Sam Shepard

Fool For Love

This play is to be performed relentlessly withouta break

SCENE

Sta*. lowrent motel roon on the etlse of the Moiaw Desen. Faded

ercen blastet wa s. Dd* brown linoleum flmr. No russ. C.lst non fou postet singlebed, tightly of center favorine stage i+ht, set horizontallr Io .ludien@. Bed coretedwith faded blue chenille bedsprcad. Metal table vith well'wom ye ow fotnica top.Twonatchinsnetalchairsinthe 50s'ls" shape design ithy ov) plastic seatl andbacks, also well-vont. Table set ertrene dovn left (fion actol s P.a )) .) . Chairs setupstase and dovn ticht of table. Nothing on the table. Fade.l :'ellot ) ertetiot doot inthe centet ofthe st iee lefi wall.when this doat is opened, a rn'a oranse porch liChtshines into rcom. Ye ow bathrcom doot sp tieht of the stdse isht wa .This dootsliehtly aiar to b.ein with. rcwalin| patt of an old style borcel.lin rink, white towels. a

seneral clutter of female b.lansin's dn.l d ovins a yellov ght to bleed anto stdse .

L<iEe pictute indo\r aead certer of upstage wall, framed by dn,,Ions, ddk srcenplastic curtains. vellavaranse lisht fion d strcet lamp shines thtu vindo..,t.

htune ao'n left, next ta the table .1nd chdns is a sma ertended platfotm onthe sane lewl as the staee. The floot is black and it's fiamed by black cwtains. Theonb obk.r on the pldtforn i an old maple rockins chdit facins ulstaee right . A.

pi ow with no slipco|et rcsts on the seat. An old horse blanket with holes is laced tothe back of the rccket. The color of the blanket should be subdued-grays and

Liehts fade to bldck on rct. tn the dark, Merle Hassad's tune, "Wake Up"fron his "The W ay I An" .1lbtn is head. Liehts besin to tise slouly on staEe in thetenpa of the sonc. Volane swells slightly with the lights until they .rriee nt theirm,1*.'I'he tlatfom rcmains in darknes vith only a slieht spill fiom the staee lishts.'I'hrep artors ara ravealed

CIIARACTERS

rtsE oLD N,^N sits i' tle rockq fdciie up risht so he's iust slishtly prcfle to theaudience. A bottle of vhisket sits on the floar beside him. He picks up bottle andbau8 whisker into a srrofoam cub dnl dtinks. I Ie h.ts a scragEly rei beard, wears anold staine<] "open+oatl" Stetson hdt (the kind with the sho/t btim), a sun-bleached,dalk quilted iachet vith the stufine camins ott at the elbo*s, black and whitecheckered slacks lhot ue tao shott in the lees, bedt up, datk Westetn boots, an old wstand a Pale ercen shift. He exists only is the minds of MAv and noo,. e*n thoush theymight t.1lk to him dnqtb ard acknowleAse his physical Fesence . rsE oLD M^N trcatsthen ds thoush ther dll existed in the same tine dnd place .

587

588 San Shepard

M^\ sits on edEe of bed facine audience, feet on floot, Iees apatr, elbons onknees, hdnds hdn4ins limp and crossed between her knees, head haneine fotvad,face stating at floot. She is absolutely stit dnd maintains this attitude until she

speaks. She wears a blue denin fx skft, baeet vrhite t-shbt and barc feet L)ith asilyer ankle bracelet. She's in het eab thn es.

EDotE sits in lhe upstase chab b the table, fdcine M*. He wearc nudt)y,brcken down cowboy boots with silyer safet's tdpe wapred dround them dt the toeand instep, well-wotn, faded, dirq iedns that sne like holse sweat. Brcwn westemshh i,rith snd.ps. A pdir of sprrs dangla from his belt. When he wdlks, he linpsslishtly and sires the imprcssion he's rcrely of a horse. There's a peculiar broken'down quality about his bod, in general, as though he's ased lons befote his time. He's

On the floor. beti )een his feet, is a leathet buckine strcp like bonc iden use.He weats a bucking glore on hit risht hand andworks resin into the slow fion a smdvhite bag. He starcs at M^\ as he does this and ignot?s rHE or-D MAN. As tle songnedrs the ena of its fdde, he ledns o'et , sticks his eloted hand into the handle of thebuchins strup dnd ti')ists it so that it makes a wend sttetching sound fron the frictionof the Bin and leathet. The song ends. lights up full. He pulls his hdnd out dnd

goin'anywherc. See? I'm right here. I'm not gone. Look. [Sir? l'on't.] I don'tlnow why you won't just look at Inc. You know itt Inc. Who else do you thinkit h. [Pdus"] You want sorne wai€r or somethin'? Huh? [He sets up slol\rry,

soes cautiously to her, strakes het hedd softb, she stays slili.l May? Come on.You can't just sit a.ound here like lhis. How lons you been siliin' here anywav?You want me to go outside and g€t you something? Some polrto cbips orsonerhing? [Sfis srddeah grabs his closest leg with both dtms and holds tiEhtburyins her head betveen his [nzes.] I'm not gonna'lcave. Don't s orry. I'mnor sonna' l€ave. I'm stayin' risht here. I sheady lold ya' that. [She squeezestishtet to his les, he i1!st stands thete, s okes het hedd softl).1 May? t,et so,olay? Honey? I ll put voubackin bed. Okay? lslr"grd, s his other leg and holdsan tisht to both.) Cone on I'1i put you inbedand make yousome hot tea orsonethin'. You want some tea? lShe shakes her head riolently, keeps holdineon.l Witb lemon? Some Ovaitine? M.y, you sona'let so ofme now, okav?

[Pause, then she puslps him dvay dnd rctuns to hq o.tgtnd? postfion.] Nowjusr l:y back and try to relax . IHe stafts to ttr to push her back gently on the bedas he pulk back the blankets. She erupts futio]|lly , leapins aff bed dnd ldshineout at him \|ith het fists. He bdchs off. She rctums to bel an<l stares at himwild eyed and ansty, faces hin squarcly.l

tDDrE: laft"r pdmel You want me to go? [She shd&€s ,ier ftedd.]MAY: NolEDDrE: Well, wbat do you want then?

EDDIE: I been drivin'for drys.M^Y: Your finser smell.

Fool for t at'e 589

noorr: Homes.

eoom: Cone on, May.wev: They smell like metal.EDDrE: I'ln not gonna' start tbis shit.v,rv: Rich pusy. Very clean.

MAY: You know it's true.EDDre: I came to se€ if you were aJJ right.var: I don't need youlEDDIE: Olay. ITlrns lo go . collects his glore and bucltng strdp.l Fine.MAY: Don't gol

IHe erits stase left doo\ sldmnine it behinA him; the door boons lM^\: lasonized suedml Dor't eoll

[She sdbs Pillow, clutchins it to het chest then ttuons h,reU face do\',n

on bed, moaning and noring fron one end of bed to the othet on hetelbows and hnees. EDc.TE h head rctnmine to stdge W doot outside She

leabs off bedclutchins pi ow,stdnds upstdee tht ofbed,facinestaEewdoor. EDD1E enterc stage left Aoor, baneine it behind hin He's left the

slo|e and buckine stftp off rtaee. They srdnd there facinE each othet fot a

second. He nakes a more to'A)aA het. M^r rcfteats to etu me uostage

rieht cotnet of tuon clutchine pi ow to het ch^t EDDTE stqs aeainst leftwalt, facins her.l

eoon: What am I gonna'do? Huh? What am I supposed to doz

MAY: You'r€ gonna' erase me.EDDIE: Whatie you talkin' about?MAy: You're either sonna'erase me or have me erased

noorr: Why would I want thai? Are you kiddins?urr: Because I'm in the way.roure: Don't be stupid.MAy: I'm snurter tban you are and you know it. I can smell your tboushis before you

even think 'em.

[aoot mores alons wa to spstnce bft cotnet. M^\ holds her ground inoP,osite cotnet.l

roorn: May, I'm iryin'to take care of you. All righl?MAyr No, you're not. Youle just suilty. Cutless and suilty.EDDjE: Great.

lH. no,es dovn left to table, *ickine close to wall.) [Paue)M^\: lquiet\, stayins in comerl I'm gonna'ki]] her ya'know.

DDDIE: Don't talk like that.

lM\\ slol"b besins to more down stdee tisht as EDDIE simultaneoushmows np left. Both of then ,ress the nalls as ther now.l

M^y: I am. l'm gonna'kill her and then I'm gonna'kill you. Systematically. With

t90 San Shepnd

sharp knives. Two sepante lnives. One for her and one for you. [Sne slamsu,all vith het elboln. W.1lI resonates.l So the blood doesn't mix. I'n sonna'torture h€r 6rst though. Not you. I'm just gonna'lei you have it. Probably intbe midsl ofaliss. Right whenyou think everything sbeenhealedup. Rightinthe noment when you're sure you've got me buffaloed. That s when you'lldie.

[She dftiws exbeme dovn risht at the wr linits of the set. EDDrc in theexftene up bft comet. Pause)

roon: You know how nany miles I went outa' my way just to come bere and seeyouT You got any idea?

u,rr: Nobody asked you to cone.EoDrE: Two thousand, four hundred and eighty.MAy: Yeah? Wbere w€re you, Katmandu or somethins?EDD,E: Two thousand, four hundred and eighty miies.M^Y: So what!

[He drcps hh hedd. stares at floot. Pd6.. She 'tarcs

at him. He beeins tomaw slowly down left, stickins close to NaI aB he speaks.l

EDD,E: I missed you. I did. I miss€d you more tban anything I €ver missed in nywhole life.I lepl thin]in' about you lhe whoie time I was driving. K€ptseeinsyou. Sometimes iust a part ofyou.

MAY: You missed my necl?EDD[: I missed all of you bul your neck kept comins up for some reason. I k€pt

crying about your neck.r{Av: Crying?

Iittlebaby. Uncontrollable. Il would iust start up and stop andthenstartup allover again. For miles. I couldn't stop it. Cars would pass me on thc road.People would slare aine. My face was alltwisted up. I couldn'tstop my face.

MAy; Wes this before or after your little fling with the Countess?EDD$: [He bdnes h^ hedd into wall. Wall booms.l There wasn't any flins with any

Countess!

EDDTET I took her out to dinner once, okay?MAY: Hal

lshe nows ubstaee tisht all.)

v,rv: You were bumping her on a regul basis! Don't gimme that shil.EDDIE: You can beli€ve whatever you want.MA\: lshe stotu b bathrcom d@t, opposite Eddie.) I'll believe the truthl It s les

confusing.

tPduselEDD[: I'm taliD' you b?ck, May.

IShe toss6 Pillow on bed dnd nores to upstdEe riEht cotnet.)MAy: I'm not going back to that idiot lrailer ifthai's what you tbink.

Fool for Lov

eoorr: I'n movin'it. I got. piece ofground up in Wyorning.vev: Wyoming? Are you crazy? I'n not moving to Wyoming. Wbat's up there?

Madboro Men?EDDTET You can't stay here.MAyr Why not? I sol a iob. I m a regular citizen hele now.

EDD,E: You got a iob?utt: tshe n&es back aown to head of bed)Yeah What'd you thinl, I Ms helplessT

EDDrE: No. I mean-itt been s lone time since you had a job.

EDDIE: A cook? You can't even flip an egg, can you?

MAY: I'm noi tallin' to you anyrnor€l

[She tums avtdt fton hin, tuns into b,1thrcom, slams dou behind het.

EDDE epes after her, tties doot but she's locked it.)

EDDI latbathtoo dcnr) Msy,I sotevcrythins workedout l been thinlin' about

this for weeks.I'm gonna'move the trail€r. Build a little PiPe corral tokeeP the

ho6es. Have a big vesetable sarden. Some chickens naybe.v* s vorcn: tun*en, bei ind bdthrcon dootllhale chickensl I h3tehoFesll hate

all thai shitl You know that. You got mc confused with somebody else Youleep comin' up herc with this lame country dre3m life with chickens and

vegetables.nd i can'tstand any ofit.It makes me puke iq even think about it.

eoon: tnoorn las crosed s taee left durinE this, stops at tdble ] You'll get used to itM^\: [enterc fron bathrcon] Youie unbelievablel

[She slams bathroom rbor, crcsses upstaee to vindov )

EDDTEi I'm not lettin' go of you this time, May.

lHe sits in chat upstace of tdble.)r,ur: You neverhada hold ofme iobesinwiih. [pdu?]How manytimes have vou

done this to me?

vev: Suckered me into some durnb little fantasy aod then droPped me like a hotrock. How nany tines has thai happened?

EDDrE: It s no fantasy.v,rv: It s all a fantasy.noorc And I never dropped you either.uev: No, you jusl disappearedlEDDrr: I'rn here now aren't I?urv: well, praise fesus God!EDDjE: I'm soDna take care ofyou, May.I am.l'm gonna'nick witb you no matter

what. I prornise.MAY| Get outa' here.

lPauselEDDIE: What'd you have to go and rtn oF for anyivay?

vev: Run ofi? Me?roorc: Yeah. Wby couldn'i you iust siay put? You lnew I was conin'back to get

,J.n: (croxing down to head ofbedl What do you think it's lik€ sittin in a tin trailerior weeks on end with the wind ripping throush it? Wailin' around for the

Butane to arrivc. Hiling down to the lsundromal in tbe rain. Do vou lhinktbat's thdlling or somethin'?

591

592

EDD[: lsfi ,ttftns] I bousht you all those magazines.

Sarl. She,ad

M^Y: What masazinesTmoru I bought you a whole stacl ofthose fashion nas?zines before I left. I thousht

you liked ihose. Tbose French kind.u,rv: Yeah, I especially l;led the one with the Count€ss on the .over. Tlat was real

tPausaleonro: All right.

{He stand'.1MAY: All risht, what.

[He tums to go out stage left door .)

MAY: Where are yoo soins?EDDIE: Just to set my stuFouta'the truck. IT be rigbt back.

M^yr Whatie you movin'in now or som€thing?roorr: Well, I thought I'd spend the nisht if tbat's olay.vev: Are you kiddine?room: lopsns doorl Then I'll iust leave, I eues.MAY: [s[? sidnds] wait.

[Ile closes doot . Ther stand therc facins each other fot at+hile. She crosses

slowly to him. She stops. He takes a felt steps towdd het . Stops. They hothmow closer. Stop. Pause u thet look at each othet . They embtace. Inns,tender kiss. They are rery soft .r'ith edch othet. She pulls away from hinsligltb. Sniles. Si? loo&s hin sttdight in the .yes, then suddenly kneeshim in the ercin with bemendous force. noots doubles o"er and drops likea rcch. She stdnds ow hin. Pause.l

MAy: You can bke it, dght. Youie a shrntman.

[She eits into bathrcom, stase ieht, slams the doot behind her . The dooris ampwed with misophones and a bass drun hidden in the fiame sothdt ench tine an dctor sldns it, the door boons loud and long. Same isbw fot the staee left doot. Eorttrcnains on the foor holding his stomachin pdin. Stase liEhts drcp to hdlftheit intensity as a spot tises softry on rHEoro urr. He speals direcll)'to EDDrE.l

I thoughi you were supposed to be a fantasisl, righl? Isn't lhatbasically the de?l with you? You dr€am ihings up. kn'l lhat true?

euoe [stays oa foor] I don't ]now.You donl lnow. Well, if you don't know I don t lnow wbo the hell

eise does. I wanna show you somethin'. Somcthin' rea1, okay? Sornethin'

nnon: Sure.Take a look at that picture on the $,all over there. [H? points at wall

stasetieht.Thercisnopicturcb t EDDTE stares at the wd?/.] Ya' see lhat? Talea sood look ?t tbat. Ya' see it?

EDDIE: lsfdrirg at ud[] Yeah.Ya' know who th?t is?

EDDIE: I'm not sure.Barbara Mandrell. Thatt whothatis. Barbara Mandrell. Youhearda'

hcrTaoom: Sure.

Fool for Lorc 593

Well, would you believe me if I told ya' I was married to her?roorr: tpausel No.

Well, see, now th?t's the difi€r€nce rishl there. That's realnm. I amactually manied to Barbara Mandrell in my mind. Can you undersrand that?

Good. I'm glad we have an undeGtanding.

[rur oru vru drinls fron his cup. Spot slolllly fades to bldck ds staselilhts come hack up fn . These lisht chdnses n..ud to the openins andclosine of dooB. M^t enters fron bathroon, closes dmt quietly. She iscarryins a sleek red dress, panty hose, a pai of black hish heels, a blackshoufuler purse and a hair brush. She uosse$ to foot of bed and thats theclothes on it. HdnEs the butse on a bed post, sits on foot of bed her back toEDDE and stdtts brushins her hair. r.ootr. rcnains on floor . She fnkhesbrushing her hair, throl"s btush on hed, then nans tuhins off het cloth.sdnd chansine into the clothes she broueht on st.1ee. As sire rpedls fo EDDjEand chdnees into the new clothes, she gdtua y lftnsforms fton herfonet toueh drabners into a very sexy woman. This occsB almost unno-ticeahly in the coufte of het rpeech.)

u|]: Very nkl, quick. almost monotone ,,oice like she's \]ritins him d l.ttelll don tunderstand my feelinss.l r€ally don't. I don'tunderstandhow I couldhatcyouso much after so much time. How, no matter how.rucb I'd like to not hateyou, I hate you even more. Il grows. I can't even see you now. All I see is apiclur€ ofyou. You and her.l don't ev€n lnow iflhe picture's real anymor€.1don'l ev€n care. It's a m.de up picture. It inv?des my head. The two ofyou.And tbis piclure stings even more than ifl'd actuallyseen you with her. Iicutsme.lt culs me so deep I'llreverget over it. And I can't get rid of ihis pictureeither. It iust comes. Uninvjted. Kinda' ljle a little tortur€. And I blame voumore for this little lorl,,,. lhan I do for whrr , orr di,l

EDDIE: lstdrdias sloPl]l I'll go.

EDDIE: Why?MAY: You just bctter.EDDIE: I thought you wanted me to stay.MAyr I got somebody coming to get me.EDDTE. Ishott panse, on his feetl Herc?MAY: Yeah. here. Where else?EDtrE lmakes a mow tavard het lpstasel \oD been seeins somebody?MAv: [She mores quickly dov teft,66res tilht.)When was ihe hst tirne wc were

tosether, Eddie? Huh? Can you remember that far bacl?EDDrE: Who've you been seeing?

[He mows riolentry bwad het.)MAy: Don't yoD touch mel Don'l you even think about it.roore: How long havc you been seeing himlMAY: What difierencc docs it matel

[Shott pause. He states at het, then tuns suddenly and erits out the staseleft doot and slams it behind hin. Door boons.l

urv: Eddiel Where are you going? EddiellShort pause. She looks after EDDIE, then tutns fdst, novs ubst.lse to

t94 San ShePad

window. She batts the Venetian blinds, looks out eindov/ , tums bdck intoroon. She tsshes to u,stdEe side of b.d, eets doi'ln on hands and knees,pulls a suitcase aut fion under bed, thrcws it on top of bed, opens it. Shetushes into bathrcon, disabbears, lea,ine doot open. She comes back onv,,ith ranous item of clothine, thrcvs stuf into suitcase, tutns as if to soback into bathroom. Stops. She hears zoota off left. She quich, shutssuitca$e, slides it undet bed dEain, tushes arcund to dovntdsdide ofbed.S;ts on Ded. Stads again. Rushes ha.k into bathroon, rctums vithh.inbtush, slams bathoom aoot . sjans brushins her han as thoueh thdt'swhat she's ban doing all alons. She si& on bed btushin| het hail. EDDTE

entets staee left, slams doot behind him, doot boons. He stands therehoLline a ten eauee shotsun in one hdnd dnd d boftle of tequila in theother. He norcs torr,ad bed, tosses shotgun on hed beside her.l

MAyr [sfre sfdrds, 'noves

uPstaee, stols btu'hins het hdt] Oh, wonderful. whatieyou gonna' do with that?

EDDjE: Clean it.[He opens the boftle.]

EDDjE: You got any glasses?

MAY| In lh€ bathroom.EDDjE: Whatie lhey doin'in lhe batbroon?

IEDDTE ctosses tov&d bathrcom doot ith bottle.)MAyr I leep everything in the bathroom. It's saf€r.EDDjE: YoD want some a' this?uev: I'n on the wagon.EDDjE: Cood. 'Bout time.

lHe exits into bathrcon. M,* moves back to bed, stares at shoteun.)MAy: Eddie, this is a very {riendly person who's comine over here. Het not mali-

cious in any way. [rduse] Eddie?

lorfnentl Where's rhe damn elases?MAY: In the medicine cabinetl

What the hellte they doin'in thc medi€ine cabinell

fSound of medicine cabinet being opened and slamned .hut off tisht)Mrv: There's no germs in the medicine cabinetlroont vorcs; Germs.u,rv: Eddie, did you hear me?

IEDDE entelsfith d ela$,poutinstequila into it slowly untilit's fu as heooxes to tabte down left.l

M^Y: Did you hear what I said, Eddie?rDDr: About what?MAy: About the man who s coming over here.

MAY: Ob, brother.

IEDD]I sets bottle of tequila on table then sits in uqstdge chai. Takes along drink fron glax. He ignores DE oLD MAN.I

EDDrE: Fi6t ofi, it can't be very serious.MAY| Oh, really? And why is thai?room: Because you call him a "man."vav: What am I supposed to call him?

59t

EDDTET A "guy" or something. If you called him a "guy",I'dbe wonied about it butsinceyoucall him a "man" you give yourselfaway. Youi€ in a durnb situationwilh this suy by calling him a "man". You put yourselfbelow him.

MAy: Whar in the hell do you Inow about ir.EDDIE: This guy's gotta'be a lwelp. He's gotla' be a punk chump in a tivo dollar suit

v,rv: Anybody who doesn t half }ill themselves falling ofi horses or jumping onsteers is a twerp in your book.

EDDrE: Thal's risht.MAyr And whatie you supposed to be, a "suy" or a "man"?

[rooro /owers iris slas sloo U. States at het . Pause. He smiles then speakslov and deliberctely.)

EDDIE: I'll tell you whai. W€'ll just wail for lhis "nan" to come ov€r here. The twoof us. We'll jusl s€l right here and wait. Then I'll let you be the iudge.

MAy: Why is everything a big contest with you? H€'s not competing with you. Hedoesn t even know you exist.

EDDIE: You can introduce me.M^y: I'In not introducing you. I am definitely not introducing you. He'd be very

embarrassed to find me h€re witb somebody else. Besides, I've only iust methim.

EDDIE: Embarrassed?v,rv: Yes! Embanased. He's a very sentle person.F.DDTE: Is that ght? Well, I'm a very sentlc person myself. My feelings get easily

uev: What feelings?

IED}E falls silent, tdkes d drink, then eets up slo1,b with slass, leal)es

bottle on table, uosses to bed, sits on bed, sets elass on floot, ,icks uPshoteun and statts dismantlinE it. M^t watches hin closely.)

M^y: You can't keep messing me around like this. It's be€n going or too long. I can tuk€ it anymore. I get sickeveryiine you come around. Then I get sickwhenyouleave. Youle lite ad;ease tome. Besides,yousot no nsht being j€alous

ofme after all the bullshit I've been throush with you.

fPdus€. EDDrE [e?ps ntu dttention on shot+un aN he talks to het .)

EDDjE: We've got a pact.rl,qY: Oh, God.EDDjE: We made a pact.MAyr Th€re's nothing between us nowlroorr: Then whatie you so excited about?MAY: I'm not excited.roorr: Youie beside yourseltM^y: Youie ddvins me crazy. You're drivins me totally crazy!roorn: You know weie connected, May. We'll always be connected. That was

dccided a lons time aso.MAy: Notbing was decidedl You made all that up.eooru You know what happened.uav: You promised me th.t was finished. You can't start tbal up all overagain. You

EDDTET A pronise can't stop something like thai. It happened.

s96

MAy: Nolhing happenedl Nothing €ver happenedlEDDIE: Innocent to the last drop.MAv: lbause, contro edt Eddie - will you please leave? Now.eoorn: You're gonna' find out one way or the oiher.

San Shepard

MAY: I want you lo leave.EDDrE: You didn't want me to leave before.MAyr I want you to leave now. And il's not because ofthis man.Itt iust-

vrv: Stupid. You ougbta' know ihat by now.EDDTET You thinl so, huh?MAy: It'll be tbe same thing over and over again. We'll be together for a little while

and then you'll be gone.eoon: I'll be gone.uar: You will. You lnorv it. You just wa't me now because I'm seeing sonebody

el'e. {' soon a' rhat . orer. you ll be gone again.EDDrE: I didn't com€ bere because you were seein' somebody elsel I don'l give a

darnn wbo youie seeingl You'll never replace me and you know it!MAY: Get oula' h€re!

[Inne sibn@. tDDtE lifts his slass and todsts heL then slowly dnnks it dryHe sets Elass dovn eftly on floot.l

roore: Ism;lss at fierl All rieht.

lHe ises tow!, picks up the sections of his shoteun. He stan& thercIooking down at the shotEun pieces fot a se.ond. uN nores slightlyto\',ad hin.)

uv: Eddie -IHis head ie*s up and stares ar het. She stop nld.)

EDDjF: You're a traitor.

IHe exits left \iith shotsun. Slans door. Door booms. s* runs to*artld@r.)

MAY| Eddiell[She thtuws herself against ,tase left doot . Hq ans rcnch out and hus thewalls. She weeOs and slou,ly beEins to mo,e alons the stase left wallubstaBe ta the cotnet, embtacinc the wdll as she mores and weeps. r'|EoLD MAN 6erns to tell lis story ds M^y mores s/o lt alon! the vdll. Hetells lt dnec y tohet ds thoueh she's a child. M^r renains invalved withhet enotion of loss and keeps motins clear around the room, hussins thewalls during the caurce of the story until she dties in the ertremedo\|nstdee tiEht rcmq of the roon. She sinks to her knees.l

lSlowly, in the course of u,tr's mownine, the spotliEht softly rises on rat.oLD M\N and the stdEe lights decredse to half deain.)

Ya'know, one thing I'll never forget. I'llnever{orget thh as long as Ilive-and I don't cven know rvhy I remembcr it exactly. We were ddvin'through Southern Utah once, I think it was. M€, you and your molher inthat old Plymouih we had. You remember that Plymouth ? Had a white plastic

hood ornameni on it. Replica ofthe Mayflower I thinl it was. Some kind a'ship. Anyway, we'd been d.ivin'all nisht and you were sound aslcep in tbefront. And all of r sudden yoD wokc up clyins. Just bustin'a gut.,ver some

thin'. I don't know rvhat it was. Nightmare or somethin'. Woke your Mom

Fool for L,ove 597

right up and she climbedover the se:t in bacl th€re with you to try to set yousetlled down. But you wouldn't shul up forhello' hisb watei.JustkePtwailinsaway. So I stopped the Plymouth by the side ofihe road Middle a' nowhere. lcan't even remember where it was exactly. Pilch blacl. I picked yot up outa'

thebackse3t tbere and carriedyou intothis field. Thoughi the cold air mishtquiet you down a little bii. But you iust kept on howling away Then, all of asudden,I saw somethin'nove out there. Somethin'bisger lhanboth o{us puttogether. And it started to move toward us kinda' slow.

lM^! besins to crcl',| slolrly on her hands and knees fron down risht ametto$,adbed.When she rcachesbed,she srabspi o and embrdces it, stion her knees.She rocks back dnd forth enbldcinEpillo asrHEoLDr',^Ncontinues.)

And then it started loseiioinedupby someolherthingsjustlike it. Sameshapcand cverythins. It wa! soblacl out lher€ I couldhardlym:keout myownhand.But tbese things started to kinda' move in on us from all directions in a bigcircle. And I stopped dcad still and lurnedbacltolhe car to see ifyout molh€rwas allright. But I couldn't see the caranynore. So I called out to hel l called

hername loud and clear. And sheanswercd me back from outa'the darkDesShe yclled back to me. And iusl lhen these thinss slarted to "moo". Thcy allstarted 'mooing" away.

lHe nak6 the sound of a nw.lAnd it tums out, there we were, st,ndin'smack in the middlc of a goddamn

berd olcattle. Well, you never heard a baby pipe dorvn so fast in your life. Younevcr made a peep after that. The whole rest o{the trip.

[M^t stops rcckine abtupt]. Sudde'b MAY ir?drs r'oo? of left. Stase

Iiehk pop back 4. Spot on rHE oLD v^N clrts lo bldck. Sh.lenps to het

feet, complete, .lroppins het Eief,hesitdtes a second, then tushes to ch.lnupstaee of table and ,its. She takes a dtink sttuli+ht fioB the bottle, slams

bottle .lolr,n an table,Ieans back in the ch.lir dnd stdrcs at the hottle .1s

thouBh she's heen s;ttine like thdt the'thole time since he left FDDBenteB

fast fton raee lefi doot canrine t')ro steat rcpes. LIe slams d@t. Dootboans. He conpletely ienores M* . She conpletely ienores him and keeps

stdnng ,1t the bottle. He crosses qstaee of bed. thrcws arc of the topes on

bed and starts building a loop in the athet robe , feedinE it with the lefthand so th.tt it makes d snake-like zippins sotnd as it passes ttuoueh thehonda.Nov he begins to par attentian to M

^r ds he continues foolin9vith

the rcpe. She rcnains stdtine at the bottle of tequila lEDDrE: Decidcd to irmp otrlhe wagon, huh?

lHe spins ttrc rcfe dho'e his hedd in a flat holn'loop, then rcPes one of the

bedposts,t,lkine p th. ddck[ith a sha9 sndp dthe isht hana Hetahes

the loa| off the bedpost, rcbuilds it, swinEs and rcpes anothet bedpost IIecontinues this /isht arcund the bed, rcpins ewy host and new missinsMN tdkes dnothet dink dnd sets bottle down quietb.)

un lsti not lookins at hinl Whatie you doing?EDDIE: Little practice. Cotta' stay in practice these days. Thele s kids out thcrc

ropin' calves in six seconds dcad. Can vou bcli€ve that? Sit and no cbang€.

Ilyin'ofithe saddle on the rieht hand sidelikc a buncb a Spider Monleys. l'mlellin'ya', they got it down to a science.

598 Sd'r' ShePad

[He nntinues rcpinsbedposts, makine his wa, arcund the bed in d cncle .1

Mlr'. Warly, starins at botflel I thought you were leaving. Didn't you say you wereleaving?

roore: [as nz ropes]Well, yeah,I wassonna'. Butthen itsuddenlyoccutredtomeinthe n;ddleofthe parling lol outthe.ethat there probably isn'tanymancomin'over here at all. There probably isn't any "guy" or any man" or anybodycomin' over here. You just made all that up.

MAY: Why wosld I do that?EDDTET Just to get €ven.

lshe tums to him slowly in chab, takes n dnnk, starcs at hin, then sets

bottle on table.lMAY: I'll never get even witb you.

lHe lauehs, oosses to tdble. takes a d@p &ink ftom bottle, cocks his headback, E6eles,swa ows, then d@s d bdck flip across staee and c,rashes intostase tisht ' all.1

u,rv: So, now weie gonna' set real mean and sloppy, is that it? Just like old times.roorr: Well, I haven't dropp€d th€ reins in quil€ a while ya' know. I've been real

good. I have. No hooch. Noslammer. No women. No notbin . I been a preiiyborins kind ofa guy actually. I fisure I owe it to rnyself. Once a once.

[He retutns to topins the bedqosls. She itst stdes at him fion the chait.]MAY: Wby are you doing ihis?EDDjE: I already told ya'. I need the practice.MAY| I don't mean that.EDDrE: Well, say what ya'm€an ihen, hon€y.MAy: Why a.e you going lhrough thh whole thing again like you're trying to impress

ne or something. Lile we iust met. This is the same crap you laid on me inHigh School.

noorn: [st;ll roping]Well, it's jusl alittle testimony ofny love, seebaby.I nean iflstopp€d irying to irnpress you, tbat'd mean it was all over, wouldn't it?

MAY: It ir all ov€r.EDDrE: You're trying to impress me, too, ar€n't you?uer: You know me inside and out. I got nothing n€w to show you.EDDrE: You gol this guy comin' over. This new guy. Thal's v€ry impr€ssive. I

woulda' tbought you'd be hung oul to dry by now.urv: Oh, lhanls a lot.EDDIE: What is he, a "younger man" or something?v,rv: It's none of your dann buiness-EDDIE: Hsve you balled hirn yet?

[She throws him a mean glarc and iust pins hi''l with het eyes.]EDDIE: H:ve you? I'm iust curious. [pdd?] You don t have to lell me. I alr€ady

M^y: Youie just like a little kid, you know that? A jerlous, little snot nosed kid.

IEDDTE ldusrs, sptrs, mdkes a \not-n6s?d-hid' fdce, keeps ropins bed-

Posb.lEDorE: I hope this guy comes over. I really hope he does. I wanna'see him wall

through that door.M^Y: What're you gonna' do?

IHe sto|s tobins, tutns to her. He sniles.ltDDrE: I'm sonna nail hh ass to thc floor. Directly.

t99

[He suddenly ropet chan downstdse, rieht next to M^t . Ile takes uP slachand &aes chair ))iolentb back toi,)ard bed. Pduse. They starc dt each

othet. M^\ suddenb stands, eoes to bedbost, etubs hu Pu6e. slines it onher shouaer and heads fot staee W doot.l

MAy: I'm not sticling around for lhis.

[She exits staEe W doot telleinE it open. EDD1E tuns of staee aftet hq.lEDDIE: Wh€re're you goin'?MAY: toflefl Tak€ you, hands ofia'mclEDDE: Ioflleftl Wait a second, wait a second. Just a second, okay?

IMN rcrcdns. F.DDE canies her back on stage screanins and kickine. Ilesets het dovn, slal'.s do$ shut. She w<llks avay fion him staee tisht,stt aiehtenine het &ess.l

EDDIE: Tell F' what. I'll back oF. l'1l be real nice.l will.l promise.I'llbe jusi like alittle ol€ pussy cat, okay? You can introduce me to him as your brother orrmetl.rrg. Well-naybe nol )our brolher.

noorn: Your cousin. Okay? I ll be your cousin. I iust wanna' meet him is all. ThenI'll leave. Promise.

MAyr Why do you want to meet him? He's just a friend.EDD,E: lustto see where you stand thesedays. You can t€ll a loiaboutape$on byihe

comp,ny lhey keep.M^y: Lool. I n going outside. I'm going to lh€ pay phone across the street. I'm

calliDg him up and I'm lelling him to folget about the whole thing. Okay?noorn: Good. I'll pack up your stufi while you're gone.MAY: I'rn not going with you Eddiel

Isuddenly headliehts drc ao6s the stage from upstaee tight, thrcughwindov). Ther slash actuss the dudience, then dissobe off left. Theseshould be tvo intense beams of piercinc -hite lisht and not tealistic'head@hts.)

MAY: Oh, sreat.lshe tushes upstaEe to vtindo'n, Iooks out. EDD][ ldushs, takes a dtink.l

EDDrtr: Why don't ya' run on out there. Go ahead. Run on oul. Throw yourself intohh arms or somethin'. Blow kisses in ihe noonlight.

IE.DDE ldushs, nows to bed, putls a pafi of old spuft off his belt. Sits.Starts putting spus on his boots. lt's impottant these spurc look old andued, with small rowels-not cadoon "cowbay" sputs. M^\ cou intrbathtunn learins doot open.)

MAY: [ofrlsirt] whatie you doing?EDDjE: Puttin' my hooki on. I wanna' lool good for ihh "man ". Give him the rishi

impresion. I'm yer cousin after all.M^{ [entetins ftom bdthtoorn] Iryou hurt hin, Eddie-EDDIE: I'm not gonna'hu.t him- I'm anice gDy. Verysensitive, too. Verycivilized.vev: He s just a date, you know. lust an ordinary date.roorr: Yeah? Well, I'n gonna turn him into a fig.

[He statts laushinE so had at his own ioke that he rolls off the bed and

600 San Shepard

crashes to the floor. He goes into a ft of lauehter, poundine his fsts intothe floot. M^i mak s a now tolrard the doot, then stops dnd tumt toEDDlE,]

M^y: Eddiel Do me a favor. lust this once, okay?sootn Uaughins hard) Anyihing you want, honey. Anylhins you w?nt.

IHe eoes on lauEhin! hyst.ticalry.lul.r fturnins away fron hin] Shil

[She soes to stdse left dod and ttuows it open. Pitch blach outNide withonlr the porch lieht slowinE. She stands in the doonay , Etatins out. P<luse

as E)DE slowly eains conttol of hinelf and stofs laushinc. He sttes dtMAY.]

nooru isti/l on foo4 Whatie you doing? [Pause. v ^\

keeps lookins od.) May?MlJ Ist<trinE out open d@rl lt's not him.epors lt's not. huh?

EDDrE: Well, who is it thenzvrv: Somebody else.

"bim". Whaiieyou tryin'io male me jealous for? I lnow you'vebeen livin'

MAy: Il's a bis, huge, extra long, blacl Mercedes Benz.EDDTET lpause]Well, this isa motel, isn't it? P€ople are ailowed to parl in frontofa

motel ifthcy're stayin' here.M^y: People who stay her€ don't drive a bis, huge, extralong, b)ack, Mercedes

Benz.EDDjE: You don't, but somebody else might.MAyr ['tiil dr doo4 Thn is not a blacl Mercedes Benz lype of motel.EDDrE: Well, close the damn door then and s€t Uck inside.uev: Sonebody's sittine out therc in that car lookins slmiglt at me.EDDD: lsfdnds fasl] whatie they doing?MAy: It's not a "they". It's a "sbe".

IEDDrc drcPs to floot behind bed.lEDDrE: W€ll what's sbe doins, iheD?MAy: Just sitling there- Staring at me.EDDIE: Cet away from the door, May.Mn ltvnine towatd hin slowlyl You don't lnow anybody with a black Mercedes

Benz by any chancc, do you?EDDIE: Cet away from ih€ doorl

lsuddenb the white headlieht be.tns slash auoss the stdEe thrcuEh th.oben doat. EDDTE rushes to doo\ slams it shut and ,ushes u* aside. lustas he slams the daot the sornd of a larse caliber masnLn pistol aQlodesoff left, followed inmediately by the sound d shattetine Elass then a cathom hl.1rcs and contiues on one rclentless note.)

w $: flening orer the sornd o/ [on] Wbo is thatl Who in the hell is that out there!rnnm: How shorrld I tnow

IEDDE flibs rhe lisht s\\'itch offbr the stase W doot. Staee liEhts eo black.Bathrcom lisht sta$ on.l

Fool for lave 601

urv: EddielEDDIE: lut get down will ya'! Get down on the floorl'

lnootnsabther andtrxs to P\IIher dovn onthe floor besiderhe hed. ut'vstrueeles in the datk with hin. Car hom ke.ps blalins. Heddlights sttttt

bo$inCback and fonh ftom hi+h beam to low benm, slashing ac/6s stqethrough the window now.)

MAyr Who h that? Did you brins her with youl You sonofabitchl

[She statlJ ldshinl ott at EDDrc, fehtins vith hin .1s he t/ies to dtdg hetdown on the floor.l

EDDIE: I didn't b.ing anybody wilh me! I don't know who sbe is! I don't l<now wher€

she came frornl lust s€i dowD on the Boor will ya'lu,rv: She folloved you herel Didn't shel You told her where you were going and she

followed you.eonrr: I didn't iell anybody whele I was soing l didn't know where I was soins 'til I

got here.vrv: You are gonna' pay for thisl I swea. to God. You are sonna' pay

tnoos fnally pulls her do*n and rclls ow on top of her so sha ctln't setub. She slo\r, s^'es up strussiinsas he keeps het pinned to the floot Carhom sudden' stols. Headlights snab off Lons pause They listen in the

datk lu,rr: What do you think she s doing?roorr: How should I lnow?MAyi Don't pretend you don't ksow ber. That s tbe lind ofcar a Counies drives

Thafs ihe kind of .ar I atways pictured her in. [Sie stdtts stuselinE dqain ]

:fxo?: fholding hu down) lust stay put.v,rv: I'rn notgonna lay her€ on my bacl with you on topofme andget shot bv some

dumb lich twat. Now lemme up, Eddiel

Isound of tircs bumins rubber off left. Headliehts arc back d.'oss the

staee asain frcm left to isht. i car tutues of Sound fades )

EDD[: lust stay down!

[bnE pause in the da*. They listen.)MAY: How crazy is tbis chick anyway?rnors: She's prctty crazy.v,rr: Have vou balled her vet? Ipausel

IEDDE eets up slowly,hunched o'et crcfes lllstage to windo\r cautiouslr,pans Venetian blinds dnd peeks outside .l

eoorn: lloo&ing outl Shit, she's blown the windshield outa my truck. GoddamnitM^Y: [sti[ on foor] Eddie?EDDIE: lstil/ /oo&i'e out tndo,] What?

nous: I don't know. I can't see any headlighh. lpduse] I don't believe itMAy: lssts ur, crosses to lisht switch] Yeah, you shoulda' thought of the conse'

quences bcfore you goi in her pants.

lshe switches the lights back on. *az whnls around towad het Hestands.l

EDDrc: lnotins towaA he4 Turn the lights ofil K€eP the lichts ofil [He rushes to

602 san shepad

Iisht s!,'itch dnd tums liehts back off. Stase soes hack to dartness. vrv siovespast him and tutns the liehts bdck on aeain. Sta$e lit.)

vav: This is my place!EDDm: Look, shet gonna' come bacl here. I know she s gonna' come back. We

either have to gct outa' h€re now or you have to l€ep thc fuckin' lights oF.MAy: I thought you said you didn't know herlEDDIE: Cct your sluftl We'.e gettin' outa' here.MAy: I'm not leavingl This is your mess, not mine.EDDIE: I came hcre to get youl Whatsa' matter witb youl I came all tbis way to set

youl Do you think I'd do ihat if I didn't love yout Huh? Thai bncb doesn'tme?n anything to nel Nuthin'. I got no rerson to be here but you.

M^Y: I'm not goin', Eddie.

IPause. EDDTE starcs at het.)

lspot nses on oLD MAN. Stase li9hts stay the sane. EDDrE d'd M^y /lrsrstand therc $tating dt edch othet thrcuEh the dsfttion o/rrrE oLD MAN'Swords . They are not'frozen' , they iust s.tdnd therc and f,1ce each othet in asuspended monent of rc@gnition.)

Amazins thins is, neither one a'you looka bit famili,rto me. Can't6gur€ th3t one out. I don't recognize myselfin either one a'you. Never did.'Course your motheB both put their stamp on y?'. That'splain io see. But mywhole side a'ihe issue n.bsent, in my opinion. Totally unrecognizable. You.ouldbe anybody s. Probablyare.I c,nl ev€n .emember the original cncumstances. Been so long. Probably a lot a' things I forgot. Good thing I got outwhcn I did thousb. Best thing I ever did.

lspot fdda on oLD MAN. Stase lishts cone back up. EDD,E picls u, &isrcPe dnd stafts to coil it up. M^y watches hin.)

roon: I'm not leavin'. 1 don't care what you think anymore.l don't care what youfeel. None a'that matte6.I'm not leavin'. Iin stayin' rigbt here. I don'tcareifa hundred "dates ' walk throusb that door I'11 take every one of 'em on. Idon't care ifyou hate my guts. I don't care ifyou can'tstand tbe sight ofm€ orth€ sound ofme or the sm€ll ofm€. I'm never leavin'. You'll never set lid ofme. You'llneverescape me either. I'll lrack you down nomattcrwhere youso.I k.ow exactly howyou. mind worls.l've been rigbtevery time. Everysingle

M^y: You've golla'give this up, Eddie.EDDrtr: I'm not giving it up!

tPdurelMAy: [cdln] Otay. Lool. I don'i understand what you've got in your head anymore.

I really don't. I don't get il. No , you despcrately need me. NoD, you can't livewithout nc. NOW, you'll do anythins for me. Why should I believe it thislime?

EDDTE| Because it's true.vev: It was supposed to have been tlue every iime before. Every other time. Now

it's true again. You've been jerkins me ofilike thn for fiite€n years. Fifteenyean I've been a yo yo for you. I've never been split. I've never been two waysabout you. I've either loved you or not loved you. And now I just plain donllove you. Undentand? Do you undersland that? I don't love you. I don'tneed

FooI for tave 603

you. I don't want you- Do yoD get that? Now if you can still stav th€n vou''eeither crazy or pathetic.

[She ciosis down teft to table, sits in u\stdqe chan facins audience. takes

ilug of teqdld from bottle, sldms it do\m on table Headlishts aedin come

slaihi"e i"ross the stace f,om up ieht, dctoNs audience then disdppen offleft. EDD|F, rushT to liSht s\,|tch, flips it off Stase eoes black. Exteriot

Iiehts shine ttuoueh.)soo:tr, ltakine her by shoul&4 Cet in the bathroom!

urv: lpulls awayl I'm not soing in the bathrooml I'm not gonna' hide in rnv ownLousel I'm gonna' go out there. I'm sonna' so out lbere and iear her damn

head oF I'm sonna'wipe her outlIShe nows tonad stase left doot. EDotE stops het. She sreans. Thev

stueele as M^\ ye s at stage left doot.lu^v: lre ingitdootlCon€ on in herelComeoD in here andbringvoudlnb gunl

You hiar me? Bring all your rveapons and your skinny sillv selfi I'll eat voualivel

[suddenly the stase left door bu.sts op?n and M^RrrN qashes onstaee in

ihe darkness. He's in his midlhnties, solid! built, weas d steen Plnidshit.bagey vo* pants \rith ssspenderc, heaD wotk boots. MAY dnd EDDrE

pull dpt. MARTTN tdcA/es E D.DE around the vdist and the tn'o of then eo;tushine into the stace ghthathroondoor.The door 6oons. urr rusnes

to lishfsvitch, flips n on. Lishts come back up on rdse MARrtN stdnd'orer noorc who\ crunpled up d|dinst the va on tie fod. MARTTN is

about to snash EDDE in the face t+,ith his fst uet stops him vith her

MAY: Martin. waitl

lPdsss. MARTTN tlrrns dad loohs atM^t ED)E 6 ddzed,tenains on floor.MAy goes to MARTTN dad pulls hin away from rootn l

MAyr lt's okay, Martin. It's ub-lt's olay. We were just having a lind of an

arguncnt. Really. just take it easy. AU risbt?- tv.qnrrN

'nows 6acl al, ar frcm LDDIE. EDDTE stavs on floo pause

)

u*rrr: Oh,I heard you screaming when I drove up andthen allthe lishts went ofi.I thought sonebody was trying to-

uer: It's okay. Tbis is my uh-cousin. Eddie.MARrN: lstdres dt EDDIE] Oh. I'm sotry.EDDjE: lsrtrs dt M^RrrNl She s lyins.r',*rrr: [/oots at urv] oh.Mu lmiving to tablelEverythins's okay, Martin. You want a ddnk or something?

Why don't you have a drink?uenrrr: Yeah. Sure.rourr: [stays on foor] Shet lying through her teeih.M^Y: I gotla'get sone glasses.

[M^\ exits Nickly into bdthroon. steppinE ovet EDDIE. MARTTN stdres dtronre. aoon grins bacl. Pause.l

EDDIE: She leeps lh€ slasses in the bathroom. Isn'i thst weild?

b,t^-{ nn* bdck an \.'ith two Elasses Sh. soes ro bble, pouts tvo dtinks

fion bottle l

604 Son Shepa

M^y: I was startins to thinl you weren't going to show up, Martin-umrrr: Yeab, I'rn sorry. I had to water the football field down at the Hish School.

Forgot all about it.EDDIE: Forgot all about what?MARTTN: I mean I forsot all about watering. I was halfvay here when I remembered.

Had to go back.EDDE: Oh, I thousht you meant you forgot all about her.MARTTN: Oh, no.roorn: How far was halfway?MARTTN: Excuse me?eoorr: How far were you when it was haltuay he.e?uerrrr: Oh-uh-l don't know. I guess a couple niles or so.eoure; Couple miles? Thatk all? Couple a'lousy little miles? You wanna'know

how many mil€s I came? Huh?v,rv: We've been drinkins a little bit, Madin.EDDrE: She hasn't touched a drop.

tPauselMrv: [ofenng drinl to vrnrrr] Here.EDDE: Yeah,lhat's my tequilla, Martin.MARTTN: Oh.eoort: I don t care ifyou drink it. I iust want you to know where ii comes from.

EDDTET You don't have to thank Ine. Thanl the Mexicans. They made it.uanrrr: Oh.toorp: You should thank the €nlire M€xican nation in fact. We oive everythins to

Mexico down here. Do you realize that? You probably don't realiz€ that doya'. We'r€ sittin'on Mexican ground right now.It s only by chanc€ that youand me aren't Mexican ourseives. Wbat kinda' people do you hail fromanyway, Martin?

MARTTN: Me? Uh-l don't [now. I was adopted.eour: Oh. You nust have a lota'problems ihen, huh?MARTTN: Well-not really, no.EDDTET No? You orphans are supposed to steal a lot aren't ya'? Shoplifting and stufi.

Youie also supposed to be ihe main sroup responsible for bumping offourPr€sidents.

M^RrrN: ReallyT I nev€r heard that.room: We11, you oughta'read the papers, Martin.

IPa$eluearn: I'm really sony I knocked you over.l rnean,I thousht shewas in trouble or

something.EDDIE: She is in trouble.t'l,rrrrr: [oo&s at vrvl Oh.EDDIE: She s in bis trouble.MARTTN: Wlat's the matter, May?MA\: lmows to bed with drinl, sifsl Nothine.MARTTN: How cone you bad the lighis off?MAv: We w€re uh- just about to go out.MARTTN: Yo! w.re?

FooI for Inve

vrv: Yeah-well, I mean, we 1v€r€ soing lo come back.

IM^R'.IN stands therc between then. He looks at noon, then bdck to M^\ .

Pause.)room: [tauglrs] No, no, no. Thal's not what we were sonna' do. Your nane's

Mariin, right?MARTTN: Yeah,.ight.EDDTET That's not what we were gonna' do, Marty.uerrrr: Oh.nonrr: Could you hand me lhal bottle, please?

MARrrNr [crossins fo 6ot& dl ldbl"] Sure.roorr: Thanks.

[vrrrrr no'es 6acl to onD:E with bottle and hands it to him. EoDtE

dlin(s.lEDDB: laftet dlink) W e wer€ actually havins an arsu'nent about you. That's what

we were doin'.M^RrrN: About me?room: Yeah. We were actualy in lhe middle of a big huse arsument about you. It

got so heated up we had to turn the lights otrMARTTN: What was it about?EDDIE: Itwasaboutwh€therornotyoui€actuallyamanornol.Ya'lnow?Whether

youie a "nan" or just a "suy".lPduse. MARTTN /oofrs dr M

^\. M^! sniles Politely. M^nrrr lools bacl to

EDDIE.]

roorn: See, she says youie a man. That s what she calls you. A "man". Did youknow that? Thai's what she calls you.

u,nrn: floots bac& lo uer] No.v,rv: I never ca]Jed you a maD, Martin. Don'l wory about it.ru,rnrrN: It's okay. I donl mind or anything.rnoru No. but see I uh-told her she was fulla' shit. I mean I told her that way

before I even sawyou. And now that lseeyou I can't exactly iake itback. Ya'see whai I mean, Martin?

lPduNe, MAY stdnds.lMAy: Marlin, do you want to go to the movies?u,rnrw: Well, yeah I mean, that s what I thought we were goins to doMAY: So let's go to the movies.

[She croses fast to bathroom, steps owt EDCIF , eoes into b.1tht@n, slansdoor, door boons. Pause as MARTTN stdrd df balirooft door. EDDIE std/ton foor, srins dt MARrrN.l

M^RrrN: Sh€ s nol mad or anythins is she?

EDDrE: You got m€, buddy.MARTTN: I didn't mean to male her rnad.

lPause)EDDTET Whatie you gonna'go see. Martin?MARTTN: I can't decide.uoorr: Wbat d'ya' mean you can't decide? You're supposed io have all thatwork€d

out ahead of tirn€ aren't ya?vrnrn: Yeah. but I'm not sure what she liles.EDDE: What's that gol lo do with it? Youle lakin' her oDt to the novies, right?

60t

606 Sam ShePad

EDDIE: So you pick th€ movie, right? The guy picls the movie. The suy's alwayssupposed to pick the movie.

MARrrNr Yeah, but I donl want to take her to see something she doesn't want to see.eooru How do you lnow whai she wants to see?MARTTN: I don't. Thatt the reason I can't decide. I mean what if I take her to

somethins shet already seen before?EDDIE: You miss the whole point, Martin. The reason you're taling her oui to the

movies isn't to see som€thins she hasn't seen before.ulnrN: Oh.roorr: The reason you're taking he. out to the movies is because you just want to be

wilh her. Risht? You just wanna'be close tohe..I mean you could tak€ berjusiaboui anywbere.

MARTTN: I guess.

EDDIE: I nean aft€r a while you probably wouldn't have to take her out at all. Youcould just hang around here.

MARTTN: What would we do here?roorr WeJI. 1ou c"uld uh .tell edch other \rorie".

MARTTN: I don't know any stories-EDDIE: Make 'em up.MARTTN: That'd be lyins wouldn't it?EDDIET No, no. Lyins's when you believe it's true. Ifyou already know it s a lie, then

it's nol lying.MARTTN: [dfiel pdlsr] Do you want som€ help setting up ofithe floor?EDDrE: I like it down here. Less tension. You noiice how when you'r€ standing up,

there's a lot more tension?M^RrrN: Yeah. I've noticed that. A lot oftimes when I'm workins, you know, I'm

down on my hands and knees.EDDIE: What line a' wort do you follow, Martin?MARrrNr Yard work mostly. Maintenance.euorr: Oh. lawns and stufi?

EDDIE: You do lawns on your hands and lnees?MARTTN: Well-edging. You [now, trimming around the edges.EDDrE: Oh.M^RrrN: And weediDs around the sprinkler heads. StuElike ihat.

u,rnrrN: But I've always noticedhow much more relaxed I set when I'rn down lowto the ground like thal.

roorr: Yeah. WeJl, you could get down on your hands and lnees risht now if youivanl to. I don't mind.

utattM fgrins, gets embarrassed,looks at bathroom door] Naw, I'll stand. Thanks.EDDrr: Suit yours€lf. You're just sonna' get more and more tense.

IP.luse)MARTTN: You're uh May'r cousin, huh?

607

EDDjE: See now, risht there. Askin'me that. Risht lh€re. Thatt a r€suli of tension.See what I mean?

EDDjE: Aslin'ne if I'm her cousin. Tbal's because you're tense you're askin'methat. You already know I'm not her cousin.

vrnrn: Well, how would I know tbat?EDDIE: Do I lool like her cousin?MARTTN: Well, she said ihat you wer€.ronrr: Prinsl She's lying.

IPause)uenrrr: Well whai are you then?EDDE: Uaugisl Now you're really settin' tense, huh?venrrr: Loot, maybe I should iust so or somethinc. I mean-

IM^VNmdkesanowtoexitstd! W. EDD]IE rushes to stase W doot and6edrs M^RrrN to it. MARTTN fieezes then tuns to window uqstdBe, oPens itanA ties to escape. EDDTE tuns to him and catches him b the back of thepants, pulls him out ofthe windolr, slar.l,s hin up dgainst stale tht wathen pulb him slowly dot'tn the va as he sp.aks. They .iftiw at dovnrisht nmer.)

EDDrE: No, no. Don't so, Martin. Don'i so. You'll iut get all blue and lonely outth€re in the black night. I Inow. I've wanderedaround lonely like that nyseu.Aivful. lust eats away ar ya' . [He Puts his an arcund u,tnrn's r/touider andleads hin to table down left l Now iust cone on over here and sit down andwe'll have us a litde drink. Okay?

MARTTN: lds fie soes lrtlfi EDDjE] Uh-do you thin] she's ol(ay in there?noolE: Sure she's okay. Sbet always okay. She just likes to take her time. Just to

Manr^: Well-we were.uppo"ed to go to lle mo\ ies.

roorp: She'll be out. Don't worry about it. She likes the movies.

IThey sit dt tdbl., dawn W. EDDTE pdls out the dovn tisht chait ana seatsM^RrrN in if, tl€n i" goes lo the qstdge chair and sits so that he's nowbdrtid

') facins'tHE oLD MAN. Spot r,s?s solilr on rHE or.D MAN bLt

MARTTN do?' not dcftso]rledce his prcsence. Stage lishts stay the same.MARTTN sets lts slass on ldble. EDDrc flls it tp with the hottle. rtrE oLt)u*'s left arm slovly descends an(lteaches across the table holdinE out hisenbtt styofoam cub fot a dr,nA. nonrr loo&s rqe oro v

^N in the ew fot d

secondthenfoushinddtink,too.A three ofthem dnnl. EDDIE tdfres ltsfrom the bottle.)

MARTTN: What e$ctlyt the matter with her ?nyway?EDDTET Sh€ s in a slate a'shock.

lrHE oLD MAN circ&/es to limsetf. Drinks.]MARTTN: Shock? How come?eoo,e: Well, we haven't seen eacb other in a lons tirne. I mean - me and her, we go

back quite a ways, see. High School.MARTTN: Oh. I didn't know that.EDDrE: Yeah. Lota' mil€s.MARTTN: And youte nol really cousins?

608 Sd.m Shelad

EDDIE: No. Not really. No.MARTTN: Youie-herhusband?EDDIE: No. She's my sister. [He dnd rHE oLD MAN l@k dt each othet then he tums

bacl to MARrrN.] My haltunter.[Pauv. eoom and oro r,ru d;nl.]

MARTTN: Your sisterT

v,rnrrN: Oh. So-you lnew each other ev€n before High School then, huh?rourr: No, see, I never ev€n knew I had a sist€r until il was too laie.M^RrrNr How do you mean?EDDrt: Well, by lhe time I found oot we'd already-you lnow-fooled around.

[oru ver sfta&es nis head, &inks. Lone Pause. MARTTN llrrl sfdrcs dtEDDlE.]

EDDIE: krtrsl Whatsa' matter, Martin?mrnrlrl: You looled around?

uenrn: Well-um-that's ille$I, isn'i it?EDDIE: I suppose so.

lto EDDTEI Who h this guy?MARTTN: I mean-is that true? She's really your sister?

roon: Half. Only haltv,rnrw: Which hallreoorn: Top halt In hones we call that the "topside".rHE oLD MAN: Yeah, and the mare's what? The marei ub

-"distaff', isn't it? Isn't

that the botton hau? "Distaff." Funny I should remember that.uerrrr: And you fooled around in High School togeth€r?roorr: Yeah. Sure. Everybody fooJed around in High SchooJ. Didn't you?

v*rrv: No. I never did.roorn: Maybe you should hav€, Marlin.M^RrrN: Well, not wilh my sister.EDDjE: No, I wouldn't recommend that.MARTTN: How could lhat happen? I rnean-noon: Well, see [pause, he starcs at oLD Mrr]-our Daddy fell in love twice

Tbal's basically how ii happened. On€e witb Iny mothcr and once with he.

It was the sane love. Jusl got split in two, thati all.vanrrrr Well, how come you didn't lnow each other uniil Higb School, then?EDDrE: He had two s€parate lives. That s bow corne. Two compl€tely separate lives

He'dlive with me and my mother for a while and then he'd disappear and go

live with her and he! molher for a while.Now don'tbe too hard on me, boy.It can happen to the best ofus.

u,rnrn: And you never lnew what was soins on?roorr: Nope. Neither did my mother.rnr or.o ver: She tnew.EDDIE: [lo M^RrN] she nevcr knew.vrn 'r: She nu'l\e ru'pe( led

'omething wr. sorng on.

eonre: Well, if she did she never let on to me. Maybe she was afraid of finding out.

Or maybe she just loved him. I don't know. He'd disappear for monihs at a

Fool fo Lov 609

time andsbe never once asked him where he went. She rvas always glad to seehimwhen he cameback. The two of us used to go running oui of the house romeet hnn as soon as w€ saw the Shdebaker comins across the 6eld.

[o EDDjE] That was no Shidebaker, that was a Plymouth. I neverowned a soddamn Siudebaker.

EDDIE: This went on for years. He kept disappearing and reappearing. For years thatwenton. Then, suddenly, one day it stopped. He stayed home for a while. fusrnayed in thc house. NeverwentoDtside- Just sat in his chan. Starins. Then hestaded soing on these long walks. Hc'dwalk allday. Then he'd wallaU night.He'd wall out a€ros the 6elds. In the dark. I used to watcb hin from mvb, d'oor srndow Hc d di.rppea' in lhe dar l rvilh h\ o\e.coJr on.

MARTTN: Where was he soing?EDDTET lust walking.

I was makins ? decision.

IEDDTE sets M^RrrN to h* fe et and takes him on a wdlk arcund the entnestaee ds he tells the stoty. t

'ARrrN * reluctdnf tul EDD, E keers bullins him

akng.)EDD,E: Butone nisht I asked him ifl couldgowith hin. Andhe toolme. We walled

straishl out across the 6clds together. In the dark. And I remembent was justplowed and our feet sank down in the powder and the din came up over thetops oimy shoes and weigbed me down.l wanted to siop and ernpty my shoesout but he q,ouldn't slop. He kept walking straighl ah€ad and I was afraid oflosing him in the darl so I iust kept upas best I could. And we were compleielysilenttbe wholc time. Never saidawordio€.ch other. We couldbarely see atool in fronl ofus, itwas so dark. Andthese wbite owls kepl swoopinsdown outofnowhere, hunting for jackrabbits. Divins risht past our heads, then disappeariDg. And weiustlept waltingsilent like tbat for milcs untilwe got io iown.I could see lhe drive-in movie way ofi in the distance. Thal was the first tbing Isaw. Just square patches ofcolor shiftins. Then vague faces began to appear.And, as we gotcloser,l could recognizeone olthe faces.ltwas SpencerTracy.Spcncer Tracy moving his mouth. Speaking without words. Sp€aking to a

woman in a rcddre$. Then we sropp€dat a liquorstore and he made m€ waitoutside in the Frkins lot wlrile he bought a bottle. And tbere were all theseMexican migrant workcB standing around a picl-up truck with red mud allover the ln€s. I h€y were drinking beer and laughing and I rememberbeinsjealous ofthem and I didn't know why. And I r€member seeing the old manthrough tbe glas door of the liquor store as h€ paid for the bottlc. And Iremember fccling sorry for him and I didn't knorv why. Then hecame oulsidewilh thebolile wrapped in a brown paper sackand as soon as be came out, allthe Mexican menstoppcd laughing. They just stared at us as we walkedaway.

lD tine the cource of the stort the liEhts shift doi'n rery slowly into bluesand sreens noonlisht.l

EDD,E: And we walked rigbt lhrougb town. Past the donul shop, past the niniaturcgolfcourse, past the Chevron station. And he opened tbe bottlc upand ofieredit to me. Before be even look a drink. h€oFered il lo nreErst. And I took it anddrank it and handed itbackto him. And w€ iusl lept passins ii backand forthlikethat as wc walked until we drank the whole thing dry. And we never said aword ihe s,holc time. Then, finally, we reached this little white hous€ with a

610 Sdn Shebdtd.

redawniDg, otr thefarside oftown.l'll n€verforsetthe red awnins because itflapped in the nighl breeze and tbe porch iight made it glow. It was a hot,desen breeze and the airsmelledlikenewcut alfalfa. We walked .ight up 10 th€front porch and he rang the bell and I remcnber geliing real nervousbecause Iwasn'l €xpecting to visit anybody. I thought we were iust out for a walk. Andthen this woman comes to the door. This real prettywomanwith redhan- Andshe throivs herselfinto hisarms. And he stariscryins. Hejustbreals downrightthere in front ofme. And she s kissing him all over the face and holding himreal tight and he s jst crying like a baby. And then through the doorway,behind them both, I see this snllThe bathroon doot very slowly and silentlyswinss oben re'ealins MA\, standine in the d@t ft.1me back lit with yellowlieht in het rcd &ers. She iust watches EDDtr as he keeps te insstoty. He andw*ttr are nawate of her pres"a.e.l She just appeam. Shc's just standingthere, staring ai me and I'm staringback at her and we can't tak€ our €yes oSeach other. It was lite we lnew each other from somewhere but we couldn'lplace wbere. But the second we saw each olher, lhat very second, we knewwe'd never stop being in love.

[u* slams bathroom door behind her. Door booms. Lights bang back upto thei Prcrious settine.l

MAy: [to EDD,E] Boy, you really are incrediblel Youie unbelicvablel Martin comesoverhere- He doesn'l lnow you from Adam and you stari telling him a storylike that. Are you crazy? None ofit's true, Martin. He's had this weird, sickidea for ycars now and it's totally rnade up. He's nuts. I don'tlnow wher€ hegot it fron. He s cornpletely nuts.

eoolE: [to vrnrrr] Shet kinda embanassed about the whole deal, see. You can'tblame her really.

MARINT I didn't even know you could hear us out herc, May. I-uev: I heard every word. I followed it very carefully. H€'s told me that slory a

thousand times and it always changcs.EDDIE: I never rep€at rnysellMAy: You do nothing but repeat yourself. That s all you do. You jDst so in a bis

ulnr,r; [standins] well, maybe I should 1eave.

EDDIE: NO! You sit down.

lsilesce. M^RrrN slo ) sifs dsdtn.lFDDE lquietlr to MAN.|^, ledtlits to||ad itm] Did you ihink tbat was a story,

Maltin? Did you think I rnade that whole ihing up7M^RrrN: No. I mean, at the time you were teliins it, it seemed real.EDDIE: Bui now you're doubting it because she says it's a lieT

EDDrE: She sugsesrs it's a lie to you and all of: sudden yol, change your mind? Is thatii? You go from iru€ to false like ihat, in a second?

MARTTN: I don't lnow.MAY| Let's go to the movies, Madin.

[MARrrN sfdnds dsdin.]EDDrE: Sit downl

lMaplN vtr dc* dorn Lors pdxr".lurv EJdr-

611

tPausel

M^y: W€ want lo so toihe movies. [Pdus€. EDDIE llrsl sfdr€s dt ]e..1 I wanttogotothe movies with Martin- Right now.

€DDIE: Nobody's going to the movies. There's not a movie in this lown that c.nmatch the story I'm gonna tell. I'm gonna 6nish this story.

urv: Eddie-EDDrE: You wanna'bear the rest ofihe story, don't y.', Martin?mnrrr: [Pause. Hz lools dr MAy tlen racA io EDDIE] Sure.

MAY: Martin, let's go. Please.

[Lons pause. soo].F. and u*rw stare at each other.]

MARTTN: I don'l mind hearing th€ rest ofit ifyou want to tell the rest ofit.lto iins"fl I'm dyin' to hear it myselt

feoorc leans back in his chair. Cnns.lMAy: lto EDDrr]What do yoD think this is goins to do? Do you tbinktbis is goins to

change sonething?

M^Y: Then what's tbe point?EDDrE: It: absolutely pointless.M^y: Then why put everybody throDsh this? Marlin doesn't want to hear this

bullshit. I don'i want to bea. it.eoorn: I know yoz don't wanna hear it.MAy: Don't try to pass it ofon nelYou gol ii all turnedaround, Eddie. Yougotitall

turnedaround. You don't even knowwhich end is up anymore. Olay. Okay.Idon't need either ofyou. I don't need any ofitbecause I already know the rest

ofthe story. I lnow the whole rest ofthe stoly, see. lshe spedks dircctlr toEDDIE, who rcnains sitting.l I know it jusl €xactly the way it happened.Without any littlc tricls added on to it.

lrHE oLD MAN ledn, orer !o E'DIE. confdentidlb.)What does she lnow?

EDDrE: lto oLD MANI Shet lyinc.lLishts beein to shift down dEdin in the coulse of M^\'s story . Slrc movsvery slot|lt do|'nstaee then crosses Ioodrd oLD MAN ds she tells it.)

M^y: You want me to finish tbe story for you, Eddie? Huh? You want me to 6nishthis story? [Pdrse dr M^RrrN s;ts dgdtn] See, my mother-th€ pretty red-haned woman in tbe little white house with th€ red awning, was desperately inlove with ihe old man. WasD'i she, Eddie? You could tell that rigbt away Youcould see it in her eyes. She was obsessed witb him to the point where sh€

couldn't stand beingwithouthim for €ven a second. She kept hunting forhimfrom town to town. Following litlle clues that he left behind, like a postcardmaybe, or a rnotel on the back ofa matchbool. [To u,rnrrr] He never left ho aphone number or an address or anythins as sinple as thatbecause my notherwas his secret, see. She hounded him for yean and he lept lryins to keep berata disiance because the closer these two sepante lives drew together, these twoseparatewomen, these twoseparate kids,lh€ nore nervous he got. The more6lled with terrorthat the two lives would find out about each otherand devour

612 Sarr Sheba

him whole. That his secret would tale hin by the throat. Butfinally shecaughtup with hin. Just by a process of elimination sh€ dogsed hin down. I rememberthe day we discovered thelown. she was on fire. "Thisis itl" sheleptsayins; "this is the place!" Her whole body was trembling as we walledthroush the str€ets,looling for the house wherehelived. She kept sque€zinsmyhand to the point where I thousbtshe'dcrush the bones in myfingers. Shewas tedified she'd comeacro$ hirn by ac.ident on the streetbecause sbelnewshe was h€spassing. She knew she was crossing this forbidden zone but shecouldn'thelp helself. W€ walk€d all day throush that stupid hicl town. All daylons. We went throush every neisbborbood, peering through cvery openwindow, looking in at every dumb family, unril finally we found hirn.

lRatlIl was iusi exactly supper time and lhey were all sitting down al ihe table andthey were hving fried chiclen. Thafs how close we were to the window. Wecould see what they wcre eating. We could hcarthen voicesbut we couldn'tmakeoutwhat they iveresayins. Eddie and his motherwere talkinsbuttheoldman nevcr said a word. Did he, Eddie? lust sat there eating hn chickcn in

rHE oLD MAN| lto EDDTEI Boy, is she ever of the wall with tbis one. You so|a' dosomethin' about this.

MAy: The tutrny thing was, thai slmost as soon as we'd found him - he disappeared.She wu only with him about twoweeksbefore he just vanisbed. Nobody sawhirn aftcr that. Ever. And my noiher- just turned herselfinside out. I nevcrcould understand ihat. I kept watchins hersdeve, astbough somebody'ddied.She'd pull herself up into a ball and iust stare at lhe floor. And I couldn tunderrand rhai because I was feelins rhe exact opposii€ feeting. t was in love,sce. I'd come home after school, after being with Eddie, and I was 6lled s,iththis joy and the.e she'd be-standing in the niddle of the kitchen staring arthesink. Her eyes looled like a fun€ral. And I didn't know wh,t to say.l didn'teven feel sony for her. All I could think ofwas him.

lto EDDTEI Sbe's settin' way outa' line, herc.MAy: And all be could think of was me. hn't that risht, Eddie? We couldn't take a

breath without thinking of eacb other. We couldn't eat ifwe wcren't together-We couldn't sleep. We got sick 3t night when we wer€ spart. Violently sick.And my mothereven took rne to seea doctor. And Eddie's mothertook hirn tosee the same doctorbut the doctor had no idea whal was wrong with us. Hethor€ht it was lhe flu or soneihing. And Eddie's mother had no ideawbal waswrong witb bim. But nry mothcr-my mother knew cxactly wbat was wrong.She knew ii cle.rdown to herbones. Sh€ recogni,ed everysymptom. And shebccgcdme not to see nim bui I wouldn't listen. Tben she begged Eddi€ not tose€ me but hc wouldnl listen. Then sbe w€nt to Eddiet moth€randbeggedher. And Eddie s moiher lPause. She looks straight dt EDDTEI Eddie'smother blew her bkins out. Didn't she, Eddie? Blcw her brains rishl oui.

lstantlins, he nores fron the platfotm onto the staEe, between EDDTE

dnd MAyl Now, wait a secondl Wait a sccond. lust a goddamn second he.e.Thisstor]doesn thold water. [To EDDjE r,[o sfdys s€ated.]Youic not gonnalct her of the hook tlilh th:t one are ya'?'l'hat's lhe dumbest version I cvcrheard in my whole life. She neverbtew her brains oul. Nobody ever told mc

613

that. Where the heu did th3t come from? [To EDDIE vn o rcmdins seated) Srand

upl Get on yer feet now soddamn iil I wanna'hear tbe male side a'this thin8.You gotta'rcpr€sent me now. Speakon mybehalt Thele s no one to sPeak forme nowl Stand upl

!DDr stdnd* sio'/v. Srdr"" al oLD vA\'l\o$ tell he'. Tell her rhe we) il happened. \\ eie 8ol a pa(t. Don l lorget

that.uot: .calmh ro oLD MANI ll $J' yoLu .holeun. Sare one $e u"ed to Jucl'huni

with. Brcqnrne. She nerr 6red a gun belore in her lile Tharwa'herFrq

Nobody told ne any a

nonrr: You were gone-mel Somebody to'rld ve hunted me

' that. I was lelt completely rn lhe da!l.

rHE oLD MAN: Somebody could've founddown. I wasn't that impossible to find

roorr: You were gone.Th:li righr. | tra\ sonel I tra\ sonel You rc ri8hr. But I $asn I

di\onnccled. There qa. nolhing.ul oF in me t\enlhinswentn1iu'llhesame as though I'd never left. Fo MAYI But your nother-voDr molher

wouldn l eive it up, would she?

lr nr oro v"rmorer rowa, d M^\ and 'peak dnectl!to hc v tt *eeps iaoconroore uho vrv

"loq,h tums lowod het m the.ouv o/ rHr orD

v{\ . sp?ccr?. O'.? ll";. ?ye' m.el !he\ neter leav each othei* goze l

[ro Mav] She drew me to her' She went out ofhe.wav io draw me in'She was i force..I told her I'd never come across for ber' I told he. that rishtfron th€ very start. But she opened up to ne She wouldn't listen She kept

opening up her hean to me. How could I turn her down when she loved me

lile rhai? Aow could I rurn away from her? We were completelv whole'

[roore and r'r,rv lrst stand therc starins at each othet. Ibdck to EDD:E. Sleaks to hin di@tly )

Iro EDDIEIWhafre you doin'? Sp€ak to her. Brins heraround to our

side. You gotta' make her see this thing in a cleal lighl.Verv

"loorv roorr anJ v.t nove toward each ottu )

'"" ol ' ";., lo r nDI Sla) au:y lrom her' What lhe hell a'e )ou doin : le€p

awav frorn her!You trvo can't conc togetherl Yougotta hold up mv end a'tbis

deai I got nobody now! Nobodyl You c,n'tbetrav mcl You sotta'rcpresentrnc nowl You'rc my so.!

t DbtL antl M \t cone toEcthe t .Pnte t tos? l hLvembroce l hetkr*eachothet tenderl) . H Padli.lts rutld?nu arc to"s

'toCe oedn frcn uptitsht.

cuttinsacrcssthestds,thrc 8hi'inlow then dbappeatins olf left Soun'J

o{ loud ,oltision. "hirtenng eto* on ?\Pl.\nn Btiaht orcne" an'l blue

light ol a sa*tw fi, e suddiiv ltumtnates up+r ase wndow Then 'ound"of harca-soeaning w;Idly, hoo'es edllapinl on pawment, fadins. .thentotal sibnce. Lisht d eas firc continues now to ena of plar' toore and uev

newr stopholding eachothet thrcush a this.Lonsbaus NoonenowsTlrn u,rnrrr srJads and movs upstaee to vindor, peen aut thrcuEh

venetian blinds. Pause )

MARrrNl [rpstdse di 'i'dow,

tookine ost into fanes] h ihat vour truck with the

horse trailer out ihe'e?

611 Sd'f. ShepaA

EDDIE: [sta)B tr, MAY] Yeah.MARTIN: Itt on 6Te.

MARTTN: All the hones ar€ loose.EDDIE lst.Ps bdck ai )d, fion MAyl Yeah, I fisured.M^Y: EddieEDDIE: [fo M^y] I',m iust sonna' so out and take a loo]. I soita'at least take a look,

don't I?MAY: Whal ditrerence does it make?EDDTE: Well, I can't jDst let he' set away with that. What am I supposed to do?

lmores toward stase W doo4 I'11 iust be a second.MAY: Eddie-EDDrE: I'rn only sonna'be a second.I'll just tate a lool ar it aod I'll corne rightback.

Okay?

IEDDIE exits staEe left doot . MN starcs at door, stdys wh"r" si" is. MARTTN

stays upstase. MARIN furns sloDl/ from window upstase dnd looks atMAy. Pdirse. MAy nores fo b ed, pulls ssitcnse aut fion underneath,thrcirsit on bed and opens it. She soes into bdttuoom anA cones out f ith clothes.She packs the clothes in suttcdse. MARTTN pdfclss ier fot a while thenmo,es slovly downstase to het as she continues.l

[MA\ soes back into bdttuoom and comes hdch out \a1ith morc clothes. She

backs then.lMARIN| Do you need some help or anythins? I got a car. I could drive you

somewbere if you want. [Pd use. M^\ iust ke.ps pdckins het clothes.) Ne yo!soing to go with him?

lshe stops. Sttdishtens up. Stdr"s dt MARrrN. Pduse.l

MARTTN: Hc said he'd b€ back in a second.urv: [Pause] Hc's gone.

[MA\ erits r,,ith s itcdse out stdee left door. She leaws the door openbelind ier. M^RnN iust ddnds therc statinE.it ofen doot for avhile. r EoLD M^N looksstd.1 W it his ukine chdt then a little abore it,in blankspdce. Pduse. oLD MAN stdtts moine slo\aly back to the flatfotm.l

lpointing into space, stase Wl Ya' see that picture over there? Y?' seeihat? Ya'know whoth?t is? Thai's the wornanofmy dreams. That s who tbatis. And she s mine. Sbe's all mine. Forever.

lIIe reaches mkinE chdn , sits, btl kecps st.'/ing at imaeinaq pictue. Heheeins to rcck wrt slovl) in the ch.1ir. Aftet oLD MAN sits inrccket,Me eHaEeald's "l'n the One who lares You" statts plaring as lishts hegin arery siow fzde. u,rnrlN motes slo ly upstase to window .'nd stops. LIestArcs out with his back to audience. The frre slo s through window as

'tase lichts f.1de. oLo MAN keeps rcchins slowly. StdEe lishts keep fddins

slowly to black. Fire glows fot a while in the dark then cuts to bldck. Sonscantinud in ddA and swe sinwlune.l