31 PLAYS IN 31 DAYS - 2016

THE COMPLETE SCRIPTS

Written by
Joseph Frost
Draft
8/16
written for the 2016 31 Plays in 31 Days project

Joseph Frost, 2016

4550 Normandy Dr
Jackson, MS 39206
FrostJosephD@gmail.com
* member, Dramatists Guild of America

PLAY ONE - RUN INTO A GREEN SKY

Two people sitting in the front seat of an older truck.
A man, CHUCK, drives.
A woman, LEIGH, sits in the passenger seat, clutching an
overstuffed backpack.
Chuck silently drives, Leigh looks out the window.
A long silence.
The road noise is fairly loud.
LEIGH
Thank you.
CHUCK
Hm?
LEIGH
Thank you. I just wanted to say thank you. Again.
CHUCK
Hm.
LEIGH
Not everyone wants to pick up a hiker. These days. Anymore.
CHUCK
Whys that?
LEIGH
Dangerous, I guess.
CHUCK
Dangerous to hike, too, aint it?
LEIGH
I guess.
A moment.

2.
CHUCK
See that?
LEIGH
What?
CHUCK
Up there.
LEIGH
Those clouds. Yeah, kinda dark, aint they.
CHUCK
They are.
LEIGH
I wouldnt want to get caught in a storm, thats for sure.
CHUCK
For sure not that one.
LEIGH
Whys that.
CHUCK
What color.
LEIGH
What?
CHUCK
What color is it?
LEIGH
I dont know, kinda greenish, maybe.
CHUCK
And whats green mean.
LEIGH
Um... I dont...
CHUCK
Green means go.

3.
LEIGH
Ok.
CHUCK
Green sky means tornados.
LEIGH
Oh.
CHUCK
Thats why I picked you up.
LEIGH
You saw the green sky?
CHUCK
Yep.
LEIGH
And you saw me.
CHUCK
Yep.
(a moment)
Ya headed?
LEIGH
Hm?
CHUCK
Where you headed?
LEIGH
Oh. Yeah, Warren.
CHUCK
Im stopping in Andersonville.
LEIGH
Yeah. No. Thats fine. Great. I appreciate the-CHUCK
Having lunch.

4.
LEIGH
Yeah.
CHUCK
I go to Andersonville once a month to have lunch.
LEIGH
Yeah, Im headed up to Warren. But Andersonville will be a huge help for me. I might
not have gotten there until-CHUCK
Warrens a hike.
LEIGH
It is. That it is.
(long moment)
Why do you eat lunch in Andersonville once a month?
(silence)
Sorry. I was just curious.
Another moment.
CHUCK
My daughter.
LEIGH
Shes in Andersonville.
CHUCK
Lives there. With her mom.
LEIGH
Why do they live there? Theres nothing in Andersonville.
CHUCK
Im not in Andersonville.
LEIGH
Ah.
A silence.
CHUCK
Warren.

5.
LEIGH
Yeah.
CHUCK
To or from?
LEIGH
Warren?
CHUCK
Yeah.
LEIGH
Im going to Warren.
CHUCK
Whats in Warren?
LEIGH
Nothing. Same thing as in Andersonville.
CHUCK
Then you arent going TO Warren.
LEIGH
Hm?
CHUCK
Youre going FROM.
LEIGH
From.
CHUCK
From somewhere else.
LEIGH
Oh. Right. Yeah. I guess I am.
A silence.
CHUCK
And you run into a green sky.

6.
LEIGH
What? Yeah. Run into a green sky. Thats my luck.
Silence, but for the road noise.
CHUCK
When I stop in Andersonville, I usually gotta sit for at least an hour.
LEIGH
Yeah?
(beat)
What do you do for an hour in Andersonville?
CHUCK
Wait.
LEIGH
Yeah.
CHUCK
And what will you do when we get there?
LEIGH
Me?
CHUCK
In Andersonville.
LEIGH
Keep walking, I guess.
CHUCK
Run into the green sky.
LEIGH
I dont have a choice now.
CHUCK
You could.
LEIGH
Could what.

7.
CHUCK
Have a choice.
(beat)
Not much in Andersonville.
LEIGH
No.
CHUCK
But, theres a diner.
LEIGH
Where you eat lunch.
CHUCK
You could... wait... with me.
LEIGH
I could?
CHUCK
You could.
LEIGH
I cant... Im not hungry.
CHUCK
Im gonna stop at the diner, and Im gonna order two plates of the special.
LEIGH
Oh, I cant...
CHUCK
That skys just looking greener.
LEIGH
I want to get to Warren.
CHUCK
Warren will still be there.
LEIGH
Im worried it wont.
CHUCK
That so.

8.
LEIGH
A look at that sky. Those clouds.
CHUCK
Getting greener.
LEIGH
Thats Warren up that way.
CHUCK
Yep.
LEIGH
Greener up that way.
CHUCK
Yep.
A silence.
LEIGH
Whats the special today?
CHUCK
Same every time Im there.
LEIGH
Whats that?
CHUCK
Catfish. Never been there when its not catfish.
LEIGH
Not so special then.
CHUCK
I think the deal is special. Not the catfish.
LEIGH
I guess thats so.
(road noise)
How olds your daughter?
CHUCK
She was 10.

9.
LEIGH
She was?
CHUCK
Tornado. Years ago. Sky as green as this.
LEIGH
And her mom?
CHUCK
She always hated green skies. Slightest turn shed go crazy. And Id say to stay calm,
everythingll be fine. I always told her everythingll be fine. Every time.
The road.
LEIGH
Catfish sounds good.
CHUCK
Dont it?
A moment.
LEIGH
Looks clear that way. Toward Andersonville. Not so green.
CHUCK
Yeah.
They drive.
Lights down.
End

10.
PLAY TWO - AND THIS IS SEPARATION
A man hangs from above by a rope around his waist.
On the floor below lies a woman.
A single light from above the man.
WOMAN
And this is separation
And this is separation
four times fallen
three times arise
And this is separation
The woman rises up, sits.
The man hangs above.
MAN
You were
You were all those things to me
You were
those things and more
More than what youd promised
More than I could imagine
More than
WOMAN
Whispers from miles away
so far gone
a message from a place long abandoned
the childhood pen pal who stopped writing a month after you moved away
but still thought of you as her best friend
but still thought of you

11.
MAN
I couldnt be
I couldnt be any of my own promises
I couldnt be
I didnt know what they were
those words
Those things
a foreign language
A letter in a glass bottle
Trash from the sea
rescued from waves
and misused
I didnt know
WOMAN
I didnt know.
Woman rises.
MAN
I can say them
the words
I can say them again
I can repeat them
say all the things
That would heal it
would that heal it
that would
The woman turns and takes a step upstage, turning her
back.
The man begins to lower to the floor.

12.
WOMAN
A silent dance in an empty house
floors creaking with weight
And without
barefoot steps across hardwood
sticks and leaves from an open door
snap underfoot
and above
And all the time
and all the time
I thought it was your footsteps
in step with mine
all the time
The man reaches the floor, then rises.
Woman circles around him.
MAN
What do I say
WOMAN
A vow
tell me a vow
MAN
I cant
WOMAN
Promise me
That I am
For you
Set apart
Separate
From all others
is that a promise
MAN
You have belief left for me

13.
WOMAN
Belief is all I have
Woman drops man down to his knees.
MAN
Your belief is all I have
Woman grabs the rope. She twists it around him.
WOMAN
Words written on pages of air
penned with tongue and breath
blown into the eyes of a believer
taken in by lungs, deep
sustaining
sustaining
sustaining
Woman stands behind Man. She turns the rope around
him and herself, binding her to him.
Man flops over dragging her down with him.
He rolls until he gets free.
He rises, and leaves her on the floor.
He goes upstage, back to the audience.
WOMAN (CONTD)
And this is separation
And this is separation
four times fallen
three times arise
And this is separation
Woman stands, rope in her hands.
She drops the rope.
Lights down on her. He is backlit.
Backlight out.

14.
PLAY THREE - THAT PLACE BY THE MOSSY STONES
NILA looks out. FILLIP stands behind her.
FILLIP
So this is the place.
NILA
Yep.
FILLIP
I dont know what I expected.
NILA
I told you.
FILLIP
I know you did. But I dont know what I expected.
NILA
Its not like I remembered it.
FILLIP
Or described.
NILA
It seemed more impressive back then.
FILLIP
Maybe it was.
NILA
Maybe it was.
FILLIP
Its... nice.
NILA
Nice.
FILLIP
Nila, Im being sincere.
NILA
I dont think you are.

15.
FILLIP
Im trying to be.
NILA
Thats more like it.
FILLIP
Its not at all how I pictured it.
NILA
Its not how I remember it.
FILLIP
That would do it.
NILA
Fillip.
FILLIP
I didnt mean-NILA
Every afternoon. Every day in the summer.
FILLIP
Its a short walk, thats for sure.
NILA
And this is where Id go. My place.
FILLIP
Wow.
NILA
What?
FILLIP
Im trying to picture you. Little you. Pigtails. Gingham dress.
NILA
Exactly what picture is that?
FILLIP
Wizard of Oz, apparently.

16.
NILA
Try overalls. Cropped hair under a ball cap.
FILLIP
Your dad did what he could.
NILA
Nope.
FILLIP
I didnt-NILA
Im not complaining. It was my idea.
Fillip crosses to the far side.
FILLIP
So, here, then?
NILA
I guess. Didnt really say.
FILLIP
Isnt there where-NILA
Yes.
FILLIP
Then...
NILA
I dont know. I really dont.
FILLIP
He wouldnt have specified it like he did, if those werent his wishes.
NILA
I cant do it.
FILLIP
Nila.
NILA
I cant do it. I dont want to do it. I cant.

17.
Nila is away from Fillip. He looks the other way.
FILLIP
The way you described it was less... green. All this moss I guess grew over the years. But
the stone is there. Underneath. This is the place. I can tell.
NILA
Its changed.
FILLIP
Not as much as you have.
(beat)
You were a little girl.
NILA
I wasnt that little. I knew better.
FILLIP
You wanted to have known better.
NILA
You didnt know me then.
FILLIP
I did not. But I do know something.
NILA
Whats that.
FILLIP
Doing this will help you let it go.
NILA
How do you know that?
FILLIP
Hes gone, Nila. I know it doesnt feel real. And I know it doesnt feel like it, but what
happened... is over. Its over. And this is your chance to say its over. For good.
NILA
Say it?
(beat)
You know what never got said?

18.
FILLIP
Im sorry?
(Nila nods)
And it wont be. I wish it could. But now it cant.
NILA
Cause hes dead.
FILLIP
Cause hes dead.
NILA
You think he was?
FILLIP
I think... I think telling you to do this was the only way he could.
NILA
Ok.
Fillip sets down his backpack and opens it.
He pulls out a small box/urn.
Nila shudders.
FILLIP
Come here.
Nila shuffles over to him.
She looks around. Up.
NILA
See those branches?
FILLIP
Those ones?
NILA
Yeah. Same branches. Basically.
FILLIP
Yeah.
A moment.

19.
NILA
Can you open it?
FILLIP
I think you should.
Fillip holds the urn out.
Nila opens the lid, then takes the urn.
Fillip steps away.
NILA
Where are you going?
FILLIP
This is your moment.
NILA
This is for us.
She holds out her hand. Fillip steps to her and takes it.
NILA (CONTD)
(to the urn)
I hate you so much. I cant forgive you. But I let you go.
Nila dumps out the urn.
She tosses the urn behind her.
FILLIP
Littering.
NILA
I dont care.
Nila spits on the pile of ashes.
FILLIP
Can I...
NILA
Please.
Fillip spits on the pile of ashes.

20.
A moment.
FILLIP
So this was the place.
NILA
It was.
Nila and Fillip turn and go.
Lights down.
End.

21.
PLAY FOUR - THE HOME SHE HAD MADE FOR HERSELF
Celia looks out a window.
Lydie looks in.
Sondi steps closer.
SONDI
I dont know why you had to come here.
CELIA
Its not a secret.
SONDI
It is from me.
CELIA
You dont want me here.
SONDI
I never wanted you to leave.
CELIA
But I did.
Celia turns from the window. Sondi is taken aback.
SONDI
I didnt know.
CELIA
I didnt tell anyone. You wouldnt have known.
SONDI
I would have.
CELIA
Im fine, by the way.
SONDI
I thought it would be rude to ask.
CELIA
Rude to ask how I am.

22.
SONDI
Rude to think it was that big a deal.
CELIA
But you were startled.
SONDI
When.
CELIA
When I turned around.
SONDI
Im sorry for that.
CELIA
Its all right.
SONDI
I wish I hadnt.
CELIA
I understand. It will take some getting used to.
SONDI
I had already gotten used to the other. This is a whole new person.
CELIA
Im still Celia.
SONDI
I know that, but still.
CELIA
This is why I stayed away.
SONDI
I didnt mean anything by it.
CELIA
I know.
SONDI
Its just - you dont look like my friend.

23.
CELIA
But I am the same.
SONDI
Im glad I had a chance to see you.
CELIA
Whats that.
SONDI
Whats what.
CELIA
Those are final words.
SONDI
Celia.
CELIA
Youre asking me to leave.
SONDI
Youve no need to stay.
CELIA
Sondi.
SONDI
Youve left. You turned into someone new. Then you show up again. Theres nothing else
to be done here.
CELIA
You know why I came back.
SONDI
No.
CELIA
Sing me a song.
SONDI
Celia.

24.
CELIA
Come on.
SONDI
I dont do that anymore.
CELIA
What.
SONDI
Sing songs.
CELIA
You didnt.
SONDI
I did.
CELIA
You gave it up.
SONDI
It gave up on me long before.
CELIA
Who is this Sondi who isnt a singer anymore?
(beat)
Its like youre a whole different person.
(beat)
I hardly recognize you.
SONDI
Id point the way out, but Im sure you remember.
Sondi turns away.
A moment.
LYDIE
A child, lost in the woods, climbed the highest tree she could find. Tenuously holding onto
tiny branches, she thought light thoughts as she reached the top. She pushed aside the
brush to see the sky, to see the sun setting over the ridge, far from where she was.
Confident in her bearings, she descended. Carefully placing each foot, solid holds with
each hand, she turned round the tree several times before she reached the ground.
(MORE)

25.
LYDIE (CONT'D)
She looked up and down the woods, and could not for the sake of her own life, remember
which way was the ridge, the sunset, the west, and which was not. She sat down, dejected,
in the mouth of the forest. And as the night rose, the forest swallowed her.
CELIA
Shes something else now.
LYDIE
You knew she would be.
CELIA
I feared it, but I didnt expect it.
LYDIE
Give her a chance.
CELIA
I gave her one, she didnt want it.
LYDIE
Im sure she did. She was afraid.
CELIA
She was afraid.
LYDIE
Of who you have become.
CELIA
Who have I become?
LYDIE
She doesnt know.
CELIA
I wanted to show her.
LYDIE
And now you dont?
CELIA
I do.
LYDIE
Then this is how you show her. After shes shut you out, what do you do?

26.
CELIA
She cant want me to be the old me.
LYDIE
Thats the only you she knows.
CELIA
You let me be new.
LYDIE
That took time and you know it did. You visited me first because you knew Id be more
open than Sondi. You were right. But now, you have that river to cross. Cross it.
CELIA
I cant bear it.
LYDIE
Celia.
CELIA
She can go to hell, Lydie.
A moment.
LYDIE
Youre right. She can.
Celia crosses away.
SONDI
I told her not to go.
LYDIE
I was there.
SONDI
Right.
LYDIE
You know she had to go. And you knew it then.
SONDI
I loved her the way she was.
LYDIE
She hated herself.

27.
SONDI
But I loved her.
LYDIE
She couldnt accept that until she loved herself. Come on, Sondi. You know this.
SONDI
I loved her when she was...
LYDIE
Go ahead.
SONDI
You know what she was like.
LYDIE
I do. I remember. And?
SONDI
And she left.
LYDIE
I know.
SONDI
So...
LYDIE
So youve earned the right.
SONDI
I have.
LYDIE
You know what you sound like.
SONDI
Thats not...
LYDIE
But thats what youre saying, Sondi.
A moment.
SONDI
Im not that person.

28.
LYDIE
But you are.
SONDI
I am.
Sondi steps away.
LYDIE
When the little child awoke in the belly of the forest, she was, at first, frightened. It was
cold, and it was hungry, and it was far from home. But she gathered some sticks and made
a fire and a shelter, and gathered moss and made a bed. She gathered and hunted food.
And she gathered friends, and made a community. And she chopped down some of the
trees and made a city. And there, in the belly of the frightening forest, the little girl made a
new home. And she became the queen.
Sondi approaches Celia.
CELIA
You came for my forgiveness.
SONDI
No.
CELIA
You told me to leave.
SONDI
I did.
CELIA
And I complied.
SONDI
You did.
CELIA
Then there is nothing more I can do for you.
SONDI
You can accept my forgiveness.
CELIA
Ive done nothing that needs forgiving.

29.
SONDI
You left. When I told you not to. You changed. When I didnt want you to.
CELIA
You dont get to decide for me.
SONDI
I see that.
CELIA
I dont ask for your forgiveness.
SONDI
You dont have to. You have it.
Lydie arrives back behind the window.
LYDIE
The queen of the belly of the forest knew her new home was not her home. But it was the
home she had made herself. And there she lived her many days.
Sondi embraces Celia.
Lights down.
End.

30.
PLAY FIVE - BAREFOOT PALMS
A desk in the darkness, a single table lamp illuminates a
man, dishevelled. He stands, and climbs up onto the desk.
Essentially, his feet are the only thing illuminated. He is
barefoot.
BAREFOOT
This is the story of a pair of feet that carried a man from one place to another, step by step,
together. They, at the start, were soft and smooth and young, and then, by the time they
were done, they were old, and craggy, and hard, and sharp. But the man had been carried
from one place to another, step by step. And the feet were tired. And they crawled into
bed and slept for days and weeks. But they didnt get any softer. They didnt get any
younger. There was no relief for them. They had sacrificed all that they were for the
journey. All for the journey.
A woman steps forward, holding her hands in front of her.
She steps behind the man on the desk, places her hands
palm up on the front edge of the desk.
PALMS
This is the story of a pair of hands. They toiled for a man until the night from the day, all
the sun, to make for a man a living. To provide shelter, and food, and allow the man to be.
In the morning, they would be fresh and clean, and by the moon, they were swollen,
cracked and scarred. And by the light they would rise again, ready to task, ready to give
themselves again, to lose themselves in service. All for the service.
Barefoot steps off of the desk.
Palms turns off the desk lamp as lights rise.
Palms sits on the desk.
PALMS (CONTD)
Weve stopped.
BAREFOOT
The river.
PALMS
Cross.
BAREFOOT
Its deep.

31.
PALMS
Swim.
BAREFOOT
Its quick.
PALMS
We should just go.
BAREFOOT
We have a place to be.
PALMS
But we arent there.
BAREFOOT
We cant get there by going.
PALMS
We cant get there by staying.
BAREFOOT
That wasnt what I was suggesting.
PALMS
Then lets go.
BAREFOOT
We have to think.
PALMS
We dont have to.
BAREFOOT
To get to the place we are to be.
PALMS
We cant just think, we have to go.
BAREFOOT
We have to think of how to get there.
PALMS
By going.

32.
BAREFOOT
How.
(beat)
Say how.
(beat)
River is deep and quick.
PALMS
Bridge.
BAREFOOT
None nearby.
PALMS
Make it.
BAREFOOT
Of.
PALMS
Wood.
BAREFOOT
No trees.
PALMS
Stone is better.
BAREFOOT
No quarry.
PALMS
Raft.
BAREFOOT
No trees.
PALMS
Do you have any ideas?
BAREFOOT
None.

33.
PALMS
Then your ideas are like wood and stone.
BAREFOOT
How.
PALMS
They dont exist.
BAREFOOT
Well have to wait for the river to weaken.
PALMS
Will it?
BAREFOOT
It must.
PALMS
It must?
BAREFOOT
When the spring is gone.
PALMS
Couldnt we look for a bridge?
BAREFOOT
Is there one?
PALMS
There must be.
BAREFOOT
Could be far.
PALMS
We could just go.
BAREFOOT
Looking for a bridge?
PALMS
With the river.

34.
BAREFOOT
Where does it go?
PALMS
Downriver.
(holds out hand)
Come on.
BAREFOOT
I want to go to our place to be.
PALMS
It may be there.
Barefoot grabs Palm, rises up onto the desk.
Palm turns on the desk lamp, the other lights go down.
Their feet are illuminated.
BOTH
Four feet journeyed long and far, letting the water flow them down a winding riverpath.
They arrived in a place, not far from the sea. They were fresh and young, and lived long
near the sea tide.
They hold their hands down by their feet.
BOTH (CONTD)
Four hands worked hard, and shared labor, and saved each other and themselves from the
long sun, and held warm in the cold moon.
(beat)
The eight of them lived long. Downriver. Near the sea tide.
The desk light goes out.
End.

35.
PLAY SIX - A TEST OF ABEL
A barn or rough-hewn wooden room. Illuminated
primarily by kerosene lamp.
A man is chained up, his hands strung up to the ceiling.
This is KEEL.
Another man, wearing dirty overalls and no shirt
underneath, stands facing out an open window. This is
DORN.
Dorn pulls out a handkerchief and wipes his face.
DORN
Hot night. Moon aint giving no relief tonight.
(beat)
I said no relief tonight. You hear that? Moons up and we sweatin like noon.
(beat)
Might could be just be in here.
(beat)
You didnt do this just to yourself, you know. Im in here too. This is what I gotta do
now. You know that dont you. You know that.
(beat)
And it aint like you no stranger here. Like you come from somewheres else and curse us
with your plague like you dont know us from Adam, and we dont know you. Like this is
one of them acts of god coming out of the clear blue sky. No it aint.
(beat)
Abel cant betray Cain unless hes kin.
KEEL
Cain...
DORN
Hah?
KEEL
Cain... betrayed Abel.
DORN
Says you.
KEEL
Says the Bible.

36.
DORN
Thats just something they wrote down. I say Abel betrayed Cain.
KEEL
Never read your bible.
DORN
You calling me dumb?
KEEL
I didnt.
(beat)
You want me to?
Dorn kicks Keel in the back.
DORN
You should have read it. Then maybe you wouldnt have ended up here.
(beat)
But nah. Some people cant learn, I bet. You were gonna end up here no matter what.
KEEL
(through gritted teeth)
I could use some water.
DORN
Whats that?
KEEL
Water. Could use some
DORN
I bet you could. Its hot. Even though its night.
KEEL
They told you to give me water.
DORN
You were out when they said that. Out cold. You couldnt have heard that.
KEEL
You admit it.
DORN
I dont have to give you water.

37.
KEEL
They told you to.
DORN
I will give you water.
KEEL
Ok.
DORN
When I want to.
KEEL
Ill let them know when they get back.
Dorn grabs a bucket of water. He takes a drink directly
from it, spilling some water on himself. He sets down the
bucket.
Dorn plunges in his hand, flings the handful of water at
Keels face.
DORN
There you go.
KEEL
I didnt get any.
DORN
But I gave it to you.
Keel spits.
A moment.
DORN (CONTD)
It didnt have to be like this.
(beat)
This could have been different.
(beat)
You didnt have to be Abel.
KEEL
Cain.

38.
DORN
Abel. You shut your mouth. Im Cain here, boy. Dont you forget it.
KEEL
You got them mixed up.
DORN
I aint the one mixed up. Thats you. Youre mixed up. You done what you done, and
now your Abel ass is strung up out here when you could have been the fatty calf, but now
you gonna be the prodded son. And Im gonna be the one to prod at you. Me. Cain.
KEEL
You even know how to read the bible?
Dorn slaps Keel in the back of the head.
DORN
I read more bible that you even forgot. You didnt even go to church on Sundays. I was
there every week in the first pew, right next to pop. And he got the biggest bible in church.
(beat)
Youre the one whos mixed up. Always have been. Off running around. I got it straight.
I work hard, Im right there next to pop, every day, and even Sundays. If Im him, then
little me is-(slaps his hip)
Right here. And where are you?
(indicates the other hip)
Not right here. Nowhere.
(steps to Keel, grabs his jaw)
But me and pops got a plan.
Dorn lightly slaps Keels face. He steps to the corner of
the room.
KEEL
A plan.
DORN
Gonna teach you a lesson and answer a question at the same time.
(grabs a burlap sack)
Brought something home from church.
(drops the sack in front of Keel)
Just a little something. Well call it a test.

39.
KEEL
A test.
The bag moves slightly. It is a snake.
DORN
Meanest one we got at church. Bit pop more than once.
KEEL
Gave him a test.
DORN
That it did. Gave him that fever. But pop passed the test. How do you think youll do?
KEEL
Pops coming back.
DORN
Not for some time. Whats say we give you a test before he does.
KEEL
Pop wont like that. You know what he told you.
DORN
You dont know what he told me.
KEEL
You do.
DORN
Shut up. You shut your lyin mouth right now.
Dorn grabs the bag and opens it.
KEEL
Pop doesnt want this.
DORN
Thats not-KEEL
You do.
DORN
Stop it. This aint me.

40.
KEEL
Its what you wanted. Its why you followed me. Its why you caught me and put me in
here. This is you.
DORN
This is what needs to be.
KEEL
Pop doesnt want this.
Dorn shows the open bag to Keel.
DORN
You see this? This is it. Im gonna do to you what needs to be done. This is your test.
KEEL
You dont even know-DORN
This aint me. Or Pop. This is you. This is a test of you now. Either you live or you die.
Dorn taunts Keel, making snakes fangs out of his fingers.
Dorn strikes and bites Keels arm.
Keel leaps up and kicks Dorn on the side of the head.
Dorn drops to the ground, out cold. The bag drops to the
ground.
The rope holding Keel breaks under his weight, and Keel
flops to the floor. Keel rises and notices the bag.
KEEL
A test.
Keel takes the bag, and puts it over Dorns head.
A knock at the door.
Keel goes to the window, and jumps out.
Lights down.

41.
PLAY SEVEN - A SLIPPERY ONE
Thomas is on a small balcony, smoking a cigarette. He is
wearing pajamas and a bathrobe. It is cold outside.
Thomas holds a cell phone, and is scrolling through it.
The sliding glass door behind him opens. Barb sticks her
head out.
Thomas puts the cell in his pocket.
BARB
Come inside.
THOMAS
Im waiting.
BARB
Youre smoking.
THOMAS
Im smoking while Im waiting.
BARB
Its cold.
THOMAS
I know that.
BARB
Come inside.
THOMAS
Youre letting the heat out.
Barb steps out, and pulls the door almost all the way
closed. She is also wearing pajamas and a bathrobe.
BARB
I dont like you being out here in the cold.
THOMAS
Im waiting.

42.
BARB
Shell be home soon.
THOMAS
Half hour late already.
BARB
You gotta let her grow up.
THOMAS
A grown up shows up on time.
BARB
She wont grow up if she doesnt make any mistakes.
THOMAS
God I hope thats not true.
BARB
You made mistakes.
THOMAS
Ones that can be learned from. Staying out all hours leads to nothing good. How do I
know this? First. Hand.
BARB
Oh, please. Shes a kid. Shes growing up. Let it happen. Come inside.
THOMAS
Ill be in in a while.
BARB
Come in now.
THOMAS
Almost done.
Barb grabs the cigarette from Thomas mouth, puts it out,
tosses it.
BARB
Done. In.
Thomas just looks at Barb.

43.
THOMAS
Shes not coming back.
BARB
Dont be ridiculous.
THOMAS
She told me.
BARB
When?
THOMAS
On her way out.
BARB
She says stuff like that all the time.
THOMAS
She does.
BARB
Why is this any different, then?
THOMAS
Because I know what it looks and sounds like when she doesnt mean it.
BARB
She meant it.
THOMAS
Yep.
BARB
Well, why are you just standing around? Go get her.
THOMAS
I dont know where she is.
BARB
Well go look. All the places she usually goes.
Thomas pulls a cell phone out of the bathrobe pocket,
hands it to Barb.

44.
THOMAS
Already called them all. Not there.
BARB
You called all these people.
THOMAS
Yes.
BARB
Thats why youve been out here for an hour.
THOMAS
Shes a slippery one.
A moment.
BARB
What do we do now?
THOMAS
We wait.
Thomas steps toward the door.
Barb taps him on the arm. Thomas stops.
Barb puts out her hand. Thomas pulls a cigarette out of his
robe pocket.
Barb puts it in her mouth. Thomas pulls out a lighter and
lights her cigarette.
BARB
Ill just be...
THOMAS
Yeah.
Thomas goes inside. Barb smokes and scrolls through the
cellphone.
Lights down.

45.
PLAY EIGHT - SHE SAILED AND SMILED
The sound of flowing water.
Lights up.
JILL stands in the center of a bedroom, she wears a
flowing light nightgown.
Projected onto the room is flowing water - it appears to be
running down the walls and filling the room.
FEMALE VOICE
And as it sunk
and as it sunk
under the waves and rain
the ship
the ship
she was relieved
relieved of the struggle
relieved of the storm and stress
relieved to finally succumb
And as it sunk
and as it sunk
under waves and rain
she
smiled
The projection reaches the level of seeming to drown Jill.
The projection disappears. The sounds instantly stops.
Lights shift.
It is nighttime. Cricket sounds.
Jill crosses the floor and climbs into bed.
JILL
Im going to bed now.
A male voice comes from a cellphone on speaker.

46.
MALE VOICE
Still early yet.
JILL
Time zone.
MALE VOICE
Right. Ill be up for a while.
JILL
Well Im exhausted.
MALE VOICE
I know. Im sorry.
JILL
Long day. I miss you.
MALE VOICE
I miss you too.
A silence.
MALE VOICE (CONTD)
Well, goodnight.
JILL
Wait.
MALE VOICE
Whats that?
JILL
I said wait.
MALE VOICE
Ok.
JILL
I want to say something.
MALE VOICE
What is it? Are you all right?

47.
JILL
Yeah. Yes. Im fine. I just wanted to...
MALE VOICE
What is it, Jill?
JILL
Something happened today and I want to tell you what it is.
MALE VOICE
I thought you told me everything, already.
JILL
No, I did. This is just... something else.
MALE VOICE
Um, ok. I dont know what that means.
(a long moment)
Jill?
Lights shift.
A projection and sound of strong winds.
FEMALE VOICE
She rocked back and forth
She rocked to and fro
blown by winds
slapped by icy waves
each strike a bruise
each whip a groan
She rocked back and forth
She rocked to and fro
blown by winds
slapped by icy waves
each snapping fuse
each cracking moan

The projection gets stronger.

48.
Actual wind blows onstage, Jills hair is tossed and other
objects react.
The projection and actual SFX cease.
Lights shift back to night.
MALE VOICE
Jill?
JILL
I... heard something.
MALE VOICE
You heard something.
JILL
Yes.
MALE VOICE
Right now?
JILL
Earlier. Today. This afternoon.
MALE VOICE
Heard. What?
JILL
Its silly.
MALE VOICE
What is it?
JILL
I heard... the voice of God.
(beat)
I know, its silly.
MALE VOICE
I didnt say that.
JILL
But it is.

49.
MALE VOICE
What... what did... the voice say?
JILL
Well, this is even sillier.
MALE VOICE
What is.
JILL
He told me... he told me not to tell you.
(beat)
See?
MALE VOICE
Youre telling me that God spoke to you today...
JILL
Yes.
MALE VOICE
But he told you not to tell me about it.
JILL
He told me not to tell you what he said.
MALE VOICE
But he said you could tell me that it happened.
JILL
You know I dont know, I didnt ask. But I feel like hed have said something if-MALE VOICE
Jill.
JILL
What?
MALE VOICE
Are you ok?
JILL
I... I dont know.

50.
MALE VOICE
Did he tell you something bad was going to happen to me or something?
(beat)
Jill?
JILL
No.
MALE VOICE
But he said not to tell me.
JILL
Yes. For sure.
MALE VOICE
Was it even about me?
JILL
No. Not really. No.
MALE VOICE
Then why cant you tell me.
JILL
I dont know. He just said.
MALE VOICE
So why tell me this?
JILL
Because... I wanted... I wanted you to know.
A pause.
MALE VOICE
Ok.
JILL
Are you upset?
MALE VOICE
I dont know what I am, Jill.

51.
JILL
This is weird, I know.
MALE VOICE
I dont really know what it is. Im a little worried that you... that youre not ok.
JILL
Im fine, I promise.
MALE VOICE
Really.
JILL
Yes.
A moment.
MALE VOICE
Ill be home tomorrow, Jill. Can you hang in there until I get in tomorrow afternoon?
JILL
Im fine. I promise.
MALE VOICE
Ok. You sure.
JILL
Definitely.
MALE VOICE
Ok. Well, get some sleep. Its late.
JILL
Yeah. It is.
MALE VOICE
Ill see you tomorrow.
A moment.
JILL
Tomorrow.
(beat)
I love you.

52.
MALE VOICE
I love you too. Good night.
JILL
Good night.
The sound of the phone being hung up - Jill does not hang
up, we hear the sound.
A moment.
The sound of calm waters. And light winds.
Projections - trickling water. Light winds.
FEMALE VOICE
And as she sailed
and as she sailed
light winds
lapping waves
she sailed
she sailed
she sailed across
across the depth of the lake
held aloft by water
propelled by wind
and as she sailed
and as she sailed
farther and father
from home and shelter
she sailed
she sailed
she sailed
and
smiled
Jill lays down.
Projections - winds and water get stronger. Sounds
accompany.
All builds to a peak.

53.
Blackout - silence.
End.

54.
PLAY NINE - COLD BREAKS ANEW
A bridge.
GERALD stands just off the bridge.
MINNIE is on the bridge, the opposite side from Gerald.
They are young, and dressed in clean clothing evocative of
perhaps the 1950s.
MINNIE
I wanted him to be with me.
GERALD
I wanted to stay home with me.
MINNIE
There was so much to see and places to go.
GERALD
There was so much life to live with the ones we loved.
MINNIE
Those who loved me knew I needed to go.
GERALD
To go was to be incapable of loving those I would leave.
MINNIE
I wanted...
GERALD
I wanted...
BOTH
You.
A light shift to night time. The railing illuminates.
Minnie begins to walk toward Gerald.
MINNIE
You came.

55.
GERALD
I told you Id meet you here.
MINNIE
But I wasnt sure.
GERALD
I wouldnt let you down.
MINNIE
Come here.
GERALD
Im already here.
Minnie stops close to the center, holds out her hand.
MINNIE
Hold my hand.
GERALD
Theyre waiting for us at the dance.
MINNIE
You can dance with me here.
GERALD
Theres no music.
MINNIE
We dont need music to dance.
Gerald takes a step onto the bridge.
He gets close enough to grab her hand at a distance. He
pulls Minnie toward him.
GERALD
Lets go.
MINNIE
I want to watch the moon over the lake.

56.
GERALD
Its the same moon all over town.
MINNIE
But its over the lake, here.
GERALD
Minnie.
MINNIE
Stand here with me.
Gerald does, reluctantly.
GERALD
It is a beautiful moon.
MINNIE
It is, isnt it.
GERALD
You love this.
Minnie snuggles into Geralds arm.
MINNIE
I do.
A moment.
Lights shift. It is afternoon.
GERALD
I cant believe hes gone.
MINNIE
Im relieved for him. So much pain he was in.
GERALD
Ill miss him.
MINNIE
He wouldnt want us to mourn for too long.
GERALD
But we should take some time to let this all sink in.

57.
MINNIE
What do you mean?
GERALD
We need time. You need time.
MINNIE
What time?
GERALD
I think we should postpone the trip.
MINNIE
The trip.
GERALD
For a while. Just to heal. Well still go.
MINNIE
When?
GERALD
Well have to see. It depends.
MINNIE
Depends on what?
GERALD
How long it takes. Well know when its time.
MINNIE
Its time. I know it is.
Minnie turns to walk across the bridge.
GERALD
Wait.
Gerald gets in front of her.
MINNIE
I dont need to wait. I dont need to heal. I need...
GERALD
You need.

58.
MINNIE
We need to go.
GERALD
I need some time.
MINNIE
Gerald.
GERALD
I need it. Im not ready to go.
MINNIE
Theres nothing here to do, now.
GERALD
Except heal. Except be with the family, be with each other.
MINNIE
Thats not what I need.
GERALD
Maybe thats what they need.
MINNIE
Who?
GERALD
Your family. Hes only been gone for-MINNIE
Hes gone. Thats it. And I need to go, too.
GERALD
Minnie.
MINNIE
I mean it. Im going.
Minnie runs to the end of the bridge and stops. She faces
upstage.
Lights shift. It gets dim.

59.
GERALD
Winds blow
waves ripple across the lake
shining sunlight
every which way
east and west
and back to the sky
trying to
trying to
illuminate
the winds
leaves rustle in the trees
until they can no more
they come to rest
one on one on one
turning green to gray
grounds pale under snow clouds
tucked in their blanket to rest
to wait
and snuggle in for the long dark
and wait
until
cold breaks anew
cold breaks anew
Gerald leans on the railing.
Lights shift. Morning.
Gerald is older now. And so is Minnie.
MINNIE
Gerald.
(he does not turn)
I saw it. I saw it all. All I had to do was go, and it was there. Everything I told you I
needed.
GERALD
Im glad it was.

60.
MINNIE
Gerald?
(he does not turn)
There were towers and walls, castles and villages, things ancient and new. And people.
So many people. I saw them. I saw people.
GERALD
Im glad you did.
MINNIE
But Gerald...
GERALD
Yes?
MINNIE
I never saw... my... people.
Gerald turns.
GERALD
You didnt.
MINNIE
They were here.
GERALD
One wasnt.
Gerald reaches out his hand.
Minnie takes it.
Gerald leads her back to her side of the bridge.
They stop.
Gerald offers his arms. Minnie jumps into them.
Gerald carries her off stage.
Lights down.

61.
PLAY TEN - GOOD MEN
A flashing yellow caution light.
Underneath, a chair.
Harvey stands in the darkness.
HARVEY
I was lost at night. Dark blind. The world, there, present, and easily navigateable. But for
the non-sun. Frustrating. That physical sense that one would be better off not fighting the
pitch, but stopping, and waiting. For light.
(beat)
I could feel it. The right direction was at my fingertips. In front of my nose. Facing me. But
I had no proof. And I felt I needed proof. I felt that way.
The yellow light stops flashing.
Harvey sits in the chair.
Gina enters.
Lights some up, a bit.
GINA
I waited for you.
HARVEY
You shouldnt have.
GINA
I promised.
HARVEY
So did I.
GINA
Nothing else I could do.
HARVEY
Anything else.
GINA
Harvey.

62.
HARVEY
Gina, I want to go to sleep.
GINA
Its not that easy.
HARVEY
Could be.
GINA
You showed up at the wrong house at 2 am if you wanted it to be easy.
HARVEY
We could hold this fight for morning.
GINA
That's what you really want.
HARVEY
I do.
GINA
Youll still be here in the morning?
HARVEY
Right here on this couch.
GINA
Freds off at 4:30. You probably should be gone by 5.
HARVEY
Fred.
GINA
My husband.
HARVEY
Oh.
GINA
He works nights.
HARVEY
Second shift.

63.
GINA
Hes a good man.
HARVEY
Imagine he is.
(beat)
I dont have an alarm.
GINA
Id figure something out if I were you.
Gina crosses past Harvey.
HARVEY
I didnt want to let you down.
GINA
Funny.
Gina fades into the dark.
The yellow light flashes.
Harvey stands.
HARVEY
Theres a handful of constants in life. Wanting more. Not getting it. Not seeing a way out.
Failure. Sometimes theyre like clockwork.
Walter sits in the chair.
WALTER
If all youre gonna do is lurk around the door, you might as well go.
HARVEY
Im here, arent I?
WALTER
Not even half, son. Not even just physically. I dont know how you do it. You walk in
and its like you already left. Dont explain it to me, I dont want to know how it works.
HARVEY
Make me feel bad for showing up.

64.
WALTER
I feel bad when you show up. I need an antacid.
HARVEY
I dont want anything from you if thats what you think.
WALTER
Get me an antacid.
HARVEY
I dont have any.
WALTER
The drawer.
HARVEY
Get it yourself.
WALTER
Please.
A moment.
Harvey gets the antacids, hands them to Walter.
Walter eats one.
HARVEY
Better?
WALTER
Isnt even down my throat yet.
HARVEY
You knew Gina got married?
WALTER
Freds a good man.
HARVEY
Because he works night shift?
WALTER
Nope. He works night shift because hes a good man. Does what he needs to do. For Gina.
For Sarah.

65.
HARVEY
Sarahs my daughter.
WALTER
Hes a good man.
HARVEY
That so.
WALTER
Its what a good man does.
HARVEY
Whatd you do?
WALTER
Son.
HARVEY
I mean it.
WALTER
You know Im not a good man.
HARVEY
I know that.
WALTER
You and I, neither of us are good men. Ginas got a good man now.
HARVEY
This is advice?
WALTER
Take it or leave it.
HARVEY
Why should I take advice from a man whos not good?
WALTER
Because a no-good man knows good when he sees it. And he knows when the goods not
there. Walk away.
HARVEY
I can do that.

66.
WALTER
I know you can.
Harvey crosses away.
HARVEY
Happy birthday.
WALTER
Never is.
The flashing yellow light.
Walter leaves.
Harvey stops by the chair.
Gina enters wearing a bathrobe, sits down.
HARVEY
We work together.
GINA
So do gasoline and a match.
(beat)
This cant happen again.
HARVEY
It could happen again.
GINA
I know.
HARVEY
You want me to go.
GINA
I dont. I really dont.
HARVEY
We could leave. Before he even comes home.
GINA
I dont want that either.

67.
HARVEY
What do you want, then?
GINA
Dont do that to me.
HARVEY
Do what?
GINA
Back me in a corner. This aint my decision.
HARVEY
It is. Told you what I want. You and Sarah with me. Its up to you.
GINA
Sarah?
HARVEY
She can come with us.
GINA
Shes not coming with us.
HARVEY
Why not?
GINA
She doesnt deserve that.
HARVEY
Shes my daughter.
GINA
She deserves better than you.
A moment.
HARVEY
Youd leave her behind.
GINA
Before Id let her go with you.
HARVEY
Freds a good man, isnt he.

68.
GINA
He is.
HARVEY
Hes better than me?
GINA
No question.
HARVEY
And what about you?
GINA
Hes too good for me.
HARVEY
St. Fred.
GINA
Compared to me? Absolutely. After what we just done?
HARVEY
I cant believe this.
Harvey crosses.
GINA
So youre leaving?
HARVEY
I didnt say that.
GINA
You were just doing it.
HARVEY
Whats that.
GINA
What you do. You sure know how to find the door when it all dont go your way.
HARVEY
I didnt come here, you know, for...

69.
GINA
What did you come here for?
(beat)
This should be good.
A long moment.
HARVEY
I was never here.
The yellow light begins to flash.
Gina crosses away.
Harvey stands for a moment then stands up on the chair
under the yellow light.
All lights but the yellow flash go dark.
The yellow stops.
End.

70.
PLAY ELEVEN - FIFTY YEARS AGO
A patch of trees. Afternoon.
George, an older gentleman, comes in with a small shovel,
and a lunch pail. He sets the pail down and starts to
shovel.
After a few moments, Lorraine enters, a nicely dressed
lady in her 60s. She watches him for a moment.
George stops. He looks around, but does not see Lorraine.
LORRAINE
Youre in the right spot.
George turns to her.
GEORGE
You should know better than to sneak up on an old man.
LORRAINE
Is that what you are?
GEORGE
Youd know.
LORRAINE
You didnt forget.
GEORGE
What?
LORRAINE
Where its buried. Youre in the right spot.
GEORGE
That so?
LORRAINE
Youre digging it up, arent you?
GEORGE
I dont think so. I was... digging a grave.

71.
LORRAINE
Yours?
GEORGE
Maybe.
LORRAINE
You came to dig it up. I know you did. You know I know. Dont be like this, George. Its
not becoming, a man your age.
GEORGE
Its not here.
LORRAINE
Its there, you just have to keep digging.
GEORGE
Or you could.
LORRAINE
Me?
GEORGE
You didnt get in a canoe and row out here for nothing. You were gonna dig it up
yourself.
LORRAINE
Thats not what I was doing.
GEORGE
Liar.
LORRAINE
I promise. I had no intention of digging it up. I dont have a shovel or anything.
GEORGE
You could have used your claws.
LORRAINE
You know what today is, dont you?
GEORGE
Thursday.

72.
LORRAINE
Its a Sunday, George. But thats not what I mean.
GEORGE
I have no idea what you mean, Lorraine.
LORRAINE
Its carved on that tree behind you.
GEORGE
Rexa hearts Jessie. You know I have no idea which one of those is the boy. If any.
LORRAINE
Above that.
(beat)
Read it.
GEORGE
I know what it says.
LORRAINE
Do you remember when?
GEORGE
Dont be this way, Lorraine.
LORRAINE
Keep digging.
GEORGE
Im not digging anymore.
LORRAINE
Youre gonna make me do it, arent you.
GEORGE
Its not there.
LORRAINE
You have to keep digging.
George crosses away.

73.
GEORGE
I just came out here to eat my lunch and get some fresh air. Doctor says I need that.
LORRAINE
Your doctor prescribed fresh air?
GEORGE
Yes.
LORRAINE
I bet you still have a copay for that.
GEORGE
Absolutely.
A moment.
LORRAINE
I know youre embarrassed that I caught you digging for it, George. But were both here.
Theres no reason this has to be awkward.
GEORGE
No?
LORRAINE
50 years is a long time.
GEORGE
It is.
LORRAINE
You know it was yesterday, dont you?
GEORGE
What?
LORRAINE
It was 50 years ago yesterday.
GEORGE
No it wasnt.
LORRAINE
It was. The 13th is my sisters birthday. We came out here that night, after the party.

74.
GEORGE
We did?
LORRAINE
Yes.
GEORGE
And today is...
LORRAINE
The 14th.
GEORGE
The 14th?
LORRAINE
Yes.
GEORGE
Are you sure?
LORRAINE
Yes.
GEORGE
Then why are you out here today?
LORRAINE
Because, George. I knew youd forget.
GEORGE
I didnt forget. I misremembered.
LORRAINE
I know you did.
A moment.
GEORGE
You dug it up yesterday, then?
LORRAINE
No. Was the ground already dug up?
GEORGE
No. So where is it?

75.
LORRAINE
Its still under there.
GEORGE
It isnt. You can look.
Lorraine crosses to look.
LORRAINE
I think it was buried deeper.
GEORGE
It wasnt.
George is behind Lorraine, he pulls a necklace out of his
pocket. He puts it around her neck.
LORRAINE
George.
GEORGE
I dug it up yesterday. Cleaned it up last night.
LORRAINE
Its just like I remembered.
GEORGE
I know.
A moment.
LORRAINE
Im sorry about what happened. To us.
GEORGE
It wasnt to be.
LORRAINE
But still.
GEORGE
(indicates the river)
Lots of water has passed by here since then.
LORRAINE
Its a different river than it was back then.

76.
GEORGE
We were a different river back then.
LORRAINE
We were.
A moment.
GEORGE
I should have sent a card when I heard what happened to Steven.
LORRAINE
He was suffering so. It was a relief for him to go.
GEORGE
Still.
LORRAINE
Shirley well?
GEORGE
Stable. I visit her every day. Some days she remembers.
(beat)
I did bring a snack if you want.
LORRAINE
I... cant.
GEORGE
All right.
LORRAINE
I just came to...
GEORGE
I know.
She touches the necklace.
LORRAINE
Thank you. Again.
GEORGE
A gift given twice is twice as nice.

77.
LORRAINE
Goodbye, George.
GEORGE
Lorraine.
Lorraine leaves.
George gets his pail and opens it.
He takes out a sandwich.
He sits on the ground near the hole.
George eats.
Lights down.
End

78.
PLAY TWELVE - ANGEL SAVES RUBY
Darkness. Dinge. Perhaps some neon.
A front desk.
A child, ANGEL, maybe 7 or 8, enters. She is roughly
dressed. She goes to the desk and rings the bell.
A long moment.
An ominous gentleman, RUBY, comes behind the desk.
RUBY
Yeah?
Angel just stares at him for a moment.
Ruby does not see her - he is looking over top of her.
RUBY (CONTD)
Dont ring the bell if you arent gonna wait around.
Ruby goes back.
Angel rings the bell again.
Ruby returns.
RUBY (CONTD)
What?!?!
ANGEL
Excuse me sir.
Ruby notices her.
RUBY
Jesus, kid. Where the fu... I didnt see you. Did you ring the bell?
ANGEL
Yes sir.
RUBY
I didnt see you. What are you doing here? You shouldnt be in a place like this, Ill tell
you that.

79.
ANGEL
I had to come.
RUBY
You had to? Did you? I dont think thats true. This isnt a good place for a girl like you,
believe me. What if your father found out you were here?
ANGEL
He knows.
RUBY
He what? Oh no.
ANGEL
Hes the one who told me to come.
RUBY
Jesus.
ANGEL
I wanted to stay home, but he asked me to come.
RUBY
Why would he do that?
ANGEL
To get him.
RUBY
To get him? Hes here?
ANGEL
Yes, sir.
RUBY
Uch. Not sir. Dont call me sir, please.
ANGEL
Ive come to get my father. Hes here. In room seven.
RUBY
Room seven? Thats... Silvers room.

80.
ANGEL
Silvers room. Yes. Thats what he said.
RUBY
No. No, you shouldnt go in there.
Ruby comes around the counter.
ANGEL
But I have to. My father asked me to come to get him in Silvers room.
Ruby kneels in front of Angel.
RUBY
Sweetie, listen to me. This is no place for a girl like you. Girls like you come here, and a
lot of them dont leave... they dont leave the same way that they came in. You should go
now.
ANGEL
But my father...
RUBY
Im telling you to forget what he said.
ANGEL
I cant do that.
RUBY
Hes wrong.
ANGEL
What?
RUBY
Silvers room is no place for you. You have to go. Now.
ANGEL
I cant do that.
RUBY
Now. Please. Im asking you.
ANGEL
I have to do what my father asked me.

81.
A door opens, so that we see the light from the room cast a
shadow of a female figure across Ruby and Angel.
RUBY
Silver.
SILVER
Is this my little Angel?
RUBY
No this is... Um... this is my cousins... girl.
ANGEL
My name is Angel.
SILVER
Youre my little Angel?
RUBY
Her names Angel, yeah. But this girl is, shes my cousins girl. My second cousin. She
just came to... um... she has to go.
(to Angel)
Dont you have to go right now?
ANGEL
I came here because my father told me to.
SILVER
Your father?
ANGEL
Yes, maam.
SILVER
Ruby?
RUBY
I was just telling her that she should... um...
SILVER
Shes coming with me. Arent you, Angel?
ANGEL
To see my father?

82.
SILVER
Hes here, all right. Come with me.
Angel starts toward Silver.
Ruby grabs her by the shoulders and spins her around.
RUBY
You dont have to do this, Angel.
SILVER
Ruby.
RUBY
You have to go. Now.
ANGEL
Go where?
RUBY
I... Ill go. Ill go with you. Ill show you.
ANGEL
But my father.
SILVER
Ruby?
RUBY
Hes no father to you. Ask you to come here. No father at all.
(beat)
Come on.
Ruby picks Angel up and heads for the door.
SILVER
Where are you going?
RUBY
Away. I cant let you do this.
SILVER
She belongs to me.
RUBY
Then come find us.

83.
Ruby kicks open the door. He and Angel leave.
Silver shuts the door. The shadow is gone.
Lights dim.
End.

84.
PLAY THIRTEEN - TWO COMMITTED
A man wearing a large overcoat walks in.
He takes out a walkie talkie.
MAN ONE
Im in place.
He puts the walkie talkie away.
A second man enters wearing a large overcoat.
Man Two pulls out a walkie talkie.
MAN TWO
Im a few minutes early, but Im in place.
He puts his walkie talkie away.
One goes to Two.
MAN ONE
Excuse me.
MAN TWO
Hm?
MAN ONE
I... I couldnt help noticing...
MAN TWO
What.
MAN ONE
Your coat.
MAN TWO
Yeah? Its new.
MAN ONE
I just thought that it was... familiar...
MAN TWO
What do you mean?

85.
MAN ONE
I mean... I... Uh...
He indicates his coat.
MAN TWO
Oh.
MAN ONE
Yeah.
MAN TWO
So you...
MAN ONE
Well...
MAN TWO
Huh.
MAN ONE
Youre with...
MAN TWO
Global.
MAN ONE
Worldwide.
MAN TWO
Ah.
MAN ONE
This is kind of...
MAN TWO
Embarrassing...
MAN ONE
Uh-huh.
MAN TWO
We really should come up with some kind of schedule.
MAN ONE
Well...

86.
One pulls out a phone.
MAN TWO
Youre on the calendar?
MAN ONE
We are.
One shows his calendar.
MAN TWO
Oh, man.
A moment.
MAN ONE
Dont feel bad.
MAN TWO
I just...
MAN ONE
Seriously. Its not a big deal.
MAN TWO
This day was important to me.
MAN ONE
Well, it was important to me, too. I mean, Im kind of committed to today.
MAN TWO
What do you mean?
One opens his coat, revealing that he is wired with
explosives.
MAN ONE
See?
Two opens his coat. Same.
MAN TWO
Im just as committed.
MAN ONE
Planning for one oclock?

87.
MAN TWO
One oclock.
MAN ONE
Well, I know Im not leaving.
MAN TWO
Are you saying I should leave?
MAN ONE
I got here first.
MAN TWO
I got here early.
MAN ONE
But it was after me.
MAN TWO
Look, were both trying to accomplish the same thing here.
MAN ONE
So?
MAN TWO
We could do this together.
MAN ONE
What kind of sacrifice is that? I might as well not be here.
MAN TWO
I wasnt going to say it.
MAN ONE
Im not leaving until I do what Ive come here for.
MAN TWO
Me neither.
MAN ONE
Im going first.
Man one reaches for a detonator.

88.
MAN TWO
No youre not.
Two grabs him.
MAN ONE
Let go.
MAN TWO
No.
(beat)
Im going first.
Two grabs a detonator.
MAN ONE
Oh no you dont.
One punches Two.
Two punches back.
A fight. They grapple, and end up in a hold.
MAN TWO
So youre not giving up.
MAN ONE
No. You?
MAN TWO
Absolutely not.
MAN ONE
What are we going to do?
MAN TWO
I dont know.
A clock bell rings one.
They stop, and release the hold.
They each close their jackets.

89.
MAN ONE
Tomorrow?
MAN TWO
Tomorrow.
They exit in different directions.
Blackout.

90.
PLAY FOURTEEN - MATTRESS AND BOX
A bare room, perhaps a brick wall.
A mattress lay on the floor.
Kevin lays down on the mattress.
Harlee sits up, a cardboard box in front of her.
HARLEE
This is it. This is all of it.
KEVIN
Everything.
HARLEE
All.
KEVIN
Ok.
HARLEE
I promise.
KEVIN
I dont doubt you.
HARLEE
But Im telling you this is all of it.
KEVIN
Gotcha.
HARLEE
You want to see it?
KEVIN
I dont need to.
HARLEE
You sure?

91.
KEVIN
I am.
She sets the box off of the mattress and snuggles up to
Kevin.
HARLEE
I love you.
KEVIN
What did I do?
HARLEE
You didnt question me. You could have. You maybe should have. But you didnt. You
trusted me.
KEVIN
Of course I did. I trust you.
HARLEE
Ive done so little to earn that trust.
KEVIN
We dont have to go through this again.
HARLEE
Im just saying that I love you.
KEVIN
And that parts fine. Its the other that I dont need.
HARLEE
What?
KEVIN
You feeling guilty. Bringing stuff up again. Hauling that box out again. Its not necessary.
HARLEE
I know. And thats why-KEVIN
Right.
HARLEE
Im just trying to be appreciative.

92.
KEVIN
Youre beating yourself up. As if continuing to bring it up can be some kind of penance.
And I dont want it. I dont need it for me, and I dont want it for you.
HARLEE
And thats why I love you.
(snuggle)
Can I ask something of you?
KEVIN
Whats that?
HARLEE
Can you take the box?
KEVIN
Take it?
HARLEE
Yeah.
KEVIN
Where?
HARLEE
I dont care. I dont want it.
KEVIN
I dont want it either.
HARLEE
So take it away.
KEVIN
I wish I could.
HARLEE
I wish you could, too.
KEVIN
But it stays.
HARLEE
I know.

93.
KEVIN
You ok?
HARLEE
I think so.
(beat)
I love you.
KEVIN
I know.
(beat)
You know how much I love you.
HARLEE
I do.
(beat)
Thats not all of it.
KEVIN
I know.
HARLEE
Theres more.
KEVIN
Of course there is.
HARLEE
Im sorry.
KEVIN
I know.
(beat)
I still love you. More than you know.
HARLEE
I dont understand it.
KEVIN
I know.
Lights down.

94.
PLAY FIFTEEN - MAKE IT STOP
IRIE sits in a chair, her hands on her lap. Her hair is up,
and she wears a loose linen outfit.
PENNY stands at a window.
IRIE
If I could have stopped it, I certainly would have.
PENNY
You say that now.
IRIE
I do. Because it is true.
PENNY
You know now you could have.
IRIE
Stopped it? Yes. I do. I could have. I know that now.
PENNY
But what do we do now?
IRIE
Its my fault.
PENNY
Yes.
IRIE
Punish me.
PENNY
I dont want to punish you.
IRIE
But I should be punished. I let it happen. I did. I did know better. And I should have done
something.
PENNY
And what would you have done?
IRIE
Told someone, I suppose.

95.
PENNY
Who would that be?
IRIE
You.
PENNY
Me?
IRIE
Yes.
PENNY
What would I have done? Honestly. What do you think I would have done?
IRIE
Im sure I dont know. But you are the experienced one. You are the one I trust. I would
have told you. I should have told you.
PENNY
But you didnt.
IRIE
No.
PENNY
And now, its done.
IRIE
It is.
PENNY
And theres nothing you can do.
IRIE
No.
PENNY
Theres nothing I can do.
IRIE
No.
PENNY
Do you regret?

96.
IRIE
Of course.
Penny crosses to her.
PENNY
Im sorry.
IRIE
How could you?
PENNY
I didnt mean to.
IRIE
But you did.
PENNY
I wasnt thinking.
IRIE
I do not accept.
PENNY
You dont?
IRIE
I cant.
PENNY
No.
IRIE
I wish I could.
PENNY
Of course you can.
IRIE
I can not.
PENNY
Why.

97.
IRIE
The wounds. They are too deep.
PENNY
They are.
IRIE
They are.
PENNY
Im sorry.
IRIE
I know. But the wounds.
Irie stands and goes to the window.
PENNY
I am hurt nonetheless.
IRIE
It has nothing to do with me.
PENNY
But this is me.
IRIE
And I am me.
PENNY
You feel nothing for me.
IRIE
No.
PENNY
How can you say that?
IRIE
Because I feel nothing for you.
PENNY
After all weve--

98.
IRIE
After nothing. Weve nothing. There is nothing. All this memory you have of you and I,
it is false.
PENNY
But we have been together for so long.
IRIE
We have not.
PENNY
We have.
IRIE
No. We are not. There is no we. Either I am not me or you are not you. But there is not a
we to be spoken of.
PENNY
It hurts me to hear this from you.
IRIE
I feel nothing to say it.
A moment.
Penny stands on the chair.
PENNY
I can make this stop.
IRIE
I dont want that.
PENNY
I can make it all stop.
IRIE
It wont stop. Youll just have checked out. It will stop nothing.
PENNY
I will stop.
IRIE
Will you?

99.
A moment.
Irie goes to Penny, and embraces her legs.
PENNY
Make it stop.
IRIE
I wish I could.
A long moment.
Lights down.
End.

100.
PLAY SIXTEEN - VOICE SAID TO THEM
Dim lights up.
4 figures on stage. They wear blindfolds.
They sit on chairs and hold books in front of them.
They turn pages at the same time.
They set down their books.
VOICE
And the voice said to them
They pull their blindfolds down and put them in their
mouths like a gag. They try to speak.
VOICE (CONTD)
Do not fear
Do not wither
Do not escape
While seated, they all begin to run.
VOICE (CONTD)
This is your task
to work against the challenge
to lean into the obstacle
They stop running.
VOICE (CONTD)
and it is not the failure to fear
it is the task undone
They all fall to the floor, on their backs.
VOICE (CONTD)
and it is not the work to wither
it is the soul
They all try to jump while laying down.

101.
VOICE (CONTD)
and it is not the action to escape
it is inaction
They lay still.
VOICE (CONTD)
And they replied
in silence
and they replied
in stillness
and they replied
in struggle
in stasis
in shame
They all stand.
They slam their chair down, take five steps away, then
make a motion as if they throw their chairs.
VOICE (CONTD)
And the voice said to them
whispers of truth
the watering of wounds
They all step back to their chairs. Sit.
VOICE (CONTD)
Presence is a gift
They all pull the gags of and drop them to the floor.
They extend their hands.
VOICE (CONTD)
You are hands
Be working Hands

They extend their fingers.

Lights down.

102.
PLAY SEVENTEEN - SALACIAS RETURN
A wooden deck that overlooks the sea. Winds blow.
GEORGE stands looking out. He wears a heavy pea coat
and boots, and is older and gruff.
SALACIA enters - young and statuesque, wearing a
flowing gown that catches the wind.
George does not turn.
GEORGE
I told you not to come.
SALACIA
I told you I would.
GEORGE
This place is mine. My place to watch the sea.
SALACIA
Ive seen you here before.
GEORGE
Thats why you returned.
SALACIA
I have seen you from afar many times. I wanted to be near you.
GEORGE
Please.
SALACIA
I will not go until you hear me.
GEORGE
This is a place where there is nothing to hear. Just to watch. Tides roll in, waves turn white
and explode. And when they do, another comes along. Right away, and always. Another.
And another. And another.
SALACIA
And yet each is its own.

103.
GEORGE
Unique like the one before. And after.
SALACIA
Will you listen?
GEORGE
I came here to see.
SALACIA
I have something to say.
GEORGE
These winds. Common this time of year. Feel the force blow against your chest. Lean into
it. It holds you. It carries you. And it feels like the hand of god. I swear it does. Nothing
less than the hand of god.
SALACIA
Hear me.
GEORGE
Salt air. Stings the lungs and is residue on the lips. That distinctive smell. The sea.
Between the tongue and the roof of the mouth. The sea. From even so far away.
SALACIA
George.
He turns.
GEORGE
I have no ear for what you have to say. It cant make any difference. I wish it could.
He starts to walk away.
SALACIA
It isnt what you think.
(he stops)
The sea. Standing here, you see the waves, the bright foam, the stirring. You imagine it
teeming with life, and full to the brim, rushing over the top. It all seems motion and light.
Thats not how it is underneath. It is vast. And it is sparse. So much distance and so many
places to be. So many more. It is still. And it is dark. It is lonely.
GEORGE
I can only see what can be shown from here. I cant know more.

104.
SALACIA
But you can listen. I can tell you.
GEORGE
Then speak.
SALACIA
Are you listening?
GEORGE
I am.
Salacia crosses to George.
SALACIA
I have never been far from you.
GEORGE
This is what you wanted to-SALACIA
You have been here, and I have been there. We have been apart. But I have not been far. I
cannot bear to be. But I must, I must, be apart from you. No one regrets that more than I. I
never wanted it to be this way.
GEORGE
But you made it so.
SALACIA
I did. I will not deny.
GEORGE
Left me here to watch you board the ship and sail into the horizon.
SALACIA
Yes.
GEORGE
Left me here. To watch.
SALACIA
I did. Did you watch?

105.
GEORGE
Of course I did.
SALACIA
Did you see me?
GEORGE
I did.
SALACIA
Did you see my face?
GEORGE
I...
SALACIA
Did you see the salt tears rolling down my cheeks?
GEORGE
No.
SALACIA
You couldnt.
GEORGE
No.
SALACIA
Not from here.
GEORGE
No.
SALACIA
No.
(she crosses away)
I had to sail off on the sea.
GEORGE
I know.
SALACIA
I didnt want to. I had to.
GEORGE
I believe you.

106.
SALACIA
But I knew I would return. To here. To you.
GEORGE
You did?
SALACIA
Yes.
GEORGE
I didnt know you would return.
SALACIA
I couldnt have said.
GEORGE
I was told your ship went down.
SALACIA
Yes.
GEORGE
It went down in the storm.
SALACIA
It did.
GEORGE
I was told you had drowned.
SALACIA
Yes. I know.
GEORGE
I lost all hope.
SALACIA
I know.
GEORGE
You were gone and never returning.
SALACIA
But I am here. With you.

107.
GEORGE
I know that now.
SALACIA
Do you?
GEORGE
Yes. I do.
Salacia embraces George.
George smells her hair.
SALACIA
I have longed for this.
GEORGE
And I.
SALACIA
I have returned to you. For you. From the depths. The dark. The infinence. I am here.
GEORGE
I told you not to return.
SALACIA
I could never listen.
They continue to embrace.
Lights down.
End.

108.
PLAY EIGHTEEN - THE PLACE ONE MAKES
Ana kneels on the floor. She sweeps the ground with her
hands.
Leo enters.
Ana senses him and sits up.
LEO
Ana.
ANA
Leo.
Ana stands.
LEO
Ive come to take you home.
ANA
Im not going anywhere.
LEO
You should be at your home.
ANA
This is my home.
LEO
Your true home.
ANA
I left that place. Now I live here.
LEO
Here.
ANA
Yes.
LEO
You cant want to stay here.
ANA
I do.

109.
LEO
This place. Is awful.
ANA
It is mine. I have made it. It has its faults, but they are mine.
LEO
There is a better place for you.
ANA
I dont want any other place. This is mine.
LEO
Dont be foolish.
ANA
I would be a fool to go back to a place that wasnt mine.
LEO
You think you remember it.
ANA
I do. Clearly.
LEO
You think the place you left is the place youd return.
ANA
Wouldnt it be?
LEO
When you left, it was a different place. It grieves you. It longs for you. It needs you. It is
not the same place.
ANA
It misses me.
LEO
Yes.
ANA
It wants me, again.
LEO
It does.

110.
ANA
It was so much a part of me. There are times I miss it too.
LEO
I know you do.
ANA
Many times.
LEO
Then come. Lets return.
ANA
But then I remember. I left that place so I would not be that girl anymore.
LEO
Ana.
ANA
And I am not. Ive chosen that. This is what Ive chosen. And it is mine. It is me.
LEO
I dont understand what youre saying.
ANA
The girl that left that place cant go back, Leo. Thats what Im saying. Shes gone. And I
am all that is left. I am all there is. And that is not where I belong.
Leo backs away.
LEO
Its longing for you has changed it. It is fresh and new. And it can be the home that is
stronger than this. If you let it.
ANA
Thats all it would take.
LEO
It is.
ANA
You promise.
LEO
I do.

111.
ANA
Leo.
LEO
Ana.
ANA
I have an answer for you. And this is final.
LEO
What is it.
ANA
For it to be the stronger place for me, all I need to do is let it.
LEO
Absolutely.
ANA
Then I do not let it.
LEO
What?
ANA
I refuse. I will not let it.
A long moment.
LEO
Then I will go.
ANA
Leo.
LEO
Yes?
ANA
Give it a message for me.
LEO
Anything.

112.
ANA
I hope you burn. That the winds carry the ashes to the corners four. And that the rains salt
tears scorch the soil, that none may ever grow again. Damn it. And damn you.
A moment.
LEO
You will return.
ANA
The day after my curse is fulfilled.
Leo walks away.
Ana kneels.
Lights down.
End.

113.
PLAY NINETEEN - THE DISHES
Devon sits down on a bench, in a park.
Jollie stands far from him, addressing the audience.
JOLLIE
I think my favorite story about him was how when he was younger he would always be
the last one to the dinner table, his brother would always have helped set the table, and his
father and mother were always getting things ready, and theyd call him to the table, and
theyd already be there, waiting for him. Theyd hold hands and pray and then eat, and
somehow, though he was the last one there, hed always bee the first one done, and bolt
away from the table, ready to go back and play; outside with friends, or with toys or video
games. Last one to the table, first one gone. And rarely hed help clean up at all.
(beat)
I dont know why thats my favorite. It just is.
Devon stands and faces the audience.
Jollie climbs onto a bicycle.
DEVON
I met her during high school. She went to our rival, Lakeside, and Id see her at our big
games - the football game which was usually homecoming for one side or another, and
basketball games, where usually one of our teams was headed to the playoffs if they got the
win. Id see her in the stands. She wasnt really like a cheerleader or anything, wouldnt
paint her face or go nuts, screaming until spittle flew out of her mouth or nothing. But
shed be there. Every game. Enough for me to notice, at a time when I wasnt good at
noticing things. She told me... she told me that she preferred going to all the games
because it meant she didnt have to be at home. Her parents fought a lot and eventually split
up. It was after the football game senior year that I actually talked to her and asked her out
for the next night, not realizing that their homecoming dance would be the next night. And
she said she had a date already that night, and I was totally crushed. But she said shed
meet me on Sunday afternoon to go to the lake. And I didnt know how to swim, but I
went anyway. Thank God she wanted to ride a boat. Thank God.
Jollie gets off of the bike. She faces the audience.
Devon climbs up into a tree.
JOLLIE
So I have a lot of... thoughts... and I just need sometimes to say all the things that Im
thinking because if I do that then I dont have to think about them so much. Except when I
talk a lot then it makes me think of other stuff, and then I just go on and on.
(MORE)

114.
JOLLIE (CONT'D)
And even I get sick of me. Im just trying to figure out what all the thoughts mean and
what Im supposed to do about it all because its just so much. And one time I was talking
and talking and he was looking at me and I couldnt help it but I said I cant believe how
big your ears are, I mean what is the deal with those things. And he just looked at me and
said, The better to hear you with, my dear. I cried for a while. And he didnt get as
awkward as I totally would have if a crazy person had cried at me. And I realized that it
wasnt so much that I needed to solve the riddle of my thoughts like it was a crossword. I
needed to say all the things, to be heard. My dear.
Devon hops down.
Jollie grabs some flowers. She kneels on the ground.
DEVON
We took one big trip together the summer after we graduated college. Road trip to the
beach. Kept it simple and tried not to worry about it seeming all weird, since wed broken
up about a month before this. She had said that we made great friends and wanted to keep it
that way, and I had agreed, but I really didnt agree at all. But I seriously wasnt trying to
be all, you know, and be like, hey look at me, arent we having fun we should get married
and stuff. I decided to be patient. Wed already agreed to go to a condo that her moms
friend had for that weekend, so we went anyway. I slept on the couch. No biggie. It was
Friday, late, and she got a call from her dad.
(he looks at Jollie)
We packed up and headed back the next morning. I had known her really for about 5 years.
I had never seen her that quiet. Drive was about 8 hours. Im not sure she said 5 things the
whole time. I hadnt lost my mom at that point, yet, but somehow I knew. The spiral she
was going down inside was darker than shed ever say. And she said a lot.
(beat)
She held my hand almost that whole weekend. I dont remember an actual conversation
about us getting back together. But we were. We just were.
Devon sits on the floor.
Jollie slides in next to him. She hands him the flowers.
JOLLIE
I like to think of him as that little boy, dashing off after dinner, headed back to play, so
focused on what was happening there, he cant bear to be apart from it for too long.
Missing what was happening at the table because hes so excited about something else.
(beat)
I cant help but miss him.
(beat)
Were meant to love each other. I mean all of us. Me and him, sure. And we did. And do.
(MORE)

115.
JOLLIE (CONT'D)
But I think... I think that if we could just stop and think about it a second, we could at least
help clean up the dishes. Im not a philosopher or anything.
(beat)
I just wish I had some help to clean up the dishes.
Devon puts his arm around her. He kisses her on the
neck. She doesnt move.
Lights down.

116.
PLAY TWENTY - 11A
EVAN is in his apartment.
A knock at the door.
Evan opens the door.
HEATHER stands at the door.
EVAN
Hello?
HEATHER
Im 12A.
EVAN
This is 11A.
HEATHER
I know.
Heather walks into the apartment.
EVAN
Hey, where are you...
HEATHER
I cant take it anymore, 11.
EVAN
Please leave. I did not invite you in.
HEATHER
Ive been in this building for 18 months, 11.
EVAN
Ok. I dont really care...
HEATHER
18 long months. And I will not be put in this position any more.
EVAN
Listen, you need to go.

117.
HEATHER
I have seniority. I have been here longer than anyone else in the building. And I dont care
who you think you are, 11, but this has gone too far.
EVAN
My name is Evan.
HEATHER
Not my concern. 11, let me tell you something. Youve got it pretty good here. Corner
apartment. View of the river.
EVAN
Um. Yeah. Sure.
HEATHER
In such a short amount of time. In all my time, Ive not seen this before.
EVAN
Youve lived here 18 months, you said?
HEATHER
Im talking here.
EVAN
Ok.
HEATHER
What Im saying is that youve had it good. And the fact is that you are now taking
advantage of the other people in this building.
EVAN
I dont know what youre talking about.
HEATHER
Oh. OH. Oh. Do NOT do that.
EVAN
Im not doing anything.
HEATHER
Oh pleeeeese.
EVAN
Id really like it if you left now.

118.
HEATHER
I bet you would, 11.
EVAN
Evan.
HEATHER
I dont want to know your name. You are 11A. Thats all. I want nothing more than that
from you.
EVAN
Then why are you here?
HEATHER
Im here on behalf of the whole building.
EVAN
The whole building.
HEATHER
Yes.
EVAN
Everyone in the building asked you to come here.
HEATHER
Well...
EVAN
Do you even know everyone in the building?
HEATHER
Look...
EVAN
Do you know anyone in the building?
HEATHER
Of course...
EVAN
By name.

119.
HEATHER
No.
A moment.
EVAN
What is your complaint?
HEATHER
I...
EVAN
You have no actual complaint.
(beat)
Get out.
Heather starts for the door. Stops.
HEATHER
I like how youve decorated. That spot over by the door is awkward to decorate. I like what
youve done there.
EVAN
Ok.
HEATHER
I have a question.
EVAN
Fine.
HEATHER
wouldyouliketogotodinnerwithme...
EVAN
I didnt understand that.
HEATHER
Would you like to go to dinner with me?
(beat)
I would like to go to dinner with you.
A moment.
EVAN
Ok.

120.
HEATHER
Really?
EVAN
Sure.
HEATHER
All right.
(beat)
What time do you want...
EVAN
5:30?
HEATHER
Ok.
EVAN
Ill come by and pick you up.
HEATHER
Oh?
EVAN
I know where you live.
HEATHER
Right. Ok.
EVAN
Ok.
HEATHER
See you at 5:30.
EVAN
Yes.
Heather leaves.
Lights down.

121.
PLAY TWENTY ONE - MR. MICHAEL GETS READY FOR JESUS
A man huddled into a dark corner of a basement, under the
wooden staircase.
After a moment, noise upstairs.
The door opens, casting a bright light down the staircase
into the basement.
The voice of a young man is heard.
TOMMY
(offstage)
Mister Michael?
(a long beat)
Mister Michael! Are you down there?
Tommy takes a few tentative steps down the staircase. He
is probably 12 or 13 years old. His voice has not yet
changed.
TOMMY (CONTD)
Im looking for you, Mr. Michael. I heard about what happened. Im scared for you.
Wanted to see if youre ok. If you needed anything.
(he reaches the bottom of the staircase)
I remembered, Mr. Michael. I remembered what you said about coming here if something
ever went wrong. And gosh its gone wrong hasnt it.
(he squints as he goes further into the
darkness)
I know you didnt mean to do it, Mr. Michael. I dont care what Benny Biggs says or
Winnie. I know it wasnt like they say. So Im not afraid. Im not afraid to help you. I
want to help-Michael grabs Tommy out of the darkness, hand over his
mouth. Tommy screams, but muffled by Michaels hand.
Michael has a gun, and holds it to Tommys head.
MICHAEL
Shut up. Shut the... Sh!
They are motionless as they listen.

122.
MICHAEL (CONTD)
You were followed, werent you. Werent you!
Tommy shakes his head violently.
MICHAEL (CONTD)
You cant be here. You shouldnt have come here. Now you cant leave. Damn it. Now
you cant leave. Youre as caught up in this as I am.
(beat)
You gonna keep your mouth shut?
Tommy nods.
Michael slowly releases him.
TOMMY
Jesus, Michael.
Michael slaps the back of Tommys head.
MICHAEL
You watch your mouth. Your mother hears you talk like that, youre dead, Im dead, and
we all see Jesus before hes ready for us. He aint ready for you or me yet, thats for sure.
Michael looks up the stairs.
TOMMY
Jesus was ready for Seppie?
MICHAEL
Giuseppe was ready for Jesus, thats for sure. I was for sure done with him.
TOMMY
So its true.
A moment.
MICHAEL
Tommy...
TOMMY
Im ok.
MICHAEL
It wasnt like I wanted to do it.

123.
TOMMY
I just didnt believe it.
MICHAEL
Listen...
TOMMY
They said it was true, but I said you said that was over.
MICHAEL
You know Giuseppe wasnt gonna back off of me.
TOMMY
I know.
MICHAEL
I didnt want to. I had to.
TOMMY
I just had to hear it from you.
A moment.
MICHAEL
Can you go shut that door?
TOMMY
Hm?
MICHAEL
You left it open.
TOMMY
Its dark down here.
MICHAEL
I got a light, go shut the door.
(beat)
Please?
Tommy goes to the stairs.
TOMMY
All right.

124.
Michael goes back under the stairs and pulls out a bag. He
sticks the gun in his belt.
MICHAEL
Make sure no ones out there who saw you.
Michael pulls a flashlight out of the bag.
Tommy closes the door and comes back down the stairs.
TOMMY
I know how to lose a tail.
MICHAEL
I know you do. I want to be sure.
Michael turns on the flashlight.
TOMMY
You been down here since yesterday?
MICHAEL
About an hour. Took me that long to get here.
Michael moves a chair over by the flashlight.
TOMMY
All night?
MICHAEL
Didnt have a car.
TOMMY
Neither did I.
MICHAEL
You got people trying to kill you, do you?
TOMMY
No.
MICHAEL
Count your blessings, Tommy. Count em up.

125.
Michael sits on the floor.
He sets the gun on the seat.
Tommy crosses to behind the chair.
They are lit from underneath.
TOMMY
Mr. Michael.
MICHAEL
What.
TOMMY
Are you even sorry for what you done?
MICHAEL
Tommy...
TOMMY
I mean it.
MICHAEL
You know who he was.
TOMMY
I know exactly who he was.
MICHAEL
I didnt want him dead. But you know I had to do it. You know that.
TOMMY
You had to.
MICHAEL
Thats right. He earned it. You know he did.
TOMMY
How.

126.
MICHAEL
How? You know what he was. What he was doing.
(beat)
What are you thinking? You think he didnt deserve it.
TOMMY
I didnt say that.
MICHAEL
You think I did this in cold blood.
TOMMY
Mr. Michael.
MICHAEL
Son, Im not that guy. Dont think that of me. You shouldnt think that of me.
TOMMY
I didnt say I did.
MICHAEL
But youre thinking it.
TOMMY
Im not glad hes dead. Thats all.
MICHAEL
Im not glad either. But the chips fall where they may and when the wheel stops, the house
wins. I gotta do.
TOMMY
I know.
MICHAEL
You know.
TOMMY
I do.
MICHAEL
Then dont be that way. Act like we gotta be glad about it. Thats not what we do. Thats
not what we are. We are what we are.
TOMMY
I know.

127.
MICHAEL
Then act like it.
(beat)
You been a kid long enough. Open your eyes.
A moment.
TOMMY
They say theres money on you.
MICHAEL
I figured. Its what they gotta do.
(beat)
You know how much?
TOMMY
Yeah.
MICHAEL
Its a lot.
TOMMY
I think so. Seems like a lot to me.
MICHAEL
Whats it take to seem like a lot to you?
TOMMY
I know the money the guys talk about.
MICHAEL
Yeah?
TOMMY
Its a lot.
MICHAEL
I expected as much.
TOMMY
You worried?
MICHAEL
Im in a basement.

128.
TOMMY
Yeah.
MICHAEL
You can get me food?
TOMMY
I can.
MICHAEL
Im hungry.
TOMMY
I bet.
MICHAEL
Get me something?
TOMMY
Ok.
Michael grabs the flashlight and heads toward the stairs.
Tommy is in the dark, follows him.
MICHAEL
Head on up.
TOMMY
Youll stay here?
MICHAEL
I got no where else to go.
TOMMY
Ok.
Michael stays at the bottom of the stairs, points the
flashlight up the stairs for Tommy.
Tommy trudges up the stairs.
MICHAEL
I know its hard, Tommy. Giuseppe was a good man sometimes. He was just a lousy sack
of shit as a man of business. I didnt want to kill him. I know he was your father, and all,
but honestly, the piece of crap he was youre better off without him.
(MORE)

129.
MICHAEL (CONT'D)
I promise you, boy, Im not gonna let you down. Im not going to leave you without a
father. Im gonna be that father. We get through this, and I promise you, Ill set you up.
Youll be right as rain. You hear me?
Tommy stops at the top of the stairs, we see his legs and
hands only, not his face.
Tommy reaches behind him.
Tommy pulls the gun out of his belt and points it at
Michael.
MICHAEL (CONTD)
It was a lot of money, wasnt it.
TOMMY
You may not be ready for Jesus, Mr. Michael, but Jesus is ready for you.
Tommy pulls the trigger.
Several gunshots.
The flashlight falls to the ground.
The door opens above.
Tommy exits.
The door closes.
End.

130.
PLAY TWENTY TWO - TIME FOR BED
Linda, middle aged, sits at a kitchen table. Dim light. She
has a glass of milk.
Down the steps comes Andie, her daughter, perhaps
college age.
ANDIE
What are you doing up?
LINDA
Oh, dont worry about me. Go back to sleep. Its late.
ANDIE
Its early, mom. Youre on the wrong side of the night.
LINDA
Its not that late yet. Im headed to bed in a minute.
ANDIE
Have you been up all night?
LINDA
You saw me go to bed.
ANDIE
I saw you go into your room.
LINDA
Same thing.
ANDIE
You never went to bed.
LINDA
You need to get your rest for tomorrow.
ANDIE
Today.
LINDA
Hm?

131.
ANDIE
I need sleep for today.
LINDA
Right.
ANDIE
Whats wrong?
LINDA
Who said anything is wrong?
(beat)
Im fine.
Andie sits in the chair opposite Linda.
ANDIE
Im not going to bed until you tell me.
LINDA
I just dont sleep some nights.
ANDIE
Why is that?
LINDA
When storms roll through, I guess.
ANDIE
Storms.
LINDA
Yeah. Thunderstorms.
ANDIE
There were no thunderstorms tonight.
LINDA
How do you know, you were asleep.
ANDIE
Mom.

132.
LINDA
Andie, I just... sometimes I dont sleep. I wish there was something I could do but Ive
tried everything. So I just sit up for a while, and eventually I get tired enough to go back to
bed. Its not a big deal.
ANDIE
Until your body crashes randomly during the day sometime.
LINDA
Andie...
ANDIE
Like behind the wheel.
LINDA
That had nothing to do with this.
ANDIE
How do you know?
LINDA
That guy pulled in front of me.
ANDIE
Unless you fell asleep and drifted behind him.
LINDA
Thats not at all what-ANDIE
Prove it.
LINDA
I dont want to do this right now.
ANDIE
Then when?
LINDA
When weve both had some sleep.
ANDIE
When do you think that will be?
LINDA
I dont know.

133.
ANDIE
You dont know.
LINDA
No. I cant see the future.
ANDIE
You cant see the present.
LINDA
Come on, now.
ANDIE
Mom. You need to see someone.
LINDA
Who?
ANDIE
A doctor. A therapist. A sleep specialist. Someone. This cant keep happening.
LINDA
Or not happening.
ANDIE
Right.
LINDA
I dont need that. Its not a big deal.
ANDIE
Its a bigger deal than you think.
LINDA
What do you mean?
ANDIE
Mom. Think about it.
LINDA
What?
ANDIE
Dont make me say it.

134.
LINDA
I dont know what youre talking about.
ANDIE
What is today?
LINDA
What?
ANDIE
Today.
LINDA
Tonight or today?
ANDIE
Today.
LINDA
Dont make me-ANDIE
Two years ago today.
LINDA
Andie, please.
ANDIE
Drifted over into another lane. Behind a guy in truck.
LINDA
I didnt mean-ANDIE
Of course not. But it happened.
LINDA
I was in the hospital for weeks.
ANDIE
Longer than I was.
LINDA
Please.

135.
ANDIE
(snaps fingers)
Like that. Gone.
LINDA
No.
ANDIE
Sitting in the passengers seat. Two years ago today. I know you miss me. And I admire
that. I respect it, and I appreciate it. But you have to sleep. You have to. If youre still too
proud to get help, then what was that for?
LINDA
I miss you Andie.
ANDIE
I know, mom.
Andie reaches across the table and grabs Lindas hand.
LINDA
I want to sleep.
ANDIE
I want you to.
LINDA
Help me upstairs?
ANDIE
Sure.
Andie rises and goes to Linda.
Andie helps Linda stand.
They start toward the stairs.
Andie grabs the glass of milk and hands it to Linda.
LINDA
Thank you.
ANDIE
Time for bed.

136.
They go upstairs.
Lights down.
End

137.
PLAY TWENTY THREE - THE CREEK
PAUL stands on a creekside. He carefully removes some
outer clothing until he is in a modest swimsuit.
He wades into the water, and gets to the middle - waist
deep.
He raises his arms and closes his eyes.
PAUL
I confess that Jesus Christ is Lord
I believe that Jesus is the son of God
That dies on the cross
and on the third day rose again
for the forgiveness of my sins
In The name of the Father
the Son
and the Holy Spirit
Paul sinks below the water.
Crashing through the bushes is SHANE - filthy and
ragged. He falls to the ground creekside.
Shane anxiously rips off his torn shirt and pants. He is in
ragged underwear.
Shane dives into the water.
Paul bursts forth from the water.
SHANE
What the...
PAUL
(spits)
Oh. Whats happening?
SHANE
What are you doing in the creek?

138.
PAUL
(rubbing water out of his eyes)
I was just... I was...
SHANE
(hears something)
Sh.
PAUL
What? Whats going on...
SHANE
SHHH!
Shane grabs Pauls mouth.
PAUL
Let go of me.
SHANE
Be quiet. Im trying to listen.
Paul breaks away.
PAUL
Listen without grabbing me.
SHANE
Sh.
(a moment)
You dont hear a dog, do you?
PAUL
A dog?
SHANE
Or dogs.
PAUL
No.
Shane starts to wash in the creek.
SHANE
You dont have any soap on you?

139.
PAUL
Soap?
SHANE
Yeah.
PAUL
No.
SHANE
I need to... I need to clean up.
PAUL
You could go home and do that.
SHANE
(smiles)
Yeah. I could. Thats a good idea.
PAUL
Yeah.
Shane dunks himself, comes back up.
SHANE
What are you doing out here? Swimmin?
PAUL
Me? Oh no. No. Not really.
SHANE
Ok.
PAUL
You in some kind of... trouble?
SHANE
Im just... I was out for a run and wanted to cool off.
PAUL
Ah. That makes sense.
SHANE
Yeah. It does.

140.
A long moment.
PAUL
Well...
SHANE
Yeah...
PAUL
Yeah.
Paul and Shane start to go back to their creek banks.
Shane notices Pauls swim trunks.
SHANE
Youre wearing trunks.
PAUL
Hm?
SHANE
You got swim trunks on.
PAUL
Me? Yeah.
SHANE
You said you werent swimmin.
PAUL
I did. I said that. Yeah.
Shane picks up his dirty clothes.
PAUL (CONTD)
Those your running clothes?
SHANE
Yeah. Kinda.
Shane holds them out, trying to decide whether or not to
put them back on.

141.
PAUL
You were running, werent you? On the run.
SHANE
Yeah.
PAUL
You know what I was doing?
SHANE
No.
PAUL
I was baptizing myself.
SHANE
Baptizing.
PAUL
Yeah.
SHANE
Like baptism. And Jesus and all that. Like church.
PAUL
Well, theres no church here, but...
SHANE
Dont you need a preacher for that?
PAUL
I didnt have one.
SHANE
And you needed an urgent right-away baptism?
PAUL
I did. Needed it pretty bad.
(beat)
You need one too, dont you.
SHANE
What are you saying?

142.
PAUL
Youre not on a daily run for exercise.
SHANE
No.
PAUL
Get in the creek.
SHANE
For what.
PAUL
Im gonna baptise you.
SHANE
I dont wanna get baptized. I dont know nothing about Jesus.
Paul works back into the water.
PAUL
Tell you what. I leave Jesus between you and him. But you need to get clean.
Paul gets to the middle.
Shane looks around. He looks at his clothes.
He drops the clothes and gets back in the water.
SHANE
This is weird, man.
PAUL
I know.
Paul raises up his hands.
SHANE
No Jesus.
PAUL
My parts between me and Jesus.
(beat)
(MORE)

143.
PAUL (CONT'D)
Lord Jesus, I pray your cleansing blood over this man, who is as in need of you as we all
are.
Paul puts his hand on Shanes back.
Paul lowers Shane into the water.
Paul raises Shane up.
Shane spits water, rubs his eyes.
SHANE
So now Im clean?
PAUL
Do you believe it?
SHANE
I dont know.
Shane starts to get out on his creek bank.
PAUL
Hey.
(beat)
Go that way.
Paul indicates his side of the creek.
SHANE
My clothes.
PAUL
Take mine.
(beat)
You got some running to do.
SHANE
What about...
PAUL
Thats my problem.
Shane goes to Pauls bank.
Shane picks up Pauls clothes and puts them on.

144.
SHANE
I dont know what to say.
PAUL
Say nothing.
(beat)
Go.
Shane looks at him a moment then runs off.
Paul gets out of the water.
He puts on Shanes clothes.
He takes a deep breath, then heads off to where Shane
came from.
The creek flows for a moment.
Lights down.
End.

145.
PLAY TWENTY FOUR - NORAHS WALL
A wall.
A half wall made of stone and stretching across the stage.
JONAS COLBY walks along the downstage part of the
wall.
He looks around, grabs the top of the wall as if to climb.
NATHANIAL HAMBLIN pops up from behind the wall.
NATHANIAL
I see you, Jonas Colby.
JONAS
Nathanial.
NATHANIAL
Get your hands off that wall.
JONAS
Im here to see-NATHANIAL
I know what youre here for, Jonas. Im no fool. Now get away from the wall. Get!
JONAS
You cant stop me from seeing her.
NATHANIAL
I can. I have. I do, and I will.
JONAS
Norah loves me.
NATHANIAL
So she says. But I dont.
JONAS
Beg your pardon, its not you Im offering to marry.
NATHANIAL
And thats a wise thing to keep from doing. Keep that wisdom going and get lost.

146.
JONAS
Sir.
NATHANIAL
Son, I dont need to tell you that I built this very wall with my very hands and for a very
very good reason.
JONAS
Why?
NATHANIAL
Because my Norah wont be going away from me anytime soon.
JONAS
But-NATHANIAL
The very day her mother says she was with a child, I laid that very stone right there. And
then that one, and then the one beside. For I knew. I knew the day would come.
JONAS
You wanted to keep dangerous people away.
NATHANIAL
Theres not a one of you thats not dangerous. Dangers in every one of your dark eyes
and black hearts.
JONAS
What about me?
NATHANIAL
You?
JONAS
Im not dangerous.
NATHANIAL
You think youre not?
JONAS
Im not. I love Norah. With all my heart.
NATHANIAL
With all your heart...

147.
JONAS
Yes sir.
NATHANIAL
I love her with all my heart.
JONAS
Sir...
NATHANIAL
I built this wall for her. Thats love, son. That is love.
JONAS
The wall is love.
NATHANIAL
It is. My love for my little Norah.
JONAS
Locking her in is love?
NATHANIAL
Protecting her, saving her. Thats love. What have you done for her? With what will you
protect her? Where is your wall, Jonas? Where is your wall?
Norah comes around the corner, on Jonas side of the
wall.
JONAS
Norah.
NORAH
Jonas.
They embrace.
NATHANIAL
Norah?
NORAH
Papa. Im going with Jonas. I love him, and he loves me.
NATHANIAL
But...

148.
NORAH
You asked Jonas where is his wall?
NATHANIAL
I did.
She pats the wall.
NORAH
This one. Right here. This wall will protect me.
Norah grabs Jonas hand.
They exit.
Nathaniel watches them go.
Lights down.
End.

149.
PLAY TWENTY FIVE - UNDINE: A FABLE
UNDINE stands in the center.
KNIGHT stands apart from her.
UNDINE
There was a promise.
KNIGHT
I know there was.
UNDINE
It was made of words you formed.
KNIGHT
Yes.
UNDINE
With your own mouth. And of your own will.
KNIGHT
Yes.
A moment.
UNDINE
You know what this means, dont you.
KNIGHT
What do you mean?
UNDINE
What youve done. The consequences.
KNIGHT
Consequences.
UNDINE
The consequences.
KNIGHT
Surely you cant mean...

150.
UNDINE
You know what it means.
KNIGHT
I dont.
A moment.
She turns to Knight.
UNDINE
How could you?
KNIGHT
Undine, I-UNDINE
To lie to me. As well.
(beat)
After what Ive done. For you.
KNIGHT
After what you chose to do.
Another moment.
UNDINE
From what I was to what I am now...
KNIGHT
This was your choice. You chose not a god, but a man. You chose not perfection, but
mortality.
UNDINE
This was my choice.
KNIGHT
This is what you have never felt before. Fear of death. Fear of your death.
UNDINE
This feeling...
KNIGHT
Its horrible.

151.
UNDINE
Yes.
KNIGHT
You never thought it could feel like this.
UNDINE
No.
(beat)
Never.
KNIGHT
Never.
Lights shift.
The world is underwater, except for Knight.
UNDINE
The flow of tides, the ever undulating waves, water surrounding my body at all times,
supporting me, sustaining. Whatever was there to fear. Nothing.
KNIGHT
Until...
UNDINE
I looked up. I looked up beyond the waters. And looked up to where the sun shined and
the winds blew. I looked up from the life I knew into the unknown.
KNIGHT
The unknown.
UNDINE
And I saw...
KNIGHT
Me.
UNDINE
You.
KNIGHT
And you...

152.
UNDINE
Loved.
KNIGHT
Loved.
(beat)
And you...
UNDINE
Chose.
KNIGHT
Chose.
(beat)
You rose from the waters.
The water light changes.
UNDINE
I left the waters. For you.
KNIGHT
And you told me...
UNDINE
I told you.
KNIGHT
You told me that you would be mine.
UNDINE
That I would be yours.
KNIGHT
And that...
UNDINE
And that you had to be...
KNIGHT
Faithful.
UNDINE
Faithful.

153.
KNIGHT
Or.
UNDINE
Or you would lose me.
KNIGHT
That you would die.
UNDINE
That I would be lost.
KNIGHT
Lost.
A moment.
UNDINE
You said you loved me.
KNIGHT
I did.
UNDINE
You betrayed me.
KNIGHT
I did.
UNDINE
You have lost me.
KNIGHT
You have been lost.
Undine stumbles.
UNDINE
So soon.
Knight rushes to her.
Knight picks her up.

154.
KNIGHT
I never told you...
UNDINE
Told me?
KNIGHT
I never told you I could be perfect.
UNDINE
But you promised...
KNIGHT
I...
UNDINE
Didnt you...
Undine takes a sudden breath.
KNIGHT
Undine.
UNDINE
You promised.
You.
Promised.
Undine dies.
KNIGHT
Lost.
Knight sets her down on the ground.
He kneels beside her.
He weeps.
She becomes water again.
Lights.
End.

155.
PLAY TWENTY SIX - A SAFE DISTANCE
Night.
SUSAN sits on a grassy hill, on a blanket and next to a
telescope.
Susan looks for a moment, then writes in a notebook.
She looks again.
Quietly, DARAH comes in behind Susan.
Darah watches her for a moment.
Susan writes a note.
SUSAN
You might as well sit down, Darah. Unless you want to stand there all night.
DARAH
How did you hear me?
SUSAN
Theres no noise pollution out here.
DARAH
Youre a freak.
SUSAN
Perhaps. Have a seat.
DARAH
I dont want to sit, Susan.
(beat)
You know why Ive come out here.
SUSAN
Because this is where I am. If you went somewhere else to get me, youd be very
disappointed.
DARAH
We dont have a lot of time.

156.
SUSAN
Im not going anywhere.
DARAH
We have to go.
SUSAN
(points to sky)
Theres a meteor shower tonight.
DARAH
Theres a meteor shower almost every night.
SUSAN
Thats an overstatement.
DARAH
No it isnt.
SUSAN
There wont be this one every night.
DARAH
You told him youd be there.
SUSAN
I told him Id try.
DARAH
And?
SUSAN
I tried.
DARAH
Susan.
SUSAN
I drove by there on my way here.
DARAH
You missed.

157.
SUSAN
I just didnt stop.
Darah takes a step toward Susan.
DARAH
Pack up. Were going.
SUSAN
Do not touch anything. The telescope. Me. My blanket.
DARAH
You said I could sit down.
SUSAN
I take it back. Just stand there.
A moment.
DARAH
He doesnt have much time.
SUSAN
You say that like its new information.
DARAH
Im repeating. For emphasis.
SUSAN
(mocking)
Im repeating. For emphasis.
DARAH
Grow up.
SUSAN
Im as up as Im getting. This is my job, Darah. I have to do this.
DARAH
You want to do this.
SUSAN
I love my job.
DARAH
Do you love him?

158.
A long moment.
SUSAN
Do you love him?
DARAH
I love you. I love you enough to not let you be like this. Youll regret it. I know you will.
And I know you know it too.
SUSAN
You know so much then why am I here?
DARAH
Because its hard. Its hard to be there for him right now. When hes let you down, when
he hasnt loved you. I dont want to do it either, but we dont get to pick the time. We dont
get to pick how this happens. He gets cancer half way through a divorce. What kind of
garbage is that?
SUSAN
You think he deserves this from us?
DARAH
Absolutely not. No.
SUSAN
Then why do we do it?
DARAH
Because were better than that.
A moment.
SUSAN
Meteors tonight.
DARAH
A broken asteroid plummets into the atmosphere.
SUSAN
Burning up on its way.
DARAH
Lighting up the night, if you can only get close enough to see it.
SUSAN
If you were actually close, youd be killed. Gotta use a telescope. Keep a safe distance.

159.
DARAH
A safe distance. Its not exactly the same experience, then, is it?
SUSAN
I guess its not.
DARAH
Its not.
SUSAN
Its not.
Susan stands. She goes to Darah and embraces her.
Susan walks past Darah and goes to exit.
SUSAN (CONTD)
Keys in the car?
DARAH
Mhm. Should I...
SUSAN
No. Its dangerous to get too close.
(nods to the telescope)
Keep a safe distance.
Darah sits.
Susan exits.
Darah looks into the telescope. She takes in a deep breath,
then exhales.
Lights down.
End

160.
PLAY TWENTY SEVEN - THE FABLE OF TEAR VALLEY: A PUPPET SHOW
An empty stage.
A backdrop of mountains with a valley between.
NARRATOR
In a place not high in the mountains, nor by the sea, a place between the two, there was a
land. And the land was lush and green, with rains and rivers, and all the water it could
hold.
A river is shown, emerging though the mountains.
NARRATOR (CONTD)
And the green fields fed many flocks.
Sheep graze.
NARRATOR (CONTD)
And they drank at the banks of the flowing river.
Sheep drink.
The sheep scurry off.
A girl appears.
NARRATOR (CONTD)
And in this land, there lived a girl. And she loved the land. She loved the sight of the green
fields, and the sound of the water at the rapids.
The girl visits those places.
NARRATOR (CONTD)
But the girl. She was afraid. She was afraid - of water.
(beat)
She was afraid of the river.
(beat)
She was afraid of the morning dew.
A storm cloud emerges.
NARRATOR (CONTD)
She was afraid when it fell from the storm clouds.
(beat)
She would cry and cry.

161.
The girl sits down and cries.
The cloud goes away.
NARRATOR (CONTD)
And she would continue to cry, as tears, water from her eyes, streamed down her face.
The girls tears are fabric coming out of her eyes.
NARRATOR (CONTD)
And she became afraid of her tears. And it made her cry more.
She does. More fabric.
NARRATOR (CONTD)
Each tear that rolled made her cry all the more, until the tear water piled up around her.
The fabric water fills the area.
NARRATOR (CONTD)
And the rivers were flooded. And they filled the fields, and the entire valley became a salt
lake of tears. With the girl at the center, sitting on the lake bed, face frozen in fear, without
peace, until she drowned.
The fabric covers her.
She stops crying. She stops doing anything.
NARRATOR (CONTD)
It took years before the tear waters righted themselves, and flowed in proportion to the
needs of the valley again.
The waters begin to go.
NARRATOR (CONTD)
And as they did, away went any trace of the girl, and her fears, down the stream.
The girl goes away with the water.
NARRATOR (CONTD)
And there was peace in the valley again.
The mountain backdrop establishes again.
Lights down. End.

162.
PLAY TWENTY EIGHT - ALEXIS CITY
A young woman, ALEXIS, sits in a chair.
One the scrim (or wall) behind her is a painted city-scape though the area directly around her is unpainted, like its
waiting to be finished.
Alexis wears long sleeves.
ALEXIS
Ive been in this city for about 6 years now. Its not easy, sure. Expensive. Dirty. Noisy.
That all describes a place where things happen. Its crowded, and theres always some
dude who wants to give you crap on the street, whistling and making an idiot of himself.
All that. But Ive been where theres nothing, no one, nowhere. The dudes have all that
same garbage in their minds but it doesnt come out of there until its too late. Me? Im fine
where Im at.
Alexis stands. She takes a step up onto the chair.
ALEXIS (CONTD)
I love this city. And Ive learned to keep it at arms length. To keep it from becoming too
much of who I am, letting it become me FOR me, to relieve me of the responsibility of
being me. I like to remember that I was me before I came here. That I was, before I was
here.
Alexis rolls up her sleeves to reveal extensive tatoos.
ALEXIS (CONTD)
This is my story. It was my story before the city. It reminds me of home. Of mama and my
brother. Of elementary school and the fire house down the street. My tree fort and the gully
behind my house. Jimmies Pizza and Covered Bridge. Working at the library on Saturday
mornings and when the ice would shut down the whole town for 4 days. The books I read,
movies at the Pix, and TV nights before you could binge watch. That was me. Thats me
underneath. I know her, and I am her. And I like to remember. When it all gets stirred up,
like the deep pot of stew on grandmas stove, that smelled like something just died, right
before it would smell delicious.
Alexis hops down from the chair. She goes up to the
painting.

163.
ALEXIS (CONTD)
And this is where I get to create me now. As a part of this city. As I create a part of the
city, with me.
Alexis picks up a paint brush.
She slaps paint into the bare spot in the mural.
ALEXIS (CONTD)
And it looks like I dont fit. Not at all. Unless you look at the rest of the city, close up. And
recognize that its made up entirely of pieces that dont fit. Like room full of puzzle pieces
where someone threw out all the boxes. Dont fit? So dont everyone else. Thats the city
I paint.
She drops the paint brush, goes back to the chair and sits.
She starts to roll down her sleeves.
ALEXIS (CONTD)
People come and go from here every day. Apartments emptied at the end of each month,
only to be filled twice over by the first of the next. People quitting, and working up the
gumption. Gearing up, and getting crushed. All by this little city.
(beat)
Me? Im fine where Im at.
Alexis is still.
Lights down on Alexis.
Lights down on the mural.
End.

164.
PLAY TWENTY NINE - THE BODY FOR SHORE
A small vessel, like a dinghy.
OJO is at the bow.
CALE and BON sit behind him.
In the stern is ROWE.
Laying across the vessel, from side to side, lay the body of
a man, covered. He is dead.
The vessel makes its way across the waters.
BON
Do you see the shore?
(beat)
Ojo. Do you see the shore?
OJO
No.
BON
Are you sure?
OJO
If Id seen it, I wouldnt have kept it secret.
CALE
(to Bon)
You can look for yourself, you know.
BON
Shut up.
CALE
I wont.
BON
I know I can look for myself.
CALE
Then why dont you?

165.
BON
Thats why hes up there, Cale. Hes on the lookout for shore.
CALE
So let him do it.
A moment.
BON
Youll tell us when you see it.
CALE
Thats almost exactly the agreement of being the lookout, Bon. Exactly the arrangement.
BON
Ive had it with being treated this way...
Bon starts to rise. The boat rocks.
ALL
Whoa- wait a minute - hold on there - etc.
OJO
Make him sit down.
CALE
Sit down, Bon.
BON
Im sitting, Im sitting.
OJO
Itll be here before you know.
BON
It had better.
CALE
Or what?
BON
What?
CALE
What happens if we dont? Youll do what?

166.
BON
Dont push me, Cale.
CALE
Just sit there with your mouth closed.
BON
Fine.
CALE
Closed.
BON
I am.
CALE
Bon...
A long moment.
BON
Sad, isnt it.
CALE
What?
BON
I said its sad. What happened to him.
CALE
I dont think you understand what I meant when I asked you to shut your mouth.
BON
All of a sudden like that. Chills the bones just thinking about it.
CALE
Well put him off at the shore and then we wont have to think about it any more.
(to ROWE, in the back)
Isnt that right?
A moment.
ROWE
Hm?

167.
CALE
We leave the body at the shore. Then hes gone from us.
ROWE
Hes gone from us. Sure.
CALE
Right.
(aside to Bon)
Hes not right, is he?
BON
(aside to Cale)
Never was. Nothing new.
CALE
Ojo. You strap down the sails before we left.
OJO
You saw em.
CALE
I did. Youre right.
BON
Could you please be quiet?
CALE
Shut up.
BON
Thats what Im asking of you.
CALE
Ill shut you up.
BON
Will you now?
CALE
Thats right.
BON
Well see about that.

168.
Bon and Cale grapple.
Ojo turns back to them, back hands the both of them.
OJO
Knock it off. I think I see it.
BON
Hm?
CALE
Shore?
BON
Of course he means the shore, what else would he mean?
CALE
The ship.
BON
Its not likely its the ship unless were sailing in circles.
CALE
Could be.
BON
Could not. Look at the sun. Perfectly high. Were right where we need to be this hour.
Shores right over there.
Bon points.
Ojo points the opposite direction.
OJO
Land ho.
BON
I was confused.
CALE
Was.
BON
Shut it.

169.
OJO
Prep the body. Well be there soon.
Bon and Cale shift around and start to prep the body.
BON
Soon he says. Prep the body he says.
CALE
You dont want to do it?
BON
Why are we the only ones? Theyre just as capable of doing this as we are.
CALE
Ask them.
BON
You think?
CALE
Its on you. Im not curious at all.
Bon stands.
BON
Say. Why are we the ones doing this? Why arent the two of you helping at all? We could
use your help here.
OJO
Im navigating.
CALE
See?
BON
(to Rowe)
And you? Whats wrong with you, you cant help?
ROWE
I didnt come to help with the body.
BON
Oh you didnt, did you?

170.
ROWE
No.
BON
Then why exactly are you here?
ROWE
For this.
Rowe pulls out a pistol.
He shoots Bon, who falls out of the vessel.
Cale stands.
Rowe shoots Cale, who falls out of the vessel.
Rowe aims at Ojo.
OJO
We have to leave the body at the shore.
ROWE
Hell be there. For sure.
Rowe pulls out a match.
He lights the body on fire.
OJO
What are you doing?
ROWE
What Id ask him to have done for me.
OJO
Youll sink our boat.
ROWE
Our boat must sink.
OJO
You gonna shoot me?

171.
ROWE
What else do you want to do?
OJO
Swim for shore.
ROWE
Swim.
Ojo jumps overboard.
Rowe lowers his pistol.
The fire burns stronger.
Rowe drops the pistol on the floor of the boat.
Rowe removes his coat and hat.
He kneels next to the body.
ROWE (CONTD)
Forgive me. Burn me. Cleanse me.
(whispers)
Forgive me. Burn me. Cleanse me.
The fire burns.
The lights go down.
End.

172.
PLAY THIRTY - HD164595
AVERY sits in a lawn chair, wearing a Hawaiian shirt and
shorts, holding a reflecting panel, sunbathing. He has a
small radio that emits static.
He is atop a large metal radio transmitter - the kind that
beams signals into space.
Up a nearby ladder comes PETERSON, a young man
wearing more professional attire.
PETERSON
Avery! Dr. Avery!
AVERY
What do you want, Peterson.
PETERSON
Trying to find you.
AVERY
Do you know what time it is?
PETERSON
What?
AVERY
The time. Do you know what it is?
PETERSON
Yes I do. Do you know?
AVERY
I do. You wanna know how I know?
PETERSON
Youre psychic?
AVERY
I am, but thats not how I know.
PETERSON
Then how?

173.
AVERY
This watch here. Its like a clock I keep right on my arm so I can check it an see what time
it is.
PETERSON
Convenient.
AVERY
I thought so.
PETERSON
Then you know that your shift started a half hour ago.
AVERY
I do.
PETERSON
Do you think you could respond to that fact in any way?
AVERY
I have. I have responded. I have responded by... wait for it... beginning my shift.
PETERSON
You are sunbathing.
AVERY
These are not two mutually exclusive phenomena. There is an overlap in the Venn
Diagrams of these activities.
PETERSON
The equipment is all inside.
AVERY
It is? My god. I never would have expected that. Ive only been working here for 18
months.
PETERSON
You have to monitor the equipment.
AVERY
(points to the radio)
Monitor. Over here. Look at me monitoring. Im like, hall monitoring with the orange sash
and the bathroom key chained to a lunch tray. Im like the class president over here.

174.
PETERSON
Regulations state-AVERY
Regulations state that the equipment must be monitored by licensed technicians for at least
20 hours a day. Regulation 71C, page 322, paragraph 3, line 2. I know the book, Peterson,
better than you do. Page 323, paragraph 5, line 3: monitoring may include visual or aural
observation. I am observing via aural.
(beat)
Ive been here a long time, Petey.
PETERSON
Ive been given charge of this observatory.
AVERY
I know you have. And if you think I dont resent you for that, you are mistaken.
PETERSON
Nevertheless, I will be the one who decides the proper procedure for the monitoring of our
station.
Avery stands up.
AVERY
Let me explain something to you, Peterson. Dont worry, Ill use small words so youll
understand.
(beat)
Ive been places. Ive seen things. Ive done things, Ive had them done to me. I know you
think youre a big shot, youngest guy to be given the position of spearheading a radio
observatory. And thats great. Im sure your mom is proud. But the station youre in
charge of is literally, and I dont mean figuratively, the most remote, least supported, least
funded, least talked about, and even remembered observatory in the entire system. Not just
the US system. Friggin Togo is like, where is that again? And where the fuck is Togo?
Dont know, dont care. Ive been banished here for the past 18 months, it will be 19 in a
week and a half, and theres not an end in sight. I have a calendar in my windowless cavecell that reminds me of this every morning. Youve been here for 35 minutes. So dont tell
me how to monitor the monitors that are pointed at goddamn space, so if something comes
at us from space we can hear if they want to radio us before zapping and probing us. You
have no power over me, Peterson. If you had any kind of authority to fire me, then by god
I beg you to fire me. Since you dont I will meet the bottom-of-the-barrel minimum
requirement to maintain this station. And not a damn bit more.
Avery sits.

175.
Peterson climbs back down the ladder.
After a moment, the radio emits a noticeably different
static. There is a steady and regular pulse.
Avery sits up and looks at the radio.
He picks it up and listens for a moment.
The lights fade.
End.

176.
PLAY THIRTY ONE - EMBRACING THE MILLSTONE
Three women stand in a diagonal line across the stage,
from down right to up left, facing upstage.
They wear simple white summer dresses. Their hair is up.
DONA
Ive only ever asked one thing.
MIEL
Only one thing asked.
URSA
Ask me one thing.
DONA
All the nights Ive waited up.
MIEL
All the long days in a solitary room.
URSA
All the times.
DONA
The one thing.
MIEL
That thing I asked.
URSA
Say it.
DONA
Dont go...
MIEL
Please dont go...
URSA
Dont go... without me.
The lights shift.

177.
Ursa crosses downstage and stands on a box.
Miel circles around Dona.
MIEL
Did you tell her how you felt?
DONA
Of course I did. I told her all the time. Every breath.
(beat)
She tired of me telling her.
MIEL
But did she hear you? Did she understand?
DONA
I cant believe that she did. Otherwise...
MIEL
Otherwise.
DONA
How could she have left.
MIEL
You dont know what she was going through. You really dont.
DONA
But what it meant to me.
MIEL
I know.
DONA
I was so little.
MIEL
I know.
DONA
I could possibly understand.
MIEL
But you are grown now.

178.
DONA
And now I understand?
MIEL
Now you can. If you tried. If you knew.
DONA
Id forgive her if I knew.
MIEL
Perhaps.
DONA
Perhaps.
MIEL
I dont know either. I never understood her.
(beat)
She always seemed... so hard to touch. To hold.
DONA
And that is what I wanted. More than anything else. To hold, and be held. To touch.
Arms. Face. Skin. Embrace. Muscles. And energy. To be surrounded by her arms. And to
be...
MIEL
What.
DONA
Reassured.
A shift.
Dona crosses away.
URSA
The night sky has always been a fascination. The canvas of black and dark, with the
smudges of light, scattered throughout. People emerged from caves, blinded by majesty,
and mesmerized, made patterns of the picture. Made their world comprehensible with
stories of the figures they invented in the stars. So far away, and yet ever-present. Tangible,
yet untouchable. Like the embrace of the heavens, from horizon to horizon, arms
outstretched beyond the possible world, cuddling the impossibly small child, who,
lovingly, gazes with hazy eyes, up, up to that stuff beyond its ability to focus.
(MORE)

179.
URSA (CONT'D)
What could be up there, holding me this way? What could be out there, reaching past me,
around me. What could look back at me with abilities mine can only sadly reflect? What is
it?
Miel goes to her.
MIEL
Come down.
URSA
But...
MIEL
Come down. Youll hurt yourself.
URSA
Oh, you have no fun.
MIEL
I have plenty of fun. You fall and hurt yourself when youre already laying on the ground.
Up there, youll split your head open.
URSA
And then my brains will fall out and well have to fill my skull with all new things. Things
Ive never seen or thought before. Songs I havent heard and faces Ive never touched. Im
all right with that. I am.
MIEL
If youre brain falls out, you wont be able to do any of those things. Youll be brainless.
And what would this town do with a brainless child?
URSA
Why, love her. Of course.
MIEL
I wish our world worked that way. I really do.
Miel starts to go. Ursa jumps down and gets in front of
her.
URSA
Please. Please say I can go to the festival.

180.
MIEL
You ask as if it were up to me.
URSA
You can help me make it happen.
MIEL
You know why youve been forbidden.
URSA
But I promise I will behave.
MIEL
With your promise and a dollar, I would have only one dollar.
URSA
You say mean things to me.
MIEL
You know that you are loved. And that is why you cannot go.
URSA
Because I am loved.
MIEL
Thats right.
URSA
What if I werent loved anymore?
Ursa pouts on the floor.
MIEL
That... can never happen.
Miel exits.
Dona goes to the box where Ursa had stood.
She turns the handle on an invisible music box dancer.
Music is heard.
DONA
I was always careful to wind her carefully. Carefully. Delicate springs inside. Too much
tension and she could break. And it was too hard to fix, too hard to replace, too hard to find
another. But I couldnt help myself. I would turn the handle and listen, mesmerized.
(MORE)

181.
DONA (CONT'D)
And it would barely finish before Id snatch her up and crank the handle again. Time after
time after time. Just to watch her dance to that tinny, plinky tune. Beautiful. Beautiful.
Dona leans back, mesmerized.
She sits back to back with Ursa.
URSA
I know what you wanted from me.
DONA
I know what you couldnt get from me.
URSA
I didnt have what you wanted.
DONA
I could never be enough.
They begin to stand, together, back to back. They turn as
they rise.
URSA
I hated that I couldnt give you...
DONA
I hated myself, that I didnt have...
URSA
You deserved so much...
DONA
You deserved so much...
URSA
I just wasnt...
DONA
I could only be...
They stop.
They turn and face each other.

182.
A moment.
URSA
You never had to be anything you werent.
DONA
You were absolutely all I ever wanted.
URSA
I was afraid.
DONA
I was afraid.
They reach for each other.
They lean into one another, but do not bend their arms to
embrace.
MIEL
I was connected to two millstones, dragging the bottom of the river I was trying to cross.
Desperate to make my way. To make a way for them. A way they could hear one another.
A way they could share with each other. They were two millstones being dragged to a
destination beyond their ability to reach, and couldnt see that they were each others only
companion.
(beat)
And as the waters flowed past, and rose around us. I couldnt carry them any longer.
(beat)
But before I succumbed, I... I embraced my little millstones. I held them close. Until my
arms had no more embrace.
Miel walks directly toward them, crossing downstage.
They lean back as she walks between, to upstage center.
They fall back to the floor.
Lights down on the stage.
Miel stands, backlit.
Backlights down.
End.