Kelo The Great

This reminds me of the show "Who's Line Is It Anyway". When improv ruled the stage. The bell changes the mood,thoughts, and feelings of both characters like a drop of a hat. For example:

Betty: I guess we must be on different schedules.
Bill: Missed connections.
Betty: Yes. Different time zones.
Bill: Amazing how you can live right next door to somebody in this town and never even know it.
Betty: I know.
Bill: City life.
Betty: It's crazy.
Bill: You weren't waiting for somebody when I came in, were you?
Betty: Actually, I was.
Bill: Oh. Boyfriend?
Betty: Sort of.
Bill: What's a sort-of boyfriend?
Betty: My husband.
Bill: Ah-ha. (Bell)

Bill: You weren't waiting for somebody when I came in, were you?
Betty: Actually, I was.
Bill: Oh. Boyfriend?
Betty: Sort of.
Bill: What's a sort-of boyfriend?
Betty: We were meeting here to break up.
Bill: Mm-hm ... (Bell)

Bill: What's a sort-of boyfriend?
Betty: My lover. Here she comes right now! (Bell)

This just shows that the bell...not the characters control the atmosphere of this play. By the end of this play, Bill and Betty have been molded (or if I was Pavlov...trained) to be completely different people. I'm pretty sure you felt the tension when they first met each other. I believe that a playwright can indeed make the character whole being rely on an outside source, something that has nothing to do with the play to make the characters react and act. Or maybe it's just me?