E A C H T U R N
A radio drama series
Created by Episode #4
Bill Olson (c) 1995, Bill Olson
http://www.oocities.org/iconostar/film.htm
Listen to the complete radio drama on Video.Google.com:
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"PERENNIAL DREAMS"
By
Bill Olson
SIXTH DRAFT: April 30, 1995
(Revised: May 19, 1995, etc.)
__________________________________________________________
Based on "Perennial Dreams," a TV Pilot for Each Turn,
Created, Produced and Written by Bill Olson.
(Final Revised Shooting Draft
(fifth Draft): April 22, 1988.)
__________________________________________________________
ICONOSTAR PRODUCTIONS
Bill Olson
418 Marston Av.
Eau Claire, WI 54701
(715) 835-6446
__________________________________________________________
CAST
JEFF ADAMS – John Townsend
DEKE RILEY – Harry Kaiser
JULIE SHERMAN – Cindy Marche
STEVE ROVANG – Steve Bishoff
CAM WALLACE – Mike Kruchten
RALPH - Mike Kruchten
___________________________________________________________
The following play is basically a fantasy. The emphasis is on character, theme and language. The assertions made in this play about the theatre of New York City are based on discussions I once had with a professional actor, but no attempt has been made to research New York theatre to verify those claims, so the assertions made in this story may have no basis in reality.
ACT Ia
1 SOUND: CROWD NOISE OF ACTORS WAITING
FOR AUDITIONS (up
and under).
2 DEKE: Hey, Babe, how are ya?
3 JULIE: Well, if it isn't the playboy of the western
world.
4 DEKE: C'mon, Julie, we both know I'm the man of your
dreams.
5 JULIE: Yeah, Freddy Kruger.
6 DEKE: I knew you were a romantic at heart.
7 JULIE: Yeah, to the core, Deke.
8 DEKE: How 'bout dinner after the auditions?
9 JULIE: You know all the ploys, don't you?
10 DEKE: Ploys!
11 JULIE: It won't help you get the part your after.
12 DEKE: (Suggestive) And just which part is that?
13 JULIE: I really hope we're both talking about the
audition, Deke.
14 DEKE: I'm not here to audition, Julie. I just
thought I'd do you all a favor and add some
class to this place.
15 JULIE: Then you should make room for the real actors.
16 DEKE: Real actors don't have to audition. We get
called by the director.
17 JULIE: Real actors, Deke, get called into the boss's
office to find out if they're tired of waiting
tables.
18 DEKE: Tired! Why, I love waiting tables: it...
19 JULIE: Deke, you're here because you're tired of
waiting tables.
20 DEKE: Hey, waiting tables is an opportunity to meet
the people who inspire my performances. That's
the secret of my success, Babe, watching their
mannerisms, studying their speech patterns:
(Deke mimics the vocal mannerisms as he describes
them.)
21 The old man -- with -- the -- sta -- cca --
tto, the young business man who's self-assured
with a client, but insecure with his old man.
22 I'm studying my craft in that restaurant.
That's the secret of my success.
23 JULIE: The secret of your success, Deke, is that you
always show up for auditions when Steve Rovang
is directing.
24 DEKE: You mean Rovang's directing?
25 JULIE: Yes, Deke, Rovang's directing. And everyone
knows you just happened to move out here after
Rovang did. What's the matter, is New York too
big for you these days?
26 DEKE: Julie, you astonish me. I've been called...
27 JULIE: (Overlapping) Playing dumb is not something
you're good at, Deke. Perhaps you can brush up
on it at that restaurant where you work.
28 DEKE: Of course I'll brush up on it; I'm always
striving to improve my craft.
29 JULIE: And improve your chances by picking the sure
thing.
30 DEKE: Hey, Rovang knows a good actor when he sees
one -- and I trust his judgement of good
career moves; if Rovang thinks Minneapolis is
a better place to be this year than the Big
Apple, then maybe I should listen.
31 JULIE: For someone who talks so much, you sure talk a
lot about how much you listen, Deke.
32 DEKE: Then, listen to yourself, Julie: You didn't
waste any time having Cam Wallace hire Rovang
for this production.
33 JULIE: I'll admit it, Rovang's good. I'd like to
direct one day, and I can't see a better
person to learn from.
34 DEKE: So, we're both here for the same reason.
35 JULIE: Well, Deke, you came to the mountain,
(Proudly:) but I brought the mountain to me.
36 DEKE: So, if it isn't Mohammed. I've never met a
prophet before. (Beat) I wonder if Rovang
knows how people adore him.
37 JULIE: You don't adore Rovang; to you, he's just an
easy chance to get a role. I, on the other
hand, have studied his work for years. I'd
like to follow in his footsteps instead of
ride on his coattails.
38 DEKE: I feel insulted, Julie.
39 JULIE: Maybe you should just go over there and say
hello to him.
40 DEKE: I think I'll take your advise -- but not
because I wanna brown nose; we happen to be
good pals. (Going off) And don't forget about
our dinner date.
41 SOUND: CROWD NOISE UP MOMENTARILY. THEN
A DOOR OPENS.
LOW AND UNDER, AND IS MUFFLED BY THE DOOR.
ACT II a
42 DEKE: Hey, Steve, how --
43 ROVANG: Shhh -- I'm on the phone -- Dammit, Ralph, we
have almost three dozen actors here waiting
for auditions...
44 RALPH: (Filtered throughout) You should've thought of
that before, Rovang.
45 ROVANG: If you don't care about me, at least think
about the actors -- think about your own
reputation...
46 RALPH: My reputation hasn't a chance in Hell with you
taking serious material and perverting it into
some form of clown revue! I've worked hard to
cultivate a serious reputation --
47 ROVANG: -- And you do a fine job at it --
48 RALPH: -- But then you come along and make my play
into a self-parody --
49 ROVANG: -- Ralph, I'm a director, it's my job to
interpret plays. We all interpret them
differently, that's what makes it an art, the
uniqueness we each bring to it. You've been in
this business long enough to know that, I have --
50 RALPH: (Overlapping) Yes, I've been in this business
years. I've seen trends come and go, and I've
stayed consistent as an anchor of quality. And I --
51 ROVANG: Anchors can hold you from exploration and --
52 RALPH: (Overlapping) -- I experimented in my youth...
I think I've found what works, and if you...
53 ROVANG: (Overlapping) Come on, Ralph, would ya -- you
know this is a collaborative art form. Today
you criticize me, tomorrow it'll be the actors
for finding the wrong subtext.
54 RALPH: My subtext is my bread and butter, and the
slaughtering of it begins --
55 ROVANG: (Overlapping) No one slaughters your --
56 RALPH: I SAID, the "Slaughtering of it" begins with
the director. That's you, Rovang, and you can
forget it. I'm taking my script and I'm
heading to Chicago.
57 ROVANG: I've gotta do a show, Ralph; I'm under
contract, you're under contract.
58 RALPH: It's a contract ON my play!
59 ROVANG: It's a contract that lets me direct whether
you like what I'm doing or not.
60 RALPH: Then why all the whining?
61 ROVANG: Because the company's only script is in New
York! How am I going to audition actors
without the script? We planned this. This is a
hell of a time to pull out.
62 RALPH: Try having the actors read from the back of a
cereal box. The experimental aspect might
suite your style. Good bye, Rovang.
63 SOUND OF DIAL TONE, THEN PHONE HANGING UP.
64 DEKE: Hey, Rovang, how are ya?
65 ROVANG: Deke, why don't you go out and buy me a box of
cereal?
66 DEKE: A -- box -- of...
67 ROVANG: Never mind; it's a bad joke. I have to find
Julie.
68 TRANSITION: CROWD NOISE UP AND UNDER AS IN SOUND 1.
II b
69 JEFF: Even though it's only my second play, I'm
still proud of it.
70 JULIE: What's your name?
71 JEFF: Jeff Adams. I just moved here from Eau Claire,
Wisconsin.
72 JULIE: I'm Julie Sherman. Nice meeting you, however,
we don't even look at unsolicited material.
73 JEFF: That's all right, Deke had me show up just to
meet people.
74 JULIE: He did, huh?
75 JEFF: Yeah. We met at the Drama Lab. Did he say
you're the Assistant Director?
76 JULIE: I hope so, because I am.
77 JEFF: Who's the director?
78 JULIE: Steve Rovang. He's worked mostly in New York
City. He's really done some wonderful things
with theatre.
79 JEFF: I saw a lot of theatre in college. But I
can't afford the ticket prices now.
80 JULIE: Hollywood has helped ruin theatre: most
audiences don't want actors on a bare stage
wearing street clothes.
81 JEFF: That's too bad, Julie. I always thought the
script and the acting were the important
things.
82 JULIE: They should be. That's one of the things that
impressed me about Rovang, he chooses great
scripts, then develops innovative staging to
keep it fresh -- He can do a lot with a little
bit of money, though many producers WANT to
spend more -- you know, image and Hollywood.
But Rovang is the kind of director who will
keep theatre alive in a Hollywood age.
83 I have so much to learn from him: the way his
visions evolve -- How does a script inspire
him? How does he use his unique perspective on
life -- his personal experiences, his
philosophies, his pain and joy, his hopes and
desires...? Because that's really where you
have to begin: with what's inside of you --
84 JEFF: I'm interested in directing; and working with
actors has always been one of the --
85 ROVANG: (Overlapping, coming on mic) Julie -- Ralph
isn't coming!
86 JULIE: (Pause) What about the script?
87 ROVANG: I'll just have to drive to my office and pick
something up.
88 JULIE: But it'll take you forty minutes. Cattle calls
are bad enough on actors; if they have to wait
another forty minutes, we'll probably lose our
best candidates.
89 ROVANG: (Going off mic) Too bad, isn't it?
90 JULIE: Steve?
91 ROVANG: (Off) Blame Ralph.
92 JULIE: This guy -- Jeff -- has a script with him.
93 ROVANG: (Suspicious, coming on mic) Why do you have a
script with you?
94 JEFF: Well, I -- uh, well...
95 ROVANG: You thought we'd buy it, didn't you?
96 JULIE: Steve, just for the audition; it might be the
ticket --
97 ROVANG: (Overlapping) Dammit, Julie, we'll need a
release form; do you have a release form?
98 JULIE: Cam Wallace is upstairs. He'll have a release
form.
99 JEFF: I'm not too sure about this...
100 ROVANG: (Overlapping, detached) Shut up. Julie, you
wanna...
101 JEFF: (Overlapping) I don't even have it copyrighted.
102 ROVANG: (Frustrated) Nobody's going to steal the
damn thing from you...
103 JULIE: Jeff, we have actors waiting to get their
careers started.
104 JEFF: Hey, guys, I just showed up to watch. I'm not
responsible for people's careers...
105 ROVANG: (Overlapping) You're not here just to watch.
106 JEFF: But I'd just...
107 ROVANG: This is business, son. People are getting job
interviews; you don't watch job interviews.
108 JEFF: Well, I...
109 JULIE: Why not have Jeff audition, too?
110 ROVANG: (Pause; thinks Julie is going too far) All
right.
111 JEFF: But... but --
112 JULIE: I you wanna be a director one day, Jeff,
you'll need to understand the actor's
experience.
113 ROVANG: Perfect opportunity, Jeff.
114 JEFF: Well, um --
115 ROVANG: Give me your script. I'll look it over -- We
haven't much time.
116 JULIE: (Going off mic) I'll go talk with Cam Wallace.
117 ROVANG: (Going off mic) Let's move!
118 DEKE: (Pause, coming on mic) Hey, Wisconsin, glad
you could come.
119 JEFF: Deke, they're gonna use my script for the
audition, and they're having ME audition, too.
120 DEKE: You?(!) (Beat) Where's Rovang -- never mind, I
see him.
II c
121 DEKE: (Off mic) Hey, Rovang!
(Coming on mic) Hey, wait up...
122 ROVANG: I'm busy, Deke. Ralph is taking his script to
Chicago.
123 DEKE: So the guy has no professionalism.
124 ROVANG: The guy left me high and dry. Look, Deke, I
really don't have time for this: look at all
the actors waiting.
125 DEKE: Hey, the ones who skip out probably wouldn't
commit themselves anyway.
126 ROVANG: See you on stage, Deke.
127 DEKE: Hey, Rovang, what's all this about having Jeff
audition?
128 ROVANG: Jeff? Jeff who?
129 DEKE: That's his script you have.
130 ROVANG: Oh, him. I just needed to distract his
unwillingness to help us.
131 DEKE: So, you're not really taking his audition
seriously?
132 ROVANG: I take everyone's audition seriously.
133 DEKE: But, Rovang, he's not a committed actor --
he's probably just...
134 ROVANG: (Overlapping) It's a good idea,
Deke, so shut
up! (Going off mic) Now will you let me read
this damn thing?
135 CROWD SOUNDS FADE OUT.
II d
136 CAM: Julie, come in.
137 JULIE: Cam, we have a problem with Ralph; he refuses
to bring his script.
138 CAM: You mean we have a problem with Rovang. It's
been coming for a long time.
139 JULIE: Rovang's all right.
140 CAM: Julie, we can't afford to have Ralph
alienated. And Rovang seems to thrive off of
alienating playwrights like Ralph.
141 JULIE: I think Rovang has a good directing plan.
142 CAM: I've always liked Rovang's work, myself, but
we can't afford to have Ralph denounce this
show; too much money at stake. Where is Ralph?
143 JULIE: I don't know; Rovang phoned him.
144 CAM: You're gonna have to crack the whip on Rovang,
Julie.
145 JULIE: But I'm his assistant director, and I...
146 CAM: (Raising his voice) You're MY assistant
director. Titles aren't important here -- you
work for me -- you work for the company. When
a director comes in, you're his boss; you're
the liaison between him and me. If Rovang
can't woo back Ralph, you're gonna have to
fire him. Do you understand that?
147 JULIE: (Pause) Yes.
148 TRANSITIONAL MUSIC.
ACT III a
149 ROVANG: That was a hard night. I'm glad it's over.
150 JULIE: Steve...
151 ROVANG: For about an hour I thought I'd have to run
another night of auditions. But this town does
have some talent.
152 JULIE: Steve, I need to talk with you about Ralph.
153 ROVANG: I'm amazed he could be so unprofessional. He's
been a playwright for more than thirty years,
yet he has no notion of what the business
really is.
154 JULIE: Well, the business is about money: investments
and returns, and people who...
155 ROVANG: Julie, put Deke down for a call-back.
156 JULIE: (Beat) You're not casting him outright?
157 ROVANG: He's become too complacent. He just doesn't
have what he used to.
158 JULIE: Maybe you should talk to him about it.
159 ROVANG: You know Deke; he nods a lot and says yes a
lot, but you never really know if you're
getting through to him. Who's the guy with the
script we used tonight?
160 JULIE: Jon, or -- or... here it is, Jeff Adams.
161 ROVANG: Jeff Adams. That young man can't act any
better than he can write. Tell Deke I'm
looking to cast Jeff. That'll get him
thinking. I want Deke to feel really
threatened. He's in a tail spin, and I want
him to know it.
162 JULIE: OK. But I have to talk to you about Ralph.
163 ROVANG: Forget about Ralph. The man's out of my mind.
You just work on Deke. Move now... let me get
back to my office.
164 FOOTSTEPS FADE OUT.
165 JULIE: Please, Steve, you can't pass this off so
easily.
166 DOOR CLOSES.
167 JULIE: Steve? (Pause, then...)
168 TRANSITION MUSIC.
III b
169 DEKE: Hey, Julie, don't forget about our dinner
date.
170 JULIE: Of course not, Deke.
171 DEKE: Are you all right?
172 JULIE: I'm just a little preoccupied -- you know, a
new show, the drain of auditions, planning the
casting. By the way, is your friend, Jon,
still around?
173 DEKE: I don't know any Jon.
174 JULIE: The playwright -- whose script we used...
175 DEKE: (Overlapping) Jeff.
176 JULIE: Jeff.
177 DEKE: He's reading the job board. So anyway, I have
a nice place picked out. You like Italian?
178 JULIE: (Distracted) Oh, I love Italian. (Beat) Where
is he? ...Thought you said he was at the job
board.
179 DEKE: Who, Jon?
180 JULIE: You're terrible, Deke. Where is he, I wonder?
181 DEKE: As long as he's not here, we can talk behind
his back about how bad his script was.
182 JULIE: I feel sorry for him, he really thinks he's
the next David Mamet.
183 DEKE: The guy probably has no babes cuz he tried
writing them love letters.
184 JULIE: Just keep it between us. I don't want to hurt
his feelings. -- There he is -- Hey Jeff!
185 JEFF: Hi Julie.
186 JULIE: You wanna come out and have a bite with Deke
and me?
187 DEKE: (Under his breath) What the hell are you
doing?
188 JEFF: Sure. I'll just go to the bathroom first.
189 DEKE: (Pause) Thanks Julie. I thought we could just
have a little peaceful dinner without all...
190 JULIE: (Overlapping) I'm sorry, Deke, it was Rovang's
idea. He really likes the kid and wanted me to
get to know him better.
191 DEKE: What do you mean "really likes the kid"?
192 JULIE: His audition. Jeff may be a talentless writer,
but he's going places as an actor.
193 DEKE: So why the hell've I worked my ass off all
these years?
194 JULIE: Well, it's...
195 DEKE: What role's he up for?
196 JULIE: Same as yours.
197 DEKE: Sweet. That's really sweet. So now what, I
have to sit through a dinner with the guy, and
listen to you asking him about his life, and
what his favorite color is?
198 JULIE: You're on the call-back list, Deke.
199 DEKE: Rovang's never put me on a call-back list in
his life. I don't believe this.
200 JULIE: Deke, you could get the role. You'll just have
to work for it.
201 DEKE: You mean stand on my hind legs and speak?
202 JULIE: That's putting down a lot of hard-working
actors, a lot of people who don't have roles
lined up. You know, when Steve told me he
wasn't gonna cast you outright, I felt sorry
for you, but not anymore. You're a loser,
Deke. All you wanna do is hitch a ride. Think
about it. You have the talent to make it big.
But what do you do? You say, "Rovang will cast
me cuz he knows talent when he sees it." Now
your muscles are going soft.
203 JEFF: I'm ready, guys.
204 DEKE: All ready to go out and eat, huh, Wisconsin?
205 JULIE: Deke.
206 JEFF: Julie, could I get my script back, first?
207 JULIE: Sure, we'll go upstairs and get it.
208 DEKE: So, Jeff, I guess you feel pretty good --
saving the night with your script.
209 JEFF: I was glad I could help.
210 DEKE: Heard you thought they were gonna steal it
from you.
211 JULIE: Deke.
212 JEFF: Well, it happens, you know.
213 DEKE: No one's gonna steal it; I'm telling ya, no
one would want it --
214 JULIE: Deke! That's enough!
215 DEKE: Your dialog reads like headlines from a
tabloid.
216 JULIE: Don't mind him, Jeff.
217 DEKE: Don't mind me! -- Even Julie said it was crap.
218 JULIE: (Pause) Come on, Jeff, I'll give you back your
script. (Pause) Jeff? Jeff, come on.
219 DEKE: That's it, Wisconsin, go with ol' Freddie
Kruger there, but leave your dreams outside;
she'll crash your dream like a party, and turn
it into reality with a little mayhem.
220 JEFF: (Off) I suppose you would know, wouldn't you,
Deke?
221 SILENCE.
III c
222 FOOTSTEPS FADE IN.
223 JULIE: (Coming on mic) I'm sorry about that, Jeff.
224 JEFF: (Coming on, depressed) Just give me my script
and I'll go.
225 JULIE: (Pause, sympathetic) Here.
226 FOOTSTEPS LEAVING.
227 JULIE: Jeff. (Pause as FOOTSTEPS FADE OUT) Dammit.
228 KNOCKING.
229 JULIE: Steve? Are you still there?
230 ROVANG: Not for long; just getting my notes together.
231 JULIE: I have to talk to you.
232 ROVANG: Everybody does.
233 JULIE: You have to -- um... "woo" Ralph back into the
production.
234 ROVANG: Not a chance, Julie. The man thinks he owns
artistic license. I'm sorry, but he doesn't
own mine.
235 JULIE: He has a reputation, and a...
236 ROVANG: (Overlapping) I have a reputation, too. I had
three of the biggest shows on Broadway over
the last 10 years. I've received the best
reviews off-Broadway, and I think that gives
me some stature.
237 JULIE: Steve, you spoke earlier about what the
business is all about.
238 ROVANG: Is this going to take long, because I've gotta
go through these resumes and notes.
239 JULIE: I'm asking you -- I'm pleading with you -- do
not let your success leave you complacent.
240 ROVANG: I've never been complacent a day in my life. A
man doesn't rise to my level if he's
complacent.
241 JULIE: And where do you go from here? Huh? Do you go
up? There no longer is an "up" for you; you're
there. All you can do is go horizontally, like
from New York to Minneapolis, or you can go
down. Those are your choices.
242 ROVANG: And you think I'm going down? Well, one thing
I can do is teach new people coming into the
business. I can train you to take my place.
That's enough to keep me on my toes.
243 JULIE: But don't you see? You're not on your toes.
You're at the top; you can see over all the
trees; you don't need to stand on your toes.
But you're not watching the ground your
standing on, either. You're getting yourself
in trouble.
244 Steve, Cam Wallace wants Ralph on our side. He
needs him or the show will probably close
after opening night. You've gotta call him.
Please.
245 ROVANG: Now listen here, Julie, I'm not calling Ralph,
I'm not "wooing" him, I'm not apologizing, and
I'm not changing my artistic vision for the
show. I'm sick and tired of everybody bending
over to kiss his ass.
246 JULIE: Please, Steve, I...
247 ROVANG: I have a lot of work to do tonight...
248 JULIE: No you don't.
249 ROVANG: See this stack?
250 JULIE: Cam ordered me to fire you if you --
251 ROVANG: (Overlapping) Your my Assistant Director.
252 JULIE: I'm the company's Assistant Director.
253 ROVANG: Well I won't comply.
254 JULIE: (The hardest thing she's ever had to do:) Then
you're fired.
255 ROVANG: (Pause) I see. (Pause) Well. (Pause) Guess
that means... I'll be getting to bed early
tonight.
256 FOOTSTEPS LEAVING.
257 JULIE: (Quietly) At least one of us will.
258 TRANSITION MUSIC.
III d
259 DEKE: Hey, Rovang, I was waiting all last week for
your call-back, then I heard you're out of a
job.
260 ROVANG: It's happened before, Deke, it'll happen
again.
261 DEKE: Mmm.... (Beat) So, you headed back East?
262 ROVANG: No way. Art has split from the New York
theatre; it had to make room for glitz.
263 DEKE: Gimme glitz anytime. Damn Twin Cities -- can't
even get a cup of coffee after eleven at
night.
264 ROVANG: And that's another thing I don't like about
you --
265 DEKE: About me?
266 ROVANG: That's right. You're ready to kiss every ass
in New York -- just as long as New York is a
thousand miles east of you. (Beat) What is it
Deke? What's your secret?
267 DEKE: What do you mean... secret?
268 ROVANG: What're you running from?
269 DEKE: I just thought I could get my foot in
door easier in the Twin Cities.
270 ROVANG: Go back east; you don't need talent out there;
they cast by type.
271 DEKE: I have plenty of talent.
272 ROVANG: You don't think this place has anything going
for it. But I'll tell ya, it has a lot more
going for it than the Big Apple.
273 DEKE: You're wrong, Rovang. You're wrong, and you
know why? Because New York's a Mecca -- a
Mecca for every important playwright, actor,
director, and designer in the country.
274 ROVANG: It's a Mecca for every struggling failure who
thinks it's the land of opportunity. (Pause)
That's why you came here. You don't think you
can handle the competition.
275 DEKE: As a matter of fact, I... (Pause) Well, look
who's here to read the job board: if it isn't
Wisconsin.
276 DEKE: (Pause, then mimicking voices) Oh, hi, Deke,
how are you? -- I'm fine, thanks.
277 ROVANG: (Quietly, privately) He's not answering you,
Deke.
278 DEKE: Yeah, I guess I scared him a little with a
taste of the real world.
279 JEFF: (Off mic) I've tasted the real world long
before I ever met you, Deke. I suppose I've
even made a total fool of myself before I ever
met you, too --
280 DEKE: He thinks he made a total fool of himself.
281 JEFF: (Off mic) So what if I did? (Coming on mic) So
what if I wrote the worst script you've ever
seen? Everyone has to start somewhere. I
suppose I'm starting at the bottom -- So what!
That doesn't give you guys the right to...
to... to use me when you're... when you're up
the creek, then scuttle my feelings when I'm
used up.
282 DEKE: Hey, Rovang, he's the captain of a sinking
ship.
283 JEFF: So what, Deke? My ships have sunk before. I
bet yours have, too. But we're both too dumb
to quit.
284 DEKE: (Sarcastically) Oh, I wouldn't want you to
quit writing, Wisconsin.
285 JEFF: You don't get it, do ya? This isn't just about
me, it's about us. I heard you lost the part
you were trying for. But look there, you have
another audition notice on your lap.
286 DEKE: I know what goes on around here.
287 ROVANG: (Laughs) Deke is nobody's fool.
288 DEKE: (Serious -- doesn't like Rovang laughing at
him) Hey, Jeff -- I don't think a hick-town
bumpkin like you has a place in the big city.
289 JEFF: Oh, I'll go back to Eau Claire eventually; Eau
Claire has some advantages the bigger cities
don't have: it's more peaceful, less polluted
-- And the jerks stay in the city council
where they belong, so I don't have to deal
with them in the theatre.
290 DEKE: Yeah? Well up till now, I've avoided
auditioning for city councils... (beat) but I
can see they're my kind of people.
THE END