Glama, Act I, Scene 3

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A Full Length Musical Comedy by William Armstrong

Scene Three
Anitaís shop, Olvera St., Saturday midday
Scrim rises and lights up revealing the gift shop where Anita Morales works. She hands a package to a customer who exits the shop. Lucia, Anitaís 5-year-old daughter rushes in from the plaza.
LUCIA
Mama, Mama! Jeff is coming. Heís coming through the plaza now with Honda.
ANITA
Thank you, Lucia. I always enjoy seeing Jeff.
Lucia smiles as if happy to be the bearer of good news. Lucia turns back toward the door as Anita checks her face and hair in a small mirror. Anita turns and smiles at Jeff as he enters the shop. He is led by Honda, Anitaís 7-year-old daughter.
HONDA
[to Jeff] ...So we saw dinosaur bones even older than your car. Pick me up by the ears. Please, pick me up by the ears.
JEFF
Okay, but just once.
Jeff picks Honda up "by the ears" and puts her down again. Lucia dances impatiently beside them.
LUCIA
Pick me up, too.
JEFF
All right, but you donít know the secret to being picked up by the ears, so Iíll just do it the regular way.
Jeff lifts Lucia by the waist and turns himself around before putting her back on the ground. Lucia giggles with delight.
HONDA
Lift me like that, too.
JEFF
Thatís enough for now, girls. Go back to Nanna. I want to talk to your mother.
The two girls skip to the door but stop there and turn around to watch Jeff sweep Anita into his arms and kiss her enthusiastically.
HONDA
You call that talking? [giggle]
Jeff stops kissing for a moment and addresses the girls without turning to look at them.
JEFF
Goodbye, girls.
The girls giggle and exit the shop. Jeff and Anita kiss again.
ANITA
Now youíre talking.
They kiss a third time. Carmen, Anitaís 40ish co-worker, enters from the back of the shop.
CARMEN
You two need to get a room. [sarcastically] Oh, I forgot, itís not Tuesday.
JEFF
[to Carmen] Hello, Carmen. [to Anita] Yeah, I canít stay. Iíve got to pick up a couple at the train station.
ANITA
Afraid of flying?
JEFF
No, they just think that train travel is more romantic.
Anita tightens her embrace on Jeff.
ANITA
Is it more romantic?
JEFF
Unless youíre going to Hawaii.
ANITA
I canít think of anything more romantic than that trip we took to Hawaii. Iím glad you talked me into it.
JEFF
I love you.
Jeff kisses Anita again.
CARMEN
I think Iím going to be sick.
Carmen exits the way she came.
JEFF
Well, like I said, I canít stay. I just couldnít wait till Monday.
ANITA
Iím always glad to see you. And I always worry about how you might be satisfying those women customers of yours.
JEFF
Ha, most of them are over 60 years old. But, come to think of it, there are two younger, unattached women on this tour. Iíll let you worry about them until Monday.
ANITA
You promised to be true to me ...for now. So Iíll believe you ...for now. They just better not be beautiful.
JEFF
One of them is gorgeous, but Iím almost old enough to be her father.
ANITA
I know how you like younger women. Me, for example ...and Honda and Lucia.
JEFF
I canít wait for Tuesday. But right now Iíve got to go.
Jeff gives her a quick kiss and trots out the door. Anita steps forward as scrim comes down and lights dim. Anita is left in a spotlight downstage. Music begins for "Please Make My Dreams Come True".
ANITA
When I was just a little girl, I had dreams of 'ever after'.
And as you might expect, that world was awash in joy and laughter.
Those dreams never died. Theyíre still here inside.
So now each and evíry day, I fold my hands and pray:
Please make my dreams come true.

A man to love was nowhere near.
But now it seems he's really here.
He's flesh and blood, not just a dream.
So my dream came true.

I hope and pray that he will stay
Not be the type to go away,
Someone to trust forevermore.
Make my dream be true.

Don't let my heart be broken
By a man who seems to share my dreams of love.
And if our vows are spoken
Make them bulletproof, eternal truth above.

I hope and pray that he will be
My lover for eternity
Someone to trust forevermore.
Make my dream be true
Make my dream be true.
Anita exits as lights fade out.


Continue to Scene Four

Copyright © 2003 William Armstrong



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