31 Plays in 31 Days The Complete Set

by Joseph Frost

plays written for The 31 Plays in 31 Days Project

Draft August 2012

Attic Scripts 4550 Normandy Dr Jackson, MS 39206 atticscripts@hotmail.com

PLAY ONE: HOUSE OF CARDS The well-used porch of an old home in a rural town, mid-20th century. BETTE (pronounced bet), mid-40s, wearing a worn sun dress with apron, rocks in a rocking chair, holding a glass of iced tea. A radio plays big band music, slow and lazy (think Pat Suzukis version of How High the Moon). Enter ALFRED, late 40s, in the yard. He wears a dark brown suit and carries a large case. He stops, far away from the porch, sets down the case. He removes his hat. Bette takes one long, deliberate sip of iced tea. Wipes her mouth. She turns off the radio. Bette, Im home. I seen that. Youre glad to see me. ALFRED BETTE ALFRED Bette takes another sip of tea. ALFRED (CONTD) Its been 7 months, Bette. I can count. I did it, Bette. That so. BETTE ALFRED We got the money to keep the place. BETTE

ALFRED It is. Seventeen hundred bucks. Petersons on my way here.

I just dropped it off at

BETTE You just gave Kenny Peterson seventeen hundred dollars. I did. ALFRED

2. BETTE

Whyd you do that?

ALFRED Thats what we needed to keep the place, Bette. remember. Of course. So I paid him. You paid him. Yes. On your way home. Yes, maam, I did. Alfred Blanchard. BETTE ALFRED BETTE ALFRED BETTE ALFRED BETTE

You

ALFRED (bows, gestures with his hat) Yes, maam, at yer service. Bette suddenly throws the glass of iced tea at Alfred. What in the hell... ALFRED (CONTD)

BETTE You been gone fer seven months, and the first place you go is Kenny Petersons. Bette. ALFRED

(beat) I went there to pay off the debt. The debt. Yes. BETTE ALFRED

3. BETTE

To Kenny Peterson.

ALFRED We still owed seventeen hundred for the cost of the repairs and the interest. But its paid off, now. Honey... Alfred steps toward the porch. Bette quickly rises. BETTE Dont you dare come up on this porch, Alfred Blanchard. Alfred halts for a second, but continues to move closer very slowly. Honey... ALFRED Bette holds up a revolver. I mean it, Al. BETTE Alfred stops completely, hands raised. ALFRED Now, hold on there, Bette... BETTE I want you to tell me right now. Bette... Whered you get it! St. Louis. Where. Missouri. ALFRED BETTE ALFRED BETTE ALFRED Whered you get that money.

BETTE I know where St. Louis is. I want to know where in St. Louis you came up with seventeeen hundred dollars. ALFRED You know me, Bette, Im a magic man.

4. BETTE ALFRED (smiles, wiggles his fingers)

A magic man.

You know...

BETTE I do know you. And I want the Gods honest truth from you. I know thats not easy for you to say, Alfred. Thats why I have this... (indicates revolver) To motivate you. ALFRED I cant lie to you, Bette... BETTE You can and you have. Starting with why you owed the biggest, cheatinest, thief in town, seventeen hundred dollars. You wouldnt tell me why, not the truth anyway. But I know now. And I want you to tell me how you got the money that got your sorry backside out of the debt of a cardsharkin gambler like Kenny Peterson. (beat) If you lie, Im gonna shoot you tween the eyes. ALFRED How will you know if Im lyin? If yer lips are moving. BETTE A moment. She cocks the hammer back on the revolver. I worked. At? Sales. ALFRED BETTE ALFRED I sold door to door. BETTE ALFRED

In St. Louis. Yes.

5. BETTE ALFRED

What did you sell? Greeting cards.

BETTE You sold greeting cards. Door to door. Yes. ALFRED

BETTE You got seventeen hundred dollars selling greeting cards, door to door, in St. Louis, Missouri. No. ALFRED

(crosses back to his suitcase) I sold in Mehlville. Affton. Richmond Heights. St. John. Jennings. Even went across the river to Granite City and Caseyville. (opens the suitcase, spills out cards) I walked all over that whole area with a suitcase full of cards talking about birthdays, bar-mitzvahs, anniversaries, Christmas and happy graduation. People didnt want em, but I made em think they wanted em, and I sold em. (beat) And I didnt make seventeen hundred dollars. (reaches into his pocket) I got twenty-three hundred dollars. Alfred tosses a rubber-band bound wad of money onto the porch. Whats that? Six hundred dollars. BETTE ALFRED A moment. Bette lowers the revolver. BETTE (she begins to tear up) Sally Thompson said... she made me think... you werent never coming back to me. Sallys a liar. ALFRED

6. BETTE She told me about Kenny Peterson. ALFRED Peterson gave me a loan. He was the only guy in town with that much cash whod pay it out to a guy with no collateral. You didnt tell me. I didnt. BETTE ALFRED

BETTE You didnt tell me youd be gone seven months. ALFRED Didnt know how long itd take. BETTE You couldve sent me a card. A moment. Can I come home, Bette? No. ALFRED BETTE A man opens the door of the house, buckling his belt. Who is this? ALFRED The man kisses Bette on the cheek. He walks off of the porch, and down past Alfred. BETTE Seven months is a long time, Alfred. Bette. ALFRED

BETTE No way of knowing whatd happened to ya. I was working for you. ALFRED

BETTE I couldnt have known that.

7. ALFRED

What did you do?

BETTE What I thought I had to. How... ALFRED

BETTE Kenny Peterson. (beat) I paid off the seventeen hundred dollars... a while ago. Alfred kneels. Oh, Bette. So, no. ALFRED

BETTE I dont think you can came home, Alfred. Bette goes back inside. Alfred, kneeling by the pile of cards. Lights down.

8.

PLAY TWO: CASSIOPEIAS STORY OF LEO AND GEMINI CASSIOPEIA, a woman, enters. around an empty stage. She looks

At center, she kneels down, facing the audience. And the story goes the story goes once upon a once there was once in a blue one day CASSIOPEIA

LEO, a man enters. He looks around the stage, does not see Cassiopeia. CASSIOPEIA (CONTD) There once was a and he looked and looked it was dark and he looked and then it was light and he looked and it looked like he would never find it or her or it but he looked and he looked Leo stops looking. He falls to his knees next to Cassiopeia. CASSIOPEIA (CONTD) Until he stopped looking and he looked like he had stopped looking but he hadnt dont worry its not that kind of story Leo looks up.

9. CASSIOPEIA (CONTD) He looked up at the sun since it was out at the time and he talked at the sun he yelled at the sun and the told the sun how it should shine all day and all night so he could find instead of just looking The lights dim. CASSIOPEIA (CONTD) But the day was the day and gave way to the night and he thought there was no way to find Leos head drops down. But then the story goes and it goes on CASSIOPEIA (CONTD)

GEMINI, a girl, enters. Yes yes yes but CASSIOPEIA (CONTD) it was a girl it was who he was looking for she was looking for him thats not how this story goes Gemini moves, dances past Cassiopeia and Leo. CASSIOPEIA (CONTD) For he was so distraught he thought he was so distraught that he wouldnt he never he thought he couldnt look for her in the night Leo doesnt move. them. Gemini goes behind

CASSIOPEIA (CONTD) The lights get brighter.

10. CASSIOPEIA (CONTD) By night she was near by day she was not for she was a child of the night she would only be seen out of the sun and it was not the fault of the sun or moon or of her or of him he thought he thought he couldnt see without the light of the sun And she thought she couldnt be in the light of the sun The light is at its brightest. lays down upstage. Gemini

Leo gets up and looks. Everywhere but upstage. He does not find Gemini. He kneels back down in his spot. How foolish of how foolish of how foolish of by the day and CASSIOPEIA (CONTD) him to look only when she wouldnt be seen her to only be seen when he wouldnt look the sun and moon to separate by night Cassiopeia stands. Leo kneels. Gemini lays upstage. Blackout. Exits.

11. PLAY THREE: PYRAMIDS GRANT, a person, enters, wearing a jacket. Grant sits at the front of the stage, back to the audience. MANSION, another person, is building a pyramid out of dominos on a bench. MANSION The wounds The wounds that wont heal if We pick And we pick at them How can they heal How can they I never said I wanted them to So there Grant takes off the jacket. on the floor nearby. Leaves it

Mansion continues to build the pyramid. Grant puts the jacket back on. Enter ORBIT, yet another person, carrying two suitcases. The suitcases appear to be heavy. Orbit moves very slowly, crossing behind Grant as the building continues. ORBIT Ive traveled here today from Cleveland. Not today. Today I have arrived here, where I am now. I left Cleveland before. Before now, I left, but now Im here. Grant takes off the jacket. ORBIT (CONTD) I had a happy childhood. Not today. Today I am here and I am not a child, but before, I was a child, I was happy. Not that Im not happy now. Grant puts the jacket back on. ORBIT (CONTD) I loved one time. More than once. At one time I loved. There was a time that I loved. Not that I dont love now. (MORE)

12. ORBIT (CONTD) Before. I loved some time today, before now, in Cleveland, as a child. Grant begins to take the jacket off and put it immediately back on, growing in speed until it is as fast as it can be performed. ORBIT (CONTD) I saw flowers. And smelled perfumes. And tasted sweet and savory foods. I heard sounds. And I felt. Not today. Not now. Before. In Cleveland. As a child. I loved happy traveling. Flowers. I smelled foods and heard children. Happy perfumes smelled Cleveland. Not today. But before. I heard the perfumes tasting savory love of before flowers I as today not smelled I felt. Not today. Not today. But before. Before today. Grant stops the jacket action. Orbit stops next to the bench on which Mansion builds the pyramid. Grant stands, moves to the other end of the bench from Orbit. As the following speech begins, Orbit and Grant carefully pick up the bench, with the pyramid on top. They carry the pyramid downstage, slowly. **if at any point during the following speech the pyramid breaks apart, Orbit and Grant drop the bench wherever it is, and the speech immediately stops.** MANSION A pyramid (from the Greek: pyramis) is a structure whose shape is roughly that of a pyramid. In the geometric sense. That is, its outer surfaces are triangular and converge to a single point at the top. The base of a pyramid can be trilateral, quadrilateral, or any polygon shape. Meaning that a pyramid has at least three outer triangular surfaces; at least four faces including the base. The square pyramid, with square base and four triangular outer surfaces, is a common version. A pyramid's design, with the majority of the weight closer to the ground, and with the pyramidion on top means that less material higher up on the pyramid will be pushing down from above. This distribution of weight allowed early civilizations to create stable monumental structures. (MORE)

13. MANSION (CONT'D) Pyramids have been built by civilizations in many parts of the world. For thousands of years, the largest structures on Earth were pyramids. First, the Red Pyramid in the Dashur Necropolis and then the Great Pyramid of Khufu, both of Egypt. The latter is the only one of the Seven Wonders of the Ancient World still remaining. Khufu's Pyramid is built entirely of limestone, and is considered an architectural masterpiece. It contains around 1,300,000 blocks ranging in weight from 2.5 tons, or 5,500pounds, to 15 tons, or 33,000 pounds, and is built on a square base with sides measuring about 230meters, or 755feet, covering 13 acres. Its four sides face the four cardinal points precisely and it has an angle of 52 degrees. The original height of the Pyramid was 146.5meters, or 488feet, but today it is only 137meters, or 455feet, high. The 9meters, or 33feet, that is missing is due to the theft of the fine quality limestone covering, or casing stones, to build houses and Mosques in Cairo. It is still the tallest pyramid. The largest pyramid by volume is the Great Pyramid of Cholula, in the Mexican state of Puebla. Orbit and Grant have put down the bench. A moment. Mansion effortlessly knocks down the pyramid. MANSION (CONTD) I never said I wanted them to heal. So there. Orbit brushes all remaining dominos from the bench. Grant sits on the bench. Acts as if the jacket is being put on. Acts as if the jacket is being taken off. ORBIT Before today. I smelled touched tasted heard felt. As a child. Before today. Before I was here. Before I was. The wounds. MANSION Grant stops the motion with arms outstretched.

14. Grant stands. Arms are directly downstage of Orbit and Mansion. It is the beginning of an embrace. Grant steps toward them. toward Grant. They step

Just as they might embrace, Grants arms lower. Grant passes them. Orbit and Mansion sit on the bench. Grant turns back to them. Before today. The wounds. When I was a child. Pyramis. I loved. How can they I traveled Both in Egypt Before today In the Ancient world ORBIT MANSION ORBIT MANSION ORBIT MANSION ORBIT MANSION ORBIT MANSION Grant steps onto the bench between them. Grant places hands on the heads of Orbit and Mansion. A moment. Lights down.

15. PLAY FOUR: DEAD WEDDING HENRY, a man in his mid-50s, dressed in a slightly worn suit. He adjusts uncomfortably. A young woman, LANHA, enters. She is not dressed as well as Henry is trying to be. LANHA You havent changed your mind. Of course not. Good. HENRY LANHA Lanha goes to the window, looks out. HENRY I sent word to Father Michael. LANHA We dont have much time. He was... reluctant. Yes. Hes here. HENRY LANHA (beat) Lanha crosses away. HENRY You remember what to do. What we agreed on. I do. LANHA A short moment. You havent... What. HENRY LANHA

HENRY You never said thank you.

16. LANHA I will thank you when this is over. I suppose thats fair. HENRY A long moment. LANHA Are you sure you dont want... something... in return? Want something? In return. Like what? I... I dont... know. Yes you do. What? You know what you mean. Youre right. I do. HENRY

LANHA For what youre doing. HENRY LANHA HENRY LANHA HENRY LANHA HENRY I want to do this. Henry turns away.

I dont want anything.

She was a good woman. So?

LANHA HENRY

LANHA Im just telling you... about her. HENRY Does that change things? No. I mean... LANHA

17. HENRY It doesnt matter to me. Oh. Lanha. Yes? I would do it anyway. LANHA HENRY LANHA HENRY For you. A knock at the door. HENRY (CONTD) Youll want to let him in. Lanha goes to the door and opens it. There stands FATHER MICHAEL. He carries a Bible of some size. Father Michael? Yes. LANHA

FATHER MICHAEL Im sorry, you caught me off guard.

You are?

LANHA My name is Lanha Rodriguez. Please come in. FATHER MICHAEL I was called to... Im looking for Henry Wilton. (sees Henry) Henry. Bobby. Ah. HENRY Is he...

FATHER MICHAEL Father Michael, please.

HENRY I dont think so, Bobby. A moment. You can come in. HENRY (CONTD) Im not armed.

18. FATHER MICHAEL (nervously laughs, to Lanha) Henry and I go back a ways. Many years back. HENRY Last time I saw him, told him Id put a bullet in him. Right, Bobby? FATHER MICHAEL That was a long time ago, Henry. Stole my horse. Well... HENRY FATHER MICHAEL

HENRY Tough to make a getaway without a horse.

That right, Bobby?

FATHER MICHAEL Water under the bridge by now, Im sure... (aside to Henry) Henry, please, I find that its best if people from the town here dont... um... they dont know about... well, a priest in a town like this has a certain reputation to uphold... Fear not, Bobby. Yes. HENRY Im on my way out of town. FATHER MICHAEL LANHA FATHER MICHAEL HENRY LANHA FATHER MICHAEL HENRY Youre going to do me a favor. FATHER MICHAEL

But young Miss...

Rodriguez. Rodriguez here... Shes leaving, too. What? Oh, I see. No, you dont. I am?

19. HENRY Yes. I need the services of a priest. thing I could find, Bobby.

Youre the closest

FATHER MICHAEL Henry. I really am a priest now. My name is now Father Michael. HENRY I dont give a damn what youre calling yourself now, Bobby. Youre going to do this favor, and then Im going to leave. You dont have to worry about me telling anyone who you really are. Fine. Thatll be fine. FATHER MICHAEL Whats the favor? HENRY FATHER MICHAEL LANHA HENRY Last rites?

A wedding. You two? No. No. Ok.

FATHER MICHAEL Too bad, Henry. Pretty. (beat) All right, Ill bite. Then who? Lanha? HENRY Lanha goes to a case at the side of the room. She takes out an urn. She places the urn on a table near Father Michael. Father Michael looks at it, then to Lanha (who nods), then to Henry. Henry. Yeah. FATHER MICHAEL HENRY

FATHER MICHAEL What did you bring me here for?

20. HENRY

Bobby...

FATHER MICHAEL (points to urn) The hell is this? The bride. The bride? It is. HENRY FATHER MICHAEL Its an urn, Henry. HENRY

LANHA Its the ashes of my mother, Emilia Rodriguez. The ashes... Of my mother. Emilia Rodriguez. Yes. FATHER MICHAEL LANHA FATHER MICHAEL LANHA

FATHER MICHAEL The ashes of your dead mother. Emilia Rodriguez. Yes. LANHA

FATHER MICHAEL (to Henry) Youre not serious. I am. HENRY

FATHER MICHAEL What did you bring me here for, Henry? Bobby... HENRY

FATHER MICHAEL I want you to say it. Out loud. Cause I dont think youve really thought about what youre asking me to do. You need to hear yourself say the words. Out loud.

21. HENRY Youre here to perform a priestly duty. A priestly duty. FATHER MICHAEL

HENRY Priests marry people, dont they? Yes they do. People. FATHER MICHAEL They marry people. (points to urn)

HENRY You arent going to let a little thing like that stop you, now, are you? Henry, I cant do this. I think you can. No, I really cant. FATHER MICHAEL HENRY FATHER MICHAEL

HENRY I dont think youre trying hard enough, Bobby. Henry points to Lanha. Father Michael turns to her, notices that she has pulled a gun on him. HENRY (CONTD) You might want to try harder. I see. FATHER MICHAEL

(to Henry) Not man enough to draw on me yourself? HENRY I dont handle guns anymore, Bob. You know that.

FATHER MICHAEL Its the only reason I came here unarmed. HENRY They let priests carry weapons? FATHER MICHAEL A town like this, who is they?

22. HENRY (points out the window) The church, I suppose. FATHER MICHAEL The church is just a building, Henry. Gods people are his church. Thats you. And her. And me. Not me. HENRY FATHER MICHAEL (chuckles) Incorrigible. HENRY

Henry.

Not exactly. Right. now.

FATHER MICHAEL Gave up carrying guns. Yes. Arent you just holy

HENRY Dont have to wear a collar to be. Yes he can. Well, some men.

A man can change, Bobby.

FATHER MICHAEL HENRY

FATHER MICHAEL (to Lanha) You can put that down. She wont. Whys that? I told her not to. Oh? And whys that? HENRY FATHER MICHAEL HENRY FATHER MICHAEL

HENRY I told her not to until you married me and Emilia. That could be a while. FATHER MICHAEL

23. HENRY We aint got a lot of time. Lanha gets closer to Father Michael with the gun. She cocks the hammer. No. FATHER MICHAEL Of course you dont.

HENRY So, Bobby, if we could get this moving... Father Michael. Huh? FATHER MICHAEL HENRY

FATHER MICHAEL I want you to call me Father Michael. HENRY Now, I know youre a changed man, and all, but surely you remember how it works when an unarmed man has a gun to his head. Especially with an inexperienced trigger man with an itchy finger. Trigger woman, in our case. FATHER MICHAEL You are right. I am an unarmed man. (beat) But I do have the sword of the spirit. Right. Suddenly, Father Michael spins and strikes the gun up in the air with his Bible. He smacks Lanha across the face, knocking her down. He catches the gun, opens it, dumps out the bullets. Father Michael tosses the gun out the window. He offers a hand to Lanha. I apologize, my dear. FATHER MICHAEL (CONTD) You had a gun on me. Lanha takes his hand, rises. FATHER MICHAEL (CONTD) (to Henry) Now talk to me.

24. HENRY I need you to marry me to Emilia. To Emilia. Yeah. Shes dead. FATHER MICHAEL HENRY FATHER MICHAEL

HENRY I was hoping youd overlook that. FATHER MICHAEL I really dont think I will. Look. Bob-HENRY FATHER MICHAEL HENRY

Father Michael. Come on, Bob--

FATHER MICHAEL Father Michael or this whole conversation is over and I walk out that door. Right now. Please. LANHA Moment. HENRY Ill go as far as Michael, since I know thats your middle name, anyway. Fine. FATHER MICHAEL

HENRY Michael, I need you to marry me to Emilia. Why. FATHER MICHAEL

HENRY Thats none of your god-damned business. FATHER MICHAEL It is exactly my god-damned business.

25. HENRY I thought you were a priest now. FATHER MICHAEL Not if you wont call me Father. Youre not my father. HENRY

FATHER MICHAEL Tell me what the hell is going on. HENRY If you wont do it, then fine. Well find someone else.

Henry crosses away. There is no one else. LANHA Henry. You promised.

Henry nods. LANHA (CONTD) (to Father Michael) Henry has agreed to marry my mother, Emilia Rodriguez, as were her dying wishes. Howd she die? What? FATHER MICHAEL LANHA

FATHER MICHAEL He didnt kill her, did he? No. Nothing like that. LANHA

FATHER MICHAEL Then why the hell would he want to marry a dead woman? LANHA So that my brother and I can be legitimate children, and my brother Ernesto can inherit my mothers estate. FATHER MICHAEL And this deadbeat marrying your mothers cremated ashes will do that? HENRY What does it matter to you? If youre not going to do the wedding, then dont waste our time.

26. Father Michael picks up the urn. FATHER MICHAEL Youll answer my questions, thank you. No, please. LANHA I dont have to stay.

FATHER MICHAEL So, you want to marry this? And you need a priest. Yes. He does. LANHA

FATHER MICHAEL You know that it wont be legal, right? Him marrying ashes doesnt make you a legitimate heir to nothing. Youre still a bastard child. Your brother, too. HENRY I really am their father. Both of them. (beat) We were making those runs through the canyon, chasing the trains running through the pass. Musta come through here a dozen times. Sam and Heeke and the fellas. FATHER MICHAEL Heeke got shot right down from the chapel. time I go to market. Shame. Pass by it every

HENRY Well, you remember we used to stop off at the place just up by the river. The guy with the six daughters. FATHER MICHAEL Sounds like a lot of places we stopped, Henry. HENRY Mustve been 20 years ago. (looks to Lanha) Little more. (back to Father Michael) Im just making it right. Were making it right. FATHER MICHAEL Theres not much I can do, Henry. HENRY Pick up that Bible, and say the words and its done. FATHER MICHAEL You have to know that it wont be legally binding. way. (MORE) In any

27. FATHER MICHAEL (CONT'D) (to Lanha) You know that, right? Henry? LANHA

FATHER MICHAEL You havent told her that this would make any difference in the legality of... (beat) Hes lied to you, Miss Rodriguez. Lanha looks at Henry. laugh. (smiles) HENRY Lanha starts to

I told you.

LANHA (laughing) Just like you said. HENRY First thing out of his mouthd be legal this and legal that. Some priest. (beat) I dont give a damn about your opinion of legality. What youre going to do is stand over here, and say the words. I am? Yes. FATHER MICHAEL HENRY

FATHER MICHAEL And why would I do that. Lanha reaches into the case and takes out a rolled up piece of parchment. She unrolls it. It is a wanted poster for armed robber and murderer Robert Ingleston, AKA Father Michael. FATHER MICHAEL (CONTD) You already turned me in? No. HENRY A moment as Father Michael considers.

28. FATHER MICHAEL Lanha grabs the urn and stands next to Henry. Michael takes his position. FATHER MICHAEL (CONTD) In the name of the Father, and of the Son and of the Holy Spirit, the grace of our Lord Jesus Christ and the love of God and the fellowship of the Holy Spirit be with you all. (beat) Say, And also with you. (nothing) Nevermind. Welcome. All of... you. We are gathered here today for one of the happiest occasions in all human life, to celebrate before God the marriage of a man and a woman, a most honorable estate, created and instituted by God, signifying unto us the mystical union, which also exists between Christ and the church, so too may this marriage be adorned by true and abiding love. (beat) Who brings this... woman.. to this man? He points to Lanha. I do. LANHA

All right.

Ill do it.

FATHER MICHAEL Umm... this is where we would have the lighting of the unity candle. The what. HENRY

FATHER MICHAEL The... doesnt matter. Im just going to skip down... reading from Romans... Pslams... do you want to hear a Psalm? I dont... no. HENRY

FATHER MICHAEL Well just do the vows, then. (beat) So repeat after me. I, Henry Wilton. I, Henry Wilton. HENRY

FATHER MICHAEL Take you, Emilia Rodriguez, to be my wife.

29. HENRY Take you, Emilia Rodriguez, to be my wife. FATHER MICHAEL For better or worse, sickness and health, in plenty and want. HENRY For better or worse, sickness and health, in plenty and want. FATHER MICHAEL To stand together in our times of joy and sorrow. HENRY To stand together in our times of joy and sorrow. FATHER MICHAEL Always to be faithful to you. HENRY Always to be faithful to you. Til... FATHER MICHAEL

(breath) Til death do us part. Til death do us part. HENRY A moment. FATHER MICHAEL I dont suppose shell repeat me, so well just assume that shed agree. She does. Yeah. LANHA I know she does. She told me. FATHER MICHAEL

(beat) You dont have any rings or anything... No. Wait. HENRY LANHA Lanha sets down the urn. She pries a ring off of her own finger. Take this. LANHA (CONTD)

30. HENRY LANHA He does. It barely fits over the end of his pinkie finger. First Eucharist? Just the end. FATHER MICHAEL LANHA

It wont fit me. Just take it.

FATHER MICHAEL In so much as the... two of you... have agreed to live together in Matrimony, have promised your love for each other by these vows, the giving of rings and the joining of hands, I now declare you to be husband and wife. You may kiss your... bride. Father Michael closes the Bible. Lanha hands the urn to Henry. kisses him on the cheek. LANHA (to Henry) Papa. HENRY LANHA Lanha exits. FATHER MICHAEL Ill take that poster now, if you dont mind. Yeah. HENRY Henry hands him the poster. rips it up. Michael She

Thank you. Thank you.

Ill go tell Ernesto.

FATHER MICHAEL Itll never hold up in court, you know. Theyll call me to testify, and I wont be able to lie to a judge or a jury. Shes not any more legitimate now than she was ten minutes ago.

31. HENRY And shes not any more my daughter now than shes ever been. You lied to her. Yeah. FATHER MICHAEL HENRY

FATHER MICHAEL You know who the father is? Yeah. Father Michael. HENRY Father Michael turns back to Henry. Henry advances on him. FATHER MICHAEL Now, wait a minute, Henry. Father Michael backs up toward where the bullets are on the floor. He slips and falls to the floor. Henry rushes him and hits him with the urn. He opens the urn and dumps the ashes on him. HENRY I told you what Id do to you next time I saw you. No! FATHER MICHAEL Henry hits him again with the urn, knocking him unconscious. He takes out a knife and cuts Father Michael in the back. He grabs a bullet off of the floor, puts it in Father Michaels back. One way or another. HENRY Henry wipes his bloody hands on Father Michaels body, stands up, backs away. Henry looks at Lanhas ring on his pinkie. He takes it off and drops it on the floor. Henry wipes his mouth, exits. Lights down.

32. PLAY FIVE: SILVERWARE AND THE STRIP CATE, young but mature, sits at a table with a large pile of silverware in front of her. She is sorting and arranging. CATE Fork. Spoon. Knife. (holds up knife to the light, rubs it) Knife is not clean. (beathes on it, wipes) Clean enough. Spoon. Spoon. Cate puts it in the pile, continues sorting. ANDREA enters. Sits. younger and sillier. CATE (CONTD) Im not going out until this is done. I said nothing. I heard you anyway. ANDREA CATE Sorting. Where will we go? Not the strip. ANDREA CATE She acts much

ANDREA We have to go to the strip. CATE We do not HAVE to go to the strip. ANDREA I want to go to the strip. CATE Then why did you ask me about where we would go? ANDREA I wanted you to say we should go to the strip.

33. CATE ANDREA CATE Cate goes back to sorting. Archie might be there. ANDREA

Would I ever say that? No. Then why... I...

CATE Archie might have died in a flaming car crash. Cate. ANDREA

CATE I thought we were playing hypotheticals. He and Helen broke up. And? ANDREA CATE

ANDREA He might be out at the strip.

Right now.

CATE Where he might pick up some other... chick. Right. We? You should be there. moral support. ANDREA So we should be there. CATE ANDREA And you should take me with you.

For

CATE And how would you do that? (looks at silverware) Spoon. Knife. ANDREA You seriously would rather do that than go to the strip and maybe meet up with Archie.

34. CATE This has to get done. That does not. (looks) Fork. A moment. Leave this for later. For later? Yeah. When? I dont know. After. ANDREA CATE ANDREA CATE ANDREA CATE ANDREA

After we get back. Yeah.

CATE Doing it later is why theres so much of it to do now. (looks) Knife. Spoon. A moment. ANDREA Why do we have all of this silverware? To eat food. CATE

ANDREA We dont need this much, do we? We use it all. But we dont need to. Then stop using it. CATE ANDREA CATE

35. ANDREA CATE ANDREA CATE ANDREA

Ok. Ok what? Ive stopped. Just now? Yes.

CATE Youve arbitrarily stopped using all the silverware. now. Yes. ANDREA

Just

CATE What difference does that make? What? Why do I care? ANDREA CATE

ANDREA You should stop doing this and take me to the strip. Seriously, if Archie hooks up with Sharon Decker, you will never forgive yourself. You may not even forgive me. For what? CATE

ANDREA For not getting you out of the house and away from the silverware. Knife, knife. Fork. CATE

ANDREA If mom were here, youd be going out right now. Cate slams her hands down on the table. I didnt mean to... ANDREA (CONTD)

36. Cate sits still for a few moments. Cate? ANDREA (CONTD) Cate picks up her side of the table, dumping the whole pile of silverware onto the floor. Cate holds her hands over her face. Andrea gets up and starts to pick the silverware off of the floor. Andrea. Im... CATE ANDREA Cate gets on the floor and helps pick up. Once all the silverware is back on the table, they sit in their seats. They begin to sort silverware together. CATE Id like to go to the strip. Once this is done. Yeah. Once its done. ANDREA CATE Well go to the strip together. ANDREA CATE They sort silverware. Lights out.

Not more than I am.

Look for Archie? Maybe.

37. PLAY SIX: COMMUNICATION Three office setups are on the floor monitor, keyboard, mouse, telephone. The monitors glow. Enter NAKI, REG, and MALIN. They sit on the floor at the desks - keyboards on lap. They type. The occasional sound of an incoming email or IM. Nakis phone rings. Hello yes it is oh no im sorry yes no no im sorry thats fine thank you for calling NAKI

Naki hangs up. typing.

She goes back to

Regs phone rings. REG Hello it shipped two days ago im looking at my computer right now it shipped two days ago theres nothing I can do about that theres nothing I can do about that no, theres nothing I can do no no, Im sorry thank you for calling Reg hands up. He goes back to typing.

Malins phone rings. Hello i knew you would call i did I am yes of course I am oh yeah? MALIN

(MORE)

38. MALIN (CONT'D) I have a good imagination youre so bad yes you are oh Im the bad one? i suppose youre right will you call me later? will you? i certainly will you bet I will i already am you can think what you want i cant wait either bye bye Malin hangs up the phone. back to typing. She goes

Nakis phone dings with a text message. She takes out her phone and types. Regs phone rings. He picks up.

REG Hello i told you not to call me here no no i told you not to you promised me you said you understood I dont want you to call me here yes I thought I made that clear I thought it was clear do not call me here of course I do but I would like it if you would not call me here I will I will of course I will, arent I always yes yes fine ok I love you too Reg hangs up the phone. typing. Incoming message sounds. Naki and Malins phones both ring. Goes back to

39. MALIN NAKI MALIN

Hello Hello Did you just text me

NAKI I thought you should know I heard that Where Online Isnt it awful What a relief I thought it was awful It was about time So young MALIN NAKI MALIN NAKI MALIN NAKI MALIN NAKI

MALIN Not exactly a spring chicken Tragic NAKI

MALIN Thats not what that means Sad Sure NAKI MALIN

NAKI I may need to go out and get something to drink after work

40. MALIN NAKI MALIN NAKI

I dont want to go Just a few minutes Its in Chicago Downstairs bar

MALIN Im not going to Chicago 5:15 NAKI

MALIN I dont plan that far ahead NAKI If its not you, someone else will meet me there You go if you want MALIN

NAKI I dont know, what do you think I mean Im not stopping you MALIN

NAKI Ok, if you cant make it, thats your thing Fine MALIN

NAKI Ill call you when I get home, I guess Good bye MALIN Malin hangs up. Is that what you want? NAKI Reg takes out his cell. message. Sends a text

41. NAKI (CONTD) Im just remembering how you reacted last time last time really no recollection I doubt that very much Malin receives a text message. looks like it has upset her. She

Reg picks up his phone and dials. NAKI (CONTD) Well just remember that its your problem and not mine Im asking you to come I asked you You said no You did so Im not going to get into revisionist history with you It was two seconds ago Hello It was REG NAKI

REG I told you I wouldnt call you during the day, I know This is ridiculous NAKI

REG I cant wait until later NAKI I cant do this every day REG I just wanted to talk to you Im at work Hear your voice NAKI REG

NAKI It means I cant argue with you on the phone all day Thats all I wanted REG

42. NAKI REG

I have work to do I know

NAKI There are people who work here with me No, I know REG

NAKI If I have to yell at you, theyre going to hear me We agreed, we did REG

NAKI I will talk to you some other time Ok REG

NAKI Either at the bar or later after I get home I will call you REG Nope thats all I wanted Well thats up to you Ok bye NAKI REG

NAKI Im done talking to you now hang up the phone Im hanging up now Naki slams the phone down. to typing. Goes back

Reg just holds the receiver, longingly. Malin finishes typing something, hits send. Naki finishes typing something, hits send. Naki and Malin rise. Exit.

43. Inbox sound. Reg looks at his monitor. Lights down so that Reg is illuminated only by the monitor. Monitor out. PLAY SEVEN: WANNABE FANBOY

Coffee shop table. Two cups of coffee. Two chairs - each holds a human. And there it was. GREG

HOWIE A bale of hay that looked like Aaron Rodgers. GREG Im telling you, those people up there are crazy about the Packers. Greg sips his coffee. HOWIE I wonder if he had one like Brett Favre. GREG You know, I wondered. I even got real close to the Rodgers one to see if, you know, he, like, changed it, or something. HOWIE Way in the back of the barn theres a Bart Starr. GREG That ones probably in Canton. HOWIE With all of the other memorabilia. I see. Well, obviously it should be. (beat) How does one decide to do something like that? Like what? GREG

HOWIE Immortalize a personal hero into... whatever. A pancake. I dont know.

Bale of hay.

44. GREG As if its any weirder than making an oil painting. Isnt it? HOWIE

GREG I dont know. Its the media available to him. He knows hay. Hes got hay. It would actually be weirder for him to go out and learn oil painting. Just for Aaron Rodgers. And Favre and Starr. HOWIE

GREG Right, cant forget about them. A moment. HOWIE Is there anyone. In the world. something like that. Make them out of hay? GREG That you love enough to do

HOWIE Or the medium of your choice. I dont know. GREG

HOWIE You did go out of your way to see the Rodgers hay. GREG I did. But that was only 5 minutes out of my way. Making him out of hay, and storing it. Thats like a lifetime of commitment. So theres no one. HOWIE

GREG No ones springing to mind. HOWIE Cause theres sports people - the Rodgers hay guy, or people who cut their lawn to have a team logo in it. The hedges. GREG

45. HOWIE And theres the Comi-Con crowd. GREG Thats not hay.

Right.

Thats dress up though.

HOWIE Well, A) they take their vacation to do this. Not the Bahamas, not Grand Canyon or New York City. San Diego. dress like a wookie. True. GREG

To

HOWIE And this would include the people who name their kid Han or Tardis or Logan or... Spock. Logan? Wolverines real name. Right. GREG HOWIE

GREG That is a real name, though.

Like Luke or Leia.

HOWIE But to name your son Logan because of Wolverine... Gotcha. GREG

HOWIE Theres a love there. A passion for something. Sure, it seems silly to you and me. But they love it. And the ComiCons dont have a bale of hay, but the house is full of memorabilia. The Elvis crowd. Or Barbie. GREG Or Mickey Mouse.

HOWIE Right. The overwhelming love for something like that. Someone you dont know - a sports hero. Or fictional characters. When did all of this become... so... prevalent? I dont know. GREG It really looked like Aaron

(beat) That hay thing was cool, though. Rodgers.

46. A long moment. Greg sips coffee. Howie just stares off, thinking. HOWIE I dont think I love anything that much. Greg stops. What dya mean? GREG

HOWIE Theres nothing I love that much. I wouldnt collect anything like that. I wouldnt make a hay-portrait. I wouldnt dress up. I wouldnt name my kid after something or go to a convention of anything. I hate crowds. Youre better off. Am I? GREG HOWIE

GREG You arent a slave to your all... consuming love for... whatever. You can do what you want. HOWIE Im not sure I want anything. What? GREG Except...

HOWIE Except that I want to love something like that. You want to. Yes. I do. GREG HOWIE

GREG What do you want to love? I... dont know. Well. HOWIE

GREG You could just pick something.

HOWIE I dont know what to pick.

47. GREG HOWIE

Anything, really. What do you love?

GREG I dont think I have anything like that. (beat) I like to go fishing. Yeah? Is it fun? HOWIE GREG HOWIE

I guess. Do you love it? Umm... yeah.

GREG Yeah, I guess I do.

HOWIE Would you recommend loving it? Sure. Can we go do that? I suppose. GREG HOWIE GREG Howie jumps up from the table. Come on, lets go. Ok. HOWIE GREG Greg slowly gets up and drops cash on the table. Howie bolts for the door. HOWIE Im going to love fishing! GREG (exiting) Did I ever tell you about my tatoo of Magellan? They are gone. Lights out.

48. PLAY EIGHT: QUIXOTE QUIXOTE, an old man in a suit of armor sits on the stage, holds a broken lance. QUIXOTE A man has but one charge: to pursue that which must be pursued. To protect that which must be protected. To opposed that which must be opposed. No one has ever demanded that a man must be successful. He pushes the lance further away. DANIEL, a young man in modern clothes, enters. Don Quixote. Daniel. You broke your lance. Yes. That was the last one. It was. That it was. DANIEL QUIXOTE DANIEL QUIXOTE DANIEL QUIXOTE DANIEL QUIXOTE DANIEL QUIXOTE But you know that I will not stop. DANIEL Daniel picks up the lance pieces. It cannot be mended. QUIXOTE

You didnt defeat him. Certainly not. Its time. I know that. I know.

49. DANIEL Even so, we cant just leave it here. Why not. Quixote. QUIXOTE It is a monument to my failure. DANIEL

QUIXOTE It cannot be mended. I cannot defeat the foe. discontinue the attempt. You can. Which? You can stop. Oh, Daniel... You can. DANIEL QUIXOTE DANIEL Whenever you choose. QUIXOTE

And I cannot

DANIEL I promise you you can.

Ill help.

QUIXOTE If you would help, the foe could be defeated. DANIEL No. We talked about that. Im not doing this. This is your thing. I dont judge you, and I wont make fun of you. But Im not lancing a building to try to slay it. Not happening. Daniel. I dont believe in it. QUIXOTE DANIEL

QUIXOTE It does not need your belief. It needs your action. Im not doing it. DANIEL You cant defeat a foe that doesnt exist. Daniel drops the lance, crosses away. Quixote struggles to rise.

50. QUIXOTE I am sorry you feel that way, Daniel. fought. Not defeated. Fought. Quixote stands. Im not crazy. My boy. DANIEL

The foe must be

QUIXOTE The more is my pity for you. Quixote turns to go, leaves helmet and lance.

Where are you going? I am leaving.

DANIEL QUIXOTE Daniel crosses, picks up helmet.

Wait!

Your helmet.

DANIEL

QUIXOTE If I cannot fight, I have no need of it. And your lance. DANIEL

QUIXOTE The spoils of a spoiled war. Quixote turns again. DANIEL What if the foe were to be defeated? I never found out. QUIXOTE I never found out. Quixote exits. After a moment, Daniel puts on the helmet, picks up the broken lance. DANIEL A man has but one charge. To follow the charge. Lights down.

51. PLAY NINE: JUNE LEAVING MULE PUT GALAXY IN A PRECARIOUS POSITION GALAXY, a girl, is perched in a precarious position - on the edge of something high. Below her is JUNE, a slightly older girl. Downstage, laying on his side is MULE. He maybe writes something we cant see in the dust on the floor. JUNE I want nothing but the best for you. I know you think that. I do. GALAXY

JUNE You cant tell me I dont. GALAXY JUNE GALAXY JUNE I gave you advice. GALAXY JUNE GALAXY JUNE GALAXY After all this time...

I cant? No. Fine. I gave you everything. start. So? I even left for you. For me. Yes. You still believe that? Of course I do.

I got you a

JUNE Thats what happened.

52. GALAXY He cant touch you. JUNE

You can be honest now. It wasnt about him.

GALAXY Thats not how I remember it. MULE (from the ground, not facing them) Its come to this... Just wait. GALAXY

MULE Im stuck here with her, and you just run off and leave. He never said that. Its how I remember it. JUNE GALAXY

JUNE I told him that I loved him. He didnt believe you. Thats a lie. See? What does he know? I think he would know. GALAXY

MULE I dont think you ever loved me. GALAXY JUNE GALAXY Mule starts to rise.

MULE I never felt your love. Sometimes I felt that you tried your godshonest best. But it felt short. JUNE The phrase is fell short.

53. GALAXY Bless him. I

But he said it wrong.

MULE Not like I loved you, anyway. I worked double shifts. gave up holiday trips home so we had enough money. My parents still hate me for giving so much to you. GALAXY You know thats true, right? Yes. So? JUNE GALAXY

JUNE He never said that to me. I was there after. where else to go. You had there. GALAXY I was there for a long time. I had no

JUNE I didnt have there anymore.

MULE Its a different place without you. It smells different. The floor creaks louder when I come home after work. I hear it echo through the apartment, and I remember that youre gone, and I wonder what I could have said. To convince you to stay. June rises. Stop it. JUNE

GALAXY Its the truth, Im telling you. June grabs Mule and turns him. Try it. What? This isnt fair. JUNE MULE GALAXY

54. JUNE (to Mule) Heres your chance. Convince me to stay. No. Really? Yes. GALAXY MULE

JUNE I want you to convince me. June turns her back.

JUNE (CONTD) (to Galaxy) He gets a chance. Not if I dont let him. Are you afraid? No. GALAXY JUNE GALAXY A moment. Mule turns to June. There you are. Yes. MULE JUNE

MULE You bitch. You fucking abandoned me here. With that whore! What the fuck did I do to you? I gave you too much? Put up with your shit? Let you walk all over me and then you walk out the fucking door! (advances on her) I ought to beat the shit out of your fucking mouth! Just as he gets to June, who hasnt moved, he freezes. JUNE (to Galaxy) Got that out of your system? You cant make me believe that of him. Give him his chance. (MORE)

And you know it.

55. Not for me. For him. JUNE (CONT'D)

Galaxy lowers her head. June walks past Mule. June? Yes. Is that you? MULE JUNE

MULE (trying to hold back the joy) Oh. Im... Im glad to see you. What brings you back here? JUNE You always knew Id come back. I hoped. MULE I didnt always know. June approaches him and puts a hand on his cheek. No. You did. JUNE Mule puts his hand on hers. Im glad you did. Oh? Yeah. You know that I-No. I cant stay. Dont say that. MULE JUNE MULE JUNE MULE JUNE MULE

56. JUNE MULE JUNE MULE JUNE A moment. MULE Thats not a reason, June. They drop their hands. away. JUNE You havent changed much around here. No. MULE I never wanted to change it. JUNE MULE June crosses

But I cant. I dont believe that. Its true. Why not? You know why. I cant.

Cant stop change. I can try.

JUNE Leads to disappointment. Sure has. MULE

JUNE A fresh coat of paint would help. Oh yeah? MULE

JUNE Doesnt have to be a new color or anything. color. Just... fresh.

Can be the old

MULE Dont like it. That paint smell. Have to move the furniture around and cover it to not get drips. Get a roller. (MORE)

57. MULE (CONT'D) Leaves all those speckles of paint all over your arm. Shoulder. Your shoe. The floor. Cutting in at the ceiling and around doors. Cleaning all that crap up. Put the furniture back. And all for what? For the same color on your walls. And all over one side of you. JUNE If Id have stayed, would you have put a new coat of paint up? Yes. I know. MULE JUNE

(a long moment) (to Galaxy) You cant even let him try. No. GALAXY Mule sits on the floor. June crosses around him. What did he say? When? That morning. Nothing. Nothing. He didnt notice. Come on. JUNE GALAXY JUNE When he saw I was gone. GALAXY JUNE GALAXY JUNE

GALAXY He didnt. I promise. Seriously, its the truth. He didnt notice until after work. He saw that your shoes were gone from by the door. Mule stares at what would be the door.

58. GALAXY (CONTD) He took off his hat. And stared for a moment. He sat on the floor and just stared. I couldnt look at him, so I dont know how long he was there. You didnt talk to him. JUNE

GALAXY Of course not. Why would I talk to him? God. He was so depressing there. Ugh. I didnt like him when he wasnt a deflated balloon. Now... JUNE Did you just walk around him? Yep. I cant believe you. That. Right there. GALAXY JUNE GALAXY Is what he looked like.

Believe.

That.

June kneels down and looks in his face. JUNE How could you not go to him? GALAXY He looked like a big sack of shit sitting in the middle of the damn hallway. Like a big dog had taken a dump of diarrhea right on the rug. You think Im gonna touch that shit? Hell no. His face. You look at it. JUNE GALAXY I couldnt. Ugh. She reaches toward his face. There it is. I told you. JUNE GALAXY Look at what you did when you left. June stands, looks at Galaxy.

59. JUNE You know I had to leave. So you said. Im not making that up. GALAXY JUNE

GALAXY I know you think you had to. But I think you... Yes? Doesnt matter. are. Im here now. And now youre here. This is also who I am. Ha. It is. JUNE GALAXY You left. You did that. JUNE GALAXY JUNE GALAXY JUNE

Thats who you

GALAXY Tell that to him. Tell it. Tell it to him then. Broken. On the floor. A puddle of poo planted in the hallway of our shitty little apartment. Staring at the floor where your shoes should be. But arent. Then go down the hall to my room. And out on the fire escape, there I am. Im there. JUNE

GALAXY June. You are. But were gone now. Means nothing to us now. Your good intentions, if thats even what they were... They were. Sure. JUNE GALAXY

60. June looks at Mule. JUNE He... He never... hurt me. GALAXY Nope. Not once. That I would have known. Never hurt me either, if that matters. JUNE But I still couldnt trust him. You could. GALAXY You just didnt.

JUNE Can he... can he forgive me? Oh, god, June... Can he? GALAXY JUNE

GALAXY Thats what hes fucking doing. It is? Yeah. I cant see it. JUNE GALAXY JUNE

GALAXY Thats the sick shit of it. Youre fucking stabbing him right now. Right now. And hes on the floor with the knife in his chest, and hes fucking blessing you. Before you can even pull out the knife and let him bleed to death on the floor. And you still. Cant. See it. (beat) Me on the other hand, no forgiveness. Not for you for him for me. Fuck us all. Galaxy stands on the precarious height. JUNE (without turning, emotional)

Dont.

61. GALAXY JUNE GALAXY JUNE GALAXY JUNE GALAXY JUNE GALAXY JUNE GALAXY JUNE

What? Dont. Dont? No. The fuck you care? I care. Really. I do. This how you care? It is. God. Yes.

GALAXY And you dont believe me. JUNE You know... I had... to leave... So did I. GALAXY Galaxy jumps to the floor, lands on her feet with a loud thud. She stands and stares at June for a moment. Without another word, Galaxy exits.

62. JUNE

Im sorry I I had to I never meant I didnt want I had to

June grabs a hold of Mule from behind, burying her face in his back. Mule does not move. MULE It was three hours before I moved. It took that long The energy to stand To take my eyes off of Where you had been I looked for her but she was gone and I grieved for her but there was closure there I knew what had happened what had been done and how to respond the apartment echoed then the floor and walls but I couldnt leave for at least at least I had the echo and the echo was with me and the echo was it was you, to me I know there was more I could have done June moves her hand to his face. Mule sits still. Lights down.

63. PLAY TEN: ONE OF THESE DAYS Three men siting on the same bench, facing three different directions. One of these days... One of em. AL OWEN

AL Ill get out of this town. Hot one. I hate this place. Born and raised. I just want... Airs not movin. WADE AL OWEN AL WADE

OWEN Cant imagine this place any differnt. Not a cloud. WADE

AL Bus should be here any-OWEN Clockwork. Church bell rings at ten past. Every time. set yer watch by it. If ya needed a watch. WADE Its these days. The dog days. sittin. Just pantin. Ill go out west. AL Or north. Can

Sweatin standin still.

Er

Maybe east.

Or west.

OWEN Not much bettern this bench on a nice warm day. Horizons lookin dark. WADE

64. AL One of those places, Ill go. just want to go.

Doesnt matter anymore.

OWEN Mamall be callin soon. Ill go over there for supper. Ill want something light, but shell have beef and potatoes. She dont know no other way. Cant blame her. Need some rain. need. WADE Its been a scorcher. Some rain is what we

AL Saw me a magazine one time that was all same lookin houses on a long street with bright green grass and a new car in each driveway. Knock the pollen down. the sky. WADE Right from the sky. Right down outta

AL Turn the page and them carss drivin down big city roads with a thousand other cars round. Past them tall buildins. Musta been goin a thousand differnt places. Differnt places fer em all. OWEN After supper, just sittin on the front porch. radio. Thats when the cool breeze sets in. WADE Not a stitch of wind all day. OWEN Cool breeze all evenin. Til bedtime. AL Thats the way it is in magazines, though. Everythins all perfect. Probably wont look like that when I get there. WADE Ya can feel the pressure risin. I can feel it in my knee. Ever since high school football, when Stubby Jenkins went fer my knee when Is on the line. I can feel it when the pressures risin. OWEN Ill head home and the cricketsll sing me to sleep. lullabye. Wheres the bus? AL Their Maybe the

65. WADE Pressures up.

Horizons dark.

Time to look out.

OWEN Probably rest easy tonight.

So calm. Wont be able to

AL Maybe well get past the river tonight. sleep on the bus. OWEN Ill keep the window open tonight. Straighten up the yard.

WADE Tie the swing up.

Clear the porch.

AL They wont know Im gone til mornin. Just happy to be here. OWEN

WADE Make it through the night and set it back out in the mornin. OWEN Just to see another sunrise here. Over that horizon.

AL Never have to look at that horizon again. WADE Just keepin an eye out. Feelin the pressure change. The sound of a bus approaching. It stops, opens the door. A long moment. No one moves.

The bus door closes and pulls away. Another long moment. One of these days. AL Lights down.

66. PLAY ELEVEN: GARYS FAMILY PHOTOS A man sits at a small kitchen table that has only one chair. He has an open laptop in front of him. A woman stands upstage of him. A small child sits on the floor. WOMAN I never knew what you thought of me. GARY I always thought well of you. WOMAN But I never knew what you thought. She moves around him. It started... Sure did. It was work. Work? GARY WOMAN GARY WOMAN

GARY I hadnt been there long. And? There was a woman... Alice. Yes. From reception. WOMAN GARY WOMAN

GARY She... she came by my office area... WOMAN

Your cubicle.

GARY Yes. She came by my cubicle. never thought of before.

And she asked me something Id

67. WOMAN Why you didnt have any pictures of your family. GARY Honestly, I never even thought of it. Never even thought. I was at work to work. WOMAN GARY

WOMAN Most people, they have a job, and they think about home. They think about their family. I was at work to work. And. And what? And. Came home. GARY WOMAN GARY WOMAN GARY Got some pictures.

Took them in.

WOMAN Did you show them to Alice? I cant remember. GARY

WOMAN Did you show them to Alice? I really cant. Did you show-Yes. GARY WOMAN

GARY Yes, thats why I took them in. WOMAN GARY

To show to Alice.

What is Alice to you? I dont understand--

68. WOMAN Why do you care what Alice thinks?

What is Alice to you?

GARY I dont care what Alice thinks. WOMAN You thought enough of what Alice thinks to go home and come back with pictures. Of your family. It wasnt about Alice. No? GARY WOMAN

GARY No. Once she pointed out that my cubicle looked so empty... it was the first time Id noticed it. Noticed what. The emptiness. WOMAN GARY

WOMAN So you showed Alice the pictures. GARY I put them in my office-Cubicle. WOMAN

GARY And I showed Alice the pictures. WOMAN You called her and told her to come by your cubicle. GARY The next time she walked by, she noticed them. WOMAN Did you like it when Alice noticed? GARY Umm... I dont know. Havent thought about it. about Alice. It was about the emptiness. Right. WOMAN It wasnt

69. GARY I liked having the pictures near me. I had one in a frame on the shelf, and one near my computer monitor. Just the two? At first. At first. Then... Then. Then I got some more. How many more? Five or six. Five? Six. Or six? WOMAN GARY WOMAN GARY WOMAN GARY WOMAN GARY WOMAN GARY

WOMAN Which ones did you have? Which ones? Which pictures? You already know this. I do. GARY WOMAN GARY

WOMAN I want to see if you know.

GARY They were pictures of us. I know. Which ones. WOMAN

70. GARY The picture of us a prom. Me in a tux, and you in the blue puffy gown. And there was the picture of us on the riverboat during the honeymoon. No wedding picture. No. Not yet. WOMAN

GARY I didnt take that one in until later. WOMAN Six.

I know.

The next five.

GARY Then I had the one of us in Orlando. One of us in front of the Gateway Arch. Riding horses. At a fancy restaurant. The one of us in the old timey clothes, like it was in the old west. That was fun. It was. WOMAN But that was only five. I was

GARY I think the sixth was an older one. High school. sitting in a beanbag chair, you were on my lap. Dont. Sorry. So then what. WOMAN GARY WOMAN

GARY Every couple of days. A new picture. It got harder and harder to come up with them. To find them. To bring them in. It was never a whole week without a new one. It was hard. Yes. Yeah. But I did it. (beat) People liked them. (beat) They liked you. They did. WOMAN GARY

WOMAN

71. GARY WOMAN GARY WOMAN

But after a while... Yes. They asked about... Yes.

GARY Why didnt you come to company events? Why didnt you ever call in? Why hadnt anyone ever met you? Why? WOMAN

GARY I couldnt answer them. I wanted to make up some excuse. Something really good. Like you work long hours at the hospital or something. A hospital? Or something. WOMAN GARY I dont know.

WOMAN You couldnt tell them the truth? A long silence. GARY (to the child) Dont you have someplace to be? WOMAN (to the child) Stay where you are. (to Gary) You dont get out that easy. You call this easy? GARY Silence. What else? WOMAN

72. GARY

Huh?

WOMAN What else were we doing in the other pictures? Mostly vacation stuff. Vacations. Like where. GARY WOMAN

GARY People really liked the ones from when we went to LA. Did they. WOMAN

GARY I always liked the skiing photos. didnt say much about those. All those vacations.

Lots of those.

People

WOMAN How did we ever afford it?

GARY We flew a lot of standby. And I usually knew a cousin that could get us a deal. WOMAN And no one questioned it. Nope. GARY A moment. WOMAN I wish I could have picked some of our vacation spots. Hm? GARY

WOMAN You always got to choose our vacation spots. have chosen some. GARY Where would you have gone? I love the beach. WOMAN

I wish I could

73. GARY WOMAN

You do? Yes.

GARY I... I wouldnt want to take bikini shots of you into work with me. No? You ashamed of me? bikini? Its not that. Then what? You know. I do. WOMAN You think I wouldnt look good in a GARY WOMAN GARY WOMAN She crosses away. GARY I never meant to hurt you. No. You didnt. WOMAN

GARY And it wasnt out of any kind of malice. really wasnt. I know.

Or ill will.

It

WOMAN Hey, it doesnt really matter to me. GARY WOMAN What do I care? GARY

It doesnt. No. Not really.

What do you care?

WOMAN No. Its just... pictures. Right? is it?

It isnt anything else,

74. GARY WOMAN So what do I care? GARY

No. No. Right.

Thought youd care. Not me. Who? Them.

WOMAN Im not the one whod care. GARY

WOMAN You lied to them. GARY WOMAN Woman goes to the table with a box full of photos. She dumps the photos on the table.

I didnt lie. Like hell you didnt.

This.

Is all a lie.

WOMAN (CONTD) GARY

I know it is.

WOMAN And it has nothing to do with me. (beat) You told them lies. I didnt tell them... You did. Yeah. GARY

WOMAN You brought in the pictures. GARY

WOMAN You showed them the pictures. Yeah. GARY

75. WOMAN You let them believe... a lie. But I didnt lie. GARY I never said that... that you...

WOMAN Were your wife? (finds photo) A wedding photo? (another) Honeymoon? (another) L.A. (another) White water rafting. (another) A Christmas card? GARY Its not an actual Christmas card. Its the photo from one. It was for just our family. Thats why I didnt send them to anyone at work. Thats why? I... Youre a liar. Im leaving. WOMAN GARY WOMAN (she backs off) GARY Ill fix this. WOMAN GARY You just cant.

No! No. Wait. You cant go. No? No. You cant.

Wait.

I will.

I promise.

WOMAN Ive had enough of this. GARY You think I havent had enough of this? WOMAN You brought this on yourself.

76. GARY Dont you think I know that?! Theres nothing I can do now. Im stuck with this. Were stuck with it. We are. You cant go. Woman turns to go. GARY (CONTD) Youre not going anywhere. (beat) Cant you see? We have a child. What? Look. We dont have a child. We do. WOMAN GARY WOMAN GARY Gary pulls a picture out of his pocket. He puts it on the table. GARY (CONTD) Now, you can think what you want of me. I know you dont love me. You dont respect me. You blame me for all of this. And that may be true. But Ill tell you something else thats true. You couldnt leave if you absolutely hated me. Because I made you. Youre not going anywhere. I made you with my own two hands. You made me. program. WOMAN With a computer and a photo-manipulation She goes nowhere.

GARY And now, we have a history. And we have a story. And we have a future. Our lives have progressed. Its the next logical step. The child reaches out to Woman. I dont believe you. WOMAN

GARY You can see for yourself. WOMAN So Im supposed to be this for you now?

77. GARY You have somewhere else to go?

Be my guest.

She goes nowhere. She kneels down in front of the child. Where did... WOMAN

GARY Easy. Plenty of photos of kids. And much easier to make them look similar enough that people wont ask too many questions. It actually works better. She reaches out and touches the child. Aw... GARY (CONTD)

(beat) We should take a family picture. She pulls back. So this is it? What? This is it. Well, yeah. WOMAN GARY WOMAN GARY I suppose so.

WOMAN Im a woman cobbled together from other pictures and processed to make me look the same. Youve cycled me through a series of generic memories and made me a history and carved me out a future path and I have... nothing... to say about it. I didnt say that. But its true. No. Its not. that youd... GARY WOMAN GARY What do you... I mean... is there something A long moment.

78. WOMAN This is what you think of me. Woman turns her back to Gary and the child. The child comes up behind Woman and embraces her around the neck. Gary looks at them a moment. clicking away on the laptop. He clicks hard. Lights out. He begins

To save image.

79. PLAY TWELVE: FIND AND REPLACE ED, KHANDI, and PAUL. the stage. They never leave

Ed sits in the only chair. Khandi kneels on the floor, away from him. Paul is upstage. ED Doesnt have to be perfect. But I want it to be. Never mattered before. Now it does. Its all a game. A game. Yes. Then I want to win. Khandi. KHANDI ED KHANDI ED KHANDI ED KHANDI ED

KHANDI Im going to do what I can, at least. Hell never care. You dont know that. He as much as told me. ED KHANDI ED

KHANDI So he didnt actually tell you.

80. ED

Trust me.

KHANDI You know I cant do that. Ed rises. ED Ive already apologized, dear. forever. Ed. I dont regret it. Im not asking you to. Thats a relief. KHANDI ED KHANDI ED Ed crosses away - out of the scene. PAUL I think this shirt makes me look stupid. KHANDI Im not arguing with you. You bought it. We all make mistakes. Christmas. PAUL KHANDI I wont be held over the fire

PAUL Two years ago.

KHANDI I cant be held responsible for a gift I gave you two years ago. Who should be? Paul. Dont. PAUL KHANDI PAUL Its not worth it.

81. KHANDI

Im exhausted.

PAUL Deadline creeping up on you? Something like that. KHANDI

PAUL You should do what I do with deadlines. Miss them? KHANDI

PAUL Exactly. If its a deadline I gave myself, then I grant myself an extension. Im quite reasonable about it. If its from someone else, I tell them, You cant expect me to keep your deadlines. This is ART. KHANDI And then you go out on a pub crawl. I do. PAUL And you know what happens then.

KHANDI You write the outline for a best seller on a cocktail napkin. A cocktail napkin. PAUL

KHANDI It doesnt work that way for the rest of us. to work at it. I work hard, my dear. PAUL That, I do. A short moment. Thursday. Huh? Its Thursday. Oh, yes. Right. KHANDI PAUL KHANDI PAUL I have to meet Ed.

Some of us have

Thank you.

82. KHANDI

No problem.

PAUL Youll be all right, wont you? KHANDI When have I not been all right. Exactly. PAUL Khandi crosses away. Nina and James await. KHANDI

PAUL I thought it was Nina and Jim. It is. KHANDI Hes more formal now. Stricter upbringing.

PAUL Its better for your story, you know. I know. KHANDI Khandi is away. Ed rushes in with two tennis racquets. He sits on the floor and changes his shoes. Late. PAUL

ED You had Khandi to remind you. Shes stuck. PAUL

ED I know. She made Jim into James. difference. It does. PAUL

Like that makes a

ED You and I know that. She changed him, but she doesnt believe it changes him. Come on, you know her.

83. PAUL

I do.

(beat) When did you call her? What? Ed. I didnt. I didnt. ED PAUL ED

PAUL You knew shed changed Jim to James. I saw her. At? ED PAUL

ED At the... the coffee... place. PAUL You said you wouldnt call her. Paul. ED

On Northside.

PAUL If you dont give her room, I swear to god. Come on. ED I didnt call her. PAUL I didnt.

Im telling you.

ED I heard you. Im not doing anything. Im leaving her alone.

I didnt call her.

PAUL You dont go to the coffee shop on Northside. I was there. Oh god. ED I was there already. PAUL With Andrea.

84. ED She didnt say a thing about it. PAUL ED

She was fine. Ed.

I didnt do anything.

PAUL You know shes gonna show up at Northside. ED I dont know that. I cant assume... she doesnt own Northside. She didnt get it in the breakup. Thats stupid. You had to know. (beat) And you went anyway. PAUL

Paul crosses away. Paul! ED Ed stays on the floor. Khandi turns to Paul. Its not a big deal. KHANDI

PAUL A publishing contract is a big deal. deal.

Losing one is a bigger

KHANDI Youve had them and lost them and gotten another one. This is how I know. PAUL

KHANDI Theres nothing I can do, ok? 3 months. Nothing. I changed Jim to James. Find and replace. This is not writing. This is not rewriting. Its a keystroke. A shortcut. But it doesnt change as much as you hope it will. He didnt deserve you. PAUL

85. KHANDI So I tell Hank at Goldman. The truth. And he says he cant keep me on. And I know he cant. Thats the reality. Did you hear me? No. What did you say? PAUL KHANDI

PAUL I said he didnt deserve you. I know that, Paul. KHANDI He didnt deserve himself. Khandi steps from Paul toward Ed. (to Ed) Mind if I join you? Huh? Yeah, sure. KHANDI (CONTD)

ED I mean, no, I dont mind. She sits on the floor. hand. Extends her

Khandi. Ed.

KHANDI With a K-H and an I. ED

With an E-D.

KHANDI Nice to meet you, E-D Ed. (looks out) Nice sunset. Thanks. I mean, yeah. ED

KHANDI I dont normally just waltz up to strangers and sit down on the ground with them. (beat) Its usually in a bar. She looks around. Looking for something? ED

86. KHANDI Ed looks around. Who? Ex-boyfriend. Oh. ED KHANDI ED

Someone.

KHANDI I broke up with him about 3 minutes ago. ED (nervously) KHANDI Just desperate and crying. ED

Oh. Hes harmless. than anything. Ah.

More embarrassing

KHANDI Im going to sit with you for a few minutes. hat. He does. Hiding. ED

Give me your

KHANDI Keeping the sun out of my eyes. Its a sunset. ED Suns too low for the hat to work. Khandi looks right at Ed and smiles. She pulls the brim of the hat down over her face, then leans down on Eds lap. PAUL I never liked the two of you together. We were fun. ED

87. PAUL You were not fun to be around.

You had fun.

ED You cant handle disagreement. PAUL You cant handle disagreement. ED Im mostly right. Why should I tolerate someone being wrong, when I can set them straight. It would be unloving. PAUL I hated watching what it did to her. She was fine. ED Trust me.

PAUL You know she got dropped. Yeah. Shame. ED

PAUL That didnt have to happen. ED No. I bet if she would have written something, they might have kept her. You think? PAUL

ED Thats generally how it works. PAUL What about the other times? The not-generally.

ED It always works that way, Paul. Thats the reality. It certainly is. PAUL ED Ed gets out from underneath Khandi. Certainly is. ED (CONTD)

88. Ed crosses away. Paul comes in to Khandi. Oh god.... (groggy) PAUL KHANDI

Hrm?

Whah...

Khandi.

Wake up.

PAUL Youre on the street.

KHANDI That would explain the car horns. PAUL No, youre on the sidewalk. Oh, yeah? Hm. You feel asleep out here.

KHANDI I couldnt sleep. Paul starts to help her up.

PAUL Well, I have to disagree with you, there. No. Up there. fine. I noticed. KHANDI I couldnt sleep up there. Down here is

Come on.

PAUL Lets get you upstairs. KHANDI PAUL

Hes such a.... Who? Dammit.

KHANDI I just cant... She buries her face in her hands, begins to cry.

PAUL Oh, Khandi. Lets not do this here, ok? Lets go upstairs. I really dont want to be on the street with a weeping woman. He left, Paul. KHANDI

89. PAUL KHANDI I did. I finally got up the... and he...

He... Ed? I talked to him. he... he left.

PAUL You talked to him about-Mmm hmmm. And he left. KHANDI She starts to weep. Paul looks about, kind of embarrassed. PAUL Youre going to make me sit on the sidewalk in my new pants, arent you? No. No no no no. covered. KHANDI Just stand there. I got down here

PAUL I cant just stand here, Khandi. Theyre looking at me.

People are looking at me.

KHANDI Look at em looking at me...

PAUL No, theyre looking at me. They think Im the reason youre crying. Theyre calling the cops. KHANDI Theyre not calling the--- let em. (shouts) Go ahead call em! What? PAUL Let em call the cops.

KHANDI Call the cops on that running-out coward! coward. I know, Khandi. PAUL

Hes such a

KHANDI Whys he such a coward, Paul? I dont know. PAUL

90. KHANDI He... he... he left. He just left. stuff. He just left.

Didnt even take his

PAUL He didnt have any stuff. Its all your stuff. KHANDI It is. It is my stuff. Well, thats good. for new stuff after breakups. That is the worst. PAUL I hate shopping

KHANDI The worst is forwarding the mail. PAUL You actually forward the mail? All too often. KHANDI Khandi pulls it together. Paul offers her a hand, and she takes it. He helps her up. PAUL I would have taken you shopping. I appreciate that. You need a drink. At least. KHANDI PAUL KHANDI

PAUL You... you want to get cleaned up first. I do. KHANDI Khandi kisses him on the cheek. She wipes lipstick off of his cheek. She crosses past him. You never loved me. ED

91. KHANDI I said it all the time. (a long moment) I wrote the story of Nina and Jim about us. And? That is my love. ED KHANDI Khandi keeps walking. PAUL I dont think you understand. Not once. Your own fault. Not likely. You never read it. It. You never read it. She wouldnt let me. What did she say? ED PAUL ED PAUL ED PAUL ED PAUL

ED She said dont read it. Shed get upset if she thought Id snuck in and read it. She actually burned pages she thought Id read. Burned them. One time. And I hadnt. No? PAUL ED PAUL

92. ED I had like two seconds to read it. PAUL You didnt read any of it. ED I saw that one of the characters was named Jim. He was running past a garden of some kind. Coming around a corner or something. You read it. She burned the page. PAUL ED What was I supposed to think?

PAUL She changed Jim to James. ED Right. So anything I read Im sure is long gone. burned down the garden. (beat) We going to play or not? Ed tosses Paul a racquet. Sure. Ill play. PAUL Paul and Ed square off. Khandi steps between them, holding a manuscript. I finished it. KHANDI Probably

(beat) I changed James... to Trent. (beat) Nina kills him with a garden trowel. (beat) Anyone wants to read it... Khandi drops the manuscript between them. She crosses to a down corner and sits. Paul and Ed are still squared off. Lights down.

93. PLAY THIRTEEN: COMMECIAL BREAK Two arm chairs facing each other. Small coffee table in between, with two cups. MR. TINSLE sits on the left, with a set of blue note cards in his hand. LANG sits on the right, nervously. Lang. Smile. MR. TINSLE

(beat) Youre going to be fine. I dont like this. LANG

MR. TINSLE No one does. Its the reality of the marketplace. to do this kind of thing to draw an audience. LANG I dont even know what I just said.

You have

MR. TINSLE Well, I wouldnt have said that thing about your co-stars. Hard to back track on that kind of thing. LANG Im just telling the truth. MR. TINSLE Thats not something thats necessary here. Telling the truth. No. LANG

MR. TINSLE Were here to tell a version of the truth. LANG

You mean lie.

MR. TINSLE I dont only mean lie. I mean, tell the truth that helps, and what doesnt, keep mum. Thats your advice? LANG

94. MR. TINSLE You dont like doing this. But its my job. Im here every night. You dont think I know how this works. I know you do. LANG

(beat) When are we back. MR. TINSLE You see that guy in the headset? All four of them. The one with the tie. Yeah. LANG MR. TINSLE LANG

MR. TINSLE Hell point at me when theres a couple seconds left. No band playing us in? Pre-recorded. LANG

MR. TINSLE They can be quite loud.

LANG Thought that was the point. MR. TINSLE Not on this show. No live audience to pump up with artificial adrenaline. (beat - finally looks directly at Lang) Lang. I have to tell you something, and you arent going to like it. Im listening. LANG

MR. TINSLE I hate your film. Its lousy. I know I know. Theres almost nothing you can do about it, you had very little to do with what is lousy about it. But you know, it will still really damage your career. You made money, sure. Lots of us. And this is a much bigger film than youve ever done. More people saw this than saw all those little indie things you ever did, put together. But trust me - in years to come, this will be the one we come back to and make jokes about. (MORE)

95. MR. TINSLE (CONT'D) If you ever rise about this one, and win any kind of award, this one is the one people will bring up in the next breath to bring you down a notch. Comprende? LANG Why are you telling me this now? MR. TINSLE Because were about to go back on the air in 30 seconds, and I want you to know that right now, I can see all of that in your eyes. And you cant hide it. You know why? Why? LANG

MR. TINSLE Because you are not that good of an actor. A moment. Tinsle goes back to looking at his cards. MR. TINSLE (CONTD) Now, when I ask you about your director, youll say what a joy it was to work with someone so professional. And if youre smart, youll say something about the great producers. Theyre the ones paying for this anyway, right? Tinsle. Yeah. Thank you. For? LANG MR. TINSLE LANG MR. TINSLE

LANG For making my decision for me. What do you mean? MR. TINSLE Lang gets up. Walks off. Takes off a lav mic.

Lights come up very strongly on Mr. Tinsle, who smiles big and laughs nervously. Just then -Blackout.

96. PLAY FOURTEEN: TOUT A LHEURE Two women sit on the same side of a tiny table in a French cafe. You cant be serious. I certainly am. I do not believe you. ANGELLE PATRICE ANGELLE

PATRICE You cant expect a man to-I certainly can. ANGELLE Patrice. What you

PATRICE Honestly, its like you dont realize who you are. do. I know all too well. ANGELLE

PATRICE Then why do you act as though you deny it. ANGELLE How many times has he been? Im not sure. PATRICE

ANGELLE How many times have you seen him? Twice. Twice. Yes. PATRICE ANGELLE PATRICE

ANGELLE Hes been twice, and the second time he sees me, he... and you believe him. Ive seen him twice. PATRICE Only once were you working.

97. ANGELLE

Patrice.

PATRICE Ive heard plenty of things in that place in my time, believe me. But nothing like this. It is really true. ANGELLE He knows the difference between a fantasy and the real world. And if he doesnt. PATRICE

ANGELLE Then his claims are mad. PATRICE One can never be certain. Well, I am. love me. ANGELLE I have never been more certain. This man cannot

On the other side of the stage sits a man. His chair legs are trimmed so that as he sits, it appears that we are looking at him from above. He looks up above him, which is more or less out at the audience. JEAN-PAUL Ah, my angel. My Angelle. Floating there, above me. You keep my eyes up off the ground, and my heart soars to be with you. Angelle. It is ridiculous. ANGELLE

PATRICE You know as well as I do. What? ANGELLE

PATRICE The way you perch yourself there. look. What look? The look you give. ANGELLE

On the trapeze.

That

PATRICE Pouty. But certain.

Melancholy.

98. JEAN-PAUL PATRICE ANGELLE

Melancholy Angelle. You must practice it. I never.

PATRICE Up there that whole time, with that face. you. ANGELLE I dont know what you mean. And you just sit there. I do not. Perfectly still. Patrice. Like a statue. Like porcelain. PATRICE ANGELLE PATRICE ANGELLE PATRICE JEAN-PAUL

That... air about

PATRICE The other girls at least swing back and forth. that whole routine. Thats her business. You dont even swing. ANGELLE Circus monkey. PATRICE

Katarin has

ANGELLE Im just trying to keep from falling off. Honestly. swing because Im afraid. That look is terror.

I dont

JEAN-PAUL That look is sublime. My Angelle, there is so much I wish I was worthy of doing. I wish I could rise up, beside you. I would... I would...

99. PATRICE

Hes serious, you know. I dont know.

ANGELLE You dont know.

I dont think he knows.

JEAN-PAUL I would protect you. I would sit beside you and be your companion. I would protect you from... from... the heights, these men staring at you. You are... perfection. ANGELLE At least, he doesnt know me. PATRICE It does not matter to him. It does to me. ANGELLE

JEAN-PAUL I am a simple man, my Angelle. I must be honest in that. I am not rich. I have no influence. I have only what I can hold in my hand and keep from those who would take from me. But I promise you, my Angelle. Every ounce of strength I have... is yours. PATRICE You dont get to talk to them like I do. But I have eyes. You dont listen. Patrice. ANGELLE PATRICE ANGELLE

PATRICE Angelle, he is a good man. Im telling you. great man, but he is a good man. ANGELLE What are you suggesting?

He may not be a

JEAN-PAUL I would be the man for you, my Angelle. I am a travelled man. I have seen the world - its beauty and beastliness. know how to break free, Angelle. And you are a woman who must break free. I can do this with you. He... has a way out. PATRICE

100. ANGELLE I never said I wanted out. We dont say. PATRICE A moment. ANGELLE This is my life, Patrice. And it is mine. PATRICE I dont want you to leave.

JEAN-PAUL I would take you away. Not just from all of this. And not to be your thief. But I would take you... to. To a home. To a life. To a place where you can search your heart and find that which has not found its way into your soul. Hanging in the sky above. With soarless wings. Patrice. Yes. ANGELLE PATRICE

ANGELLE I know you will be honest with me. Certainly. Would you go? PATRICE ANGELLE

PATRICE I would never have the chance. Would you go? Its not an--Would you? In half a moment. ANGELLE PATRICE ANGELLE PATRICE A silence. Angelles chair rises up as a trapeze.

101. She sheds her overcoat to reveal a decorated leotard and wings. She hands in the sky, motionless. My Angelle. JEAN-PAUL After a moment, she begins to swing. As she swings, she takes off her angel wings. She drops the wings down to Jean-Paul. JEAN-PAUL (CONTD) And together, we will fly. In only a moment. Angelle swings. Lights down.

102. PLAY FIFTEEN: A GOOD TIME ANDI and WALT stand at opposite ends of an oval rug. Cardboard boxes are around, and one overstuffed chair. ANDI You said this was a good time. WALT Nothing like a good time. ANDI You said it was a good time for me to come. It isnt? You know what I-I couldnt. WALT ANDI

WALT Couldnt just let it happen. ANDI WALT ANDI WALT

I dont see why not. Yes you do. Im moving out. So you said.

ANDI You arent going to stop me. Andi-WALT

ANDI Please stop talking. (beat) Im moving out. I asked you if this was a good time to get my stuff while you were gone. You said yes. (beat) Respond, please. You may speak. I know. You did ask. here anyway. WALT I did say yes. And I made sure to be

103. ANDI You arent talking me out of this. Is that why Im here? Why else? Yes. Indeed. WALT ANDI WALT

ANDI Weve talked over everything. I cant live with you. I dont even like you anymore. And I dont myself when Im with you. Who I am when I live with you. So Im going. WALT And my opinion means nothing. ANDI Never said that. But your opinion doesnt trump mine. (beat) Walt-I want you to stay. My stuffs in boxes. But theyre still here. WALT ANDI WALT

ANDI My dads bringing the station wagon. He is. WALT

(beat) Hell never get that chair in there. He will. ANDI

WALT Not with all these boxes. ANDI Thats how it came here. That was years ago. WALT

104. ANDI Its the same station wagon. Fine. WALT It can stay if it wont fit.

ANDI If it wont fit, Ill leave it on the curb. Fitting. WALT

ANDI Im not hauling it all the way back up here. Walt looks around. Leave me anything? Whats yours. So, nothing. Just about. Sure. WALT ANDI WALT ANDI WALT

(beat) You want the rug? No. Its a good rug. ANDI WALT

ANDI It belongs in this room. I know it. I dont want it. OK. It can stay. WALT ANDI WALT ANDI

105. WALT ANDI WALT ANDI WALT

Sure. You want to keep it? I helped pick it out. In a way. I was standing there.

ANDI While I did the picking. Sure. WALT

(beat) Whens your dad coming? Soon. Ah. ANDI WALT

(beat) Do... do you want me to talk you out of going? No. ANDI

WALT Do you want me to do it anyway? Of course not. ANDI A heavy beat. I know. Know what? I know all about it. I dont know-WALT ANDI WALT ANDI

106. WALT Andi. I dont care. ANDI WALT And I dont care. ANDI WALT

And I dont care. Youre lying. Im not. I know.

Good for you. You dont have to go.

ANDI I told you why Im going. WALT I told you that I know why youre going. ANDI What do you think you know? I heard a story. A voice on the wind? A little bird. A bird. I see. WALT ANDI WALT ANDI

WALT Flew in right over there by the window. that... amazed me. You speak bird. This one spoke English. Talented bird. A mighty storyteller. What do birds know? ANDI WALT ANDI WALT For sure. ANDI

Chirped something

107. WALT ANDI WALT ANDI WALT

Stories. Fiction. Fact. Evidence. Indisputable. I saw you.

(beat) With him. (beat) You moving up to the park? Thats a nice area. It is. Less crime. But the cost... Better schools. ANDI Clean. WALT ANDI WALT ANDI A moment. Walt kneels down on the floor. WALT And this... will solve your problems? This is what Im doing. ANDI A moment. Walt gets back up. WALT You... need any help moving boxes down? able to do it? Hes... ANDI Or will your dad be

108. WALT I dont know why you thought I would remember attending his funeral. Neither do I. Dark that day. Yeah. ANDI WALT ANDI Beat. WALT So leave the rug if you want. Just leave... if you want. (beat) Im not asking you to go. Leave the chair if you want.

A buzzer rings. My ride. ANDI Andi crosses to the door. Walts back is to her. She hesitates a moment. Then exits. Walt sits in the chair. Blackout.

109. PLAY SIXTEEN: ALL THE WAY HOME A bench in front of a glass panel. a window seat. Or

GLYNNE, an elderly woman stands upstage of the panel/window. GLYNNE I had a window, growing up, that was... my place. I could go there on a lonely day, a rainy day, and it was mine. I could look out over our yard and down the street, and I was a little queen. It was like I was the queen. I would make a cup of hot cocoa from heated milk and the chocolate powder and I would curl up in my window seat to look out. Most times I remember waiting for my father to come home. My mother had passed away during childbirth, so it meant that I was home alone most days after school, and sometimes in the summers. Couldnt have been much more than six at the time. No, thats not right. So young. My father was such a handsome man. Was his whole life. I asked him once why he never remarried. I dont remember what he said, but he never did. I would always be so happy when he got home. Relieved. I would set down my cup, and I would jump up in the window, and I would wave... I would wave as hard as my arms would let me. I had to have been beaming. I wish I would have had a child, a grandchild, to wave at me like that. To come running. To pound on the glass until it almost broke. My father would smile at me, and he would wave back, gently. And hed motion to me to stop pounding on the window, but I usually didnt. I couldnt help myself. Looking back, we were lucky the glass didnt break. We were lucky. A woman, HAILEY, mid 30s sits in the window seat in front of Glynne. She does not take note of her. Hailey has a steaming cup of tea. DREW, mid 30s, stands far downstage, back to the audience. Im sorry. DREW

110. HAILEY DREW HAILEY Its stupid.

Not your fault. I know. Then dont apologize.

DREW I dont know what else-Then just shut up then. HAILEY A moment. GLYNNE My father worked hard. Money was tight, but he always found a way to work. And he did all the repairs around the house himself. Never had anything in our house that wasnt jerry-rigged or pieces-parts, but it all worked. When we needed it. We have to stop. Hailey... HAILEY DREW

HAILEY I cant go through this anymore. DREW Im sor-- I know its hard. Oh, really. Its hard for me, too. HAILEY DREW

HAILEY Well, gosh, Drew, I didnt realize you were having such a hard time. Hailey... DREW

HAILEY I mean with all the hormones youve been shooting into your body, and all the doctors appointments--

111. DREW

Hail.

HAILEY I didnt realize how hard it would be on you. DREW Beating me up doesnt make it better. HAILEY Dont act like were going through the same thing. DREW Dont act like youre alone. Seriously. HAILEY Youre going to get mad at me.

DREW Only if you try to shut me out. (beat) Im not, and I would never, try to suggest that were going through the same thing. But this isnt easy for me, either. Im so sorry, Drew. HAILEY How can I make it better for you? A moment. GLYNNE Im sure that we went through times... Im sure we did. just dont remember them. I dont remember them that way. There was always work for my father. And I always had my place. Where I could be a queen. DREW Are you sure you want to give up? Of course Im not sure. HAILEY I

DREW We arent out of options. I know. We could... adopt. HAILEY DREW

HAILEY I dont want to talk about this.

112. DREW

We can keep trying.

HAILEY I dont want to talk about it. Ok. DREW Glynne reaches forward and touches the window, near Haileys face. GLYNNE Id press my face up against the glass, and strain to see my father coming up the street. Walking with his lunch pail. HAILEY I dont want to talk about anything. What can I do? You can be there. DREW HAILEY Or here. Which ever. Drew steps forward. Ok. But dont talk. Ok. DREW HAILEY I cant... handle it. DREW Drew sits on the bench. GLYNNE I always imagined what it would be like for my father to come around the corner and see me in the window. He was always tired from a long day. But I could tell by his steps. His steps got stronger after he saw me in the window. And I felt... I felt like I gave him... strength. Seeing me gave him the strength, to make it all the way home. My tea is cold. HAILEY

113. GLYNNE Thats why I would jump up and wave. As if I could wave harder, and help him get home faster. Silly girl. Hailey sets down the tea cup. is somewhat near Drews. Her hand

Hailey slides her hand over, and put her hand under Drews hand. He holds her hand firm. GLYNNE (CONTD) I always wanted... a child. A grandchild. me... strength in that way. Little arms waving in a window. So I could make it all the way home. All the way home. Drew looks at Hailey. (softly) Sorry. DREW Who could give

I.

Am.

I know. I love you.

HAILEY (beat)

DREW I can make you some more tea. No thank you. HAILEY Just please... Drew grips her hand tight. Hailey looks out the window. Glynne looks in. Lights down.

114. PLAY SEVENTEEN: THE THREE SISTERS Two men in hiking gear. They have arrived after a long climb. MOON hangs back, near the path. LEIGHTON takes in the view. My, my. LEIGHTON

(beat) The Three Sisters. As gorgeous as they said. (beat) Im going to take a picture. Leighton gets a very old style camera out of his pack. LEIGHTON (CONTD) You ever take a picture from up here? No. MOON

LEIGHTON Suppose you come up here all the time. Often enough. MOON

LEIGHTON I dont expect Ill be back this way any time soon. Yes sir. MOON Expect thats true. LEIGHTON

(points) Now, which is that one? What is what? That mountain.

MOON LEIGHTON Which sister is that one? MOON

Whats its name?

Thats Barons Peak. Barons.

LEIGHTON Not much of a feminine name, is it?

115. MOON

Expect not.

LEIGHTON I thought they were the three sisters. can see from up here. Thats not-MOON

The three peaks you

LEIGHTON Guy told me the story at the tavern. Leakes. I admit, Id had a few before he told me, but I know what he said. What guy? His name was Guy. MOON LEIGHTON Guy Neil. Tall man.

Moustache.

MOON Guy Neil told you a story. LEIGHTON Yep. Said there were three sisters of unsurpassed beauty lived near here, so the people named those three peaks after them. Sarah, Elizabeth, and Minnie. I dont know which ones which. You havent heard this story? MOON Not the way you tell it. (beat) Go on. LEIGHTON Thats all I know, really. I dont even know how long ago this was. If theyre still alive, or what. Expect they aint. Whys that? MOON LEIGHTON

MOON Name something that big after a person. die. Really? Expect. LEIGHTON MOON

Usually after they

116. LEIGHTON Unless youre the person to discover something. named after you then.

Might be

MOON You think three beautiful sisters discovered these mountains? No. LEIGHTON Just making the point. Leighton lines up a picture. photo. MOON What will you do with that picture? LEIGHTON Ill have to see if it turns out. But I imagine having it framed and up on my wall in my study. You imagine. MOON Snaps

LEIGHTON I do. And every time I look at it, Ill remember being up on the top of this mountain. With you. With me. MOON

(beat) Youve never been on this mountain before. Of course not. LEIGHTON

(looks at Moon) What are you getting at? MOON Youve been on this mountain before. Of course I havent. LEIGHTON I dont understand... Moon rushes forward and punches him in the face. Moon stands over Leighton on the ground. Ive seen you. My god. What are you-MOON LEIGHTON

117. Moon backhands Leighton. I know you. MOON Moon crosses away to the camera. LEIGHTON Im the man who hired you to lead me up onto this mountain. MOON Youre the man Im going to kill on the top of this mountain. Moon sets the camera on the rock. LEIGHTON What are you talking about? I saw you. With who? My sisters. What?! Sarah. And Elizabeth. With them. MOON Each of them. LEIGHTON MOON LEIGHTON MOON And Minnie.

LEIGHTON Ive never met your sisters. MOON They arent three mountain peaks. They are my sisters. Who all died here on the top of this mountain. Brought up here by... someone. Nobody knew who it was. (beat) But I knew. LEIGHTON Ive never been here in my life. I know thats not true. Who is Sarah? MOON I saw you. LEIGHTON With Sarah.

118. MOON My dead sister. The first one that died. She wasnt my oldest sister; she was the middle one. I always thought she was the prettiest one. People said it was Minnie. I think it was because she was more friendly. (beat) But Sarah was the first to disappear. People didnt even seem to be outraged. Guess they thought people disappeared around here all the time. No one suspected foul play. No one? No. You were lucky. LEIGHTON MOON LEIGHTON MOON LEIGHTON

It wasnt me, I swear. Dont! Dont swear.

Im sorry.

(beat) Im sorry... about your sisters. You should be. MOON

LEIGHTON But I didnt do anything. I promise you. I have never been this far west in my life. You can ask my man back in town. At the hotel. He would know. Ask him. MOON I dont need to ask him. Hes told me everything I need to know. (beat) Hes already dead. Albert. LEIGHTON

MOON You gonna cry for him? (beat) You can, you know. I cried for Sarah. Elizabeth. LEIGHTON

And Elizabeth.

119. MOON Wasnt a month from Sarah. This time people knew there was something fishy. Wasnt as clean that time. You left something. What? LEIGHTON

MOON You left something behind. A clue. What clue? A witness. LEIGHTON MOON You were heard. LEIGHTON MOON LEIGHTON

Heard doing what? You woke up a neighbor. A neighbor?

MOON Jim Reichart heard her shout something. She was scared and she shouted. He looked out the window, but by the time he got there, you were already gone. LEIGHTON He knew what she sounded like screaming while scared? He knew Elizabeth. MOON

LEIGHTON Did you investigate this Reichart fellow? I dont need to. MOON

LEIGHTON Thats not evidence. (Moon glares at him) I had nothing to do with this. MOON We didnt know about Minnie until her horse came back into town without her. Blood on the horse. Followed the trail back up to this mountain. Thats where I found them. Bodies all mangled and eaten up by vultures. Like theyd fallen from the sky. (MORE)

120. MOON (CONT'D) (beat) Climbed up here, myself. Found a blood smear on that rock right behind you. Leighton jerks forward, and looks. Nothing there now. That was a year ago. LEIGHTON MOON Leighton looks back to Moon. LEIGHTON I dont know how you think Im connected to all of this. MOON Because I saw you. (beat) Coming down the mountain. As I was going up. I saw you. Blood on your hands. I saw your man. Waiting for you. I watched you ride off. (beat) It was hard to believe when I saw you ride back into town. You must know that I dont have any more sisters. (beat) But I thank you for doing me a favor. Moon rises. Wait. I dont think so. LEIGHTON MOON Moon pulls a knife, steps toward Leighton. I can... I can pay you. go. LEIGHTON I can give you money. Leighton scoots back. MOON I want to be with my sisters again. I can arrange that. LEIGHTON Leighton kicks at Moons leg; he drops. Leighton disarms him. Just let me

121. Leighton strips his coat, flips it, and uses it as a rope around Moons neck. LEIGHTON (CONTD) This is when I get to thank you for doing me a favor. I had no idea how I was going to get you up here. Your eagerness... made everything so much simpler. (tightens the grip) They were... quite beautiful. Id say, Elizabeth more than the other two. But its so much more than... lust... or desire. Something foolish like that. Moon is struggling heavily. head-butts him. Leighton

LEIGHTON (CONTD) Its too bad your father died before I could get to him. vengeance 4 times over... can be sweet as well. Moon stops completely.

But

Leighton lets up. He stands and goes to the camera. He changes the plate. Leighton photographs Moon laying on the ground. Framed. LEIGHTON (CONTD) On the wall of my study. If it turns out. Leighton rolls Moon off of the edge. He tips the cap to the Three Sisters. Ladies. LEIGHTON (CONTD) He spits down the hill. He takes the camera, and the knife. Leighton exits. Lights down.

122. PLAY EIGHTEEN: CHRISTMAS CARD Ive gotten a card. TOM

BETTY Ive forgotten your birthday No. TOM

BETTY I dont remember sending you a card. Its not my birthday. Im sorry. TOM BETTY

TOM You didnt forget my birthday. BETTY Then I accept your apology. TOM I didnt... here is my card. Beautiful. Calm down. BETTY TOM Its just a card. BETTY Look at it. Sparkles and all.

You brought it up.

TOM Theres no sparkles on it. Still. BETTY

TOM You think its still sparkley. BETTY Not sparkley, just beautiful. Thank you. TOM

123. BETTY So I did give it to you. No, you didnt. You thanked me. TOM BETTY

TOM For calling the card beautiful. Oh, so you made it. No... No. Absolutely not. Received it. BETTY TOM BETTY TOM I received the card...

BETTY Right into your hands. TOM BETTY TOM BETTY TOM

Not my hands, exactly. Not exactly. No. I dont understand. It was in the mailbox.

BETTY But you got it out with your hands. Sure. Perfect. TOM BETTY

TOM I want to tell you about the card.

124. BETTY You have been. It came in the mail. It has no sparkles. Its not about your birthday. You didnt make it. I didnt give it to you. I need to know nothing more. TOM You have no more curiosity. No. None. Absolutely. BETTY TOM BETTY

TOM I could tell you about where it came from and what its for. You could do that. Look here. Holiday. Exactly. I should have known. There are clues. BETTY TOM BETTY TOM BETTY TOM

BETTY And it came from Santa Claus. Of course it didnt. Your mother. Yes. TOM Its from my mother. BETTY TOM

BETTY Oh good. She told me she was sending a card.

125. TOM

Yes.

BETTY Cant wait for it to show up. It should be here soon. Oh goodie. TOM BETTY

TOM You should wait here for it. I certainly will. Just stand right there. Ok. Ill go and look. BETTY TOM BETTY TOM

BETTY I hope he comes back soon. (beat) And that theres a card.

126. PLAY NINETEEN: ONE THING IM SURE OF Two people around a small fountain. I put it in there. In the fountain. Yes. GRACE TERRY GRACE

TERRY I wish you hadnt done that. Me too. GRACE

TERRY I wanted you to have it. I know. GRACE

(beat) Thats why I had to get rid of it. Wasnt cheap, you know. I know. TERRY

GRACE But I couldnt keep it. TERRY GRACE TERRY

You know that.

I had to ask. You didnt have to. I did.

(beat) He was going to ask you. (beat) I already knew about him. You knew Id say no.

I couldnt let that happen.

GRACE

TERRY And that youd say no to him as well. (beat) Youre welcome.

127. Terry walks away. Powell is downstage. You look lovely. I just got off of work. Its becoming. POWELL GRACE POWELL

GRACE I feel like Im covered in kitchen grease. (beat) Youll never guess what happened last night. Probably not. It was Terry. Oh. He asked me a question. POWELL GRACE POWELL GRACE

POWELL He asked you to marry him. He did. You turned him down. I did. GRACE POWELL GRACE

POWELL I thought you loved him. That was true. But its over. GRACE POWELL

GRACE I never wanted it to be over.

128. POWELL But when it is, its over. It is. GRACE

POWELL I wanted to... I wanted to ask you a question, myself. GRACE A lot of questions, people wanting to ask me. POWELL I think I already know the answer. You know you do. GRACE Grace walks away. Terry is sitting at a cafe table. Powell! Dont shout at me. TERRY POWELL Its rude.

TERRY Im just happy to see you. Its an uncontrollable enthusiasm. Find some control. You seem anxious. Im sure I do. Already. This morning. Open this early. POWELL TERRY

POWELL Ive made a purchase. TERRY POWELL TERRY

POWELL They enjoy making money as much as the next person.

129. TERRY The next person makes their money during daylight hours. Shes going to love it. Let me see. POWELL TERRY Powell takes a ring box out of his pocket, sets it on the table. Cost a pretty penny. POWELL

TERRY She is going to love it. You havent opened it. I dont need to. POWELL TERRY A moment. POWELL You were happy to see me. I was. TERRY Powell starts to move away from the table. POWELL Ill let you know what she says. Powell. Dont shout, please. You forgot something. Yes. TERRY POWELL TERRY POWELL Powell opens up his hand, for Terry to toss it to him. A moment.

130. TERRY Powell steps back, grabs the ring box, puts it in his pocket. Powell exits away. Grace comes in with two plates of food. I saw him again today. GRACE

Its right there.

TERRY The guy from the bookstore. GRACE The guy from the pharmacy. TERRY You dont want to see the guy from the pharmacy again. I certainly do. GRACE

TERRY You met him at a pharmacy. Thats a terrible story. GRACE Nothing wrong with a pharmacy. TERRY There is nothing wrong with a pharmacy. Its just not where you meet people. Bookstore. Coffee shop. Church. Even the grocery store is better than a pharmacy. No reason for that. GRACE

TERRY Hes at the pharmacy for athletes foot creme. You dont know that. GRACE

TERRY Some embarrassing prescription. pressure. Thats not so bad. GRACE

Or hes got high blood

TERRY Hes going to die at any moment.

131. GRACE TERRY

I saw him again today. So you said. Hes nice.

GRACE Dont be like that. TERRY I just dont like guys who meet girls

Im not like anything. in pharmacies.

GRACE Now that I think about it, I cant remember why we broke up. TERRY Your delicious home-made cooking. Terry takes a bite. Were going to dinner. Were eating right now. Powell and I. GRACE TERRY

GRACE Saturday.

TERRY So we can still eat this food now. Yes. Good. GRACE TERRY Terry takes another bite. GRACE Ive always hated that you do this to me. TERRY Youve already dumped me. GRACE Youd think youd have learned your lesson. Then nothing will. TERRY

132. GRACE Youve always been sure of yourself, Terry. Its a curse. For all of us. TERRY GRACE

TERRY (sarcasm) Ive said something naughty. Thats not my job. GRACE

I should be punished.

TERRY And its not my job to support your excursions with pharmaceutical patrons. You do what you have to do. My opinion means nothing. One thing Im sure of. One thing. Grace stands up. GRACE I loved you as best as I knew how. Including giving you up.

Grace goes to the fountain. Powell is already there. POWELL I asked you a question here, once. A million years ago. GRACE

POWELL You were awfully sure of the answer. GRACE I was sure of many things back then. Times. They change. This fountain hasnt. It has. In its way. POWELL GRACE POWELL GRACE

133. Powell reaches in. Some things... That water is dirty. POWELL GRACE Powell retrieves a small box. a ring box. POWELL I think this might be yours. Powell hands it to Grace. GRACE You know why I have to go. Even if you dont want me to. Of course. POWELL Perhaps

GRACE I didnt want it to happen this way. Goodbye, Grace. POWELL Powell exits. Grace crosses to behind Terry. She sets the box in front of him. Terry opens it. GRACE I found something of yours. TERRY You found something of yours. I know. You know who I am. I do. GRACE TERRY GRACE

TERRY I want to be different for you.

134. GRACE

I know.

TERRY I cant promise anything. I can. GRACE Grace embraces Terry from behind. Terry takes the ring and puts it on Graces finger. A moment. Lights out.

135. PLAY TWENTY: JOKES AND INSULTS Two friends. The joke didnt work. It did. ROB CARL

ROB You blew the punch line. I didnt. CARL I said it right.

ROB You quoted the wrong cartoon. CARL I said Yabba Dabba Doo, not Scooby Dooby Doo. I know. ROB Thats the wrong cartoon.

CARL I meant the other way around. ROB I know you meant it, Ive heard the joke before. said it wrong. You know what I meant. I do. CARL ROB But you

CARL I was just trying to lighten the mood. ROB No one asked you to do that. I was doing it anyway. She said what she said. CARL It needed lightening. ROB

CARL That doesnt mean anything.

136. ROB

Neither did your joke.

CARL I didnt mean anything by it.

Neither did she.

ROB So its my fault, for being insulted. No. CARL Rob crosses away. Martina is there. Give him some time. Hes had four days. A little more. CARL (CONTD) MARTINA CARL

MARTINA Ive had enough of this. Martina. Dont. CARL

MARTINA Hes not being reasonable. I agree. CARL But Im not sure he needs to be reasonable. MARTINA

I dont understand you.

CARL Im just saying that he needs time. Time he can have. Dont say that. I mean it, Carl. Really. MARTINA All the time in the world. CARL MARTINA I dont want to hear from him again. CARL

137. MARTINA

Not a word.

CARL You wanted him back a minute ago. I did. MARTINA

CARL Pick one and stick with it. I am. I have. MARTINA

CARL Until you change your mind. Carl crosses past her. Jenny is across from Martina. He doesnt deserve you. Robs being an idiot. I mean Carl. I dont love Carl. I know that. JENNY MARTINA JENNY MARTINA

JENNY I dont think you know that. MARTINA

Rob will be back.

JENNY Youve said that six times now. He will. Seven. He will. MARTINA JENNY MARTINA

JENNY Youre not convincing me. I hope youre convincing yourself.

138. MARTINA I want nothing to do with Carl. Ok. JENNY Rob enters and sits in a chair in front of Martina. MARTINA Im waiting for Rob to come home to me. Sure. JENNY Martina exits. Im not going back. ROB

JENNY Youre trying to convince me of something. ROB I came here for a reason. No one asked you here. Someone did. They made a mistake. JENNY ROB JENNY

ROB They werent the only one. Stupid kids. JENNY

ROB You cant out-think their stupidity. You can try. You can. Im not in the mood. JENNY Make amends. ROB JENNY

139. ROB Its not about your mood. Oh it is. It is. JENNY Jenny crosses, leaving Rob. Rob is out of scene. Jenny walks to Carl. I needed that. Im apologizing. Youre good at it. Ive had practice. Practice. CARL JENNY CARL JENNY CARL She kisses him.

JENNY I have put my feet in it. You mean nose. I mean feet. You said something. I had to. CARL JENNY CARL JENNY

CARL You most certainly did not. She deserved to know. She did. Then its not my fault. JENNY CARL JENNY

140. CARL She deserved to know from someone other than you. JENNY Im the perfect person to tell her. You are not perfect. For this job, I am. CARL JENNY

CARL You shouldnt have done it. Im sorry. Good. No. JENNY CARL

JENNY Im sorry that I kissed you. Jenny crosses away, leaving Carl. Martina walks up to Rob.

You came back. That I did. I dont understand. Well, I was gone. Simple. I shouldnt have gone. I know. I wont do it again. Im glad.

MARTINA ROB MARTINA

ROB Then I wasnt. MARTINA ROB MARTINA ROB MARTINA

141. Rob and Martina are together. Carl and Jenny are not. Lights down.

142. PLAY TWENTY ONE: RED LOOKING AT IRIS Two levels. On the higher is RED, a man. On the lower is IRIS, a woman. IRIS I know that I said I wanted this. RED There was a time when I could have asked for something different. Something... else. IRIS I said what I said and I meant it at the time. RED I dont remember when it was, when it could have been, but I know it was, and I know that its long past. IRIS But I dont think that when I said it this was what I meant. RED And theres no changing it now. Enter SNOW, a woman, on the higher level with Red. She looks at him a moment, then goes to the lower level with to Iris. Its there. You saw it. Yes. With your own eyes. SNOW IRIS SNOW IRIS

SNOW You first instinct is to doubt. IRIS I learned that instinct at a great price. It is there. SNOW

143. IRIS SNOW By you.

I want to see it. It... will not be seen.

IRIS Im the one looking for it. SNOW Which is why it will not be seen by you. you to see. (beat) Iris. I want to see. Iris. Yes. Its not about seeing. IRIS SNOW IRIS SNOW Snow goes back to the higher level. I want to see. IRIS It will not allow

RED I know what youre going to say. I doubt that very much. I cant. Thats your conclusion. SNOW RED SNOW

RED I have thought about it. A great deal. SNOW Youve thought about consequences. possibilities. Ive thought of both. Ive asked you about

RED They are the same.

144. SNOW We go back a ways. RED SNOW RED SNOW RED If you have, you are good at it. SNOW A moment. Iris kneels to the ground. RED I cant live without her. She doesnt love you. I know. SNOW RED

Red. Yes.

Ive never lied to you. Lied? Yes. I wouldnt know. Exactly.

SNOW Its nothing to do with you. I said I know. Im trying to help you. I know. RED SNOW RED

SNOW She wants something that she assumes you dont have. cant change that. RED That has nothing to do with me.

Time

145. SNOW Right here. I already am.

Youll be stuck.

RED I have to be honest with you.

Red sits down on the edge of the higher level. IRIS I used to draw pictures of it. In crayon. In coloring books with tan pages. Page after page. I still have those books. Book after book. A box in my basement beside the bag of old clothes and under the board games. A box filled with books filled with pages of my crayon dreams. (beat) I only want to see it. I know. RED

IRIS Can you tell me what its like? I can. RED A moment. Its not what I think. No. IRIS RED

IRIS Its not made of crayon lines. No. RED

IRIS It wont make me feel what I want to feel when I see it. Thats not true. RED It will. IRIS And more.

When can I see it?

RED I wish you could see it right now.

146. IRIS Snow moves to stand over Reds shoulder. You really are blind. How could I have seen? SNOW IRIS

Me too.

SNOW You could have looked at the things around you. have tried to notice them. I did look. IRIS I noticed things.

You could

SNOW But not what you said you were looking for. I didnt see it. Had you ever seen it? No. IRIS SNOW IRIS

SNOW So you didnt know what it looked like. No. IRIS

SNOW How could you know you hadnt seen it? IRIS I was sure that I would know. Iris. I know now. Im sorry, Iris. SNOW IRIS SNOW

IRIS It was never your fault.

147. SNOW IRIS Snow helps Red to stand. I will wait here. Iris. I know. IRIS (CONTD) I am sure it will come again. SNOW

I did what I could. I believe you.

IRIS But I will wait, and I will watch. (beat) I have to believe. Iris sits on the floor. Snow turns Red around for him to look at Iris. Dont leave me here. RED

SNOW Weve known each other a long time. RED I know youre going to leave me here. SNOW Then why do you ask me not to? Snow backs away. Exits.

Red is left, looking at Iris, who looks away from him. Looking. Lights out.

148. PLAY TWENTY TWO: THE HEAT Two thugs, Lonny and Victor in a small wooden cabin-like space. They both look out of place. Hate this heat. Its not so bad. I dont like to sweat. I got used to it. You sweat a lot. Yeah. I dont like to sweat. So sit down. I did. LONNY VICTOR LONNY VICTOR LONNY VICTOR LONNY VICTOR

LONNY Im just sitting here sweating.

Too damn hot.

VICTOR Crying about it wont help you. Im not crying. You know what I mean. LONNY VICTOR

LONNY You dont see any tears over here. No. VICTOR

LONNY If you did, you couldnt tell them from all the sweat, its so damn hot. Lonny looks out the window.

149. VICTOR Hes on his way. LONNY VICTOR LONNY

Just sit down.

Said that an hour ago. Hes still on the way. It aint that far.

VICTOR It is if youre coming from the springs. From the springs. Yeah. LONNY VICTOR

LONNY Hes coming from the springs. Thats what I said. Youre lying. VICTOR LONNY

VICTOR I have no motive to lie to you right now. Hes on his way. Hes coming from the springs. Hes really friggin pissed off. So you being twitchy all of a suddens not gonna help. Damn. Sit down. I cant, now. LONNY VICTOR LONNY Hes coming from the springs.

VICTOR That aint always bad news. It aint. No. LONNY VICTOR

150. LONNY VICTOR Little Mikey.

Youre right. You remember Mikey. Connies brother.

Connies brother.

LONNY Yeah. Yeah, I remember.

VICTOR Good news out of the springs. Little Mikeys out. I know that. The docks. Yeah. LONNY

VICTOR But it wasnt the springs. LONNY

VICTOR So stop worryin.

LONNY I cant help it, Victor. You gotta sit down. You talk to him. I have. Hes still pissed. VICTOR Sit. LONNY VICTOR LONNY

VICTOR You cant expect the man not to be pissed. It wasnt on purpose. LONNY

VICTOR The hells it matter, Lonny. On purpose. I know. Sit down. LONNY VICTOR

151. LONNY VICTOR Lonny sits. VICTOR (CONTD) Theres only one play here, Lon. You tell it to me. I dont think I can-This is it. The play. LONNY VICTOR

Vic-Sit. Down.

LONNY She told me not to tell you. She did. VICTOR

LONNY Im just doing what she told me. You trust her. Always have. VICTOR LONNY

VICTOR But I gotta tell you something, Lonny. And I mean this from the bottom... youre sitting here, and shes at home. In bed. With Anthony. Thats her husband. Tell me a story, Lonny. know. LONNY VICTOR I promise you that she wont ever

LONNY Youll keep it to yourself. VICTOR I have to tell it to him. If it involves her, you know he has to know. I told her-LONNY

152. VICTOR I told you a hundred times... LONNY

Lonny. I know.

VICTOR You leave his girl alone. But shes not his girl. Anthony. Yeah. LONNY Shes married to Anthony. VICTOR LONNY

VICTOR He calls her his, you believe Anthony has anything to say about it? Husband. When has that meant anything? Vic. LONNY

VICTOR Didnt mean anything to you. Thats different. LONNY Shes in love with me. Youre the biggest

VICTOR I mean this will all my heart, Lonny. moron Ive ever seen.

Victor walks away. LONNY I didnt tell you the story. VICTOR I dont want to hear nothing I cant repeat. LONNY Better off not knowing I suppose. Thats right. VICTOR Victor is at the door. LONNY Then I guess knowing where the case went is what you dont want to hear.

153. Victor stops. Name your price. Well get to that. Parched. Yeah. The heat. VICTOR LONNY First. Im feeling parched. VICTOR LONNY

VICTOR You could get a glass of water. That would be lovely. LONNY Thank you. Victor waits a moment. He crosses, gets a glass, pours water. Victor carries the glass to Lonny. Lonny puts his lips on the glass. Victor holds the cup up as Lonny drinks. Lonny is done. Much better. Better to tell a story. LONNY (CONTD) VICTOR

LONNY I have a better idea. Youre going to wait here, with me. And when he shows up... VICTOR You understand how... unwise... that would be for me. LONNY Oh, Vic. I have faith in your wisdom. Ive never seen it fail you. Wisdom is always... rewarding. VICTOR Hes gonna be here any minute.

154. LONNY And thats why youre going to protect me. I have something you want. You can provide me something I want. This is the nature of business. Victor reaches into his pocket. LONNY (CONTD) I wouldnt if I were you. Victor slowly pulls out a handkerchief. Wipes his brow. Its the heat. VICTOR

LONNY Im told you get used to it. Yeah. VICTOR The noise of a car is heard outside. LONNY Sounds like we have guests. Lonny gets up and passes by Victor on his way to the window. Tell me where it is. The case. VICTOR

LONNY I dont think I will, just yet.

VICTOR If I dont leave, it wont have been worth me staying. LONNY But I know you wont go. This is the fun part. Lonny. VICTOR

LONNY I know you want the case back, Vic, so shut your mouth and get your gun out and get ready. Hes getting out of the car right now. Victor takes a moment. pistol. He takes out a

Lonny turns back to Victor.

155. LONNY (CONTD) Victor shoots Lonny in the arm. Lonny falls to the ground. Victor... LONNY (CONTD) Victor stands directly over Lonny, gun to his head. Tell me. VICTOR

Now, when he comes in--

LONNY You still have a chance. I might forgive you. You wont. VICTOR

LONNY You gotta protect me, Vic. VICTOR Were both dead men, Lonny. LONNY Thats why I kept you here. Victor pauses. handkerchief. Thanks, Vic. LONNY (CONTD) Lonny wipes his brow. The heat. Yeah. VICTOR LONNY Lonny hands Victor the handkerchief. Hey, Lon. Yeah. VICTOR LONNY He hands Lonny his

156. VICTOR Just tell me you didnt leave it with her. (beat) Lonny... Victor shoots Lonny dead. Victor takes the handkerchief and slowly cleans his pistol. The door opens. RIPLEY is there. This place is hot. Yeah. RIPLEY VICTOR

RIPLEY Like a hundred degrees in here. More. Lets go. VICTOR RIPLEY Too hot in here. VICTOR Ripley notices Lonny. Hes done already. Yeah. You couldnt wait. I knew. Sad. RIPLEY VICTOR RIPLEY You knew I was on the way. VICTOR RIPLEY

That wont help.

VICTOR Too hot to cry, apparently. He talk? RIPLEY

157. VICTOR RIPLEY VICTOR RIPLEY VICTOR

Not a peep. Any clue on the case? He didnt say a word. Vic. Yeah.

RIPLEY You know something I dont. He never fit in. I know. VICTOR

RIPLEY Doesnt mean I wont miss him. VICTOR Victor finishes cleaning the gun. drops it near Lonnys body. He

Youre all heart.

I do my best. Lets get out of here.

RIPLEY VICTOR Victor heads for the door.

RIPLEY Wish we could have heard his story. Yeah. VICTOR Victor exits. Ripley exits after him. Lights down.

158. PLAY TWENTY THREE: FORGIVENESS An office with plenty of books. Comfortable. LINK, a burly man is standing near the door. THOMAS is a thin, wearing relaxed clothes. It is an off day for him. LINK I dont want to be here. You can go at any time. You know why Im here. I do. THOMAS LINK THOMAS

LINK So you know I cant just go. Look... Im lookin. THOMAS LINK Link goes to the window. THOMAS I dont have what you need. I know. Then why come? LINK THOMAS

LINK Its the principle of the thing. The principle. THOMAS

LINK Honor among... you know. I do. THOMAS

159. LINK Im not gonna lie to you... Thats wise. Dont be smart. Im sorry. THOMAS LINK THOMAS

LINK You know Im not here by mistake. This is real, now, you understand? Im not here by mistake. So you said. Good. THOMAS LINK

THOMAS You... you dont think the neighborhoods gonna stand for this, do you? Stand for. Theyll be outraged. Damn right. LINK THOMAS LINK

THOMAS You come in here, you threaten me, you-LINK Threaten. Youre misunderstanding all this. threatening you. I feel threatened. THOMAS Im not

LINK No. Im gonna break your legs. Thats whats happening here.

This aint no threat.

THOMAS You see, its statements like that--

160. LINK The threat happened a long time ago. When you were told that if you dont pay your debts, the debts you accrued, your legsd get broke. You welched. Thats why Im here. THOMAS I cant argue with that. LINK And they said you wasnt a smart man. (beat) And as for the neighborhood... Theyll be outraged. THOMAS Outrage in the streets you do not want.

LINK Outrage in the streets can be dealt with. Can it? THOMAS

LINK You think theyll be outraged by me? want to hear what youve done? A moment. THOMAS So how does this happen? An eager man. LINK I like that. THOMAS

How about by you?

They

Not exactly eager...

LINK No, I read ya. What Ill do is this. Ill break one leg first. It will probably be a surprise. I like to give you a minute to think about it at that point. Sort of drives the point home before I break the other leg. Some guys go ahead a do both at the same time. Thats not my way. THOMAS Im glad youve thought this through. I do my best. Good. LINK THOMAS

161. LINK

You need a minute?

THOMAS If I can have one, Id appreci-Link grabs a huge book from the desk and whacks Thomas on the knee. Hard. Thomas drops to the floor. Baaaaaahhh! There you go. Ohhhh.. Jeeeesssshhh... THOMAS (CONTD) LINK THOMAS Oh my...

LINK You go ahead. Let it out. I aint tellin anybody. Someone blows your knee out, you let out a swear word. You aint gonna burn for that. Mmmm.... Oh... THOMAS Link sits in Thomas desk chair. LINK I knew this guy, Eddie. Squealing-est punk. Broke his elbow. Wouldnt curse, ever, just like his moms following him around. But-(snaps) And the stuff pouring out of his mouth... Call a doctor. THOMAS Link opens the book. LINK Thats not really what Im here for. (beat) You ever read this whole thing? Nah. THOMAS ... yah... thats kinda... what I do... Ive read it. LINK Most of it.

162. THOMAS LINK

Oh yeah? Sure.

THOMAS Ive not seen you around here much. Yes you have. In the back. The right. My left is your right. Sure. LINK THOMAS On the left. LINK THOMAS LINK

THOMAS I thought you were there... For this? As a reminder. LINK THOMAS

LINK I can do two things at once. Thomas sits up. Ah... THOMAS

LINK Ive been here every week. Two years. Why havent I seen you? Exactly. THOMAS LINK

THOMAS Thats what you think of me.

163. LINK Youve given me no reason to think otherwise. That Ive been here for two years and you didnt know. And that Im here right now. Neither of those are ringing endorsements. A moment. THOMAS Can we get this over with? LINK I need you to do something first. (beat) Hear my confession. THOMAS I dont think I can do that. Father... LINK

THOMAS I cant do it if I know what youre planning to do immediately afterward. LINK I can take care of that. Link stomps on Thomas other leg. Ahhhh! I think that did it. (beat) You need a minute? No. No. Its fine. THOMAS LINK

THOMAS Its fine. Link kneels down on the floor.

LINK Forgive me Father, for I have sinned. since my last confession... Lights dim. End.

Its been three weeks

164. PLAY TWENTY FOUR: MEANT A LOT TO ME ANDREA I know youve meant a lot to me for a long time. JASON You mean that youve meant a lot to me. I dont mean that. I think you-ANDREA JASON

ANDREA But Im telling you this now, and after I do, I dont want to hear anything else from you-JASON You are the worst at this. Im doing my best. And its just sad. (beat) Im broken up with. (beat) Thats fine. ANDREA JASON

ANDREA I knew you wouldnt care. JASON You could have just emailed me. ANDREA Thats why Im doing this and not you. (beat) I dont want to see you again. You wont. Good. JASON ANDREA A moment. Youll miss me. JASON

165. ANDREA Jason turns and goes. Jason spots Dean. Jason. Youre here. I am. She called you. No. Well, its all yours. DEAN JASON DEAN JASON DEAN JASON Jason walks away. She is? I said it. Later. DEAN JASON Bye, Dean. DEAN Jason is gone. Andrea and Dean. ANDREA I need to end it with Jason. I thought it was over. You thought that? He... doesnt matter. What did he said. DEAN ANDREA DEAN

I know.

ANDREA He said something.

166. DEAN No. I misunderstood something he said. Im just playing it back in my head right now, and I finally heard what he meant I think. I dont understand. Doesnt matter. (beat) So whats the problem? You called me. I didnt. ANDREA DEAN

ANDREA

DEAN You emailed me.

ANDREA I havent been online all day. (beat) You think Ive been hacked? DEAN A hacker broke into your email and asked me to come over. I dont know. ANDREA

DEAN Does anyone else have your password? No. Are you sure? Yes. ANDREA DEAN ANDREA

DEAN Ever have anyone else log in for you? Andrea thinks. ANDREA When I was sick, I gave my password to... Melanie. Melanie. DEAN

167. ANDREA DEAN

We were roommates. I know.

ANDREA She checked it for me for a few days. DEAN And you didnt change it after. ANDREA I would have forgotten it. DEAN So she still has your password. ANDREA Yeah, but why would she... DEAN She emailed me to tell me to come over here. She wouldnt. Apparently she would. Youd better go. ANDREA DEAN ANDREA Dean crosses away. Melanie sits in the chair. Youve seen him. MELANIE

ANDREA This morning, at the coffee shop. He was here. He was not. His cologne. Jason wears the same. MELANIE ANDREA MELANIE ANDREA

168. MELANIE ANDREA MELANIE

How do you know that? I have a nose. Andrea...

ANDREA Mel, youre going crazy. Dean loves you. MELANIE You think I dont know that. ANDREA I dont know why youre interrogating me. Neither do I. MELANIE

(beat) Jasons a jerk, by the way. ANDREA I know it better than anyone else. You know he hit on me. MELANIE

ANDREA He said you would misunderstand what he said. (moves away) You gonna let yourself out? I didnt misunderstand. I know. Ill let myself out. Ok. MELANIE ANDREA MELANIE ANDREA Andrea exits. Jason enters with two drinks. Bartenders a moron. JASON

169. MELANIE JASON He doubled our drinks. MELANIE JASON Jason drinks. MELANIE Im sorry about yesterday. Not your fault. It was. JASON

Hes a friend. Your friends a moron. He did. Yep.

MELANIE I should have-Wasnt your

JASON No. You shouldnt have. Wasnt your business. place to tell Andrea. MELANIE Then what wasnt my fault. JASON Dean backed you into a corner. MELANIE He didnt back me into a corner. Certainly did. No. Almost literally. It wasnt about him. He put you up to it. JASON MELANIE JASON MELANIE JASON

MELANIE I knew youd think that, thats why Im here.

170. JASON

Why is that?

MELANIE I need you to leave him alone. Me? Leave him alone? relationship? What? JASON Whos the one trying to split up whos MELANIE

JASON Hes going to get Andrea to break up with me. Hes not. MELANIE

JASON He doesnt love you. (beat) He doesnt even really like you. (beat) Hes never said a word to me. But I know what it looks like when he does. It looks like the way he looks at Andrea. MELANIE Youre sure this is doubled? Yes. JASON Melanie downs the drink. I know youre right. You need another one? At least. MELANIE JASON MELANIE Jason takes the glasses, starts to walk away. MELANIE (CONTD) Why are you trying to keep her? Who says I am? JASON Jason leaves.

171. Dean is there with Melanie. Dean comes up behind her and embraces her. That was rough. Yeah. DEAN MELANIE

DEAN I know you dont like Jason. I never said that. I know. MELANIE DEAN He breaks, crosses around her. MELANIE Why did you make me say that? What do you mean? DEAN

MELANIE You made me tell Andrea what I saw. DEAN I didnt make you do anything. You wouldnt let it go. MELANIE

DEAN You dont think you should have told her? MELANIE I didnt need to do it with Jason standing right there. You believe his story? No. Me neither. And neither did Andrea. DEAN A friend from work? MELANIE DEAN MELANIE

172. DEAN MELANIE

So? He was standing there.

DEAN And thats all he could come up with. MELANIE You wanted her to hear his answer. DEAN I had nothing to do with any of it. You said it. You saw him. He came up with that weak lie. She knows the truth now. How is it Im being punished for this? Im not punishing you. Could have fooled me. MELANIE DEAN Melanie walks away. I love him. You keep saying that. ANDREA DEAN Makes me not believe you. ANDREA

Im trying to be clear.

DEAN For whos benefit, yours or mine? Melanies. What does she care? She cares about you. ANDREA DEAN ANDREA

DEAN She cares about Jason, and will do anything to get him. this point in time, I am anything. And you know it. ANDREA

At

173. DEAN

Yes.

ANDREA Why are you letting her do this? DEAN When she gets what she wants, then what I want is available. Thats disgusting. ANDREA

DEAN Its all I can do. You wont take me seriously. avoiding me for years. Im not-ANDREA

Youve been

DEAN Youre dating my biology partner from college. Thats not what Im-ANDREA

DEAN I carried that guy through biology, and now this. ... and now... this. ANDREA Andrea starts to walk away. DEAN I wont say I told you so. I know you wont. ANDREA Dean leaves. Melanie enters. Dean asked me out. Dean did? Yeah. You said yes. MELANIE ANDREA MELANIE ANDREA

174. MELANIE ANDREA MELANIE

Should I not have? You do what you want. I certainly do.

ANDREA You didnt want to check with me first? Check with you? Exactly. MELANIE Hes like your best friend. ANDREA

MELANIE Youre against this idea? (beat) You are against this. I didnt say that. ANDREA

MELANIE I already agreed to meet him. Im supposed to be there in a half hour. Better hurry. ANDREA

MELANIE Dont do this to me Andrea. (beat) Im not going anywhere unless you say its ok. (beat) Youll be the one to call Dean and tell him. Its ok. Great. Its ok. ANDREA MELANIE Melanie leaves. Jason enters. ANDREA I dont like seeing Dean like that.

175. JASON

Hell rebound.

ANDREA Ive never seen him like that. JASON Youve known him longer than I have. Thats why Im worried. ANDREA

JASON Hell meet someone else. Its not a big deal. ANDREA She was pretty rough on him. JASON (chuckles) ANDREA

I know.

Why are you laughing? Oh, come on. I havent.

JASON Weve all had bad break ups.

ANDREA Not like that. JASON

Itll work out.

ANDREA I think its more than Sharon. Like what? I dont know. Hes fine. JASON ANDREA JASON

(beat) He will be fine. Call him tomorrow? ANDREA

JASON I will. Maybe Ill hook him up with someone. free right now?

Isnt Melanie

176. ANDREA JASON

No. She isnt?

ANDREA She has dates all the time. But no one serious. No. Leave her alone. JASON ANDREA

JASON What am I doing to Melanie? No, him. I meant him. ANDREA Just leave him alone.

JASON You told me to call him. No. Call him. fix him up. ANDREA Just dont try to fix him up with... dont JASON ANDREA

Just trying to help. Dont.

JASON Call him, dont help him. Got it. Jason starts away. You do? No. ANDREA JASON

(beat) Make up your mind. Jason exits. Dean and Andrea. DEAN Im glad you had a good time. Really.

177. ANDREA

Hes very sweet.

DEAN I can neither confirm or deny that. ANDREA Youll just have to trust me. Which I do, absolutely. DEAN

ANDREA Im glad you introduced him to me. Ah... yes. DEAN

(beat) Strictly speaking, it wasnt me. Hm? ANDREA

DEAN You and I were together and he showed up. him. ANDREA You said, This is my friend, Jason.

I didnt introduce

DEAN Oh, that. I did do that, yes. Would have been awkward him standing there talking to me and we just ignore you until I make him go away. ANDREA And you say we were together like we were on a date. No I didnt. DEAN A moment. ANDREA You dont think I should date him. Is that what I said? DEAN

ANDREA You said nothing like that. Im just looking at your face. Then listen to me. DEAN

178. A moment. Im listening. Nevermind. Tell me. ANDREA DEAN ANDREA

DEAN Im glad you had such a good time with Jason. Dean starts away. ANDREA You want to ask me out, then ask me out. Youd say no. So what. DEAN ANDREA

(beat) Dean, you know that youve meant a lot to me for a long time. What? Dont you? Were friends. No. Were not. I dont think so. I know. DEAN ANDREA DEAN ANDREA DEAN ANDREA Its not that simple. DEAN

ANDREA Then know how much you mean to me. Ok. DEAN

179. ANDREA But Im telling you this now, and after I do, I dont want to hear anything else about it from you. Ok. DEAN

ANDREA You and I cant be together. A long moment. DEAN Im glad you had a good time with Jason. Dean walks away. Me too. ANDREA Lights down on Andrea. End

180. PLAY TWENTY FIVE: WAKE Two men carry in a woman who is laying stiffly horizontal. They place her on a table top. The men sit on chairs at either end of the table, facing away. KELLEN I cant say that I miss her. VINCE I know its an awful thing to say, but Im glad its over. KELLEN To me, shes been gone for some time. VINCE I didnt like to see her like that. KELLEN Hadnt seen her in months. Itd been a few weeks. VINCE Maybe more.

KELLEN To be honest, Ive more or less moved on. I was sad for a while. VINCE But Ive made my peace.

KELLEN Its not like Im glad shes gone. VINCE I dont wish shed come back. A moment. The woman, GEORGIA, lightly breathes. She moves slightly. Then she slowly sits up. KELLEN She once told me that I was the love of her life. VINCE She once told me that I was the love of her life. I believed her. KELLEN

181. VINCE I didnt believe her for a second. KELLEN I wished I felt the same. VINCE The more was my shame, that she was the love of mine. Georgia rises, standing on the table. GEORGIA My father once told me the story of how the stars came down to visit the earth. The stars, jealous of the beauty of a little girl, left the sky one night and looked for her. They went from house to house, peeking in the windows, hoping to find her. As he told the story, hed make noises, stomping his feet or scratching at the wall, making it seem like the stars had come looking for me. It made me feel... special. KELLEN She said that I knew how to make her feel special. VINCE I always worked very hard to make her feel special. KELLEN I never knew what she was talking about. VINCE I dont think I ever figured it out. Georgia gets down from the table. walks past Kellen. KELLEN I have to ask you something. Me? GEORGIA She

KELLEN What happened after I left? Oh. GEORGIA You dont want to hear about that. KELLEN

Im asking you.

GEORGIA But you dont want to know. (beat) (MORE)

182. GEORGIA (CONT'D) You want me to say that I forgot about you. about me. Thats not what I want. KELLEN Like you forgot

GEORGIA You cant even admit it to yourself. You didnt love me. Well, I cant take back that I did love you. What a fool. You or me? Yes. And him. KELLEN GEORGIA (beat) KELLEN GEORGIA

He was after me? I didnt say that.

KELLEN You never mentioned him before. He loved me. GEORGIA

KELLEN Then why arent you talking to him? You needed to know. Know what? GEORGIA KELLEN

GEORGIA That I thought of you first. What do you mean? KELLEN Georgia walks around to Vince. I heard what you said. Should I apologize? VINCE GEORGIA

183. VINCE Do you think you should? What would I say? GEORGIA

VINCE Im sorry could be a start. It could be. GEORGIA

VINCE I hate what youve done to me. GEORGIA I hate that you made me do it. I didnt make you. VINCE

GEORGIA There was no chance that I could have lived up to your expectations. I failed. I warned you. I didnt make you. VINCE

GEORGIA He never expected so much from me. And look at him. Yes. VINCE GEORGIA Georgia crosses to the middle of the table. GEORGIA (CONTD) And the jealous stars climbed into the little girls eyes. And from then on, there were no stars in the sky for anyone else. She was the only one who could see them. As she stared at the night sky. She lays back down. A moment. KELLEN I cant say that I miss her.

184. VINCE KELLEN VINCE The lights go down. End.

Im glad its over. I wish I could say it. I wish it were over.

185. PLAY TWENTY SIX: WILD CARD Where you been? I just got back. Were you held up? COMET HARDY COMET

HARDY My back left tire is losing air. tomorrow. ESPN is on. COMET

Ill have to fill it up

HARDY I have to work in the morning. Braves won. COMET

HARDY If I dont get to bed on time, Ill wake up late. COMET Rookie started. Cant remember his name. He got rocked in the third, and they pulled him out. Turned it around. HARDY Im going to brush my teeth. Hardy exits. Comet goes to the side of the sofa and picks up a baseball bat. Takes a couple of practice swings. Comet picks up a coffee mug, tosses it in the air, then shatters it with the bat. Hardy comes back in with a toothbrush in his mouth. Double up the middle. That wasnt my mug. COMET HARDY

186. COMET

It wasnt mine.

HARDY I was on a date with Jeena. COMET The Braves are going to take the NL East if this keeps up. HARDY But the Reds will take the wild card. Over the Giants. Obviously. Jeena says hi. COMET HARDY (beat) Comet grabs another coffee mug. COMET Now, the AL... thats a different story. Put down the mug. HARDY

COMET The Tigers have lost 4 straight. HARDY Leaves the window open for the Red Sox. COMET Theyre in different divisions. The Wild Card. Oh. HARDY COMET Comet puts down the mug. Give me the bat. HARDY

COMET Its my turn at the plate. Cant take the bat out of my hands in the late innings. A little relief. HARDY

187. COMET HARDY COMET

Pinch hitter. Exactly. I see.

HARDY Have to work in the morning. COMET Then you better get your beauty sleep. HARDY Youll leave the coffee mugs alone? If they leave me alone. COMET

HARDY Ill have the bat, please. A moment. Comet holds out the bat toward Hardy. Here. Set it down, please. Take it. Set it down. I wont... Just set it down. COMET HARDY COMET HARDY COMET HARDY Comet throws it on the sofa. Hardy picks it up. Jeena... shes ok? COMET

188. HARDY COMET

She is. Good.

HARDY You gonna get some rest? Probably not. COMET SportsCenter. HARDY COMET

You just finished it. Its on again.

HARDY But you already know the scores. I may have missed some. Dont stay up too late. I wont. COMET Dont want to miss any. HARDY COMET Hardy grabs the bat and exits. Comet sits in the chair. A moment. Lights down.

189. PLAY TWENTY SEVEN: LOSS OF FAITH A room. Bare, but for a short green overstuffed chair - which looks more comfortable than it probably is. HART, a grizzled man, lingers in the corner. KELL, a clean-cut younger man, stands near a doorway. FAITH, a woman, sits on the floor, not near the chair. HART You can leave if you want. No one moves. I said you can leave. Stop it. HART (CONTD) KELL

HART All Im saying is that-KELL We dont need your permission. But you have it. HART Stillness. FAITH I like to go to the lake on sunny days. You can have that. I can? Dont ask him that. You can. Stop. HART FAITH KELL HART KELL

190. FAITH I want to go to the lake. Is it sunny? HART You can go to the window and find out. Faith starts to rise. Dont. KELL She stops. HART If she wants to see the sun, you should let her. Im not stopping her. Neither am I. KELL HART A moment. Faith continues to rise. Ill check for you. You may. Not you. KELL HART KELL

HART I can check if you would like. No. Then go ahead. KELL HART Kell walks to the window. What do you see? What do you see? I can only see a wall. FAITH HART KELL I cant see the sun.

191. HART Why dont you come sit down? Id rather stay here. KELL

HART All you can see is a wall. Im ok. KELL

FAITH I want to go to the lake. HART We dont know if theres sun or rain. FAITH So I cant go to the lake. It would seem that way. HART

FAITH I like to hear the waves. I know. HART

FAITH I like to take off my shoes and dangle them in the water. I know. HART

FAITH I like the cold on my toes. I-Stop. Stop it now. HART KELL Leave her alone. A moment. Hart leaves the corner, but stays near the wall. Stay where you are. KELL (CONTD)

192. HART I would like to sit down. That chairs not yours. Is it yours? No. Then Ill sit. KELL HART KELL HART A moment. Hart sits. FAITH I like the way the breeze comes off the lake and the smell of the trees. It relaxes me. I know. HART If only we knew if there was sun. FAITH KELL FAITH

If only we knew. We can know. Weve tried.

HART You can check the window again. I wont. Then we cant know. I can check the door. You can check the door. I will. KELL HART KELL FAITH KELL Kell does not move.

193. HART Kell turns back to Faith. KELL Do you remember how to get to the lake? Me? Do you remember? No. I think I remember. You dont. I think I do. We can go. FAITH KELL FAITH KELL HART KELL

You wont.

(to Faith) We can just go, and Ill get us to the lake.

HART He doesnt know where it is. FAITH Do you know where it is? Yes. I promise you. KELL FAITH

You dont.

HART You dont want to wind up... lost. FAITH I dont want to get lost. Please. Lets just stay. We dont know if theres sun. We dont know where the lake is. We dont want to wind up lost. You dont trust me. I dont trust me. KELL FAITH

194. HART I have the utmost faith in both of you. In what? KELL FAITH (to Kell) KELL FAITH

Dont. Faith in what? Please.

HART I know what youre capable of. Thank you. FAITH

Ive been watching you.

KELL You dont know what Im capable of. I do. Stand up. HART KELL Hart remains seated. Leave him be. I wont touch him. She was talking to me. FAITH HART KELL

HART I know who she was talking to. (beat) It is raining today. The way to the lake is blocked. great storm is keeping us here. I dont hear anything. KELL

HART You dont know how to listen.

195. A moment. The sound of a storm grows intensely loud. Then drops off to silence. HART (CONTD) You dont know how to see. A moment. The relatively normal lighting plot instantly changes to a harsh and unrealistic lighting set. After a brief moment, it goes back to normal. Stop. Make it stop. FAITH HART KELL I promise you. HART KELL

I will. Hes not doing that. How do you know? You arent.

HART I am the one in control here. I control everything you see. I control everything that allows you to see. And hear. If I want you to hear it, then you hear. To see, you see. I let you even think. And that thought, too. Yes. I dont believe you. Yes you do. KELL HART

FAITH (to Kell) Do what he wants. He will. I wont. HART KELL

196. HART What if I want you to rebel. To strangle me. To knock me from this chair. To walk out of this room and leave us behind. To scream. Sure, that too. (beat) I know all of these things because I want to know them. Ive decided to know them. And so I do. (beat) I am the one in control, here. My will takes precedent. I have observed you. Both of you. I know when you will eat, sleep, fall in love with one another, and become crushed by despair. KELL You cant know all of that. He can. When? Whenever he wants. Exactly. Its a lie. It isnt. FAITH KELL FAITH HART KELL FAITH Faith suddenly sits on the floor. Kell looks at Hart, who smiles. Strike me. No. HART KELL

HART You may as well do it now. It will happen. Ill save it. But you wont do that. KELL HART

197. KELL

Do what?

HART Walk out the door right now. Kell walks to the door. the handle. Kell stops cold. Whats happened? FAITH He reaches for

HART Hes stopped cold. Poor thing. despairs. (beat) You can leave if you want. What if I dont want. You dont have to. KELL HART

This is the part where he

Kell stands still. Faith crosses. You can go. You should go. Go. HART (CONTD) (beat) (beat) Faith steps in the way. Faith steps out of the door. Faith closes the door. She is gone. Shes gone. KELL Opens the door.

HART And now... is when you fall in love with her. KELL I should have left when I had the chance.

198. HART And now it, and she, are gone. I can still go. No. Im sorry. KELL HART KELL HART Kell crosses to the center. Go ahead. HART (CONTD) Kell kneels. The lights again turn strange. Then blackout. End.

You arent. No.

199. PLAY TWENTY EIGHT: ONE TO TEN What looks like a typical room. Comfortable looking furniture, shelves with photographs. PAULA, a nervous looking woman sits. A knock at the door. move. Paula doesnt

DR. ANDREWS wearing a white lab coat comes through the door, carrying a clipboard. DR. ANDREWS Paula Jean Halton. (no response) Is your name Paula Jean Halton? (no response) I apologize, Ms. Halton. My name is Dr. Andrews. This is my first day here... (no response) Maam? (Paula turns) I need for you to answer me or I cant give you what you want. You know what I want? PAULA

I do.

DR. ANDREWS (checks the clipboard) I think I do.

PAULA Is it written there on that clipboard? DR. ANDREWS I need to ask you a few questions. You do? Yes. PAULA DR. ANDREWS

PAULA You want to make sure Im the right person, first? DR. ANDREWS Is your name Paula Jean Halton?

200. Paula holds up her arm - there is a medical armband on her wrist. You tell me. PAULA Dr. Andrews steps forward and checks the armband. DR. ANDREWS It would seem that you are. Good. PAULA

DR. ANDREWS How are you feeling today? Im tired. Achy. PAULA

DR. ANDREWS On a scale of one to ten, ten being the highest, how intense would you say is the ache? Intense. Yes. PAULA DR. ANDREWS

(beat) Scale of one to ten. (beat) Ten being the highest. Twelve. PAULA

DR. ANDREWS (while writing) An ache of twelve. Wouldnt you call that a pain rather than an ache? PAULA Its an ache. (beat) Can I have what I want, now? No. No. Two. DR. ANDREWS Thats only one question. Who am I? PAULA How bad is the ache?

201. DR. ANDREWS PAULA DR. ANDREWS

You remember. Yes. Good.

(he writes) Do you know how long youve been here? A couple days? PAULA

DR. ANDREWS (he writes) A couple days. You sure about that? Has it been a week? PAULA

DR. ANDREWS You think its been a week? I cant... a week. (writes) PAULA DR. ANDREWS

Are you sure?

Yes.

PAULA (tentatively) Dr. Andrews writes some more.

DR. ANDREWS Do you feel as though the medicine is helping? I... I dont know. Was it too much? You tell me. PAULA

DR. ANDREWS Too little? PAULA

DR. ANDREWS The question is for you. PAULA I dont remem... I think its fine.

202. DR. ANDREWS PAULA I feel fine.

Fine. Yes. Its fine.

DR. ANDREWS Youre tired and have an ache of 12. How do you know that? You just told me. Yes. Thats right. cure that? Has it? PAULA DR. ANDREWS PAULA Is it... the medicine, is it supposed to DR. ANDREWS Long moment. DR. ANDREWS (CONTD) On a scale of one to ten, ten being the highest, how would you rate your comfort level? My...what? Comfort level. PAULA DR. ANDREWS Your level of comfort. PAULA DR. ANDREWS

Here.

Its... I dont know 3? (writes)

3.

Which is highest? Ten. Yes. Ten.

PAULA DR. ANDREWS

PAULA Its ten then.

DR. ANDREWS So you are very comfortable here.

203. PAULA DR. ANDREWS (no response) PAULA DR. ANDREWS PAULA DR. ANDREWS It is decorated well? Paula looks around. PAULA This is all so familiar. Yes. DR. ANDREWS

I dont understand. Paula. Maam. Hm? Are you comfortable? Yes, sir. You like this room?

PAULA Did you bring this all from my house? No. DR. ANDREWS

PAULA (beat) Can I have what I want now? Soon. I dont want it soon. DR. ANDREWS PAULA I want it now.

DR. ANDREWS On a scale of one to ten, ten being the highest, how much would you say you want it? One to ten? Yes. PAULA DR. ANDREWS

204. A moment. PAULA I have to get out of here. DR. ANDREWS You told me that you were comfortable at a ten, here. I... I... PAULA

DR. ANDREWS You said that the medicines are working. I have to go. PAULA

DR. ANDREWS Im afraid thats not possible. Look! Look... PAULA Paula goes to photos on the shelf. Maam. DR. ANDREWS Paula takes a photo. My son. Maam... Please. PAULA I have to go... and see him. DR. ANDREWS

PAULA Tommy needs me. He started second grade last year. I have to help him with his homework. He has trouble with spelling, but hes really good with math. He needs me. Please. Your family is fine. DR. ANDREWS

PAULA My husband left us. He couldnt take it anymore. Thats why I came here for help, but I cant go through this anymore. I have to help Tommy. (grabs another picture) And my mother. Shes 87. Shes staying with me now, but she cant keep up with Tommy. I know she cant. Please. You have to let me go. You have to! Please!

205. DR. ANDREWS Maam, youll have to calm down. Near hysterics, Paula begins to pace. As she does, she is obviously referencing every picture she can see. PAULA No! No! I have to help mom. And Tommy. At the boat house. He needs to learn how to fish. And Sharon at work. I have to get back to my job. They cant finish the... without me. I have go back. I cant stay here. My cats. Please, my cats! Mom cant feed them and Tommy will forget. Please! Maam. DR. ANDREWS

PAULA He.. He... He... he left me because of all of this. This is why hes gone! Id still have a husband if not for all of this... just FIX me and I can go home! Just GIVE ME WHAT I WANT!! Dr. Andrews takes out a needle and injects Paula with a sedative. He holds her, then lets her to the ground as she relaxes. Mrs. Rodriguez? Hm? Carla? Yes. DR. ANDREWS PAULA DR. ANDREWS Carla Rodriguez? PAULA Rodriguez. Yes. DR. ANDREWS

Carla.

Youve had a bad fall. Im sorry.

PAULA I get dizzy from time... whew...

DR. ANDREWS Im going to help you to your chair so you can rest, Mrs. Rodriguez. Thank you, young man. PAULA He helps her to the chair.

206. Paula spots a picture. Who is that? Who? PAULA (CONTD) DR. ANDREWS

PAULA That boy... in the picture. I recognize him... DR. ANDREWS Thats... thats our son, Carla. Paula tenderly puts her hand on Dr. Andrews face. PAULA Im sorry about all of this, sweetheart. I know, dear. I know. DR. ANDREWS (pats her hand) PAULA

Take care of Ricky. Hes doing fine.

DR. ANDREWS Hell come visit you on Saturday. PAULA

Isnt today Saturday? No, sweetie. Oh...

DR. ANDREWS Its Thursday.

PAULA Something to look forward to... (beat) Sweethea.... I lov... Dr. Andrews kisses her hands. Paula drops off to sleep. Dr. Andrews rises. He picks up the clipboard and makes notes. A voice comes over a loudspeaker. Clinical. Andrews. VOICE

207. DR. ANDREWS VOICE

Yes? What was that?

DR. ANDREWS Just trying to soothe her. You saw her, she was getting out of hand. VOICE Increase the dosage for the next twelve hours, monitor heart rate and respiratory activity remotely... DR. ANDREWS Thats what Im writing down. VOICE Difficult patient on the first day. DR. ANDREWS Patient seemed to be accessing lingering memories, might want to look at changing the treatment. Thats not a problem. VOICE

DR. ANDREWS At least we should consider removing any obvious triggers like these photos. Thats not an issue. No? VOICE

DR. ANDREWS You saw what was happening...

VOICE We replaced those photos three months ago. Dr. Andrews smirks, jots some notes. Excellent. Excellent. DR. ANDREWS Dr. Andrews continues writing. Lights down.

208. PLAY TWENTY NINE: LEAVING CIRCUS TOWN The floor of the stage is covered in a string of illuminated color paper lanterns. A large window is down stage, but no wall. Through the window, we see INES and LISA, two college age girls. They look through the window, but in opposite directions. Lisa is wearing all dark colors, and has a key on a string around her neck. Ines is dressed much softer and lighter, and has a heart pendant on a necklace. I wish he hadnt gone. You are better off. INES LISA

INES Im not thinking about me. A moment. He did say goodbye. LISA

INES Im sure he felt better about it. He did. I could tell. LISA

INES You let him off the hook. I didnt. You let him go. I did. Its not fair. LISA INES LISA INES

209. LISA I didnt ask for it to be fair. Lisa reaches forward and touches the window frame. INES I remember when we made this into a stained glass window. With colored tissue paper. You said you wanted it to be a church. LISA I wanted it to look like a church. It was like a church. It became a church. Colored tissue paper. Sun. INES LISA INES Scotch tape. LISA

INES Lost the effect when the clouds rolled in. Like a church. LISA A moment. You miss him. Not your concern. INES LISA

INES Im concerned about you. Youre not. Youre lying to me. LISA INES

LISA I never said I didnt miss him. (beat) Im glad hes gone for your sake.

210. Ines finally turns and looks at Lisa. He could come back. He wont. He could. Dont worry. INES LISA INES LISA

INES He could be back here in a couple of weeks. a couple of weeks and then hes here again. LISA Thats not going to happen. But what if it does? INES

Be gone for just

Lisa turns sharply and locks eyes with Ines. Im certain. LISA A moment. Oh. I see. INES Ines crosses upstage, careful not to crush the lanterns. Itll be dark soon. Thats the way. Clouds. Night. LISA INES LISA

INES The colored tissue paper would no longer be effective. Dont I know it. LISA Ines.

211. INES (beat) Lisa crosses to look the other way out the window, from where Ines originally stood. LISA Hes gone as far as he can go, he said. Youve talked with him? Yes. Since he left? Yes. Why? He called. I answered. INES LISA INES LISA INES LISA

We could... Nevermind.

INES He wasnt supposed to do that. I know. LISA

INES You werent supposed to do that. I know. But it did. LISA (beat)

(beat) Nothings changed. (beat) I only told you so youd know hes gone for good. For good. For your good. INES LISA For my good.

212. INES LISA INES LISA INES

For our good. For good. You agreed to this. I certainly did. It was the best thing.

LISA You told me it was the best thing. And it is. INES A moment. He wasnt all bad. I know that. LISA

INES We both know that. LISA INES LISA

He doesnt know that. Hell survive. Will he?

INES Then it doesnt matter much anymore. (beat) Just... stop. Shhh... A moment. Ines sits on the floor. LISA He was always kind to me. INES He wasnt as kind as you think he was.

213. LISA He was always kind to me. Ok. INES

LISA He forgave me when I needed forgiving. He saved me when I needed saving. And he supported me when I thought I needed saving. He knew the difference. I wish that were true. I know it was. INES LISA

(she crosses behind Ines) And I know, more than anyone, that it was him to decided to go. INES I cant agree with you, Lisa. Consider it. I asked him to go. Say it. You know. You need to confess. LISA INES Right after... LISA INES LISA

INES I have nothing to confess. LISA Youve done nothing wrong. INES Ive done my share. Ive told you everything. Everything. And youve told me nothing. And Ive asked you nothing. LISA Because you dont want to hear it. Of course I do. INES

214. Ines rises. LISA You wouldnt understand. I already understand. INES Lisa escapes.

LISA Then explain it to me. Explain it to me so I can understand. Draw a diagram, write an essay, make it into a flow chart. Because it works that way, doesnt it. (beat) A man left his home. He left us behind and his home and his life. He now has no life and no reason. And he did it because... I asked him to go. INES

LISA And it was just that easy. Of course it wasnt. INES But he knew I was right.

LISA He knew. He already knew. He already knew, and had decided to go before you came within a mile. It wasnt you asking him to go that made him leave. He left because he knew it was the best thing for you. And you. INES

LISA But mostly for you. And he let you tell him to go, so you would think you had it in your control. (beat) He is not in your control. You do not control him. You do not control. Anything. Lisa turns and walks away quickly. Where are you-Leaving. No. Im going. INES LISA INES

215. LISA I am going to find him.

I am.

INES You dont know where he is. A moment. Dont go. Stay. INES (CONTD) (beat)

LISA Sometimes the circus leaves town. leave circus town.

Sometimes you have to

Lisa walks off. Ines sits. Lights dim, leaving only the paper lanterns illuminated. The lanterns go out. End.

216. PLAY THIRTY: BALING A set of furniture, ragged and filthy. It is not set up in a discernible placement, but pieces sit on the side or propped up on one end - stacked in an unstable way. Laying over some of the furniture is BEHAN, a young scraggly guy. BEHAN A thousand years, no man should be treated this way. (beat) They cant keep us here. (beat) You hear me. A noise from within the pile. Speak up. BEHAN (CONTD) A foot appears. Out climbs MULLEN. GQ. MULLEN Waste o time, upsettin yerself. Thats what Im on. that way. Not me. BEHAN Youve already given up. I cant go He makes Behan look

MULLEN Well, yer here, arent yeh? BEHAN Youre the one who told on me. Whod I tell? MULLEN BEHAN (sarcastic) (slaps Mullens head) MULLEN

Yer ma. Eedjit.

I dont told a soul.

217. BEHAN Then howre we here, then? You tink I told on meself? Coulda been Hammer. Tell me whacha did. Me? Why me? MULLEN Or Guiss. BEHAN MULLEN BEHAN Just recap it. He didnt have it, so Dunno. Maybe.

I wanna know.

MULLEN I went to Brewers round nine thirty. I went round Annies. Annie. BEHAN Like shes got it.

MULLEN I dint go dere fer daht. You sweet on her? Shes sweet on me. BEHAN MULLEN Im keeping me options open.

BEHAN Jackpot, son. Take yer winnins to the booth and cash in afore you lose yer shirt. MULLEN But den I went round to Hobsons. Hobson. That prick. BEHAN

MULLEN Oi. I knocked the door, and I heard him say to someone to hide it. I did. Honest. BEHAN Hobsons a bigger eedjit than you. Hes got nothin.

MULLEN So when he comes the door, I barge the room. You barged him? BEHAN

218. MULLEN BEHAN

I did. Proud o yer.

MULLEN Gave me shoulder a knock. Betcha did. BEHAN

MULLEN But yous never guess what was I saw inside. Nothin. Exactly. That prick. I know hes got it. his face. So you did what? I went round his. To his. I did. BEHAN MULLEN BEHAN MULLEN I heard him. BEHAN MULLEN

Youd be the same you saw

BEHAN This time o night? MULLEN I knew it was wrong straight away. BEHAN MULLEN BEHAN MULLEN Hes screaming so loud.

The look on his face. I could tell. But you told him, then. I couldnt get a word.

BEHAN So Arch and Big Mikey brought you here.

219. MULLEN

They did.

BEHAN And gave you a roughin. Im fine. So he doesnt know. Couldnt get a word. MULLEN BEHAN MULLEN Behan digs a cell phone out of his pocket. Whatre ya doin there? Im textin. I see that. Caroline. No. Just sent. Dont do that. Who? MULLEN (CONTD) BEHAN MULLEN BEHAN MULLEN BEHAN MULLEN Take it back. BEHAN

s already gone.

MULLEN Whyd you have to get Caroline in this? She loves you, yeah? Of course she does. BEHAN MULLEN

220. BEHAN Shes going to help you.

Shes going to help us. (beat) tll be fine. Says you. She knows what to do.

And me.

MULLEN BEHAN

MULLEN You promised she wouldnt have to do this no more. BEHAN That was before you went round the world and ended up with nothing. MULLEN Dont make it like I got her in this. Who would it be? BEHAN Behans phone beeps. Caroline? Shes on it. MULLEN BEHAN Behan puts phone in his pocket. Behan... Ts fine. MULLEN BEHAN He reads.

(beat) Cant believe you went round to his. I did that once. Couple years back. I was finished with a guy who owed a fair penny, but it was one of my first collections, so I wasnt... I wasnt as efficient as need be. So I go up to his, back when he was on Elm. The big place. Well, he used to live across from Harry Peal back then... Harry Peal. MULLEN The detective? Anyways, so

BEHAN Hes on a beat back then, but the same guy, yeh. I go up to his, and Im covered. (MORE)

221. BEHAN (CONT'D) My hands, on my shirt, I think somes on my shoes, this guys blood on me. I didnt know bout Marthas place. To get cleaned up, yeh. MULLEN

BEHAN So Im there on his stoop when he opens the door. And Ive not seen a face like that ever in my life, nor none since. Hes just like, Sweet Mary Jesus and God! (laughs) And so loud that the stoop light comes on at Peals across the way. And he sees that light come on and before I even spit out what happened, he shoves me down the stairs and is gone back in the house by the time Im on the grass. Now, Id tweaked my knee in football at school, so I land on it funny and Im just laying there on the grass as Peal makes his way across. But He comes back out the house just as Peal gets to me and acts like he dont know me. Oi. MULLEN Throw you under the bus.

BEHAN Thats what I taught, but no. Hes right in with Peal on how I mustve had a knock down the stoop. So Im all yeh, yeh, das it. and Peal buys the lot and carts me to hospital. MULLEN But now he lives up the hill. BEHAN Thats right. Now he does. (beat) Mullen. Yeh. Yeh. You have it on you. What? You have it. MULLEN BEHAN MULLEN

BEHAN I know you do. Dont say nothin. (beat) I know that you know theres only two things can happen here. Oh yeh? MULLEN

222. BEHAN

Neithers good for you.

MULLEN What makes you think I have it? Behan just looks at him. Mullen backs away. BEHAN That wasnt Caroline on the text. MULLEN I kinda wish it was, now. BEHAN He has to have it, Mullen. You know thats right. I dont know that. Mullen. MULLEN BEHAN Behan pulls out a gun. A moment. I dont have it. Lies. I dont. I disagree. Im not--Right pocket. MULLEN BEHAN MULLEN BEHAN MULLEN BEHAN Mullen reaches into his pocket and pulls out a wad of yellow notebook paper. Mullen tosses the paper at Behan.

223. MULLEN Ts a nice moon tonight. Yeh? BEHAN

MULLEN The kinda moon that makes people crazy. (beat) I made mine last night. Head start. Yeh. BEHAN MULLEN

Make bad decisions.

(beat) I been collectin fer him since Is twelve. I remember. BEHAN

MULLEN This is the business were in. It is. BEHAN

MULLEN You said yerself a mans gotta knock some heads er hell be under heel til hes dead. I said that? You did. BEHAN

MULLEN And it made a lot of sense. A moment.

Made sense to me.

BEHAN Youll have to do me a favor, Mullen. What? MULLEN

BEHAN Dont tell anyone I said that. Behan turns the gun on himself. He shoots. He drops to the ground. Behan! MULLEN

224. Mullen dives to Behan on the ground. Behan grabs Mullen roughly. BEHAN You wanna get out from under heel? Wha... yeh. MULLEN Behan hands Mullen the gun. Then knock some heads. I dont-BEHAN MULLEN

BEHAN You want the chance? This is it. (beat) Do it.

It starts here.

Mullen rises, holds gun out over Behan. Thank you. Yeh. MULLEN BEHAN Mullen pulls the trigger. Behan is dead. Mullen drops the gun. A moment. Lights down.

225. PLAY THIRTY ONE: GRANITE GAL lays on the floor, facing the audience. Illuminated only from above as a street lamp. GAL I was there, looking up, long ways down the narrow road. Up the hill, behind the rising buildings and dark awnings. It was there. Rising rising up, piercing the sky. The night sky pierced with white. The white steeple of the cathedral. Pointing up. I was on the cobblestones. I felt like I had it in me to stand. I set down my bottle. I pulled myself up with my arms. I set my knees beneath me Asked my legs to finish the work. I could feel it, in my chest. I was going to stand. I was going to. I was wrong. And the bottle tipped Rolled down Cracking the cobblestones Down the hill All the way down I dug my face out of the stone And the piercing white steeple Still pointed up In the dark, upstage, a cigarette is lit, by MIK. MIK I only needed someone to blame. All I needed from you. Just that. I didnt want your excuses, I didnt need to know your past, and I couldnt stand the sound of your pitiful fine-china voice. Thats why I treated you... I suppose I should apologize for that. We both know I should have just let it go. I should have just let it go. I had no choice but to hold on. So I gripped with both hands. (MORE)

226. White knuckles. And I held on. You know I did. No choice. MIK (CONT'D)

A lamp is turned on. WEND sits in a chair near the lamp on a side table. WEND It was wrong. I know that. I had no choice. It never seemed like I had a choice. I know now that I had a choice. I chose what I chose, and I make no excuses for myself. I know the score. I do. But you should have seen the look on his face. If youd seen the look on his little face, theres no way youd blame me. His little smile. My god. god. I thought of myself as A generous person thats what I thought of me I couldnt see it otherwise I couldnt Now... Now I can. A small flashlight illuminates LITHA. LITHA I cant even... I was standing in front of the largest piece of granite Ive ever seen. Ever. Past the fields and over green hill. And there it is. Enormous. There are times when you come face to face with a piece of nature, so.... vast... you have to respect it. It was like an ocean of impenetrable... unmoving unmovable unmoved it just didnt care about my small... ness I meant nothing to it. How could I? How could I have meant something to it? (MORE)

227. LITHA (CONT'D) I wanted I want to mean something to a piece of granite forty feet square and unfeeling rising out of the green grass out past the fields GAL Thats where I woke When the sun smacked me in the eye Across the street A boy Nine? Ten? Sitting on a metal bucket outside a shop Might have been there Ten minutes. An hour? Just looking Whar u looken aet? Incomprehensible He just looked If Id had my bottle, Id have thrown it I swear I wouldve I hated that boy taemezet just looked taem ez et? Looked what time iz et?! he points up the street I know hes pointing to the church so I dont even look Not even the corner of my eye And I finally took in a deep inhale through my nose and I smell I think I smell it fresh baked bread roll coffee at once I did smell it and there it was the hunger like it was there the whole time and I never knew until I smelled

228. MIK Never trusted anyone much less someone like you Much less even myself Ive only ever let me down so you cant hold me on that I didnt trust you but I dont trust me I treated you like I treat me Like a stray dog bite your finger if you feed it too close bite it right off gotta keep a stray out of your yard I promise you and you have to hear me on this I promise you I never meant for this to happen million years never couldnt imagine ever loving anyone I promise like I loved you wouldnt wish it on my enemy but I put it on you not surprised how it turned out not surprised at all I know what it did to you what it had to do to drive you to... you shouldnt be in the ground and me standing up here Empty words, apologies If Id meant them, we wouldnt be me here you there That pastd not be and you and me we would be we would be I know that for sure for damn sure I should have been... more

229. WEND Youd imagine. Youd hope. Youd expect that it would take a whole hell of a lot to turn you into a thief. That it wouldnt be so easy to steal. Steal. That ugly word. You would just hope that justifying it would be... difficult. But there I was, thinking of that sweet little face and how responsible I felt for what he was going through and all of a sudden Im standing in my house and handing it over to an unsuspecting child like Im a hero. Like Im robin hood the benevolent noble one. When Im just a thief. Justified. I was pretty sure I was on solid ground on that one. I had needs, I was meeting needs of others, they had plenty to spare, whats the harm, the whole racket. I was sure. Absolutely sure. Twelve people saw it differently. They couldnt put themselves in my shoes. Walk a mile. They wore their own shoes out of the room and I wore slippers. Theyre at home, Im in a cell. Bars. And I havent seen or heard from that sweet little one-(opens a drawer in the side table. Many papers inside.) I write a letter a week. Havent sent one since valentines. They stay with me. here in this cell. In my cell. Me and the letters right

LITHA I couldnt fathom big it and little me fair was out of the question but somehow right it was right the one thing I could grasp rightness we were us me and it one as undeniable as the other and I felt an... (MORE)

230. LITHA (CONT'D) urge it made no sense to me but it was there - an urge pushed me from my back not a shove a guiding a nudge an urge and I followed forward I stepped forward toward toward it forward toward the granite forty feet square and granite as granite step step and it got closer almost felt like it got closer and not me barely felt the ground or my feet step and it it the immovable the immovable The immovable moved it moved the immovable moved as I walked forward toward and I step through granite GAL The looking boy just pointed up the street. MIK You deserved so much more than me.

231. WEND Him out there and me in here is the way it is. GAL And I dont know why I did it but I looked MIK I cant be more than me. WEND Nothing can be done about it now. GAL And I could see the steeple, white and piercing. MIK Youve crushed me down to the powder. WEND Its impossible to change. GAL I could smell the bread, my narrow eyes, and the piercing... MIK I cant be what... who I was. This is what it took.

WEND I cant be more sorry for what Ive done. And the immovable the immovable the immovable moved Near Gal, the shadow of a steeple. Near Mik, the figure of a woman steps up behind him. Near Wend, a small boy stands. It moved. LITHA (CONTD) Simultaneously: Gal reaches out for the steeple - and stands. LITHA

232. The woman reaches past Mik and takes his cigarette, douses it. Puts hand on his back. The boy puts his arms around Wends neck. The immovable moved. walk forward and step through granite A short moment, then all lights go out. The end. LITHA (CONTD)