This action might not be possible to undo. Are you sure you want to continue?
by Joseph Frost
plays written for The 31 Plays in 31 Days Project
Draft August 2012
© Attic Scripts 4550 Normandy Dr Jackson, MS 39206 firstname.lastname@example.org
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 Suzuki’s 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, I’m home. I seen that. You’re glad to see me. ALFRED BETTE ALFRED Bette takes another sip of tea. ALFRED (CONT’D) It’s 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. Peterson’s on my way here.
I just dropped it off at
BETTE You just gave Kenny Peterson seventeen hundred dollars. I did. ALFRED
Why’d you do that?
ALFRED That’s what we needed to keep the place, Bette. remember. Of course. So I paid him. You paid him. Yes. On your way home. Yes, ma’am, I did. Alfred Blanchard. BETTE ALFRED BETTE ALFRED BETTE ALFRED BETTE
ALFRED (bows, gestures with his hat) Yes, ma’am, at yer service. Bette suddenly throws the glass of iced tea at Alfred. What in the hell... ALFRED (CONT’D)
BETTE You been gone fer seven months, and the first place you go is Kenny Peterson’s. Bette. ALFRED
(beat) I went there to pay off the debt. The debt. Yes. BETTE ALFRED
To Kenny Peterson.
ALFRED We still owed seventeen hundred for the cost of the repairs and the interest. But it’s paid off, now. Honey... Alfred steps toward the porch. Bette quickly rises. BETTE Don’t 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... Where’d you get it! St. Louis. Where. Missouri. ALFRED BETTE ALFRED BETTE ALFRED Where’d 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, I’m a magic man.
4. BETTE ALFRED (smiles, wiggles his fingers)
A magic man.
BETTE I do know you. And I want the God’s honest truth from you. I know that’s not easy for you to say, Alfred. That’s why I have this... (indicates revolver) To motivate you. ALFRED I can’t 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 wouldn’t 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, I’m gonna shoot you ‘tween the eyes. ALFRED How will you know if I’m 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 didn’t want ‘em, but I made ‘em think they wanted ‘em, and I sold ‘em. (beat) And I didn’t 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. What’s 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 weren’t never coming back to me. Sally’s 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 who’d pay it out to a guy with no collateral. You didn’t tell me. I didn’t. BETTE ALFRED
BETTE You didn’t tell me you’d be gone seven months. ALFRED Didn’t know how long it’d take. BETTE You could’ve 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 what’d happened to ya. I was working for you. ALFRED
BETTE I couldn’t have known that.
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 don’t think you can came home, Alfred. Bette goes back inside. Alfred, kneeling by the pile of cards. Lights down.
PLAY TWO: CASSIOPEIA’S 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 (CONT’D) 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 (CONT’D) Until he stopped looking and he looked like he had stopped looking but he hadn’t don’t worry it’s not that kind of story Leo looks up.
9. CASSIOPEIA (CONT’D) 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 (CONT’D) But the day was the day and gave way to the night and he thought there was no way to find Leo’s head drops down. But then the story goes and it goes on CASSIOPEIA (CONT’D)
GEMINI, a girl, enters. Yes yes yes but CASSIOPEIA (CONT’D) it was a girl it was who he was looking for she was looking for him that’s not how this story goes Gemini moves, dances past Cassiopeia and Leo. CASSIOPEIA (CONT’D) For he was so distraught he thought he was so distraught that he wouldn’t he never he thought he couldn’t look for her in the night Leo doesn’t move. them. Gemini goes behind
CASSIOPEIA (CONT’D) The lights get brighter.
10. CASSIOPEIA (CONT’D) 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 couldn’t see without the light of the sun And she thought she couldn’t 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 (CONT’D) him to look only when she wouldn’t be seen her to only be seen when he wouldn’t 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 won’t 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 I’ve 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 I’m here. Grant takes off the jacket. ORBIT (CONT’D) 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 I’m not happy now. Grant puts the jacket back on. ORBIT (CONT’D) I loved one time. More than once. At one time I loved. There was a time that I loved. Not that I don’t love now. (MORE)
12. ORBIT (CONT’D) 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 (CONT’D) 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 5,500 pounds, to 15 tons, or 33,000 pounds, and is built on a square base with sides measuring about 230 meters, or 755 feet, 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 146.5 meters, or 488 feet, but today it is only 137 meters, or 455 feet, high. The 9 meters, or 33 feet, 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 (CONT’D) 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, Grant’s 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 haven’t 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 don’t have much time. He was... reluctant. Yes. He’s here. HENRY LANHA (beat) Lanha crosses away. HENRY You remember what to do. What we agreed on. I do. LANHA A short moment. You haven’t... What. HENRY LANHA
HENRY You never said thank you.
16. LANHA I will thank you when this is over. I suppose that’s fair. HENRY A long moment. LANHA Are you sure you don’t want... something... in return? Want something? In return. Like what? I... I don’t... know. Yes you do. What? You know what you mean. You’re right. I do. HENRY
LANHA For what you’re doing. HENRY LANHA HENRY LANHA HENRY LANHA HENRY I want to do this. Henry turns away.
I don’t want anything.
She was a good woman. So?
LANHA I’m just telling you... about her. HENRY Does that change things? No. I mean... LANHA
17. HENRY It doesn’t matter to me. Oh. Lanha. Yes? I would do it anyway. LANHA HENRY LANHA HENRY For you. A knock at the door. HENRY (CONT’D) You’ll 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 I’m sorry, you caught me off guard.
LANHA My name is Lanha Rodriguez. Please come in. FATHER MICHAEL I was called to... I’m looking for Henry Wilton. (sees Henry) Henry. Bobby. Ah. HENRY Is he...
FATHER MICHAEL Father Michael, please.
HENRY I don’t think so, Bobby. A moment. You can come in. HENRY (CONT’D) I’m 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 I’d 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, I’m sure... (aside to Henry) Henry, please, I find that it’s best if people from the town here don’t... um... they don’t know about... well, a priest in a town like this has a certain reputation to uphold... Fear not, Bobby. Yes. HENRY I’m on my way out of town. FATHER MICHAEL LANHA FATHER MICHAEL HENRY LANHA FATHER MICHAEL HENRY You’re going to do me a favor. FATHER MICHAEL
But young Miss...
Rodriguez. Rodriguez here... She’s leaving, too. What? Oh, I see. No, you don’t. I am?
19. HENRY Yes. I need the services of a priest. thing I could find, Bobby.
You’re the closest
FATHER MICHAEL Henry. I really am a priest now. My name is now Father Michael. HENRY I don’t give a damn what you’re calling yourself now, Bobby. You’re going to do this favor, and then I’m going to leave. You don’t have to worry about me telling anyone who you really are. Fine. That’ll be fine. FATHER MICHAEL What’s 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, I’ll 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?
FATHER MICHAEL (points to urn) The hell is this? The bride. The bride? It is. HENRY FATHER MICHAEL It’s an urn, Henry. HENRY
LANHA It’s 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) You’re 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 don’t think you’ve really thought about what you’re asking me to do. You need to hear yourself say the words. Out loud.
21. HENRY You’re here to perform a priestly duty. A priestly duty. FATHER MICHAEL
HENRY Priests marry people, don’t they? Yes they do. People. FATHER MICHAEL They marry people. (points to urn)
HENRY You aren’t going to let a little thing like that stop you, now, are you? Henry, I can’t do this. I think you can. No, I really can’t. FATHER MICHAEL HENRY FATHER MICHAEL
HENRY I don’t think you’re trying hard enough, Bobby. Henry points to Lanha. Father Michael turns to her, notices that she has pulled a gun on him. HENRY (CONT’D) You might want to try harder. I see. FATHER MICHAEL
(to Henry) Not man enough to draw on me yourself? HENRY I don’t handle guns anymore, Bob. You know that.
FATHER MICHAEL It’s 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. God’s people are his church. That’s you. And her. And me. Not me. HENRY FATHER MICHAEL (chuckles) Incorrigible. HENRY
Not exactly. Right. now.
FATHER MICHAEL Gave up carrying guns. Yes. Aren’t you just ‘holy’
HENRY Don’t 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 won’t. Why’s that? I told her not to. Oh? And why’s 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 ain’t got a lot of time. Lanha gets closer to Father Michael with the gun. She cocks the hammer. No. FATHER MICHAEL Of course you don’t.
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 you’re 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 (CONT’D) You had a gun on me. Lanha takes his hand, rises. FATHER MICHAEL (CONT’D) (to Henry) Now talk to me.
24. HENRY I need you to marry me to Emilia. To Emilia. Yeah. She’s dead. FATHER MICHAEL HENRY FATHER MICHAEL
HENRY I was hoping you’d overlook that. FATHER MICHAEL I really don’t 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 I’ll go as far as Michael, since I know that’s your middle name, anyway. Fine. FATHER MICHAEL
HENRY Michael, I need you to marry me to Emilia. Why. FATHER MICHAEL
HENRY That’s 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 won’t call me Father. You’re not my father. HENRY
FATHER MICHAEL Tell me what the hell is going on. HENRY If you won’t do it, then fine. We’ll find someone else.
Henry crosses away. There is no one else. LANHA Henry. You promised.
Henry nods. LANHA (CONT’D) (to Father Michael) Henry has agreed to marry my mother, Emilia Rodriguez, as were her dying wishes. How’d she die? What? FATHER MICHAEL LANHA
FATHER MICHAEL He didn’t 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 mother’s estate. FATHER MICHAEL And this deadbeat marrying your mother’s cremated ashes will do that? HENRY What does it matter to you? If you’re not going to do the wedding, then don’t waste our time.
26. Father Michael picks up the urn. FATHER MICHAEL You’ll answer my questions, thank you. No, please. LANHA I don’t 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 won’t be legal, right? Him marrying ashes doesn’t make you a legitimate heir to nothing. You’re 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 Must’ve been 20 years ago. (looks to Lanha) Little more. (back to Father Michael) I’m just making it right. We’re making it right. FATHER MICHAEL There’s not much I can do, Henry. HENRY Pick up that Bible, and say the words and it’s done. FATHER MICHAEL You have to know that it won’t be legally binding. way. (MORE) In any
27. FATHER MICHAEL (CONT'D) (to Lanha) You know that, right? Henry? LANHA
FATHER MICHAEL You haven’t told her that this would make any difference in the legality of... (beat) He’s 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 mouth’d be legal this and legal that. Some priest. (beat) I don’t give a damn about your opinion of legality. What you’re 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 (CONT’D) 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 (CONT’D) 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
I’ll do it.
FATHER MICHAEL Umm... this is where we would have the lighting of the unity candle. The what. HENRY
FATHER MICHAEL The... doesn’t matter. I’m just going to skip down... reading from Romans... Pslams... do you want to hear a Psalm? I don’t... 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 don’t suppose she’ll repeat me, so we’ll just assume that she’d agree. She does. Yeah. LANHA I know she does. She told me. FATHER MICHAEL
(beat) You don’t 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 (CONT’D)
30. HENRY LANHA He does. It barely fits over the end of his pinkie finger. First Eucharist? Just the end. FATHER MICHAEL LANHA
It won’t 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 I’ll take that poster now, if you don’t mind. Yeah. HENRY Henry hands him the poster. rips it up. Michael She
Thank you. Thank you.
I’ll go tell Ernesto.
FATHER MICHAEL It’ll never hold up in court, you know. They’ll call me to testify, and I won’t be able to lie to a judge or a jury. She’s not any more legitimate now than she was ten minutes ago.
31. HENRY And she’s not any more my daughter now than she’s 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 I’d 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 Michael’s body, stands up, backs away. Henry looks at Lanha’s 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 (CONT’D) I’m 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.
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.
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 don’t know. After. ANDREA CATE ANDREA CATE ANDREA CATE ANDREA
After we get back. Yeah.
CATE Doing it later is why there’s 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 don’t need this much, do we? We use it all. But we don’t need to. Then stop using it. CATE ANDREA CATE
35. ANDREA CATE ANDREA CATE ANDREA
Ok. Ok what? I’ve stopped. Just now? Yes.
CATE You’ve arbitrarily stopped using all the silverware. now. Yes. ANDREA
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, you’d be going out right now. Cate slams her hands down on the table. I didn’t mean to... ANDREA (CONT’D)
36. Cate sits still for a few moments. Cate? ANDREA (CONT’D) 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. I’m... 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 I’d like to go to the strip. Once this is done. Yeah. Once it’s done. ANDREA CATE We’ll 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. Naki’s phone rings. Hello yes it is oh no i’m sorry yes no no i’m sorry that’s fine thank you for calling NAKI
Naki hangs up. typing.
She goes back to
Reg’s phone rings. REG Hello it shipped two days ago i’m looking at my computer right now it shipped two days ago there’s nothing I can do about that there’s nothing I can do about that no, there’s nothing I can do no no, I’m sorry thank you for calling Reg hands up. He goes back to typing.
Malin’s phone rings. Hello i knew you would call i did I am yes of course I am oh yeah? MALIN
38. MALIN (CONT'D) I have a good imagination you’re so bad yes you are oh I’m the bad one? i suppose you’re 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 can’t wait either bye bye Malin hangs up the phone. back to typing. She goes
Naki’s phone dings with a text message. She takes out her phone and types. Reg’s 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 don’t 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, aren’t I always yes yes fine ok I love you too Reg hangs up the phone. typing. Incoming message sounds. Naki and Malin’s 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 Isn’t 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 That’s 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 don’t want to go Just a few minutes It’s in Chicago Downstairs bar
MALIN I’m not going to Chicago 5:15 NAKI
MALIN I don’t plan that far ahead NAKI If it’s not you, someone else will meet me there You go if you want MALIN
NAKI I don’t know, what do you think I mean I’m not stopping you MALIN
NAKI Ok, if you can’t make it, that’s your thing Fine MALIN
NAKI I’ll 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 (CONT’D) I’m 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 (CONT’D) Well just remember that its your problem and not mine I’m asking you to come I asked you You said no You did so I’m not going to get into revisionist history with you It was two seconds ago Hello It was REG NAKI
REG I told you I wouldn’t call you during the day, I know This is ridiculous NAKI
REG I can’t wait until later NAKI I can’t do this every day REG I just wanted to talk to you I’m at work Hear your voice NAKI REG
NAKI It means I can’t argue with you on the phone all day That’s 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, they’re 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 that’s all I wanted Well that’s up to you Ok bye NAKI REG
NAKI I’m done talking to you now hang up the phone I’m 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 I’m 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 there’s a Bart Starr. GREG That one’s 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 don’t know.
Bale of hay.
44. GREG As if it’s any weirder than making an oil painting. Isn’t it? HOWIE
GREG I don’t know. It’s the media available to him. He knows hay. He’s 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, can’t 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 don’t 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. That’s like a lifetime of commitment. So there’s no one. HOWIE
GREG No one’s springing to mind. HOWIE Cause there’s 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 there’s the Comi-Con crowd. GREG That’s not hay.
That’s 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
HOWIE And this would include the people who name their kid Han or Tardis or Logan or... Spock. Logan? Wolverine’s 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 There’s a love there. A passion for something. Sure, it seems silly to you and me. But they love it. And the ComiCons don’t 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 don’t know - a sports hero. Or fictional characters. When did all of this become... so... prevalent? I don’t 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 don’t think I love anything that much. Greg stops. What d’ya mean? GREG
HOWIE There’s nothing I love that much. I wouldn’t collect anything like that. I wouldn’t make a hay-portrait. I wouldn’t dress up. I wouldn’t name my kid after something or go to a convention of anything. I hate crowds. You’re better off. Am I? GREG HOWIE
GREG You aren’t a slave to your all... consuming love for... whatever. You can do what you want. HOWIE I’m 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... don’t know. Well. HOWIE
GREG You could just pick something.
HOWIE I don’t know what to pick.
47. GREG HOWIE
Anything, really. What do you love?
GREG I don’t 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, let’s go. Ok. HOWIE GREG Greg slowly gets up and drops cash on the table. Howie bolts for the door. HOWIE I’m 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 didn’t defeat him. Certainly not. It’s time. I know that. I know.
49. DANIEL Even so, we can’t 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.
QUIXOTE If you would help, the foe could be defeated. DANIEL No. We talked about that. I’m not doing this. This is your thing. I don’t judge you, and I won’t make fun of you. But I’m not lancing a building to try to slay it. Not happening. Daniel. I don’t believe in it. QUIXOTE DANIEL
QUIXOTE It does not need your belief. It needs your action. I’m not doing it. DANIEL You can’t defeat a foe that doesn’t 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. I’m 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.
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 can’t 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 can’t tell me I don’t. GALAXY JUNE GALAXY JUNE I gave you advice. GALAXY JUNE GALAXY JUNE GALAXY After all this time...
I can’t? 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 That’s what happened.
52. GALAXY He can’t touch you. JUNE
You can be honest now. It wasn’t about him.
GALAXY That’s not how I remember it. MULE (from the ground, not facing them) It’s come to this... Just wait. GALAXY
MULE I’m stuck here with her, and you just run off and leave. He never said that. It’s how I remember it. JUNE GALAXY
JUNE I told him that I loved him. He didn’t believe you. That’s a lie. See? What does he know? I think he would know. GALAXY
MULE I don’t 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 that’s 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 didn’t have there anymore.
MULE It’s 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 you’re gone, and I wonder what I could have said. To convince you to stay. June rises. Stop it. JUNE
GALAXY It’s the truth, I’m telling you. June grabs Mule and turns him. Try it. What? This isn’t fair. JUNE MULE GALAXY
54. JUNE (to Mule) Here’s your chance. Convince me to stay. No. Really? Yes. GALAXY MULE
JUNE I want you to convince me. June turns her back.
JUNE (CONT’D) (to Galaxy) He gets a chance. Not if I don’t 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 hasn’t moved, he freezes. JUNE (to Galaxy) Got that out of your system? You can’t 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. I’m... I’m glad to see you. What brings you back here? JUNE You always knew I’d come back. I hoped. MULE I didn’t always know. June approaches him and puts a hand on his cheek. No. You did. JUNE Mule puts his hand on hers. I’m glad you did. Oh? Yeah. You know that I-No. I can’t stay. Don’t say that. MULE JUNE MULE JUNE MULE JUNE MULE
56. JUNE MULE JUNE MULE JUNE A moment. MULE That’s not a reason, June. They drop their hands. away. JUNE You haven’t changed much around here. No. MULE I never wanted to change it. JUNE MULE June crosses
But I can’t. I don’t believe that. It’s true. Why not? You know why. I can’t.
Can’t stop change. I can try.
JUNE Leads to disappointment. Sure has. MULE
JUNE A fresh coat of paint would help. Oh yeah? MULE
JUNE Doesn’t have to be a new color or anything. color. Just... fresh.
Can be the old
MULE Don’t 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 I’d have stayed, would you have put a new coat of paint up? Yes. I know. MULE JUNE
(a long moment) (to Galaxy) You can’t 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 didn’t notice. Come on. JUNE GALAXY JUNE When he saw I was gone. GALAXY JUNE GALAXY JUNE
GALAXY He didn’t. I promise. Seriously, it’s the truth. He didn’t 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 (CONT’D) He took off his hat. And stared for a moment. He sat on the floor and just stared. I couldn’t look at him, so I don’t know how long he was there. You didn’t talk to him. JUNE
GALAXY Of course not. Why would I talk to him? God. He was so depressing there. Ugh. I didn’t like him when he wasn’t a deflated balloon. Now... JUNE Did you just walk around him? Yep. I can’t believe you. That. Right there. GALAXY JUNE GALAXY Is what he looked like.
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 I’m gonna touch that shit? Hell no. His face. You look at it. JUNE GALAXY I couldn’t. 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. I’m not making that up. GALAXY JUNE
GALAXY I know you think you had to. But I think you... Yes? Doesn’t matter. are. I’m here now. And now you’re here. This is also who I am. Ha. It is. JUNE GALAXY You left. You did that. JUNE GALAXY JUNE GALAXY JUNE
That’s 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 aren’t. Then go down the hall to my room. And out on the fire escape, there I am. I’m there. JUNE
GALAXY June. You are. But we’re gone now. Means nothing to us now. Your good intentions, if that’s 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 couldn’t trust him. You could. GALAXY You just didn’t.
JUNE Can he... can he forgive me? Oh, god, June... Can he? GALAXY JUNE
GALAXY That’s what he’s fucking doing. It is? Yeah. I can’t see it. JUNE GALAXY JUNE
GALAXY That’s the sick shit of it. You’re fucking stabbing him right now. Right now. And he’s on the floor with the knife in his chest, and he’s fucking blessing you. Before you can even pull out the knife and let him bleed to death on the floor. And you still. Can’t. 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)
61. GALAXY JUNE GALAXY JUNE GALAXY JUNE GALAXY JUNE GALAXY JUNE GALAXY JUNE
What? Don’t. Don’t? No. The fuck you care? I care. Really. I do. This how you care? It is. God. Yes.
GALAXY And you don’t 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.
I’m sorry I I had to I never meant I didn’t 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 couldn’t 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 I’ll get out of this town. Hot one. I hate this place. Born and raised. I just want... Air’s not movin’. WADE AL OWEN AL WADE
OWEN Can’t 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 It’s these days. The dog days. sittin’. Just pantin’. I’ll go out west. AL Or north. Can
Sweatin’ standin’ still.
OWEN Not much better’n this bench on a nice warm day. Horizon’s lookin’ dark. WADE
64. AL One of those places, I’ll go. just want to go.
Doesn’t matter anymore.
OWEN Mama’ll be callin’ soon. I’ll go over there for supper. I’ll want something light, but she’ll have beef and potatoes. She don’t know no other way. Can’t blame her. Need some rain. need. WADE It’s 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 cars’s drivin’ down big city roads with a thousand other cars ‘round. Past them tall buildin’s. Musta been goin’ a thousand differnt places. Differnt places fer ‘em all. OWEN After supper, just sittin’ on the front porch. radio. That’s when the cool breeze sets in. WADE Not a stitch of wind all day. OWEN Cool breeze all evenin’. ‘Til bedtime. AL That’s the way it is in magazines, though. Everythin’s all perfect. Probably won’t 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 I’s on the line. I can feel it when the pressure’s risin’. OWEN I’ll head home and the crickets’ll sing me to sleep. lullabye. Where’s the bus? AL Their Maybe the
65. WADE Pressure’s up.
Time to look out.
OWEN Probably rest easy tonight.
So calm. Won’t be able to
AL Maybe we’ll get past the river tonight. sleep on the bus. OWEN I’ll keep the window open tonight. Straighten up the yard.
WADE Tie the swing up.
Clear the porch.
AL They won’t know I’m 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: GARY’S 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 hadn’t been there long. And? There was a woman... Alice. Yes. From reception. WOMAN GARY WOMAN
GARY She... she came by my office area... WOMAN
GARY Yes. She came by my cubicle. never thought of before.
And she asked me something I’d
67. WOMAN Why you didn’t 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 can’t remember. GARY
WOMAN Did you show them to Alice? I really can’t. Did you show-Yes. GARY WOMAN
GARY Yes, that’s why I took them in. WOMAN GARY
To show to Alice.
What is Alice to you? I don’t understand--
68. WOMAN Why do you care what Alice thinks?
What is Alice to you?
GARY I don’t care what Alice thinks. WOMAN You thought enough of what Alice thinks to go home and come back with pictures. Of your family. It wasn’t about Alice. No? GARY WOMAN
GARY No. Once she pointed out that my cubicle looked so empty... it was the first time I’d 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 don’t know. Haven’t thought about it. about Alice. It was about the emptiness. Right. WOMAN It wasn’t
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 didn’t take that one in until later. WOMAN Six.
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. Don’t. 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
71. GARY WOMAN GARY WOMAN
But after a while... Yes. They asked about... Yes.
GARY Why didn’t you come to company events? Why didn’t you ever call in? Why hadn’t anyone ever met you? Why? WOMAN
GARY I couldn’t 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 don’t know.
WOMAN You couldn’t tell them the truth? A long silence. GARY (to the child) Don’t you have someplace to be? WOMAN (to the child) Stay where you are. (to Gary) You don’t get out that easy. You call this easy? GARY Silence. What else? WOMAN
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. didn’t say much about those. All those vacations.
Lots of those.
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 wouldn’t want to take bikini shots of you into work with me. No? You ashamed of me? bikini? It’s not that. Then what? You know. I do. WOMAN You think I wouldn’t look good in a GARY WOMAN GARY WOMAN She crosses away. GARY I never meant to hurt you. No. You didn’t. WOMAN
GARY And it wasn’t out of any kind of malice. really wasn’t. I know.
Or ill will.
WOMAN Hey, it doesn’t really matter to me. GARY WOMAN What do I care? GARY
It doesn’t. No. Not really.
What do you care?
WOMAN No. It’s just... pictures. Right? is it?
It isn’t anything else,
74. GARY WOMAN So what do I care? GARY
No. No. Right.
Thought you’d care. Not me. Who? Them.
WOMAN I’m not the one who’d 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 didn’t lie. Like hell you didn’t.
Is all a lie.
WOMAN (CONT’D) GARY
I know it is.
WOMAN And it has nothing to do with me. (beat) You told them lies. I didn’t 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 didn’t 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 It’s not an actual Christmas card. It’s the photo from one. It was for just our family. That’s why I didn’t send them to anyone at work. That’s why? I... You’re a liar. I’m leaving. WOMAN GARY WOMAN (she backs off) GARY I’ll fix this. WOMAN GARY You just can’t.
No! No. Wait. You can’t go. No? No. You can’t.
WOMAN I’ve had enough of this. GARY You think I haven’t had enough of this? WOMAN You brought this on yourself.
76. GARY Don’t you think I know that?! There’s nothing I can do now. I’m stuck with this. We’re stuck with it. We are. You can’t go. Woman turns to go. GARY (CONT’D) You’re not going anywhere. (beat) Can’t you see? We have a child. What? Look. We don’t have a child. We do. WOMAN GARY WOMAN GARY Gary pulls a picture out of his pocket. He puts it on the table. GARY (CONT’D) Now, you can think what you want of me. I know you don’t love me. You don’t respect me. You blame me for all of this. And that may be true. But I’ll tell you something else that’s true. You couldn’t leave if you absolutely hated me. Because I made you. You’re 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. It’s the next logical step. The child reaches out to Woman. I don’t believe you. WOMAN
GARY You can see for yourself. WOMAN So I’m 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 won’t ask too many questions. It actually works better. She reaches out and touches the child. Aw... GARY (CONT’D)
(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 I’m a woman cobbled together from other pictures and processed to make me look the same. You’ve 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 didn’t say that. But it’s true. No. It’s not. that you’d... 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 Doesn’t have to be perfect. But I want it to be. Never mattered before. Now it does. It’s all a game. A game. Yes. Then I want to win. Khandi. KHANDI ED KHANDI ED KHANDI ED KHANDI ED
KHANDI I’m going to do what I can, at least. He’ll never care. You don’t know that. He as much as told me. ED KHANDI ED
KHANDI So he didn’t actually tell you.
KHANDI You know I can’t do that. Ed rises. ED I’ve already apologized, dear. forever. Ed. I don’t regret it. I’m not asking you to. That’s a relief. KHANDI ED KHANDI ED Ed crosses away - out of the scene. PAUL I think this shirt makes me look stupid. KHANDI I’m not arguing with you. You bought it. We all make mistakes. Christmas. PAUL KHANDI I won’t be held over the fire
PAUL Two years ago.
KHANDI I can’t be held responsible for a gift I gave you two years ago. Who should be? Paul. Don’t. PAUL KHANDI PAUL It’s not worth it.
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 it’s a deadline I gave myself, then I grant myself an extension. I’m quite reasonable about it. If it’s from someone else, I tell them, “You can’t 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 doesn’t 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? It’s Thursday. Oh, yes. Right. KHANDI PAUL KHANDI PAUL I have to meet Ed.
Some of us have
PAUL You’ll be all right, won’t 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 He’s more formal now. Stricter upbringing.
PAUL It’s 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. She’s 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 doesn’t believe it changes him. Come on, you know her.
(beat) When did you call her? What? Ed. I didn’t. I didn’t. ED PAUL ED
PAUL You knew she’d changed Jim to James. I saw her. At? ED PAUL
ED At the... the coffee... place. PAUL You said you wouldn’t call her. Paul. ED
PAUL If you don’t give her room, I swear to god. Come on. ED I didn’t call her. PAUL I didn’t.
I’m telling you.
ED I heard you. I’m not doing anything. I’m leaving her alone.
I didn’t call her.
PAUL You don’t go to the coffee shop on Northside. I was there. Oh god. ED I was there already. PAUL With Andrea.
84. ED She didn’t say a thing about it. PAUL ED
She was fine. Ed.
I didn’t do anything.
PAUL You know she’s gonna show up at Northside. ED I don’t know that. I can’t assume... she doesn’t own Northside. She didn’t get it in the breakup. That’s 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. It’s not a big deal. KHANDI
PAUL A publishing contract is a big deal. deal.
Losing one is a bigger
KHANDI You’ve had them and lost them and gotten another one. This is how I know. PAUL
KHANDI There’s nothing I can do, ok? 3 months. Nothing. I changed Jim to James. Find and replace. This is not writing. This is not rewriting. It’s a keystroke. A shortcut. But it doesn’t change as much as you hope it will. He didn’t deserve you. PAUL
85. KHANDI So I tell Hank at Goldman. The truth. And he says he can’t keep me on. And I know he can’t. That’s the reality. Did you hear me? No. What did you say? PAUL KHANDI
PAUL I said he didn’t deserve you. I know that, Paul. KHANDI He didn’t deserve himself. Khandi steps from Paul toward Ed. (to Ed) Mind if I join you? Huh? Yeah, sure. KHANDI (CONT’D)
ED I mean, no, I don’t mind. She sits on the floor. hand. Extends her
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 don’t normally just waltz up to strangers and sit down on the ground with them. (beat) It’s usually in a bar. She looks around. Looking for something? ED
86. KHANDI Ed looks around. Who? Ex-boyfriend. Oh. ED KHANDI ED
KHANDI I broke up with him about 3 minutes ago. ED (nervously) KHANDI Just desperate and crying. ED
Oh. He’s harmless. than anything. Ah.
KHANDI I’m 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. It’s a sunset. ED Sun’s 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 Ed’s 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 can’t handle disagreement. PAUL You can’t handle disagreement. ED I’m 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 didn’t have to happen. ED No. I bet if she would have written something, they might have kept her. You think? PAUL
ED That’s generally how it works. PAUL What about the other times? The not-generally.
ED It always works that way, Paul. That’s the reality. It certainly is. PAUL ED Ed gets out from underneath Khandi. Certainly is. ED (CONT’D)
88. Ed crosses away. Paul comes in to Khandi. Oh god.... (groggy) PAUL KHANDI
PAUL You’re on the street.
KHANDI That would explain the car horns. PAUL No, you’re on the sidewalk. Oh, yeah? Hm. You feel asleep out here.
KHANDI I couldn’t sleep. Paul starts to help her up.
PAUL Well, I have to disagree with you, there. No. Up there. fine. I noticed. KHANDI I couldn’t sleep up there. Down here is
PAUL Let’s get you upstairs. KHANDI PAUL
He’s such a.... Who? Dammit.
KHANDI I just can’t... She buries her face in her hands, begins to cry.
PAUL Oh, Khandi. Let’s not do this here, ok? Let’s go upstairs. I really don’t 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 You’re going to make me sit on the sidewalk in my new pants, aren’t you? No. No no no no. covered. KHANDI Just stand there. I got down here
PAUL I can’t just stand here, Khandi. They’re looking at me.
People are looking at me.
KHANDI Look at ‘em looking at me...
PAUL No, they’re looking at me. They think I’m the reason you’re crying. They’re calling the cops. KHANDI They’re 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
He’s such a
KHANDI Why’s he such a coward, Paul? I don’t know. PAUL
90. KHANDI He... he... he left. He just left. stuff. He just left.
Didn’t even take his
PAUL He didn’t have any stuff. It’s all your stuff. KHANDI It is. It is my stuff. Well, that’s 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 don’t think you understand. Not once. Your own fault. Not likely. You never read it. It. You never read it. She wouldn’t let me. What did she say? ED PAUL ED PAUL ED PAUL ED PAUL
ED She said don’t read it. She’d get upset if she thought I’d snuck in and read it. She actually burned pages she thought I’d read. Burned them. One time. And I hadn’t. No? PAUL ED PAUL
92. ED I had like two seconds to read it. PAUL You didn’t 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 I’m sure is long gone. burned down the garden. (beat) We going to play or not? Ed tosses Paul a racquet. Sure. I’ll 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) You’re going to be fine. I don’t like this. LANG
MR. TINSLE No one does. It’s the reality of the marketplace. to do this kind of thing to draw an audience. LANG I don’t even know what I just said.
MR. TINSLE Well, I wouldn’t have said that thing about your co-stars. Hard to back track on that kind of thing. LANG I’m just telling the truth. MR. TINSLE That’s not something that’s necessary here. Telling the truth. No. LANG
MR. TINSLE We’re here to tell a version of the truth. LANG
You mean lie.
MR. TINSLE I don’t only mean lie. I mean, tell the truth that helps, and what doesn’t, keep mum. That’s your advice? LANG
94. MR. TINSLE You don’t like doing this. But it’s my job. I’m here every night. You don’t 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 He’ll point at me when there’s 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 aren’t going to like it. I’m listening. LANG
MR. TINSLE I hate your film. It’s lousy. I know I know. There’s 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 you’ve 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 we’re 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 can’t 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 (CONT’D) Now, when I ask you about your director, you’ll say what a joy it was to work with someone “so professional”. And if you’re smart, you’ll say something about the great producers. They’re 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 L’HEURE Two women sit on the same side of a tiny table in a French cafe. You can’t be serious. I certainly am. I do not believe you. ANGELLE PATRICE ANGELLE
PATRICE You can’t expect a man to-I certainly can. ANGELLE Patrice. What you
PATRICE Honestly, it’s like you don’t 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? I’m not sure. PATRICE
ANGELLE How many times have you seen him? Twice. Twice. Yes. PATRICE ANGELLE PATRICE
ANGELLE He’s been twice, and the second time he sees me, he... and you believe him. I’ve seen him twice. PATRICE Only once were you working.
PATRICE I’ve 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 doesn’t. 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.
PATRICE Pouty. But certain.
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 don’t 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. That’s her business. You don’t even swing. ANGELLE Circus monkey. PATRICE
ANGELLE I’m just trying to keep from falling off. Honestly. swing because I’m afraid. That look is terror.
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...
He’s serious, you know. I don’t know.
ANGELLE You don’t know.
I don’t 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 doesn’t 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 don’t get to talk to them like I do. But I have eyes. You don’t listen. Patrice. ANGELLE PATRICE ANGELLE
PATRICE Angelle, he is a good man. I’m 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 don’t say. PATRICE A moment. ANGELLE This is my life, Patrice. And it is mine. PATRICE I don’t 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? It’s not an--Would you? In half a moment. ANGELLE PATRICE ANGELLE PATRICE A silence. Angelle’s 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 (CONT’D) 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 isn’t? You know what I-I couldn’t. WALT ANDI
WALT Couldn’t just let it happen. ANDI WALT ANDI WALT
I don’t see why not. Yes you do. I’m moving out. So you said.
ANDI You aren’t going to stop me. Andi-WALT
ANDI Please stop talking. (beat) I’m 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 aren’t talking me out of this. Is that why I’m here? Why else? Yes. Indeed. WALT ANDI WALT
ANDI We’ve talked over everything. I can’t live with you. I don’t even like you anymore. And I don’t myself when I’m with you. Who I am when I live with you. So I’m going. WALT And my opinion means nothing. ANDI Never said that. But your opinion doesn’t trump mine. (beat) Walt-I want you to stay. My stuff’s in boxes. But they’re still here. WALT ANDI WALT
ANDI My dad’s bringing the station wagon. He is. WALT
(beat) He’ll never get that chair in there. He will. ANDI
WALT Not with all these boxes. ANDI That’s how it came here. That was years ago. WALT
104. ANDI It’s the same station wagon. Fine. WALT It can stay if it won’t fit.
ANDI If it won’t fit, I’ll leave it on the curb. Fitting. WALT
ANDI I’m not hauling it all the way back up here. Walt looks around. Leave me anything? What’s yours. So, nothing. Just about. Sure. WALT ANDI WALT ANDI WALT
(beat) You want the rug? No. It’s a good rug. ANDI WALT
ANDI It belongs in this room. I know it. I don’t 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) When’s 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 don’t know-WALT ANDI WALT ANDI
106. WALT Andi. I don’t care. ANDI WALT And I don’t care. ANDI WALT
And I don’t care. You’re lying. I’m not. I know.
Good for you. You don’t have to go.
ANDI I told you why I’m going. WALT I told you that I know why you’re 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
107. WALT ANDI WALT ANDI WALT
Stories. Fiction. Fact. Evidence. Indisputable. I saw you.
(beat) With him. (beat) You moving up to the park? That’s 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 I’m doing. ANDI A moment. Walt gets back up. WALT You... need any help moving boxes down? able to do it? He’s... ANDI Or will your dad be
108. WALT I don’t 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) I’m not asking you to go. Leave the chair if you want.
A buzzer rings. My ride. ANDI Andi crosses to the door. Walt’s 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. Couldn’t have been much more than six at the time. No, that’s not right. So young. My father was such a handsome man. Was his whole life. I asked him once why he never remarried. I don’t 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 he’d motion to me to stop pounding on the window, but I usually didn’t. I couldn’t help myself. Looking back, we were lucky the glass didn’t 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. I’m sorry. DREW
110. HAILEY DREW HAILEY It’s stupid.
Not your fault. I know. Then don’t apologize.
DREW I don’t 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 wasn’t jerry-rigged or pieces-parts, but it all worked. When we needed it. We have to stop. Hailey... HAILEY DREW
HAILEY I can’t go through this anymore. DREW I’m sor-- I know it’s hard. Oh, really. It’s hard for me, too. HAILEY DREW
HAILEY Well, gosh, Drew, I didn’t realize you were having such a hard time. Hailey... DREW
HAILEY I mean with all the hormones you’ve been shooting into your body, and all the doctor’s appointments--
HAILEY I didn’t realize how hard it would be on you. DREW Beating me up doesn’t make it better. HAILEY Don’t act like we’re going through the same thing. DREW Don’t act like you’re alone. Seriously. HAILEY You’re going to get mad at me.
DREW Only if you try to shut me out. (beat) I’m not, and I would never, try to suggest that we’re going through the same thing. But this isn’t easy for me, either. I’m so sorry, Drew. HAILEY How can I make it better for you? A moment. GLYNNE I’m sure that we went through times... I’m sure we did. just don’t remember them. I don’t 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 I’m not sure. HAILEY I
DREW We aren’t out of options. I know. We could... adopt. HAILEY DREW
HAILEY I don’t want to talk about this.
We can keep trying.
HAILEY I don’t want to talk about it. Ok. DREW Glynne reaches forward and touches the window, near Hailey’s face. GLYNNE I’d press my face up against the glass, and strain to see my father coming up the street. Walking with his lunch pail. HAILEY I don’t want to talk about anything. What can I do? You can be there. DREW HAILEY Or here. Which ever. Drew steps forward. Ok. But don’t talk. Ok. DREW HAILEY I can’t... 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 That’s 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 Drew’s. Her hand
Hailey slides her hand over, and put her hand under Drew’s hand. He holds her hand firm. GLYNNE (CONT’D) 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 know. I love you.
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) I’m going to take a picture. Leighton gets a very old style camera out of his pack. LEIGHTON (CONT’D) You ever take a picture from up here? No. MOON
LEIGHTON Suppose you come up here all the time. Often enough. MOON
LEIGHTON I don’t expect I’ll be back this way any time soon. Yes sir. MOON Expect that’s true. LEIGHTON
(points) Now, which is that one? What is what? That mountain.
MOON LEIGHTON Which sister is that one? MOON
What’s it’s name?
That’s Baron’s Peak. Baron’s.
LEIGHTON Not much of a feminine name, is it?
LEIGHTON I thought they were the three sisters. can see from up here. That’s not-MOON
The three peaks you
LEIGHTON Guy told me the story at the tavern. Leake’s. I admit, I’d 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.
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 don’t know which one’s which. You haven’t heard this story? MOON Not the way you tell it. (beat) Go on. LEIGHTON That’s all I know, really. I don’t even know how long ago this was. If they’re still alive, or what. Expect they ain’t. Why’s that? MOON LEIGHTON
MOON Name something that big after a person. die. Really? Expect. LEIGHTON MOON
Usually after they
116. LEIGHTON Unless you’re the person to discover something. named after you then.
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 I’ll 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, I’ll remember being up on the top of this mountain. With you. With me. MOON
(beat) You’ve never been on this mountain before. Of course not. LEIGHTON
(looks at Moon) What are you getting at? MOON You’ve been on this mountain before. Of course I haven’t. LEIGHTON I don’t understand... Moon rushes forward and punches him in the face. Moon stands over Leighton on the ground. I’ve seen you. My god. What are you-MOON LEIGHTON
117. Moon backhands Leighton. I know you. MOON Moon crosses away to the camera. LEIGHTON I’m the man who hired you to lead me up onto this mountain. MOON You’re the man I’m 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 I’ve never met your sisters. MOON They aren’t 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 I’ve never been here in my life. I know that’s not true. Who is Sarah? MOON I saw you. LEIGHTON With Sarah.
118. MOON My dead sister. The first one that died. She wasn’t 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 didn’t 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 wasn’t me, I swear. Don’t! Don’t swear.
(beat) I’m sorry... about your sisters. You should be. MOON
LEIGHTON But I didn’t 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 don’t need to ask him. He’s told me everything I need to know. (beat) He’s already dead. Albert. LEIGHTON
MOON You gonna cry for him? (beat) You can, you know. I cried for Sarah. Elizabeth. LEIGHTON
119. MOON Wasn’t a month from Sarah. This time people knew there was something fishy. Wasn’t 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 don’t need to. MOON
LEIGHTON That’s not evidence. (Moon glares at him) I had nothing to do with this. MOON We didn’t know about Minnie until her horse came back into town without her. Blood on the horse. Followed the trail back up to this mountain. That’s where I found them. Bodies all mangled and eaten up by vultures. Like they’d 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 don’t know how you think I’m 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 don’t have any more sisters. (beat) But I thank you for doing me a favor. Moon rises. Wait. I don’t 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 Moon’s leg; he drops. Leighton disarms him. Just let me
121. Leighton strips his coat, flips it, and uses it as a rope around Moon’s neck. LEIGHTON (CONT’D) 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. I’d say, Elizabeth more than the other two. But it’s so much more than... lust... or desire. Something foolish like that. Moon is struggling heavily. head-butts him. Leighton
LEIGHTON (CONT’D) It’s too bad your father died before I could get to him. vengeance 4 times over... can be sweet as well. Moon stops completely.
Leighton lets up. He stands and goes to the camera. He changes the plate. Leighton photographs Moon laying on the ground. Framed. LEIGHTON (CONT’D) 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 (CONT’D) He spits down the hill. He takes the camera, and the knife. Leighton exits. Lights down.
122. PLAY EIGHTEEN: CHRISTMAS CARD I’ve gotten a card. TOM
BETTY I’ve forgotten your birthday No. TOM
BETTY I don’t remember sending you a card. It’s not my birthday. I’m sorry. TOM BETTY
TOM You didn’t forget my birthday. BETTY Then I accept your apology. TOM I didn’t... here is my card. Beautiful. Calm down. BETTY TOM It’s just a card. BETTY Look at it. Sparkles and all.
You brought it up.
TOM There’s no sparkles on it. Still. BETTY
TOM You think it’s still sparkley. BETTY Not sparkley, just beautiful. Thank you. TOM
123. BETTY So I did give it to you. No, you didn’t. 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 don’t 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. It’s not about your birthday. You didn’t make it. I didn’t 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 it’s 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 didn’t. Your mother. Yes. TOM It’s from my mother. BETTY TOM
BETTY Oh good. She told me she was sending a card.
BETTY Can’t 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. I’ll go and look. BETTY TOM BETTY TOM
BETTY I hope he comes back soon. (beat) And that there’s a card.
126. PLAY NINETEEN: ONE THING I’M SURE OF Two people around a small fountain. I put it in there. In the fountain. Yes. GRACE TERRY GRACE
TERRY I wish you hadn’t done that. Me too. GRACE
TERRY I wanted you to have it. I know. GRACE
(beat) That’s why I had to get rid of it. Wasn’t cheap, you know. I know. TERRY
GRACE But I couldn’t keep it. TERRY GRACE TERRY
You know that.
I had to ask. You didn’t have to. I did.
(beat) He was going to ask you. (beat) I already knew about him. You knew I’d say no.
I couldn’t let that happen.
TERRY And that you’d say no to him as well. (beat) You’re welcome.
127. Terry walks away. Powell is downstage. You look lovely. I just got off of work. It’s becoming. POWELL GRACE POWELL
GRACE I feel like I’m covered in kitchen grease. (beat) You’ll 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 it’s over. GRACE POWELL
GRACE I never wanted it to be over.
128. POWELL But when it is, it’s 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! Don’t shout at me. TERRY POWELL It’s rude.
TERRY I’m just happy to see you. It’s an uncontrollable enthusiasm. Find some control. You seem anxious. I’m sure I do. Already. This morning. Open this early. POWELL TERRY
POWELL I’ve 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. She’s 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 haven’t opened it. I don’t 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 I’ll let you know what she says. Powell. Don’t 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
It’s right there.
TERRY The guy from the bookstore. GRACE The guy from the pharmacy. TERRY You don’t want to see the guy from the pharmacy again. I certainly do. GRACE
TERRY You met him at a pharmacy. That’s a terrible story. GRACE Nothing wrong with a pharmacy. TERRY There is nothing wrong with a pharmacy. It’s 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 He’s at the pharmacy for athlete’s foot creme. You don’t know that. GRACE
TERRY Some embarrassing prescription. pressure. That’s not so bad. GRACE
Or he’s got high blood
TERRY He’s going to die at any moment.
131. GRACE TERRY
I saw him again today. So you said. He’s nice.
GRACE Don’t be like that. TERRY I just don’t like guys who meet girls
I’m not like anything. in pharmacies.
GRACE Now that I think about it, I can’t remember why we broke up. TERRY Your delicious home-made cooking. Terry takes a bite. We’re going to dinner. We’re eating right now. Powell and I. GRACE TERRY
TERRY So we can still eat this food now. Yes. Good. GRACE TERRY Terry takes another bite. GRACE I’ve always hated that you do this to me. TERRY You’ve already dumped me. GRACE You’d think you’d have learned your lesson. Then nothing will. TERRY
132. GRACE You’ve always been sure of yourself, Terry. It’s a curse. For all of us. TERRY GRACE
TERRY (sarcasm) I’ve said something naughty. That’s not my job. GRACE
I should be punished.
TERRY And it’s not my job to support your excursions with pharmaceutical patrons. You do what you have to do. My opinion means nothing. One thing I’m 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 hasn’t. It has. In it’s 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 don’t want me to. Of course. POWELL Perhaps
GRACE I didn’t 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.
TERRY I can’t promise anything. I can. GRACE Grace embraces Terry from behind. Terry takes the ring and puts it on Grace’s finger. A moment. Lights out.
135. PLAY TWENTY: JOKES AND INSULTS Two friends. The joke didn’t work. It did. ROB CARL
ROB You blew the punch line. I didn’t. CARL I said it right.
ROB You quoted the wrong cartoon. CARL I said Yabba Dabba Doo, not Scooby Dooby Doo. I know. ROB That’s the wrong cartoon.
CARL I meant the other way around. ROB I know you meant it, I’ve 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 doesn’t mean anything.
Neither did your joke.
CARL I didn’t mean anything by it.
Neither did she.
ROB So it’s my fault, for being insulted. No. CARL Rob crosses away. Martina is there. Give him some time. He’s had four days. A little more. CARL (CONT’D) MARTINA CARL
MARTINA I’ve had enough of this. Martina. Don’t. CARL
MARTINA He’s not being reasonable. I agree. CARL But I’m not sure he needs to be reasonable. MARTINA
I don’t understand you.
CARL I’m just saying that he needs time. Time he can have. Don’t say that. I mean it, Carl. Really. MARTINA All the time in the world. CARL MARTINA I don’t want to hear from him again. CARL
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 doesn’t deserve you. Rob’s being an idiot. I mean Carl. I don’t love Carl. I know that. JENNY MARTINA JENNY MARTINA
JENNY I don’t think you know that. MARTINA
Rob will be back.
JENNY You’ve said that six times now. He will. Seven. He will. MARTINA JENNY MARTINA
JENNY You’re not convincing me. I hope you’re 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 I’m waiting for Rob to come home to me. Sure. JENNY Martina exits. I’m not going back. ROB
JENNY You’re 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 weren’t the only one. Stupid kids. JENNY
ROB You can’t out-think their stupidity. You can try. You can. I’m not in the mood. JENNY Make amends. ROB JENNY
139. ROB It’s 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. I’m apologizing. You’re good at it. I’ve 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 it’s not my fault. JENNY CARL JENNY
140. CARL She deserved to know from someone other than you. JENNY I’m the perfect person to tell her. You are not perfect. For this job, I am. CARL JENNY
CARL You shouldn’t have done it. I’m sorry. Good. No. JENNY CARL
JENNY I’m sorry that I kissed you. Jenny crosses away, leaving Carl. Martina walks up to Rob.
You came back. That I did. I don’t understand. Well, I was gone. Simple. I shouldn’t have gone. I know. I won’t do it again. I’m glad.
MARTINA ROB MARTINA
ROB Then I wasn’t. 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 don’t remember when it was, when it could have been, but I know it was, and I know that it’s long past. IRIS But I don’t think that when I said it this was what I meant. RED And there’s 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. It’s 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 I’m 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. It’s 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 you’re going to say. I doubt that very much. I can’t. That’s your conclusion. SNOW RED SNOW
RED I have thought about it. A great deal. SNOW You’ve thought about consequences. possibilities. I’ve thought of both. I’ve 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 can’t live without her. She doesn’t love you. I know. SNOW RED
I’ve never lied to you. Lied? Yes. I wouldn’t know. Exactly.
SNOW It’s nothing to do with you. I said I know. I’m trying to help you. I know. RED SNOW RED
SNOW She wants something that she assumes you don’t have. can’t change that. RED That has nothing to do with me.
145. SNOW Right here. I already am.
You’ll 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 it’s like? I can. RED A moment. It’s not what I think. No. IRIS RED
IRIS It’s not made of crayon lines. No. RED
IRIS It won’t make me feel what I want to feel when I see it. That’s 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 Red’s shoulder. You really are blind. How could I have seen? SNOW IRIS
SNOW You could have looked at the things around you. have tried to notice them. I did look. IRIS I noticed things.
SNOW But not what you said you were looking for. I didn’t see it. Had you ever seen it? No. IRIS SNOW IRIS
SNOW So you didn’t know what it looked like. No. IRIS
SNOW How could you know you hadn’t seen it? IRIS I was sure that I would know. Iris. I know now. I’m 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 (CONT’D) 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. Don’t leave me here. RED
SNOW We’ve known each other a long time. RED I know you’re 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. It’s not so bad. I don’t like to sweat. I got used to it. You sweat a lot. Yeah. I don’t like to sweat. So sit down. I did. LONNY VICTOR LONNY VICTOR LONNY VICTOR LONNY VICTOR
LONNY I’m just sitting here sweating.
Too damn hot.
VICTOR Crying about it won’t help you. I’m not crying. You know what I mean. LONNY VICTOR
LONNY You don’t see any tears over here. No. VICTOR
LONNY If you did, you couldn’t tell them from all the sweat, it’s so damn hot. Lonny looks out the window.
149. VICTOR He’s on his way. LONNY VICTOR LONNY
Just sit down.
Said that an hour ago. He’s still on the way. It ain’t that far.
VICTOR It is if you’re coming from the springs. From the springs. Yeah. LONNY VICTOR
LONNY He’s coming from the springs. That’s what I said. You’re lying. VICTOR LONNY
VICTOR I have no motive to lie to you right now. He’s on his way. He’s coming from the springs. He’s really friggin’ pissed off. So you being twitchy all of a sudden’s not gonna help. Damn. Sit down. I can’t, now. LONNY VICTOR LONNY He’s coming from the springs.
VICTOR That ain’t always bad news. It ain’t. No. LONNY VICTOR
150. LONNY VICTOR Little Mikey.
You’re right. You remember Mikey. Connie’s brother.
LONNY Yeah. Yeah, I remember.
VICTOR Good news out of the springs. Little Mikey’s out. I know that. The docks. Yeah. LONNY
VICTOR But it wasn’t the springs. LONNY
VICTOR So stop worryin’.
LONNY I can’t help it, Victor. You gotta sit down. You talk to him. I have. He’s still pissed. VICTOR Sit. LONNY VICTOR LONNY
VICTOR You can’t expect the man not to be pissed. It wasn’t on purpose. LONNY
VICTOR The hell’s it matter, Lonny. On purpose. I know. Sit down. LONNY VICTOR
151. LONNY VICTOR Lonny sits. VICTOR (CONT’D) There’s only one play here, Lon. You tell it to me. I don’t think I can-This is it. The play. LONNY VICTOR
LONNY She told me not to tell you. She did. VICTOR
LONNY I’m 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... you’re sitting here, and she’s at home. In bed. With Anthony. That’s her husband. Tell me a story, Lonny. know. LONNY VICTOR I promise you that she won’t ever
LONNY You’ll 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 she’s not his girl. Anthony. Yeah. LONNY She’s 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 Didn’t mean anything to you. That’s different. LONNY She’s in love with me. You’re the biggest
VICTOR I mean this will all my heart, Lonny. moron I’ve ever seen.
Victor walks away. LONNY I didn’t tell you the story. VICTOR I don’t want to hear nothing I can’t repeat. LONNY Better off not knowing I suppose. That’s right. VICTOR Victor is at the door. LONNY Then I guess knowing where the case went is what you don’t want to hear.
153. Victor stops. Name your price. We’ll get to that. Parched. Yeah. The heat. VICTOR LONNY First. I’m 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 (CONT’D) VICTOR
LONNY I have a better idea. You’re 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. I’ve never seen it fail you. Wisdom is always... rewarding. VICTOR He’s gonna be here any minute.
154. LONNY And that’s why you’re 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 (CONT’D) I wouldn’t if I were you. Victor slowly pulls out a handkerchief. Wipes his brow. It’s the heat. VICTOR
LONNY I’m 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 don’t think I will, just yet.
VICTOR If I don’t leave, it won’t have been worth me staying. LONNY But I know you won’t 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. He’s getting out of the car right now. Victor takes a moment. pistol. He takes out a
Lonny turns back to Victor.
155. LONNY (CONT’D) Victor shoots Lonny in the arm. Lonny falls to the ground. Victor... LONNY (CONT’D) 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 won’t. VICTOR
LONNY You gotta protect me, Vic. VICTOR We’re both dead men, Lonny. LONNY That’s why I kept you here. Victor pauses. handkerchief. Thanks, Vic. LONNY (CONT’D) 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 didn’t 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. Let’s go. VICTOR RIPLEY Too hot in here. VICTOR Ripley notices Lonny. He’s done already. Yeah. You couldn’t wait. I knew. Sad. RIPLEY VICTOR RIPLEY You knew I was on the way. VICTOR RIPLEY
That won’t 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 didn’t say a word. Vic. Yeah.
RIPLEY You know something I don’t. He never fit in. I know. VICTOR
RIPLEY Doesn’t mean I won’t miss him. VICTOR Victor finishes cleaning the gun. drops it near Lonny’s body. He
You’re all heart.
I do my best. Let’s 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 don’t want to be here. You can go at any time. You know why I’m here. I do. THOMAS LINK THOMAS
LINK So you know I can’t just go. Look... I’m lookin’. THOMAS LINK Link goes to the window. THOMAS I don’t have what you need. I know. Then why come? LINK THOMAS
LINK It’s the principle of the thing. The principle. THOMAS
LINK Honor among... you know. I do. THOMAS
159. LINK I’m not gonna lie to you... That’s wise. Don’t be smart. I’m sorry. THOMAS LINK THOMAS
LINK You know I’m not here by mistake. This is real, now, you understand? I’m not here by mistake. So you said. Good. THOMAS LINK
THOMAS You... you don’t think the neighborhood’s gonna stand for this, do you? Stand for. They’ll be outraged. Damn right. LINK THOMAS LINK
THOMAS You come in here, you threaten me, you-LINK Threaten. You’re misunderstanding all this. threatening you. I feel threatened. THOMAS I’m not
LINK No. I’m gonna break your legs. That’s what’s happening here.
This ain’t no threat.
THOMAS You see, it’s statements like that--
160. LINK The threat happened a long time ago. When you were told that if you don’t pay your debts, the debts you accrued, your legs’d get broke. You welched. That’s why I’m here. THOMAS I can’t argue with that. LINK And they said you wasn’t a smart man. (beat) And as for the neighborhood... They’ll 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 they’ll be outraged by me? want to hear what you’ve done? A moment. THOMAS So how does this happen? An eager man. LINK I like that. THOMAS
How about by you?
Not exactly eager...
LINK No, I read ya. What I’ll do is this. I’ll 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. That’s not my way. THOMAS I’m glad you’ve thought this through. I do my best. Good. LINK THOMAS
You need a minute?
THOMAS If I can have one, I’d 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 (CONT’D) LINK THOMAS Oh my...
LINK You go ahead. Let it out. I ain’t tellin’ anybody. Someone blows your knee out, you let out a swear word. You ain’t 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. Wouldn’t curse, ever, just like his mom’s following him around. But-(snaps) And the stuff pouring out of his mouth... Call a doctor. THOMAS Link opens the book. LINK That’s not really what I’m here for. (beat) You ever read this whole thing? Nah. THOMAS ... yah... that’s kinda... what I do... I’ve read it. LINK Most of it.
162. THOMAS LINK
Oh yeah? Sure.
THOMAS I’ve 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 I’ve been here every week. Two years. Why haven’t I seen you? Exactly. THOMAS LINK
THOMAS That’s what you think of me.
163. LINK You’ve given me no reason to think otherwise. That I’ve been here for two years and you didn’t know. And that I’m 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 don’t think I can do that. Father... LINK
THOMAS I can’t do it if I know what you’re 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. It’s fine. THOMAS LINK
THOMAS It’s fine. Link kneels down on the floor.
LINK Forgive me Father, for I have sinned. since my last confession... Lights dim. End.
It’s been three weeks
164. PLAY TWENTY FOUR: MEANT A LOT TO ME ANDREA I know you’ve meant a lot to me for a long time. JASON You mean that you’ve meant a lot to me. I don’t mean that. I think you-ANDREA JASON
ANDREA But I’m telling you this now, and after I do, I don’t want to hear anything else from you-JASON You are the worst at this. I’m doing my best. And it’s just sad. (beat) I’m broken up with. (beat) That’s fine. ANDREA JASON
ANDREA I knew you wouldn’t care. JASON You could have just emailed me. ANDREA That’s why I’m doing this and not you. (beat) I don’t want to see you again. You won’t. Good. JASON ANDREA A moment. You’ll miss me. JASON
165. ANDREA Jason turns and goes. Jason spots Dean. Jason. You’re here. I am. She called you. No. Well, it’s 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... doesn’t matter. What did he said. DEAN ANDREA DEAN
ANDREA He said something.
166. DEAN No. I misunderstood something he said. I’m just playing it back in my head right now, and I finally heard what he meant I think. I don’t understand. Doesn’t matter. (beat) So what’s the problem? You called me. I didn’t. ANDREA DEAN
DEAN You emailed me.
ANDREA I haven’t been online all day. (beat) You think I’ve been hacked? DEAN A hacker broke into your email and asked me to come over. I don’t 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 didn’t 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 wouldn’t. Apparently she would. You’d better go. ANDREA DEAN ANDREA Dean crosses away. Melanie sits in the chair. You’ve 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, you’re going crazy. Dean loves you. MELANIE You think I don’t know that. ANDREA I don’t know why you’re interrogating me. Neither do I. MELANIE
(beat) Jason’s 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 didn’t misunderstand. I know. I’ll let myself out. Ok. MELANIE ANDREA MELANIE ANDREA Andrea exits. Jason enters with two drinks. Bartender’s a moron. JASON
169. MELANIE JASON He doubled our drinks. MELANIE JASON Jason drinks. MELANIE I’m sorry about yesterday. Not your fault. It was. JASON
He’s a friend. Your friend’s a moron. He did. Yep.
MELANIE I should have-Wasn’t your
JASON No. You shouldn’t have. Wasn’t your business. place to tell Andrea. MELANIE Then what wasn’t my fault. JASON Dean backed you into a corner. MELANIE He didn’t back me into a corner. Certainly did. No. Almost literally. It wasn’t about him. He put you up to it. JASON MELANIE JASON MELANIE JASON
MELANIE I knew you’d think that, that’s why I’m here.
Why is that?
MELANIE I need you to leave him alone. Me? Leave him alone? relationship? What? JASON Who’s the one trying to split up who’s MELANIE
JASON He’s going to get Andrea to break up with me. He’s not. MELANIE
JASON He doesn’t love you. (beat) He doesn’t even really like you. (beat) He’s 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 You’re sure this is doubled? Yes. JASON Melanie downs the drink. I know you’re right. You need another one? At least. MELANIE JASON MELANIE Jason takes the glasses, starts to walk away. MELANIE (CONT’D) 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 don’t 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 didn’t make you do anything. You wouldn’t let it go. MELANIE
DEAN You don’t think you should have told her? MELANIE I didn’t 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 that’s 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 I’m being punished for this? I’m 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
I’m trying to be clear.
DEAN For who’s benefit, yours or mine? Melanie’s. 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
ANDREA Why are you letting her do this? DEAN When she gets what she wants, then what I want is available. That’s disgusting. ANDREA
DEAN It’s all I can do. You won’t take me seriously. avoiding me for years. I’m not-ANDREA
DEAN You’re dating my biology partner from college. That’s not what I’m-ANDREA
DEAN I carried that guy through biology, and now this. ... and now... this. ANDREA Andrea starts to walk away. DEAN I won’t say I told you so. I know you won’t. 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 didn’t want to check with me first? Check with you? Exactly. MELANIE He’s like your best friend. ANDREA
MELANIE You’re against this idea? (beat) You are against this. I didn’t say that. ANDREA
MELANIE I already agreed to meet him. I’m supposed to be there in a half hour. Better hurry. ANDREA
MELANIE Don’t do this to me Andrea. (beat) I’m not going anywhere unless you say it’s ok. (beat) You’ll be the one to call Dean and tell him. It’s ok. Great. It’s ok. ANDREA MELANIE Melanie leaves. Jason enters. ANDREA I don’t like seeing Dean like that.
ANDREA I’ve never seen him like that. JASON You’ve known him longer than I have. That’s why I’m worried. ANDREA
JASON He’ll meet someone else. It’s not a big deal. ANDREA She was pretty rough on him. JASON (chuckles) ANDREA
Why are you laughing? Oh, come on. I haven’t.
JASON We’ve all had bad break ups.
ANDREA Not like that. JASON
It’ll work out.
ANDREA I think it’s more than Sharon. Like what? I don’t know. He’s fine. JASON ANDREA JASON
(beat) He will be fine. Call him tomorrow? ANDREA
JASON I will. Maybe I’ll hook him up with someone. free right now?
176. ANDREA JASON
No. She isn’t?
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 don’t try to fix him up with... don’t JASON ANDREA
Just trying to help. Don’t.
JASON Call him, don’t help him. Got it. Jason starts away. You do? No. ANDREA JASON
(beat) Make up your mind. Jason exits. Dean and Andrea. DEAN I’m glad you had a good time. Really.
He’s very sweet.
DEAN I can neither confirm or deny that. ANDREA You’ll just have to trust me. Which I do, absolutely. DEAN
ANDREA I’m glad you introduced him to me. Ah... yes. DEAN
(beat) Strictly speaking, it wasn’t me. Hm? ANDREA
DEAN You and I were together and he showed up. him. ANDREA You said, “This is my friend, Jason.”
I didn’t 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 didn’t. DEAN A moment. ANDREA You don’t think I should date him. Is that what I said? DEAN
ANDREA You said nothing like that. I’m just looking at your face. Then listen to me. DEAN
178. A moment. I’m listening. Nevermind. Tell me. ANDREA DEAN ANDREA
DEAN I’m glad you had such a good time with Jason. Dean starts away. ANDREA You want to ask me out, then ask me out. You’d say no. So what. DEAN ANDREA
(beat) Dean, you know that you’ve meant a lot to me for a long time. What? Don’t you? We’re friends. No. We’re not. I don’t think so. I know. DEAN ANDREA DEAN ANDREA DEAN ANDREA It’s not that simple. DEAN
ANDREA Then know how much you mean to me. Ok. DEAN
179. ANDREA But I’m telling you this now, and after I do, I don’t want to hear anything else about it from you. Ok. DEAN
ANDREA You and I can’t be together. A long moment. DEAN I’m 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 can’t say that I miss her. VINCE I know it’s an awful thing to say, but I’m glad it’s over. KELLEN To me, she’s been gone for some time. VINCE I didn’t like to see her like that. KELLEN Hadn’t seen her in months. It’d been a few weeks. VINCE Maybe more.
KELLEN To be honest, I’ve more or less moved on. I was sad for a while. VINCE But I’ve made my peace.
KELLEN It’s not like I’m glad she’s gone. VINCE I don’t wish she’d 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 didn’t 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, he’d 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 don’t 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 don’t want to hear about that. KELLEN
I’m asking you.
GEORGIA But you don’t want to know. (beat) (MORE)
182. GEORGIA (CONT'D) You want me to say that I forgot about you. about me. That’s not what I want. KELLEN Like you forgot
GEORGIA You can’t even admit it to yourself. You didn’t love me. Well, I can’t 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 didn’t say that.
KELLEN You never mentioned him before. He loved me. GEORGIA
KELLEN Then why aren’t 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 I’m sorry could be a start. It could be. GEORGIA
VINCE I hate what you’ve done to me. GEORGIA I hate that you made me do it. I didn’t make you. VINCE
GEORGIA There was no chance that I could have lived up to your expectations. I failed. I warned you. I didn’t 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 (CONT’D) And the jealous stars climbed into the little girl’s 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 can’t say that I miss her.
184. VINCE KELLEN VINCE The lights go down. End.
I’m glad it’s 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
I’ll have to fill it up
HARDY I have to work in the morning. Braves won. COMET
HARDY If I don’t get to bed on time, I’ll wake up late. COMET Rookie started. Can’t remember his name. He got rocked in the third, and they pulled him out. Turned it around. HARDY I’m 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 wasn’t my mug. COMET HARDY
It wasn’t 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... that’s 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 They’re in different divisions. The Wild Card. Oh. HARDY COMET Comet puts down the mug. Give me the bat. HARDY
COMET It’s my turn at the plate. Can’t 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 You’ll leave the coffee mugs alone? If they leave me alone. COMET
HARDY I’ll have the bat, please. A moment. Comet holds out the bat toward Hardy. Here. Set it down, please. Take it. Set it down. I won’t... Just set it down. COMET HARDY COMET HARDY COMET HARDY Comet throws it on the sofa. Hardy picks it up. Jeena... she’s ok? COMET
188. HARDY COMET
She is. Good.
HARDY You gonna get some rest? Probably not. COMET SportsCenter. HARDY COMET
You just finished it. It’s on again.
HARDY But you already know the scores. I may have missed some. Don’t stay up too late. I won’t. COMET Don’t 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 (CONT’D) KELL
HART All I’m saying is that-KELL We don’t 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? Don’t 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. Don’t. KELL She stops. HART If she wants to see the sun, you should let her. I’m not stopping her. Neither am I. KELL HART A moment. Faith continues to rise. I’ll 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 can’t see the sun.
191. HART Why don’t you come sit down? I’d rather stay here. KELL
HART All you can see is a wall. I’m ok. KELL
FAITH I want to go to the lake. HART We don’t know if there’s sun or rain. FAITH So I can’t 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 (CONT’D)
192. HART I would like to sit down. That chair’s not yours. Is it yours? No. Then I’ll 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. We’ve tried.
HART You can check the window again. I won’t. Then we can’t 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 don’t. I think I do. We can go. FAITH KELL FAITH KELL HART KELL
(to Faith) We can just go, and I’ll get us to the lake.
HART He doesn’t know where it is. FAITH Do you know where it is? Yes. I promise you. KELL FAITH
HART You don’t want to wind up... lost. FAITH I don’t want to get lost. Please. Let’s just stay. We don’t know if there’s sun. We don’t know where the lake is. We don’t want to wind up lost. You don’t trust me. I don’t trust me. KELL FAITH
194. HART I have the utmost faith in both of you. In what? KELL FAITH (to Kell) KELL FAITH
Don’t. Faith in what? Please.
HART I know what you’re capable of. Thank you. FAITH
I’ve been watching you.
KELL You don’t know what I’m capable of. I do. Stand up. HART KELL Hart remains seated. Leave him be. I won’t 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 don’t hear anything. KELL
HART You don’t know how to listen.
195. A moment. The sound of a storm grows intensely loud. Then drops off to silence. HART (CONT’D) You don’t 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. He’s not doing that. How do you know? You aren’t.
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 don’t believe you. Yes you do. KELL HART
FAITH (to Kell) Do what he wants. He will. I won’t. 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. I’ve 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 can’t know all of that. He can. When? Whenever he wants. Exactly. It’s a lie. It isn’t. 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. I’ll save it. But you won’t do that. KELL HART
HART Walk out the door right now. Kell walks to the door. the handle. Kell stops cold. What’s happened? FAITH He reaches for
HART He’s stopped cold. Poor thing. despairs. (beat) You can leave if you want. What if I don’t want. You don’t have to. KELL HART
This is the part where he
Kell stands still. Faith crosses. You can go. You should go. Go. HART (CONT’D) (beat) (beat) Faith steps in the way. Faith steps out of the door. Faith closes the door. She is gone. She’s 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. I’m sorry. KELL HART KELL HART Kell crosses to the center. Go ahead. HART (CONT’D) Kell kneels. The lights again turn strange. Then blackout. End.
You aren’t. 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 doesn’t
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) Ma’am? (Paula turns) I need for you to answer me or I can’t give you what you want. You know what I want? PAULA
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 I’m 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? I’m 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. Wouldn’t you call that a pain rather than an ache? PAULA It’s an ache. (beat) Can I have what I want, now? No. No. Two. DR. ANDREWS That’s 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 you’ve 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 it’s been a week? I can’t... a week. (writes) PAULA DR. ANDREWS
Are you sure?
PAULA (tentatively) Dr. Andrews writes some more.
DR. ANDREWS Do you feel as though the medicine is helping? I... I don’t know. Was it too much? You tell me. PAULA
DR. ANDREWS Too little? PAULA
DR. ANDREWS The question is for you. PAULA I don’t remem... I think it’s fine.
202. DR. ANDREWS PAULA I feel fine.
Fine. Yes. It’s fine.
DR. ANDREWS You’re tired and have an ache of 12. How do you know that? You just told me. Yes. That’s right. cure that? Has it? PAULA DR. ANDREWS PAULA Is it... the medicine, is it supposed to DR. ANDREWS Long moment. DR. ANDREWS (CONT’D) 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
It’s... I don’t know 3? (writes)
Which is highest? Ten. Yes. Ten.
PAULA DR. ANDREWS
PAULA It’s 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 don’t understand. Paula. Ma’am. 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 don’t 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 I’m afraid that’s not possible. Look! Look... PAULA Paula goes to photos on the shelf. Ma’am. DR. ANDREWS Paula takes a photo. My son. Ma’am... 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 he’s really good with math. He needs me. Please. Your family is fine. DR. ANDREWS
PAULA My husband left us. He couldn’t take it anymore. That’s why I came here for help, but I can’t go through this anymore. I have to help Tommy. (grabs another picture) And my mother. She’s 87. She’s staying with me now, but she can’t keep up with Tommy. I know she can’t. Please. You have to let me go. You have to! Please!
205. DR. ANDREWS Ma’am, you’ll 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 can’t finish the... without me. I have go back. I can’t stay here. My cats. Please, my cats! Mom can’t feed them and Tommy will forget. Please! Ma’am. DR. ANDREWS
PAULA He.. He... He... he left me because of all of this. This is why he’s gone! I’d 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
You’ve had a bad fall. I’m sorry.
PAULA I get dizzy from time... whew...
DR. ANDREWS I’m 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 (CONT’D) DR. ANDREWS
PAULA That boy... in the picture. I recognize him... DR. ANDREWS That’s... that’s our son, Carla. Paula tenderly puts her hand on Dr. Andrews’ face. PAULA I’m sorry about all of this, sweetheart. I know, dear. I know. DR. ANDREWS (pats her hand) PAULA
Take care of Ricky. He’s doing fine.
DR. ANDREWS He’ll come visit you on Saturday. PAULA
Isn’t today Saturday? No, sweetie. Oh...
DR. ANDREWS It’s 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 That’s what I’m 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. That’s not a problem. VOICE
DR. ANDREWS At least we should consider removing any obvious triggers like these photos. That’s 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 hadn’t gone. You are better off. INES LISA
INES I’m not thinking about me. A moment. He did say goodbye. LISA
INES I’m sure he felt better about it. He did. I could tell. LISA
INES You let him off the hook. I didn’t. You let him go. I did. It’s not fair. LISA INES LISA INES
209. LISA I didn’t 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 I’m concerned about you. You’re not. You’re lying to me. LISA INES
LISA I never said I didn’t miss him. (beat) I’m glad he’s gone for your sake.
210. Ines finally turns and looks at Lisa. He could come back. He won’t. He could. Don’t worry. INES LISA INES LISA
INES He could be back here in a couple of weeks. a couple of weeks and then he’s here again. LISA That’s not going to happen. But what if it does? INES
Be gone for just
Lisa turns sharply and locks eyes with Ines. I’m certain. LISA A moment. Oh. I see. INES Ines crosses upstage, careful not to crush the lanterns. It’ll be dark soon. That’s the way. Clouds. Night. LISA INES LISA
INES The colored tissue paper would no longer be effective. Don’t I know it. LISA Ines.
211. INES (beat) Lisa crosses to look the other way out the window, from where Ines originally stood. LISA He’s gone as far as he can go, he said. You’ve talked with him? Yes. Since he left? Yes. Why? He called. I answered. INES LISA INES LISA INES LISA
We could... Nevermind.
INES He wasn’t supposed to do that. I know. LISA
INES You weren’t supposed to do that. I know. But it did. LISA (beat)
(beat) Nothing’s changed. (beat) I only told you so you’d know he’s 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 wasn’t all bad. I know that. LISA
INES We both know that. LISA INES LISA
He doesn’t know that. He’ll survive. Will he?
INES Then it doesn’t matter much anymore. (beat) Just... stop. Shhh... A moment. Ines sits on the floor. LISA He was always kind to me. INES He wasn’t 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 can’t 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 You’ve done nothing wrong. INES I’ve done my share. I’ve told you everything. Everything. And you’ve told me nothing. And I’ve asked you nothing. LISA Because you don’t want to hear it. Of course I do. INES
214. Ines rises. LISA You wouldn’t 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, doesn’t 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 wasn’t. 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 wasn’t 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. I’m going. INES LISA INES
215. LISA I am going to find him.
INES You don’t know where he is. A moment. Don’t go. Stay. INES (CONT’D) (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 can’t keep us here. (beat) You hear me. A noise from within the pile. Speak up. BEHAN (CONT’D) A foot appears. Out climbs MULLEN. GQ. MULLEN Waste o time, upsettin’ yerself. That’s what I’m on. that way. Not me. BEHAN You’ve already given up. I can’t go He makes Behan look
MULLEN Well, yer here, aren’t yeh? BEHAN You’re the one who told on me. Who’d I tell? MULLEN BEHAN (sarcastic) (slaps Mullen’s head) MULLEN
Yer ma. Eedjit.
I don’t told a soul.
217. BEHAN Then how’re 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 didn’t have it, so Dunno. Maybe.
I wanna know.
MULLEN I went to Brewer’s round nine thirty. I went round Annie’s. Annie. BEHAN Like she’s got it.
MULLEN I din’t go dere fer daht. You sweet on her? She’s sweet on me. BEHAN MULLEN I’m keeping me options open.
BEHAN Jackpot, son. Take yer winnin’s to the booth and cash in afore you lose yer shirt. MULLEN But den I went round to Hobson’s. Hobson. That prick. BEHAN
MULLEN Oi. I knocked the door, and I heard him say to someone to hide it. I did. Honest. BEHAN Hobson’s a bigger eedjit than you. He’s 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 you’s never guess what was I saw inside. Nothin’. Exactly. That prick. I know he’s 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
You’d be the same you saw
BEHAN This time o’ night? MULLEN I knew it was wrong straight away. BEHAN MULLEN BEHAN MULLEN He’s screaming so loud.
The look on his face. I could tell. But you told him, then. I couldn’t get a word.
BEHAN So Arch and Big Mikey brought you here.
BEHAN And gave you a roughin’. I’m fine. So he doesn’t know. Couldn’t get a word. MULLEN BEHAN MULLEN Behan digs a cell phone out of his pocket. What’re ya doin there? I’m textin’. I see that. Caroline. No. Just sent. Don’t do that. Who? MULLEN (CONT’D) BEHAN MULLEN BEHAN MULLEN BEHAN MULLEN Take it back. BEHAN
‘s already gone.
MULLEN Why’d you have to get Caroline in this? She loves you, yeah? Of course she does. BEHAN MULLEN
220. BEHAN She’s going to help you.
She’s going to help us. (beat) ‘tll be fine. Says you. She knows what to do.
MULLEN You promised she wouldn’t have to do this no more. BEHAN That was before you went round the world and ended up with nothing. MULLEN Don’t make it like I got her in this. Who would it be? BEHAN Behan’s phone beeps. Caroline? She’s on it. MULLEN BEHAN Behan puts phone in his pocket. Behan... T’s fine. MULLEN BEHAN He reads.
(beat) Can’t 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 wasn’t... I wasn’t 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 He’s on a beat back then, but the same guy, yeh. I go up to his, and I’m covered. (MORE)
221. BEHAN (CONT'D) My hands, on my shirt, I think some’s on my shoes, this guy’s blood on me. I didn’t know ‘bout Martha’s place. To get cleaned up, yeh. MULLEN
BEHAN So I’m there on his stoop when he opens the door. And I’ve not seen a face like that ever in my life, nor none since. He’s just like, “Sweet Mary Jesus and God!” (laughs) And so loud that the stoop light comes on at Peal’s 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 I’m on the grass. Now, I’d tweaked my knee in football at school, so I land on it funny and I’m 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 don’t know me. Oi. MULLEN Throw you under the bus.
BEHAN That’s what I taught, but no. He’s right in with Peal on how I must’ve had a knock down the stoop. So I’m all “yeh, yeh, das it.” and Peal buys the lot and carts me to hospital. MULLEN But now he lives up the hill. BEHAN That’s 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. Don’t say nothin’. (beat) I know that you know there’s only two things can happen here. Oh yeh? MULLEN
Neither’s good for you.
MULLEN What makes you think I have it? Behan just looks at him. Mullen backs away. BEHAN That wasn’t Caroline on the text. MULLEN I kinda wish it was, now. BEHAN He has to have it, Mullen. You know that’s right. I don’t know that. Mullen. MULLEN BEHAN Behan pulls out a gun. A moment. I don’t have it. Lies. I don’t. I disagree. I’m 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 T’s 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 I’s twelve. I remember. BEHAN
MULLEN This is the business we’re in. It is. BEHAN
MULLEN You said yerself a man’s gotta knock some heads er he’ll be under heel ‘til he’s dead. I said that? You did. BEHAN
MULLEN And it made a lot of sense. A moment.
Made sense to me.
BEHAN You’ll have to do me a favor, Mullen. What? MULLEN
BEHAN Don’t 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 don’t-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 didn’t want your excuses, I didn’t need to know your past, and I couldn’t stand the sound of your pitiful fine-china voice. That’s 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 you’d seen the look on his little face, there’s no way you’d blame me. His little smile. My god. god. I thought of myself as A generous person that’s what I thought of me I couldn’t see it otherwise I couldn’t Now... Now I can. A small flashlight illuminates LITHA. LITHA I can’t even... I was standing in front of the largest piece of granite I’ve 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 didn’t 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 That’s 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 Wha’r u looken’ aet? Incomprehensible He just looked If I’d had my bottle, I’d have thrown it I swear I would’ve I hated that boy taemezet just looked taem ez et? Looked what time iz et?! he points up the street I know he’s pointing to the church so I don’t 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 I’ve only ever let me down so you can’t hold me on that I didn’t trust you but I don’t 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 couldn’t imagine ever loving anyone I promise like I loved you wouldn’t 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 shouldn’t be in the ground and me standing up here Empty words, apologies If I’d meant them, we wouldn’t be me here you there That past’d 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 You’d imagine. You’d hope. You’d expect that it would take a whole hell of a lot to turn you into a thief. That it wouldn’t 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 I’m standing in my house and handing it over to an unsuspecting child like I’m a hero. Like I’m robin hood the benevolent noble one. When I’m 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, what’s the harm, the whole racket. I was sure. Absolutely sure. Twelve people saw it differently. They couldn’t put themselves in my shoes. Walk a mile. They wore their own shoes out of the room and I wore slippers. They’re at home, I’m in a cell. Bars. And I haven’t seen or heard from that sweet little one-(opens a drawer in the side table. Many papers inside.) I write a letter a week. Haven’t sent one since valentine’s. They stay with me. here in this cell. In my cell. Me and the letters right
LITHA I couldn’t 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 don’t know why I did it but I looked MIK I can’t be more than me. WEND Nothing can be done about it now. GAL And I could see the steeple, white and piercing. MIK You’ve crushed me down to the powder. WEND It’s impossible to change. GAL I could smell the bread, my narrow eyes, and the piercing... MIK I can’t be what... who I was. This is what it took.
WEND I can’t be more sorry for what I’ve 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 (CONT’D) 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 Wend’s neck. The immovable moved. walk forward and step through granite A short moment, then all lights go out. The end. LITHA (CONT’D)
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