Bobby-John is seen sitting in a dark wood stained rocking chair. Behind him the wall is creased, and makes its turn for the square of construction. Three walls are to be seen left, right, and centered behind. The wall behind is painted with lilac coloring and has not yet been disturbed by splotches of living dirt. Drawn with black lines and lying centered on the wall is a picture taken from the book, Alice in Wonderland. On a giant mushroom sits a blue caterpillar smoking on his hookah. To the left of this drawing and above bobby-johnís head are these words, written also in black. "So you have told me that you are Alice, But then who is Alice?" The left wall is also painted in lilac. But its color is disturbed by a white door resting near front stage. And the door is closed. Now the right wall contains a window and a door frame. Between the door and the window are five shelves fully packed with assorted books. All the wall that can be seen is also colored in lilac. Right below the shelves and almost touching the floor is a poster. On a background of morning shaded green leaves stands a woman naked and very pregnant. She is old and is young.
With her back to the audience Billie sits on an uncovered mattress. She is young and in her twentyís. Her hair is of a discreet brown coloring and almost unnoticeably is tinted with a blondish red. And as she sits, the finger tipping of her hair just barely touch the floor. She is knitting and facing Bobby-John. With his feet wrapped up onto the seat of the rocking chair, he rocks slowly, but to the beat of Donovan singing in the air about the room. With his head bowed, half his chest and his face lie practically hidden. Held on his lap by one hand is a small pad of paper. And his other hand is writing within. And so the stage is given light. There is no curtain to be risen.
BILLIE- (placing her knitting down) Did you have to start writing now? They will
be oversoon and we havenít finished cleaning up. (After waiting a
minute to hear no answer or recognition that she had spoken, she rises
and walks into the next room.) (From the next room) Bobby, can you get
the floor swept.
BOBBY-JOHN- Is it dark already? (Rising to his feet, leaving pen and pad on
chair, he walks towards Billie's voice.) What has become of the broom?
BILLIE- (renters, meeting bobby just before the door, with the broom.) Here,
and please hurry up. I would like to be finished before they come.
BOBBY-JOHN- But you know that perfection doesn't matter to them.
BILLIE- I'm not asking you to be rid of every molecule of dirt, just to clean up a
little bit. If not for our friends, do it to satisfy me. Please Bobby?
Bobby-John- (Placing his hand on the broom and also hers, he then kisses
and pulls her close) To eternity and the colors you will offer it. So, to
work, to work. (And he begins sweeping the waiting floor) Could you turn
over the records, they are almost finished.
BILLIE- Just a minute. (She again enters the door way) (There is a sudden
silence, disturbed only by the broom caressing dirt and floor)
BOBBY JOHN- (Placing the broom to rest in the silence, he then walks over to
the book shelves. From behind a group of books he pulls a small plastic
bag. Taking it he sits on the mattress. His back is to the audience and
he begins rolling joints.) Billie, do you want to smoke some now?
BILLIE- How much smoke do we have left?
BOBBY-JOHN- I believe it will be only a few joints. Four or five, maybe. Why?
BILLIE- Shouldn't we save them until the others come. You know the smoke isn't that
good. Bobby-John- Weíll only smoke one and besides Alex should have
bought a pound yesterday. So, he should be brining some over.
BILLIE- (entering the room, she sits on the mattress next to Bobby. Sitting with
her side to the audience, she watches as bobby rolls.) Here, I brought
you some stew.
BOBBY-JOHN- Thanks but I'm not hungry.
BILLIE- youíre never hungry; you havenít eaten all day. I just can't understand
why you don't you like to eat.
BOBBY-JOHN- It isn't that I don't like to eat; it is just that, you know, I've
explained it all before.
BILLIE- Explained it? But you told me that you no longer have the death wish
any more. Our love has given you a living reason.
BOBBY JOHN- It is more and too complicated to be cured by such a simple
solution. It is sort of, well, I don't want to be, I don't want to break the
relationship I have with Death. As long as we are friends, I will never fear
him. Our Love is only to be a reality in the world of the living, anything
after is only hope. And though this hope gives my life ever so much more
beauty, I can not let it begin to control my life. Our Love must never be
allowed to lie to us that we are not eternally alone, for we are. You and I
may or may not last until death, which is as eternal as we ever can be. If I
even use our Love for security to life then I may become without the
need to share with other people, other life.
BILLIE- You sound as though you are almost willing to give up our relationship, so you
can remain free?
BOBBY-JOHN- No! (He turns away from rolling his joints and faces Billie. He
almost looks scared and it sounds in his voice) If I had to choose
between that of all the living in the world and you, it would be you that I
would want and take. (Almost crying) So much of my life has been lived
alone and I have conquered it. But no matter how much I try not to be, I
am still a human man. I need you at my side. (Billie touches her hand to
his) (His voice stronger now) But I still need to be free. And we can be
free together in the wind.
BILLIE- Of course we can. (Standing up Bobby searches his pockets for
matches, but finds none.)
BOBBY-JOHN- Besides, Iím really not hungry now, getting back to the original
point. I'll probably eat some later; you know I do like your stew. (Bobby
again sits, this time half facing the audience. Billie then rises and takes
the plate of stew into her hand)
BILLIE- There are some matches in the kitchen. (She leaves the room. Bobby
begins wetting a joint with his mouth.) I forgot all about the records.
Should I put Donavon back on?
BOBBY-JOHN- How about some Joni Mitchell. (And suddenly the room is
filled softly with the sound of music, again. But it is not loud enough to
drown out the voices of the people on stage. And Billie enters again,
sitting she faces bobby, and immediately hands him a book of matches)
(Handing Billie the joint, Bobby lights a match and offers it also to her. At
first they smoke in silence. As they smoke, the lights dim. The room can
still be seen clearly but it is as if the sun has fallen over the horizon, not
far enough to cause the black of night to come, but far enough so there is
a lessening in the dayís bright.)
BOBBY-JOHN- Is Karin coming over tonight?
BILLIE- She should be.
BOBBY-JOHN- Do you know if she is brining anyone? (He stands and dances
is slow modern form to the music playing)
BILLIE- I doubt it. It has only been a few weeks since she left her husband.
She still isn't ready for another relationship.
BOBBY-JOHN- And so she is still scared to be compared to that which has
been. It was no sin and she should know now how to begin.
BILLIE- She just wants to be free for a while, to regain herself.
BOBBY-JOHN- We are only free when there is something to be free from.
BILLIE- You told me that you had to liked being alone.
BOBBY-JOHN- I did and still do, and still must, as you well know but I was not
scared not to. Karin is so scared that when she finally does find another
sharing, it will also die with too much pain. Though maybe she will learn.
BILLIE- Learn what?
BOBBY-JOHN- Do you care to dance, my Love. (Billie rises and they both
dance. They dance of meeting, then coming together to touch. First they
dance apart and then slowly they come together to touch. They touch
hands, they stop dancing and then they kiss. Bobby falls slowly to the
floor, until he is kissing her womb. As his hands remove her pants in a
dance of form and grace, so she also fails slowly to the floor. They
become entangled together and as so, the light begins to dim
even more so. Suddenly there is the sound of a doorbell ring and just as
suddenly the room becomes totally immersed in a black fluid light.)
It is the same room. Karin stands with her back facing the wall where rests the blue caterpillar. Her body stands of medium size and is dressed in clean blue genes and a skin fitting purple blouse. Her face is bright and awake, but her eyes if seen close are lined and tired. Her weight is proportioned almost perfectly. And by mere sight one will observe how even her hair is perfect in length, falling not only down but out. It is neither long or short. Bobby is lying with his head on a cluster of pillows, situated directly beneath the bookshelves. And the her naked feet are blocked from sight by his head, his hair. Karin, whose body is facing the audience, has her face pointed towards Bobby.
KARIN- So, do you really like my pillows? I didn't know what color you would
be paintingthis room, that is why I used patch-work.
BOBBY-JOHN- They're really beautiful. It must have taken a while for you to
sew allthese patches together. Thinking of that work makes them all the
more beautiful. Especially this one, the patches are all so small.
KARIN- I enjoy making them, putting together all the designs any way it suits
me. (she begins to sit down in the rocking chair)
BOBBY-JOHN- (sitting up, he makes ready to stand) There is a book on the
chair. I'll get it.
KARIN- (turning and picking up the book) More poetry?
BOBBY-JOHN- Of course! You'd probably like some of it. I wrote one for you
but I havenít gotten around to copying it yet. (Walking over to her, he
takes the book and opens it, looking between the book and her, and
back again) Hell, it isn't written just for you, but partially so. It
is this one, "Day".
BILLIE- Bobby, can you help me, for a minute. (He turns from Karin and walks
into the kitchen, saying nothing. Karin begins to read the poem out loud
to herself, and so does the chair begin to rock.
KARIN- And was, the latest evening of my life
as the timeless minutes stood still
and my blood chilled
Tired in this empty
The light of eyes were only mine
reflecting back off the darkness
A sudden thought did
'Quiet , Quiet , you need not speak
the listening time is over, and even as well
for , to yourself'
This star touched organism,
I think it is all,
Was my stopping a Fall!
The corners are gone, and day is hiding with
nowhere, Not wanting to know,
To what... Nothing ever was,
So as is the before of me
is the behind
In what color can I describe it
That can I even say It is not
Where are the pictures, which my mind once knew
All of a sudden I know,
there is no time left,
there are no good-byes
There is no me!
Wake, rise alive, Rise, wake alive ----
Hey! it is the sun
it's still day
No time left to pray,
I must learn to say;
" I'm happy to see you
to touch you
to smell you
to hear you
to taste you
and I must try to feel you, DAY
(the phone rings)
BILLIE- Hello, yes. Now? (Bobby enters the living room, stands and just stares at Karin,
who has not yet noticed him) If it wonít be too long. Well, OK I'll be right
over. (Billie enters the room and Karin looks up. At first Karen is startled
to find Bobby-John staring at her. But she does a good job at hiding it.
She turns to Billie)
KARIN- Who was on the phone?
BILLIE- (wrapping her arms around bobby who returns the gesture) It was my mother.
She wants me to come over to pick up the dishes she bought for us.
BOBBY-JOHN- Do you want me to go over with you?
BILLIE- No, I can manage. Besides my father is also home and the two don't really get
along. I'll return before the hour.
Karin- I have my car here. If you want I can drive you.
BILLIE- It is only a few blocks and besides I feel like walking. (Billie kisses Bobby,
waves good-by to Karin and then walks out the front door)
KARIN- It is so nice to see you two together.
BOBBY-JOHN- It is kind of nice for us to be together.
KARIN- I wish I knew how you two do it, I mean to still be so in Love after two years.
BOBBY-JOHN- We have only been living together for a few months. It is forever
by love standards but isn't very long by those of the world. (he sits and stares
directly at Karin.)
KARIN- (becoming uneasy at his staring) It is still nice to see.
BOBBY-JOHN- Maybe it is all in the one thing that we have. I refuse to consider us
under the term of marriage. Though we are married. We are only tied to one
another by a joint need, created by our love. We also act as we please, spend
time with who we please. We are not yet ready to have children, though I do
believe that when I am ready, she will be the woman to carry them. though we
don't lie about it.
KARIN- But what if she did get pregnant, and if you had not yet decided to have a child?
BOBBY-JOHN- Maybe I would realize that I wanted to be ready to make our attempt
at their forever, but I couldn't say. But if I wasn't ready I would ask her to
have an abortion. But anyway, what did you think of the poem?
KARIN- I'm not sure I really understood it, but I really liked it.
BOBBY-JOHN- Well, tell me what you did get from it.
KARIN- Death is the end to all that is and then comes its realization. With that realization
you decide that life must be lived, to every extent. But do you think that it is
that simple. I mean, finding the strength to live fully. And how much of the life
around you is worth living?
BOBBY-JOHN- I agree, nothing is that simple. But there is so much life that is worth
living, enough to last each of us an eternity of timed existences. But to find this
life, to touch it, we must first be rid of all our fears. If this can be done? But I do
believe that we have the potential for strength, to overcome most of our fears.
And for the realization of our strengths, we must become free.
KARIN- There I do agree with you. But can we really be free? I personally do not think
so. I mean, we have to eat. We have to depend on so many things, just to
BOBBY-JOHN- It is strange, for most people answer as did you. I accept that we can
never be totally free. But I am not talking of total freedom, only of a particular
type of freedom. To be free of all oneís blind fears. Especially the fear of death
which too often gives one a fear of life.
KARIN- But if death is as you describe it, then how can we not fear it? For it seems
almost against human nature for man to be alone.
BOBBY-JOHN- But don't you see that we all are going to die soon, no matter how
cautious we are in life. Look at yourself, you are scared to begin another
relationship. You fear of being proved to that you are alone, so what alternative
do you take. You choose to be alone. And when you fall in love again, which
you probably will; you will fall prey to the hope that you are not meant to exist
alone. But unless you are lucky, you will be proven to be alone which will be
taken hard. You will grow more scared and live less and less, until you finally die.
KARIN- Maybe, if I understand you, it is true. But do we not all search for proof that we are
BOBBY-JOHN- It is funny how important the way we think might be. I must agree that
we do search for someone we can share our living time with. But if we find someone, say as
I have found Billie, must we lie to ourselves that this relationship will last forever. Can we not
merely accept it as it is. For if eternity denotes an absence of time and how can we give it hours
and years? Even getting back to the child. A child is ours only for a few years of time, and if we
accept it, we are again alone. That is to say, once the child has grown into his or her own self.
we can still share intervals of time with the child, or say with a close friend or even a wife, I do not
believe we can really become totally one with another person. Though we like to believe so.
KARIN- So, if what you are trying to say is true, then tell me; where do we find the
strength, getting back to the point?
BOBBY-JOHN- Now, what can I say. Let's see. (Pause for silence. Bobby sits cross
legged dropping his head down between his legs and pulls his hands tight
across his head. While Karin just sits, staring at him, waiting. (seconds later)
BOBBY-JOHN- Men have been trying to answer this question for the entire history of
thinking man, and you want me to give forth this truth. I can only say that which
I have found and which has been working, so far in my life for me. Self
realization. Maybe we can find strength in a continual awareness. If we are
aware of ourselves, then we are aware of our own living. But how to retain
our awareness, I believe must be a very individual thing. I can tell you how I do it,
but not how you should or can. You know, it is funny, but maybe I don't really
believe that man has the strength. We receive our strengths from all that has
passed in our life, past our awareness. We can not close our eyes to even one
thing. And yet our eyes are often closed for us while we are too young to understand why. Now I'm
doubting myself. Let me just say this. We can only add to our present strengths for the future, but
we can never be totally sure how we will react when it comes. Never stop thinking, though it is a
hard way to live.
KARIN- You are trying to tell me that you are always thinking about what you are doing?
Say that you are balling with Billie? Do you think about it or do you just feel it?
BOBBY-JOHN- You donít understand. There are times when I will merely feel, and by,
I will come to know the truth. But I can not leave it so. I must give it words, for
we all think in words. And so is a partial reasoning of why I am a Poet. For once
I have created the phrase in my mind and once I have used it, then it becomes
as real as the learning of a new word.
KARIN- And do you really think that this way will work for you?
BOBBY-JOHN- It is working now, as for the future, I can only wait. (he stands and walks
toward the kitchen) That is my truth and need not be yours. (he stops at the
doorway and turns to Karin) It all may be meaningless, I mean existence. But if it
isn't, I choose to see it my way, as we won't know until we are dead and maybe
not even then. So you need not take me seriously. There is some smoke over
on the mattress. (Bobby enters the kitchen and disappears from the stage.
Karin rises and slowly walks over to the mattress. She kneels before it, facing
the audience. She begins smoking and suddenly she notices that music is
now being played.
KARIN- I forgot that you had a stereo.
BOBBY-JOHN- Would you like something to drink? (from the kitchen)
KARIN- Do you have Paul Simonís new album? (She rises, inhaling the joint and walks
into the kitchen.) (Slowly darkness inches into the room and just before the
extreme of blackness, there is a sudden ring which conquers the music.
All becomes black and soundless,
except for the echo of the bell.)
The light opens onto the same lilac back-dropped living room. Alex sits with his back to the audience, on the mattress. His hair is falling without movement just past his shoulders, and his hands are hard at work. Just before him, lying as a carpenterís tool, neatly on the floor, is a large bag of grass. He is in the process of cleaning it. To his side sits Mickie in a half lying, half sitting position. She is watching Alex at work; she is also half facing the audience. All behind her shoulders does her long brown hair fall, and her face is younger then most though she is not to be a child. And yet she is not quite a woman.
Propped up against the far wall, is Jerry. His hair is short and curly and the curls wrap themselves about his neck. His face is almost hidden behind its wanting for a shave. His eyes are almost in sleep as they watch Alex and his working hands. There are sounds of activity coming from the kitchen. They are heard but can not be distinguished, because of the music being played.
JERRY- (Karin enters from the kitchen, carrying a plate with both hands) How come
Billie isn't here?
KARIN- Oh, she went over to her mothers. It was to pick up something for the house.
(pause a second to think, one finger to touch her face) Bobby, what was Billie
going over to pick up?
Jerry- Don't hassle, it is not important.
BOBBY-JOHN- (from the kitchen) Either nothing or everything is important. She went to
pick up some dishes.
ALEX- (looking up and towards Jerry) He is getting heavy again, and the party is only
starting. (first Jerry laughs, in a pleasing tone and then a few out bursts are
heard coming from the kitchen)
BOBBY-JOHN- Can I help it if I like to sound profound when I am saying my
piece of nothingness. (Karin sets the plate down in the middle of the room end
then turns to reenter the kitchen)
ALEX- How was Vermont?
KARIN- We didn't make it that far. We sort of got stuck in Connecticut.
JERRY- Now how, or even why would anyone want to get stuck in Connecticut?
KARIN- Please, don't degrade me. We didn't want to get stuck there. It was just one of
those things that happen.
BOBBY-JOHN- (still from kitchen) No excuses, as Mr. Fate accepts them not!
JERRY- Alright, that is enough from the peanut gallery.
ALEX- (now staring directly at her) So, what great catastrophe did occur to prevent
you from making it up to Vermont?
KARIN- It was simple enough; my car died.
JERRY- What went wrong with it?
ALEX- That is no excuse. You should have left the car and hitched.
BOBBY-JOHN- (entering from the kitchen, he stops and stands in the door way) Look,
Alex, we all aren't as Airborne as are you.
JERRY- Airborne? That is the problem with America today. People are getting fat and lazy.
We should make women join the Marines; that would get them into shape.
(All quietly laugh. Karin walks past Bobby and on into the kitchen)
BOBBY-JOHN- (sitting down relaxingly under the book shelves) Speaking of women,
what happened to yours?
JERRY- She had a late class, but she is coming here right after.
BOBBY-JOHN- What about you? Do you think you're going to finish up your last year.
JERRY- Of course, it is just that we needed the bread and I needed the rest from school.
But I'll being going back in September. I only have twenty-five credits left to make.
(He sits up and looks at Bobby) Tellas and I plan to move out to the west coast,
once I finish and get my degree.
BOBBY-JOHN- Why wait, you should leave this summer.
JERRY- We were thinking about it, but finally decided that it would be best to wait until
I received my degree.
JERRY- You sound like a pestering little kid. (they laugh)
BOBBY-JOHN- Anyone who hates little boys and dogs, can't be all bad.
JERRY- You're getting better. No. If we wait, when we do go I will be able to teach
and make some money while I go for my Masters.
BOBBY-JOHN- Sounds reasonable. (to Alex) I see you got the smoke. Is it any good?
ALEX- Remember the red that Timmy had? Well, it is the same stuff.
BOBBY-JOHN- Fine. (Alex stops cleaning and picks up a pack of rolling paper)
ALEX- It is about time I paid myself for the work I've been doing.
KARIN- (from the kitchen) Mickie, there is some wine in the refrigerator if you would like some?
BOBBY-JOHN- (turning to Mickie) I'm sorry, I forgot that we had it. And think, I just
bought it tonight. I'm in good shape. (rises) Would you like some?
MICKIE- Maybe a little.
ALEX- You better bring out the whole bottle. (turning to Mickie, he smiles)
KARIN- (enters with the bottle) I couldn't find the cork screw.
BOBBY-JOHN- I think we have one? I'll get it and the glasses too. (Leaves and goes into the kitchen)
ALEX- What are you doing, playing hostess until Billie gets back?
KARIN- I don't mind. (and she hands the bottle to him) (The door bell rings. All stand
suspended for a second and just look at the door)
JERRY- Quick cover up the stuff: (Alex shoves all the grass and its accessories
under the mattress.)
BOBBY-JOHN- (from the kitchen) Do you think, maybe, that someone could answer the door?
KARIN- (calling through the door) Whoís there?
TELLAS- J. Edgar, this house is under arrest! Now who do you think it is?
KARIN- (opening the door) Sorry, but you scared the shit out of us. So, come in.
TELLAS- What evil doings are being perpetrated within these walls? And am I in time to
partake. (she walks over to Jerry and kisses him) Hi! (Tellas sits down next
to Jerry placing her hand onto his knee and watches as Alex removes his implements
of pleasure from beneath the mattress) Ah, I see that I am just in time. Is this that
new grass that you were going to get. Alex- No, it is the new grass that I did get.
TELLAS- OK, now that you made your funny for the day, shall we get down to some
hard core smoking.
BOBBY-JOHN-(entering with his hand full of glasses and a cork screw) Hi, pretty lady.
(to Tellas. He places down the glasses and then motions to Mickie for the bottle of wine.
Just then Tellas lights up a joint.)
TELLAS- I got the album. It is really fine! ( to Bobby)
BOBBY-JOHN- (first taking the bottle from Mickie and then turning to Tellas) You got the
Ninth? Didn't I tell you it was fine. Say, did you have your Drama class today?
TELLAS- You should have come, you would have loved it. First we acted out the first
Act of a contemporary playwright. Did you ever read any of his material? His
name is Jude.
BOBBY-JOHN- I don't think so. What was the name of the play?
TELLAS- "On the Ninth Day, God created Darkness" , How's that for a title.
BOBBY-JOHN- Is he any good?
TELLAS- Very. When I'm finished reading it, I'll bring it over. It is better for you to read it,
then for me to try to explain it. (Bobby begins to try to get the cork out of
the wine bottle, and is finding it difficult)
JERRY- You should eat more. When someone can't even open a wine bottle, you know
they are in really bad shape. (bobby hands tae bottle to Jerry) (All laugh)
BOBBY-JOHN- So, what can I say. (he takes a joint from Alex. Seconds later Jerry
places the bottle of wine, opened onto the floor. Bobby gives Jerry the joint
and then begins to pour the wine. By the time the joint reaches Karin, Bobby is
passing out filled glasses of wine, first to Mickie and then to the rest.) (There is
silence for a few minutes, more joints are lit and passed around. Then suddenly
Tellas rises and walks into the kitchen, saying nothing)
TELLAS- (from the kitchen) I didn't know you had Bach.
BOBBY-JOHN- (rising and walking into the kitchen) It is a gift from Billie for the
apartment, as she puts it. (Now the only sounds that are heard are from the
kitchen. All in the living room just sit there quietly, getting stoned, listening
to their stoneness. Now the music is Bach)
TELLAS- That is what I came in here for. I was looking for Billie?
BOBBY-JOHN- She's over at her mothers to pick up some dishes. (a pause of silence)
I hear that you are not going out to the coast this summer.
TELLAS- (speaking quietly) That is what we decided on, to wait until Jerry gets his Diploma,
or in college language, degree. Though I wish we didn't have to wait, I'm afraid
we'll never get out of this city, but you know Jerry.
BOBBY-JOHN- But if you wait, you'll be sure that you can stay out there?
TELLAS- Maybe, but it doesn't matter, as we are waiting.
BOBBY-JOHN- Look at me, you know how much I hate the city and still I don't get up
TELLAS- I know, but you will leave.
Bobby-John - I sure as hell hope so. No, I will... (Karin stands after looking at her
watch and turns towards the kitchen. All other eyes in the room look at her.)
KARIN- Bobby, it is over an hour and Billie isn't back yet! ( she almost bumps into
Tellas who leaves the kitchen) Sorry. (they both giggle for a second. Then Tellas
goes over and sits next to Jerry, kissing him as she reaches the floor. Karin stops
at the doorway) Maybe we should call up her mothers to see if she made it there safely?
BOBBY-JOHN- I don't think so. She is a big girl now. She will be back soon, anything
could have come up.
ALEX- (turning to Mickie, now half facing the audience) How about some more wine.
MICKIE- (Karin sits down under the bookshelves) Sounds good. Are we going out to the
movies tomorrow night?
ALEX- If you want to, though I can't decide what to see.
MICKIE- I heard that 'Slaughter House Five' is excellent.
ALEX- Then we'll see that. HereĎs your wine. You Know, I still can't see why you don't
l ike to smoke?
MICKIE- It just doesn't agree with me. Does it matter?
ALEX- Of course not, the thought just came into my head. (The phone rings and as so,
does the music stop playing. These weird circumstances cause everyone, to
stop breathing for a second.)
BOBBY-JOHN- (from the kitchen) I have it, or maybe it has us all. (Tellas begins to laugh
almost hysterically, and soon Jerry follows.) (Alex, Mickie, and Karin also
begin laughing, but their tone is much quieter. Then Bobby appears in the door way.
He looks around.)
BOBBY-JOHN- Are thou laughing at me, yourselves, or at merely at the nothing, I tried to say.
KARIN- (looking up at bobby) Was it Billie?
BOBBY-JOHN- Oh no, I almost forgot, sorry, it is for you.
KARIN- (Standing up) Who is it?
BOBBY-JOHN- As far as I can tell, it was a male voice but I didn't ask who. Why not
answer it. It's one way to find out. (Karin turns and walks into the kitchen.
Bobby sits down and takes her place)
MICKIE- (to Bobby) Do you think Billie will be back soon.
BOBBY-JOHN- She should be. If something came up she will call.
KARIN- (from the kitchen, her words seemingly take possession of the living room) Please,
don't come over. I'm still not ready yet. (pause) I really don't feel like talking now.
Look, I'll give you a call sometime. (pause) I can't say when, you understand?
(pause) Are you going to class, Monday? (pause) OK, I'll see you then. (There is
silence for a moment, and everyone begins to look around at each other)
BOBBY-JOHN- (Karin enters and just stands at the door way.) Hey, everyone looks like they
are going to fall asleep. I guess I should start the game now.
TELLAS- (excitedly) What game?
Bobby-John - Well, Alex always complains that parties are becoming merely a time
to get stoned and hang out. (looking at Alex)
BOBBY-JOHN- I agree.
JERRY- But it is good just to hang out with friends!
BOBBY-JOHN- Again I agree, but then why call it a party. Well names don't matter. But now
that I've got you all, you're stuck.
ALEX- (taking out a small wrapping of tin foil from his pocket) I have some acid, if
anybody wants to do any. (He takes out a tab and a razor blade and then looks
around for a response) Tellas- (Looking first at Jerry and then at Alex) No thanks.
(Jerry answers no by nodding his head. And so follows Karin)
BOBBY-JOHN- Maybe a little later. And Billie will probably like some. Do you have enough?
ALEX- Sure. (turning to Mickie)
MICKIE- I don't know. I should be home early tonight. Well, Just a quarter.
ALEX- What time do you have to be home?
MICKIE- I told them about two.
BOBBY-JOHN- It is only a little after nine. You have time. But maybe you better listen
to the game we are going to play first. Itís weird and on acid, it will probably be
ALEX- (swallowing some acid and handing a small piece to Mickie) What does it matter,
I feel like going insane!
BOBBY-JOHN - OK, wait a minute. (he rises and -walks into the kitchen. Mickie drops her
piece and washes it down with some wine)
TELLAS- To nothing and all the pretty colors that may come from it. ( she raises her
glass of wine towards Alex and Mickie) (Jerry lights himself up a joint and looks
towards Karin, who returns his look with a smile)
BOBBY-JOHN- (Returns from the kitchen carrying a brown box and then sits down in the
middle of the room. He looks at Alex and Mickie and smiles.) Do you think you're
ready, for this experiment into each of our insanities?
KARIN- Maybe we should wait for Billie?
BOBBY-JOHN - She knows what I am going to do. She will be able to improvise when
she returns. (He takes out ten bottles of colored paint from the brown box.)
They're florescent paints and will glow in the dark.
TELLAS- You know you are sick, but it is great.
JERRY- (To tellas, touching his hand to her back) Have you ever known your little brother
to do anything that is sane?
ALEX- Agreed, but it is now time for a little insanity.
KARIN- You don't need anything to help you there, at the moment. (all begin to laugh)
BOBBY-JOHN- I'll tell you what we are going to do with the paint and I also made up some
rules, that we all must follow. (all stop laughing and listen quietly) We each will
paint a certain design onto our faces. I will then turn out the lights.
TELLAS- And what my little brother are the rules?
BOBBY-JOHN- Well, big sister they are this. There can be no referring to one another
by our known names. If you want to use names you will have to make them up.
KARIN- Tellas as you see, you should have never doubted your own brotherís insanity.
TELLAS- (looking and smiling at Bobby) I apologize! Ha,Ha,. (Bobby rises and walks
into the kitchen. Everyone begins taking paints and brushes from the floor.
Quickly Bobby returns and he is carrying six small mirrors)
JERRY- Where did you get all those mirrors? I hope you didn't buy them?
BOBBY-JOHN- I had two and the rest, well Mickie got them for me. (All look at Mickie)
ALEX- You never told me you were a mirror thief.
MICKIE- ( laughing) No. I borrowed them from my house.
TELLAS- Didn't anyone think it strange, for you to take all those mirrors?
JERRY- Her family knows she is weird.
MICKIE- I just told them that I was doing a play in school and that I needed them for it.
You know, anything for school. It is my greatest excuse.
BOBBY-JOHN- Sad that we do need one. (And he hands everyone a mirror. And the
painting begins, each alone before their own mirror. Suddenly Beethovenís
Ninth begins to play in the background. They paint, the music plays and the lights
begin to dim. Then there is complete darkness except for the fluorescent colors
seen swishing about in the dark.
JERRY- Are we really doing this?
BOBBY-JOHN- Probably not, but let us enjoy it while we can still think we are.
(The curtain closes, giving an end to act one.)
The stage is to be set differently. The living room is still and it remains the same. There is also to be the kitchen. It is set to the right of the living room. Both are connected by the original door way. Now the kitchen is to be as long as the living room but only two thirds as wide. It has a table placed against the back wall and against it are three chairs. Right next to the entrance to the living room is a refrigerator. On the far right wall there is a window. There is to be a shade or curtain hanging from the window fully drawn. And all figures in both rooms are to be set in an absence of light. But their outlines can be seen. They appear as black drawn on black. And in this shading only can the florescent paint be seen clearly. All else are merely images in the darkness.
Karin is sitting alone in the kitchen darkness. She is staring directly out into the audience. Her face is illuminated in a light shade of purple. Her lips, eye lids and nose are painted white but when her eyes are opened, there appears two spaces of black, drawing as holes in her mask. Bobby sits also on his own, but in the living room with the others. All his body is wrapped in the rocking chair. He is staring at the white door, seen on the left wall. Drawn in white is the symbol for infinity. It lies centered on his face. And he is rocking slowly. Tellas sits next to Jerry, and they both are situated against the back wall. They are staring foward. Tellas's face is painted over in red and set against the red is a white question mark. Jerry has merely the symbol for man drawn in white, written upon His face. Alex and Mickie sit still on the matress. They are facing each other and their hands lie touching between them. On Mickie's face, painted in green is the sign of woman. In circular form are lines of yellow shining out from her center sign. On Alex's face is drawn a tree, done in green and brown. And so the curtain opens.)
BOBBY-JOHN- (standing) Are we all ready? It is time to die? No longer is there sky, is
there earth. There is only us now. We are the only towers of life, that have the
right to breathe. But none of you, my friends, shall dare count your breaths. For
after the first all else becomes, seconds counting of your death.
TELLAS- (standing) Are not we already dead?
JERRY- (Looking up at Tellas) If you hear yourself breathing, then you can not be dead!
And I hear your breathing.
BOBBY-JOHN- But you are only to be her audience. You have heard her exhale, yet
will she come to inhale. She walks and talks, as far as we can imagine. But so
does a car.
TELLAS- Is this the question? Is a car alive?
JERRY- A car doesn't think, but man does.
TELLAS- (everyone stands still, except for Jerry and Tellas. Tellas sits down beneath the
book shelves and looks at Jerry) Can it not be that none of us are alive. Can it
be that thought is merely a process by which we give form to a self created illusion?
JERRY- We eat, we create life, can not this be enough proof of our existence.
TELLAS- Are they acts or merely a reordering of words? Are not words the only
proof of anything, we as men have.
JERRY- I am here now and you can see my face, is this not proof of my being?
TELLAS- And I will turn my head, close my eyes and you will no exist, under your definition.
So, if we do exist, what is our existence past the worded life we add to it?
BOBBY-JOHN - Do you want time to give the proof that you are? It can not! Consider the
past. It does not exist and whether it did or not does not matter, for it is lost to us.
We give it names so as to make us ready for the future which also does not exist.
We wait to obtain a greater past. So what is our life but merely a portrait painted
in the colors of our own words. And words only find reality once they have
happened. Yet, once they have painted and if they do obtain their reality, then
they are no longer real. They are merely descriptions of something we describe
as real. So where do we find the reality. It is painted all around us, but is it alive?
ALEX- OK, now that we have given proof that the past and future are merely figments of
manís mind, let us consider the present.
TELLAS- Since there is no place left to search, I ask of the present?
BOBBY-JOHN- You give it a name. Is this the present or is that the present. The minute we
call it the present, it becomes the past and therefore looses its power of existence.
Life is a word and all words determine time, but without the words time does not
exist. And without time man does not exist. So, what might you ask are we?
We are merely puppets of our own creation. Our fate is to exist forever, manipulated
by our own words.
TELLAS- Are you saying that it is only our words that are real?
BOBBY-JOHN - Our words? (pause) But without the puppets, the master can not exist.
So, alone neither of us are.
TELLAS- And what are we then, together?
BOBBY-JOHN - Together, we act out a play. Now let us consider that both master and
puppet realize they do not exist. But there is an audience, (looking out into
the audience) and to them we do exist. And by believing in our existence, they
feel secure in theirs. And since we are their audience, to us they exist. And
here we find the wanting proof that we are.
TELLAS- Then who are we alone?
BOBBY-JOHN - Alone we are dead, as we consider death. Our present is anotherís past.
We only exist as figments of another mind, be gone of that mind and we no longer
KARIN- (rises from the kitchen chair and appears in the doorway) Is non-existence, a
state of existence?
BOBBY-JOHN- We shall never know until we reach it.
ALEX- (standing, he completes a full circle and then faces the back wall) Do you suggest
that we merely wait for death before we can exist?
BOBBY-JOHN- Maybe eternity is merely a second long. And if reality as we know, as we
have created it is only a figment of our own minds then there can be no waiting. We
are timeless creatures and can only exist in that state. So let us kill hope and we
shall learn truth. We will become once we stop trying to prove that we are.
ALEX- Do any of us really want to exist then? I don't! I'm happy not existing.
TELLAS- And suppose they are right, and there is a god?
ALEX- If there is, there is. I shall not wait for him or prepare so, for his coming.
BOBBY-JOHN- And then he is truth, but a truth we shall never know until he comes, if
he does. So let us enjoy this strangely secure womb, which we name
ALEX- Yes, for all too soon must we be born. (he walks into the kitchen)
TELLAS- And what if you care to choose existence over our present state?
KARIN- Beware Miss Death, the life core might be listening in! And what if death is the
end to all?
BOBBY-JOHN- Is not everything we do, the taking of a chance of finding life? And say if we
have not found it in this existence or non-existence. Why not choose the
ultimate chance, we are going to have to take it sometime any way.
JERRY- If it is going to come anyway, way not wait and let it come when it will. For while
we are here there is always a chance. And at least we can think we have something.
BOBBY-JOHN - But if you are alone in this life, and it appears that this will be you until
death, then why wait. Is not living as we want it, to be in contact with another in
some form. And what happens when we start touching someone who we can
only consider , under the frame of what we consider reality, a past reality. Either
we go insane, making that which we want to believe a present moment or we finish
out our state of being, if I can call it so, continually trying to support that which we
want to be real and is always failing to be. As in this state, we can only be our
own proof, and yet we do not exist and so, can not be proof of our own existence.
And if we can not go insane, then maybe it is time for our death?
MICKIE- We all should learn how to go insane, then suicide will never be necessary.
(coming loudly from the kitchen)
ALEX- Wow look at that sun, it is shaking hands with me.
BOBBY-JOHN - It must be spring for that tree! (all laugh quietly. Mickie stands and walks
into the kitchen, pulling a chair and watching Alex as he watches the window.
Karin moves to the mattress and stares out at the audience. Tellas rises and takes
the third seat in the kitchen. Bobby takes over his rocker and begins to rock,
slowly. Jerry stands and just stares at the darkness who is Karin.)
JERRY- How is the purple lady. (There is a slight pause and then Jerry sits down next to
Karin. She doesn't move and he just stares) Why are your eyes drawn in white?
KARIN- (turning towards him and her eyes are closed) So. And what makes you think you
are a man?
JERRY- (He touches his hand to hers) Do you feel that I am warm. It is this warmth
against yours, that lets me know I as a man.
KARIN- (she pulls her hand away from his) If you think that is what it is to be a man, then
you are, but only when I am touching your hand.
JERRY- Is it not natural for man and woman to touch their hands together? ( Karen opens
her eyes) Where have your eyes gone, the spaces are now black.
KARIN- I didn't think of that when I painted my face.
JERRY- (he touches her hand again) Close your eyes and you will again have color.
KARIN- (in a whisper) No, please! Tellas is just inside.
JERRY- The air is black and we can not be seen. And I just want to prove that you are a
woman. And besides names do no longer exist.
KARIN- (closing her eyes) But I know that I am!
JERRY- There is a difference between knowing and being. (Placing one hand upon her
breast) (pause) Now do you feel your womanhood. Can you feel that I am a man?
KARIN- ( taking her one free hand and placing it upon his upon her breast squeezing hard)
But it is not that easy, there is so much more to be considered. Two people can
not spend the entire life they have ( Jerry sets both his hands free for not even
a second and then begins inching them beneath her cover of her clothing)
(Karin pauses for a few seconds before she speaks) Together! I mean,
there is compatibility to be coped with. Strength is needed for compromise!
(Her pants become undone and her clothes become loose. Her hands become
tightly bound to Jerry's arms. They are pulling his hands closer)
JERRY- (pause) Listen? (He removes his hands and then places them into hers) (Her eyes
are still closed) Don't be scared to be a woman, for you are. Don't either be
scared of men. Use them as proof that you are a woman. And whatever else
shall be shed, will be. But you can not expect anything more then just being man
and woman, for this is all we as people have in common. All else is luck.
KARIN- Let us go for a ride, we can makeup some excuse?
JERRY- OK, let me go tell Tellas that we'll be gone for a few minutes.
KARIN- (opening her eyes)(to herself) Tellas! ( pulling her hands away from Jerry she
stands up) No! I'm sorry, but I can't!
JERRY- (Looking up at Karin) Your eyes are black again.
KARIN- Let them be! I must open them sometime.
BOBBY-JOHN- Must you? (Karin turns to look at Bobby and then goes and sits
under the bookshelves, closing her eyes)
ALEX- It is amazing, how much strength we receive from the sun. Without it there would
be no color at all in this world. The plants would soon die, and then also would
we. (turning towards Mickie) Do you know that if we joined hands, I bet we
MICKIE- And talk together to the sun?
TELLAS- I hope you two remember that you are tripping!
ALEX- Two? Don't you mean three. You forgot to mention the sun. For the sun is alwayswith us. For
without her at our side, we must all then try to fly out of this window. (pause) Hey, I'm getting
profound. I better be careful. (He stands, walks past Mickie,
stops and then returns and kisses her. Both smile and then Alex leaves and sits
onto the mattress next to Jerry.)
Tellas- ( with Mickie now staring at the far wall of the kitchen.) What are you looking at? Or should
I ask of what is looking at you?
MICKIE- (turning from the wall to look at Tellas) I see this strange hole in the wall. And
there is a finger motioning for me to come through it. (Looking back at the wall)
Now, it is gone! And I only did a quarter of a tab. I don't know where Al.., I mean
my tree friend, (laughing silently) gets his stuff from. You look really strange.
It is as if you don't even have a body anymore. You are just a face, and you are
not even the you I had once known.
TELLAS- None of us right now are the selves we once knew. We have merely become
timeless faces. But even so, as much as we were before, we still are.
MICKIE- But being this face, Iím beginning to feel different.
TELLAS- Yes, we are different. We are like characters inside a play. We have each
taken a piece of ourselves and had it suspended in time. (Smiling) (And pointing
out towards the audience) Do you not see all those people, who are sitting out
there. There is our audience.
KARIN- (She stands and looks out into the audience.) Now I must really be ripped; there
are people out there!
TELLAS- There are always people out there, as you put it. They sit there and they watch.
And then they proceed to make value judgments on the characters they see. We
are all characters, except to ourselves. And maybe to a few others who are
close enough to have seen us in more then one of our forms.
MICKIE- (turning back to Tellas) Now they are gone. They really looked real. I know it
is the acid, but did you ever get the feeling? Well, that we are merely characters
in a play. And that there is some strange audience who is sitting there watching
us. And when they leave and the play is over, well that is when we die.
TELLAS- In the theater of the fourth dimension.
MICKIE- It all seems so useless, considering that we are just acting for their pleasure.
TELLAS- Even if it is so, we can feel our own life, of the life they want us to be. And
this is something that they can not see. Maybe they are to find their life in being
an audience and we are to find ours in being the characters of their play. And
though they may leave, we will live forever.
MICKIE- But we must die and they need only leave!
TELLAS- Yes, but we are mere thoughts and thoughts need never die. (there is a slight
pause and both stare at the wall.) What have we been talking about, looking to
find an excuse for our existence? (turning back to Mickie who still looks at the wall)
I think that acid is catching. Karin- (looking up to Bobby) It must be getting late.
Aren't yon wondering what happened to Billie?
BOBBY-JOHN- Late! What is late? Who is Billie? I don't see her.
JERRY- (to Alex) He must be really ripped.
KARIN- You remember Billie, your wife.
BOBBY-JOHN - She is here, can't you see her? Look, she is right here inside
of me. ( There is a sudden and piercing scream, that comes from Mickie.)
TELLAS- (Placing both her hands on Mickieís shoulders) Come out of it, Mickie!
( Mickie stops screaming and looks at her. Everyone in the living room is
brought to their feet, and begin moving towards the kitchen.) What happened?
MICKIE- I suddenly turned around inside and I wasn't there. (Alex comes into the room,
and the others just stand at the door) Oh, Alex! (She stands and they hold each other)
KARIN- (to Bobby) I think it is time that we ended this game!
BOBBY-JOHN - Are you ready to die? Do you have the power to stop time? Don't you see
that the game can never end.
JERRY- Turn on the kitchen light. (to Tellas)
KARIN- Where is the light switch for the living room?
ALEX- (without looking up from Mickie) It is over by (on goes the kitchen light) the front
door. (Karin walks over to the door, feels about the door for a second and then
finds the switch. The living room lights go on. Karen noticing that her pants
are still opened, quickly closes them. Alex leads Mickie and both come to lie
on the living room mattress.)
BOBBY-JOHN - (looking around) Didn't Billie get back yet?
KARIN- (walking towards him) That is what I have been trying to tell you.
TELLAS- (Jerry now stands next to her and they hold hands) Should I call her motherís for
BOBBY-JOHN - (pause) I don't know!
KARIN- (entering the kitchen) Go ahead and call her.
TELLAS- (picks up phone and dials it.) Hello, this is Tellas. Black! I'm with Bobby and we
were wondering if Billie had left yet? (pause) OK, I'll have her call you when she
gets back. (Putting the phone down, she looks up at Bobby who is standing in
the door way) Her mother says that she left about an hour ago.
KARIN- Maybe we should call the police?
BOBBY-JOHN- No. She probably just felt like walking. She does it often. She will be
KARIN- But what if something happened to her?
BOBBY-JOHN- And so if it did what can we do. It has already happened. (looking up at a
clock on the wall) She'll be back soon! (He walks back into the living room.
Sitting again in the rocking chair, he picks up his book and pen and begins writing.)
JERRY- (Looking at Tellas and then at Karin and back at Tellas again) We'll give her a
few minutes, yet.
KARIN- (Taking a wash cloth that is hanging on the wall) I for one am going to take this paint
off; it is getting warm under here.
TELLAS- (to Jerry) Can you open the window. She's right, it is warm. (Jerry walks over
and opens the window, and stays there and stares out) (there is silence as the
face cloth is passed from Karin to Jerry, to Tellas, who rises and hands it to Alex.
From Alex to Mickie who is smiling real wide. And then to Bobby, who doesn't
take it, but continues to write.)
ALEX-(Standing up with Mickie) We are going now. You know.
BOBBY-JOHN -(Placing his pad and pen on the floor and then standing) Yeah! (the phone
rings and for the first two rings all freeze. Then Karin picks it up and listens. Bobby
picks up the wash cloth and begins to wipe the paint off of his face.) (and slowly
it grows dark.)
KARIN- (Just as complete darkness sets in) Bobby, it's for you. It is the Police!
When the lights again come on, we find the scene situated the same as that of the first act. There is only the living room. Jerry is lying on the mattress, staring up. Karin, presumably to have just entered, stands just past the front door. She is unwrapping
a white shawl from her shoulders.
JERRY- (speaking softly) Didn't Bobby return with you?
KARIN- He wanted to be alone. (almost in tears) He decided to walk. (Tellas enters from
the kitchen. Karin upon seeing her, lets her shawl fall to the floor. She then runs
over to her, throwing her arms around her. And the tears are now running full) Oh, Tellas! Why?
TELLAS- (pause for a second) She couldn't have died.
KARIN- (releasing Tellas, she then sits, almost falls to the floor) When we got there, she
was still alive. Even the doctors said that she had a good chance of surviving.
(pause, while she fights the tears) But then a half an hour later, suddenly, she
stopped breathing. She just died there in Bobby's arms. They were kissing, and
then suddenly... (she begins crying again) Tellas- I'll get you some coffee. (goes into
JERRY- I wish there was something I could say or do?
KARIN- Please, just let me be for a second. I'll be alright. (There is another pause and
then Tellas enters with a cup of coffee. She hands it to Karin, who immediately
takes a sip)
TELLAS- How did Bobby take it?
KARIN- I'm not really sure. After realizing that she was dead, he kissed her once again.
And then he looked up at me and smiled. He said that he wanted to walk home
and that he would meet me there. He kissed me and left. He just walked out alone.
TELLAS- I hope he is alright. I don't think, she even knew how much he loved her.
TELLAS- What do you mean, Maybe?
JERRY- I really don't believe that he loved her all that much.
TELLAS- How can you say that!
JERRY- Just look at the way he was acting tonight; the way he was acting at the hospital.
He didn't even notice that she was gone, at least until the police called. He just
smiled when he noticed that she had died. I'm not trying to put him down, but If he
did love her that much, he couldn't have acted so.
KARIN- No. He loved her. If you were there, you would have seen it. He just wanted me to
feel better, knowing how much I cared for Billie. But when he was kneeling next to
her, well, it almost looked like he wanted to join her. Oh, God! I hope he doesn't
JERRY- Maybe you shouldn't have left him alone?
KARIN- I know, but he left before I could realize, even that Billie had died.
TELLAS- (sitting down between them) (looking at Karin) You need not worry about my
brother. It is kind of hard to explain, but I know he will be alright. (pause)
KARIN- (wanting) But, how can you be so sure?
TELLAS- It is just that he is kind of weird. He doesn't react normally. (turning to Jerry) Do
you remember when our Mother died?
JERRY- Do I remember; how can I forget! (to Karin) It happened before you knew, Bobby.
We were all at the wake and then Bobby entered. He walked up to the basket
and kissed her. Then he turned around to everyone in the place and he was
smiling. Smiling, I should say he was almost laughing .
TELLAS- (to Karin) I can still remember what he said. " You need not look so sad, my friends.
It is a time for us all to smile together. (Sternly) Can not you see that her waiting
JERRY- And then he started laughing; it was scary the way the echo filled the room. And he
just walked out. Under other circumstances it would have been great. You should
have seen the way he affected his relatives.
TELLAS- Now they definitely hate him.
JERRY- But they have a right. A wake is no place for such games. He should have shown
a little respect for his motherís death!
TELLAS- (turning to Jerry) But what do the dead care?
KARIN- But from what Billie, (she wiped her eyes) Oh Billie, (pause) But from what she told
me, Bobby wasn't that close to his mother.
TELLAS- He wasn't, but he did love her very much.
KARIN- But he was close to Billie!
TELLAS- I know. Oh. I don't know how to say it. You see, Bobby, as he puts it, is
extremely unlucky. Everything he ever loved or needed was taken from him. He
never had any really close friends. Even Billie, he believed she would leave him
KARIN- This I never knew. He must really be bitter deep down inside.
TELLAS- I really don't think so.
JERRY- It is a matter of opinion.
TELLAS- You have to remember that he is very much into his own world. Back to the point.
He learned to accept these things. And he also expects them.
KARIN- Then, with that reasoning, why does he go on living? I would have thought that he
would have committed suicide a long time ago.
TELLAS- He came close a few times, but finally he decided that he didn't care to. I'm not
sure, but I would give this as his reasoning. Take Billie. Even the few months
t hey were living together, were worth waiting for.
KARIN- But how does he wait?
TELLAS- Have you ever seen his stack of poetry?
JERRY- She is right, the kid is more insane then most of us.
TELLAS- Anyone for more coffee?
KARIN- I guess Iíll have some. (handing her the cup) (Tellas rises and enters into the kitchen)
I don't know. I still think he is taking it really hard inside. (louder) Dam! Why her
of all people. She was so fresh, so alive. It just couldn't be her time. (she stands
and looks out into the audience) 'What do you care, world! You will sit there
watching only as long as there is pain to see. (Jerry rises and places his arms
about her) What do you, Fucking care! (Karin then bursts into tears, under Jerryís
arms. Tellas enters with three cups on a tray) (looking up at Jerry and then Tellas.)
I 'm alright now, Please. (all sit down in their original spots)
TELLAS- (handing Karin a cup) Here, it should help to relax you.
KARIN- (taking the cup) I remember when she got these cups. (looking down at the cup
and then looking up again) No, I'm alright. (Jerry takes his cup and they all sit in
silence for a few moments, drinking.)
KARIN- (looking up) You two don't have to wait. I'll stay until Bobby returns.
TELLAS- (first looking at Jerry and then at Karin) It's alright, we don't mind waiting.
(Suddenly the front door opens and Bobby enters. Closing the door, he just stands
and looks at everyone. Tellas rises and walks over to him.)
TELLAS- Are you OK, Bobby?
BOBBY-JOHN- Sure. (He smiles and then kisses her on the cheek) Is there any coffee?
TELLAS- It is in the kitchen. I'll get you some. ( she turns and walks into the kitchen)
BOBBY-JOHN - Thanks. (walking over and kneeling before Karin) How about you?
KARIN- I'm better now. (Throwing her arms and self about him, they clutch for a few
seconds. They then kiss and Bobby rises. As he rises, Tellas returns and hands
him a cup filled with coffee.)
BOBBY-JOHN - (turning towards Jerry) Jerry. (He then walks over and sits in the rocking
chair) (there is silence for a second)
JERRY- (to Tellas) We should be leaving. ( rising, followed by Tellas and turning towards
Bobby) We'll be leaving now.
TELLAS- If you need anything, just call.
BOBBY-JOHN- I will and thanks.
TELLAS- Why don't you stop by tomorrow night?
KARIN- Maybe I will. By.
(Everyone stands still in their positions as the darkness comes. Soon the entire stage is set in Black.)
The setting is the same as scene one. Bobby is sitting in the rocker, just staring out. His eyes are basically fixed on the picture of the pregnant woman. Karin is now sitting against the front door. And she is staring out into the audience.
KARIN- Why did she have to die?
BOBBY-JOHN- Probably because we were going along too fine. We were getting too
close. Someone wants to keep me in check. No! (Karin turns to him) Why
does anything happen? It is fate or whatever name you call it. There is no why!
It is something that just happens, something we merely have to accept.
KARIN- But it is so hard to believe. She is really dead! (Bobby looks at her)
BOBBY-JOHN - Dead, no. She will always live here inside of me.
KARIN- But she is dead! You will have to forget her. In time you'll find someone new, to Love. BOBBY-JOHN- I shouldn't tell you this, but maybe I should. Oh, it doesn't really matter any
way. (Tears begin to drip down his face. And he turns to look at the picture
of the pregnant woman) I asked them not to tell you, because I knew how you
might take it.
KARIN- (pause) Well, what did they tell you.
BOBBY-JOHN - (in a painful tone) She, she was carrying our child!
KARIN- She was pregnant? Oh, my God! (moving closer to bobby, Karin places her hands
into his) (Beginning to cry) I'm sorry, Bobby!
BOBBY-JOHN- (wiping her eyes) It's alright. It already happened and there is nothing that
we can do.
KARIN- But she didn't tell anyone?
BOBBY-JOHN - She was only a month or so into it and probably wasn't sure herself. But it
just can't matter now.
BOBBY-JOHN- (painfully) There is no Reason! Please, would you mind? I'd like to be alone now.
KARIN- Are you sure?
BOBBY-JOHN - Please? (Pleadingly) I'll be alright. (Karin kisses him.)
KARIN- I'll stop over tomorrow, OK?
BOBBY-JOHN- Sure, do so if you please. (still staring at the picture) (Karin stands and as so the room becomes darkness, and silence.)
Light slowly breaks onto the living loom. Bobby sits within alone. He sits cross legged, facing the picture of the pregnant woman. The light reaches full intensity to find Bobby staring
deeply into the picture. In his lap is an opened pad and in his hand is a pen. There are tears falling from his eyes. He tries to wipe them away and then he turns to his pad and begins writing.
As he starts, the lights again, very slowly begin to dim. As he writes, so he speaks. His voice is slow and very pained.)
Through these halls ,
as they wind and turn,
from room, past room,
I wander, whose footsteps
are these, walking
with me ,
Between these unlit walls
in the free space between,
I hope to be seen,
So on itís solid form
hoping for a door,
who closed the lock,
Through these halls, as they
wind and turn,
I've wondered? Maybe I'm merely
a thinking urn,
looking for a pre-described
These steps, from whom do they
hand in hand with
how far across can I swim
in this black sea
Through these halls,
as they wind and turn,
I stop, it is a
clock, I hear, haunting near,
walking, without direction
But is there hope,
every when I come
to a solid space, my fingers
tapping, silently tapping,
against this door they're
rapping, till it's a door
Oh! that walking I hear
is only mine, I fear,
in this black fluid
of nothing clear,
Hoping hoping, deeply hoping
that through the door, lies
a light to hear,
But if the door
that comes, is the halls end,
unafraid , I'll extend
my all, my all
I'll enter, with no need
to call ,
as it will be, the one door I found open.
(and now the darkness is complete)
BOBBY-JOHN- (from the darkness) Love Jude!
return to early stories and plays page