by Hannah and Ian Keildson

Isis Act Two Scene Five - The Boss

Character and Costume

Act 1 Sc 1

Act 1 Sc 2

Act 1 Sc 3

Act 1 Sc 4

 

Act 2 Sc 1

Act 2 Sc 2

Act 2 Sc 3

Act 2 Sc 4

Act 2 Sc 5

Act 2 Sc 6

Act 2 Sc 7

 

Act 3 Sc 1

 

 

Boss - White suit, white hat, white shoes. He represents consciousness and the suppressing of the primal instincts and the control of chaos by brute force. An obsessive, possessive of his social status symbol girl who must always be neat, beautiful and obedient. He is tidy and distrustful.

 

White Isis - The scene is front lit and Isis' white dress looks like an elegant evening gown.

 

The Girls - Silver sequined maids' pinafore and sparkly silver accessories and nothing else except maybe a silver ankle garter.

 

 

Cue: Spotlight Upstage Right.

 

The Boss is revealed. The atmosphere should sparkle like diamonds and watery reflections in the moonlight glittery smoke curling from the pearl-handled silver-plated pistol in his hand.

Black Isis jerks out of her trance, walks slowly up to the Satyr, much in the way he did to her, and after a slight pause she expertly brings a knee up into his groin. He drops to his knees holding his balls.

 

The Boss steps forward and The Girls swirl behind him and remove his white overcoat.

White Isis makes an involuntary move towards him. The Shop assistants deck White Isis with sparkly things until she glitters like a princess. They hand her the trampled bouquet which they have tried to revive. (Like a second-hand love)

 

 

The Boss and White Isis begin a stylized, formal, repetitive dance, totally devoid of beauty, expression or emotion. He controls her every move. As they dance, she inadvertently happens to look at the drunk with concern. The Boss notices and violently jerks her head round to look only at him. A little later she can't help looking at the Satyr (who is also lying on the floor in pain.) This time he slaps her hard and starts lecturing and belittling her. He grips her arms in a vice-like pinch. She squeals and squirms but he holds her close, and as surreptitiously as he can, he hammers the heel of his hand into her face, trying to camouflage the movement. Her legs give way and he has to hold her up and keep dancing until the Drunk and the Satyr who have noticed her bloody nose, get to their feet and advance threateningly on the couple. The Drunk brandishes his broken bottle in front of him. The Satyr flexes his gorilla muscles and The Creature starts to breathe heavily. The Boss pushes White Isis behind him and draws a gun. The three men circle each other looking for an opening.

As they get closer The Boss fires into the floor between them and the set darkens as The Creature heaves in fright and goes into contractions and gives birth to the Naked Man who stands exposed to the world, utterly vulnerable and childlike. The men see him as a legitimate target for their aggression and approach him. He just watches passively as the Boss and Satyr grab either arm, (they crowd very close to him to hide their deed) and the Drunk steps in and stabs him with the bottle in the rib area, like the spear wound in Jesus side. He sinks to his knees, the Boss pistol whips him and the Satyr kicks him once he's on the floor. The Boss points his gun at him. Black Isis smiles a smirk of triumph.

White Isis runs to stop them, hysterically flings herself onto the Naked Man's body and frantically pleads with them not to kill him. She offers herself to them instead in the hopes they will leave the innocent man alone. They eventually stop and follow her out Upstage Left.

 

Black Isis spits on the dying Naked Man, puts her foot on him and rolls him away towards The Creature which approaches like a giant spider with forelegs tap-tapping at him and rolling him gently back into the maw of the beast which consumes him.

 

The Eyes in the backdrop turn red.

 

Act 2 Sc 6