et
tend ni asis
Property Rites
A'SHORT DRAMA BY
Alan Haehnel
els. The play allows fo idely varying interpretations, however,
d props to a highly elabo-
from a virtually blank ge with hand-
COD
In the iginal production of Property Rites,
omen
decide
a deci
This gave the show a feminist slant. How-
cast as
male or female; a mix of
nders uld allow fo
lines, number of
scripts
Playsc
needs, or something should aid. Some,
assumed could be br down, individual
(KYLE sa butto and severa
as they the play opening.)
that. He
intimidates dealers into asking less rt
r the oducts. As GLADYS. Thank cmanus, this the extent
consequence, we tend, our family business, pay for what w demonstration? It and very eautiful, but I'm
buy. And I appreciate Rudy for that.
capabilitie f this unit, really. As well as having the abili to move
in unison, you can see, they also are programmed for dividual
do your ery best to te
.Would ou do that?
solute
KYLE. Well, as a matter of fact, that, that, that is something that is pos-
sible. Obviously. She... that one is attached to my answering machine.
onfir
ALL GURES. (Moving in unison:)
Ther the respect that makes calam
Well,
RUDY. what? what you're trying here, sa good-
looking mpute computer can take calls my com-
To die, to sleep, leep, perchance dream
Aye, there's the for in that sleep death wh
kinds rigin grams figur
and a and ay it b s, uh,
KYLE. The, uh, the outfits can be chan ourse. Ijust hav
like this to demonstrate the various, possibilities of
Listen, this is a cute gimmick, iv
expensiv gimmick,
(Crouching low
t do a thing with a bunch of pre ne
ogramme robots. It back. Ma, Ma,
FIGURE act copy
Ummm, Oh!
KYLE. Uh, n
lar unit has..
RUDY. What
little honey?
KYLE. To, to tell you the truth, I'm not one hundred percent
She doesn't respond to the, uh, the...commands, impulses
the remote. She's a bit, uh, unpredictable.
mean e every righ thought that, I knew what
you.. might show e other featur that might... GLADYS dolp
dictable." Mac
(During the t few lin
of dialogue, MIKE begin to play wi
FIGURE 15 nning h finger down her cheek, I oking in h
eyes, feeling hair. He clearly infatuated.)
Property
(There is a quiet
releasing MIKE
MIKE. ushing to GLAD
Look, I' bleeding. She bit
GLADYS. Is that what you call
(The following
have bitten my son's finger off!
out of FIGURE
RUDY. (To KYLE:) You know what a blacklist is, pal? You jus
selling something; you just try! You insulted the wrong people.
won't be able to sell beans, pal!
walks forlo over tares
.She closes eyes. sheet
to the console and presse
poses. FIGURE 13 sits.)
(KYLE cros s to FIGURE 13, lays his head on her .Her hand
is supposed be stroking his head, but it keeps hitti KYLE. He
tries to adju the way he is sitting, but it's no use.)
figures simu taneously and go qui through several
chroniz tions One of them almost KYLE as he is
pushes base ofthe FIGURE 1 sits up.
out an ment simil crewdriver appears
BRENT. You've got to kidding me. I'v heard of people no
stalling them right, bu (One final check o confirm.) ...he doe
LEEZA. Humidiostat. uld've been installed along with your
stage temp meter and rlight gauge, which I also don't seem
KYLE. I'm, uh, assuming that this is an, an oversight on
pany's art? Something, uh, you people should have done
Oh
Metering devic
development, but given the state of the two we
guaranteed that all of the figures are infected.
BRENT. Comes back? Pal, you've got bre hey'
be closed out. You don't want them back.
bombs. die, to sleeр, sleep, perchance to dre Aye, the
the rub in that sleep death I will fear no evil r thine is
FIGURE ! We hav to hurry! eryone! H The ins
ance. He and he's oing to, h going to.. ke up!
FIGURE 15. (Looking straight ahead Once upon a time, there
little girl. When she woke up from long, long nap, she found
URE talking
FIGURE 15. So excited was about this andy that she
all of her family and shove in their fac s and said, "E
KYLE. (Picking up a hammer and saw:) We
teers, but...you're just as good as any.
(He lifts the hammer, not
to proceed. He lowers the
FIGURE 3. (To
down. I feel it.
FIGURE 3. I saved your life. You owe me. You owe all of us. Please.
Please. The pain doesn't last forever. And when you stand for the
first time on your own feet, moving under no other power than the
impulses of your own mind...it's glorious. So wonderful.
KYLE. Fine! Fine, go ahead! Sing! Talk! I'll get to every single one
of you, though, I promise. Tonight. But I know who's going to get it
first. I know who's had it coming the longest!
(As KYLE crosses down to FIGURE 15, the sound of the song and
the soliloquy get very loud. He raises the hammer to bring it down
on FIGURE 15's skull. Suddenly, FIGURE 15 turns toward him;
her arm shoots up and grabs his, stopping the hammer's down-
ward [Link] singing and the speaking and the movement sud-
RE
denly stop. All lights snap to black except a pool around FIGU
frozen . After a second , this light snaps
15 and KYLE, who stand
to light FIGURE 9.
off; simultaneously, a pool of light switches on
She sits up suddenly.)
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