31 PLAYS IN 31 DAYS - 2017

THE COMPLETE SCRIPTS

Written by
Joseph Frost

Draft
8/17

written as part of the 2017 31 Plays in 31 Days challenge

FrostJosephD@gmail.com
Member, Dramatists Guild of America
 #1 - SIGN THE PAPERS

Storm sounds outside.

GERALD, sharply dressed and mid 40s, sits in the middle

of a long conference table. He has several papers spread
around where he is seated, and an open laptop just out of
his reach. He writes intensely.

A knock at the door.

GERALD
A moment.
(another knock)
One moment, please.
(another knock)
Leave me alone, please. I am trying to finish this up by 3.
(another knock)
For gods sake...
(slams down pen, turns to stare at the door)
Go ahead.

The door opens. It is SANFORD, late 40s. He is

soaking wet, wearing his best suit, which is still cheap.

GERALD (CONTD)
Sanford.

SANFORD
You know what Im here for.

GERALD
Cooling down after a swim?

SANFORD
Its raining outside.

GERALD
So I heard. Nasty out there. I wouldnt go out there if you paid me.

SANFORD
I did pay you.
 2.

GERALD
See?
(beat)
Kelly was supposed to not let you past the check in desk.

SANFORD
I guessed as much.

GERALD
Well?

SANFORD
I came in the stairs.

GERALD
And youre still this wet?

SANFORD
Elevator to 43.

GERALD
Came down one flight. Clever. I like that.

SANFORD
I didnt do it for you to like it.

A moment.

GERALD
You here to shoot me, Sanford?

SANFORD
What?

GERALD
Stormed over here in a downpour, snuck past Kelly at the desk. You obviously have a beef
with me. Show up without an appointment, surprising me. Hands in your pockets.

SANFORD
You think thats when Im doing here.

GERALD
Isnt it?

SANFORD
Im not you, Gerald.
 3.

GERALD
I thank my lucky god every day that youre not.

SANFORD
Bet you do.

GERALD
No bet. Guaranteed.

SANFORD
Youre trying to rile me up.

GERALD
Rile you up?

SANFORD
Im calm, Gerald. You see Im calm.

GERALD
That would make you a psychopath, my friend. Hoping for some temporary insanity
defense? Huh?

SANFORD
I dont have a gun.

GERALD
You dont.

SANFORD
No.

GERALD
Id believe you if you werent a liar.

SANFORD
Im not lying to you. Ive never lied to you. You on the other hand...

GERALD
Are a lying sack of lies? Takes a liar to spot one, pal.

SANFORD
Im not lying.

GERALD
Oh no?
 4.

SANFORD
I came through the metal detectors downstairs.

GERALD
Did you.

SANFORD
I dont have a gun. Ive never owned a gun.

GERALD
A knife, then? Thats more of a mess than I think youre prepared for.

SANFORD
No knife.

GERALD
Some crazy medieval thing? Youre into torture. Nice.

Sanford pulls a set of folded papers from his jacket pocket.

SANFORD
You got a pen.

Sanford tosses the papers onto the table, toward Gerald.

Gerald stands, tentative.

GERALD
Thats...

SANFORD
It is.

Gerald steps back.

GERALD
Get that--

SANFORD
Youre going to sign, Gerald.

GERALD
The hell I am. You get out of here.

SANFORD
Happy to. With your signature.
 5.

GERALD
Never. I wont.

A moment.

SANFORD
Thats... disappointing.

GERALD
Sorry you came all this way. Kelly can call you an Uber.

SANFORD
I dont need an Uber.

GERALD
Thought you lost your car.

SANFORD
I did. I got it back.

GERALD
By showing up at the impound lot soaking wet and demanding signatures?

SANFORD
Maybe.

GERALD
(chuckles)
Maybe.

SANFORD
Sign the papers, Gerald.

GERALD
You know what I find disappointing?

SANFORD
Whats that.

GERALD
Security in this building. Theres no way you havent been spotted on the cameras, and
literally no one has come to check on a weird wet figure stalking a partner in conference
room B on 42. I mean, what are we paying for, anyway?

SANFORD
The metal detectors, I guess.
 6.

GERALD
And they didnt stop you. Didnt the paper clip set it off? Or the staple?

SANFORD
Dont stall. Sign.

GERALD
What am I stalling? I mean, clearly theyre not coming, so what good would stalling do?

SANFORD
This will all be over when you sign.

GERALD
(bursts into anger)
THEN I GUESS IT WONT EVER BE OVER! WILL IT? CAUSE YOU WILL NOT
GET ME TO SIGN THAT SOAKING PILE OF PAPER. NOW GET LOST BEFORE
KELLY CALLS THE COPS. OR WORSE.

SANFORD
(smiles)
Worse.

GERALD
You know what Im talking about.

SANFORD
That I do.
(a moment)
You see?

GERALD
See, what?

SANFORD
No one is coming for you.

GERALD
What?

SANFORD
Yelling wont help. Trying to get someones attention. Kelly. One of the other partners.
Security. No ones going to help you, Gerald. No one. Ever.
(beat)
One thing stops this.
 7.

GERALD
Nope.

SANFORD
One thing only.

GERALD
Im not signing.
(beat)
I earned it. I earned it all. And you cant take it from me.

SANFORD
Im not. Youre giving it up. Voluntarily.
(beat)
Im not forcing you to sign. Youre signing.

Sanford slides the papers to Gerald.

Sanford picks up a pen, and holds it toward Gerald.

Gerald steps toward Sanford.

Gerald takes the pen.

Gerald turns toward the papers, then wheels back toward

Sanford, stabbing him in the chest with the pen.

Sanford drops into a chair, Gerald leaning over him.

GERALD
I told you not to follow me. I told you we were done. I told you what would happen.
You never listen. If only youd listen.

Sanford reaches up and tenderly touches Geralds face.

Sanfords arm drops to the table.

Sanford is dead.

Gerald leans in and embraces Sanfords body.

A moment.

Gerald pulls the pen out of Sanfords chest and rises.

Gerald turns to the paper.

 8.

Gerald flips the pages.

Gerald signs.

Gerald sets down the pen.

Gerald folds the papers, and puts them in his jacket pocket.

Gerald closes his laptop, and straightens some papers.

Gerald touches Sanfords face.

Thunder.

Gerald exits.
 9.

#2 - QUESTION THE JOURNEY

HALSEY, a young man, stands on the wooden deck of a

ship, staring starboard. He clutches himself as he shivers,
trying to warm himself up.

PRITCHARD, a man in his 30s, dressed warmly, enters

from aft.

PRITCHARD
Have you no sense, Halsey?

HALSEY
Whats that?

PRITCHARD
Wheres your jacket, man?

HALSEY
Pritchard?

PRITCHARD
Who else?

HALSEY
Didnt you steal it?

PRITCHARD
Why would I steal your jacket?

HALSEY
How would I know?

PRITCHARD
Was it not on the peg?

HALSEY
If it were on the peg, wouldnt I be wearing it?

PRITCHARD
Wouldnt it be a fool like you to not wear your jacket?

HALSEY
I want pneumonia, you think?
 10.

PRITCHARD
Are there better ways of getting off a this ship?

HALSEY
Why would I want off?

PRITCHARD
Arent ya afraid of it?

HALSEY
Of what?

PRITCHARD
Dont you know?

HALSEY
Know what?

PRITCHARD
Did you not hear the stories?

HALSEY
Hasnt everyone heard the stories?

PRITCHARD
Have you told anyone?

HALSEY
Havent you?

PRITCHARD
Why would I do that?

HALSEY
Dont you like to impress the ladies?

PRITCHARD
You think those stories impress the ladies?

HALSEY
Have you never...?

PRITCHARD
What?
 11.

HALSEY
Have you never... questioned... this journey?

PRITCHARD
The journey?

HALSEY
Never?

PRITCHARD
What good would it do, a man like me, questioning the journey?

HALSEY
A man like you?

PRITCHARD
To question him?

HALSEY
What is he, more than a man?
(beat)
He cant be swayed?

PRITCHARD
You ever seem him swayed?

HALSEY
Im only on board five months, arent I? What have I seen?

PRITCHARD
Not enough? Or too much?

HALSEY
How would I have seen too much in five months?

PRITCHARD
How is five months of sea and sky and skirmish not enough?

HALSEY
How much more is there?

PRITCHARD
How much can a mans eyes hold?
 12.

HALSEY
I wouldnt know yet, would I?

Halsey stamps his feet - to keep warm.

PRITCHARD
Cold enough now?

HALSEY
How long before a lose my fingers in this cold?

PRITCHARD
Still feel em?

HALSEY
Is numb still feeling em?

Halsey sees something off the starboard side of the ship.

PRITCHARD
Want your jacket?

HALSEY
Hm?

PRITCHARD
And gloves?

HALSEY
Whats that?

PRITCHARD
Did ya hear me ask if you want your jacket and gloves?

HALSEY
Do you see that?

PRITCHARD
See what?

HALSEY
Have you seen something like that before?

Pritchard crosses to the side of the ship.

 13.

PRITCHARD
Ive seen it all, you think?
(looks)
Is that...?

HALSEY
The hell is that?

PRITCHARD
The hell?

HALSEY
What?

PRITCHARD
Hells this cold, you think?

HALSEY
Did I say that?
(looks)
What should we do?

PRITCHARD
(calls)
Captain?

HALSEY
Youre calling him?

PRITCHARD
Doesnt he need to see this?

HALSEY
What is it?

PRITCHARD
You sure you want to know?

HALSEY
I asked, didnt I?

PRITCHARD
Captain didnt tell you?
 14.

HALSEY
Tell me what?
(beat)
Tell me what?

PRITCHARD
You heard what he said when we left harbor?

HALSEY
Whatd he say?

PRITCHARD
If you didnt hear it, who am I to tell you?

HALSEY
Why cant you say it?

PRITCHARD
Youve heard of Isle of Artemis?

HALSEY
The one she raised from the sea?

PRITCHARD
Is there another?

HALSEY
What about it?

PRITCHARD
Youve heard of the ghost ship of...?

HALSEY
The ghost ship of the Isle of Artemis?

PRITCHARD
Is there another?

HALSEY
Is that what were after? Is he mad?

PRITCHARD
Youve known him to be anything but mad?
 15.

HALSEY
But THIS mad?

PRITCHARD
This is the top of madness you think?

HALSEY
How much further does it go?

PRITCHARD
Only madmen take a journey like this?

HALSEY
Who else?

PRITCHARD
How are you here?

HALSEY
How did I even come aboard this ship?

PRITCHARD
Came aboard all the same, didnt ya?

HALSEY
And that thing out there...?

PRITCHARD
Is it a ship?

HALSEY
Can I see through this fog?

PRITCHARD
It flies a flag?

HALSEY
If I cant see a ship, how can I see a flag?

PRITCHARD
You feel that chill?

HALSEY
Over the regular chill?
 16.

PRITCHARD
Smell that?

HALSEY
The rot?

PRITCHARD
Rot? Like old flesh?

Halsey turns sharply to Pritchard.

HALSEY
Youve smelt that before, havent you?

PRITCHARD
Did I say that?

HALSEY
Youve seen it?

PRITCHARD
You think Ive only seen it?

HALSEY
Is this why you came?

PRITCHARD
What do you think of me?

HALSEY
Think of you?

Pritchard takes off his jacket.

He hands is to Halsey.

HALSEY (CONTD)
Whats this?

PRITCHARD
You want it or no?

HALSEY
Dont you need it?
 17.

PRITCHARD
You feel that chill?

HALSEY
You dont?

Pritchard pushes the jacket onto Halsey. He steps toward

the edge.

HALSEY (CONTD)
Whatll I tell the captain?

PRITCHARD
What do you think he doesnt know?

HALSEY
What if he questions me?

PRITCHARD
About what?

HALSEY
Where youve gone?

Pritchard looks at Halsey a moment.

PRITCHARD
Theres no question.

Pritchard steps off of the ship.

Halsey puts on the jacket.

He takes off his hat.

HALSEY
No question.

Lights down.

End.
 18.

#3 - TEA AND THRILLER

JULIETTE carries a tea tray. She sets it on the table next to

ANDREW. He is engrossed in reading a book.

JULIETTE
Tea, dear.

ANDREW
Hm?

JULIETTE
Tea.

ANDREW
Time for tea, already.

JULIETTE
It is.

He looks at it a moment.

ANDREW
I dont believe I will.

JULIETTE
Whats that dear?

ANDREW
I dont believe I will. Have tea. At the moment.

JULIETTE
You wont.

ANDREW
Not just now. Im very much into this book at the moment.

JULIETTE
You can sip and read.

ANDREW
Of course I can. I prefer not to. At the moment.
 19.

JULIETTE
You always said you liked my tea.

ANDREW
Of course I do. I said no such thing.

JULIETTE
But you dont want it.

ANDREW
At the moment, my darling. I will. In due course.

JULIETTE
I didnt even want any.

ANDREW
Whats that?

JULIETTE
Tea. I didnt want any.

ANDREW
Didnt you.

JULIETTE
I made it for you.

Andrew gently closes the book, and looks to her, kindly.

ANDREW
My darling, I believe Im ready for that tea, now.

JULIETTE
Are you.

ANDREW
Of course.

JULIETTE
You were reading.

ANDREW
And I will again. Now how about that tea.

JULIETTE
I made it for you.
 20.

ANDREW
And you have my many thanks.

JULIETTE
Ill pour it then?

ANDREW
Please do.

She pours.

JULIETTE
I did make it just for you.

ANDREW
I know you did.
(coyly)
Its poisoned, then, is it?

JULIETTE
(also coy)
Of course it is.

ANDREW
You know if Im killed by poison, you wont get a red cent from my estate.

She hands him the tea.

JULIETTE
I was there when you wrote that into the will, dear. Right there. By your side.

ANDREW
Was practically your idea, wasnt it?

JULIETTE
Was it? I dont recall it that way.

ANDREW
You dont?

Andrew blows on the tea.

JULIETTE
No. I remember it being all your own idea.
 21.

ANDREW
Of course, now-a-days, there are so very many poisons that are virtually undetectable.

JULIETTE
Are there?

ANDREW
Indeed.

JULIETTE
Undetectable?

ANDREW
Quite.

JULIETTE
If they know these undetectable poisons exist, how can they not detect them?

ANDREW
Very valid question.

JULIETTE
Thank you, dear.

ANDREW
My pleasure.

Andrew sips the tea.

A moment.

JULIETTE
What do you think?

ANDREW
Lovely.

JULIETTE
Do you... detect anything?

ANDREW
An undetectable poison, you mean?

JULIETTE
Perhaps.
 22.

ANDREW
No. But Im not the detective type.

JULIETTE
Nothing to worry about, then.

ANDREW
I wasnt worried.

He sips some more.

JULIETTE
So whats it about?

ANDREW
Hm?

JULIETTE
The book.

ANDREW
Oh, nothing. A fiction. Rubbish probably, but its hooked me.

JULIETTE
Has it. Whats it about?

ANDREW
About?

JULIETTE
The story.

ANDREW
Oh silly little thing.

JULIETTE
A mystery? Adventure?

ANDREW
Thriller.

JULIETTE
Horror.

ANDREW
If you like. Not much blood. Well, yet.
 23.

JULIETTE
Whos it about?

ANDREW
A man. Wants to kill his wife, apparently.

JULIETTE
Oh my.

ANDREW
Indeed.

JULIETTE
Hows he going to do it?

ANDREW
Well, I dont know yet.

JULIETTE
Poison maybe.

ANDREW
I think hes ruled that out.

Sips tea.

JULIETTE
Stabbing, maybe.

ANDREW
Could be.

JULIETTE
Does he have a gun?

ANDREW
Not so far.

JULIETTE
But you can get those anytime you like.

ANDREW
In a book.

Sips again.
 24.

JULIETTE
Well, I do hope he finds some unusual way to do it.

ANDREW
Whys that?

JULIETTE
It would make for a better story.

ANDREW
I suppose it would.

JULIETTE
Wouldnt it?

ANDREW
I agreed with you.

Andrew puts the tea cup back.

JULIETTE
Need any more?

ANDREW
I suppose I should get back to my book.

JULIETTE
If youre going to find out how to murder a wife.

ANDREW
At least how he does it.

JULIETTE
Right.

Juliette picks up the tray.

ANDREW
My dear.

JULIETTE
Yes?

ANDREW
Thank you again. For the tea.
 25.

JULIETTE
My pleasure, dear.

ANDREW
Thank you.

She is almost gone.

JULIETTE
Yes.

ANDREW
Goodbye, dear.

JULIETTE
Good night.

ANDREW
Dont wait up for me.

JULIETTE
I wont.

She exits.

He reads.

Lights down.

End.
 26.

#4 - FREE FROM THE MASTERS OF WAR

Rubble. Like a city block has been bombed.

A child emerges from the rubble, carrying an average semi-

automatic weapon.

CHILD
Yesterday seems long ago to me. So much has happened in that time.
My father died when I was young. Fell ill in the night, and by morning, he was a spirit.
But we couldnt pay for someone to take his body away. For days it took up one room of
our two room home, the rest of us huddled together in the heat and the sweat.
He would not like to see what has happened here. I dont think he would understand.
I dont know if I understand.
One day, men came from the next town, telling us to leave. Screaming, shouting. Warning.
The Masters of War are coming, they said.
Ive only seen one comic book in my life, but these Masters of War sounded like they
might be super heros. I pictured bright colored costumes, and capes. Striking heroic
poses, and standing for what was right, and true. Thats what I pictured.
These men, the men who came after the men who warned us; those men were not what I
pictured. Their costumes were not bright colors. They wore no capes. The struck no
heroic poses.
Mother had kept us home from school, so we were home mid-morning. Thats when the
wall of our home exploded in sound and fire. My left ear, I still hear it ringing.
In came a man. A master of war, I thought. He held one of these. I had seen one on the
television down the street once, when I had snuck out after mother was asleep. Im sure
Ive seen others before, I must have never noticed. Now I see them all the time.
The man who was in my home, he yelled at my mother and at me and my brother. I
couldnt hear him for all the ringing. He was mad. He shot my mother when she wouldnt
do something. My brother hit him with a chair. The man was on the ground and dropped
his gun. My brother took it and shot him in the face. Then my brother ran away. Left me
in the room with my mother, the man, and the gun. It was the room where my fathers
body had lain for days. I think I might have cried. I dont remember.
At night, a man from my town came through the hole in the wall. I could hear better
because the ringing was smaller. He told me to come with him, and to bring the gun. So I
did.
He was a nice man. Gave me some food. Told me where I could sleep. He let me keep
this. So I have it with me when the Masters returned. Taught me how to use it. Where to
shoot them so they cant hurt anyone ever again. Make them dead. So I have it with me all
the time now. Right next to me. Like its my brother. Instead of my brother. Its heavy. I
dont like carrying it. I dont like having to carry it.

Sometimes I get scared. When it gets real quiet.

(MORE)
 27.

CHILD (CONT'D)
Sometimes at night, but sometimes in the day. When the ringing gets small, and I feel like I
should be able to hear something, but I dont.
I hope someday my brother will come home. But Im not at home, so maybe hes there
hoping I come home. I dont care about home so much anymore. But Id like to be with
my brother. Id like that.
And Id like... Id like for the Masters of War... that theyd not like War so much any more.
I dont want to shoot them anymore. I dont want them to shoot my family or blow up my
walls any more.
You know what I think.
I dont think theyre Masters of War at all.
I think, sometimes, that they... suffer from war, too.
That maybe they dont like carrying this around the way I dont like carrying it around.
That were all being made to carry them around.

But then I wonder, if they arent the Masters, then someone else might be. And who is
that? And how do we... me... and them... how do we get free?

The child crawls back into the rubble.

Carrying the weapon.

End.
 28.

#5 - DESIGNATION

A metallic structure - could be underground, definitely

industrial. Steam.

Crawling along the floor is a figure, long unkempt hair,

and filthy rags for clothes. This is IDIDA. She stops for
a moment, and listens. She ducks back behind some
machinery, partially hidden.

We hear heavy footsteps. Boots on metal. Through the

steam, we hear a male voice. It is PASTOR.

PASTOR
(offstage)
Idida.

Idida scrambles to a better hiding spot.

Pastor emerges through the steam. He is in military

uniform, with automatic weapon in hand.

PASTOR (CONTD)
You cant stay here Idida. You know its time.
(beat)
You know about the designation.

A movement behind Pastor through the steam. He reacts

instinctively drawing his weapon up.

PASTOR (CONTD)
I dont want to do this, Idida. Lets not do this. We can just go and save ourselves a lot of
trouble.

IDIDA
(offstage)
Ourselves.

PASTOR
You know what were doing here.

IDIDA
(offstage)
You cant.
 29.

PASTOR
We can. Its happening now. You were informed.

IDIDA
(offstage)
I mean you. You cant. Not them. They could. But not you.

PASTOR
I had to beg the commander to let me come get you.

IDIDA
(offstage)
You fool.

PASTOR
Idida.

Idida steps forward through the steam. She is high above

Pastors head.

IDIDA
I wont go.

PASTOR
Youve said.

IDIDA
You shouldnt have come.

PASTOR
I had to.

IDIDA
Theres nothing you can do here.

PASTOR
Come talk to me.

IDIDA
You want to reason with me.

PASTOR
I know I cant do that.
 30.

IDIDA
You should go. Now.

PASTOR
I know I cant do that.

Idida jumps down onto Pastor, knocking him to the

ground. She rolls across the floor.

Pastor scrambles to his knees.

IDIDA
Stand.

He does.

PASTOR
This wont end well for you. For either of us.

IDIDA
It has already ended. We have arrived. Now is just to complete the journey.

Pastor raises his weapon.

PASTOR
You know it is time. The designation.

IDIDA
The designation. I have made no designation. I respect no designation. There is no time.
There is only now.

PASTOR
Dont make me do this.

IDIDA
No one makes you do anything. Youre a man, standing in a place, with a gun, pointing it
at me.

Idida steps directly to Pastor, puts the end of his weapon at

the center of her chest.

PASTOR
The designation.
 31.

IDIDA
Is nothing to me.

PASTOR
You have been designated.

She reaches up toward his face to quiet him. If she cant

reach his lips she hold up her finger as if she can.

IDIDA
Sh.
(a moment)
Perhaps you are the one.

PASTOR
What?

IDIDA
The designation. Someone decides. Someone names. Who? Who is this someone.
Neither you or I. And who are they to decide for us. To designate us.

PASTOR
You must come with me.

IDIDA
I could never.

Pastors radio crackles to life.

VOICE
Pastor. Are you there. Do you have the designation.
(beat)
Repeat. Do you have the designation.

A moment.

IDIDA
Do you?

VOICE
Pastor. Respond.
(beat)
Initiating lost sequence.
 32.

A light on Pastors gear begins to flash.

They both look at the flashing light.

Idida turns to run.

Pastor grabs her arm, drops his weapon to the side and
wrestles Idida to the ground.

IDIDA
Let me go.

VOICE
Pastor. Lost sequence initiated. Do you copy? If we dont hear from you, you will have 10
seconds from my mark before detonation.

PASTOR
What should I tell him?

IDIDA
I will not bend to their will.

A moment.

VOICE
10 seconds. Mark.

PASTOR
Idida.

IDIDA
Designation. Assigned for a special use and purpose. Set aside. I am no ones designation.

Pastor grabs his radio.

PASTOR
Commander, this is Pastor. Over.

VOICE
Pastor. Thought wed lost you. Do you have the designation?

Beat.

Pastor releases Idida, slowly.

 33.

PASTOR
Designate. Negative. Designate must have fled the location. Over.

Idida sits up and looks at Pastor.

VOICE
I shouldnt have sent you in alone. Gave her the chance to run.

Idida reaches for his face. She touches his cheek.

PASTOR
Thats my responsibility, sir. I take full blame. Over.

Pastor brushes the hair out of her face.

VOICE
Yes you do. Get back out here now.

Idida places her forehead on Pastors.

PASTOR
Yes sir.

VOICE
Double time.

Idida rises.

PASTOR
Double time. Copy.

Idida runs off into the steam.

Pastor sits on the floor.

End.
 34.

#6 - KISS ON THE CHEEK

GRANT and EMMA are in a living room. They are

middle aged, and their home is comfortable.

Grant sits on the sofa with his head in his hands. He is

wearing an overcoat on top of relaxed clothing.

Emma sits on the opposing arm of the same couch. She is

in a housecoat and slippers.

EMMA
I think we should tell her.
(beat)
When I was seven I had a sweet faced doll baby of a neighbor boy. He would come
around my house every day after school, asking my mother if he and I could play. Not
now, she would always say. There would always be some reason, something, I was to help
make supper, I was doing homework, my grandmother was visiting - even though my
grandmother had passed when I was five. She lied to that boy every day. Every day after
school. I never had the courage to ask her why she would lie to him so boldly. I swear,
even for an innocent boy of seven he knew. He knew my mother was lying to his face.
Sometimes I would sneak over to the railing at the top of the stairs and watch her lie to him.
If I didnt know better, I would say that the look on his face was less disappointment or
frustration than it was of... well... pity. Sorry for my poor mother who lied so abysmally.
I wish I knew why she lied. I would see him sometimes around the neighborhood if we
were both out riding our bicycles or just running around the vacant lot with some friends.
We wouldnt speak very much, but I would usually kiss him on the cheek every time I
would leave. Didnt matter if his friends or my friends or no one was around. A quick
kiss on the cheek. Harmless. Until hed come to my door, only for my mother to lie to
him again.
(beat)
She is a decent person, after all. She doesnt deserve this.

GRANT
You know I cant do that.

EMMA
What, tell her.

GRANT
Of course not.
 35.

EMMA
I can.

GRANT
Certainly not.

EMMA
Why not?

GRANT
She hasnt the faintest idea who you are.

EMMA
Are you sure?

Grant stands and crosses away.

GRANT
Trust me.

EMMA
Youre awfully certain.

GRANT
Youre insinuating something.

EMMA
Perhaps I am.

GRANT
Have you spoken to her?

EMMA
No.

GRANT
No.

EMMA
I dont believe so. Not on purpose. But I think youre underestimating--

GRANT
Womens intuition.

EMMA
Well...
 36.

GRANT
If it were you, youd know?

EMMA
I didnt say that.

GRANT
But you believe it.

EMMA
I do.

GRANT
Last April.

EMMA
Why would you want to bring that up at this particular moment?

GRANT
You didnt--

EMMA
Youre making me angry when Im trying to be on your side.

GRANT
Im making you angry.

EMMA
Yes.

GRANT
Im not.

EMMA
You are.

GRANT
You are getting angry. Im not making you do anything.

EMMA
You brought up last April.

GRANT
Only to make a point.
 37.

EMMA
And what is your point?

GRANT
You didnt know. You wouldnt necessarily know. She doesnt know.

EMMA
Fine.

GRANT
You dont actually know her, remember? I know her. Ive known her for 15 years. I
know that she doesnt know.

EMMA
What makes you so sure?

GRANT
If she knew, this would already all be over.

EMMA
This would?

GRANT
This. Us. Here. This moment. Over.

Grant paces away.

Emma crosses to where Grant had been sitting and sits

there. She takes out her phone and scrolls.

EMMA
Are you ok?

GRANT
What?

EMMA
Are you ok?

GRANT
What do you mean? What are you talking about?

EMMA
Its a simple question. Im worried about you.
 38.

GRANT
You dont seem worried.

EMMA
How should I seem worried? Im worried, so I asked. Never mind.

GRANT
Ill never understand--- what are you talking about?

EMMA
All I did was ask a simple question, Grant. Youre upset. I can tell. and Im asking if you
are ok. That was it. It doesnt have to be an inquisition.

A moment.

Emma types into her phone.

GRANT
And what would you do?

EMMA
What.

GRANT
If I wasnt ok. What would you... do?

EMMA
Well, if you were ok, then all would be fine, wouldnt it? I wouldnt need to do anything.

GRANT
I said if I wasnt.

EMMA
If you wasnt.

GRANT
Werent.

EMMA
If you werent ok. If you were not ok. I wouldnt have to do this.

Emma clicks her phone.

She tosses it onto a table.

 39.

GRANT
What was that.

EMMA
I sent her a text.

GRANT
You did what.

EMMA
I sent her a text, Grant.

GRANT
Wha... why...

EMMA
Because Im a decent person. Im not going to do this to her any more.

Grant picks up her phone.

GRANT
Unlock it.

EMMA
No.

GRANT
Unlock it. I want to see what you sent.

EMMA
I told her about us.

GRANT
Told her what. Unlock your phone so I can see what you sent.

EMMA
No.

Grant throws the phone upstage.

EMMA (CONTD)
Now you really arent going to know what I told her.

Grant fumes.
 40.

GRANT
Im leaving.

EMMA
Grant...

GRANT
Emma...

EMMA
Youre going to her?

GRANT
I am.

EMMA
Shes a decent person. She wont want anything to do with you.

Emma stands.

GRANT
Why did you do that?

EMMA
Oh, my dear...

She steps right up to him.

GRANT
Stop.

She touches the buttons on his shirt.

EMMA
You dont want me to stop.

GRANT
I do. Stop.

She tries to untuck his shirt.

EMMA
But, honey...
 41.

He brushes her hands away.

GRANT
Knock it off!

Emma looks at him for a moment.

She smiles as an idea comes to her.

Emma drops back onto the sofa, looks at him and starts to
cry.

EMMA
How could you?

GRANT
How could I what?

Emma scoots back across the sofa away from him.

EMMA
(obviously rehearsing)
Well, officer. First he looked at me with this crazy look on his face. He told me he was
married - I swear I had no idea. He took my phone from me and threw it across the room,
then he smacked my arms and I fell back onto... the sofa... and... and... he... he...heeeee...

She bursts in to crocodile tears.

GRANT
You wouldnt.

EMMA
(immediately stops crying)
Try me.

GRANT
You sent her a text, Emma.
(imitates her)
I swear I had no idea, officer.
(normal)
Give me a break.

He steps away from her.

 42.

EMMA
Did I send her a text?

He stops. A moment.

GRANT
Im leaving.

EMMA
Youll be back.

A moment.

Grant exits.

Emma wipes tears from her face.

EMMA (CONTD)
A quick kiss on the cheek. Every time Id leave. Every time.

Lights down.

End.
 43.

#7 - JACK TEACHES BILL THE TRUE MEANING OF SAND

Lights up.

A man is on a chair, holding his body horizontally.

Lets call him Bill.

Bill should hold this position as long as he possibly can,

and well just wait. When he can almost hold no longer...

BILL
I
believe
that
time
is
a
rigid
object
a
steady
force
over
which
even
nature
has
no
control

Bill collapses to the floor.

Lights change significantly.

Time has stopped.

Bill slowly peels himself up from the floor, in a very

unnatural manner. Perhaps as if pulled up by a string
connected to the back of his pants.

The sound of bottles clanging together.

 44.

Enter a man. Lets say its Jack.

Jack carries a number of glass bottles - no less than ten -

that are connected together in pairs by short bits of rope.
He carries the ropes over his shoulders. But he probably
has to walk carefully, or the bottles will break. The bottles
are filled with sand.

Jack arrives upstage of Bill, and stands on the chair.

JACK
These are Times sands. I have stolen them from the grand hourglass. They no longer
pass through the narrow way from the forthcoming to the already gone. Times sands are
now mine to dispense.

Jack holds the ropes up as high as he can and holds them.

BILL
I dont believe you.

JACK
Can you not see?

BILL
I see you hold bottles of sand.

JACK
I do.

BILL
These cannot have belonged to Time.

JACK
I have stolen them.

BILL
You cannot steal sand from Time.

JACK
I hold them in my hand.

BILL
You lie.
 45.

Bill crosses toward where Jack entered.

JACK
Hold.
(Bill does)
What would it take for you to believe?

BILL
What would it take?

JACK
How may it be proven to you?

BILL
It is not possible.

JACK
Not possible.

BILL
No.

Jack sets the bottles on the ground.

JACK
A wager.

BILL
You have nothing I desire.

JACK
I believe I do.

BILL
I have nothing to wager.

JACK
You have arms.

BILL
I do.

JACK
Your arms then. If I win, then you will carry my sands.
 46.

BILL
I thought they were Times.

JACK
(smiles)
Did you.

BILL
No.

Jack extends his hand.

JACK
Then we wager.

Bill looks at it a moment.

They are far apart, and must reach very far to grasp hands.

They do so very slowly.

When they grasp hands, the lights change sharply.

Bill and Jack rotate in a circle around their grasped hands,

switching places on stage.

A large circular object is wheeled on, far upstage. Several

small circles descend from above.

As the objects enter, Bill returns to the floor by the chair.

Jack removes the ropes from the bottles during the

following speech.

BILL
Day
(MORE)
 47.

BILL (CONT'D)
and
night

are
distinct
portions

that
combine

to
measure
time

distinct
portions
poured
into
a
glass
bottle
one
after
another

Bill falls upward into the chair - into a seated position.

Jack places the ropes on Bill.

JACK
Now is the lesson.

BILL
The lesson.

JACK
In Time.

Jack begins to place the bottles around Bill.

BILL
Just in time.
 48.

JACK
Never.

BILL
Just out of time.

JACK
Not exactly.
(beat)
Neither in nor out.

BILL
Just time.

JACK
More like.
(finishes placing bottles)
There.
(beat)
But also not time at all.

BILL
Not time.

JACK
Indeed no.

BILL
Then what.

JACK
Sand.

BILL
A lesson in sand will teach me of time.

JACK
Now is the lesson. There is no time. There is only sand.

BILL
But now is a time. And now is the lesson.

JACK
Now already was the lesson.
 49.

BILL
Then what is to come.

JACK
There is none.

BILL
There is time. For we are now. We have time. Now.

Jack indicates the bottles. He crosses away.

JACK
Then these are yours.
(beat)
Take them.

Bill cant move because of the ropes. But he tries.

BILL
The ropes.

JACK
They are not time.

BILL
But the sand.

JACK
Yes?

BILL
Is the sand time?

JACK
Is it?

BILL
Give it to me.

JACK
The sand?

BILL
Time.
 50.

JACK
I have sand.

Bill stares at Jack a moment.

Jack moves to the bottles, picks one up and pours it on

Bill.

BILL
Another.

Jack complies.

BILL (CONTD)
Another.

Jack complies.

This happens over and over until Jack picks up the last
bottle.

BILL (CONTD)
Another.

JACK
This is all I have left. The last of the sand.

BILL
Youve run out.

JACK
We both have.

BILL
Another.

Jack complies.

JACK
You have taken all of my... sand.

Jack exits, leaving the bottles.

After a moment, Bill rises with ease.

He stands on the chair.

 51.

Lights shift to just a down light on Bill.

BILL
Time

is
sand

is
time

is
sand

is
poured
over us

from
an
endless
bottle

from
the
to
come

into
the
gone
by

and
grows
with
passing
time

into
sand
 52.

Bill shakes his head so that sand flies off of him like dust.

Instantly, the lights black out.

The end.
 53.

#8 - THE PARTY GUEST

A well-appointed living room. There are several trays of

food and groupings of glasses of drink around the room,
as if a party were imminent.

The doorbell rings.

A woman enters with a tray. Her name is PATRICIA.

PATRICIA
(calling)
Reg! Theyre here. Its time. Come here please. Youll need to greet our guests.

She sets down the tray.

She brushes herself off and fixes her hair.

PATRICIA (CONTD)
Reginald!

The doorbell rings again.

PATRICIA (CONTD)
(under her breath)
Foolish man. Told him 7 p.m. for a week, and he cant remember to--

Doorbell.

PATRICIA (CONTD)
Coming!

Patricia reaches the door and opens it.

Outside the door stands a very rough looking man. His

clothes might not have been a bad choice for a party such
as this, but he might have slept in the gutter for a few
nights. His name is ARCHIE.

A silent moment passes.

PATRICIA (CONTD)
Who are... Im sorry, but who the hell are you?
 54.

ARCHIE
Mmm... My name is... Archie.

PATRICIA
Archie? Well who are you, Archie?

ARCHIE
Im Archie.

PATRICIA
So you said.
(shouting)
Reggie!

ARCHIE
I... um... well... I was told...

PATRICIA
Im sorry. We have a party starting in a few moments, of invited guests only.

ARCHIE
Yes, I know.

PATRICIA
You know.

ARCHIE
I was told...

PATRICIA
You were told? By whom were you told?

ARCHIE
Well, maam. Thats hard to explain...

PATRICIA
I dont have time for this, Mr...

ARCHIE
Archie.

PATRICIA
Yes, you must go now.

ARCHIE
Oh, no. Maam. I have to stay.
 55.

REGINALD enters.

PATRICIA
Please dont make me be rude, sir. But you really must go. If youre looking for a
handout, we have none for the likes of you.

REGINALD
Patricia, who is that at the door? Is it Janet and Steve?

PATRICIA
No, dear. Hes just leaving.

REGINALD
Who?

ARCHIE
Im not leaving.

PATRICIA
Please do not test me. I will call the police.

REGINALD
The police? What is happening?

PATRICIA
This man has arrived uninvited and says he will not leave.

ARCHIE
Im supposed to come here. I was told to come here.

REGINALD
Who told you to come here?

PATRICIA
He wont say.

REGINALD
Wont say? What is this, now?

PATRICIA
You stay with him, I will call the police.

Patricia storms out.

Reginald comes to the door, and sees Archie for the first
time.
 56.

REGINALD
My god.

ARCHIE
I was told to come.

REGINALD
I know.

ARCHIE
You do?

REGINALD
I was told you were coming.

ARCHIE
Thank god.

REGINALD
But not today, and I was not told that youd be in such a state.

ARCHIE
Ive been on the road. The side of the road.

REGINALD
You dont say.

ARCHIE
I was told to come. I dont mean to be a bother.

REGINALD
I doubt you do. Come inside, before Patricia returns.

Archie comes in. Reginald closes the door.

ARCHIE
She doesnt know.

REGINALD
Of course not. I was told. Why would she be told as well.

ARCHIE
So she wouldnt be upset.
 57.

REGINALD
She doesnt mind you being here, she minds you being in such a state.

ARCHIE
Are you sure?

REGINALD
We have guests coming.

ARCHIE
You were expecting someone.

REGINALD
Many. Our friends.

ARCHIE
But theyre not here.

REGINALD
Theyre due to arrive soon.

ARCHIE
And I would put them off.

REGINALD
Youre not exactly what anyone would have in mind as a party guest.

ARCHIE
I could wash up.

REGINALD
That couldnt possibly be completed in the time we have.
(takes off his jacket)
Here, wear this.

ARCHIE
Are you sure?

REGINALD
What choice have I?

Archie puts it on.

ARCHIE
What will you wear now?
 58.

REGINALD
Ill go upstairs and get another.

ARCHIE
You have two.

REGINALD
Almost identical.
(grabs a hat)
And wear this hat.

ARCHIE
Is this what you were told to do with me?

REGINALD
I was only told you were coming. I can help you tomorrow. Really I can.

ARCHIE
I could just stay out of sight. Upstairs? Or in a back bedroom or something?

REGINALD
Dont be foolish. I dont want to hide you. Now, wear this hat.

Archie puts on the hat.

ARCHIE
Its too small.

REGINALD
I didnt make it.
(beat)
Im going upstairs to get my other jacket. Just stay here and cause no trouble.

Reginald leaves.

Archie looks around the room, and begins to stroll. He

notices a plate of food. He picks up some, but notices that
the plate is now uneven. He shifts several things around,
and finally eats another one to keep the plate balanced.

Archie drinks a glass. He drains it straight away. He puts

it back, but notices that the empty is obvious. He grabs the
glass again and looks for a place to hide it. He puts it in a
drawer.
 59.

Archie hears a noise, it is Patricia returning. He scoots to

the corner. When she walks in, she does not see him.

PATRICIA
Reginald! Reg--
(she spots Archie in the corner)
There you are darling. I cant thank you enough for getting rid of that awful man.

ARCHIE
Mm..

PATRICIA
He would have ruined our party. And we cant afford to have that happen.

ARCHIE
Mm.

PATRICIA
All these uninvited guests, Reg. Really, if its not some person off the street, its someone
from miles away, overseas or what not - coming to the door at all hours. Its just not
dignified. I dont care who tells you theyre coming, its just not reasonable for you to
expect me to play hostess to people like...

Archie turns around and removes the hat. Patricia finally

sees him.

ARCHIE
Hello.

PATRICIA
WAAAAHHHH!

Patricia runs to the other side of the room, screaming.

Reginald comes running in from upstairs, holding a small

jacket.

REGINALD
Patricia! Whats going on?
(to Archie)
What have you done?

PATRICIA
What is HE doing in my home?
 60.

REGINALD
Dear...

ARCHIE
He invited me in.

PATRICIA
You did WHAT.

REGINALD
Thats not exactly... um... How it happened.

PATRICIA
How did it happen, then? He forced his way in, stole your jacket and your hat and then
promptly hid in the corner.

REGINALD
Ok, I invited him in.

PATRICIA
Reginald.

REGINALD
I was told he was coming.

PATRICIA
I dont care.

REGINALD
I didnt know it would be tonight.

PATRICIA
But here he is. and what are we supposed to do when the guests....

The doorbell rings.

Lights down.
 61.

#9 - THERE FOR YOU

It is fall.

A home in the woods with large windows and a seating

area around a fireplace.

Trevor enters the room. He carries a glass of wine and a

photo album. He sits by the fireplace.

Trevor takes a drink, places the glass down, and opens the
album.

He takes out a photo, looks at it a moment, then puts it in

the fire.

He takes out another photo, looks at it a moment, then puts

it in the fire.

He takes out another photo, looks at it a moment, then puts

it into the fire.

A figure appears. It is Bethany.

BETHANY
I told you that I would be there for you.

Trevor takes out another photo, looks at it a moment, then

puts it into the fire.

BETHANY (CONTD)
Did you not believe me?

Trevor takes out another photo.

BETHANY (CONTD)
Trevor.

Trevor looks at Bethany. He holds up the picture to cover

her face.

TREVOR
You look exactly like you do in these pictures.
(a moment)
Of course you do.
 62.

Trevor puts the picture in the fire.

BETHANY
I made a promise.

TREVOR
Dont I know it.

BETHANY
Im sorry...

TREVOR
Dont.

BETHANY
Im sorry you think I have let you down.

TREVOR
Havent you?

BETHANY
Im here, arent I?

TREVOR
Hardly the same, my dear. Hardly the same.

Trevor takes out another photo, looks at it for a moment,

then puts it into the fire.

BETHANY
I know youre curious.

TREVOR
Thats the last thing I am.

BETHANY
I am here, Trevor. Dont think Im not.

TREVOR
Youre not here. I know that youre not.

BETHANY
Darling.

TREVOR
Told me this would happen.
 63.

BETHANY
Who?

TREVOR
Morris. Said it happened after Judith. 2 weeks to the day. Spot on. Ill have to remember
to tell him.

BETHANY
Dont be that way. I am here. Your Bethany. Here. With you. For you. I am here.

Trevor takes a drink.

TREVOR
You are absolutely not, my darling. You are gone.

Trevor stands.

BETHANY
I dont understand.

TREVOR
I know you dont understand. Youre gone, you see. In fact, you are not you. You are
not Bethany. Bethany is gone.

BETHANY
Dont say that to me.

TREVOR
Its the truth, Im sorry to say. You have died, my dear. Two weeks ago this very
evening. Funeral was held last week. St. Rochs. Buried by your mother. She would be
happy for that.

BETHANY
Would she?

TREVOR
You dont remember.

BETHANY
What do I not remember?

TREVOR
Your father, lost. His empty plot next to her. So, I used it for you.

BETHANY
You didnt use our plots?
 64.

TREVOR
Ours?

BETHANY
The ones that we bought.

TREVOR
We didnt buy any plots.
(beat)
You had asked me. I told you I had got them. I lied.

BETHANY
I knew.

TREVOR
You should be happy next to your mother.

BETHANY
I wont be next to you.

TREVOR
No.

BETHANY
I dont like that.

TREVOR
Well, that would be disappointing. But for the fact that you are not Bethany.

Trevor walks back to the fireplace. He takes a drink.

BETHANY
Will you erase me, then?

TREVOR
Erase you?

BETHANY
Destroy all my pictures. Sell my clothes, my belongings. Scratch me from the surface of
your life and Ill just be gone, then.

TREVOR
(smiles)
Is that what you came for?
 65.

BETHANY
What do you mean?

TREVOR
To shame me. Fill me with guilt.

BETHANY
Now, Trevor...

TREVOR
This is never something Bethany would have done.

BETHANY
Oh no?

TREVOR
Never. Youre not her.

Trevor sits and opens the album.

BETHANY
So Im not Bethany.

TREVOR
Of course not.

BETHANY
Why have I come?

TREVOR
To haunt me, dear.

BETHANY
I wouldnt do that.

TREVOR
And yet, here you are.

BETHANY
Im here because I promised you.

TREVOR
You promised you would haunt me?
 66.

BETHANY
No.

TREVOR
For how long will this go on.

BETHANY
A promise is a promise.

TREVOR
Forever then?

BETHANY
That was always the intention.

TREVOR
Fine.

BETHANY
Is it?

TREVOR
Have I a choice?

BETHANY
No, I suppose you dont.

Trevor, while looking at Bethany, takes a photo out of the

album, and puts it into the fire.

BETHANY (CONTD)
Please stop that.

TREVOR
Stop what.

BETHANY
Destroying me.

TREVOR
Destroy you? Why, youll be here forever, wont you?

BETHANY
Yes.
 67.

TREVOR
Then how would I destroy you?

BETHANY
It cant be done.
(a long moment)
I will always be there for you.

TREVOR
Im fully aware, darling. Fully aware.

Trevor takes a photo from the album, looks at it for a

moment, then puts it into the fire.

Bethany does not move.

Trevor takes a drink. He flips a page in the album.

Lights down.

End
 68.

#10 - SCENES FROM SAMSON PARK

A bench.

LEN stands far upstage with back to audience.

TIM sits.

MARLA enters.

MARLA
Tim.

TIM
Dont start.

MARLA
Im not here to--

TIM
Marla.

MARLA
What?

TIM
Dont start.

A moment.

MARLA
We have to start somewhere.

TIM
Not now.

MARLA
I want to make it better.

TIM
Thats not possible.

MARLA
I can.
 69.

TIM
You think you can. And I admire you for that.

MARLA
Thank you.

Marla goes to sit.

TIM
Dont sit down.

She does.

MARLA
My first day of classes...

TIM
Please dont.

MARLA
My first day of classes...

TIM
Why dont you listen to me?

MARLA
I was more nervous than Id ever been. I loved my high school. You know.

TIM
Valedictorian. Cheer team. Volleyball. Chorus.

MARLA
Thats right.

TIM
And you sold drugs out of your locker.

MARLA
I never did that.

TIM
You gave people drugs out of your locker.
 70.

MARLA
Were not talking about that. Im talking about Hildon.

TIM
Hail Hildon.

MARLA
Hail Hildon.
(beat)
First day of class. I was so nervous and I got lost in Millie.

TIM
Millies the worst.

MARLA
I know.

TIM
Tearing it down.

MARLA
I hadnt heard that.

TIM
Alumni magazine.

MARLA
When?

TIM
This last issue.

MARLA
When are they tearing down Millie?

TIM
I think its already gone. Putting in a new gym.

MARLA
A new gym? Instead of Millie? Where will the math classes be?

TIM
The gym I guess. Who cares.

MARLA
I dont know if Im happy, or mad, or sad.
 71.

TIM
Millies gone. Good riddance.

A moment. Marla tries to look him in the eye. He avoids

it.

MARLA
So its just over for you.
(beat)
Thats it?

TIM
You came all the way out here for nothing.

MARLA
For nothing.

A moment.

TIM
Yes.

MARLA
Im sorry to hear that.
(beat)
Dont you want to hear about my first day at Hildon?

TIM
I was there.

MARLA
Then you know what happened.

TIM
I guess I dont. I thought I did. But maybe I remembered it wrong.

MARLA
I could tell you.

TIM
Id still remember it wrong. It was a long time ago.

Marla reaches into her pocket and pulls out a ketchup

packet. Her smile grows as he slowly participates.
 72.

MARLA
Does this jog your memory?

TIM
Something about a hot dog. Or eggs?

MARLA
No.

TIM
Tater tots.

MARLA
I needed ketchup.

TIM
You refused to eat.

MARLA
I wasnt thinking clearly.

TIM
Then you ate and you were fine.

Marlas smile fades.

MARLA
Thats true. But then...

TIM
You finished classes and graduated. Then this morning happened. And now were on a
bench in Samson Park.

MARLA
On my wedding day.

TIM
Wedding date.

MARLA
It would have been nice, dont you think?

TIM
It usually rains this time of year. Youd have been lucky.
 73.

MARLA
I would have.

She places the ketchup packet on the bench.

Marla stands and crosses down.

Tim picks up the packet.

Len turns, runs, and jumps over the back of the bench.

LEN
Borchart!

TIM
Are you still doing that?

LEN
What? Its funny.

TIM
I did that to him six weeks ago.

LEN
Its a classic.

TIM
I was seriously trying to get his attention, and he kept sneaking away from me.

LEN
Hes such a doofus.

TIM
I needed the assignment from class.

LEN
Borchart!

Len laughs for a moment.

Tim stands.

TIM
I gotta get to work.
 74.

LEN
You have Thursdays off.

TIM
I picked up a shift.

LEN
I saw the schedule, man. I double checked before I clocked out.

TIM
I got... Some things I gotta do.

LEN
Like what?
(beat)
I mean, if youre gonna tell me lies, I expect them to be really good.
(beat)
If not believable, at least creative. Dinosaurs and what not.

TIM
Len.

LEN
Were going to Sharpers tonight.

TIM
Shes not going to be there.

LEN
Thats not why were going. Were not going for her. In fact, were specifically going for
not her. That is why we are going.

TIM
I dont want to go to Sharpers.

LEN
Well, Im not hanging out here in Samson Park at night, so we gotta go somewhere.

TIM
We dont.

LEN
Getting mugged is not as fun as it used to be.

TIM
When did you get mugged here?
 75.

LEN
Ive been mugged 5 times, man. Where have you been?

TIM
When?

LEN
The guy that stole my pizza. Happened right over there by the stairs.

TIM
Does someone stealing your pizza count as a mugging?

LEN
I had stuff, a dude comes up and takes my stuff. Classic mugging.

TIM
Except it was a pizza.

LEN
Frisbeed it down the stairs, stomped on it, picked it up and ran. At that point, I didnt
want it anymore.

TIM
Thats one.

LEN
Wallet twice. Once on the Fourth of July.

TIM
Fourth of July.

LEN
Fireworks distracted me.

TIM
Who steals a wallet on the Fourth of July?

LEN
If I knew, Tim, Id have my wallet back.

TIM
Thats three.

LEN
The guy with the gun.
 76.

TIM
What guy with the gun?

LEN
The one who mugged me.

TIM
Four.

LEN
Well, I mean, Ive never told anyone this, Tim...

TIM
What?

LEN
Do you believe... in extra terrestrials?

TIM
No.

Len nods as if to say yep.

LEN
The full moon on the winter solstice.
(beat)
Bright lights in the sky. I heard this whirring sound.
(makes sound)
That tree over there, that used to be there. Got knocked down.
(beat)
Took my lunch money.

TIM
You lie.

LEN
I said that lies were fine as long as they were creative. You didnt even let me get warmed
up. I had a whole probing story and everything.

TIM
So you havent been mugged 5 times.

LEN
It was 3. Big deal. No sense crying over split hairs. Were going to Sharpers. I dont care
what you say. Cause youre not moping around because of her.
(MORE)
 77.

LEN (CONT'D)
Were gonna take our minds off of her, were gonna find some adorable little lady there,
and were gonna have a good time tonight. Because I said so.

TIM
Im not going there and picking up girls.

LEN
Fine. But dont mope and cramp my style.

TIM
As if that were possible.

LEN
You got a point there.

A moment.

TIM
Ill make sure you dont get mugged 3 times.

LEN
Much appreciated.

Tim crosses behind the bench, facing to the side.

Marla turns to Len.

MARLA
Youre here.

LEN
Yeah. I just... um... stopped to tie my shoe lace.

MARLA
Len.

LEN
Marla, just stay over there a second.

MARLA
Did you tell him?

LEN
Not yet.
 78.

MARLA
You said you would.

LEN
I dont think you get it.

MARLA
You promised.

LEN
Its not that easy, Marla, all right?

MARLA
It isnt?

LEN
No.

MARLA
Why not?

LEN
You dont get what you mean to him.

MARLA
What does that mean?

LEN
Even now you dont want to listen. You dont want to believe it.

MARLA
I dont know what youre saying.

LEN
Because youre trying not to.

MARLA
Im not--

LEN
Dont be an idiot, Marla! He loves you with every muscle in his stupid heart. Im telling
you to your face cause hes not gonna, all right?
 79.

MARLA
I know.

LEN
Then dont stand there and act like thats not a thing and it shouldnt matter to me.

MARLA
It shouldnt.

LEN
Marla.

MARLA
What does it matter to you what he feels?

LEN
Hes my friend, Marla.

MARLA
And what am I?

LEN
Thats what this is? You or him?

MARLA
I didnt say that.

LEN
Thats right. You wouldnt.

MARLA
Because I know who would win that contest.

LEN
Now, come on.

MARLA
You dont deny it.
(beat)
Hed drop you in a second.

LEN
For you, he would.

MARLA
And that changes nothing.
 80.

A moment.

Marla sits on the bench.

Len sits next to her.

LEN
I dont know how to love you any more than I do.

MARLA
Thats a problem for me.

LEN
I know.

MARLA
We had a date.

LEN
We didnt have a ring.

MARLA
No.

LEN
Did you tell anyone the date was set?

MARLA
No. You.

LEN
Yes.

MARLA
Thats too bad.

LEN
Whys that?

MARLA
Now youll have to disappoint someone.

LEN
Doesnt feel good.
 81.

MARLA
No it doesnt.
(beat)
Stupid idea. Probably would have rained.

LEN
For sure it would have rained. Thats how things go for me.

MARLA
Yeah.

LEN
Whatll you do?

MARLA
When? That day?

LEN
I meant... now... I guess.

MARLA
I dont know. Ill probably go down to Sharpers.

LEN
Oh.

MARLA
Thats where you would have gone. If I wasnt going there.

LEN
Probably.

MARLA
Yeah.

Marla rises.

She walks away a few steps.

LEN
Marla.

MARLA
Yeah. Ill tell him.

Marla crosses away.

 82.

Len pulls a small ring box out of his pocket.

He places it on the bench.

Lights down.

End.
 83.

#11 - PROTEST: A COMEDY

Kevin and Ben walk on stage. Ben has a large canvas bag.

KEVIN
I really appreciate you taking me on a little get-away, Ben. It means a lot to me.

BEN
I know its been a hard couple months.

KEVIN
When I lost my job last year, I really thought, this could be a new beginning for me.

BEN
Really.

KEVIN
Thats what I thought, I had no idea what was going to happen.

BEN
I didnt even know youd lost your job when your apartment building burned down.

KEVIN
Or that Susie was the one that set the fire.

BEN
Oh, thats why you broke up with her.

KEVIN
Yeah.

BEN
No clue. I always thought she was nice.
(beat)
Is it OK if I call her?

KEVIN
Nah man, she can only take like one call a day now, so...

BEN
Better leave that for the lawyers.

KEVIN
Yeah man.
 84.

BEN
I read ya. But when your parents died in that bus crash...

KEVIN
Didnt see that coming.

BEN
Not at all.

KEVIN
And they never take the bus.

BEN
Right?

KEVIN
Dad would never.

BEN
But when it smashed into their house.

KEVIN
Where you gonna hide?

BEN
Basement? I doubt it.

KEVIN
No time to get to the bunker.

BEN
Always make the bunker entrance closer.

KEVIN
And then Snowball.

BEN
Falcons DO live in the city. Thats important information.

KEVIN
But, Ben, my friend, I know that getting out of that halfway house is gonna be the best
thing for me. Fresh air. Beautiful views. This is gonna be...

A couple of workmen carrying a large metal pipe cross the

stage in front of them.
 85.

BEN
Itll be the best.

Ben sets down his bag and opens it.

KEVIN
Ben?

BEN
Yeah, Kev?

KEVIN
What was that?

BEN
Those guys over there?

KEVIN
Yeah, with the pipe. Where are we.

BEN
Well, youve seen all that stuff on TV about that pipeline going in upstream from the
wetlands.

KEVIN
No. I dont have a TV anymore.

BEN
Right. Well, theres this pipeline...

KEVIN
And its going in upstream from the wetlands.

BEN
You do know about it.

KEVIN
You just said.

Ben stands up holding a large chain.

BEN
Right. Well, were here to protest it.
 86.

KEVIN
Wait, what?

BEN
Were gonna protest the pipeline.

KEVIN
I dont want to protest the pipeline.

BEN
You were just excited about getting some fresh air, the beautiful view.

KEVIN
Yeah.

BEN
Well, this wont affect any of that.

KEVIN
Ill be chained to a pipeline.

BEN
Yeah. Come on, sit down over here.

KEVIN
Why did you drag me out here to a protest.

BEN
Ive been coming up here for about a week or so and theres this really hot protest
organizer chick Im trying to get to go out with me.

KEVIN
Hot protest organizer?

BEN
Very. Yesterday, she says we gotta bring back some more people to protest with us so the
news crews will think its worthy of doing a story on.

KEVIN
I dont want to be on TV protesting a pipeline.

BEN
What do you care? You dont even own a TV.
 87.

KEVIN
Other people do. Theyre gonna see me on TV protesting a pipeline.

BEN
So what?

KEVIN
Ben, when I got the settlement from the bus company, I invested in the company thats
installing this pipeline.

BEN
Invested.

KEVIN
Yeah.

BEN
How much?

KEVIN
A lot.

BEN
Like, a lot a lot, or just....

KEVIN
A LOT.

BEN
So you think that would be bad somehow.

KEVIN
Im not protesting the company that Im invested in.

BEN
What if no one saw you?

KEVIN
If youre trying to convince me to go invisible...

BEN
No. You can wear this mask.

Ben pulls a Balaklava out of the bag.

 88.

KEVIN
What the hell is that?

BEN
A ski mask.

KEVIN
Thats like a terrorist mask, man!

BEN
No its not. Its for skiing.

KEVIN
You brought a chain and a mask for skiing?

BEN
I was gonna suggest we stop by the slopes on the way home.

KEVIN
Just having that makes it look like youre gonna blow up the pipeline.

BEN
No. It makes US look like were gonna blow up the pipeline.

Ben hands it to Kevin.

KEVIN
I dont want this.

BEN
Just hold it while I get the chain ready.

KEVIN
I dont want you to get the chain ready!

BEN
Well, then we cant protest!

KEVIN
I dont want to protest. I dont want to be here at all. I want to go home.

BEN
Susie burned it down.
 89.

KEVIN
BEN!

BEN
Quiet, Kevin. If the pipeline guys hear us, theyre going to turn the hoses on us again.

KEVIN
Hoses?!

BEN
Theyre fun. I brought my swim trunks this time.

KEVIN
Did you bring any for me?

BEN
Oh, so NOW whos glad I brought all this stuff?

KEVIN

BEN
When it drops below 20 degrees tonight, youre gonna be glad you had that ski mask.

BEN (CONTD)
Yeah, but they wont know its you.

The two workmen come back on.

WORKMAN 1
You guys here to protest?

Kevin hides behind Ben and puts on the mask.

BEN
Thats sure as heckfire right, my friend. And our protest is growing!

Ben grabs Kevin and turns him around.

Kevin is wearing the Balaklava.

KEVIN
Ben, dont...
 90.

BEN
Thats right. Me and him are here and we mean BUSINESS.

A moment.

KEVIN
He doesnt mean that kind of business.

BEN
Yes I do.

KEVIN
No, you really dont.

BEN
We are gonna protest the CRAP out of this whole thing here, and were gonna run those
money grubbing sickos who own your company OUT OF BUSINESS. Right, Kevin.

KEVIN
If you say my name, theyre gonna know who I am.

BEN
Sorry, Kevin.

KEVIN
Stop it, Ben!

WORKMAN 1
Were gonna go let the police know youre here.

BEN
Oh yeah, go and tell the PIGS man. Tell em were not afraid of them! Or the hoses! Or
the dogs!

KEVIN
What dogs?

BEN
Dont worry, I brought some catchers gear.

Ben reaches in the bag.

KEVIN
For what?
 91.

BEN
Protect the shins and chest.

KEVIN
What about the face?

Ben pops up wearing a catchers mask.

BEN
I only have the one mask.

KEVIN
Im gonna kill you!

BEN
You know, with that mask on, saying stuff like that really does make you look like a
terrorist.

Kevin grabs Ben by the facemask.

KEVIN
Listen to me. We are going home. Right now.

BEN
Youre right. Youre right. Im sorry.

Kevin lets go.

KEVIN
Pack up this stuff and lets go.

Ben does.

Carol, an young woman walks onstage. She carries a

clipboard.

Kevin is stunned.

CAROL
Hey Ben. Youre here to protest again today?

BEN
Oh, hey Carol. Yeah. Well I was...
 92.

CAROL
Was? You came all the way out here, and youre not gonna protest.

BEN
Well, I brought my friend Kevin, here...

CAROL
Kevin?

KEVIN
Thats me. Im Kevin.

CAROL
OK, Kevin. I cant see who you are.

Kevin folds the mask up onto his forehead. Carol is

noticeable impressed.

KEVIN
Hi.

CAROL
Thats better.

KEVIN
Easier to breathe.

They share a flirty laugh.

BEN
Yeah, anyway, we were just gonna get going and...

KEVIN
Get going, right, get going on starting our protest, you mean!

BEN
What?

Kevin grabs the bag, and pulls out the chain.

KEVIN
Oh yeah. Im here to protest, all right. Ive been BEGGING my friend Ben here to bring
me ever since he told me all about the.. um... problem here with this pipeline.
 93.

Kevin sits down and starts to chain himself to the pipe.

BEN
No I havent...

CAROL
Youre against this pipeline?

KEVIN
Heck yeah. Down with this pipeline.

Kevin clicks the lock.

CAROL
Why are you chaining yourself to it?

KEVIN
Thats... thats how we are protesting. Right?

CAROL
(to Ben)
You didnt tell him?

BEN
I hadnt gotten there yet.

KEVIN
Tell me what?

BEN
Were chaining ourselves to the construction equipment over there.

A moment.

KEVIN
Well of course we are.

CAROL
(to Ben)
Ill see you down there, Ben?

BEN
Of course, Carol.
 94.

Carol exits.

KEVIN
You idiot.

BEN
You chained yourself to the pipeline youre not protesting.

KEVIN
Give me the key.

BEN
I don't have the key.

KEVIN
Why not?

BEN
You dont bring a key to the lock for the chain that youre using to protest.

KEVIN
You do if you want to get out of the chain!

BEN
You dont understand protesting.

KEVIN
Where is the key?

BEN
Have you never heard of throwing away the key?

Kevin tries to get up and strangle Ben, but he is chained to

a pipeline.

BEN (CONTD)
Im gonna head down there and protest with Carol.

Ben exits after Carol.

KEVIN
Ill just stay here, then. Protesting BEN.
(beat)
I wanted to protest with Carol.
 95.

The workmen enter with a firehose.

Lights down.

End.
 96.

#12 - CRESCENT MOON BRIDGE

A man stands on a bridge at night. A streetlight overhead.

He leans on the railing, staring at the water below.

A young woman approaches.

YOUNG WOMAN
You look familiar.

MAN
Whats that?

YOUNG WOMAN
I said, you look familiar.

MAN
I know.

YOUNG WOMAN
You know that you look familiar or that thats what I said.

MAN
The former.

YOUNG WOMAN
Youve been here before.

MAN
Almost every night.

YOUNG WOMAN
Really.

MAN
Yes.

YOUNG WOMAN
I dont remember your name.

MAN
You dont.
 97.

YOUNG WOMAN
No.

MAN
Maybe I havent talked to you before.

YOUNG WOMAN
But you look familiar.

MAN
So.

YOUNG WOMAN
I dont know why I wouldnt have talked to you.

MAN
You talk to anyone you see around here.

YOUNG WOMAN
Thats right.

MAN
Maybe we did.

YOUNG WOMAN
Maybe we did.

MAN
But if we did talk...

YOUNG WOMAN
Then what.

MAN
I doubt Id have told you.

YOUNG WOMAN
That so?

MAN
Yes.

YOUNG WOMAN
Maybe you did tell me your name.
 98.

MAN
I dont think I did.

YOUNG WOMAN
But if you had, it wouldnt have been your real name.

MAN
You dont think so?

YOUNG WOMAN
No one ever tells me their real name.

MAN
No one.

YOUNG WOMAN
Not once.

MAN
How do you know?

YOUNG WOMAN
I know things about people.

MAN
That so.

YOUNG WOMAN
Its very true.

MAN
A gift.

YOUNG WOMAN
A curse.

MAN
Do you tell people yours?

YOUNG WOMAN
My what.

MAN
Your name.
 99.

YOUNG WOMAN
Of course.

MAN
What is it?

YOUNG WOMAN
My name?

MAN
Yeah.

YOUNG WOMAN
Youll laugh.

MAN
I wont.

YOUNG WOMAN
Its Sparkle.
(beat)
You didnt laugh.

MAN
Sparkle.

YOUNG WOMAN
Thats what I said.

MAN
Thats what you tell everybody.

YOUNG WOMAN
Always.

MAN
Do they believe you?

YOUNG WOMAN
I dont think they care one way or another.

MAN
As long as you answer when they say...
 100.

YOUNG WOMAN
Hey, Sparkle.

MAN
Is that your first name or your last?

YOUNG WOMAN
Both.
(beat)
You gonna tell me yours?

MAN
My name?

YOUNG WOMAN
Thats right.

MAN
Guy.

YOUNG WOMAN
What?

MAN
Guy Manning.

YOUNG WOMAN
Guy. Glad to meet you.

MAN
Nice to meet you, Sparkle.

YOUNG WOMAN
What brings you here?

MAN
Its on my way.

YOUNG WOMAN
On your way.

MAN
From one place to another.
 101.

YOUNG WOMAN
Well, you look lost to me.

MAN
I do?

YOUNG WOMAN
Lost in thought, at least.

MAN
That may be true.

YOUNG WOMAN
Whats on your mind?

MAN
On my mind. Im just looking.

YOUNG WOMAN
At?

MAN
Just looking at the water.

YOUNG WOMAN
The water.

MAN
Yes.

YOUNG WOMAN
You drop something?

MAN
In a way.

YOUNG WOMAN
Youre mysterious.

MAN
Am I?

YOUNG WOMAN
Very.
 102.

MAN
Im a guy on a bridge.

YOUNG WOMAN
Whose name is Guy, who comes this way regularly, coming from one place and going to
another, who is lost in thought as he stares off the side of a bridge at the water below.

MAN
Who may or may not have dropped something.

YOUNG WOMAN
I forgot that part.

MAN
Never forget that part.

YOUNG WOMAN
I wont.

MAN
Its the part that makes it all make sense.

YOUNG WOMAN
You think so.

MAN
Its the answer to the riddle.

YOUNG WOMAN
The key to the puzzle.

MAN
Without it you may never solve the who-done-it of this mystery, Sparkle.

A moment.

YOUNG WOMAN
You want me to ask you over to somewhere more private.

MAN
You think so?

YOUNG WOMAN
Is that a yes or a no?
 103.

A moment.

MAN
Crescent moon.

YOUNG WOMAN
Not very bright.

MAN
Just one of the phases.

YOUNG WOMAN
Thats why we have street lights.

MAN
We have no patience.

YOUNG WOMAN
I dont want to talk about virtues.

MAN
The only thing left is vice.

YOUNG WOMAN
Nothing in between anymore?

MAN
Its not that kind of world.

YOUNG WOMAN
What kind?

MAN
Gray.

YOUNG WOMAN
A shame.

MAN
There should be.

YOUNG WOMAN
What?
 104.

MAN
Shame.

YOUNG WOMAN
Had it once.

MAN
Got rid of it?

YOUNG WOMAN
Did me no good whatsoever.

MAN
I see.

YOUNG WOMAN
You do?

MAN
(points)
The water.

YOUNG WOMAN
What.

MAN
I see what I dropped.

YOUNG WOMAN
You do.

MAN
Right there.

YOUNG WOMAN
So you really did drop something.

MAN
Why would I lie?

YOUNG WOMAN
Well, Ill tell you, Guy. Whether or not you lie is really not any of my concern.
 105.

MAN
What is your concern?

YOUNG WOMAN
Its cold out here.

MAN
You should wear warmer clothes.

Man starts to exit.

YOUNG WOMAN
Where are you going?

MAN
To the other place.

YOUNG WOMAN
Dont you want it?

MAN
What?

YOUNG WOMAN
Whatever you dropped.

Man stops and turns to her.

MAN
Oh, that. Thats something I dropped a long time ago. I come this way to check on it.
Make sure its still there.

YOUNG WOMAN
And it is?

MAN
Certainly is.

A moment.

YOUNG WOMAN
You sure you dont want to get warm.

MAN
Im plenty warm. You might want to go in from the cold.
 106.

YOUNG WOMAN
I do.

MAN
Id suggest you go.
(turns his back)
Its dangerous to stand on a bridge, on a cold night in a crescent moon.

YOUNG WOMAN
It is?

MAN
Definitely.

YOUNG WOMAN
Whys that?

MAN
You never know when you might drop something.

Man walks off the bridge.

Young woman leans over the side of the bridge to look.

She looks for a moment.

Lights down.

End.
 107.

#13 - PATHWAYS

A series of decked walkways, interconnected. Some have

stairs, raising up to platforms, others down to the stage
floor.

FLEUR, wearing a green dress, sits on the walkway

closest to the stage.

FLEUR
I dreamt I was surrounded by pathways, leading all around, down and up, and I couldnt
decide where to go. I wanted to go, at least I thought I did, and I could see all kinds of
possibilities, but I sat down right where I was and couldnt decide. I wasnt throwing a
tantrum and I wasnt overly anxious about it. If anything, I decided... that I didnt want to
decide. At no point was I worried that I couldnt go where I wanted. I just didnt want to
go. I could see, and I could experience it all, I felt. And I just sat.
(beat)
When I woke up, it was the best nights sleep Id had in a long time. A long time.

Up from the floor runs BREA, in a pale blue outfit. She

runs across the walkways.

On one of the upper platforms, ORIANA stands up.

ORIANA
I see you running.

BREA
You cant see me, Im running too fast.

ORIANA
Im looking even faster. I can see you.

BREA
Not unless I stop.

ORIANA
But I can hear you too.

BREA
Thats your mind playing tricks.

ORIANA
I can see you.
 108.

BREA
Its not me.

ORIANA
I know its you.

BREA
How could you know that?

ORIANA
(to Fleur)
Tell her.

FLEUR
She can see you.

ORIANA
See?

BREA
But I dont want to be seen.

ORIANA
Then youre going to have to try something else.

Brea stops running.

BREA
OK. Like what.

FLEUR
You could hide.

BREA
Where?

ORIANA
You could leave.

BREA
I want to be here, I just dont want to be seen.

ORIANA
What happens when youre seen?
 109.

BREA
I feel eyes on me.

ORIANA
So.

BREA
I feel them looking at me. Looking through me. Through my skin, through my clothes.
And they can see inside me. What I feel. What I think. What I want. What I remember.
What I forgot. And they see all those things and think Im horrible and they cant believe
that Im still living and breathing and a part of this world.

FLEUR
Dont do that to yourself.

BREA
Its not me. Its the eyes.

Oriana descends from the platform.

ORIANA
I know what shes talking about.

BREA
You do?

ORIANA
I think that too, sometimes.

FLEUR
But it doesnt affect you.

ORIANA
No.

BREA
Why not?

ORIANA
I dont let it.

BREA
I cant not let it.

FLEUR
She pretends it doesnt bother her.
 110.

ORIANA
It doesnt.

FLEUR
It does, but its easier to pretend it doesnt. Then you dont have to try to hide. To run.
You pretend... You enjoy it.

BREA
How can you enjoy it?

FLEUR
She doesnt. She pretends.

BREA
That makes no sense to me.

FLEUR
To her either. She just does it.

BREA
That makes me sad.

FLEUR
She doesnt want you to be sad for her.

BREA
No?

FLEUR
Oh no.

BREA
Then she should stop being so sad.

ORIANA
Im not sad.

BREA
Not your emotions. Just you. Its sad that you pretend.

ORIANA
Im not pretending.

BREA
She said you are.
 111.

ORIANA
She doesnt know what shes talking about.

BREA
She does.

ORIANA
You dont know what youre talking about.

FLEUR
You prefer to pretend. I know about that.

ORIANA
Stand up and say that to me.

Fleur stands. Oriana faces her.

FLEUR
You prefer to pretend. Its written on your face. Its easier to see it now than it was
before.
(to Brea)
Look at her eyes. You see it too, dont you.

ORIANA
Dont look at my eyes.

BREA
I like your eyes.

ORIANA
Stop looking at them. Youre not allowed.

BREA
I said I like them.

ORIANA
Dont.

Oriana retreats and hides her eyes.

BREA
I miss her eyes.

FLEUR
I know.
 112.

BREA
I wont look at them again.

FLEUR
You remember how they look though, dont you.

BREA
(nods)
I promise Ill try to not remember. Really I will.

They split up.

ORIANA
My mother told me I had my grandmother in my eyes. She was a kind woman, a gentle
spirit. Hard working. Garden in the backyard. Handwashed all of her dishes. Listened to
gospel on the radio every night. Shes in there. And its the best part of who I am. So
many of the things of myself are my shame. My pettiness. My ambition. My anxiety. And
I dont want to let those good things out through my eyes. I want them to be the lens
through which I see the world. And I want to hide me deep and far. And Im afraid shes
not big enough in my eyes to hide all of me I want hidden. Hide me.

BREA
I told myself that when I grew up, my legs would be longer, and stronger, and I could run
fast enough that people wouldnt see the clumsy person I felt in my bones. Id try and try,
and eat good food and run every day. And the days went by and the moons went by and
my legs didnt get longer, and they didnt get stronger. And I ran and ran. And I know
now that I cant be fast enough. Im as fast as I can be. This is as fast as I can be.

FLEUR
When I finally rose up, just a moment before I woke from dreaming, I felt each muscle
stretch and strain, the pressure of my blood filling muscles and forcing their way against
gravity. And by the time I had risen full height, I could feel the pounding of my heartbeat
in my ears. I felt powerful. I felt that all of the paths were mine. I didnt have to go
anywhere. I was everywhere. I was everywhere.

Lights down.

End.
 113.

#14 - UNTIL ALMOST ALWAYS DESPERATE ENOUGH UNTIL

Darkness.

A male voice.

BALLEN
In a heart as dark as caves
as damp and cold
Inside a child as lost
as a maiden voyage
to the uncharted coast
In the mind of a widower
untethered and unmoored
uprooted and transplanted
to unfamiliar land
In the vast empty
like a hollow stone cathedral
echoes of warm misty breath
reflecting the chill
until
until

A curtain is pulled down.

Sunlight spills into a room. Flooding. Golden. Angelic.

Two figures haloed in the beams. Female and male.

They begin a lyrical dance. Individually.

Then together.

Intimately.

A female voice.

SHAY
With each step, gliding along the beams of the morning
Feet solid on floor until floating solid in air
Hands, arms, chest, neck
Parting the way
Fingers splaying, extending, reaching
(MORE)
 114.

SHAY (CONT'D)
almost
almost touching
almost grasping
almost escaping
almost free

almost

The figures slow to a pose.

They hold for a moment.

BALLEN
Havent you always wished?

SHAY
Always wished.

BALLEN
Havent you always hoped?

SHAY
Always hoped.

BALLEN
Havent you wanted to have more?

SHAY
Always.

BALLEN
Always.

SHAY
Always.

The figures dance again.

Less fluidly.

Sharper.

Dangerous.
 115.

Wicked.

The figures lose one another.

The figures flail.

SHAY (CONTD)
It is the natural state
to want
always
but it is natural
to try
to try hard
to try harder
work against the natural
work in the novel
the individual
the distinct
instinct
peculiar and personal
and bring to bear
a maverick mentality
working its wave cross the sand
crashing its passion down, down
desperate
desperate

The figures tire.

The figures drop to their knees.

The figures sink.

A moment.

SHAY (CONTD)
Have you had enough?

BALLEN
Is there enough?

SHAY
There should be enough.
 116.

BALLEN
Can there be enough?

SHAY
There is enough.

BALLEN
Enough.

SHAY
Enough.

BALLEN
Enough.

The figures raise their heads.

The figures spread their arms.

Short movements.

One figure makes a short movement.

Then the other figure makes another short movement.

They take turns.

 117.

BALLEN (CONTD)
Rhythm
finding rhythm
finding cadence
discovering anew
what was lost
what was missing
searching it out
feeling the air
feeling the pulse
finding the measure
sensing the stress
the swing
the flow
finding
forever finding
looking
seeking

The figures begin to match.

SHAY
Until.

BALLEN
Until.

SHAY
Until.

BALLEN
Until.

The figures mirror each other.

Ballen and Shay repeat Until.

Until.

Lights down.

The end.
 118.

#15 - THE ABYSS OF PERDITION

A man in a raincoat upstage corner. Carrying an umbrella.

He is NEAL

Downstage, a man sits in a chair, leaning against a wall.

This is GEORGE.

GEORGE
Hes not here.

NEAL
I didnt ask.

GEORGE
You wouldnt be here but you is looking for him.

NEAL
You know me so well.

GEORGE
Hes not here.

NEAL
Im grateful for your forthcoming honesty.

GEORGE
Thank you-- youre welcome.

NEAL
But youll excuse me if I dont believe you.

GEORGE
Im not a liar.

NEAL
Then you are probably ignorant.

GEORGE
Whadya call me?

NEAL
I called you nothing. I said you were ignorant.

GEORGE
You think Im dumb.
 119.

NEAL
You just dont know. Thats neither lying nor ignorant.

George stands.

GEORGE
You know, Neal, Ive had enough of your mouth.

NEAL
George. You sound angry. Youre angry with me.

GEORGE
I didnt say I was angry.

NEAL
You stood up. And now you are in a posture of offense. Threatening me.

GEORGE
Im not doing that.

NEAL
You are. I dont like it.

GEORGE
You better get lost, Neal. Or Im gonna--

NEAL
Youre going to what, George? Fight me? I dont have a quarrel with you.

GEORGE
You dont have a what with me?

NEAL
A quarrel.

GEORGE
A squirrel.

NEAL
Quarrel. A fight.

GEORGE
You dont wanna fight me.

NEAL
Thats what Im saying.
 120.

GEORGE
Thats right.

NEAL
Im not here to fight you.

GEORGE
Good.

NEAL
Im here for him.

A moment.

GEORGE
Hes not here.

NEAL
Youve said.

GEORGE
Why are you still here?

NEAL
Because he is here.
(pulls a handgun out of his coat pocket)
Step aside, George.

GEORGE
Now, Neal...

NEAL
Step aside.

GEORGE
I dont know who told you hes here. But Im tellin ya. Im not stupid. I seen it with my
eyeballs. Hes gone.

NEAL
Gone.

GEORGE
Yeah.

NEAL
What does that mean?
 121.

GEORGE
I dont wanna say.

NEAL
You dont.

GEORGE
No.

NEAL
Why?

GEORGE
Because you got that gun pointed at me.

NEAL
This gun.

GEORGE
Yeah.

NEAL
You dont have to fear this gun.

GEORGE
But I do fear it, Neal.

NEAL
You tell me the truth, and there is no fear.

GEORGE
You promise?

NEAL
I do.

GEORGE
OK, Neal. You asked for it.

NEAL
I did.

GEORGE
You know what, itd be easier to say the truth if you pointed it down. You can still hold it
if you want, just point it down.
 122.

NEAL
Point it down.

GEORGE
Yeah. Truths easier if the gun is pointed down.

NEAL
All right.

Neal points the gun down.

GEORGE
Hes dead, Neal.

Neal raises up the gun.

GEORGE (CONTD)
I appreciate you lowering the gun. It was easier to say the truth.

NEAL
Hes not dead.

GEORGE
He is.

NEAL
How do you know?

GEORGE
Because I shot him.

NEAL
Shot him?

GEORGE
Yeah.

NEAL
And hes dead.

GEORGE
He was guilty, Neal. You know he was. Theres no question about it.

NEAL
I dont dispute that.
 123.

GEORGE
I was told he gotta go.

NEAL
By whom?

GEORGE
Come on.

NEAL
Do I need to point the gun down?

GEORGE
You know who it was, dont be ignorant with me.

NEAL
Where is he?

GEORGE
Whadya mean?

NEAL
Where is he?

GEORGE
His body? Thats inside. On the floor. Big pool of blood.

NEAL
Hes on the floor.

GEORGE
Yeah, we aint moved him yet. Sent Remy down to get a bucket and a mop. Its a mess,
Ill tell you that.
(beat)
So as far as where hes at, like him, where hes at now that hes--
(makes a popping sound)
I guess you gotta say hes in hell, Neal.

NEAL
Hell.

GEORGE
Hes in the Abyss of Perdition.
 124.

NEAL
You know what that means.

GEORGE
What?

NEAL
The Abyss of Perdition.

GEORGE
Its hell.

NEAL
Yeah.

GEORGE
Oh yeah, I know what that is.

NEAL
Where have you heard that phrase before? The Abyss of Perdition.

GEORGE
Oh that. Yeah. Thats a pretty cool soundin way of sayin in hell, idnt it? Yeah, Father
OBoyle said that once in a homily. Took me like a month to figure out hes talkin about
hell, though. But it just kept ringin and ringin in my head. Like a old song on the radio. I
looked it up in the dictionary, but that didnt help much. But its kinda like not just the
burning fire hell, but like the one where you get pitchforked a bunch, over and over, where
you gotta pay for your sins even though youre already dead and like what do your sins
even matter at that point. But like you gotta keep paying for it over and over. I guess for
eternity and like that. Messed up.

NEAL
Yeah.

GEORGE
Yeah, so thats where he is. Gettin pitchforked forever.

Neal steps forward.

GEORGE (CONTD)
Whats up, Neal?

Neal puts the gun on Georges forehead.

 125.

GEORGE (CONTD)
Dammit, Neal.

NEAL
You tell me the truth, and there is no fear.

GEORGE
Im fearin, Neal.

NEAL
Truth, then.

GEORGE
Truth. Truth.

NEAL
You were there.

GEORGE
When.

NEAL
When he died.

GEORGE
Yeah. Yeah.

NEAL
You saw him die.

GEORGE
I did.

NEAL
Did you shoot him?

GEORGE
No.

NEAL
Was he shot?

GEORGE
No. I cut him.
 126.

NEAL
You did.

GEORGE
Yeah.

NEAL
Did anyone else?

GEORGE
No.

NEAL
You watched him bleed.

GEORGE
I did.

NEAL
You made sure, didnt you?

GEORGE
Made sure that what?

NEAL
That he went to the Abyss.

GEORGE
Of Perdition. Yeah. I guess I did.

Neal pushes the gun into George harder.

NEAL
And what do you deserve?

GEORGE
Me?

NEAL
Do you deserve perdition?

GEORGE
Deserve?
 127.

NEAL
Why shouldnt I send you there? For what you did to him.

GEORGE
To him? I dont deserve it for what I done to him.

NEAL
Say that again.

GEORGE
I dont deserve perdition for what I done to him.

NEAL
No?

GEORGE
I deserve it for so many other things, Neal. But not for what I done to him. For what I
done to him? I deserve a damn gold medal.

Neal pulls the trigger.

The gun clicks.

It clicks again. And several more times.

Neal takes a step back.

GEORGE (CONTD)
He deserved it, Neal. He did.
(beat)
You wanna help clean him up?

NEAL
You want me to clean him up.

GEORGE
I gotta clean up no matter what. You can help, you aint gotta help. Its up to you. If you
want him cleaned up special, you can be here and help. Otherwise...

Neal points the gun down.

GEORGE (CONTD)
Put it away.
 128.

Neal puts the gun away.

NEAL
Where is he?

GEORGE
Inside.

George gestures toward inside.

Neal goes inside.

George follows him.

The end.
 129.

#16 - THE MISSING

Four chairs.

Three women sit in three chairs.

The fourth chair is empty.

1 rises. Goes and sits in the empty chair 4.

2 rises. Goes and sits in the empty chair 1.

3 rises. Goes and sits in the empty chair 2.

A long moment. No one goes and sits in empty chair 3.

1
It happened so fast there wasn't anything I could do to stop it so fast and I blinked and once
he was there and then he wasnt and it was already over nothing I could do nothing could
be done to stop it to reverse it to make it stop or take it back but there I was and one
moment I was seeing and it hadnt happened and then it did and I swear I swear I never
saw it I didn't see it I couldnt have seen it must have blinked closed my eyes for a sliver of
a sliver of a second and he slivered away while my eyelids kissed one another I hate
thinking of it like that but I just closed my eyes for a tiniest second and then

and then
 130.

2
I dont like to think of it as a prolonged illness
I mean, thats what it was
prolonged

progressively longer

and longer

I couldnt be by his side every day

I wasnt anywhere near by
It was hard to visit
expensive
I had a job to do
I had a life that I was living
It feels like the worst excuse
It doesnt feel good
I don't like to say it that way
But its the truth
I was far away
far enough away
I couldnt be there
every day
Did I want to be there every day
for every doctors appointment
for every cough
and sniffle
groan
and pain
did I want that
did I
did I

3
Well, we talked about it. A lot. Break ups are hard. We must have broken up 12, 15
times. I dont know. Id break it off. Hed break it off. Next day. Couple days. A phone
call. A text. Id see a Facebook message. Hed see a tweet. Its hard to break up. You
want to feel it all, and put it all out there, but its such a... thing a private... thing. I don't
know.
(beat)
We couldnt decide. If we were good together. If that really was the thing that was
important. Love? We knew we had no idea what that was, so lets not even go there. But
did we want each other around? Its like we did and we didnt.
(MORE)
 131.

3 (CONT'D)
Wed decide, or one of us would, and then maybe the other would convince the one to take
them back, or wed both text at one time. One time we just both ended up at the
laundromat at the same time. For real. I was there switching over to dryers, and he waltzes
in with that big army duffel. He put his stuff in the washer I was vacating. We didnt talk
for a few minutes. I cant remember if that time had been mutual or if Id done it. But I
missed him, thats for sure. Id probably done it. I think I missed him more when Id
done it than when he did. Im positive I missed him more.

1 moves, then 2, then 3.

1
Its easy to say it wasnt my fault because it wasnt my fault no ones saying it was my
fault I promise you I dont blame myself for what happened but I regret I'm saying I regret
as much as I can regret anything that blink that one blink that millisecond where lid touched
lid and I wasnt looking why wasnt I looking I should have been looking of all the times I
didnt look why was that the one time I wasnt looking I just want to have seen him seen
his eyes when they still had when there was still when they were full when they were full
and they were full of him and he was there inside them looking at me he was looking at me
oh god he was looking at me and the last moment he looked at me what he saw was what
he saw the last thing he saw I cant I just cant dont tell me I had the chance to be looking
at him when he was last looking at me and I blinked I can never forgive myself I blinked
why did I blink why why why no one should ever blink its just not worth it dont blink
you dont know you dont know what youre missing what you might miss you might
miss
 132.

2
I had it all together
bags
clothes
toiletries
extra shoes
a carry on
I had it all together
it was sitting in the hall
by the door
I had it all there
and I lay in bed
just laid down
pulling the blanket over
that feeling in your muscles
when they know youve just lay down
and they relax
they know
they relax
youve asked so much from them
extra work
put it all together
work ahead
carve out a few days
where you arent letting people down
to be gone
just for a couple
just a few
but it was together
and the bag was together
and I was to leave in the morning
and I lay in bed

and the phone rings

3
I had done it for the last time. I promised myself. This was o v e r. Gifts had been
returned. It was final. Those words, the ones you cant take back, oh, they had all been
said. This was done. Were talking a burn-the-cards-and-pictures party had been had in the
back yard. Gone. Grilled the history away. Little clicker fire starter and some fluid made
it all go away. Good. Riddance.
(beat)
It had been a relatively decent amount of time. Honestly.
(MORE)
 133.

3 (CONT'D)
None of this, next day hes out and about. Or insta-engagement to some side chick. Two
months, three. Are they dating or just friends? Five months, oh yeah thats a thing. Seven
months shes meeting the family? I didnt meet them for almost a year but whatever. Then
its December and the word goes around that theres a date for early summer.
Announcements on social media. When it comes up in conversation, you get that look, that
are you OK with us talking about this look. I mean, I burned that dude up. He is so
long gone, I could care less. I mean, I couldnt. Couldnt care less. Because I care so little.
(beat)
I wouldnt have gone even if I had gotten an invite. Yeah, I was curious. Im not doing
that. But I get a call from a friend, I'm at the reception can you come pick me up, and Im
like, seriously? Im just trying to be a friend here, so I go to pick her up. I tell her wait
outside for me because I'm definitely not going inside. Since I have the worst taste in
friends, shes not there. I text. Im like come outside. Nothing. I call, no answer. Just two
seconds. Pop in pop out no one sees me its not a big deal I wasnt even there. I dont
even get into the reception hall. By himself in the foyer. In a tux. Im wearing my work
uniform. This is when I definitely decided to quit that job.

They stand as if to move chairs at the same time.

1
But I heard it

2
Im listening to the phone ring

3
I hear his voice

1
If I had been looking I dont think I would have heard it

2
I thought the phone was on silent that late at night

3
He says my name. Simple.

1
Soft. Simple. Easy.

2
I see who it is
 134.

3
I just looked at him. No response.

1
Im heaving breaths, in a panic

2
I clear my throat and click answer

3
It was an awkward moment

1
I heard an exhale

2
They said there was news

3
I dont know what the look on my face was, but he smiled

1
A clear, long, expending exhale. From full to shallow. Empty.

2
Said it had happened. That he was gone.

3
Said I was a little late

1
It was an eternity in a blink

2
It was forever before I replied. Oh. OK.

3
I said I had wanted to be later. I dont know why I said that.

1
I didnt have a chance

2
I said I was packed and coming tomorrow
 135.

3
He said he needed to go in to the reception

1
My eyes were closed too tightly

2
They said it would probably take longer to take care of everything than I had planned to
stay.

3
I wanted to say I was sorry. But I knew this wasnt the time. It would never be the time.

1
By the time my eyes took in sunlight again, the breath was already gone

2
I said I would come in a couple days. Take care if things then. Hung up.

3
I wanted to say congratulations. I wanted to say I was happy. But he didnt owe me
listening to me say anything. It would never be the time.

1
If I'd have been thinking. If I would have been thinking I would have I would have I
would have

2
Thats when it hit me. I knew it would hit me. And thats when it did.

3
He disappeared into the hall. I left without my friend.

1
I would have
Inhaled

2
Took a deep breath

3
Held it in as long as I could
 136.

1
Never let it go

2
Never let it go

3
Never let it go

The three of them circle behind their chairs.

They turn the chairs over.

One chair remains.

Lights down.

End.
 137.

#17 - ONCE IN A LIFETIME: AN ECLIPSE STORY

Cold.

A frozen lake, snow around the edges.

A young woman, ZELDA, in heavy coat, carrying camera

gear. She is out of place.

Followed by FRED, an older man, in a reasonably warm

coat. Comfortable where he is.

ZELDA
Its so amazing.

FRED
Yeah.

ZELDA
Really. I just cant... its amazing.

FRED
Yeah.

ZELDA
Look at the sky.

FRED
Uh-huh.

ZELDA
Youre not looking.

FRED
Ive seen it.

ZELDA
Not today, you havent.

Fred looks up.

FRED
Pretty.

ZELDA
Its gorgeous.
 138.

Zelda sets down her bag and removes a camera and tripod,
setting up.

FRED
Couple hours before the real thing.

ZELDA
Plenty of time to take some nature shots before it starts.

FRED
Yeah, OK.

ZELDA
I cant thank you enough.

FRED
Sure.

ZELDA
I dont know why I was so stupid about all this.

FRED
Well--

ZELDA
Of course Bankers Bluff was going to be crowded.

FRED
Popular place.

ZELDA
I came up here every summer when I was just a girl. I dont know. I just had it in my head
that Bankers Bluff was the best place in the world for this. And when I figured out it was
right in the path, it just made sense. Like kismet. Or fate. You know.

FRED
Kismet IS fate.

ZELDA
Yeah, I know, I just...

She drops something. He helps her pick it up.

FRED
Here you go.
 139.

ZELDA
Thanks.

FRED
This place is a lot quieter than Bankers.

ZELDA
Its totally perfect. I really cant thank you enough.

FRED
snothing.

ZELDA
So glad Im gonna get some great photos. Its a once in a lifetime thing.

FRED
Yeah.

ZELDA
When was the last one? In the 20s or something?

FRED
No. Not that long.

ZELDA
You saw the last one?

FRED
Yeah.

ZELDA
So...

FRED
Theres another in a couple years.

ZELDA
Couple?

FRED
Less than 10.

ZELDA
So Ill see another one.
 140.

FRED
It wont be here.

ZELDA
But Ill be alive.

FRED
Lord willing.

ZELDA
Still.

Zelda finishes with the camera and tripod.

Fred starts to exit.

FRED
Ill let you take your pictures.

ZELDA
Youre leaving?

FRED
I dont want to bother you.

ZELDA
Oh no. Please stay.

FRED
You want me to?

ZELDA
Oh yeah. If you would.

FRED
I...

ZELDA
Is there a problem?

FRED
I dont spend a lot of time out here by this lake.

ZELDA
No? Why not? Its so beautiful.
 141.

FRED
It is.

ZELDA
If I lived here, honestly, now that I know this is here, Id probably never go to Bankers.

FRED
Its a special day, isnt it.

ZELDA
Thats right. A perfect day to do what you normally dont.

Fred stays.

Zelda snaps some photos around for a bit.

FRED
It looks like a regular day.

ZELDA
Listen.

FRED
To what.

ZELDA
The birds.

FRED
I dont hear any.

ZELDA
Theyre going quiet.

FRED
Because its happening. Huh.

ZELDA
After a while, itll sound like night.

FRED
Even though its noon.
 142.

ZELDA
Exactly.
(beat)
This lake have a name.

FRED
Hm?

ZELDA
Like on maps or something. Have they named it?

FRED
Name. No.

ZELDA
Looks like its big enough to name.

FRED
Bet it is.

ZELDA
Wanna give it a name?

FRED
Hm?

ZELDA
We could name it.

FRED
It probably has one somewhere. County office or something.

ZELDA
But you dont know what it is.

FRED
No. I dont think anyone does. Never heard anyone call it anything.

ZELDA
No?

FRED
Nothing formal.
 143.

ZELDA
It should have a name. I like to label my pictures with the place name. We should come up
with something.
(snaps some photos)
Maybe Eclipse. Thats what Id call it.

FRED
Hm.

ZELDA
I dont know.

FRED
No. Thats...

ZELDA
Thats how Id remember it.

FRED
Yeah.

ZELDA
Thats what I would remember from being here.

FRED
Mm.

Zelda takes more pictures.

ZELDA
You dont come out here very much, then.

FRED
No.

ZELDA
Then Im glad Im a reason for you to come out here.

FRED
Yeah.

ZELDA
(taking photos)
It should be experienced. Its a shame that people dont come out here more. Doesnt even
have a name, for Pete's sake.
 144.

FRED
Mm.

ZELDA
I mean, youve been out here before.

FRED
Oh, yes.

ZELDA
How long ago was that? Like a long time, right? Like a decade or something?

FRED
27 years. 4 months. 6 days.

A moment.

ZELDA
Oh. Yeah?

FRED
Yeah.

Another moment.

ZELDA
Huh.
(silence)
(more photos)
Well, I should probably get set up for the big moment.

FRED
You get some good ones of... nature and things?

ZELDA
I think so. That field across the lake. The suns hitting it just right right now.

FRED
That so.

ZELDA
Yeah. Ill send you a link to see the photos once Im done with them.

FRED
A link.
 145.

ZELDA
Ill post them online.

FRED
Right.

ZELDA
Dont be surprised though.

FRED
About what.

ZELDA
Well, Ill definitely post some that are clean, just the images themselves. But I have a big
clientele that are looking for fantasy images.

FRED
Hm?

ZELDA
A lot of science fiction, some medieval fantasy. Some crazy stuff. So a lot of it will have
things superimposed on the images, some of them will just be photoshopped like crazy.
(beat)
I know. Whats the point in shooting something like this and then photoshopping it with
crazy overlays and stuff so people can use it for backgrounds for their online Dungeons
and Dragons games or whatever.
(beat)
Its a living.

FRED
It is?

ZELDA
Not completely. Its most of a living.

FRED
The better part?

ZELDA
Not necessarily.
(finishes setup)
That should do it.

Fred stares out at the lake.

Zelda watches him for a moment.

 146.

ZELDA (CONTD)
Fred.

FRED
Hm?

ZELDA
What happened?

FRED
When?

ZELDA
27 years ago.

Fred doesnt answer for a moment.

ZELDA (CONTD)
You lost someone.
(beat)
Someone you loved.
(beat)
Here. At the lake.

Fred nods.

FRED
Once in a lifetime.

Zelda reaches out and puts her hand on his arm.

ZELDA
You know the name of this place, dont you.

FRED
Yes I do.

ZELDA
Ill have a name for it, too.

FRED
Thats good. You should.

Zelda and Fred stand a moment.

Zelda lets go of Fred.

 147.

They both notice above, but do not look up.

ZELDA
We need to...

FRED
Ive got some welders glasses.

ZELDA
I have the cheapo ones.

They put on eclipse glasses.

They look up at the sun.

A long moment.

FRED
Beautiful.

ZELDA
Once in a lifetime.

Zelda clicks the camera a few times.

The lights fade out.

End.
 148.

#18 - RAIL RIDERS

A railroad car. Well in the past.

A lantern hangs and shifts as the car rattles down the

tracks.

There sits a girl, ANNE. She does not belong here.

Two rough looking men in dark clothes stand off to one

side, by a wall. PAL and MIKE. They do belong here.

MIKE
I still dont know why you did it.

PAL
What was I supposed to do?

MIKE
What are we supposed to do now?

PAL
How do I know? I just couldnt--

MIKE
Of all the stupid things.

PAL
She needed help, Mike.

MIKE
We need help, Pal.

PAL
I know.

MIKE
How are we supposed to help anyone? Cant help ourselves.

PAL
I just couldnt leave her.

MIKE
I dont know how you thought you could bring her along.
 149.

PAL
You shoulda seen the guy, Mike. Hes bigger than you.

MIKE
And you want that guy come looking for her?

PAL
Hows he gonna do that? Were on our way to the coast.

MIKE
He can talk to the railroad people. Find out where were going. Probably get there before
we do.

PAL
Hows that?

MIKE
By car.

PAL
Oh.

MIKE
Oh is right.

PAL
I didnt mean nothing by it, Mike.

MIKE
I know you didnt. I know that. Im just.. I dont know what to do is all.

PAL
We can leave her.

MIKE
Which is what you should have done, but now shes here. I mean, wheres she gonna
sleep?

PAL
Shell just sleep there, I guess.

MIKE
You guess.

PAL
What does it hurt us she sleeps over there?
 150.

MIKE
We sleep. One of the guards looks in. We got a girl sleeping over. Why? I mean look at
her. We probably kidnapped her. They think were doing horrible things to her. Were
arrested. We get shot by the side of the tracks and dumped for the vultures.

PAL
You dont think that, Mike.

MIKE
I dont know, Pal. I just dont know. I cant say no.

PAL
Im sorry, Mike.

MIKE
I know you are. Im not mad at you. I just dont know what to do.

PAL
I shouldnt have brought her along.

MIKE
No.

PAL
I was only trying to do right, you know. On account of my paw. He liked to hit, too. The
bottle, then my maw and me. I couldnt let that stand.

MIKE
All right. Settle down.
(looks at her a moment.)
You think she needs some water or anything?

PAL
I bet she does.

MIKE
Can you go get her some?

PAL
Bring it here?

MIKE
Yeah.
 151.

PAL
Sully dont like to let the ladle go. You know that.

MIKE
Hell understand. Well bring it back.

PAL
He wont let it go for nothing.

Mike takes off his coat.

MIKE
Collateral. I want it back in a few minutes when we bring back the ladle.

PAL
Right. Ill go get it.

Mike studies Anne as Pal makes his way to the end of the
car.

Pal shimmies through an open wooden plank on the side

and disappears.

Anne finally turns to Mike.

ANNE
Im not thirsty.

MIKE
Pals gone to get you a drink.

ANNE
Its cold in here. I didnt imagine it would be cold in here.

MIKE
Its night.

ANNE
Its summer.

MIKE
Were lucky tonight.
 152.

ANNE
Are we?

A moment.

MIKE
Pal tells me you got a mean old man. Put the knuckles to you.

ANNE
Wasnt the first time.

MIKE
Happened a lot.

ANNE
More than Id like.

MIKE
So you wanted to run off. What made you think a runt like Pal would take care of you?

ANNE
I didnt think he would.

MIKE
Then why did you --

ANNE
I thought hed help me get to the trainyard. Looked like a fella who knew how to sneak in.

MIKE
You got an eye for drifters.
(beat)
You wanted to get west.

ANNE
I wanted to get gone.

MIKE
Well congratulations, princess. Youre gone now.

ANNE
You told him you was worried my man would show up where youre going.

MIKE
I gotta tell him stuff like that.
 153.

ANNE
You scared him.

MIKE
Hes better when hes scared. Pal was a drunk when I found him. Hed a been dead or
worse if I hadnt suffered through his shakin of the poison with him. I dont know much
of who he was in his life before, but I know he aint always so bright now. I dont scare
him offa bringin home girls at every stop, instead of bringin food like hes supposed to, I
got myself a problem.

ANNE
Im the one who asked him to bring me.

MIKE
So.

ANNE
So it wasnt his fault.

MIKE
He didnt say no.

ANNE
I can be convincing.

MIKE
One of my favorite things about Pal is how he can be selectively very stubborn. He dont
want to do something, cant no one convince him.

ANNE
He listens to you.

MIKE
I dont ask him to do things that dont benefit him too. And he knows that.

ANNE
He trusts you.

MIKE
I guess.

ANNE
And if you ask him to do something he doesnt want to?
 154.

MIKE
Never tried it.

ANNE
Youve done this for a while.

MIKE
Dont have a watch, dont have a calendar. Ride enough to not know the seasons much
anymore. Sometimes its hot, sometimes its cold. Sometimes its south, and other times
its not.

ANNE
North.

MIKE
Or west. Or east.

ANNE
Where are you going?

MIKE
There is no where. Im just going.

ANNE
Youre from somewhere.

MIKE
Sure am. And Im making sure I dont do that again.

ANNE
Me too.

MIKE
Its a romantic notion. Total freedom. Adventure. Always something new.

ANNE
I suppose.

MIKE
Its also poverty. Hunger. No comforts. Always losing things.

ANNE
Sounds like where I just left. Thats something I already know.

A moment.
 155.

MIKE
You aint been hit.

ANNE
What?

MIKE
You aint been hit. I wont say for sure, but Id bet you aint even got a man whod be the
one to do it. Im lookin at your face, and I dont see no bruises. Skins smooth. Nose
aint been broke. Clean as a whistle. You aint running from a man who beat you.

A long moment.

ANNE
This trains going west.

MIKE
That a fact.

ANNE
Thats what Pal told me.

MIKE
Thats what I told Pal.

ANNE
Is that so?

MIKE
I wasnt lying to him.

ANNE
I didnt say you were.

MIKE
I dont lie to him.

ANNE
Thats for the best.

MIKE
Thats for his best. And my best. Its best that Pal isnt lied to.

ANNE
What happens when Pal is lied to?
 156.

MIKE
I dont want to find out. Hes an angry man, Pal.

ANNE
Angry.

MIKE
He fights in his sleep.

ANNE
In his sleep.

MIKE
Sometimes. Tosses. Turns. Punches. Kicks. Sometimes he yells, shouts. Its not nice,
the things he says.

ANNE
Hes dreaming. Having nightmares.

MIKE
Could be. Could be its whats really inside him making its way out when his guard is
down.

ANNE
I think hes a sweetheart.

MIKE
I know you do. Im telling you hes not what he seems.

ANNE
Not much is.

MIKE
Not much is what.

ANNE
The way it seems.

A moment.

MIKE
I dont trust you as far as I could throw you.

ANNE
And how far is that?
 157.

MIKE
Youd like to find out.

ANNE
Ill scream.

MIKE
Who would hear you? Were on a train.

Another moment.

ANNE
Pal is coming back with water.

MIKE
No hes not.
(beat)
Sully wont give up the ladle. Doesnt matter if its for a girl. He wont take collateral.

ANNE
But hell come back.

MIKE
Pal can certainly be stubborn.

A moment.

ANNE
What do you want, then? What do you want from me? Hm?
(beat)
You havent seen a girl in a long time, have you. Had one right in front of you. Had one
here with you in an empty car. Just you and her. No other men around. How long has it
been? Its been a long time. You dont have to say it. A long time.
(beat, she rises)
Youve dreamed about it, havent you? What did you dream? What happened? Did you
talk about your friend for a long time, and then threaten her? Make her feel unwanted? I
dont think that was your dream at all. I think your dream was very different from that.
You didnt make her feel unwanted. You made her feel wanted. Very much so. Isnt that
right?
(beat, she gets close to him)
Funny thing, dreams. Sometimes, you cant tell if its real or your sleeping. Just feels so
much like life. Sometimes life feels like youre asleep, doesnt it? Time drifts by and you
cant remember how you got somewhere, and there you are.
(MORE)
 158.

ANNE (CONT'D)
Something different right under your nose. And you cant remember how it got there and
you cant remember if you care how it got there. Its there. And now what? And now...
what.

Anne is very very close to Mike.

Mike takes a sharp inhale. He stumbles backward.

In Annes upstage hand, which was behind Mike, there is

a knife. Out of audiences sight, Anne has stabbed Mike.

Mike slams back into the wall of the train car. He slides to
the floor. He gasps for air.

ANNE (CONTD)
Bet that wasnt in the dream.
(beat)
Aint no man ever hurt me. And it aint gonna happen. See Im out of that trash pile town
and Im off to greener pastures. Ill get where Im going, and thats all. This is my ride.

A noise as Pal is making his way back into the car.

Anne races back to her original place. She works up tears

and begins to cry.

Pal has arrived. He still has the coat.

PAL
You were right, Mike. He wouldnt give up the ladle. Even for the coat.

Pal notices Mike on the floor. Mike has bled out and is
dead. Pal rushes to him to be sure.

PAL (CONTD)
Oh god! Oh Mike. Oh!
(to Anne)
Oh miss! What happened?
(notices her crying)
Oh! Youre crying. Whats wrong what happened are you OK? Are you hurt?

Pal rushes to Anne.

ANNE
He... he... he... oh my gooooooodddd.
 159.

Anne breaks down heavily. She falls into Pals chest. He

comforts her.

PAL
Oh my. There there now. I dont... what...

Anne points with the knife.

ANNE
He came over to me... he spoke to me... and he....

PAL
Here, let me take that from you for a...
(takes knife, sets it away)
There there.

ANNE
I was so scared.... I didnt know what to doooooo.....

PAL
I cant believe that Mike would do something like that ---

ANNE
What was I supposed to do? What what I supposed to do? Tell me that! Tell me!

PAL
Oh no, I didnt mean to say that... you had to defend yourself... I mean... its all right...
shhhh.. there there... there there...

Pal comforts her for a few moments. Anne calms down.

ANNE
(whispering)
Thank you. Thank you.

PAL
Oh. Oh. Its OK. Its OK. Shhhh.

A long moment where they cuddle.

ANNE
Pal?

PAL
Yes, Anne?
 160.

ANNE
Where is this train going?

PAL
Where?

ANNE
Yes. I want to know where were going.

PAL
You said before you didnt care.

ANNE
I did. I said that.

PAL
You changed your mind.

ANNE
I did. Do you know where were going?

PAL
I do.

ANNE
Where?

PAL
West.

ANNE
West.

PAL
Yes.

ANNE
Are you sure?

PAL
I am. I am sure.
(beat)
Mike told me. Caught the west-bound.

They embrace for a few more moments.

 161.

Anne shifts and gets comfortable, laying down. Pal

continues to cradle her.

The train continues to rattle as lights go down.

 162.

#19 - FIRE ESCAPE

A fire escape. a wooden chair. Some potted plants.

JANE stands, leaning on the railing. She wears a light

sundress.

CLEO sits on the stairs that would lead to the apartment

above. She is in overalls and a t shirt.

JANE
Beautiful evening.

CLEO
Its a good view. Can see through the buildings.

JANE
The river?

CLEO
Not quite. But across. Up on the hill.
(beat)
I mean you can see the sky down there.

JANE
Wasnt that a pizza shop before?

CLEO
Where?

JANE
There.

CLEO
Thats been there forever.

JANE
Its always been an internet cafe.

CLEO
Its always been a cafe.

JANE
Renovated.
 163.

CLEO
I wouldnt call a new sign in the window a renovation.

JANE
I swear I used to get pizza there.

CLEO
Next door was the pizza shop.

JANE
You sure?

CLEO
It was a delivery window, no inside. So youd take it to the cafe to eat it.

JANE
I dont think so.

CLEO
OK.

A moment.

JANE
Could we always see through the buildings?

CLEO
No.

JANE
I didnt think so.

CLEO
They took down that really dark building on the corner of 8th.

JANE
Oh god. That horrible one.

CLEO
Haunted Tower.

JANE
Haunted Tower. Yeah. Gave me the creeps.

CLEO
It was a crack den for a while.
 164.

JANE
Im not surprised.

CLEO
No.

JANE
So awful.

CLEO
Once that was gone, clear shot past the office building and over the slum row.

JANE
Nice.
(beat)
You ever miss those days?

CLEO
Which?

JANE
The old ones.

CLEO
I dont think about it much.

JANE
So no.

CLEO
Yeah, but not like because I hated them or whatever. Im just in the now.

JANE
In the now.

CLEO
Yeah. Better or worse, Im all in today. I dont think about then.

JANE
I think about it.

CLEO
Oh yeah?

JANE
Not like all the time, but yeah.
 165.

CLEO
What do you think about it?

JANE
Miss it, mostly.

CLEO
Hard to miss all of this when Im still here.

JANE
Yeah.
(beat)
I dont really regret it. Leaving. I really dont.

CLEO
He was a piece of work, though.

JANE
Yeah. That I regret. He was... yeah, no. No good.

CLEO
I did warn you.

JANE
Do you think I hold that against you?

CLEO
No. Just saying.

JANE
Good.
(beat)
Hes his own fault. Not anyone elses.

CLEO
I didnt want you to leave.
(beat)
Especially like that.

JANE
I hated leaving like that.

CLEO
I really thought you hated me at the time.
 166.

JANE
I did. For sure.

CLEO
Oh.

JANE
I was wrong.
(beat)
To hate you.
(beat)
It was right to leave.
(beat)
He was the wrong reason.
(beat)
Who told you what happened?

CLEO
Anson.

JANE
How did he--

CLEO
Charlene heard from Geoff. From the phone place. I guess he came out and saw him one
time. After.

JANE
Oh. Its hard sometimes to live in a world so small. All the worst shit that happens to you
makes it around before you can say a word.

CLEO
If hed have been around I would have beat the crap out of him.

JANE
Yeah.

CLEO
Seriously.

JANE
I know.
 167.

CLEO
Id have had to go to jail for assault.

JANE
Yeah.

CLEO
Or worse. Attempted murder.

JANE
Only if you did it wrong.

CLEO
I wouldn't have done it wrong.

JANE
Whats that, 25 to life?

CLEO
The way I would have done it.
(beat)
It still pisses me off I didnt.

JANE
I appreciate that.
(beat)
I do.

CLEO
He should be dead. Or in pain.

JANE
I think he is. In pain.
(beat)
Im just glad Im here.

CLEO
Yeah.

JANE
Here. Right now.
(beat)
Its a beautiful evening.
 168.

CLEO
Almost over.

JANE
Its still light.

CLEO
And it will be. Sun will go behind the silver building, and itll still be day for another half
hour or so, but itll be dark here. Well be in the shadows.

JANE
Yeah.

CLEO
Itll get cold.

JANE
I dont mind.

CLEO
I dont either.

JANE
A few more minutes?

CLEO
A few.

JANE
Then you wanna get some pizza?

CLEO
Its not there anymore. You like Pad Thai?

JANE
Not really.

CLEO
Its a Pad Thai place now.

JANE
Greek place still there.
 169.

CLEO
Next block?

JANE
Yeah.

CLEO
I think so. I dont usually go that way.

JANE
Few minutes and well see if its still there.

CLEO
Yeah. Few minutes.

JANE
Yeah.

They both look at for a few moments.

The sun goes behind the silver building.

They are in shadow.

The lights go out.

End
 170.

#20 - THE DAY YOU WERE BORN

A mother and her daughter.

JUNE
You know what happened when you were born?

HOLLY
No.

JUNE
When is your birthday?

HOLLY
17. May.

JUNE
Thats right. You know what day it was? When you were born?

HOLLY
Saturday.

JUNE
It was early on Saturday morning.

HOLLY
It was raining.

JUNE
Thats right.

HOLLY
And you almost didnt make it to the hospital.

JUNE
Thats right. You were almost born in the car as we drove.

HOLLY
And if I was, my name would be Highway 403.

JUNE
Thats what your father used to say.

HOLLY
When he was alive.
 171.

JUNE
Thats right. When he was alive.

HOLLY
He loved me.

JUNE
Very much. And he did everything he could do to get me to the hospital.

HOLLY
And you made it.

JUNE
We did. And you did.

HOLLY
Mommy.

JUNE
Yes, baby.

HOLLY
Did I ever tell you the story of being born?

JUNE
No, you havent.

HOLLY
Well, its hard to remember.

JUNE
I bet.

HOLLY
It was dark for a long time. But it was nice.

JUNE
Oh yeah?

HOLLY
And then I heard some noise. And I heard a thump thump thump that went faster and
faster.

JUNE
Oh, did you?
 172.

HOLLY
And then it was hard to breathe. And I was scared.

JUNE
Oh no.

HOLLY
Really mommy.
(beat)
It was warm and then it wasnt. and the thump thump thump was so loud. And the
darkness got bright.

JUNE
Very bright.

HOLLY
Everything was blurry. And then I could feel you.

JUNE
You could.

HOLLY
And i was warm again.

JUNE
Oh baby.

HOLLY
And daddy was there.

JUNE
Thats right. He was.

HOLLY
He was.

JUNE
Yes. And he loved us.

HOLLY
And we were together.

JUNE
We were. We were.
 173.

HOLLY
I know what happened on the day I was born.

JUNE
Good. Good.

End.
 174.

#21 - THE SPARKLING EIFFEL TOWER

A man and a woman sit in a diner booth.

She is eating a bowl of soup, sipping occasionally.

He sits with his feet up on the seat. Talking.

BERT
The Eiffel Tower just looks desperate now. Desperate, like a... like a prostitute on skid
row. Ever since they made it all sparkley. Like a French whore towering above the skyline
like a... um...
(beat)
The whole city, at night, its like a pale warm yellow. And then in the distance theres this...
thing. Its just awful. Kinda, depressing.
(beat)
Not that Im sorry I went. I dont meant that at all. Like at all. Trip of a lifetime. I
assume. Took me long enough to save up the money. I just had some different
expectations.
(notices her soup)
That looks good. Is it?
(beat)
Im glad to be back. Long summer. Ready to get back to, you know, normal. Its my last
semester. Graduate in December. One last ride before the real world. Not that Im not
ready for it. I am.

A moment when she sips her soup.

BERT (CONTD)
Ive just decided something.
(he sits up)
I know that most people are really eager to, you know, finish up, and move on, get on with
their lives. If you dont people look at you like youre some kind of loser. I know. I
know what I said about Paul, and about Jeanette and Sally...

HELEN
And Ben.

BERT
Ben? I didnt say anything about Ben.
(she looks at him)
I didnt say that. That was Alex who said that about Ben. It made me laugh and when I
laughed I repeated what Alex had said. I promise you.
 175.

HELEN
Alex heard you.

BERT
But I didnt say it first. I admit I said it, I just didnt say it first.

HELEN
Ok.

BERT
Can I get back to what I decided?
(beat)
I decided that... it doesnt matter.

A moment.

HELEN
What doesnt matter.

BERT
What people think.

HELEN
What people think about what.

BERT
About not moving on.

HELEN
Oh. Sure.

BERT
I decided that.

HELEN
All right.

BERT
So, what Im saying is that I think Im gonna stick around.

HELEN
You are.

BERT
Yes.
 176.

HELEN
I have to ask...

BERT
Go ahead.

HELEN
Why.

BERT
Why.

HELEN
Right.

BERT
Well, I have an idea.

HELEN
An idea about what.

BERT
Well...

HELEN
Not about us.

BERT
I thought Id ask you something.

HELEN
Id rather you didnt.

BERT
No?

HELEN
Oh no.

BERT
Oh.

HELEN
I dont like questions.
 177.

BERT
Oh.

HELEN
You know, Ive been to Paris.

BERT
You have? When?

HELEN
Spring of my Sophomore year of high school. I liked it.

BERT
Yeah. It was awesome.

HELEN
I liked the Eiffel Tower.

BERT
Oh?

HELEN
The way it sparkled.

BERT
Well, I mean...

HELEN
Draws the eye. You cant look away.

BERT
Sure.

Helen sips her soup.

BERT (CONTD)
Can I tell you something?

HELEN
I dont like questions.

BERT
I dont want to ask you a question.

HELEN
You did ask me a question.
 178.

BERT
I dont want to do that again. I want to say something to you.

HELEN
I dont think you do.

BERT
I want to move in with you.

HELEN
That would be a very bad idea.

BERT
I cant see why.

HELEN
Because were done.

BERT
Were done.

HELEN
Yes.

BERT
Since when?

HELEN
Right now.

She sips her soup.

Bert shifts in his seat. Puts his feet up.

BERT
I dont agree.

HELEN
I dont see as that matters very much.

BERT
I still want to move in with you.

HELEN
That must be nice for you.
 179.

BERT
Thank you.

HELEN
I do not consent to this idea.

BERT
I still want to.

HELEN
Irrelevant.

BERT
Were incompatible you think.

HELEN
Yes.

BERT
Because you like how the sparkley Eiffel Tower looks and I think its gaudy and awful.

HELEN
Not at all.

BERT
But thats part of it.

HELEN
No.

BERT
Ok.

She slurps the soup.

BERT (CONTD)
I have half a mind to leave.

HELEN
Oh really.

BERT
I do.

HELEN
If you want to walk to your apartment, thats fine with me.
 180.

BERT
Its like 3 miles.

HELEN
You think thats far.

BERT
You walked 3 miles recently.

HELEN
Youre mad at me.
(beat)
You shouldnt be mad a me.

BERT
Tell me how to feel.

HELEN
3 miles isnt that far.

BERT
Dont.

HELEN
Be kind and I wont.

She sips at the soup.

BERT
You dont want to live with me.

HELEN
I do not.

BERT
Youre really breaking up with me.

HELEN
I am.

BERT
Thats really kind of harsh, Helen.

HELEN
I didnt want to string you along.
 181.

BERT
Tell me why.

HELEN
Why I broke up with you.

BERT
Why youre breaking up with me right now. Its not done yet.

HELEN
It is.

BERT
It is not.
(beat)
Tell me why.

HELEN
You think theres a list of reasons that, if you knew the list, youd understand and youd
feel better.

BERT
Tell me.

HELEN
Theres no list.
(beat)
Its not happening.

She sips.

BERT
You almost done?

HELEN
Dont ask me that.

She sips.

Bert shifts in his seat. He swings his legs around and faces
her.

BERT
You almost done now?
 182.

HELEN
No.

Bert puts his hand in her soup.

BERT
Now youre done.

She looks at him.

She puts her spoon down.

HELEN
Im not living in your apartment.

BERT
Ok.

HELEN
Theres not room for two people at mine.

BERT
You sure.

HELEN
No.

BERT
Im willing to make that work.

HELEN
Why?

A moment.

BERT
Thats a question.

A moment.

HELEN
So?

BERT
Ill have to move some of my stuff.
 183.

HELEN
We can pick up a few things.

BERT
A few?

HELEN
Some clothes.

BERT
Ok.

HELEN
And that picture you have. Of the Eiffel Tower.

BERT
Of the Eiffel Tower.

Lights fade.

End.
 184.

#22 - EMPTY HEART

An old man sits at a medieval-looking rough wooden

table, which is covered in thick old books. He flips pages
in one then turns to another to read and flip.

ARTHUR
(to someone off stage)
Books! I need more books! Caroline!

A young woman enters, carrying several large leather-

bound volumes.

CAROLINE
Here you are, Father.

ARTHUR
Caroline. Bring me more...
(notices the books)
Ah! There they are.

CAROLINE
You were looking for the volumes on Hera, werent you?

ARTHUR
I was, indeed. I am grateful to you.
(beat)
If ever there was a father better served by his daughter, then the world could cease to turn.

CAROLINE
Father, you know you have to look in the right place if youre going to find what youre
looking for.

ARTHUR
Of course, my dear.

Arthur reads and flips for a moment.

CAROLINE
What exactly are you looking for this time?

ARTHUR
Hm.

CAROLINE
I could be of more service to you if perhaps I understood your search.
 185.

He closes the book quickly, and stares her down.

ARTHUR
(lying)
Simple curiosity. Nothing more.

He waits for her to leave.

She doesnt.

CAROLINE
Youre not.

ARTHUR
Not what.

CAROLINE
Youre doing it again.

ARTHUR
Caroline...

CAROLINE
I wont let you do this again.

ARTHUR
Please...

CAROLINE
You promised me, Father.

ARTHUR
I did. I did promise. And I did give up.
(beat)
This has nothing to do with that.

CAROLINE
Nothing.

ARTHUR
Nothing whatever.

CAROLINE
Its a book about Hera.
 186.

ARTHUR
(under his breath)
But not the right one...

CAROLINE
Im not bringing that book to you. You know that.

ARTHUR
I need that book.

Caroline crosses away.

CAROLINE
Absolutely not.

ARTHUR
Youve hidden it.

CAROLINE
Of course I did.

ARTHUR
Bring it here this instant.

CAROLINE
I wont.

ARTHUR
Caroline.

CAROLINE
I cant.

ARTHUR
And why.

CAROLINE
Ive put away. Far away.

ARTHUR
Then tell me where you put it.
 187.

CAROLINE
I will not.
(beat)
It almost drove you to your grave, Father.

ARTHUR
And what would that have mattered? Hm? And old man, dies. That is the story of nature,
my dear, that is the story of every life. It ends in death.

CAROLINE
But it does not have to end yet.

ARTHUR
Give me that book.

CAROLINE
If I do, you will go back on your word.

ARTHUR
Yes! Of course I will. I need that book, Caroline. Give it to me.

CAROLINE
I will not allow it.

ARTHUR
Not allow it? You are not my keeper.

CAROLINE
Someone must be. You take no care for yourself.
(beat)
Ive done what I have done.

A moment.

ARTHUR
What have you done.

CAROLINE
I... I destroyed it.

ARTHUR
Destroyed...
 188.

CAROLINE
I tore it to pieces.
(beat)
And I burned them.

ARTHUR
You burned it.

CAROLINE
It is on the wind.

Arthur rises, furious.

ARTHUR
You have no idea what you have done.

CAROLINE
I know exactly what I have done.

ARTHUR
I was ready.

CAROLINE
You werent.

ARTHUR
It was the final piece to the puzzle. Hera herself must hear our plight. This was the way,
Caroline. This was the way!

CAROLINE
Father.
(beat)
You must let her go.

Arthur steps back, stabbed by these words.

ARTHUR
I wouldnt let her go for the wide world.

CAROLINE
She is gone.

ARTHUR
No.
 189.

CAROLINE
She is. She is gone.
(beat)
You yourself just said that this is the story of nature. That we must accept it.

Arthur sweeps books from the table.

ARTHUR
No! I do not accept. I do not!

He has spent his energy, and collapses in grief.

Caroline goes to him.

CAROLINE
Father. We have each other.

ARTHUR
I want her with us.

CAROLINE
As do I. But we are still here.

ARTHUR
I grieve, my dear. An empty heart beats echoes across time. To go on, is folly.

CAROLINE
I have lost her as well, Father. My heart has emptied too. Do not empty it again.

ARTHUR
I am lost.

She cradles him for a moment.

She rises, and helps him up.

CAROLINE
Come.

ARTHUR
What are you doing.

CAROLINE
Stand here.

She places him by the table.

 190.

ARTHUR
Caroline, what is happening.

She retrieves some candles. She places them on the table

and lights them.

CAROLINE
There is one hope.

ARTHUR
What?

CAROLINE
Before I tore the book, before I burned it.
(beat)
I read it.

ARTHUR
You did?

CAROLINE
And I though I did not want it, the words have burned themselves into my mind. I havent
forgotten them. I might never.

ARTHUR
Are you saying...

CAROLINE
Yes.
(beat)
I can help you.
(beat)
I will help you.

ARTHUR
Oh, my dear.

CAROLINE
Reach forward, as if you were grabbing her hands. Holding them, tenderly.

He does so.

ARTHUR
Its as if I can feel her, already.
 191.

CAROLINE
Lean your head back.
(he does)
Let your mind go. I know you can picture her face.

ARTHUR
I can never forget.

CAROLINE
Just keep picturing her. On the day you most loved her.

ARTHUR
My darling.

Caroline stands behind Arthur.

CAROLINE
Breathe in the air of that day.

He inhales sharply.

His eyes open, pained.

Arthur falls.

Caroline stands where she was.

She holds a knife.

She places the knife on the table.

She blows out the candles.

Lights out.

The end.
 192.

#23 - BROKEN VOYAGES

DAVEY, a boy, sits on a single bed. He has a suitcase

and wears his jacket.

PAUL, his father, comes into the room.

PAUL
Davey.

DAVEY
Im just getting ready to go.

PAUL
Youre still going?

DAVEY
I have my bag packed. I have my toothbrush. I have my bear. Im ready to go. Dont try
to stop me.

PAUL
I wont.

DAVEY
Good. Because I dont want you to.

PAUL
Right.
(beat)
I just got done making some sandwiches.

DAVEY
So?

PAUL
I just wondered if you wanted one.

DAVEY
No. I dont want a sandwich.

PAUL
I didnt say you had to. I just made an extra one, and I figured you might be hungry. All
that packing.

DAVEY
Im leaving. For good.
 193.

PAUL
Youve said.

DAVEY
I have a long way to travel.

PAUL
You know where youre going?

DAVEY
No.

PAUL
You said you have a long way to go.

DAVEY
Im just going to travel for a long time and whereever I get, thats where I get.

PAUL
I see.
(beat)
Are you going by land or by sea? Or by air?

DAVEY
Im gonia go by all of em.

PAUL
Wow. That sounds like quite a trip.

DAVEY
Its a voyage.

PAUL
That sounds very adventurous.

DAVEY
It is. Im an adventurer now.

PAUL
Now, I dont know a whole lot about adventuring, I havent done an adventure in a really
long time.

DAVEY
You went on adventures?
 194.

PAUL
Me? Oh sure. But it really was a long time ago.

DAVEY
I cant picture you going on an adventure. Except to go to work.

PAUL
That is an adventure, sometimes, for sure. But yeah, Ive been on adventures.

DAVEY
What was it like?

PAUL
Well, Ill tell you one thing, and I never would have known this if I hadnt been on an
adventure myself, but adventuring is very very hungry work.

DAVEY
Hungry work?

PAUL
Oh yeah. Nothing makes you hungrier than a long long voyage to an unknown land.

DAVEY
I dont like being hungry.

PAUL
Oh, I know. I remember. You were my guy who always liked to eat his lunch. Thats
why when I was making a sandwich for my lunch, I thought I might make two, in case you
were thinking about an adventure.

DAVEY
I was thinking about an adventure.

PAUL
I was right. So I wonder if youd like to eat my extra sandwich.

DAVEY
If I take the sandwich, can I still go on a journey?

PAUL
If youd like to. I dont want to stop your journey.

DAVEY
Good. I told Kevin I was going on a journey. And he said he was going on one two.
Hes going far far away, so Im going to go farer farer away.
 195.

PAUL
He is, is he.

DAVEY
Yeah.

PAUL
I see.

DAVEY
The farest I can go.

PAUL
That would make you and Kevin far far far far away from each other.

DAVEY
Yeah.

PAUL
Do you know which way Kevin is going?

DAVEY
Which way?

PAUL
North, south, east or west?

DAVEY
One of em.

PAUL
But which one.

DAVEY
I... i dont know.

PAUL
If he goes North and you go North, you wont be far far far far away from each other. In
fact, if you both go North, no matter how far your voyage, the two of you will still be right
next to each other.

DAVEY
Hm.

PAUL
Do you want to call Kevin and see which way hes going to voyage?
 196.

DAVEY
Maybe.

PAUL
What if I called his dad?

DAVEY
Um... ok. I dont know if his dad knows.

PAUL
Dont worry. Ill find out all I need to know without saying anything about where youre
going.

DAVEY
Oh good.

A moment.

PAUL
Are you hungry?

DAVEY
Kinda.

PAUL
Lets eat our sandwiches, and then Ill call Kevins dad.

DAVEY
How about we eat our sandwiches, and then maybe you dont have to call Kevins dad,
and maybe I dont go on a voyage. Maybe Ill just go over to Kevins and say Im sorry.

PAUL
Sorry? For what?

DAVEY
I said something mean to Kevin.

PAUL
Oh yeah. Did he say something to you too?

DAVEY
He did. But only after I said something first.

PAUL
Something you didnt mean.
 197.

DAVEY
Yeah.

PAUL
But it hurt Kevins feelings.

DAVEY
I guess so.

PAUL
I think saying youre sorry would be a good idea.

DAVEY
Ok.
(beat)
But after our sandwiches.

PAUL
Right. After our sandwiches.

Davey and Paul leave the room.

The suitcase and bear sit on the bed.

The end.
 198.

#24 - SOMETHING ABOUT STORMS AND FLOODS

A woman stands in a pool of water.

WOMAN
When the rains came
I found myself
alone

Pounding water on water

sky slapping the collected
covering the land

falling and rising

poured and pooling
storm and swell

when the rains came

I found myself
by myself
under
water

A man comes and sits in the water.

MAN
You stayed.

WOMAN
I didnt want to.

MAN
But you stayed.

WOMAN
I did.

MAN
Didnt heed the warnings.

WOMAN
I heeded them.
 199.

MAN
You didnt listen.

WOMAN
I listened.

MAN
You didnt act on them.

WOMAN
I didnt act on them.

MAN
Then they were not heeded.

A moment.

MAN (CONTD)
I suppose you want to be rescued.

WOMAN
I want it to stop.

MAN
It will.

WOMAN
When.

MAN
I cant say.

WOMAN
How do you know.

MAN
History.

WOMAN
You cant be sure.

MAN
I can. It will pass. Storms come and go. Waters rise and fall. Has been. Will be.
 200.

WOMAN
Unless it didnt.

A moment.

MAN
You were warned.

WOMAN
I was.

MAN
You were warned and you knew the risks and you took it.

WOMAN
I only meant to live.

MAN
I know.

WOMAN
I only meant to survive.

MAN
We all meant to survive. But this is how some of us didnt.
This is how some of us didnt.

She sits in the pool as well.

They do a series of choreographed movements to represent

a storm.

It ends with both of them putting their faces underwater.

They sit up together, gasping for air.

They stop.

Lights down.

End.
 201.

#25 - STEPS

A set of stairs.

At the top is LEE, a woman mid 20s in a comfortable

jeans and t-shirt.

At the middle is ANGELA, a woman in her early 20s in a

dress, ready for a date.

At the bottom is FIONA, a woman, mid 20s perhaps in

pajamas or other very comfortable clothing.

FIONA
Hes not coming.

ANGELA
Dont do this to me.

FIONA
Im just saying that maybe you misunderstood.

ANGELA
We made a date. We texted about it. He sent me an email. I didnt misunderstand.

FIONA
Then where is he?

ANGELA
How am I supposed to know.

FIONA
Are you sure you even want to go? You look uncomfortable.

ANGELA
Im not.

FIONA
You look... I dont know.

ANGELA
The word youre looking for is pretty.
 202.

FIONA
Why did you decide to wear that dress?

ANGELA
I dont have time for this.

FIONA
You do, because hes not here.

ANGELA
Im not answering that.

FIONA
Did you put it on because you like it?

ANGELA
I do like it.

FIONA
Did you put it on because you think he will like it?

ANGELA
I dont know what he will like.

FIONA
Is it because you like to wear it?

ANGELA
What does that mean?

FIONA
Are you comfortable?

ANGELA
I suppose.

FIONA
Does it make you feel good? About yourself?

ANGELA
Please dont do this.

FIONA
I want to know. Is it for you or is it for him?
 203.

ANGELA
What possible difference does it make. Im wearing it, Fiona. Just shut up and leave me
alone.

A moment.

FIONA
Is that him?

ANGELA
No.

FIONA
Good.

ANGELA
Why do you say that?

FIONA
Because he just drove by and didnt stop.

ANGELA
Fiona.

FIONA
Unless he saw you in that dress and he changed his mind.

ANGELA
Do you not like it?

FIONA
Its cute.

ANGELA
Then what is the problem?

FIONA
Do you want to be cute?

ANGELA
Id like to not be all anxious when he shows up. Do me a favor and stop interrogating me.

FIONA
You think Im interrogating you.
 204.

ANGELA
Stop it.

FIONA
Im not interrogating you.

ANGELA
Fiona.

FIONA
Angela. If you cant deal with me, youll never be ready for your date. Its a first date. Its
the land of a thousand questions, not all of which you will be prepared to answer and I
want you to be ready.

ANGELA
You want me to be ready?

FIONA
I do.

ANGELA
Why.

FIONA
Because youre my friend and I love you.

ANGELA
I love you too.

FIONA
This date had better go good.

ANGELA
This date had better go well.

FIONA
Whatever.

ANGELA
Why had it better go good.

FIONA
Because he doesnt deserve you.

ANGELA
Youve never met him.
 205.

FIONA
Ive never met anyone whos good enough for you.

A moment.

ANGELA
Thanks, Fiona.

A moment.

Light shift.

LEE
Youre still not ready.

FIONA
I just got up.

LEE
You said youd go to the park with me.

FIONA
Im ready.

LEE
Youre in pajamas.

FIONA
Is there someone at the park Im trying to impress? A tree? Or maybe a squirrel?

LEE
You have to get out of the house.

FIONA
Im not ready.

LEE
You promised.

FIONA
This is me breaking me promise.

LEE
Its been a month.
 206.

FIONA
Please tell me what the proper amount of time is.

LEE
Theres not... thats not what Im saying.

FIONA
Lee. Im. Not. Ready.

LEE
This is how you get ready.

FIONA
Stop telling me how to be! Im sick to death of you telling me how I need to be me.

LEE
When Andrew broke up with me...

FIONA
Mark wasnt Andrew. Andrew was a fat turd dry rotting in the grass, waiting for someone
on a picnic to accidently lay their blanket over him.

LEE
Im saying it took longer than this. Im not you, but Im just saying that what it took for
me to finally get out and around had a lot to do with getting active, and getting fresh air.

FIONA
Oh my god. I want to beat you with a toaster.

LEE
Im willing to get beat if it means youll get active.

FIONA
Toaster is all the way over there...

LEE
You dont remember.

FIONA
Remember what?

LEE
You dont. Unbelievable.
 207.

FIONA
Oh what now? Is it your birthday or the anniversary of day Jane Austen first came up with
the idea for one of her novels or like national cupcake day or something?

LEE
You dont remember that it was you who made me get up and get active. And get over
Andrew.

FIONA
Andrew was a festering sore.

LEE
Thats what you said.

FIONA
I know. It bears repeating.

LEE
You are the one who picked me up by my pigtails and dusted me off and got me moving
again. Put color in my cheeks. Breathed life back into me.
(beat)
I want to do the same for you.

FIONA
Go to hell.

LEE
No really.

FIONA
No really. I know I can be sarcastic and sometimes you cant tell when Im being mean
and when Im not, so Ill just tell you straight up. Go to hell. This is not a drill. Go directly
to hell.

A moment.

LEE
OK.

FIONA
Thank you.

LEE
Ill bring you back a coffee.
 208.

FIONA
Swear to god, dont.

LEE
Im going to leave. Im going to continue smiling. But you should know that youve really
hurt my feelings.
(beat)
Save your witty comeback. Im gone.

A long moment.

Lights shift.

ANGELA
Im glad youre here.

LEE
How was it?

ANGELA
Oh, fine. Whatever.

LEE
You look cute.

ANGELA
I borrowed it from you.

LEE
I know, but its great on you.

ANGELA
Thank you.

LEE
He better have liked it.

ANGELA
Liked what?

LEE
Your outfit.
 209.

ANGELA
He didnt say anything.

LEE
He didnt?

ANGELA
Nothing significant.

LEE
But he said you looked good. At least in passing.

ANGELA
I guess so, I dont remember.

LEE
He better have, or hes not worth your time. You can do better.

ANGELA
I need to tell you something.

LEE
What?

ANGELA
You have to promise me something.

LEE
OK.

ANGELA
You have to keep it to yourself.

LEE
What do you mean?

ANGELA
Promise me.

LEE
All right, I promise.

ANGELA
My date.
 210.

LEE
Yeah?

ANGELA
Mark.

LEE
Mark.
(beat)
Fionas Mark. Fionas Mark?

ANGELA
Yes.

LEE
No.

ANGELA
Yes.

LEE
No.
(beat)
Thats really bad.

ANGELA
I know.

LEE
Like really bad.

ANGELA
I know it is.

LEE
Shes still in bed.

ANGELA
I know. You dont have to tell me.

LEE
Oh, Angela.

ANGELA
I dont know what to do, Lee.
 211.

LEE
Well you cant tell her.

ANGELA
Im not. I dont plan to. You better not say anything?

LEE
I dont have a death wish.
(beat)
Tell me it was horrible.
(beat)
Say it was horrible.
(beat)
Oh my god youre going out with him again.

ANGELA
I said I would.

LEE
Thats such a bad idea.

ANGELA
I know.

LEE
Dont go. Call him. Tell him now you cant make it. Tell him its over.

ANGELA
Did she tell you about their breakup?

LEE
Did she tell me? I didnt get more than an hour of sleep a night for 3 nights.

ANGELA
Did she tell you she broke it off?

LEE
Yeah, that wasnt clear.

ANGELA
Mark said she broke his heart.

LEE
She breaks mine all the time.
 212.

ANGELA
Im only going to go on the one more date.

LEE
No, Angela. Fionas going to literally freak out if you she finds out. And if she finds out
you went out on a second date her whole face might split apart and her bones will crawl out
of her skin and it will haunt us for the rest of our days.

ANGELA
Doubtful.

LEE
It will feel like it.

ANGELA
Probable.
(beat)
I dont know what to do.

LEE
I forbid you to go on a second date with Fionas ex-boyfriend.
(Angela looks sheepish)
What?

ANGELA
Weve already been on a second date. This was the second date.

LEE
I cant help you. Im going to go. I dont want to be in the blast radius.
(beat)
I will miss you.

A moment.

Lights shift.

FIONA
I havent seen you in days.

ANGELA
Ive had work. Lots of work. Just havent been around much.

FIONA
I have.
 213.

ANGELA
You still havent gotten out?

FIONA
Unemployment really came at the right time. Its kind of awesome when everything lines
up with your depression.

ANGELA
I dont like it when you say that.

FIONA
What, depression? I dont mean it like I need to be medicated or anything. But life totally
sucks eggs and I wish I werent.

ANGELA
It wont feel like that forever.

FIONA
Of course not. So Im trying to savor it for as long as I can.

ANGELA
Well, then. Good, I guess.

Moment.

FIONA
Youve been seeing that guy.
(beat)
That guy from your blind date.

ANGELA
It wasnt a blind date.

FIONA
I thought it was blind. Or he was blind or something. That outfit you were wearing for
him. Or maybe he would just hope he was blind so he didnt have to look at it.

ANGELA
Stop.

FIONA
Fine.
 214.

ANGELA
I have to tell you something.

FIONA
Something about your date?

ANGELA
Yes.

FIONA
I really dont want to hear it. I mean I hope it was cool and hes cool and yall hit it off and
stuff, but Ive got my melancholy to tend, and its far too delicate to get infected with your
happy.

ANGELA
This is serious.

FIONA
Im very serious.

ANGELA
I have to tell you. My date was with...

FIONA
Mark.

ANGELA
You knew.

FIONA
Oh yeah. Im not an idiot.

ANGELA
Are you furious?

FIONA
Why would I be furious?

ANGELA
I went out with your ex.

FIONA
4 times so far. He really likes you.

ANGELA
He... youve talked to him.
 215.

FIONA
I have. But just once. I was curious so I called him up.

ANGELA
Curious about what?

FIONA
I told him to ask you out.

ANGELA
You did?

FIONA
Of course.

ANGELA
Why?

FIONA
Because youre the best, and I dont hate Mark, but I had to break up with him, so I knew
two people that I liked and I thought maybe yalld hit it off. I was right.

ANGELA
But...

FIONA
Its weird. I know. But I dont care.

ANGELA
I dont know how to feel about this.

FIONA
Dont care. It works. Go out with Mark and have fun. I bestow all of my blessings on
your and your household and your clan of children babies that you will birth for him.

ANGELA
Thats too soon.

FIONA
Whatever.

ANGELA
OK. Thank you, Fiona.
(beat)
I really like him.
 216.

FIONA
I dont doubt that.

ANGELA
Im going to meet him for coffee.

FIONA
Its really late for coffee, but these are your life choices, deal with them how you see fit.

ANGELA
Bye.

FIONA
Yep.

Lights shift.

LEE
You lie quite well.

FIONA
It gets easier with practice.

LEE
Go for a run with me.

FIONA
Is it in the park?

LEE
Of course.

FIONA
Fine. Ill go.

LEE
Fiona.

FIONA
Yeah.

LEE
Im glad youre my friend.

FIONA
You are a lucky devil.
 217.

LEE
I am a lucky devil.

Lights down.
 218.

#26 - FOREST OF SHACKLES

An abstract forest.

Leaves hang.

Streaks of sunset.

A man in shackles is led in by two other men.

The man in shackles has been beaten.

They stop beneath the single branch.

William takes out a rope.

Daniel holds the man in shackles.

WILLIAM
Hold him.

DANIEL
I am.

WILLIAM
This wont take long.

DANIEL
I dont want to do this.

WILLIAM
You volunteered to come along.

DANIEL
I didnt know this is what was happening.

WILLIAM
You know what he did.

DANIEL
I dont.

WILLIAM
You were there.
 219.

DANIEL
I was there when he was accused. I dont know what he did.

WILLIAM
You calling me a liar?

DANIEL
I only say I dont know.

WILLIAM
Ill say one thing and one thing only. That will never happen again.
(to the Man in Shackles)
Never. You hear me?

DANIEL
You saw it happen.

WILLIAM
I was told.

DANIEL
Youre going to do this and you dont know for sure.

WILLIAM
I know for sure.

DANIEL
You didnt see it.

WILLIAM
Neither did you. And youre here.

DANIEL
I came along to let him go.

William steps up to Daniel.

WILLIAM
You cant stop this from happening.

A long moment.

William backs up and throws the rope up over the branch.

WILLIAM (CONTD)
If you arent gonna help, you can just go.
 220.

DANIEL
Im not going anywhere.

WILLIAM
Then step back.

William takes a step in close to Daniel.

Daniel does not move.

William grabs the Man in Shackles and pulls him away;

toward the rope.

DANIEL
Dont.

William stares down Daniel.

WILLIAM
Thats what I thought. All you got is begging.
(beat)
This man is guilty. And Im about to pass sentence.

William stands the Man upright.

The Man in Shackles headbutts William.

The Man kicks William several times.

WILLIAM (CONTD)
Dont just stand there!

Daniel steps in, and grabs the Man in Shackles by the

hands.

The Man looks at Daniel.

Daniel releases the Man from the shackles.

The Man stares at Daniel.

The Man reaches to Daniels belt and takes his knife.

The Man stabs William. Several times.

William dies.
 221.

The Man stands and stares at Daniel.

Daniel stares back.

DANIEL
Youre free to go. I wont say a thing.

The Man steps toward Daniel with the knife.

Daniel recoils.

The Man turns the knife, and hands it to Daniel, handle

first.

Daniel looks at it. Reaches for it.

The Man tosses it to the ground.

Daniel reaches down for it.

The Man knees Daniel in the face.

Daniel drops.

The Man grabs the rope, picks up Daniel, and puts

Daniels neck in the rope, then ties his hands with the
shackles.

The Man picks up the knife, and steps away from Daniel.

The man stabs the knife into the ground, out of the reach
of Daniel.

The Man exits.

William lays dead.

Daniel struggles with the rope around his neck.

Lights down.

End.
 222.

#27 - REFUGE

Two women cling to an upside down boat.

They are tattered and worn. Beaten.

MIE
I want to go home.

PAU
We have no home.

MIE
I want a home.

PAU
I want a home.

The cling for a moment.

MIE
Where can we go?

PAU
We had to go.

MIE
Where can we go, now?

PAU
We have gone.

MIE
We must go.

PAU
We cannot stay.

Another moment.

Mie climbs up to sit on the overturned boat.

Pau clings.
 223.

MIE
I remember my last birthday at home. A fine day. Few clouds and a sun that greeted me. I
sat in the garden with my mother. She told me three secrets that day. Three secrets I have
never forgotten. That I will never forget.
(beat)
That a joyful heart is always at home.

PAU
We have no home.

MIE
My mother told me, in the garden, that home is anywhere when you can find your hearts
joy.

PAU
Is this your home?

MIE
My home? Oh no. I have no heart joy here. But my heart knows there is a home. That
there is a joy. And it senses its opposite, like a magnet across the sea.

PAU
Will it lead the way?

MIE
Lead the way? No. But it stirs as we grow closer and closer. Drawn to its home.

PAU
That isnt what your mother meant.

MIE
But its what I feel. Its what I sense, as I remember her face, her mouth, forming the
words that ring, right now, in my mind.

PAU
She was telling you to find joy. And that joy would allow where you are to be your home.

MIE
She cant have meant that.

PAU
As we have wondered far, and found neither home nor joy.
 224.

MIE
Neither.

A long moment.

PAU
What else did she tell you?

MIE
Hm?

PAU
Your mother. Her secrets.

MIE
I promised I would never tell.

PAU
You just told me the first.

MIE
She would frown.

PAU
She would want you to share a part of her.

MIE
All right.

Mie helps Pau up onto the boat.

PAU
Her second secret.

MIE
Im not sure if its a secret or not. I heard someone else say it.

PAU
Who?

MIE
I heard it as we waited in the camp. Before the storm.

PAU
Before we were washed from the shore.
 225.

MIE
I heard someone else say it as well.

PAU
Oh?

MIE
I dont want to tell you.

PAU
Why not?

MIE
I dont think you will believe.

PAU
Tell me.

MIE
My mother, she was a woman of great faith.

PAU
Yes.

MIE
She was unshakable in that faith.

PAU
All right.

MIE
I know you have no faith.

PAU
Tell me the secret.

MIE
She said that thoughts would come, doubts, fears, that they would be many, especially in
times of strain and strife.

PAU
Thats no secret.
 226.

MIE
This is the secret.
(beat)
Those voices. The ones of exhaustion and pain.

PAU
Yes.

MIE
That those are also the voice of god.

PAU
I thought those were the voice of... another.

MIE
So did I.

PAU
What did she mean?

MIE
I dont know. I wanted to ask. But I didnt.

PAU
You were afraid.

MIE
I was overwhelmed. I was young. I couldnt imagine a time of real doubt, much less
know the voices that she described.

PAU
Have you heard them?

MIE
I dont know.

PAU
I have.

MIE
Is mother right?

PAU
I hope so.
 227.

MIE
You do?

PAU
I wish so.
(beat)
Whats the third secret?

MIE
She told me to hold that one close.

PAU
Is there any thing closer then I am now?

A long moment where they look at each other.

Mie puts her arms around Pau, embracing.

MIE
This is the third secret.

PAU
An embrace.

MIE
That love is action. That no one is too poor to love. That anyone can embrace one who is
lost.

PAU
Thats three things.

A moment of embrace.

MIE
No it isnt.

Lights down.

End.
 228.

#28 - THE K-6 SUNDAY SCHOOL ROOM

A folding table with a series of chairs around it. If there

are walls and decorations, it is a childrens Sunday school
room.

BONNIE, a woman in her late 30s, is cleaning up papers,

styrofoam cups, and other items from the table.

WALTER, a man in his early 40s, sits at the far end of the
table. He is leaned back and contemplating. His hands
together, fingertips at his lips.

WALTER
I dont think they understood.

BONNIE
They understood just fine. They just didnt like it.

WALTER
I didnt explain it properly.

BONNIE
Im telling you they understood. Its just a terrible idea.

WALTER
You dont like it either.

BONNIE
Of course I dont like it, Walter.

WALTER
You didnt understand.

Bonnie stops.

BONNIE
Walter. You explained it well, everyone just hates the idea.
(indicates specific chairs)
Judy hated it. Paul hated it. Simon hated it. Harmon, Philip, and Sandy hated it.
(beat)
And I hated it.

WALTER
What about Arthur.
 229.

BONNIE
What about him.

WALTER
He didnt hate the idea.

BONNIE
He couldnt hear you.

WALTER
What?

BONNIE
His hearing aid battery died and he didnt want to bother anyone by saying so.

WALTER
How do you know?

BONNIE
Because he didnt say anything about how awful your plan was.

WALTER
Bonnie...

BONNIE
Sheila told me when she dropped him off. He didnt want to miss an elders meeting.

WALTER
Hes a good man.

BONNIE
Im going to miss him.

WALTER
Dont. Hes not leaving.

BONNIE
He has to. He cant keep up with these responsibilities.
(beat)
And if we close down the church...

WALTER
Were not closing down the church.
 230.

BONNIE
There arent the people left to sustain this.

WALTER
There are people still here.

BONNIE
We cant afford to keep it going.

WALTER
If we try my plan...

BONNIE
No. We are not asking the pastor to take the summer off.

WALTER
What are we supposed to do?

BONNIE
If the church needs to close, it needs to close.

WALTER
We cant close the church. What about our community?

BONNIE
Walter.

WALTER
What?

BONNIE
You know that people are going to the church in town.

WALTER
Who.

BONNIE
The Millers. Hank and Sally. The Von Marks. The Andersons. Phyllis.

WALTER
Phyllis has been staying home the past couple of weeks. Shes sick.

BONNIE
Shes been going to church with the Andersons. They pick her up and take her.
(beat)
Our community. They are all in town.
(MORE)
 231.

BONNIE (CONT'D)
(beat)
Pastor Greg already knows.

WALTER
Knows what.

BONNIE
Were shutting down the church.
(beat)
Hes visiting over at the church in Bingham.

WALTER
Bingham. I thought Randy Reynolds would never leave there.

BONNIE
Randys taking over the organizing of the trips to Jamaica.

WALTER
Helping with Pastor Arnold.

BONNIE
Hes retiring to Florida.

WALTER
How do I not know any of this?

BONNIE
I have no idea.

WALTER
How do you know it all?

BONNIE
I listen.

A moment.

WALTER
So Pastor Greg is leaving.

BONNIE
Yes.

WALTER
Then well save money there.
 232.

BONNIE
Were done, Walter. Its over. Without a pastor, without a congregation, without a
building. This is over.

WALTER
Without a building.

BONNIE
Harding has offered to purchase the building.

WALTER
Harding has?

BONNIE
Its a good location for him.

WALTER
Yeah. I bet it would be.

BONNIE
It is.

Bonnie has finish straightening up the papers, throwing

things away. She starts stacking the chairs.

WALTER
So thats it.

BONNIE
It is.

WALTER
I dont want it to be it.

BONNIE
I know.

WALTER
I cant let it go.

BONNIE
Youre going to have to.

WALTER
But, Lisa...
 233.

Bonnie stops.

BONNIE
Its going to be for the best. I know it hasnt been easy. I know that shes everywhere
here for you.

WALTER
We met here. We got married here. We prayed over her here. We had her...

She continues to stack chairs.

BONNIE
None of that changes.

WALTER
Its not even going to be a church anymore. Its going to become Hardings place. Bunch
of trucks parked outside.
(beat)
Hell probably paint it.

BONNIE
That would be for the best.

Bonnie turns up the table, and folds up the legs.

WALTER
I dont want it to happen.

BONNIE
I know.

WALTER
I dont want to admit shes gone.

BONNIE
I know.

WALTER
I dont want to let her go.

Bonnie pulls the table to the wall, laying it flat.

BONNIE
Whether you want to or not.

A moment.
 234.

BONNIE (CONTD)
Its time to go.

WALTER
Ill lock up.

BONNIE
You have the keys.

WALTER
Just give me a moment.

BONNIE
Its time.

A moment.

Walter stands.

Bonnie stacks his chair with the others.

Bonnie goes to the door.

Walter crosses out and exits.

Bonnie turns off the light.

The end.
 235.

#29 - FIFTIETH ANNIVERSARY

A moon hangs above.

An awkwardly small two-person piece of deck furniture.

ALLY and SAM sit in it.

They are both early 20s.

They are uncomfortable.

SAM
We dont have to pretend this isnt awkward.

ALLY
Sam.

SAM
Im just saying that its obvious that it is, and to pretend otherwise...

ALLY
I dont want to talk about it.

SAM
You dont want to use words, but your body language is screaming all over the place.

ALLY
Stop.

SAM
Im serious.

ALLY
Were not doing this right now.

SAM
What Im saying is that youre already doing it.

ALLY
You promised.

SAM
What do you think I promised?
 236.

ALLY
You promised you wouldnt say anything.

SAM
Thats not what I promised.

ALLY
You promised you wouldnt ruin this party.

SAM
All right. I will agree that that is what I promised.

ALLY
So shut up and stop ruining this party.

SAM
Im not ruining the party.

ALLY
You are ruining the party.

SAM
This is what Im saying. I am NOT ruining the party, YOU are ruining the party--

ALLY
How am I the one--

SAM
With the way you are acting right now--

ALLY
I am the last one who would be ruining--

SAM
But you are--

ALLY
Its my party that Im throwing, so how can I be the one--

SAM
I know it is. Your attitude is ruining the--

ALLY
My attitude?!
 237.

SAM
Yes.

ALLY
MY attitude!

SAM
Yes.

ALLY
This is somehow going to be MY FAULT!?

Sam looks around.

SAM
You might want to keep it down...

ALLY
I might? You think I might want to keep it down.

SAM
Fine. Be loud.
(beat)
Its your party.

ALLY
Its my grandparents party. Its a party for my grandparents. For their 50th anniversary.

SAM
I know exactly what the party is for. Or I honestly wouldnt be here right now.

ALLY
I know you wouldnt.

Ally tries to get up. Cant.

SAM
What are you doing?

ALLY
Im leaving.

SAM
You cant leave. This is your party for your grandparents.
 238.

ALLY
Im not leaving the party you idiot. Im leaving this chair.

SAM
Or you arent.

ALLY
Im stuck.

SAM
Here let me.

Sam tries to get out but cant as well.

ALLY
Great.

SAM
Were gonna get out. We just need some help. Someone to come by and help.

ALLY
Theyre all inside.

SAM
What?

ALLY
They all went inside.

SAM
Why.

ALLY
For the cake.

SAM
Theres cake?

ALLY
Of course theres cake. Its a party.

SAM
When did this announcement happen? That it was time for cake.
 239.

ALLY
I told everyone that it was time for cake.

SAM
When?

ALLY
I just got done going around the party to tell everyone.

SAM
You didnt tell me.

ALLY
Yes I did.

SAM
No you did not. You think I would have heard cake and that Id still be sitting here.

ALLY
I told you when I sat down.

SAM
Why did you sit down.
(beat)
Why did you sit down.

ALLY
Grandpa and grandma came by.

SAM
I didnt see them.

ALLY
You werent paying attention.

SAM
I remember you sitting down.

ALLY
Thats when it all happened. Thats when you werent paying attention.

SAM
So everyones inside.
 240.

ALLY
Yes.

A moment.

SAM
Were stuck out here.

ALLY
Yes.

A long moment.

SAM
This is really hard.

ALLY
What is?

SAM
The party.

ALLY
I know.

SAM
You regret asking me to still come?

ALLY
Completely.

SAM
It would have been worse if I hadnt.

ALLY
I have to think so. Otherwise Id tell you to leave now.

SAM
I would go. If you told me to.

A moment.

ALLY
I dont know why you felt like now was the time--
 241.

SAM
I didnt.

ALLY
You didnt what.

SAM
Think this was the right time. I wasnt going to say anything.

ALLY
Why did you?

SAM
You asked me.

ALLY
I asked you...

SAM
You asked what was wrong.

ALLY
Why wouldnt I have asked you what was wrong?

SAM
I dont know. I was just trying to power through the afternoon, just keep helping with the
party decorations, just get through the party, and... I dont know.

ALLY
Break up with me later tonight? After the party?

SAM
I dont know. I dont think so. Probably some time later.

ALLY
Ah.

SAM
Im telling you, I was trying.

ALLY
Well, gosh. Thanks. Totally my fault that I showed an interest in how you seemed to be
really struggling with, you know, being here and all.
 242.

SAM
Ally.

ALLY
I should have kept my nose out of my fiancees business, and patiently waited for you to
break it off with me later on.

SAM
Thats not what I said.

ALLY
Ok.

A long moment.

SAM
Fifty years.

ALLY
Yeah.

SAM
Thats a long time.

ALLY
Very.

SAM
For anyone.

ALLY
Even two people who are perfect for each other.

SAM
Yeah.

ALLY
Yeah.

Another moment.

SAM
You said that you wanted to take a picture with them?
 243.

ALLY
Hm?

SAM
Us and your grandparents.

A moment.

ALLY
Yeah.

SAM
Ok.

ALLY
We dont have to.

SAM
I said I would.

ALLY
Its stupid. Were not going to want to have that picture afterward.

SAM
Itd be weird if we didnt.

ALLY
You sure.

SAM
Yeah.

ALLY
Ok.

Sam gets an idea - tries to get out.

SAM
What if I--

ALLY
What are you--
 244.

SAM
Im just trying to--

ALLY
Wait. Wait--

SAM
Im almost--

ALLY
Hold on--

SAM
Oop. There we go.

ALLY
Ok. Ill just--

SAM
Yep. Here we go.

Sam flops out onto the floor.

Ally is still in the seat.

Sam stands up.

ALLY
Youre free.

Sam puts out his hand.

SAM
Here.

He helps Ally stand.

ALLY
Theres cake inside.

SAM
I know.
(beat)
Lets go take the picture.
 245.

ALLY
Ill drive you home.

SAM
Thank you.

ALLY
I want to say thank you for all your help today. Especially after...

SAM
Please. I cant believe this happened.

ALLY
You cant.

SAM
No.

ALLY
You changing your mind?
(beat)
Dont answer that.

SAM
Come on. Lets go inside.

They go inside.

The end.
 246.

#30 - HADRIANS WALL

A stone wall on stage.

A woman in her early forties, MILDRED, wears a bright

vest and hat. She carries a clipboard and has other simple
equipment - a camera, binoculars.

A young woman, perhaps seventeen, KIRSTEN,

begrudgingly wears a similar bright vest.

MILDRED
This is as good a spot as any.

KIRSTEN
Is it.

MILDRED
No worse than anywhere.

KIRSTEN
Just as miserable.

MILDRED
This doesnt have to be so bad.

KIRSTEN
It just is.

MILDRED
You needed the volunteer hours. This is what we need volunteers to do.

KIRSTEN
You said I get the time it took to drive here as part of my hours, right.

MILDRED
Yes. So it could be worse. You could be digging the ditch instead of examining it.

KIRSTEN
Thank god.

MILDRED
Yes. Thank god, indeed.
(beat)
This is it.
 247.

KIRSTEN
This is it?

MILDRED
What were you expecting?

KIRSTEN
I dunno. A big ass wall.

MILDRED
Im sorry it couldnt be more impressive for you.

KIRSTEN
Its short.

MILDRED
Its not tall, but its long. It stretches from Newcastle to Solway.

KIRSTEN
People could, like, just jump over it.

MILDRED
And Im sure people did. But with Roman soldiers not far away, and patrolling up and
down the wall, they would not have gotten far.

Mildred begins to inspect the wall. Kirsten just looks.

KIRSTEN
Its just a pile of stones.

MILDRED
Many things are. But this is a World Heritage site, my dear. So its important to preserve.

KIRSTEN
Its been out here like a hundred years or something. If it hasnt fallen over yet...

MILDRED
It was begun in AD 122.

KIRSTEN
Yeah.

MILDRED
Thats just under two thousand years. Not a hundred.
 248.

KIRSTEN
My point exactly.

MILDRED
Erosion, dear.

KIRSTEN
Like, wind?

MILDRED
And pollution. Animals. People taking stones to build other things.

KIRSTEN
That sucks.

MILDRED
Sometimes people leaving graffiti or markings. Even simply plants or trees that grow
through the gaps in the stones. Like this.

Mildred points out a plant.

KIRSTEN
Just pull it out.

MILDRED
Yes. But see, its big enough that if we just pull it, we could disrupt the integrity of the
wall.

KIRSTEN
What?

MILDRED
It might knock the stones loose.

Mildred hands the clipboard to Kirsten.

KIRSTEN
What.

MILDRED
Write down that theres a plant ingrown on the south side of the wall here.
(gets her camera)
Ill attach the photo later.
 249.

Kirsten writes. Mildred photographs.

KIRSTEN
So, like, you do this all the time?

MILDRED
As much as I can.

KIRSTEN
This is a job?

MILDRED
No, dear. Im also a volunteer.

KIRSTEN
What did you do?

MILDRED
Do?

KIRSTEN
That you have to volunteer.

MILDRED
Nothing.

KIRSTEN
You just do it because you, like, like it?

MILDRED
I suppose thats true.
(beat)
My father and I used to come out here. Every summer wed walk the wall.

KIRSTEN
The whole thing.

MILDRED
Indeed.

KIRSTEN
My dad would never have done that.
 250.

MILDRED
Wouldnt?

KIRSTEN
Hes gone.

MILDRED
Passed?

KIRSTEN
Just gone.

MILDRED
Mine passed a year ago. Actually, its about that time that I started volunteering.

A moment.

KIRSTEN
Whos Hadrian?

MILDRED
Hadrian?

KIRSTEN
This is his wall, right?

MILDRED
He was a Roman Emperor. This was the border of the Roman Empire. At the time.

KIRSTEN
He wanted to keep out the Scots.

MILDRED
In a way.

KIRSTEN
Did it work?

MILDRED
In a way. After Hadrian died, they built another wall north of here. They were trying to
conquer all the way up north but couldnt, and theyd push forward, then drop back to here
and go again for about 300 years. Thats when the Romans left.

KIRSTEN
So it sort of worked. This short little wall.
 251.

MILDRED
Separated the us from the them.

KIRSTEN
Even though they could see each other.

MILDRED
But it took having a watch here at all times.

KIRSTEN
And a pile of stones.

MILDRED
And now theres highways and trains that go speeding past.

KIRSTEN
Theyd never have imagined that.

MILDRED
No.

A quiet moment.

KIRSTEN
Your father. He was a good man?

MILDRED
I believe so. He was to me.

KIRSTEN
Mine wasnt so much.

MILDRED
Im sorry.

KIRSTEN
Hed have built a wall like this. Pissed drunk one night.

MILDRED
Probablyd take longer than one night.

KIRSTEN
(smiles)
You dont know how pissed hed get.
 252.

MILDRED
Thats right.

KIRSTEN
(quietly)
Hed just want to keep people away.

A moment.

Mildred moves and takes a couple more pictures.

MILDRED
Its a monument of engineering. Of what people will do to keep other people away.

KIRSTEN
And we want to save it?

MILDRED
We dont use it for that any more.

KIRSTEN
Id let it go.

MILDRED
I know.

Mildred gently takes the clipboard from Kirsten.

MILDRED (CONTD)
Lets continue down the wall.

Mildred goes a few steps, notices Kirsten has not moved.

Kirsten reaches down and grabs the plant.

Kirsten is noticeably careful, but she removes the plant

from the wall.

She tosses the plant and looks at Mildred.

Mildred turns and goes.

Kirsten goes with her.

Lights down
 253.

#31 - THE GOOD PAPERS TOURING TROUPE PRESENTS THE LEGEND OF

TOM AND THE TICKING LICK

A wagon stage with a brightly colored background.

Through the curtain comes the BARKER.

BARKER
Ladies and gentlemen, children young and young at heart. We welcome you all to the Good
Papers Touring Troupe, and our wonderful telling of tales tall and long. Tonight we have
for you a special little parable. The Legend of Tom and the Ticking Lick. We recommend
that you prepare your constitution for a fable of fright and fear, a myth of mirth and
murder, a saga of salacious exploits. In towns across the land, we have seen ladies swoon,
children cower and grown men quail at quest of our hero. But rest assured, gentlemen and
ladies, that though it be fearful, our story will conclude with justice served, the innocent
free, the guilty punished.

The barker makes a flourish. Perhaps some simple

fireworks or flash powder.

Through the curtain come a Father and Mother.

FATHER
Once there was a Father.

MOTHER
And there was a mother.

FATHER
Who from a small town.

MOTHER
In one place or another.

FATHER
Who brought forth a child.

MOTHER
And also its brother.

FATHER
They couldnt feed both.

MOTHER
So one they would smother.
 254.

FATHER
They couldnt decide.

MOTHER
On which theyd ruther.

Through the side of the curtain comes an EVIL MAN.

EVIL MAN
A man so evil came by their home and agreed to take care of their needs. He took the boys
brother and disappeared deep into the forest.

Evil Man goes to the far side of the stage.

Father and mother cradle the child they have.

FATHER
Relieved they were, so far.

MOTHER
But soon they missed the other.

Father and Mother pursue the Evil Man.

EVIL MAN
The Evil Man would not relinquish his new son, and fought the parents. The Evil Man
tricked the parents with a distracting sound. A tick tick tick that they thought might be
someone frightful, and they turned to see. And the Evil Man then killed them, with a lick
from his poisoned tongue.

Parents turn. Evil Man kills them by licking them.

Barker enters carrying a sun and moon, rotating them like

a clock.

BARKER
Many days passed. Years.

A young man, TOM comes from behind the curtain.

TOM
And the abandoned child grew into a young man named Tom.

Another young man, MAT enters with the Evil Man.

 255.

MAT
And the boys brother grew by the teachings of the Evil man into a young man named Mat.

TOM
Tom heard the stories of what happened to his family. The loss of his family and that his
brother was taken into the forest by the Evil Man.

MAT
The Evil Man told Mat that Tom and Toms parents had hated Mat, that they threw him in a
lake, where the Evil Man had rescued, nursed, and healed him.

TOM
Tom went into the forest, looking for his brother.

MAT
Mat never when anywhere, hoping that he would never be cursed enough to see that family
whod hated him so.

TOM
Tom approached the lake.

MAT
Where Mat was fishing.

TOM
Tom looked in the reflecting water.

MAT
Mat looked in the reflecting water.

Tom and Mat see each other. They Mirror each other for a
moment.

EVIL MAN
Until the evil man came looking for them and saw what was happening.

MAT
The evil man warned mat that the reflection was trying to kill him.

TOM
Just as Tom reached out to embrace Mat.

MAT
Mat thought the reflection was trying to strangle him. So Mat stabbed the reflection.

Mat stabs Tom.

 256.

TOM
And Tom, wounded, fell into the lake, to bleed and drown. But not before he called Mat,
brother.

Mat turns to the Evil Man.

MAT
Mat asked the Evil Man if the reflection was his brother.

EVIL MAN
The evil man, being evil, lied to Mat, and said he was not.

MAT
Mat did not believe him.

EVIL MAN
The evil man came closer to Mat, pretending to comfort him.

MAT
But Mat could hear a ticking sound.

EVIL MAN
The evil man approached Mat, prepared to give him a poisoned lick.

MAT
Mat, looking at the reflection in the water, saw the Evil man behind him.
(beat)
Mat took his knife, and stabbed behind him.

Mat stabs the evil man.

EVIL MAN
And the evil man died.

MAT
Mat, having lost his brother and his father, could take no more. Looking at his reflection,
he walked into the lake to retrieve his brother. And he drowned.

Mat walks into the lake. Which is a blue curtain.

The stage is empty.

Boos can be heard.

The Barker returns.

 257.

BARKER
Thank you gentleladies and men, for your attention. If you could kindly bring to the front
the fee for this performance...

A tomato barely misses him.

BARKER (CONTD)
Thank you. Thank you. We will be on our way.

Barker exits.

More fruit and vegetables are thrown.

More boos.

Lights down.

End.