The Secure Room: A Comedy in Official Terms
Canonical source: local (THE SECURE ROOM -- play.docx)
THE SECURE ROOM
A Comedy in Official Terms
CHARACTERS
THE COUNSEL THE SECURITY DIRECTOR THE ARCHITECT THE PRESS SECRETARY THE AIDE THE ECONOMIC ADVISER THE MEDIC THE CATERING MANAGER WORKERS, WAITERS, REPORTERS, STAGEHANDS BEN, a child
NATIONAL SECURITY HEALTHCARE MILITARY ASSISTANCE THE MARKET GUILTY
THE DEFENDANT THE DEAD MAN THE NOSE
SETTING
An unfinished ballroom inside the executive residence of a large country. The country is not named. Nothing on stage indicates which one it is.
ACT I — THE ROOM
A vast unfinished ballroom.
At present it resembles less a ballroom than an excavation of one. Concrete. Wiring. Scaffolding. Plastic sheeting. Steel ribs. Temporary work lights hang from cords overhead. At center stage stands a long folding table under a single enormous chandelier still wrapped in translucent plastic.
The chandelier has not yet been raised.
A television on a rolling cart is tuned to news with the sound low.
At the table sit THE COUNSEL, THE SECURITY DIRECTOR, THE ARCHITECT, and THE PRESS SECRETARY.
A worker in a hard hat crosses behind them carrying a tape measure.
Everyone speaks quietly. Nobody believes anything unusual is happening.
SCENE ONE — THE ROOM
THE COUNSEL We need to be precise.
THE PRESS SECRETARY I am being precise.
THE COUNSEL You said necessary.
THE PRESS SECRETARY It is necessary.
THE COUNSEL You said absolutely necessary.
THE PRESS SECRETARY It is absolutely necessary.
THE COUNSEL That's less precise.
THE SECURITY DIRECTOR It's more accurate.
THE ARCHITECT Can we establish what we're talking about before we establish how necessary it is?
THE SECURITY DIRECTOR The room.
THE ARCHITECT Yes. Which part?
THE SECURITY DIRECTOR The ballroom.
THE ARCHITECT The ballroom is the room.
THE SECURITY DIRECTOR Correct.
THE ARCHITECT So when you say the room—
THE SECURITY DIRECTOR I mean the ballroom.
THE ARCHITECT Fine.
THE COUNSEL For the filing, we should say facility.
THE PRESS SECRETARY Ballroom sounds better.
THE COUNSEL We're not selling tickets.
THE PRESS SECRETARY We're selling necessity.
THE COUNSEL No. We're establishing necessity.
THE SECURITY DIRECTOR Same thing.
A pause.
The television shows a courthouse exterior.
A caption reads:
PLEA EXPECTED TODAY
No one looks at it.
THE ARCHITECT The eastern wall can't support the new reinforcement without taking six inches from the service corridor.
THE SECURITY DIRECTOR Take eight.
THE ARCHITECT Then two carts can't pass.
THE SECURITY DIRECTOR Why do two carts need to pass?
THE ARCHITECT Dinner.
THE SECURITY DIRECTOR One cart.
THE ARCHITECT For eight hundred guests?
THE SECURITY DIRECTOR Stagger it.
THE ARCHITECT Dinner?
THE SECURITY DIRECTOR Security.
THE ARCHITECT I'm discussing dinner.
THE SECURITY DIRECTOR I'm always discussing security.
THE PRESS SECRETARY Good.
THE COUNSEL No, not good. Don't say that publicly.
THE PRESS SECRETARY Why?
THE COUNSEL Because it sounds strange.
THE SECURITY DIRECTOR What does?
THE COUNSEL Always discussing security.
THE SECURITY DIRECTOR I am always discussing security.
THE COUNSEL Privately, that's fine.
A WORKER appears at the edge of the stage.
WORKER Excuse me.
No one responds.
WORKER Excuse me.
THE ARCHITECT Yes?
WORKER Where's the lion going?
THE ARCHITECT Which lion?
WORKER The big one.
THE PRESS SECRETARY How big?
WORKER Depends what you mean by big.
THE SECURITY DIRECTOR Where is it now?
WORKER Hallway.
THE SECURITY DIRECTOR Which hallway?
WORKER The one with the lion.
THE SECURITY DIRECTOR Bring it in.
The WORKER exits.
THE COUNSEL No.
THE SECURITY DIRECTOR Why not?
THE COUNSEL We're in conference.
THE SECURITY DIRECTOR I need to see it.
THE COUNSEL Why?
THE SECURITY DIRECTOR Sightline.
THE ARCHITECT For a lion?
THE SECURITY DIRECTOR Anything can obstruct a sightline.
THE PRESS SECRETARY Can a lion improve a sightline?
THE SECURITY DIRECTOR No.
THE PRESS SECRETARY Then why do we have it?
THE ARCHITECT Because it's decorative.
THE COUNSEL Don't use that word.
THE ARCHITECT Decorative?
THE COUNSEL Yes.
THE ARCHITECT It is decorative.
THE COUNSEL Then don't memorialize it.
THE ARCHITECT It's made of bronze.
THE COUNSEL I mean in writing.
The television volume rises slightly on its own.
ANCHOR, ON TV —expected to plead guilty this morning in connection with the killing of a health insurance executive outside a hotel last winter—
THE PRESS SECRETARY Can someone turn that down?
No one moves.
THE PRESS SECRETARY Please.
The WORKER reenters, pushing an enormous bronze lion on a wheeled dolly.
It is absurdly large.
One paw has been padded with moving blankets.
WORKER This lion?
THE ARCHITECT That's larger than the model.
WORKER This is the model.
THE ARCHITECT No. The model was eighteen inches.
WORKER Then this is the lion.
THE SECURITY DIRECTOR Move it left.
The WORKER moves it six inches.
THE SECURITY DIRECTOR More.
Another six inches.
THE SECURITY DIRECTOR More.
Another six.
THE SECURITY DIRECTOR Stop.
Everyone studies it.
THE PRESS SECRETARY It has presence.
THE COUNSEL It has mass.
THE ARCHITECT It has four hundred and thirty pounds.
THE SECURITY DIRECTOR Too exposed.
THE ARCHITECT The lion?
THE SECURITY DIRECTOR The exit.
THE ARCHITECT The exit is behind the lion.
THE SECURITY DIRECTOR Exactly.
THE ARCHITECT That's not good.
THE SECURITY DIRECTOR No.
THE ARCHITECT So we move the lion?
THE SECURITY DIRECTOR No.
THE ARCHITECT Why?
THE SECURITY DIRECTOR Because then the exit is exposed.
A silence.
THE COUNSEL Put that in the filing.
THE ARCHITECT What?
THE COUNSEL Not those words.
THE PRESS SECRETARY What words?
THE COUNSEL None of these words.
Blackout.
SCENE TWO — NECESSARY
Later.
The lion has been moved.
It now stands directly beneath a temporary sign reading:
EMERGENCY EXIT
The folding table has acquired coffee cups, blue folders, two phones, and a box of pastries nobody has opened.
THE COUNSEL is reading from a printed document.
THE COUNSEL "Vitally required by national security interests."
THE PRESS SECRETARY Good.
THE ARCHITECT Strong.
THE SECURITY DIRECTOR Accurate.
THE COUNSEL I didn't ask for reviews.
THE PRESS SECRETARY You read it aloud.
THE COUNSEL Because I need to know how it sounds.
THE ARCHITECT It sounds vital.
THE COUNSEL That's not a category.
THE SECURITY DIRECTOR It could be.
THE COUNSEL No.
THE SECURITY DIRECTOR Vital infrastructure.
THE COUNSEL That's different.
THE SECURITY DIRECTOR Vital interests.
THE COUNSEL Also different.
THE SECURITY DIRECTOR Vital organs.
THE COUNSEL Why are we doing this?
THE SECURITY DIRECTOR You said category.
THE ARCHITECT What precisely about the ballroom is vitally required?
THE SECURITY DIRECTOR The envelope.
THE ARCHITECT The building envelope?
THE SECURITY DIRECTOR Yes.
THE ARCHITECT So the ballroom isn't vitally required.
THE SECURITY DIRECTOR The envelope contains the ballroom.
THE ARCHITECT It also contains coat closets.
THE SECURITY DIRECTOR Those matter.
THE ARCHITECT Nationally?
THE SECURITY DIRECTOR Potentially.
THE COUNSEL Stop helping.
THE AIDE enters with a tablet. He remains standing.
AIDE We have updated figures.
THE PRESS SECRETARY For what?
AIDE Which ones?
THE PRESS SECRETARY The ones you just said.
AIDE I have several.
THE COUNSEL Start with construction.
AIDE Estimated cost remains within projected range.
THE ARCHITECT What projected range?
AIDE The revised one.
THE ARCHITECT Which revised one?
AIDE The current one.
THE ARCHITECT I would like a number.
AIDE Approximately three hundred million.
Silence.
THE PRESS SECRETARY Don't say approximately.
AIDE Why?
THE PRESS SECRETARY It sounds larger.
THE ARCHITECT Than three hundred million?
THE PRESS SECRETARY Psychologically.
THE COUNSEL Use projected.
AIDE Projected three hundred million.
THE PRESS SECRETARY Better.
THE ARCHITECT Same number.
THE PRESS SECRETARY Different experience.
THE SECURITY DIRECTOR What's the security component?
AIDE Depends how allocated.
THE SECURITY DIRECTOR Allocate it.
AIDE To security?
THE SECURITY DIRECTOR Where appropriate.
AIDE What counts as appropriate?
THE SECURITY DIRECTOR Anything required for security.
AIDE Which is?
THE SECURITY DIRECTOR What we're determining.
THE COUNSEL Don't put that in writing.
AIDE I'm taking notes.
THE COUNSEL Stop.
THE AIDE stops typing.
AIDE Done.
THE COUNSEL Delete that.
AIDE I hadn't typed it.
THE COUNSEL Good.
On television, a man is shown entering a courthouse.
AIDE They've got the plea.
Everyone turns for the first time.
THE PRESS SECRETARY What?
AIDE The shooting. The insurance man.
THE COUNSEL Guilty?
AIDE Yes.
THE SECURITY DIRECTOR To what?
AIDE Federal charges tied to the killing.
THE ARCHITECT So that's finished?
THE COUNSEL No.
THE ARCHITECT He pleaded guilty.
THE COUNSEL One proceeding.
THE ARCHITECT But guilty.
THE COUNSEL Yes.
THE SECURITY DIRECTOR At least that's clear.
A silence.
The television shows the man being led through a hallway.
THE PRESS SECRETARY Turn it down.
AIDE It's muted.
THE PRESS SECRETARY Right.
A beat.
THE ARCHITECT What were the other figures?
AIDE Oil.
THE PRESS SECRETARY Skip.
AIDE Markets.
THE PRESS SECRETARY Skip.
AIDE Consumer prices.
THE PRESS SECRETARY Skip.
AIDE Military—
THE PRESS SECRETARY Construction.
AIDE Construction remains within projected range.
THE COUNSEL There.
THE ARCHITECT Three hundred million.
THE PRESS SECRETARY Projected.
THE ARCHITECT Of course.
SCENE THREE — SECURITY
The next morning.
THE AIDE stands at the folding table with several folders. Each bears a single word.
SECURITY. AID. COVERAGE. GROWTH. STRIKE. LOSS. PLEA.
He places them in a neat row. He adjusts them. He moves LOSS between GROWTH and SECURITY. He decides against it. He puts everything back.
THE SECURITY DIRECTOR enters.
THE SECURITY DIRECTOR What's all this?
AIDE Briefing materials.
THE SECURITY DIRECTOR For whom?
AIDE Everyone.
THE SECURITY DIRECTOR Bad idea.
AIDE Why?
THE SECURITY DIRECTOR Everyone doesn't need everything.
AIDE They're summaries.
THE SECURITY DIRECTOR Worse.
AIDE How?
THE SECURITY DIRECTOR People remember summaries.
He picks up SECURITY.
THE SECURITY DIRECTOR What's in this?
AIDE Security.
THE SECURITY DIRECTOR Which security?
AIDE National.
THE SECURITY DIRECTOR Too broad.
AIDE Domestic?
THE SECURITY DIRECTOR Too narrow.
AIDE Ballroom?
THE SECURITY DIRECTOR Don't write ballroom on a security folder.
AIDE Why not?
THE SECURITY DIRECTOR It invites questions.
AIDE What should it say?
THE SECURITY DIRECTOR Facility.
AIDE The Counsel said facility yesterday.
THE SECURITY DIRECTOR Good.
AIDE The Architect said ballroom.
THE SECURITY DIRECTOR That's why he's an architect.
He opens the folder.
THE SECURITY DIRECTOR What's this number?
AIDE Security upgrades.
THE SECURITY DIRECTOR All of them?
AIDE Depends which items are security.
THE SECURITY DIRECTOR They all are.
AIDE The chandelier?
THE SECURITY DIRECTOR Potentially.
AIDE The parquet floor?
THE SECURITY DIRECTOR Movement surface.
AIDE The curtains?
THE SECURITY DIRECTOR Visual control.
AIDE The orchestra platform?
THE SECURITY DIRECTOR Elevation.
AIDE Flowers?
THE SECURITY DIRECTOR Temporary objects.
AIDE Champagne?
THE SECURITY DIRECTOR Liquid.
AIDE So everything is security.
THE SECURITY DIRECTOR Everything can become security.
A pause.
AIDE Is that the same thing?
THE SECURITY DIRECTOR In an emergency.
Two WORKERS enter, wheeling in several large military-green crates. Each bears a white shipping label. THE COUNSEL and THE PRESS SECRETARY follow.
THE PRESS SECRETARY Why are those here?
AIDE They were delivered.
THE PRESS SECRETARY For us?
AIDE No.
THE PRESS SECRETARY Then why are they here?
AIDE Wrong loading zone.
THE SECURITY DIRECTOR Who authorized entry?
AIDE They had credentials.
THE SECURITY DIRECTOR Whose?
AIDE Theirs.
THE SECURITY DIRECTOR Crates don't have credentials.
AIDE The driver did.
THE SECURITY DIRECTOR Where is he?
AIDE Gone.
THE COUNSEL What's in them?
AIDE I don't know.
THE SECURITY DIRECTOR Open one.
THE COUNSEL Don't.
THE SECURITY DIRECTOR Why?
THE COUNSEL Not ours.
THE PRESS SECRETARY What does the manifest say?
THE AIDE reads.
AIDE Assistance.
THE ARCHITECT (entering with samples of gold leaf) That's what's in the boxes?
AIDE Apparently.
THE ARCHITECT Assistance weighs that much?
THE SECURITY DIRECTOR Depends on the assistance.
THE PRESS SECRETARY Where's it going?
AIDE Overseas.
THE COUNSEL Which overseas?
AIDE It doesn't say.
THE SECURITY DIRECTOR It says classified?
AIDE No.
THE SECURITY DIRECTOR Then that's sloppy.
THE PRESS SECRETARY Move them before cameras arrive.
THE ARCHITECT Where?
THE SECURITY DIRECTOR Behind the curtain.
THE ARCHITECT There isn't a curtain yet.
THE PRESS SECRETARY Then install one.
THE ARCHITECT For the crates?
THE PRESS SECRETARY For the room.
THE ARCHITECT Of course.
WORKER ONE Need two guys for that?
THE SECURITY DIRECTOR Four.
WORKER ONE Must be a lot of assistance.
No one answers. They begin rolling the crates toward the unfinished wall.
SCENE FOUR — COVERAGE
Midday. The ballroom is noisy with work.
A POWER SAW screams briefly offstage. A WORKER carrying marble slips. The slab falls. He jerks his hand away and cries out.
WORKER THREE God—
Everyone turns. Blood runs from his palm.
THE ARCHITECT Get the medic.
AIDE Medic!
A MEDIC enters briskly with a bag.
MEDIC Sit down.
The WORKER sits on a crate marked ASSISTANCE.
MEDIC Let me see.
He looks at the hand.
MEDIC Deep.
WORKER THREE Yeah.
MEDIC Can you move your fingers?
WORKER THREE Yeah.
MEDIC Good.
He reaches into his bag.
MEDIC Insurance card?
WORKER THREE What?
MEDIC Insurance.
WORKER THREE I'm bleeding.
MEDIC I can see that.
WORKER THREE Then why do you need my card?
MEDIC I don't.
WORKER THREE Good.
MEDIC Billing does.
WORKER THREE I'm not billing anybody.
MEDIC They are.
WORKER THREE Who?
MEDIC Billing.
WORKER THREE Who's billing?
MEDIC I don't know their names.
WORKER THREE Can you just wrap it?
MEDIC Absolutely.
He begins cleaning the wound.
MEDIC Date of birth?
WORKER THREE Why?
MEDIC Record.
WORKER THREE Today.
MEDIC Your birth.
WORKER THREE Oh.
He gives a date.
MEDIC Employer?
The WORKER looks around the ballroom.
WORKER THREE Currently?
MEDIC Legally.
WORKER THREE That's a different question.
THE COUNSEL Answer legally.
WORKER THREE You listening?
THE COUNSEL Unfortunately.
THE MEDIC bandages the hand.
MEDIC You may need stitches.
WORKER THREE Can I finish the wall first?
THE SECURITY DIRECTOR Which wall?
THE ARCHITECT No.
THE SECURITY DIRECTOR I'm asking.
THE ARCHITECT He needs medical attention.
THE SECURITY DIRECTOR I'm not disputing that.
THE ARCHITECT Then stop asking about the wall.
THE SECURITY DIRECTOR The wall still exists.
A pause.
WORKER THREE I can finish it.
THE ARCHITECT No.
WORKER THREE I'm hourly.
THE ARCHITECT Go get stitches.
WORKER THREE Do they cover the emergency room?
MEDIC Depends on the plan.
WORKER THREE What plan?
MEDIC Yours.
WORKER THREE That's what I'm asking.
THE MEDIC looks at the insurance card.
MEDIC I don't know.
WORKER THREE You asked for it.
MEDIC I needed the number.
WORKER THREE What does the number do?
MEDIC Identifies you.
Everyone is silent for half a second.
WORKER THREE You know who I am.
MEDIC Not to them.
The television, still silent, shows an insurance company logo behind a panel of commentators. The WORKER looks at it.
WORKER THREE Funny.
THE PRESS SECRETARY What?
WORKER THREE Nothing.
THE MEDIC leads him out.
SCENE FIVE — GROWTH
Afternoon. A small press preview.
THE PRESS SECRETARY stands before a temporary lectern. Several REPORTERS are present. Behind her, workers apply gold leaf. THE COUNSEL watches anxiously.
THE PRESS SECRETARY The project remains on schedule, within the currently projected cost framework, and continues to incorporate necessary security improvements appropriate to a modern executive facility.
REPORTER ONE What is the current cost?
THE PRESS SECRETARY The projected figure has not materially changed.
REPORTER ONE Which is?
THE PRESS SECRETARY The projected figure.
REPORTER TWO Three hundred million?
THE PRESS SECRETARY Approximately.
THE COUNSEL closes his eyes.
REPORTER TWO Yesterday you said not approximately.
THE PRESS SECRETARY Yesterday was yesterday's estimate.
REPORTER THREE Is the ballroom itself required for national security?
THE PRESS SECRETARY The facility as a whole incorporates critical security functions.
REPORTER THREE So no?
THE PRESS SECRETARY That's not what I said.
REPORTER THREE What did you say?
THE PRESS SECRETARY Exactly what I said.
REPORTER ONE How much of the cost is security?
THE PRESS SECRETARY Security cannot responsibly be reduced to one line item.
REPORTER TWO Why not?
THE SECURITY DIRECTOR Because security is integrated.
REPORTER TWO Into what?
THE SECURITY DIRECTOR Everything.
A pause.
REPORTER TWO Including the gold?
THE SECURITY DIRECTOR Potentially.
THE COUNSEL looks at the floor.
REPORTER THREE Can you explain how?
THE SECURITY DIRECTOR No.
REPORTER THREE Because it's classified?
THE SECURITY DIRECTOR No.
REPORTER THREE Why not?
THE SECURITY DIRECTOR I don't know yet.
The REPORTERS begin writing.
THE COUNSEL We're done.
THE PRESS SECRETARY One more.
REPORTER FOUR Do current economic pressures change the administration's willingness to spend this much on a ballroom?
THE PRESS SECRETARY The economy remains strong.
At that exact moment, THE ECONOMIC ADVISER enters from the side door coughing violently.
Everyone looks.
THE ECONOMIC ADVISER Sorry.
He coughs again.
THE PRESS SECRETARY We're in briefing.
THE ECONOMIC ADVISER I know.
THE PRESS SECRETARY Is something wrong?
THE ECONOMIC ADVISER No.
He coughs again.
REPORTER FOUR Is he all right?
THE ECONOMIC ADVISER Strong.
THE PRESS SECRETARY stares at him.
THE COUNSEL Thank you, everyone.
The reporters leave. A long silence.
THE PRESS SECRETARY What was that?
THE ECONOMIC ADVISER Dry air.
THE ARCHITECT There's no finished ventilation.
THE ECONOMIC ADVISER Exactly.
THE PRESS SECRETARY Why are you here?
THE ECONOMIC ADVISER Updated consumer numbers.
THE PRESS SECRETARY Good?
THE ECONOMIC ADVISER Mixed.
THE PRESS SECRETARY Meaning?
THE ECONOMIC ADVISER Strong.
THE ARCHITECT You just said mixed.
THE ECONOMIC ADVISER Mixed can be strong.
THE ARCHITECT Can weak be strong?
THE ECONOMIC ADVISER Temporarily.
THE SECURITY DIRECTOR Can temporary be secure?
THE ECONOMIC ADVISER Depends how long.
THE CATERING MANAGER enters with WAITERS carrying glasses.
CATERING MANAGER We need to rehearse the toast.
THE PRESS SECRETARY Fill them.
CATERING MANAGER With what?
THE PRESS SECRETARY Anything clear.
CATERING MANAGER Water?
THE PRESS SECRETARY Looks cheap.
CATERING MANAGER Sparkling.
THE PRESS SECRETARY Fine.
CATERING MANAGER Champagne?
THE ECONOMIC ADVISER Not yet.
THE PRESS SECRETARY Why?
THE ECONOMIC ADVISER Price.
CATERING MANAGER It's doubled.
THE PRESS SECRETARY Since when?
CATERING MANAGER Since the last estimate.
THE ARCHITECT Projected?
CATERING MANAGER Actual.
The glasses are filled. Everyone takes one, reluctantly.
THE PRESS SECRETARY "To national security."
THE COUNSEL Too direct.
THE ARCHITECT That's what the room is for.
THE COUNSEL Exactly.
THE PRESS SECRETARY "To security."
THE SECURITY DIRECTOR Better.
THE ECONOMIC ADVISER "To stability."
THE ARCHITECT Do we have that?
THE ECONOMIC ADVISER Projected.
THE ECONOMIC ADVISER smiles faintly.
This time, THE ARCHITECT laughs. Then THE AIDE. Then, unexpectedly, THE SECURITY DIRECTOR.
The laughter is small. Almost embarrassed.
THE COUNSEL does not laugh.
THE COUNSEL Can we please remain serious?
The laughter stops.
A long pause.
THE PRESS SECRETARY To security.
ALL Security.
They drink sparkling water.
SCENE SIX — PRECAUTION
The next morning. Workers prepare to raise the chandelier. A pulley creaks.
WORKER Ready?
THE ARCHITECT Slowly.
THE SECURITY DIRECTOR Stop if anything changes.
WORKER Anything?
THE SECURITY DIRECTOR Anything relevant.
WORKER How will I know?
THE SECURITY DIRECTOR We'll tell you.
The chandelier begins rising. Very slowly. Plastic shimmering. Crystal barely visible beneath.
THE ARCHITECT Three feet.
WORKER Three.
THE ARCHITECT Six.
WORKER Six.
THE SECURITY DIRECTOR Stop.
The chandelier stops.
THE ARCHITECT What?
THE SECURITY DIRECTOR Something's wrong.
THE ARCHITECT What?
THE SECURITY DIRECTOR I don't know yet.
Everyone waits.
THE PRESS SECRETARY Is it dangerous?
THE SECURITY DIRECTOR Unknown.
THE COUNSEL Don't say unknown.
THE SECURITY DIRECTOR Why?
THE COUNSEL It sounds insecure.
THE SECURITY DIRECTOR It is unknown.
THE COUNSEL Then determine it.
THE SECURITY DIRECTOR looks up. Everyone looks up. Nothing happens.
WORKER My arm's getting tired.
THE SECURITY DIRECTOR Hold.
WORKER I am holding.
THE SECURITY DIRECTOR Good.
WORKER That's the problem.
Another pause.
THE SECURITY DIRECTOR All right. Continue.
THE ARCHITECT What was wrong?
THE SECURITY DIRECTOR Nothing.
THE ARCHITECT You stopped us.
THE SECURITY DIRECTOR Precaution.
THE ARCHITECT Against what?
THE SECURITY DIRECTOR What might have been wrong.
THE COUNSEL That's defensible.
THE PRESS SECRETARY Very.
The chandelier rises. Higher. Higher. At last it reaches the ceiling. The workers secure it. Everyone steps back. The plastic is still wrapped around it.
THE ARCHITECT We need to move the lion.
THE SECURITY DIRECTOR Why?
THE ARCHITECT Fire marshal.
THE SECURITY DIRECTOR What about him?
THE ARCHITECT He would like the emergency exit to function as an emergency exit.
THE SECURITY DIRECTOR Reasonable.
THE ARCHITECT Thank you.
THE SECURITY DIRECTOR Move the sign.
THE ARCHITECT What?
THE SECURITY DIRECTOR The emergency-exit sign.
THE ARCHITECT No.
THE SECURITY DIRECTOR Why not?
THE ARCHITECT Because the door is the emergency exit.
THE SECURITY DIRECTOR Could another door be the emergency exit?
THE ARCHITECT In theory.
THE COUNSEL There.
THE ARCHITECT No. Not there.
THE COUNSEL You said in theory.
THE ARCHITECT We are building a room, and there is a door specifically designed to let people leave that room if the room catches fire.
THE SECURITY DIRECTOR Correct.
THE ARCHITECT The lion blocks it.
THE SECURITY DIRECTOR Temporarily.
THE ARCHITECT Everything is temporary to you.
THE SECURITY DIRECTOR Everything is temporary.
A pause.
THE COUNSEL No philosophy in the room.
SCENE SEVEN — LOSS
Night. The ballroom lights are dimmed.
Only THE AIDE and THE ECONOMIC ADVISER remain. THE ECONOMIC ADVISER sits at the folding table staring at a spreadsheet.
AIDE You want coffee?
THE ECONOMIC ADVISER No.
AIDE Tea?
THE ECONOMIC ADVISER No.
AIDE Water?
THE ECONOMIC ADVISER Probably.
THE AIDE brings him a bottle.
THE ECONOMIC ADVISER Thanks.
AIDE Bad?
THE ECONOMIC ADVISER Numbers aren't bad.
AIDE They look bad.
THE ECONOMIC ADVISER That's interpretation.
AIDE What's the number?
THE ECONOMIC ADVISER Which one?
AIDE The one you're staring at.
A pause.
THE ECONOMIC ADVISER Real wages.
AIDE What about them?
THE ECONOMIC ADVISER Down four quarters.
AIDE Consecutive?
THE ECONOMIC ADVISER Consecutive.
A pause.
AIDE Is that the one?
THE ECONOMIC ADVISER No.
AIDE Which one?
THE ECONOMIC ADVISER Coverage.
AIDE What about it?
THE ECONOMIC ADVISER Nine hundred thousand people lost it last year.
AIDE Lost their jobs?
THE ECONOMIC ADVISER No.
A silence.
THE ECONOMIC ADVISER Most of them are still employed.
AIDE You know that by heart.
THE ECONOMIC ADVISER It's my job.
AIDE Say it like that tomorrow.
THE ECONOMIC ADVISER I can't.
AIDE Why?
THE ECONOMIC ADVISER Because tomorrow someone asks a question, and a question has a shape, and the shape only fits one word.
AIDE Which word?
THE ECONOMIC ADVISER Mixed.
A pause.
AIDE That's bad.
THE ECONOMIC ADVISER It's negative.
AIDE What's the difference?
THE ECONOMIC ADVISER One is descriptive.
AIDE Negative sounds descriptive.
THE ECONOMIC ADVISER Exactly.
AIDE Bad sounds judgmental.
THE ECONOMIC ADVISER Now you're learning.
They sit. On the television: images of cars at filling stations.
AIDE Does it bother you?
THE ECONOMIC ADVISER Of course.
AIDE Then why don't you say that?
THE ECONOMIC ADVISER Where?
AIDE When they ask you.
THE ECONOMIC ADVISER Because that's not the question they ask me.
AIDE What's the question?
THE ECONOMIC ADVISER Usually whether the economy is strong.
AIDE Is it?
THE ECONOMIC ADVISER looks at him.
THE ECONOMIC ADVISER Relative to what?
A long silence.
AIDE You should get some sleep.
THE ECONOMIC ADVISER That's not in the forecast.
SCENE EIGHT — DURING
Later the same night.
The ballroom is darker now, except for the chandelier under plastic, illuminated faintly from below.
THE ARCHITECT remains alone, studying drawings. THE SECURITY DIRECTOR enters carrying two coffees.
THE SECURITY DIRECTOR You staying?
THE ARCHITECT Apparently.
THE SECURITY DIRECTOR Cream?
THE ARCHITECT Black.
He hands it over.
THE ARCHITECT Thanks.
A long quiet.
THE SECURITY DIRECTOR You don't like the room.
THE ARCHITECT I like the room.
THE SECURITY DIRECTOR You don't like why we're building it.
THE ARCHITECT I don't know why we're building it.
THE SECURITY DIRECTOR You do.
THE ARCHITECT Do I?
THE SECURITY DIRECTOR Events.
THE ARCHITECT That's not a reason.
THE SECURITY DIRECTOR It's the reason for almost everything.
THE ARCHITECT That's convenient.
THE SECURITY DIRECTOR It's true.
THE ARCHITECT Those aren't the same thing.
THE SECURITY DIRECTOR Sometimes.
THE ARCHITECT You believe all of this? That the room is security.
THE SECURITY DIRECTOR The room is a room.
THE ARCHITECT Finally.
THE SECURITY DIRECTOR The structure is security.
THE ARCHITECT There it is.
THE SECURITY DIRECTOR You think that's absurd.
THE ARCHITECT I think it's a ballroom.
THE SECURITY DIRECTOR And I think walls stop things.
THE ARCHITECT Walls also hold paintings.
THE SECURITY DIRECTOR They can do both.
THE ARCHITECT looks at him.
THE ARCHITECT That's probably the whole problem.
THE SECURITY DIRECTOR What's that?
THE ARCHITECT Nothing.
The television flickers silently. Images: a courthouse. A tanker at sea. A hospital corridor. The residence from outside. A rendering of the finished ballroom.
THE SECURITY DIRECTOR It'll be beautiful.
THE ARCHITECT Yes.
THE SECURITY DIRECTOR That bothers you too?
THE ARCHITECT No.
THE SECURITY DIRECTOR Good.
A beat.
THE ARCHITECT Where did they put the lion?
THE SECURITY DIRECTOR Emergency exit.
THE ARCHITECT Still?
THE SECURITY DIRECTOR Temporarily.
THE ARCHITECT It blocks the door.
THE SECURITY DIRECTOR We'll move it in an emergency.
THE ARCHITECT When?
THE SECURITY DIRECTOR During.
THE ARCHITECT looks at him. THE SECURITY DIRECTOR drinks his coffee.
Neither laughs.
THE ARCHITECT gathers his drawings and exits. THE SECURITY DIRECTOR remains a moment, then follows.
The ballroom is empty.
A man enters through the main doors.
He is impeccably dressed. Dark suit. Dark tie. A large identification badge hangs from his neck. He carries three phones.
He looks around the ballroom as though he has been here many times.
THE AIDE enters from the opposite side, startled.
AIDE Sorry. We're closed.
MAN I know.
AIDE Can I help you?
MAN No.
AIDE Do you have authorization?
The MAN holds up his badge. THE AIDE examines it.
AIDE I can't read this.
MAN You're not supposed to.
AIDE Who are you with?
MAN National Security.
AIDE Which office?
MAN National Security.
AIDE That's not an office.
MAN It is tonight.
THE AIDE looks at the badge again.
AIDE Are they expecting you?
MAN Always.
AIDE Who?
MAN Everyone.
A pause.
AIDE I should call the Director.
MAN He knows me.
AIDE What's your name?
The MAN considers this.
MAN National Security.
AIDE That's your name?
NATIONAL SECURITY For present purposes.
THE AIDE looks at him.
Nothing in the room changes. No music. No lighting cue. No indication that reality has crossed a line.
AIDE You want coffee?
NATIONAL SECURITY Please.
THE AIDE exits.
NATIONAL SECURITY walks slowly through the ballroom. He stops beneath the chandelier. Looks up. Touches the plastic.
Then notices the bronze lion. He walks to it. Reads the sign behind it:
EMERGENCY EXIT
He studies the lion. He studies the door.
He nods approvingly.
Blackout.
END OF ACT I
ACT II — THE PERSONS
The following morning.
The ballroom is almost complete. The chandelier is unwrapped and lit. Gold leaf finished. White linen on long tables along the walls. The crates marked ASSISTANCE have disappeared behind a curtain.
The bronze lion still blocks the emergency exit.
NATIONAL SECURITY stands alone at center stage drinking coffee, reading the folder marked SECURITY.
SCENE ONE — ABOVE MY LEVEL
THE AIDE enters carrying more coffee.
AIDE Black.
NATIONAL SECURITY Thank you.
AIDE Did you sleep here?
NATIONAL SECURITY No.
AIDE Where did you sleep?
NATIONAL SECURITY Securely.
AIDE Right.
A pause.
AIDE The Director's coming. He said he doesn't know you.
NATIONAL SECURITY He does.
AIDE He specifically said, "I don't know him."
NATIONAL SECURITY That's appropriate.
THE SECURITY DIRECTOR enters. Stops.
THE SECURITY DIRECTOR You.
NATIONAL SECURITY Morning.
THE SECURITY DIRECTOR How did you get in?
NATIONAL SECURITY Through the door.
THE SECURITY DIRECTOR Which door?
NATIONAL SECURITY The secure one.
THE SECURITY DIRECTOR There are eleven.
NATIONAL SECURITY Exactly.
THE SECURITY DIRECTOR Who cleared you?
NATIONAL SECURITY You did.
THE SECURITY DIRECTOR I did not.
NATIONAL SECURITY hands him the badge. THE SECURITY DIRECTOR looks at it for a long time.
THE SECURITY DIRECTOR This is above my level.
NATIONAL SECURITY That's why you cleared me.
THE SECURITY DIRECTOR That doesn't make sense.
NATIONAL SECURITY It doesn't have to at your level.
A beat.
THE SECURITY DIRECTOR What are you here for?
NATIONAL SECURITY The room.
THE SECURITY DIRECTOR Facility.
NATIONAL SECURITY Of course.
THE SECURITY DIRECTOR What about it?
NATIONAL SECURITY I need to know whether it's secure.
THE SECURITY DIRECTOR That's my job.
NATIONAL SECURITY No. Your job is to make it secure.
THE SECURITY DIRECTOR And yours?
NATIONAL SECURITY To determine whether the word applies.
A silence.
AIDE Which word?
NATIONAL SECURITY Secure.
AIDE That's your name.
NATIONAL SECURITY For present purposes.
SCENE TWO — HEALTHCARE
THE ECONOMIC ADVISER stands beside the folding table staring at his phone. He looks pale.
NATIONAL SECURITY You all right?
THE ECONOMIC ADVISER Strong.
NATIONAL SECURITY You look terrible.
THE ECONOMIC ADVISER Mixed.
NATIONAL SECURITY Sit down.
THE ECONOMIC ADVISER That could signal weakness.
NATIONAL SECURITY To whom?
THE ECONOMIC ADVISER Anyone watching.
NATIONAL SECURITY No one's watching.
THE ECONOMIC ADVISER looks toward the television cameras stacked in the corner.
THE ECONOMIC ADVISER Potentially.
He coughs. THE ARCHITECT enters.
THE ARCHITECT You should see a doctor.
THE ECONOMIC ADVISER I have coverage.
THE ARCHITECT That wasn't the question.
THE ECONOMIC ADVISER It's usually the answer.
The main doors open. A woman enters carrying a clipboard. She is dressed like a hospital receptionist. She looks around the room.
WOMAN Good morning.
AIDE Can I help you?
WOMAN Date of birth?
AIDE Mine?
WOMAN Whoever's speaking.
AIDE Why?
WOMAN Identification.
AIDE Who are you?
WOMAN Healthcare.
AIDE Which hospital?
HEALTHCARE Healthcare.
AIDE That's not a hospital.
HEALTHCARE Correct.
AIDE Insurance?
HEALTHCARE Sometimes.
AIDE Doctor?
HEALTHCARE Sometimes.
AIDE Government?
HEALTHCARE Sometimes.
AIDE Then what are you?
HEALTHCARE Your question has been received.
She writes something down.
AIDE What did you write?
HEALTHCARE Request for clarification.
AIDE Can I see it?
HEALTHCARE You can appeal.
AIDE Appeal what?
HEALTHCARE The denial.
AIDE You denied me?
HEALTHCARE Not personally.
AIDE Who did?
HEALTHCARE The process.
AIDE Where is the process?
HEALTHCARE Everywhere.
NATIONAL SECURITY smiles faintly.
NATIONAL SECURITY I like her.
THE ECONOMIC ADVISER coughs violently.
HEALTHCARE Date of birth?
THE ECONOMIC ADVISER Strong.
HEALTHCARE That's not a date.
THE ECONOMIC ADVISER Mixed?
HEALTHCARE Closer.
SCENE THREE — MILITARY ASSISTANCE
A DELIVERYMAN enters pushing one of the green crates back into the room. He is cheerful.
DELIVERYMAN Morning.
AIDE Those were supposed to be gone.
DELIVERYMAN They were.
AIDE Then why are they back?
DELIVERYMAN Returned.
AIDE Why?
DELIVERYMAN No signature.
AIDE We didn't order them.
DELIVERYMAN Doesn't matter.
AIDE Who did?
DELIVERYMAN Appropriations.
AIDE That's not a person.
DELIVERYMAN You'd be surprised.
NATIONAL SECURITY What are you carrying?
DELIVERYMAN Military Assistance.
NATIONAL SECURITY Your name?
DELIVERYMAN Military Assistance.
THE SECURITY DIRECTOR You've got to be kidding.
MILITARY ASSISTANCE No, sir.
He presents a clipboard.
MILITARY ASSISTANCE Sign here.
THE SECURITY DIRECTOR For what?
MILITARY ASSISTANCE Receipt.
THE SECURITY DIRECTOR Of what?
MILITARY ASSISTANCE Assistance.
THE SECURITY DIRECTOR What's in the crates?
MILITARY ASSISTANCE Can't say.
THE SECURITY DIRECTOR Classified?
MILITARY ASSISTANCE No.
THE SECURITY DIRECTOR Then why can't you say?
MILITARY ASSISTANCE Because I haven't got a signature yet.
THE SECURITY DIRECTOR The signature tells you what's inside?
MILITARY ASSISTANCE The signature tells me who it belongs to.
A pause.
THE ARCHITECT And before that?
MILITARY ASSISTANCE Before that it's mine.
THE ARCHITECT So sign nothing and it stays yours.
MILITARY ASSISTANCE That's not permitted.
THE ARCHITECT Why?
MILITARY ASSISTANCE Because I'm in transit. Transit isn't a place. Things can't stay in it.
He offers the clipboard again.
MILITARY ASSISTANCE Sign here.
NATIONAL SECURITY Sign.
THE SECURITY DIRECTOR signs.
MILITARY ASSISTANCE Thank you for your support.
THE SECURITY DIRECTOR Mine?
MILITARY ASSISTANCE (indicating the signature) It's yours now.
SCENE FOUR — THE MARKET
A sharply dressed man rushes in, speaking into two phones.
MAN Up. No, down. No, hold. Wait. How bad? Compared to what? Buy. Sell. Buy what? Exactly.
He hangs up both phones.
AIDE Who are you?
MAN The Market.
AIDE You look nervous.
THE MARKET Excellent sign.
THE ECONOMIC ADVISER For what?
THE MARKET Liquidity.
THE ECONOMIC ADVISER That's not what nervous means.
THE MARKET It is if enough people are nervous.
His phone rings.
THE MARKET Hello? Good. Terrible. Perfect.
He hangs up.
THE ARCHITECT What happened?
THE MARKET Nothing yet.
THE ARCHITECT Then why perfect?
THE MARKET Expectation.
NATIONAL SECURITY Of what?
THE MARKET Everything.
HEALTHCARE Do you have coverage?
THE MARKET I'm diversified.
HEALTHCARE Not the same thing.
THE MARKET Usually is.
THE PRESS SECRETARY and THE COUNSEL enter. They stop when they see the room now populated.
THE PRESS SECRETARY Who are these people?
AIDE I'm still working on that.
THE COUNSEL Are they credentialed?
NATIONAL SECURITY Yes.
HEALTHCARE Pending.
MILITARY ASSISTANCE Already authorized.
THE MARKET Depends on close.
THE COUNSEL No.
THE PRESS SECRETARY No what?
THE COUNSEL All of this.
NATIONAL SECURITY We're here for the briefing.
THE PRESS SECRETARY What briefing?
HEALTHCARE The one requiring prior authorization.
THE COUNSEL Stop.
MILITARY ASSISTANCE Need a signature?
THE COUNSEL No.
THE MARKET Strong response.
THE PRESS SECRETARY Aide. Who invited them?
AIDE No one.
THE PRESS SECRETARY Then remove them.
AIDE Which one first?
A pause.
THE PRESS SECRETARY National Security stays.
NATIONAL SECURITY Of course.
THE PRESS SECRETARY Healthcare can wait outside.
HEALTHCARE Expected.
THE PRESS SECRETARY Military Assistance—
MILITARY ASSISTANCE Already leaving.
THE PRESS SECRETARY Good.
MILITARY ASSISTANCE I'll be back.
THE PRESS SECRETARY Why?
MILITARY ASSISTANCE Recurring authorization.
THE MARKET And me?
THE PRESS SECRETARY looks at THE ECONOMIC ADVISER.
THE ECONOMIC ADVISER Keep him.
THE PRESS SECRETARY Why?
THE ECONOMIC ADVISER Optics.
THE ARCHITECT Which direction?
THE COUNSEL closes his eyes.
Nobody leaves.
SCENE FIVE — THE TOUR
Later. THE ARCHITECT is giving NATIONAL SECURITY a formal tour.
THE ARCHITECT Main entrance.
NATIONAL SECURITY Too obvious.
THE ARCHITECT That's why it's the main entrance.
NATIONAL SECURITY Secondary entrance?
THE ARCHITECT There.
NATIONAL SECURITY Too secondary.
THE ARCHITECT What would you prefer?
NATIONAL SECURITY An entrance no one knows is an entrance.
THE ARCHITECT Then no one can enter.
NATIONAL SECURITY Ideal.
They walk.
THE ARCHITECT East wall.
NATIONAL SECURITY Reinforced.
THE ARCHITECT Yes.
NATIONAL SECURITY West?
THE ARCHITECT Also reinforced.
NATIONAL SECURITY Ceiling?
THE ARCHITECT Structurally supported.
NATIONAL SECURITY Floor?
THE ARCHITECT Floor.
NATIONAL SECURITY Good.
They reach the lion.
NATIONAL SECURITY Excellent.
THE ARCHITECT It's blocking the emergency exit.
NATIONAL SECURITY Exactly.
THE ARCHITECT You keep saying that.
NATIONAL SECURITY Because it keeps being true.
THE ARCHITECT What exactly is true?
NATIONAL SECURITY That the exit is protected.
THE ARCHITECT From use.
NATIONAL SECURITY From unauthorized use.
THE ARCHITECT In a fire?
NATIONAL SECURITY Fire is not authorized.
THE ARCHITECT stares at him.
THE ARCHITECT You're serious.
NATIONAL SECURITY Always.
THE ARCHITECT That must be exhausting.
NATIONAL SECURITY Classified.
SCENE SIX — THE CHILD
A small CHILD enters. No one sees where from. He is perhaps eight years old. He looks around the ballroom.
CHILD Wow.
Everyone stops.
THE PRESS SECRETARY Who is that?
AIDE I don't know.
THE SECURITY DIRECTOR How did he get in?
CHILD Door.
NATIONAL SECURITY Which one?
CHILD The open one.
THE SECURITY DIRECTOR looks toward the main doors.
THE SECURITY DIRECTOR Who left that open?
CHILD You did.
THE SECURITY DIRECTOR Who are you?
CHILD Ben.
THE SECURITY DIRECTOR Ben what?
CHILD Just Ben.
THE COUNSEL That's not sufficient.
CHILD For what?
THE COUNSEL Identification.
CHILD My mom knows me.
HEALTHCARE Date of birth?
CHILD I don't know.
THE MARKET Excellent.
THE PRESS SECRETARY Where's your mother?
CHILD Bathroom.
THE PRESS SECRETARY Which bathroom?
CHILD The one by the boxes.
MILITARY ASSISTANCE looks toward the curtain.
MILITARY ASSISTANCE There aren't boxes.
CHILD Yes there are.
MILITARY ASSISTANCE Crates.
CHILD What's in them?
A pause.
MILITARY ASSISTANCE Assistance.
CHILD What's that?
No one answers.
CHILD What's this room for?
THE PRESS SECRETARY State functions.
CHILD Like what?
THE COUNSEL Official events.
CHILD Like what?
THE ARCHITECT Dancing.
Everyone looks at him.
CHILD Oh.
He looks around.
CHILD Then why are there so many guns outside?
A long silence.
NATIONAL SECURITY Security.
CHILD From what?
NATIONAL SECURITY considers him.
NATIONAL SECURITY Anything.
CHILD Anything?
NATIONAL SECURITY Potentially.
CHILD That's a lot.
The CHILD looks up at the chandelier.
CHILD It's pretty.
THE ARCHITECT Thank you.
CHILD Can I dance?
THE PRESS SECRETARY Not now.
CHILD Why?
THE PRESS SECRETARY It's not ready.
CHILD Looks ready.
THE ARCHITECT He's right.
THE PRESS SECRETARY No.
CHILD Just once?
No one knows how to answer.
The CHILD begins to dance anyway. Nothing elaborate. A little spin. Then another.
The chandelier catches him in light.
For several seconds, the entire administrative apparatus watches a child dance alone in an unfinished ballroom.
NATIONAL SECURITY looks deeply uncomfortable.
THE SECURITY DIRECTOR Should we stop him?
NATIONAL SECURITY I don't know.
This is the first time he has said those words.
The CHILD stops.
CHILD My mom's probably looking for me.
He exits.
Silence.
THE MARKET Strong kid.
HEALTHCARE Out of network.
THE ARCHITECT laughs. Then THE AIDE. THE PRESS SECRETARY tries not to.
NATIONAL SECURITY does not.
SCENE SEVEN — GUILTY
Night. Most of the lights are off. Only the chandelier remains lit.
NATIONAL SECURITY, HEALTHCARE, MILITARY ASSISTANCE, THE MARKET, THE ECONOMIC ADVISER, THE SECURITY DIRECTOR, THE ARCHITECT, THE COUNSEL, THE PRESS SECRETARY, and THE AIDE are all present.
No one has been formally dismissed.
The television shows courthouse footage.
ANCHOR, ON TV —following today's guilty plea—
The main doors open.
A man enters. Plain dark suit. No badge. No folder. No phones. He carries nothing.
He walks directly to the center of the room.
THE SECURITY DIRECTOR Can I help you?
MAN No.
THE SECURITY DIRECTOR Identification?
MAN Guilty.
AIDE Your name?
GUILTY Guilty.
THE COUNSEL That's not a name.
GUILTY Tonight it is.
NATIONAL SECURITY Who are you here for?
GUILTY looks toward the television. Then back at the room.
GUILTY I have an address.
THE SECURITY DIRECTOR Whose?
GUILTY points toward the television.
THE COUNSEL The man who pleaded this morning.
GUILTY Yes.
THE COUNSEL He's not here.
GUILTY He will be.
THE PRESS SECRETARY Why?
GUILTY Because he belongs to me.
A silence.
HEALTHCARE Do you have authorization?
GUILTY Yes.
HEALTHCARE From whom?
GUILTY Him.
THE COUNSEL That's not how authorization works.
GUILTY He said he did it.
THE COUNSEL That's a plea.
GUILTY Yes.
THE COUNSEL A legal proceeding.
GUILTY Yes.
THE COUNSEL With specific charges. Specific jurisdiction.
GUILTY Yes.
THE COUNSEL Then say that.
GUILTY Guilty.
THE COUNSEL has nothing to add.
THE MARKET Very clean.
THE ECONOMIC ADVISER Unusually.
NATIONAL SECURITY What exactly do you do?
GUILTY Attach.
NATIONAL SECURITY To what?
GUILTY An act.
NATIONAL SECURITY Which act?
GUILTY The one admitted.
NATIONAL SECURITY And after that?
GUILTY I stay.
A pause.
THE ARCHITECT That's it?
GUILTY That's enough.
SCENE EIGHT — THE DEFENDANT
The main doors open.
THE DEFENDANT enters. No spectacle. No restraints. No guards. An ordinary dark suit.
He looks smaller than the television made him look.
Everyone turns toward him. GUILTY does not.
THE DEFENDANT Am I late?
THE COUNSEL For what?
THE DEFENDANT Apparently this.
GUILTY turns. The room changes without changing.
GUILTY You know me.
THE DEFENDANT I know the word.
GUILTY Same thing tonight.
THE DEFENDANT Is it?
GUILTY You said you did it.
THE DEFENDANT Yes.
GUILTY Then yes.
A silence.
THE DEFENDANT You're here for me?
GUILTY Yes.
THE DEFENDANT Only me?
GUILTY looks around the ballroom.
NATIONAL SECURITY. HEALTHCARE. MILITARY ASSISTANCE. THE MARKET. THE ECONOMIC ADVISER. THE SECURITY DIRECTOR. THE COUNSEL. THE PRESS SECRETARY. THE ARCHITECT. THE AIDE.
The television. The chandelier. The lion. The crates behind the curtain.
GUILTY I have an address.
A long silence.
THE DEFENDANT That's what they told me.
THE COUNSEL Who?
THE DEFENDANT Everyone.
A beat.
THE PRESS SECRETARY This is inappropriate.
THE ARCHITECT What is?
THE PRESS SECRETARY This setting.
THE ARCHITECT For guilt?
THE PRESS SECRETARY For him.
THE DEFENDANT I've been in stranger rooms.
NATIONAL SECURITY Which rooms?
THE DEFENDANT Courtrooms.
THE COUNSEL Those aren't strange.
THE DEFENDANT You work in them.
THE COUNSEL Exactly.
THE DEFENDANT That's why.
THE MARKET laughs once.
THE PRESS SECRETARY No.
THE MARKET Sorry.
HEALTHCARE Member ID?
THE DEFENDANT What?
HEALTHCARE If you're staying.
THE DEFENDANT I'm not.
HEALTHCARE Then discharge is easier.
SCENE NINE — THE DEAD MAN
The television shows a photograph of a man in his fifties. An ordinary corporate portrait.
No one initially notices.
Then the photograph is no longer only on the television.
THE DEAD MAN is standing near the cart. No entrance. He is simply there.
Ordinary suit. Ordinary shoes. No blood. No symbolic lighting.
He looks at THE DEFENDANT.
THE DEAD MAN You shot me.
No one moves.
THE DEFENDANT Yes.
THE DEAD MAN Why?
THE DEFENDANT looks at him.
THE DEFENDANT You know why I said I did.
THE DEAD MAN That's not the same thing.
THE DEFENDANT No.
THE DEAD MAN You knew me?
THE DEFENDANT No.
THE DEAD MAN Then why me?
Silence.
THE DEFENDANT Because you were there.
THE DEAD MAN I was walking.
THE DEFENDANT I know.
THE DEAD MAN To work.
THE DEFENDANT I know.
THE DEAD MAN That's not a system.
THE DEFENDANT No.
THE DEAD MAN That's a person.
THE DEFENDANT Yes.
A long silence.
THE DEAD MAN Good.
He looks around the room.
THE DEAD MAN Now where is the system?
No one answers.
HEALTHCARE I am not a person.
THE DEAD MAN Clearly.
HEALTHCARE I didn't mean—
THE DEAD MAN I know what you meant.
HEALTHCARE There are procedures.
THE DEAD MAN I know.
HEALTHCARE Appeals.
THE DEAD MAN I know.
HEALTHCARE Medical review.
THE DEAD MAN I know.
HEALTHCARE Contractual obligations.
THE DEAD MAN I know.
THE DEFENDANT And people die.
HEALTHCARE looks at him.
HEALTHCARE People die in hospitals.
THE DEFENDANT That's not an answer.
HEALTHCARE It is an answer.
THE DEFENDANT Not to that.
HEALTHCARE Then ask correctly.
THE DEFENDANT How many people died because they were denied care?
THE COUNSEL That's not a question anyone here can responsibly answer.
THE DEFENDANT Exactly.
THE DEAD MAN And you thought shooting me would answer it?
THE DEFENDANT says nothing.
THE DEAD MAN Did it?
THE DEFENDANT No.
A silence.
THE DEAD MAN Good.
NATIONAL SECURITY steps forward.
NATIONAL SECURITY This is becoming political.
THE ARCHITECT It was political before he walked in.
NATIONAL SECURITY No.
THE ARCHITECT We're in the residence.
NATIONAL SECURITY That's administrative.
THE ARCHITECT Of course.
THE DEAD MAN What do you do?
NATIONAL SECURITY I keep people safe.
THE DEAD MAN Which people?
NATIONAL SECURITY The country.
THE DEAD MAN That's not a person.
NATIONAL SECURITY It's more than a person.
THE DEAD MAN That's convenient.
THE SECURITY DIRECTOR Enough.
THE DEAD MAN Why?
THE SECURITY DIRECTOR Because you're dead.
A pause.
THE DEAD MAN That's usually when people start listening.
MILITARY ASSISTANCE shifts one of the crates behind the curtain. It scrapes loudly against the floor.
THE DEAD MAN What's that?
MILITARY ASSISTANCE Nothing.
THE ARCHITECT It's scratching the floor.
MILITARY ASSISTANCE Sorry.
THE DEAD MAN What's in it?
MILITARY ASSISTANCE Assistance.
THE DEAD MAN What kind?
MILITARY ASSISTANCE Military.
THE DEAD MAN Meaning?
MILITARY ASSISTANCE Equipment.
THE DEAD MAN Meaning?
MILITARY ASSISTANCE Depends on the package.
THE DEAD MAN Who packs them?
MILITARY ASSISTANCE Someone else.
THE DEAD MAN Who signs?
MILITARY ASSISTANCE Whoever's at the door.
THE DEAD MAN Who uses it?
MILITARY ASSISTANCE Someone else.
THE DEAD MAN Who dies?
A silence.
MILITARY ASSISTANCE That's not on the manifest.
No one laughs.
THE DEAD MAN turns to THE ECONOMIC ADVISER. The television shows a number.
THE DEAD MAN What's that?
THE ECONOMIC ADVISER Energy.
THE DEAD MAN Why is it up?
THE ECONOMIC ADVISER Multiple factors.
THE DEAD MAN Name one.
A pause.
THE ECONOMIC ADVISER War.
He hears himself. He does not correct it.
SCENE TEN — THE ADDRESS
THE DEAD MAN walks toward GUILTY.
THE DEAD MAN Do you know me?
GUILTY Yes.
THE DEAD MAN Who am I?
GUILTY The victim.
THE DEAD MAN Only that?
GUILTY For my purposes.
THE DEAD MAN There it is.
GUILTY I don't claim everything.
THE DEAD MAN No?
GUILTY No.
THE DEAD MAN Then you're better than most of them.
He looks toward the others.
NATIONAL SECURITY I object.
THE COUNSEL On what grounds?
NATIONAL SECURITY Broadly.
THE COUNSEL Not a ground.
NATIONAL SECURITY It is at my level.
The CHILD appears in the main doorway. No one sees him at first.
CHILD Is the dance over?
Everyone turns.
THE PRESS SECRETARY How do you keep getting in here?
CHILD Door.
THE SECURITY DIRECTOR Which one?
CHILD Still the open one.
THE SECURITY DIRECTOR looks furious.
CHILD Who's that?
He points to THE DEAD MAN. Silence.
THE PRESS SECRETARY Nobody.
THE DEAD MAN Martin.
CHILD Hi, Martin.
THE DEAD MAN Hi.
CHILD Are you coming to the dance?
THE DEAD MAN No.
CHILD Why?
A pause.
THE DEAD MAN I have somewhere else to be.
CHILD Oh.
He looks at THE DEFENDANT.
CHILD Who's he?
A silence.
GUILTY He killed him.
The CHILD looks at THE DEAD MAN.
CHILD You?
THE DEAD MAN Yes.
The CHILD looks at THE DEFENDANT.
CHILD Why?
THE DEFENDANT cannot answer.
CHILD Oh.
He looks around.
CHILD What's everybody else do?
No one answers. The CHILD waits.
CHILD Okay.
He leaves.
A long silence.
THE ARCHITECT That was unpleasant.
THE COUNSEL Children usually are.
THE PRESS SECRETARY No.
THE COUNSEL What?
THE PRESS SECRETARY Don't.
Another silence.
HEALTHCARE I should go.
THE DEAD MAN Can you?
HEALTHCARE Of course.
THE DEAD MAN Where?
HEALTHCARE Everywhere.
THE DEAD MAN That's not leaving.
HEALTHCARE remains.
MILITARY ASSISTANCE I have deliveries.
THE DEAD MAN Of course you do.
THE MARKET Asian markets open soon.
THE ECONOMIC ADVISER They always do.
NATIONAL SECURITY We have an event tomorrow.
THE ARCHITECT The ball.
NATIONAL SECURITY State function.
THE ARCHITECT Dance.
NATIONAL SECURITY Secure state function.
THE ARCHITECT Dance.
NATIONAL SECURITY Fine.
A pause.
NATIONAL SECURITY Dance.
GUILTY approaches THE DEFENDANT.
GUILTY It's time.
THE DEFENDANT Where are we going?
GUILTY Forward.
THE DEFENDANT That's vague.
GUILTY Sentencing isn't.
THE DEFENDANT Right.
He looks at THE DEAD MAN.
THE DEFENDANT Anything else?
THE DEAD MAN No.
THE DEFENDANT That's it?
THE DEAD MAN You wanted more?
THE DEFENDANT I don't know.
THE DEAD MAN Good.
THE DEFENDANT nods. GUILTY turns toward the doors. THE DEFENDANT follows. Before exiting, he stops.
THE DEFENDANT You really only have my address?
GUILTY Tonight.
THE DEFENDANT Tomorrow?
GUILTY Tomorrow is another proceeding.
THE DEFENDANT almost smiles. He exits with GUILTY.
THE DEAD MAN remains. No one knows what to do with him.
THE PRESS SECRETARY Are you staying?
THE DEAD MAN No.
THE SECURITY DIRECTOR Do you need an escort?
THE DEAD MAN I don't think you provide the kind I need.
THE SECURITY DIRECTOR We provide several kinds.
THE DEAD MAN I'm sure.
STAGEHANDS enter carrying an enormous banquet table.
STAGEHAND ONE Coming through.
No one moves.
STAGEHAND TWO Need the center clear.
THE DEAD MAN stands directly in their path. The stagehands do not appear to see him.
STAGEHAND ONE Sir?
He is speaking to THE ARCHITECT behind him.
THE ARCHITECT Move left.
The table comes forward. It is heavy and awkward. The stagehands adjust their grip. One of them stops to rest.
STAGEHAND TWO Hold on.
They stand for a moment on either side of THE DEAD MAN, who is now obscured from the audience by the raised tabletop. They are discussing the angle of the doorway. It takes as long as it would actually take.
STAGEHAND ONE Okay.
They lift and carry the table through.
THE DEAD MAN is not there.
There is no sound and no effect. Nobody in the room looks at the place where he was, because nobody in the room was looking at him.
The stagehands set the table down.
STAGEHAND TWO Centered?
THE ARCHITECT Six inches right.
They move it.
THE ARCHITECT Perfect.
Blackout.
END OF ACT II
ACT III — THE BALL
The following evening.
The ballroom is finished.
It is beautiful. Not garish. Not grotesque. Beautiful.
Crystal light floods the room. Gold leaf catches at the edges of columns. The parquet floor is immaculate. Flowers stand in disciplined arrangements. The orchestra platform is occupied by musicians tuning softly.
The bronze lion is gone.
The emergency exit is visible for the first time.
SCENE ONE — READY
THE ARCHITECT stands alone at center stage, turning slowly, taking in the room.
THE SECURITY DIRECTOR enters.
THE SECURITY DIRECTOR Well?
THE ARCHITECT It's finished.
THE SECURITY DIRECTOR Nothing is finished.
THE ARCHITECT For tonight.
THE SECURITY DIRECTOR Better.
THE ARCHITECT You like it?
THE SECURITY DIRECTOR It's secure.
THE ARCHITECT That's not what I asked.
THE SECURITY DIRECTOR I know.
A pause. THE ARCHITECT is looking at the far wall.
THE ARCHITECT You moved it.
THE SECURITY DIRECTOR Yes.
THE ARCHITECT When?
THE SECURITY DIRECTOR Last night.
THE ARCHITECT Why?
THE SECURITY DIRECTOR There was an emergency.
THE ARCHITECT turns.
THE ARCHITECT What emergency?
THE SECURITY DIRECTOR The inspection.
A silence.
THE ARCHITECT So it can be moved.
THE SECURITY DIRECTOR It was always possible to move it.
THE ARCHITECT In four minutes.
THE SECURITY DIRECTOR Six.
THE ARCHITECT looks at the exit. It is an ordinary door. It looks like nothing.
THE ARCHITECT It's beautiful.
THE SECURITY DIRECTOR The room?
THE ARCHITECT The door.
THE SECURITY DIRECTOR It's a door.
THE ARCHITECT It opens.
A pause.
THE SECURITY DIRECTOR For tonight.
THE ARCHITECT For tonight.
THE PRESS SECRETARY enters carrying a seating chart.
THE PRESS SECRETARY We have a problem.
THE SECURITY DIRECTOR Security?
THE PRESS SECRETARY Seating.
THE SECURITY DIRECTOR Worse.
THE ARCHITECT What's wrong?
THE PRESS SECRETARY National Security doesn't want to sit near Healthcare.
THE ARCHITECT Why?
THE PRESS SECRETARY Jurisdiction.
THE SECURITY DIRECTOR That doesn't make sense.
THE PRESS SECRETARY Nothing about seating makes sense after four hundred people.
THE ARCHITECT How many guests?
THE PRESS SECRETARY Eight hundred.
THE ARCHITECT You said four hundred.
THE PRESS SECRETARY I said after four hundred.
THE ARCHITECT Right.
SCENE TWO — ARRIVALS
Guests begin entering. Among them: NATIONAL SECURITY, HEALTHCARE, MILITARY ASSISTANCE, THE MARKET, THE ECONOMIC ADVISER. All in formal wear.
NATIONAL SECURITY wears white tie and still carries three phones. HEALTHCARE has replaced the clipboard with a small evening bag. MILITARY ASSISTANCE wears medals nobody recognizes. THE MARKET changes boutonnières three times during the scene.
THE ECONOMIC ADVISER looks better.
THE PRESS SECRETARY You look well.
THE ECONOMIC ADVISER Temporary.
THE PRESS SECRETARY Don't start.
THE ECONOMIC ADVISER Strongly temporary.
THE MARKET That's good.
THE ECONOMIC ADVISER Why?
THE MARKET Uncertainty.
THE ECONOMIC ADVISER You've become unbearable.
THE MARKET Bullish.
HEALTHCARE approaches.
HEALTHCARE Table?
THE PRESS SECRETARY Twenty-two.
HEALTHCARE Covered?
THE PRESS SECRETARY Assigned.
HEALTHCARE Same question eventually.
NATIONAL SECURITY Where am I?
THE PRESS SECRETARY Fourteen.
NATIONAL SECURITY Too close to the windows.
THE SECURITY DIRECTOR The windows are reinforced.
NATIONAL SECURITY Exactly.
THE SECURITY DIRECTOR What does that mean?
NATIONAL SECURITY I don't sit near reinforced things.
THE ARCHITECT Everything is reinforced.
NATIONAL SECURITY pauses.
NATIONAL SECURITY Then fourteen is fine.
SCENE THREE — THE FIRST DANCE
The orchestra begins a waltz. No one dances immediately. Everyone waits for everyone else to begin.
THE MARKET This is awkward.
THE ECONOMIC ADVISER Transitional.
HEALTHCARE Who authorized dancing?
THE PRESS SECRETARY The schedule.
HEALTHCARE Which schedule?
THE PRESS SECRETARY The event schedule.
HEALTHCARE Good.
MILITARY ASSISTANCE steps forward and offers his hand to HEALTHCARE.
MILITARY ASSISTANCE May I?
HEALTHCARE Covered?
MILITARY ASSISTANCE Fully appropriated.
They dance. Others follow. NATIONAL SECURITY does not.
The CHILD appears, dressed for the event. No one is surprised anymore.
CHILD It's finished.
THE ARCHITECT Yes.
CHILD Can I dance now?
THE PRESS SECRETARY Yes.
The CHILD enters the floor. He dances badly and happily.
THE MARKET Strong.
THE ECONOMIC ADVISER Don't.
The CHILD looks at NATIONAL SECURITY.
CHILD You still don't dance?
NATIONAL SECURITY No.
CHILD Why?
NATIONAL SECURITY Someone has to watch.
CHILD Everyone's already watching.
NATIONAL SECURITY Not correctly.
He does not look away from the room. The CHILD shrugs and goes back to dancing.
SCENE FOUR — THE TOAST
The music stops. THE PRESS SECRETARY approaches the lectern. Glasses are filled. The room settles.
THE PRESS SECRETARY Ladies and gentlemen.
A pause.
THE PRESS SECRETARY Tonight marks the completion of a space built for continuity.
THE ARCHITECT looks at her.
THE PRESS SECRETARY For ceremony.
THE SECURITY DIRECTOR shifts slightly.
THE PRESS SECRETARY For diplomacy.
NATIONAL SECURITY nods.
THE PRESS SECRETARY For celebration.
The CHILD smiles.
THE PRESS SECRETARY For national life.
A pause.
THE PRESS SECRETARY And, of course—
She raises the glass.
THE PRESS SECRETARY To security.
ALL Security.
They drink. The orchestra resumes.
SCENE FIVE — THE TELEVISION
At the edge of the ballroom, the television still plays silently.
The images cycle. A courtroom. A hospital corridor. Ships at sea. A damaged city. A ticker. A filling station. The ballroom itself, shown on the news from outside.
No one watches for long.
THE AIDE does. THE ECONOMIC ADVISER notices.
THE ECONOMIC ADVISER You all right?
AIDE Yes.
THE ECONOMIC ADVISER You look mixed.
AIDE Strongly.
They both smile.
AIDE Does it ever bother you that everything has a word already?
THE ECONOMIC ADVISER What do you mean?
AIDE Before you know what it is.
THE ECONOMIC ADVISER That's why we have the word.
AIDE Right.
THE ECONOMIC ADVISER You don't like that?
AIDE I don't know.
THE ECONOMIC ADVISER Good.
AIDE Why?
THE ECONOMIC ADVISER You might be learning.
They turn back toward the ballroom.
SCENE SIX — THE NOSE
A WAITER crosses carrying champagne. He passes NATIONAL SECURITY, then HEALTHCARE, then MILITARY ASSISTANCE.
He stops. Touches his face. His tray tilts slightly.
WAITER Huh.
A drop of blood falls onto his cuff. No one notices.
He touches his face again.
WAITER That's odd.
Another waiter approaches.
WAITER TWO You okay?
WAITER I think so.
WAITER TWO You're bleeding.
WAITER Am I?
WAITER TWO Yeah.
WAITER From where?
WAITER TWO looks at him. Then leans closer.
WAITER TWO Your—
He stops.
WAITER My what?
WAITER TWO does not answer.
Across the ballroom, the main doors open.
A figure enters. Black tuxedo. White gloves. Perfect posture. An oversized identification badge at the chest.
Where the face should be, there is only an enormous human nose.
No music change. No gasp. No one screams. The orchestra continues.
NATIONAL SECURITY sees the figure and immediately approaches.
NATIONAL SECURITY Sir.
THE NOSE inclines slightly.
NATIONAL SECURITY Credentials.
THE NOSE presents a badge. NATIONAL SECURITY studies it.
A long pause.
NATIONAL SECURITY Everything appears to be in order.
THE NOSE enters. The WAITER stares.
WAITER Excuse me.
No one hears.
WAITER Excuse me!
THE ARCHITECT turns.
THE ARCHITECT What?
WAITER That's mine.
THE ARCHITECT What's yours?
The WAITER points.
WAITER That.
THE ARCHITECT looks at THE NOSE.
THE ARCHITECT The guest?
WAITER My nose.
A pause.
THE ARCHITECT You should speak to Security.
WAITER I am speaking to you.
THE ARCHITECT I know.
WAITER That's my nose.
THE ARCHITECT I don't handle noses.
WAITER Who does?
THE ARCHITECT looks toward NATIONAL SECURITY.
THE ARCHITECT Apparently.
THE NOSE reaches the center of the floor. HEALTHCARE approaches.
HEALTHCARE Member ID?
THE NOSE presents the badge.
HEALTHCARE Out of network.
THE MARKET approaches.
THE MARKET New entrant?
THE NOSE inclines.
THE MARKET Strong.
MILITARY ASSISTANCE approaches with the clipboard.
MILITARY ASSISTANCE Sign here.
THE NOSE signs.
MILITARY ASSISTANCE Thank you for your support.
The WAITER is still holding his face.
WAITER That's mine.
No one responds.
WAITER That's mine!
THE SECURITY DIRECTOR approaches.
THE SECURITY DIRECTOR Sir, please lower your voice.
WAITER My nose is at the ball.
THE SECURITY DIRECTOR There are guests present.
WAITER I can see that.
THE SECURITY DIRECTOR Then conduct yourself appropriately.
WAITER I don't have a nose.
THE SECURITY DIRECTOR That's a medical issue.
HEALTHCARE Did someone say medical?
She appears immediately.
WAITER That's my nose.
HEALTHCARE Date of birth?
The WAITER looks at her.
He gives it.
She writes it down.
HEALTHCARE Someone will be in touch.
She returns to the floor.
The orchestra continues. The dancing does not stop. The WAITER stands holding his tray.
THE ARCHITECT crosses to him. He takes the tray out of the WAITER's hands and sets it down on a side table.
He does not say anything. He stands there.
After a moment the WAITER picks the tray up again, straightens the glasses on it, and goes back to work.
THE ARCHITECT watches him go.
Blackout.
SCENE SEVEN — CODA
Darkness. Then one work light comes up.
The ballroom is empty. Morning. Confetti. Half-finished glasses. A chair overturned. The chandelier is still shining though daylight has entered.
The WAITER is asleep at the folding table, which has been carried back in. A bandage covers the center of his face.
He lifts his head. Touches the bandage.
Beside him on the table is a form, several pages long, and a pen.
He looks at it for a while. Then picks up the pen and begins to fill it in.
THE AIDE enters carrying coffee.
AIDE Morning.
WAITER Morning.
AIDE Big night?
WAITER Apparently.
AIDE You okay?
The WAITER considers the question. Then goes back to the form.
WAITER They're reviewing it.
THE AIDE starts gathering glasses.
WAITER Did you see—
He stops.
AIDE What?
The WAITER thinks.
WAITER Nothing.
The television turns itself on. A news anchor appears.
ANCHOR, ON TV Following last night's successful opening, officials described the new ballroom as—
THE AIDE lowers the volume.
WAITER Why'd you do that?
AIDE I already know what they're going to call it.
The WAITER looks at him.
WAITER What?
THE AIDE looks around the room. The chandelier. The gold. The glasses. The sunlight. The empty dance floor. The open, unobstructed emergency exit.
AIDE Secure.
The WAITER looks at the ballroom.
A long pause.
WAITER Is it?
THE AIDE does not answer.
Outside, faintly, a siren passes.
Then another.
Then silence.
Blackout.
END OF PLAY