Out of the Wings

Conozca usted el mundo (2005), Lluïsa Cunillé Salgado

Get to Know the World : SCENE TWO , SCENE THREE excerpt 1 , SCENE THREE excerpt 2 , SCENE FIVE , SCENE SIX

Get to Know the World, translated by Gwynneth Dowling

SCENE TWO

Context:

The Singer has been singing in the street for money. Mysteriously, Maria Callas passes by to tell her she is not good enough to be an opera singer.

Sample text

MARIA CALLAS: (Takes off her sunglasses.): I’m Maria Callas.
SINGER:: Maria Callas?
MARIA CALLAS:: That’s right.; Maria Callas sings a little bit of opera. Pause.
SINGER: (Bemused.): That doesn’t prove anything.
MARIA CALLAS:: It basically proves that I’m Maria Callas. In all her glory.
SINGER:: So it’s true what they say, in the Conservatoire.
MARIA CALLAS:: In the Conservatoire? What …
SINGER:: That Maria Callas appears once in every opera singer’s lifetime.
MARIA CALLAS:: Not to everyone, no. Only to some.
SINGER:: Some? Which ones?; Pause.
MARIA CALLAS:: Can I buy you a coffee?
SINGER:: No, not right now. I’ve an important appointment.
MARIA CALLAS:: At the opera house in the city? An audition.
SINGER:: How did you know that?
MARIA CALLAS:: The city’s opera house has been closed for months.
SINGER:: Really?
MARIA CALLAS:: Termites.
SINGER:: So there’ll be no audition.
MARIA CALLAS:: No.
SINGER:: Are you sure, Madame Callas?
MARIA CALLAS:: There’s no need to be so formal. Call me Maria if you like.
SINGER:: Another time, perhaps. (She folds up the music stand.)
MARIA CALLAS:: I’ve been following you for a while.
SINGER:: Me?
MARIA CALLAS:: I thought you’d noticed.
SINGER:: I never look behind me.
MARIA CALLAS:: Wouldn’t you like to sit down somewhere and have coffee with me?
SINGER:: Why …
MARIA CALLAS:: I’ve something to tell you. That’s why I’m here.
SINGER:: Tell me now.
MARIA CALLAS:: Right here?
SINGER:: Yes.
MARIA CALLAS:: Listen. You’ve a lovely voice for a choir, but you’re not good enough to be a soloist.
SINGER:: That’s what you came to tell me?
MARIA CALLAS:: Yes.
SINGER:: This is why you follow singers around? To tell them they’re no good?
MARIA CALLAS:: I know it’s unpleasant. But somebody has to do it. Would you have believed it if anybody else had told you?
SINGER:: I know you’re not really here … I’m seeing things … I’ve been taking too many sleeping pills lately.
MARIA CALLAS:: I used to take too many sleeping pills as well.
SINGER:: And did you see things?
MARIA CALLAS:: Sometimes I saw Renata Tebaldi and other times Arturo Toscanini. (Pause.) Well, I must go. (She puts on her glasses.)
SINGER:: When will you be back?
MARIA CALLAS:: I won’t be. I’ve said all I have to say.
SINGER:: That I’m no good as a soloist. That’s all?
MARIA CALLAS:: So you want more advice?
SINGER:: No.
MARIA CALLAS:: That’s what I thought.

Copyright

The above sample taken from the translation Get to Know the World by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE THREE excerpt 1

Context:

The Train Driver is in her room trying to compose her resignation letter. The Stuntman returns from filming his Western and they talk to each other from their respective hotel rooms.

Sample text

TRAIN DRIVER:

What’s happened?

STUNTMAN:

Nothing. The gun went off on me.

TRAIN DRIVER:

Are you hurt?

STUNTMAN:

It’s nothing. Is your phone working?

TRAIN DRIVER:

My phone?

STUNTMAN:

Yes. Is it working?

TRAIN DRIVER:

Hang on … (She picks up the receiver and listens.) No, there’s no signal.

STUNTMAN:

Well, that’s just great. The phone’s not working and as if that wasn’t enough they’ve taken away my TV.

TRAIN DRIVER:

Really? (She immediately switches off the television in her room.)

STUNTMAN:

Have you got a TV now?

TRAIN DRIVER:

No, I bought a radio this afternoon. I was listening to that.

STUNTMAN:

This hotel is the pits.

Pause.

TRAIN DRIVER:

You’re back earlier today, right?

STUNTMAN:

What?

TRAIN DRIVER:

I said you’re back earlier today from the shoot …

STUNTMAN:

The rain came down in sheets. And since the film’s supposed to be set in the desert …

TRAIN DRIVER:

Which desert?

STUNTMAN:

I don’t know. One in which it never rains, I suppose. (He pulls out a dirty sock from under the bed.) This room is the pits.

TRAIN DRIVER:

What’s the film called?

STUNTMAN:

Frontier of Death. The title’s the pits.

TRAIN DRIVER:

It’s not that bad.

STUNTMAN:

Well I definitely wouldn’t go and see it, not with that title.

Copyright

The above sample taken from the translation Get to Know the World by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE THREE excerpt 2

Context:

The Stuntman and the Singer have once again been bickering from their respective hotel rooms. To diffuse the situation the Train Driver asks the Stuntman to tell them about his day. This leads on to a conversation about what they all look like. The fact that they cannot see each other means that, at times, the characters misinterpret questions they are being asked.

Sample text

TRAIN DRIVER:: Tell us what scenes you shot today.
STUNTMAN:: We only got one done because of the rain.
TRAIN DRIVER:: Which one?
STUNTMAN:: One where I go up some stairs, open a window and shout out that the rustlers have already crossed the border.
SINGER:: And that’s it?
STUNTMAN:: We had to do it over and over. Technical problems. That’s what cinema’s like. A film set’s like a huge waiting room. Until the director calls you you’ve nothing to do but sit around complaining and waiting your turn.
TRAIN DRIVER:: Excuse me. But you’re tall and thin, right?
STUNTMAN:: Yes. Well … I’m quite tall and also quite thin.
TRAIN DRIVER:: Blond?
STUNTMAN:: Blond? Yes, I’m practically albino. Why do you ask?
TRAIN DRIVER:: I think I’ve seen your photo in the paper. A photo from the film shoot.
STUNTMAN:: You don’t say.
TRAIN DRIVER:: You looked very young. What age are you, 25?
STUNTMAN:: Yeah, about that.
TRAIN DRIVER:: And is this your first starring role?
STUNTMAN:: You could say that.
TRAIN DRIVER:: You must be really happy.
STUNTMAN:: In the film business it’s best not to get your hopes up too much. Just in case.
TRAIN DRIVER:: Just in case?
STUNTMAN:: Just in case it all goes wrong.
TRAIN DRIVER:: You seem very mature for your age …
SINGER:: And what about you? What age are you?
TRAIN DRIVER:: Me?
SINGER:: You’ve got a girl’s voice. I bet you’re very young too.
TRAIN DRIVER:: Well, I’m 23. But I look older.
SINGER:: How young you both are. Makes me think of the kids I’ll never have.
TRAIN DRIVER:: You could still have them …
SINGER:: Not possible. My profession is everything to me and my husband’s is everything to him.
TRAIN DRIVER:: And looks wise?
SINGER: (Combing her wig.): My husband?
TRAIN DRIVER:: No, you.
SINGER:: Jet-black hair. Long, jet-black hair. And dark brown eyes. Very big eyes. Everyone says I look like Maria Callas.
TRAIN DRIVER:: Really?
SINGER:: And what about you. Who do you look like?
TRAIN DRIVER:: My father.
SINGER:: You only look like your father?
TRAIN DRIVER:: Yes.
SINGER:: And how’s that, then?
TRAIN DRIVER:: My father?
SINGER:: No. You.
TRAIN DRIVER:: Well, I’ve curly red hair …

Copyright

The above sample taken from the translation Get to Know the World by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE FIVE

Context:

For the second time in the play, the Singer suggests that she, the Train Driver and the Stuntman should finally meet. Each character has decided to leave the hotel in the morning. Once again, the Train Driver and the Stuntman reject the Singer’s suggestion that they all meet face to face.

Sample text

SINGER:: Why don’t we go celebrate our last night here?
STUNTMAN:: Now?
SINGER:: That way we could all wish each other luck and say goodbye. (Pause.) What do you think?
STUNTMAN:: I’ve still to finish packing and say goodbye to Monique.
TRAIN DRIVER:: I’ve to get up really early tomorrow.
SINGER:: We could have a drink in the hotel bar.
TRAIN DRIVER:: There’s no bar in this hotel.
SINGER:: No? Well, then let’s call room service.
STUNTMAN:: There’s no room service either.
SINGER:: Well …
TRAIN DRIVER:: Let’s say goodbye now and that will be that.
SINGER:: Yes. Perhaps that’s the best thing to do. (She takes off her wig.) Both of you … have a good trip.
TRAIN DRIVER:: Thanks. You two as well.
SINGER:: And you. Have you nothing to say?
STUNTMAN:: I don’t like long goodbyes.

Copyright

The above sample taken from the translation Get to Know the World by Gwynneth Dowling is licensed under a Creative Commons License.

SCENE SIX

Context:

Each character has ended up at the deserted train station. None of the characters recognises the other. In the end, when the train flies past the station, the Stuntman’s comment that trains are ‘the pits’ possibly sparks off some sort of recognition in the other two characters – ‘the pits’ being the turn of phrase the Stuntman has used throughout the play.

Sample text

TRAIN DRIVER:

Are you a gardener?

SINGER:

Only in my free time. It’s a hobby.

TRAIN DRIVER:

It must be great to have a hobby.

SINGER:

Don’t you have a hobby?

TRAIN DRIVER:

I used to know how to make little paper boats, but when they all sunk I forgot.

SINGER:

I also used to tap dance, but the truth is I wasn’t very good. (She does a few dance steps.)

TRAIN DRIVER:

You’re not that bad.

SINGER:

That’s a very easy step. Anyone could do it, go on, have a go.

TRAIN DRIVER:

Me?

SINGER:

It’ll warm you up too. (The Train Driver starts dancing, copying the Singer.) That’s not bad. (Pause.) Now, try this. (Pause.) Can you do that?

The two women continue dancing for a while until the Stuntman arrives, carrying a suitcase and the horse’s lead he was holding in scene 4. He no longer wears cowboy jeans.

TRAIN DRIVER:

Good evening.

STUNTMAN:

Evening.

SINGER:

Evening.

STUNTMAN:

When’s the next train?

SINGER:

In a while.

TRAIN DRIVER:

Midnight on the dot.

STUNTMAN:

You can keep on with what you’re rehearsing, don’t stop on my account.

TRAIN DRIVER:

What?

STUNTMAN:

Are you from some dance company?

SINGER:

No. We were just trying to get warm.

[…]

SINGER:

Excuse me, are you a professional horseman?

STUNTMAN:

No.

SINGER:

It’s just that you’re travelling with a horse …

STUNTMAN:

It’s so I’m not travelling on my own.

TRAIN DRIVER:

How are you going to get it on the train?

STUNTMAN:

I’ll leave it in the mail car. They’re almost always empty on the night trains.

SINGER:

Where are you going …

STUNTMAN:

To the end of the line.

TRAIN DRIVER:

So are we.

STUNTMAN:

But I’ll be in third class so I’m nearer the horse.

TRAIN DRIVER:

I’ll be in second, nearer the bar. And you?

SINGER:

I’ll be in first. So I’m on my own.

A train is heard approaching.

TRAIN DRIVER:

It’s here already.

SINGER:

Yes.

TRAIN DRIVER:

Don’t get on until it’s come to a complete stop.

SINGER:

Have a good journey.

TRAIN DRIVER:

Thanks. You too.

Pause. The train flies past and then through the loudspeaker the voice of the Station Mistress calls out: ‘Attention all passengers, an express train is about to pass through the station. Please do not cross the tracks. We repeat, do not cross the tracks.’

STUNTMAN: