2017 C. A. T. Festival Transcript

MUSIC: CAT FESTIVAL THEME PLAYS UNDER.

NARRATOR: Welcome to the Cocotazo Audio Theater Festival.

A cat meows.

NARRATOR: The C.A.T. Festival. It's a short play festival for your ears.

A cat meows.

MUSIC: CAT FESTIVAL THEME ENDS.

A bell.

NARRATOR: Rincón written by Tanya Perez.

A doorbell rings.

PUCHA: Just a minute. Medi, I need you to take off your shoes before you come inside. I just finished the floor.

A doorbell rings.

PUCHA: Okay. Okay. I'm coming. (PUCHA approaches the front door and opens it) Did you bring—

ELIZABETH: Hello. Are you Rosa Elena?

PUCHA: Yes. Can I help you?

ELIZABETH: I am Elizabeth Bouchard. I'm sorry, but my Spanish is very bad. That is about as much as I speak. But I understand it.

PUCHA: Very nice to meet you, Elizabeth Bouchard. But I'm not interested. Thank you. Whatever it is you're selling. I don't need it.

ELIZABETH: I'm not selling anything. I came here on behalf of your mother.

PUCHA: My mother has been dead a year. Are you here for the party?

ELIZABETH: Is there somewhere I can sit?

PUCHA: What are you here for?

ELIZABETH: I'm your sister.

PUCHA: You must be crazy. I have no sister. Is this a joke?

ELIZABETH: Here. I can prove that I'm related to you. (ELIZABETH shows PUCHA a document.) I obtained the birth certificate from the adoption agency.

PUCHA: I have to sit down.

PUCHA closes the door, walks to a chair, and sits.

ELIZABETH: I would've called, but no one had a record of a telephone number or address. I finally just called every city searching for Elena Maria Caro Sanchez de la Vega. It led me here.

PUCHA: You have a funny way of using the telephone.

ELIZABETH: I wanted to see her face-to-face. I knew she had a daughter here and I was afraid that she wouldn't want to see me because of you.

PUCHA: Well, she can't see you. She's dead.

A doorbell rings.

ELIZABETH: But—

PUCHA approaches the front door and opens it.

MEDI: Pucha, hurry! I just pulled this out of the oven and it's hot.

PUCHA: Take off your shoes. I just cleaned the floors.

MEDI removes her shoes and hands PUCHA a food container. PUCHA closes the door.

ELIZABETH: This is a bad time. I shouldn't have come.

PUCHA: No, no. Stay. We are having a party for my mother, like a birthday, but for her death.

PUCHA places down the food on a table. MEDI approaches ELIZABETH.

MEDI: Hello? How are you?

ELIZABETH: Hello. Good. Thank you.

PUCHA: This is my sister. I don't know how, and I don't want to know.

MEDI: Hmm. She's very pale. Looks nothing like you. But then again, look at half my family. Short, fat, tall, skinny, black, white. You name it, we got it.

PUCHA: Where did you come from?

ELIZABETH: I live in New York.

MEDI: And what is it that you do?

ELIZABETH: I work in finance. I'm unmarried. But would love a family, someday.

PUCHA: That is very nice. Do you cook?

ELIZABETH: No, I don't. Haven't the time I work incredibly long hours.

PUCHA: Too bad. I need some help over here.

MEDI: Pucha, I help.

PUCHA picks up plates.

PUCHA: The last time I let you help, you almost set this whole place on fire. Go set out the plates.

MEDI: Ugh. Always pushing me around. (MEDI places plates on the table.) So, Blanquita what is your name?

PUCHA: It's Elizabeth Bouchard and she is my dead mother's love child.

ELIZABETH: I know this is all very shocking to you. And I was hoping to fill in the blanks about my parents, but I've obviously created a situation that is unpleasant and I'm just going to leave.

PUCHA: (laughs) I can't have you do that. You have entered my home, my life, and now you need to fill in the blanks for me.

Doorbell rings. TITA opens the front door.

TITA: Pucha! Why are all these shoes lying on the floor out here? It's bad luck. Leaving them next to the door.

MEDI: Tita. You have to take them off. Like everybody else. These are clean floors, and she doesn't want the farm in her house.

TITA: Are you saying my feet are dirty?

MEDI: Do you want me to take a can of that Lysol and spray it on you?

PUCHA: Tita, take off your shoes and leave them outside.

TITA: But these are my nice shoes I only wear for special occasions. Bah, I don't know about this party.

PUCHA: We made a deal, Tita. You say anything about what I do or how I do it, you have to leave.

TITA: So many rules. Ah, okay. Okay. I will keep my mouth shut tonight. (TITA removes her shoes.) Hello? Who are you?

ELIZABETH: Hello? My name is Elizabeth Bouchard.

MEDI: She's her sister from New York.

TITA: What?

PUCHA: Medi!

MEDI: You were not going to say anything, and I could see this thing taking much longer than it has to. I'm sorry, but the anticipation was killing me.

TITA: But you don't have a sister. Elena was only pregnant with you.

ELIZABETH: My father was a Marine from Brooklyn, and our mother spent some time in the states to have me. That's all I could get from my research.

TITA: Are you writing a book? Research? Gringa are you a scientist and are we your aliens? Family from  distant planet? I don't believe this. Elena never told me.

PUCHA: She didn't tell anyone. My sneaky mother was planning to take this to her grave.

Doorbell rings. HÉCTOR opens the front door.

HÉCTOR: The party can start now!

MEDI: Take off those ugly shoes and leave them by the door.

TITA: Pucha, you should make a sign.

HÉCTOR removes his shoes.

PUCHA: And it will say: Welcome to my hell.

MEDI: That is not a very nice thing to say around your guest.

HÉCTOR: I brought my guitar.

HÉCTOR strums his guitar.

PUCHA: Good. I need something to lift my spirits. (PUCHA removes a clothe covering from a picture.) Look at this picture, Mamá. This is for you.

ELIZABETH: Wow. That's a picture of my mother?

TITA: Yes. She was so beautiful that we had to beat all the dogs off with a stick.

PUCHA: Tita, please!

TITA: So, you come all the way over here to watch this. You should write this down. Ever since the woman you think is your mother died—this one over here, Pucha, has gone crazy. Just like her mother. This whole place is filled with the crazy people. I remember it was so quiet here a long time ago. No one bothered anyone.

A car drives by the house with rock music blaring.

TITA: Now, these people with the speakers on the car, playing crap like this all over town, making everyone excited. I don't like it.

ELIZABETH: What is that? You're eating. It looks good.

TITA: Rabbit. Mm-hmm. It died last night. So, I cooked him up. You want?

ELIZABETH: I just ate on the way here.

TITA: But you must eat nothing. You're too skinny. Like a skeleton.

MEDI: Elizabeth is fine. I heard those girls in New York eat only vegetables.

ELIZABETH: That's not true at all. I can put down a nice sirloin every now and then.

PUCHA: I don't understand what you just said.

ELIZABETH: I eat meat.

HÉCTOR: That's a good woman right there.

ELIZABETH: We didn't meet. My name is Elizabeth.

HÉCTOR: I heard like. Like a queen. Are you a queen?

ELIZABETH: How do you mean?

HÉCTOR: Do people have to treat you like a queen?

ELIZABETH: Oh, no. Only at work.

PUCHA: Don't let him spin you around like that. Héctor always likes to confront people.

HÉCTOR: I'm only trying to get to know our new guest.

Doorbell rings. JORGE opens the front door.

JORGE: I heard there's a party going on. I brought pasteles and something sweet—like my darling, Pucha.

MEDI: Hands off, Jorge.

JORGE: Medi. You should have been a policewoman, not a hair stylist.

MEDI: Give me a kiss. And those pastels.

JORGE: Do I know how to treat the ladies or what? Hey, Hector, my man. You get ugly every day.

HÉCTOR: And you get fatter every time I see you. Lay off the tostones.

PUCHA: It's just more of him to love.

JORGE: Hmm. Who's this?

PUCHA: (whispers) Her name is Elizabeth, and she doesn't speak much Spanish.

JORGE: Howdy, partner. I learned that from John Wayne.

ELIZABTEH: Hello.

JORGE: She is very pretty. Not my type, but very pretty.

MEDI: Settle down your dirty old man.

PUCHA: Elizabeth tells me she is my sister from New York.

JORGE: No. Wait—how is that possible?

TITA: You put the banana in the mango—

PUCHA: Tita, just eat your food. Jorge, shoes off. Elizabeth, help yourself to anything. My house is your house. Mi casa, tu casa.

MEDI: Where are you staying while you're doing your research?

ELIZABETH: I have a room at Villa Cofresí.

JORGE: That is a nice place, right on the ocean.

TITA: Only gringos go there.

JORGE: That's not true. I go there sometimes to just sit and relax. It's not only for gringos.

TITA: I don't know why anyone would waste their money there. Too expensive. And I don't like the beach with all that sand and crazy people.

JORGE: You're the only crazy person I know.

TITA: Ah, watch it.

PUCHA: Where is Luis? Is he not coming?

TITA: I don't know what is wrong with that guy. He says he is tired. Lazy guy.

HÉCTOR: Maybe you work him too hard.

TITA: What do you know about hard work? All you do is sit around and play music. You're lazy too. Medi, why do you like this one? Go get yourself someone with a good job who can afford to buy you a ring,

PUCHA: Eat your bread.

PUCHA shoves bread into TITA’s mouth and she lets out a muffled sound in protest.

MEDI: (laughs) That's what you get for talking too much.

PUCHA: Héctor. Could you play us something? Play something I could dance to. Jorge, dance with me.

HÉCTOR: This is for Elena.

HÉCTOR plays guitar.

JORGE: You're next Elizabeth.

ELIZABETH: I don't dance.

TITA: Nonsense. If you are Elena's daughter, those hips were made for it.

MEDI: Elizabeth, get up and dance for your mother.

JORGE: Ay, Pucha.

TITA: ¡Baila!

JORGE: Ay, you’re like a new woman dancing like that.

TITA: ¡Baila!

JORGE: ¡Baila!

ELIZABETH: I don’t think I can.

HÉCTOR: Oh!

MEDI: ¡Baila!

ELIZABETH: I'm not sure.

JORGE: ¡Baila conmigo, mama!

ELIZABETH: Maybe. 

JORGE: Eh!

PUCHA and ELIZABETH catch their breath.

ELIZABETH: That was fun! 

PUCHA and ELIZABETH laugh. HÉCTOR plays final notes on the guitar. Birds chirp.

A bell.

NARRATOR: Unforeseen Circumstance written by Edward Terhune.

An over-the-door bell rings inside a cafe. LINDA steps inside. ALEX pulls out a chair at a table.

ALEX: Linda! Over here.

LINDA: (approaches ALEX) Hey, Alex. Thanks for meeting me.

ALEX: Of course. I hope you didn't have any trouble finding the place.

LINDA: Nope, I've been here before.

ALEX: Right. Do you wanna sit or—

LINDA: Sure. I'll just get a coffee first.

ALEX: Already got you one.

ALEX places a mug in front of LINDA.

LINDA: Oh, great. Thanks.

LINDA sits in the chair.

ALEX: It's great to see you. Oh, sorry.

LINDA: That's okay.

ALEX: Um, it's hazelnut—the coffee.

LINDA: Perfect. Thanks.

ALEX: Of course.

LINDA: Mm.

ALEX: Well, it really is great to see you.

LINDA: Thanks.

ALEX: So, what's the paperwork you need help with?

LINDA: Oh yes. (LINDA hands ALEX a form.) It's a form. I couldn't find it online for some reason.

ALEX: Ah, yes. What do you have here is a photocopy of a photocopy of a photocopy. There might even be a mimeograph somewhere in its ancestry.

LINDA: No wonder I couldn't find it online.

ALEX: Exactly. It looks pretty straightforward, though. Name, address, blah, blah, blah. I could just fill in most of this.

LINDA: Great.

ALEX: Do you have your insurance stuff on you?

LINDA: Yeah. (LINDA hands ALEX another paper over.) This should be it.

ALEX: Uh, yep. This should be all I need.

LINDA: Thanks again.

SFX: An animal bleat.

LINDA: What was that?

ALEX: What?

LINDA: That noise?

ALEX: Oh, hmm. Looks like an okapi?

LINDA: What?

ALEX: An okapi. It's got like zebra legs and a long brown neck.

LINDA: No, I know what an okapi is. It's in the coffee shop?

ALEX: Well, just outside the window. Over there.

SFX: An animal bleat.

LINDA: Is this a normal thing for you? You don't seem very impressed.

ALEX: I don't think I've seen one before. Not in person.

LINDA: Okay.

SFX: AN ANIMAL BLEAT.

LINDA: What's it doing here?

ALEX: Standing? I don't know. Well, walking, it's walking now.

LINDA: But they're not from here.

ALEX: No?

LINDA: They're African. I think they're only in Africa.

ALEX: Huh?

SFX: AN ANIMAL BLEAT.

ALEX: Well, I don't know what to tell you.

LINDA: That's so weird.

ALEX: Yeah. Right?

LINDA: It's cool, though. Somehow, that was my favorite animal as a child. It had parts of my two previous favorite animals—a zebra and a giraffe.

SFX: AN ANIMAL BLEAT.

LINDA: I had found a picture of one in a National Geographic at the library and had torn it out and put it up in my room. My grandmother was horrified that I had to face public property.

SFX: AN ANIMAL BLEAT.

LINDA: So she had me buy a new copy to give to the library. The librarian didn't seem to care, but my grandmother got me my own subscription after that. To be honest, I didn't know they made a noise.

SFX: AN ANIMAL BLEAT.

LINDA: Maybe it escaped from the zoo.

ALEX: What? Oh, right. Probably. How else would it be here?

SFX: AN ANIMAL BLEAT.

LINDA: Hmm.

ALEX: So. Sorry. Um, what's up with your shirt?

LINDA: Oh, you like it?

ALEX: Sure.

LINDA: My niece, Debbie. You remember Debbie? She got it for me.

ALEX: “Love is blind.” Really?

LINDA: She got it with her own money. She was very proud.

ALEX: It's cute.

LINDA: I know it may not be my style, still.

ALEX: No, it's nice. Hey, do you want me to put you down as doctor? Professor?

LINDA: Miz is fine.

ALEX: If you're nasty.

LINDA: What?

ALEX: Never mind. Janet Jackson reference.

MUSIC: CARNIVAL THEME IN THE DISTANCE.

LINDA: Did I tell you that my first job during school was taking tickets for the merry-go-round?

ALEX: Oh yeah? Maybe.

LINDA: It was so simple, but it felt like such a big responsibility at the time. Like I was, I don't know, in charge of something. Like I had power over something fun. Not that I would've used that power to deny anyone their turn or anything. Not that I could have, but I felt like part of something, you know?

ALEX: I get it.

LINDA: It was just one summer, so long ago. Sadly, that may have been my favorite job. It was all downhill from there.

ALEX: What?

LINDA: Well, not really, but that was actually getting paid to have fun. And I had as little actual responsibility as one can have and still claim to be in charge of something.

ALEX: I'm sure it would've gotten boring eventually.

LINDA: Yeah. I guess it's not a career. Where is that set up, anyway? I am hearing a merry-go-round, right?

ALEX: Yeah. It's in the abandoned lot next door.

LINDA: Really? That's kind of a dismal place for a carnival. Isn't it? With the old tires and the broken glass.

ALEX: Yeah. The rides liven it up a little. Well, a little.

LINDA: I'll have to take your word for it.

ALEX: The kids looked happy about it.

LINDA: Yeah?

ALEX: Yeah. A bunch of happy kids.

LINDA: Hmm. That's good. I guess that's all the counts then. I am definitely pro-happy kids. Not enough of them in the world. I hope somebody cleaned up all that broken glass.

ALEX: Well, let's just assume somebody did.

MUSIC: CARNIVAL THEME CUTS OUT.

ALEX coughs and then flips through papers.

ALEX: Now, uh, did I see a list of your meds?

LINDA: I sure hope so.

ALEX: All right, here it is. Wow.

LINDA: It's a bit long. I know.

ALEX: You’re just bragging now.

LINDA: Hey, it gives me something to do.

ALEX: And now it gives me something to do.

LINDA: Oh, you know, they're tricky at first until you get the levels, right.

SFX: WOODPECKER PECKING AT WOOD.

LINDA: Is that…is that a woodpecker?

SFX: WOODPECKER PECKING AT WOOD.

ALEX: Hm. Oh yeah, there it is kind of up in the rafter thingy there. It's pretty.

SFX: WOODPECKER PECKING AT WOOD.

ALEX: It's got like a red hat and a long whiteish beak.

SFX: WOODPECKER PECKING AT WOOD.

ALEX: But not white, really, almost ivory?

SFX: WOODPECKER PECKING AT WOOD.

LINDA: Get out of here. That sounds like an ivory-billed woodpecker.

ALEX: Could be. I don't know much about them.

SFX: WOODPECKER PECKING AT WOOD.

LINDA: That's incredible.

ALEX: Yeah. I thought you've seen them before something like that.

LINDA: I've always wanted to, of course. But I'm pretty sure they're extinct. Nobody's seen one since the forties.

SFX: WOODPECKER PECKING AT WOOD.

ALEX: Really? (ALEX coughs.) Um, oh, damn, it flew away. Probably it was something else. So, uh, so is this, uh, your doctor's new address on 18th?

LINDA: Yeah. That's the new one.

SFX: BLASTING FIREWORKS.

LINDA: Hey, fireworks.

ALEX: Yeah. What fun.

LINDA: I love fireworks so much.

ALEX: Yeah, me too.

LINDA: They remind me of going to the state fair in the summer with my grandparents and all of my cousins. Sitting out in the big field on a giant patchwork blanket. Eating watermelon and ice cream, playing with sparklers. Being scared, but being all together and happy.

ALEX: Yeah. I remember you saying that. That's great.

LINDA: Is there some holiday that I'm forgetting about?

ALEX: Got me.

LINDA: Wait, it's the middle of the day. Isn't it still light out.

SFX: A CELL PHONE RINGS, CUTTING OFF THE FIREWORKS.

LINDA: What's going on?

ALEX: Damn it. Sorry. (ALEX picks up the phone.) Hello? Hey. Yeah, listen. Sorry. Can I call you back? Cool. Yeah. Yeah. Later on. Okay. Yeah. Bye.

LINDA: Are you playing a recording of fireworks?

ALEX: What?

LINDA: Alex?

ALEX: Yeah. Yes. You got me.

LINDA: I can't believe you. I can't believe you’d do that.

ALEX: Oh, come on.

LINDA: The woodpecker! And the okapi, right? I'm so stupid. I am so stupid.

LINDA stands up, moving the chair back.

ALEX: What are you doing? I'm not done.

LINDA: Yes, you are. I need to leave.

ALEX: What?

LINDA: I can't believe you do that to me. Are you enjoying making fun of me?

ALEX: I'm not making fun of you.

LINDA: Really, Alex.

ALEX: I'm not. I just thought it would be fun.

LINDA: Do I sound like I'm having fun?

ALEX: Well, not now. No. But you were having fun. Weren't you?

LINDA: I am having a really hard time with this, Alex. You know that. It's bad enough losing my sight, but to have you messing around with me like that?

ALEX: Come on. I was not messing with you. Wasn’t it fun to pretend? Wasn't it exciting, just for a minute?

LINDA: I don't have time to pretend. It's hard enough dealing with reality right now. I get my fill of excitement just trying to cross the street.

ALEX: But you looked so happy.

LINDA: I looked happy. How do I look now? Do I look happy?

ALEX: I'm sorry.

LINDA: This is not helpful, Alex. Maybe we can try again some other day. But really—Alex, think first.

LINDA walks away from the table.

ALEX: Linda. Stop.

LINDA: What?

ALEX: That's not the door.

LINDA: Oh.

ALEX: To the left? No, no, your left.

LINDA: (sighs) Thanks.

An over-the-door bell rings inside a cafe. LINDA steps outside and closes the door behind her.

A bell.

NARRATOR: Something Inside That Head of Yours written by Summer Dawn Reyes.

A car drives down a street. A WOMAN walks on a sidewalk.

WOMAN: (narrating) I like to imagine possible perils. Like, maybe the produce guy will toss me in a box of potatoes and kidnap me.

The WOMAN is tossed in a box of potatoes. She screams.

WOMAN: (narrating) Or maybe—

MUSIC: FANTASY ROMANCE INSTURMENTAL.

WOMAN: (narrating) I will get distracted by a man with gorgeous locks blowing in the wind.

SFX: A CAR HORN BEEP INTO SCREECHING OF WHEELS, AN IMPACT, GLASS SHATTERING.

The WOMAN chokes.

WOMAN: (narrating) And my guts will go flying everywhere when a car runs me down while I cross the street. Or maybe I'll get whacked after I accidentally charge airline tickets to a mobster's credit card.

SFX: A GUNSHOT.

WOMAN: (after being shot) Uh. Huh. Uh.

A WOMAN walks up to a bakery storefront.

WOMAN: (narrating) Aha.

An over-the-door bell rings as the WOMAN enters.

WOMAN: (narrating) Here we are. A new bakery. You know what that means. (she sniffs) Apple pie. (she sniffs) Bagels and shmear. (she sniffs)

A knife hits against wood.

WOMAN: (narrating) And serial killers.

MUSIC: HORROR CHORD.

MAN: I'll be with you in one sec, miss. These baguettes. They're two dollars each, lady.

OLDER WOMAN: Thank you. Excuse me, miss. Can you pass me that baguette? I—

The WOMAN opens the bakery door.

WOMAN: (to the OLDER WOMAN) Run like the wind, Nan!

The WOMAN pushed the OLDER WOMAN out the door.

WOMAN: (narrating) Wow. That was close. I'm a hero.

MUSIC: HEROIC THEME.

WOMAN: (narrating) I've got to act fast.

The MAN slices bread.

WOMAN: (narrating) This place is loaded with torture devices—knives, toasters, really hard bread sticks. I think maybe in a preemptive strike, I could grab the nearest baguette and hit him over the head with it.

MAN: Hey, oh, you need help?

MUSIC: FANTASY ROMANCE INSTURMENTAL.

WOMAN: (narrating) He's the love of my life. I just know it. Why didn't I notice how attractive he was before. Oh, right. He was facing the other way. (to the MAN) Can I have a croissant with Nutella?

MAN: No croissants left.

WOMAN: (to the MAN) Uh, okay. Anything else you recommend?

MAN: I really like the croissants.

WOMAN: (to the MAN) But you just said you didn't have any left, so that doesn't really help me. (to herself) Oh, great. My true love is stupid.

MUSIC: TROMBONE SLIDE.

WOMAN: (to the MAN) I'll take the Nutella on a roll.

MAN: Three twenty-five.

SFX: CASH REGISTER GENERATES RECEIPT.

WOMAN: (to the MAN) Thanks.

The WOMAN bites the bread.

WOMAN: Mm. (narrating) As I eat, my belly begins to hurt. (stomach noises) And I know something isn't right. Perhaps he has poisoned me.

MAN: Hahaha!

WOMAN: Or perhaps the poison was intended for him. (stomach noises) Maybe someone else who also loves him poisoned this roll. Maybe she sang her heart out for him in public.

PERSON: (singing badly) You beautiful, dude. You, you always smell like yummy food. Especially bread. You add yeast, to my heart and make it rise. I love your eyes.

MAN: What was that?

PERSON: My soul wrote that.

MAN: Ew.

WOMAN: It was probably really tragic.

The WOMAN passes gas.

MAN: Hey, uh, you okay?

WOMAN: Mm-hmm. (more gas) Probably just upset stomach. Got Pepto?

MAN: I can check.

WOMAN: No! Don't leave!

The MAN leaves to the back of the bakery through a door. The WOMAN passes gas and then falls to her death. The MAN reenters the front of the bakery and calls his BOSS.

MAN: Is it done?

BOSS: Boss, you don't gotta worry about the little rat buying airline tickets with your card. No more.

MUSIC: CAT FESTIVAL THEME PLAYS UNDER.

A cat meows.

NARRATOR: The Cocotazo Audio Theater Festival (cat meow) featured three short standalone audio dramas Rincón was written by Tanya Perez. Unforeseen Circumstance was written by Edward Terhune. Something Inside That Head of Yours was written by Summer Dawn Reyes. Directed by Dania Ramos. The cast included Michael Aquino, Jessica Carmona, Jessica Carmona, Joanne Maurno, Alan Hope Seremonia, Christine Mariani, Alicia Rivas, Bayron Rivas, and Dania Ramos. This episode was recorded in Bloomfield, New Jersey. Michael Aquino was the sound engineer. The theme song and original music were written and perform by Michael Aquino. (cat meow) For complete production credits and for more information about go audio theater, please visit cocotazomedia.com.

That's C-O-C-O-T-A-Z-O Media.com. If you enjoyed this production, please subscribe to the Cocotazo Audio Theater podcast on Apple Podcasts or wherever you listen. Rate and review the show to help us reach a wider audience. Like us on Facebook and follow us on Twitter and Instagram at Cocotazo Media. Thank you for listening to the C.A.T. Festival (cat meow) produced by go Cocotazo Audio Theater. From our minds—

SFX: A KNOCK.

—to your ears.

A cat meows.