATTHEW: Oh, uh –

Matthew pauses to count, using his fingers.

MATTHEW: Uh, about eight I would say. Including your own. And mine own. MY own, I mean.

GOETZ: That was meant for one person only.

MATTHEW: Yes sir, I am aware of that. Um.


Matthew looks back awkwardly at the door. Once, then a second time. Goetz stops pacing and observes this.

GOETZ: Matthew.

MATTHEW: Yes sir.

GOETZ: What the fuck are you doing.

MATTHEW: I think there’s something else you need to know as well, sir.

GOETZ: Jesus.

Goetz moves around the room again anxiously.

MATTHEW: There are two policemen stationed down the hall, and there’s a squad waiting out in the parking lot.


Goetz suddenly stops. He keeps himself very still.

GOETZ: Matthew. Listen to me very carefully. I need you to go out into the hallway, and politely ask for the officers’ names.

MATTHEW: The officers’ names? Their names?

GOETZ: Their names. Out in the hallway. Politely.

MATTHEW: How shall I – ? What should I do? How can I ask them?

GOETZ: You approach them gently and politely ask to see their identifications. They cannot refuse that request.

MATTHEW: That’s actually not true, sir.

GOETZ: Excuse me.

MATTHEW: I believe it varies from jurisdiction to jurisdiction but I can recall reading that a police officer is not required to present ID if there is a concern for safety.

GOETZ: Matthew. Do you believe I am a concern for safety?

MATTHEW: I’m just telling you what I’ve read sir.

GOETZ: I need to know their names.

Goetz approaches Matthew and gets very close to him.

GOETZ: Matthew. What did I tell you last night?


GOETZ: Everything is connected. Say it, Matthew.

MATTHEW: Everything is connected.

GOETZ: Exactly. Everything means everything. If their names are Fagbutt and Silverstein, it will mean something different than if their names are Sheppard and Schmidhole!

MATTHEW: What exactly…would it mean?

GOETZ: (emotional) I don’t know! Nobody knows! Nobody knows anything!

Goetz wanders off, pacing for a moment and then slumps down in his chair. Matthew exits the room. The conductor re-enters from stage right and stands at center stage. He begins to conduct the invisible orchestra as they continue playing Tchaikovsky’s 4th Symphony. After a minute or two, Matthew reenters and walks over to the slumped Goetz, placing a jacket over him. He then walks over to the coffeemaker and pours himself a cup. The music once again stops mid-note, and the Conductor walks off stage right. Matthew is staring at the object covered by the towel in the far corner of the room.

MATTHEW: It’s still here.

GOETZ: Don’t talk about it please.

Goetz blows his nose.

GOETZ: (drained of energy) So. What did you find on your research expedition. Were you correct about me. Am I a concern for safety.

MATTHEW: Their names were Sheppard and Schmidhole.

Goetz lowers his head again, but this time he is laughing. Uncontrollably.

MATTHEW: (irritated) You’ll forgive me if I don’t join you.

GOETZ: This miserable existence.


Matthew turns away, in frustration.

GOETZ: Excuse me?

MATTHEW: Nothing.

GOETZ: (smug) Do I detect a hint of irritation in my young protege?

MATTHEW: Why won’t you go home, sir.

GOETZ: I can go home whenever I want, Matthew.

MATTHEW: (sheepishly, looking down) Um. I don’t think that’s true.

GOETZ: (exploding) Fuck that cunt!

MATTHEW: Hey! Wha- What’s wrong with you? What happened? This – this is not you. You don’t say things like that.

GOETZ: You’ve asked me that already. You’ve been asking me that.

MATTHEW: And I’ll keep asking it until I get an answer.

Goetz folds into himself, staring at his coffee.

GOETZ: Matthew did I ever tell you about Anton Rubinstein?

MATTHEW: (impatient) No.

GOETZ: Rubinstein was a Russian composer, in the late 19th century. He wrote one of my all time favorite operas, The Demon. He was a man between two worlds. He was born a Jew, later was forced by his father to convert to Russian Orthodoxy.

Goetz waits for a reaction.

GOETZ: Matthew.

MATTHEW: (impatient) Yes?

GOETZ: What does that remind you of?

MATTHEW: I don’t know.

GOETZ: It’s me. It should remind you of me.

MATTHEW: You weren’t forced to convert to anything, sir.

GOETZ: No. But I was born between faiths, Matthew. Rubinstein used to say… “The Russians call me German, the Germans call me Russian. The Jews call me a Christian, and the Christians call me a Jew. Pianists call me a composer, and the composers call me a pianist. My conclusion is that I am neither fish nor fowl – a pitiful individual.”

MATTHEW: That’s a rather negative view of things.

GOETZ: It is how I feel, Matthew. I read about this man and I say…my god that’s me! I even look like him! Look!

Goetz picks up a book that has been left opened on the floor. He shoves it in Matthew’s face.

MATTHEW: Looks more like Jack White.

GOETZ: Excuse me?

MATTHEW: The guy from the White Stripes.

GOETZ: This man lived a pitiful existence. He was caught between worlds.

MATTHEW: But that’s just not you, sir. You- You have a home here, at the university. People respect and admire you. You’ve carved an existence here, and that should stand for something.

GOETZ: (almost jubilant) But it’s allll gone now, isn’t it.

Matthew looks away.

GOETZ: I have nothing.

MATTHEW: I don’t believe that. People are trying to help you. I’m here. The Dean is outside with the squad.

GOETZ: Fuckin pig.

MATTHEW: That’s – That’s just it. You’ve changed. You never used to talk like that. It’s almost-it’s almost like you’re possessed or something. Like the fucking Exorcist.

Goetz begins to laugh.

GOETZ: I wonder if that’s on Netflix.


Matthew slams the coffee cup down in exasperation.

MATTHEW: You know how many people you’ve hurt in the last three months? You know how many people whose lives have been ruined? That c-word: your wife. She loved you.

GOETZ: (laughing) She’s locked me out, good sir.

MATTHEW: Because you tried to kill her. Jesus Christ, Professor, you do remember you tried to kill her, right?

GOETZ: She’s a fucking liar.

MATTHEW: Am I a liar Professor? Would I lie? You know I’m not a liar. And I’ve seen some pretty fucked up shit happen in this office lately. I saw you carve up that poor dog last week.

GOETZ: Oh you don’t know what you saw. It was a fucking deer, a tiny deer. I brought it into my office to show it off and it was still alive. So I had to stab it. I told you all of this.

MATTHEW: I don’t know what it was. But it was fucking weird. You’re not supposed to bring dead animals into the building.

GOETZ: Are you listening? I said it wasn’t dead! It got up and ran around the room! I had to stab it with my bowie knife. Look, you can still see the dried blood on the floor.

Goetz points to a spot behind Matthew, who backs away in disgust.

MATTHEW: (backing away) But your wife, Professor. Why did you try to stab your wife?

GOETZ: She didn’t understand me. You’re the only person that has understood anything I’ve said over the last few months. That is why I wrote that note for you! For you only!

MATTHEW: (fighting back tears) I understood you Professor because I loved you. And I accepted you. I didn’t know what was happening with you but I knew that you were a strong and sane man, and whatever this was wouldn’t get the best of you. But now- now-

GOETZ: (getting up, moving towards Matthew) Now – what, Matthew? Now – what?

MATTHEW: (backing away nervously) Now – now –

GOETZ: Say it Matthew! Say it!

MATTHEW: I think whatever this was… has now become you! I can’t tell you apart anymore!

GOETZ: You miserable little fuck!

Matthew screams and runs out, slamming the door behind him.

Goetz wanders for a minute, getting his bearings in the room. He moves over to the window and tears back some of the garbage bag over the window, looking out. As he stands there, a projection of a young boy rides past on a tricycle. An older man runs after him. The boy comes back the other direction and the tricycle flips over, causing the boy to fall face first. The boy begins to cry.

BOY: Papa! Papa!

The man runs over and helps him up. He sits him down on the ground.

MAN: There there. Papa’s here. You had an accident. Let me see it. Oh, it will get black and blue. But that’s alright.

BOY: Papa?

MAN: Yes, boy?

BOY: What does it mean black and blue?

MAN: (chuckling) That’s just when your skin reacts to the injury. It turns a different color. But soon, it turns normal. And you’ll be good as new.

BOY: How come your skin doesn’t turn normal?

MAN: What’s that?

BOY: Your skin. It’s all melting and oozing. It’s been like that for days. How come it’s not back to normal?

MAN: Theo. Don’t ask papa about that again. You understand?

BOY: Why not?

MAN: Because, Papa does not want to talk about it. Little boys will get into trouble if they keep discussing things that they’ve been told not to discuss.

BOY: Ok.

MAN: Good. Now run along. I’ll bring your bike back.

The boy runs off stage. The man picks up the bike. He rubs his face and pieces of his face begin to fall off. He is disgusted with this, and throws the bike down in anger. The projection fades away.

Goetz walks away from the window and picks up the book he had shown Matthew, leafing through it. Just then he looks up at the object covered by the towel.



GOETZ: Absolutely not.


GOETZ: Because it will destroy me! That’s why not!


GOETZ: Don’t say those things to me. You hurt me!


GOETZ: He’s not buried! He’s alive! Please!

Goetz walks over to the object and lifts his hand to the towel. But stops himself.

GOETZ: No! I can’t! You fucking asshole! You’re killing me!

Goetz turns and retreats to center stage.

GOETZ: Just leave me alone! Please! I beg you!


GOETZ: No. You wouldn’t. He’ll die! It will kill him!


GOETZ: You asshole!

Goetz picks up his coffee mug and hurls it at the object, the mug shatters but the object stays still.

GOETZ: That’s right! I did that! I did that! And I’ll do it again!

He picks up a glass bowl from the counter and hurls it at the object, shattering the bowl. He picks up two more objects and throws them, breaking them. After the last one he falls to his knees weeping.

A spotlight remains on him. The conductor walks out to the center of the stage and begins conducting the invisible orchestra once more. The last three minutes of Tchaikovsky’s 4th Symphony, 1st Movement are heard. When the last note is played, the conductor walks off, leaving Goetz alone on the floor.