The Poet
A rock musical in two acts

Book, lyric & music by Martin Haslinger

Copyright © 2006

Martian Haze Productions

thepoet.org

DRAFT: 3.0

CHARACTERS

CLAYTON A published poet with several poetry books under his belt. Thirty something.

PHIL Clayton’s childhood friend, as well as the creator of the reality TV show “Star Attraction”. Thirty something.

TERRY An attractive television network makeup artist. Late twenties.

RONDA Clayton’s publisher and good friend. Talks fast and laughs often, mostly laughing at her own jokes. Forty something.

ARTIE Host of the TV show “Star Attraction”, where he flaunts his overly dynamic personality. Fifty something.

JAMIE A stunningly beautiful and charming professional actress. Late Twenties.

JOHN Clayton’s old friend, as well as the illustrator for one of his books. Thirty something.

PIERRE Jamie’s ex-fiancé. He is French, with a thick French accent. Late twenties.

MARGARET Relationship expert on the TV show “Star Attraction”, where she often displays the brash side of her personality. Late sixties.

ROWAN The proud host of his own TV talk show, “The Rowan Coaster Show”. Forty something.

SETTING

Clayton is backstage at a New York City television studio, soon to appear on a live TV show. He will appear in front of 50 million viewers, as well as a live studio audience.

Note: Clayton’s home city of Buffalo, New York is frequently referenced, but Buffalo may be substituted with the name of the city hosting the musical.

TIME

Current time, in the evening.

SCENES

ACT I

Scene 1 Network green room, NYC Current time (evening)

Scene 2 Coffee shop, Buffalo 3 years into the past

Scene 3 Network green room, NYC Current time (real time)

Scene 4 Clayton’s home, Buffalo 6 weeks into the past

Scene 5 Phil’s network office, NYC 6 weeks into the past

Scene 6 “Star Attraction” TV show set, NYC 6 weeks into the past

Scene 7 Network green room, NYC Current time (real time)

ACT II

Scene 1 “Star Attraction” TV show set, NYC Current time (real time)

Scene 2 Diner date video flashback, NYC 6 weeks into the past

Scene 3 “Star Attraction” TV show set, NYC Current time (real time)

Scene 4 Lunch phone calls video flashback, NYC 11 days into the past

Scene 5 “Star Attraction” TV show set, NYC Current time (real time)

Scene 6 Argument video flashback, NYC 8 days into the past

Scene 7 “Star Attraction” TV show set, NYC Current time (real time)

Scene 8 “Rowan Coaster” video flashback, NYC 7 days into the past

Scene 9 “Star Attraction” TV show set, NYC Current time (real time)

Scene 10 Clayton’s network apartment, NYC Current time (late evening)

Scene 11 Phil’s network office, NYC Current time (morning)

Scene 12 “The Rowan Coaster Show”, NYC 1 year into the future

SONGS

ACT I

(1) “If You Could Be Anybody, Verse 1 & 2” Clayton

(2) “Lone Poet” Ronda, Clayton

(3) “999” Clayton

(4) “Face Each Day, Part I” Clayton

(5) “Face Each Day, Part II” Clayton

(6) “To Let Go” Phil, Clayton

(7) “Long Way Home” Clayton

(8) “I Was a Poet” Clayton

(9) “I.O.U.” Jamie, Clayton

ACT II

(10) “Oasis” Clayton, Jamie, Artie

(11) “I Lost All Expression” Margaret, Clayton, Artie

(12) “My Very First Poem” Jamie, Clayton

(13) “Jilted Lover” Clayton, Jamie

(14) “Face the New Day” Clayton

(15) “Long Shadows of Dawn” Jamie

(16) “If You Could Be Anybody” Terry, Cast

“The man is only half himself, the other half is his expression.”

Essay, “The Poet” (1844)

By Ralph Waldo Emerson

I-1

ACT I

SCENE 1

AT RISE: (Stage right is a TV studio green room in New York City. There is a tall makeup chair facing the audience. CLAYTON is pacing back and forth behind the makeup chair waiting for TERRY, who will be his makeup artist. CLAYTON sings song #1, “If You Could Be Anybody, Verse 1 & 2”. Go to thepoet.org for audio recording. The scene is in current time, in the evening.)

CLAYTON

AS A CHILD I WAS ASKED A QUESTION DEEP

IF YOU COULD BE ANYBODY WHO WOULD THAT PERSON BE

I WAS WONDERING WHAT SHOULD I SAY

ARE YOU WONDERING WHAT DID I SAY

WOULD I BE A RICH MAN, MAYBE A MOVIE STAR

WOULD I BE MYSELF FOR YOU ARE WHO YOU ARE

I WAS WONDERING WHAT SHOULD I SAY

ARE YOU WONDERING WHAT DID I SAY

(Sits down.)

PHIL

(From stage right, PHIL walks in the green room with TERRY following behind him. PHIL is happy to see that CLAYTON is in the green room.)

There’s Clayton.

CLAYTON

(Stands up.)

Hi Phil.

PHIL

Clayton, this is your makeup artist Terry. Terry, this is Clayton.

TERRY

(TERRY initiates hand shake with CLAYTON. CLAYTON stands between PHIL and TERRY.)

Hi Clayton.

CLAYTON

Pleased to meet you.

PHIL

Terry is new with us. She’s replaced Sylvia, who worked with you the last time you were here. Sylvia is still with the network, but she’s working a few blocks over in our Times Square studio.

(Points finger as to provide direction.)

Terry, I know you weren’t working here yet, but did you happen to catch any of Clayton on the show?

TERRY

(Disappointed.)

Unfortunately, no … it’s been months since I’ve had time to sit down and watch TV.

PHIL

That’s okay, Clayton’s never seen the show before … ever. At least as far as watching it on TV.

(CLAYTON gives TERRY a guilty smile.)

But he’ll be on live TV tonight, so he’ll have the best seat in the house. Terry, you’ll be watching from backstage, and keeping an eye on him.

(PHIL looks at his watch.)

Clayton, you have about an hour before I come get you. If you need anything, Terry will be happy to get it for you.

(PHIL briefly grabs CLAYTON’S arm.)

And while you’re waiting, she’ll be putting all kinds of gunk on your face to make you look a little less ugly, right Terry?

TERRY

(Pause. Touching CLAYTON’S face.)

Only corrective gunk. I’ll hide some minor imperfections and compensate for the stage lighting.

PHIL (off)

Talking about hiding imperfections, I’m going to go hide in my office the best I can before the fires start burning. Clayton, my friend, sit back, relax, enjoy being pampered, and I’ll see you in about an hour.

CLAYTON

Thanks Phil, I appreciate all of your help.

(PHIL exits stage right. CLAYTON sits in the makeup chair and starts talking to TERRY.)

So, you’re new, huh?

TERRY

(TERRY talks while putting a protective bib apron over CLAYTON to protect his cloths. She stands behind him and starts trimming the hair line on the back of his head with a small trimmer. She swings her head around occasionally to talk face to face. Her answer is upbeat, but with little confidence.)

Actually, today’s my very first day, and you’re my very first face.

(Trying to sound assuring.)

But don’t worry, I’ve been a makeup artist for over six years, I won’t make you look like a clown.

CLAYTON

(As if talking to himself.)

I do well enough at making a clown out of myself, I don’t need any help.

(Pause. Talking normally.)

It looks like you’ve landed an exciting job here, working with celebrities all day. I’m sorry you had to start off with an average Joe like me.

TERRY

Actually, I’m under enough pressure with being new, I don’t think I’d be comfortable working with a big name celebrity my first day on the job. I do have to ask, though, if you’re not a celebrity how did you get on the show? The name of the show is “Star Attraction” and its premise is to fix-up celebrities for dating?

CLAYTON

Well, I grew up with Phil, who of course created the show, so that played a large part. On top of that, I used to be a published poet. I wrote a number of poetry books. None of them were popular enough to earn me celebrity status, but that’s part of the reason why I’m here.

TERRY

See, I think being a published writer qualifies for at least some level of celebrity status. When I was a kid I wanted to be a famous writer, so I would draw my own book covers with crayons, put them over real books and pretend that I wrote them.

CLAYTON

That’s funny, do you remember the titles?

TERRY

I remember one of them.

(Says title slow, with drama.)

“All in a Day’z Dream”, it was about day dreams.

CLAYTON

Did you ever get past making covers and put down some words?

TERRY

No … I’ve always been good at descriptive writing, but my imagination has never been able to carry me through a decent story line. My ideas jump around too much, just like my day dreams. …Writing takes a lot of discipline, how did you get your start as a writer?

CLAYTON

The whole poetry thing kind of fell on me. I was in my second year of college and I was dating a girl who I was pretty crazy about, her name was Heather Moffitt. But, after a few months of dating she started to distance herself from me. I felt so bad, I had to express myself somehow and wrote my very first poem, which I appropriately entitled, “My Very First Poem”.

TERRY

(Excited.)

Do you remember it? Can you recite it?

CLAYTON

No, it’s cheesy, you don’t want to hear it. It wasn’t even published.

TERRY

(Stops working, holds her hair trimmer like a weapon.)

If you don’t recite it, I’ll shave your eyebrows off.

CLAYTON

(Pause.)

Oh boy. Let’s see if I can remember…

(Pause while thinking. Lights dim and spotlight focuses on him. He stands up and recites poem with poetic voice.)

You are the Sun yet I stand in the rain

Cold with grief and wet with pain

When clouds break and you appear

Comes an end to all of my drear

Yet wind and time do soon supply

More clouds to fill the sky

I ask you oh Sun a question in vain

How much longer must I stand in the rain

(Sits down. Lighting resumes.)

TERRY

(Starts trimming his hair again.)

That’s beautiful. What did she think about it?

CLAYTON

I never gave it to her. She ended up dumping me, but it was the beginning of a flow of poems that seemed to take on a life of their own. I was discovered by my publisher, Ronda Adler. She took me under her wing, and before long, book stores and libraries all over the country had poetry books on their shelves with my name on them.

TERRY

You make it sound so easy. Are you sure they weren’t other people’s books with your book covers on them, made with crayons?

CLAYTON

Very funny. No, they were actually real books. But, now that you mention it, it was relatively easy. Through Ronda, I published just shy of 1000 poems.

TERRY

(Impressed.)

1000 poems? Wow.

CLAYTON

Yeah … well, just shy of 1000. I was being published until about four years ago when I released my last book, “Mountain in the Sky”.

TERRY

Why did you stop?

CLAYTON

I never stopped writing poetry, I just haven’t been published in a long time. After I finished my last book I kind of … ran out of words … at least the better words.

TERRY

(Stops working.)

You mean writer’s block?

CLAYTON

(Talking slower and serious.)

You could say that, but I would describe it as more of a blank than a block. When I was being published, I would sit in my old leather chair, my favorite chair, and burn through poems as fast as my hand could push a pencil.

(Looking up, as if watching a floating object land through an imaginary pencil onto imaginary paper.)

I could see words as they float through time … lure them in … through a pencil … onto paper … as a poem. That chair was like a satellite dish for the written word. …Ya see … words are all around us, and they come to those who are receptive … those who are locked in on the right frequency … those who know how to combine them … they come to those who aren’t afraid of the truth that they bring … the poets. …But after I finished my last book, the connection was broken. I would sit in that chair hour after hour, day after day, staring into space, with nothing to show for except a waste paper basket full of … waste paper. I soon realized, the best I can do is regurgitated old ideas … into recycled poems.

TERRY

That’s horrible. What did your publisher say about all of this?

CLAYTON

Right now, Ronda and I are best friends, and she’s careful not to pick on me for my poetic shortcomings. Looking back, she did have a lot to say about it. I remember our last business meeting. We met in my favorite coffee shop, back home in Buffalo.

(Lights fade.)

ACT I

SCENE 2

AT RISE: (Stage left is a small coffee shop in Buffalo, New York. There are tables with people sitting and talking quietly. CLAYTON and RONDA walk in from stage left and head to an empty table. They are both holding coffee. CLAYTON is also holding a folder full of loose papers with his poems written on them. The scene represents a flashback of the business meeting between CLAYTON and RONDA, three years into the past, in the late morning.)

RONDA

Clayton, let’s sit here.

(Sits down.)

CLAYTON

(CLAYTON sits down across from RONDA.)

We haven’t caught up with each other in a while. What’s new?

RONDA

Clayton, you don’t even want to know. I’ve been working with Billy and Willy, these two government conspiracy theory lunatics. They want me to publish this book they’ve just finished. Let me tell you, they’re driving me batty. Their book is so outlandish, I’d love to tell them to make like a tree on the grassy knoll and leave, but they have a following for this stuff. So, what can I do? Clayton, they have a whole chapter dedicated to Bigfoot. They say the government has dozens of these Bigfoot creatures in captivity but isn’t telling anyone because they want to use them for some secret … military weapon. The funny thing is they believe Bigfoot is only twenty inches tall.

CLAYTON

Bigfoot is twenty inches tall? They’re going to have to change the name.

RONDA

(Pause.)

I know … but they’re still ferocious, with sharp fangs. I’m thinking, like a misbehaving chihuahua.

CLAYTON

(Pause.)

I’d like to get one to use as a guard dog. Think I could train one to bark at trespassers?

RONDA

No, they’re pretty quiet, but they are super intelligent. I think it would just call 9-1-1.

(Pause.)

Anyway, how are you doing, how have you been doing with your writer’s block, got anything good for me?

(RONDA points to folder CLAYTON has in his hand.)

CLAYTON

I’ve come up with some new ideas. I don’t know if they’re ready for the presses, but I do want your feedback on them.

(Passes RONDA the folder.)

RONDA

Let’s see what you got.

(Takes papers out of folder and quickly reads through a few of them to herself. Talks with sarcastic tone.)

New ideas?

(To herself, quickly reads through a few more pages.)

RONDA

All of these new ideas that you’ve been giving me since your last book are all very good, but have one major problem: they’re everything but new. Like I’ve told you before, you just keep re-issuing different versions of your past works over and over and over again.

And already, it looks like you’re doing it again. Although, your spelling is getting much better, I’ll give you that much, my poet who can’t spell.

(Holds up a single piece of paper and looks at it as if confused.)

CLAYTON

I realize —

RONDA

(Interrupting.)

What the heck is this one?

(Reading paper she is holding up. It is the beginning of the scat part from song #8, “I Was a Poet”, and RONDA talks the part in the same rhythmic pattern as it is sung.)

Do-do … do-do-do-do … do-do, do-do, do-do, do-do.

(CLAYTON tries grabbing the paper out of RONDA’S hand, RONDA pulls it away and keeps reading.)

Do-do … do-do … dah-dat, dah-dat, dah-dat, dah-dat, dah, dah.

CLAYTON

(With the second attempt, CLAYTON grabs onto the paper and pulls on it. RONDA doesn’t let go. CLAYTON rips the paper while pulling it out of RONDA’S hands. He puts the part he grabs into his pocket.)

This is just an exercise in rhythm. I didn’t have any words so I filled it in with dos and dahs. I didn’t mean to give it to you.

RONDA

It doesn’t say much, but at least it’s different … and it does rhyme. …Clayton, I’m picking on you because my boss pulled me in his office for a pow-wow this morning when he found out I was meeting with you. He reminded me that we haven’t published anything new in over a year. He told me to start pressuring you for another book. I didn’t have the guts to tell him that I’d be lucky to get a dirty limerick out of you, the way things have been going. …And then he showed me a stack of paperwork he got from the corporate bean counters. They account for every penny that comes in and every word that goes out. Clayton, he showed me so many pie charts, I swear I was getting hungry.

(Shaking her head no while pausing.)

Those pie charts don’t like you, Clayton, they don’t like you at all. Your slice of pie is so small Weight Watchers is recommending it.

CLAYTON

(Pause.)

Sorry I got you in trouble.

RONDA

(Trying to be more positive.)

Well, it wasn’t all bad, he was impressed by the grand total number of poems we’ve published together. Go ahead, guess how many poems you’ve got under your belt.

CLAYTON

Oh, I don’t know, 600.

RONDA

600? Much more than 600! How can you not know how many poems you’ve published?

CLAYTON

I don’t know. I don’t sit around counting.

RONDA

Guess!

CLAYTON

Okay, 800.

RONDA

(With disappointment.)

More than that.

(With enthusiasm.)

Exactly 999!

CLAYTON

999?

RONDA

That’s right. Just think, one more poem published and you hit 1000, break your writers block, and most important, start making some money again. When it comes to money, I’m not worried about myself, I have other writers to carry me. If Billy and Willy, my government conspiracy theory lunatics come through for me I’ll be rolling in government currency. You’re the one I’m worried about, Clayton. You need to either get over this writer’s block or get a day job like the rest of us … and let me tell you, the rat race is no place for a poet.

CLAYTON

I’m well aware of the problem. I …I don’t even care about the money, I keep up with my bills. Believe me, I’m more frustrated than you are. It’s just the way it is right now.

RONDA

(Low, preaching voice.)

Personally, I think you need to get out more and take in some of the human experiences you need to be writing about. You know, stand up and live before you sit down and write. Back when you were pumping stuff out, you were a bit of a wild man … at least in your own way.

CLAYTON

I know there’s more to life than poetry, but I’m not interested in anything else right now. I’m just going to keep on trying, and hope my new ideas develop more to your liking.

RONDA

It’s not that I don’t like your ideas, Clayton, it’s that I can’t publish them. I don’t want you to leave here today thinking I’m not publishing your current work based on personal opinion. If I were to follow personal bias, I’d publish every single word you give me.

(Holds up CLAYTON’S poems.)

Right up to the moment I get fired for do-do, do-do doing so.

(Pause.)

Believe me, I thoroughly read every poem you give me, often two or three times. I just can’t publish something that’s, for the most part, already out there. This isn’t about me being too picky, it’s about you producing fresh work.

(RONDA stands up and starts singing song #2, “Lone Poet”. She directs her song to CLAYTON, but he tries to ignore her by grabbing his notebook and looking through his poems. Go to thepoet.org for audio recording.)

LONE POET I HEAR YOUR VOICE, HEAR YOUR VOICE

I HEAR YOUR WORDS INSIDE MY HEAD

EVERY PASSAGE IS JUST LIKE A CHILD, LIKE A CHILD

OH SO LONGING TO BE FED

LONE POET I HEAR YOUR CALL, HEAR YOUR CALL

REACHING TO THE WORLD AROUND

IS IT NOT THAT YOU ARE IN A PLACE, IN A PLACE

THAT’S IN THE OUTSIDE LOOKING ON

LONE POET I CALL YOUR NAME, CALL YOUR NAME

JUST FOR NOW YOUR ONLY FAN

SEEMS SO MUCH IN LIFE THERE IS TO FIND, IS TO FIND

BUT NOW SO BURIED DEEP IN POEM

CLAYTON

(Puts poems down and stands up.)

THERE AREN’T ANY BETTER WORDS LEFT TO SAY

THEY NEED TO RHYME

MAYBE THERE WILL BE A BETTER DAY

IT’S ALL IN TIME

RONDA

LONE POET I QUESTION YOU, QUESTION YOU

WHAT ARE YOU TAKING FROM THE WORLD

THERE WAS A TIME WHEN ALL DID MATTER NOT, MATTER NOT

YOUR POEMS REFLECTED FROM THE SWORD

LONE POET I SEE YOUR FACE, SEE YOUR FACE

LIKE NARCISSUS IN A STREAM

REFLECTIONS MOVE OVER A STEADY FLOW, STEADY FLOW

AS TIME PASSES UNDERNEATH

CLAYTON

(Pause. As if needing confirmation.)

Nine hundred and ninety nine?

RONDA

(Confirming.)

Nine hundred and ninety nine.

CLAYTON

(With power and pride.)

Nine hundred and ninety nine!

RONDA

(With equal power, confirming.)

Nine hundred and ninety nine!

CLAYTON

(Sings song #3, “999”. Go to thepoet.org for audio recording.)

(Singing to RONDA.)

HEAR ME, HEAR ME, HEAR MY WORDS

MAKE IT CERTAIN I’M UNDERSTOOD

I HAVEN’T USED UP ALL MY LINES

POEM ONE THOUSAND WILL BE DIVINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

(Singing to people in coffee shop, they look at him with confusion.)

READ ME, READ ME, READ MY POEMS

RECITE THEM LOUDLY WITH FORCEFUL TONE

ALL NINE HUNDRED AND NINETY NINE

POEM ONE THOUSAND WILL COME IN TIME

(People in coffee shop ignore disruption.)

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

(Singing to RONDA.)

FEEL IT, FEEL IT, FEEL MY WALL

LIKE A LARK WITHOUT A CALL

IT’S UP THERE SOMEWHERE IN MY HEAD

DON’T SAY FIRE NEED BE FED

DON’T SAY FIRE NEED BE FED

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

NINE HUNDRED AND NINETY NINE

(Lights fade.)

ACT I

SCENE 3

AT RISE: (Stage right is the TV studio green room. CLAYTON is sitting in the makeup chair. TERRY is working on CLAYTON’S face with a makeup brush. The scene is in current time.)

TERRY

(Talking slowly and blotting her makeup brush near CLAYTON’S mouth.)

Hold still for just a … few … more … seconds.

(Stops working on his face, stands upright and starts talking normally.)

I’m done. Now … you already told me that you haven’t been published in four years, and I know you never published poem 1000, but what did you do? Did you join the rat race?

CLAYTON

No, I lived off of my savings and stuck with writing. I stuck with it for four years, right up to being on this show.

TERRY

What about being on this show? Did you finally take Ronda’s advice to experience life for poetic inspiration?

CLAYTON

No, when I made the decision to be on the show, I wasn’t thinking about inspiration. I hit the bottom of my piggy bank and my ideas had been recycled so many times I could see through them. …I decided to see where my past as a poet could take me. …It’s like a bird flying into a hurricane. Sometimes in life it’s best to spread your wings and go where life takes you.

TERRY

Committing four years of your life to being published, with no success. I want to know how you kept your sanity?

CLAYTON

(Stands up, stares straight ahead and talks as if talking to himself.)

I’m not so sure I did. Commitments can take you on a wild ride. They can accelerate you into obsession and crash you into broken promises. In quiet desperation, I sat in my favorite chair for hours, thinking … thinking. …Just out of reach of that one clever line, that one stellar rhyme. …I’ll admit, much of my time was wasted on self pity … and some of my time was spent thinking about possibilities outside of the world of writing. When all seems lost, there are always possibilities. But, possibilities aside, I wasted the last four years of my life rotting in that chair … right up until six weeks ago, when Phil called me about the show.

(Lights fade.)

ACT I

SCENE 4

AT RISE: (Lights are dim. Stage left is CLAYTON’S home in Buffalo. There is a large leather chair with an end table next to it. There is a telephone on the end table. CLAYTON is standing behind the chair with a spotlight focused on him. Stage right is PHIL’S TV network office in NYC. There is a desk and chair, and a guest chair stage right of the desk. PHIL is sitting behind the desk focused on paperwork, although, lights are dim. The scene represents a flashback of the phone conversation between CLAYTON and PHIL, six weeks into the past, in the morning.)

CLAYTON

(Sings song #4, “Face Each Day, Part I”. Go to thepoet.org for audio recording.)

WOKE UP THIS MORNING, GOT OUT OF BED

POEM ONE THOUSAND SPINS MY HEAD

WITH NINE HUNDRED AND NINETY NINE

FOR SO MANY YEARS, FOR SO MUCH TIME

SOMETIMES IT SEEMS SO HARD TO FACE EACH DAY

ON AND ON AND ON

WE’RE BORN, WE LIVE, WE DIE

I TRY SO HARD BUT CANNOT WRITE A LINE

I WONDER IF IT’S WORTH

ALL I GIVE AND WHAT DO I DESERVE

(CLAYTON sits in his chair, picks up a pencil and a piece of paper, pauses, puts down pencil and crumples up paper and throws it in the trash.)

WITH PENCIL AND PAPER AND ANXIOUS SOUL

I AM A POET SHORT A POEM

ANOTHER DAY HAS COME AND PASSED

SCRIBBLES ON PAPER MEET THE TRASH

(Stands up.)

SOMETIMES IT SEEMS SO HARD TO FACE EACH DAY

ON AND ON AND ON

WE’RE BORN, WE LIVE, WE DIE

I TRY SO HARD BUT CANNOT WRITE A LINE

I WONDER IF IT’S WORTH

ALL I GIVE AND WHAT DO I DESERVE

(CLAYTON’S phone rings at the end of the second chorus. The music stops and lights brighten to full power. CLAYTON waits several rings before answering, even though he is near the phone. He starts to reach for the phone and backs off a couple of times, but finally answers it.)

Hello.

PHIL

(Stage right is PHIL sitting at his desk in his office calling CLAYTON on the telephone.)

Hi, is this Clayton Pritchard?

CLAYTON

I’m sure trying to be.

PHIL

(Short laugh.)

You’ll never guess who this is, so I’m just going to tell you. It’s Phil Parks.

CLAYTON

Phil Parks! Hey Phil, it’s been a long time. How are you doing?

PHIL

I’m doing okay. I’ve been insanely busy these days, but doing okay.

CLAYTON

Are you calling from Hollywood?

PHIL

No, no, I’m in New York City. I moved here last year. I stumbled onto an opportunity to work with one of the major TV networks, so here I am.

CLAYTON

That’s excellent! Sounds like those years as a struggling actor paid off.

PHIL

Actually, I’m working behind the scenes.

CLAYTON

Nothing wrong with that.

PHIL

Yeah, I’m working on a reality TV show called “Star Attraction”, have you seen it?

CLAYTON

It doesn’t sound familiar, but you know me, I’ll watch a cheesy movie made ten years ago before I’ll watch a regular TV show.

PHIL

(Short laugh.)

You know, if I wasn’t involved with it, I probably wouldn’t watch it either. It’s one of those matchmaking shows that guys like us pass by when we’re channel surfing, but it keeps me busy. How about you, have any new poetry books out?

CLAYTON

No, nothing new.

(Awkward pause.)

PHIL

I hope you’re still finding time to get out on your motorcycle?

CLAYTON

Oh yeah … my car isn’t running well, so I’ve been riding quite a bit this summer. Did you get one yet?

PHIL

I still want one, but New York City traffic is too crazy for me. I’m sticking with subways and taxis for now. What else is going on, are you dating anyone?

CLAYTON

(Cautiously answering.)

Dating? No, not right now.

PHIL

(Excited.)

Hey Clayton, I want to fly you to New York City tomorrow. I need help with the show. I’ve run into a roadblock, and I think you might be able to help me. At the very least, it will be a good get-away for you, and the network will pay for everything.

CLAYTON

You want to fly me to New York City tomorrow? What kind of help do you need that I can give you?

PHIL

Hang out with me tomorrow and we’ll find out. I may even have a temporary position to offer you, if you’re interested. The network has a vacant guest apartment, so you can stay the night.

CLAYTON

Uh…

(Pause.)

PHIL

Clayton, I really need your help, can I count on you?

CLAYTON

This is a little bizarre, but I have to keep in mind who I’m dealing with. Yeah, why not? I can be there tomorrow, what the heck.

PHIL

I don’t mean to hijack you, but you’ll be doing me a big favor. What I’ll do is get off the phone and have our travel agent call you back with flight information. When I see you tomorrow, we’ll continue our conversation face to face.

CLAYTON

Sounds good Phil, I guess I’ll see you in New York City tomorrow.

PHIL (off)

Bye Clayton.

(Hangs up the phone and exits stage right.)

CLAYTON

Bye Phil.

(Hangs up the phone and shakes his head with pleasant disbelief. Music resumes, lights dim, and a spotlight focuses on CLAYTON. CLAYTON sings the final verse of “Face Each Day”, which is song #5, “Face Each Day, Part II”. Go to thepoet.org for audio recording.)

TOMORROW IS ANOTHER DAY

I’LL STUDY POSSIBILITIES WITHOUT DELAY

STUDY POSSIBILITIES

STUDY POSSIBILITIES

STUDY POSSIBILITIES

STUDY POSSIBILITIES

(Lights fade.)

ACT I

SCENE 5

AT RISE: (Stage right is PHIL’S TV network office in NYC. PHIL is sitting behind his desk focused on paperwork. The scene represents a flashback of the meeting between CLAYTON and PHIL, six weeks into the past, in the early afternoon.)

CLAYTON

(From stage right, stands by door, peaks in office, and clears his throat to get PHIL’S attention.)

Ah-um.

PHIL

Clayton! Glad you could make it on such short notice.

(PHIL stands up and walks to CLAYTON, shakes his hand aggressively and welcomes him in.)

CLAYTON

No problem, I had an opening in my schedule.

(Pause. Looks around.)

Huge office.

PHIL

Yeah, it used to be a sound studio. It’s mine until someone needs it.

CLAYTON

I’m anxious to hear about this show you’re working on.

PHIL

Yeah, it’s a reality TV show called “Star Attraction”. We fix celebrities up with each other and show videos of their dates. It’s nothing new, but our show is the only one of its kind that features A-list celebrities.

CLAYTON

I’m still surprised to see you behind the scenes. How did you go from being a struggling actor in Hollywood to a reality TV show in New York City.

PHIL

In Hollywood, I was never able to get my acting career off the ground, but I started an actor’s workshop there that did quite well. It was open around the clock, so it became popular with Hollywood actors who needed to practice their lines at odd hours. With actors being most impressed with each other, the workshop turned into … kind of a meeting place for single celebrities. After four years of playing matchmaker of the rich and famous, I finally got smart and put my rolodex to work. I pitched the idea for a celebrity dating show to the network, and they ate it up.

CLAYTON

You didn’t tell me it was your show, that’s incredible!

PHIL

Yeah … well, it was incredible. I’ve completely exhausted my rolodex, and I’m having a heck of a time recruiting celebrities. Clayton, if I can’t find talent soon the network going to fire me from my own show. That’s why I called you.

CLAYTON

You want me to help you book celebrities for your show?

PHIL

(Dramatically stated.)

No Clayton, I want you to be on the show.

CLAYTON

Me, on your dating show? Seriously … how can I help you?

PHIL

I am serious. I wouldn’t fly you here for a prank. I found an actress who wanted to be on the show. But like I said, I exhausted my rolodex, so I didn’t have anyone lined up for her to meet. While trying to play matchmaker, I had a freaky conversation with this actress, where your name came up. She knew of you through your poetry books, and of course, I’ve known you forever. As it turns out, she was inspired by one of your books and is a big Clayton Pritchard fan. She’s dying to meet you.

CLAYTON

An actress … wants to meet me?

PHIL

Yes, you … on the show.

CLAYTON

(Trying to uncover a possible prank.)

You said the show is about celebrities, I’m not a celebrity.

PHIL

You have a few books out there. Good enough for me.

CLAYTON

Phil, my books are poetry books … poetry. You work in the world of exposure … and … overexposure. The average person has never heard of me or my books.

PHIL

A lot of thought went into this. I wanted to dig into the celebrity “B” list, but the network wouldn’t let me. They didn’t think people would tune in. They think the show will keep its ratings as long as our matches are made up of at least one anchor celebrity.

(Spreading his hands as if featuring a marquee.)

One celebrity with true star power. It’s all about star power. Clayton, we have an actress for our anchor, we just need you to jump on board.

CLAYTON

You are serious. This is crazy, you really know how to stir things up, that’s for sure.

PHIL

Don’t make a decision until you hear me out. Here’s what you would have to do. You go on live TV for an introduction segment. You get introduced to the audience, introduced to the actress, and you answer questions about yourself to let everyone get to know you. No big deal.

CLAYTON

Who is she? The actress?

PHIL

We don’t reveal that until the introduction segment, and if you don’t keep up with the new TV shows, you’re probably not going to know who she is anyway.

CLAYTON

Okay.

PHIL

After that, you hang out with your match here in New York City. It won’t cost you a dime, the network takes care of everything. We schedule your dates for the first week, which gives us a chance to plug our sponsors. After that, you can go anywhere you want, and do anything you want, just as long as you give us enough footage to make the show work.

CLAYTON

Footage? You mean video cameras following us around?

PHIL

Oh yeah, this is reality TV, you’ll have cameras on you all the time. After your live appearance, there will be five weekly segments where we air prerecorded videos of your dates. You don’t even have to show up for those.

CLAYTON

You’re saying I only have to show up for one live show?

PHIL

Actually, there are two live shows. Six weeks after the introduction segment, there’s a second live segment to recap your time on the show. After that, your commitment to the show is finished and your love life falls in the hands of cupid.

CLAYTON

Can you tell me anything about the actress?

PHIL

As far as the actress goes, you’ll have to trust me. This isn’t like the days of me trying to fix you up with my cousin the vampire woman. We’re talking prime time goods. This is the girl that guys watch on TV and dream about dating. What do you think so far?

CLAYTON

I don’t know what to think.

PHIL

I’ll talk about compensation, maybe that will help with your thinking. Clayton, the network will pay you the same amount of money they pay the big name celebrities … and celebrities don’t come cheap.

(Stated dramatically.)

How does $125,000 sound to you?

CLAYTON

$125,000?

PHIL

$125,000, plus all expenses paid. Now, what do you think?

CLAYTON

I’m impressed … but I’m going to need some time to digest all of this. I have to tell you, though, my initial reaction is to turn tail and run. I don’t think I’m cut out for TV. I don’t even like people taking my picture … and I have to tell you Phil, I haven’t been published in over four years.

PHIL

It doesn’t matter to me when you were last published, but if you don’t have any new books out there, even more reason why you should do this. It’s easy money and the change of pace might do you good.

CLAYTON

Talk about change of pace, from poetry to pop television.

(Pause.)

After I die, I want to be remembered as a respected poet. Maybe even one of the great American poets. Not a…

(Stops himself from saying anything bad about the show.)

PHIL

Who knows how that stuff will play out, your existing work may have already secured your legacy. …And dreams will always be dreams, they never come true exactly the way we envision them even when they do come true. You remember how much I wanted to be a famous actor. Even as a kid, I wanted to be just like Clint Eastwood. If I would have held firmly to those dreams, I’d still be back in Hollywood scrambling for auditions. Right now, I’m not a famous actor, but I let go of that dream to grab something real.

(Makes grabbing motion with hands.)

And this show, Clayton, is real.

(Starts to sing song #6, “To Let Go”. Go to thepoet.org for audio recording.)

AS I LOOK BACK AT THE YEARS THAT PASSED ME BY

I REMEMBER ALL THE PAINS AND JOYS OF LIFE

I REMEMBER ALL THE FAIRYTALES I’D DREAM

DID IT TURN OUT THE WAY I WANTED LIFE TO BE

TO LET GO OF DREAMS WE HOLD

TO LET GO AS WE GROW OLD

TO LET GO, TO BE UNTRUE

TO LET GO OF ASPIRATIONS WE PURSUE

THERE ARE PEOPLE WHO ARE CAUGHT UP IN THE PAST

DON’T THEY KNOW THERE’S NO WAY OF GOING BACK

THERE ARE OTHERS, WHOM THE FUTURE THEY DO DREAM

WHAT IS CERTAIN, THE HERE AND NOW WE CANNOT LEAVE

TO LET GO OF DREAMS WE HOLD

TO LET GO AS WE GROW OLD

TO LET GO, TO BE UNTRUE

TO LET GO OF ASPIRATIONS WE PURSUE

CLAYTON

DO-DO DO-DO DO, DO…

TO LET GO, TO LET GO, TO, NO…

PHIL

THEN UNTIL NOW, IS ALL WE WERE THEN WHAT WE ARE

LIFE’S ACHIEVEMENTS AND THOSE SKELETONS AND SCARS, NO

OUR MOMENTUM FINDS DIRECTION IN OUR DREAMS

OUR OBSESSIONS WILL ALWAYS ALTER WHAT WE SEE

TO LET GO OF DREAMS WE HOLD

TO LET GO AS WE GROW OLD

TO LET GO, TO BE UNTRUE

TO LET GO OF ASPIRATIONS WE PURSUE

CLAYTON

So, how much time do I have to think about it?

PHIL

Unfortunately, we’re down to the wire on this one. I’m short one bachelor, and the show goes live tomorrow night.

CLAYTON

What? Tomorrow night? You’re asking me to be on a live TV show tomorrow night?

PHIL

We’re not in Buffalo anymore.

(Talks slow and firmly.)

Clayton, I know how you feel about cell phones, but I picked one up for you.

(Takes a cell phone out of his pocket and hands it to

CLAYTON.)

I know how you are with phone numbers, so I wrote my number on the back of the phone with a magic marker. I need you to call me tonight with your decision. I need you to call me with a yes … or a no. But, if your answer is no, we’ll go live tomorrow without a new couple. No pressure Clayton, but my career is on the line, and I can tell you one thing, Manhattan wasn’t built on second chances.

CLAYTON

(Takes the cell phone and looks at it. Lights dim and spotlight focuses on him. He puts the phone to his ear and sings into it. He sings song #7, “Long Way Home”. Go to thepoet.org for audio recording.)

IT’S A LONG WAY HOME, IT’S A LONG WAY HOME

HEAR ME SAYING ON THE TELEPHONE, IT’S A LONG WAY HOME

AM I THE SHOULDER TO LEAN, AM I THE SHOULDER TO LEAN

AT THE FOOT OF A MOUNTAIN FALLEN FROM A DREAM

AM I THE SHOULDER TO LEAN

IT’S A LONG WAY HOME, IT’S A LONG WAY HOME

AWAY WALKS THE POET FALLEN FROM A POEM, IT’S A LONG WAY HOME

(CLAYTON talks into the cell phone and speaks firmly.)

Yes Phil … I’ll do the show.

(Lights fade.)

ACT I

SCENE 6

AT RISE: (Center stage is the “Star Attraction” show stage in NYC. Three chairs are lined up in a row. The end chair, stage right, is turned in for the host. In front of the stage, in the aisles, there are TV cameras shooting the show. Three cast players acting as audience members are planted in the real audience. The real audience plays themselves as the “Star Attraction” studio audience. ARTIE is standing center stage waiting for his cue. The scene represents a flashback of CLAYTON’S first appearance on the show, six weeks into the past, in the evening.)

STAGE HAND

(Yelling from off stage.)

Everyone take your places, we’re going live in … 5 … 4 … 3 … 2 … 1.

ARTIE

(Talking to the camera.)

Other shows report celebrity gossip, we create celebrity headlines. This is “Star Attraction” and I’m Artie Sky.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

Backstage we have a beautiful actress waiting to meet a guy who has peaked her romantic interest. She doesn’t know of him through his movies or television appearances, like what we see most often on this show. Our beautiful actress was inspired by this bachelor’s poetry. That’s right, “Star Attraction” has its very first poet. He is a world renowned poet who has published numerous poetry books, one of which inspired our actress at the beginning of her career, and made a lasting impression on her heart. As we introduce our poet, keep in mind that he has never had contact with our actress and has absolutely no idea who she may be. Let’s bring him out and see what he’s all about, our poet, from Buffalo New York, Clayton Pritchard.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud. CLAYTON enters stage left, he is very nervous and stays standing as he is confused as to where he should sit. ARTIE has the last seat all the way stage right, and points to the seat next to him, which is where he wants CLAYTON to sit for now.)

You can sit here.

(Both CLAYTON and ARTIE sit.)

How are you, Clayton?

CLAYTON

(Looking around, acting very nervous.)

I’m fine, thank you. How are you?

ARTIE

I’m super fantastic. No need to be nervous, Clayton, we’re all friends here…

(Looking into the camera.)

…and the 50 million people watching you on live TV are all your friends too, I’m sure.

CLAYTON

(Quickly stands up and sits down out of nervousness.)

50 million people? I’ve never been on TV before.

ARTIE

That’s okay, there’s nothing to it. Clayton, is it true that you’ve never been to New York City before?

CLAYTON

Yeah, it’s my first time here.

ARTIE

You’ve never been to New York City, you’ve never been on TV, when was the last time you dated a famous actress?

CLAYTON

In person? I’ve never even seen a famous actress.

ARTIE

(Pause. Talking to camera.)

It looks like we have a lot of first times on tonight’s show.

(Talking to CLAYTON.)

In a few minutes Clayton, not only will you be seeing an actress, up close and in person, for the first time; you’ll also be going out on a first date with her right after the show, where you can get to know each other better. What do you think about that?

CLAYTON

Normally, I’d be nervous about a blind date, but I’m so nervous about being on live TV, I … I don’t have room.

ARTIE

(Pause.)

Once you see the actress we have for you, the last thing you’ll be thinking about is live TV. Clayton, I understand that, initially, you were hesitant about being on this show. There are bachelors out there who would give their right leg to be in your left shoe. Why were you apprehensive?

CLAYTON

A lot of people are drawn to the glamour of the entertainment industry, but poets don’t seek glamour, poets see through glamour. Poets don’t try to entertain, poets try to inspire. Don’t get me wrong, I’m open to being introduced to an attractive woman, but doing it on a TV show has been a tough compromise for me.

ARTIE

(Contemptuously.)

You see through glamour … you inspire … what made you decide to join us?

CLAYTON

It’s been a long time since I’ve been published and I felt I needed to take my life in a different direction for a while.

ARTIE

How long has it been since you’ve been published?

CLAYTON

Four years.

ARTIE

Wow, four years? If you haven’t been writing poetry for the last four years, what have you been doing?

CLAYTON

No … ah, no, I’ve been writing poetry, I just haven’t been published.

ARTIE

But you don’t get paid if you don’t get published, right?

CLAYTON

Usually not.

ARTIE

So, you’re … self-unemployed?

CLAYTON

(Pause.)

Ah … I guess you could say I’m living off of my past accomplishments until I can work my way back into the fold. I think of myself as being in between projects.

ARTIE

(Talking to the camera.)

In between projects? Is four years considered in between? You’re beginning to sound like my ex-wife. She’s not divorced, she’s in between husbands.

(Pause. STAGE HAND walks to AUDIENCE MEMBER #1 with microphone.)

We have a microphone out in the studio audience. Stand up, give us your first name and tell us what’s on your mind.

AUDIENCE MEMBER #1

(Stands up and speaks into microphone.)

Hi Artie, my name is Candice and I’m a big fan of the show. I waited in line for two hours to be here tonight. I have to tell you, I’m a little disappointed to see someone up there I’ve never even heard of. You know, if you’re going to open up the show to anyone off the street, my brother here would be a great catch for one of your actresses.

(Pulls on the arm of her BROTHER, who is sitting next to her. She forces him to stand. He acts annoyed and bashful.)

ARTIE

I can promise you, our actress will be worth your two hour wait, and as spectacular as your brother is, she did ask to be matched with Clayton. If you have any complaints about his celebrity status, you’ll have to take that up with her.

(AUDIENCE MEMBER #1 and her BROTHER sit down)

How about a question for Clayton?

AUDIENCE MEMBER #2

(Stands up, grabs microphone while STAGE HAND is still holding it, speaks into microphone.)

My name is Debbie, and I have a question for Clayton. I’m a high school English teacher and I’ve read a lot of poetry through the years. How come I’ve never heard of your work? How successful of a poet are you?

(ARTIE holds arm out to CLAYTON, signaling to speak.)

CLAYTON

It depends on how you define success. I’ve been told my book “Lark” sold well, at least as far as poetry books go. Sorry if you weren’t successful in discovering it.

(AUDIENCE MEMBER #2 sits down, unhappy with answer.)

ARTIE

Let me ask a question to the audience. Has anyone here actually read a Clayton Pritchard book?

AUDIENCE MEMBER #3

(An old man stands up and raises his hand. STAGE HAND walks to him with microphone. He speaks into microphone with loud and bold voice.)

His book “Beyond Success and Failure” helped me clean up my act. That book helped me stop drinking … really … it did. I haven’t had a drink in six years.

(With genuine confidence.)

But, don’t ask us. I’m sure … the poet can speak for himself. Ask the poet for a poem.

(Sits down.)

ARTIE

(Shrugs his shoulders as to agree.)

Clayton?

CLAYTON

(Music starts and CLAYTON looks at the floor from side to side, as if to build up his emotions. He faces the audience and stands up. Clayton sings song #8, “I Was a Poet”. Go to thepoet.org for audio recording.)

DID YOU KNOW ME WHEN I WAS A LITTLE STRANGE

UNAPPRECIATED IS THE POET’S WAGE

DID YOU KNOW ME WHEN I WAS SO ALOOF

DID YOU KNOW ME FOR YOU KNOW I KNOW THAT I KNOW YOU

DID YOU KNOW ME

DID YOU READ ME

I WAS A POET

DON’T YOU BELIVE ME

AS A POET I HAD THAT POMPOUS AIR

AND A VISION ALTHOUGH NO ONE REALLY CARES

AS A POET I WOULD KNOW THE TRUTH FROM LIES

DID I DECEIVE YOU FOR MY HUMOR WAS A LITTLE DRY

DID YOU KNOW ME

DID YOU READ ME

I WAS A POET

DON’T YOU BELIVE ME

DO-DO DO-DO DO-DO…

AS A POET I WAS ALWAYS KNOWING ALWAYS GLOWING

AS A POET I WAS EVER SEEING EVER GLEANING

AS A POET I WAS ALWAYS RHYMING PERFECT TIMING

AS A POET, DID YOU, DID YOU, DID YOU KNOW ME

DID YOU KNOW ME

DID YOU READ ME

I WAS A POET

DON’T YOU BELIVE ME

DID YOU KNOW ME WHEN I WAS A LITTLE STRANGE

UNAFFILIATED IS THE POET’S GAME

DID YOU KNOW ME WHEN I WAS DEEP ENOUGH TO DROWN

DID YOU READ ME FOR I ALWAYS WROTE MY POEMS DOWN

DID YOU KNOW ME

DID YOU READ ME

I WAS A POET

DON’T YOU BELIVE ME

ARTIE

(Surprised.)

I guess we do have a real poet on our hands.

(Talking to the camera, recovers quickly.)

Let’s … let’s introduce our actress. She grew up in Minneapolis Minnesota, but now lives next door in Hoboken New Jersey. Best known her for her roll as Linda Squire on the hit TV series “Milestone”, here is Jamie Ann London.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

JAMIE

(Enters stage left.)

Hi Artie.

(JAMIE shakes hands with ARTIE, but is looking at CLAYTON.)

ARTIE

Jamie Ann, meet Clayton. Clayton, Jamie Ann.

JAMIE

(Walks to CLAYTON and holds his right hand with both of hers.)

So glad to meet you, I’m so happy you decided to be on the show.

ARTIE

(Talking to JAMIE.)

Have a seat right here between Clayton and I, and tell us how you’re doing.

(Points to seat next to him. CLAYTON moves down a seat and sits stage left of JAMIE.)

JAMIE

(Sits between ARTIE and CLAYTON.)

I’m doing well. I am so excited to be here.

ARTIE

Clayton, take a good look and a deep breath and tell us what you think?

CLAYTON

(Looks at JAMIE. Takes a deep breath.)

I was promised that I wouldn’t be disappointed … but, no one told me that I was going to be speechless.

ARTIE

You do know who she is, right? I mean, you have seen Jamie Ann London on television?

CLAYTON

I’ve never watched the show she’s on, but she does look familiar. I’m sure I’ve seen her.

ARTIE

Jamie Ann, this is the first time you’re seeing Clayton in person, what do you think?

JAMIE

There’s a great picture of Clayton on the inside cover of his book “Lark” and I was hoping he would look just like that picture, and he does. He’s a handsome guy.

ARTIE

Jamie Ann, in a universe where stars gravitate to stars, we’re all interested to know why you asked to be matched with Clayton Pritchard?

JAMIE

(Talking to both ARTIE and the audience in a dramatic fashion. The into to the song “I.O.U.” plays in the background.)

There’s a very good reason. My struggle to become a professional actress was by no means easy. I went years without a break and the constant rejection took its toll on me. I was a few auditions away from throwing in the towel, when I stumbled across Clayton’s book “Lark”. I bought the book for my niece as a children’s book, and discovered that it tells a story for grown-ups as well. That book changed my outlook on life. My favorite line is, “sing for the sake of the song, not applause”. I’ll never forget that line. Clayton helped me realize that my acting career was focused on personal gain rather than the end product … the story. Once I opened my eyes, I started acting for the glory of the story. …I repeat those words before every scene … the glory of the story. Once I started to pursue acting for the right reasons, my career skyrocketed.

(JAMIE stands and starts singing song #9, “I.O.U.” Go to thepoet.org for audio recording.)

WAKING UP, OPEN MY EYES

TO A NEW SUNRISE

AM I STILL ALIVE

I AM SO ALIVE

IT’S YOU, YOU

IT’S YOU, YEAH, IT’S YOU

I OWE YOU

LIKE A MOUNTAIN IN THE SKY

TAKING IN THE SUNSHINE

ALL THE WIND AND ALL THE AIR

BLOWING GENTLY THROUGH MY HAIR

IT’S YOU, YOU

IT’S YOU, YEAH, IT’S YOU

I OWE YOU

I OWE YOU

I OWE YOU

WON’T YOU COME ALONG WITH ME

DO YOU FEEL THE WAY I SEE

CLAYTON

(Stands.)

CAN I COME ALONG WITH YOU

DO YOU FEEL THE WAY I DO

JAMIE

IT’S YOU, YOU

IT’S YOU, YEAH, IT’S YOU

JAMIE & CLAYTON

I OWE YOU

I OWE YOU

I OWE YOU

(Lights fade.)

ACT I

SCENE 7

AT RISE: (Stage right is the TV studio green room. CLAYTON is now standing behind the makeup chair, fully dressed. TERRY is now sitting in the makeup chair relaxing, as her job is finished. The scene is in current time.)

TERRY

So, was that it? Was that the end of the show?

CLAYTON

No, it continued for quite a while, but the rest of it was meaningless relationship babble. You know: what do you like? What don’t you like? …As if we were each buying a used cars from the other.

(Pause.)

At least I thought it was meaningless, the audience seemed to be eating it up.

TERRY

Jamie Ann London is so … glamorous, how did your first date go after the show?

PHIL

(Interrupting conversation, enters from stage right.)

How’s it going in here?

CLAYTON

We’re doing okay.

TERRY

(Quickly stands up and stands next to CLAYTON.)

We’re all set. He looks good, doesn’t he?

PHIL (off)

He does look good, you did a great job. We only hire the best.

(Talking to CLAYTON in a serious voice.)

Why don’t you come with me Clayton, I’ll wait with you until you get introduced.

CLAYTON

Let’s get this over with.

(Talking to TERRY.)

Sorry, I don’t have time to continue my story, Terry. I guess you’ll just have to watch the show like everyone else.

TERRY

I wouldn’t miss it for the world. Bye Clayton and good luck.

CLAYTON (off)

Bye Terry, thanks for everything.

(PHIL and CLAYTON exit stage right. Lights fade. End of Act I.)

II-1

ACT II

SCENE 1

AT RISE: (Center stage is the “Star Attraction” show stage. Four chairs are lined up in a row. The end chair, stage right, is for the host. It is turned in so he can face the guests. In front of the stage, in the aisles, are TV cameras shooting the show. The real audience plays themselves as the “Star Attraction” studio audience. The show is a live broadcast that also features short video clips of past events, which are represented by separate scenes. ARTIE is standing center stage waiting for his cue. The scene is in current time and is a continuation of the end of ACT I, in the evening.)

STAGE HAND

(Yelling from off stage.)

Take your places, we’re going live in … 5 … 4 … 3 … 2 … 1.

ARTIE

(Talking to the camera.)

Other shows report celebrity gossip, we create celebrity headlines. This is “Star Attraction” and I’m Artie Sky.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

Tonight’s finale segment will wrap up our fix-up with actress Jamie Ann London and poet Clayton Pritchard. Jamie Ann requested to meet Clayton as she had been greatly inspired by his poetry book “Lark”, at a time when she had thoughts of giving up on her acting career … good thing she didn’t. Clayton agreed to meet Jamie Ann, and seemed to be quite taken by her beauty when they were introduced … who wasn’t? If you’ve been watching our weekly stargazing segments, you know that our couple has been doing quite well together … but don’t think you know everything. On Star Attraction, we save the best for last. All of the videos you’ll be seeing on tonight’s show are being shown here for the very first time, and will complete the story of our couple. As our cameras focus on our celebrities, you stay focused on us. Right now, on live television, re-introducing Jamie Ann London and Clayton Pritchard.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud. JAMIE enters stage left with CLAYTON, they each shake hands with ARTIE.)

JAMIE

Hi.

CLAYTON

Hello.

ARTIE

Hello Jamie Ann, hello Clayton.

(ARTIE sits on the end, stage right. JAMIE sits next to him. CLAYTON sits next to JAMIE.)

Six weeks ago the two of you appeared on the “Star Attraction” introduction segment and met each other for the first time. Of course, we all watched your reactions to each other, which was very positive. After the show, the two of you went out for coffee at a near by restaurant. At the beginning of the date, we allowed you to get to know each other one-on-one without our cameras peaking in. So, I’ll have to ask you both, starting with Jamie Ann; thinking back, what was your first-date impression of Clayton?

JAMIE

I was very impressed with Clayton. He was much different than I had expected, but in a good way. I expected him to be … intense, and I admit I was a little worried that he would be artsy fartsy or an intellectualite. People who take themselves too seriously are never any fun, and I was worried because I know how serious some of Clayton’s poems are. After we talked for a few minutes, I realized that my worries were all for nothing. Clayton is very easy going with a goofy sense of humor. Within minutes he had me laughing hysterically, which isn’t all that hard to do, but it made me feel very comfortable.

(Speaking slowly and cautiously.)

He is a little eccentric, but I find that interesting … and he doesn’t fake his eccentricities to try to be fashionable, as some people do in this city.

ARTIE

Okay, you liked Clayton, but did you feel any…

(Wheeling his hands as to symbolize moving forward.)

Chemistry?

JAMIE

Yes, there’s a warmth to Clayton that did spark instant chemistry. His sense of humor won big points. He looked great. We shared interesting conversations. What else can I say? There was star attraction.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

ARTIE

Fantastic. Clayton, what was your first-date impression of Jamie Ann?

CLAYTON

Jamie is very beautiful. I mean … stop-traffic beautiful. I’m being literal with this description. During the last six weeks there were times when we would be walking on the sidewalk and people driving by would actually stop their cars in the middle of the street just to look at her. Jamie can actually back up traffic. She’s like a school bus that way.

(Pause.)

When we first spent time alone together I was just as nervous being alone with Jamie as I was being watched by millions of people on live TV. But, we had no problem finding similar interests to talk about and it wasn’t long before I felt at ease. …Jamie is very passionate about life, one of the most passionate people I’ve ever met. She lives in the moment, takes in every moment, and appreciates every moment. She’s also very bright, but she doesn’t make it obvious as to how bright she is. Instead, she takes you along with her and brings you up to her level —

ARTIE

(Interrupting to move the show forward.)

It sounds like the two of you did okay on your own. But, we didn’t leave you alone the whole date. Later that night, we gave each of you a question to ask each other. Let’s take a look at the first date video.

(Lights fade.)

ACT II

SCENE 2

AT RISE: (Stage left, CLAYTON and JAMIE are sitting at a table inside of a NYC restaurant. JAMIE is holding two envelopes. The scene is assumed to be a pre-recorded video playing on the “Star Attraction” stage and broadcast as part of the show. The scene also represents a flashback six weeks into the past when CLAYTON and JAMIE went on their first date, directly following their first appearance on the show.)

JAMIE

Ready to read the questions?

CLAYTON

I’m ready. You go first.

JAMIE

(Opens envelope, takes paper out, looks at it.)

My question to you … is…

CLAYTON

Do I win anything if I answer correctly?

JAMIE

The question is supposed to be of a personal nature, so if you answer it wrong you’re probably not Clayton Pritchard.

CLAYTON

Put restaurant security on stand-by and ask away.

JAMIE

(Reading question.)

“Clayton, are you romantically interested in Jamie Ann, and if so, what words can you say to her to show your interest?”

CLAYTON

That’s a two part question. No one told me it was going to be a two part question.

JAMIE

Well!

CLAYTON

The answer is … yes, I am very interested in Jamie Ann.

JAMIE

Good answer so far. Once again, I will read part two of the question … “what words can you say to her to show your interest?”

CLAYTON

(Stares at JAMIE with a blank look on his face, not knowing what to say. Pause.)

Ah.

JAMIE

I think this might be a strategically placed question to get you to recite a poem. Maybe you can recite a poem from that poet Clayton Pritchard poet you’re pretending to be.

CLAYTON

Oh okay, he is my favorite out-of-work American poet.

JAMIE

Yea!

(Clapping hands lightly.)

We’ll put him to work tonight.

CLAYTON

(Pause, stares upward and thinks.)

Okay, I think I have one that will fit well here, if I can remember it correctly. It’s a poem from my book “Mountain in the Sky”. Are you ready?

JAMIE

(Excited, holding hands together on the table.)

I’m ready.

CLAYTON

(Romantically holds one of his hands over JAMIE’S hands and intensely looks into her eyes. He starts reciting the poem in a slow and poetic voice.)

Of all the stars up in the sky

You are the one to catch my eye

Atop Aurora Borealis

The North Star watches, slightly jealous…

(With faster tempo and increased intensity.)

Are you alone, away, so far

Light years from the nearest star…

(Slows to original tempo and intensity.)

If you are … just twinkle true

And I shall sail the Milky Way to you.

JAMIE

(Clapping.)

That was perfect. You better read my question before I make you recite it again.

CLAYTON

(Opens envelope, takes paper out, looks at it. Overacts an impersonation of ARTIE)

I’m going to read this like Artie Sky. The super fantastic “Star Attraction” question to you is … “Jamie Ann, how long ago was your last love relationship and how did it end?”

JAMIE

(Pause. Look of unpleasant surprise.)

That’s a potent question.

(Pause. Acting nervous.)

This is something I had planned on talking to you about … I guess now’s as good a time as any.

(Pause.)

A couple of years ago I did some modeling work for a cosmetic company. I … ended up dating one of their photographers, Pierre. Over time, things got serious and about six months ago he asked me to marry him … I said yes. But … I changed my mind. He’s a wonderful person, I just couldn’t see myself being with him for the rest of my life … we eventually broke up. So … to answer the question, using way too many words, we broke up about a month ago.

CLAYTON

Okay.

JAMIE

(Hesitant.)

The love relation ended a month ago, but I think it’s important to tell you that we’re … still friends.

CLAYTON

That’s all right.

JAMIE

(Hesitant.)

Well, I’ve been living in an apartment in Hoboken New Jersey for about two years, which is a quick commute to the studio here in New York, where we shoot “Milestone”. When Pierre and I got engaged, he moved into my apartment with me. We figured we would live there once we were married anyway. …Since we broke up, we’ve been friends, nothing more … but …

(Cringing as she reveals the truth.)

We’re still living together as roommates.

CLAYTON

(With unpleasant surprise.)

You’re living with your ex-fiancé?

JAMIE

(Talking quickly.)

I realize he needs to move out, but I felt it was only fair to give him plenty of time to find a place to live. So, we’re still living together, but just as roommates, nothing more, just until he finds a place to live.

CLAYTON

(Looking off to the side.)

Wow!

JAMIE

(Defensive.)

I couldn’t just kick him out onto the street.

CLAYTON

(Slightly showing anger.)

It’s been a whole month, and he hasn’t found a place to live?

JAMIE

He’s not even sure if he wants to stay in the area, he’s thinking about moving out of town.

CLAYTON

Can’t he think about moving after he moves?

JAMIE

(Pause.)

Clayton, you have to understand, it’s difficult to find a place in New York City. It’s a very expensive place to live, and I don’t expect him to move into a bad neighborhood, or a building overrun with rats and cockroaches.

CLAYTON

How long do you think he’ll be living with you?

(Looks at JAMIE with a blank stare.)

JAMIE

Actually, I think we’re getting close to finding a place, it should only be a week or two. We’re not a couple any more Clayton, it’s just a living situation.

(Pause, looking down at the table.)

This is the reality of where I’m at in my life right now.

(Pause, looking at CLAYTON, speaking firmly.)

I’m not sure if you’re seeing me as I am, or if you’re trying to see me as who you want me to be.

CLAYTON

(Being careful not to be too negative.)

No … no … I’m okay with you doing what you have to do. It’s only a week or two, right?

(Forced smile.)

JAMIE

Yeah, it won’t be long. You and I might live to be over a hundred years old, a week or two is just a drop in the bucket, right? It’s nothing to worry about.

(Forced smile.)

CLAYTON

You’re right. It’s not a big deal.

(Lights fade.)

ACT II

SCENE 3

AT RISE: (Center stage is the “Star Attraction” show stage. ARTIE, JAMIE and CLAYTON are sitting respectively, stage right to stage left, as they were before the video. The scene is in current time and is a continuation of the live TV show.)

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

ARTIE

Clayton, good imitation of me, by the way.

(Pause.)

We saw your reaction to the news about Jamie Ann’s roommate. At that moment in time, what was going through your head?

CLAYTON

I think the first thing that went through my mind was that our date was more of a TV show than a real date and that Jamie was acting the part of a single person. When Jamie saw my reaction, she was squirming with explanation, which I think showed sincerity. In the end, I think I was so in awe with Jamie, I was willing to be open-minded and take a chance.

ARTIE

I don’t know if that qualifies as manipulation or seduction, but she made you change your tune fast.

CLAYTON

I did, didn’t I? Seduction is just a form of manipulation, but it’s got to be the best one.

ARTIE

(Pause.)

Moving past the uncomfortable truth about Jamie Ann’s living situation, where did the date go from there?

CLAYTON

We left the restaurant and Jamie took me to the Hoboken waterfront. We sat on a park bench and admired the city skyline. Very scenic, but I think I was mostly looking at Jamie.

ARTIE

Sounds romantic, any action going on there?

(Raising eyebrows as to invite personal information.)

CLAYTON

No, it was quite peaceful.

ARTIE

I mean romantic action. I’m not talking cops and robbers.

(Pause. CLAYTON is quiet and looking around as if avoiding the question. ARTIE rolls his eyes and gives up on him quickly.)

Jamie Ann?

JAMIE

Well, I had to find out if he’s a good kisser, that’s important.

ARTIE

Well, was he?

JAMIE

(Very upbeat, smiling.)

Yeah … he passed the test.

ARTIE

Clayton, sounds like Jamie Ann was making the moves on you.

(Talking to audience.)

Looks like our poet is a little shy. What happened next? Clayton?

CLAYTON

We stayed there for about an hour, then we went back to my apartment building, said our goodnights at the door and Jamie headed home.

ARTIE

(Half under his breath and very sarcastic.)

Home to Pierre.

JAMIE

(Defensively.)

I went home to an empty apartment, Pierre was out of town.

ARTIE

(Talking to audience.)

Apparently, he wasn’t out of town long enough. Those of you who watch regularly know that our producers schedule the first week of dates for all of the couples that appear on the show. We had a “Star Attraction” first when Jamie Ann had cancelled all of these dates. Jamie Ann, what did you do that first week?

JAMIE

I spent the time helping Pierre search for an apartment. I felt it was the best thing to do. We put in full days looking until we settled on what we thought was the best option. I e-mailed Clayton with a lengthy apology for missing the dates. He took it as a good thing and said I didn’t need to apologize.

ARTIE

Clayton, sorry to hear your first week in New York was spent more single than promised. Tell us what you did.

CLAYTON

I sweat my glands off.

(Pause.)

Really, I did. It was during that blistering heat wave. It didn’t take long before I started to feel cooped up in my air conditioned apartment, so I ventured out into the city and spent a lot of time walking around, exploring … and sweating.

ARTIE

(Talking to the camera.)

I remember that heat wave. The Big Apple was more like a baked apple. During this time Clayton e-mailed Jamie Ann a poem, and she asked me if she could read it tonight. Jamie Ann?

JAMIE

(Stands up and takes a piece of paper out of her pocket.)

Thanks Artie. Yes, Clayton sent me an awesome poem that took my breath away. I printed it out and wanted to share it with everyone tonight.

(She reads the poem to the audience in a poetic fashion.)

As the furnace of summer melts my soul

It is more than water my heart thirsts for

One question I ponder, do I see an oasis

Or just a mirage among thousands of faces

It is not only water that has to result

For the ocean’s water is spoiled by salt

But a beautiful oasis to quench my thirst

Where my heart and soul will be immersed

As the furnace of summer melts my heart

I follow a vision, for I cannot tell them apart

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud. JAMIE sits down.)

ARTIE

Outstanding.

(Talking to JAMIE.)

How does a woman react to getting something like that?

JAMIE

I love Clayton’s poetry, and this poem is very similar to a poem I remember from one of his books. So, reading his e-mail was like falling into a poetry book.

ARTIE

(With slow and taunting voice.)

But, Jamie Ann, if I recall, there was another e-mail that Clayton sent you during this time, one not so poetic. Care to read the ultimatum Clayton sent you?

JAMIE

(Defensively.)

I will not!

ARTIE

Can you at least tell us about it?

JAMIE

(Pause. Showing disappointment.)

As the week progressed, Clayton and I continued to e-mail each other. I could see that Clayton was getting more and more frustrated with me. At the end of that first week, I received an e-mail from him that was … yes, an ultimatum. I couldn’t believe my eyes. In so many words, Clayton told me to kick Pierre out of my apartment or he was going to say goodbye to the show, say goodbye to the city, and say goodbye to me.

ARTIE

(Talking to audience.)

Wow, our Clayton with an ultimatum? I have to admit, when it sounded like Jamie Ann had initiated the first kiss, I didn’t think we would be seeing a lot of backbone out of our Clayton. Hey, sending an ultimatum to a girl half the county is drooling over takes guts.

(Talking to CLAYTON.)

What’s with that Clayton?

CLAYTON

I couldn’t see Jamie, I couldn’t call her, I could only e-mail her … and her e-mails were filled with vague descriptions of her turbulent home life with Pierre. I figured Jamie and Pierre where still going through their breakup, and I guess I wanted to make things go in one direction or another.

ARTIE

Jamie Ann, did the ultimatum influence any decisions on your end?

JAMIE

(Agitated by questioning.)

No, Clayton’s e-mail did nothing more than make me upset.

ARTIE

Okay, I’ll buy that, but let’s talk about you and Pierre. Jamie Ann, was your relationship with Pierre totally over with before you agreed to come on this show?

JAMIE

I’ll admit, Pierre and I had some issues we were still working out, that happens when couples breakup. But, it all had to do with the past. Our engagement was over. Our relationship was over.

ARTIE

Yeah, but I’m looking at you, Jamie Ann … and I’m thinking … you are very easy to look at … and I’m thinking … the housing situation in New York isn’t that bad. Any chance that Pierre was planting himself in your apartment as an attempt to get back together with you?

JAMIE

(Pause. Grumpy response.)

I don’t know. There were times after the breakup when Pierre tried to get back together with me, but the results of those talks were always the same —

ARTIE

(Interrupting.)

To be just friends.

JAMIE

Yes.

ARTIE

(Talking to the camera with a taunting voice.)

And roommates.

JAMIE

No … well … we were roommates for only a short time.

ARTIE

Okay. Pierre moved out. But there was still that pesty e-mail from Clayton. How did that get resolved?

JAMIE

After Pierre moved out, I called Clayton and told him how upset I was. He apologized and we agreed to get together for coffee. We met at this really neat coffee shop called N.Y.C. Caffeinated. I had promised Clayton I would take him there. Anyway … it was strange, we talked about all kinds of things, but we didn’t talk about the ultimatum … or Pierre. When I brought it up, Clayton … stared at me with this blank look on his face. But, he was genuinely glad to see me so I let it slide. It was like we both decided to start all over again without verbalizing it, which was fine with me. Clayton and I missed our first week of dates, but we started dating regularly after that, and I wouldn’t replace those memories for anything in the world.

ARTIE

(Stands up and talks to the camera.)

Clayton and Jamie Ann worked the bugs out of their relationship to find a connection as strong as any we’ve seen on this show. Our weekly stargazing segments have taken us along for the ride as Jamie Ann showed Clayton all the best that New York City has to offer. We also watched as Clayton took Jamie Ann to his home town of Buffalo, New York, where he showed her his city from the back seat of his motorcycle. With so many special moments to reflect upon, I’m going to ask Clayton and Jamie Ann to stand up and tell us about the best times they’ve shared together.

(CLAYTON and JAMIE stand up and look at each other in a romantic way. ARTIE steps aside to give them room. CLAYTON starts singing song #10, “Oasis”. Go to thepoet.org for audio recording.)

CLAYTON

WE RODE ON MY MOTORCYCLE

JAMIE

WE WATCHED CHEESY MOTION PICTURES

CLAYTON

WE DANCED IN THE HEAT OF AUGUST

JAMIE

WE SAT AND KISSED ON A PARK BENCH

WHEN I SEE YOUR FACE

I AM IN A PLACE

IS NO BETTER PLACE TO BE

CLAYTON

I JUMPED IN HEAD FIRST

I HAD TO QUENCH MY THIRST

AN OASIS FOR MY SOUL

WE SMILE WHEN WE LOOK AT EACH OTHER

JAMIE

WE PLAY LIKE HAPPY LITTLE CHILDREN

CLAYTON

WE TELL EACH OTHER NOT TO WORRY

JAMIE

WE ARE SO GOOD TOGETHER

WHEN I SEE YOUR FACE

I AM IN A PLACE

IS NO BETTER PLACE TO BE

CLAYTON

I JUMPED IN HEAD FIRST

I HAD TO QUENCH MY THIRST

AN OASIS FOR MY SOUL

ARTIE

AND SO THE SUMMER SUN SET FAST

HOW LONG WILL THE WEATHER LAST

SO FICTITIOUS SEEM TRUE STORIES

TO BE CONTINUED DON’T WORRY

FEEL THE THUNDER AS THE SUMMER FADES … AWAY

CLAYTON

WE MET OUT FOR FANCY COFFEE

JAMIE

WE TALKED BUT WE DIDN’T TALK ABOUT IT

(Lights dim and spotlight focuses on ARTIE.)

ARTIE

(Talking to the camera.)

It was the best of times for our couple, and the calm of paradise seemed endless. But, after a few short weeks, the restless nature of the outside world decided to shake things up for Clayton and Jamie Ann. Each of them experienced a dramatic career change. We’re going to show you a video of a lunch date where each of them took a moment to call their professional managers to catch up, and each was given their career changing news … at the exact same time. Let’s go back into the past, about a week and a half, and take a look at what happened.

(Lights fade.)

ACT II

SCENE 4

AT RISE: (Stage right, CLAYTON and JAMIE are sitting at an outside table at a NYC restaurant. They are finished with lunch, and are both listening to their cell phones to retrieve messages. The scene is assumed to be a pre-recorded video playing on the “Star Attraction” stage and broadcast as part of the show. The scene also represents a flashback eleven days into the past when CLAYTON and JAMIE each experience career-changing news. The time is early afternoon.)

CLAYTON

I have to call Ronda back. Since Phil gave me this cell phone, she’s been leaving me these bizarre messages. I think she’s picking on me, she knows this is my first cell phone and she’s always picked on me for refusing to carry one.

JAMIE

Sometimes I wish I could chuck my cell phone into the river. I have to call Sue back. Her voicemail sounded all dark and depressing, like it’s the end of the world or something.

CLAYTON

(Calls RONDA on his cell phone. His call starts at the same time as JAMIE’S call. His call is very happy and upbeat.)

Ronda, how are you?

(Pause.)

I love good news.

(Pause. Pleasantly surprised.)

No kidding.

(Pause. Talking with excitement in voice.)

That’s great news.

(Pause.)

Yeah, I’m familiar with the show.

(Pause.)

When?

(Pause.)

What about Crazy John? I can’t do it without him.

(Pause.)

Okay, I can commit to that, not that you were going to give me a choice.

(Pause.)

Good.

(Pause.)

Yes, I owe you, no, I’m not going to paint your garage.

(Pause.)

That’s why I’m going to take your advice from now on.

(Pause.)

Let me know as soon as you can, I’ll get in touch with John and tell him what’s going on.

(Pause.)

Okay, I will … Bye.

(Hangs up phone and listens to the end of JAMIE’S call.)

JAMIE

(Overlapping. Calls her agent on her cell phone. Her call starts at the same time as CLAYTON’S call and they talk at the same time.)

Hi Sue, it’s Jamie.

(Pause.)

I’m well. What’s up?

(Pause. Concerned.)

Yeah.

(Pause. Negative surprise.)

What?

(Pause.)

You have to be joking.

(Pause.)

Really?

(Pause. Very upset.)

How can they do that?

(Pause.)

Oh no.

(Pause.)

In a sewer?

(Pause.)

Well, I thought they were just rumors.

(Pause. Very disappointed.)

That’s it for me, then, huh?

(Pause.)

They should have told me sooner.

(Pause.)

Still, that’s not right. What about me?

(Pause.)

I can meet you there at three o’clock … bye.

(Hangs up phone and talks to CLAYTON in a sobbing voice.)

I’ve been written off.

CLAYTON

What do you mean?

JAMIE

My TV show, “Milestone”, my character Linda Squire has been written off the show … I’ve been fired.

CLAYTON

Oh no … I’m sorry.

JAMIE

There was a rumor going around about this, I didn’t take it seriously. But it’s all going to happen … on tonight’s show.

CLAYTON

How are they going to do it tonight, didn’t you finish shooting the season?

JAMIE

Yes, but I was supposed to be missing for a while and then come back.

(Sobbing voice intensifies.)

Now they’re telling me my character’s body will show up tonight … in a sewer … dead!

CLAYTON

Dead? You won’t be on the show ever again?

JAMIE

I have to show up for one scene next season … to play Linda Squire’s dead body. Apparently, they’re not going to show the body until next season.

(Starts to cry into napkin.)

CLAYTON

That’s terrible.

(Stands behind her chair and hugs her.)

JAMIE

(Talking while weeping.)

I don’t want to play a dead body … my face will be all white … my hair will be scraggly … I’ll look like a stupid zombie … and I’ll have…

(Weeping intensifies. )

It’s a sewer … I’ll have poop on me.

(Pause. Wipes eyes with napkin.)

And … after that … I’ll never be on the show … ever again.

(Lights fade.)

ACT II

SCENE 5

AT RISE: (In front of the “Star Attraction” stage, ARTIE and CLAYTON are standing next to each other with ARTIE standing stage left of CLAYTON. They are in the aisle, in front of a camera. They are amongst the studio audience, who are seated. They have a spotlight focused on them and the “Star Attraction” stage is dark. ARTIE interviews CLAYTON, and they talk to the camera as well as each other. The scene is in current time and is a continuation of the live TV show.)

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

ARTIE

(Talking to the camera.)

As you could see, Jamie Ann received some bad news. She found out what we all found out that night: Linda Squire gets whacked. Clayton also received important news.

(Talking to Clayton.)

Clayton, what did your publisher, Ronda Adler, tell you?

CLAYTON

She told me that my poetry book “Lark” was selling like hotcakes … as she put it. Book stores were selling them as fast as they could put them on the shelves.

ARTIE

Let’s not forget who helped spread the word. We mentioned that book here on “Star Attraction” quite a few times.

CLAYTON

Yes, that’s true, thanks for that. Ronda also told me that I was invited to be on a talk show to promote the book … “The Rowan Coaster Show”. We made sure they invited John Casey as well.

ARTIE

And John Casey is?

CLAYTON

I call him Crazy John. He’s an old friend that happens to be a very talented graphic artist. In fact, he lives in a Winnebago and travels the country working as a freelancer. John’s done illustration work for all of my books and he put a lot of work into “Lark”. He was more than happy to come to New York City to be on the show with me.

ARTIE

Very good, and we’re going to see Crazy John in the next video. But, before we go to that, I have one more question about your lunch date. I noticed that you didn’t tell Jamie Ann about your good news … your booming book sales and your “Rowan Coaster Show” invite. …And that’s understandable, as she was still digesting her bad news. But, when did you tell her?

CLAYTON

I didn’t tell her … I should have told her … there were plenty of opportunities to tell her, but I didn’t tell her.

ARTIE

And we have video on this. Let’s take a look at what happened three days after Clayton was asked to be on “The Rowan Coaster Show” and moments after Crazy John rolled into town in his Winnebago.

(Lights fade.)

ACT II

SCENE 6

AT RISE: (Stage left, CLAYTON walks out of his guest apartment building in NYC and starts waiting in front of the building’s doors. People are walking by and there are street sounds such as car horns beeping. CLAYTON is waiting for JOHN and JAMIE, so they can all go out to lunch. JOHN soon approaches from stage right. The scene is assumed to be a pre-recorded video playing on the “Star Attraction” stage and broadcast as part of the show. The scene also represents a flashback eight days into the past when CLAYTON and JAMIE have an argument. The time is early afternoon.)

CLAYTON

(Sees JOHN approaching and is happy to see him.)

Crazy John, how’s it going?

(JOHN and CLAYTON shake hands.)

JOHN

Good … good. I spend most of the morning looking for a parking space for my Winnebago, but now I’m good. I found a nice spot on the side of your building.

(Pointing at the side of CLAYTON’S building, stage right.)

It’s not going to cost me a penny and it’s open for as long as I need it.

CLAYTON

There’s no such thing as free parking in New York City, are you sure you’re not going to get towed?

JOHN

Oh yeah, the Manager of your building is letting me keep it next to the loading dock. I told him we were going to be on “The Rowan Coaster Show” and I promised him I’d throw the apartment building a shameless plug on the show.

CLAYTON

(Sarcastically.)

Ingenious.

JOHN

Hey, I can’t join you and Jamie Ann for lunch today.

CLAYTON

(Disappointed.)

No?

JOHN

The building’s Super is going to meet me at the Winnebago to hook me up with water and electric.

CLAYTON

No big deal, we’ll do it some other time. Can you stick around for a few minutes to meet Jamie, she’s on her way.

JOHN

Oh yeah. I definitely want to meet her, I even brought my camera.

(Holds up small camera to show it.)

CLAYTON

(Looking stage left, keeping an eye out for JAMIE.)

She’ll be here any minute.

JOHN

While we’re waiting, I do have a favor to ask you.

CLAYTON

What’s that?

JOHN

I don’t know if you’re aware of this, but most of the book stores across the country are sold-out of your book “Lark” and backorders will take weeks.

CLAYTON

Sold-out, huh? No kidding!

JOHN

Remember you gave me those boxes of books? You know, the misprints. You couldn’t bear to throw them out, so I took them off your hands.

CLAYTON

Yeah, the pages were upside down.

JOHN

I had them in my mother’s garage collecting dust, but with demand being so high right now, I’ve been selling them on eBay for top dollar. People don’t seem to care that they’re misprints.

CLAYTON

(Amused.)

Somehow, none of this surprises me. What do you want me to do?

JOHN

I was thinking about selling the books as autographed copies. I figure, if we both sign them they’ll be worth more.

CLAYTON

You want me to autograph books with upside down pages?

JOHN

They’re in the Winnebago.

CLAYTON

I don’t know, I guess I could do that.

JOHN

Thanks.

CLAYTON

(Pause. Looking stage left, keeping an eye out for JAMIE.)

Which way do we sign them?

(Pause.)

Do we sign them upside down?

JOHN

Of course we sign them upside down, why would anyone want a book with upside down pages and right side up autographs?

(Looking stage left with surprise.)

Is that her walking this way? That’s Jamie Ann, isn’t it?

CLAYTON

Hey, she’s still upset about losing her job, so I didn’t say anything about us doing “The Rowan Coaster Show”. Don’t say anything, okay?

JOHN

I won’t say anything.

JAMIE

(Walks up to CLAYTON and JOHN from stage left.)

Hey guys. You must be Crazy John, I’ve heard a lot of good things about you.

(JAMIE shakes hands with JOHN and gives CLAYTON a quick hug and kiss.)

JOHN

Hi.

(Surprised.)

Clayton told you good things about me?

(Looks at CLAYTON with appreciation.)

JAMIE

Yeah, he did. …Hey, you guys ready to eat? I’m starving.

CLAYTON

John can’t make it, it’ll be just us.

JAMIE

(Disappointed.)

Awe…

JOHN

Yeah, I have to get my Winnebago situated. It took me all morning to find a parking spot, and I still have to get hooked up with water and electric.

JAMIE

Okay, we’ll go out some other time.

JOHN

I’ll hold you to it. Let me get a picture of the two of you before I go.

(Tinkering with camera).

JAMIE

(Poses for picture with CLAYTON with their backs facing stage left.)

So John, Clayton says you actually live in the Winnebago all year round?

JOHN

Smile.

(Takes picture.)

Yeah, I was looking to buy a house, but I spend so much time on the road, I figured, why not buy a house I can take with me?

JAMIE

That makes sense. Let me take a picture of you and Clayton.

JOHN

(JOHN hands the camera off to JAMIE. CLAYTON and JOHN pose for a picture with their backs facing stage right.)

Sorry to hear about you, I mean, Linda Squire getting murdered.

JAMIE

(Tinkering with camera).

Thanks, better Linda Squire than me.

JOHN

Do you have any idea who did it?

JAMIE

No, you’ll have to wait until next season to find that out.

JOHN

It’s Linda’s own fault. She shouldn’t have been nosing around in her brother’s business when she knew he was involved with the mafia. She should have just walked away and let the investigators do their job.

JAMIE

Say cheese.

(Takes picture.)

Yeah, but that was her personality type, don’t you think. That’s what made her exciting to watch.

(Hands camera back to JOHN.)

JOHN

(Overly serious.)

Sure, but look at where it got her.

JAMIE

(Lightly stated.)

And look at where it got me, I’m out of a job.

PIERRE

(Approaches from stage right.)

Excuse me, I couldn’t help notice that you are trying to take a group photo. I happen to be a photographer, why don’t you let me take the picture for you? Free of charge, of course.

JAMIE

Hi Pierre.

CLAYTON

(With unpleasant surprise.)

Pierre? As in your ex-fiancé Pierre?

JAMIE

Yes, my ex-fiancé Pierre. Pierre, Clayton … and his friend John.

(PIERRE shakes hands with CLAYTON and JOHN.)

JOHN

Good to meet you. If you can take our picture, that would be great.

(Not phased by the situation, he hands the camera to PIERRE and positions CLAYTON between himself and JAMIE for a photo. Their backs are facing stage left.)

PIERRE

Pleased to meet you both. Jamie, I hope all is well. I want you to know that I was sad to hear what happened to your Linda Squire character on “Milestone”.

JAMIE

Not a big deal. I’ll find something else, I’m sure.

CLAYTON

Why do you look so familiar? I’ve seen you before.

PIERRE

I’m staying in the apartment next to yours. I’m your neighbor.

(Points camera and is zooming and positioning.)

CLAYTON

Oh … Jamie told me that you found an apartment, but she didn’t tell me it was next door to mine.

(Looks at JAMIE with upset look on his face.)

JAMIE

Clayton, the network rents the two apartments next to each other for the couples who appear on the show. I didn’t need mine because I live close, so I let Pierre take it.

PIERRE (off)

Smiles.

(PIERRE takes the picture. JOHN is the only one smiling, and CLAYTON shows his anger. PIERRE quickly gives the camera back to JOHN.)

It was nice to meet you Clayton, John. Take care of yourself Jamie.

(Exits scene by entering the front doors of the building.)

CLAYTON

(Ignores PIERRE and JOHN, talks to JAMIE with firm tone.)

You could have told me.

JAMIE

(Talks to CLAYTON with a firm tone.)

I couldn’t have told you, you would have had a problem with it.

CLAYTON

How do you know?

JAMIE

What about you? You could have told me that you and John are appearing on “The Rowan Coaster Show”. You could have told me how well your book is selling.

JOHN (off)

(Slowly backs away, points to his watch and waves his hand goodbye.)

Gotta go … nice to meet you Jamie Ann.

(Exits stage right. JAMIE and CLAYTON ignore him.)

CLAYTON

How did you find out about that?

JAMIE

I found out from my agent, he’s good friends with the show’s producer. It’s no big deal, you could have told me.

CLAYTON

(Very angry. Raising his voice.)

I didn’t tell you because I didn’t want you to feel bad. What am I going to say? Sorry you lost your job, and by the way, my career has taken off?

JAMIE

(Very angry. Raising her voice.)

I’m a professional, I can handle losing a job. It’s so much like you, not to tell me something like this. What, you don’t think I’d be happy for you? You think I’m in competition with you?

CLAYTON

(Yelling.)

Don’t spin this to land on my shoulders, there’s no excuse for not telling me about Pierre. The show ends next week, what happens then? Where does Pierre go after he gets evicted from your bachelorette pad? Does he move back in with you?

JAMIE

(Yelling.)

My relationship with Pierre is over, can’t you see that. If he can’t find another place by the end of the show, then maybe I will let him stay in my apartment. It’s none of your business who I take in as a roommate. This is only a problem for you because you don’t trust me.

CLAYTON

(Yelling.)

Trust? This isn’t about trust, it’s about respect! It’s about loyalty! Neither of which you have for me.

JAMIE

(Talking with a firm tone.)

No, Clayton, it’s about me helping someone who was once significant in my life. I helped Pierre because he’s not from this country and he was having a difficult time planting roots.

CLAYTON

(Talking with a firm tone.)

Difficult time planting roots? This guy’s like a weed that keeps popping up, I can’t get rid of his roots!

JAMIE (off)

(Pause. Talking with a firm tone.)

You know, I’m not hungry. You can eat alone Clayton. Enjoy your lunch.

(JAMIE storms off in anger, exiting stage left. CLAYTON storms off in anger, he exits scene by entering the front doors of his building. Lights fade.)

ACT II

SCENE 7

AT RISE: (Center stage is the “Star Attraction” show stage. JAMIE and CLAYTON are sitting respectively, stage right to stage left, as they were before the video. They are showing stress from watching it. ARTIE is standing in front of his chair, talking to the audience. The scene is in current time and is a continuation of the live TV show.)

ARTIE

Now … is the name of this show “Star Attraction” … or … “Stars Attacking”?

(Pause.)

That was intense … and it did leave me with one burning question for Jamie Ann.

JAMIE

What’s that?

ARTIE

How did Pierre like staying in our “Star Attraction” bachelorette apartment?

JAMIE

(Pause. Embarrassed.)

Oh … he thought it was overly pink and girly, but was happy to have it.

ARTIE

(Pause. Shrugs his shoulders with hands open.)

I had to ask. …Anyway, that argument didn’t sound very healthy, I think it’s a good time to call in our relationship expert, Margaret Epperson. Margaret, come join us.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

MARGARET

(Enters stage left.)

Hello Artie, Jamie Ann, Clayton.

(JAMIE and CLAYTON briefly stand with ARTIE to greet MARGARET. MARGARET gives a small hug to ARTIE and JAMIE, and shakes hands with CLAYTON. They all sit. MARGARET sits between ARTIE and JAMIE. JAMIE and CLAYTON slide down a seat.)

ARTIE

Margaret, before we talk about the argument, what do you think about Jamie Ann and Clayton?

MARGARET

Artie, as you know, I gain excellent insight into the relationships that take place on this show. I spend hours in the editing room watching videos of our couples and I keep in private contact with each of our guests individually for relationship discussions. Artie, Jamie Ann and I instantly bonded. She is so personable, I feel like I’ve known her for years. I thoroughly enjoyed our talks about her interest in Clayton and I like to think I gave her good advice along the way. …Clayton, on the other hand, was … standoffish. I called him once, he refused to cooperate in answering my questions and got me off the phone as quickly as he would a telemarketer.

ARTIE

Clayton, you don’t like our Margaret?

CLAYTON

I don’t dislike her, I just don’t know her. When someone I don’t know calls me, drilling me for personal information, I’m not going to be very forthcoming.

ARTIE

That was my experience with the IRS.

(Pause.)

Margaret, give us some insight into the argument we saw on the video.

MARGARET

Communication is the major issue with our couple. Frankly speaking, Clayton appears to be a poor communicator.

(Pulls out her book, holds it up to show it.)

In my new book “More Together” I outline what I call the three relationship Cs: conversation, communication, and confrontation.

(Reads to the audience from a bookmarked page.)

Conversation may or may not be an exchange of important information; but, more often than not, we partake in it for the purpose of companionship. For example, a couple may have a conversation about their favorite flavor of ice cream, where the information exchange is unimportant, but the exchange of words is comforting. Communication can happen during a conversation, it’s not a separate thing, but there’s more to it. It is where we express our feelings, wants, and needs to one another so that we can establish a common ground within the relationship. When couples neglect proper communication, they fail to equip each other with the tools necessary to negotiate common ground, and an eventual confrontation is inevitable. The misalignments of the relationship get ignored until they build up like the inside of a volcano.

(Stops reading and puts away the book.)

Do you see, Artie? Clayton seems to have mastered conversation, but it ends there. His inability to communicate is what led to the explosion of words … the fury … the confrontation between our couple.

ARTIE

One lesson we continuously learn on this show: people need to communicate.

MARGARET

That’s right, and communication means expression. Someone once said “The man is only half himself, the other half is his expression.”

(Stands up and starts singing song #11, “I Lost All Expression”. Go to thepoet.org for audio recording.)

CONVERSATION

COMMUNICATION

CONFRONTATION

CLAYTON

(Stands up.)

I LOST ALL EXPRESSION

MARGARET

JACK AND JILL, SO THE STORY GOES

WENT UP THE HILL

THEY DIDN’T TALK THINGS OUT

ARTIE

(Stands up.)

JILL PUSHED TO KILL

MARGARET

THE ACT OF LOVE, THE ART OF WAR

WHAT ARE THE RULES

KNOW YOUR ENEMY, KNOW YOUR LOVER

ARTIE

ALL IS FAIR IS FOR FOOLS

CLAYTON

I NEED TOLERANCE FOR MY SITUATION

MY INABILITY IS MISUNDERSTOOD

MARGARET

CONVERSATION

COMMUNICATION

CONFRONTATION

CLAYTON

I LOST ALL EXPRESSION

(ARTIE, MARGARET and CLAYTON sit down.)

ARTIE

Now, you can’t talk about an argument without talking about the make-up. Jamie Ann, I’m assuming the two of you kissed and made up?

JAMIE

Yes, we did. I didn’t want Clayton to go on “The Rowan Coaster Show” distracted by a heavy heart, so I called him later that day to iron things out. …A funny thing, this makeup was almost a repeat of our first make up … you know, when Clayton apologized for sending me the ultimatum. He apologized over the phone, we met out for coffee at N.Y.C. Caffeinated and we talked about everything except the argument. When I brought it up, he had that same blank stare on his face. I think he does have a communication problem.

ARTIE

(Talking to the camera.)

That may be, but Clayton didn’t show any signs of having a communication problem when he was on “The Roland Coaster Show”. He did a surprisingly good job … and … possibly … revealed how strong his feelings are for Jamie Ann. In case you missed it, we’re going to play some of it now.

(Talking to STAGE HAND who is off stage.)

Roll “The Rowan Coaster Show”, please.

(Lights fade.)

ACT II

SCENE 8

AT RISE: (Center stage is “The Rowan Coaster Show” stage in NYC. There is a large desk and chair, and two empty guest chairs stage right of the desk. ROWAN is sitting behind the desk waiting for the show to resume. The scene is assumed to be a video replay of CLAYTON’S appearance on “The Rowan Coaster Show”, playing on the “Star Attraction” stage and broadcast as part of the “Star Attraction” show. The scene also represents a flashback seven days into the past when CLAYTON and JOHN appeared on “The Rowan Coaster Show”. The time is in the evening.)

ROWAN

Welcome back to “The Rowan Coaster Show”.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

If you look at the top of The New York Times Best Sellers list, you’ll find a new book on the list that isn’t new at all. It was written seven years ago, and is finally getting the attention it deserves. The book is called “Lark”, and its author is currently appearing on the reality TV show “Star Attraction”. He’s here tonight, along with the book’s illustrator. Ladies and Gentleman, poet Clayton Pritchard, and his graphic artist, John Casey.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

ROWAN

Hello Clayton, hello John.

(ROWAN stands up and shakes hands with JOHN and CLAYTON behind the chairs.)

JOHN

Hey.

CLAYTON

Hello.

(JOHN, CLAYTON and ROWAN sit, with CLAYTON in the middle.)

ROWAN

Clayton, you have a string of exciting events happening in your life. You’re on “Star Attraction”, they matched you with glamour girl Jamie Ann London and your appearance on that show has made your book “Lark” so sought after that it’s become nearly impossible to get a hold of. I tried to buy a copy and all the local book stores were backordered for several weeks.

(Takes the book out from under the desk.)

My assistant found me this copy on eBay, but something’s wrong with it.

(Holds book up, opens it and flips it around to show.)

The pages are upside down.

(CLAYTON gives JOHN a dirty look because he knows he sold the book on the Internet.)

JOHN

We can autograph that for you after the show.

ROWAN

I’ll take you up on that.

(ROWAN hands the book to CLAYTON.)

Clayton, tell us about “Lark”.

CLAYTON

“Lark” is two books in one.

(Opens the book and shows pages.)

The right pages are a children’s book that tells the tale of a bird named Marcus Lark. John created the illustrations and I wrote the captions. The left pages are a poetry book that tells the story of a young man whose delusions of grandeur have him chasing self indulgent dreams. Both stories parallel each other and add up to what one might call a cautionary tale of personal growth.

(Hands the book back to ROWAN, who puts the book on his desk.)

ROWAN

A unique concept, how did you come up with the idea of combining two books into one?

CLAYTON

Actually, John came up with the idea. John?

JOHN

(Talking very seriously.)

Ah … Clayton gave me a copy of the poetry for the project and asked me to come up with the illustrations. The poems tell the story of a person … but … I didn’t really understand the concept … so … I just started drawing some birds. Clayton sure seemed to like what I was doing, he had me drawing birds for a month.

ROWAN

Fascinating.

(Pause.)

Anyway.

(In a joking voice.)

I stood on my head and I read the book.

(Holds book up, flips it upside down and right side up to joke about the pages being upside down.)

(With a serious voice.)

I have to say … I was inspired, very well done.

(Takes second book out from under desk and holds it up.)

I was so impressed, I read another book of yours, “Mountain in the Sky”. A very different book than “Lark”, but I enjoyed it just the same.

(Puts book on his desk.)

When you think about it, Clayton, within only a few weeks time, you went from being a relatively undiscovered poet to a bestselling author and a television favorite. How are you handling this overnight success?

CLAYTON

You’re right, that’s a lot of change in a short amount of time, but I don’t think you’ll see me out hobnobbing with the rich and famous any time soon.

ROWAN

(Half laughing while he’s talking.)

And, you’re dating a gorgeous actress. I think it’s the rich and famous that want to hobnob with you.

JOHN

He sure is living like the rich and famous, he’s staying at the magnificent …

(Talking to the camera, clearly stated as an endorsement.)

Suitor Apartment Hotel, Manhattan’s boutique accommodations.

(CLAYTON gives JOHN a dirty look because he knows he’s advertising to cover the parking on his Winnebago.)

ROWAN

(picks both books up from his desk and holds them up, showing them to CLAYTON.)

That’s the life. Clayton, I have two of your books here, any chance you can pick out a poem from one of them and read it to us.

CLAYTON

Certainly.

(Takes the book “Mountain in the Sky”, stands up and starts leafing through the pages as he walks to the front of the stage. The stage darkens and a spotlight shines on him.)

ROWAN

(Puts other book down on his desk. Talking to the camera.)

Ladies and gentleman, a poem by Clayton Pritchard.

CLAYTON

(Reads the poem with a poetic voice.)

Like soul-mates, exotic fish somehow

find each other in an ocean

Some believe that contact is made

through the water’s wade, flow, and motion

But there is an attraction far greater than that

which surely nature provides

It is the same power within gravity which holds

all of the stars in the sky

Passing by the love of your life

would be an act you would ever regret

So nature makes sure that one love is for you

and once seen you will never forget

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud. Light’s resume. CLAYTON goes back to his chair and back down.)

ROWAN

Excellent … and an interesting choice. Was that poem directed at Jamie Ann London? Are things going that well on “Star Attraction”?

CLAYTON

I don’t know why I picked that poem. …Part of my agreement with the show is to keep quiet about our relationship until our final show next week. So, my poem and a smug smile are all you get.

(Gives confident smile.)

JOHN

(Raises his hand.)

I didn’t sign anything.

(JOHN gives CLAYTON a deviant smile. CLAYTON shows disgust for JOHN’S antics for the rest of the scene.)

ROWAN

(Pause.)

Wha-da-ya-got John? Give us the scoop.

JOHN

Just yesterday, I saw Clayton and Jamie Ann get into one heck of a shouting match.

ROWAN

A shouting match? Tell us more.

(CLAYTON rolls his eyes.)

JOHN

Clayton introduced me to Jamie Ann, the three of us met in front of Clayton’s hotel … you know … the Suitor.

ROWAN

And?

JOHN

We’re there taking pictures and Jamie Ann’s ex-fiancé shows up. Clayton didn’t like that at all, next thing you know Clayton and Jamie Ann start arguing … right on the side walk. It was pretty heated, but I left … I had things to do.

ROWAN

Did it get caught on video?

JOHN

Oh yeah, I’m sure they’ll show it on “Star Attraction” next week —

CLAYTON

(Interrupting, trying to get JOHN to shut up.)

Really, a minor disagreement. I apologized later that day, everything’s fine. Can we talk about something else?

ROWAN

Okay Clayton, we’ll talk about something else, but only after we take a quick break.

(Talking to the camera.)

To find out more on this

(Making quotation marks with his fingers.)

minor disagreement, watch Clayton and Jamie Ann conclude their appearance on “Star Attraction” next week, airing live on this very network. We’ll be back after this message.

(Lights fade.)

ACT II

SCENE 9

AT RISE: (Center stage is the “Star Attraction” show stage. ARTIE, MARGARET, JAMIE and CLAYTON are sitting respectively, stage right to stage left, as they were before the video. The scene is in current time and is a continuation of the live TV show.)

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

ARTIE

Clayton, after watching Crazy John put you on the spot over the argument you had with Jamie Ann, I promise you, I’m not going to bring it up again. But, I do want to talk about the poem you read on the show. I think it tells us a lot about your feelings towards Jamie Ann. So, here you are, on the final show, the gag order is lifted, it’s now safe to answer the question that Rowan asked you … was the soul-mates poem you read on “The Rowan Coaster Show” directed at Jamie Ann London?

CLAYTON

I am crazy about Jamie. I’m certain I was thinking about her when I picked that poem. I wrote that poem long before I met her, but who knows, maybe I wrote it about her. With Jamie, anything is possible.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

ARTIE

Clayton, we see that you have strong feelings towards Jamie Ann, and our hope on “Star Attraction” is that our couples stay together after their appearance on the show, live happily ever after and all that good stuff. Before we talk to Jamie Ann, how confident are you that she feels the same way about you?

CLAYTON

That’s a tough question … I have to admit, I’m a little worried that Jamie isn’t as crazy about me now as she was before we exchanged words in front of my building. She’s been acting different ever since.

(Looking at JAMIE while talking.)

I can’t put my finger on it. Her eyes don’t look at me with that … intense … bright … sunshine … like they used to. She still smiles when she sees me, but it’s not the same. Her smile used to be … scenic. So much so, I swear I could see a rainbow going through it … but not so much lately.

ARTIE

Jamie Ann, have your feelings for Clayton changed since you and Clayton had that fight?

JAMIE

I can tell you my life has changed a lot since I lost my part on “Milestone”. Since then, I’ve been very busy trying to revive my career. I flew to L.A. for three days, I went on five auditions there. I flew back to New York for an audition that took me a full day to prepare for, only to be cancelled —

ARTIE

(Interrupting to get to the point.)

Did the two of you sit down and talk about your situation and how it might affect your relationship?

JAMIE

No, not really.

ARTIE

(Talking to the camera.)

Looks like we’re back to that whole communication thing again. I’m beginning to think the both of you stink at it. Margaret, you’re the queen of communication, any way we can get some dialog going back and forth here?

MARGARET

Artie, I’m always here to help. Clayton, Jamie Ann, both of you stand up and face each other.

(CLAYTON, JAMIE, MARGARET and ARTIE stand up. MARGARET directs CLAYTON and JAMIE to face each other as she huddles with them facing the audience. Lights dim and a spotlight shines on CLAYTON, MARGARET and JAMIE.)

Clayton, you were very poetic a moment ago when you were describing the concerns you have with Jamie Ann. You were talking about the sunshine in her eyes, the rainbow through her smile. Quite a break through, I think. I want you to continue verbalizing in this fashion as you look Jamie Ann in the eyes and tell her about the concerns you have with her.

CLAYTON

(Looks down for a moment to think. Looks at JAMIE and recites a poem in a poetic voice.)

You are the sun, yet I stand in the rain

Cold with grief and wet with pain

When clouds break and you appear

Comes an end to all of my drear

Yet wind and time do soon supply

More Clouds to fill the sky

I ask you oh sun a question in vain

How much longer must I stand in the rain

JAMIE

(Speaking softly and sincerely.)

That’s a very nice poem Clayton. I don’t recognize it from any of your books.

CLAYTON

It was never published. It was my very first poem.

MARGARET

Very good Clayton. Jamie Ann, a moment ago you talked about how busy you’ve been trying to get your career back on track. I want you to forget about your career for a moment and focus on your heart. I want you to be honest and tell Clayton how you feel about him right now … and how you’ll feel about him after the show tonight, when the cameras are powered down and the two of you are on your own.

(JAMIE looks down for a moment to think, looks at CLAYTON for a moment, then looks down again for a very long and awkward pause.)

ARTIE

(With a disrespectful tone.)

Can someone say something, this is live TV.

CLAYTON

(CLAYTON starts singing song #12, “My Very First Poem”. Go to thepoet.org for audio recording.)

I DON’T SEE THE SUNSHINE IN YOUR EYES

I CAN’T FIND THE RAINBOW THROUGH YOUR SMILE

I DON’T KNOW WHAT’S CHURNING INSIDE OF YOUR HEAD

TELL ME WHERE’S THE SUNSHINE

CAN YOU SAY ANYTHING TO ME

MY VERY FIRST POEM I RECITE TO YOU

CAN YOU SAY ANYTHING TO ME

MY VERY FIRST POEM IS THE BEST I CAN DO

AS I ENVISION MEMORIES OF OUR PAST

I CAN SEE THE ENDING FADE IN FAST

I DON’T KNOW IF MY FUTURE WILL BE FILLED WITH YOU

WILL I SEE THE SUNSHINE

CAN YOU SAY ANYTHING TO ME

MY VERY FIRST POEM I RECITE TO YOU

CAN YOU SAY ANYTHING TO ME

MY VERY FIRST POEM IS THE BEST I CAN DO

YOU ARE THE SUN, YET I STAND IN THE RAIN

COLD WITH GRIEF AND WET WITH PAIN

WHEN CLOUDS BREAK AND YOU APPEAR

COMES AN END TO ALL OF MY DREAR

YET WIND AND TIME DO SOON SUPPLY

MORE CLOUDS TO FILL THE SKY

I ASK YOU OH SUN A QUESTION IN VAIN

HOW MUCH LONGER MUST I STAND IN THE RAIN

HOPE TO GOD OUR LOVE CAN FIND ITS WAY

DON’T LIKE LIVING UNDER SKIES OF GRAY

I DON’T KNOW WHAT YOU’RE THINKING, MAYBE IT’S UP TO YOU

TO HELP ME FIND THE SUNSHINE

CAN YOU SAY ANYTHING TO ME

MY VERY FIRST POEM I RECITE TO YOU

CAN YOU SAY ANYTHING TO ME

MY VERY FIRST POEM IS THE BEST I CAN DO

JAMIE

Clayton … you’re right. I have been acting different lately and much of the change has to do with us. We had so much fun getting to know each other. You’re a real gentleman, you always treated me like a girl wants to be treated. You’re funny … you made me laugh so hard, sometimes my stomach hurt. I truly loved showing you New York City. Every step of the way you had a look of amazement on your face as if I was introducing you to a new world. …But … after spending a few days in Los Angeles … I found a new world … I found a new direction for my life. Clayton, I made the decision to move to Hollywood to pursue a movie career … and with much thought … and sadness, I decided to make a fresh start and leave without you.

CLAYTON

You’re going to move to Los Angeles? That’s on the other side of the country.

JAMIE

Yes, I know where it is.

CLAYTON

When are we going to see each other?

JAMIE

Clayton, I decided to make a fresh start.

CLAYTON

What does make a fresh start mean? Is that code for breaking up with me?

JAMIE

I’m sorry Clayton.

CLAYTON

A lot of couples have long distant relationships.

JAMIE

I’m sorry Clayton.

CLAYTON

I can’t believe you’re saying what you’re saying. I thought we were close. I thought we were … in love.

JAMIE

I know it’s hard. Leaving is always hard. I’ll miss you, I’ll miss Hoboken, I’ll Miss New York City. I already miss my work on “Milestone”, but I have to move on.

CLAYTON

It’s my fault that you feel this way, it’s my fault that we’ve come to this point, but I’ll change. I promise, I’ll work on my communication skills, I’ll even read Margaret’s book. I know I gave you a hard time about Pierre, I’m sorry about that, it won’t happen again … I promise. We can work this out, you just need a little time to think things through.

JAMIE

I’ve already thought things through. …We had some great moments Clayton, moments I’ll never forget … but they’re in the past.

CLAYTON

(CLAYTON starts singing song #13, “Jilted Lover”. Go to thepoet.org for audio recording.)

(Singing to JAMIE.)

THERE WERE MOMENTS, QUITE A FEW

THERE WERE MOMENTS, NOW WE’RE THROUGH

THERE WERE MOMENTS, YOU FORGOT

THERE WERE MOMENTS, I DID NOT

(Faces away from JAMIE.)

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE BLAME

I MAKE MYSELF THAT PROMISE

(Faces JAMIE.)

JAMIE

(Singing to CLAYTON.)

YOU WERE WATCHING, WATCHING ME

YOU WERE WATCHING, WHAT DID YOU SEE

YOU WERE WATCHING, STEADY STARE

YOU WERE WATCHING, DID YOU CARE

CLAYTON

(Faces away from JAMIE.)

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE BLAME

I MAKE MYSELF THAT PROMISE

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE PAIN

I MAKE MYSELF THAT PROMISE

(Faces JAMIE.)

YOU’LL COME BACK TO ME AGAIN

ARTIE

THERE WAS FURY, HEARTS TORN

MARGARET

THERE WAS FURY, WOMAN SCORN

JAMIE

THERE WAS FURY, THINGS SAID

CLAYTON

(Faces away from JAMIE.)

THERE WAS FURY, FIRE BE FED

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE BLAME

I MAKE MYSELF THAT PROMISE

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE PAIN

I MAKE MYSELF THAT PROMISE

(Faces JAMIE.)

YOU’LL COME BACK TO ME AGAIN

(Faces away from JAMIE.)

THERE IS NOTHING, NOT A THING

THERE IS NOTHING, SONG TO SING

THERE IS NOTHING, CAN THERE BE

THERE IS NOTHING, THERE IS NOTHING

THERE IS NOTHING, THERE IS NOTHING

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE BLAME

I MAKE MYSELF THAT PROMISE

LIKE A JILTED LOVER, TRYING HARD TO TAKE THE PAIN

I MAKE MYSELF THAT PROMISE

(Faces JAMIE.)

YOU’LL COME BACK TO ME AGAIN

ARTIE

We’re running short on time, but before we end the show, I want to introduce John Casey to the “Star Attraction” audience. Come on out Crazy John and say hello.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud. JOHN enters stage left and shakes hands with ARTIE, MARGARET, JAMIE and CLAYTON, then waves to the audience. They all remain standing.)

JOHN

Hi everyone.

ARTIE

John, we don’t have enough time to sit down and chit-chat, but I tell you what I’m going to do. I’m going to let you give us the final word on tonight’s show. John, we’re all in shock over the way Clayton and Jamie Ann are concluding their time on the show. Before they go their separate ways, help us make sense of all of this. I understand you’re a big fan of “Star Attraction”, you watched every week. You talked to Clayton during his time on the show, and listen to him talk about Jamie Ann. In the minute we have left, give us some commentary that will wrap up the show.

JOHN

(Talking to the audience and frequently looking at JAMIE.)

Okay Artie, I can do that. …I feel I need to tell everyone, including Jamie Ann, about Clayton. Clayton’s a great guy. I’ve known him for over ten years and I can tell you that he doesn’t have a jealousy problem or a communication problem. …Well … okay … maybe he does have a jealousy problem and a communication problem, what I’m trying to say is that all guys do, and Clayton is no different than a typical guy. See … I think everyone, including Jamie Ann, who gets introduced to Clayton through his poetry books, holds unrealistic expectations for him. They think he’s some kind of a superman of the soul.

(Short pause, scratches his head as he is thinking.)

Could you imagine, a super hero who’s super power is poetry?

(Spoken with drama, like the theme to the Superman TV show.)

Gets to the point faster than a speeding bullet … more predictable than a locomotive … able to express deep feelings in a single bound. Look! Up here with Artie Sky!

(Extends his arm to present CLAYTON.)

It’s super poet.

(Talking normally to the audience.)

I’m here to tell you …on a day to day basis … Clayton Pritchard … is just a regular guy. So, Artie, I’ll conclude the show by saying this. If Jamie Ann wants to find someone with the qualities of Clayton … and the ability to express every thought and feeling with poetic wonderment … and the understanding to put up with a live-in ex-fiancé … she needs to move to Hollywood and audition for a movie that’s based on a very imaginative screenplay, because she’s not going to find that in the real world. …That’s all I got.

ARTIE (off)

(Talks very fast, talking to the camera.)

Good job John, interesting perspective to end the show. We’re going to have to say goodbye to Jamie Ann London and Clayton Pritchard, we’re sorry cupid missed his mark, but thank you so much for being on our show.

(With high energy.)

Margaret and I will be back next week on “Star Attraction”.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

STAGE HAND

(Yelling from off stage.)

That’s a wrap. We’re off the air.

(“Star Attraction” is over. ARTIE, MARGARET and JAMIE exit stage right. JAMIE takes one quick look back at CLAYTON while walking off stage. CLAYTON sits down on one of the chairs on stage and stares at the floor. JOHN sits next to CLAYTON and puts his hand on his shoulder. Lights fade.)

ACT II

SCENE 10

AT RISE: (Stage left is CLAYTION’S guest apartment in NYC. There is a small, stiff sofa with a coffee table in front of it. There is a telephone on the coffee table. From stage left, CLAYTON walks into the dimly lit apartment and accidentally kicks a small box on the floor by the entrance. He picks up the box and takes it to the sofa. He takes a close look at it, shakes it, and puts it on the coffee table without opening it. He sits down, picks up the phone and calls JAMIE. The scene is in current time and takes place shortly after the “Star Attraction” live TV show ends.)

CLAYTON

(With desperation.)

Jamie, it’s Clayton. I don’t know if you want to talk, but I know I have to try. …I’m really confused right now … I’m not sure what just happened on that show … I’m not sure what’s real. I do know the way I feel about you is real. I know the way I care about you is real. …Please call me back.

(CLAYTON hangs up the phone, sits back on the sofa and stares into space. The phone rings and he jumps up thinking it might be JAMIE. He starts to reach for the phone and backs off a couple of times before he answers it, but answers it promptly.)

Hello.

RONDA

Clayton, it’s Ronda,

(RONDA appears stage right. She is standing with a telephone to her ear. She is assumed to be at her home in Buffalo. She talks to CLAYTON with a soft and sympathetic tone.)

How are you doing?

CLAYTON

(Very sad.)

I’m doing. How was the show? How big of a fool did I make out of myself.

RONDA

No, you were fabulous. You handled yourself very well. You were intelligent, interesting, entertaining. I’m certain everyone who watched it admired you, Clayton. You were terrific.

CLAYTON

You think so?

RONDA

I’m not just saying that, you have nothing to feel foolish about. Hey, did you get my gift?

CLAYTON

(Sits back down on the sofa and repositions the box on the coffee table so it’s directly in front of him).

I did. I just got in and haven’t had a chance to open it.

RONDA

Well, don’t expect much. It’s the thought that counts, and you’re not getting much more than thought on this one. I had the gift shop wrap it up for me and sneak it in your door before you got back.

CLAYTON

I’m exhausted, I need to get some sleep. Do you mind if I open it in the morning?

RONDA

No, open it when you want, it’s not a big deal. Have a good night Clayton.

CLAYTON

Good night.

(While sitting on the sofa, CLAYTON looks at the box on the coffee table with curiosity. He picks it up, looks at it closer and puts it down. He finally picks it up and opens it, to find a pencil and a pad of blank paper inside. He looks at them with curiosity and puts them down on the coffee table with the empty box. He stares upward as he thinks. He picks up the pencil and paper and starts writing at a normal speed. His writing slowly increases in speed until he is writing extremely fast. While he’s writing, his body moves in an odd and mechanical way. His head frequently and quickly looks up and down as if he is seeing words float in the air and land on his paper. Lights fade to black temporarily to show night. Lights brighten slightly to show dawn. CLAYTON is sleeping on the sofa with the pencil and pad of paper on his lap. Someone knocks on the door. CLAYTON slowly wakes to hear a second set of knocks. He is then quick to stand up, thinking it might be JAMIE. His pencil and pad of paper fall to the ground. He approaches the door, stage left. Lights brighten to full power. CLAYTON opens the door and is surprised.)

Pierre?

PIERRE

Clayton, I’m sorry to disturb you so early in the morning.

CLAYTON

Come in.

(CLAYTON lets PIERRE in, they stand near the door. CLAYTON is still groggy.)

What time is it?

PIERRE

It’s almost six AM. Clayton, I may never see you again, so I wanted to stop by and thank you before I check out.

CLAYTON

Thank me for what?

PIERRE

Thank you for the show last night. I have to tell you, since Jamie told me that she didn’t want to be with me, it’s been very difficult for me to get her out of my heart … and out of my head. Watching her last night … push you away like she pushed me away … helped me see my situation more clearly. Jamie’s place in my life is over for good and I’m finally able to accept the truth.

CLAYTON

I’m glad you got something out of it. I’m still processing everything, but it looks like it’s my turn to accept some truths. I wish you the best, Pierre.

(CLAYTON offers his hand, they shakes hands.)

Now that we’re getting kicked out of our bachelor and bachelorette apartments, do you have a place to stay?

PIERRE

Yes, thank you. Jamie’s moving out of her apartment in Hoboken today, I’m taking over the lease. It’s an easy move, I still have furniture there.

CLAYTON

(Subtle laugh.)

That worked out for you.

PIERRE

And, I hope you find everything you’re looking for, and sorry again for knocking on your door so early.

CLAYTON

That’s okay. Actually, it’s a good thing you woke me up, I’m going home this morning and I need to go to the studio to sign some paperwork before I leave.

PIERRE (off)

Goodbye Clayton.

(PIERRE exits stage left.)

CLAYTON

Take care Pierre.

(CLAYTON closes the door, walks back to the sofa and picks up his pad of paper. He leafs through a number of pages to review what he wrote the night before. He finds one page that interests him and starts to read it as he sings song #14, “Face the New Day”. Go to thepoet.org for audio recording.)

I AM WITH A BROKEN HEART

IT ALL HAPPENED SO FAST LIKE THE SHOCK FROM A BLAST

AN EXPLOSION OF WORDS

I CANNOT LET GO

WITH DAMAGE CONTROL I JUST DIG DEEPER HOLES

BUT I SURE NEED TO TRY

I DON’T KNOW HOW TO DEAL WITH IT

THERE’S NO DRUG FOR THE PAIN

AND NO STOP TO THE TRAIN OF THOUGHT THAT I AM IN

I MUST FACE THE NEW DAY

DAH, DAH, DAH…

NAH, NAH, NAH…

I HAVE STARTED TO GROW

MY SHORTCOMINGS REVEALED, MY LIPS NO LONGER SEALED

I WILL SAY WHAT I FEEL

I HAVE A LINE FOR A POEM

OH WHAT PRICE DID I PAY FOR THESE THOUGHTS THAT HAD STRAYED

THEY COME BACK TO ME NOW

I AM ABLE TO RHYME AGAIN

WORDS THEY COME FROM MY SOUL THERE’S NO STOPPING THE FLOW

NOW IT’S ALL THAT I HAVE

I WILL FACE THE NEW DAY

(Lights fade.)

ACT II

SCENE 11

AT RISE: (Stage right is PHIL’S TV network office. PHIL is sitting behind his desk focused on paperwork. CLAYTON walks in from stage right and PHIL stands up to greet him. The scene is in current time and takes place the morning after CLAYTON’S final appearance on “Star Attraction”.)

PHIL

Hey Clayton, you all right?

CLAYTON

(Slightly distraught.)

Yeah … yeah … I’m all right. I’m a little broken hearted, but I’ll be okay. The last six weeks happened so fast, I feel like none of it was real and all of it was a television show, but I’ll figure it out.

PHIL

It was all real Clayton … and it was a television show. I know you had a tough night last night, but I hope you don’t walk away from this with any regrets. You’re about to sign for a $125,000 bank transfer. Your book sales are through the roof. Your career as a poet is alive and well, and you didn’t even have to write anything new. As much as you were concerned about being on TV, you didn’t lose any respect. No one will look at you as being any less than what you are, a great poet and a genuinely nice person.

CLAYTON

I appreciate that … and no, I don’t have any regrets. As surreal as the show seemed, it did force me to swallow a healthy dose of reality. I think I needed that more than anything.

PHIL

Good.

(Pause. Opens a folder on his desk and points at paperwork on top.)

You just need to sign here, here and here … and we’ll deposit the funds right away.

(CLAYTON takes a pen off of the desk and signs paperwork.)

Not bad for six weeks worth of putting up with us.

CLAYTON

No … not bad at all. I almost forgot about the money … thank you.

PHIL

This is it for now.

(CLAYTON and PHIL shake hands and pull in for a hug.)

You have a safe trip back to Buffalo. Sure you don’t want me to book you a flight?

CLAYTON

No, I’m good. I’m going back with Crazy John in his Winnebago. He has a wedding to go to, so he’ll be in Buffalo for a couple of weeks.

PHIL

Sounds like fun. Is there anything else I can do for you before you go?

CLAYTON

Yeah, there is one thing.

(Takes an envelope out of his pocket.)

Can you get this to Jamie?

PHIL

(Takes the envelope and puts it on his desk.)

Absolutely. She’ll be in later today. I’ll put it right here with her paperwork and I’ll tell her to look for it the next time I see her.

CLAYTON (off)

I appreciate it. I appreciate everything.

PHIL (off)

I’m the one in your debt, Clayton. I’ll walk you out.

(CLAYTON and PHIL exit stage right. The introduction to song #15, “Long Shadows of Dawn” starts to play.)

JAMIE

(The introduction to song #15, “Long Shadows of Dawn” continues to play. After a few measures, JAMIE enters the room from stage right. She takes CLAYTON’S envelope off of PHIL’S desk, sits down in the guest chair and opens it. As she reads it, she starts singing song #15, “Long Shadows of Dawn”. Go to thepoet.org for audio recording.)

YOU AND I FLY LIKE WIND THROUGH THE TREES OF LIFE

RUSTLING LEAVES WITH THE GENTLEST BREEZE, THEY DANCE

IF YOU AND I TRIED AS HARD AS WE SHOULD

WE’D GET TO THE TRUTH, BE UNDERSTOOD

YOU EVER WILL GLOW AS THE MUSE FOR THE POEM I WRITE

THROUGH LONG SHADOWS OF DAWN

(JAMIE stands up.)

DAY AND NIGHT, WRONG OR WRITE

I DIDN’T KNOW WHAT YOU WERE MEANING

RIGHT OR WRONG, WEAK OR STRONG

YOU DIDN’T KNOW WHAT I WAS FEELING

WE DIDN’T KNOW WHERE WE WERE GOING

WE DIDN’T KNOW WHERE WE WENT WRONG

STRONG OR WEAK, TONGUE-IN-CHEEK

BEYOND A POEM BEYOND A SONG

THROUGH LONG SHADOWS OF DAWN

IN THE WAKE OF A STORM, A POET REBORN TO WRITE

THE LARK AGAIN SING AND A SOUL WONDERS FREE THROUGH LIFE

MOUNTAINS TO CLIMB ALL START WITH A STEP

THEY END WHERE THEY START, COMMITMENTS KEPT

I BREATH IN THE DAY AND EXHALE A POEM THROUGH MY SOUL

THROUGH LONG SHADOWS OF DAWN

DAY AND NIGHT, WRONG TO RIGHT

I WILL SEARCH TO FIND THE MEANING

RIGHT FROM WRONG, WEAK TO STRONG

I WILL SAY WHAT I AM FEELING

I WILL KNOW WHERE I AM GOING

I WILL KNOW WHERE I WENT WRONG

STRONG FROM WEAK, TONGUE-IN-CHEEK

BEYOND A POEM, BEYOND A SONG

THROUGH LONG SHADOWS OF DAWN

(JAMIE sits down and holds her head down as she starts to cry. She holds the poem to her heart. Lights fade.)

ACT II

SCENE 12

AT RISE: (Center stage is “The Rowan Coaster Show” stage in NYC. There is a large desk and chair, and two guest chairs stage right of the desk. ROWAN is sitting behind the desk waiting for his cue. TERRY is the guest, and she is sitting next to him. In front of the stage, in the aisles, there are TV cameras shooting the show. The real audience plays themselves as the “The Rowan Coaster Show” studio audience. The scene takes place one year into the future. The time is in the evening.)

STAGE HAND

(Yelling from off stage.)

Look alive people, look alive … we’re going live in … 5 … 4 … 3 … 2 … 1.

ROWAN

(Talking to the camera.)

Welcome back to “The Rowan Coaster Show”.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud.)

We have author Terry Winward here with her first book, “The Poet”, which she co-wrote with the poet Clayton Pritchard.

(Briefly holds up book.)

You know … Terry and I have some history together. Before working on the book, Terry was a makeup artist here at the network.

(Puts hand under his chin as to display his face.)

On several occasions, she was honored with the task of beautifying my mesmerizing face.

(Talking to TERRY.)

Do you remember working on my face, Terry?

TERRY

(Joking.)

Of course I do. You’re the reason I left the industry, once I worked on your face there was no place up to go. I lived the dream and I moved on.

ROWAN

(Pause.)

That must be the reason why I go through so many makeup artists. I was beginning to think I was high maintenance.

(Pause.)

So, you lived the dream as a makeup artist and now you’re living the dream as an author, tell us about the book.

TERRY

(Talking to ARTIE as well as the audience.)

I’d love to. Today is the official release date, so the book is now available at your favorite book store. Today is also the one year anniversary of Clayton Pritchard’s first appearance on the TV show “Star Attraction”, where he was fixed up with actress Jamie Ann London. The book tells the story of Clayton’s appearance on the show and his short lived relationship with the actress.

ROWAN

I read the book and found it to be captivating. I have to tell my audience…

(Briefly sits book upright on desk. Talking to the camera.)

This is not a celebrity gossip book, if that’s what you’re looking for. The book has poems placed throughout the story to intensify the emotions and passions behind Clayton’s experience. Very well done.

TERRY

I’m glad you liked it. It’s filled with fresh material from Clayton, and already people are saying it’s his best poetry to date.

ROWAN

Great poetry, great story … you’re in the book, you were Clayton’s makeup artist on “Star Attraction”. I’m in the book, Clayton was on my show during that time. What more can you ask for?

TERRY

That’s right, I wanted to make sure we mentioned the fact that you’re in the book. I’m hoping some of your fans buy it just because it’s blessed with your presence.

ROWAN

(Joking.)

They might, but … I mean, you could have blessed me more, I’m not in the book all that much.

TERRY

(Joking, shrugs her shoulders as she is not at all sorry.)

When we edited the book, we had to start somewhere.

ROWAN

I see. …As wonderful as I am in the book, it does revolve around Clayton Pritchard and Jamie Ann London, who parted ways after their appearance on “Star Attraction”. Do they keep in touch at all?

TERRY

Not really, but Clayton did send Jamie Ann an early draft of the book. She wrote back praising it. She gave it the thumbs up. I think her approval was important to Clayton.

ROWAN

I can understand that. And, I see that John Casey, who was on my show with Clayton last year, did the art work.

TERRY

We can’t forget to mention Crazy John. Yes, he created the illustrations and is helping us promote the book. He’s staying in Buffalo for the time being, so Clayton and I see him quite often. He’s doing well.

ROWAN

Good. So, you’re living in Buffalo now?

TERRY

Yes, I moved there when Clayton and I started working on the project.

ROWAN

You live in Buffalo, Clayton lives in Buffalo. This brings up the question that you probably guessed I was going to ask. Are you and Clayton a romantic couple?

(Opens to last page of book and looks at it.)

I want the details that were somehow omitted from the final chapter.

TERRY

(With excited embarrassment.)

I was waiting for you to ask me that. Yes, Clayton and I are dating.

ROWAN

(Clapping his hands.)

I’ll clap to that.

(STAGE HAND displays applause sign, AUDIENCE MEMBERS applaud. TERRY has a big smile on her face.)

It’s interesting because the two of you met on “Star Attraction” … but, not on stage … you met back stage. What sparked the romantic interest?

TERRY

After Clayton appeared on the show, he called me to ask me if I wanted to help him write a book about it. I thought the book idea was just an excuse for him to spend time with me. If it was an excuse, it worked. We spent a lot of time together, and one thing led to another.

ROWAN

Best wishes to both of you, with your personal and your professional partnerships. To end the show, what do you say you and I read one of Clayton’s poems from the book?

(Hands TERRY the book.)

TERRY

Sounds like a great idea to me.

(TERRY takes the book. TERRY and ROWAN walk to the front and center of the stage. TERRY opens the book to the correct page. The introduction to song #16, “If You Could Be Anybody”, plays as she talks to the audience.)

Clayton didn’t start writing poetry until he was an adult, but as with all of us, his way of looking at the world developed at an early age. Clayton still remembers a question he and his childhood friends pondered when they were very young. A common childhood question, that asks … if you could be anybody, who would that person be? Clayton remembers the way he answered this question, so many years ago, and he put his answer into this poem, entitled “If You Could Be Anybody”.

(TERRY starts to sing song #16, “If You Could Be Anybody”. Go to thepoet.org for audio recording.)

AS A CHILD I WAS ASKED A QUESTION DEEP

IF YOU COULD BE ANYBODY, WHO WOULD THAT PERSON BE

TERRY & ROWAN

I WAS WONDERING WHAT SHOULD I SAY

ARE YOU WONDERING WHAT DID I SAY

ROWAN

WOULD I BE A RICH MAN, MAYBE A MOVIE STAR

WOULD I BE MYSELF FOR YOU ARE WHO YOU ARE

TERRY & ROWAN

I WAS WONDERING WHAT SHOULD I SAY

ARE YOU WONDERING WHAT DID I SAY

(During a long break in the middle of the song, the entire CAST walks on stage, one at a time, from stage left and stage right. They stand with TERRY and ROWAN.)

CLAYTON

I CAME UP WITH AN ANSWER, ONE NOT QUITE AS DEEP

AND LIKE A LUNAR LANDING, I TOOK A GIANT LEAP

I SAID I’D BE MYSELF BUT WITH ONE MINOR CHANGE

I’D PONDER BETTER QUESTIONS TO OCCUPY MY DAY

CAST

I WAS WONDERING WHAT SHOULD I SAY

ARE YOU WONDERING WHAT DID I SAY

I WAS WONDERING WHAT SHOULD I SAY

(Curtain, end of musical.)

WARNING: All rights reserved. Unauthorized public performance, broadcasting, transmission, or copying, is a violation of applicable laws. This manuscript and the individual music compositions contained within are protected under the laws of the United States and other countries. Unauthorized duplication, distribution, or exhibition of the whole or of any part therein may result in civil liability and criminal prosecution.