OTHER TIM-ES. OTHER PLACES Alb Original NM MM Drama 50! Television VIM for tho 009100.05 M. A. MICHIGAN STATE UNIVERSITY Thomas Liobig Turk I959 .m“ :1an -. ..-.. ‘8 ._ 1n}. {.3 z" p.730? ‘ 150'; | - ‘¢1 ‘t‘li‘fl i- r i "v .--*. as. \ 2" 2' n t .;L. I" mama _ I it «a. weak» guy I, a! ”I .I._ r95. . .. ‘x1;";Y'...'.:-_ T'.' 1 ti? 3 3.5 1“ ”iii“ .‘wfi Iii-J l ‘ '\ Ii ‘u‘-v WI"-.— —-—- MSU LIBRARIES m RETURNING MATERIALS: Place in book drop to remove this checkout from your record. FINES will be charged if book is returned after the date stamped below. G //7 f/r'" 0mm TIMES. OTHER PLACES in Original Hinety Minute Drone for Televieion By Thane Liebig Turk “I ABSTRACT Submitted to the College of Cmnioetion Arte Michigan State University in pertiel fulfillment of the requirements for the degree of MASTER OF ARTS Deputlent of Television, We, end File 1959 Wage 7,4. Era/e641 uz memo? 7mm 1mm run: Other TileeLOther Fleece 1e en origin]. firm for televi- eienoteoleninetynimteeinlength. Hhilethepleyiteelfieo! winery mm, the theeie inolndee e diemnion on the druetio ten for the theetre end for television. There ‘ie eleo e preteoe tothepieyendeeectiondevotedtoeoleottheprohlneteoedin the noted triting of the dune. Intheopening ohepterobeervetioneu-enedeonee-erele- tuneup- betweee the drastic torn for the theatre end for televi- eion, on the heeie of e eurvey or eeleoted litereture. Although televieieniemhyonnger thenthe theetre, themedinnorert tutiedevelopingnevoenoepteendepplyingoldereneeinmvm. rogeinebetternnderetendingotenyertrequireeeoleinveetign- tinntothetreditioneenrroundingitedevelopent. Where the “tuna, thepleyerightendtelevieionereoonoernedenohen inveetigetion been-oi even more important heme or the mount and tor'nee ”term. Iheneedtotilltineienotreeeonenoughtowriteedre- Ietio eoript, however. there mat be lone personal drive to expreee en idoe. Le e pley, 9th» fines. Other Places in en attempt to look into the future, hued on the proposition thet our peat deter- An theta-not Thane Liebig Turk ninee thepremtendtlne thepreeentdeternieeevhetourmture holde. In thie century-Mud”: developodnnclear weepone ee terrible that he is [need with poeeihle extinction. Other Time, Other Plecoe considers the poeeibility that hen rill heve to live with the horrorhehee ereeted. The etoryeleodeelevithnen'e emu-u intiming embeoki‘ron mama-mum mumm- wotlife. Bathere thereie ironybecenee there ienoebsolute. Dealing with such e theme neoeeeerily createe my problem been” it 1. en tun-mu- eubjoet. um. tro- ell eoientitie eon- eideretione endtheneedtorelete‘the thaeineaenenner, the mp1. a telling e believable etory ebont mm mp1. mu rueine ‘nppenoet tor. the pleyeright. 0mm TIHESLOTHB PLACES An Originel Ninety Minute Brae for Television 3! Thu-es Liebig Turk A THESIS Sublitted to the College or Gomunication Arts Hiohigan State University in pertiel fulfillnent of the requirements for the degree of EASTER OF ARTS Depertaent of Television, Radio, and Film 1959 ACKNOHLEDGMENTS The writer wishes to thank Dr. finger I. Bustield, Jr. and Professor Oliver H. Robinson for their underetending end generous essistenee .11. umorconms' “WSOOOOOOOOOOIOOOOOO CHAPTER I SOME WIIONSHD‘S am m MATH} FORK roe THE mum LED ’03 TELEVISION II PREFACETOTHBPIAI eeee III OTliE 'l'Il’I‘EISL OTHER PLACES . IV THKPROBLWOPERITIIIK} .. BIBLIOCBAPHI... ......... AUTOBIOGRAPHY........... .111- Page ii 28 32 89 9h 97 CHAPTER I SCI'IE RELATIONSHIPS BE’I’WEEN THE MEATIC FORK FOR THE THEAIRE.AND FOR TELEVISION nmm For thousands or years there was only one drastic eediln - the stage. During the twentieth century alone, however, three additional drastic nedie hsve developed. First sale the notion picture, then radio.' is the science of electronics progressed, the visual aspects of the lotion picture were 'Isrried' to the trans- siseion characteristics of radio. 'The physical linitatione or each of the . . e node has demanded that new techniques be created and nestered in order to relate a story dramatically to its fullest effect.“- 01 the three most drsnatic nedia, television seems lore closely related to the stage or theatre. is a matter or fact, one of the probl-s which raced television in its early years was the tendency for people to look upon television as an extension of the stage.2 Even though the possibilities of television are recognised 1Roger H. Bustield, Jr., The Plfiflféfihv' irt (New York: Harper and Brothers, Publishers, , p. . 2Richard Ihibbell, TelevisionM and Production (34 ed. revq New Iorkn Rinehart and ompsny, 0., 1956), p. 16. -2- to a greater extent today, much research and experinentetion needs tohewndertsksntodisoovernorei‘dllytheoharacteristiesofthe nsdiu. “theatendpointofdranatieforn, itwouldseuneces- seryteoonsidertherelationshipoftelevisiontothestage. me nethodofstndyingthisrelationshipwouldhetosurveyeelected literature concerning the drastic fan for television and theatre. fhiswoulduebleeeetediscernwhatverionswritcshevesaidin regard to the sieilarities and differences of the two Iedis. layperscnsegreewithflicherdflubhellthattelevisionis bees-ingenart. Ifthisisso,thenitwonldsessworthytcshsdy the conventions of television and to «sluete what has been done in order that sole p]... can be formulated for the future.3 Roger anfield says that each of the drastic nedis, including lotion pio- tnreeandrsdio,haspeceliartraitssndlinitstions. ‘A thorough howledgeofeechofthufizhedrmticeedia] isessentislinordsr to use then to their fullest effect.‘ Concerning the drastic fore, hosddsthst‘thetssheftellingaconpellingstoryabontvital peopleruainsenehsngedfro-eeeledimtoanotherfll‘ Itsho'aldbenotedthatesurveyoftelevisionudtheetre literature to detenine sieilsritiee and differences between the twoledisooeldonoeivablyreschrather large proportions. In 31514., p. 25. Minefield, o . cit., p. ix. -h- order to prevent an unmanageable situation, the literature surveyed in this work was 'seleoted.' The bases of selection were eade using the following criteria: (I) the literature available at Michigan State University and Dewa University, and (2) the literature re- eo-ended by other writers dealing with the drastic for: for tele- vision. Concerning the second basis of selection, the writer was guided primarily by the races-adations of Gerald Beckwith in that portion of his unpublished Master's thesis dealing with ”a review of the literature."5 Many of the books included were once which also proved valuable to other Michigan State graduate students writing creative theses in the 11.14 of speech.6 Sacrald c. Deekwith, u- Analysis of the Prcbl-s Involved in the Adaptation of August Strindberg's The Father for Television“ (unpublished. haster's thesis, Depertnent o1 Ema, Michigan State 0011.80, 195“). pp. 3‘6e 6Dewar-pert, 'TheProblels InvolvedintheTelevisicn Adaptation of Katherine sane Porter's Noon Hine' (unpublished nas- tc'e thesis, Depart-at ct Speech, magi-1&1» University, 1956). sum um am. 1.3.x. (am), 'An Adaptation of The Necklace for Television' (unpublished naster's thesis, Depart-m , Michigan State University, 1956). W Betweu the Theatre and Television Conventions Tradition 1. an inportant element intho theatre. If one seoepte the proposition that television drone has its roots in the theatre, along with action picture and radio drastic for-s, then itse-s propertogivesceeofuzebackgroundsurroundingthe tre- dition of the acetic for: as it concerns television. In doing this, it night be well to keep in mind that television drana's exis- tence is infinitesinal when one ruse-hers that dress for. the stage is as old as son's first crude attempts at social interaction in tribal society thousands of years ago.7 Sale roarks by Richard Hubbell hold at least part of the answer in getting to the basic dranatic relationship between tele- vision and theatre. Theeodern theater-oasweknowittoday-ocasein- to being during the Restoration in England. It sakes use of a lumber of I'theatricel" conventions, the acceptance of which is neoessary on the part of the audience. Every art has certain conventions which are acceptable to the public. In viewing a notion picture we accept as real the illusion of reality induced by moving shadows on a screen. Television, which gives promise of beconing a new art fore, has not yet produced any established and universally ac- cepted convutions and only a few satisfactory techniques. Perhaps this is a good thing, for it gives us a chance to evaluate what has been done so far and to do plenty of ad- vance planning and theorizing. This, plus the fast that our civilisation is highly receptive to not arts, should result in the early maturity of television. 7Busfiold, o . cit., pp. 1-3. Bunsen, op. cit., p. 25. Hubbell's cements contain several inplicaticns concerning television. The sodium is sentdonod es becooing a new art fora, although Bubboll scene to indicate that television has a good bit of ground to cover before itcan trulybe'acccptcdas an art. But nore inportsntly, he speaks of “conventione' which “—21 be acceptable tothspuhlio. Healsossyothatinevoryartthoroareoortainoon- venue-s whieh £3 acceptable to the public. In literary terns a convention is,.ia thegbroed sense, every- thing that hos cone before in literature which has set up certain attitudes within a writer which in turn influuoes his work. for es-plo, easy of the “lost generation' writers, such as Hemingway and team, were influenced by r. s. such? Eliot was influenced by the French syabolists and various aotsphysieions}lo who were in- flanoedby. . .esdsoferth,eloarbscktothebegisning. But whatdoossllthisaoaut ”Franodsi‘ergusson says, ifonois to understand the written play which cones down to the present it is assessarytotrytoregaintheperspectivesof'thenyth,oftho rituals,' the habits of thought and feeling which eonstitutod the ts‘oditicealwisdoeof theraoo. "The anslysisof theplayleeds to ananalysie of the mammvmw itwos for-edJn 9mm Gowley, Exile's Return (Cc-pass Books edition; How York: The Viking Press, 13%}, pp. 109 ollS. 1C’Idllisa Harlands Bernstein at al., The Reader's 9%.! to World Literature (New York: The Dryden Press, , p. . I J-1l"‘ranci.s Fergusscn, The Idea of a Theater (Princeton, new Jersey: Princeton University 5..., I959), p. 32. If the above is true for fiction, for the theatre, or for an individual play, then the general concept of convention night hold true for television, n_gj_t_ only a a. nediua, but also for the drsnatie for- canon to the oediu. In The Age of Television, Leo Bogart states that for any years the rise of television as a nediun was priearily technical.“ In recent years social influuoes have been at work which have helped asks television what it is today. The whole technological devolopont of the United sum is an influence which has brought about-anychangosinthoeconooyandintho typeoflifeinericans lead. smog the sony factors involved, says Begart, are lore educ- cstional opportunities, higher insole, and acre leisure tine. All those factors, along with the technological advances have created port of the television convention on a broad scale. Bogart gives one additional reasons for the rise of television in the following passage. Included are some iaplications oonccning the television audience, a subject which will be discussed later. The rise of the sass nedis cannot be explained sorely asaneffectofthegrowthof . . .leisuretine. There has also been a reciprocal effect. The sass nedia have th-selves spread popular awareness of what constitutes a good life. By asking the good life familiar, they have ends it possible (as well as desirable) for the great ass-- see of people. They have offered glinpses of a life apart fru work, a life more genteel or interesting than most of the audience knows firsthand, but one into which it can readily project its imagination. To varying degrees, people nodal til-solves after the idealised characters who figure 12Loo Bogart, The 3‘s of Television (New York: Frederick Ungsr fublishing 00., , chap. 1. iaflorfiladr-as,inaagaaineshertetoriesendin cigarette ads. The nass nedia have thus supported a sys- t- of values which encourages striving for greater sonic”- nant, which is expressed in more wealth and more leisure. What Bogart says in The e of Television shows. the inter- relationship of the broad television convention. Since television drua has grown up with the gonad traditions surrounding the nediu, thsdrsnatisfornisnatarallyapartof the total televisionocn- vention. However, the druatic fora is not native to television. The conventions which support drna today go back thousands of years.” Through the draaatic fort, television, as well as notion pictures andradio, has its backgroundfinlyrootsdon the stage. Thisis evidencedhythefaet that-supeople thoughtof televisionae an mam-gnu. earlyyearsof them.” ace-o: the first television dr-atie presentations were the result of put- tingeceaeraenastageorinatheatreandfolloeingtheeetion which test place. Tue were few atte-pts to write exclusively for television iathe earlyyearsof its develop-eat because writsrawerenstae- quinted with the noun.“ run: when television, as a vehicle for drana, began to be recognised for its potentialities the drastic nib-$2., pp. 6-7. 1"Busfielai, mil" pp. 1-1.. 15mm, mil... p. 16. 16mm 1.. Stuart, Writing for Television,‘ Radio and Televisiu Writing6 . flax Uylie (Rev. «1.3 New fork: Wand w’ “0.19), Ppe h85¢h36e productions, for thenost part, were cut-down venicns of ccnpara- tively wall-knell: plays. and, as a'reeult, *those who were preparing scripts were constantly being forced to maintain a structure largely oeafcraing to the theatrical pattcninwhich theplaywas originally writtm'u Smothefornofdraeatiearthas prinarilyeensdownto thepreeantthreughthetheatre, itwouldbewelltchegintonote s-eof thesililaritiesanddiffer-ess hetmendrmferthestage and m televisiea. ‘ The Draaatic Porn Paddy Cheyefsky has said that “it is not accurate to ccepare the hour television drama with a stage play. They are each distinco tiveinapproachandtechnique. mttheyarealikeinthedepthof theatrical thinking, and . . . a hit an. in constructionfila It is al-entary that the theatre and television are alike in that they both use the draaatic fore and dramatic auto-1.1.19 That in, both asdia goerally confers to Hilliaa Archer's definition of drastic as: 'iny representation of imaginary personages which is capable of 17mg“- Miner, I'Adepting the Story for Television, ' t and MW. e. 50), p. M’s “Paddy Cheyefsky, “Good Theatre in Television, - How to Write for Televieig'gsr. Hifiism I. mfnan (New fork: Hastings We e, . p. e J~9.‘3ta.-angely slough or perhaps not, very little of the lit- craters dealing with taluianm even considu's this and other can. Ion characteristics of the two nedia. a nejority of the authors of playwriting books do, hottever. ‘ interesting an average audience enabled in a theateer Although the television audience does not sit asouhlod in Archer's neaning of a theatre, it would so- that the definition is still valid for theyoungeraediun. Thofact that“ andthe stage alikeusethe dranatio ferns of tragedy or serious drua, nelodrana, caody ad farce also sons to indicate the validity of the definition. Themiawhiehthofonsesnbopresentedalsotiasin here. Television and the theatre both aploy representational and, occasionally, preontstional styles of production. The represuta- tional style a psi-arily “stage-centeredJa That a, the action is usually thought of as being confined within rather definite linits ofspaco, suchaoaroonoraoloaringinaforeet. Theaetion taking place on the theatre stage or the television 'stage" is thus firlly oriented with acne slant of the setting. host 'realistie' plays fall into this category. With the presentational style, how- ever, the plot and action is prinarily primarily based upon sole relationship of the porforaors to the audience},2 It is canon with thisstyloforthoactingareatobevagueandnotwoll-defined. ThoTVendtheatreversione ofOurTownaregoodoxanplesofthis leaner of presentation, as is the original television play The Org z”Willi- Arohsr, ,Platgagfi, A Hanual of Craftsnanship (low fork: Dcdd, Head and PW. 3147, p. RB. 2111. D. Alhright, HillianP. Balstead, and Leo Mitchell Principles of Theatre Art (New York: Boughton hifflin Conpeny, i955). Po 22mm. Nurse Said Nothing (W Novenbsr 26, 1959). Of course whichever of the two styles is used depeNs largely upon how the playwright conceives his work. ‘ he. the standpoint of the playwright, the play is written to be psrfornsd before an audience, regardless of style or presu- tation or whether it is for theatre or television. As Iasfiald has stated there are four drastic nsdia but only one chaotic writer. Thswriterforbsth tslevisissndthostagsnstbs Wait}: the essential slants of plot, characters, dialogue, these, scenic sffectssndrhythwthssisfsctorsAristotlosaidsverygosdplsy snot possess.” ATslevisioadr-sdcosnotalwayshaveabsginning,alid— dloandansnd, eventhouhAristotle said sveryplayshould have thl, too. Theflsorislesuallydoesncthavosplotnding. The television 'soriss' sons to one rather close to falling into the sale category. Structurally, there appear to be many TV drones which do not confers to Aristotle's idea. Herethen,oneeonsterttoseesoneofthsdifferueoebso tween the stage and television. The characteristics of the tele- vision nadiua begin to create sons new conventions. Chayefsky says, for instance, that his plays M and The nether represent the sort of aaterial that is best for television because: Thsybothdeslwith the worldof tho-undone, theor- 23Aristotls, “The Poetic," fluropean Theories of the Draaa ed. Barrett 3. Clark (Rev. ed.; New fork: Crown Publishers, 19-577: ’s 10s .12- dinary, and the unthsatrical. Tbs.sain.charaotera are typical, rather than exceptional; the situations are easily identifiable by the audience; and the relationships are as common as people. The essence of these two lies in their literal reality. I tried to write the dialogue as , if it had been wire-tapped. I tried to envision the scenes as if a ceasra had been focused upon the unsuspecting char- esters and had caught than in an untouchodwsonent of life. This sort.of ssticulous literalness is sonething that can.bo done in no other:nsdius. 0n the stage, reality is a highly synthesised thing. The closest thing to reality I ever saw on the stage was in Death of a.3alesnan, but even this extraordinary play involved a suicide and an in- cident in which the son discovers his father in a hotel roon with a woman other than his anther. Those are or- oellent.dranatic incidents, but they are not everyday'os- currences in the life of the lower middle class. In writing the stage play, it is necessary to contrive exciting.nonsnds of theater. Iou nay write about ordinary people, but the sudionceznees then.in unordinary and untypical circus- stances. These 'slico-ofdlife' plays, extra-es free which Cheyefsky scene to have charged, often have no rssolsenont or story endings. In.Cheyefsky‘s opinion .. at least in 1955 - this type is best suitod.for television. Thaw-adios, he says, “does not do its best with drones centered around a peak of tresendous crisis. Televi- sion.is best suited to everyday crises through which the sons depth of insight can be achieved, but without the assessive tboo.tricality."2S An argussnt can bonnada, however, for the proposition that the an- disncsmssy'not‘wiah to identify itself with the situations and the characters. But if what Cheyefsky'says is true, that television theatre ”ruddy Ghaysfsky, Television Plan (how forks Sinon and 30“”, 1955’s P0 173. 25m., pp. 126-127. needs nore 'tslevisisn drone in depth' such as m and The ”otherJ thsnperhapsanewoonvontionortraditionwillevolve, ifithas notalreadybogun todo so. 1th that anew attitude or tech- nique of understatensnt will be found which lends itself best for television. While one cannot say this with all certainty, there has been a strangely parallel situation which developed in the theatre. Anton Chekhov, with his sincere synpathy for the poor and the oppressed, founded a theatre tradition in the 1890's when he began to write, utilising a technique of understatnmt, always avoiding "the big scene.I Bis theses were handled with the utnost of sinplicity lid cars. This writer, and undoubtedly nest critics, is not ready to equate Cheyefshy with Chekhov. It is apparent, howovsr, that both playwrights have written realistically about the problns of their societies, criticising the: and pointing to the future. ‘ Both, too, reconsidered-cngthobestintheirarsasofwriting «(Chekhov for the stage, Chayefsky for television. Perhaps Ghayefsky was hin- sslf prophetic who be said; “The theater and all its sister aedius canonlybearafleotionof their tines, and the drenaof introspec- tion is the drua that the people want to see. It nay seen foolish to say, but television, the scorned stepchildofdrua,naywsllbs the basic theater of our century"?6 Despite this utterance, how- ever, Chsyafslry has written little or nothing for television in sore recent years, confining his efforts first on notion pictures, and new as the stage. 26mm0’ p. 220 Production Getting downto aoseof the-orenotieeebleareas of con- parison, thenextnadorstep afteraplayiswritteno—andsold-o is the preparation and the actual production of the drone. Playwright Bod Sea-ling says that the average hour-long tele- vision drana is in rehearsal for eight or nine days. "This leans a little ever a week alloted to reading, staging, blocking, line learning, snare, dress rehearsals and, finally, production. 0on- trestthiswithsnroedwayplaythatrunsonlytwieeaslongasits television eounterpart."27 a related noun, eonoerniu the presentation of television dress,is theillasioaefeeatinuousperforsaaes. Fora-ple, Beohwithsayn 'rhetelevisiosperforsanseofadreaaisoentinuous in nature, 1.0., it starts at a particular tile and runs without interruption through to its oupletionflza The evidence, however, wouldtendtosupporttheproposition thsttelevisiondralaisnot continuousinthesnewaythattheatredranais,evenif thenatural breaks between theatre acts are not considered as stopping the flow of action. Saying that "nothing is 'continuous' implies that tine is involved. The factor of tine introduces sole basic differences be- ; 4 1 27m sea-ling, mun-he (New fork: Bison and Schuster, 1957). Do To ”smith, o . cit., p. 11. Beckwith limit. his ststasnt to "live'l television ans, however, recognising that a filled re- production is not continuous in nature. .15. tweenthestageendtelevision. Onthestegsthelengthafaplay isalnosti-sterial. nthoughtwomdahalfhoursse-stobe the average, thereisnohardandfastraleeoneerninglsngfli. is a natter of fact, there are probably few long-run plays which take thesaeaaounteftinetoplayeaehnight. For the theatrepre- sntetionthereisfleribilitybothenthepartof theplsywright asheceneeiveehisplayandenthepartoftheactorswhoportray the characters. television, on the other hand, is ruled by tine. Writer Berlingnakes thefellewing ruarhs m this. . . . Innootherwritingfornis theauthorsofettered by the clock. The half-hour progren will sustain a story for only '2de ainutes. The hour program calls for a h3- to 50-minute play. It is unheard of that a legitimate playwright not write within so rigid and inflexible a tile frame. But the 1'7 writer nust. It is further erbi- trery that his play net 'hreak' twice in a half-hour shew andthreotinesinanhcurshowtoallowtinefortheeonu nereial nessages. Obviously, there are sole plays that will not in any circunstances lend thnselves to such an artificial stoppage. The "break” will hurt the flow, the eontdnuity aid the build but the “break' not cone, And what do you do about it??? Inreeallinghisintroduetiutotn-itingdraessferthefirst Wm, “ling says thathewasnistakenin thinking that ninety minutes would offer here flexibility than the shorter fer-s. mstwas hthedayswhafhmeWhadunyspusm, “findingtohaveatleesttwoccnneroials. Theresultwss 'a shopped-up osllectin' of twelve- and thirtaui-ninute dramatie seg- fits 'torn apart ad intruded upon by constantly recurring coher- 293erling, o . cit., p. 16. ~16- cials.'3° Thisisindirsct contrasttcthe theatre wheretheplay- wright has nuch nore freedo- of the. the stage play, of course, is not interrupted by connercial announc-ats between scenes or acts. ‘ Becusethereisnooonercialinflmceinthethsatre enactiythesaneasistelevision,thereisagreatdealnorefree- doninthschoiceofplayth-es. Islevisios,whichislinkedwith eussrcialisnhyneessaity,andthisoonoernsproduotion,naylose soneofits poeeihieqeelitieeduetotheeeoooeieooeeidaetiohe. because of the esonosie factors, sonstins caused by social pressures, it should not be surprising that conservatisn exists which tads to linitthewiderange of possible theme topics. seriiog,ihhiehoohpetterhe,teneehoutthetiaevhehhe wasealledintealterthsdislogueofapartieulsrdr-a. flewas eehed not to one the m uni-ion- or atoms but rather, "United :Ectstesa and 'fortwnate.‘ The reason? The mgr- was sponsored by a cigarette eel-pony which thought *heriean' and ”lucky" meted trim ore-dot Cigarettea.31 i sinilar iodide-t W Berling's plqfloonuWIrittenfortheflnitedStatsISteelflonr. In itseriginalforntheplsysenswhatfollcwedthei‘illnardercasein liasiuippi. towers-anypeople,5erlingwasshoohsdthatayeung legreboyshouldbekidnspedsndkilledbytwwhitsnsnwhowsre “emanated“sllohargessndprotectedbythetowninwhich ”We, p. 17o 311b1de. 9. 19s .17- the event took place: So I wrote a play in which ny antagonist was not Just a killer but a regional idea. It was the story of a little town banding together to protect its own against outside condemnation. it no point in the conception of my story was there a black-white iseun. The victin was an old Jew who ran a pawnshop. The killer was a neurotic nelcontent. . . . Philosophicdlylfeltthatlwasonsoundground. I felt that I was dealing with a sociological phenonsnon. . . .‘32 Priortoproduetion, however,wcrdgotaroundinthepress, erroneously, that the play was I"The story of the Till ease." Over - 15,000wiresandlettersfrnwhitecitisens councils pouredinpro- testiegtheplay. Salingwascalledintenshesenedhsngessothat publie relations would not be strained and a possible boycott averted. The South would rise again, without the help of steal. it any rate: Hyvictincmldnolongerbe anyoneas specifioas anold Jew.-Hewastobecalledsnunnanedforeignsr,andeven this was a concession to no, since the agency felt that there should not really be a suggestion of a ninority at all; this was too close to “the Till case. Further, it was suggestedthatthekillerinthecasewssnotapsychopath- ie saloontent «- Just a good, decent, inerican boy nuen~ tarily gone wrong.33 lothing ruubling anything "Bouthcn' could be used, says Ger-ling. Ev. bottles of Coca-Cola were taken off the set beense of “Southern oesnofltioss.‘ To this, Bed-ling writes; “Previously, Ihadslways assusd that Gokewas pretty-ache! anational drink ad eeuld new, in the farthest stretch of the inagination, be equatedwithhninygrits sndblack-eyedposs, buthas shownthe error of ny thisking."3" ”Ride. Pp. 20.21e 33Ihid., p. 22. 3“th. -l8- Theplaywrighteonditionsdtowritingfor the theatreisra- strietadbysonspreblens, however. heustthiskinterasofpc- nsnent scenes with an entire stage under the scrutiny of the sudienm at all tine-.35 This theatrical tradition is pretty well bound up withthe eenventions of the Prosceniun stage. The television 'stsga' isnerafluid, even though itoeoupies snorelisited space. Rudy Brats descibes the television stage as follows: It is along, eons-shaped area, wide at the back and tsperingtoapointatthacaneralens. Ifadiraotoroon- eeivesof thiseresashisstaga, hewillstageaotionis depth, nakim his inportant entrances and exits near the scaraoratthefarback. hewillslsoraenber that everytinehecutstosnothercsneraheisoraatinganaw gm,“ Theseus-shapedareaofthetelevisicnstegehess-elisi- tatienstoo. Itoreatasanarrowfialdofvisionasseenbytha marasflnhitinpossibletogatnorethanfourpaopleaetisg iaaseenetogethcendstillsaintsinthedesired'eloeeness'to thee-era. Dthestage,however,itispossiblatohavelarge erowdseenes andadd to the effect rather thandatraotfrnite ilaoeeneernisgthasiseoftheeast,msfieldsaysthat perhaps the nest frustrating lisitsticn to the dranatie writer are the-allustsdenudsdbyproductioncostssndthesisaofthe televisionstaga. Momsleodifficultiesinbeingahletoea- 35&igene Burr, IWriting on Air,'. Bow to Write for Televi- sion ed. Hilli-8 I. Kaufnan (Haw York; Hastings House, Where, a PO 2 0 363w Brats, Techni use of Television Production (New Iorki Hoarawenill Bock Gapany, 3&3), p. 29. .19- plate character develop-out because or tile lisitations.37 Han: other authors is the literature investigated voiced eisiler aunts. Baeoftheetherdifl'ermoeebemtelevisionaldthe stsga, fro the standpoint of production, at. fro. the electronic ad ncchsnical characteristics of '1". The ability to split the manhunt-ions eeenesatthae-a tisa,snohdevioeses the sum-posing at one picture on another, the Wipe,‘ the “dis- solva,‘I the nae of such special effects as esoke, rain, snow, Ilatched disulves,‘ and sen: other techniques are all possible with televi- tie-.33 It is interesting to note that lost or these techniques originated in notion picture production. In utilising the proce- dlres telsvisicnnniqnelydeveloped thci'ar beyond theiruseie notion W. Videotepeenahleseonplexscueetohaprceoordedandthen shoenattheaetnalpresntetionotthedronaisordertoaohieve effects which would he ispoesihle on the stage, or even on 'live' 11. the ability to tonne attention and to heighten action through rapid eeeers 'cnts' is another device which television has learned to use to its advantage. Rapid meats in the and space (“flash- backs“) are also possible with television. These are all part or the television oanvution, because they are not native to the stage. _ 37mm, 32. on... p. 207. 38mm Bettincer, Television 2% (Ne: Iork: Harper I“ Brothel, 19“?)g pp. “8.58e While thevisnalandmra'leluanteottslevisisnandtha theatre are conventions which mat he considered is the production of a dress, these ten sluts and other'ecnsidereticns also enact the vieupoint o: the audience. Since the object of the drastic fora, whether for IV or the etage, is tohe pet-toned hefcreas au- diensa, itaighthevellteoensidertheeluenteinregardtothe vie-versandlisteeers. Audience is sectioned earlier, the theatrical tradition is prisarily hoondnpviththeeonvutionsoi‘thel’rosoeninstege. Uhnattend- iuetheatrieelp'cdnoticn,eashotthaiadividnalseskin¢npthe aadienoaaxpactetositincnecreeveralhondredorthonsandcara- fullyaxrangedeaate. Freehisparticnlarplacaintheaoditcrinn thepatronvatchae theilitaticnotanactionthrongh'thatonrth Iall'vhichthaactors,intheaoresariouerorlsotdrana,isegine aeheingpartetthaset. Eachaesberottheaudicneeuotcheea single satonthe stage from aleingle positicnorpointotviev. 'thavariatioosinsovenentthnteachpereonseesiscansadhythe mtsct theactors. Inordor toranactortoprojeot theper- sonality of the character he portrays, he lost {one the fourth sell «snot tooreelistic situation, although vital andnaccseary for the sodium Booms scat theatre buildings are built to hold sore thesjutatevpatrona,anactoristacodviththoprchlanotwe- Jactin‘hischarectertonotchlytheminthafrontm,hutallo tothelaniatharaaretthetheatre. Thiegiveathaactcrlittle .2],- cheneatehaichtenhispartesotionally,eaythroo¢hata¢evhispars arfacialaxpreseions. rhetelevisisnaadienoeeatcheetheactioncfadrassinas .tirely different Inner. A person say sit in various positions heforethetelevisieasetishislimm,crvheraverthaset happenstohe,andstillaaintainthesanepointofrefcenae. hoe- ever,thepointofrefarme-thapietnreraprodneadenthetela- visiontuhe-ochengeenanytinae. fhisgiveemeillnsionofeaa- ingthemgr-fruvarioneangleecrvieepoists,allechieved throughthesovaentaftheeanarasetthepointcforigis. no affects,orpeintsofviee,aahievedaranan7. Thejchofthaaetor isladeaaaiaristhattheraienoahsolatefonrthvalltovhich heseetplaw. daughtmuatefanactor'ebcdynyheugnified ntelerisiaetoprojeetanuotionalraactienvhiohmldnevar emhenotieedonthestege. Aeinglevhispersayneaslarace televisicnthassanvlinasofdialogneinastagapresentstionat- t-pting to capture the some desired section. Theparfcuereiatelovision drama, hceavar, aresepsrated fro- their eadienee. Thus, the 'elactronio" give-motel“ betveea the east and the audience essential to legitisate theatre cannot “builtapthesale nyin television.” Anotherreaeonfor the lechof'closanese,'eotospeak,isthattelevieionissonoenlar issightandecnanralineonnd. Thisisa'cne-eyad'and'oneoeered' situation which lacks the three-dimensional perception coma to All 39W, no Cite. pa 28o 'thehneassystu. throuhMteehniedprcceflrae,inthe handlingoflights, caneras,endsoundlevels,sonaofthedefi. eienodes are eenpensated for to sons degree)“, however,asfluhhell It)": television is less effective than the avers” human ear-epccnhinationinthatitdoasnotyateeaandhear quite as clearly, eamot reproduce the suso degree of vis- ual definition and aural quality. . . . (h the other hand, the television eye and ear say eventually be capable of greater sensitivity than the hunter: eye and eat-”fie: he ahlatoseeandheareherahuanheingsoannot. Anothartelevisicndrashacthasheentheeonachruetiepio- tu-a,i.e.,thepictaraoethetnhehein¢shadeeef¢rewaadshite. Golatalevisiae,efeeerss,heetoe.eexteetrnevedthiedefioit fro-thaflledger. unravel-,nenatterhovsuehhcitelksahoet 'livingcolsrfthararuaininthetelevisiansetaelightlyesrved ssrfaeeofglaesthatisthepiatarehtha,reproduoisgan'isitetien cfasastion'origiaatingatapcinteuedistnoafroethelivinc meat. hatheetreproduetionthespectetorenonallyeeetheplay vithtuseyeeinfulleolaudheareithtsoaars. thisahility ofhineenlervisicnudbisauralheeringenahlesindiviuelstoper- eaive distuoeanddspth,tosee three-disensionally, and, also,“ 'fous' on sound to deter-ins the horisontel and vertical position cfitaecurce,asuellasitsdistancefronthelistener. This pcserofhmenetoperccivesightsandsoundsatfirsthandina hoIblde. ’0 18. 1‘1le" ’e 19o -23.. theatre sakes a naturalistic isage upon the stage possible. rhesudienaeitselfiscnacfthesost,ifnot_th_gncet,il- portentconoa'ssof tolevieionandthestre drains. Toward the begin- aisgetthieehepteetnereieaetet-eetbymeninvhiehhe sewsthstthasudineennstaceeptcertsinoonventions.“ lnthe “tramwtlmmexistwhichmmsptsbletothe ndienoebeeesseofthetrsditionssurroundingthethestriealevut. lssfieldsayet ‘ t the theatre audience is oonposcd of heterogeneous ele- lento honogenised into a group, welding together my types and levels of intelligence, and the unifying or honogenisiu force is the appeal to basic actions. The audience is not athenghtlesenob, thoughsssgroupitiesubjectto 'nob appeal,“ which is nuch different tron saying that as a group they are vithost intelligence.“ 2hetalevisionssdieeea,hcwever,doaenotseatcse.on greasdeedoaethathestreesdienoa. ' aestedsthueia-sllgrcupe, surroundadhythafcur walls of reality, and conccntrsting on s cull screen, thayarasuchcolderand, at the cane tine, mch sore observant and critical than audiences in the theater, in the noviehouse, or sitting before a radio set. Departure fr. logic rarely if ever eecapes tha. Not being “cap- t»iva,'I the audiences can. change the pictures before tha, wheninteraetlags, bysseroflickof the dial. Hotho- inginaersed,theyarefreefron 3thay are harder to love to tears or laughter. Gian-Carlo Hanotti, perhaps inerica's scat succcssful oper- stia caposu-librettist, agrees with the conditions under which the l‘28» page he UBusfield, op. cit., p. 52. “mini.- Bodapp, The Television Manual (New Iorki Farr-er, atraus and long, 1953), pp. 75176. .2“. television udiaece watches and listens, but he does not concur in Hillin Hcdspp‘s belief, stated above, that the television audience isnoreobeerventesdcritiealtbanthestramdienees. Mancttiaays that two-way ee-uniestion is of the uteoet inortanoe. he daplores tslev‘isionandsaysitisthean-yof the theatre, whiehrequires lore thought. 'Thestcshouldbescc-snialsete Thesudienea shcnlddrcss upfor itinsritnalwsymeveninggousforladiee, fulldressfor their escorts. Poi-1v, thayjuatsloparaundinthe living non.“5 Bogartalsenehasecnavsluablecbservstions scheming the television audience. Generally, he scene to indicate in his book thettelevisioewillnatbesble torisasnyhigherthanthau-itiaal standardsofthaandieneeallowitto. Televisionisapcpularart (Gilbert Seldee sells it a 2133: art, and explains euyhé), as dis- tinguished fron elite art, he says, although a great television dra- Is is 'srt'rby anydefinition, even though it is not typiosl of the so. of the suit-0e output.” ‘ shereas the elite audiunce tends. to be heavily concentrated in an urban, well educated, upper-insane lilieu, the popu- lar art audience is widely distributed and is character- ised by considerable diversity of life and styles, beliefs ' and tastese Because it has this diversified character, the public hSchumann-lo henotti quoted in I'fl-nedio - lewswesk Vole LII (February 23, 1959), p. 314. ' "‘"""'"" “Gilbert. Seldes, The Public Arts (New Icr’k: Simon and Schuster, 1956). kTW' .2. “to. De 20a .25- for popular art is relatively unconscious of itself as an audience. It lacks a cannon intellectual idion.by'which s given.art.forlmnsy'be experienced or Judged. Its stand- ards of value are less constant, lees definite, less in- tegratsd, less vocal and less critical than those of the elite art audience. Here again, our categories are not sntuslly'ezclusive. The ease peoplelnsy'participste in both spheres, but a given individual responds appropriately as the occasion.requires. He is apt to apply'a different standard of value when he looks at a picture in an art exhibit than when he looks ate-agasine covers on choose- OWe OOOOOOOOIOOOQIOIOOOOOOCIO...- Beeause its audience is larger and sore heterogeneous, popular art deploys theses and.syubols which are less coup plea than those of elite art. They'snst be intelligible ta s.lees sophisticated public. Thsynnust assune a less speeielised universe of discourse and a.lower level of in; terest than that which is offered by the elite sndienu eeee‘eeeeeeeaeeaeeaeeeeeaaeeee e . . Popular artois typically abearbed.st a.rathsr low level of attention. This is possible because it is rela— tively’sinple and easy to absorb, in keeping with the na- ture and tastes of its broad audience. Moreover, exposure to the popular arts often takes place under siren-stances when the audience is tired or when its interest is at least partly diverted in other directions. This is as it should be, since the audience turns to the popular arts is search of recrastion. The great values of outputxin the popular arts also tends to dieinish the intensity of experience it represents for the audience, since any’ene ids-closes its uni no interest in relation.to ahnultitude of sieiler its-s. All this would tend to show that the televisionxvieser'whe watches his eat.fros thirtyofive to forty'hoers per week is not very sensitive to what he sees. This leads sous people to believe that if the.eee watching television thirtyhfive hours plus, per week, bed __.4_ 1taxman, p. 21. “911.14., p. 23. mm“. p. 2b. -26- toputaquarterintehissetinsrdsrtowatchitforhalfanhoer eranhour,hewouldhealittlenorediscrininatin¢inhischoioe sips-agrees. Butif thereweretolltelevisien, itwouldhenore like the theatre. There is the possibility that if the theatre were . 'free'inthesesewaythatfl is, therewouldbelsss discrimina- ting theatregoers. Wmumnmtmmmmmmum stinlste each other. It sesns quite probable that seeing new personalities, or fuiliar ones, on television will stimulate a desire ts'see th- in the flesh. Television slso nay stimulate the theater for two other reasons: it is a new and power- m1 cultural nedin, and one cultural sodium usually stin- ulates mother. Secondly, I do not think that television and the stage are fonduentally in conercial competition with each other as are notion pictures and the theater-.51 Conclusion ' Hh-allthediffmandthesinilaritieshsveheendis- casesd,udthisshaprterhastriedtocoverscnecfthenajcrpoints, snestill-st ahitthattslevisionis televisionandthetheatre isthethsstre. hilstelsvision'sbsokgroundisrootedinthestlcs aflderivesnwef its slusstsfruthsthests'e, itisalsodevel- spin. rapidly as a anique fern of enterta:l.nllent.52 The stage, too, ”progressing, butperhaps notasdynanicallyas television. It is iota-eating to note in the literature surveyed for 51mm. 0 e Cite, D. 31s 52% Stashci'f and Rudy Brett, The Television Progn- (h Iorku ‘e ‘e Wyn, “Us, 199-). pe 25s -27- thisstudythatwhilethersarovaryingdogroosofuphasisplaced upon the areas of sinilarities and differences there is one point of shoot total agreonent of aphasia. Whether the writings con- sider only the theatre or only television, or both, practically all of the authors strongly feel that persons interested in becoming ' concerned with either of the aedia must understand the problene in- volved. This seam toheeepeciallytruewith regard to thodrans- tic writer. Hostofthemthorsdealingwithtelsvisicnsaytheythink it necessary for persons interested in the nediun to have me back- ground in theatre. To understand any art, however, requires sons investigation into its traditions and convention. It is toward a better under- standing of television, in particular, and the theatre, and their relationship to the dranatio fern, that this chapter is written. Perhaps through the reflectionofwhatnanyothora saycan cone-ore knowledge about the canon heritage of the drastic fora for tele- vision and the theatre. And, as Busfield says concerning the play- wright, while there are different drastic media, there is still one writerwhomsthaveathoroughknowledgeof mnediuninorder to use th- to their fullest effect in the telling of eta-polling stories about vital people. WE II rmac: 20 nu: ma: television, likeaungrynonster, devours creative sates-ill fastssthuitoanheproduesd. Beomseafthisgreatdenand,ade- nudthatu-iteresaunotneetwithnewnaterialalone, television, ndtelnisiendrusinparticular,hsshadtodependupcnadapta- tie-effiotienaaduponereativeworkwrittenandeditedforother nedia. Thissimatienhasservedtosparnanywriterstowardthe shallugeeftelevisieninattaptstohelpneetthedenandfornors material. theresaltisaratherunetahlesstofeomitions mmmuufltsflthssupplyisstfll-all. Onsofthe reasonsferthisssnditienisthatnsnywritersarsnctfauiliar withfisrequir-entsoftelevisionasanediuofoo-unieauon. Itseusenlyfitsndpropsrthetsaethinghedonetohelpallsviate emu... * lathsvesssofOthorrinesiOtherPlaces.anea-iginaltsle- visionplayotseneninetyninutes,quantitywasnotthem1yesn- sidcatdsn. rhswriterhopestheplaywillpossesssoneuu'itas apisesoflitasture. m,mummomcm,mpnmmmu tirstcfall,writingisahighlypersonalendeavor. Itcosesfrcn aneedtoemessscnothing,scneideawhichinthenindofthemthor -29- is so vital that it nest be shared with other people. mundisuslivinzinahighlyvelatileperiodofhistory, sonetinesknss-asthsitonioige. Thehead-lcngjupintethisnsu aqehashroughtlanyohviouschangestoandupmthsts. Perhapelessohviousistheanswertothequestiom 'Hheredoeezo fruheret' Other unopene- Placesisthiswritu's answer. It isbasedonf.8. Eliot's proposition-ostatednorefullyaspart oftheplay-othatifourpastcandeteruineourpresent,thenour weseatdetsaeinesou-future. Thisidesisnetatallnew. Infect,nasywritsreofhoth thepaetandthepresenthaveandarediscussinjthepsesihilities for the fame. levil ‘Shute's best-selling novel 0n the Beach deals withscnecirmstueesrnotelysinilartothoseefthisplay. here isaverybasiodifferonoe,however.... Although-annayhave ensfoet'onthsheash'asfarastheageofthethernonuolssrseapon isosnserned,thswaterswhichnayornaynotu¢ulfusndonstnao- essarilyhsvstedrownhin. Perhaps there is scathing nore vitalto be seen, if part of our world and culture can be stripped away. What do we find? The ugliness of life? The disillusionuent? the inhernt tragedy dmflu,boomsowdwdopeda'3mh'rathcthmmpeacdul atelis pursuits? The resultant couplets mural destruction? Perhaps. Buthownightitbeinfutaretiaeifthetragedyofaanis that he is domed to Liz: through nuclear destruction! Since an coatedthe 'Bonb'intinopsst, developediti‘urthorintinopre- .31.. sent, naybehewill havetolive with itintino future, but live insuchatsrriblewaythatdeathwouldbonoredesirable. Pips-ii isthecruellest south,“ says I. 8. Eliot, because, paradoxically, lifsccneswithAprilandtheapring. Thanergenceoflifeis beautiful,butitisalscthonostpainfulcfallpain. In the futuretherenaybenoipril. Buteveniftheresheuldbe,living night beccne the cruellest thing. A null portion of this play, the seed Ira which it grew, 1- based upon an original short, short story which the write created feuryearsago. Hovenintothisiaaaythandanattenpttsdepiet sue very real events fron history. Into the 'domtsry' category, frontbe19h5sceneinictll,fallsahappeninginvclving sue scientists. Although the non and the event, and the events to which they refer, were real, the drone is ny on conception of that which was acted. The farsighted predictions which alias: this particular section, and We 'report' itself, are a nutter of record. Beycndthis,theplaywillhavetostndenitsowndo¢rss of nerit. Excuses, anal-nations and further rationalisation will lets it no better. GWTB III 0er TIMES, OTBBR PLACES as: 1 wamorumounnsmmmmom mmncsorawmm. mmarmsaroas- muse m norm, nu cam 'rouows' m harm as I! nunsmmnaocxs annmms womanimsw. was cum swore ‘8 no rm ARE 3m ass-mo In THE um. um, new man rosaowavmxommwnammmn mmwwmaumwnoamum. cans- mz ammo m rm men we HATER HE 5mm EACH one mm: mum mom nor ms mum on HHICH HE em. mmmmmrmouamsmuaumnorm m 01.0 me am 1'0 RETRIEVE a swan! BENT, WISHED AND Dump rive-roar new. sun. A8 HE 8mm men: we GRIBPS m: erm- rou morn suprcer m cm w more moor it nus me 8013 - mnolm mos ABOUT me to news was ow, mm» In macs or 30003 more - sauxn IN A m: cm wear EDI. PRIOR 1'0 SPWIHG (m: am an suns SLOHLI monsoon:- smx rut), HE Loans mm: m a some a: men or run 3013. SILEN'ELI, Bur mrmsu, rm man 1113 our. .33- .31”. OLD“: Mybodyisweaknow. Ishallnotsoethefulluoon easy tines sore. (PAUSE) Soon, perhaps, ay head will be like the wild-ones who rose the forests. (on or IKE 3018 (ll-SP8) lo,no. . .itistrue. (PiUSE)1havesoonand known-anything . . .uaaystrange things. isdsvenif Idombeeuelike thewild-ones, thebreathwillsocn go out of us. lot 80!: (BUBSIIHG OUT WITH a CBUEL, MILES LAUGH) Ice, and ifitdoes nothsppensoonyouwillbeputcutof the tribe. Iveryonenustdosonethingtosupportthetribeo—evenone whowandorssndtollsstories, suchasyou. 2ndBOI: Icuaretoocldeventocatchthefishinthestroens. ALI. THE BOYS LAUGH EXCEPT THE THIRD ORE - 2H3 OHEIIIHEHIDDIS. HELDOKSA’I' THEOLDHANANDSAIS NOTHING. hth 30!: By father says the hands of the old ones shake so lush, that's why. ' The pole and line Jump around so much it scares the fish. 2nd 301: (mess) that about that, old man? (HOLDS UP HIS own LEFT HAND AND PUBPOSELI SHARES IT AS FAST A3 HE CAN) Is it like this? THE lot, 2116., um and 5th BOYS AGAIN was. 3rd BOX: (8301118) Quiet! (BE SUDDENLI GRASPS THE ammo AB)! ANDHANDOFTHRanBOI) Bequiet. Hoisold. But his membreughtwisdol. Hoknows the tales oflongagofron the old writings. I have heard it said. He coneoto our .35- peopletctellthetruth. 2mm. lhowit. lowlet no go! (HRPULIBAHLI) It'sfun teteasethooldenes. rheyaresoseriousendhard. latBox. (mnmawrasmmaoxsrw;rm, HO- I'IONS TO THE OLD w WHO HAS HATCHED All) LISTER!) IN 81-- LENCE) 8peahnow,oldcns,butbequioksothatwenaybe gonsbeforeitistinetogstherwcodformefires. THE 2nd AND hth BOYS SHIUKBR ‘1‘ THIS. OLD“: (MEAPAUSE) Iknowlhavs livsdlylifs. That iswhylnsttellyouwhatllearnedalcngtineagc... abeutthingsthathappenedevenlongbefcrethat,before thoGreatBursing. Measthetilewhenm was realhandsudresl_feet...andtherowcenowild-ones ilthefsrssts. Itisnot-o 2nd BOX: (MMUPTING) what? No wild-ones? that cannot be! M 80!: (BESHLI) Quiet! Let the wise one speak! GLEN: (MEASLIGHZ PAUSE) Hhatlsayis so. The old writing tell it. (PAUSE) In the other tines there were sowild-enesintheforests. Itisnottraenow. more _arensnywhodonothaverealhandsor_roalfeet. There are-anywhehaveheedslikethewild-ones. thatiswhy mmthechosencnes. fouarethedestinycfthistribe ...Justasotherslikeyouarethedsatinyoftheirtribes. (PAUSE) Perhaps itisasign, also. thereareasuanyof N yee...(POIHTBTOIHEBOIS)asarealhandcrarealfoot. .36- (HEWUPHISHLIDARDSPRWHISFIMESIOBHWIHAT HEMPIVE) 3rd 302. (mu HOHDEB) So it 1.: no... onofor sachofusl Hearenotlikeecnscfeurownpeople. Andyet,theyare notliksthewild-onos. Whatis itthatdidthis'! 112 aretherealcnes,wlrvarethecthereaetheymt hth Box; (INALOW AND QUIET VOICE) Yes. . . . Likely. . . hrotherandsistcrswcrs. new. thatyouaskandwhatyousayhasnnchtruth. But thatisnotwhatlnusttellyoubecsuseldonotkncwtho words‘why-ooratleast,sllofth.. Yousmstfirstlearn abouttheothcrtimesandotherplacoso-aboutllsndthe Great Burning. (PAUSE) Perhaps you yourselves will one dsyjomeyfarintothsoreatcirclecfneadPhoss-d learn more tron the old writings. lstBOI: rellusthetalesoflongago,oldnan. erantto hearthetalss. 3rdBOI: Be still. Ho‘willtellthetalesbesausewhat hesays ggths tales. Ihave heard my fathcrtollof the. they orchard, butthoysrethetalss. 0mm. (HODDIHG) Ies,theysrehard.... Theyaretruth ...sndnccneknswswhatallofth-nean. Icononly tonyouofthetinewhenlwasyounglikeyou...“ wiltllosrledinthenssdl’laoes. (PAUSE) Thisishow it was. (HRH WEBB?) Iswearitl (PAUSE) Hhenlwas .37- youngandhadnotsssnthefullnconnsnytinssncrethan you,thepeopleofnytribewsrerulsdbypiests. The mudgmummmownmrm werenenefpewer. (PAUSE) zgnandlanythingslcre o-Ididnotlesrn'tillator.... Ourpeopleo-all people-owerealwayeinfoar. Thu-awarenanythingsfer- hidd-bythepriosts.... Onlyflsmldtouohthe natal (was wrmmsm)- It a. the law! (was) Chlythspriestshnwaboutoldwriting. Theysaidthat theyslaecouldlearnoldwriting. Theyknewnanysecete. (PAUSE) they-adethehuntarsandthswmenandtheohil- drenhelieveallthingswerodonebychantsandspells. And the old ones of the tribe believed also. (PAUSE) But eventhen,asaboylikeyou,llearnedthetthepriests werenettreensnytiuoa. (PAUSS) thuahuntwas not right...sndthehuntersreturnedwithoutanyrealoaninal thepriestssaidthspeoplehadnadeasin. Ifahunter wasbadlylulrt'iathekillingcfareal-aninel...the priestesaidchantsevsrthowoundstestoptheruunisgef blood. Butyouyourselveshavobeentsuchtthatbloodis not stopped by chants. Iou know how it is done. (PAUSE) Mthingslhosrdcneewhenthepriestswmalone.(l’m83) Itwasthesuewiththecldwritingsaswiththestopping cfwounds. Indeed,thsoldwritingearohardandtahs a long tine to note out, but they are not for the priests alone. .33. This also you have learned. (PAUSE) at when I was a boy Iheardthewiestslaughingatthefesrthsyputintho people of the tribe. They talked of how they not keep the hatersandthoothersfrulouningseoouadanahat netalandhowthe-o 3rd 30!: (AUGRILI) Ahaal How false were the priests! OLDHAI: Isa, thatis true. (CAUTIOUIHG) But waitawhile. Itbcughtthesaneasyouatthetine.... Butlwesnct yetwiseinthewayecftheothertinesandetherplsses. Ididnetknowthatthofearnadebytheprieetswustrue for-anything» thatiswhatlnustalsotellyeu. the shoots and spells one false, but not always without reason. lhmmwisdsninthechntu... Hanypeopleevenin ny own tribe was not all real-people. (PAUSE) these things Ididnothcwwhulfirstheerdtheprieatslmghing.... masons W 1-0 scum or a cor, ABOUT 5mm, 7mm THROUGH some BUSHFB WATCHING THREE WHITE-ROBE m - THI PRIEI'S .. AB THE! STAND IN A CLEARING SURROUXDED HWBBITREEBAHDBUSHES. AIONEEHDOFTHEGLEARING IS A PRMTIVE STONE HUT WITH A MESS! THATGHEI ROOF. fill cam meat, an OLD-Locum rumor-nu, ls humus u a BHDIUOODHIABIIBI‘I‘HEDOCBHAIIOTHIHUT. lEANIHOAGAIHS‘l' on new 13 m am or HIS mmoaln, A 1mm emu woonniswr mamamusm. ruszndAHDBra PRIESTS, WWIOUNGERTHAHTHECHIEFPRIESTIHBOTH AGEAN'D .39- W,MLAUGRING. (IBEIARENOTHIARDUHTETHBSGM BBWAND‘I‘HEMHAIFINISHB SPEAKING.) THEBOI sum or manure was a mm TUHIG HHICH, It as WSTANDING,HWLDEXTEND WTTOHIS BIKES. 21131111110 IBIADEOOFAIIIALSIIHSAHDISWAROUNDTHIBOI'SHAIS! UIIHABELIALSOOPSKII. wwwuwwsmm OIAIIHALSKIHS. mm. (commute) 1mm: mger uwmmmu. (PAUSE) ltwasthenlsawth-dsfilethenetalwhichthoy alwayschsstsdcverbefcrethetribe. ”£821:de 18 SEE! ZHBOUIHGAROUIIDALUHIHUMBOOPIOTHE 3rd PRIEST.) It wasaRingeftheOods,theysaidinthechants. (mm masnmsmmonmasmmmmsrmmuocr OIHIBRIGHTW.) Isawfrcnwhetthoydidthatnotal nanotnagie. ‘fhewrdetheysaidwerefalse. (THEM or'rnsmscmnnan.) ' CHI]? PRIEST: (TURNING AROUHD FROM THE TABLE, HIE A DISGUS‘I‘ED LOOIOIHISPACE) Stop it! Susana-ight seeorhear you. in! PRIEST: (LAUGHING ALONG mu THE 2nd PRIEST) Ahaa, do not worry, fatherpriest. Ifcnecfthetribesees,wecnalwaye dcyit. We'llsaythepccrcneisafflictedwithasin. (PAUSE, IKE)! W) Or better yet! The arse of the wild-ones! manor. Isa! locnewoulddaredisputeourwords. And,if theydid...well...weoould,well,youknow,putthen~ 440- 3rd PRIEST! We could put th. out of the tribe! That's what I would do! CHIEF PRIEST; (III A BRIOUS TOUR AID was A! UNSHILING PACE) Liston! Andhssdwell. Therearensnyauong theyounger hunterswhcarsuctaequicktohelisve . . .whcarenot so quick to frighten. . . . 3rd PRIEST: (SW1 INDIGIIANT) Hell, the old ones are. cam PRIET: those young ones are wiser in their youth than nonvoldonesarewithallthoir years. 2nd PRIET: (Willa 1'0 TERMINATE THE LECTURE) Is it not tine forue tcgoandprepare theoerencnyofthehuntt 3rd PRIEST: (ALSO 3133130 1‘0 CHAIGE THE SUBJECT) Isa. Let us go. Usshouldhsgstting thehuntcs together now. CHIEF PRIBTI (CONTINUING DESPITE THE PLEAB) There is tile enough. I warn you again. Take hood of what I say. (PAUSE) rheoldwritiugs tellofmchdangeraftertheooningcf £3. ThsGreatBurningcsusednawthingstobefeared. If evens- “PRIEST: Heknowthat. Iouhavetcldusnsnytines. (TRI- 1m 10 mun THE CHIEF PRIE‘I) If the hunters progress in using natal and learn the old writings they will cause the Urn-eaten Burning to come again. GRIP PRIEST: That is truth. 2nd 1’31st But if even 2 cannot understand all of the dangers ofnetal. . . andtheaanyevilswhichthe oldwritings ~131- tollof. . . . Bowmthehntorssndthemandthe ' rest be expected to know! CHIEF PRIEST: They will not learn in our lifetiue. But scneday they will. (PAUSE) He can keep the wise ones fron learn- ing before then by keeping than in fear. 2nd PRIET: (ARGUIlG) Well, why not Just put the wise ones out? Tellthentogolsarnand. . .ssy. . . . Hell. . .(LAUGBS can!) porhaps they night not eons bash. That would prove alright. . . . (SUDDan) Andlhnenswhoughtbsths first to go! 3rd PRIEST: (A SUDDEN SHIN came TO HIS FACE ARTE A we no- ms or answer) Are you thinking cf-o 2nd Pm: (Al-80 81111.1an AID IODDIIA} UPIRHATIVEI) The boy- hunter, Tagul WWBAMNPCFTHIPAGIOFW so: PW THROUGH THE BUSHEB. m THE “PRES-$10)! OP SWRISEOHHIBFACETHWISHODOUBIASTOWTHEM PRIEST IS IAKING REFERENCE. CHIEF PRIEST: (HOT PAYING AN! ATTENTION TO THE LAST am 03' 1113 Th!) ASSISTANTS) wept that we need every hunter in the tribe . . . especiallythosewhoarenostrsal. The tribe not have then to survive. They lust stay. 3rd PRIEST: (00311031140 IRE CHIEF PRIET'S W) Well, Just what are you going to dot cum PRIEST: (33mm, am A mouse EXPRESSION) I have done 4,2- it! (PAUSE) “tor the shell reel-mind 1e offered to the Oodeintheeeruonyotthehmt,youwillhnowetwhet1 epeek. Andthetiewhyweeuetweitewhilebetoreweeell thehuutereendthereet. mmr. (smmnzsmn) ldonotpretendtounderetend you, butl thinkyouhed better- CHIEPRIET: (mmosm) Benet bothertothink. Indetoo such of thet ee it ie. (PAUSE) I know about the young hunter, rm. And the rut, eleo. Heed-yworde end nit. (PM) Atterthiedeytheyoungeeeewillthinkleee. Theywill havefeerputinthel...endtheywillbewieertorit. ... Andeewillyml mm, mum, news no: 18 snow]. nus rm mmoxlsomormsousr. Brennan (mmmummwrnmmmfim ramsr) Iocteinly hope theywillbewieer. mmr. (mmnmm) m1, eleo. can! anl'a One, that. He een uke our preperetioue betore itietieeforthe...(HESKILES)tiletm-thehuntre tebeeelledfortheoerenouyotthehunt. 3rd PRIEST: (nonmarmxmuoor) Uillyouneed the. . . (LAUGHS) Ring of the node, tether prieet? CHIEF rams. 130. Not thie tile. Just-y etei’t end the eeered duet. (mm mm as sums r0 mm was mm, rm 82098 All) TURNS AROUID) thee, but bring on extre large *3- portioeottheduetthietine. rnammmrmmumxmnmasw Flemminmruwmnnummmmosmmaow, ms movm m up, Loom u rm: comma omen! an mm m: HUT. 1330319231251. mrsrmmufinnxrunmmmr mommoauumrcrmonwoon. mm urmrummrmmmrnwrm W! rmismrmrnmrs. I mummunn‘nxssmmrmunuoon‘ mmmmmmmruox. m,uoamamouon m 303353 n10 m m. Aunt 33919353, Loon mom) Wmmmnnmmuwcmm,m run one rowan. wwwmnmmtamsngrmr mummnnwmmmrnn. 8331mm ormmmr,mmomsmoumwmmnm. u rxcxsvpesuu,rm rma4mmm,nmnmo _mmnmxurnmmmswrom. murmm minimum Irrmsmmmmsuwmxmum momnmmnwmmnmxmmm nunanuxcnxamnvmxaor. rmrmmrms wwrosnnnxsmum. unsrmmruxm nor am mm HE more up A snow sncx um cwuousu TURNS mrmzormovnmwm. um,nrmsnsmmoxs nmowmr,rms2mmroanxononmm um nnsm'rm,rmunvmomsnmx,mmAmuxm. .hh- nouaruonwxn. mnmwrmroucn nu: ma. um! ms 31mm, 30': PAUSFB Hum um. All men on so SHORT. run, a: suns AT 11 LIKE A rmson muss A: non to an n n ISHOT. no: HURT BI msmr men an mnxrucssumrmmon rammms 11mm rm ma 8mm]. swam. mm mum ms swam Ann nxswvmm AaAn um- 11' Is not sum as new UP mm mm. mamas ITIIBISHAID. roassvmmrsusswnm ran 03430: 312mm 22mm: ammo IT Down mm as wromrm. “mm mummuusn mmmnmmmmovnrommw HUT. umoxsnrasmnmummmwrm‘mm. ammo A woman spun mm A s'ronn ram um um ran suamz srur 5m. mm: new UP THE arm, non Wiruon summon rummm HEW in: arm am An mum moms max. mm nsum msnmumsormsron, nsoaAsrs THEHIDDLEOP m SEAN Ann Assam A m POSITION. n can rr 3mm wars to mums m mom Ann mums. an amen mmmnmwsuasnslsuornsm HATCHED, um um ovm to A LOG um ms sun or ms DEAD worm. mm ms arm rmmr, ms 301 was run swans POINT mus: m 1.00, 31mm 13mm THE mamas m was sworn or was MOVEMENTS. imam, mu sews BACK TO ABOUT rmmsnrmmrusmomwrsnx ummspm. 4‘s- msronsrom Home nrmmonxsuoammm msmrALLs romaawm. msoxamms ransom ANDINSPECTS Irnusmsmrorumoxtnm. one: THERE, an ammo mu ms 39m IN ONE HAND AND PICKS wmmurnmm. HOLDIHGDP THEHETALNEITTO mosrousromasmwmsmxmmsmm ANGLES. mmssvmmmrs atmoscxsxounrorsmmm AnD Booms to man In moms HOLDING was swoon to In: sun. um: m axon POINT mm, non man‘s m: m, on! mrmrmrtummromumwmmn nu- mummmmmmrmmwmsrmswrmm an! to. TIE was METAL Simon! to was WOOD. Locum QUIOIL! nouns, HEWCBATTHIAREI. SILIDGAROOIHIMOVBIO 21c: IT up, wmmummmrusmmmr THRBPEIR sun. THE GAMEDA MOVE Ill to snow was 301.3 HAND STRIKING m um um: THE STONE- DISSOLVL go swat-UP or A m's mums OLAPPIIG room was was um APPROXIMATE! ran sum numm non us USING T0 3mm ms METAL HITH ms ROCK. As was mm wusmcxmammmmmnorvommnmmwm BEGINS T0 Dmulsn. ran my BELONGING T0 was sums Is In: 2nd PRIEST. an, ALONG um was cum: PRIEST (HOLDING 1118 32m) AHD THE 3rd PRIET (HOLDING ms SHALL BOX), STANDS WAcncuuaPmovsocxsuourrmsmmmom um mm, Deanna Au ALLAH-LIKE STRUCTURE. ms 30%- 446- sMAPED It? or THE swoon swam: Home. A momma PIER AMOMG IRE Erma mans PILLIMG THE 1293531011. snmnaour Twm IEPRON'IGP mum A“ THE PIE: ARE THE PEOPLE OF THE TRIBE. THE! ARE PEM- rm In ram APPEARAMGI, rams AED mum. THE Downs, HEARING 'CLOTHE' or AIM suns 3mm TO uoms, sn- UITH Loos caossm NEAREST THE PRIBTS, Irma m FRONT Rom or m EIMIOIRGLE OP PEOPLE. Ar- THEIR sIDB ARE SPORE- TIPPED SPEARs AND A PER sous AMD smu-rxrrm ARROIB. Bl- EIMD m EUEIIRD (on THE FRIHGB) STAND rm: OLD mums, THE cam AND THE W. FOR THE MOST PART, THE LAr'rER GROUPsAREDREssmnDARxRORmAMDcLOIworRURuP-Lm EATER!” ' nu: 2nd PRIEST cuPs HIS m AGAIM, TWICE nus TIME, Aim ALL UMIEPEEIMG STOPS . CHIEF PRIEST; The the for the hunt ie here! ZDdPRlRST: Bring nowthewoodtor theburningl Preperethe ymgreel-enileleo thetweeeyteed the Godot the Hunt. CAUTIOUSLI, ONE OP m mums woos IE AM ARM- morsuumosmmcsm. POLLOMmmEPIRs'x-Eunn I Is A EDGOED mo GARRIEs A sAUEAGHMAPEIJ msm (CONTAINIHG A SMALL ANIMAL won SOUEALE occAOIORALLI). THE CHIEF PRIEST MOPIOMsPORI-Esmsumms ros'rAMDORmEmsmEOPI-RE muss FIRE. mm A MOMEMPs PAUSE RE RAIsEs bus was EIGR III In: AIR, STILL HOLDING THE ORNATE STAFF. Arm ROLE- 4(7- IEG THIS POSIIIOE FOR SOME SEOOEDS, RE sums. CHIEF m1: Beer u,eh00do£ the Hunt! Heeruel (PAUSE) Aewenekeourelellburningtoryou. . .endeendupthie real-ninl to you . . . hear ue! (PAUSE, DURING WHICH TAGU IS SEEN ‘3 IE STANDBJUITH THE METAL-TIPPED SPEAK HAL? HIWEN BEHIND 5013 88535 1'0 THE Rm 0? THE P313135) We eat that youleedou'huntcetolnyreel-eninlel (PAUSE) u. eel: thetyoueeedthewindeeothettheywillnothnowtheeo-ing «momma (PAUSE) Heeekthetyouhelptheeilot thebuntere. . .endeeketheirepeereeherpeoeetokill quickly! THBPRIESIMHESHISABI‘EAHDHODBTOTHI 2nd PRIEST. THE LATHE m THE HUHTR WITH THE HINDI-DIG BI- BIID THE STONE FMMCE AHD 3mm 1'0 WWI FUCK THE DRAMGEESOAIEEOOAISOPIEEDIIMGPIRE. HHILETHISIS. BEING DONE, THE cam PRIESI MOTIONS T0 m Gram PRIBT. mmmisr,srmsmmmoox,wmmnumm WENTPBCHID‘PRIEBT, WILKES THEWA‘IE sun WITH HIS FREE HANDAS THEUIOm BASKET 13 ”Ema! 1‘0 THE PRIET. Arm THE 21):! PRIEST FINISHE BUILDING or ran Pm, {RETUOHUBTES RETIRE. THEl'HRBBPRIBTS THEN‘HUDDLETO- Gum, HIPS THEIR OASIS TO THE mIDE. HEILE THE CHIEF PRIEST HOLDS THE BASKET THE 2nd. PRIEST TAKES THE ,LID OFF mooxnmsrrunzrommr,GRADSAEAanLOPIREPow. DE,8WITOVERTHEBABKET,REPLACE IEELID AND 4‘8- um THE HOOD IND DSTIL STAPP. THE THREE ASSUME THEIR mm POSITIODS (HITS THE CHIEF PRIEST IN THE HIDDLD, DS- HIND THE STONE STRUCTURE). Ann I PAUSE, DURING men ALL HSISPmIm STOPS, THE CHIEF PRIEST LIFTS 1113 me an m norm mm Drum. CHIEF PRIEST. (SHOOTING) Bur us, oh God or the Hunt! Hear ul (PLUGS) Look with ram- on tho 1mm: Hako their Spartan-p. . . . Helpth-unhvoll. . . (18 H3 ms Tami wanS, Tun DDNTPDS AND THE RE! 0551’ AND Ln OUT A PEN STARTED GRIDS. THE REASON IS THAT TACO HA3 COKE OUT mummmmmsrmnrwsamr STEPS mm or TDD mm,“ HOLDING THE SPLIP. THE PBIES‘I‘S m um IMO]: E! m DISTURBANCB mou THE PEOPLE. FAILING 1:0 mm- STADD THE Susan POP THC SLIGHT IDTPDPDPTIOD, THE cum PRIEST COITmISS 80am: DILTIDOLI). u, m . . . :- ”Mm,m,mnphm,u~ I MU: (MWUPTIHG IN A FIR}! VOICE) Words will not Ink. the W of flu but». nor. amp! m mm mm Tums APOCID QUICILI. THE! m mmuxsm. Tax cam P3151 mOPS TDD BASKET HE HOLDS. 2nd PRIEST: You! in! PRIB‘I': mt tho.- m0: (POIITIDG To Tax SPCA: POINT LS HE nus DP TO THE PDIDSTS) liar. 1. whit Btu tho spur. nor. Sharp, father print! (RAISIIIG HIS VOICL) Look ham Hm I: aim. we; the 4&9- Oponro sharp! It In natal! Haul! (PAUSE) Do you no? (PAUSE) mm: Do you no the point of the apart It in tho forbidden lot-1| Look at it! an PRIEST: (W 13.! MIC) A an. on you! Tho 000 I111 can. u :11! only PRIEST: (mum SOME OP HIS OOHPOSURE) Give a the box or povdml Quickly! am it to not THE M PRIE‘I‘ IS FROZEN IN ASTONISEMENT AID FEAR. THE CHIEF FRIES! (A8 uGu SPEAKS) cam THE 301 mm m 011110111130 m5? 0! THE 31“! PRIET. IAGUI (mnemonmnomuuumosmos‘mxmm ILLS) Lookhml Imohddthoutlll Tamera» mat-tau! [Mama-um! CHIEF PRIEST: (film 1'0 RESTORE OBOE AND 3mm: CONTROL OF TDD SITDATIOD) nap mu m. m » quot! Stop and ILL-tubal Whomotflnmuul mm m of tho God-l TAGU: (THE PDOPLL PART AND KEEP SOME DISTINCI A8 an cam UP Tu Tu) The mm in strong and aha-pt (PLDSL) Hum Ailing! Imluhavmthntflnponubotm. I in. (on. It. melt and ban «on! (LOOKS AROUND) If :11 output-mutating . . .nmuldunnotrmblo nun; the rod-and” CHIEF PRIBTC (SHOOTING AT THE TOP OF HIS VOICE) Stop" Tu- wank-am: IcallantboOodfl (HEIROPSAHAHDFUL ~50- OF POWER INTO THE FIRE, GAUSIHO A GREAT CLOUD OP SMOKE TO BURST FORTH) Tho Gods will sond noooongors! Tho: will cons and ourso tho boy-hunter! THE SUDDEI LOTION BI THE CHIEF PRIEST OHLI SENS TO FURTHER CORPUSB THE PEOPLE. TAGUT It is oniy o trick! Tho snoko does not chango tho notoI! (HE GRASPS THE HETAL POINT OF THE 3PM) look! hon now I touch tho lotol! Hotsl is not for tho prioots slono! (HE SEE A STONE-TIPPHD ARROW OR THE GROUND, HAVING "LLB DURING THE LICITHENT, AHD PICKS IT UP) Hith tho ootol on on! spurs ad on thou- CHIEF PRIEST: (WOPPIHO ANOTHER HANDFUL OF POHDE INTO THE FIRE) Holdhill Holdthohoy-hmtor! HoldhinsothoGodslsy moment-goon“! Schubrokaumm: TAGU: (LAUGHING) what. In tho Inn (To THE PDOPLI) Hhst .1; tho 1m Who mos tho In? (TURNING TO THE PRESTO) Show tho hunters tho Ring of tho Gods, priests! Show tho- whst you no it for! I hm soon. I know. (OHOE m TO THB PEOPLE) Thoroisnolutronthsoods! Thmoronooods to bring Vongmoo! Tho priosts nods tho loss and tho: oro tolsol CHIH' PRIET: Hood Iy lords! (HI mPTIES THE REST OF THE POWER I)! THE BOX INTO THE Pm, wITG THE sum RESULTS AS BEFORE) Tho oosoongors of tho Godo oro caning! Tho: sro noor! Stop snd liston! Liston unto tho hills! -9. non. rho priooto orotolool Thoromhooodo town-hull touch tho notol for moolvool I hovo dono It! I do it now: Nothing tampons; (man) It in cold! It could not um burning! Burning ukoo hoot! (nun) Soo tu- your- ooIvoot Hotoltoooldnh thovotorvhoro Itooloooot o: rook! ' CHIEF PRIEST: (WITH A GRIH SMILE) Ioo, ooo for you-oh“! But hark to tho God" non: Mo on no Godot Ion oro “In, print" CHIEF PRIEST: (SHOWS) Hot-hon to whot I any! Linto- nnto tho hill-l Tho God- oro collingl mu. rum u nothing. can? Pnusra mm! (PAUSE) No no who and you an hour: rho Godo tho-«Ivo- oro coding thou- moonzml Liston! THE NOISE BEGIHS 1‘0 SUBSIDE. mm SEVERAL ID. was In: now: am QUIET, amen new mass norm. CHIEF m1. quot and you ohon hurl mmmmmnsmcnrmIrmmma. mnur, OFF IH mnmnmnmmrmmm m 0! A CONCH sum. 13111932. THE PEOPLE GAS? AND ARE MILD B! m BOISE. TH! SMILE BEGINS 1'0 LEAVE TAGU'S PACE. CRIB P8151: (AGAIH TRYING TO STILL THE PEOPLE) Bo quot and mm MIRAFEHWENTSTHIDISMSOUHDISWD -52- 2nd PRIEST: (QUIEI'LI 1‘0 THE can: Pan-Br, 30'! um! mama) What is it? What in linking tho oound‘l cam m7. (33mm, A8 as 3223 m autumn Is om m UHDERHIBCOHIBOL) Itoldyouthotthomoooomld hovo tou- pot in than thin doy. Did you not holim no? tax Pimu 3mm 1'0 cmsoa FOR so»: IIPLLAAIIOI commune ram nu. 3m mm, m now, on: uoumaomm. morruzmmsummcn IHBGHIE? PRIEST. 21mm. (POI-Inn to non) Horo is a. ono to bit-no, tothoo priootl 2nd HUME: that will hoppoh to no! cHIEPPaIIsn (ummmwm) noun-I (email-o umu)rhquctmpr1ut-u tum Buttha'oio oilhooolooot thohor-hunml Thoaodooro may! they oood thoir nouonzml (PAUSE) Ion In). no th- ms (PAUSE) tho: bring tho truth! ' (PAUSE) rho: oro tho follow: at thorruthl Thoyoron-oltho Godol In: PEOPLE GASP Ann mm mm PEAR. ram: Is 3306: AND PM on news PAGE. I)! THE DISTANCE THE SOUND armeoucamnnnnmuwr OMIPAINILIAaovnm , mm or THE PEOPLE. 2.422 9.02- .53- A0111 {Loggerhdmxmmotumnmmom muummmmwammmormwnm(mon ASINOPnImscmorAcII). nmmcxaaounnmom mmnnnnoouaum. 31-4301; (oomaovmrounmlmsmmlsanrm) Horo,o1d 009.... Drihhthoooolvotor. mmmaoxsmms‘rwswmrtmmm mmrumm. mkusoxwrumrsmou m that. m om m mums THE um WI, Bu: 511mm: GOUGHBOUGBm. macarorflmmsmomsroam warm msrmnmouusmm mmrINIsum m m AID animus norm SPASH, a: PAUSE to PM! unmosm. AILEIGPPI mammxmmrmrosl- uonsnmonormmm. 0mm. (mlmmmsrdnozmmnomommrosn m) Tho ”on in gm. (PAUSE) I a on right not. 3rd 30!. (SITTING DOW) Ioo’mt toko bottor mo of wool! udutgotoooxoitod.... honor; Hmmroonyuotroidooyonm IotBOII HWnoioouofu-uqlikomm,itum1doot lob-4m: 0mm; (LITERAHOHEHT) Inoofroid. Tho twouoboomo Ibogntoooowhotlhodjutdono. loonohoddorodto .5)... tolktothopriootointhotwo Anson-"comm and lodo no toolioh. (PAUSE) rho priooto voro toloo, but thoy mo not liko tho wild-on“. hth son But it tho priooto woo-o toloo, how mo tho: oblo to oollthoGodotooondthoiI-noooongorot nonhuman tho'ronorooi‘tho'rroth. lot 30!: In. Ear did tho: do thot, if thoy woro toloo? Toll no, old ono. Ho- wold- 3rd 501: (IH'I‘EBPOSIHG) Ho will toll it it you will hoop otill. GLOW: (MEAPAUSE) Thachmliriutmkodofluyto pottoorinthoooaodidnottollovhio. Iliotooodto mmittrnlyhidingpuoohotorothomottho untooohutowauoodidnotlotnoknwotuhothoopoko. Iooonotoiooyot,ovutouoitohduotoh. (PAUSE) Tho ohiotwioothuthorollorootthotrothmtooao, botIdidhothnov. rhoymldhovoooloithodnotooid Gloom-d. (PAUSE) Hhoro I hod thought molt hrovo, I no toolioh. Worthioloolotoknowmhtoor. Iuoo omthohuntoromldkiu-oirhyooooohoooothopriooto oodthoooooougoroorthoaododidoot.... nIssom 39 THE 5cm 0P m 01.1mm ma THE BTONEPIBEIAGE. IAGUISSEEHAFEHPEETFHOHIHESTRUO- WGWBISEVHIALHUNTBBS. IHECHIEPPHIESTISHO- m II SIGHT. HUGH DISOHDEB PREVAILS IN THE SCENE. THE MAID}!!! PRIESTS SEEK ALMOSTAS 0091511851) A8 HEIONE o. .55. ESE. DURIHG THE DISSOLVE THE OLD HAN GOHIIEUES TALKING. OLDHAEI Hhilo tho hnntoroondthoroototthopooplonitod, ondoloothoothortlopriooto,thoohiotpwioothodtho mp0phoo...ohoo,...omngroII-oov,oom novknovit. rhnhotookthobootportoondvonttotako th. to tho Iona-o of tho froth. (PAUSE) Artor o Iittlo tino,thoohiofpriootroturnod.... THEGHIEPPRIESTISSWGOHIIGIHTOTHE CLEAR- Ina,aPPosnntAou. GHIEPPEIE‘I': (IRIIEG‘I‘OHAIEHMW HEARD) Hoko roodyl rho rolloro ofthotnthorohoro! AS THE PHI-E QUIET DOW WI, THE CRIB PRIEST mmmnmmmmnmrmmn: LEAVE mocha. SUEDEIILI, THESOUHDGPIHEGOICHWETIS AGAIIEEAED,VHIIIEAE. WARSAPEUPEAEFULGRIESM SHEPECOIJ,WIWIIHEIOISEOP1’HEHUHTRS, m mummcamnsmmm. W,THEPWLEEE- TEEAIIOTHEIJGBOPTHEGLEAEIIG. MEISASHOUIASIHEFIES‘ITHIBOPTHE‘IEUTH mmmmm. HEIBANOLDBEARDEDWWOHOBBLB WADLEAISOEAWGHTHE‘IALSTAFPPORSUPPG’IAS HEEALIS. WWISAVBIIOUEGHAILEADINGANOTHE OLDHAH, QUI‘I‘EBALD, WOGAEBIESTHEGOHCH. THETHREEAP- PEGAGH IRE m PEIES‘IS mo STAND B! THE STONE FIREPLACE. MMPRIETWUITHABUNDLEOFROUGHGIDTHHHICH -56- HEUWANDWOI THEOROUHDINFROHTOFTHIFIHE. In SPITE or m HUHTmS GUARDIHG HIM, non smms UP AND REDARDS THE 1mm 01" THE THUTH WITH THE SARI CURT- OSITT A8 THE REST OF THE TRIBE. TAGU: (TO ONE as THE HUNTES GUARDIHG HIM) How con they ho from tho God- whu they look 11k. rod-people? HUNTER: The way: of tho Gods oro atrium VOICES: (VARIOUS COMMENTS FROM THE CHORD) Look how old that. boa-o. . . . Thoymthovoryvioo. . . . Thoytolk uly with tho whats. Can only tho priooto undorotond that THE PRIESTS AND THE THLERS OF THE TRUTH, WHO HAVE BEEN TALKIHG QUIETL! AHOHG THESEVHB SINCE MEETING 3! THE FIREPLACE, TURN AND LOCI BRIEFLI AT TAGU. AS THE ‘OOHPEH- KNOB“ mas, THE M mums,- THRIR YOUNG ASSISTANT, THE 21:11 AND 3111 PRIETS ALL 51! DOW OI THE ROUGH 0mm. THE CHE? PRIEST, STANDING IN FRONT 01' THE SKATE GROUP, HOTIOB rm THE PEDPLE OF THE THE! 1'0 SETTLE DOW AID BE QUIET. CHIEF PRIEST: sumo! (PAUSE) Bo afloat. Ian on boron tho T811... at tho Truth. (muss A3 we me: am gum. THEN, LOCKING AT TAG") Show: n- hon brought to our tribo - oh. and on. . . . TAGU: “NEW 3! THE SITUATION AND THE DIRECT AGGUSATION, HE SPRINGS SUDDEHLI TO HIS FRET) But I wontod only to holp thou-tho. . .. tonkoitouiortokillthorool-oniulol Tho Iota]. did not but no! I havo hold it! Look for your- -57. ultondooohovitholdoitoolttologo matron! CHIEF PRIBTO Quilt! (T0 m GUARDS) Put MI “I WI (IOU STRUGGLING HITH THE GUARDS) II 1?. It: to mt to holp tho huntoro and tho tribo? Tho not-1 would Ioko 1t mic to 11"! (Lot no go!) It in not «loath to touch atoll Itmmprotootno from tho- A BAND IS FINALLI WW 0753 WINS HOUTH BI A amp. WHILE tax 90! IS smnocmm, m 3mm mun UISTIADILI GETS TO HIS FEET HITH THE HELP OF HIS ASSISTANT an mm W! 32mm: 233 cum P111231. 031:? PRIEST; Koop his mum (PAUSE) Tho um ok— (an. TLIDEIAWDHTHESHWIDBFRWTHETW) What- (1mm noun TO PROTET THE mmmu) I to. only.- run. (QUE-TL!) Lot It. cum PRIEST: All right, but. . . ‘. his cum PW! 3mm momma am new, MT 301' UNTIL HE HAS GIVEN A LON, arms 10“ AT mu. THE rm, 11mm, sunmrs was same: man. mum m was ALSO GORE UPON TAG“. rm: (to :33 new) Hotol nun (twat, rm Hun A sum- m mm um 1113 mm mucus m 0mm rm) Ho ho" ooulhot not-1 dooo. (LOOKING AT TAGU) Egg; do___o£ g. . . . But-Iota!“ notuodhoroinothor tiloo. Thothuhyyouorohm; thotiovhywomhm. . . . In othor plum notol v__o_o_ mood in othor thou. (PAUSE) Tho .53- Grootmmvuihgghggpluooinothum.... fimotuotol...ond_1_t_cuoondnodothoaroot3um1ngl mm.(wmnmom,wranuwarmnwmm)gunmen; AGAIITAGUISGAGGED.’ 1mm: (TOTHEGUAHDS) Lothilopookvhohhouontooothu, onthoodlooonoaoontothn. TAGU: (AFTE BEING WED) I have hold hotel. It 18 6001 monmwhoroitoonoooutotrookl Hovoohitomo mug: \ TELLEBI(SHAKIHGHIBHEAD)IoudonotknoInoto1flyonuy thot! wumthot,but1tit1oput1nnro1t_t9_gooan boon-arm. THE CHIEF PRIEST LAUGHS A3 TAGU CONTMLATEE THE WISDOM OF THE 1mm. THE 234 A81) 3rd PRIESTS LOOK AT EACH mumrmummrrmaommurm THE! A180. may. mmsmwmnmmwumnrmumA PUZZLEEIPHESSIOH. TAGUoUOTHETflLm)AndUhorod1dyonoonotoknovoomh at tho Groot Burning ond.tho 53 which own-od.tho Dood.P1oooo? rm. mmwumorutmumtmnwoou mung»... Thotruthulrittumidouo....(l.00K- WATAHDPOINTINGTOTHEBALDTM) Thotl'uth Alwitton tam-13d. (MWOFTHEBALDTM'S FAGEe-EIVEAL- mmuummmgyummnmums TAGUI (PROTESTING) But- -59- 1mm. (51mm 318 m murmur) 1011 do not know about £3. . . . Iondonotknouobout mom-oat Burning. (muss) we hath-u thing- bouuaeggarotron then-“Planet! WORTHEPROPLEMP INDISBELIEF. new (Locum 50mm: 511391113313) now can that. on 11 um mMPheu,Mmmom£mth-t Wham ottruthllthtfl mm. (muss) Butt-nth mtthoGI-«tmngdidu‘nll anything. Iuhmbmuum‘pcoplomvthoonat Muhammad-o. Thqhucndmnottoundbybufi. (PAUSE) law also that Death to any thing“ rho wild-ou- mwmmymnotral-pooplo. Meal-tru- mmrhou. . AMI)! THE PWLB 880i WHEN? A! 1113 WWW OITHETEILECFTHBTRUTH. 1mm moo-ammonia: Ionaythoorutmrningwu hommnlmzm. rm That 18 truth. (PAUSE) rho father or my father's tuba mmorutmmandvuthouomrdlaofthorruth. Hommlyauymwoanatmmandhomnot (“unwinmomatCholOdMlem the tmt’rollorofthomu-cwhomoldo-mhhmdhid on. mmoyudtmnuthuthothontoralongun until that first Taller was vary old. Thu, h- lmghod at Dan]! and want out to lot it find hill. (PAUSE) And the hum- of name's tathcr did tho um when he an my old...butoalylttchotoldthoulootuhen§gouo to my tathor'l rather. Ho told my father, who told u. (PAUSE) The “the: at my father's taunt uid this 1- but avu,nndhomthouoond'rollu-o£thorrutho This 10 mt In aid. I swear it. o o 0 (BE RECITB THE POLLW- IHGHITH LITTLE MWTIOR,ABIFGGIDLIWA§DAL- H05! HITHOUTHEANINO ‘20 HD!) mmmlikothnm, mtmtthcrovmmclm,or¢lowd,u1tnmo Thomlublullknthoduplako-cah,bntthohhll ulnwblu. ”.mhmmamblumtmthat blut. Pumps, meday. o . . But Imtgoon. (PAUSE) Iu‘onnhighhillthndnyandmlinuuunpmu tun-k1. nqmtumymdththigh-oughlm tho-“anathema. Thollnumodquoklyandltrnght. But than Ivor. other lino: that went up to nut the first limo. mmmvmnshulnthoflq. hummu- nmmvmut-mmommmmugm mmtptmoooo BLIND rm: (BREAKING IN) The light! 1000 the light! rm: (CONTINUING) Intohodandtu-uqthmmo «has light. Mumhh-mmandindudtbqvm brightnthmthomabwo. mam. among“. gmunghttbnthm m annual -61. 1mm: (commune) no light“: tar any but-y oyu hurt fro-thobrightuulandlturnodmy. mrm. (SW) Ewan.“ 113nm Iuothollghtl naming" (swopsmmr,rumwvnsmsmm HOLDSIISHAMOVRHISPACE) fuel-Gunman. ally clan-bun. 1mm. math-roman... gratin”... Mural“. Idnmthwhulmdboomolmm. 1mm, htlloohdmud.... Moth-autumnal“ Mal-0M...Indthoybogantonllthofly. BLIND rm. The: is always darn.” utter the grout light. rm. Thu,avmv1ndh1tnyfmuhahruth. In. drudndrntonndaplmtoudo. 1:me mmnghumm,butmoo1m:onm no thathmmothorlightuinthoukyndthoywmdnat lllarwndudthaughtbeymotumy. BLIHD‘I‘ELLE: (onumammwmummmmm INHIS LIP) nati- truth. Thu-o wmmylighto. But I only no the am one. Altar that all 1- mm». It munithnyhtha. 1mm Butthohr-nnyluhtu boomolmmmmm t111thouky.... Theolouduvmthoboath,bnt1did authoritthca. Thoymldhanfmnduucopttortho 2011c. Homoldhnthosuumdhidmaothat the Donthmldnotnndu. Andvomnotaloneforthoraller .62- unmomdhohidnnypooplofmthonooth. (lions oollodthorollorof thohuthbooomo hotnovthotrnth mogmdmorutnumm...muhythoyom.) (PAUSE) And ooon thonoiooo woro noloro. Tho tollor um thmmldhononorolinoolnthooky. Hooudthatom thohlllououldnothopoonnortholakoblnooohoforo. Audhotold-othotfiudothogrootnghtowhiohmomo otorohntvoronot. monomthatggmnotm,hot may. (PAUSE) Thonho oriodllkoohohyorloovhuft unto food, but tho follor did not wont food. ‘I_t_ not w «so again, ho odd. And thou ho oriod ogoln. (PAUSE; rm, rmsmmmmxmwm,nmumsrmmm HIMSELF) thuonrothourdowhiohnyfothor'ofothc loomod from his father. I learned th. fro. my fothor who loornodtholfrolhiofothor. mtumtm...ond mtumw. lotion-1t!- " mm 15 00mm: sumo: m run run FINISHB. DISSOLYI £2 SCENE WITH THE OLD MAN AND FIVE 3013. OLD MAI: that 13 that tho rollor odd. lit 80!: And that in tho filo? OLDHAN; Thotuouoportyyoo. thdoyonquootlonuhotlhon odd! THE 3rd 30! GIVE m lat LOLARIIG L001. 1» non (sum) won, 1: 1t 1- oo you any. . . . (omen!) Tho tolo doo- not omdliko o rool-tolol .63. 3rdaon Anduhotgogorool-toloommo? Thooldono tollothohmthondhoumo.... Booldoo,thotolo lofronothortilooomothorpluoo. Hovooulditoound likoorool-toloofnofl Momma- lot not. (mmmam BO!) 3133mm doingollthOonzlng ofvotdfl t 2ndBOIn rmumugy thdidfiouo? 0mm. Byblo- hthBOIs Hudidthoflntrollorhovohoutgtt 31-4301. ammo. Lotthoolduoopook. 01.0mm Ifyootilllotlo,1villtrytomollyour doth“. lulywontodtorootouhflo. 31-4301: lootollyoomt,oldooo. monunohoforovo not". lotBOII fhorotonotmohtho. Thoohodongroulm. 0mm: rhothtnth. (PAUSE) thothinzoollofyouookoro good. mammoth-unto. lonyofthooaothoughtl wontthrouhnyhoodooloothofmthorolloroftho‘rnth. 91530va :3 son: II wax ammo mm m PRIESTS, mrmammrn,mum,m. OLDIIAlo (mmm, VOICE mm) Thoughtlmhold by 0th.! ofthotriho,hntnoonoooidonywordolnolouduoy.... m,oinoo1howthoyoouldkillnoonlyonot1no,1ookod ohoutothooghtihnyhood. (mnrsromnhuanon It no tho thought you Jolt odd. .61... THE HHISPESS OF THE CROWD, THE CRACKLE OF THE PM, AID OTHER HOISFS PADE IN. THERE IS A PAUSE BEFORE IAGU SPEAKS TO THE TREES. IAGUs Who no tho 'follor that ho could know obout tho coming orgy TELLERI Homwioo ondknow tho truth. . . . Rom the father of my fothor'o fothor. IAGU: autumn-mammal» Hovdid lama mummtughtahdoloohringnootht Unhooood! rm. mflrotrolluvoouotoaod,bnthovooumoh11b oaodooorool-poroonoouldho. (PAUSBAHDSHEESAS'I‘AGU mmmwwmmwmm) Thoovllnololnd thofooliohnoooofmtymhovodmugomoutofm. Inmoonfhoodondluohdoubtmothroughymrheul. (PAUSE,mHERAIBE-SHIBVOICEBOTHAIAILTHEPEOPLEN um) notch-Itothotolouldhythofirot‘rollc. It iota-nth. rhooldorltmgotolllt.... That-lo n msgmwuuymmmtumuno. (PAUSI) nofirotrolloroooomoffi.... Hoondothoro Wmnndothorpooplooloounodothofirotfi. thoyndofihothcthooondothuplmoylmogomd form. Mounntho‘rollormnotoldond tho thoowonotllkom.... thorollorooidthotm Mu...or~rool-pooploworooollodthothoouoo ollvororoolthoo-othotnouhonlonoouldhovoudothingo ~65- oofimldnotono,onathou¢hthoyudo_l_§.... WU: (mum “NAMED! THETELLB'S mm: PAUSE) flow oouldggboltoppodifthofirotrollorondthoothonlodo g3: Tm: Bocouoo they woo-o wioo in tho woyo of Lt ondknow Booth would”. IAGU: autuggmm,m~ cam PRIEST: (UNABLE TO mm mwmwmm, man? AHDSHOU‘IS AT mo) Quirk] Lottho follor llythotllli 1mm. (mvmmmmrmmmr,mmmlm Loco WHICH mmroowmmmusrgmm, mnmmro SHILR,HBLOCKSA1‘2AGU)Lotutollthotolooadyonoholl loot-o truth. (IAGU Lam AT THE mom), 5m: ASHAEKD) Thorollortoldobootthottuohoforothonrotgono... whonthorollorandthoothorolihmhovthotgtoonld do. (rhoylmovthooothingohooouo thoyvoroluo.) no southouordomytfinoototho fothoroflyfothor'o fothor ondthoyrao-horod. Butthoromonnyvordooadthoy oouldnotroumborthuoll.... Thorollorooidthovordo nbthoyloronotwordo,butroo1. marathon“. Iovoor. mason: gg scams or A m, mow acumen Rom. mmwnmz ucmm1uaanmm,sum- mruxmmorwnvhs,mmmnmmmncmsmnom WHICHBNMTHEWEOPTHERW. IRTHEGEMTEOITHE BOON IS A LONG PABLE HI'IN NAN! WOODEN CHAINS AROUND 11'. AT THEENDOFTEETABLEWITHEMSITTWMENW mm mm: cons, non urn 3mm non-1mm am OPPAPEINI‘ROI‘IOFHDI. SITTINOINTHEENDCHAIRISPRANK,INNIS RARLI smxm,mownsrormmm. umormmmam, umsmm,mmasm.assn. womamnrw m,unmunooanmwumnnulmum or ARISTOCRACI. OIHISLEP‘P, NI!!! BACITOINEDOOR, 130w, on: ma. "assume an 'oanmr' II upnmm, was room P81310132 18 QUICK 0! mm AND HIGH! BE SAID 10 HOR- SHIP HIS own COILEAGUB. WPOSI'IB GERALD BITS LEON, A SHORT, STOOIILI BUILT HUNGARIAN OF roan-rm, ALREAU! SHOU- INGIYIDEIOSOPARICIDINGHAIBLM. FRANK: (roam) Ionoroouroboudufllhohoroooom am too, poofoooor. No not odd ho nightbodoloyodofu unto. Don'tuorry. mm Ithonlythotthotuoioooohortm. LEON: rhotiotruo,lronk,bntlth1nkvoohouldhoooolojonty hos-o. Thiouttoriotoohportontnottoukoonrovoopoo. Wit Motor-fight, of oonroo. ow: Inhov,1ohnddorvhonlthd.nkoftmot'oho1ngdouo out this projoot . . . ”£25225 uhat'o ggtboing dono, not! flat flitloriofmohod. Ivnmxooa'tknovmtg; thomouofamgomgtobo,bnt1doknouoono .61- ofthu. m. Protty torrihlo, 1'1 ofrold. Gm Iouhothmtvohdorottinootfyouudothorizht ohoioo...ou1n¢toth1ooountryohlytofihdnoroh- huloutytourd-on...oopoolollyoftorthohollyou mthmzonothroughinmlnthooorly'”'o. FRANK: 0h, 1': mo no Iodo tho right choioo. Thoro to “All mohmofroodonoadtolormoohorothonlnnootportoof tho-uh. It'ojoothordorforyutoooobooouoyonm boo-nintothiopootoountry. Iouhovouvorknounpolittool fonotloinonduhotitooadotothopooooofooodonlonfo. GEM-Do Iouppooooo.... LEON: Iffroodoliomntdnodhorottnllhodoomtothoofforto of now bludorlng illitory porooanol, I'u droid- ow. Uhydoyouooythat? mu: I'n'thinnhgofthoOonm-ol. Thomfoorhohulothot thomvillboftnlohodboforoggio. aw. (NODDINGINAGREBHENT) Oh, yoo. Iou'ro right. . . . no Gourd and tho politician. . . . Why not thoyolnyo thinkofoolooatntornoofmforofggbondntmof mm- FRANI: Hm'tyouhoord,lyboy,thu_1_l_ovorvo'ro fighting. ow. Oh,IknoIthot. mm(m)1knovwhotyoulou.... Outdon't toko ovorythiu oo onion-1y. mm I thought um nottu' :2. oorlouo. FRANK: Thouttorgooriouo, Loon. ht. . .oh,nomoind. Uhotlvuroollygolngtoooyiothotgbooodontuto, orootloootportlytohlnoforohotthopolitioionothm. GERALD: (QUIGILI) Hov'o thot‘l Jam. Uoll,oftorthooorofroondoooydoyo1nfltth¢n... (TURNSTOLmN)udBoo11n,too,Ith1nk...oftoI-tho oooythoohthoDZO'o,ooto-Aodlorolyto Aprotho outflow «onto m folloood to 1932 out '33. am. (SHAKDIGBISHHD) Iooold‘on‘t-o FRANK: Oh,noolooh.... rohooionooooononnplo. Itio oloootoprtoolplofooutooolootfruoomintom ofunoolvodpoobl-oonlythoonoothoh,oooorm¢toour hollodgootthotioo,vothmoooonoolvo. rm,boooloo ofonrodhoroooototho odootlfulothod,ooouhjootoor ronltotommoritioloo. mohotiothoronltofthooo “With-loon- Mumhmflmmnttlo, botathoothor,ooonhoomofohotlittlooodoknov. 0mm. Nhothoothiotodooith-o FRANK: Lot to finish. . . . Tho troublo to that In ooiootuto hovooothooaohlotoopplythooo. ..thooopI-Inolploo (Inppooo)...tothoouploxwohl-oofthoorlt1ool world .d ”duty. on o o LEON: Ploooo don't Ioko that o blonkot ototuont, Front. FRANK. Oh. too. homo-u... mgmtauuo -w- mtiouo and not inolinod to oooopt totol oolntiono. Tho ohjootivity I. profooo hoo kopt no fro. toting otrong otando in politiool uttoro, in ohioh tho right in novor on ono slam... So,Iohovotokonthooooyvoyoutondotoyod in on ivory tooor. Ho hovo not boon coma-nod, ot looot in tho plot, ohont ony roopouihility tooord oithoo good oroviloitutioao. GERALD. Ahdwhotoouldyouhovodonoohoutfiitlu-onihio... hiodoorooot FRANK: Nooooldhovohouoorourorooodotloootlotothor mmmtmwo won. Hhiohioonctlyuhotoomtryingtodonow, 1km till got horo with hio outlino. GERALD: ‘Iondoootondollthot. Dnttooothoromldhoolot- m or ”nothing, . . . Ion-king nndor thoprooout oonditiono ofooaooyoadollthoothorrootriotiono, oftor tho... (Amos: DIBARRASSED) tho l'go].c_).on yooro of lnhyoioou ot GUttiuon,ooloonohoooollodthu. HANK; (HIIHASLIGBTSEEE) Thoy voro good yooro, Gould, but thoymcono...inthopoot. Itiooowoinportontto m....ifonlyfro-thootondpointofotoliophyoioo ...thothoroiachioogooohovooooonpliohodnorointmoo younthninollthoyoorootafittingon. GERALD: Butthotinoomothovoboonoxoiting,honotholooo. FRANK: too, oohodonrfhn,oadoorkodhord. -70- GM Quootioning everything Rutherford and Bohr did. run: Ioe,wodid . . . ondovorythingofPlonokondEinotein ond tho Curios. . . . (GIVING A QUICK LITTLE LAUGH AS NR TURNS TO LEON) Loon, do you remember what they ooid Salon-fold need to tell hio otudento ot Munich? LEON: tho-mm, no, I don't mm oo. ’ FRANK: Ne ooid ovu'yono entering tho otudy of physics ought to be warned: 'Contionl Dangerono otrnctnrol Impororily cloud for complete rooonotruotioni' (LEON SMILES) Cw too, out! then cone Hitlor . . . and oouploto destruc- tion of all that woo good. LEON: He wasn't the only one. Don't forgot the Communists. rhoyooro olnoot oo bod oo the brown ohirto. FRANK: Hoot of no were lucky, though, ond got to Copenhogon ond London. Cm Botthofooilitioowero inodeqnotoforohofyom... FRANK: too, they wore, oftor o while. GERALD: thonzinotoinoonoovorhoro. . . toPrinoeton. . . . Iwoo Jutofroohnoninoollogo, hntIro-onherit woo quito on ovont. My physio: profoooor ooid tho offooto of hioooningtothio oonntrywonldhofor—rooohin‘. Ioor- toinlyhodnoidooollthiowooldhoppen. FRANK: rho Unitod‘Stotoo woo tho logiool plooo for no to none, evonifthorohodn'tboenoomohfroedonhero. Nitholl tho tony hundrodo of nniworoitioe, it offered groot oppor- .71- tunities for any Jobs. LEON: But we didn't ell nigroto hero ot the solo tine. . . . Itwoseoonploefyoaro before things gottooorowdodin free Mops. FRANK: (T0 am) He remembers thooo times well. (LAUGHS) ItwoeinOetoberofIPBJhogotootrengeideothetoohoin roootioooooldberoelised. . .ifenolonontoonldbo found that would nit two neutrons when it swollowed up one. ‘ GERALD: Ididn'tknouthetl Thotweoonlyeyesrendohelf otter Ghodwiok discovered the neutron! LION: too. I suspected beryllium st first, then some other elcents, including uranium. For some reason the erodiol experisont woe newer oerriod out. MK: (to am) Ion have no idoo whst o prophet we hove in cor Iidst. . . . He went first to Vienna ofter leoving Berlin,yonknow. Dnthoweo thereonlyofewwookshefore hem thetAnetriegogwonld «entnollyhoowerron. 0mm: No, I didn't know thot, either. Lml: Thoroeronoprophotsinooienoo. . . . Andjnetreslenhor, several peoploprobohlysplitetoso withnontronosenytises before Hahn end Stressnsnn definitely proved it possible in 1935. SEALS: Porni was undoubtedly tho first to do it, wasn't he? FRANK: fee, I think so. Only he liointerpreted his results sud- .72- WE IS A SUDDEN INSISTENT HAPPING ON m m. MIMEESHIB WASASIGIALICBSILENGE. mm LOOK INTERIM A! THE DOOR. FRANK: tho is it? VOICE: It's Dovid. max: (mum THE voxcs AND MUCH mm) on, one in. The door isn't looked. THE.DOOR OPENS AND A MAN OP ABOUT FORT! ENTERS, run CLOSE mm mm. DAVID IS rmspmxm, HAS In sumo armsumraoumur, cmopmmmrmmm OVER ONE ARM AND A BRIEFGASE IN HIS HAND. DAVID: (WIPING HIS 330:: A3 HE TAKES A SEAT am 1'0 om) I'm sorry 1': lots. FRANK: fhet's ell right. LEON: Only we don't hove smoh time. am: How ere you, Dovidf DAVID: (mneamo Lms's Emu) on, 1': fine now, except for the bloated hoot. FRANK: It's rsther nioe down here though, don't you think?” DAVID: Oh, yoo. Bot Lord, it's onheorohle ootsido. GERALD: I thought.yoetordny“sos even worse . . . sore hnsid. LEON: Do you hove the outline? DAVID: I here more then just on outline, Leon. (TO GHtALD) And I mm you're right about yootordly being hotter and lore m then tour. (PAUSE) I no mm yesterdoy, .73.. hurryincmmdtootut,lzuua...wdthinkingabont the owningmdnddmlylgotomyctrugc tooling. Itum'tutboughlwu taintorniok..~.1utlonoth1ng strap. Iguunitvuliko...ull...lik01vilionl OMB: Amt! mun: new: laugh. Im'tumuyuplnn1:,bu:1wm mnuhtcdléborwhatncitm,amion. FRANK: Ion'ubmmflngmlyhu-dltuly, David. DAVID: Not any harder than anyone also. Nov lot no explain. LEON: Itmnkuybo we'rodlanttlc crazy than down. DAVID: ulmd,lmnlnn¢£utdmthootrutwuthu ...tmmtw«-1t.m hltno. Iltoppodandlookod Around,butmthlngu-odp¢footlynorul. than! loohodnp. momtmmglhuthmwumthingllko ogrutfluhotlight. Mann-immune“ offmgluaormothingutallicnirmingthom..... Anyvny,IIublindodby1ttoranlnnto,nd«-:tttc Mlomdumthonghtlhmmllookodatm thing. Andvhiloallthlomhoppmg,1tu~duu mmobnfldingaandthoMoflper-Immhingdm mud»,mdmthotmthmmthumtuonottho airman-03....-. (mumsamvoxcn) 1mm “rug-ct thing about the whole “motion was what kept calmntonyundovorallthorutofthls. Itvual- -mtulfummatmd1nglnbaokotmuy1ng:'m -7“- Boob. mach. rho Bulb. . . ." Thon I thought about thoontlinoogsinmdsaidtonysolt: 'Suothinghoo tobo dono to torn hwnnfiy.‘ This thing, whatovor it was, kept moving stnosll "Cling. Iknovitvouldbo inpoosiblo to got any sloop, so I stsrtod writing ny an trostasnt of tho lottor. (TO FRANK) Hith your penission, Frank, I“ liko to possnt tho wholo thing. (HE BEGINS T0 rm 80M! PAPERS corona: mussmorvxmmromn- 0mm: that not Im- boon s tau-rum exp-rim. DAVID: It no. LEON: Hsvo you strosssd the social and political sonooqnonooo of stain onergy‘l DAVID: Iss, Itriod to. Hostot thoroportisstill going to ho booed on thoso two points, isn't it? WK: (STUDYING mums PAPER) Oh, definitoly. Vie allogrood on thst. DAVID: (1‘0 LEON AND GERALD) I dividod tho roport into four notions, tin counting the sun-s17. Tho first cm is-- IRAII: (BUDDENLI INTERUPTIIG) Good, wry good. Liston to this. This 1- 1m . . . (amass A: THE PREVIOUS PAGE) m- tho "I’l-oslublo.‘I It says: "We, as soisntists, do not poo-no to spook authoritatively on problons of notional 8nd intentions). policy. Honour, to round oursolvos, by tlotoroootovonts,dnringthoputtuyoors . . . intho positioootsp-onp. . .‘ukothstfim. (HEIAKES ~75- OUTAPflCILANDHAXEBTHK IISBB!) L303: Just rosd it, Frank. Uo'll nsko oorrootions sttor giving itsolosorrosding. FRANK: Ioo.. .. 'ro satin»: 'Hoosm,ootound osrsolvos, bythotoroootovonto,duringthoposttosyosrs...in tnopositionots-ollgroupotoitisonsoomissntots grmungortortnosstotyortnisooonhy...soooll utorthotutnrootslltnoothcnotimotohionthorost dosnkindisnnsuro.‘ (IODDINOHIIHIAD) Ioo,1think that'ssgoodstort...1nstuhstoomttoosy. But lsturosdfnrthc. Lmn: (To DAVID,ABMKRMIO HIMSELF) that sortotsn sctivostsnddidyonrooonudthoflmotoryotflsrtsko‘l DAVID: Holl, so you most“, I said on Iota-notional control Bosrdsnouldbosotsptooontrolthoniningotnroninm. LEON: (SGML! mum-1L!) Ioo, butdidyoonontionsnyintor- notionslsgrosloot‘l MouAbosnspo-ontinolndod, ...snotnstsotstortnoontrolsotmolosrsrlsl DAVID: Ios,Ispooitiod thst. And-loo,nopspor wt. LEON: Good! GERALD: Wt'smtf DAVID: lemurs-sot»... LION: loutiooisgoingtotnotsnyothsrnotionncolyon thobsoisotssignotsro. rhst'stoobigsgslblosslong unitlorsosnspringnplwdtfi .75. DAVID: Andoslouosthorosrocomnists. LEON: Ioo, especiallywhilo M sro sronnd. FRANK: Ah, splendidl Very good! Linton to this, ovoryono.... ‘Bciontists hove boon accused any tines of providing now weapons for tho Iutusl destruction of nations, instead of inproving their woll-bcing. The discovery of flying is on ample. It has brought humanity nuch noro misery and out- . toting thsn cndoynont snd profit. flavour, in tho post, ooiontists could disclai- diroct rosponsibility for tho uso . to which unkind had put their disinterested discoverioo. lorool mpollodto tskoonoro activostsndncwboosnso tho nccoos which wo hsvo ochisvod . . . in tho dcvolopont of Indoor power is fraught with mach grootor dongore thou woreollthoinvontionsctthopsst. motu,tsnilisr with tho proosnt ststo of nocloonios, live with tho vision berm our eyes of sudden destruction visited upon our on country. Buchsdissstor cculdwolltoko thoi'ornots Pssrl Harbor nogniriod s thousand-told in every mac:- city of this country” ..' Next peregrsph... . “In tho post, ooionoo hu often boon sble to provide oonntor-Iosonroo ogoinst new wospons of Aggression which scionco nods pos- oihlo. Today, honour, scientists wmot promise Inch scooter-mom ogainot the dosu'uctivo coo or mclosr potter. Protection can only come from s world political ergonisstion. Along all the srgunonto calling for sow an organisation for peace, tho existence of nuclear weapons is tho Host compelling one. Unless this is done, there will be e nucleer ornaments race which can only lead to total outnsl destruction.' LEON: loo. Ithinkthstisveryzood. FRANK: It's spleuidl GERALD: I Agree! LEON: (10 DAVID) Do you go on to mention Russia! DAVID: Oh, yes. “the next section or the psper is entitled: 'Droepoots for on Anuents Rsee.' I mention that Russia: understood very well the roots and ilpliestions of nuclear power . . . so only so 191:0. LKJN: too. With Kspitss still held there it shouldn't take than verynsnyyeers to ostohupwith no. FRANK: (LOOKING UP was THE REPORT) low lot no see. Under the next section: 'Prospeets for en Intornstionel Agreuont. . . .' Ion say here, Devid, that the. . . . DISSOLVE 1Q IKE SCENE BITE THE runs 01? THE EDIE, THE PRESTO, ucu AND THE TRIBE. rm: (mm A LONG PAUSE) And that is all. . . . In other tines therewunoroot the tele. thereweronsnywords... norewerdsthenoneoonldreeenber. Botthsysro truth-no thoysrothowsrds thetirst‘rellerssid. Hessidthsnto the tether of my tether's tether . . . who osid than to my tethor's tether . . . who said then to my father, who said .13. thentcne.... Now,Ihsvosaidthal...sndIhsvo ssidth-nsnytinestonsnypecplo. rhesowordssrewhy Itmstnovercooeogsin. The first roller seidthowords. flosndotherslikohilwerescrrytheyosdothotirstfi. oeo Thetiswhygoaoinothctilesendethorm. ItwaeudootutelsndgudethoOrostBnrningsndtho OrestCirolootDoedPlooes. Thstelsoiswhylgmtnovor cueegeim... lowImstrost. MGHIHPRIES‘I JIDIPS'IORISIIEEI. In ASSIS- TANT, JUSTABQUIOEI,HOVEIOWTHIWSIIDOW. CHIEPPRIET: Brinceoolwstortorthe'rollerottho‘rrnthl WITH nu: com ODOR m FILLED ill!!! non-m, I T. .79. mm Lmlgscmormmnmummrnsnoxs sumo “FRONT OF EDI. THE BOIS HEAR RAGE LOGS ON THEIR rmmmmummmw. V 13:30:: Iouhevorestodnnch,oldone. risiohthstslo. How unset-arm (ll-DEAN: (AHEAPAUBR) Ididnotmwo lstBOI: Bntyonosidthsywerogoingtokillyou. 0mm: BothereIsI,sotheydidnothill-o. 21141301: Hhstdidthopriestoendthsrollorsdot Ssythewordsl 3111302: Bowinosythnwhenthotiloisright. (roman IA!) Doyeewenteooiwster,oldeno1 0mm: (smmmm) Ila-ore. 1mm“. lst BOI: (WHOM IMPAIIENI') the tele, old one! OLDHAI: (mammmmompmumunm cm!) rhowordsot'thoi'ellerworonottslso. Theo-owes mmmnmm,nnnyum.... Thewordswere nctsords,betresl.... Iknewthoreolwordswerotrnth. 3rd 30!: (IBOUGHIFUILI) II'ho Teller said Dosth is many things, didhout? OLD“: (HITHASLIGHT SMILE) flat il so. hth BOY: (WIRING) Tollsstho tale. honor: (mm :11: no: 30!) Could not mu: bolikeDosth, ...Inythingfl 0mm: Aheeae,yoe. Thetisso. Thstisso. 3rdBO!:AnddidyoeseythettotheIeller1 OLDHAN: Beythetts'ethislikenoeth? Ho. Issidnothing... jutesbeforo. InnyheedIseidit.... Thetsndeeny others went through-y heed so I set before the roller. nmvsggscmmmummwmmmrs, THE :mmsormmurn, Hommmm, no. OLD HA3: (CONTINUING, VOICE OVER) the people or the tribe hed thoughts. Dutthoydidnstseyenywordsineleodwey, :Isteobetore. Andtheirthcughtswerediflerent,lcosld tell...eventhoughtheydidnotseythn. “the new thoughtsweroofi’esr.... Feeretgt...i’eerottho Tolln...£eerotthopriests. EDWISPEEBOPTKEHUHTMARDTHBBEI, m ORAcnlOFTHIFIRB,ANDOTHEISODIDOFADEID. nimm swmmwsmcnsmmosrwromm, HHDSI‘I’S manna “TEWAHOODEH m. m cum PRIEST IS ON HIS [BEES BEIDD THE rm. non: Dntdoosoetelolweyshevotekill‘! Cannotutslholp tokeoplito? CHIHPRIE'I: (GETTINGTOHISPEET) Icnhevohoerdtho Teller seythotreth...endstillyondonotbeliovo? IAOU: The words of they‘hller ere reel to no. They on so reel thoyerenetwords.... Batistruthelweysthetwhich ishest‘l .81- cumr PRIEST: (mSPmrED) on, you. . . : nor Home QUITE our to no, we cam PRIEST TURNS 1'0 FAD! THE rm, HBO HO‘HODS THE PRIEST TO 81'! DOHH. IEIEIWAHDBBIEWWGBWPOIIHEOHIEF PRIEST RISE, am: roe QUIET, momma: THE nuns. CHIEF PRIEST: Silenoel (PAUSE) Hunters! TribosIonl (PAUSE) rekohoedtowhetheppenshero. Ioohewohoerdthowords ottho‘reller. Ihowyseheveseentreth. (Pom-1mm TAGU) mtnotellhowtreth,evennos. theroissinond she-e. (PADS!) The sinend shone moths token ewey. (IO rum) Genes. . . . Go, for therellerswost use theirpoetestpowersi‘rootheOods. Itwouldhotcogreet toryoetosoo. (MPROPLRBDIINIOIEAVR) Oonewesd huthotruth...thetnotelkills...thetamst museum... Bet,h::ntere: Medlthoe-p thisth Binisneer. Iftheboybhnnter shouldtryto nee...betoroellthoevilnoosisgono.... Till PEOPLE LEA“, IDOLUDIIO THE DUTIES GDARDIIO nan. umsmmsmun. ummrorrnsmmzco, THE CHIEF PRIEST REGIONS 1‘0 THE 23d A1133“ ”IETS. II THEMED, rurmmomromrmmmm DISABSISTAN‘I. GHIEFPDIEST: (NIBanANDerPDISBTS) Oowith the hunters. Hehmethereereguerdselleronnd...butnottooolose. mmmzsmm’ BOhB ADDLEAVE. FOISEVEAL .82- WMWPBIESIANDMTMSWHDSW “MU. CRIB FRET: (20 me) October“ WMMWIIOGEICLOBE. 331.0013 AROUND,BUT wasmmrronun 21mm. CHIEFPRIEST: B...§_¢_gl. rm. Daub-am. 810m, mu APPRGAGHE THITHOHEN. CHIEF PRIEST: (to THE TRUE) mud.» got turn-alum tagbutlookatmml Wu Mancunian“... cwnusr. Inmatuo...notmunm”oph aura. Incantation-trod. 111mm". Md”. nan. mm...mmmaummw...m ”bu-coo! CHIEPPRIESI: ”mum-mammommutu ton-In. mummumtnm. Human-tan “Mm“...mvd‘rqu... uvmbocuytc‘how-mlbmltm. mu: h‘mm‘umbonufl endgamutum. anneal-aha. rm: nuance» n00: Bit..oflmtrr- CHIEFPRIBBTQ (1’0 WHETHER) Hohutumculbonnod. -33. 2mm. Hmtnou...ooon. nan: Hutu...vhat1_§_go1ngtohnppmtou? 1mm munlmnm. CHIEFPRIESh (1'0 THBIELLEB) Ho mt flay withthotribo not. mm (W!) Cannotsun But...yumldnat put-0.... ' CHIEF PRIEST: In cannot stay. mm 81131311»! they-”1d...l Ivfllntuuutd! I annually-mm! Butdonotpuuouu cam PRIEST: (LAUGHING) In, bun. Look at worm, and mm Al... Immu— CHIEFPRIESh In. mmnulphtmmmldomy mutMmgh...llml Thould-onumldfm you. taughtnnm,mtuqmumt. mama Munchkin. 1mm: muqmrmmm. nus-monoun- pu-unt. Mmutmmum. nun, um, too, mmm‘mm. Mummhmtmotum. (PAUSE) II til. thq would Ill. th- to tight the hunters. mm. mummgothmsh thoprotoetora mad. atoms. rm: muommmuthu-m. Thoymld 3:30)me with it. Muldkfll the wild-ones with mumputw.... balm-1:111! .8h- IAGUn (mm A PAUSE) I . . . I understand. But . . . but cannot Ietel do other taste? Rust natal alwaye kill? TELLEB: No, not alweye. .hetel did.not always kill in the other thee end other plane. Hotel was used for many things ... the old.ur1t1nga eqy. The reel-pe0ple of the other times learned to make motel do many things. They called that: apro‘r....e W: (TIDEGBTFULLI) Progress. . . . TELLEIa Iron “progress" cane £39 CHIEF 221387: ggfuee ’progreel“ . . . end gtylnde»neeth cone! 1100: If the real-people . . . thoee like the first Teller of the Truth, . . . it thegwuere 50 wise, they could.nake 33’ . . . could.aot they'be vile to the ways of ;§.. . . and letulake £33 IELLEBU But.they'did not . . . in the other tiles, long ego. m0: Tutu truth, bet-nut thethelntheotherthee tooo-o? I111 not,other real-people eele erter no? If they ere.-ore reel than we ere. . . . Will not they learn to use.neta11 TELLEB. lot it the prieete of this tribe, and the other trihee, eon.keep the people 1n.teor. CHIEF PRIEST: He I111! now That 1. not a m of truth! CHIEF PRIEST; Four in the only-way] The huntere must always telrwletel. thequlnet also tear £3} WI The hunter: should. "labor a . . . but only so that they 435- willnotletlgoueegeh...1htheothertimtom. mum (SHILB) thereletrnthlnlhetyouuy...1tell reel-peoplemldhellkeym. httheyu-euotend they willnot. Ihavemnuythhphtheneedneeee. I knawthhgetrutheoldmtlnge.. . . Ma “We m0: flwultehev...1£I-toheputontotthetr1be7 2mm. (uxralmormmmnmmnrnormm mmmsxswr) mucus-euthanu lathe, ,mmllunu-muummI-m... Inn-o, mmmermuuamw m0: (SURPRISE) But...deyeelethmeeonfieldllhe teller! Inutetthetlretreller...orrr-theneod Pleeee. Io- 1mm. futon-Mutter. Iheveem...endheuill hour-11c,mt...hoummwmm. (your: mmwslsmr,mormsm) uncanny-cat ‘I'AGUe XML... 1m. Thewepettheoodeereetrenge. Hymuillbe e teller,hetthetnthomonlybe1nhieheed.... He eennetheertbeuordeoruytha,but1benmhem thu. Wu Immmmm.... mm: Inhereuehoiee! raglan 1100: (TOTHRCHIH'PRIES‘I) Mtumttheehniee. (TOTHE .86- TELLEB) lulllgowlthyou. Buthovthetloennotbee Teller. - rm. Thereuillbetlleforyoutodeolde.... nan. lumpnmmm'mm-mmu. leyhelehell tiedtheveyottnth. Iknovonlythetteerleeotthe w. hthetlne'tooone...leybelelllhov. rm. Iu."(malsu1u) lonereyonng. menu eee. nan. Doeotlngh.... hmm,thetrludetthetlret fellereeld...thepeetlegone. thetleteruteleern, eleo. Uelivegendterthefleeeteeeee. Uenetfled thewtellveutheetreer. . .eneultheetteerthetgg INTOIHISII)thelighteletheekythetereeetetere.... 3mm 1mm. (arm. 33mm on m moon) the 113w I eee thellghtl guewtmhtl nzssuumromscmormmmm mrmnozs. 0mm. (mmAPAUSB) rhetudlthmuheqotthet. let not. Ieeet the tele 1e talented. Let'e go! owm. Welt! let ROI: tee eeld thetuee ell. mom: Thoreau-era... Itlenotoeeghroryou ummtmmthmmw let 30!: Oh, we'll m. (20 TR! WW) 0... new. We heveveltedtooleeg'terthetoonehtele. -87- 2nd BOY: Ies. Lot's gal mzh32MAmswamsmw WAMSMMTO SKIP AHAI. THE hth BO! JUMPS UP ALSO, BUT THEN HEBHATES. HE mom I! run 3rd 80! FOR A W, rm: nuns ALONG 1'0 GATCH UP WITH THE OTHERS. 3rd 301; (MINING SKATE!) AND LOLKING DEEP INTO THE OLD MAN'S m5) Iuillronenber, oldone . . . Iwillrenenher. OLD.HAN; (SHAKINO HIS HEAD) It is not enough . . . Just to ro- nenber. But perhaps . . . (HE BRIGHTENS A LITTLE) perhaps one day an will Journey for into the Greet Circle of Dead Plecee . . . end learn tron the old writings. 3rd 30!: I will remember end I will so, old one. the day I, too,willgototheDoedPlaooa . . . mdeoerohfor the true trey. . . . OLD m: (AGAIN SEALING HIS HELD) I: only there were enough.... THEWPUIJBBACKSIDHLXFROHTHEOLDWAND THE 3rd 30!. AFTER SEVERAL mums THE FOLLOWING PASSAGE IS SUPERDIPOBED. VOICE: (mama) "Tine present and tine past Are both perhaps present in the future, And tine future contained in tine pest. It ell time is eternally present All time is nnredMle. that eight have been is en ebstrection Remaining e perpetual poeeihility ~88- Only in e world or speeuletion. Uhet light have been end whet hes been Point to one end, which is elweys present. Footfelle echo in the hosiery Down the passage which we did not take rm the door we never opened. . . ." (Pr:- Burnt Horton by hm GHAPTB IV THE PROBLDiS 0P HRI‘I'ING Betcethei‘ieeldrertoi‘ OtherrilesatJtherPleeee wee mittedtepeper,thesriterteeedeevcelwritisgproblels. The biggeetobeteeletooureueweetisdingswsytoespreeetheidee whiehseededtobetold. Attirst,theeieteheveeesdeotettapt- ingteputtheideeebevemetsheeldhmbeenthereelpel-ore- letiegebelievehle story shout 'reel' people. In this initiel try, withth-eeethepriseryeeneers,theplsybee-e empetob- eeereefibele, inegeeesdsetephere. newsman-pugn theenetm'deuedetthetine,weete'etriretoeeteelieeespeo rieseeeiseetepherudey-bolew rhu,te'usetheile¢eryet e—nliteehestebea'vehleelperineesesdliltthehe‘eryby unuitrepreeeste-ethiueeretheeiteelflo-tnlyenebleidee. Reflectionseeereieedeaeqoeetioneebeotthe'noblsidee,' hoe- ever. Uherewostheeoetliet‘! Uhstweretheteeeioee‘t Bullpeueeeedwiththeseedtoreletevitel thoughts“ thefetedfhtIIIiWintilefetlre,thesritertlrnedteedi£fero entepls-osoh. Atterdoingegreetdeeletreseerehonthehietory o: the develop-eat of eta-is weapons end, subsequently, devises or Wuteu,edeeisiaweesedetotrytetitto¢others greepetdoeesenteryeheteheeinordertetelltheetory. Theeketehes .91.. were to he told in the future by e serretor reselling the events Ire-thepest. Thiestoryideeendfonhedlanylorepossibilities than the first one, but several necessary ole-ante were else lack- in. The historical portions, althoughtullefireeyesdintereet- infects, didnot neensuchby the-selves. If the eagle-erotics ghenbmpresmtuutdevieimmtdtheviesereprobebly wouldheveeeids'Sowhatr' Isrealitwtherewesneetory. There- taconist,elthou¢ha¢rcuppeta¢ceietesisthepreseetvcsioncf Otherness, Other gleeee,weevezue. Generallyepeakinc.thethae was still upper-est rather then ebelieveble story about 'real' ”9’10. thenestetepwesesett-ptto'zetm'trnelltheee- terielinhopeeotgeiniegeueperspeetive. But eles, tinewesnot kindeedelltheaghteeetheeebjeetweremsy. Thewriterweeal- eestreedytetryeuethieneetirelydiflereetwhuetriend, intere- edettheeitueties, peeedeeeequeetioeeeedeedeeeseeuuestione. Thiehelpprevedtebetheeparheeeeseeryterthewritu. Thereeder mesa-themulteischapterm-othepley. Asiderreetheenrell considerations, however,thewriter teoed problem within the present tors of Other TineskOther Plecee. The obstacles ee-ed eleoet endless, portly because the subjectwes nut-mare...” Forempleeltssejorityetelloitiee is 5-3111. writer believes the sub: «1. utter 1. e um issue which my person who contemplates writing an original television ploy should take into very cereml considereticn. The use of tonilier subject matter sisplifiee the writing process a great deal. Unre- siliar eaterial scene to pose e greeter challenge, however. .92- the United States with a population in excess of 75,000 were hit or 'neer-eiseed' with nuclear weapons, would it be possible for certain areas to be spared? If not directly destroyed, which areas would be subject to fallout, given a specific set of Isteorclcgicel con- ditions? 0f the increasingly snaller number of places, which night be least subjected to fallout of radiation, say with a twenty-five year half-life? What would become of e highly caplet civilisation suddenly stripped of all public utilities and ell the thousands of other services endlumries takenas sore emplacet Hhetwould the people be like - those lucky enough to survive all the holocaust, possible starvation and the necessary foreed Wiser-at to escape «emu» by rediation? These and literally hundreds of other questions had to be named. When a specific group of characters was decided upon and then put in a particular set of circulatenees, how would they act! that would they say? Slowly the drone began to be mitten; then, is a sense, it began to write itself. raga, the Chief Priest, the Tellerandall thereststertedtocoeealive. Gradully, theherd wcrhofsenyeonthsbeeuereelpleesure endueituent. omuMmmumeuu-«umm. mly tieeoantestitswortheslitu‘ature. .Itisnctyetarealplay, however, even though the writer has referred to it as such. mother it reads well or not islof no iwportence, in the final analysis. A playisaotlikearese. Applayisapleyenlywhuithee been acted. That is the purpose. . ,, . That is the writer's hope. BIBLIOGRAPHY Books Albright, H. 1)., helstead, William P., and Mitchell, Lee. Principles of Theatre Art. New York: Houghton Hifflin Conpany, . Aerine, Michael. The Great Decision: The Secret History of the Atmic Bomb. New Tor-E: 0. F. Ethan's 337s, 1959. Archer, Hilliel. P a A Manual of Craftsmanship. New Iork: Dodd, Mead pany, 193k. Bettinger, Hoylend. Television Technimaes. New York: Harper and moths-e, 19W. Bogart, Lee. The A? of Television. New Tort: h'ederick (Inger Pub- lishing ., . Brats, Rudy. Techniques of Television Production. New York: McGrew- Hill Book-Cape”, 1953. Bssfield, Roger )1. Jr. The Playwright“ Art. New Ice-k: Harper and Brothers, 19 . may-rang, Paddy. Television Plea. New Terk: Bison and Schuster, 1.9550 Chester, Giraud, and Garrison, Garnet R. Television and Radio. 2d ed. revised. New Torts Appleton—Centurymts, Tim, 3356. Clark, Barrett H. (ed. ). hare Theories of the arse. Revised ed. law Tort: Crown Pub e, . Gupta, Arthur holly. Atomic Quest. New Iork: Oxford University ”088, 1956e Cowley, halcole. Ezile's Return. CaIpess Books edition. New Torin m Viki-3‘ m, Eggs Eliot, T. 8. The mt. Pools and P I 1909-1950. low Tort: Earoeurt, ace and Gal-pony, l9 . Ferguson, Francis. [he Ides of a Theater. Princeton, New Jersey: Princeton University Press, 1910. .91” .95. Hodspp, Willis. The Television flannel. New Tort: Parrer, Straus and 1m, ”Be Bernstein, Lillian Herlands, et al. The Reader's cogpgnion to world Literature. New York: Tho-Eden 5..., I936: Hubbell, Richard. Television Pregr and Production. 3d ed. re- vised. New Tcrh: Rinehart and , Inc., 1956: Jonah, Robert. Bri hterthena'l'houeand 8m: Al'erecnslhis of the Atomic c eating. Translated into Egflih 5y hues Ell-Eh. mark: Harcourt, Brace and Company, 1953. when, Hillien 1. (ed.). flow to Write for Television. New York: Hastings House, Publishers, 1933. . (ed. l How to Direct for Television. New York: Hastings me, Publishers, 1953:. Roberts, Edward Barry. Television Writinggnd Selling Bostom The mm, m0, 195“. Seldes, Gilbert. The Public Arts. New York: Binon and Bchuster, 1956. darling, Rod. Patterns. New Iork: Sison and Schuster, 1957. Stasheff, Edward, and mu, Rudy. The Television Progen. New Iork: ‘e ‘e ”In. hCe. ”as Wylie, has (ed.). Radio and Television Uri . Revised. New Tort: Rinehert and Company, lne., 1935. Wendi haterial Beckwith, Gerald C. “An Analysis of the Problem Involved in the Adaptation of August Strindberg 's The Father for Television.I Unpublished haster'e thesis, Dequpeech, Michigan State College, 1951:. . (impart, Gary. 'Ths Probl-s Involved in the Television Adaptation of Katherine Anne Porter's Noon Wine.“ Unpublished haster'e thesis, Depart-eat of Spam“ State University, 1956. (Hennon), Sister Nevin Marie 1.11.11. “in Adaptation of The Necklace for Television.‘ Unpublished Master's thesis, Departnen Speech, hichigaa State University, 1956. -96— Eeriodical Henotti, Gian-Carlo. Quoted in, “TV-Radio} nastiest, L111, (reb- mm 23, 1959), &e Elie Document 33th, H. D. A General Acoount of the Developegt of Methods of $3 Atuic her for Mili es Under the Auspiies the United States Government 9 e Washington: 5.3. 63m}. Prfié gin, :3. AUTOBWHI Those Liam The day was hot and firecrackers were popping when I first showed up on the fourth day of July in 1936. Although I was born inIndianapolis, Indiangnostotsyyears haveheenspentinaaar- by Greencastle where my father is professor of romance languages at DaPauw University. ‘ All It: tonal education has been in Greencsstle except tor sixsoaths inl9h8whaseurt-ilylivedin8mth Antics, bounths at 19515 when I attended sunner school at Haxico city College, Mae, and my work at Michigan State University. a: the basis of I: high schoolreoordlreceivedaneotoraoadaaieseholarshiptowau. Although Ir undngraduate saJor was in English Cape-1th: (creative writing) andsysinorinfieologandoe’ography, lreoeivedagood liberal arts emcation, taking courses in a total at twelve different depart-acne. After graduating from DePauw in January‘oi' 1958, I stayed on te tabs graduate work in highsh‘msiflm and Speech, prinrilytorinishoutthecollegeyeu‘. Following this, lapplied tar adssion to niohigas State border to take graduate work in radieandtelavisionleadinatothenJ. degree. ' Hyinterutinthefleldotradbendtelfliaionlmm anearlisrintcestinagrieulturaljoumalis-whichsadeitpossible for as to bees-e a tars newscaster, and later tars news Director, on .91- .93. Derw's MORE-m. As the result or this experience I was awarded a studnt trainee position in the Office or intonation of the u. 5. Department of Agriculture in Washington, D. c. for the stunner of 1957. Upon completing the requiruents tor the H.A. degree at nich- igan State, 1 will report to the u. s. n:- n... for three yam service in the field of television production.