Clytemnestra's Daughters by Christopher Shorr

Based on the tragedies of Aeschylus, Sophocles and Euripides

Christopher Shorr 1010 N. New Street Bethlehem, PA 18018 [email protected] 484-695-3564

© 2009 Christopher Shorr The Plot

This play at times follows traditional plots, but moves between Euripides’, Sophocles’ and Aeschylus’ versions of the story of the house of Atreus, and at other times takes new turns.

Special Thanks

Special thanks to Sycamore Rouge, Moravian College, the Southampton Playwriting Conference and Touchstone Theatre, for their assistance in the development of the script, and to Rebecca Kolacki and Alanah Cervantes for their research assistance.

Structure

Divided into three acts, the play should be performed in two halves, separated by an intermission:

Act I (Iphigenia);

Intermission;

Act II (Chrysothemis) and Act III (Electra) Music

The play begins and ends with a few lines of a song. Although written with the 1937 song “Someday My Prince Will Come” by Larry Morey and Frank Churchill in mind, it may be difficult to secure rights to this song for performance. If that is the case, another song could be used. Something wistful and nostalgic with fairytale themes would be ideal. There are plenty of songs in the public domain that could work. Perhaps the 1917 song “I'm Always Chasing Rainbows” by Joe McCarthy and Harry Carroll:

At the end of the rainbow there's happiness, And to find it how often I've tried, But my life is a race, just a wild goose chase, And my dreams have all been denied. Why have I always been a failure? What can the reason be? I wonder if the world's to blame, I wonder if it could be me.

Chorus: I'm always chasing rainbows, Watching clouds drifting by, My dreams are just like all my schemes, Ending in the sky. Some fellows look and find the sunshine, I always look and find the rain. Some fellows make a winning sometime, I never even make a gain, believe me, I'm always chasing rainbows, I'm watching for a little bluebird in vain.

Each year, new songs are available in the public domain. Pick something that feels right, using “Someday My Prince Will Come” as a model. CHARACTERS

CLYTEMNESTRA Queen of Argos, sister of Helen

AGAMEMNON Clytemnestra’s husband, King of Argos, head of the house of Atreus, General of the Greek army

IPHIGENIA Clytemnestra’s eldest daughter

CHRYSOTHEMIS Clytemnestra’s middle daughter

ELECTRA Clytemnestra’s youngest daughter

MENELAUS Agamemnon’s brother, Helen’s husband

AEGISTHUS Clytemnestra’s lover

ACHILLES Iphigenia’s betrothed, finest warrior in Agamemnon’s army

CASSANDRA Agamemnon’s prisoner/lover, Princess of Troy, has the power to prophesize but cannot communicate

SOLDIER

CHORUS One or more women, also serves as DJ ACT I: IPHIGENIA

PROLOGUE

Pre-show music is mixed by CHORUS, visible to audience at a station near the stage. Along with DJ equipment, there may be musical instruments if CHORUS doubles as musician. CHORUS continues to serve as DJ throughout the play. As pre-show lights fade, music—contemporary (hip hop influence) with perhaps some 1930’s- 40’s smoky live trumpet played over track—comes to close.

CHORUS Lives lost and found Running forward, slipping backwards trying to gain ground Trapped in your life but adept at delusions Feed yourself illusions, wake up hungry shovel dirt in your mouth Couch it in shame and blame yourself Your story, your conclusions Fool yourself thinking you can escape it but run into walls Squirmin’ like vermin in a terrarium marry a man bear children and bury ‘em ‘sthe way o’ life woman marry a man bear children and bury ‘em ‘sthe way o’ life

Spotlight. CLYTEMNESTRA appears.

CHORUS (CONT’D) Story of a woman: Clytemnestra Queen of nothing Clytemnestra Overflowing Ripped from a dream, closes her eyes and creates another. Married for love; husband murdered shoved under the ground; Baby boy dragged to town and slaughtered. (MORE)

(CONTINUED) 2. CONTINUED: CHORUS (CONT’D) Clytemnestra bartered and bought by the man whose hand had done it. Run it up, run it down, count it anyway you want it She buries the blame. Marries in shame. His wife now. New life now. Run it up, run it down, count it anyway you want it A survivor survives strife Clytemnestra makes a deal: Good life; good wife. Mouth shut. Doesn’t bicker Here’s the kicker—man’s the king So it’s fur coats and smiles, now. Parties and pearls. And three new girls. Story of a mother: Ripped from one dream, closes her eyes and creates another. Children of a second marriage carry the name of the king of Argos. Princesses of the House of Atreus. Fancy title. Fancy name but dangerous. Words and words. How ‘bout mathematics? Clytemnestra’s equation (mother’s math): She found a husband, added a son. Second husband divided them. Added her to his. Multiplied. Three daughters now, leaving her with what? Clytemnestra Queen of nothing

Lights down

SCENE 1

In darkness, the sound of ELECTRA fucking. Animal-like, at first we can’t quite identify the sounds. She has always understood the power of sexuality. She is convincing. Added to this, we hear piano. After a couple bars, IPHIGENIA begins to sing “Someday my prince will come” and continues to play sporadically through scene.

IPHIGENIA Some day my prince will come Some day we'll meet again And away to his castle we'll go To be happy forever I know

(CONTINUED) 3. CONTINUED:

Lights up to reveal palace interior. The setting is anachronistic. In this world sacrificial altars and telephones co-exist. IPHIGENIA sits at a piano. Across the stage, CHRYSOTHEMIS sits in an armchair in the midst of a phone call.

IPHIGENIA (CONT’D) Some day when spring is here We'll find our love anew

CHRYSOTHEMIS (into phone) You are bad—don’t say that. I’m an innocent girl.

IPHIGENIA And the birds will sing And wedding bells will ring--

CHRYSOTHEMIS (to IPHIGENIA) Sssh!

Spotlight on IPHIGENIA as the action freezes.

CHORUS Story of a girl: Lives in a dream Like her mother queen before her Shaken awake Opens her eyes. Sun’s too bright. She’s blinded. Hides from daylight Day break equals heart ache. Her heart aches, her heart breaks.

Lights shift back to scene. CHRYSOTHEMIS holds phone up toward grunting sounds.

CHRYSOTHEMIS (into phone) Hear that? Make you miss me? I miss you too. I’m just sitting here, ready for bed, all alone, thinking of you. (MORE)

(CONTINUED) 4. CONTINUED: (2) CHRYSOTHEMIS (CONT'D) You don’t have to worry about that. Mycenae is like a ghost town, with all the men away.

IPHIGENIA stops playing piano, picks up letter and reads to herself over and over

CHRYSOTHEMIS (CONT’D) Yeah? Well keep it in your pants, hot shot. I told you—good boys get rewarded. I’m waiting for you. Just a little while longer, I promise. We’ll make it a special home-coming. Very special. Yeah? Mmmm hmmm. So come… home. I told you—absence makes the heart grow fonder. Bye. …Okay bye.

Spotlight on CHRYSOTHEMIS as the action freezes.

CHORUS Story of a girl: Lives in a dream Wakes up Harsh daylight pervades Invades spaces best protected daylight pervades and prevails Doesn’t blind her Girl wears shades and pigtails learns to lay low, head down, go with the flow

Lights shift back to scene.

IPHIGENIA You’re so bad.

CHRYSOTHEMIS Not bad… patriotic. (affected) My part of the war effort.

ELECTRA enters, smoking, and listens from rear.

IPHIGENIA (Reading letter) “Your father will advance the crowning of my love.” …“crowning of my love!” …“And make me soon the happiest of men.”

(CONTINUED) 5. CONTINUED: (3)

ELECTRA Words and words. It’s action has meaning.

Spotlight on ELECTRA as the action freezes.

CHORUS Story of a girl: Born awake. Born infected. People sleeping all around her. Eyes open, sleep rejected Watching dreamers dreaming but can’t dream or won’t. Eyes red, fierce, gleaming. Girls show fear, boys don’t. Dream all you want, but come up with a plan that’s realistic. Girls wear lipstick; boys are despot dipshits. Boys and girls: dickweeds and prick teases. Way o’ life little girl story of the world.

Lights shift back to scene.

IPHIGENIA (Reading letter) “They say Iphigenia is coming here And soon will link her destiny with mine.”

ELECTRA (Taking letter) The latest love telegram from the front?

IPHIGENIA Don’t play—give it back! …And put that out! …come on, Ellie, please—it reeks. And it’s so unbecoming.

ELECTRA …But so appropriate.

CHRYSOTHEMIS Covers up the other smell, anyway.

ELECTRA Jealous much?

(CONTINUED) 6. CONTINUED: (4)

CHRYSOTHEMIS I’ll have plenty of lovers—when I’m ready.

IPHIGENIA Horrible. I should take lessons, though—you’re the master! How do I keep his attention?

ELECTRA Advice from Chrysothemis? May the gods help us all.

CHRYSOTHEMIS Keep him waiting—dangle a bit in front of him, just out of reach.

ELECTRA Our mother’s daughter.

IPHIGENIA Dangle? You’re terrible!

ELECTRA The prude and the prick tease—fine pair, you two.

IPHIGENIA I don’t care. I’m learning my lessons from both little sisters.

The action on stage freezes. Lights shift.

CHORUS Tell you what my mamma told me scrape your dreams off the floor pick ‘em up if you can carry ’em story of the world: you’re gonna marry a man bear children and bury ‘em you’re gonna marry a man bear children and bury ‘em

Lights shift back to scene and action resumes

(CONTINUED) 7. CONTINUED: (5)

CHRYSOTHEMIS (Taking letter from ELECTRA) I still can’t believe you’ve landed Achilles. We’ll see if Daddy approves of the match.

ELECTRA Mother and you, plotting together. The pair of you tag-teaming make quite a two-some She dragged you to Aulis to show off your wares Flaunting you in front of “eligible bachelors” The cream of the crop of Daddy’s young men. She knows about selling. She knows about bait. She knows that those men are hungry as lions. Just don’t let the whole thing blow up in your face.

IPHIGENIA It’s under control and based on this letter The plot is unfolding according to plan. When will I get to join Achilles? How long must daddy stay away?

CHRYSOTHEMIS They’ll stay at war ‘til they find Aunt Helen.

ELECTRA Damn Helen—whore who brought this on. Dragging our family—taking our father— into this whole damn sordid affair.

CHRYSOTHEMIS We’ve been stuck here, but you’ve actually seen it. Magnificent soldiers, the whole Greek armada.

IPHIGENIA Can’t wait to get back there, to my brave Achilles

CHRYSOTHEMIS From the sound of the letter, you won’t wait very long. Aulis. Have twenty armies really joined forces to rescue Helen?

ELECTRA Fat waste of time, that is.

(CONTINUED) 8. CONTINUED: (6)

CHRYSOTHEMIS If we were there, and opened our window-- Looked out over Aulis--what would we see?

IPHIGENIA All the Greek armies camped out on the beaches. All their… war stuff stacked up by their tents. And in the water--An armada of ships as far as the eye can see. You can barely see the water at all. Like a giant floating city.

CHRYSOTHEMIS And the men! All the famous warriors gathered in one place. The hottest men in the world. Can you say demigods?! Ajax, Protisilaus, Palamedes, Diomedes, Nireus—

IPHIGENIA --and you can have your pick of them save one—my Achilles.

Takes letter from CHRYSOTHEMIS

IPHIGENIA (CONT'D) I can see him running fast as the wind, armor gleaming--

CHRYSOTHEMIS --Sweat dripping--

IPHIGENIA --Sprinting along the beach--

CHRYSOTHEMIS --muscles bulging--

IPHIGENIA Then lying down in his tent to write this very letter. “…and soon will link her destiny with mine.”

ELECTRA Keep your dreams of heroes. That’s all you have. I’ll take the real thing.

CHRYSOTHEMIS Stop it, Electra—She’ll have hers soon enough.

(CONTINUED) 9. CONTINUED: (7)

Door slams. CLYTEMNESTRA appears on balcony above

CLYTEMNESTRA Iphigenia. I’ve just had a phone call. Your father apparently made you some plans. Start packing a suitcase—we’re leaving for Aulis.

Action freezes

CHORUS Story of three girls and a mother. Each loves one and becomes another

Action resumes

CLYTEMNESTRA A match has been made with a certain young man.

IPHIGENIA and CHRYSOTHEMIS look at each other and squeal, while ELECTRA rolls her eyes. Lights down

SCENE 2

Lights up on CHORUS as stage changes from home to army camp

CHORUS The news of this romance from king Agamemnon was false—just a tale to lure his daughter And wife Clytemnestra to Aulis post haste. Romance? No dice for Iphigenia. A sham-dance at best staged to reel the girl in. Achilles had written to Iphigenia— his letter was true, but the phone call was not. Agamemnon was lying. He had no intention Of seeing his daughter be married away. Agamemnon, Achilles, both waiting in Aulis Both needing this girl for different reasons But marriage for her was not in the cards. Father, suitor; general, soldier. Daughter, lover, she-child, virgin. The fates have a habit of stacking the deck. (MORE)

(CONTINUED) 10. CONTINUED: CHORUS (CONT'D) The day dream the daughters had at home in Mycenae Was a truthful account of the massive Greek army. The ships that had gathered numbered in thousands Caught in the windless, waveless harbor, At the wind’s mercy—at the gods’ mercy— Awaiting their orders, and trapped in the bay. The armada had waited too long at anchor The army—the soldiers—were losing their patience Low morale turned to mischief, then anger, then blood-lust The gods must be paid. Bowed-down-to and honored. Blood must be spilt if the ships are to sail. This war—this whore-war—is all fought for Helen (ship-wrecker, man-breaker, jinx-woman Helen) Helen, the sister of the general’s wife. “General.” “Clanchief.” “King” Agamemnon. Guess what--Tit for Tat. It’s gonna get ugly. Makes sense that his family come up with the virgin. Marry ‘em; bury ‘em Cast ‘em in clay. Can Iphigenia come out to play?

lights down

SCENE 3

In darkness, we hear the sound of SOLDIER grunting. Bell rings. Dim lights up on an army camp: AGAMEMNON’s command tent to one side of the stage, bushes and trees, and, some distance away, a low tent for a lookout/attendant. SOLDIER crawls out from under low lent, buttoning fly.

SOLDIER Damn alarm’s been sounding all night.

SOLDIER scans horizon with lookout gear.

SOLDIER (CONT’D) Fucking general hopped up. Nothing to do here, but him up all hours. Should keep it to himself, I say. His war, his problem. (MORE)

(CONTINUED) 11. CONTINUED: SOLDIER (CONT’D) And his mess to spring us from. Wake me up when there’s something to goddamn look at!

SOLDIER blows a whistle to signal all clear.

Lights change to reveal AGAMEMNON in/near his tent.

AGAMEMNON Here we are. Waiting. After months of politics and negotiations, we finally arrive here at Aulis, ready to launch our attack. And just as we are about to sail, the wind stops. Not a momentary calm. Stops. Gone. Like there never was any wind. Like such a thing never existed. An army at rest is a dangerous thing. Men get restless. Doubt their orders. Doubt the plan. We try everything. All the prayers, all the sacrefices… and still no wind. And then the the high priest speaks. He tells me what must be done. He gives me the answer. This high priest. We must offer my daughter—my eldest—my child—my Iphigenia— As a sacrefice. My daughter. My flesh. This is the sacrefice the goddess of this place demands. This is the sacrefice that will put the world right. That will wake the slumbering wind. That will let us leave this place. … so we can cross the water and sack Troy. This must be done. The Gods demand it. And I consent. But now… the hour approaches… and I can’t bear the thought.

AGAMEMNON rings a bell. Soldier! Attend me!

SOLDIER presents himself.

AGAMEMNON (CONT’D) You’re one of Odysseus’ men, am I right?

SOLDIER Yes sir—from Ithaca.

(CONTINUED) 12. CONTINUED: (2)

AGAMEMNON Where stands your loyalty?

SOLDIER Loyalty, sir? To you, General. To the house of Atreus and to Greece.

AGAMEMNON Good. Good. As it should be. Good soldier. Good Greek. Fine man. I enlist you—entrust to you—a critical mission Sensitive. Something requiring skill. I’ve called the queen. She’s bringing our daughter here to the island, to be married to Achilles. You may have met them—seen them—my wife and daughter When they were here a few months ago.

SOLDIER Mmm. Yes. Very nice, those two.

AGAMEMNON Right. They’ll be arriving any minute for this wedding. I need you to go right now. Meet the boat. Here—take this…

AGAMEMNON quickly jots a note as he continues to speak, and then seals it with wax. …They need to turn around and leave immediately. Here is my seal—they’ll know this came directly from me. The queen is… headstrong. Stay there until you see them leave. Go now. Quickly.

SOLDIER exits. Great gods, hear me now. Let me make this right.

AGAMEMNON makes a sacrifice at a small altar. Blood from my family, is it? Take mine.

He cuts his hand with a knife, and drips blood into a tall glass vase. Blood for blood.

(CONTINUED) 13. CONTINUED: (3)

Sounds of arguing and scuffle outside.

SOLDIER (FROM OFFSTAGE) Give it back!

AGAMEMNON What’s all this?

SOLDIER (FROM OFFSTAGE) General! Sire! Help!

AGAMEMNON opens the door.

AGAMEMNON Brother? What are you doing?

MENELAUS—carrying the letter—and SOLDIER enter. SOLDIER grabs the letter. MENELAUS grabs it back.

MENELAUS Look what I found sneaking about.

SOLDIER You have no right!

MENELAUS Right? You forget yourself, soldier. I’ll have you strung up.

AGAMEMNON Enough! What’s the problem here?

MENELAUS This letter. It’s treason.

AGAMEMNON You say. Hand it over.

MENELAUS I don’t think so. Not ‘til the rest of the army sees it.

AGAMEMNON You have no right to break the king’s seal.

(CONTINUED) 14. CONTINUED: (4)

MENELAUS No one’ll care about that when they see that you’ve gone back on your word.

AGAMEMNON What—were you lying in wait? Where do you get off spying on me?

MENELAUS I had a hunch you’d cave. Instinct. Something you wouldn’t understand. Like loyalty.

AGAMEMNON (to SOLDIER) Leave us.

SOLDIER exits.

MENELAUS We had a pact. You, me, Odysseus, and the priest. Well you’re gonna get yours. Mister big shot. King of Argos not enough, right? No—you had to lead the coalition army too. You faked your way into this job. Shaking hands and kissing babies. Out-maneuvering the real warriors. Men with actual battlefield experience. And you got it. Argos will lead the whole army. Big fanfare. Everyone follows you here… … and the winds die. Limp sails. (laughs) So much for your power. People calling you all manner of names. Unlucky general. Field marshal flip-flop. Arm chair admiral. And you feel the squeeze. Not used to real pressure. You came to me—asked me “what should I do?” Anything to not lose the glory of being top dog in the biggest battle of our age. You’d do anything. ANYTHING to move forward and not lose face.

Silence. When the priest said pay off the gods with your daughter’s life? You were relieved. How quickly you called your wife. (MORE)

(CONTINUED) 15. CONTINUED: (5) MENELAUS (CONT'D) How easily you lured your daughter here. No one had a gun to your head. You were the one come up with the whole Achilles plan—playing on the girl’s crush. And now, true to form, at the last minute you can’t take the pressure. The guilt! You can’t man up and do the deed. So you pull a one-eighty, go behind our backs, and try to slither out of it. Well, it’s high time the people saw the man they picked for the job for what he really is. And hey—you can take some comfort in this: you’re not the first man to claw his way to the top, only to slide back down. People get so focused on winning, they let go of what they need to lead. I guess you just realized you never had it to begin with.

AGAMEMNON You finished? Tell me—you come at me with all this anger—what have I done to you? What has anyone done to you? Who has wronged you? What exactly do you want? My job? I don’t think so. A wife? Well, I can’t help you with that. You had one, you may recall. But you couldn’t keep her. And who should pay for that? I’m sorry to say this—she’s my wife’s sister, after all—but you should thank the gods for getting that bitch out of your house. But all you can think of is having her body back in your bed. She left. And we all pay for your wounded pride. You make a bad decision and plow forward no matter what. I made a bad decision. Yes—I was weak. Yes I was blinded by ambition. But I recognized my mistake. I changed my mind and have tried to undo my actions. I cannot kill my child. I’ll pay whatever price I need to in exchange, but I won’t pay for your folly, with my daughter. You get a moment’s revenge on a worthless wife, while I spend the rest of my life in agony for committing an unforgivable crime against my own flesh and blood? No. You do what you want. I have to act by a code I can live with.

MENELAUS So you betray your own brother. Your brother by blood, brother in arms: your partner.

(CONTINUED) 16. CONTINUED: (6)

AGAMEMNON I won’t be your partner in madness.

MENELAUS Fine. But think about the other partners you’re betraying. Odysseus is very popular with the soldiers. They’ll follow his lead. And the priest? Don’t underestimate his power. Once he starts speaking on behalf of the gods, the men will get nervous. Fear makes people do crazy things.

AGAMEMNON I cannot kill my own child. I can’t.

MENELAUS What I’m telling you is that you not killing her, doesn’t mean she lives. If you won’t do this others will. One way or another, Iphigenia dies on this island. And if it’s left to the army, it might get ugly. If you do it yourself, you keep control. Comfort her until the end. Keep it painless.

SOLDIER enters.

MENELAUS (CONT’D) I don’t know that Odysseus and his crew would have the same… restraint.

SOLDIER The queen sir, and your daughter.

AGAMEMNON The jaws of the trap close. You’re right, brother. I see that. Evil plan. Evil-- Unjust law. Forgive me, family. I am set to necessary action.

SCENE 4

Enter IPHIGENIA and CLYTEMNESTRA. SOLDIER eyes IPHIGENIA up and down as he exits.

(CONTINUED) 17. CONTINUED:

IPHIGENIA Thank you, Mother, for bringing me here; For making this happen; for seeing it through.

IPHIGENIA turns to AGAMEMNON. You did the right thing, Daddy, sending for me.

IPHIGENIA rushes to AGAMEMNON and hugs him.

AGAMEMNON You think so?

IPHIGENIA Mommy, don’t be mad at me for hugging him first! I’ve missed him so much!

CLYTEMNESTRA You go right ahead.

IPHIGENIA And here are kisses from Electra (kiss) and Chrysothemis (kiss) both of whom I can tell you were highly jealous of my trip!

AGAMEMNON Well, they shouldn’t be.

IPHIGENIA Why don’t you look happy to see me?

AGAMEMNON A man in my position has many things on his mind.

IPHIGENIA Forget all that for now, and think only of me!

AGAMEMNON I am as glad to see you as I can possibly be, my child.

IPHIGENIA Well you don’t look it. You look downright gloomy.

(CONTINUED) 18. CONTINUED: (2)

AGAMEMNON You’ll be leaving me soon. I’m not ready to let you go.

IPHIGENIA Oh Daddy, I’m not leaving you! And you know—you’re not losing a daughter… you’re gaining a son!

AGAMEMNON No, darling. I won’t be seeing you.

IPHIGENIA What do you mean? (to MENALAUS) Uncle, are you taking him somewhere? Where? (to AGAMEMNON) Stay here with me.

AGAMEMNON I wish I could.

IPHIGENIA Then I’ll go with you. You’re the king—I’m sure you can arrange it.

AGAMEMNON No, my dear—it’s you who will be leaving.

IPHIGENIA Oh. Right, I guess I will. I’m so excited, but I’m nervous, too. Will mother travel with me, or must I go alone.

AGAMEMNON We can’t join you on this journey.

IPHIGENIA I’ll miss Mycenae. Where is my new home, Daddy? (to MENALAUS) Have you been there, Uncle? Will I like it?

AGAMEMNON Ok, that’s enough. Let’s get you settled in.

(CONTINUED) 19. CONTINUED: (3)

IPHIGENIA Well, I hope you sort out these Trojans quickly, Daddy, and come back to visit your married daughter, wherever I am.

AGAMEMNON I’ve got to perform a sacrifice here in Aulis before I go.

IPHIGENIA Of course you do—you and your rituals! I’m sure you have all sorts planned for the wedding

AGAMEMNON You’ll be there. You have an important role in the ceremony. (Crying) I’m sorry! Blubbering like an old woman. Let me speak to your uncle—we have business to attend to. (To Clytemnestra) And you must both be tired from the journey. I’ll be quick, Clytemnestra. (To Iphigenia) But give me a kiss first. Remember me as the father you have loved. Let me hold you. You’ll soon be far away from me, And for such a long a time. Go now. We won’t be long.

IPHEGENIA Starts to leave, then crosses to MENALAUS

IPHIGENIA I’m sorry, uncle. It’s nice to see you, too. (Kisses him) Keep my Daddy out of trouble!

IPHIGENIA & CLYTEMNESTRA exit to outside tent

MENELAUS Agamemnon, forgive me. Seeing your tears… her innocence… I take it back. I take it all back—every last word. I am your brother. My eyes are open. I see it differently. I’m so sorry for urging you on. Don’t do this thing. Not for me. It can’t be right. Why should my children live and yours die?

(CONTINUED) 20. CONTINUED: (4)

AGAMEMNON Thank you. I know these words come from your heart. We’ve fought and reconciled before, but…. Brother. As much as I appreciate your change of heart, the fact is… you were right.

MENELAUS No.

AGAMEMNON The situation is impossible.

MENELAUS No. We’ll figure it out.

AGAMEMNON She has to die. There’s no way out. I have to do it.

MENELAUS Who’s going to make you?

AGAMEMNON The entire Greek army, Menelaus!

MENELAUS You can smuggle her off the island.

AGAMEMNON And Odysseus? He’ll tell everyone. Rally the troops against us.

MENELAUS Not if he’s dead. I can arrange it.

AGAMEMNON Maybe. But there’s no way around Calchas, the priest. We can’t kill him.

MENELAUS No. But we might buy him off. What does he want? To solidify his position as the divine authority. Maybe we could arrange that.

AGAMEMNON Arrange a miracle?

(CONTINUED) 21. CONTINUED: (5)

MENELAUS Or stage one. We proceed with the wedding for the girl’s benefit. Tell Odysseus and the priest its all part of the ruse to get her to the altar. She walks down the aisle, and just as she gets to the altar, we whisk her away and put a stag in her place to be sacrificed.

AGAMEMNON A stag appears and Iphigenia is gone.

MENELAUS We say it’s a miracle. What can the priest do? Is he going to argue with that? No—he’ll take credit for it. And we’ll let him. He comes off looking great, the army thinks the gods have blessed us all, and the girl disappears. No one’s the wiser.

AGAMEMNON What about Achilles? He isn’t going look the other way if his bride disappears.

MENELAUS So bring him in on it. We’ll smuggle her off to his family for safe keeping, we go whoop the Trojans, then when he comes back they can get married for real and live happily ever after. Just double the dowry. He’ll be fine.

AGAMEMNON And Clytemnestra?

MENELAUS She’s a problem. Send her home now so she can mess it up.

AGAMEMNON Fine. Just leaves one thing: the wind.

MENELAUS These actions won’t go unnoticed. We’ll raise a storm of one kind or another. Let’s deal with one thing at a time. Human issues are enough for now. We can sort out the Gods and the elements after.

SOLDIER enters.

SOLDIER The queen, sir?

(CONTINUED) 22. CONTINUED: (6)

AGAMEMNON Yes, good.

SOLDIER holds the door open for CLYTEMNESTRA, who enters.

AGAMEMNON (CONT’D) Clytemnestra, forgive me. We’re just wrapping up.

CLYTEMNESTRA Doing better now? Holding it together?

AGAMEMNON Yes, fine. Just can’t stand the thought of losing my daughter. I’ve made the decision, but it’s hard to give her away. …to Achilles. I know it’s the right thing, but it breaks my heart.

CLYTEMNESTRA Of course, I understand. It’s not only this—you’re under great pressure. Commanding an army stuck in one place. I’m sure it’s not easy. The boys must be restless.

AGAMEMNON The “boys” are like animals. This camp is a jungle. Watch your back while you’re here without any bodyguards. I don’t want to scare you, but you need to stay safe.

CLYTEMNESTRA You know well enough I don’t scare so easy. Now get down to business—what of the man?

AGAMEMNON The great warrior Achilles. Loyal. Noble. Well schooled, well bred—parents from Gods.

CLYTEMNESTRA What do you say, Menalaus? Or have you lost the ability to speak altogether?

MENALAUS I… no, he’s… you couldn’t find a better man.

(CONTINUED) 23. CONTINUED: (7)

AGAMEMNON --Plus she thinks he’s dreamy; he’ll make her happy. It’s good for the family. The deal has been done.

CLYTEMNESTRA Well good. Then it’s settled. I’ll make the arrangements. When would you like the wedding to be?

AGAMEMNON Today.

CLYTEMNESTRA Today? Really? Seems a bit hasty

MENELAUS Plans have been made. He’s really on top of it.

AGAMEMNON Woman, obey me. Obey me this once

CLYTEMNESTRA Once? That’s priceless. I’ve had enough practice.

AGAMEMNON Tonight at sunset. I’ll give my daughter away in front of the army.

CLYTEMNESTRA “You?” “You” will? And where, may I ask, will I be, during all of this?

AGAMEMNON Back in Argos. In Mycenae, looking after your other girls. I’ve arranged an escort to take you there now.

CLYTEMNESTRA And leave my daughter? Not a chance. It’s a mother’s business.

AGAMEMNON I’ll take care of everything. It’s been arranged.

CLYTEMNESTRA This is an outrage! It defies all rules. It’s indecent.

(CONTINUED) 24. CONTINUED: (8)

AGAMEMNON It is indecent for you to stay in an army camp.

CLYTEMNESTRA I brought her into this world, and I will give her away. It’s a mother’s duty.

AGAMEMNON Mother’s duty? And who’s doing the “mother’s duty” of watching the girls at home?

CLYTEMNESTRA They’re safe in the compound. The whole city’s locked down.

AGAMEMNON Do as I tell you.

CLYTEMNESTRA Don’t you talk to me like one of your soldiers. You boys can bark orders out here all you want. I don’t tell you how to run your army—that’s your domain. Domestic affairs are mine. The house, the family, and my daughter’s marriage, are my business! Now if you’ll excuse me, I have a wedding to get ready for.

CLYTEMNESTRA exits.

AGAMEMNON Okay. So much for that. With Clytemnestra around, we’ll have to be careful. If she sniffs out a stunt, she’ll wreck the whole thing.

MENELAUS So we make it convincing. Enlist some assistance. (Ringing bell) Soldier!

SOLDIER presents himself.

AGAMEMNON Ah. Good. Well. Sit. Drink something. Here, you look hungry. So. Bit of a mission for you. This wedding I mentioned earlier—my daughter to Achilles—is not going to occur. We have a plan, and there’s a special role for you.

(CONTINUED) 25. CONTINUED: (9)

SOLDIER Is it the daughter gets it?

AGAMEMNON I’m sorry?

SOLDIER Your little girl’s the virgin blood right?

AGAMEMNON What do you—how do you know about this?

SOLDIER We know, sir. The camp. Everyone’s waiting. This war can’t move on til blood has been spilt. The priest has been blabbing divine intervention Word on the street says you’d pick up the bill.

MENELAUS Everyone knows. That’s fine. We can use that.

AGAMEMNON Alright then. You know the story. Yes, it’s my daughter. The wedding was a trap, but the sacrifice is going to be fake. Iphigenia will never be in any real danger. She’ll walk down the aisle to marry Achilles. When she reaches the altar we’ll reveal the trap. Here’s where you come in: You’ll play the executioner. We’ll announce to the army that this is the sacrifice —that her blood will be shed for the good of the war. At that point, Menelaus will create a distraction and then you’ll hide the girl and a stag will appear

SOLDIER This is tricky business. Not anyone could do it.

AGAMEMNON You’ll be rewarded. But you must swear not to reveal that the sacrifice is fake—either before or any time after—to anyone—and especially to Odysseus. The king’s plan is to kill the girl. Say it.

SOLDIER The king’s plan is to kill the girl.

(CONTINUED) 26. CONTINUED: (10)

AGAMEMNON Make an oath. Swear your allegiance.

SOLDIER I swear it.

AGAMEMNON Now go. Menelaus, too. (Aside to MENELAUS) Confirm his resolve. Go over the plan. I worry too much power has been put in his hands.

Lights down.

SCENE 5

Lights shift to reveal the area outside of AGAMEMNON’s tent, where CLYTEMNESTRA and IPHIGENIA are waiting.

CLYTEMNESTRA Something’s not right. I don’t trust your father We’ll figure this out. But you needn’t worry—your mother is here.

A sound.

CLYTEMNESTRA (CONT’D) Be still.

CLYTEMNESTRA hurries IPHIGENIA into the shadows or behind cover as MENELAUS and SOLDIER approach.

MENELAUS Are you up to the job? Can you keep your story straight?

SOLDIER I’m a pro. You got nothing to worry about.

MENELAUS So tell me the plan.

(CONTINUED) 27. CONTINUED:

SOLDIER I’m the executioner. I’m the king’s trusty henchman. What do you want from me? The kid thinks she’s here for a wedding. She walks down the aisle, gets to the altar, we pull the old switcheroo, out comes the blade, crowd cheers, and I do the deed.

MENELAUS And if Odysseus pushes you on this before or after, what do you tell him?

SOLDIER I tell him the plan was always to kill the girl

MENELAUS End of story?

SOLDIER Only other part of the story is I get mine.

MENELAUS You’ll get yours, don’t worry about that.

SOLDIER Then you got nothing to worry about.

MENELAUS This happens tonight, so keep your head down ‘til then. Remember your oath.

MENELAUS exits.

SOLDIER Asshole.

CLYTEMNESTRA enters from shadows, drawing a revolver. IPHIGENIA follows.

CLYTEMNESTRA What plot is this? You tell me right now!

SOLDIER Hey, now, lady. Let’s not get worked up.

(CONTINUED) 28. CONTINUED: (2)

CLYTEMNESTRA I should shoot you right now.

SOLDIER Me? I go nothing to do with anything.

CLYTEMNESTRA I heard everything, “executioner.”

CLYTEMNESTRA lowers the revolver to his groin.

SOLDIER Alright, say I am. Guess that puts me in a unique position to help, don’t it? Where would you be if you went and did something reckless like that?

CLYTEMNESTRA relaxes the revolver.

CLYTEMNESTRA Just tell me this: is the king behind this? I’m in a position to offer quite a lot. You know who I am. I could arrange anything.

SOLDIER Well now we’re talking. Cause in fact, I might just be able to save your daughter’s life. But see, there’s a war on. We’re all gonna die—like life’s so sweet anyhow. So don’t threaten me!

SOLDIER roughly takes the gun away from CLYTEMNESTRA.

SOLDIER (CONT’D) I ain’t interested in no money. Ain’t gonna live to spend it. …But I do have certain other more immediate needs…

SOLDIER touches IPHIGENIA, who freezes in terror. …You may be in a position to satisfy.

CLYTEMNESTRA steps in front of IPHIGENIA.

(CONTINUED) 29. CONTINUED: (3)

CLYTEMNESTRA Let’s say I was to satisfy those needs myself. Worth top dollar, eh?

SOLDIER Could be.

CLYTEMNESTRA So: is the king behind this?

SOLDIER The king’s plan is to kill the girl. Spill virgin blood.

CLYTEMNESTRA You’re working for him.

SOLDIER That’s the idea.

CLYTEMNESTRA And now you’ll work for me.

SOLDIER If you’re creative and… convincing.

SOLDIER pulls back the flap of his tent. CLYTEMNESTRA puts lipstick on IPHIGENIA

CLYTEMNESTRA Go tell Achilles. Ask for protection.

IPHIGENIA exits. CLYTEMNESTRA enters the tent as the lights fade

SCENE 6

Lights up on CHORUS as scene changes

CHORUS The soldier had no preconceived notions, No misperceptions no false set of virtues. Business was business. Loyalty’s flimsy. Who was he not to answer when opportunity knocked? (MORE)

(CONTINUED) 30. CONTINUED: CHORUS (CONT'D) He spilled the beans. He told her everything. …Everything he’d swore to the king he would say. Told her about the plans for her daughter

(whimper) Told her the wedding was all just a set-up Told her about the ritual sacrifice

(moan) Told her her daughter would be dead by morning

(cry) …Kept her for hours. He liked the sound of her crying. And when he had finished, he sent her away.

CLYTEMNESTRA crawls out of the tent, her clothes ripped and dirty.

CHORUS (CONT’D) Loyalty for sale! Clytemnestra, the high bidder. No buyer’s remorse—she was eager to pay. High price? Perhaps, but the price tag seemed worth it— She purchased control of the executioner’s blade. Good deal for her, and a bargain for him— He sold something twice—the girl’s life to both parents. Got paid not to kill a girl two times in one day.

Lights shift.

SCENE 7

Deeper within the army camp, on the beaches of Aulis. Lights up on ACHILLES. IPHIGENIA enters silently, adjusts herself, makes herself known.

ACHILLES (beaming) Iphigenia. I-- (backing away) What are you… You can’t be here. Not like this—alone and unguarded.

(CONTINUED) 31. CONTINUED:

IPHIGENIA Aren’t you happy to see me?

ACHILLES Of course, my love, but… there are rules. It’s not right—we’re to be married.

IPHIGENIA No. We’ve been tricked. We’ve been used. It’s all lies.

ACHILLES What sweet nonsense is this?

IPHIGENIA Nothing sweet. And no nonsense. The marriage is fake. You’ve been used. It’s a trap.

ACHILLES That’s absurd. You’re not well. Let me call for a doctor.

IPHIGENIA No doctor can cure the affliction I have. I was brought here to die—sacrificed for the army. So the ships can be sent off to Troy for the war.

ACHILLES That’s fiction, I’m sure—your father is honorable. He’d never allow you to be put in harm’s way.

IPHIGENIA Allow it?! He planned it! He used you as bait! We’ve been had.

ACHILLES No one uses me! …Let’s just keep calm now.

IPHIGENIA My mother went off to… attempt a solution. I don’t know how she fared, she could be in trouble. I could be alone—with no one to guide me. Did you mean what you wrote? “Destinies entwined?”

ACHILLES Of course. Every word.

(CONTINUED) 32. CONTINUED: (2)

IPHIGENIA Maybe not like you planned. Achilles. I’m scared. I need you. Protect me.

ACHILLES Don’t fear, love. You’re safe. You’re safe when you’re with me.

IPHIGENIA Hold me. Protect me.

ACHILLES I’m here love.

IPHIGENIA I’m shaking.

ACHILLES Fake? Like he tricked us? That seems highly unlikely

IPHIGENIA My father has made a fool of us both.

ACHILLES Fool? That’s strong language. I don’t think you mean that. Nobody makes a fool of Achilles. And what if he had? Achilles would crush him. There isn’t a stronger man in the land. Dishonor my bride? Bring shame to my family? A man wouldn’t live if he did that to me.

IPHIGENIA Achilles, I’m here, alone and in private.

ACHILLES Exchange you for Helen; win the war. Spill Virgin Blood to ransom a whore.

IPHIGENIA I’m not ashamed to fall to my knees I’ll do anything. Humiliate myself. I’m too young to die.

ACHILLES And you won’t! You won’t. You have suffered enough At the hands of those who should have protected you. They haven’t; I will. My word is my bond. (MORE)

(CONTINUED) 33. CONTINUED: (3) ACHILLES (CONT'D) King Agamemnon will not touch or harm you. Not a hair will be handled without my permission.

IPHIGENIA I am my father’s oldest daughter. I’ve saved myself entirely for you.

ACHILLES I will fight the whole Greek army Fight every man, every ship in the bay.

IPHIGENIA My soul, my body. A gift for your taking.

ACHILLES Your virtue is sacred—it’s not to be played with.

IPHIGENIA My VIRGIN BLOOD is the source of the danger. You can save me. Take me. Take me.

ACHILLES I’ll accept that gift on our wedding day.

IPHIGENIA The wedding is fake!

ACHILLES But our love is true.

IPHIGENIA I’m standing here, alone and in danger. Alone with you for the first time ever I love you, Achilles…. …Hold me. Love me.

ACHILLES My love is pure. My love is Noble.

IPHIGENIA And what is mine? What are you saying? Your words describe love—why don’t you show me? I’m scared. I don’t know what the future holds.

ACHILLES Your future is safe. We’ll be together

(CONTINUED) 34. CONTINUED: (4)

IPHIGENIA You say. More words--

ACHILLES --Iphigenia Trust what I say, my love, my heart. I will go to your father, demand explanation. If he won’t bend, I’m ready to fight. Stay here—out of sight. You mentioned your mother. I’ll find her and see if she’s worked out some plan. As for my love—you needn’t worry I am noble by birth and noble in action Dishonesty isn’t a trait I possess. By the gods above, by my good name—Achilles— I cannot, will not, ever lie.

ACHILLES exits. IPHIGENIA waits, alone, growing more and more unsettled. She finally breaks the silence.

IPHIGENIA What have I done? What troubles await me? What rivalry have I just set into motion? Achilles is hurt. His ego is wounded. He’s liable to lash out and challenge the king. My husband, my father—two men bound by honor, Each of them thinking that he’s in the right. I know where this leads—to more and more bloodshed Neither will give up until one of them’s dead Husband, father… if I had to choose? One has protected me up until now… But now threatens death, if I’m to believe it. One promises love, but doesn’t display it Should I put my faith in a man I don’t know? …A lifetime of love versus love for a lifetime… My family past, or my family future? Left on their own, which one will die? I’ll go to my father. Will he listen to reason? Perhaps if I beg him? Beseech his compassion? Surely my tears will warm his cold heart. I’ll go now. In secret. Avoiding detection. Achilles will thank me; My Father will soften. I can feel the wind shifting. My heart will prevail.

IPHIGENIA exits as the lights fade. 35.

SCENE 8

Lights up on ACHILLES and CLYTEMNESTRA.

ACHILLES I told her, and I’ll tell you—I’ll fight the whole army If that’s what it takes to save the girl’s life. I’ll go toe to toe with king Agamemnon. No harm will come to my future bride.

CLYTEMNESTRA Your strong arm and soldiering shouldn’t be necessary. Execution’s prevented. Paid off in advance. We’ll trick my husband—pretend to know nothing I’ve made arrangements with the king’s axe man. The payment’s been made to stay the man’s hand.

ACHILLES And you’re suggesting we let it get that far?

CLYTEMNESTRA It’s politics, son—more subtle than muscle. It’s all about staging a moment of doubt. Right now, yes—sure—the army wants bloodshed But not when they see poor Iphigenia Teary-eyed, flushed, shaking and frightened Their hearts will go out to this innocent child. Men are so simple–their instincts kick in— They’ll want to protect the beautiful girl Their gun-sights will shift from daughter to father: He tricked her!” “He used her!” “Kill his own daughter?” “What sort of monster would do this to her?” “If he’d do this to her, then why not to US?” “How can we trust him to lead us in war?”

ACHILLES So he ends up exposed, in front of the army

CLYTEMNESTRA That’s what I want—the brink of a mutiny. My husband’s a coward. Afraid of the army. We just need to play to his own paranoia Go feed him more reasons to stick to his plot.

(CONTINUED) 36. CONTINUED:

ACHILLES I’ll tell Agamemnon I’ve heard soldiers talking— Demanding a sacrifice, naming his daughter. But first I’ll go see Iphigenia. She’ll be so relieved once she hears of our plan.

CLYTEMNESTRA No! You can’t tell her! You must keep your distance. She, more than anyone must not know the truth. If she knows there’s no danger, she won’t act convincing. We must let her think that the danger is real.

ACHILLES But she’s terrified now

CLYTEMNESTRA That’s all the better

ACHILLES She’ll believe that she’s walking right into her death.

CLYTEMNESTRA Let her believe it. We need her afraid. No fear, no tears, no public support

ACHILLES But she’ll think I betrayed her! That our love meant nothing! Breaking my promise means heartbreak for her.

CLYTEMNESTRA Believe me, Achilles, her heartbreak won’t linger As your soon-to-be mother, trust that I’m right.

lights down.

SCENE 9

Lights shift to reveal AGAMEMNON, pacing. MENELAUS sits nearby, watching him.

(CONTINUED) 37. CONTINUED:

MENELAUS Everything’s ready. I’ve set up an area behind the altar where we can hide her, and arranged a boat to take her off the island. The men have started gathering. Odysseus is pouring wine around like it’s the Festival of Dionysus, and Calchas is stirring the pot, promising wind within a week.

AGAMEMNON Dodgy combination.

MENELAUS Things are getting noisy. Have you spoken to Achilles?

AGAMEMNON No. I sent for him, but his tent was empty.

MENELAUS He could be dangerous if he thinks we’ve killed his bride.

IPHIGENIA enters

AGAMEMNON What are you… You can’t be here. You should be with-- You’ll be walking down the aisle in just a few minutes.

IPHIGENIA Aren’t you happy to see me?

AGAMEMNON Of course, my dear, but…

IPHIGENIA Father, I know everything.

Silence. AGAMEMNON looks to MENELAUS for help.

MENELAUS I’ll give you a minute.

MENELAUS exits

IPHIGENIA I’m your daughter. Your first. Surely-- Look at me.

(CONTINUED) 38. CONTINUED: (2)

AGAMEMNON This is a very complicated situation.

IPHIGENIA How complicated can—

AGAMEMNON --You don’t know everything

IPHIGENIA Why won’t you look at me?

AGAMEMNON You don’t know everything

IPHIGENIA I’m your little girl. Don’t you remember me?

AGAMEMNON You don’t know what you think you know.

IPHIGENIA (Touching AGAMEMNON’s face) Why won’t you look at me? Remember how when I was a little girl, I used to sit on your lap and pull on your beard? And you’d lift me high in the air and say, “Oh, my sweet girl!” And then you’d pull me close and kiss my eyes and say “will I live to be an old man and see you all grown up and married, living an a style fitting for Agamemnon’s daughter?” And then remember? I’d say, “Papa you better!” I’d say, “Because when you’re an old man, you’ll come live with me, and I’ll take care of you just like you took care of me when I was a little. Cause fair is fair!” Don’t you remember? I remember every word, I loved you so. Don’t you remember? You must not, if you’re prepared to kill me!

AGAMEMNON You don’t have to remind me! I love my own children. Only a madman doesn’t!

IPHIGENIA Then why don’t--

(CONTINUED) 39. CONTINUED: (3)

AGAMEMNON --Iphigenia, hush—you just need to trust me that--

IPHIGENIA --Papa, let’s forget all this. I want to go home. Take me home, papa.

AGAMEMNON I can’t explain it now—you just need to trust me.

IPHIGENIA Hold me, Daddy. I’m cold. I’m scared.

AGAMEMNON Oh, my sweet girl.

AGAMEMNON and IPHIGENIA embrace. MENELAUS enters.

MENELAUS There’s quite a mob out there. They’re starting to get restless.

The sound of loud pounding at the door.

AGAMEMNON (CONT’D Quick—hide!—it may be the mob demanding you now.

IPHIGENIA hides. AGAMEMNON opens the door. ACHILLES enters.

ACHILLES There’s a riot in the army. We can’t stay on this island. The grain’s gone rancid. The wells are dry. They’ve looted the storehouse. They’re drinking the wine They’re saying your daughter must be killed.

AGAMEMNON Achilles, I have to speak to you about Iphigenia--

ACHILLES Of course, I tried to stand up to them… But it’s the whole damn army—they’re asking for blood!

(CONTINUED) 40. CONTINUED: (4)

AGAMEMNON We’re going to have to—

ACHILLES --I know that I promised to marry your daughter, But—do you expect me to lose my standing In the army, maybe lose my life? Do you expect me to take on the entire Greek army? For a woman? I’m sorry, but it’s a question of value. Would you really want to lose me? We’re going to war. Men are what’s needed. How many thousand women do you think it would take to equal me on a battlefield?

AGAMEMNON Oh. (Glances at MENELAUS) Well, you see—

ACHILLES We must abandon our personal feelings Brush them aside for the good of the nation. What is one life in the scope of the war effort?

MENELAUS The man does make a point.

ACHILLES How can we justify sparing one life at the expense of many? Take the war to Troy, or they’ll bring it to us. We must not allow the good women of Greece To be raped in the night in their beds by barbarians! They’re asking for blood. And I can’t say I blame them. Blood from your family. Blood from a virgin.

AGAMEMNON So you are in favor of the sacrifice, then.

ACHILLES Only this will calm the blood lust of this army.

AGAMEMNON So be it.

(CONTINUED) 41. CONTINUED: (5)

AGAMEMNON reveals IPHIGENIA’s hiding place. I’m sorry, my sweet girl, but the time has come.

IPHIGENIA enters, recoiling from ACHILLES, who is unable to explain himself.

ACHILLES No! It’s not-- You don’t understand!

IPHIGENIA Love lost. Little reason to live.

Lights fade on scene.

SCENE 12

Lights shift to CHORUS. Music for execution sequence begins.

CHORUS Roaring crowd. Hungry mob. Gathered for the bloody feast. Laughter. Cursing. Shouting. Drinking. And to the man, each is thinking “Feed the beast.” Six o’clock the sun goes down. A trumpet sounds. Doors fly open. A thousand men, hungry, angry Crane their sunburned necks to see The sacrificial lamb. And there she is: Young; Fresh; Pink; Tender. Walking forward. Crowd goes silent. There she is. The general’s daughter. Final glimmers of the sun reflecting on the darkened water. Father holding on, running out the clock Mother waiting, baiting the trap. Teeth, springs, hinges oiled; snake coiled. Lover caught, sword at the ready, waiting to pounce, no matter the cost. Daughter lost. Led forward. Toward doom, toward death And not a whisper between them, not a breath. On they walk, through the silent sea of soldiers down the aisle. On they walk, every step a step toward death beneath the bloody purple sky (MORE)

(CONTINUED) 42. CONTINUED: CHORUS (CONT'D) At the end of the aisle, the altar, the godstone Setting for sacrifice, scene of the crime

Lights shift to reveal the execution scene, which plays out as CHORUS describes it.

CHORUS (CONT’D) Agamemnon utters a word to the gods—a prayer that his plot goes according to plan— with a wink gives the order to shackle his daughter. The crowd looks away, appetite vanished. They’ll have blood on their hands from this state-sanctioned murder.

IPHIGENIA shakes and struggles.

IPHIGENIA Papa! Papa!

SOLDIER hoists IPHIGENIA up by her wrists.

IPHIGENIA (CONT’D) No. No. No! Mother?! Uncle?! Look at me! Help!

IPHIGENIA recognizes a face in the crowd. Odysseus, you know me! It’s me, Iphigenia! You’ve been to my father’s house. We’ve eaten at the same table! Look at me! You know me! I sang for you—entertained you after dinner. My sisters and I put on a play. You know me! Why won’t you look at me?

IPHIGENIA scans the crowd until she recognizes another face. And you! You’re Lydia’s older brother. Your sister and I were childhood friends. Don’t you recognize me? Look at me! (MORE)

(CONTINUED) 43. CONTINUED: (2) IPHIGENIA (CONT’D) Why won’t anyone look at me?? I’m one of you! You would do this? You’ll have blood on your hands! I’m one of you! It’ll be your wife next time, or your daughter. You’ll have blood on your hands!

ACHILLES rushes in.

ACHILLES Executioner—stay your hand!

CLYTEMNESTRA Remember our pact.

SOLDIER cuts the ropes that are holding IPHIGENIA up.

SOLDIER She’s all yours.

AGAMEMNON What are you doing?

ACHILLES and CLYTEMNESTRA rush to the altar

ACHILLES I would never let them hurt you.

AGAMEMNON Wait!

CLYTEMNESTRA You’ve always been safe—you must understand.

AGAMEMNON No! I have this under control.

ACHILLES I would have done anything--

IPHIGENIA --Thank you, noble Achilles, for trying to help me. But I mustn’t let you destroy your standing In the army, maybe lose your life (MORE)

(CONTINUED) 44. CONTINUED: (3) IPHIGENIA (CONT'D) For my sake, and to no purpose. I’m a woman. What’s my life worth anyway. I’d gladly die to save you. Not that my life is as valuable as yours—that wouldn’t be a fair trade—we’d have to pull together a thousand women to make that a fair trade. And besides, we all must abandon our personal feelings. Brush them aside for the good of the nation. Mother, Father, I understand. You’re the king and Queen. You have a duty to your nation. How can we justify sparing one life at the expense of many? And our people are certainly being threatened. Take the war to Troy, or they’ll bring it to us. We must not allow the good women of Greece To be raped in the night in their beds by barbarians! And look at these soldiers. Such animals. So hungry. They’re asking for blood. And who would blame them? Blood from my family. Blood from a virgin. Virgin blood—a rare commodity in our family, wouldn’t you say, Mother? But it’s the one thing I’ve got, isn’t it? I understand. You need to sacrifice virgin blood to satisfy the army. How many army men you got, Daddy? Think I can satisfy them all? I’ve saved myself, kept my body pure, Waiting for the day when I would give it away. A gift for someone who wanted it. So here it is.

IPHIGENIA rips open her dress. A gift for Greece. Take me—

ACHILLES quickly covers her with a flag he rips down from nearby.

IPHIGENIA (CONT’D) --Sacrifice me. Then go fight your great war! I just ask for one thing in exchange for my wedding, my marriage, the children I’ll never have, and the lifetime of memories I won’t share with you: That when you go to Troy, you burn every house, you kill every man, and you rape every last woman (MORE)

(CONTINUED) 45. CONTINUED: (4) IPHIGENIA (CONT’D) so that you know your beloved victory will be everything you damn well hope for. Now lets get on with it. One life is nothing in the scope of the war effort.

ACHILLES Lies! Lies and propaganda! I didn’t mean a word of it!

IPHIGENIA But dishonesty isn’t a trait you possess. Your words, my love—and you would never lie.

IPHIGENIA grabs SOLDIER’s hand-- still nearby and holding the knife—and pulls it to her, cutting her own throat.

AGAMEMNON No! No!

ACHILLES runs to IPHIGENIA and catches her as she falls. She dies in his arms.

CLYTEMNESTRA My daughter! Torn from me like flesh from my own body! (To AGAMEMNON) You!—Murderer! You’ve ransomed a whore with a child’s life. Cursed. Cursed. House of Atreus defiled and damned.

CLYTEMNESTRA reaches down into an urn on or near the altar, taking up a handful of white ash, and smearing it on her face. Lights slowly narrow to isolate her. Clytemnestra no more. Love lost. Daughter slaughtered. Godgrudge and mangrudge ganging together. Bloodgrudge futility childloss and bloodflow. No life force… just vengeance. The seeking of justice. Agamemnon. Agamemnon. Agamemnon. Agamemnon.

Lights fade. End of Act I.

Intermission. 46.

ACT II: CHRYSOTHEMIS

SCENE 1

In darkness, we hear the sound of sloppy fucking and laughter. The lights come up, to reveal the palace interior--CHRYSOTHEMIS at the piano and ELECTRA in a chair smoking. CHRYSOTHEMIS mindlessly plunks out several notes of Iphigenia’s song on the piano. We hear glass shatter. CLYTEMNESTRA storms in, mussed, pulling her robe together, cocktail in hand. The white ash on her face has become formalized—Her new, permanent look: startlingly pale make up, features painted on. A mask.

CLYTEMNESTRA What did I say about that song? What… did…?

CHRYSOTHEMIS I’m sorry mama.

CLYTEMNESTRA (to ELECTRA) You shut the hell up. Okay? I’m at the—on my—limit with you, girl. So don’t push me.

ELECTRA Whatever.

AEGISTHUS crashes in.

AEGISTHUS Where’s my little— …Hello, ladies.

He takes a drag of ELECTRA’s cigarette, and keeps it for the rest of the scene. So this is where the party is. (MORE)

(CONTINUED) 47. CONTINUED: AEGISTHUS (CONT'D) (To CHRYSOTHEMIS) Play us a tune, sugar.

CHRYSOTHEMIS I don’t really know—

ELECTRA We’re in fucking mourning here.

AEGISTHUS Someone’s touchy.

CLYTEMNESTRA (To ELECTRA) What did I fucking say? To you what did I say?

AEGISTHUS Don’t get worked up, sugar. Come here. Daddy’s got a little something for you.

CLYTEMNESTRA For me?

CLYTEMNESTRA approaches AEGISTHUS. She opens her mouth. AEGISTHUS gives her a pill

CHRYSOTHEMIS Mama, you shouldn’t--

CLYTEMNESTRA (Pill in her mouth) --Hey, you. Lookit. Don’t let your sister rub off on you.

CLYTEMNESTRA washes the pill down with a swig of her cocktail

CHRYSOTHEMIS I’m just saying.

CLYTEMNESTRA It’s fine. Okay? It’s fine. Everything’s fine. Just go back to bed.

(CONTINUED) 48. CONTINUED: (2)

AEGISTHUS (Leading CLYTEMNESTRA out) “Just go back to bed. Just go back to bed. Just go back to bed.”

CLYTEMNESTRA exits

ELECTRA (To AEGISTHUS) Psssst.

AEGISTHUS What’s that—got a little secret for me, Sugar? A sweet little secret?

ELECTRA Yeah. Come here.

AEGISTHUS What you got for me?

AEGISTHUS crosses to ELECTRA, who surreptitiously reaches into his pocket, removes the pill bottle, and tosses it to CHRYSOTHEMIS.

ELECTRA When our father gets back, he’s going to find you, cut out your tongue, cut off your balls, and brand the word ASS into your forehead.

AEGISTHUS IF your father gets back, darlin. IF.

AEGISTHUS sticks the cigarette back into ELECTRA’s mouth, and exits.

ELECTRA What are you mute?

ELECTRA grabs the bottle back from CHRYSOTHEMIS, and pops one or two pills.

(CONTINUED) 49. CONTINUED: (3)

CHRYSOTHEMIS I just don’t want to get in the middle of it. You’re making enough trouble for both of us.

Lights fade.

SCENE 2

Lights shift to reveal chorus as scene shifts to Palace exterior.

CHORUS So times have changed. You may have noticed. Vulgarity rules; formality’s lost. …and manners, and morals, and safety, protection. Two daughters remain—in a house filled with anger With mourning and vengeance vying for prominence Promise of bloodshed—violent providence Prayed for and dreaded, by two different parties. With painkillers, valium, prescriptions, barbiturates, Scotch, gin and tonic, and vodka martinis, Clytemnestra withdrew from the world of her daughters, And waited for vengeance to lesson the pain. Mother lying in wait; daughters waiting and hoping. Both eager to get the king in their clutches To kill him; to save him—depending on which of the family you ask The war is over. Agamemnon victorious. Troy has been pillaged; looted and sacked. The ships sail for Argos, brimming with plunder Our king has been given a special reward. Her name is Cassandra—princess and priestess— Cursed by Apollo with unlimited sight. Once princess of Troy, now slave here in Argos. Exotic slave-mistress sent home with the clanchief Prophetess, gypsy, seer of futures Now caught in the doom-web as the story unfolds. Poor Agamemnon. He has no idea Just how bad things back here on the homefront have gotten.

Lights shift. 50.

SCENE 3

Lights up on palace exterior: upstage, large doors lead inside; at center, a small reflecting pool; downstage, three urns in a line. CASSANDRA is in the background as AGAMEMNON, a bit drunk, delivers a welcome address.

AGAMEMNON Honor to the gods. They keep their word, and I keep mine.

AGAMEMNON takes out a vessel containing ash from Troy and makes a sort of toast before dumping some into the first urn. Well, Troy, welcome to Argos. You stole from us. Helen may have been a royal slut, but she was ours. And you don’t fuck with the house of Atreus. You took one woman, we burned your whole damned city to the ground. Smell of death’s still on me. (to the gods) And you. You said the winds would blow, and blow they did.

AGAMEMNON pours some ash into the second urn. Nearly broke the ships to pieces. But Aulis to Troy in record time All honor to the gods—of Aulis and Argos

AGAMEMNON pours the remaining ash into the final urn. Mycenae looks different. It’s been a long time. Colder? Drier? Where’s the color? Now for my wife. A moment I’ve dreaded.

AGAMEMNON crosses upstage and uses knocker or doorbell. To CASSANDRA. Last time I saw her, conditions weren’t perfect. I fear a cold welcome. Don’t let her scare you. You’re not going to help things--She’s gets a bit jealous A rocky transition is par for the course

(CONTINUED) 51. CONTINUED:

Palace doors swing open. CLYTEMNESTRA enters, ready for her close-up.

CLYTEMNESTRA Welcome, husband, clanchief, manlord. So good to see you. I’ve been preparing. I’ve pictured this moment. It kept me going. I wept every day for you. Drained all my tears. Sleepless, praying, hoping to hear from you. When I closed my eyes, such violent visions Seeing you strung up, strangled, beheaded Why I hardly recognize you all in one piece I’ve worn paths in the rugs with all of my pacing Checking the mail for a letter each morning Hoping to hear that you’d be returning And now here you are, Agamemnon, home.

AGAMEMNON Where are my children? Why didn’t they greet me?

CLYTEMNESTRA I’ve sent them to oversee homecoming details They’re planning a party to welcome you back.

AGAMEMNON Where are my bodyguards? Those lackeys I left here?

CLYTEMNESTRA I’ve asked them to leave us alone for the evening. My plans for you are a private affair. So this is Cassandra. I heard she was coming. She’s pretty, compared to the other barbarians. I’ll get to you in a minute, girl. Try not to stare.

AGAMEMNON I’m tired. War weary. It’s been a long journey.

AGAMEMNON crosses toward the palace door. I want a drink and a meal and a bed.

CLYTEMNESTRA (Stopping him) You’ve forgotten yourself. This isn’t a war tent. Your wife’s here to coddle you, caress you, attend to you

(CONTINUED) 52. CONTINUED: (2)

CLYTEMNESTRA’s fingers and nails look treacherous as she places them near AGAMEMNON’s neck. She proceeds to strip him of his weapons and clothing.

CLYTEMNESTRA (CONT’D) Take off your jacket. Give me your war toys Your knife, your gun, all devices of war-play You’ll have a massage and a nap before dinner You’ll soon feel the stress flow right out of your body Welcome home. This is peace time, party and feast time None of your fighting tools may cross this threshold Take off your boots, your boot knife and dog tags Expose the flesh that I’ve dreamed of and dreamed of Look at you now. Civilian. Defenseless. Just how I need you to be for this evening.

CLYTEMNESTRA removes a long stretch of fabric from within her robes. I’m going to swathe you in the finest of fibers (Binding him) The latest spa treatment—a wrap to un-wind in. Wove it myself, filling the hours Day after day, weaving and weaving. Come on in—let me lead you, father of my children. Wait ‘til you see what I’ve got for you.

CLYTEMNESTRA leads AGAMEMNON into palace then turns back to CASSANDRA.

CLYTEMNESTRA (CONT’D) Oh, Cassandra. Join us. No need to be frightened. I want you to share in this special homecoming. Cassandra, come in! Hello? I’m speaking!

CASSANDRA Itch ditch bitchins Fiehor mach seetsin

CLYTEMNESTRA Speak English why don’t you? Bird-brain hussy. Cat got your tongue? Gypsy. Slave girl. I don’t have all day. My fate date is waiting!

(CONTINUED) 53. CONTINUED: (3)

CASSANDRA Kalloo frarg kunno--

CLYTEMNESTRA Shut up you slut! (Silence) Speak! Freak.

CASSANDRA Tsits frafark dams.

CLYTEMNESTRA Freaky gypsy… foreigner, spic… chink. You babble like a goddamn baby.

CLYTEMNESTRA exits to palace.

SCENE 4

CASSANDRA, alone on stage. Once she begins speaking, CHORUS slowly approaches.

CASSANDRA What do I taste smell? Darkness Sweet taste in my mouth. Smell of citrus. Fruit for the fruitcake? Fruit of affliction. Afflicted with truth. Take truth for fiction. Sweet talker, telling lies. Rustle of leaves, breeze blows, storm grows. Crows? Crows? Cows? Caws. Crows caw. Cow’s claws. Cause! What’s the cause? What’s the cause? What’s the cause? Tell the truth. Telling truth. Compelled to. Compelled to. Fell to earth, broken, bashed, trashed for telling. Cash for selling lies. Lies for sale! Buy! Lies buy… Lies buy—lies buy time for time to tell. Tell. Tell. Hell red flow red. Bed bad cad Had head red bed bag tag Ag-- bag Beg not to—beg not to—kill Pill. Still. Kill. Still. Still.

CHORUS Ssssh. Sweetness. Calm.

(CONTINUED) 54. CONTINUED:

CASSANDRA Pain. Long it. Stain. Red flow red.

CHORUS Rage forward. Rage upward.

CASSANDRA (Hearing CHORUS) That! What’s that? …Bed bad cad Had head red bed bag tag Ag bag Beg not to—beg not to—kill

CHORUS Rage on. Song, singing, weeping, wailing.

CASSANDRA You there! Can you hear me? You seem to—do you understand me?

CHORUS Ssssh. Yes. We’re here. Hearing you.

CASSANDRA Do you know what they’ve done? It’s burned down. Been trampled. Everything’s gone. Where are our gods? Why didn’t they come? These people, these monsters, this army, these soldiers. House on fire; livestock slaughtered; sisters raped; family… family…. I didn’t hide. I met it head on. They asked me to prophesize. “Sing for the clanchief.” Yeah sure. No problem. Like doing a card trick. You want me to read for you? Want me to sing for you? Want me to translate the star-signs and tea-leaves for you? Want me to channel the words of the gods? Fuck you, king of Argos. You don’t have the ears for it. But now I’m here. On enemy soil. Here’s where it ends. I can smell it and taste it. It’s rancid. Like bile. I choke when I breathe in. We’re worlds from the warfront, but there’s death in the air here. This place will destroy itself and me with it.

(CONTINUED) 55. CONTINUED: (2)

CHORUS Marry ‘em; bury ‘em Cast ‘em in clay…

CASSANDRA …The girls ‘ll run the world that way

CHORUS Marry ‘em bury ‘em Make ‘em pay…

CASSANDRA …we’ll pay a dollar to lead ‘em astray. Call me a gypsy? Call me a chink? Sweet little ditty: Fortune cookie for Argos. As long as I’m going I could sing my swansong. Bear witness, sisters:

CASSANDRA reaches into the first urn, handfuls of white sand slipping through her fingers. Bed sheets flow red. Sin sheets. Human blood over ice. Nice cocktail from grandpa. Sweet lion cub like a house pet. Cute little love-bite. Just a pin-prick of blood. Little baby will lick it. Kiss it all better.

She reaches into the second urn, handfuls of white sand slipping through her fingers. Mamma don’t like it when Daddy’s away. Mamma get lonely, get mad at Daddy.

CASSANDRA moves to the final urn. Momma got baby keep momma comp’ny. Raise baby with claws, help guard the castle. Daddy gets pesky, we’ll tear him apart.

She reaches into the final urn. Daddy all gone now. Momma drink cocktail.

Her hand comes up out of urn holding a bloody mess. Blood make cocktail taste yummy-yum good. Give baby some cocktail, make her grow up like Mamma. Fortune cookie say: Apple don’t fall far from tree.

(CONTINUED) 56. CONTINUED: (3)

CASSANDRA crosses to the pool and washes her hand in the water. That’s what the stars say. That’s what’s in store for you. Not good news but it’s yours; and I hope you choke on it. So much for the swansong. The bird talk is over. This place stinks of blood and I’m tired of smelling it. Time for my dirge-song. I’ll go face the music. My last words on earth—a dead woman’s request: When the bastards get theirs, give them one more for me. I’m not used to an audience—not one that understands me. Thank you for listening. It was nice while it lasted.

CASSANDRA exits to palace upstage. We hear the doors lock shut.

SCENE 5

ELECTRA and CHRYSOTHEMIS enter. CHRYSOTHEMIS notices AGAMEMNON’s belongings near the door.

CHRYSOTHEMIS What’s this pile of clothing and weapons I see here? Left on our doorstep like some soldier’s vanished.

ELECTRA Oh… all day I’ve felt foreboding Now the feeling gets stronger

ELECTRA surveys the belongings. This stuff is familiar…

CHRYSOTHEMIS …you’re scaring me, sister.

ELECTRA These dog tags—they’re Father’s! No way he’d surprise us Not tell us if he knew he was on his way home.

CHRYSOTHEMIS I did overhear—and I’m nervous to tell you— Aegisthus and Mother speaking this morning, talking in tones that I thought sounded ominous.

(CONTINUED) 57. CONTINUED:

ELECTRA You dingbat! You hold-out! Why didn’t you tell me?

CHRYSOTHEMIS You have a habit of over-reacting-- Jumping to action before you think through. It’s better to gather all of the evidence. Weigh all your options. Consider the consequences.

ELECTRA Screw that, Chrysothemis. What haven’t you told me?

CHRYSOTHEMIS That’s all I heard—

ELECTRA --you better not lie! We’ve got to do something—they’re up to no good. Will you stand beside me when the going gets rough?

AGAMEMNON (A muffled cry from within) Aagh!

CHRYSOTHEMIS Wait—what was that?

AGAMEMNON (Loudly, from within) Aagh!

ELECTRA It’s our father—they’ve attacked him!--

ELECTRA tries the door, but it is locked.

CHRYSOTHEMIS --Let’s go call for help

ELECTRA No! Let’s go in —break down the door— Catch them red-handed—reveal who they are!

(CONTINUED) 58. CONTINUED: (2)

CHRYSOTHEMIS But maybe it wasn’t him after all… Let’s get proof—let’s get help—let’s not blunder in blindly. We couldn’t undo what we did if we did that!

Palace doors swing open, revealing CLYTEMNESTRA holding bloody sack with heads.

CLYTEMNESTRA This is the end! Written in blood. I dreamt it, then did it. It’s my retribution. Sometimes the fates need a hand that is human Cry or curse if you want to—this is my glory.

ELECTRA You’ve done it. You’ve killed him. Murdered my father. Come to announce it. Flaunting it. Bragging.

CHRYSOTHEMIS cowers, weeping.

CLYTEMNESTRA My heart didn’t flutter, my hand didn’t shake. I wrapped him in cloth so he couldn’t escape me. He lay there, trapped in the fabric I wove him. Down came the sword. He screamed like a woman.

Puts the bloody sack into the pool. It took some work to take off his head. His carcass was tougher than he ever was.

ELECTRA You’ll pay for this. Your crimes will be punished. Father was loved by the people of Argos. The people won’t stand it. You’ll feel their hatred.

CLYTEMNESTRA This shouldn’t surprise me—self-righteous Electra Now you decide it’s time to point fingers. Now you’re ready for public damnation.

ELECTRA You call me self-righteous?

CLYTEMNESTRA Now it’s time to dole out the justice.

(CONTINUED) 59. CONTINUED: (3)

ELECTRA At least I have honor.

CLYTEMNESTRA Now it’s time to balance the scales Well you missed the first trial, little miss lawyer.

ELECTRA You don’t get to claim that you murdered for justice

CLYTEMNESTRA Have you forgotten the crime that began this? Where was your judgment when he killed you sister? My daughter’s death went entirely unpunished. You call that justice? You call that fair?

CHRYSOTHEMIS Father, papa, are you gone? Oh, dear gods!

ELECTRA (Comforting CHRYSOTHEMIS) Good Agamemnon. Ripped from us all. Caught in a web; Betrayed by your wife

CLYTEMNESTRA Wife? No! He dissolved our marriage when he killed my child. It didn’t have to be like this. He brought it on himself. I prayed to the gods: Don’t make me turn against him! But he chose to kill my girl. And why? What debt did we owe? A girl’s blood was needed to rescue my sister Helen? All the men of Greece couldn’t draw lots to see whose daughter should be killed? He had to volunteer my girl? And if someone was going to volunteer, why not Hermione to save her own mother? Why didn’t Menelaus cut his own daughter’s throat? I was faithful. I wasn’t the one cheating on my husband! But I suffer this loss, while my slut sister gets to come home to a healthy daughter and live happily ever after He did this to himself when he did it to me.

ELECTRA You’re saying you’re guiltless? You’re crazy, you know that? And you’re a liar.

(CONTINUED) 60. CONTINUED: (4)

CHRYSOTHEMIS Electra. Please. Don’t push too hard.

ELECTRA (To CLYTEMNESTRA) You did this for power. Don’t try to defend it. You did this to clear the way for Aegisthus.

CHRYSOTHEMIS I mean it. Slow down. You’re going too far.

ELECTRA (To CLYTEMNESTRA) You’re wrong and you’re stupid. This will change nothing. You have just traded one man for another.

CLYTEMNESTRA When this dust settles, I’ll teach you some respect. You’ll learn your place, and I won’t make it easy.

CHRYSOTHEMIS We need to prepare the body.

ELECTRA It’s been hacked into pieces

CHRYSOTHEMIS We’ll have to arrange things... The mourners. The pyre.

CLYTEMNESTRA No mourning. You hear me? All tears are forbidden. This house shows no sorrow, and pays no respect.

AEGISTHUS enters with a second bloody sack, which he drops into the pool. The pool overflows red. CHRYSOTHEMIS stares at the bloody water on the ground.

AEGISTHUS Happy days are here again! Let’s go shake off the dust of this town with a party!

AEGISTHUS splashes bloody water from pool onto his face, and slicks back his hair.

(CONTINUED) 61. CONTINUED: (5)

CHRYSOTHEMIS I’ll go get some towels. We’ve got to clean up here.

CHRYSOTHEMIS, shaking, turns to go. ELECTRA stops her, and tries to calm her down.

AEGISTHUS Ah, Agamemnon. Who’s laughing now? Which one’s the loser? Who got the girl?

AEGISTHUS hands a pill to CLYTEMNESRA, who swallows it with water from the pool.

AEGISTHUS (CONT’D) Guess your snobby-assed family’s not so superior. Your bloodline is over. So much for legacy. I was too many times passed over for power. But not any more. Now I’m in charge. A man makes his own luck. Creates opportunities. I saw the door. Opened it. I did it. I was the one who took down the king!

ELECTRA Oh really? You did? We’re supposed to believe that? You’re a coward. A woman. Waiting home for the men folk. If you had any balls you’d have gone off to war. Instead you were here, sneaking—

CHRYSOTHEMIS --Electra!

ELECTRA --With the wife of a man who you tip toed around. Easy to be bold when the men are away. You want me to believe you brought down a great soldier?

AEGISTHUS Well aren’t you a big shot? Quick to get mouthy. I like girls with spunk—more fun to tame you. One more wise crack like that, and you’ll live to regret it Daddy’s dead. And I’m king--of this land and this family

ELECTRA You, king? That’s a laugh!

(CONTINUED) 62. CONTINUED: (6)

CHRYSOTHEMIS Don’t do this, Electra.

ELECTRA You needed a woman--

CHRYSOTHEMIS --Electra, Enough!

ELECTRA --to murder a man because you lacked the guts.

AEGISTHUS Big girl like you, not too old for lessons Ripe age for that, and I’m a stern teacher Tough course to take, but I’ll bet you have talent Stay after class—earn extra credit

ELECTRA You couldn’t do it could you? Sword wasn’t up to it?

AEGISTHUS (Advancing) I think that’s the bell. School is in session. Hope you’re ready for lessons from your new daddy.

ELECTRA Sister, come here. Now’s when I need you.

CLYTEMNESTRA (To CHRYSOTHEMIS) Go inside now, like a good girl. We did what we had to. Best not to push it.

Big moment of truth between ELECTRA and CHRYSOTHEMIS.

CLYTEMNESTRA (CONT’D) I said best not to push it.

CLYTEMNESTRA takes a finger-full of white make-up from her face, and applies it like lipstick to CHRYSOTHEMIS’ mouth. Be a good girl. Take advice from your mother.

(CONTINUED) 63. CONTINUED: (7)

CHRYSOTHEMIS turns away, and CLYTEMNESTRA leads her toward the palace.

ELECTRA Chrysothemis, no! I need you! Stand with me!

CHRYSOTHEMIS and CLYTEMNESTRA exit, leaving ELECTRA and AEGISTHUS alone on stage for the first time.

AEGISTHUS Sometimes a student needs special attention. Good teachers find ways to motivate school girls. Isolation. Starvation. Creative positions. My teaching methods don’t even leave bruises Don’t push the big dog. You’ll get yourself hurt.

AEGISTHUS exits, leaving ELECTRA alone on stage. She collapses near the pile of AGAMEMNON’s belonging, and pulls them to her, wrapping herself in his coat. Lights fade.

End of Act II. 64.

ACT III: ELECTRA

SCENE 1

In darkness we hear the sound of ELECTRA grunting. Lights up to reveal the Palace interior. A cage, or fenced-in area has been added. Electra wears AGAMEMNON’s coat. She is crawling around, trying to find a way out. Lights shift to CHORUS.

CHORUS Sometimes a story plays out like the story plays out. You didn’t need my help to follow that plotline. (Gestures to ELECTRA) Now there’s one who could use help. It’s gotten bad. Stripped of her rights, the king’s youngest daughter Now lives like a dog. Prodded and poked at. Her mother is thinking that this is the answer If Electra’s locked up, then she can’t attack her. Wolf mothers breed wolf daughters.

Lights shift to scene.

SCENE 2

Lights shift to scene. ELECTRA is shaking the bars of her cage or the lock on the door. CHRYSOTHEMIS enters.

CHRYSOTHEMIS Stop making a racket. You’ll just wear yourself out. Try to play nice. That’s what I’m doing. You think I like this? I’m being realistic. Choose your fights. Save your strength. I’m sure you’ll need it.

ELECTRA I need it right now. I’ve got to get out. You’ve got to get me the keys to this lock.

(CONTINUED) 65. CONTINUED:

CHRYSOTHEMIS When the tables are turned, when I’ve got the power… That’s when I’ll give them a piece of my mind. But for now I’ve got to just mind my own business. Keep myself healthy, keep my own freedom. Can’t help you without that—It’s the most prudent plan.

ELECTRA You can’t have it both ways—it’s one or the other Stand up against them—or abandon your sister. Are you forgetting our father? Forgetting his murder? I’ve got to get out, to settle the score. You just said if you could, you’d show ‘em you hate ‘em But now when I’m out to do right by our father do you help? No you don’t. You sit there, complicit. Might as well be the one holding the keys.

CHRYSOTHEMIS I’m surviving. I’m alive.

ELECTRA There’s a difference between them

CHRYSOTHEMIS I’m out here. I go out. I see people.

ELECTRA You see nothing.

CHRYSOTHEMIS I see plenty.

ELECTRA You have no idea about the world. And that’s fine. You couldn’t take it anyway. You, Iphigenia—

CHRYSOTHEMIS --Don’t even—

ELECTRA --What? You two always--

CHRYSOTHEMIS starts to walk away.

ELECTRA (CONT’D) --Right. And now you leave. Don’t let me--

(CONTINUED) 66. CONTINUED: (2)

CHRYSOTHEMIS (approaching ELECTRA) --Don’t you even speak her name. (pause) You have no idea what I do. What I know. What I see. Where I go.

ELECTRA You see what you want to. You’re blind to the rest.

CHRYSOTHEMIS Do you hear yourself, Electra? Do you? You stand there—there of all places; catch a whiff of that irony, why don’t you—like you’re standing on Olympus. Spouting the Gods’ own truth. You’ve never seen another point of view. Got no clue but talk like you do. I see you looking at me but you only see you. Me blind? You think if I don’t see what you see there’s a problem with my eyes.

ELECTRA Well check you out. Little flower got thorns. Well I’m glad for that. I’d like to hear you say that to me when I’m not locked in a box.

CHRYSOTHEMIS I’m my parents’ daughter. I can fight when I need to.

ELECTRA You’re sounding like me.

CHRYSOTHEMIS Different people, different eyes. Different eyes, different worlds. I’m in mine, and you’re in yours.

ELECTRA That’s where you’re wrong, sister. We have the same eyes—our father’s.

CHRYSOTHEMIS Now who’s blind? Look in a mirror. You’ve got mother’s eyes.

ELECTRA Look at you. All dressed up. You should be ashamed. Taking their gifts, and keeping your mouth shut. Going to parties, and all the state dinners. (MORE)

(CONTINUED) 67. CONTINUED: (3) ELECTRA (CONT'D) Gorging your face on food spoiled by shame. I’d rather eat nothing than swallow my pride. You so fucking stupid, you don’t even get it. It’s not becoming. You’ve got no self-respect

CHRYSOTHEMIS Would you shut up? Get off your high horse. You think this is bad? It could get worse. If they had their way, you’d never see daylight. Down in some grave—at least you’re alive now!

ELECTRA Yeah, what a life.

CHRYSOTHEMIS Well, it could have been. If you’d bend and not break When you deal with authority.

CHRYSOTHEMIS exits. ELECTRA calls after her.

ELECTRA You do enough bending over for both of us.

Lights fade.

SCENE 3

Lights shift to CHORUS.

CHORUS Electra does not bend. She stands straight and takes it. Clytemnestra, once driven by visions of vengeance Now lives in fear of her daughter’s reprisal. Lives in fear despite her daughter’s confinement. Her fear grows and grows, she starts having nightmares Sees herself fall at the hands of her daughter. She sends Aegisthus to weaken her. Weaken her. Keep beating until she’s no longer a threat. Good man for the job. Very strict regimen. He visits her regularly. Builds quite the rapport.

Lights shift. 68.

SCENE 4

In darkness we hear sound of ELECTRA moaning. Lights up to reveal the Palace interior. Electra lies in the corner, wearing AGAMEMNON’s coat. She is dirty and disheveled. AEGISTHUS enters, crosses to the cage, and rattles the door.

AEGISTHUS Two o’clock, sugar. Time for your medicine.

AEGISTHUS unlocks cage and enters. Gonna take it this time like a good girl?

ELECTRA No more. I’m no danger. Don’t make me take it.

AEGISTHUS Don’t think, girl, just swallow. You don’t have to like it.

AEGISTHUS puts a pill in ELECTRA’s mouth. She spits it at him. AEGISTHUS grabs ELECTRA from behind, forces the pill into her mouth, and rubs her throat.

AEGISTHUS (CONT’D) Without their veggies, girls don’t grow big and strong

Lights down.

SCENE 5

Lights up. CLYTEMNESTRA stands with her back to the cage, smoking a cigarette. ELECTRA lies in the corner, still and silent.

CLYTEMNESTRA I had a dream about you last night. You were a baby. Maybe six months. So small. So soft. (MORE)

(CONTINUED) 69. CONTINUED: CLYTEMNESTRA (CONT'D) I woke up with your sweet smell in my nose. Thought it was real. In the dream, I’m lying on my back. You’re lying on me, chest to chest. The window is open, and a cool breeze blows in. I pull my robe around us both. You start moving there, inside my robe, crawling, tiny hands, kneading my skin. And then licking, biting at my breast, not hard. I reach down, inside my robe, put my hand on your head… And you’re a… puppy? A little wolf cub—licking and nipping. No wonder you’re so wiggly! And I’m not upset that my child is… what it is. You’re mine, and I love you. You grow up part of the family. A place at the table. Giving rides to the other children. Sleeping in your sisters’ bed. Time passes. You grow big and strong. Huge paws. Massive jaw. One day a stranger comes. You don’t recognize the scent. He comes into you sisters’ room… you growl, soft and hoarse, and then pounce. Fire in your eyes. Blood in your mouth. And the sweetest smile on your face. I was so happy, to see your smile. In the dream, I’m lying on my back. You’re lying on me, heavy on my chest. The window is open, and a cool breeze blows in. I pull my robe around us both. You start moving there, inside my robe, huge paws, kneading my skin. And then licking, biting at my breast, not hard. I reach, slowly, into my robe, and put my hand on your head I look down and see you. Eyes glowing yellow in the darkness. And then that growl. That terrifying growl.

Suddenly, ELECTRA reaches through the bars of the cage and grabs CLYTEMNESTRA’s arm.

ELECTRA (Barely able to speak) Wolf mothers breed wolf daughters.

Lights fade. 70.

SCENE 6

Lights up. Silent scene.

AEGISTHUS unlocks the cage, and enters. ELECTRA is lying on the floor. He pulls her to her feet and pushes her against the front of the cage. He holds up a pill in front of her mouth. She takes it and swallows. She turns around, and grabs the wall of the cage with both hands. He approaches her from behind as the lights fade.

SCENE 7

Lights up. CHRYSOTHEMIS enters, carrying keys and a small crate, and quietly unlocks the cage.

CHRYSOTHEMIS Electra, I did something. I took the keys. I did it. I got these, too.

CHRYSOTHEMIS shows ELECTRA several bottles of pills. I took them, but I don’t know which Pills are for which things, or what he’s been giving you.

CHRYSOTHEMIS leads ELECTRA out of the cage.

ELECTRA (Sings) Someday my prince will come…

CHRYSOTHEMIS Wake up, Electra! We need to get help.

ELECTRA What are you doing here?

(CONTINUED) 71. CONTINUED:

CHRYSOTHEMIS They’re tearing down everything father had worked for. The country’s in crisis, and they’re doing nothing.

ELECTRA Electra? I know her. She somebody’s daughter.

CHRYSOTHEMIS Electra, wake up! Snap out of it! Do something.

CHRYSOTHEMIS hands AGAMEMNON’s dog tags to ELECTRA. I found these. Saved them. I’ve kept them in secret. Look! They’re from father. All of his things. Remember? His name—look—Agamemnon.

ELECTRA Agamemnon… (Pause.) Agamemnon

ELECTRA tries to shake her head clear. Agamemnon

She shakes her herself. Agamemnon

CHRYSOTHEMIS places the dog tags around ELECTRA’s neck.

ELECTRA (CONT’D) I’m her, I’m a bad girl. (Becoming more lucid) Agamemnon’s daughter Father kills sister Mother kills father Daughter kills mother Daughter kills mother Killing for father

CHRYSOTHEMIS presents the pill bottles. ELECTRA takes a bottle from her, and swallows a couple pills.

(CONTINUED) 72. CONTINUED: (2)

ELECTRA reaches into an urn, and grabs a handful of ash. She smears her face white with ash.

ELECTRA (CONT’D) Electra no more, but avenger of Atreus Strength of the family urging me onward

ELECTRA reaches into the crate, pulls out AGAMEMNON’s tall glass vase, and sets it on the stage. She reaches back into the crate and pulls out AGAMEMNON’s knife. Blood for blood.

ELECTRA cuts her wrist with the knife, A LOT of blood runs into the vase. It’s action has meaning.

CHRYSOTHEMIS No! Electra! What are you doing?

CHRYSOTHEMIS rushes to ELECTRA, bandaging her bloody wrist with a hair ribbon or other fabric.

CHRYSOTHEMIS (CONT’D) You’ll kill yourself. It won’t achieve anything.

ELECTRA I have to release it. Make room for the others. Wrath of the father, filling my veins.

ELECTRA takes the bottles of pills, and begins pouring the pills into the urns as a sacrifice, invoking the spirits. It courses inside me, compels me to action Blood of my ancestors finally finds me. Is it justice? Vengeance? Hubris? Duty? Whatever the reason, my will doesn’t waiver Do I fly in face of destiny, or fulfill it? Fie, Fates, fie! Buried deep is the heart of Agamemnon’s son Within the breast of Clytemnestra’s daughter! (MORE)

(CONTINUED) 73. CONTINUED: (3) ELECTRA (CONT'D) The lion? The wolf? I feel it coming. Returned to the palace, She paws at the door I’m here now. I’m ready.

ELECTRA sniffs the air, and then grabs AGAMEMNON’s sword from the crate. Where are they, sister?

CHRYSOTHEMIS It’s the middle of the night. They’re… …in bed.

ELECTRA King Apollo, favor us.

ELECTRA crosses to the palace doors and exits. CHRYSOTHEMIS straightens the area, putting various items back in the crate. Several moments pass. Screams are heard offstage. Silence. ELECTRA enters, dragging the bodies of CYLTEMNESTRA and AEGISTHUS, wrapped in their bed sheets. He is still lying on top of her, AGAMEMNON’s sword run through both bodies, and sticking up out of his back through the top sheet. They are not quite dead.

ELECTRA (CONT’D) Here they are, the two tyrants who crushed us. They killed our father and blasted the bloodclan. They’re still in love. Look--clinging so closely. Killed my father together, together they fall.

CHRYSOTHEMIS collapses, and lies shaking in the corner.

(CONTINUED) 74. CONTINUED: (4)

ELECTRA finds AGAMEMNON’s flask or canteen in the crate, dips it into the pool, and begins traveling from urn to urn to urn, removing pills, and swallowing them one at a time at first, and then by the handful, as she continues to speak, gradually working herself into a frenzy.

ELECTRA (CONT’D) I was right to kill Clytemnestra. …Mother? She was poisoned, tainted; the gods were against her. I heard Apollo. His voice in my head. He told me –promised—this act had his blessing! She had it coming! She had it coming. He said “Do what you have to and go away guiltless.” And Aegisthus? Aegisthus?

ELECTRA pushes the sword, making AEGISTHUS cry out, and CLYTEMNESTRA squirm.

ELECTRA (CONT’D) You son of bitch, your murder was pleasure! I’d do it again. Make it a past time. Who’s laughing now? Who’s learning lessons?

ELECTRA forces pills into AEGISTHUS’ mouth. The same damn pills you used to sedate me Are fueling my hatred, my passion, my fury. I’d do it again.

ELECTRA rushes to the crate, grabs AGAMEMNON’s gun, and shoots AEGISTHUS until the gun is empty. Stillness. Silence. Who’s left to kill?

ELECTRA reels back, head spinning, stumbling across the stage. CHRYSOTHEMIS stands, ready to catch her.

(CONTINUED) 75. CONTINUED: (5)

ELECTRA (CONT’D) What am I seeing here? Help me—Apollo! I see them coming. All there together. Iphigenia dead at the alter Then Agamemnon dead on his doorstep Cassandra the prophetess dead along with him Now Clytemnestra dead by my doing Dead with her bed boy bastard Aegisthus.

CHRYSOTHEMIS Electra, stop. Sit down. You’re dreaming

ELECTRA But who is that with them? Surrounding them, watching. Not women really, but more like the gorgons. Twisted. Deformed. Eyes bloodshot and oozing. Don’t look at me! Please! Don’t come any closer! Go away! Sister! Make them stop staring!

CHRYSOTHEMIS No. You’re okay. Nobody’s coming.

ELECTRA Furies! Back off! What I’ve done is justified!

ELECTRA convulses, gasps for air Lifeblood leaving. Now Electra. (Laughs) Now Electra.

ELECTRA stumbles forward, falling face down into the pool. CHRYSOTHEMIS grabs her immediately, pulling her out and falling to the ground with ELECTRA in her lap.

CHRYSOTHEMIS Sister, wake up. We’ll get help. We’ll get through. Wake up, Electra. Electra. Electra. (sings) ) Some day my prince will come… …Some day we'll meet again… And away to his castle we'll go To be happy forever I know

Lights begin to narrow. 76.

SCENE 8

CHORUS walks onto the stage.

CHORUS Nobody’s left. Except Chrysothemis. She’ll make her way, stay out of trouble. She’ll fill her days with lots of cleaning How much will it take to cleanse blood from marble? From hair, from flesh, from carpet, from clothing? Godgrudge; Mangrudge. Sisters; Daughters. Sacrifice; Bloodshed. Justice; Vengeance Wake up, Electra, it’s almost over. A new day will dawn New shafts of sunlight New passions, new pride New struggles for power A new day. A new family A new land. A new country. How much blood has been spilt? Keep cleaning, Chrysothemis. Can you scrub it away? How much water to clean it?

Lights narrow. CHORUS brings pitchers of water from the DJ station near the stage, and adds water to the dark blood in the vase. Add water to blood, it weakens the color.

CHORUS adds more water to the vase. Add some more water, slowly dilute it.

CHORUS continues to add more and more water to the vase. How much water will it take to make blood run clear Can we add enough water, to make blood disappear? A new day. A new family A new land. A new country. (MORE)

(CONTINUED) 77. CONTINUED: CHORUS (CONT'D) Wake up, Electra Wake up. Wake up.

Music plays-- “Someday my prince will come”—as lights fade to black, and curtain falls.