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(1)

SATURN RETURNS

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RMfATISTS·PLAY SERVICE, INC.

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(2)

SATURN RETURNS Copyright © 2009, Noah Haidle

All Righ[s Reserved

CAUTION: Professionals and amateurs are hereby warned [hat performance of SATURN RETURNS is subject ro paymem of a royalty. It is fully pro[ecred under [he copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all coumries covered by rhe Pan­ American Copyright Convemion, the Universal Copyright Convenrion, rhe Berne Convemion, and of all coumries with which the United States has recipro­ cal copyright relations. All rights, including without limitation professional/ama­ teur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information srorage and retrieval systems, photocopying, and the rights of translation imo foreign lan­ guages are strictly reserved. Particular emphasis is placed upon the matrer of read­ ings, permission for which musr be secured from the Author's agenr in wriring. The English language srock and amateur stage performance righ rs in rhe Unired States, its territories, possessions and Canada for SATURN RETURNS are con­ trolled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the writren permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.

Inquiries concerning all other rights should be addressed ro Crearive Artisrs Agency, 162 Fifth Avenue, 6th Floor, New York, NY 10010. Attn: Corinne Hayoun.

SPECIAL NOTE

Anyone receiving permission to produce SATURN RETURNS is required ro give credit to the Author as sole and exclusive Author of the Play on the ririe page of all programs distributed in connection with performances of the Play and in all instances in which the title of the Play appears for purposes of adverrising, publi­ cizing or otherwise exploiting [he Play and/or a production thereof. The name of the Author must appear on a separate line, in which no other name appears, immediately beneath the title and in size of type egual ro 50% of the size of rhe largest, most prominem letter used for the tirie of the Play. No person, firm or entiry may receive credit larger or more prominem than that accorded rhe Aurhor. The following acknowledgment must appear on the title page in all programs dis­ tributed in connection with performances of the Play:

Originally produced by Lincoln Center Theater in 2008, New York City.

2

For Jerry, who threw me to the wolves

z.

SMITH

R

EYN

O

LD

S

LIBRARY

(3)

SATURN RETURNS was originally produced at the Lincoln Center

Mitzi E. Newhouse Theater in New York City, opening on November 10, 2008. It was directed by Nicholas Martin; the set design was by Ralph Funicello; the costume design was by Robert Morgan; the lighting design was by Peter Kaczorowski; the music and sound

design were by Mark Bennett; and the production manager was Jeff Hamlin. The cast was as follows:

John McMartin GUSTIN NOVAK at 88 Robert Eli GUSTIN at 28 James Rebhorn GUSTIN at 58

... Rosie Ben ton SUZANNE/ZEPHYR/LO RETTA

4

CHARACTERS

GUSTIN - Glasses. A moustache. Slightly hunched. We see him

at ages 28, 58, and 88, and for clarity's sake that's how he'll be

noted. The glasses might get thicker, the moustache greyer, and the hunch more pronounced.

SUZANNE - A nurse.

ZEPHYR - Gustin's daughter. LORETTA - Gustin's wife.

Suzanne, Zephyr, and Loretta are all played by the same actress in her late twenties.

PLACE

A living room in Grand Rapids, Michigan.

TIME

We see it over the course of sixty years and over that time it has greatly decayed.

The play is in seven scenes and without an intermission.

A note on rransltlons: It's okay if they overlap and the men are onstage with each other for a bit.

(4)

SATURN RETURNS

Scene 1

A living room in Grand Rapids, Michigan. Not looking so good That's an understatement.

Dirty rugs. Some plastic covers on the furniture. Wallpaper falling off.

The only architectural matters to consider are an entrance to the kitchen. A closet. A front door.

And a staircase up to the bedrooms. The staircase is important. 88 sits cross-legged on the floor.

The nurse is taking his heartbeat with a stethoscope. She is in work clothes. He is in pajamas, which don't look so good either.

88. Still beating is it?

SUZANNE. It is.

88. You look just like my daughter.

That other girl they sent looked like a horse. SUZANNE. Cheryl is a friend of mine. 88. Excuse me.

You are friends with a girl with a horse face.

SUZANNE. I'm not her.

88. No.

You look just like my daughter and my daughter is beautiful. SUZANNE. Does she live close?

(5)

I

I

,I

,

88. Not anymore.

SUZANNE. Or else she could take care of you.

88. Or else she could.

SUZANNE. Your blood pressure is fine.

Your eyes are good.

Your hearing is perfect.

88. What?

SUZANNE. Your hearing.

That was a joke.

88. I still got it.

SUZANNE. You don't have a problem with your bowel movements.

88. Or taking a piss.

SUZANNE. Or urination.

88. I'm eighty-eight years old and I still piss standing up.

SUZANNE. You're perfectly healthy.

88. You said it.

SUZANNE. I don't know why you need an assisted-living profes­

sional.

88. I don't.

SUZANNE. Why did you call me?

88. Because Cheryl had the face of a horse.

SUZANNE. Sir?

88. It's a remarkable resemblance.

If we were to walk down the street, on our way to the poSt office

to mail a letter, people would do double takes and say to themselves

that is his daughter.

SUZANNE. You didn't answer my question.

88. Can you make scrambled eggs?

Of course you can. Everybody can.

SUZANNE. Dr. (Checks sheet.) Novak.

88. I am quite famished.

SUZANNE. Sir.

88. A bit of grapefruit juice would help my throat.

SUZANNE. Sir, I'm going to call my service and say I am not

needed here.

(She packs up her bag.) 88. You are.

SUZANNE. Excuse me.

88. You are.

8

Needed. Here.

SUZANNE. But you're fine.

88. She's dead.

SUZANNE. Who is dead?

88. My daughter.

She used to make me scrambled eggs and grapefruit juice.

Could you do that?

And then you can go.

Will you make me breakfast?

SUZANNE. Okay. I'll make you breakfast.

88. There's nobody you can call.

r

looked in the phone book.

r

called the plumber, Larry, but my toilet was fine so

r

plugged it up with a tennis ball.

And he got it out and said how did a tennis ball get in your toilet and

r

couldn't think of a lie so I told him, Larry, I put it there myself.

And he said why did you put a tennis ball in your toilet and I said

have you ever been lonely?

And he said no and he left.

r

didn't believe him.

About the lonely part.

I've called other people.

There are lots of numbers in the phone book.

I called a computer repair service but I don't have a computer.

r

called an au pair but my daughter is grown up and dead anyway.

I called an escort, Cinnamon, but

r

haven't had an erection in years.

r

called Cheryl but she looked like a horse.

And then

r

called you.

Please don't go.

r

don't have anybody else to call. SUZANNE. I'll stay.

88. I just want somebody to talk to.

SUZANNE. What do you want to say?

88. It wasn't a particular conversation I had in mind.

Maybe you could tell me about yourself.

Let's start with your name.

SUZANNE. My name is Suzanne.

88.

r

had a cousin named Suzanne.

Never a more foul-smelling cross-eyed bitch did I ever meet.

(6)

But the name suits you fine.

SUZANNE. I grew up here in Grand Rapids.

88. I grew old here.

SUZANNE. Our house was on Sherman Street.

88. Not on Sherman.

SUZANNE. Across from the hospital.

88. I worked at the hospital.

SUZANNE. What did you do?

88. I was a radiologist.

SUZANNE. I broke my arm once.

Ned Hefron pushed me from the swings because I wouldn't

tongue-kiss him.

88. It could have been me who read your X-ray.

SUZANNE. It could have been.

88. Have you broken any other bones?

SUZANNE. No.

88. Too bad.

SUZANNE. Just the arm.

88. Because it would have given us a higher probabiliry ofhaving met.

SUZANNE. How did your daughter die?

88. Does it matter?

SUZANNE. I would like to know.

88. I'm a bit hungry. My throat. Quite parched.

SUZANNE. Please.

88. I don't exactly talk about her.

SUZANNE. What about your wife?

Where is she?

88. What? Are you talking?

SUZANNE. What was her name at least?

88. I hear a voice.

It's so far away.

SUZANNE. Your daughter.

What was your daughter's name?

88. Zephyr.

SUZANNE. Like the west wind.

88. Like the west wind.

It was her mother's idea to name her that but I don't speak of her so my daughter was named Zephyr.

And she was about your age and one day she wasn't alive anymore.

Can I have some eggs please?

SUZANNE. That's not the whole story.

88. No shit.

The whole story is too long to tell.

It's raising a girl yourself and living and loving her and then her dying

in the ocean near Mexico and getting a coffin through customs is no

joke but it's not her body it's a one-eyed Mexican named Manuel and

then losing your daughter's body and finding her in East Mrica and

they didn't refrigerate her so by the time she gets to you she smells

like four-day-old farts or worse and the airline giving you free tickets

for life so you can fly anywhere for free but the problem is you have

nowhere to go and worse no one to go with - no it's not the whole

story it's not even close.

SUZANNE. Is that a true sto ry?

The one you told me is that true?

88. You think I could make that up?

SUZANNE. If you wanted.

88. Even the part about Manuel, the one-eyed Mexican?

SUZANNE. If you want, you can make anything up.

88. If I made anything up I'd make up a story where Zephyr didn't

go to Mexico.

That I didn't let her go.

That I didn't I didn't have to bury her next to her mother who I do

not talk about and how I wouldn't find out that no matter how much

you cry there is no end to tears.

You'd think after awhile it would dry up.

But there is no end to them.

I've waited for the end.

But it won't come. Not yet.

I've waited.

I'm still waiting. I can't help but wait.

SUZANNE. Maybe I'll make your breakfast now.

88. I am quite famished.

SUZANNE. Scrambled eggs.

88. But not too runny.

SUZANNE. Not too runny.

88. But not too firm.

SUZANNE. Right in the middle.

11 10

(7)

88. Right in the middle.

SUZANNE. And some grapefruit juice.

88. My throat is quite parched.

SUZANNE. I'll get it for you.

8S. Thank you.

What's your name again?

SUZANNE. Suzanne.

88. That's right. Thank you, Suzanne.

I've waited so long for somebody to make me breakfast.

SUZANNE. You don't have to wait anymore.

I'll be back in no time. 88. I'll be waiting right here. (She goes into the kitchen.) I'll be waiting.

(He puts his head into his hands and cries. Lights fade.)

Scene 2

The same Living room.

Thirty years earlier.

The pLastic is offthe furniture and the waLlpaper is notpeeLing,

but there

is

a worn feeLing to the place. It is morning.

58 sits cross-Legged on the ground. Zephyr caLls from where the

nurse exited. It's the same actress, so this gives her a LittLe time

to change.

ZEPHYR. (Offstage.) Dad?

Are you awake? 58. No.

ZEPHYR. (Offitage.) How are you talking if you're not awake?

58. It's a mystery even to me.

(Zephyr enters. She's got heavy eye makeup and her hair is different.

12

She's eclecticaLly unkempt. They kiss.)

You look just like your mother except for the hair.

ZEPHYR. Are we talking about Mom today?

58. Did I say we were?

We're talking about that haircut. ZEPHYR. What?

It's new.

58. I like the old one.

ZEPHYR. It's very fashionable.

58. You look like you work in a carnival.

ZEPHYR. We need to get ready for the Bonnie situation. 58. Is that her name this time?

ZEPHYR. It is her name. 58. I'm hungry.

ZEPHYR. You don't get breakfast until we talk about Bonnie.

58. I have to go to work. ZEPHYR. You're fine for time. 58. People have broken bones.

ZEPHYR. They'll still be broken when you get there.

(She takes out a sheet with a picture.)

Now.

Bonnie is a piano teacher. 58. I hate the piano. ZEPHYR. Since when.

58. Since it doesn't matter. I hate it.

ZEPHYR. So she won't play the piano.

It's not like you have to take lessons.

58. But she'll talk about the piano.

About giving lessons to pimply twelve year olds and about Chopin

and about Debussy and don't you think Mozart is a little overrated?

ZEPHYR. So change the subject.

58. To what?

ZEPHYR. It doesn't matter.

This is a first date. ')8. They're all first dates.

7 F.PHYR. And the poine of a first date is to get to a second date. And the point of a second date is to get to a third date and then to

you know what and then to be happy.

')8 . You're talking to me about being happy.

/,EPHYR. I am.

(8)

II

I

58. She's talking to me about being happy.

ZEPHYR. Now about Bonnie. 58. "Do you like Chopin's preludes?" "They're so evocative."

She'll use words like that. If she says evocative I'm leaving.

ZEPHYR. You can't leave.

I

58. I can and I will.

I

ZEPHYR. That hurt Meredith's feelings.

,

I

!

58. Oh, I'm sorry.

ZEPHYR. You said you were going to the bathroom and you didn't

come back.

58. And.

ZEPHYR. And that's very rude.

She called me crying.

58. She wouldn't stop talking about birds migrating.

What do I care about birds migrating?

ZEPHYR. Because it's important to her.

58. Birds leave. They come back. Hooray!

ZEPHYR. What about Toni?

58. Her name sounds like somebody who hangs drywall.

ZEPHYR. Virginia?

58. I had a bad experience in Roanoke. And she smelled like roast

beef

ZEPHYR. You had a bad experience in Roanoke and her name was Virginia so you didn't ask her our again. And nobody smells like roast beef

58. I swear. Four-day-old roast beef, like roast beef you left in a hot

closet.

ZEPHYR. What was the nature of this bad experience in Roanoke?

58. Let's just say it involved Jose Cuervo Gold, a mechanical bull, and

a spastic colon.

ZEPHYR. Okay I don't even want to know.

58. No you don't.

It was quite messy.

ZEPHYR. Back to Bonnie.

I 58. Is that her name this time?

ZEPHYR. It is her name.

I

14

II

j;1 58. Bonnie. Bonnie.

Sounds like a great big fat person.

ZEPHYR. It does not.

58. She sounds like a fatty to me.

ZEPHYR. You can't know that she's fat.

58. But I can suspect.

ZEPHYR. So what if she is on the plus side?

58. What do you know?

ZEPHYR. There's a picture.

58. Is she a great big fat person?

ZEPHYR. She's not small.

(He takes the picture.)

58. Not small?

She's a heifer not small.

ZEPHYR. That's an old picture.

She may have lost some weight.

58. Or gained more.

Jesus.

She probably has her own zip code.

ZEPHYR. Dad.

Stop.

58. When she steps on the scale it says "to be continued."

She was probably baptized at Sea World.

ZEPHYR. Stop it!

58. Okay. I stopped.

ZEPHYR. So she's a little overweight.

58. A little? ZEPHYR. Dad.

58. I stopped!

ZEPHYR. Bonnie sounds like a very nice person.

58. Fantastic. And isn't that exactly what they always say about fat

pt:ople? I stopped.

/.EPHYR. She likes poetry.

SH. Good for her.

ZEPHYR. That gives you a common ground.

~R. A common ground. She's talking to me about common ground.

"So, Bonnie, who's your favorite poet?" /,FPHYR. "WH. Auden."

(9)

, I

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58. "Oh, really, I prefer Yeats." Silence.

Silence.

"Waiter, can I get the check?"

ZEPHYR. That's not how it has to go. 58. No.

Ir could go like this.

"Bonnie, you could lose forty pounds, by the way, who's your favorite poet?"

ZEPHYR. "Yeats."

58. "Me too. I absolutely applaud your good taste in poetry. And

what a common ground it is that we share."

ZEPHYR. "I appreciate nothing more than the English language used with care and precision."

58. "Would you like some dessert? Of course you would. Two

pieces of pie then. Maybe three." ZEPHYR. ''I'm on a diet."

58. "Hey that's great for you. Waiter!" ZEPHYR. I don't know why I bother. 58. Neither do 1.

ZEPHYR. I spend time on this.

58.

r

never asked you to.

ZEPHYR. You're still young. 58. Not that young anymore.

I'm 58.

ZEPHYR.

r

just want you to have somebody.

58. I have you.

ZEPHYR. But I won't be around forever.

58. Where are you going?

ZEPHYR. I don't know yet. 58. Where are you going?

ZEPHYR. I'm still making up my mind.

58. You're leaving me.

ZEPHYR. I haven't picked out the place yet, but maybe some­ where warm. Somewhere with some sun. It's always so grey here. 58. Forever?

ZEPHYR. I don't know if forever but I have to go somewhere else.

58. Here's as good as anywhere else.

ZEPHYR. I want to see somewhere else.

58. So we'll take a trip. I hear New Orleans is beautiful this time

16

of year.

Or Santa Fe. Tallahassee.

ZEPHYR. I want to go somewhere without you.

58. Okay.

No.

r

get it.

ZEPHYR. Dad.

I'm almost thirty.

58. You're twenty-nine-and-a-half ZEPHYR. I'm almost thirty. And what have I done?

58. You've done enough.

ZEPHYR. I've taken care of you. 58. What's wrong with that?

ZEPHYR. There's nothing wrong with that. I just need something else for awhile. 58. What are we talking about here? A week?

ZEPHYR. I don't know. 58. Two weeks?

ZEPHYR. I don't know what we're talking about.

58. Two months?

Hey, I'll take this Bonnie situation seriously.

Okay?

I'll ask her her favorite song and I'll sing it.

And I'll say how her dress is so wonderfully slimming. Okay?

Is that what you want?

/,EPHYR. I JUSt want you to be happy.

58. Too late for that.

ZEPHYR. It's not too late for that. 58. You can't replace your mother.

I. FPHYR. I'm not trying to replace her. ·)K.

Ikc;u Ise you can't. JK. Okay.

I ('a n clean up. I can cook for myself I.I·YHYR. No.

! lad.

17

ZEPHYR.

I just can't take care of you anymore.

(10)

!

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58. Where is Bonnie, that hefty bitch?

ZEPHYR. Stop it, Dad.

58. I stopped.

Okay? I stopped.

ZEPHYR. You're going to be late for work.

58. The bones will still be broken when I get there.

ZEPHYR. I'll make you breakfast. 58. You don't have to.

I can make my own breakfast. Watch me.

ZEPHYR. I'll do it.

58. Not too runny. The eggs.

ZEPHYR. I know not too runny!

(She marches off. He sits there.)

58. I stopped. I can do that. I can stop.

(The lights fade.)

Scene 3

The same living room.

Thirty years earlier.

The house is brand-new. It shines. Price tags are still on the furniture.

28 sits cross-legged on the floor.

LORETTA. (Offstage.) Honey?

Honey!

28. I'm in here.

(Loretta enters. Played by the same actress. Different hair

if

there's time.)

LORETTA. Kiss me like it's our first time. 18

(He kisses her.)

No tongue!

You were bashful.

Ti:yagain.

(He does.)

Yes, it was just like that.

Kiss me like you're going off to war.

(He /,isses her. She assesses.)

I Jon't think so.

No, [hat won't do at all.

By the harbor.

The sound of the foghorn.

You in your uniform.

Me in my Sunday best.

I didn't think I would ever see YOLl again.

(He gets up and really kisses her.)

But you came home.

28. I had to.

r

.ORETTA.

A

homecoming.

Is [here anything more beautiful?

28. I absolutely had to.

I.oRETTA. Kiss me like we're getting married again.

2R. What about the tongue?

I.oRETTA. There was just a hint of tongue.

2

8

.

I

remember.

Under the eyes of God.

LORETTA. And everyone we know.

no you?

28. I do.

Do you?

LORETTA. I do.

Of course I do.

(He kisses her with a hint oftongue.)

J

IIsr like that.

(And then they're on the ground)

Al1d now we move straight into the honeymoon.

(fhe phone rings.)

28 . Don't answer it.

l ORETTA. I have to it could be important.

H. Nobody calls this early except one person.

(11)

LORETTA. Not necessarily.

Anybody could call at any hour of any day.

28. I bet on the soul of our unborn children that it is your mother.

(She extricates herself and picks up the phone.) LORETTA. Hello?

Good morning, Mother.

I

28. I win.

LORETTA. Yes, we're just waking up too. 28. I'm fine.

II

LORETTA. He's fine.

28. Thank you for asking.

i

i

l

l

What is the weather going to be like?

LORETTA. Yes, it might snow later.

IIII

i

.

That is what they say. 28. Her dead husband. LORETTA. I miss him too.

I know how hard you miss him.

28. Is there an end to grief? An end to tears?

LORETTA. There is no end. There can't be.

28. She's still waiting.

LORETTA. Shhhh. Shhhh. Shhhh.

28. She just wants to see her blood continue. LORETTA. Shhh. Shhh. Shhh.

28. Every day the exact same conversation. LORETTA. Shhh. Shhh. Shhh.

28. Don't forget to say it.

LORETTA. I love you.

And I'll call you later.

(She hangs up.)

You'd better get moving.

28. Not quite yet.

LORETTA. I swear there are not enough hours in the day.

28. What do you do when I'm not here?

LORETTA. What do I do? What kind of question is that?

What do I do.

Today I have a million things.

28. Like what?

I

LORETTA. Like I've got to go to the bank.

.

,

I

II

And then to the cleaners.

20

II:

I

ii

And then to my mother's to explain why there are nOt babies crying.

And put fresh flowers on my father's grave.

And say my prayers.

And there's a recipe I want to get from Mrs. Van Haften.

28. Not chicken.

LORETTA. A new way of chicken.

And then I've got three letters to write.

And I've got to make the bed.

Change the sheets. Do the dishes.

Somebody has to wash your pajamas.

28. Are you the same person when I'm not here?

LO RETTA. How would I be any different?

(The phone rings.)

28. Don't.

LORETTA. Hello, Mother.

No, I know. I know they're leaving.

I

r's the beginning of winter.

Bur

they'll come back.

111 the spring. They always do.

."ihhhhh.

I'll pray for him too. .'>/H' hangs up.)

2.H. I mean are you the same when no one is watching?

()he touches her hair.)

lORETTA. I'm alone is the only difference.

.'H. How would you say you define yourself?

lORETTA. I don't know. How does anyone? And what kind of

qlll;stion is that?

~H. When you finish all the cleaning up and the errands what do

yOII do?

I.ORETTA. What do I do? I'Ill alone.

2H. Yes, but what do you do?

YIIlI'I"(; alone. Fantastic. That is not doing anything.

1.( WETTA. I listen to the clock in the kitchen.

Tha\

's

the only sound in the house with no babies crying or even

I he hint of a baby.

AlJd I wonder what kind of hours they will be.

.!X This is what you do when you're alone.

\.( lIU·:TTA. This is what I do.

(12)

I 1i

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I wait for you.

28. Is it hard?

The waiting?

LORETTA. I'm getting used to it.

28. What kind of hours will they be?

LORETTA. It depends. There are the hard hours. The hours you

can't bear your reflection.

The hours you don't notice passing. And there are the hours you

simply have to endure.

But the time passes anyway and I hear the car in the driveway and

then you're home and I feel okay again.

(She cleans.)

The other day I pulled a muscle crying.

28. Which one?

LORETTA. In my back. I don't know its name.

28. What about this. Stop.

(She stops.)

What about this:

After you do everything you have to do you go to the dress store.

LORETTA. For what?

28. What do you think for what?

You buy a new dress and you come home and spend an hour in

front of the mirror getting ready.

LORETTA. Getting ready for what?

28. You said you always wanted to hear the symphony. (She leaves up the stairs.)

Good then.

(She enters.)

LORETTA. Were you asking me out on a date?

28. I was.

LORETTA. Ask me proper.

28. Loretta.

My wife.

Would you like to go out on a date with me?

LORETTA. I have to think about it.

28. You have to think about it?

LORETTA. Something came up.

28. Bur.

LORETTA. It just got cancelled.

Of course I'll go on a date with you.

22

Kiss me like we're happy.

n

.

I don't have to pretend.

(He kisses ha:)

LORETTA. Sometimes. I swear.

(He checks his watch.)

I.et me make you breakfast.

7.R. I don't have time anymore.

lORETTA. It will only take a couple of minutes.

28. I'll be late.

LORETTA. What's a couple minutes?

28. People will talk.

LORETTA. Don't go. Not yet. Please.

Let me make you breakfast.

I know how.

I know just how you like it.

I lave you noticed I lost almost seven pounds?

I lave you noticed how happy I am when you're here?

I lave you?

.~H. Baby.

1.< lRETTA. Just some eggs.

What's a couple of minutes?

I don't want to be alone. Not yet.

.'H. Okay.

'"~I let me get dressed.

lORETTA. And then a little breakfast.

'1 () begin the day.

( I II' begim to go up the stairs.)

And after work you'll come home.

8. [always do.

I,OIZETTA. Every day.

Z

H

.

Every day the exact same homecoming.

lORETTA. I listen for the sound of the car in the driveway.

Alld then I feel okay again. .~~. You won't cry today?

J.( lRETTA. I'll try not to .

• lH. 'Ji'Y hard, okay? 1.< >IZFTTA. Okay, I'll try.

And LOnight we go out on a date.

(13)

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28. I've got [0 get going.

LORETTA. I'll spend an hour in front of the mirror. h will be a glorious evening.

28. Shhhh.

Shhhh. Shhhh.

(He's at the top ofthe stairs.)

LORETTA. Kiss me

om.

28. How?

LORETTA. We've got to practice.

28. Practice what?

LORETTA. Kissing goodbye.

(They kiss. He goes upstairs and she goes into the kitchen as the lights fade.)

Scene 4

Sixty years later. The house is worn again. 88 sits on the ground in very little light.

Suzanne enters with ha bag and turns on a light.

88. Boo.

SUZANNE. Jesus Christ! You scared me.

88. I meant [0.

SUZANNE. I'm going to get going.

88. Why?

SUZANNE. Because I get paid [0 stay from morning until night.

And it's night. 88. It is evening.

SUZANNE. Late evening. 88. But not quite night yet. SUZANNE. Very close.

88. So I'm paying you until night. Aren't I?

24

AlI(I we can agree it is not night yet.

(SlIzanne puts down her bag.)

SUZANNE. We can.

HH. SO you'll stay.

SU/,ANNE. Not very long.

HH. Just until the night.

Sl j/'ANNE. Until then.·

HH. (;ood then.

\lJ/.ANNE. You know.

•J ·ltere's a lot of nice places you could go.

HH . Places for old people.

SU/,ANNE. For elderly people.

HH. You die quick there.

Sl J/.ANNE. And what do you do here?

HK. Die slower.

\lJl.ANNE. My grandmother is in one.

II's very nice.

Site's quite happy.

~;H. Hey, good for her.

:-i l J/.ANNE. They have activities.

HH.

r

don't want to make any moccasins.

\1 J;I.ANNE. What?

HH. I knew a woman.

"; hl' lived in one of those places.

lin name was Bonnie.

' . .1 visit her from time to time.

1\lld every time she gave me a pair of moccasins.

look in the cardboard box over there.

(Sil(' opens the cardboard box near the window. Moccasins fallout.)

I LivL' a pair.

I I:t Vc three.

, don'r need them.

." ll/'!\NNE. I don't need any moccasins.

HH . Neither do I!

,'II;(I's what I'm talking about.

~l I/'!\NNE. But it might be nice to be around people your own age.

HH. They smell funny.

"ll/'!\NNE. It might be nice [0 make some friends.

HH. I've gOt you.

\I/l.!\NNE. You pay me.

(14)

88. You're saying you're not my friend? SUZANNE. Yes.

88. She's not my friend. Now she tells me.

SUZANNE. Okay I am your friend.

But it might be nice to make friends you don't pay.

88. I can't leave.

SUZANNE. What do you mean?

II

88. What part didn't you understand?

II, 1\ II

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SUZANNE. The can't part.

88. The can't.

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The I is simple.

The leave. But the can't. That's a longer story. SUZANNE. Tell me.

88. I thought you were going. SUZANNE. Please.

88. Can't.

Contraction of cannot. Can't.

This is the only place on earth that I belong to. So I can't leave. :1\ 111; Simple.

You can go home now.

\

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SUZANNE. I want to know the story.

88. Now she wants to know! SUZANNE. Tell me!

I

\

88. They're still here!

SUZANNE. Who is?

I

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88. Who do you think?

SUZANNE. I don't know I met you this morning!

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88. My daughter. My wife.

My wife and my daughter. They're still here.

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SUZANNE. Do you see them?

88. No.

I'm not crazy. Not yet anyway. There are echoes.

Do you know what I mean?

~1

1

26

'I'hey were here. And then they weren't. AlI(I I have to stay here.

1\('GllISe this is where they were.

SU/.ANNE. It's falling apart this house.

HH. There are echoes.

Alld y~'S jr would be nice to know some people my own age so we

I'

"lid w;l(ch Cocoon or Driving Miss Daisy or something wirh Jessica 'l:lIldy in it and say, "Wow, we might be old but we're still alive" and pl.ly volleyball or make bird feeders.

.li l J/.i\NNE. My grandmother does not play volleyball. HH. They have classes in those places.

( :cramics with Lori.

I ; I'/.'/.~rcise with Sheila.

I,;llIgh and Relax with Dr. Daniels.

SIII.ANNE. She made one bird feeder and it's quite beautiful. HH. bntastic. I would like to engrave her a trophy.

1,(1RETTA. I watch the sparrows and the robins. But now they're

.tli gune for the winter.

I~K. I can't leave.

,

'd II.ANNE. I haven't been doing this job for long. Bur I've seen

III·.,plc who are so lonely.

WI. SO here's one more.

.'i ll/.ANNE. But you don't have to be. ~\H '100 late for that.

"III.ANNE. I'm sorry, but I do have to go.

Hil. Not yet.

,''iIIl.ANNE. It's night. ilK . Who agreed on that?

I

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not agree it is night. SIII.ANNE. It's dark!

HH. h is very very late evening.

SII/:ANNE. I've got my boyfriend. HB, 'Idl me about him.

,

·\III.I\NNE. You didn't care earlier. KB , Now I do.

N"w I am deeply interested.

WII:lr's his name?

WItar's he do?

b 1)(, a scnsuallover?

(15)

(She gives in.)

SUZANNE. His name is Alex.

88. Wonderful name.

I had a cousin named Alex. Half-spastic and half-retarded. Shirting

himself every other day. But it's a wonderful name for your paramour.

What's this young buck do?

SUZANNE. He's a musician.

88. I love music.

What kind of musician is he?

SUZANNE. He plays guitar.

88. Does he sing?

SUZANNE. He sings backup.

88. The human voice in song. Is there anything more beautiful?

Only perhaps the English language used with care and precision.

SUZANNE. He tutors kids.

For extra money between gigs.

88. Maybe he could tutor me.

What does he teach?

SUZANNE. Algebra, geometry, and calculus.

88. I could brush up on my mathematics.

I remember knowing how to calculate the shape of a curve.

We'll bring the young buck over and brush up.

SUZANNE. I'd actually be more comfortable if you didn't meet him.

88. Why? I'm a wonderful conversationalist. I don't drool yet and

I know a number of jokes. Have you heard the one about the nun,

the priest, and the pony?

SUZANNE. I just like to keep my work and my life separate.

88. Okay. So there's a nun, a priest and a pony, and they walk into

a bar. The nun says, "I was born illegitimately to a very successful

oral surgeon in Tallahassee." And the pony says ­

SUZANNE. I've got to get going.

88. Just a few more minutes.

SUZANNE. Just a few more and then I've got to get home.

88. You're expected.

SUZANNE. That's right, I'm expected.

88. Nothing so comforting.

Have you talked about having children?

SUZANNE. We talked about it.

88. What did you say?

SUZANNE. What do you mean?

HH. What do you think I mean?

Wlll'lI YOLI talked about it, about having children, what was said.

."I t l/'ANNE. We're thinking about it.

I<li . I Imow the very night my daughter was conceived. .., t J/.ANNI~. You know which night.

HH . II could have only been one.

,'-t II.ANNE. Why only one?

HH. Bccause I could feel it.

I I(lok my wife out.

"il the symphony.

WI" heard Beethoven's 6th.

We came home. Had a fight.

M.tdc

up.

Conceived a child. I was a very sensual lover.

Niuc months later she died during childbirth.

AI\J I had a daughter and no wife.

Ihll I don't talk about that.

SlIZANNE. I'm sorry.

liH. For what?

SlI/ANNE. Your wife dying.

1m. Thank you I feel so much berter. Sl J/.ANNE. That's it I'm going.

HH. I'm sorry!

Sll/'ANNE. Look outside.

/-IH. Okay. Now what?

Sl }ZANNE. What does it look like?

liH. It looks like the beginning of winter.

SU ZANNE. And.

gH. It is dark.

SUZANNE. Is it evening?

HH. Not anymore.

SUZANNE. What comes after evening?

H8. Night.

SUZANNE. Thank you!

HH. It has become night.

SUZANNE. We agreed.

H8. We did.

(He takes out his wallet. Gives her money.) .sUZANNE. This is too much.

88. It's called a tip. Take your boyfriend out. Have a beer on me.

29

28

(16)

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SUZANNE. Thank you.

88. Don't play tOo easy to get. SUZANNE. I won't.

88. But not tOo hard either. SUZANNE. Right in the middle.

88. And you'll be back in the morning. SUZANNE. I don't see the point. 88. - Because I need you to come back.

I need to have something to look forward to.

SUZANNE. Okay.

I'll be back in the morning.

88. Thank you, Suzanne. SUZANNE. Goodnight, sir.

88. Goodnight.

(She goes out thefront door. Gusty He looks out.)

There are echoes.

(The lights fade.)

Scene 5

58 is sitting cross-legged, wearing an old suit. It's seen better days. He drinks a beer out ofa can.

It is evening.

Rock music plays upstairs.

And then it stops. Perhaps the rock music is the bridge from Scene

4

to Scene 5.

Zephyr comes downstairs.

ZEPHYR. Look at you. 58. What?

ZEPHYR. You put on your suit.

30

', Il I fil',lII"cd I have one, might as well wear it. 111'IIYlt Well well well.

"/\, I )011'1 .

1' 1'11 YI Z. You've never worn your suit before.

'.I, I JlI~, 1 «·le Jike it.

I' I'IIVIC

All

the other Bonnies.

I'I'!,)I I1(,V('f" got rhe suit.

',H, TIIIll's have changed.

n l'IIYIC Y(>l\ won'r make her feel self-conscious about her weight?

,H, \11(' looked nice enough.

WII.II ~

1',I'IIYlt I'm JUSt surprised.

"~" 1,('I's DOt ger ahead of ourselves.

I ~I'IIYR. I'm not.

' ,Ii We haven't even met. l'I'IIYI\. lknow.

' ;/-1, 1.('1 alone made out or anything.

1~I'IIYlt Making out in your head are you?

I~., . Wdl,

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"( 1'I I\' It. Times have changed indeed.

ilt

I, .111 I.lke care of myself HI'! I VI\. ()kay.

III I III ',nions .

I I'IIYI{ When?

,H. WllllI what?

I 1'1 IYH, When have you taken care of yourself?

IH \1111

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ro forget that I did raise you.

I I, ",),.'.1 your diapers and wiped up your vomit.

1 l'II\'It, You had Wanda.

,Ii '", wILli !

I I'II VIC W:tliJa changed my diapers.

,Ii 1,11111'1 W,tllI to get into an argument about who changed your

d, '1'1",

I 1'1 I\ Ii , 'I'here is no argument because it was Wanda,

III. I 11.1./ II) work.

" I I, "i ., IlId(' <"X(ra help. I I'II \'I{ W.Illda.

,II \, . II" IlI'lp happened to be named Wanda.

1 1'1 1\ H /\".1 what happened to Wanda?

(17)

11 1 1: "I I . II

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58. Wanda moved to Florida?

ZEPHYR. And why did Wanda move to Florida?

58. How should I know why Wanda moved to Florida?

Is it me who is supposed to know why a person moves to Florida?

Because of the sun.

ZEPHYR. No.

58. Tax shelters. ZEPHYR. No.

58. She wanted to be closer to Disney World. Tell me then.

ZEPHYR. Because she was in love with you. 58. She was not.

ZEPHYR. Dad, I was twelve and I knew she was in love with you.

58. Our relationship was strictly professionaL

ZEPHYR. She opened your beers for you.

58. Somebody had to open the beers. Why not Wanda? ZEPHYR. She worshipped you.

58. Whether she did or not I couldn't say.

ZEPHYR. You couldn't say?

58. Maybe she had a little crush.

ZEPHYR. A crush?

58. Perhaps an infatuation.

ZEPHYR. A little bit more.

58. Perhaps maybe, and I am only supposing maybe, she was a little

bit in love with me.

ZEPHYR. Thank you.

And what was wrong with Wanda?

58. She was the help.

ZEPHYR. She was beautiful.

58. Beautiful help but help all the same.

And I wasn't ready. Okay?

It was too soon.

ZEPHYR. It was more than ten years.

58. Ten years isn't that long.

Not for that.

I'm not ready now.

And what am I doing?

I dressed up in this fucking suit.

I'm going out on a date with a fat person.

Does that make you happy?

32

~ I ' I'II\IC No.

,ij r-.I, ,.­

1'1'11\ I ~ II '.~ flOI supposed to make me happy, Dad.

111 Wi,li I '. il sl lpposcd to make happy?

,1' 1'11 VIC Yo II , [)ad.

11, 1,," 1."" I()I' Ihal.

I~I'IIYI\' Yo11 ' 1'(: still young.

,H, I, ,II' I.Ih· ( arc of myself.

1; 1'1 IYIC I:illl·.

1111 JlI ':1 III'Vl'I' klVC.

I'ILII \, IIOl Llir.

I: I'IIYIC hir or not, I've been cooking every meal for you since

W .I·, 1<1111'11'('11.

YIII I'Vt: gOftt:11 much better since then.

1,1'1 I Y Ie A teenager is not supposed to cook for her father.

iN ", i1l1t:hod y had to cook.

\X/ I'I' 11<11 you?

1'1'11 \'IC Bt:cause I was a !cid.

'/:

\'(llIllg woman. l~ i 'll\ Ie hnc. \ \ """1'. W<llllan .

IH

1\",1 W;lIlda left.

• ",,1.1 11'1 L, 'cp her feelings to her heart.

.1., I, II ·.IIl' had to unburden herself.

I I. \ i I,'.1,'11.

I h,'il"., 11111 jusl cook my dinner.

F

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Ie J cau'r believe you.

," 1,01,1·"

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I IIi 1', 111111', <1111 Oil a date.

I ,1,,1,,', , 1'1'11 ask rol' dinner.

I "I I Y It Ikc:wse you're going out for dinner. III I: '1'.111 .

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loi' rlly dinner.

I 1'1 1\ I{ I\( '<.:a use yo u're going out for dinner!

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(18)

1'11.11',\ lin Ilame.

i

ZEPHYR. She's not. 58. She's not your mother. ZEPHYR. Nobody is!

58. Why are you yelling?

(The doorbell rings.)

I'm not yelling.

You're the one who's yelling.

ZEPHYR. Just go. 58. You're not mad at me. ZEPHYR. No.

58. Good.

I hate when you're mad at me. ZEPHYR. Well I'm not. 58. Do I have to go?

II,

Is me putting on the suit enough? ZEPHYR. No.

58. I have to go out. ZEPHYR. Yes.

58. And laugh at her jokes.

ZEPHYR. Even if they're not funny.

58. Did you hear the one about the rabbi, the notary public, and the albino?

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ZEPHYR. You've already told me that one.

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58. They walk into a bar and ­

'~I ZEPHYR. . .. and the bartender says, "What is this, a joke?"

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58. Nothing as comforting as the old jokes. ZEPHYR. Go!

And pay for everything. 58. Really?

ZEPHYR. Yes!

58. What if I don't like her? ZEPHYR. You pay anyway.

(The doorbell rings.)

58. What are you going to do? ZEPHYR. I'll find something.

58. It will only be a few hours.

At most.

ZEPHYR. I won't wait up.

58. I wish we could spend a quiet evening together just the two of us. ZEPHYR. We do that every night.

34

III I. i ll,W IlI'w 10 lIe happy.

I I'I.\ \' II ()by.

ill I,I"

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1).,,1.

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'I' ldl){l'.

FI'II Yle Site's wairing.

'oJ i'" 1"'1111'. I'Ildc already.

iii I\il.,ill 1I0W, in rhis light, except for the hair, you look JUSt like ,'I Ii II II II tllll'f.

1'1'11 YI<, I)() I'

.H \ ,," .11<' 111" porn-ait of her.

I' )"", /1,'" !1//IId.:/ng too.} I 1'.1 Ii'll (;0.

11""'1 \V,lil

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I'll \ H ()ull'r worry. .ljll

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if It ,//'11/ 1 (1/1' ,/oor. He talks to Bonnie, who is o./fitage.)

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I I"" w,q,dl'lf;" il is to finally meet you.

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\t,d 1'111'1 d.1.11 dress so wonderfully slimming?

'Ii!. 11',1(,11,'\ tlmlftf!,h the window and then goes upstairs. The lightsfade.}

(19)

IHI

,

,

Scene 6

Evening.

28 enters in his suit. New.

The same suit as the other one, but now it's nice and new.

He goes up the stairs and knocks on the door.

LORETTA. (Offitage.) Not yet!

(He comes back downstairs and gathers coats and scarves.) (Offitage.) Are you ready?

28. For what?

LORETTA. (Offitage.) For me to make my entrance.

28. I think I'm ready.

LORETTA. (Offitage.) Close your eyes.

(He doesn't.)

28. They're closed.

LORETTA. (Offitage') No they're nor.

28. How did you know that?

LORETTA. (Offitage') Close them.

(He does.)

28. They're closed.

(She enters from upstairs with strained poise. Her dress is brand-new.)

LORETTA. And she descends the staircase of her new home.

Which they can't afford bur live in anyway.

She looks radiant in her new dress.

28. Can I open my eyes?

LORETTA. I have yet to finish my entrance.

28. It is a long entrance.

LORETTA. She takes her time.

She watches her feet.

She sees her husband sitting on the floor as he does.

He does not use the chairs her uncle bought them.

But prefers the floor.

36

h "III'.\il'"·, 11' 10 Ii'

II, .1",'\. \ 111 1 I, i 1,,, ,1 ·. ",.11.1111.

ill \ "111'1';' 1I111,k l'.()illg our for a date. III rIi, \\ "'1 dIII II I'.

I'i. I, -.1" 11.1" 111 \ '111 i()lIcd in passing a couple of times to which he

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I rli l 11 11' I"il 11, ...1, l1()wlT.'; on her father's grave.

1,1,' Ii", ' 1,"I,·,11 1l'1' cilickl'Jl which came out so much better than he

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lit' Ii, 'II III, .III(" kllers and is ready for a glorious evening.

" 11 II I III!

A 1,.I()l'ious evening, out with the man she loves.

I" ot I' ,III I hl'lI, of' two people, very much in love, going out to !!:", '"'1',1" 11I!',,·tlll'I',

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IU III 11/\ YIIIII;1110pen youreyes,

f I.lt d", ~/I/ ,/,J//I,) I," ,I" \,.,11 tllink?

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t 'I " \' , '" \" ' 1' looked more beautiful. I I II , I I J\ r~ClI Ollee?

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(20)

LORETTA. He looks so handsome.

28. He's never looked more handsome.

LORETTA. Not exactly true.

28. When? LORETTA. No. This is it.

He's never looked more handsome than he docs IOlliglll.

In his new suit.

28. He takes her arm.

LORETTA. She swoons.

28. She does?

LORETTA. She does.

(She swoons. The phone rings.)

28. Don't.

LORETTA. But­ 28. Just for tonight.

LORETTA. Just for tonight.

(It rings for a long time. They watch it rin,,<. It -"/IIP r.)

28. And he opens the door.

(He does. Gusty)

LORETTA. It is cold.

28. It is the beginning of winter. LORETTA. It is evening.

28. Not yet night.

LORETTA. But very close.

28. Very close.

He helps her on with her jacket.

LORETTA. A simple gesture.

28. Just a husband helping his wife wirh 11(;1 j:(('I(,·I.

LORETTA. Nothing special.

28. Nothing special.

LORETTA. And they go.

28. To the symphony.

LORETTA. Into the near night. Two people.

So very much in love.

(He makes a grand gesture for her to go

first

..

'liJr ('xi" II,i/l, I/))/i/lt'ri

poise. He closes the door behind him. The symphony r/'('I (i.1 /11(' I~(~/Jts

fade. It rises and rises and plays through transition

;71

/1)(, rid,./,-,)

38

Scene 7

The middle ofthe night.

88 sits in the dark. The symphony gives way to a car

approaching.

The lights from headlights reveal him sitting on the ground in his old pajamas.

A car stops. Fast.

And there is a knocking on the door.

88 gets up and gets a baseball bat. He gets ready. Puts on his deep trying to be scary voice.

88. (Scary voice.) Who is it?

SUZANNE. (Offitage.) It's me.

88. (Scary voice.) Me who? SUZANNE. Me Suzanne.

88. Oh why didn't you say so.

SUZANNE. Why are you doing that ridiculous voice?

88. (Regular.) Because you never know.

(He opens the door. Gusty. Suzanne enters in her regular clothes and is very high-strung.)

SUZANNE. What are you doing with a baseball bat?

88. The neighborhood ain't what it used to be.

SUZANNE. Did I wake you?

88. No.

SUZANNE. What are you doing up? It's the middle of the night.

88. I was waiting for you.

SUZANNE. But I'm not supposed to come until the morning.

88. No. You gOt here early.

(He closes the door.)

(21)

Did you miss me?

SUZANNE. No.

88. Oh.

SUZANNE. Okay, maybe a little. But that's not why I came.

88. Then why did you come?

Do you want to hear another joke?

SUZANNE. No.

88. Okay, so there's a lawyer, a Hollywood producer, and a blind harmonica player named Old Mississippi Johnson. They walk into

a bar

and-SUZANNE. We got in a fight. Do you know what it was about? 88. How many guesses do I get?

SUZANNE. None.

88. Was it about why we still use the electoral college to elect the president of the United States?

SUZANNE. No.

88. Was it about how many times the heart can break? SUZANNE. No.

88. No argument there, because the answer is infinitely. Was it

about ­

SUZANNE. - I'm just going to tell you.

88. Okay. That would be easier.

SUZANNE. It was about children.

88. About having them or children in general?

SUZANNE. Having them.

88. Did you yell?

SUZANNE. I yelled.

88. Did he yell?

SUZANNE. He yelled too.

88. Did you call each other names?

SUZANNE. Yes we did everything you do in a fight.

88. I know well enough what that is like.

SUZANNE. He said it was morally unjust to bring a child into

this, and this is a direct quote, "into this cocksucking bJrren flIck­ ing earth."

88. Most days I wish I hadn't been born either.

SUZANNE. He said he didn't want to make another misl ake. Another, quote, "another stain in this world."

40

88. Yes. Mosl days I think we're all mistakes.

SUZANN E. t\ Ild he pushed me.

88. Hard'

SUZANNE. I·lard enough that I

fell.

88. Are YOll hun?

(She roLLs up her p{lnts. Her leg is bleeding.)

SUZANNE. I didn't know where to go. 88. Let me take a look at it.

It's deep.

SUZANNE. It hurts.

88. You need stitches.

SUZANNE. I don't want to go to the emergency toom.

Last time I waited seven hours and ­

88. - I can do it.

SUZANNE. You can stitch me up?

88. I was a doctor.

SUZANNE. When's the last time you stitched someone up?

88. Long enough that this is going to hurt.

SUZANNE. I don't mind hurt.

88. Put your feet up and let me get my tools.

SUZANNE. You have tools?

88. By tools I mean a sewing needle and some thread.

(She ties down and he goes up the stairs, which is very difficuLt. It's step­

by-step. Suzanne gets some aspirin and takes it with water from her bag.)

I'll keep talking so you know where I am. Here I go up the stairs.

Up. Up.

Up and up. It's slow going.

And I'm yelling now.

I open the cabinet and take Out the tools.

By which I mean a needle and some thread. Some rubbing alcohol

too. For the germs. This reminds me of a time when a rabbi, a

notary public, and an albino all walk into a bar. SUZANNE. No. Please, not more jokes.

88. No, you're right. The time for joking is finished.

(Suzanne checl~s her phone. She doesn't Like what she sees.)

SUZANNE. Motherfucker.

(She throws the phone into her bag.)

88. And here I come close to the top of the stairs.

41

(22)

Here I come.

Walking down the steps. You can almost hear my joints creaking.

One at a time.

Step.

Step. What a long trip this has been already.

Down. Down.

Down.

SUZANNE. Okay I get it!

88. I just didn't want you to feel lonely. I know what that's like.

Okay.

Now I'm here.

SUZANNE. Are you sure it's okay that I came? 88. I was waiting for you anyway.

You just got here sooner than I expected.

I have a little job for you. You can sterilize the needle. (He gives her a candle. She sterilizes the needle.)

I have a little alcohol swab.

Are you ready?

This is going to sting a little. And by a little, I mean a lot.

SUZANNE. I'm ready.

(It hurts') 88. Shhh. Shhh.

(She is in pain.)

Alright, give me the needle.

(She gives him the needle and it's really hot. He screams in pain.)

Ow!Owww! It's hot.

Settle down.

(He begins to stitch her up.)

Oops.

SUZANNE. Oops?

Don't say oops!

88. It's been a little while.

My hands aren't what they used to be. SUZANNE. Owww.

Jesus.

42

88. It will he ovvr SOOIl .

SUZANN F. I Jow ~()()n?

88. Think of ~()n'l'lhillg else.

SUZANN I·:. W":II alll J supposed to think of?

88. A memmy.

SUZANNF. All I can remember is the time my mother sat with

r

me in silence f'i)r !-Ive hours because I wouldn't eat my vegetables.

88. Whar a lerriblc plague memory is. Tell me abour you r boyfriend.

How did YOll two lIleet?

SUZANN E. We mer at one of his concerts. 88. That's right he plays guitar.

SUZANNE. He sang a whole song and looked me in the eye. 88. Did he look you in the eye?

SUZANNE. Right in the eye.

And after it was finished he said that was for the girl in the pink T-shirt. 88. Were you wearing a pink T-shirt?

SUZANNE. Of course I was wearing a pink T-shirt.

88. So the song was JUSt for you?

I

I

SUZANNE. That's right.

The song was JUSt for me.

88. My favorite poet said this:

You are the song and I practice you

With yellow teeth A broken tongue By the field By the harbor

Even the waves know your melody Can you hear my voice?

When you are not here

Can you hear me singing in silence? All finished.

SUZANNE. It's all over.

88. Allover.

You just have to come back in two weeks so I can take the stitches out.

SUZANNE. Thank you.

88. That'll be four thousand dollars. SUZANNE. I don't have my checkbook.

88. I'm kidding.

For you it's free:.

(23)

;1

I

I

'i ',,1 I I I~

SUZANNE. Is it okay if I stay here tonight? 88. There's a spare bedroom.

It was my daughter's.

I change the sheets every week so they'll smell okay.

SUZANNE. Why do you change the sheets every week?

88. So I can pretend she's coming home.

SUZANNE. I'm so sorry.

88. And tomorrow I'll bring you breakfast in bed.

SUZANNE. I'm the one who makes you breakfast.

88. Not until you're better.

SUZANNE. When will that be?

88. We'll have to wait and see.

Tomorrow is, after all, another day.

SUZANNE. That is what they say.

88. It absolutely had to come.

SUZANNE. Tomorrow has to be another day. 88. Let's get you upstairs.

How does it feel? SUZANNE. It hurts.

88. There's some of her pajamas.

I wash them once a week. So they'll be okay.

I think they would fit you.

Come on.

(He begins to go up the stairs gingerly. She waits at the bottom')

Come on.

Let's get you tucked in.

SUZANNE. I'm not her. 88. What?

SUZANNE. I'm not your daughter. 88. I know, but you're her size.

The pajamas will fit JUSt right. SUZANNE. I'm not her. 88. I know that.

SUZANNE. And I'm not your wife.

88. I know you're not.

SUZANNE. I can't replace them.

88. Nobody can.

Come on.

Let's get you tucked in.

44

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SU/I\N~ I' ...~ 1,\ I" fdl'i>iUloI j'," '1 "111, w IIlT(' with me.

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!Itll l .1 ,,,"1 ,I III Jill' IlIorlling.

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SUZA NN I

'1111,lg" 11/' IIl'til' the bedrooms.

I can't jll Vi l! \ 'ili III , I ~'"IIII'

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I'm 11111 '11111 1 1' !iEb. But I will I"

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J lUI"'" iI,l', /" " .11 1,1", Will, , '111.,11.11 Iii 11:ll1d. I call dance the samba.

(1/,' rlollll ' , till ''/llIlld)

(24)

,

',

I took lessons, Can you tell?

(Bonnie says something. He stops dancing.)

Fantastic. Okay. One more.

(He goes out and kisses her, He comes in and closes the door.)

ZEPHYR. How did it go?

58. Jesus you scared me.

ZEPHYR. I meant to. How did it go?

58. Fine. You know.

ZEPHYR. Come on. I saw you smooching.

58. So we smooched. What of it?

And isn't it rude to be spying on somebody smooching.

ZEPHYR. I'm happy for you.

58. It's only a first date.

Can't tell much just yet.

ZEPHYR. But you had a good time.

58. I did. I had the best time I can remember.

ZEPHYR. Well well well.

58. She has the prettiest face, and when she smiles there's just this

one dimple on the left side.

ZEPHYR. Times have changed indeed.

58. No. Her left. My right. My left.

(He tries to figure it out.)

Either way it is just the cutest thing. Either way for a few minutes

I forgot myself.

(During this Zephyr has gotten a suitcase ftom upstairs. She comes

down the stairs with the suitcase.)

What's that?

ZEPHYR. It's a suitcase.

You put your things in it.

58. Thank you.

What are you doing with a suitcase?

ZEPHYR. I filled it with my things.

58. Okay I get that part.

Where are you going with the suitcase filled with your things?

46

1.1',1'11 \ 11 "" 10 ", '

51), 1\ I, ,,"

Will II Ii " 1" II \" ',' \ "" 1','''"1', '" ,ell Ill(; about Mexico?

(tiN

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tilt

iI,/1

of i/'I , 1"/1'1, I I,' ,,,tI!/~s down the stairs slowly. He UI/lld,,', / I~ ,I'/II/I i 11 /)1 '''I)'III I/I,r~, SIl/'I/{'tl/'i'U'S maybe he mouths the

won /, I'r' ,11 /1. Iii' ~ /111 111\ 1/''''" "II, )

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It's

IIIJI IIItI W, '" III l"v,' .11 .Iltydllll!',.

It's Ilol likl' I '.\V""",,,I.

It's 1101 Iii" , I II' ,lid ',1'"1,', l'lIlsic ill my head.

ZEPII YIC I Itl.l'

I

t'

y"ll 1Il(';rls wough for a week. 58. II W.,'. .1 IiI'" d:rlC'.

ZEPIIYI{, Tll('y'n.: lahdcd with each day and each meal.

58. W~' '.llIf)ochcd a link, that's all.

ZEPII Y 1\. YOI! jllSI hav!,; ro hear them up.

58. Mayl,~' ill\1 .1 Ililll (II' 10 11 g ll(; , nothing more. ZEPHYR, AI" " tll.I' yllll'le 011 yOIl!' own.

58. And WiLli tI" 11,·11 ,III ' )"'11 I',(Ii Il)', 10

do

in Mexico? ZEPHYR. I'v\' I"'VI I "" I" rllt' "' ".111.

58. So whal?

ZEPHYR. Su J w<l1I11I ItI" Ii,

58. What's so gre:11 ;dllllil rI" III< It I "I', '" q'l~

ZEPHYR. I want 10 I(II"w wi, ,I ,I", ,,01,· krl,\ likl.:. 58. I've felt it.

It's not thar gre:I',

ZEPHYIZ, I (,dl",1 .1 , 1'(1, It will he 11("11' ' , 111111

I gOl rhe /:1'. ' 11"',111 "III "I I" "

58. Wh:1I .tlII'"1 II" ""'"11"1': ZEPIIYI I.. WI",II .,1",,,, I'

It will 10"" WIII,,"II' ".'

(88 J',lIn /(1 t/'r ,lili, ./ 11 ,lllril,,, I f(l ,.11 1)1// If)! tI;{' stairs.}

58. '1'11.1111\ )'"'' I kllow " \\l dl ' """

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