I suppose this is where we whine.   I won`t lie, I had plenty of things I`d planned on whining about before I even started writing...but I was trained that you never whine, apologize, or explain.   So dammit, those are exactly what I will not do.

Enjoy.

ACT I
Scene 1 -
The Groom`s dressing area of a wedding hall in Tasnica. Ê Various people in the wedding party are walking in and out. Ê TREVOR Willim, the groom, is putting the finishing touches on his tuxedo and psyching up for the big moment. Ê A monk-like robed figure sits in the back. Ê As TREVOR waves off a congratulatory family member, RUAH enters with a smile.

RUAH: How long until you chicken out?

TREVOR: Oh stop that, you know this has been a long time coming.

RUAH: The performance community will miss you, now that Shara has claim over your time.

[TREVOR checks himself in the mirror]

TREVOR: Then they`ll be pleased to know that Shara`s already promised to give me as much time as I need to make my music. Ê I`m starting my opus, you know.

RUAH: So then...you found a little inspiration before the honeymoon, eh?

TREVOR: You`re terrible, you know that?

RUAH: It`s too bad you`ll be tied up in married life--I was hoping you`d write the score for my play. Ê If I ever start it, I mean.

TREVOR: Are you serious? Ê I`ve been waiting forever for you to start writing.

RUAH: So did I con you in to scoring it?

TREVOR: I`ll have the music finished before you have the script--guaranteed. Ê What`s it about?

RUAH: It`s just an idea right now, really. Ê I wanted to do something different.

TREVOR: How different?

[RUAH sits down, as if to brainstorm]

RUAH: Instead of nailing down what people want in a play, I decided to write whatever comes to mind.

TREVOR: People don`t know what they want.

RUAH: Exactly. Ê When they do, it usually isn`t what they actually want at all.

TREVOR: They`ll complain about a song being too similar to everything else, but when you give them something different, they don`t like it because it`s not what they were expecting.

RUAH: Well then expect the unexpected from me, old friend.

TREVOR: How much do you have so far?

RUAH: A line.

TREVOR: ...how long of a line?

RUAH: A short line.

TREVOR: Well don`t make me wait--out with it.

RUAH: The truth about Tasnica is in East Egmont.

TREVOR: Brilliant! Ê Now, what does it mean?

RUAH: I haven`t decided yet, but people will pay money to hear it.

TREVOR: Not Tasnicans.

RUAH: Especially Tasnicans! Ê The best way to get their money is to convince them I in no way deserve it.

TREVOR: Perhaps that`s perfect.

RUAH: It is? How so?

[Trevor flourishes to visualize]

TREVOR: The truth about Tasnica is in East Egmont.

RUAH: It is?

TREVOR: The money, the money`s the thing.

RUAH: My play is rapidly becoming too cerebral for me.

TREVOR: Tasnica is born of consumerism. Ê East Egmont is the commercial district, you know.

RUAH: So they`ll pay money to discover that they pay money?

TREVOR: Exactly.

RUAH: Well now I need to book Kuat, for certain.

TREVOR: Don`t we all.

[RUAH stands, excited]
[TREVOR stands too, following suit]

RUAH: It shouldn`t take itself seriously...

TREVOR: ...and then blindside the audience in all seriousness.

RUAH: Lest our message be forgotten.

TREVOR: Will there be red herrings?

RUAH: A barrel full of them, fresh from Triangle.

TREVOR: What does that mean?

RUAH: Exactly what the audience will think.

TREVOR: You`ve lost me.

RUAH: My plan exactly. Ê If we give the audience enough to think about, they won`t know what to think except exactly what we`ve told them.

TREVOR: People prefer to create their own meaning--not ponder on a lack of it.

RUAH: There will be no shortage of meaning for them to ponder. Ê But, it will all be ours and none of what they expected.

TREVOR: So you want them to hate it?

RUAH: They can`t hate what they can`t understand. Ê Of course, they will understand it, eventually.

TREVOR: Once they do, they will feel very accomplished.

RUAH: How can you hate something you figured out by yourself?

[The robed figure in the back leaves, russling a potted plant on his way out, TREVOR and RUAH glance briefly and then resume planning.]

TREVOR: This is fun...and it makes you think.

RUAH: If the play is to be unusual, it can`t be threatening. Ê The audience needs to enjoy it.

TREVOR: So they are entirely comfortable having their minds rearranged.

RUAH: Yes.

TREVOR: Will their be clever wordplay?

RUAH: Much as I can muster.

TREVOR: There`s nothing so cheap as cheesy chatter.

RUAH: Let`s not get heavy handed.

TREVOR: Lead on, what of the characters?

RUAH: They must be symbolic, of course.

TREVOR: Aptly named?

RUAH: Yes--by which I mean they will have ordinary names with no obvious meaning. Ê Symbolism should be in the character, not in the name.

TREVOR: A character by any other name, would pine just as wretchedly.

RUAH: Any meaning should be left to scholars. Ê If the budget seats can grasp my foreshadowing, I haven`t done my job.

TREVOR: Anything else?

RUAH: The names that mean anything at all need to sound so ridiculous that people would never suspect it--

[A knock raps at the door]

RUAH: The missus?

TREVOR: Not if I don`t get out there--I think it`s time.

RUAH: Sorry to have distracted you.

TREVOR: It`s been fun, as always. Ê I can`t wait to add music to our musings.

RUAH: No hurry. Ê Spend a little of your honeymoon with Shara.

[They laugh as they both exit the chamber.]

Scene 2 -
The steps leading into the Kuat Music Hall. Ê It is late morning, and the city of Egmont is awake. Ê Passerby pass by, talking hurriedly about the reconstruction of the Reklar-damaged areas. Ê RUAH enters with a script in one hand, and music sheets in the other.

RUAH: [aside to Trevor, deceased] Well, I`ve finally done it.

[RUAH turns in a circle, taking in all that is the courtyard of the Kuat Music Hall]

RUAH: I finally finished my play--and your music fits perfectly, Trevor. Ê I wish you could be here to see it all put together, but it`s perfect--trust me. Ê It`s full of fun, mystery, scandal, characters both serious and wacky...but our message comes across. Ê I think people will really like it.

[RUAH makes to enter the Hall, but turns back around.]

RUAH: I`ve added even more elements to keep the audience on their toes, but I don`t want to spoil the surprise. Ê I`ll do your memory justice, and the world will finally hear your music. Ê "Populists in Porre" will be a hit, I just know it!

[RUAH makes to enter the Hall, but pauses briefly]

RUAH: Wish me luck...
[Exit]

Scene 3 -
The Kuat Music Hall, stage. Ê Nothing definite is set up, but a few discarded props from a previous production are scattered about. Ê Stage hands move lazily about in the background at various tasks. Ê RUAH enters, in conversation with Frederick CAFLOWN, the Director.

CAFLOWN: I don`t get it.

RUAH: Each act is different, so the audience is on their toes.

CAFLOWN: There`s no cast list.

RUAH: People should be seeing characters, not actors.

CAFLOWN: [throws up hands] It doesn`t even take place in Porre!

RUAH: That`s the thing--it takes place in Sanctuary. Ê But, we use Porre in the title so people don`t know what to expect. Ê Tasnicans won`t come to see a play set in Sanctuary.

CAFLOWN: That`s because nobody`s too happy about Guardia shoving Heinlein into our territory...

RUAH: It`s that very scandal that will put people in your seats.

CAFLOWN: Absurd...you`re absolutely crazy!

[CAFLOWN rubs his very balding head frantically, with the end result of his hair straggling up comically]

CAFLOWN: This is the last play people need to see...do you realize it advocates cutting our ties with Eblan?

RUAH: Ê Well, it doesn`t really. Ê Nobody will take the Tasnican Dandy seriously--the Guardian Agents are the sympathetic characters.

CAFLOWN: You paint Tasnicans as touchy-feely weaklings who don`t place value in anything!

RUAH: Is that so far off? Ê What traditions have we really held onto?

CAFLOWN: If you aren`t satisfied with the election, vote better next year. Ê You can`t insult the audience! Ê Guardians aren`t going to come here to see this tripe--and every red-blooded Tasnican will demand a refund.

RUAH: I wish you`d try to see this my way.

CAFLOWN: If you like Guardia so much, why don`t you write plays THERE!?

RUAH: I`ve never been to Guardia...and that isn`t the point.

CAFLOWN: How the hell can you write a play about somewhere you`ve never been!?

RUAH: Well it isn`t about Guardia per se, just Sanctuary.

CAFLOWN: Heinlein!

RUAH: Research and creative license.

CAFLOWN: What?

RUAH: That`s how I write about places I`ve never been.

CAFLOWN: Well you shouldn`t. Ê People want the truth, and this...this MOCKERY will hurt the Kuat Music Hall`s reputation just as much as it will end your career.

RUAH: Well, you haven`t even put it on yet.

CAFLOWN: And I won`t!

RUAH: Be fair...

CAFLOWN: Your play does not make sense! Ê Furthermore, it is not possible to Ê make any less sense than your play makes. Ê Nothing in your play is sensical, nor is anything of sensical nature found in the vicinity of your play!

RUAH: What are you trying to say?

CAFLOWN: NO!!

RUAH: What`s the worst that could happen if you ran my play?

CAFLOWN: ...Don`t say that. [worried]

[RUAH begins to pace, speculating]

RUAH: I suppose it could be a flop, and you would lose a night`s profit on the only day "Populists in Porre" ever ran...

CAFLOWN: It`s a relief that won`t happen, then--

RUAH: Or, I suppose an angry audience could become so outraged that they would tear the Music Hall down around us, leaving nothing in their mighty wake.

[CAFLOWN cringes noticably, and glances around superstitiously]

RUAH: Even still, word could reach Guardia that--

CAFLOWN: STOP!! Ê Do you have any idea what you`re saying!? Shut up before they hear you!

[beat]

RUAH: ...Who?

CAFLOWN: [backtracking] Who, who? Ê I didn`t mention a who.

RUAH: Don`t get wise with me...you said they.

CAFLOWN: I just...know what happens when creative people forget superstition.

RUAH: Out with it.

CAFLOWN: Never jinx your performance by talking about it.

RUAH: Oh come on, I was trying to show you--

CAFLOWN: It doesn`t matter!

RUAH: Well the only option I didn`t give you was the one where I rewrite my play to be boring and sensical and exactly what everyone expected.

CAFLOWN: A blessing in disguise--but it`s too late now. Ê They probably already heard you...

RUAH: Not this again...who are you talking about?

[CAFLOWN glances around to make sure nobody can hear, then moves in close and whispers in RUAH`s ear]

CAFLOWN: ...The Order of Loxa...

Exeunt.

ACT II

Scene 1 -
The Director`s Office of the Kuat Music Hall.   A variety of books line the walls, while instruments are displayed in glass cases, scripts are piled up in a corner near the desk, and an   umbrella/hat rack stands near the door.

The door opens and RUAH steps in, followed by Frederick CAFLOWN, who gives a cautionary glance out the door before shutting, locking, and bolting it.   He leans his back against the closed door once everything is clear.

RUAH: What was that all about?

CAFLOWN: The Order! Don`t you realize they can hear everything you say?

RUAH: Uhkay...so what?

CAFLOWN: They control everything that happens in the entertainment world!   Every time an actor says "What`s the worst that could happen," they hear it.   Every time a musician says "At least my percussionist doesn`t have a wrist inflammation," they hear it.

RUAH: So, what about "Break a leg?"

CAFLOWN: That can`t be set up ahead of time.

RUAH: ...What?

CAFLOWN: That`s not important--you need to realize that the Order of Loxa determine the rise and fall of every hero and zero that steps foot in this, or any other, music hall!

RUAH: Pretty wide reaching, don`t you think?

CAFLOWN: Who knows how many members there are...but there are enough that I don`t want to cross them.

[CAFLOWN pushes himself away from the door toward his desk, upsetting the hat rack.   He drops into his seat, fatigued from worry.]

RUAH: Nice office.

CAFLOWN: Thank you.   I got it because I don`t take the Order lightly, and I won`t produce a play that they`ll ruin.

RUAH: How do you know they`ll ruin it?

CAFLOWN: Because it`s happened before.

RUAH: So you have examples?

CAFLOWN: Brilliant director/composer Marquad Ulmecci.

RUAH: Who?

CAFLOWN: [bitter] ...exactly.   He wrote, directed, and starred in "West and East: A Rock Opera about the other side."

RUAH: Well yeah, but it`s a rock opera.   What did you expect?

CAFLOWN: I expected the Order to interfere--and I was right!   Marquad refused to heed their warning, and he paid the price.

RUAH: Well, I think I`ll pay the Order of Loxa a little visit and talk this through.   I wanted my play to appeal to everyone--and I`m sure they`ll like it too.

CAFLOWN: Are you insane!?

RUAH: Maybe I am.   So, where do I find them?

CAFLOWN: You can`t.

RUAH: How did Marquad find them?

CAFLOWN: I don`t think he did.

RUAH: Look, if you want to play your little game where you`re scared of these people--then you have to tell me where they are, so I can un-scare you, and you can produce my play.

CAFLOWN: I`ll never produce that play.

RUAH: Then just tell me where the Order is, anyway!

CAFLOWN: [reluctant, mysterious] It`s said that if one finds the Order of Loxa, they will uncover the truth about Tasnica...

[RUAH considers for a moment.]

RUAH: Thanks, Mr. Caflown!   I`ll be back shortly with your new hit play.

CAFLOWN: Wh-What are you talking about!?

RUAH: I know just where to find the Order!

[Exit RUAH.   CAFLOWN puts his head in his hands in frustration.]

Scene 2 -
The steps leading into the Music Hall.   A teenaged boy in overalls is painstakingly scrubbing the statues that adorn the entrance.   He`s wearing a toolbelt with various tools, implying he does whatever odd jobs he can get his hands on.   His name is HAUR.

RUAH leaves the Music Hall and walks over to HAUR.

RUAH: Hello there.   Would you like to go on an adventure?

HAUR: Adventure is for chumps.

RUAH: Doesn`t seem like something a boy your age would say.

HAUR: Buddy, I got a family of siblings to support.   Welcome to reality.

RUAH: Adventure can be profitable.

HAUR: You gonna` pay me, then?

RUAH: I will if you help me out.

HAUR: Shoulda` said so to begin with.   The name`s Haur, where we goin`?   Triangle Island?

RUAH: East Egmont!

HAUR: ...Yer kiddin`.

RUAH: I need to talk to a secret society about a play I`ve written.

HAUR: Well, I guess you`ve come to the right kid in the street.   I know East Egmont like the back of my hand...at least, I did until the Reklars wrecked it.

RUAH: Off we go, then.

[both Exit]

Scene 3 -
A decorative fountain at the "entrance" to East Egmont.   In the background the ruins of the Reklar destruction are visible in broken, blackened buildings.   A single relatively tall structure still stands against the horizon.

RUAH and HAUR enter together.

HAUR: So let me get this straight...yer here cause you think a detail in the play YOU wrote is a clue to finding a secret society you knew nothin` about when you wrote it.

RUAH: Stranger things have happened.

HAUR: No, they haven`t.   Yer living in imagination land.

RUAH: Do you have any better clues to go on?

HAUR: I don`t care--you hired me.

[RUAH looks around]

RUAH: Let`s rest here before we go any further.

[They both sit on the fountain.]

HAUR: Why won`t they do this play of yours, anyway?

RUAH: Well, the Director said the Order of Loxa would ruin it.

HAUR: But you don`t believe `em.

RUAH: No, it doesn`t make sense.   I think he just doesn`t want to take a risk on something new.

HAUR: Who wants t`see the same old play?

RUAH: Well, it`s easier for them to justify a play built on a known formula; something new might not catch on, and then they`d lose money.

HAUR: You in it fer money?

RUAH: No.

HAUR: Hmph.   Well then, why do you write plays?   Especially if people might not wanna` see them?

RUAH: Everyone else wants simplicity--violent plays, romantic plays.   But, real art needs to have different layers, depth, and deeper meaning.   I write because I have a message.

HAUR: You said yer play was supposed to be confusing.

RUAH: [proud] Yes, but are the dropped red herrings really fakes...or are THOSE the real issues?

HAUR: [aside] Guess I`m not missing much in theater.

RUAH: Think about it.   If I can make the audience focus on an insignificant little detail--even if I don`t flesh it out--they`re still thinking about it.   I want people to think over issues, and evaluate the current state of things.

HAUR: Maybe people don`t want to.

RUAH: They won`t know until they have the chance to think about it.

[The two are interrupted as a Cloaked Figure slinks onstage, then vanishes into East Egmont.]

HAUR: That one of your Loxa guys?

RUAH: Could be.   Let`s find the rest of them.

HAUR: Where?   East Egmont is pretty big.

[RUAH points to the tall building that still stands.]

RUAH: That building seems like a good place to start.

[HAUR shrugs, they both Exit toward East Egmont.]

Scene 4 -
Interior of the tall building in East Egmont.   It`s long abandoned and looks like sections have been burned out.   It should be generally creepy and mysterious.   There are spider webs in the room`s corners.   There is a closed door in the back of the room, and an open door to the side (leading into a hall).

[RUAH and HAUR are offstage]

RUAH: I think he went that way!

[The cloaked figure runs onstage, opens a door, and ducks inside.]

RUAH: In here!

[RUAH and HAUR enter from the side door and examine the room.]

HAUR: I don`t see him.

RUAH: No, I know he`s in here.   We just need to figure out where he went.

HAUR: Look, you sure you wanna` do this?

RUAH: Huh?

HAUR: What if this guy isn`t even in the Order of whatever?   He could be dangerous.

RUAH: Oh, he`s from the Order.   We found him in East Egmont.

HAUR: You`re a nice guy.   Who knows what could happen here--we would probably be better off just going back.

RUAH: If I can convince the Order of Loxa that my play is worthwhile, I won`t have to worry about Caflown.

HAUR: So these guys are the only way?

RUAH: [sarcastic] We don`t want them interfering, right?

HAUR: Have you ever stopped to think over your writing?   Maybe it could be better.   Maybe you should think about rewriting it so people enjoy the play more.

RUAH: Art is about more than entertaining people.   That`s what my play is going to show--that art and entertainment are two different things.

HAUR: Well then we should turn back and find out where that guy went.

RUAH: We don`t need to.   I found him.

HAUR: [surprised] Eh?

RUAH: He`s right here...!

[RUAH pulls the rear door open to reveal the cloaked figure.   He grasps the figure`s hood firmly in his hand.]

RUAH: Ah-HA!

[RUAH pulls off the hood revealing absolutely nothing.   The cloak falls, empty, into a heap on the floor.   RUAH pulls back in shock.]

[End Act II]


[15 Minute Intermission]

[Ruah`s Note: Start the third Act early, about 11 minutes into intermission.   That way, people will be rushing back to their seats or stressed about friends who haven`t returned yet--the perfect state of mind for entering the final leg of the play.]

ACT III

Scene 1 -
The stage is completely dark.   The actors can even be backstage with microphones if it suits them better.   Ruah does sit on stage, in all black, hunched on the floor.   The full Order of Loxa is present in vocal form for the entirety of the scene.

Ruah: What are you doing here?

RUAH: Haven`t you figured it out yet!? We`ve always been here!

Ruah: Why did you wait so long to come out?

RuAh: We were enjoying your play.

Haur: No we weren`t.   What`s the point in writing something nobody will like?

Ruah: They`ll like it.

ruah: You like it, but nobody else will understand it.

Rhua: You`ve never been out of Tasnica.   A writer can`t just mention Seraphim and expect his story to take place in Egmont.

Ruah: It`s artistic.

Haur: It`s too artistic.   Nobody wants to think.

RuAh: There`s hardly any laughs in that script...or chase scenes.   Everybody loves a good chase scene.

Ruah: It`s supposed to make people think.   If I wrote the play they expected to see--there would be nothing to think about!   You have to surprise people if you want them to listen.

RHUA: How`s this for surprise?   The play sucks!   It`s not going to happen.

Ruah: I`m going to direct it.

Rhua: No, you`re not.   We won`t let you.

ruah: It would only end badly.   You know that.

Ruah: We`ll find out once it`s produced, won`t we?

RuAh: You can`t do business like that.   Nobody will sign a play that won`t sell tickets.   ...Not one without racy love scenes, anyway.

Ruah: Creativity and witty dialogue are always interesting.

Haur: No, they`re not.

ruah: Your dialogue isn`t all that witty.

Haur: Don`t beat around the bush.   If you wanna` say something, just say it.

RUAH: You should have listened to Caflown.   You have no idea how to write a play.

Rhua: Even if your point does come across, it will be misunderstood.   How can you offer the audience red herrings without expecting them to misunderstand?

Haur: At least give them something they already know and understand.

RuAh: Then it`s easier to enjoy the play.   Heinlein is boring--how about a war?   A hero gone away from his family to die horribly in battle...survived only by his wacky sidekick [aside] who may or may not be a talking moogle.

Ruah: I have my integrity--

RuAh: Well get rid of it!   It won`t do you much good writing.   It`s all a game, and you can`t play if you bring your own rules.

Ruah: All I need is for people to see the show...then they can decide for themselves.

RUAH: You can`t let THEM decide!   Who the hell`re they?   They aren`t going to worry about your message when they decide what it means to them!

ruah: You can`t make something subjective and still give it a message.   They will interpret it however they are most comfortable.

Haur: Nobody wants t`see a play they agree with.

Ruah: Then why should I write one that caters to them?

RuAh: Because they don`t have to think.

ruah: If they don`t think, then they can`t realize you told them exactly what they wanted to hear.

RUAH: If they realize they just spent money to hear their own thoughts--they won`t like the play.

Haur: You want people to enjoy yer work, don`t you?

Ruah: ......yes.

ruah: Then don`t set yourself up for such disappointment.

Rhua: The more of yourself you place in your work, the more easily you are misunderstood.

RuAh: Writing shouldn`t mean anything.   People want entertainment, not education.

[A musical cue from Trevor Willim`s score begins to play softly.]

Ruah: No...I wrote it for Trevor.   I have to put on this play, to honor his memory!

[The score swells valiantly.]
[The music then settles into an unnatural quiet.]

RUAH: Oh please!

Haur: [aside] No wonder his dialogue sucks...

Rhua: Do you really think you can honor your friend with so little effort?

RuAh: You only wrote two drafts...

RUAH: And, you wrote them out of order!

Ruah: I wanted...to make each act stand alone...

RUAH: [ironic] The whole play will stand alone, now.

Rhua: You didn`t do this for Trevor--you did it for yourself.

ruah: Besides, if the play flopped, you would only be letting him down.

Haur: You don`t want people`s memory of Willim to be your crappy play, do you?

RUAH: You`re not a brilliant writer...

Ruah: But--

RUAH: You`re just a hack, and not a very good one...

Ruah: I thought that--

ruah: You should leave bold plays to the professionals.

[silence]

Ruah: How...should I rewrite it?

[complete fadeout, close curtain briefly to reset scene and mood]

Scene 2 -
The Kuat Music Hall, in the Director`s office.   As the scene opens, CAFLOWN is arranging papers and reports on his desk.

A rap sounds at the door.

CAFLOWN: Come in.

[Ruah enters]

Ruah: [flat, defeated] Thank you for seeing me, sir.

CAFLOWN: This isn`t about that play of yours, is it?

Ruah: It is, sir.   But, it`s not quite the same play.

CAFLOWN: [Interested] Oh really.   How so?

Ruah: I have rewritten it.

CAFLOWN: Finally come to your senses?   Well then, let`s hear it.

Ruah: It takes place here in Tasnica.   The setting seemed more appropriate.

CAFLOWN: Indeed it does.   What about the subject matter?

Ruah: Heinlein isn`t mentioned, except by men talking in a cafe.   They don`t like the idea of it being there, but would rather focus on more Tasnican issues.

CAFLOWN: Tasnican issues?

Ruah: More liberal, forward thinking issues--bound by no antiquated ideology.

CAFLOWN: [a chuckle]

Ruah: Guardia is portrayed as imperialistic, but again, not much of our concern.

CAFLOWN: People will love it!   What about the other storylines?

Ruah: There are no others.

CAFLOWN: You`ve trimmed down quite a bit.

Ruah: I want to keep it simple, sir.

CAFLOWN: [satisfied] Well, then.   What`s the name of this grand masterpiece?

Ruah: [Indicating a thick script in hand] It`s called "Silence in Centwerp."  

[Ruah holds forward a single sheet of paper]

Ruah: Here`s the character list.

[~Fin~]





~Post DRAMATIS PERSONAE~

RUAH a playwright
TREVOR Willim his friend, a musician (and a character from M3`s last IW entry)
Frederick CAFLOWN the Director of the Kuat Music Hall (another M3 character)

THE ORDER OF LOXA
Haur a hardworking boy
RUAH an angry brute
Rhua a misunderstood man
RuAh a character
ruah a quiet, unassuming lad
Cloaked Figure

various members of the wedding party, groomsmen, stagehands, and passerby






[Ruah`s Note: Do not include a final bow.   Keep the audience guessing.]