31 plays in 31 days Complete 2014

31 Plays in 31 DaysComplete scripts

Written by

Joseph Frost

written for the 2014 31 Plays in 31 Days Project

Draft 8/14

© Attic Scripts 2014Joseph Frost4550 Normandy DrJackson, MS [email protected]

Plays1. The Dust Shelter - p. 12. Realia and Anise (and a Man at the Window) - p. 113. Amor Fati - p. 184. Atlanta - p. 275. much less more - p. 336. Ceremonial - p. 367. Blood Moon - p. 488. inconsequentia - p. 579. The Dream of Bex and Hann - p. 6710. Flood Warning - p. 7411. Lenny Legend in the Max Pain - p. 8112. Tea and Forgiveness - p. 9113. The Book of My Dream of You - p. 9814. Exception Day - p. 10515. On the Dais - p. 11016. Facing the Face - p. 12317. We are the Sacrifice - p. 12618. Park - p. 13119. The Pig that Wants to be Eaten - p. 13420. Running - p. 13921. L'Amour du Duvet et Ídiot - p. 14522. Virus in Big Chili - p. 16323. Welcome - p. 16724. Saviors - p. 17525. The Virtue of Remembering - p. 18026. Grassy Summer Day - p. 18827. The Mountain of Doubt - p. 19228. A Rough and Worn Small Boat - p. 19829. Of Course - p. 20330. Unrepentant - p. 21431. The Skeletons - p. 221

ii.

PLAY 1: THE DUST SHELTER

A small, bunker-like room. A single doorway, no windows.

DANI is sitting in a chair.

OTTO lays on the ground, some distance from her.

DANIIt’s not that I don’t love you, but you have to go.

Otto stirs, looks around for a moment.

OTTOHow...

DANII saved you, Otto. I dragged you in here for your safety. Expended every last bit of my energy saving your hide, hauling you in here, from out there. But now...

OTTOI have to go.

DANIYes.

Otto stands.

OTTONo, Dani. I mean it. I have to go. I can’t stay here.

DANII’m not the one stopping you.

OTTOIt’s not safe.

She is taken aback.

DANIIt’s safe in here.

OTTOIt isn’t. Not for me. You shouldn’t have brought me in here.

DANII know I shouldn’t have. I’m a fool. What can I say?

OTTOYou found me out there?

DANII did. I was taking cover, and I found you on the way. Laying in a heap on the ground.

OTTOIn a pool of blood.

DANIYes.

He looks at himself.

OTTOI’m not bleeding.

DANINo sense in saving you from out there just to have you bleed out in here.

OTTOYou cleaned me up.

DANII’m no Samaritan. Wasn’t as hard to do as you think.

Otto raises his shirt and checks his stomach. There are a variety of bruises and scars in various levels of healing.

OTTOWhere is it?

DANIWhat?

OTTOWhich one is it, Dani? Which one is the one you fixed?

DANII don’t--

2.

OTTO(insistent)

Which one?!

DANIQuiet down...

Otto goes to her.

OTTOYou have to show me which one you fixed. Right now.

She backs up.

DANIDon’t, Otto. Stay away.

OTTONo, you have to show me--

Dani pulls out a small pistol.

DANIBack up.

He does.

OTTOYou don’t understand.

DANII know I don’t understand. That’s why I want you to back away from me. Now.

(beat)We’re underground enough that you can’t hear it, but the dust storm is almost passed. In just a few minutes, that door will open automatically, and when it does, I want you to leave.

(beat)And when you don’t ever come back, all this will have been worth it.

He is as far away from her as he can get.

OTTODani, I --

She lowers the pistol.

3.

DANII’d rather just wait in silence. It’s served us well for the past 10 hours.

A long moment.

OTTOI need to tell you something.

DANICan you please not.

A moment.

OTTOI’m a bomb.

(beat)There’s a bomb. Inside me. They put a bomb inside me. And left me for dead.

DANIOtto...

OTTOI’m not lying, Dani. That’s why you found me on the ground. They beat me, put something inside me, and dropped me.

DANIWho?

OTTOWho else?

DANIHow do you know it was a bomb?

OTTOIt was mine.

DANIOtto.

OTTOThey want me dead, Dani. And they assumed something would kill me - the beating, the bomb, or the storm.

(beat)But they didn’t count on you.

4.

DANINo. They didn’t.

(beat)When will it detonate?

OTTOI don’t know. I didn’t set a timer. They must’ve done something to it before they put it in me.

(beat)That’s why you have to tell me which wound you fixed. So I can get the bomb out.

DANIWhy would I want you to get the bomb out?

OTTOBecause you don’t want me to die.

(a silence)I don’t know when it will detonate. It could be any second. We could both die.

DANIYou could set it off while trying to deactivate it.

OTTOIt could be activated by radio, and when the door opens, the signal reaches it. Any minute now, right?

(beat)We don’t know. But we know that it hasn’t gone yet, and until it does, we still have a chance to stop it.

A moment.

DANIYour back. Right side. Near your kidney.

OTTONo wonder I gotta piss so bad.

(reaches for the wound)Ah. There it is.

(beat)Help me?

DANINo.

OTTODani...

5.

DANII’ve done enough for you.

OTTOI need your help on this. I can’t reach.

DANIYour problems are not my problems, Otto.

OTTOFine.

Otto goes to and drops onto the chair. He adjusts his shirt so it is out of the way, and reaches to his back.

Dani begins to walk around the walls of the room.

DANIMy father dug this room. Dug the passage, pulled out the mud by hand, bucket by bucket. Stabbed the earth with his spade, and with his own muscles carved out a little space in the world where he could be safe. Where we could be safe.

Otto painfully pulls a scab from the wound on his back.

DANI (CONT’D)When the dust storms first came, we didn’t have anything like this. All we could do is huddle in our clapboard houses, stuff a blanket under the door and spend each dust-filled breath praying for this to end, and after so many hours, no longer caring how it ended, only that it would. By sunlight, or by grave.

Otto groans in pain as he reaches inside the wound.

DANI (CONT’D)And we thought... we thought... this place would be our salvation. Made by the hands of my father. A refuge deep within. That which we had spent our dust-prayers wishing for; our sunlight and our grave. Harbor and prison. Trapped and safe.

More groans from Otto.

DANI (CONT’D)It was the first time we used it. Father scrambled to put the last parts in place, the wind whipping dust across his face. His puny handkerchief flapped in the breeze, barely masking his coughs. He collected us from the kitchen, the storm raging wilder than ever; like it knew we were headed for safety.

6.

(MORE)

I heard him coughing louder and louder, and out of the corner of my one squinted eye, I could see the red spots gathering from the inside of the white handkerchief. We reached the door, strained it open, and climbed down the ladder. We had only the light of a lantern then, and he tried to keep his back to us, but the cough continued. Until it didn’t. We were silent for hours, but we all knew. We all knew. Our sunlight was his grave.

Otto groans in exasperation.

OTTOI can’t get it, Dani. You have to... I need you to...

Dani kneels down, slowly, setting down the pistol.

DANIHe was right here, Otto. Right here.

OTTOWe... we still have a chance, Dani.

DANINo we don’t, Otto. We have no chance.

OTTOCome here. Come help me.

DANII thought I had. I thought I had helped you.

OTTOYou did. And you can again. And you can save yourself as well.

DANIAll his hard work to save his family. And it was right here...

A beeping sound.

Otto reaches his back, panicked.

OTTODani! It has to be now! Help!

DANIOtto...

7.

DANI (CONT’D)

OTTOI need you, Dani. Please. I...

(beat)I love you.

(beat)I do. I love you. And I need you.

Dani turns to Otto.

DANIDo you?

OTTODani.

The beeping continues.

DANII can’t trust you.

OTTONo. You can’t.

Otto slides off the chair and crawls toward Dani.


Otto reaches out.

He grabs the pistol, and puts it to Dani’s head.

OTTO (CONT’D)I. Need. You. To. Help. Me.

A moment.

She looks him directly in the eye.

DANIThank you.

Dani reaches around Otto’s back. Both hands. Arms around him.

8.

He groans in pain as she reaches into his wound.

He continues to hold the pistol to her head.


Tension as she pulls - from both.

She releases.

OTTOAhhh!!

DANII can’t.

Tension as Otto points the pistol to her head.

It releases, as he lowers the pistol to the floor.

He lets go of the pistol.


A moment.

A loud mechanical sound - the door has automatically opened.

Another moment.

OTTOGo.

(beat)And don’t come back.

Dani grabs hold of the pistol. She turns it, and offers the handle to Otto.

Dani rises, and goes to the doorway.

Otto collapses.

9.

OTTO (CONT’D)Dani.

Dani turns back.

OTTO (CONT’D)I never loved you like I should.

Dani raises a single bloody hand.

DANII know.

She exits.

Lights down.

10.

PLAY 2: REALIA AND ANISE (AND A MAN AT THE WINDOW)

A man stands behind a hanging window frame. He looks out at a woman seated at a table, her legs stretched out, almost reclining.

There are two coffees on the table.

MANGiven the proper tools, man will build a cage in his very own prison, and bind his soul there, fearing it ever be lost. And his soul, ever longing for freedom, will break those barriers and fly, leaving the man alone, with only broken bars and the tools to rebuild them.

The woman sees a friend coming.

REALIAAnise!

Enter Anise.

ANISERealia!

They embrace.

REALIAIt has been...

ANISEA year?

REALIAAnd a half, at least.

ANISEYour hair.

REALIAI know.

ANISEI love it.

11.

REALIAYour face.

ANISEI have put on weight.

REALIAIt suits you. You were always to thin and pale. Like a boy who was ill.

ANISEAnd now?

REALIAA woman. Healthy. And your skin is beautiful.

ANISEYou still live around the corner.

REALIAI do. Isn’t it awful? I’m practically the same silly girl you knew. Moving in with some guy I just met that weekend...

ANISEI wouldn’t say that’s true.

REALIAOh, do. I want to be that spontaneous forever.

ANISEFor your sake, I will lie and say it is true.

REALIAThank you.

ANISE(indicating coffee)

For me?

REALIAIt just arrived.

ANISEYours is gone.

REALIAI just finished.

12.

ANISEOh?

Anise looks at the cup.

REALIAIt should still be hot.

ANISE(sips)

It is. Thank you.

A moment.

MANThough the tools be worn, and the task difficult, man’s need to be contained is so great, that he will toil all his days to keep himself in. And as the sun drops below the horizon, man will collapse in the corner. Satisfied.

Realia moves her coffee cup to the side.

REALIAI needed to see you.

ANISEI was glad to hear from you, and happy to visit.

REALIAYou were always kind to me, and I was sad to see you leave.

ANISEIt was for the best.

REALIAI know.

ANISEIt was my choice.

REALIAAnd I supported you.

ANISESome did not?

13.

REALIAWe neither of us care about those who did not.

A moment.

ANISEIt must be important.

REALIAWhat?

ANISEWhat you need from me. Important. Necessary. It might mean your life.

REALIAI wish it weren’t.

ANISEYou wouldn’t be asking if it weren’t.

REALIAAnd you wouldn’t be here.

A moment.

ANISEIt must involve doing or giving something I would otherwise be unwilling to.

REALIAYes.

ANISEAt least something where you would assume that to be the case.

REALIAI believe I know you well enough.

ANISEThat was some time ago. I’m a new woman. You said so yourself.

REALIAAnise.

(beat)She is dead.

A moment.

14.

MANThankful for a secure place in the world, man will stare out as it passes, days, months, seasons. Only a small part of him, the remnant of the soul that flew, will wish to reach out through the bars and make... contact... impact... That he could by anyone, ever, be remembered.

Anise sips her coffee.

REALIAYou told me not to tell you.

ANISEIt’s fine. You see? I am a new woman. The old me would have been angry.

REALIAI know that. But you had to know.

ANISEIt changes nothing for me, Realia. You must understand, I mourned the loss of her all those months ago. She has been dead to me for ages.

REALIABut now she is dead.

Anise starts to rise.

ANISEThen I will thank you. For the coffee.

Realia grabs hold of her arm.

REALIADid you never miss her?

ANISEI told you that I mourned. I wept, and I starved, and I suffered. But she was gone from me forever, and I had to accept that. It was the loss of her that transformed me. It was nothing less than my devastating grief that crushed me, and I had to rebuild from the ashes. That is what I’ve done.

REALIAI can tell you how she is gone.

15.

ANISEI can tell you how she was gone.

(beat)It was a cool night in the early fall, her window propped open to allow the breeze to gently fill the room. A descending angel arrived at her window, carrying a silk wrap. Quietly and quickly, she was enveloped in that silk, and, on silent angel wings, carried away to the skies. This is where she waits for me, calmly resting.

(beat)If you have a story more peaceful, I’d be happy to hear it.

Realia slowly releases her grip on Anise’s arm.

MANIt is not until the soul of man wisps by, drifting on a breeze, past the steel bars of man’s prison that he ever considers that his soul, the one that could not be contained, was the work of his hands, and not the cage, that he understands his own folly, having spend all he was in the pursuit of nothing.

A moment.

ANISEAnd what would you have me do?

REALIAI need... I need for you to... take her.

ANISETake her?

REALIAYes.

ANISEI have no where to take her.

REALIAYet she is yours.

ANISEShe has not been mine. Mine has been gone.

16.

REALIAYet she remains.

(beat)She waits for you.

ANISEThat can’t be.

REALIAShe’s waiting for her angel.

ANISEI am no angel.

REALIAWe are none of us angels. We do what we must.

ANISEThen I must.

Anise rises and exits.

Realia returns to her reclining position.

Man puts his hand on the window.

End.

17.

PLAY 3: AMOR FATI

Dim lights up on a man, LEONARD, standing center stage. Two female figures are upstage, back to audience.

A startling shock of flashing lights and intense club-style music begins. Leonard steps forward, and talks over the music.

LEONARD(almost shouting)

It was the last place I ever thought I would meet someone. Me. In a club. I’d never been before. Not exactly a place I’d usually go, big neon sign saying Club Baby Seals. Sick, if you ask me. I said, sick.

(beat)I wish I could say that it was one of those “across a crowded room” things, that all time and matter and sound stopped, we locked eyes and we both knew it was destiny. Nothing that world changing. I spilled my drink on her when someone bumped into my back. Spilled it on her dress, her hair, makeup smeared on the left side of her face. I tried to wipe it off, but I made it worse. I apologized a couple of times, I think she only heard the once. We decided that it would only be fair if she spilled a drink on me, too. So she did. My mouth was open, so I choked a little. But then she let me buy her another drink. You can’t really talk to someone in a place like that, so we weren’t there long. She left, and I had forgotten to ask for her number. I tried to follow her out, but lost her somewhere in the crowd. I looked down at my hand, and there was a phone number, written in sharpie, already there. Carved on my skin.

The music and lights stop abruptly.

HANNAH lays on a table. JEAN is far from her.

A monotonous sound - like a dishwasher or washing machine.

JEANI didn’t want to leave.

HANNAHYou didn’t let that stop you.

JEANI’m trying to explain.

HANNAHDon’t bother.

18.

JEANHannah.

HANNAHYour plants are dead.

JEANI saw.

HANNAHI didn’t water them like you showed me.

JEANI see.

HANNAHI didn’t get the watering can from under the sink. I didn’t fill it with water. I didn’t go around to each plant in the house. And I didn’t pour water down into the root of the plant.

JEANHannah...

HANNAHIf I had watered them, I would have poured water on the leaves. The plants don’t need water there, and it makes a mess on the floor.

JEANI didn’t want to leave.

HANNAHYou said that already.

JEANI want you to believe me.

HANNAHTell me the truth.

JEANI wanted to stay.

HANNAHStaying would have been easy. You just don’t go.

JEANIf it were that simple.

19.

HANNAHIf it were.

JEANYou want an apology.

HANNAHYou want forgiveness.

JEANYou really want me to be sorry.

HANNAHYou really want to be innocent.

JEANI’m not.

HANNAHNo, you are not.

Jean backs away.

Hannah drops to the floor and crawls under the table. Leonard is under there with her.

Storm sounds.

LEONARDI don’t think the storm is that bad.

HANNAHWhen the siren goes off, you’re supposed to take cover.

LEONARDI didn’t hear the siren.

HANNAHYes, you did.

LEONARDI didn’t see any tornado.

HANNAHIf you had, you’d be sucked up in it by now and thrown into the next county.

20.

LEONARDAnd here we are.

HANNAHSafe and sound.

LEONARDSafe.

A moment.

HANNAHYou don’t want to be here with me.

LEONARDIt’s not exactly comfortable.

HANNAHI didn’t say it was.

A moment.

LEONARDHow will we know when the coast is clear?

(beat)Do they have a siren for that?

(beat)I think it’s clear.

A moment.

Leonard goes to move.

Hannah grabs his hand.

HANNAHStay with me.

She puts her hand on his face.

She kisses him.

She breaks away, and slowly gets out from under the table, leaving him frozen in the pose of the kiss.

21.

Jean sits on the table.

Leonard climbs up onto the table as well, with great effort.

Subtle sound of wind. Birds.

LEONARD(winded)

You wanted to meet up here?

JEANI like the view.

LEONARD(looking)

Oh yeah. (huffs)

Nice.

JEANI always wanted to paint this landscape.

LEONARDYou paint?

JEANNot well.

LEONARDProbably better you didn’t.

JEANHm.

LEONARDI like the way the river... winds through...

JEAN(points)

Like there. Around that park.

LEONARDYeah.

22.

JEANThat’s my favorite park.

LEONARDYou like it there.

JEANI’ve never been. But I like the way it looks from here.

LEONARDOh.

JEANI want you to know that it’s nothing... personal.

LEONARDWhat is?

JEANIt’s not something you’ve done, or something I detect inside you, an ulterior motive or shady past or something. It honestly, actually, truly, has absolutely nothing to do with you whatsoever.

LEONARDI don’t know what you’re--

Jean pulls a note card from her pocket.

JEANYou’ll call Hannah. When the call goes to voicemail, you will read this card.

LEONARDHow do you know it will go to voicemail?

JEANI erased your contact from her phone. It will ring as unknown. She never picks up calls from unknown numbers.

LEONARDWhat does the card say?

(beat)It explains why she won’t ever see me again.

23.

JEANNo. It explains nothing. But that she won’t see you for a while.

LEONARDWhich will become forever.

JEANOne can only hope.

Jean rises.

LEONARDWas there something up here you wanted me to see?

JEANLike I said, it’s not about you. I was going to be here today, anyway.

Jean goes to climb down.

LEONARDAnd if I don’t call her? Leave this message?

JEANYou will.

Jean climbs under the table.

Hannah joins her.

They giggle, excitedly. They are young.

Perhaps a Christmas tune. Music box.

JEAN (CONT’D)Shh...

HANNAHI can’t help it.

JEANTry. If we get busted...

HANNAHIt was your idea.

24.

JEANYou didn’t have to come along.

HANNAHWhat if we see him?

JEANWe won’t. There is no such thing.

HANNAHThen where do the presents come from?

JEANFrom dad. Dad puts the presents out. After we go to bed.

HANNAHThen why is there a reindeer sleigh?

JEANThere isn’t.

HANNAHThey wouldn’t make up a lie that big and tell everyone in the world this huge lie just to lie to us.

JEANHannah, they would, they have, and they do.

HANNAHI’m proving you wrong.

JEANWell prove me quiet.

A moment.

HANNAHDad’s asleep, anyway.

(beat)He’s snoring.

JEANHe’ll wake up. And he’ll bring down the presents. Even the stockings. He’ll eat the cookies and drink the milk. And before your eyes, you will see that there is not, nor has there ever been a Santa Claus.

25.

The music plays.

They are silent a moment.

They both droop, and fall asleep.

The music fades.

LEONARDI never wanted to be a super hero. The tights, the capes. Bright colors. I know - there’s the brooding, mysterious ones - your dark, twisted anti-heroes. I never bought it. It was all too easy. A whack-job jumps up and hatches an elaborate scheme, and the hero just... knows, somehow, exactly what to do to stop it. Out of the goodness of the heart. An act of love for... a person... a city... the world. And it never seemed possible. That anyone, especially someone as special as the super hero, would ever spend their energies, their powers, not just for the less fortunate, for the unfortunate. For the losers. The incapable. The inept. The lost. To do that... that’s the closest thing I can imagine to love. And love? That wasn’t something for capes and neon colors. Not in my mind, anyway.

Leonard sits on the table, still.

Hannah and Jean climb out from under. They sit on the table, Leonard in between.

They lean toward his shoulders.

Leonard rises and crosses away.

Hannah and Jean lean into one another.

Leonard stops, far from them.

Lights dim.

End.

26.

PLAY 4: ATLANTA

Two doctors, wearing scrubs, in an interior hospital room.

HARRIS is smoking. REYNOLDS enters.

REYNOLDSYou can’t do that in here.

HARRISI can’t go outside.

REYNOLDSYou’re a doctor.

HARRISI know.

REYNOLDSWell put it out. You haven’t figured it out yet? Smoking is bad for you.

HARRISThere are many things that are bad for you.

REYNOLDSDon’t I know it.

Reynolds goes to wash hands.

HARRISHow is he?

REYNOLDSProgressing. Vitals are strong, things are looking positive.

HARRISHe’s still sick.

REYNOLDSObviously. You know how serious this is.

HARRISI certainly do.

27.

REYNOLDSThese things take time. Usually do. It’s not like we’ve been through this before.

HARRISYeah.

REYNOLDSSo, we monitor things closely, keep track of how he responds to the treatment, and keep moving forward.

HARRISForward.

REYNOLDSI know that this whole thing is very scary. The media is going berserk.

HARRISIt’s not every day we import one of the world’s most infamous, untreatable, deadly viruses on purpose. How should they be responding?

REYNOLDSEverything is under control.

HARRISI can see that. Not everyone out there can.

REYNOLDSFor obvious reasons.

HARRISYes.

REYNOLDSDo you think he’s not worth it?

HARRISWho?

REYNOLDSOur patient. He was there doing good.

28.

HARRISOur. Patient.

(beat)Yes. Everyone likes the charity doctors.

REYNOLDSAs opposed to blood-suckers like us.

HARRIS(almost finishing the sentence)

Like us.(beat)

Are we... colleagues?

REYNOLDSWhat? Sure we are.

HARRISWe are.

REYNOLDSWe are both here... we are all here to make sure he gets the best care possible. That’s why he’s been brought here. We are giving him the best treatment in the world.

HARRISThat’s why we are here.

REYNOLDSYes.

HARRISWe’re doing this together. A team.

REYNOLDSExactly.

A moment.

HARRISI want to know where it came from.

REYNOLDSWhat?

HARRISYou know what.

29.

REYNOLDSI don’t have the time to go through the virus’ origins with you.

HARRISThe serum. The antidote.

REYNOLDSIt’s not an...

HARRISWhere is it from?

REYNOLDSDoctor...

HARRISTell me.

REYNOLDSThat’s not information that I’m at liberty to--

HARRISI don’t want to play games with you.

REYNOLDSThat’s good.

HARRISYou’re going to tell me where it came from, and why it was there, just sitting around waiting for a patient zero.

A moment.

REYNOLDSI’m going to ask you again to extinguish your cigarette.

(beat)Please.

Harris puts it out.

HARRISI’m on to you.

REYNOLDSMe?

30.

HARRISYou brought it here with you. I know you did. Don’t deny it.

(beat)You had it super-cooled.

REYNOLDSThat’s right.

HARRISIs that why it hasn’t been--

REYNOLDSThe serum is still in experimental trial stages.

HARRISIs that why it’s not in West Africa right now?

REYNOLDSYou know how this works. We can’t distribute a drug that’s in trial stages.

HARRISWell, it’s not in trial stages now. It’s in him.

REYNOLDSThese are obviously special circumstances.

HARRISWe aren’t making a guinea pig out of a missionary doctor. You know it works.

REYNOLDSIt is not an approved drug treatment that can be mass produced at this time.

HARRISCut the PR man bull. It’s you and me in here. If I’m going to be able to help this man, I have to know what we’re doing here. What are we doing?

REYNOLDSTreating a disease using a drug on a patient who needs it.

Reynolds starts for the door.

HARRISTell me your company hasn’t been holding onto this cure while hundreds of people have died around the world.

31.

REYNOLDSMy company? Has no cure for this virus. But it is a virus. And it can be cured. It can be contained.

HARRISAnd once we prove that here... it... the serum... will be shared with the world.

(beat)Tell me we will share it with the world.

(beat)I cannot continue with this unless you tell me.

A long moment.

A voice comes over a loudspeaker.

VOICEDoctor Reynolds. Report to the Isolation Unit. Doctor Reynolds to the Isolation Unit.

A moment.

REYNOLDSThat’s our boy.

HARRISReynolds.

REYNOLDSDr. Harris. I would hate for you to be uncomfortable being a part of a history-making medical discovery. Don’t bother scrubbing in for your shift.

Reynolds leaves.

Harris is alone.

Lights down.

32.

PLAY 5: MUCH LESS MORE

Clayton is alone, seated in a chair. He has a suitcase on his lap.

CLAYTONI’m not afraid. I’m not running away. I’m... I’m... chasing my future. Believing that there is still a tomorrow for me, that looks nothing like today. A tomorrow where the me of today can slowly, gradually transform into the me of the future.

(beat)I am not afraid.

Harry sits at a low table (coffee table?). He is putting together a puzzle. He barely has the edges done. As he speaks, he is concentrating on placing the puzzle piece.

HARRYMy favorite kind of transportation is a motorcycle. It’s like a bicycle, but faster. And louder. And so cool. Sometimes people are afraid of them, because they’re so loud and fast, but not me. That’s exactly why I like them. Sometimes they go screaming down the street by my house, and it’s really loud and all, but that’s why because they’re going so fast. I’ve never seen them go down my street, but I hear them all the time. I had a bicycle but it got stolen from in front of my house because I didn’t lock it up like I was supposed to and someone come along and like it and think it was pretty cool and took it home with them. I thought it was pretty cool too. But not as cool as a motorcycle.

Nathalie is painting her toe nails.

NATHALIEThere is no way I’m getting the promotion at work. Alex hasn’t even looked over the last quarter numbers yet, and that’s where all my best numbers show up. Pam did well the quarter before that, and that’s all Alex is aware of. Not that she’s dropped the ball for the past month, while I’ve picked up her slack.

(beat)Ugh. Listen to me. You know, I promised myself I wouldn’t do this. Spend all evening fretting about work, and not giving myself the time to just be at home, and myself, and not be “on” all night. Work is work, and home is home. I have to drop it.

(beat)I’ve never been good at that.

(beat)I don’t know anyone who is.

Clayton stands up.

33.

CLAYTONFinal boarding. I stand and check my pockets. My boarding pass. My suitcase. I’m... I’m ready. There’s a mass of people waiting to board. And I wonder... I wonder how many of them are running away. Afraid. I imagine for a moment that we all are. And headed to the same destination. Not just a hub, bound for separate final destinations, but that we have gathered here, purposefully, to become new people. Baptized by air travel. As the crowd grows smaller and smaller, each one passing their papers over the scanner, the scanner beeping its approval, I realize that we... we are none of us... avoiding the fear from which we run. We’ve each packed it. Our carry on. Our one personal lap item, to be stored in the overhead bin or in the seat in front of us. Just within reach. As we pretend to have packed it away.

Harry climbs up to his knees to see the puzzle pieces better.

HARRYI have a video game where a bouncing blue rubber rabbit is chasing a power cube down a sewer pipe. And if you don’t have the motorcycle power, then there’s no way you can catch the cube. It’s too fast. And sometimes it goes -whoom, whoom- around in a circle in the sewer pipe, like that, and if you’re only the rubber rabbit you bounce back down to the ground and you drown in the sewer water. I used to do that all the time, but there’s no way to get the power cube without doing that because it is most of the time up on the top of the sewer pipe thing. And to get the motorcycle, you have to... um...

(concentrating on a puzzle piece)You have to... uh...

(not the right piece)There’s a special level when you go back to the right around the corner from the gator gate. you have to jump across the bridge thing there, but on the other side, that’s where you can get the motorcycle. Cause you’ll need it if you want to catch the power cube.

Nathalie stands up, and walks on her heels across the stage.

NATHALIEI know the real problem is that I don’t eat out at lunch. Gina and Tim always go out to lunch and make a big deal about it. Sometimes they invite me, usually they don’t. It’s not like they don’t see me walk in carrying my containers of leftovers, and leave them in the fridge. I don’t blame them for not asking me. But I know that Pam is gone for lunch every day. I don’t think she goes with Gina and Tim. I think she doesn’t. I don’t think Tim likes her much anyway. He asked her out once, and I don’t think it went well. I don’t know why. Tim’s a perfectly nice guy. And she seems sweet enough. A little dim.

(beat)

34.

(MORE)

But when everyone’s gone to lunch and I’m still there, I end up catching all the lunchtime calls that come in. Really, we shouldn’t eat lunch when everyone else does, because that’s when they call us. Lunch is the worst hour of the day. But that’s how I’ve been picking up all that extra clientele, because I’m the one at the office during lunch.

(beat)I just miss out on all the things that happen at lunch.

Clayton sets down the suitcase.

CLAYTONThe plane departed without me. The people at the counter called my name three times over the loudspeaker, and I just stood there the whole time. And they closed the doors. The plane left. And the gate changed over to a flight to a different place altogether. Like the previous flight had never existed.

Clayton kicks the suitcase.

Harry starts to push puzzle pieces off of the table.

HARRYBecause motorcycles are better than planes. They don’t go high up in the sky, and they don’t take so many people all at once. Just one at a time. Sometimes two. Or three if there’s a sidecar. but not a whole bunch of people all at once. And not so far away. Not so far away so fast.

(beat)Motorcycles are my favorite.

Nathalie sits on the floor.

NATHALIEHonestly. I don’t want the promotion. I don’t want to do the job I have, much less more of it. Much less more.

(beat)I like eating leftovers for lunch.

(beat)And I hate this color of polish.

They linger for a moment.

Lights down.

End

35.

NATHALIE (CONT'D)

PLAY 6: CEREMONIAL

A sandy beach.

A man stands in the sand, barefoot, in a tuxedo. His bow tie is untied. He is drinking a beer, and holding the rest of the six-pack.

A woman enters, in a bridesmaid’s dress, an unnatural shade of blue. She is barefoot and carries a pair of heels. She has her hair up, held by a flower.

PHYLLISBilly?

BILLYJust looking at the sunset, Phyllis.

PHYLLISIt’s 1:30.

BILLYI’m patient.

PHYLLISAnd you’re facing east.

BILLYVery patient.

PHYLLISWell, I... You need to go back.

BILLYI can’t do that.

PHYLLISYou’re going to have to.

BILLYAndrea is freaking out.

PHYLLISWell, yes.

36.

BILLYShe wants to know why I left.

PHYLLISProbably, but she sent me to bring you back. What happens then, I don’t really know.

BILLYShe screams. She probably cries. And nothing really changes. Not seeing the motivation, Phyllis.

PHYLLISDon’t be stupid, you have to go back.

BILLYWhy is that?

PHYLLISBecause you aren’t that guy.

BILLYIt would appear that I am. I just ran away from my wedding.

PHYLLISYou got cold feet. That’s normal.

BILLYYou would know.

PHYLLISI would, in fact.

BILLYYou ran earlier than I did.

PHYLLISSo I understand what you might be going through. And I’m here to tell you not to do it.

BILLYRegrets?

PHYLLISI didn’t say that.

BILLYOK.

37.

PHYLLISThere’s still a chance for you to go back to the house, talk to Andrea, and the ceremony can still happen before the dinner gets cold.

BILLYCould be.

PHYLLISBut?

BILLYThere’s a problem.

PHYLLISWhich is?

BILLYI don’t love her.

PHYLLISI’m not hearing this.

BILLYI don’t.

PHYLLISBilly.

BILLYWell, that is a problem, don’t you think?

PHYLLISIt would be if it were true.

BILLYYou know what’s true?

PHYLLISDon’t.

BILLYI have to say it.

PHYLLISYou don’t.

38.

BILLYI have to.

PHYLLISYou don’t.

BILLYI’m gonna.

PHYLLISNo.

BILLYI still love you.

PHYLLISI told you no.

BILLYBut it’s true. I do.

PHYLLISThat is ridiculous.

BILLYYou don’t know what’s inside me.

PHYLLISI don’t accept that. You don’t even know me anymore.

BILLYYou’ve tried to change, I know. But the truth is, I still love you.

PHYLLISBilly...

BILLYI’ll ask you a question.

PHYLLISI’d rather you didn’t.

BILLYI want to point out that you’re the one that came after me.

39.

PHYLLISWhen?

BILLYRight now.

PHYLLISThat’s nothing. Andrea sent me.

BILLYYou could have said no.

PHYLLISYou don’t say no to a crying woman in a wedding dress.

(beat)Well, I don’t.

BILLYHow about a groom in his tux?

PHYLLISI’m going to leave.

BILLYWait.

PHYLLISI have to tell Andrea you won’t come back.

BILLYShe knows.

PHYLLISHow?

Billy sets down the six pack, pulls his smartphone out of his pocket.

PHYLLIS (CONT’D)Text message?

BILLYYeah.

40.

PHYLLISSuper classy.

BILLYShe texted me. Otherwise I wouldn’t’ve. She said she wouldn’t talk to me if I came back now.

A moment.

PHYLLISAren’t your clothes at her house?

BILLYAnd my car.

PHYLLISThat’ll be--

BILLYYeah.

Another moment.

PHYLLISWhat all did you text her?

BILLYShe asked if I was coming back, and I said I wasn’t.

PHYLLISYikes.

BILLYShe said then we are through. I agreed.

(beat)She asked if there was someone else.

PHYLLISOh my...

BILLYI said--

41.

PHYLLISNo.

BILLYYes.

PHYLLISYou didn’t.

BILLY(holds up phone)

I actually did.

PHYLLISDid she ask who it was?

BILLYShe absolutely did.

PHYLLISYou didn’t tell her.

BILLYI have not yet responded.

PHYLLISTell her is wasn’t me.

BILLY“It is not Phyllis...”

PHYLLISNo, don’t tell her it was me.

BILLYI hadn’t planned on it.

PHYLLISBad enough she asked me to be in the wedding.

BILLYCertainly wasn’t my idea.

PHYLLISWe were roommates before you started dating her.

42.

BILLYAnd we were --

PHYLLISI know. Oh, God.

Phyllis plops down in the sand.

BILLYWhat?

PHYLLISThis whole thing. I didn’t even want to be here.

BILLYObvious to everyone but Andrea.

PHYLLISI should have stayed at home.

BILLYYou moved to get away from us.

PHYLLISIt wasn’t just you.

BILLYBut it was to get away.

PHYLLISI got a new job.

BILLYBut you came back anyway.

PHYLLISShe asked me to be a bridesmaid.

BILLYAnd you said yes.

PHYLLISI didn’t want to. Been miserable this whole week.

BILLYYeah.

43.

PHYLLISHer sister is quite a...

BILLYPill.

PHYLLISNice way of saying it.

Billy notices her on the ground.

BILLYYou’re ruining your dress.

PHYLLISWhat?

BILLYThe sand.

PHYLLISYou think I’m ever wearing this dress again?

(rubs her face)Oh, this is so completely messed up.

BILLYI know.

PHYLLISYou aren’t going to just leave.

BILLYI left my keys in the house.

PHYLLISNever leave your keys in the house.

BILLYI was getting married.

PHYLLISYou brought your phone.

BILLYThe music for the processional was on it.

44.

PHYLLISYou always plan ahead.

BILLYI try.

PHYLLISAnd fail.

BILLYI figure I wait a few hours, I might be able to sneak through and get my stuff.

PHYLLISShe’s gonna have your car impounded.

BILLYYeah, probably.

PHYLLISNo. She is.

BILLYAh. So there’s that. Then who needs the keys, I guess.

PHYLLISSo just go, then. Call a cab. You have a phone.

BILLYYou want me to go.

PHYLLISYou should. Yes.

A moment.

BILLYCome with me.

PHYLLISYou are out of your mind.

BILLYProbably.

PHYLLISI’m not going anywhere with you.

45.

BILLYI’m not making a pass or anything.

PHYLLISYou just said you loved me.

BILLYYes.

PHYLLISRight after you walked out on your wedding ceremony.

BILLYYes.

PHYLLISNowhere is the only place I will go with you.

BILLY(smiles)

That’s funny.

PHYLLISI am here primarily for your amusement.

BILLYSo I would like for you to come with me.

(beat)We aren’t going to a hotel room. We aren’t running off to the justice of the peace.

PHYLLISSo we’re Dustin Hoffman and what’s her name in the Graduate?

BILLYElaine!

(beat)Katherine Ross is her name.

PHYLLISHello, Darkness. My old friend.

BILLYI guess that would be us.

46.

PHYLLISI don’t want to be them.

BILLYIt was your idea. I just want you to come with me. We could finish these beers.

PHYLLISI don’t drink.

BILLYI can finish these beers.

(beat)You can come with me, or you can head back to the house.

PHYLLISYou don’t have any shoes.

Billy picks up her shoes and throws them.

BILLYNeither do you.

Phyllis rises.

PHYLLISWhere are we going?

BILLYI have no idea.

Phyllis takes the beers and sets them on the ground.

PHYLLISLet’s go.

They go.

End.

47.

PLAY 7: BLOOD MOON

A microphone hangs from above - like a boxing announcer’s.

The stage is covered in dirt. Dusty.

There is a slatted platform - like a deck with no handrails. Maybe 6 inches off the ground.

A wooden A-frame ladder. Maybe 6 feet.

In the darkness, MEROL, WES, and BRIE stand upstage. They are dressed in long, heavy overcoats.

MEROLThe moon.

BRIEThe sky.

WESDarkness.

MEROLHiding.

BRIEHidden.

WESShadowed.

MEROLShaded.

BRIECovered.

WESBut the moon.

MEROLLight.

48.

BRIEIlluminating.

WESExposing.

MEROLUncovering.

BRIEUnhiding.

WESUnshading.

MEROLUnshadowing.

BRIEThe moon.

WESThe moon.

MEROLThe blood.

BRIERed.

WESMoon.

Brie climbs the ladder.

Merol grabs the microphone.

MEROL(mic)

And it was that night, the night of the blood moon that I knew. You didn’t know for a time, but I knew right then. It was the blood moon that told me.

Merol lets go of the microphone. She slowly removes her overcoat.

49.

WESI wanted you to understand where I’m coming from.

BRIEYou don’t have to tell me everything. You don’t owe me that.

WESThe truth?

BRIEThings that happened between you and someone who is not me have nothing to do with who you are to me.

WESI wanted you to know me. All of me. The bright and the shade. I wanted no secrets. To be completely known.

Wes drops his overcoat.

Merol drops to the dirt floor. She crawls during the next speech.

BRIEThere are nights when the moon rises red over the fields, over the forests. An early moon. One that allows for so little darkness, so little shadow that it is almost light all the day long. And on those nights - those several nights - they say, they say that it is the moon of the hunter. For on those several nights the hunter might more easily stalk his prey. The hunter can track, can watch, and can hunt the wild beasts. And the kill. The kill is made that much more simple; all by the light of the hunter’s moon.

Merol reaches the deck.

WESAm I the prey? Or am I the hunter?

BRIEYou? You are... You are... the blood moon.

Wes grabs the microphone.

Brie begins to remove her coat.

50.

WES(mic)

Am I so cruel? Am I this vicious moon who lights the way to bloodshed? I have it in me to crush the light, a darkness to make melt the moon, and banish it.

He releases the microphone.

Brie releases her overcoat.

MEROL(shouts)

I cannot sleep, moon! I cannot sleep! Plague me, no more, moon! I wake all day and cannot find rest by the blood light you shed.

BRIEClose your eyes.

MEROL(shouts)

You stare down on me. You watch me. You give me no moment’s peace. You chase away darkness and fill us with shame. We cannot hide from you.


MEROLYou shine light down and keep us awake.


MEROLClose your light, so that I may close my eyes.

BRIEThe light? It is not my light to close.

MEROLYou shine with a red, vicious light. And I am bathed in your red light.

BRIEI shine no light. I am a moon. I circle the world. And reflect. I have no light of my own. I only... reflect.

51.

MEROLThen hide me. Choose to hide me. Turn your reflected light away from us. That we may hide. And we may sleep.

Brie climbs down from the ladder.

BRIEWake up! Wake up, you who sleeps in the brightness. This light I reflect has found you, this light has seen you, this light has exposed you.

MEROLNo. No!

BRIEYou may no longer hide. You may no longer find protection in darkness, or comfort in the shade. It is in the blood red light where you are defenseless.

Wes begins to collect the coats.

Brie grabs the microphone.

BRIE (CONT’D)(mic)

There is a wound. Sliced deep and flowing. A wound on the far side of the moon, which bleeds the blood of the red moon light.

Brie lets go of the microphone. She moves far from the deck.

Wes approaches the deck. He collapses near Merol.

WESIt is the time of harvest.

MEROLThe harvest is finished. It is finished. The harvest is finished.

WESThe fields are empty.

MEROLIt would be the time of celebration. Of the harvest.

Wes drops the coats.

52.

WESThis is all we have of the harvest.

MEROLFinished.

WESWe have... we have... none... of the harvest.

MEROLIt would be the time of celebration. If we had the harvest.

WESWe have sown. We have worked the soil. We have sweat and worked. And we have...

Merol stands. She looks out on the dirt.

MEROLNothing.

(beat)And the moon. The moon looks down.

WESThe moon, full, the harvest moon rises full and red.

MEROLThe angry moon.

WESIt’s light shows the barren fields, the dust, and emptiness.

MEROLThe nothing. It sees, it shows, the nothing.

WESWhat can be said?

MEROLWhat can be said?

WESWhat can be done?

53.

MEROLNothing.

WESIt is... too late.

MEROLThe angry harvest blood moon has looked down at our work, and found us... wanting.

Merol steps into the dirt. She grabs the microphone and starts to climb the ladder.

Wes is near the edge of the deck.

Brie climbs underneath the pile of overcoats. She begins to act like a beast, on all fours, hidden under the coat pile.

MEROL (CONT’D)(mic)

It is the moon. The blood red moon which finds her, this thing, this animal. The beast who only seeks by the red moon light.

Merol lets go of the microphone. It swings to Wes.

Wes grabs the microphone, and begins to make beast sounds - dog, bear, wolf, etc.

Brie begins to crawl across the dirt.

MEROL (CONT’D)She is the hunter by this moon. Of this moon. And the blood she spills, only sheds more light.

BRIEI must find. The prey. I must prey. I must kill. And I must bleed the prey.

MEROLShe is its servant, its slave. This moon. This light, reflected in blood, must be avenged. Must be revenged. Must be ravaged.

BRIEFangs rip flesh from bone, and lay bare the blood, the blood red, spilled on the world. Spilled from the flesh. Send from the heart and out of the wound. The slashed wound of tooth through flesh. Red blood.

54.

Wes and Brie howl.

MEROLSpilled blood spilling, spreading, and seen by the above. The light above. The blood moon.

Brie collapses.

Wes releases the microphone. Merol catches it.

Wes removes the coats from Brie.

WESI wanted you to know.

BRIEI didn’t have to know.

WESBut it’s what I wanted.

BRIEAnd now.

WESNow.

BRIEI know.

WESYes.

BRIEI’m glad. I’m glad to know.

WESIt is the truth.

BRIEThe blood red truth.

Wes offers his hand.

Brie takes it.

55.

They rise.

Wes and Brie walk upstage.

Merol steps off of the ladder.

MEROL(microphone)

And once it is drained, the blood moon, she descends, beyond the horizon, and gives way once more to the darkness that ends in light.

Merol releases the microphone.

She kneels in the dirt.

MEROL (CONT’D)The blood moon gives way, to the darkness that ends in light.

Lights down.

End

56.

PLAY 8: INCONSEQUENTIA

Three plastics sheets are hung from above, arranged to create four rows that run from right to left. Lights should be set to illuminate each row individually.

Row 1 is downstage, and no plastic separates this row from the audience. Row 2 has one sheet between. Row 3 has two sheets, Row 4 has three sheets.

Lights up on Row 1. A man sits in a chair on stage right, as he faces stage left.

ONEThe night air is filled with the sound of crickets. In the distance. A single chair on the porch, facing the distance. Eyes adjusting to the darkness, slowly, like a sunset. The distance. The dim shape takes time to form.

Lights down on 1. Lights up on 2. A young girl sits on the ground, mostly stage left. She faces forward.

TWODays pass simply in the memory. When the hours slip by unnoticed, hurried on their way to the momentous. The highlights. Birthdays and holidays, firsts and lasts, deaths and births. And the minutes before... before it happened, before you knew, before it was gone. The inconsequentia. What was happening when the important happened. What happens to those moments? The ill-remembered. The lost.

Lights down on 2. Lights up on 3. A woman stands on a box or small table. She holds her arms out wide.

THREEThis is the last. The final. The surrender. Standing on the edge, waiting for the wind to whisk away. Lacking the strength to resist any longer. And it is welcome. The relief. It is impossible to continue the struggle. And resistance is set free. And abandoned.

Lights down on 3. Lights up on 4. A young boy.

FOURThis is the present. This is the now. This is still the now. As close to the now as can be. The now that is heard is but slightly the past, but is still the echo of the now. Of the now.

Lights stay on 4, and also come up on 2.

57.

Actors in a scene together respond as if they see each other, as the act side to side.

TWOYou’re leaving.

FOURYes.

TWOI have so many questions.

FOURI want to go. I don’t know where. It is not because of you. I do not know if I will return.

(beat)Will you miss me?

TWOI can’t decide if I will miss you... or if I will hate you.

FOURIt will be easier to hate me.

TWOI know.

FOURI don’t want to break your heart.

TWOMy heart?

FOURDon’t grieve for me.

TWOYou should go to Paris.

FOURWhy Paris?

TWOI’ve always pictured you there.

58.

FOURIn a cafe. By the river.

TWOPainting a picture of a monument.

FOURWhich one?

TWOIt’s a building. Made of stone.

FOURFor you... I will go there.

A moment.

TWOYou don’t have to really go there. Just know that’s what I will imagine you are doing.

FOURI will miss you.

Row 4 goes down. Row 3 comes up. She is down from the height.

THREEI don’t want you to become just like me. You can make your own choices. Your own mistakes.

TWOI don’t want my own mistakes.

THREEPromise me.

TWOI can’t promise that.

THREEPlease.

TWOYou think you’ve made mistakes, but I admire them. These things you regret...

59.

THREEI don’t want them for you.

TWOI do. I want nothing more.

THREEDon’t say that.

TWOYou are what I want to be. You are my object. My goal.

THREEYou can be so much more.

TWOThere is no more that I want.

Two ‘reaches’ for Three. Three recoils.

THREEPlease.

TWOPlease.

Three has backed up almost to stage right.

Lights down on 2. Up on 1.

Three stands with back to One.

ONEYou’ve come back.

THREEFor now.

ONEI’d apologize.

THREEI know.

60.

ONEWill you tell me what I’ve done?

THREEIf it were anything you’ve done.

ONEI can’t...

THREEWhat?

ONEThis punishment is cruel.

THREEI wish it weren’t.

ONEYou can change this.

THREEIf I could.

One reaches, Three moves away.

ONEAnd there’s nothing you can say to me.

THREESo many things I wish I could.

ONEBut you will stay.

THREEToday I can.

ONEThen I will take today. Would you like to rest?

THREEI would.

61.

One rises, crosses to stage left.

Three counters to the right.

ONEThen rest. Let this be a place of rest.

Three sits in a chair (in row 3).

Lights dim in row 3. Up on 4.

FOURShe doesn’t love me.

ONEShe doesn’t know how to love right now.

FOURYou deserve better than this.

ONEWould that I did. I deserve nothing more.

FOURBut she--

ONEShe does nothing more than she knows to do. She is driven. Anxious. Flailing out at any and every thing near her. And her grasp, as painful as it is, is with all her might. And that... that is the only love she has right now. And so, I pray that she grabs hold of me as tight as she may.

A moment.

FOURShe’s resting.

ONEYes.

FOURWhen will she--

62.

ONEI couldn’t say. I wouldn’t say. For now, she rests.

FOURFor now.

ONEThe future will come.

FOURAnd until it does...

One kneels on the ground.

Lights dim on 1. Up on 2.

Two stands behind One as he is kneeling.

TWOI wish I could answer his prayers.

FOURI wish anyone could answer his prayers.

TWOHe doesn’t understand.

FOURI don’t understand.

TWOToo simple for you? This is his love. This is how he loves.

FOURLove.

TWOThis is how he loves you. Since you left.

FOURI’m nothing like her.

TWOYou are nothing else but her.

63.

FOURYou can’t say that.

TWOIt’s true.

FOURIt isn’t. Don’t say it again.

Two turns, she walks toward Three.

TWOYou have made yourself a shadow of her image. Here, but gone. Lost, but remembered.

(beat)How is Paris?

FOURI never went to Paris.

TWOI saw you there. Exactly as I pictured you. Exactly. As I pictured you.

Four runs away - stage left.

Lights out on 4. Up on 1.

ONESay our prayers.

TWOYou say them with me.

ONEYou need to learn to do it on your own.

TWOI don’t ever want to pray on my own.

ONEBut you must. Come on now.

TWOGod abovewho made all things and meGod the dove who laid upon a tree

64.

(MORE)

God of lovewho gave all things to beGod abovewho said come unto me

amen

ONEVery good.

TWOI have a question.

ONEAnything.

TWOThat’s our prayer?

ONEYours and mine.

TWOAnd yours.

ONEYes.

TWOThen...

ONEWhat?

TWOThen how do you pray... for her? Where is she in our prayer?

ONEWhere is she?

TWOYes.

ONEShe is in our hearts. She is in our minds. She is in our souls.

65.

TWO (CONT'D)

TWOI... I miss her.

ONESo do I.

TWOI miss him too.

ONEYes.

TWOWill we ever see them again?

ONEI hope so. I hope so.

One returns to his chair on the right.

Two sits on the floor, near the right.

Three and Four are far to the left.

Dim on 1, 3, 4. Up on 2.

TWOThose times were lost. The times between. The times around. Which made up more of the day than the times worth remembering. But it is all gone. The inconsequentia. Lost in the slight moments, where the world would shift, and never be the same.

Lights dim, all go out at the same moment.

End.

66.

PLAY 9: THE DREAM OF BEX AND HANN

Lights hang by strings from above.

BEX, a young boy with long hair hanging over one side of his face, wears a long robe with hood.

HANN, a young girl, wears a night dress. She has a bow in her hair.

They are on a small platform - perhaps is moves slightly under their weight, maybe like a raft.

HANNI think they’ll be back.

BEXI won’t take care of you until then.

HANNI didn’t ask you to.

(beat)I think they’re watching us.

BEXNo.

HANNRight now.

BEXNo one is watching us.

HANNThey have to be watching us.

BEXI think I see something.

HANNBe certain.

BEXI can’t tell.

67.

HANNThen you don’t see something. We can’t see anything. We’ve been gone too long. They’ve been gone too long.

BEXI don’t think they’re coming for us.

HANNWhy?

BEXYou won’t believe me.

HANNSay.

BEXWe are in a dream.

(beat)I told you you wouldn’t believe me.

HANNA dream.

Hann drops to the ground, and moves to the edge of the platform. She reaches down.

BEXYour hand isn’t wet.

HANNNo.

(beat)But the water...

BEXIt isn’t real.

HANNHow do you know?

BEXBecause this is a dream.

Hann reaches down again, slowly, until she touches the floor.

68.

BEX (CONT’D)You don’t believe me.

HANNYou lie.

BEXThat’s no reason to disbelieve.

Bex jumps off of the platform to the floor. Hann reaches to stop him, but to no avail.

A moment.

The string lights are dim.

HANN(looking up)

And this is part of the dream.

BEXYes.

HANNThese are memories.

BEXAnd dreams.

HANNMemories of dreams.

BEXDreams of our memories.

Hann rises.

HANNYes.

BEXSo we wait to awaken.

HANNWe wait.

69.

BEXTo awaken.

A moment.

Hann reaches up to touch a piece of furniture.

BEX (CONT’D)I can almost feel the blankets around me.

HANNI wonder if they will come for us.

BEXWarm and safe. Cold on my face. Dreaming.

HANNI wonder if they can come for us. Even as we sleep.

BEXDreaming.

The sound of waves.

Hann notices it. Bex seems unaware.

HANNThe water.

(beat)The water. Listen.

BEXIt is a dream.

HANNI hear it.

Hann moves closer to Bex, but still on the platform.

BEXPart of the dream. Nothing to fear. It is part of the dream.

HANNHold me.

70.

BEXI won’t.

HANNThey would hold me.

BEXIf they were here.

HANNPlease.

BEXI don’t need to hold you.

HANNNot for you. The water frightens me.

BEXThere is no fear of water in a dream.

HANNWake up!

The sound of crashing water.

The lights on the strings flicker.

Hann grabs Bex’s arm and he falls onto the platform.

HANN (CONT’D)We have to stay together. So they can find us.

BEXI’m not lost.

HANNI am. Stay with me.

The string lights slowly get brighter.

BEXStars. As we have never seen them in the sky.

71.

Hann slowly kneels, to hold Bex.

HANNThis is not a dream.

BEXBrighter. And in patterns unfamiliar.

HANNI couldn’t dream a dream like this.

Bex begins to rise.

BEXNew constellations, ready to be named.

HANNWe are not in a dream.

BEXNew animals, new gods. And the myths created to suit them.

HANNThis is a new world.

BEXA new world, waiting to be explored. And named.

HANNThey can’t come to get us in a new world.

BEXA new world where they can’t come to get us.

HANNTrapped.

BEXFree.

Bex steps off of the platform.

Hann reaches for him.

72.

Water sounds. Flowing. Surrounding.

HANNNo. NO!

Bex leaves.

Water sounds disappear.

HANN (CONT’D)They will come for me. They will take me from this dream. This new world. They will find me. They will find me. They will find me.

Stage lights dim until out.

String lights dim until out.

End.

73.

PLAY 10: FLOOD WARNING

Two men and a woman in an interior. The sound of rain - perhaps a projection of rain as well. They are slightly wet, and out of breath.

VENI was supposed to pick up my kids.

LISAI was on my way to a first date.

MARKI was on my way home from work.

Rain sounds continue.

VENThey aren’t supposed to stay at school after 3:45.

LISABoy and a girl.

VENYeah.

LISAThey should be fine.

VENYou’d think.

LISAThey can look out the window. See why you’re late.

VENIf I miss the cutoff again, they’re going to call my ex.

LISAOh.

MARKCall her yourself. Better than being a no-show.

74.

VENNot sure about that.

MARKOK.

(to Lisa)You should call your date.

Ven takes out a phone and dials.

LISAI don’t have his number.

VENDidn’t he call you to make the date?

LISAOnline.

MARKThought I recognized you. Lisa.

LISAYes. I’m sorry. I don’t remember...

MARKMark. Don’t worry about it. I deactivated a few weeks ago.

LISAWhy?

MARKStarted seeing someone.

LISAFrom the site?

MARKNo, actually. IRL.

(beat)In real life.

LISAYeah.

75.

Ven hangs up.

LISA (CONT’D)Couldn’t get her?

VENVoicemail.

MARKLeave a message.

VENShe’ll see that I called.

(beat)It’s really coming down out there.

MARKThat’s why we all pulled over. Right?

LISAI skidded pretty bad. Almost spun out. Just made it here.

VENFlood warning.

LISAReally?

MARKThis is a low-lying area.

LISAGreat. I gotta get out of here.

MARKWe should wait it out.

VENI have got to go. My kids...

MARKAre safer in their school than in your car right now. Just calm down.

76.

VENEasy for you to say.

LISAI’m going to feel terrible if I don’t meet Alistair.

VENAlistair?

LISAHe’s not from around here.

MARKI’d say he isn’t.

LISAHe’s English. Came over for a job about 3 years ago.

VENOK.

LISAI don’t want him to think I’m rude.

MARKEven if it’s true?

VENHey.

MARKMeeting him for dinner. Out this way?

LISAThat’s right.

MARKYou meeting him at the truck stop or water treatment plant? Only things out this way.

VENShe doesn’t have to answer that.

MARKYou’re right.

77.

LISAI’ll answer it. I was avoiding the dinner. Happy?

MARKNeither happy nor unhappy.

LISAThen what is it to you?

MARKWhy do you feel you need to lie to us? You don’t know us from anyone. We’re not worth lying to.

LISAYou’re right.

VENAnd you? You live out this way?

MARKI do, in fact. Niehbur Circle.

VENNiehbur?

MARKYes.

VENNever heard of it.

MARKIt’s not far. If I had a boat, I could row there.

LISA(to Ven)

What school are your kids in? Is it near by?

VENI’m not sure. Good day, maybe 10 minutes.

MARKGilliam? Or Charles?

78.

VENBingham.

MARKThat’s 25 minutes at least. You were already late.

VENI was.

MARKYou wouldn’t make it to Bingham by 3:45 in the sun.

VENMy problems. Not yours.

LISAWhy do you think pointing out our faults makes you a good person?

MARKIs that what I did? Point out your faults?

LISAWell...

VENListen...

MARKYour wife has already picked up your kids.

VENWhat?

MARKAnd your date? He didn’t show up.

A moment.

VENWho do you think you are?

LISAYeah.

79.

MARKI’m not anyone. Not anyone at all.

Mark turns upstage. He exits.

Ven and Lisa look back out at the rain.

The rain slows. Then stops.

Silence.

Blackout.

80.

PLAY 11: LENNY LEGEND IN THE MAX PAIN

A locker room, with lockers, metal chairs, padded massage table, various other items around.

Muffled rock music is heard.

Bursting through the door is Max Power, a young wrestler, wearing ring shorts. He is obviously exhausted, and perhaps slightly bloody.

Max makes his way to a locker and is quickly putting clothes into it. He pulls a grimy sweatshirt over his head.

Enter an enormously tall and broad man, probably in his 40’s, wearing a rubber mask and a wrestling outfit blazoned with the word PULVERIZE on it. He stands at the door.

PULVERIZEMax.

MAXI gotta go, Pul.

PULVERIZEYou were supposed to go over.

MAXI know. I have --

PULVERIZEWhat happened out there?

MAXI don’t have time to--

PULVERIZEThree is mad, Max. He’s headed back this way.

MAXThat’s why I have to go.

Max heads for the door.

81.

Pulverize gets in his way.

PULVERIZEI’m not supposed to let you leave.

MAXPul, get out of my way.

PULVERIZECan’t do it, Max.

MAXIt wasn’t my fault. I promise you. We reached the last eight, and they called the Go Home, and I did what I was supposed to. You saw it --

PULVERIZEI wasn’t watching. But Three shouted down to me to keep you in here until he got here.

MAXI can’t wait for him. He’s gonna fire me.

PULVERIZEThen he’s gonna fire you if you’re here or not. Running out doesn’t help. You got to face him.

MAXEasy for you.

PULVERIZESize doesn’t matter when it just comes to being a man and owning up to what you’ve done.

MAXIt’s not that big a deal, is it?

PULVERIZEYou’ve screwed up the angle, Max. What do you want me to say?

MAXI didn’t screw anything up! I didn’t...

At the door, enter THREE - Robert Samson III - a middle aged man in a suit. He is fuming. He rips off his bow tie, and throws it at Max.

82.

THREEYou fuck!

MAXWait a minute--

THREESwear to God, if it were legal, I’d have you drawn an quartered!

MAXIt wasn’t my fault, Three. Honestly.

THREEI betcha in Mexico I could have you eaten by dogs.

PULVERIZEThree, just calm down...

THREEOutta my way, Andy. I want to tear this guy a new hearing hole so I can yell in it!

Max has moved away. Pulverize is detaining Three.

THREE (CONT’D)The fuck is actually your problem? Do you not understand simple English? What part of kick out before 3 is too hard for you to comprehend?

MAXI understand.

Three kicks a metal chair.

THREEThen fucking kick out you shit! With your legs. You kick. Into the air. You horse’s ass!

MAXIf you’ll just listen for a minute--

THREEListen to what?! WHAT?! WHAT?!

PULVERIZEThree...

83.

THREEOh, shut up! Or I’m going to make you put El Charrito over again. Wanna work the giant vs. midget angle again? You can relive that 6 months if you’d like.

Pulverize backs off.

PULVERIZEGeez, Three...

THREEAndy, I’m sorry. I apologize. I’m just a little on edge as this newbie twerp from Moon Mountain, Mississippi, thinks he knows more about this business than a third generation promoter...

MAXThat’s not what...

THREEThat’s not what? What?! WHAT?!

(beat)It was all worked out, Maxie. All worked out. All you had to do, was to kick out on the two. Honestly. Kick out on the two, roll him over and up in the Gory Special.

MAXThe Max Pain.

THREESure. He stays in it for a 20 count, then taps.

(beat)And you, you pinhead, you carry the goddamn belt out of the ring. Fucking champion.

(beat)And Lenny Legend takes his last fucking bow in this league. Gone.

(beat)That’s all it took.

(beat)Was I unclear?

Enter LENNY LEGEND, an older man in a red, white and blue outfit. He carries a wrestling title belt over his shoulder. He limps and is clearly in a lot of pain.

Three immediately turns his anger into enthusiasm.

84.

THREE (CONT’D)Lenny...

LEGENDDrop the crap, Bobbie.

Legend limps to the massage table.

THREEWhat an amazing match! Did I tell you? The kid can work. Didn’t I say the kid can work? He’s got the stuff, and you two were amazing out there. You hear that crowd, Len? Haven’t heard a crowd that worked up in months! The Legend Continues!

LEGENDThat wasn’t the deal, Bobbie.

(back spasms)Ah, ah!

(drops onto table)Andy, can you--

Pulverize moves to the table, massages, Legend’s back.

PULVERIZESure thing, Lenny.

LEGENDLower. There.

THREEIt was a great match though, huh, Len? Gonna make a great closer to the DVD we’re putting together to sell at the GrappleTacular this summer. You should see the footage.

LEGENDI don’t need to see the footage, Bobbie.

THREEI know that.

LEGENDI need to go home.

THREEI know, I know.

85.

LEGENDThis was supposed to be it.

THREEDon’t look at me, Len. I’m not out there pulling screwjobs on anyone.

LEGENDNo?

THREEHonest. I had it all set up. You know I did.

(to Max)Right, Power?

(to Legend)Tap out on the Gory special.

MAXThe Max Pain.

THREERight. I was just here talking with Max about what happened out there.

LEGENDYeah.

MAXI was... I just...

THREEBut we’re gonna have you back, right Len? We can’t vacate the title again. 4 times in the past two years is already too much. The message boards are gonna go nuts.

LEGENDNot my problem, Bobbie. I can’t go again.

Three motions to Pulverize, who steps away. He fills a bag of ice.

Three kneels down and gets close to Legend.

THREE(whispers)

You remember what you promised my dad. Don’t you.

86.

LEGENDOf course I do.

THREEThen you know what this means to my family. Our family. This company. Those fans out there, cheering for their Legend. Louder than ever, Len. Louder than ever.

Pulverize puts the bag of ice on Legend’s shoulder.

LEGENDAh...

THREEWhat’dya say? Lenny Legend.

(indicates Max)Doesn’t that kid deserve to start his reign legit? Win...

(slaps belt)This thing. In a straight up fight.

(beat)Finish it right, Len.

Legend sits up. Looks at Max.

LEGENDGive us a minute.

THREELen...

LEGENDThree.

A moment.

THREECome on, Andy. Let’s give these two the room.

PULVERIZEBut Three.

LEGENDGo ahead, Pulverize.

Three and Pulverize exit.

87.

A long moment.

MAXMr. Legend, I...

LEGENDMr. Legend.

MAXWell, um...

LEGENDYou couldn’t do it.

MAXNo.

LEGENDMax...

MAXI thought I could. The angle was good. Your promos leading up were spot on. Honestly.

LEGENDThanks.

MAXAnd the work that Three had figured out. It was good. It made sense. I get why he wanted you to put me over.

LEGENDMax.

MAXYes, sir.

LEGENDThree had nothing to do with it. It was my idea. I worked it up. I chose you.

MAXYou did.

LEGENDI wanted... I want to go home. That work. That’s how I want to go home.

88.

MAXOn the Gory Special.

LEGENDOn the Max Pain.

A moment.

MAXWhy?

LEGENDWhy what?

MAXThe Max Pain. I mean, it’s a great look. For the cameras. Great art for more posters.

LEGENDThat’s true. But I want to drop this...

(slaps belt)To you. I want to put you over.

MAXI... I know that... I just...

LEGENDWhat, Max?

MAXI could tell. Your back. You couldn’t get me up in that Fireman’s Carry. After the second floor bit. You couldn’t pick me up. I knew your back was weak.

(beat)I didn’t want to put you up on my back and stretch you. I knew how long it was supposed to go. I knew you were going to go for the full time. But I also knew what would happen if you did. I’m not going to do that to you. Mr. Legend.

LEGENDMax. Then let’s work it out for a fall.

Legend extends his hand. Max takes it.

MAXYou’re my hero, Mr. Legend. Since I was 6.

89.

LEGENDYou’re mine, Mr. Power. Since 15 months ago. Seriously. The way you put over Captain Sunshine. That idiot. When Bobbie told you to make him tap out, and you played it down and let him pin you.

MAXThree was pissed. I had to drop for the dregs of the league for a month.

LEGENDYeah. I noticed. You did it like a man. I respect that. That’s why I want to put you over on my way out. This place needs a guy like you holding this belt. It’s how you set the tone for this league. How you put up with Bobbie. How you work an angle. How you work for these fans.

(beat)Promise me you’ll take this belt. And keep this place alive.

MAXI promise. Lenny.

Max heads for the door.

Legend sits down, groaning.

Max stops at the door, unnoticed by Legend.

Legend holds up his belt.

LEGEND(to the belt)

One more time. Just one more time.

Legend sets the belt down in the locker. He starts to take tape off, etc.

Max exits.

Lights down.

End

90.

PLAY 12: TEA AND FORGIVENESS

Two women, Geenie and Kella, carrying cups and saucers. They move slowly around the space, though their conversation is like they are seated.

GEENIEAnd you didn’t mind.

KELLACertainly not.

GEENIEThat surprises me.

KELLAI’m certain it wouldn’t bother you. You have always been the forgiving one.

GEENIEMe.

KELLAThe coat. Your bright purple coat.

GEENIEThat was nothing.

KELLAYou see?

GEENIEAn accident.

KELLAThat coat was ruined.

GEENIEI loved that coat.

KELLABut you forgave.

GEENIEShe felt horrible.

91.

KELLAThe least she could have done was replace it.

GEENIENot the least.

KELLAShe didn’t?

GEENIEI never asked her to.

KELLAStill.

GEENIEIt wasn’t worth risking the friendship. I thought.

KELLAYou keep in touch?

GEENIENo.

KELLASo you are lost one coat and one friend.

GEENIEIt would seem.

A moment.

KELLAI genuinely was unconcerned.

GEENIEI see.

KELLATruly.

GEENIEI believe it.

92.

KELLAAbsolutely.

GEENIEThat is what impressed me.

KELLAIt did?

GEENIEUndeniably.

KELLAThank you.

GEENIENot at all.

KELLAI have certainly grown as a person.

GEENIEI agree.

KELLADo you?

GEENIEWholeheartedly.

KELLAWere I one to be guilty of pride, I would be proud of myself.

GEENIEWith good reason.

A moment.

KELLAYou did seem surprised.

GEENIEI said I was.

93.

A moment.

KELLAYou would not have forgiven?

GEENIEI didn’t say that.

KELLAYou think I should have not?

GEENIEMy opinion is certainly not of consequence.

KELLAYour opinion is what I ask.

GEENIEMy opinion?

KELLAAbsolutely.

GEENIEI find your forgiveness admirable.

KELLAThis is not my question.

GEENIEThe question.

KELLAYou think I should not forgive.

GEENIEI’ve said no such thing.

KELLAThen say.

GEENIEIf it is possible, by all means, forgive.

94.

KELLAI believe that it is possible.

GEENIEI see that you it is.

KELLABut you think...

GEENIEI didn’t say...

KELLAYou think I should reserve my forgiveness.

A moment.

GEENIEThis tea is sumptuous.

A moment.

KELLAAnd here I thought I had been wise.

GEENIEPlease do not doubt yourself on my account.

KELLAYet I stand a fool.

GEENIEI wouldn’t want you to think that.

KELLAAnd yet.

GEENIEPlease.

A moment.

KELLAI should seek... revenge.

95.

GEENIEIn this case...

KELLAYes.

GEENIEIt would seem to be justified.

KELLAIt would.

GEENIEOne could not be blamed.

KELLAOne could not.

GEENIECertainly not.

KELLASo...

GEENIEI don’t...

KELLAI should seek revenge.

GEENIEIt is not my place to...

KELLARevenge.

GEENIEWere it to be exacted...

KELLAIt would be justified.

GEENIEIt would seem to be.

96.

KELLAThen you think I should take revenge.

GEENIEIt would not be my decision.

KELLACertainly not. The decision would be mine.

GEENIECertainly.

KELLASo...

GEENIEI would not be one to blame you.

KELLAYou would not.

GEENIECertainly not.

KELLAJustified.

GEENIEAbsolutely.

Kella moves close to Geenie.

Kella takes hold of Geenie’s tea cup and saucer.

Kella takes a step back.

Geenie goes to the floor.

Kella places Geenie’s tea cup and saucer on the floor next to her.

Kella drinks her tea.

Lights down. End

97.

PLAY 13: THE BOOK OF MY DREAM OF YOU

On stage is a young woman, DANET. She sits on a chair, raised high above the stage.

DANETIt was a dream I had. Last night. A dream. a baking apple blood red and swollenready to be slicedand baked

delicious and redI held it up to the lightand could see straight throughThis was all in the dream

Enter a man, THOMAS. He sits at a nicely decorated table - probably at a restaurant.

He takes a napkin and places it on his lap.

DANET (CONT’D)I took the apple in my handand carved it with a small knifeinto the shape of a monkeytwice the size of the apple

Enter HELEN, a well dressed woman. She sits opposite Thomas. She is furious.

HELENI never thought you could be so foolish.

THOMASHelen, please.

HELENI turn my back for a moment--

THOMASYou are making a scene.

98.

HELENAnd this is what you do.

THOMASI didn’t say--

HELENIn my wildest dreams, I would have never--

THOMASThen you lack imagination.

Helen stops a moment.

Thomas eats.

DANETThe monkey turned to me and announced that we should go and look at the starsI assured him that it was day, and we’d have to wait many hours before it was nightand could I please make him into an apple pieBut he went to the lamp and turned it outand the sun burst into a starry night

This did not make me sad

Thomas sets down his fork.

HELENYou could have told me.

THOMASCould I.

HELENOf course.

THOMASThat would have been foolish.

HELENThomas.

THOMASHelen.

99.

HELENI have always been the person you could--

THOMASThat is not true.

HELENWhen have I ever given you reason to...

A moment.

DANETI took off my shoes and my carpet was sandI was in a playland sandboxtrying to build a castle for the monkey

Helen looks around.

HELENYou agreed to meet me here.

THOMASYou worry too much about what other people think.

HELENYou want me to worry about what you think.

THOMASOf course.

HELENYou’re other people.

THOMASTo you. Not to me.

(beat)What do you care what I think?

HELENI care a great deal.

DANETBut the wavesbut the waves kept crashing over me

100.

(MORE)

and at first crushed my castlemy little sand castlewhich I rebuilt about ten timesten timeseach time a little biggera little bigger

HELENIt would mean a lot to me if you told me you cared about me, too.

THOMASI’m certain that’s true.

HELENBut I mean very little.

THOMASThat’s not what I said at all.

HELENThomas, be clear. You despise me.

DANETThe wavesthe crashing waves turned intoa tidal wave of maple syrupthickand sweetand tallcrashing down on my castlewhich made me maduntil I saw that the syrup made the castle stay together better

THOMASHelen, there’s something you should know.

HELENI already know.

101.

DANET (CONT'D)

DANETWhich made me maduntil I saw that the syrupmade the castle stay togetherstay togetherso much better

THOMASYou found it.

Helen takes out a small book.

DANETand with the syrupI built the castle large enough to hold the starsand the monkey invited them to teabut he didn’t invite me

HELENI wanted to tell you that I knew.

THOMASBut you kept it from me. You lied.

HELENYes I did.

DANEThe didn’t invite me to teabecause he knew I was allergic to the teain the dream, not in real lifein real life, I love teabut in the dream, I was allergic

HELENIt was your secret. And my secret was that I knew.

THOMASIt’s not over. I haven’t ended it.

HELENI know.

THOMASYou aren’t angry.

102.

HELENOf course not.

DANETthough I wish the monkey would have invited meallergic or nobecause he and the stars had a great timeswimming in the rooftop pool filled with syrup

THOMASI wanted to finish it. For you.

HELENBut you loathe me.

THOMASYou deserve for it to be finished. Regardless.

HELENYou can tell me that it’s not true.

THOMASWhen it is done, you will have the proof that it isn’t true. You’ll have it right there. In your hands.

DANETThen the oven bell dingedand the smell of apple filled the roomand the pie was as big as a pool of starsI ate until the sun collected together againand the morning the morning made the roostercrow me awakewith apple between my teeth

Helen slides the book toward Thomas.

HELENI don’t need this proof in my hands.

Helen lets go of the book and leans back.

103.

THOMASThen I am a fool. Indeed.

(picks up book)This was for you.

HELENI didn’t ask you for that.

THOMASI did it for you.

HELENI only wanted... more.

Helen takes Thomas’ hand.

Thomas holds up the book.

Danet takes the book.

Lights down on the table.

Spot on Danet.

DANET(reads)

This is a book of my dream of youmy dreamof you

Spot out on Danet.

End

104.

PLAY 14: EXCEPTION DAY

A young girl, RENDI, sits on the top bunk of a bunk bed. She writes in a diary.

She finishes, and closes the book.

LALLO, her older sister, comes in.

RENDII’m nervous.

LALLOThere’s nothing to be nervous about. Just do what I told you, and there shouldn’t be a problem.

RENDIBut what if--

LALLONot a problem.

Lallo puts some supplies in a backpack.

RENDIAre you nervous?

LALLONot at all.

RENDIYou’ve been there before.

LALLOI have. And soon enough, I’ll be done.

RENDIA whole year.

LALLOYou’ve got four.

A moment.

RENDIThat’s why I’m nervous.

105.

LALLOYou remember what I said.

(beat)The golden rule.

RENDIDon’t ask you anything while we’re at school.

LALLOYou have a problem, call mom, or call Gary.

RENDII’ll call mom.

LALLOThat’s what I’d do.

RENDIThey’re going to have a schedule for me there, right?

LALLOYou go to the cafeteria first thing. All freshmen in the caf.

RENDIAnd seniors go to the gym.

LALLORight. Opposite ends of the building.

RENDIMom drops us out front--

LALLOShe drops me at the corner. She drops you out front.

RENDIYou won’t even walk in with me.

LALLOI know you think I’m a jerk. But it will be better for you in the long run to build your own reputation. And not just live off of mine.

RENDIBetter for me.

106.

LALLORight.

RENDIBut what if I don’t want that.

LALLOWhat.

RENDIMy own reputation.

LALLOYou’ll have one whether you want it or not.

Lallo lays out some clothes.

RENDIThat’s what you’re wearing?

LALLOYep.

RENDIMom laid out my clothes over there.

LALLOYeah. I figured.

RENDIWhat if I need something. During the day. Like, a pencil.

LALLOA pencil?

RENDIOr paper. Something like that. It’s not really a question. And it’s not about my own reputation. Can I get a pencil from you?

LALLOCarry your own pencils.

RENDII will. But what if it breaks or gets worn down?

107.

LALLOCarry extra ones.

RENDIOr if I forget lunch money.

LALLOI won’t have any extra.

RENDIOr--

LALLOIf there’s a problem, call mom, or call Gary.

RENDIBut you’re right there.

LALLONo, I’m not.

Lallo finishes up, and lays down in her bunk.

RENDIYou forgot to shut off the light.

LALLODark enough down here.

Rendi climbs down the ladder. She turns off the light switch and climbs back up. Stage is in dim light.

A moment.

LALLO (CONT’D)Good night.

(silence)Good night.

(silence)You know... first day. That will be... an exception day.

RENDIAn exception day?

108.

LALLOFirst day, you have any problem, any problem at all. You find me.

RENDIReally?

LALLOIt’s an exception day.

RENDIOK.

LALLOOK. But just this first day.

RENDIOK.

LALLOOK.

(beat)Good night.

A slight moment.

RENDIGood night.

All lights out.

109.

PLAY 15: ON THE DAIS

A long table on the stage, flat to the front. Decorated as the bridal party table at a wedding reception.

A BRIDE and GROOM, BEST MAN, MAID OF HONOR, ONE GROOMSMAN and TWO, and THREE BRIDESMAID and FOUR stand on the upstage side of the table.

For the most part, they speak but in a way so they are “not heard” by the crowd at the wedding.

GROOMDo we sit?

BRIDEWe wait for the prayer.

GROOMThe prayer? There were twelve prayers in that ceremony.

BRIDEWe wait until the prayer.

GROOMI need to sit--

BRIDEPeople are taking pictures.

MAID OF HONORHere comes the photographer.

BEST MANHe’s reloading.

GROOMWhat?

ONE GROOMSMANWho still uses film?

110.

TWO GROOMSMANWedding present for photographer: digital camera.

MAID OF HONORPlease be quiet down there.

THREE BRIDESMAIDWhat are they saying down there?

ONE GROOMSMANWe’re going to get the photographer a new camera.

FOUR BRIDESMAIDHe doesn’t need a new camera, he’s just reloading the film.

BEST MANThat’s why he needs a new camera.

MAID OF HONORHe’s ready.

BRIDEShh... Smile!

A flash.

Groom sits down immediately.

Best man and groomsman sit.

Bride looks at Groom.

He gets up and pulls out her chair.

She and the bride party sit.

TWO GROOMSMANNo food.

ONE GROOMSMANNo food?

GROOMWhere’s the food?

111.

BEST MAN(points)

Food’s over there.

GROOMWhy is it not here?

MAID OF HONORThey’re bringing us plates.

BEST MANWith food?

TWO GROOMSMANWith food!

ONE GROOMSMANYes.

THREE BRIDESMAIDDon’t bother bringing me one. I couldn’t eat a bite.

FOUR BRIDESMAIDI’m starving.

THREE BRIDESMAIDI can’t fit any food inside me in this dress.

MAID OF HONORI know.

FOUR BRIDESMAIDMine’s loose.

They stare at her.

BRIDE(almost aside)

Somebody tap their glass!

GROOMWhat?

BRIDESo we can kiss. Someone tap their glass.

112.

Groom grabs a spoon, starts for his glass. She smacks his hand.

BRIDE (CONT’D)Not you.

She looks to Maid of Honor.

After a short moment, Maid of Honor taps her glass.

Bride and Groom kiss. All others applaud.

MAID OF HONORSo cute.

BRIDEThank you.

Bride wipes lipstick off of Groom.

TWO GROOMSMANDude...

FOUR BRIDESMAIDAwww...

ONE GROOMSMANGonna be like this all through lunch.

THREE BRIDESMAIDSo precious.

TWO GROOMSMANBarely gonna get to eat.

BEST MANThis is why I have a pizza coming in about 20 minutes. To the back.

BRIDEA what?

BEST MANNothing.

TWO GROOMSMANThe plates are ready. Come on.

113.

ONE GROOMSMANWe’ll get the food.

GROOMAwesome.

BRIDENo. Just wait. They’re bringing the--

One and Two are gone.

FOUR BRIDESMAIDCan we leave too?

THREE BRIDESMAIDNo. They’re getting the food.

FOUR BRIDESMAIDThe booze?

THREE BRIDESMAIDThe food.

FOUR BRIDESMAIDGood. I don’t want any more booze.

THREE BRIDESMAIDShh.

MAID OF HONORWhat did she say?

THREE BRIDESMAIDCan’t wait for the food.

Bride waves.

BRIDEHi Uncle Lenny! Aunt Ginny!

GROOMYou said they weren’t coming.

BRIDEThey came.

114.

GROOMThey’d better not make a scene.

BRIDEThey’ll be fine.

GROOMMade a scene at Cathy and Jeff’s wedding.

BRIDEThat was last fall. They’re in a better place now.

(to Maid)You have someone keeping an eye on Ginny and Lenny, right?

MAID OF HONORCousin Bill is there. Everything will be fine.

One and Two return with plates running up each arm.

ONE GROOMSMANWho ordered the fish? I got fish here!

TWO GROOMSMANRoast beef!

GROOMBeef right here!

BRIDEKeep it down.

GROOMFish for my WIFE, please. She’s my WIFE.

MAID OF HONORFish?

GROOMYeah, that’s what she ordered.

One sets down a plate of fish in front of Bride.

115.

BRIDE(to Maid)

You don’t look so good.

MAID OF HONORI don’t feel good.

THREE BRIDESMAIDIt’s the dress.

MAID OF HONORNo. I’m just... I need to...

Maid of honor gets up and exits.

GROOMWhere’s she going?

BRIDEI’m gonna...

Bride runs off, too.

GROOMWhere’s she going?

ONE GROOMSMANYou got left at the... thing... here... dude.

BEST MANThe dais.

ONE GROOMSMANWhat?

BEST MANIt’s what this is called. The dais.

TWO GROOMSMANDais? It’s Satur-dais, man.

One and Two high five.

GROOMWhere’s my wife, man?

116.

FOUR BRIDESMAIDI don’t know, I just--

THREE BRIDESMAIDShe’s probably pregnant or something.

GROOMMy wife?

THREE BRIDESMAIDNo. Whatsername.

(beat)I asked for the Roast Beef.

FOUR BRIDESMAIDYou can’t eat it anyway.

THREE BRIDESMAIDTrue.

GROOM(sits back)

Pregnant.

TWO GROOMSMANWho?

GROOMHer. The “Maid” of “Honor”.

ONE GROOMSMANWhoa, dude. Didn’t you say you--

GROOMShut up.

TWO GROOMSMANYou don’t think that you--

GROOMI said shut it.

BEST MANWhat are they talking about?

117.

GROOMNothing.

BEST MANTell me now, or I tell what I just heard.

GROOMYou’ll say nothing.

BEST MANYou sure about that?

Best man goes past Groom, as if he’s going to find Bride.

Groom grabs him.

GROOMYou ain’t doing this today.

BEST MANOh, I’m not.

GROOMThis is my wedding day, man.

ONE GROOMSMANDude, be cool.

TWO GROOMSMANPeople are staring at us.

THREE BRIDESMAID(to Four)

They are crowding me.

FOUR BRIDESMAIDSo?

THREE BRIDESMAIDI’d push him but I can’t turn my torso. Help me.

Four pushes against Best Man.

Best man runs into Groom.

Groom Shoves Best man, who falls onto Three and Four.

118.

THREE BRIDESMAID (CONT’D)Ahh! My dress ripped

Best man stands up and punches Groom, who falls onto the table.

One and Two grab Groom as he tries to get up and rush Best man.

BEST MANYou slept with the Maid of Honor! And you won’t keep me from telling--

Best man turns to see Bride and Maid of Honor.

BRIDEFrom telling who?

BEST MANUmm... you. I guess.

MAID OF HONORWhat is going on here!

THREE BRIDESMAIDThey think you’re pregnant.

MAID OF HONORWho?

FOUR BRIDESMAID(points at the men)

They do.

MAID OF HONORWho told them that?

THREE BRIDESMAIDYou got sick at the fish.

MAID OF HONORAt the fish.

FOUR BRIDESMAIDAnd those idiots think that other idiot is the father.

119.

MAID OF HONORThey think I slept with the Groom.

ONE GROOMSMANYou didn’t?

MAID OF HONORNo.

TWO GROOMSMANYou sure?

MAID OF HONORPositive.

ONE GROOMSMANPositive! She is pregnant, dude!

MAID OF HONORThat’s not... fine. Yes. I am pregnant.

BRIDEDid you sleep with her?

GROOMBabe, you’re going to ask me that at our wedding reception?

BRIDEDid you?

MAID OF HONORNo. He is not the father.

BRIDEBut did you sleep with her?

MAID OF HONORNo!

(points to Best Man)He’s the father.

Everyone looks at Best Man.

BEST MANWhat?

120.

MAID OF HONOROh, you don’t remember now?

BEST MANI don’t know what you’re talking about.

MAID OF HONORThe shower.

BEST MANThe wedding shower?

BRIDEA month and a half ago.

MAID OF HONORAfter the shower.

(through her teeth)In the shower.

BEST MANOh.

(beat)Oh. God.

Bride hits Best Man.

BRIDEYou pig!

BEST MANI didn’t--

MAID OF HONOROh yes you did.

ONE GROOMSMANDude.

GROOMAnd now look at what you’ve done. On the dais.

All stand - glaring at the Best Man.

121.

BEST MAN(points out at photographer)

Smile!

All look out and smile.

Flash.

Glare at Best Man.

Blackout.

122.

PLAY 16: FACING THE FACE

A thick fog.

A figure stands far upstage. Unrecognizable.

A face is projected onto the fog.

FACESlowly appearingthrough mist and foga figureresponsibleand terrible

The figure moves slowly to the side.

FACE (CONT’D)Guilty of existenceguilty of innocencearrivingfor oncefor nonce

The figure steps forward. It is behind the projection of the face.

FACE (CONT’D)Without faceand without a soundpridelesswithout identityand without

The figure waves strongly.

The fog disappears for a moment.

The fog re-establishes the projection of the face.

123.

FACE (CONT’D)Hiding no longerno longer hiddenthe face is the give-awaythe dead give-awaybut the face can no more disappearthan the body cease

it is the faceit is the face

The figure passes through the projection. The face of the figure is obscured.

FACE (CONT’D)Who can it be?Who must it be?To hide so thoroughlyto so thoroughly so carefullypretend not to exist

The figure turns to face the Face.

FACE (CONT’D)Who are you?Who must you be?

The figure jumps into the fog.

The fog disappears for a moment.

The fog re-establishes the projection of the face.

FACE (CONT’D)You must not beyou are not you

obscured by the filthy airlurking past the reach of lightcowering in shadowrisking darkness

The figure waves at the projection of the eyes.

124.

FACE (CONT’D)You hide from yourselfyou hide yourselfyou hidehide

The fog re-establishes the eyes.

The figure waves at the projection of the mouth.

The eyes blink, and look to the figure.

The fog re-establishes the mouth.

FACE (CONT’D)I speakthat you cannot hide

I speakthat you cannot run

I speakthat you are seen

The figure again moves downstage, emerging through the face.

The figure turns to face the Face.

FACE (CONT’D)You cannot runyou cannot hideyou are seen.

The figure kneels.

A moment.

Blackout.

End

125.

PLAY 17: WE ARE THE SACRIFICE

A group of people in business attire.

They each sit in chairs, all facing forward.

ALLAnd they tell usthey tell us thattell us that wewearethe oneswho make this placethis placemake itgreat

Mitchell rises, places one foot on his chair.

MITCHELLI was an athlete. I knew how to work hard to achieve my goals.

Harding rises, two feet on chair, squatting.

HARDINGI was a star pupil. First to raise my hand. I had the answer. I always had the answer.

Thompson rises, one foot on chair, one raised to the side.

THOMPSONI was an art kid. In the back. Observing. Finding the truth. Speaking it back.

Allen rises, one foot on the seat, one on the chair back.

ALLENI was a joker. Remained detached so I could mock everything. Understood fully how the system worked.

Winston rises, behind chair.

WINSTONI was a teacher’s pet. I didn’t have to work hard at school. I just needed to get the teacher on my side.

126.

King remains seated.

KINGI was a trouble maker. Fight the system. Fight the man. Fight the person in front of you. Next to you. Fight anything. Fight yourself.

All turn to the left.

ALLThey tell us that this placethis place is the greatest that has ever beenthey tell us that weweare

All break apart the group and move.

KINGA rallying point

ALLENA cry for help

MITCHELLThe voice of the future

HARDINGThe promise from the past

THOMPSONThe dream of dreams

WINSTONThe culmination

MITCHELLThe prize

ALLENThe victory

WINSTONA citadel

HARDINGAn impenetrable fortress

127.

THOMPSONA prison

MITCHELLA hospital

KINGAn asylum.

All stop. They each touch a chair. They push the chair over.

ALLThey tell usthey tell us that the future is worth knowingthat it is worth the sacrificethat wearethe sacrifice.

All move to a different chair, set it upright, and sit.

They each begin doing an action - typing, writing in a book or ledger, placing phone calls, anything business related. Several moments.

King stops action, and leans to the side and falls.

All stop and look at King.

ALL (CONT’D)(except King)

Wearethe sacrifice

All but King go back to some kind of work - different from before. Several moments.

Each person stops working and rises as they speak.

WINSTONI work as hard as I have to.

128.

ALLENThe work is never fully completed.

THOMPSONThe backlog is endless.

HARDINGWhen I leave the building, I leave everything behind.

MITCHELLI carry a plague. My work is my disease.

All push over their chairs.

All move to a new chair, set it up and sit.

All begin to work - new actions.

ALLThey tell us that retirement comesand that this is our rewardthat wearepromised

Mitchell and Harding fall over.

All others stop and look at them. Then go back to work.

Thompson and Winston fall over.

Allen stops, looks at all others who have fallen over. Goes back to work.

ALL (CONT’D)Wearethe sacrifice

wearethe sacrifice

Allen stops.

129.

Allen rises.

Allen knocks over the chair.

A moment.

ALLENAnd they tell usthey tell us thattell us that wewearethe oneswho make this placethis placemake itgreat

wearethe sacrifice

Allen is standing.

All others on the floor.

Lights down.

End

130.

PLAY 18: PARK

A young woman in a white outfit with a hat. From an era gone by.

She strolls for a moment, taking in an imagined park.

WOMANHe walked me by the park near my house. A park I had played in as a girl, and had grown up alongside. That day I saw it through his eyes, new and fresh. The pines. The brook. The bridge by the lake. Even the grass green was greener than before.

(beat)We sat on a blanket and watched the clouds pass over, conversing about something interesting to keep us talking but slight enough to not disturb that moment.

(beat)And the children’s voices on the air, floating past us between the swings and their homes, so their mothers could hear them playing. They gently slid by.

(beat)An afternoon sweet as any cake. And an easy cup of tea.

(beat)I missed him when he left. I missed him more when he never returned.

She is off to one side.

A young man in contemporary urban clothing.

MANThis is my park. I played on that playground, and on that court over there. Met my girl over there. It’s all beat up and tagged now, but that’s what makes it home.

(beat)I was just another Saturday out on the courts when we heard the screech of the tires. Pop pop pop. Pop pop. Pop. Pop.

(beat)I know I was supposed to drop. That’s what you do. We even used to joke about it. Hear the pop, gotta drop. Like a TV ad or something. But there I was standing with the ball in my hands. Just looking at the brake lights rounding the corner on Fifth. Past the deli where I used to buy baseball cards. Where I found a Derek Jeter laying on the ground outside. It was roughed up, but I put it in a case and up on my shelf. Safe keeping.

(beat)Three guys were on the ground. Wet pools around them. Dark enough that I couldn’t see it was blood. A kid I went to kindergarten with. Before that day, I couldn’t remember his last name. Then the twin brother of my ex-girlfriend. He didn’t die right away, but later that night, after he’d bled out. And my best friend. He...

131.

(MORE)

(beat)I didn’t come here much after that. Not many people did. Once a place like this has had something like that happen, feels like now it’s that kind of place. Even if it isn’t. Or wouldn’t have been.

He kneels down at the foot of the stage.

An older man, shabbily dressed.

OLDER MANThis is where I lived. For a time. Slept out there by the bridge. Nice place. Didn’t get bothered much, especially at night.

(beat)There was a lady. Never got her name. Would have probably been fake anyway. She stayed back by the trees. Always said she was just camping. Never wanted to admit the truth.

(beat)I had other places to go. People who said they loved me. But I couldn’t bring myself to... I could accept... help. Not like that. I just...

(beat)I could sometimes get some food that someone’d thrown out from over there. That can. Kept me going a lot.

(beat)Had to fight a guy called Switchblade for a spot over there one time. When it was really cold. I took a cut, but still won the fight. Don’t know what happened to that guy.

(beat)That was about five years ago. The last time I stayed here. I finally got into a place across town, friend of mine told them about me and they came and offered me a place to stay, and clean up. That’s what it took, I guess. Not having to ask.

(beat)But I remember looking up at the stars each night. Especially when it was cold out. The stars between the plumes of warm breath. I know that a long time ago, there was constellations discovered up there. Pictures. I knew there were pictures, but I never knew what they really were. I kinda made up my own. The bridge. The snarling dog. Fat Bertha sitting on the stoop. Winking giraffe with a top hat. Mr. Moneybags and the turkey sub. I don’t look up to see the star pictures much anymore. Don’t need the company like I once did, I guess. But makes me happy to think they’re still up there. If I need them.

He stands upstage, looking up at the sky.

An OLD WOMAN enters, using a walker.

132.

MAN (CONT'D)

OLD WOMANHere in this park. The last time I saw my father. He packed his case in the morning, and mama and I walked with him the three blocks to here. He was ready to go, but I didn’t want him to leave me. Mama. Our home. I couldn’t imagine what our apartment would be like, just me and Mama. I didn’t want to imagine it.

(beat)I gave him a hug around the neck, as hard as my little arms could. I was what... five? Six? I had an idea I wouldn’t see him again, but if you’d ask me then, I would have said no, I don’t believe that. But it was true. After that day, never again.

(beat)It was fall, I remember because I heard him walking through the leaves. Leaves between his soles and the pavement. As he shuffled away. Mama had a tear in her eye, but she said she didn’t. I don’t know why she said this, because I could plainly see it. A tear, which she ignored, until sometime when I wasn’t looking she must have wiped it away. Because at some point it was gone, and I didn’t know where. I’m sure she believed her lie, or at least thought I did. Mama.

(beat)We stayed at the park for a while. I played. She sat and watched me. Felt like eternity. It wasn’t. But it felt like eternity. I hope eternity will feel like that.

The old woman sits on a bench.

A long moment with the four of them.

Lights out.

End

133.

PLAY 19: THE PIG THAT WANTS TO BE EATEN

A young man, DEVIN, sits in a corner of a basement room. He is in shorts and a dirty T-shirt, and he pants heavily.

Devin hears a noise, and does his best to be perfectly still.

Heavy footsteps descend a wooden staircase.

FLINN can be seen in dim light, a tall man, late 30’s. He wears long pants and a dress shirt.

FLINNI’ve done what I can, Devin.

(beat)Hiding isn’t what a man does. It’s what a coward does.

(beat)Come out.

Flinn goes to a chair cluttered with stuff. He dumps the stuff on the ground and takes the chair.

FLINN (CONT’D)I can’t guarantee what happens next, you know that. But what I can tell you is that coming clean is the best choice.

(beat)I can’t make up the truth for you.

(beat)Devin.

DEVIN(from the dark)

I didn’t do nothin’.

FLINNTruer words, Devin. No one is accusing you of doing nothing.

DEVINWhat?

FLINNDouble negative. I take it English homework was not a priority.

134.

DEVINI quit school.

FLINNClearly.

(beat)Come on out here. I have a chair for you.

DEVINI’m not sitting in that--

FLINNYou don’t want me to come over there. Have a seat.

(beat)I have a question for you.

DEVINAsk.

FLINNI want it. You’re going to tell me where it is.

DEVINThat ain’t no question.

FLINNSit.

DEVINI don’t have it.

FLINNIf you did, this would go so much easier for you.

DEVINStill don’t.

FLINNI’m not going to lie. That’s disappointing.

DEVINI bet.

FLINNYou know who sent me to get it from you.

135.

DEVINYeah.

FLINNYou know that “I don’t have it” isn’t an answer I can take back with me.

(beat)So you know what happens now.

Flinn has stepped away from the chair.

Devin rushes out of the darkness and grabs the chair.

Devin smashes the chair over Flinn’s back.

DEVINIs that what happens now?

(beat)I ain’t got it means I ain’t got it. And I don’t owe you. Anything.

Devin tosses the chair aside. He stands over Flinn.

DEVIN (CONT’D)When’s he get here?

(beat)I know he’s on his way. How long?

FLINNAny second.

Devin rushes to the stairs and looks up.

DEVINI ain’t lying when I say I ain’t got it.

FLINNYou know, I wish I weren’t this way, but something inside me says it isn’t so.

Flinn sits up.

DEVINYour inside’s wrong.

136.

FLINNI’m on your side here, Devin. I want to believe you. I want it to be true. But you and I. We both know. We know.

Devin moves to Flinn, arms out.

DEVINSearch me.

FLINNAs stupid as you are, I know it’s not on you. But here’s the thing: you know where it is.

(beat)Right there in your eyes. I can see it. You know. And that’s my problem, Devin. That and the fact that you hit me with a chair. Almost everything about you screams that you’re guilty. You know. You got it. And you don’t want to give it up. I respect that. But here’s the thing, Devin...

DEVINWhat?

FLINNYou’re going to tell me where it is. Right now.

Devin reaches for a piece of chair.

Flinn kicks Devin’s feet out. Devin smashes to the floor.

Flinn grabs Devin around the neck.

DEVINOuch!

FLINNIt’s here in this room. That’s for sure. Tell me where and you can breathe again.

DEVINI don’t--

Flinn tightens the grip.

FLINNCome on, Devin.

Flinn grips tighter.

Devin struggles until he does not struggle anymore.

137.

Flinn drops Devin.

Devin coughs.

FLINN (CONT’D)Great.

Flinn pats Devin down. Nothing.

Flinn looks around the room. Nothing.

FLINN (CONT’D)It isn’t... it isn’t, anymore. Is it?

DEVINI meant it ... when I said ... I ain’t got it.

FLINNSo that’s the thing?

(beat)I don’t even--

Flinn takes out a cigarette, lights it.

DEVINHe’ll be here soon?

FLINNHe will.

DEVINI’ll give your regards.

Flinn climbs the stairs.

Devin is on the floor.

Lights down.

End

138.

PLAY 20: RUNNING

A young girl named Celia. She holds a smartphone.

A projection on the wall runs a sequence of images - streets at night, harsh streetlights, perhaps a sped-up image of traffic with headlights and brake lights.

The projection displays the words she texts, and the responses.

**ALL DIALOGUE IS TEXT MESSAGE**

CELIALost

RESPONSEI know

CELIACan’t find u

RESPONSEWhere r u now?

CELIAHere

No response.

Celia moves on stage, looking.

More city images flash.

RESPONSEU left

CELIALooking 4 u

RESPONSEI’m where u were. Stay where u r

Celia is still for a moment.

139.

CELIAFind me yet?

There is no response.

The city images flash.

RESPONSEDon’t hide. Can’t find u if u hide.

CELIADon’t want to get hurt

RESPONSEI know. On my way.

Celia ‘hides’ on stage, still seen by audience.

RESPONSE (CONT’D)R u hiding

CELIAY

RESPONSELooking. Don’t c u

CELIASafe

RESPONSESafer if I can find u

Sounds of hard sole shoes in an alley. Echoes. Getting closer.

CELIASomeone coming

(beat)Is it u?

(beat)Is it?

The feet stop.

A moment.

140.

The feet move further away.

RESPONSEStill looking

CELIAR u close?

RESPONSEThink so

CELIASo scared

RESPONSEI know

CELIAGonna cry

RESPONSEOn my way

Silence.

CELIACan’t wait

RESPONSEStay where u r

City images flash.

Celia moves on stage.

CELIAU know where I am

RESPONSEU in same spot?

CELIANo

RESPONSETold you 2 stay

141.

CELIACouldn’t

RESPONSEWill take time 2 get 2 u

CELIAHurry

RESPONSETrying

A moment

CELIASomeone coming

(beat)Not u

(beat)Is it?

RESPONSEThink so

CELIAMake a noise

(silence)Nothing

(silence)Not u

(silence)On the move

City images flash.

RESPONSEU moved

CELIAYes

RESPONSEI can’t find u if u move

142.

CELIASry

RESPONSEOn my way

CELIATerrified

RESPONSEI know

CELIAU here

RESPONSEThink so. Wait there.

Celia ‘hides’

CELIAHidden

RESPONSEDon’t

(beat)Come out

CELIANo

RESPONSENeed u 2

CELIA2 afraid

RESPONSECan’t help u if u don’t

CELIADon’t want 2 b hurt

143.

RESPONSEDon’t want 2 hurt u

A long moment

CELIAWhat if I get hurt

RESPONSEI’ll b there

The city image flashes. But this time, the sped-up image slows down and eventually freezes

CELIAOK

Celia ‘unhides’. She holds her arms out.

She drops her smartphone.

A light gently comes up to illuminate her.

All other lights (and projection) goes dark.

Celia brings her arms around herself - she is embraced by the light.

The light dims on a comfortable, smiling Celia.

All lights out.

End

144.

PLAY 21: L'AMOUR DU DUVET ET ÍDIOT

The foyer of a large french home. A curved staircase leads to the rooms upstairs, with a large opening leading to the rest of the house downstairs.

Two servants enter, a maid and a butler.

MAIDShe hasn’t been out of her bedroom in a week.

BUTLERWe must encourage her. It’s not good for mademoiselle to suffer so.

MAIDShe will not hear reason.

BUTLERThen we must be unreasonable. Tell her...

(beat)Tell her--

(whispers to maid)That should work.

MAIDI couldn’t.

BUTLERWe must.

MAIDShe will be angry with me.

BUTLERSometimes service means doing what is best, not just what they want. Now go.

Maid goes up the stairs.

Butler straightens the foyer table flower display.

Enter Father, carrying a tray of stacked coins.

FATHERWe have it! I tell you we have it!

145.

BUTLERIt, monsieur?

FATHERIt! What we need! It!

BUTLERIt. What is it that we need?

FATHEREnough.

Father slides the tray onto the foyer table, pushing the flower arrangement off. Butler catches the flowers.

BUTLEREnough!? Of what?

FATHERGold. Gold! Gold coins for the dowry!

BUTLERDowry. For Monsieur Élan.

FATHERYes. He said I needed to provide a dowry, or he would not marry Duvet!

BUTLERBut Monsieur Élan has already left the country.

FATHERI’ve sent word that he should return immediately.

BUTLERImmediately?

FATHERYes. This must be settled by the end of today.

BUTLERWhy is that, sir?

FATHERBecause of where I got the money.

146.

BUTLERWhere, may I ask?

FATHERMonsieur Vipére...

BUTLERMonsieur Vipére! The moneylender! But he is eeeevil! How will you repay him, sir?

FATHERWith money from Élan! He will be able to steady our accounts for the sake of his new bride.

(indicates tray)This is an investment. An investment in a happy life for my pretty little Duvet. It is for her happiness that I continue to live. For without her mother, she is my only joy.

BUTLERYou say this is for the happiness of Duvet.

FATHERAbsolutely.

BUTLERHave you asked her opinion on the matter?

FATHERHer opinion? What do you mean?

BUTLERMademoiselle Duvet loves Monsieur Ídiot.

FATHERÍdiot?! Ídiot is a fool! How can she love a moron like Ídiot? Love?! What does she know about love?!

BUTLERCalm down, sir. Duvet may hear you.

FATHERShe is in her room, where she’s been these seven days since I kicked that Ídiot out of this house for good! For good, do you hear?

147.

BUTLERI see, sir. But perhaps you should calm down with a cool glass of water. Come into the house and I will bring it to you. We would not want our Duvet to hear you rail so against Ídiot. It will upset her.

FATHERThat fool. He will never ever ever again find himself under this roof, do you hear me? Never!

Butler and Father exit.

Duvet and Maid enter from upstairs.

DUVETI tell you it is impossible. Ídiot has been banished by my father. Ask him yourself. Ídiot will never again be under this roof.

MAIDI know, Mademoiselle. I was told to tell you he was here. I have not seen him myself.

DUVETYou haven’t?

MAIDNo, Mademoiselle.

DUVETGood.

MAIDWhat’s that?

DUVETI mean, I would be... afraid... for Ídiot... if he were here... under this roof. But you have not seen him.

MAIDNot myself.

DUVETI see.

(looks down the stairs)I don’t see him either. Oh well. Back to bed.

148.

MAIDBut Mademoiselle, we have prepared your favorite lunch. It is downstairs.

DUVETOh. I see. Yes. I... I will do that..

(loud, to the doorway)I will go downstairs now, to take luncheon. I will follow you, Maid. Please. Descend.

MAIDYes.

Maid turns to walk down the stairs.

From the doorway comes a young man, Ídiot, with pants on, but the rest of his clothes and shoes in his hands. He sneaks down after Duvet.

Maid stops.

Duvet and Ídiot freeze.

Ídiot jumps over the railing just as the Maid turns.

DUVETYes, Maid?

MAIDI must say, Mademoiselle, I am so glad you have come from your room. We have begun to worry about your well-being.

DUVETMy well-being?

MAIDYou have suffered so since the absence of Ídiot.

DUVETYes. Suffered.

Maid turns to go back down the stairs.

MAIDWe have heard you wail so. Each and every night.

149.

DUVETYes. Yes. In suffering.

Duvet motions to Ídiot. He dives under the foyer table.

MAIDI have been so worried for you. It has disturbed my own sleep, I must say, imagining what you are going through.

DUVET(not paying attention)

Yes. Oh. Good.

MAIDGood, Mademoiselle?

DUVETHm? Oh. Yes. Your imagination. I imagine, is quite good.

An awkward moment.

MAIDLuncheon will be served in the dining room.

DUVETCertainly. I will be there in a moment!

Maid exits.

Ídiot pops out from under the table.

ÍDIOTIf they only knew that we have already been married.

DUVETWe cannot tell a soul.

ÍDIOTBut we must, my love! The world must know. That Ídiot and Duvet are twin stars who will never be separated from one another. We are fixed points in the night sky, by whom travelers and sailers may find their way.

DUVETMy father will kill you.

150.

ÍDIOTHe cannot kill me. He is old.

DUVETHe will have you killed.

ÍDIOTHis own son-in-law!

DUVETI cannot bear to have you be dead, Ídiot.

ÍDIOTWe cannot hide in your room forever.

DUVETCan we not? What a pleasant life we would have.

ÍDIOTI am not afraid. We must not be afraid to live. And love. I will fight for you, my love.

DUVETOh, Ídiot.

ÍDIOTDuvet.

DUVETBut I do fear so.

ÍDIOTLet me be brave enough for the both of us.

He moves in for a kiss.

A knock at the door, weak - perhaps slimy.

Ídiot dives under the table.

DUVETÍdiot? Where did you go?

ÍDIOTAnswer the door. Make them go away, so we can tell your father and I can be brave.

151.

Duvet goes to the door and opens it.

There stands Vipére, an older man, slimy.

DUVETMonsieur Vipére!

VIPÉREAh! Mademoiselle Duvet. You are as lovely as the cackling crow in the last dying breath of daylight.

DUVETThank... you?

VIPÉREI was expecting to see your father. But I must say, it brings joy to my old dead heart to see your radiation. You are at least 37 percent more attractive than he.

DUVETOnly 37 percent?

VIPÉREHard times, my dear. Hard times.

(beat)I hear congratulations are in order.

DUVETOh?

VIPÉREYou will be a very happy woman, I am sure.

DUVETWell, I thank you.

VIPÉREMonsieur Élan is a lucky man. He is not a wise man, or a smart man, but he is a strong man, and that must count for something. For I suppose it has made him lucky.

DUVETLucky?

152.

VIPÉREFor he has won you, my dear. Your father secured a dowry, and Élan returns this very day to consecrate and consummate the marriage.

A noise from under the table. Duvet distracts Vipére.

DUVETHe does?

VIPÉREYour father has not told you?

DUVETCertainly not. Where did he... secure... a dowry from?

VIPÉREFrom my very own self, Mademoiselle.

DUVETWell... I must devise a way to thank you, monsieur.

VIPÉREI have returned to this house because your father is to repay my loan.

DUVETToday?

VIPÉREYes, dear.

DUVETHow is he to repay the debt on the very day he is to turn over a dowry?

VIPÉREI’m sure that it is of no concern of mine, deary. The debt is due. It is due to me. And I will be repaid.

DUVETAnd if there is no repayment?

VIPÉREThen this house, and everything that remains in it, will be turned over to me.

153.

Vipére takes out a large paper, on which is a lot of small text, and a large place where there are two large signatures.

DUVETOh, Father! No!

Vipére notices the tray of gold.

VIPÉREWhat is this?

DUVETI’m sure I don’t know.

VIPÉRELooks to be a tray of gold.

(does a ‘measurement’)Exactly what I am owed. Must be for me. I’ll just take this and...

Vipére picks up the tray and starts for the door. Duvet steps in front.

DUVETNot so fast, Monsieur Vipére. We would be such awful hosts if we let you leave so soon.

VIPÉREMy dear, I have no interest in your feeble hospitality. It would only serve to irritate my already disturbed digestion.

DUVETBut disturb we must, if we are to be neighborly.

VIPÉREThe neighbors I like are behind a fence of a dozen feet in height. And preferably childless.

Duvet takes the tray from Vipére.

DUVETI do insist, Monsieur.

A knock at the door, loud - pounding.

DUVET (CONT’D)Who on earth...

154.

VIPÉREGive me a heart attack...

Duvet goes to the door.

Vipére hovers around the gold coins.

Élan is at the door. He is a large, dashing man. He is not bright.

ÉLANMy dear. My star. My bright morning sunshine rays, dripping with honey glaze! I am here at last, to make your fondest dreams of wedded bliss come completely true in real life.

DUVETÉlan!

Ídiot pops his head out from under the table, unseen by anyone.

ÉLANI’ve come to take you away from all of this!

(looks around)Oh. This is nice. I’ve never been inside before...

DUVETYes, it is charming.

ÉLANBut we shall fly from this place! Escape this dungeon of... dank... filthiness... I just can’t do this. I really like this place. The way it captures the light.

DUVETIndeed.

Élan comes upon Vipére.

ÉLANEch! What is this?

DUVETÉlan, this is Monsieur Vipére. A man of business in the village.

ÉLANThe village, eh?

155.

VIPÉREYes.

ÉLANGood. He is completely out of place here. You may go on home. You spoil the scenic views.

VIPÉREI am here to collect my repayment, that is all.

Vipére grabs the tray. Élan draws his sword and smacks it on the table.

ÉLANI think this stays here.

(sniffs)Looks like a dowry to me.

DUVETIt’s true.

ÉLANIf that is the case, this belongs to the husband of the most virtuous, vivacious, and voluptuous Duvet.

DUVETThank you.

ÉLANNo problem.

(to Vipére)What say you?

VIPÉREI say that I am owed this exact sum. The problem that results of the repayment do not belong to me, only the gold does. So I will take it and be on my way.

Vipére slips past (or under) Élan.

ÉLANI say you will not leave this house with that gold! Scoundrel!

Father, Butler and Maid enter, rushing.

FATHERÉlan! You have returned!

156.

ÉLANYes, good man! And this slimy bilgeworm is absconding with your shiny golden disc tray!

BUTLERThe what?

ÉLANYou know. That thing. Over there.

DUVETThe tray of gold.

FATHERThe dowry?

ÉLANI knew it!

FATHERThat is the money for the dowry to Élan.

VIPÉREIf you give this money to him, how will you repay me?

FATHERIf I give the money to you, how will Élan marry Duvet?

DUVETHow will I marry him when I am already married to Ídiot?

ALLÍdiot?

Ídiot comes out from under the table.

ÍDIOTHello.

FATHERYou have married my daughter?

Élan turns the sword to Ídiot.

ÉLANYou have married my wife?

157.

DUVETI’m his wife.

ÉLANThen how is this my dowry?

ÍDIOTI guess it isn’t.

DUVETIt’s his.

ÍDIOTYeah. Oh.

(goes to Vipére, takes tray)It’s mine.

VIPÉRENo it isn’t, it’s mine!

Vipére grabs the tray. Coins go flying everywhere.

MAIDI’m going to have to clean that up.

BUTLERI think one went over here.

Maid and Butler start cleaning up.

ÉLANI will fight you to the death!

DUVETWho?

ÉLANWhomever!

Élan charges in the direction of Vipére and Ídiot, who scatter.

Vipére tries to pick up coins.

158.

Ídiot grabs Vipére’s cane, duels with Élan a moment, all during this next dialogue.

DUVETÍdiot!

FATHERÉlan!

DUVETFather, I meant to tell you that I love Ídiot. That we have already wed. And that he will make me happy for the rest of my life.

FATHEROh, Duvet. You know that all I want in this world is to make you happy. Ever since I’ve lost your mother...

DUVETI know, Father. Mother would have wanted me to be with a man like Ídiot. He is so much more like you than you think.

FATHERÍdiot, like me?

DUVETHe will fight. Against odd insurmountable.

FATHERI would do anything for you. However foolish.

DUVETÍdiot is just that kind of fool.

FATHEROh, Duvet...

DUVETOh, Father...

Élan has Ídiot in some kind of strangle hold.

FATHERÉlan!

159.

ÉLANMonsieur Father?

FATHERDon’t call me that.

ÉLANSorry.

FATHERPlease stop strangling my son, Ídiot.

ÉLANOh. Right.

ÍDIOT(gasping)

Almost. Had. Him.

Ídiot falls.

FATHERÉlan, I’m sorry, but my Duvet has already married this Ídiot.

ÉLANI see. Well! Off I go.

(to Duvet)I’m sorry that we will not be wed. That would have been fun.

(exiting)Ta-Ta, All.

Élan is gone.

Duvet helps up Ídiot.

DUVETMy love.

ÍDIOTDuvet.

DUVETWe can be together now.

160.

ÍDIOTReally?

DUVETTruly.

ÍDIOTOh, good.

They embrace. Duvet helps Ídiot stand.

Butler and Maid put some coins on the table.

VIPÉREBut what about my money?! You owe me! That’s my money!

FATHERIt belongs to Ídiot, now. It is the dowry for Duvet.

VIPÉRE(to Ídiot)

Well? What have you to say?

Ídiot goes to the table and grabs and handful of coins.

ÍDIOTFine with me. I have what I love. Take it.

Ídiot tosses coins at Vipére.

A coin goes in Vipére’s mouth. He chokes.

He dies.

Butler checks Vipére.

BUTLERHe is dead.

ÍDIOTI killed him? Will I go to prison?

BUTLERNo one liked him.

161.

DUVETBut what about the gold?

FATHERI guess the money stays with you, Ídiot.

ÍDIOTIt is ours.

DUVETIt stays here. With us.

(to Father)With all of us.

The three embrace.

Butler hands a coin to Ídiot.

ÍDIOTTo our family and happiness!

(a moment)(to butler)

This was in his mouth, wasn’t it?

BUTLERYes, monsieur. Yes it was.

A tableau.

Lights down.

End

162.

PLAY 22: VIRUS IN BIG CHILI

Two dudes.

One chair.

Darkness around them.

AXEYou made this necessary.

DRIVERJust a man. Standin’ up.

AXEAnd now you gotta get beat down.

DRIVERThat’s what he says?

AXEI’m not his boy.

DRIVERHe got a problem. You standin’ here.

AXENah. Ain’t like that.

DRIVERAin’t like it. Exactly it.

AXEYou causin’ problems fer me, man. What you think I’m gonna do? I’m gonna sit at my house with a bowl of Cap’n Crunch?

DRIVERAin’t your problems.

AXEThey become my problems.

DRIVERCause you his boy.

163.

Axe slaps Driver hard.

AXEWhat I say?

DRIVERThat ain’t happnin’ again.

AXEOh no?

DRIVERStep up.

AXELook at you. All big man. Sit down.

(long moment)Sugar on top.

Another moment.

Driver sits.

DRIVERIs it story time, or a confession?

AXEIt’s both if I want it.

DRIVERTell you what, I sure ain’t your boy.

AXEHell you ain’t. I gave birth to you. I’m your damn mama.

Driver goes to stand. Axe pushes him back down by the shoulder.

AXE (CONT’D)Story time ain’t over yet. Then you can confess if you need to.

DRIVERMy soul’s clean.

164.

AXEIn the jungle, there’s a big ol’ tiger, name a Big Chili. Now, Big Chili goes round and round the jungle lookin’ for little animals that need to get eaten in order to keep the circle of life circling through his belly. The way it’s supposed to be. And there’s this weird little bird thing, keep followin’ him round the jungle. Big Chili hunts something down and kills it, and before he knows it, this little bird is all up on his kill. Now, Big Chili’s all like, “what the hell’s this bird think he doin’?” And the bird looks him in the eye. Right in his big tiger face and says, “this my kill now and nothin’ you can do about it. You swing your big ol’ claw at me, and I’m in the sky before you can even get yer claws out.” So what do you think the tiger does? What do you think?

DRIVERMe?

AXEYeah.

DRIVERI think he --

Driver stomps on Axe’s foot, then uppercuts him.

Axe falls back.

Driver stands and grabs the chair.

Axe starts to stand up, but Driver breaks the chair over his back.

Driver tosses the pieces of the chair over to the side. He rolls Axe over on his face.

DRIVER (CONT’D)Confession time. What I think? I think Big Chili’s big problem is this. I ain’t no little bird. I bird’s a thing you can kill. I’m like... a virus... that the big bad tiger’s got. Got it on his inside. Rotting him from the inside out. His stomach bleedin’. Pourin’ out of him every which way. Now, ol’ Chili’s a fighter, fight anything he can see. But he can’t muscle his way out of this one.

(beat)So what does the tiger do? He falls down next to his latest kill, and rots. Until all the little birdies come pick him apart piece by piece, as he lays there, feelin’ every little peck, and ain’t nothing he can do about it.

165.

Driver pats Axe on the chest and stands.

AXEHe’s gonna find you.

DRIVERThought that was you.

AXEAin’t jokin’. He’s coming.

DRIVERI already told you, son. He ain’t coming. I’m already inside him. Eating away.

(beat)Be ready when he hits the ground.

Driver steps off into the darkness.

Axe coughs and rolls over.

166.

PLAY 23: WELCOME

A young girl, HOLLY, sits on a set of stairs outside of a home.

She takes out an envelope, removes the letter within. She places the envelope beside her, and puts a rock on it.

Holly opens the letter to read it.

HOLLY(reading)

My sweet Holly. I know you won’t be able to understand this, but I couldn’t leave without telling you how much I love you. That I wish Mommy could take you with her. But I just can’t, sweetheart. Grandma and Grandpa can take care of you so much better than I can right now. Just know that I love you, and one day, when I’m in a better place, I will come back and see you. I wait until you’re all grown up and we meet again. I know I’ll still love you, and I hope you will love me too. Always. Mom.

Holly returns the letter to the envelope.

She sits for a moment.

HOLLY (CONT’D)As much as I wanted to believe that today would come, I never let myself believe it would.

From just offstage, RHONDA emerges. She carries a bag with her.

RHONDAHolly.

HOLLYI certainly am.

RHONDAMy god. You’re so...

HOLLYYep.

Awkward silence.

167.

RHONDAI’m just... speechless.

HOLLYI guess I could say “Welcome Home”.

RHONDAYou don’t have to do that.

HOLLYOK.

RHONDAAre you... are you angry... with me?

HOLLYAngry.

RHONDAI know it’s not that simple.

HOLLYThat’s truth.

RHONDA(indicates letter)

You... Still have that.(beat)

I heard you reading it.(beat)

Yeah. I wish I was a better writer.

HOLLYYeah.

A moment.

RHONDAIs Grandma home?

HOLLYGrandma.

RHONDAYes.

168.

HOLLYShe’s...

RHONDANo.

HOLLYFebruary.

Rhonda is unsteady.

RHONDAOh my--

Holly rises.

HOLLYHere. Sit.

RHONDAOh my god.

(beat)How?

HOLLYNatural. In her sleep.

RHONDAYou found her?

HOLLYYep.

RHONDAOh, I’m so sorry.

HOLLYAbout that? Don’t be. Grandpa’s been gone for 8 years. She’s at peace. I’ll take it.

RHONDA(indicates house)

So... how are you...

HOLLYIt went to Aunt Caroline. She lets me stay here if I pay utilities. Says she’ll let me buy it from her once I finish school and get some steady work.

169.

RHONDAYou’re in school, then.

HOLLYStill. It’s taking me a little longer, but it won’t be too long now. One more semester.

RHONDAOne more semester.

(beat)Wow.

(a moment)You know... nevermind.

HOLLYWhat?

RHONDAI was just thinking... I remember sitting on this stoop. When I was little. I’m pretty sure I was sitting here when Mom told me about my grandma passing. I just looked over at that house down the block. On that little hill. It was painted blue, then. An odd color for this block full of little white houses. And I thought about grandma like an angel sitting inside that blue house, like it was the sky, where heaven was. Playing the piano. Instead of a harp, I guess. Playing like she was an angel in heaven.

(beat)Which was weird because there was a mean old dog at that house. Barked at me every day on the way home from school. I hated that dog. Don’t know why I thought of grandma playing the piano there. She’d get bit by that dog.

HOLLYThompsons live there now. Grandma’s frienemy. Her biggest competition for the church bake sale. Grandma worked so hard to beat Mrs. Thompson, but rarely did. Bake sale’s coming up next month. I thought about making something, for Grandma. And kicking the crap out of that old lady.

RHONDAAnd that dog too.

HOLLYSure.

Moment.

RHONDAI know that words aren’t enough to apologize.

170.

HOLLYMaybe not.

(long moment)I did make a banner.

RHONDAOh?

HOLLYI ripped it up. Threw it in the trash.

RHONDAWhat did it say?

HOLLYWelcome Back, Mom.

RHONDAI see.

HOLLYI’m sorry I ripped it up.

RHONDABut you made it. It means something to me that you did that.

HOLLYI was gonna burn it, but I decided not to.

RHONDAThank you.

HOLLYFor not burning it?

RHONDAFor making it.

A moment.

HOLLYWhat’s in the bag?

171.

RHONDAOh, that. Nevermind. It’s silly.

HOLLYWhat?

RHONDAIt’s a... gift.

HOLLYFor...

RHONDAYeah.

Rhonda gives Holly the bag.

Holly takes out a stuffed giraffe.

HOLLYA giraffe.

RHONDAIt’s stupid. I know you’re not a little girl anymore. It was the only thing I knew that you liked. Or used to.

(takes the giraffe in her hands)Every time I’d see a giraffe, I’d think of my little Holly. And I... I would...

(starts to tear up)I’d better go.

Rhonda stands.

HOLLYWait.

RHONDAI didn’t mean to barge in today. I... I should have come back when Dad passed. And I didn’t even know about Mom.

HOLLYI didn’t know how to let you know.

RHONDAI understand. I should have--

172.

HOLLYI wanted to--

RHONDAI just couldn’t bring myself--

HOLLYDon’t worry about that now--

RHONDAI’m just a selfish old--

HOLLYDon’t do that. Please. Mom.

RHONDAYou have to hate me.

HOLLYI... don’t.

(beat)If it makes you feel better, I thought I did. I thought I would. I imagined all the horrible, shitty things I’d say to you when I saw you face to face. Sometimes I’d hit you. Kick you. Scream. Call the cops. Almost always involved a long laundry list of the awful things that have happened that you should have been here for. God, mom. I don’t want to do any of that anymore. I really don’t.

(beat)I do want one thing.

RHONDAWhat’s that?

HOLLYMy giraffe.

Rhonda turns. She holds out the giraffe.

Holly steps toward her, past the giraffe and into an embrace.

A moment.

RHONDAI’m so sorry...

173.

HOLLYWelcome. Mom.

They hug for a moment.

Lights down.

End

174.

PLAY 24: SAVIORS

Dim lights on Ione and Rev.

IONEAnd you think of yourself...

REVThere is but one way.

IONEYou think of yourself as... as...

REVThis is a one way street, this.

IONEThink of yourself as a... as a...

REVOne way to go, the way we all go.

IONEYou think of yourself as a savior. A savior. That’s how you think of yourself.

REVTo fight to go the opposite...

IONEI won’t let you be my savior.

(beat)I want to be yours.

Lights shift.

Rev and Ione are far from one another.

REVYou’re gone?

IONEJust for tonight.

REVWe’ll miss you. At the service.

175.

IONEI’m sure.

REVIt’s true. Everyone always asks why you’re gone.

IONEAnd you say I’m visiting my sick mother.

REVThey miss your voice. When we sing. They notice.

IONEBecause I’m good or because I’m so bad.

REVYou know, I’ve never asked. I’ve always assumed good.

IONEYou shouldn’t lie to them.

REVI know.

IONEDon’t tell them lies for me. Understand?

REVI give you my word.

(beat)What do you want me to tell them?

IONEYou could tell them it’s none of their business.

REVBut it is.

IONEWhere I am is my own business.

REVYou became a member. They care about you. It is their business. What you do affects them.

176.

IONEThat’s not why I joined.

REVI know.

IONEI can’t pretend to be perfect just because I joined a church.

REVNo one’s asking you to. No pretending. And you don’t have to be perfect either. You do have to be you. And you should be a part of the life of the church.

IONEDon’t pressure me.

REVI’m not doing anything. This is what you wanted. Remember? A community who cares.

IONEBut they have to leave me alone, too.

REVCan’t be both. And I have to say, at this point, it’s a little too late to expect privacy. It’s not going to happen.

IONEWhy?

REVBecause Rose loves you.

IONERose, the old lady Rose?

REVAbsolutely. When you’re gone, you should see the state she’s in. If she could drive, she’d be over here in a second to bring you to the after-service potluck.

IONEI’m glad her son took away her car, then.

REVShe misses you.

177.

IONENot my problem.

REVI miss you.

(beat)I like to see you out there, as I’m giving the sermon. I like to gauge whether or not I’m making myself understood by whether or not you are still engaged.

IONEI’m usually not.

REVI have a lot of work to do.

A moment.

IONEI’m just not comfortable with all of this anymore.

REVI understand.

IONEYou do?

REVYes. I’m not comfortable with it either.

(beat)But we agreed that even though it doesn’t make any logical sense, we believed what we read and studied. And we’d commit to it no matter what.

IONEI don’t know...

REVWe need you... I need you... to believe. I can’t do this without you.

IONEDon’t put this on me.

REVIt’s too late. It’s me and you. No matter what. You go? I go too. Because I love you. And I’m committed to you. It’s me. And you.

178.

Rev holds out his hand.

Ione reluctantly takes it.

IONEI can’t promise I’ll stay.

REVThat’s fine.

IONEI can almost guarantee I’ll disappear.

REVI’ll come with you.

They hold hands.

Lights dim.

End

179.

PLAY 25: THE VIRTUE OF REMEMBERING

A young girl, Dealice.

A man, Pietro.

A woman, Mina.

Mina walks slowly across the stage between the other two. They watch her.

DEALICEIt makes me sad for you.

PIETROSad for me.

DEALICEIt’s the truth. I feel a weight as you tell me. As the very words leave your mouth and rest in my ears. I feel weighed down.

PIETROBut my dear, it should be no concern of yours.

DEALICEBut I bear your weight. That is my affection for you.

PIETROI’m sorry I told you. Truly.

DEALICENo. I should hear. I must.

PIETROI promise I won’t bring it up again. I will speak no more of her.

DEALICEBut it should concern her. It should bother her.

PIETROPlease, dear.

DEALICEShe should care that you are with me.

180.

PIETROShe knows nothing of our relationship.

DEALICENothing?

PIETRONo. Not a jot.

DEALICEYou’ve said nothing of me. To her, it is as if I do not exist.

PIETROI’ve said nothing.

(a moment)You think I should have said something. About you. To her.

DEALICEDon’t be silly.

PIETROIt would make you... happy... to know that she’s heard of you.

DEALICEI’m not asking anything of you.

PIETROThen take heart that it is not that she does not care. It is that she is ignorant.

DEALICEIgnorant.

PIETROCompletely.

DEALICEThen you make a fool of her.

PIETROWhat I want is for you to not be sad. Certainly not for me. And definitely not about my wife.

DEALICEWhen I think of how unhappy you two must be...

181.

PIETROThen think nothing of it.

Pietro kisses her.

DEALICEIf you wish it, then I will comply.

PIETROIt is my most sincere wish.

DEALICEThen I will be happy. To my best.

PIETROAnd I thank you.

Dealice holds.

Mina turns.

MINAShe is sweet.

PIETROYou think too much so.

MINAI didn’t say.

PIETROShe is uncomplicated.

MINANow.

(beat)There will come a day.

PIETROCertainly.

182.

MINABut by that time...

(beat)I would pity her, but then again...

PIETROShe has set herself up for disappointment.

MINAShe loves you.

PIETROPoor wretch.

MINANow that I can pity.

Mina takes a step away.

PIETROShe’s just like you were, you know.

MINANothing like me.

PIETRONot now. Then.

(beat)You’ve forgotten.

MINAWhat is the virtue of remembering?

PIETROAccuracy.

MINASo, no virtue at all.

PIETROA vice then.

(beat)You wore your hair this exact way.

183.

MINANever.

PIETROMy favorite day with you. The park by the beach.

MINAThe lake.

PIETROYou remember.

MINAI remember the lake. And the park.

PIETROBut your hair. Look.

MINAI like it better on her.

PIETROI will agree with you.

MINADo you expect...

PIETROYes?

MINATo get bored. With her. As you have me?

PIETROI’m counting on it.

Pietro steps away.

DEALICEI know very little about you.

MINANot a word about you.

184.

DEALICEI know you are missed.

MINAHow do you know?

DEALICEI have eyes.

MINAYou are a bright girl.

DEALICEI can only imagine you were once as bright. Brighter.

MINAA dying star.

DEALICEDying stars disappear all at once. Millions of years after they’ve already gone.

MINAThey linger as light long past their life.

DEALICEYet the night sky continues to illuminate.

MINAWhere one star dies...

DEALICEAnother is birthed.

MINAI wish I knew anything about you.

DEALICEI’m sorry to know what I do.

Mina steps away.

Dealice sneaks up behind Pietro, puts her hands on his eyes.

185.

PIETROI’m not one for games.

DEALICEI don’t want you to look at me.

A moment

PIETROThis is when you tell me the truth.

DEALICEI’ve left.

PIETROLeft.

DEALICEI have gone. Away. Far.

PIETROI wondered why you hadn’t already gone.

DEALICEI wanted to tell you something.

PIETROBut you never did.

DEALICEOf course not.

PIETROYou loved me too much to say.

DEALICEI prefer if you remember me that way. Unable to tell you... anything... that is true about myself.

PIETROAll I have are your untruths.

DEALICEThen that is how I should be remembered.

186.

Dealice steps backwards.

PIETROForget everything about me.

DEALICEI already have. I already have.

Dealice turns. She is far from them.

Pietro is still.

Mina moves to stand directly in front of Pietro.

PIETROI wish you could still love me.

MINAI wish I didn’t.

PIETROCan you remember how?

MINAA faint memory.

PIETROThen this is the virtue of remembering.

Lights down.

End

187.

PLAY 26: GRASSY SUMMER DAY

A man stands on a rough hewn wooden stage.

He takes off his shoes.

He takes off his socks.

He walks around the edge of the stage, deliberately.

He returns to his shoes.

A woman enters the stage.

She wears a sundress, and is already barefoot.

WOMANSo?

MANYou were right.

WOMANIt’s a grassy summer day. Full of flowers and sunbeams.

MANHot. Sticky. Uncomfortable.

WOMANLet it warm you.

MANI’m warm.

Man sits down.

WOMANIt’s been a long winter.

MANThe warmth had to come. Sooner or later.

Woman starts to walk around the edge of the stage, deliberately.

188.

WOMANThe birds of the morning, the crickets of sundown.

MANSundown. The only relief.

WOMANChasing fireflies in the almost darkness.

MANThe almost darkness.

WOMANUntil the almost become the all the way.

MANBut he heat finds its way through the dark.

WOMANEvenings spent on the porch. Iced tea. The creaky porch swing.

MANThe porch boards slowly curling up, swollen with moisture, bending out of level.

She stops.

WOMANIs there nothing you can enjoy?

MANEnjoy?

WOMANYes.

MANYou.

(beat)You were right.

WOMANShe would swing with me, and let me put my head on her lap.

189.

MANShe’d bring out the whole pitcher, so we could refill our iced tea.

WOMANAnd we could never drink so much that it would be gone.

MANNever.

WOMANAnd the stories.

MANOh, the stories.

WOMANOne for each firefly out over the field.

MANTwinkling back and forth from story to tale. To all out lie.

A moment.

WOMANI don’t ever feel she’s gone. Not from this place.

MANShe’s right here. Swelling each board. A reminder that this place, that she, that they are both well, and alive.

WOMANI was right.

MANYes, you were.

She reaches out her hand.

WOMANCome with me.

MANMy shoes.

190.

WOMANCome with me.

MANI should put them--

WOMANCome on.

He takes her hand.

They run off stage.

The shoes remain.

Lights down.

End

191.

PLAY 27: THE MOUNTAIN OF DOUBT

Blaney enters, a girl wearing a large dark sweater, tattered.

She runs to center and stops. Looks behind her.

BLANEYA return. A return will help me heal. Heal.

Blaney attempts to hide.

She tries three places, but is not satisfied.

She hears someone coming, decides to stand in the open.

Noll enters, a guy in worn dress clothes and suit coat. He does not wear shoes.

He slows and stops.

NOLLI thought you might have hidden.

BLANEYI didn’t.

NOLLI see.

BLANEYGo home, Noll.

NOLLThat’s all I want.

BLANEYI’m not going with you.

NOLLYou’ll stay out here. Alone.

BLANEYI can and I will.

NOLLI’ve never hurt you. I’ve never let anyone else hurt you. And I never will.

192.

BLANEYI do not belong to you.

NOLLYou know that’s not what I mean.

BLANEYI am not your concern.

NOLLWe both wish that were true.

BLANEYYour promise...

NOLLExactly.

BLANEYHe is gone now. Your word to him is nothing.

NOLLYou’re wrong. It is for now that my word was intended. He asked me--

BLANEYHe should have asked me.

NOLLI can’t help that now.

BLANEYI release you.

NOLLYou can’t.

BLANEYI’m stuck with you forever.

NOLLI’m sorry. Yes.

BLANEYThere’s no way to be free of you.

193.

NOLLI’m sorry. No.

Blaney circles around him.

BLANEYYou.

NOLLYes.

BLANEYYou are to guard me.

NOLLI wouldn’t put it that way.

BLANEYBut that is the essence of it.

NOLLYes.

BLANEYTo protect me.

NOLLYes.

BLANEYTo cover me.

NOLLI--

BLANEYI don’t believe that you can.

NOLLI have promised to do my all.

BLANEYYou have promised me?

NOLLYour father.

194.

BLANEYBut not me.

NOLLI do now. I promise you.

BLANEYAnd that’s it.

NOLLYes.

BLANEYI don’t believe you.

(beat)Your promise offers me no comfort.

NOLLIt did your father.

BLANEYMy father believed in many things that I do not. He believed the sun to be a fiery bird. That floods were caused by the tears of the underworld. And that mountains could be moved by thoughts.

NOLLI will move the mountain of your doubt.

BLANEYI have no doubts. I am as certain as you. And when two certainties meet...

She stands face to face with him.

A long moment.

NOLLYou are mistaken.

BLANEYI am?

NOLLAbout me.

BLANEYI don’t--

195.

NOLLAbout who I am, who I intend to be, and what it means to me to honor my promise to your father.

(beat)Your father intended that I be a... a husband to you.

BLANEYI’m certain he did.

NOLLAnd you would assume that would be... restrictive.

(a moment)But I tell you that for me... for me it means that I am responsible... for your freedom.

BLANEYFor my freedom.

(beat)You followed me. You followed me here. You chased me here and now you tell me... you tell me it was to make me free.

NOLLI came to tell you that you already are.

Noll turns. He starts to go.

BLANEYYou’ve not come to carry me back.

NOLLNot even if you wanted me to.

(stops, turns)But you are free to.

Noll exits.

A long moment.

Blaney starts to leave the other way.

She stops.

Turns.

Blaney looks up to the sky.

196.

BLANEYFather...

Blaney exits, following Noll.

Lights down.

End

197.

PLAY 28: A ROUGH AND WORN SMALL BOAT

Hilde rests on an edge.

Anda is standing far away.

Miche arrives, moves to Hilde.

HILDEIf my heart could hold any more regret, I promise I would miss you more.

Miche kneels next to Hilde, runs her fingers through Hilde’s hair.

MICHEThere was a small town, lay down by the water’s edge. Boats went out, boats returned, slowly floating. Hoping, that they would not return. Each day finding only enough to bring back home.

Anda begins to walk across the stage, not looking at them.

HILDEI made living here unbearable for you.

MICHEOne small boat, rough and worn, worked its way over the waves, climbing each as a mountain of ocean, effortfully. Rocking back and forth with each exhausting success.

HILDEThere was so much I could have done for you.

MICHEAs evening unfolded and the boats returned to town, the people gathered on the shore, making count. 1, 2, 3, 4... 12... 19...

HILDEI needed so much less than I wanted. Than I took.

MICHEBut the small boat did not appear over the water’s horizon. As the sun lay down and the stars reluctantly appeared, and each boat rest at the dock, there was one empty place, small and almost unnoticeable.

HILDEIf I could give back all I have taken...

198.

MICHEThe next day, as the boats returned, the place for the small boat was a little smaller, and the next day, and the next.

HILDEI would that you were here.

MICHEUntil the place for the place for that small boat was gone. And not one person in the town could remember that once there had been that rough and wooden small boat. That had never returned.

Miche stops playing with Hilde’s hair.

HILDEMiche...

Anda turns.

ANDAThere is no reason to torture yourself with her.

HILDEShe is gone from us, Anda.

ANDAAnd we are all poorer for it. But, Hilde, though she is gone, we remain.

HILDEIf there was something I could have--

ANDAWe remain.

Anda holds out a hand to Hilde, to help her rise.

Hilde places her hand in Anda’s.

Miche, not looking, holds onto Hilde’s other hand/arm, to keep her from rising.

199.

MICHEStorms rose upon the seas, and the rough and wooden small boat was flung. Stem over stern. Port to starboard. All compass lost. All direction gone. The rains and flashes of light and cracking of boards. The boat... the boat...

Miche lets go and drops to the floor.

Hilde tries to reach her, but can’t because Anda is holding her.

Anda cradles Hilde, who begins to weep.

ANDAShh... shh...

HILDEShe... she...

ANDAShe is. She is.

HILDEShe is lost. She is lost.

ANDAI know. I know.

Miche sits up with a start.

Anda looks at her.

Miche turns to Anda.

MICHEIt was because of you.

ANDAOf course it was.

MICHEI left because of you.

ANDASo you have said.

200.

MICHEAnd you let her suffer.

ANDAIt is you who continue this torture.

MICHEYou let her believe...

ANDAI have done all I can.

MICHEAnd yet...

ANDAAnd yet.

MICHEYou hold her as if to comfort.

ANDAIt is my curse. To wipe away the tears I inspired.

MICHEAnd mine? My tears?

ANDAI cannot wipe that slate clean. For that, I will never be forgiven.

MICHENever.

Miche circles around behind them.

Hilde breaks the embrace.

HILDEI will miss her forever.

ANDAI know.

201.

HILDEBut we will live on.

(beat)Won’t we?

ANDAWe will.

(beat)We will.

Hilda and Anda sitting.

Miche stands behind them.

MICHEAnd the rough and wooden small boat, after the passing of the storm, floated gently, past the glassy horizon, and on. And on. And on.

She turns upstage.

Lights down.

End

202.

PLAY 29: OF COURSE

A woman holding a watering can stands on a chair.

A man holds a long staff with a lamp on the end.

A woman takes a piece of fabric and runs around the stage, the fabric flowing behind. She has it come to rest in the center of the stage.

It comes to rest between ARCHIE and EMERALD.

EMERALDI couldn’t have believed it would be true, but you brought us here.

ARCHIEThere was never a doubt in my mind.

EMERALDTake my hands.

(he does)Take my life.

ARCHIEI will.

EMERALDAnd I yours.

ARCHIEIf you will.

EMERALDOf course.

ARCHIEOf course.

They kiss.

The lamp comes right over their heads. It is now some time in the past.

EMERALDI have to go.

203.

ARCHIEYou want to. No one is making you.

EMERALDI have to. Inside.

(beat)I know you’re disappointed in me.

ARCHIENo. In me. I couldn’t make you see how much I need you. Every day.

EMERALDArchie.

ARCHIEYou’re my Emerald.

EMERALDI’m my own Emerald, Archie.

ARCHIEYou see? You don’t see.

EMERALDYou’ve told me you love me. I understand that.

ARCHIEI’ve never wanted it to be my words.

EMERALDI mean you’ve shown me.

ARCHIEHave I?

EMERALDYes, of course.

ARCHIEThen...

EMERALDI’m sorry, Archie.

204.

Emerald crosses past Archie, and off of the fabric. She stops. We are further in the past.

Archie steps toward her, off of the fabric.

The fabric is taken away.

ARCHIEEmerald?

EMERALD(turns)

Yes?

ARCHIEYou don’t remember me. From Harrison.

EMERALDHarrison? You’re not... Archie.

ARCHIEOf course I am. How have you been?

EMERALDI’m... I’ve been...

(beat)It’s been a long time.

ARCHIEBoy, has it. I remember you when you were... you were a lot different then.

EMERALDWas I?

ARCHIEI’ll say.

EMERALDWhat will you say?

ARCHIEHuh?

EMERALDWhat was I? What do you remember?

205.

ARCHIEI... I don’t know...

EMERALDI was an awkward little thing, wasn’t I?

ARCHIEI thought you were sweet.

EMERALDAnd now? The sweetness is gone, is it?

ARCHIEYou’ve been in the city a long time.

EMERALDWhat does that mean?

ARCHIEOh not too much. Just all the people I know from the city are looking for a fight, it seems.

EMERALDAre we?

ARCHIELike that. I don’t want to fight, Emerald. I remember you as a sweet girl. And now I see you’ve grown up a lot. And you’re both lovely. You and the you you were.

(beat)I like you both.

EMERALDI’m sorry, Archie.

ARCHIEYou’ve nothing to be sorry for. I’ve taken up your time.

He nods and starts away.

EMERALDArchie?

(he stops)I’m really hungry.

(beat)And this city girl hasn’t been to Paula’s Diner in a long time.

Archie turns.

206.

ARCHIEWell, you’re in luck.

(holds out his arm)I know the way.

Emerald goes to him and takes his arm.

They cross around the chair.

Emerald steps up with the person on the chair.

The watering can is poured on Archie.

We are even further in the past.

EMERALDWho is down there?

ARCHIECan’t you see me?

EMERALDIt’s dark. And raining. Are you crazy?

ARCHIEI am. For you.

EMERALDArchie? What are you doing here?

ARCHIEI heard you were leaving for the city.

EMERALDTomorrow. I need to go to sleep.

ARCHIEDon’t?

EMERALDDon’t sleep?

ARCHIEDon’t go. To the city.

207.

EMERALDArchie. I already have a place to stay and a job that starts next week.

ARCHIEStay here. With me.

EMERALDYou’re getting soaked.

ARCHIEI don’t care, Em.

EMERALDYou’ll catch a cold.

ARCHIEDoesn’t matter.

EMERALDPneumonia. You want to be sick?

ARCHIEWhat will that matter if you leave?

EMERALDWhat will it matter if I stay? Get out of the rain.

ARCHIEI want you here. With me.

EMERALDI’m not with you, Archie. I’m leaving tomorrow. It’s too late.

(beat)I have to get some sleep. Good night, Archie. Good bye.

Emerald turns.

Archie continues to be rained on.

Archie drops to the floor.

The staff is handed to Emerald.

The woman with the watering can leaves.

Emerald lowers the staff down to Archie.

208.

It is yet a few years earlier.

EMERALD (CONT’D)Here, kid. Grab hold.

Archie does. Emerald pulls him ‘out’ of the water.

ARCHIE(coughing)

Thank you...

EMERALDYou OK?

ARCHIE(coughing, thumbs up)

Yep...

EMERALDYou scared me to death.

ARCHIE(coughing)

Sorry...

EMERALDWhy are you messing around the lake if you can’t swim?

(no answer)Well, don’t do it any more.

Emerald hands off the staff.

Archie sits on the chair.

Emerald is handed a towel/fabric. She places it around Archie.

ARCHIEThank you.

EMERALDIt’s my job.

ARCHIELifeguard?

209.

EMERALDNot here, but yes.

ARCHIEYou’re old enough to be a lifeguard?

EMERALDYes.

ARCHIEWhere?

EMERALDCountry club.

ARCHIENice.

EMERALDIt’s OK.

ARCHIEWell, you’re very good at your job.

EMERALDYou think so?

ARCHIEYou know CPR and everything?

EMERALDOf course.

ARCHIEMouth to mouth?

EMERALDOf course.

A moment.

ARCHIEProve it.

EMERALDYou’re breathing fine.

210.

ARCHIEYou take my breath away.

They both laugh for a moment.

Then an awkward silence.

Emerald leans in. Archie as well.

Emerald pecks him on the lips, then gets up quickly. She starts off.

ARCHIE (CONT’D)Hey wait!

(beat)What’s your name?

EMERALD(turns)

Emerald.

ARCHIEEmerald.

EMERALDAnd you?

ARCHIEArchie.

EMERALDArchie. I like that.

ARCHIEI like Emerald.

EMERALDThank you.

ARCHIEOf course.

EMERALDOf course?

211.

ARCHIEOf course.

Emerald turns and goes.

ARCHIE (CONT’D)(slapping his forehead)

Of course...

The woman with the fabric runs around the stage.

Archie and Emerald take the center of the stage.

Archie holds the staff.

The woman with the watering can gets up on the chair.

It is many many many years later.

The water is poured on the old couple.

EMERALDArchie.

ARCHIEWhat?

EMERALDIt’s raining on us.

ARCHIERaining?

EMERALDYes.

ARCHIEIs it?

EMERALDYes.

A moment.

ARCHIEYou remember?

212.

EMERALDDo I remember...

ARCHIEDo you?

EMERALDI do.

ARCHIESo do I.

The smile at each other. Lean in for a kiss.

Emerald pecks Archie’s lips.

They turn and walk upstage, hand in hand. Out of the ‘rain’.

Lights dim.

End

213.

PLAY 30: UNREPENTANT

Gunshots - sounds like a western shoot-out. 1800’s.

Lights up on a wooden cabin-like room.

On the floor sits NAAMAN, late 20’s and in standard western wear of the period. He holds his chest, checks for blood - there is none.

Two gunshots outside. Naaman backs up to a wall to take cover. He starts for his gun, but it is not at his side.

The door opens. Bright light.

NAAMAN(holds up hands)

Don’t shoot me. Please. I beg you!

BENJAMIN enters, full gear. He holds a revolver, and an extra hat in his hands. He shuts the door behind him.

BENJAMINShut your mouth, Naaman.

NAAMANBenjamin. I’m so relieved it’s you.

Benjamin throws the hat at Naaman.

BENJAMINYours, isn’t it?

NAAMANBelieve it is. Thank you.

Benjamin goes and looks out a window.

BENJAMINWon’t be long.

NAAMANBe long? For what?

214.

BENJAMINYou thought he’d forget?

NAAMANForget? No. No.

BENJAMINYou thought you’d run far enough.

NAAMAN(reluctantly)

I guess I did.

Benjamin goes to the table. He sees Naaman’s revolver there.

BENJAMINThis yours?

NAAMANUm... Yeah...

(beat)It’s empty.

BENJAMINSomehow I knew I’d find you like this.

NAAMANYou didn’t have to come here.

BENJAMINNo. No, I did not.

NAAMANI’m gonna be fine, Benjamin. I am. I got a man bringing me a pony in the morning, and then I’m off to Mexico. I’ll be down there a couple months, maybe a year.

BENJAMINMexico. How far you think that is from here?

NAAMANI don’t--

215.

BENJAMINDays.

NAAMANNo...

BENJAMINYou’re turned around. You lit out north. Goin’ to Mexico, you gotta go back through all you just came through. With him in pursuit.

NAAMANThat’s not true.

BENJAMINWhere do you think I just came from?

NAAMANDoesn’t matter. I still got a head start.

BENJAMINYou gotta head straight for ‘em, Naaman. Face it. You’re lost.

NAAMANSo, what are you saying?

BENJAMINShe’s worried about you.

NAAMANShe ain’t.

(Benjamin stares)She give up on me.

BENJAMINShe couldn’t if she wanted to.

NAAMANYou didn’t see the look in her eyes.

BENJAMINYou broke her heart, Naaman.

NAAMANI know I did. That’s why I’m going to Mexico. To leave her alone for good.

216.

BENJAMINShe asked me to come and get you.

NAAMANYou didn’t promise her, did you, Ben?

BENJAMINI’m here, ain’t I?

Naaman rises.

NAAMANGo back to her. Tell her... tell her I’m dead. Just tell her I’m dead and she can give up on me for good. You can do that for me, can’t you?

BENJAMINI can’t break her heart over you any more.

NAAMANOnly way for her to heal. Break it all the way.

BENJAMINI’m here to take you back to her.

NAAMANCome get me before they do.

BENJAMINThat’s right.

NAAMANYou know I’m right, don’t you? I’m never gonna be able to do right by her. Just go back. Tell her I’m dead. Tell her... tell her you saw me falled off a horse. Broke my neck. Like Jack Tallmidge last year. She’ll believe that. She saw him with her own eyes.

BENJAMINI’m not going to lie to her, Naaman.

NAAMANWhy not? I do it all the time.

BENJAMINBecause I love her.

A moment.

217.

NAAMANYou love her.

BENJAMINI do. And this is how I love her. By bringing you home.

NAAMANYou love my wife... by bringing me back to her.

BENJAMINIt’s what she wants. I respect her enough to do this for her.

NAAMANBenny. I’m telling you. I’m begging you. Just tell her I’m dead. And she is all yours.

Benjamin slaps Naaman, who falls back to the floor.

BENJAMINI’ll do no such thing. I’d never lie to her.

NAAMANYou lying to her already.

(beat)You here to kill me.

BENJAMINI’m taking you back to her myself. Right now.

NAAMANI’m going to Mexico. Before they get here to take me back. And there’s nothing you can do to stop me.

BENJAMINI saw the man who you think’s bringing you a pony.

NAAMANYou didn’t...

BENJAMINHe’s not coming, Naaman.

(beat)There’s only one horse here. And it’s headed back to your wife.

Naaman rises.

218.

NAAMANDon’t make me fight you.

Benjamin pulls his revolver.

BENJAMINYou’re coming voluntarily, or with a bullet in you.

NAAMANNow, wait a minute.

(beat)I got gold.

BENJAMINWhat are you saying?

NAAMANI got gold. It’s hid. Over the ridge. I was gonna pick it up tomorrow on my way out to Mexico.

(beat)It’s yours.

BENJAMINWhat do I want with your stolen gold?

NAAMANTake it. Go back to her. You two can go back east. It’s plenty to live off the rest of your lives. Happy as a buzzard on a dead horse.

BENJAMINThat’s not what I want.

NAAMANSure it is. You and her. Fancy restaurants. Big house by the water. Who doesn’t want that?

BENJAMINYou’re gonna go live in a Mexican cave by yourself for a year.

NAAMANThat’s not my choice. You know that.

219.

BENJAMINYou already chose it. Taking that gold in the first place. Killing a man for it. You chose that. Over her.

NAAMANI guess you’re right.

BENJAMINSo we’re going back?

NAAMANSure.

Benjamin lowers the revolver.

BENJAMINGet your things.

Naaman goes to the table and gets his revolver.

Naaman points it at Benjamin.

NAAMANOne more thing.

Benjamin turns.

Naaman shoots him.

Benjamin falls.

NAAMAN (CONT’D)Thanks for the horse.

Naaman puts on his hat.

Naaman exits.

Benjamin lay on the ground.

Lights down.

End

220.

PLAY 31: THE SKELETONS

Three small skeletons lie on the stage.

A woman sits near each skeleton.

Enise picks up the skeleton tenderly.

ENISEA young boy in a small village on the side of mountain woke one morning to the familiar rays of sunshine pouring through his window. He greeted the sun with respect, bowing low, as he asked the sun to shine on his activities for the day. Smiling, he went about his chores in the house, then asked his mother if he could go and play. She gave him a task instead, and one he was reluctant to take on. The mother asked the young boy to go to the holy man, who sat high on the mountain above their small village. The boy knew the trip was long and hard, and would take him at least the rest of this day to accomplish. He would have to sleep at the mountain top and return the next day. He had never spent the night away from his bed, his window, and his view of the morning sun. But as he thought of the sun, he remembered that if he respected the sun, he would honor his mother’s wished. So he took a mat, and some food, and climbed the winding path to the holy man’s hut. Hours. And many footsteps. The sun passed the peak of the mountain, and the world grew dark, just as he arrived at the hut. The boy entered the hut and saw a tiny, frail old man, with a great long beard, and an old red robe. The old man said nothing, but gestured for the boy to sit beside him. The boy opened his pack, and lay out his mat as the old man watched. The boy opened his sack of food, and set it out as the old man watched. The boy offered some food to the old man, who ate a small amount, not wanting to be greedy. The boy finished the meal, and both were well satisfied. The boy lay out on his mat, and found himself very comfortable and warm, and soon drifted off into a deep sleep. The rays of the morning sun woke the boy, who looked around the hut to see that the old man, and the old man’s mat, were gone. But the red robe remained. The boy went out of the hut and addressed the sun, still respecting, bowing low, and asking to shine on today’s activity. After some time, the boy went back into the hut. He took the red robe, and wrapped it around him. He sat in the hut, and began a fire. It wasn’t long before a visitor came, and entered the hut, bowing low and offering to the young boy a pack of food. The boy said nothing, but gestured for the visitor to sit, as he continued to stoke the fire. The visitor sat for several hours. They each ate some of the food. Then, as unexpectedly as he arrived, the visitor bowed low in respect, and departed. The boy took off the robe, and laid down, having, again, the best sleep of his life. And so, it was with his willingness, respect, and patience, that the boy became the holy man.

Enise places the skeleton in a cradle.

A moment.

221.

Bien takes hold of the skeleton near her.

BIENRevolution! He cried, revolution! And charged forward toward the line of soldiers, who stood at the end of his street. It had been months since the forces arrived, and in that time the food had disappeared, as had all the girls from his school. It had been days since he’d eaten, his last drink was a cup of light brown water had dripped from the rooftop. He didn’t want to hurt anyone. He wanted... he wanted his sister back. It was his curse that he’d always been a follower. The older boys at school would convince him to do all sorts of things, mostly harmless, costing only a small part of dignity. It was widely known that he was one to take on any challenge, the more outrageous the better. And it was only now that his audacity, his boldness, had found its most useful application. For when it was decided that today would be the day to fight back, he was the first to step forward. And he would lead the charge. Revolution! He cried. The sound of footsteps running down the cobblestones was met with the sounds of gunfire. It lasted only... only a moment. Their tiny revolution. Their boldness cut down without mercy.

(holds up the skeleton)But he is not gone. He is not gone.

Bien drops the skeleton.

She kneels over it.

Pila grabs the hand of the skeleton in front of her. She drags it in a circle.

PILAHe was an old man, having lived a long life, who had no one left that he cared to live for. His children gone. His wife. His friends. And his only brother. All lost to time. This old man, still living, saw himself as the final grain of sand, waiting to fall through the hourglass. His days passed as slowly as the nights, awaiting the inevitable force of gravity. Until the day she met him. It made little impression on him, but that day was the day she decided to be beside him. It took him a while to notice that she was there, waiting for... something... while he only waited to fall. Weeks passed with only slight variations. Soon the length of the talks overtook the length of the silences. And much without a conscious choice, he began to care for her. It was only a few days before she became sick. And less than a week before she was also lost to time. But that time... it gave him... a hope. A foolish hope. The fool’s hope... that it was possible. That it might be possible. Again.

Pila lets go of the skeleton. She lay down behind it.

Ushe picks up the skeleton awkwardly.

222.

USHEHe was easy to spot. Middle aged man in an inexpensive suit walking and reading a cell phone at the same time. Briskly walking past a world that didn’t interest him. Didn’t intrigue him. It carried no mystery or potential. He hates what he hates, and loves what he loves, and what he thought he loved were things he only decided to stop hating. He was, above most else, disappointed. But he’d tell you otherwise. He would say he was striving, in pursuit. But his prey... his prey had long since been dead. He was a hunter looking for the carcass he’d already eaten. And he acted as though the place to find it was in the small device in his hands. Eating, walking and reading, all at the same time. Down the street. Against the grain of foot traffic. Heading to work when all else were heading home. Trapped. By what he’d convinced himself was his own desire.

(she places the skeleton in a small pet carrier)Sad. Sad man. Alive and lost.

The women step upstage from the four skeletons.

Lights down on all but the skeletons.

All lights out.

End

223.

31 plays in 31 days Complete 2014

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