A Garrison short scene

Peggy liked to read other playwrights for inspiration and sometimes used their styles to express her own voice and topics.

Drumming

(after Mamet)

A. I hated her play.  And they spoke with those affected accents.

B. I sensed you were angry.

A. Bone-tone—that’s what was missing.

B. Bone-tone?

A. Bone-tone.  Like a bongo or a conga.

B. A conga line?

A. In a manner of speaking—tone, line—resonance.  Subway resonance.

B. Like a man on the platform with a big drum and a hat or an open case?

A. No (pause) well yes, a sound that vibrates.  Someone making a sound that vibrates.

B. Oh, (lecherously) a vibrator!

A. Well, yes—you could start there.

B. Because it’s basic?

A. Yes, basic—screechy, in your marrow.

B. And strangely shaped like white yarrow.

A. Yes.  Exactly.

B. So her play needed drumming.  Is that what you’re saying?

A. Yes!  A good drumming!