(Untitled)

[jackdriscoll]

The author knows his work completely. There is nothing within it that escapes his reckoning. He leaves the “subtext” to the critics, and if he chastises them for overanalyzing his work-well, that is his prerogative. Jack never discouraged subtext. In fact, he encouraged it and often found that critics had seen something that had escaped his notice

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[song_tra_bong]

Mary Anne is not privy to the inner workings of Jack's mind. Hence her need to follow him out into the lobby.

"Where are you going?"

[jackdriscoll]

He jumps, shoulders rising so high that his coat nearly falls off of them and his arms. He composes himself and turns to face Mary Anne.

"I gotta go. You can come with me if you want but I can't stay here."

[song_tra_bong]

"Fine."

She heads back into the theatre--

and returns a moment later, shrugging on her coat.

"Let's get going, then."

[jackdriscoll]

He nods. His next move is unexpected: he reaches out for her hand, grabs it, and pulls her out of the building, into the cold, populated New York City streets. It's only a few turns to Times Square, bright and busy. Jack deftly weaves himself and Mary Anne through the traffic, narrowly missing pedestrians and cars as he heads in the direction of a large theater with an even larger sign:

KING KONG
THE 8TH WONDER OF THE WORLD
SEE ANN DARROW OFFERED TO 'THE BEAST'

[song_tra_bong]

She follows, keeping pace and not asking questions.

And then she sees the marquee.

Skull Island, a beautiful woman, a giant ape--capture and exploitation--

It might have all come together sooner had Jack remembered to mention the damn thing's name.

She staggers briefly as it all falls into place.

"Oh shit.

[jackdriscoll]

Her expletive goes unheard as he brings them both inside the theater. Oddly enough, there are no ushers in the lobby, and thus Jack's flight through the lobby and up the stairs goes uninterrupted. Behind the doors, loud music can be heard accompanying the narration of Carl Denham:

"And now, ladies and gentlemen, I am going to show to you the greatest thing your eyes have ever beheld. He was a king in the world he knew, but he comes to you now a captive. Ladies and gentlemen, I give you: KONG! THE EIGHTH WONDER OF THE WORLD!"

The appropriate gasps, oohs, ahs and claps are heard.

"Don't be alarmed, it's perfectly safe! These chains are made of chrome steel. Observe, if you will, I am touching the beast. I am actually laying my hand on the 25 foot gorilla!"

It is at this point that Jack and Mary Anne enter the top level of the theater.

On stage is, of course, Kong.

[song_tra_bong]

"Oh my God."

[jackdriscoll]

On stage, Kong's arms are lifted above his head by restraints to either side of him. Jack pulls Mary Anne down closer to the edge of the top level. Just then, Carl announces:

"And now we have in the auditorium tonight a surprise guest. The real-life hero of this story. The man who hunted down the mighty Kong. The man who risked all to win the freedom of a helpless female."

Jack's hand tightens on Mary Anne's. Does Carl know he's here? Is Carl going to invite him to the stage, to stand and smile and accept this mockery of theater? He stops breathing for a moment. He's just that confused.

And then Carl says: "A big hand for Mr. Bruce Baxter!"

And a handsome man in a ridiculous explorer outfit runs out on stage. He looks an awful lot like Hephaestos, if Hepheastos was endued with Narcissus' vanity.

The expressions that wash over Jack's face can be described thusly, and in this order:

"...whut."

and

"Bitch, please."

[song_tra_bong]

Any confusion from Jack is missed due to her need to eyeroll at the words 'helpless female.'

And then there's some guy on stage, very much not named Jack Driscoll, getting a round of applause for rescuing the aforementioned helpless one.

Mary Anne glances to Jack, expression along the lines of "WTF, yo?"

[jackdriscoll]

Jack finally looks at Mary Anne. His expression now reads, "Fuck this shit."

Oh ho, but then it gets better! The orchestra strikes up a tune that may or may not have been lifted from Max Steiner's score from the 1933 original, and a scene of Great Racism that may or may not have been lifted from the 1933 original plays out on the stage: African-American dancers dressed in "native" and furry ape costumes dance around the amused Bruce Baxter, "threatening" him in a way that is entirely harmless. Damn near naked females run up and down the stairs at the foot of Kong's restraints, and Kong himself watches this as if he were watching the ending of Old Yeller.

[song_tra_bong]

Her expression reads, "Yes. Let's."

Until the music makes her look back towards the stage.

It's too ridiculous to laugh at. One look at Kong's face and it's also too sad.

[honest_preston]

Behind them, silently, a tall figure approaches. He pauses just a moment to assess the other, the woman he doesn't recognize, before he takes a step closer.

"He was right."

[jackdriscoll]

Jack looks up, slowly. Just as slowly, he removes Mary Anne's hand.

It's Preston.

[honest_preston]

Preston's eyes have gone from Jack and this stranger (who is not Ann), right to the spectacle on the stage.

"About there still being some mystery left in this world, and we can all have a piece of it," he turns to face Jack, a diagonal scar present on his right cheek, "for the price of an admission ticket."

Right now, he doesn't care who is here with Jack. Just call him pissed at the world at large. Pissed at Carl Denham in particular.

[jackdriscoll]

Jack looks to Preston, then to Mary Anne. "That's the thing you come to learn about Carl Denham," he replies. A beat; he turns towards the stage, sticking his tongue out briefly in a sign of annoyance. "His unfailing ability to destroy the things he loves."

He reaches for Mary Anne's hand again.

[song_tra_bong]

She ducks her head, hiding a grin at Jack's show of maturity.

(Each man kills the thing he loves, but each man does not die.)

Man, yes, and woman too.

She clasps his hand.