TO EACH HIS OWN

 TFIRST ACT

Scene one

Only Two sets united: Park bench with a trash can (There's amobile phone in 
the trash can) to mark a TV-show's set and a private garage for two-three 
cars (or just a part of it) with wooden crates, gas bottles, bicycles, 
sports equipment, guns on the wall, trash etc. Angrily PATRICK enters 
from the upstairs, takes a violin from a case and plays, badly, 
but furiously. Finally he smashes the instrument against the wall 
(a trick!) and jumps on it until it is smashed to pieces.

PATRICK: (Trying to tie a hanging rope from the ceiling) The fact 
that marketing offers a wide range of possibilities and 
opportunities to reach multiple goals is likely to blur the basic 
ideas of modern marketing... One has to admit that the crisis of 
energy supply coupled to economic instability as well as the 
inadequacy of production volumes has changed the direction of 
development... It has been claimed that there is nothing more 
stable in modern marketing than constant change. (From outside we 
hear PATRICK's wife RITA's voice  when she collects the children. 
PATRICK listens for a moment and picks up the pieces of the 
violin and puts them into a wooden crate (Full of broken 
violins?) He walks about, measures a hose into the gas bottle, 
then goes to the phone and dieals. The phone in the trash can by 
the park bench rings (ie the other part of the unit set) As no 
one is there to answer PATRICK puts the phone down and tries to 
fit the gas hose into a diving mask. He speaks with very careful 
and correct pronunciation) Red grapes are: Gamay, Muscatell, 
Cabernet Sauvignon, Pinot Noir, Grenache, Merlot, Carignan and 
Sangiovese. Syrah is the best red grape in the Rhone district and 
it is used to make dark Hermitage with a strong flavour of 
tannin...

RITA: (Voice over from outside) We're going now! Patrick?!

PATRICK: (Shouts through the window) Bye then... Think about it, 
Rita! Eh? (To himself) Give us one more chance, Rita... Don't 
go..

RITA: (Voice over) Bye then! (Voice of a car pulling away)

PATRICK: (Listens for a moment. The car has gone) Leo's going to call me 
any minute. The Ruskowski-deal means I'll be back in business. 
The Ruskowski-deal will save my ass. If only Leo would... Jesus! 
It's the biggest deal in my life. Leo will only finance the deal 
and I'LL BE IN CHARGE! Beware Russia, here I come... (PATRICK 
dials again, to another place) Kaj Bremer, please... Hi, it's PH. 
Listen, the lawyer from the Italian Imports called, Kurgan 
junior. We discussed the verdict in the comparative advertising 
case, where he claimed Babtissta's shoe polish was whale grease. 
You remember? Call the guy and convince him that we're going to 
report the matter to authorities and that he's going to lose his 
import licence for violating the enviromentally suspicious 
products'-act unless he withdraws his complaint to The National 
Consumer Protection Board about the demoralizing influence of 
sexual persuasion on impulse shopping in our company's 
tele-marketing... Of course we pay in the end, but it'll take 
years and it's going to COST HIM A FORTUNE too. (Puts down the 
phone) God, these lawyers drive me crazy.

(PATRICK throws the gas hose away, walks about and starts 
upstairs when the phone rings. he looks at it, but doesn't 
answer. Exits)



SCENE TWO


Same garage just after PATRICK has gone. FREDDIE and LINDA enter from the 
garden.

FREDDIE: (Eager to impress LINDA) ... Stalin had it figured like this: of 
all the movies produced in the Soviet Union only a few were good. So 
Stalin would himself decide which ones were good, or masterpieces, and 
which ones weren't. he knew who could produce and direct masterpieces. So 
he said: "We don't need bad movies. We don't need good movies. We only 
need masterpieces." What's your name again?

LINDA: You're Freddie hayes, from channel 3. I remember when you had that 
travel program in the eighties. I'd love to get into TV somehow. Could 
you arrange a small part for me in some series, could you?

FREDDIE: Actually I'm a writer and a producer. I'm working on something 
big at the moment: LIVE DEATH! I'm going to show how people die. I'll get 
viewers to send me home videos of the deaths of their loved ones. It's bad!

LINDA: I'm Linda...

FREDDIE: Uh? (Takes the hose off the diving mask)

LINDA: Linda Kramer... Fifth grade..

FREDDIE: Yes... (Tries the mask on.) That's right.

LINDA: (Pause) ... You don't remember?

FREDDIE: That's funny.

LINDA: Honestly, I thought you'd remember.

FREDDIE: (Notices the hanging rope) What's all this?

LINDA: I mean already in The Crown.

FREDDIE: What about The Crown?

LINDA: You really don't remember me?

FREDDIE: Don't what?

LINDA: I was sure you would.

FREDDIE: Would what?

LINDA: How could you then, if you didn't...

FREDDIE: Great pair of legs you had.

LINDA: And that's why you came over? 

FREDDIE: Great ass too. Yes, well (starts to flirt again)... 
Since they could normally produce only a few masterpieces, why 
bother with the rest at all? That's how the Great Teacher 
thought. And this is what he did... The Soviet Union would from 
that moment on only produce masterpieces. So, the biggest film 
studio, Mosfilm, only started three productions that year: 
"Admiral Usakov", "The Composer" about Glinka and "Unforgettable 
Year 1919". The Father and The Great Teacher ordered three 
directors to do the job: Michael Romm, Grigoriev Aleksandrov and 
Michael Jediserovits Tsiaureli.

LINDA: You are a gentleman, Freddie, I mean...

FREDDIE: Absolutely. Are you on the pill?

LINDA: So, why don't you show me around?

FREDDIE: Naturally

LINDA: I mean this isn't your garage.

FREDDIE: No. I mostly sleep at the studio. I've been having domestic 
problems.

LINDA: Your wife doesn't understand you?

FREDDIE: How did you quess?

LINDA: This is Patrick's house. Four bedrooms, four bathrooms, an attic, 
a tower, a huge reception hall and dining hall, library, indoor and 
outdoor swimming pool, a four car garage, three cars actually, mobile 
phones, Internet connections, Paco Rabanne after shave, Kalvin Klein 
under wear, Rolex watches, Ray Ban sun glasses and all major credit cards.

FREDDIE: So, you know my brother.

LINDA: (Points through the window) That's my house across the street.

FREDDIE: Jesus! I grew up in this house. Like Patrick. My father, the 
colonel, built this house in the fifties, with mother's inheritance. When 
the colonel and my mother died, Patrick got the house and I got the villa 
by the sea and some stocks and bonds. I spent my inherintance years ago.

LINDA: I know Patrick from way back.

FREDDIE: "The Mad Italian" built that house, didn't he? The Palace! I 
remember how the colonel opposed it. He tried to stop it. I had to drive 
him to the city planning office and back. I lived eighty miles away, but 
I came when he called. Everytime after the visit, I would give the old 
man some valium and he would fall asleep in the car with a smile on his 
lips. He always made a scene at the office and in the end he saluted the 
red faced officials and shouted: Carry on!... A huge mansion like that 
doesn't fit in here.

LINDA: I loved to listen to him play the violin.

FREDDIE: Why don't I remember you?

LINDA: I just wish he didn't break them all the time.

FREDDIE: Italians are so hot tempered.

LINDA: I mean Patrick.

FREDDIE: My big brother, yes! The second most succesfull marketing man in 
the country.

LINDA: Why does he have to break his violins?

FREDDIE: Well. I'm here to help him over his moods, so to speak. Rita 
called and asked me to come.

LINDA: Oh yes? That's very sweet of you Freddie.

FREDDIE: I've done it a thousand times before. It's not difficult. 
Talented people are like that. They just fall into a certain mood for a 
couple of days. What the hell, he has such an intelligent and creative 
mind. I'm his brother. I want to help him. You know... (looks through the 
window) How come you live....