ing for both of us. MICHAEL. You could do that, yes PHILIP. Just nod and smile once in a while. MICHAEL. Okay, PHILIP, Let all come back real fast. You don't forget. Just like riding a bicycle, END SCENE SEVEN Scene Eionr Sunpay, Auoust 1: Michiel sis 8. eating an orange Philip hurries his bicele on, 8... walls i v., lays it dove, ‘akes the water bottle fom the frame, squirs his face, sits, and drinks PHILIP. She stop? MICHAEL. Who stop? PHILIP. Amy. Amy from last night MICHAEL. Why would she stup here? PHILIP. She likes 0 toot her Schwinn around the park on Sun ays: Tihink we made some vague plans iv meet here fora pie MICHAEL. How delightful PHILIP. I was trying to be demure, you know, like I really like you and I can't believe we've only just met the way we're teally talking to each other and e's make some healthy outdoorsy plans. Like I had no thoughts of getting her in the sack. Yous 01 to play opposites in hese situations. Anyway, I saw her by ‘he south end, I thought she might stop by I'd rather avoid MICHAEL. Did it go all right? PHILIP. Oh, yeah, fine. MICHAEL. But you don't PHILIP. Just not today. MICHAEL. Battle fatique? PHILIP. Right, that’s it want co see her again 4 MICHAEL. Quite a night, huh? I guess we made out all right. PHILIP. I guess we did. (Pause.) A real redhead, that’s rare. MICHAEL. She was gorgeous, wasn't she? PHILIP. What was her name again? MICHAEL. Marcie. PHILIP. Right. Marcie the independent filmmaker. MICHAEL. Actually, she's a waitress in Soho. PHILIP. Marcie the budding independent filmmaker. 1 thought she was going to rape your right there at the bar, MICHAEL. She did take a fast liking to me, dida't she. PHILIP. Jesus, she was practically drooling in her Amaretto. MICHAEL, I liked her, Very up front. No games PHILIP. So what happened? MICHAEL. We gct a cab down to my place. We're making out and heavy petting all the way downtown. I'm going nuts, She's going nuts, the cab driver's going nuts, we get upstairs and Starts undressing and it's getting real steamy and the phone rings. PHILIP. Oh boy. MICHAEL. I figure anyone calls that late, it tant, so T answer it PHILIP. Guess who? MICHAEL. Right. She's been trying to reach me all night. She loves me and is real sorry and wants to call a cab andcome right PHILIP. Say goodnight, Marcie MICHAEL. So 1 told her to come over this afterncon, PHILIP, Marcie? MICHAEL. No, my wife PHILIP. You're kidding me. MICHAEL. I was sitting there on the bed with the phone in my hand and my wife's voice in my ear and Marcie not five fect away in nothing but the hotest pair of red satin underpants Pve ever seen and I told my wife tht I love her and that I'd been working on a big aecount deadline all day and night and juse got hhome and needed to sleep. I told her to come ever this after, ‘noon so we could do it right. PHILIP. Why? What are you doing? MICHAEL. I had to PHILIP. What do you mean, you had to? 35 must be impor-MICHAEL. I wanted Marcie, a lot PHILIP. What che fuck is the matter with you? Marcie is some redhead rollin the hay you met in a bar. This is your marriage were talking about! MICHAEL. Me is what we're talking about, What I want. My wile did what she felt she had todo, for herself. And there, sand ing before me, was something I wanted to do, for msc PHILIP. Its aot the same thing. MICHAEL. Wait a minute. Now I could have my time in bed with Marcie, and they go back with my wife on equal terms, ‘both of us there because of 2 clear choice, meaning this after: noon, or 1 could have told Marcie to go and told my wile to come right over, and feel petty and resentful and. probably Pussy whipped for totally arranging my life around her sched. tle. So T did the right thing PHILIP. Jesus, you've got to teach me to do that sometime (Pauze.) What did Marcie have to say? MICHAEL. Well, I hung up the phone and Marcie asked i that was my gielfriend and T told her that it was my wife and Marcie asked if she had a key and 1 said yes but that she ‘would be using it tonight and Marcie sai ths is so cinematic and we startin on the bed and she stops and asks am I sure she's not coming over and I say yes Tm sure and we go att some more and she stops again and gets up, lights a eigarette and starts getting dressed, and says she's sorry but that she docant feel right about thisand have T ever seen such and such and she lists these old Ida Lupino movies about philandering hubbies and vengeful wives with guns and then kisses me goodbye and leaves, PHILIP. Thats it? MICHAEL. That's it PHILIP. And your wife's coming back this afternoon MICHAEL. In a cauple of hours PHILIP. There's a lesson in there somewhere, but I'm not sure what itis, (Pause) MICHAEL. So what happened with you and Amy? PHILIP. The usual thing. Nething spectacular MICHABL. She scemed nice PHILIP. She was. {liked her 36 MICHAEL. So what happened? PHILIP. Wel, we had another drink after you left, went up to my place, did little dallying around on the couch. (Seet Amy sbproaching, Off t.) There she is. (Gestures.) Listen, I don't want to. . . Do mea favor. Get your bike, wel say hi when she stops, but we're sorry but we're off to a race atthe Kissena track and we're already late, okey? (They scramble up and preparete ride Poised, they tn slowly rom 1. to %. az Amy pases.) Well, good, Guess she didn’t see us. (Michael lays hit bicycle don ant nr Philip looks off x. for a moment, lays his bicycle dtwn, ond tare fo Michael. As before.) S0 we're fooling around on the couch (Pause) Jesus. (Quietly, eeny.) Te was like I was standing across the room watching myself. Say you're me, you're over there on the couch, only T'm me too, and I'm over here. Observing That's good, Philip. Yeah, she likes that. Thats it, trace hey chin with your fingers. Now kiss, More tongue. Good, New cup her tit, rub your thumb there, like that, good. Now ihe thigh. Stroke and push away at the same time, Kiss her neck, her ear. Tug atthe earring with your teeth, Thats it. Hand on crotch. Press. Push. Pull, Make a noise. And I get that Tm over here with a panel of judges, like in those diving meets, holding up big white scorecards. Eight, Seven point five. Hight. Rate for poise. Execution. Degree of dificulty. (Pause) Smys ain is off now. She tells me my hands are freezing. lm esling very... strange. I say Vim sorry, and I ask her wo leave. Thave 2 couple of big drinks by myself and call Lisa. T wake her up, and she says do you know what time it is and | blather something into the phone and she tells me to go sleep it off (Pause,) That's what happened MICHAEL. You know what you have to do. PHILIP. Yeah. No. [don't know. MICHAEL. You want to have robot sex, you have robot sex You want to do the right thing, for yourself, you go find Lisa PHILIP. That was weird, las night MICHAEL. Look, you do this Jack the Lad number ike i's 0 Jong, Liss, next please, and then you show up the morning after with this depressing fucking story. Listen t© yourself, man PHILIP, Itold you. She won't even talk to me. Says she needs separation, to get clear or something 7MICHAEL. Get to hy et. Somehow. Tackle he off ee tke i you have to. Bur aa et her know, while it’ stil this strong, ‘Try PHILIP. Right. You're right. MICHAEL. (Gating his bigee )I should go. MHCEIF Yeah. I'm glad your wife is coming back MICHAEL. Thanks. Me too. PHILIP. It's a good thing. TMi work out ICHAEL Thope so. So long: (Str to lve, ums) Do it you PHILIP. What I can, END SCENE EIGHT Scene Nive ie 9 Hee tring tty ine i & mame eb pts bf on el er (0 Lin se on ERILIP. Lisa! Hey! LISA! (flint he cosiom to si fepPing, waving, shouting.) C' ashes (Lise has passed. He yells, off n.) IN RIEL ax. Of something? A LITTLE Wave 1g Goddammit. (He erasses to MICHAEL, Hey PHILIP. Hiya, MICHAEL. Do some miles? 38 PHILIP. Sure. (Peuse.) No, 'm going to wait here, see if Lisa comes by. MICHAEL. She in here? PHILIP. She just went by. MICHAEL. You talk to her? PHILIP. She just... . went by. MICHAEL. Oh, PHILIP. Didn't even wave or anything. MICHAEL, You sure she saw you? PHILIP. I made myself very apparent. She saw me. (Pause) Tm going to wait here until she passes again. If she still ignowee ‘me, Til go after her. I want to give her the benefit of the doubt ‘She's out there riding, she's thinking about me, shel come by. MICHAEL. Then you'll crawl. PHILIP. Shut up. MICHAEL. Give me a drink? (Philip tones him the water bottle Michael drains it.) Aah. ( Tosses d back.) Thanks, PHILIP, Don't mention it. (Shakes the empty bode) Mention it. MICHAEL. You miss her, don't you. PHILIP. I miss something. (Aster « moment.) Yes, I do. 1 miss her a lot. Maybe she misses me too. (Giver Michael 2 lok) How's remarried life? MICHAEL. Oh, all right PHILIP. All right. MICHAEL, It's hard, I had all these wonderful ideas about the big romantic reunion, you know, lots of kissing in public places because we just can’t help ourseives and dimly lit spaghetti alee ners and great sex for hours. (Pause.) Some days we sor oftip- toe around the silences and half smiles and perhaps I need to he alone for a while, and everything is dane so damn gingerly sakes me want to scream. Other days its all out in the open and it gets a litle schizo, like one minute we're feeding each other lines from an “Odd Couple” rerun and laughing and irs Jredded bliss, and the next minute we have o go to binding ar- bitration to decide where to eat. It's complicated, but we do all right, (Pause) Listen, I'm going to ride PHILIP. Okay. MICHAEL. There's a century ride up to Bear Mountain, next Saturday. You want to do it? PHILIP. Sure 8