Scribd Logo
Hochladen

Willkommen bei Scribd!

  • Beyond Therapy by Christopher Durang PDF

    Hochgeladen von

    ChristianQuinto
    6K Ansichten60 Seiten
    h

    Originaltitel

    271505795 Beyond Therapy by Christopher Durang PDF

    Copyright

    © © All Rights Reserved

    Verfügbare Formate

    PDF oder online auf Scribd lesen

    Stufen Sie dieses Dokument als nützlich ein?

    Sind diese Inhalte unangemessen?

    Dieses Dokument melden
    h

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    6K Ansichten60 Seiten

    Beyond Therapy by Christopher Durang PDF

    Hochgeladen von

    ChristianQuinto
    h

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 60
    ‘conpgh©199 By Crepe Dare ret eas eto egg ey Fate no Pe Pelirstoen veer reste «me erate prornceiht BEYOND TIRERAPY are cnt a Sern nara son cel ee apace er aad edt hc pees en esnin ta ae pw See eats ‘Royalty ef the required amount mvt be pal whether the play Is prevented for iia tae nme Seca omer ah tort ped strep ae Mera eset cca nie eae "= ang tra kn ie on at rly Se mand the earn tengo te pny Pree fy wp range ee ers ret mast Be ges om programe, pata an nverthing tingly easly pron Bo an te et canny ses mr ety Poca ar sary ara re Re rk eek ool ene ap hee mee etl sSirean,ploccpsng crag assaying oF shew, witbeat the por write | penis — BROOKS ATKINSON THEATRE we rare rropecnons LAE Wes. wrnO0UC TIONS FRANCO ar EMR nd MS MASLANSHY JOHN DIANNE UTHGOW WIEST BEYOND THERAPY GiRISTOPHER DURANG Cree eres Fie meenecon-srEWant Bl ies HE” wee cotn hk JOHN MADDEN commessiovgn ayo omcmatsyewooUeED BY THE PHOEATHETHE {Bur kinauon srw robeae al cast (in onder of eppeeranee Brace JOHN LITHGOW Prudence DIANNE WIEST swat PETER MICHAEL GOETZ carioue KATE McGREGOR STEWART Bob sack GILPIN Andiew : DAVID PIERCE sun eran pe agement BEYOND THERAPY was previously presented by the Phoetix Theatre in New York City on Janaary 1, 1981. ‘The production was directed by Jerry Zaks; scenery bY Karen Schultz; costuines ty Jennifer von Mayrhausers lighting by Richard Nelson; sound by David Repkin. ‘The cast was as follow: BRUCE PRUDENCE 7 Dr. STUART FRAMINGHAM . MRS, CHARLOTTE WALLACE «.. ‘Kate MeGregor-Stewart Stephen Collins Sigourney Weaver ‘Jim Borell, BOB... te Tack Gilpin ANDREW. 222 Gonan MeCarty PAULY ...esee Nick Stannard Tho character of Paul, a former suitor of Prudenct’s, appeared in the final acene ofthe play at the Phoenix, ‘This seene was ehanget for the Brosway version, and the charactor was writen out, cast ‘in order of appearance) BRUCE ..cecsseeseeeees John Lithgow PRUDENCE «eeessesess “Dianne Wiest STUART .ececeeenes ‘Peter Michael Goetz CHARLOTTE» “Kate MeGrogor-Stewart BOB... eer “Tack Gilpin ANDREW Davia Pierce SETTINGS BY Andrew Jackness COSTUMES BY Jennifer Von Mayrhauser LIGHTING BY Paul Gallo PRODUCTION STAGE MANAGER: MUSIC COORDINATOR: Jack Feldman DIRECTED BY John Madden PRODUCED BY Warner Theatre Productions (Glaire Nichtern) and FDM/Productions (GPrancois de Menil and Harris Maslansier) SYNOPSIS OF SCENES crt Scene i: A Restaurant Scene 2: Dr, Stuart Framingham's Office Scene 3: The Office of Charlotte Wallace Scene 4: The Restaurant Again ‘Scene 5: Dr. Framingham's Office ‘Scene 6: Bruce's Apartment INTERMISSION acti ‘Scene 1: Mrs, Wallace's Office ‘Seene 2: ‘The Restaurant Again ‘Scene 3: The Restaurant Still 6 Fe BEYOND THERAPY Aort Seme 1 A restaurant, Bruce ie seated, looking ot his watch. "i is 80-84, fairly pleasant looking, probably wear ing a blazer with an open shirt. Enter PRUDENCE, 29:82, attractive, eemidressed up ix a dress or nize abirt and Blouse. After hesitating a moment, SHE crosses to BRUCE Provence, Hello, paver. Hello. Puupencs, (Perhape referring to a newopaper ix er hand—The New York Review of Books?) Are you the white male, 80 t9 35, 62", blue eyes, who's into rock music, movies, jogying and qulet evenings at ‘home? ‘Bruce, Yes, Lam, (Stands) 7 ‘PaupeNce. Hi, Ym Prudence. ‘Bavce, I'm Bruce. ‘PRupeNce. Nice to mest you. ‘Bayes, Won't you sit own? PRUDENCE. Thank you. (Site) As I said in my letter, ive never answered one cf these ads before. ‘Bnuce. Me neither, I mean, I haven't put one in before. 8 BEYOND THERAPY nor ‘Pupence, But ths time I figured, why not? Bauce. Right, Me too. (Pause) I hope I'm not too ‘PRUDENCE, No, So far you seem wonderful Bnuce. You have lovely breasts, That's the first ‘thing I notice in a woman. ‘Paupence. Thank you. Buuce, You have beautiful contact lenses. ‘Pnupence. Thank you. I like the timbre of your voice, Soft but firm. ‘Bau. Thanks. I ike your voice PaupeNce. Thank you. I love the smell of Brut you're wearing. ‘Buoce Thank you, My male lover Bob gave it to "Pauence, What? ‘Bruce. You remind me of him ina certain light. Provence, What? Bruce. T swing both ways actually. Do you? PRUDENCE.” (Rattle, serious) I don't know. Twlways insist on the lights being out. (Pause) ‘Bruce, I'm afraid I've upset you now. Provence. No, i's nothing really. It hate gay people. ‘Buck. I'm not gay. I'm bisexual, There's a dif ference, ‘PRUDENCE, I don't really know any bisexuals ‘Broce. Children are all innately bisexual, you know. 1f you took a thild to Plato's Retreat, he'd be attract- ed to both sexes. just hat 1 act BEYOND THERAPY ° PrupeNct. I should imagine he'd be terrified. Buvce, Well, he might be, of course. I've never taken a child to Plato's Retreat. ‘PRUDENCE. T don’t think they Tet you. ‘Bruce. I don't really know any children. (Pouse) ‘You have wonderful eyes. They're so deep. ‘Prupence. Thank you. ‘BRvcE, I fee lke I want to take care of you PaupeNo, (Liking this tack Detter) T would like that, My favorite song is “Someone to Watch over Me” ‘Bauee, (Sings softly) “There a somebody I'm Tons~ ing duh dub "PRUDENCE. Yes. Thank you. Baves. In some ways you're like a little gitl, And in some ways you're ike a woman, "PRUDENCE. How am Ike a woman’? BRvcE. (Searching, remontically) You...dress lke 1 woman, You wear eye shadow like & woman. ‘Pruipence, You're like a man. You're tall, you have ‘to shave. I feal you eould protect me. ‘Baves. I'm deeply emotional, 1 like to ery. ‘Pauexce. Oh I woul’t like that Bnuoe, But I like to ey. Provence. I don't think men should ery unless something falls on them. ‘Bavce. That's « kin} of sexism. Men have bee programmed not to show feeling. ‘PRupeNce. Don't talk to me about sexism. You're ‘the one who talked about my breasts the minute I sat down. "BRUCE. I foe! ke I'm going to ery now. ‘Puvece. Why do you want to cry? 10 BEYOND THERAPY act nce, I feel you don’t like me enough. T think ‘you're making eyes at the waiter. ‘PRUDENCE. T haven't even seen the walter. (Baves eries) Paunence. (Continued) Pleas, don't ery, please. Bucs. (Stope erving after a bit) I fool better after that. You have a lovely mouth. ‘PaupeNce. Thank you. ‘Buucn, Ican tell you're vory sensitive T want you to have my children. ‘Pmupuce. Thank you. Bruce. Do you fea! ready to make « commitment? PaupnNce, 1 feel I need to get to know you better Juce, I feel we agree on all the issues, I fee] that you ie rock music, movies, jogging, and quiet eve Tags at home I think you hate shallowness. I bet you never read “People” magazine "Puente. 1 do real It, I write fori. aver, I write for ib too. Free lance actually. 1 send in letera. They printed one of ther. ‘PAUDENCE. Oh, what was it about? Buver, I wanted to aee Gary Gilmore executed on television. "PRUDENCE. Oh, yes, I remember that one. ‘Buon, Did you identify with Jill Clayburgh in “An 2 "PRUDENCE. Uh, ¥ nuce Me too! We agree on everything. I want to ery again. "puupance. T don't like men to ery. I want them to be strong. ner ‘BEYOND THERAPY u ‘Bavoe, You'd quite like Bob then ‘PaueNce. Who? Bruce. You know. ‘PRUDENCE. Oh. Bavee. I fee! Pm jritating you ‘PRUDENCE. No. It's just that it's hard to got know someone, And the waiter never comes, and Td Tike tworder. ‘Suck, Let’s start all over again. Hello. My name in Bruce, PRUDENCE. Hello. Bruce. Prudence. Tha’s a lovely name PaopeNce. Thank you Bruce. That’ a lovely dress. Pevpence, ‘Thank you 1 lke your necklace. 1 goes nicely with your chest hair. ‘Broce. ‘Thank you. Tlike your nail polish PRUDENCB, I have it on my toes oo. Bauce. Let me se. (site takes snoe off, puts foot om the tabla) raven, (Continued) I think its wonderful you feel ‘free enough with me toput your feet onthe table Pnuvence. T didn’t put my feet on the tablet put one foot, Twas hoping it might get the waiter’ atten ton om yon, We agree ox everything. Tes amazing, Fm going tocry again. (eons) ‘PnuDexce. Pleage, you're annoying (ite continues t0 env) 2 BEYOND THERAPY aor ‘Paupence, (Continued) What isthe matter’? aves. I feel you're too dependent. I feel you want ‘me to put up the storm windows. I feel you should do that ‘Paovence, I didn’t say anything about storm wine dows. ‘Bauce, You're right. I'm wrong. We age. Puupence, What kind of childhood did you have? Buuce, Nona. T was taught by nuns. They really ruined me. I don’t believe in God anymore. I believe {im bran cereal It holps prevent rectal cancer ‘Paupence, Yes, 1 like bran cereal. ‘Bavee, Iwant to marry you. I feel ready in my life to make a Tong term commitment. We'll live in Con- WR ctiout, We'll have two cars. Bob will live over the gerage. Everything wil be wonderful. ‘Puupence. T don't feel ready to make a Jong term commitment to you. I think you're insane. I'm going to eo now. (Stonds) ‘Bnuce, Please don't go. PRupence. I don't think T should stay. Bnvee. Don't go, They have a salad bar here. Paupencs. Well, maybe for a little longer. (SHE site down again) “proce, You're afrald of life aren't you? Paupence. Wel ‘That doctor felt it was better to winble with metal spike than to have no passion “aelds his fork) Tn my lie Tm not going to be afraid to blind the horses, Prudence. act BEYOND THERAPY 8 ‘pruoexce, You ourht a Decome a viernarian PRUDENT py offended) ouve msec the male er. . ‘PRUDENCE, I haven't missed the ‘metaphor. I made a joke ; 0k you just otaly mised the metaphor: T ears crfove omeane wo mised the BeADHOT, ld never Sogo esould_ have you commited. PRUDENCE Sah one afraid of commitment. YOU "pnooence. Ob, dy wp. PRUDENT oar ang give vow a fie dl ee, orto toe tte Tee of Wooden Clr hen tak 7 nce for sexual interne, Dut ROW Testa you shold lave. nk you hoe tet ma ay 1 TE jeer out rot insta idl. in 0 Mone acoatratng, igilbiteht eum thrones 0 gle of water in hit feces TS Ehret nro tem her face. THEY ait there for @ MO ‘ment, spent of ang, wet) paupsxce. Absolutely nothing seems to get that waiter’ attention, doos it? ganvce shakes his head “no THEY ai there, sad) LIGHTS FADE “ BEYOND THERAPY aor ACTI Sceno 2 Paychologist’s office, Dz, Stuant PRaxtinowam. Very ‘masculine, @ bit of a bully, wears boots, jeans, @ thoeed sports jacket, open sports shirt. Maybe has a beard. ‘Sruarn, (Speaking into intercom) You can send the next patient in now, Betty. (Enter PRUDENCE. SHE sits) savant, (Continued, After a moment) So, what's on your mind this week? "Yiupunee, Ou don't Imow. I hed that Catherine the Great dream again. ‘stuart. Yeah? Phupancs. Oh I don’t kiow. Maybe it isn't Cather~ ine the Great. It's really more like National Velvet, ‘Sruaet. What do you aseociate to National Velvet? PaoDeNcs, Oh T don’t know. Childhood ‘stat. Yes? Prupence. I guess I miss childhood where one could look to a horse for emotional satisfaction rather than @ person, T mean, a horse never disappointed ‘Stuarr, You feel disappointed in peonle? Pauvenee, Well, every man I try to have a rele- aor BEYOND THERAPY 6 tionship with turns out to be crazy. And the ones that farent erazy are dull. But maybe i's me. Maybe I'm Jeally looking for faults just go I won't ever have @ retcesafal relationship. Like Wichael last year, May~ be he was just fine, and T made up faults that he didn’t haves Maybe T do it to myself. What do you think? ‘Sruans, What 1 think doesn't matter. What do you think? ‘Prupence. But what do youthink? STUART. It’s not my place tosay. ‘Paupunce. (Irritated) Oh never mind, 1 don’t want ‘tall about it Srvaw. Tce. (Makes @ note) Paupence. (Noticing Hale making notes; to make up:) Tid answer one of those ads. ‘Stuart. Oh? PRUDENCE. Yes. Sram, How did it work oxt? Prupince. Very badly. The guy was a jerk He talked about my breasts, ne bas male lover, and he opt at the toble, It was rally ridiculous, T should hhave known better ‘Sruurn, Well, you ean aways come back to me, babe. I'l light your fire for you anytime. TPnupener, Stuart, I've toi you you can't talk to me ‘hat way if Fm to atay in therapy with you. ‘Srvant, You're mighty altractive when you're an- wry. ‘Pauvence. Stuart .. . Dr. Framingham, many wo- mon who have been seduced by their paychiatrists take them to court... ‘STUART. Yeah, but you wanted it, baby. - 16 BEYOND THERAPY nor Paupince. How could I have “wanted” it? One of cour topies has been that I don't Jaow what I want ‘SrUAET. Yeah, but you wanted that, baby. PRUDENCE. Stop calling me baby. Really, I must be cout of my mind to keep sesing you. (Pause) Obviously you can't be my therapist after we've had an affair. Stuart. Two lousy nights aren't an stfair. Pnupence. You never said they were lousy. STUART, They were great, You were great. I via reat, Wasn't I, baby? It-was the fact that it was only ‘wo nights that was lousy. PaubaNce. Dr. Framingham, it's the common be- lief that it is wrong for therapists and their patients ‘to have scx together, SruaRt. Not in California, PRUDENCE. We are not in Californis. STUART. We could move there. Buy a house, get a jncuatt PRUDENCE, Stuart...Dr. Framingham, we're not right for one another. I fool you have’ masculinity problems, T hate your belt buckle. T didn't really even ike you in bed. ‘Stuakt, I'm great in bod. PRUDENCE. (With some hesitation) You have probs lems with premature ejaculation. STUART. Listen, honey, there's nothing prematore about it, Our society is paced quietly, we all have @ Tot of things to do. I ejaculate quickly on purpose. ‘PRUDENCE. T don't believe you. SrUAET. Fuck you, cunt. ‘PRUDENCE. (Stands) Obviously I need to find a new therapist ser BEYOND THERAPY "7 Stuart, Okay, okay. T lost my temper. I'm sorry. But I'm human. Prudence, that’s what you have to Tearn, People are human, You keep loking for per~ fection, you need to learn to accept imperfection. T ‘ean help you with that. ‘PRUDENGE Maybe I really should sue you. I mean, {don't think you shoull havea leanse ‘Sruars. Pradence, you're avoiding the issue, The issue ia you, not me. You're unhappy, you ean’t find fa relationship you Uke, you don't like your job, you don’t lke the world. You need my help, I mean, ont get hung wp on who should have a license. The fsuue is T can help you fit into the world. (Very sin corely, sensitively) Really I ean. Don’t run away. ‘PuUDeNcn, (Sits) I don't think T believe you. Sruaer. That's okay. We ean work on that, Propence, I don’t know. I really don’t think you're 1s good therapist, But the others are probably worse, Tmafraid ‘STUART. ‘They are, They're much worse, Really I'm very nle. 1 Hike women. Most men don’. ‘Prupence. I'm getting one of my headaches again (Holds her forehead) p ‘Studer. Do you want me to massage your neck? ‘Pauoexs. Pleago don't touch me. ‘Srvart. Okay, okay. (Pause) Any other dreams? ‘PRUDENCE. NO, Stuast. Perhaps we should analyze why you didn't like the man you met through the personal ad "PRuENce. T...1...don't want to talk anymore to day, L want fo go hone. ‘Sruant, You can aever go home again, 8 ‘BEYOND THERAPY sort ‘Puvence. Perhaps not But I ean return to my ‘apartment. You're making my headache worse ‘Srvann. T think we should finish the session. 1 think ies important, ‘PauDeNee. I Just ean’ talc anymore, SrUaR, We don’t have to talk But we have to stay {in the room. ‘Panpewes, How much longer? STUART. (Looks at watch) 30 minutes PRUDENCE. Alright. But I'm not going to tall any~ ‘sruant. Okay. (Pause; Tae stare at one another) squat, (Continued) You're very beautiful when you're upset. ‘PRUDENCE, Please don't you talk either. (rue otare at sack other: Koh dim) act Scone ‘The office of Oxatworre WALLACE, Probably reddish hair, bright elothing; @ Snoopy dog on her desk. 11 there ore walls in the set around her, they have drawings done by children. CCHantorte., (Into intercom) You may send the next nor BEYOND THERAPY 19 patient in, Marela, (Six arranges hereof at her desk, emilee in anticipation) (Bnter Baus, He its) Ccmanvorm, (Coitined) Hello, ‘Buuce, Hello, (Pause) Should 1 just berin? Cuantorne, Would you like to begin? Bruce I threw a glase of water at someone in a restaurant (CHantorTe. Did you! Bavce. Yos. (CHARLorme, Did they get all wot? Bruce. Yes. (Silence) cuantoree, (Points to ehilts drawing) Did T show you this drawing? TBnvce. T don't remomber. They all ook alike, Gutantoree, Tt wax drawn by an emotionally die turbed three year olé. His parents beat him every Worning after breakfest. Orange Juice, Toast, Special K ‘paves. Ub hub. Cutaxcorre. Do yousee the point I'm making? Broce, Yes, Ido, sort of. (Pouse) What point are you making? ; ‘CHARLOTTE. Well the point is that when a porpoise ist comes to me, itis often immediately clear. .-DId T'say porpoise? What word do I want? Porpolte. Pompous, Pom Pom, Paparazsi. Polyester. Polly wos: 20 BEYOND THERAPY aor Oey ley xan free. Patient. Ym patient. Now what was I saying? eee BRUCE. Something about when a you. patient comes to Gg LigtLore (Stohy state Wal, pve me more BRUCE Something about the chil’s draw ‘when a patient comes to you? pee CuanLorm. Yes, No, I need mor cnn sd more. Give me more Tnter don't imo. Chattoren On T hate this, when 1 : is, whan forget ha Ym seine Oh dann Ob, Sonn ann damn, Wal, ‘eit unt have to fnge on: You ay omothng for wl tnd tp tag to ing nee What 1 ea saying. (She moves her lips) ane inten. (After a 58) Bo yeu want me to tk? Catan Wold yous tak? noes had nance oe ot in, Chanuoer at Si Fr anion. (Remembering, hanmy) Oh, rs, Per sonal a fou yor tha war how fre Bs Wa ten and et, Ob sen fve pertonal ns These sisal trot oyout oct Well lied en and I trad to bo eno tionally open with her. I even let myself cry. " aun Got for you! Sheet Bt abe did ke me, And then she threw vt ny fee ‘ratorme Gb, dear. Ob, 2 m der. Oh 1m srs. One ha be Drate fo be nina open and were Oh You por hte Tm gong to-ghe yous hoe, (Ont port ‘BEYOND THERAPY 2 ‘huge kine and kisses him with her Snoopy dal) What ia you do. when she chrow water in your face? ‘Bevce, I threw it back in her face. Cmantorn, Oh good for you! Bravo! (Sw barks Jor Snoopy and bounces Wim up ond down) Rutt rutt uff! Ob, T feel you getting 20 much mote emotionally xpressive since you've beon in therapy, T'm proud ‘of you, Bruce. Maybe it was my fault, I probably came on too strong. ‘CHARLOTTE, Uh, life fa so difficult. 1 know when T mot. the second “Mr Wallace...you know, is 20 trange, all my husbands have had the same su hhame of Wallace, this has been a theme in my own fnalyals...Well when T met the second Mr, Wallace, T got a filing cabinet caught in my throat. -T don’t mean a filing eabinct What do T mean? Filing Cabinet, frying pan, fr0m's eggs, faculty wives, fran~ incense, fornication, follies bergére, falling falling ork, fish fork, fish boxe. I got a fish bone caught In ry throat. (Smiles.) ‘Bae. And did you get it out? Cuantorre. Oh yes, Then we got married, and we had quite a wonderful relationship for while, but then he started to see thi fish wife and we broke up- T don’t mean fish wife, T mean waitress, Is that & ‘word, waitress? "BRUCE. Yes, Woman who works in a restaurant, Cuantorre, No, shedidn't work in a restaurant, she ‘worked ina department store. Sales...lady. That's what she was. Bruce. That's too bd. (CHARLOTTE. He was buying a gift for me, and then 2 BEYOND THERAPY aor hie ran off with the asleslady. He never even gave me the gift, he just left me a note, And then I was so very alone for a while. (Cries. After a bit, he gives her @ haug and a few kisses from the Snoopy doll. She is ‘uitébly orateful) Tm afraid Vm taking up too much of your session, I'l knock a fow dollars off the bill ‘You talk for a while, I'm getting tired anyway. Bauce, Well, so I'm sort of afraid to put another ad in the paper since seving how thia one worked out. CuanLorrE, Ob, don’t be afraid! Never be afratd to risk, fo risk! Dvo tald you about “Equus”, haven't 1? That doctor, Doctor Dysart, with whom I greatly Identity, saw that it was better to risk madness and to blind horses with a metal spike, then to be safe and conventional and dull. Hes, ece, equus! Nasaasaasy! (Bor Snoopy) Buff ruff ruttt Bruce. So you think I should put in another ad? Cuantorre. Yea T do. But this time, we need an ad tat will get someone more exceptional, someone who can appreciate your uniqueness, ‘Raves. In what ways am T unique? (Sort of pleased) Cuavorns. Oh T don’t know, the usual ways. Now let's see. (Writing on pad) White male, 20 to 85, 6'2” no—O'5", green eyes, Pulitzer Prize-winning author, into Kierkegaard, Mahler, Joan Didion and sex, seeks similar-minded attractive female for unique encoun- ters, Sense of humor a must, Write box whatever what- ever. There, thet should eaich you someone excellent. Why don’t you take this out to the office, and my one is angry, then welll have anarchy. ‘Bos. No one is interested in your opinion aver, {think Prudenes and T are a good match, 1 think we should get married as soon as possible. 'Pruoence I never want to get married, ever. I'm going to quit my job, and stay in my apartment until” they evict me, ‘Then T'm zoing to become a bag lady fnd live in the tunnels under Grand Central Station. (Tuer Aut stare at her) Bauer, (To PRUDENCE) If you marry me, I'l help you want to live again, ‘BoB. What am T supposed to dot Bnuce. You seemed tbo busy with the wai minute ago. 70 BEYOND THERAPY act it Bor. For God's sake, I just looked at him, You're trying to go off and marry this woman. Really, you're just impossible, I thought after I shot at you, you'd get over this silly thing about women. ‘Bnvce, Teed the stability of a woman, Boo. You think she's stable? She just said she was going to become a bag woman. 'Bnuce, She was speaking metaphorically Bos, What kind of metaphor is becoming = bag woman? 'BRUCE. She meant she was depressed, Bob, So I'm depressed too. Why don't you marry me? Well go find some crackpot Episcopal minister Somewhere, and then welll adopt children together. ‘BRUCE, And that’s another thing. I want to have my ‘own children, T want to reproduce. She can give me children. ‘PRUDENCE, Please stop talking about me that way. 1 don’t want to have your children. I want to be left flone, I'want to become a lesbian and move in with Kate Millett, ‘Bob, Now she's making sense. [Bnuce. Don't make fun of her. She's upset. Bop. I'm upset. No one worries about me. Bruce, Prudence, don’t ery. Well live in Connecti- cut, Bverything will be fine Sruawt. Why docan’t she marry me? I make a good living, Prudence, ae your therapist, I think you should marry me 'BRUCE. Prudence would never marry a man who didn’t ery. ‘SruaKT. What? acr tt BEYOND THERAPY n TBavce, You're too macho, Prudence doesn't want tomarry you. StUAKG, There's no such thing as macho. There's male and female, and then there's whatever you (eves ories) ssruawt, (Continued) Ob, 17m sorry. Was it what I said? CHARLOTTE, Bruce eries al the time,, encourage him to Bruce, (Having stopped enying; to Pnupexce) Why won't you marry me? ‘SruaRE. She should marry me. Paupence. No, I don't wart to marry either of you. You're both erazy. I'm going to marry someone sane. ‘Bob. ‘There's just me left. PRUDENCE, No. I'l marry the waiter. Walter! Chantames. Oh dear, poor thing, Fear of intimacy leading to faulty reality testing: Prudence, dear, you don't know the waiter. ‘PRUDENCE. ‘That doeen’t matter. Bruce sald it's better to know nothing abcut people when you get married. 'Bnuce. But I meant you stould marry me PRUDENCE, But I know tco much about you and T know nothing about the waiter. Waiter! (Enter Warren) Warten, Is something thematter? cA BEYOND THERAPY = etn Pruonves. Yet want ou to marey me ‘aren, I don't understanc 4 wa tend. Did T add tho chose aPRODRECE No. want you tw many me. 1 oly meen years in which ie safe to hae ‘WARE don't undertand ARLOTTE Tl singh Andrew. She fabian es et Batre. Sh PRUDENCH. (Teter out the Blank gun. Atma ct him) Marry me! kim Mi Marry me! (Starte to giggle) Marry in therapy CHaRLorte. Is aliht, tent now. Everything's going tbe srghts PRUDENCE. T don't want ar eqftuetes T dont want any more therany! 1 want Chrmtorse. Now, dear, youre et You mast et me help you. ny fF Manis Sroant. She's my patent, Sa Sas PauveNce, (Sereams) T don't want either of you! T've been to #00 several Tone, soera therapists andi ik af (CHARLOTTE throws a glass of water at PRUDENCE) Cmantorre. Enough of this sel soltanarte. Bae destructive behav- (envoexcs, perio pita Frio, pick up eather gle of water to thraw back at Charlotte, Yestater momentary and throws it in SruaRt's face.) ei ner BEYOND THERAPY 8 CCuan.orre. Bravo, good for you! ‘Sruaer, Why did she do that? Chanvorze, She's getting in tcuch with her instinets Prudence, you're making progress in my care already. ‘Pruvencs. [HATE THIS RESTAURANT! ‘Cuancorte, The restaurant isn't the problem, You're looking for perfection. Prudence, you know the song "Someday My Prince Will Come”? Well, i's shit. ‘There is no prince, Everyone in this world {s limited and depending on one's perspective is either horrible or “okay.” Don't you agree, Dr. Framingham? sstuan. (Just noticing) Y'm all wet. CHARLOTTE. Ab, the beginnings of self-awareness, bravo, ruff raff ruff! Oh that’s right, I left Snoopy home. Well that was a wrong decision. Prudence, I'm making a point here. We're all alone, everyone's ‘crazy andl you have no choice but to be alone or to be Svith someone in what will be a highly imperfoct and probably eventually unsatisfactory relationship. 'PavDusce. I don't believe that’s true. ChaRuoTTE, But you do, Thet's exactly why you ct the way you do, because you believe that. ‘Paupence. 1 believe there's more chance for hap- pines than that, ‘Cuanvorse. You don't! And why should you? Look ‘at Chekhov. Masha loves Konstantin, but Konstantin fnly loves Nina, Nina doesnt love Konstantin, but {falls in love with Trigorin. Trigorin doesn’t love Nina Dut sort of loves Madame Arkadina, who doen't love fanyone but herself. And Meiviedenko loves Masha, but she only loves Konatantin, which is where we started out. And then at the end of the play, Konstan- tin kills himself. Don't you see? ™ BEYOND THERAPY aor PaupiNick, What's your point? Cuantorre, I've forgotten. Oh damn, Oh yes! My point is that everyone thinks Chekhow's plays are tragedies, but he called them comedies! Tes all how you look at it. If you take psychological suffering in the right frame of mind, you can find the humor in i ‘And s0 that’s how you should approach your relation- ship with Bruce Bruce. This is getting too complicated PRUDENCE. My stomach feels queasy. Bruce. Never mind that. Prudence, remember what 1 said about acting on instinct, like you do in a erisis? CHARLOTTE, (Happily) Like when I threw the water! Bruce, Right PaupeNce, Yes T remember Bavce. Okay. I want you to answer quickly now, on ‘nstinet, don't think about it, alight? ‘PRUDENCE. Alright ‘Buuce. Does your stomach feel quessy’? PavoeNce. Yes. ‘Bauce, Ts your name Prudence? PRUDENCE. Yes. Buuce. Is your dress wet? PaupeNce. Yes, Bauce. Will you marry me? PrupeNce, Yes. (There is a pause.) (Cuantorre. Well, I'm glad that’s settled. STUART, You're not going to say yes like that, are you? nor BEYOND THERAPY 6 PRUDENCE. I guess so. All the other answers were yes. I have to go to the ladies room to throw up. Excuse me. (Exits) TBauce. T'm 20 happy. No: that she's sick, but that ‘we're getting married. BoB. (Discontent) Wel, everyone's happy then. ‘SqUART. All my patients leave tholr therapy. Its very upsetting. (CHARLOTTE. Would you lke to talk about it? Bon, (To ANDREW the waiter) Hi. I don't think we've actualy met yet. My name is Bob. "ANDREW. Hi I'm Androw Bos, You look awfully feniliar. ‘AnDeEV. You've probably just seen my type. Bos. Ab, well. ANDREW. I get off in 5 minutes. Bop, Need any help? (Boeryone looks « bit aghast. Bspecially BRvcs) ANDREW. Could be. (Beit) Bruce What are you doing? Bon, Well if you expect me to live over the garage ‘and let you carry on with that woman whenever you {ee Ike It, then I'm allowed an occasional water. STUART. Good God, he's rot really going to live over the garage, is he? (CHARLOTTE, Well {t depends on the zoning laws, I uess, (Holds both sides of her head) Uh, I'm getting ‘rush from all that mousse. Anyone foal lke going to disco? 6 BEYOND THERAPY aot ‘Bow. I'm game. Bruce? ‘Bnuce. Not particularly. (Nasty) Maybe the waiter will want to go. CHARLOTTE. Oh, Andrew Is sn excellent dancer! Ho's been to reform achoo!. BoB. Oh, he's sulking now, Bnuce. I feel jealous about you and the waiter, Bon. That's not very fair, What about you and Prudence? Bavcn. You're right. But I still feel the emotion, And that’s alright, isn't it, Mrs. Wallace? Cuamtorre, It’s alright with me. Bnuce. I feel happy about Prudence, and unhappy sbout the walter. And I think T may want to ery. (Tries) No, False alarm. (Bnter ANDueW in lather jacket) SruaeT. He certainly eries alt. CuaRLorTE Don’t you nver ery, De Framingham? StuaRt. Only when things fall on me CHARLOTTE. Oh yes! Do you all remember Skylab— that space thing that fell from the sky? That upset ry porpoises very mach, ‘STUAT. You have porpoises? Cuanworre. I'm sorry. Did T say porpoises? An-

    Das könnte Ihnen auch gefallen