and cut down on the money allocated to it. That’s all. And that poor apology for a prime minister doesn’t even know how to put two words together. Do you know why I agreed to let him ravish me?
DIRECTOR: I can guess.
WOMAN: No you can’t. First, he wouldn’t be able to.
DIRECTOR: How do you know that?
WOMAN: (pointedly) I know. Second, he’d be fired immediately afterward, and my approval rating, vice versa, would immediately take off. And then… Who knows?..
DIRECTOR: They’d make you prime minister?
WOMAN: Well, maybe not right away… First, deputy prime minister… But that would be a step in the right direction. Well, are we agreed?
DIRECTOR: On what?
WOMAN: That you’ll do my PR for me.
DIRECTOR: We haven’t agreed on anything.
WOMAN: You shouldn’t say no. I realize that there are no free lunches these days. So you help me, and I’ll help you.
DIRECTOR: How can you help me? Now, if you were in charge of Culture, maybe you’d have something for me…
WOMAN: Do you think your stupid shows for big corporations have anything to do with culture?
DIRECTOR: They might and they might not. But what does your almighty Agriculture have that I might want?
WOMAN: And what might Culture have for you? It’s the most poverty-stricken of all the ministries.
DIRECTOR: Well, for example, a theater of some kind.
WOMAN: You’re a director of huge public spectacles. What would you need a theater for? Why don’t I just send you a herd of horses?
DIRECTOR: Where would I put them?
WOMAN: You shouldn’t say no. Good racehorses are a goldmine. But if you don’t want them, I’ll give you a whole village. With all its farm workers thrown in.
DIRECTOR: What would I do with them?
WOMAN: Be their landlord. That’s what clever people do. It’s every bit as good as investing money in industry.
DIRECTOR: Talking with you is vastly expanding my understanding of morality.
WOMAN: If you think that you can get as far as I have in politics while holding on to your moral virginity, you don’t know anything about life. There isn’t such a big difference between being a political mover and shaker and shaking your booty.
DIRECTOR: You’re insulting the booty shakers.
WOMAN: Maybe you think I won’t be able to handle my role tomorrow. (pointedly) So I agree to let you rehearse me privately.
DIRECTOR: We don’t have time for that anymore.
WOMAN: Why not? (up close and personal) We have the whole night ahead of us.
DIRECTOR: You don’t say.
WOMAN: A long, long night. And the village and the horses, that’s something else altogether.
DIRECTOR: Of course, I’d be flattered to do some night work with a future prime minister, but to be honest, I do have qualms about it. That’s a peak I’ve yet to scale. And besides, I have rehearsals for the ceremony on the square all night.
WOMAN: You don’t like me?
DIRECTOR: A man can’t say no when a woman asks a question like that.
WOMAN: Then what’s the matter? I’m your actress, after all.
DIRECTOR: So what?
WOMAN: I’ve heard that directors always sleep with all their actresses.
DIRECTOR: Don’t believe the gossip of jealous women.
WOMAN: But everyone believes that’s how it is.
DIRECTOR: It’s a run-of-the-mill slander against the theater, a low-rent, lowbrow view of the sacred world of art. First, not “always,” and second, not “with all.” In fact, we often sleep not only with actresses, but also with, well, run-of-the-mill women from the audience.
CONSULTANT enters.
WOMAN: (whispers) We’ll come to an agreement later.
CONSULTANT: (to WOMAN) Darling, don’t you want to spend some time in the company of our esteemed prime minister?
WOMAN: (obediently) Of course. (exits)
DIRECTOR: Who said you could interrupt the rehearsal and boss everybody around? If it happens again, I’ll boot you out. Why did you send her away?
CONSULTANT: Don’t be angry. I’m not being bossy at all. I just wanted to be alone with you for a few minutes. I hope you don’t mind?
DIRECTOR: (gives her a look of typical male appraisal) That depends on how you conduct yourself going forward.
CONSULTANT: I’m ready to consider any options.
DIRECTOR: Do you have any specific suggestions?
CONSULTANT: The suggestions should come from the man.
DIRECTOR: Say the day after tomorrow? In the evening?
CONSULTANT: When a woman says she’s ready, that shouldn’t be followed by a lot of foot-dragging. She may change her mind.
DIRECTOR: Then I’ll tell them to take five right now, and we’ll have half an hour.
CONSULTANT: Half an hour isn’t worth it. When it comes to things like this, I don’t like to rush.
DIRECTOR: Oh, all right – an hour. Although, truth be told, the clock’s ticking. The performance’ll be starting before we know it, and I’m up to my neck in things to do. But I can give you an hour.
CONSULTANT: I already said that’s not worth it. Besides, I have changed my mind.
DIRECTOR: (trying to embrace her) Are you kidding me with this?
CONSULTANT: Mind your manners and get your hands off me.
DIRECTOR: But you said you were ready…
CONSULTANT: I was just joking with you. Or, actually, testing you. I wanted to see how easy it would be to distract you from the project – a very important project, too.
DIRECTOR: I don’t appreciate jokes like that.
CONSULTANT: Then let’s talk seriously.
DIRECTOR: I have nothing to talk with you about, and no reason to either. I’m busy. I’m in rehearsal.
CONSULTANT: But you promised to give me an hour.
DIRECTOR: Not for talking.
CONSULTANT: You’re huffing and puffing like a disgruntled
