ACROBAT
A play
In
three acts
By
Eric Salonis
©
Copyright Eric Salonis, 2005
CHARACTERS
ARTHUR Late
20s
MICHAEL Arthur’s
best friend, committed suicide 1 year ago,
was in his mid 20s
DONNA mysterious
woman having affair
JUNE close
friend of
REX June’s
ex-boyfriend, early to mid 30s
KYLE
PAUL,
QUENTIN,
OLIVIA
& LISA friends of June, Arthur & Douglas,
all
in their mid 20s to early 30s
THE
DANCER female, young, mostly silent
role
BARTENDER
NURSE
DOCTOR
WAITRESS
TIME
Present time, roughly one year after
Michael’s suicide. It is winter.
PLACE
Downtown in a smaller to medium-sized
city or college town, urban hipster society, various locales: nightclubs,
June’s apartment, Arthur and
ACT I
SCENE 1
It is dark. Sexual energy courses through the mood.
In isolated lighting, THE DANCER begins
her silent and provocative story, to the music.
SHE moves sensually and intensely.
SHE presents two scenes from the same night, one year ago:
At a nightclub, we see
ARTHUR’S first meeting with
We find MICHAEL, alone, in his
apartment. He is worn and broken. This is the night his life will end. THE DANCER moves about MICHAEL, keeping him
isolated from the world, as ARTHUR and DOUGLAS dance.
THE DANCER’S story explodes in a frenzy
of movement as we see ARTHUR and
As DOUGLAS and ARTHUR approach ecstasy,
THE DANCER guides MICHAEL, who has a sharp kitchen knife in his hand, towards
his bathroom door. MICHAEL retreats to
his bathroom to slit his wrists.
THE DANCER’S story ends with a release
of energy, and then a lull into cessation.
It becomes dark again...
ARTHUR, alone.
ARTHUR
It has been one year, now. The anniversary, I guess. Since Michael committed suicide. Slashed wrists. Michael was...a friend. He killed himself the same night I met
ARTHUR (continued)
forget, and I was given more than one
reason. One of them wonderful, the other
completely unwelcome. So this is
it. That’s what you get.
The loss of someone dear, meeting “the
one”, cum-stained sheets, and blood-soaked floors, all in one evening. Sounds pretty intense. Happy anniversary. Sorry, I didn’t think about exchanging gifts.
SCENE 2
Present day.
DONNA
This seat taken?
No, go ahead.
DONNA
Thanks.
(SHE
sits, reads a book)
“Les Misérables.” Victor Hugo.
DONNA
Yup.
Abridged or unabridged?
DONNA
Unabridged. He rambles a lot, but it’s still moving.
I think that’s one of his quirks.
DONNA
Yeah, me too. You know, I’ve already read this, actually.
Oh yeah?
DONNA
What’s your name?
DONNA
I’m Donna.
Nice to meet you, Donna.
DONNA
You know, I almost didn’t ask to sit
here. You look pissed, Doug.
(Pause)
Sorry.
I’ll read.
I can look pleasant.
(He
does)
Or I can look even more pissed. If you like that kind of thing.
DONNA
I don’t intrude. What do you like, Dougie?
Rule one. No more Dougie.
DONNA
I don’t know, I like Dougie. Dougie, Dougie.
So you like the pissed look, then?
DONNA
Misery loves company.
What about your book?
DONNA
It doesn’t piss me off enough.
(Pause)
Dougie, Dougie, Dougie...
Okay, seriously...
DONNA
Dougie, Dougie...
Do not call me Dougie.
DONNA
Sorry.
I’ll read now.
(Silence
between them)
I should read something soon. I used to read. One of many things. I used to want to do a lot more. I came here, wrote, did so much more. Do you want anything? I’m getting another espresso.
DONNA
No thanks. Wait.
A chocolate chip scone.
It’s on me.
(Starts
off)
DONNA
(Under
her breath)
You are pissed.
(
Dougie...
SCENE 3
ARTHUR, alone.
ARTHUR
DOUGLAS and JUNE, at JUNE’S apartment.
JUNE
So, sit down, tell me all about it,
hon. Let it out.
ARTHUR
And on and on and on...
(Exits)
JUNE
Wait.
Tea. Do you want some tea?
What kind?
JUNE
I have Sleepy Time, Peppermint,
Peppermint.
JUNE
Okay.
Just a second. I’ll get water,
here.
Is this new?
JUNE
Oh, is what new? Oh, the table! Yes.
Thrift store. Real bargain. Looks hand-crafted, doesn’t it? I think it might be.
Wow.
JUNE
Okay.
We’ll just boil this--Now, go ahead.
I’m listening.
Mm.
I don’t know. It started with a
small thing. A really insignificant,
stupid thing.
JUNE
They usually do.
You see, he always leaves shit
everywhere. Papers. Dishes.
Cluttering up stuff. And I accept
that, a lot of people--
JUNE
Yeah, a lot of people are like that.
I’m guilty of it too, but he does it
constantly, so the place gets really messy by the end of the week. And it’s just, he’s been doing it a lot more,
recently. And we used to try to clean up
on weekends. But he’s getting lazy--
JUNE
Aha.
Anyway, I watched him--this was last
night--he was on the couch, watching TV, and he has a beer, right? And he’s laughing at stuff, but he’s being
totally clumsy, he spills some beer, so he gets some paper towels. And he takes some and presses them on the
spill, and then he just leaves them there.
He forgets, he lets them sit there, all night.
JUNE
Nice.
Of course, it’s a little
irritating. Normally, I’d let it go or
explain politely, but considering the
condition of the place, it’s just really annoying, so I get a little upset with
him. Not angry, I’m not yelling, I’m
just irritated, kind of scolding him.
JUNE
Let me get the water. I’m listening. Right, so then what’d he say?
He gets upset, too. He goes, “Look, I’m tired, today was long,
okay? I’m sorry. You don’t have to be an ass.” Which is completely--you know?
JUNE
Hm.
What’d you say to that?
I stood there for a minute, I was so
angry. It was stupid, yes, but that’s
not what’s going on. He doesn’t have to
say shit like that.
JUNE
Right--so?
So I snap at him. I tell him I’m sick of the place being a
fucking pit.
JUNE
Okay.
Tea. Leave the bag in as long as
you like.
And then, it just builds after
that. We both are yelling, saying things
we don’t mean, and then I’m threatening to kick him out again. And then, he’s doing that thing again.
JUNE
What?
Not–
Yeah, he’s blaming me. For Michael.
JUNE
Shit.
Yeah.
JUNE
God, Doug, I’m sorry.
Don’t be. He’s messed up, sometimes, really.
JUNE
But that’s just...it’s unfair. It’s cruel.
And you let him. You let him, you
know that?
I know.
But he doesn’t mean it.
JUNE
Still...
Yes, it really is immature. And it stings. That he can show that he wants to put all
that hate onto me. So I walk out, like
this. I walk. But then I think he’s got his issues, he’s
still Arthur. You know?
JUNE
I just can’t watch you do that. You’re better than that.
That’s not the point.
JUNE
How can you let someone abuse you like
that?
You know me. Always forgiving. I have no patience for that
come-to-me-when-you’re-over-it bullshit.
JUNE
It’s not always bullshit.
I don’t agree with it.
JUNE
I know, I know. And I do understand why. But I worry about you, hon. I care about you, I don’t want to see you get
hurt.
Don’t worry, he doesn’t hurt me. It stings for a bit, but it doesn’t hurt, really,
because I know he doesn’t mean it.
JUNE
So what now?
I should probably call him.
JUNE
You don’t have to call him to go back,
though. It’s your place.
He’s not there. Trust me.
JUNE
So you know where he is?
He’s got his cell phone. He knows I’ll call. This is good.
Thanks, June.
JUNE
Anytime. I have too much of the stuff, anyway. So where would he go, though?
Getting fucked. Someone else’s bed.
JUNE
What?
It’s okay.
(ARTHUR
appears, alone)
DOUGLAS
& ARTHUR
It’s nothing new.
We have an agreement.
ARTHUR
It’s just fucking, is all.
JUNE
Wait.
Woah. An agreement?
I guess, stuff like this happens, you
know, it’s tough, so if we end up sleeping with someone else, it’s no big deal,
sort of. Off the record, so to speak.
JUNE
It’s always been this way?
Yeah.
Well, for awhile, anyway.
JUNE
And you’re fine with this.
ARTHUR
He doesn’t care.
It’s fine.
ARTHUR
It’s just something. Easy.
Doesn’t mean anything.
(ARTHUR
exits)
JUNE
It’s just fucking, anyway.
JUNE
“Just fucking”?
Yeah, it’s fine.
JUNE
So you’re okay that he’s probably out
somewhere screwing with some other guy.
No, no.
“Screwing” is when you’re drunk or high.
“Having sex” is what teenage girls talk about. “Making love” is what he and I do. It’s emotional. To feel something. We only have that with each other. But he’s fucking. It’s when you’re mad. Fucking is to relieve anger. After an argument like that, it’s almost expected.
JUNE
Okay, whatever.
Besides, I’ve done it, too. Probably not as much as him, but still.
JUNE
Sounds complicated, to me.
No, it’s simple.
JUNE
Don’t you worry about diseases? I mean, Christ, that just seems
irresponsible.
“Fucking” requires safe sex.
JUNE
Be careful, alright? Because if you catch something, I’ll be
really angry at you.
I’m safe.
JUNE
How safe?
One person.
JUNE
What do you mean?
I only ever fuck with one other person.
JUNE
Only one person?
Her name’s Donna.
JUNE
What?
Her?
Yes.
Her. I like my options. I’m not like Arthur.
JUNE
It’s just been awhile since I’ve heard
about you interested in a woman.
I’ve been with Arthur. And interested? Who says interested? It’s just fucking.
JUNE
With one person.
Yeah, so?
JUNE
It’s consistent. How can that be “just fucking”?
It’s nothing more than anger, I’ve said
that. We don’t have any feelings for
each other. The only connection we have
is our phone numbers.
JUNE
Just like that, then? This doesn’t hurt anyone?
We also have an agreement.
JUNE
Right...So what if only one person’s
angry?
Call it good timing and luck.
JUNE
Call it maybe you’re wrong.
I’m wrong?
JUNE
How do you know it’s not more for her?
What’s your deal, all of a sudden?
JUNE
God.
Sorry, look--I’m just--This is not the best time for me to hear
this. Nevermind, okay? It’s your life. Just make sure. That she gets it. Sorry, just...bad timing...
(Beat)
Rex?
JUNE
Who else?
You can’t let go of that, can you?
JUNE
I don’t know, Doug. I guess, sometimes people just don’t want to let go.
SCENE
4
At the nightclub, several dancers
reveal ARTHUR to us, dressed to kill. He
is at the bar, finishing a scotch. JUNE
enters with her friend, TARA.
JUNE
Shit.
What’s wrong?
JUNE
Nothing...
(Approaches
ARTHUR)
Hey.
ARTHUR
If it isn’t my favorite month!
JUNE
Ha.
How’s it going, tonight?
ARTHUR
It’s going. This place is too noisy.
JUNE
This is
(Flirty)
Hey.
JUNE
Doug’s boyfriend.
Oh.
JUNE
You here with Doug, then, tonight?
ARTHUR
No.
Do you know where he’s been?
JUNE
I haven’t seen him for a couple days;
I’ve been a little busy.
(Ordering
from the BARTENDER)
White Russian.
Same.
JUNE
Make that two.
(To
ARTHUR)
But no, I haven’t seen him. You don’t know where he is?
ARTHUR
Nope.
JUNE
Thought he might be here?
ARTHUR
I don’t know, thought I might just come
here, sometimes I just do. Don’t know
why.
JUNE
You look like you’re on the prowl.
ARTHUR
(Like
a snake striking)
You look like a fucking slut, too.
I’m gonna dance.
JUNE
I’ll wait for my drink.
ARTHUR
Screwing around on Rex?
JUNE
Don’t be an ass, Arthur. I don’t know where Doug is.
ARTHUR
Yeah, well, it’s sort of my job, I
guess. Isn’t it? What the hell did you two talk about? Have I scored enough points yet? How much cock on the side does it take to win
the prize?
Jesus Christ...
JUNE
I don’t know, Arthur, maybe we’d like
to find out now. Should we tell the D.J.
to ask the people to form a line?
ARTHUR
Where the hell is Doug?!
JUNE
I don’t know!
Simultaneously, we see DOUGLAS and
DONNA, at DONNA’S apartment. They begin
to “fuck”, as the music at the nightclub slowly gets louder.
ARTHUR
Well, maybe you’ll know later tonight,
Doug’s a switch hitter, or whatever, you three got a little party planned later
on? Just make sure Doug wears a condom,
I don’t want any crotch rot.
JUNE
(Laughs, giving up on reason)
Arthur, you’re one messed up piece of
work.
ARTHUR
Thank you. I try.
Oh well, have your fun with him.
Nah, I’m kidding, of course. He’s
probably out with some woman that I might actually be worried about. I don’t like any kids, so that’s why I like
you, June. Feel free to fuck Doug any
time.
(DOUGLAS and DONNA have gotten louder,
with the music)
JUNE
(Quietly)
Fuck you, Arthur...
ARTHUR
Well, I could try, I’m good, but I
can’t work miracles.
(ARTHUR
exits)
Asshole! June, are you okay?
JUNE
Yeah.
It’s nothing. He’s such a...
He’s dangerous.
JUNE
No, not dangerous. He’s just a sniveling, bitter piece of
shit. I don’t know what Doug even sees
in him.
Are they fighting?
JUNE
They’re always fighting. It pisses me off. Doug’s way too good for him.
Why don’t you try just relaxing? Dance a little, maybe it’ll help you forget
about it.
JUNE
I...Okay. I’m going to finish my drink, though.
Okay.
(
ARTHUR
FUCK THAT CUNT, BARREN CUNT, THE FUCK
DOES SHE KNOW, SHE KNOWS WHERE THE FUCK DOUGLAS IS, THAT’S WHAT, HE’S OFF
FUCKING SOME BITCH, WHAT’S THE POINT, WHAT’S THE POINT HE’S--
(DOUG
and DONNA climax and disappear)
He’s...I have...him.
SCENE
5
ARTHUR’S memory. MICHAEL enters. ARTHUR sits down to watch TV with him.
ARTHUR
(Flips
through channels)
Nothing on.
MICHAEL
Go to a movie?
ARTHUR
Nah.
I don’t know.
MICHAEL
You want another drink?
ARTHUR
Yeah.
Thanks.
(MICHAEL takes a glass from ARTHUR and
prepares him a rum and coke)
ARTHUR
(cont’d)
So, did I tell you what happened
yesterday? At work?
MICHAEL
No.
Um, I don’t know. It was at work?
ARTHUR
Remember that guy I mentioned? Jason.
The one with the permanent five o’clock shadow.
MICHAEL
Right.
I remember.
ARTHUR
In the stairwell.
MICHAEL
Huh?
ARTHUR
Guess.
MICHAEL
What do you mean? What in the stairwell?
ARTHUR
Don’t be stupid, and just guess.
MICHAEL
You blew some guy at work named Jason
in the stairwell?
ARTHUR
No.
Just kissed me. But damn. I always knew. Something about him. He’d look at me. We were in the stairwell, I was going down,
he was going up. No pun intended. We’re talking, right?
MICHAEL
You bring this up rather nonchalantly.
ARTHUR
Well, I don’t know. It’s...Jason is just...so he’s looking at me,
and I look at him, he has these deep and hollow eyes, only it’s like you can
see through them--I just crush into him and we’re making out in the stairwell.
MICHAEL
This happened yesterday?
ARTHUR
Yeah.
It was quite a pleasant surprise for such a shitty day.
MICHAEL
And did you, well, did you go anywhere
after that?
ARTHUR
Told him I had to make copies. You should have seen the look on his face!
MICHAEL
Yeah.
ARTHUR
So, what do you want to watch?
MICHAEL
I thought you said there wasn’t
anything on.
ARTHUR
We’re not going to a movie, we better
find something. Here, you pick.
(Hands
him remote)
MICHAEL
I guess.
(Flips
through channels)
Why do you gotta do that?
ARTHUR
What?
Oh, come on. It was nothing. He wanted to make out, so I made out with
him. I like teasing these “curious” guys
with their insecurities, you know that, it’s just a little fun--
MICHAEL
No.
No. Arthur. I mean, why the--
ARTHUR
It’s no big deal.
MICHAEL
--Why do make up these things?
ARTHUR
What do you mean?
MICHAEL
Nothing.
ARTHUR
Don’t nothing me. Make up what things? Are you saying I’m lying?
MICHAEL
Arthur, did you...you make up stories,
and you talk about this, and you say you like playing games, and...why?
ARTHUR
I’m not making this up.
MICHAEL
Why would you say those things to
me? Do you feel like you need to do
this? Do you want control over me, I
mean, what?
ARTHUR
I don’t lie to you.
MICHAEL
It’s not even that. I don’t think you’re lying, I think you’re-
ARTHUR
You said I made that up and--
MICAHEL
--not lying, it’s not, it’s like you’re
just--
ARTHUR
You--wait!--you expect me to just sit
here and fucking listen to you, you don’t have any goddamn trust--
MICHAEL
--you’re telling it to me. What’s the point? You’re saying things. You can’t have any reason...
ARTHUR
You always think I’m just this big
fucking bully, don’t you? You don’t
trust me, you don’t respect me...
MICHAEL
...I didn’t want you to yell.
ARTHUR
WHO SAYS I’M YELLING!?
(Pause.
MICHAEL sits frozen, facing forward)
ARTHUR
(cont’d)
What do you know, anyway? You don’t know anything. You can’t even live your life. You do nothing. You’re going nowhere. You have no idea. No idea, you can’t justify things, I can
justify whatever THE FUCK I WANT!!
(Beat)
You need to calm down, and you
need to listen to me, and you need to trust me, you don’t sit there, and do
this. You do this. You sit there, and you--what? What is it that you want?
(He taps MICHAEL’S shoulder. MICHAEL stands and gets another drink, not
looking at ARTHUR)
No.
Listen--no. No. No.
MICHAEL
No what? What no?
ARTHUR
No.
MICHAEL
About what?
ARTHUR
No.
No. No. No.
No.
MICHAEL
Arthur, stop it.
ARTHUR
No...
MICHAEL
We’re watching what I want to watch.
ARTHUR
What do you want?
MICHAEL
Or we can watch what you want to watch,
it’s okay.
(ARTHUR leans over on the couch and
starts to kiss MICHAEL’S neck. MICHAEL
closes his eyes and doesn’t say a word.
After a moment, ARTHUR whispers into his ear)
ARTHUR
I’m drunk. Do you want to suck me off, is that it? Now’s the time. Use it wisely.
MICHAEL
...Why do you make up shit?
(ARTHUR smiles wryly for a moment. He turns away and finishes his drink. He stands up to leave)
ARTHUR
Okay.
Michael. You’re great, and all
that. I’m outta here. Gonna catch a movie.
(Exits)
SCENE 6
JUNE, alone.
JUNE
Oh, come now. You didn’t think he’d get it all to himself,
did you? Listen, I want to keep certain
facts straight: there’s so much that asshole doesn’t even know. Doug is mine, too. I know about her. I know all about her, from the perfume she
uses to the way her hair drapes onto her face to how loud she is at
orgasm. And I’m not telling Arthur a
thing.
DOUGLAS and DONNA together, in bed,
post-coitus. Her face is partially
draped in her hair.
DONNA
It’s late.
I know.
He’s out late, too. He’s on the
prowl tonight.
DONNA
Describe him to me.
His face?
DONNA
No: his body.
Firm.
But not sculpted.
DONNA
Go on.
All filled in, but nothing
defined. Shoulders, chest, and upper
arms, they all match together as one.
His skin is paler than mine. Pale
and sweet. His hands are ice. I warm them for him, and it works. It’s always worked. No one else can do it. His wrists are sensitive. He likes me to touch them, run my finger over
them.
DONNA
Go further down.
Is this turning you on again?
DONNA
Not exactly. But don’t stop.
His legs...God, I love his calves. They’re...I guess plump might be the word,
but that sounds kind of--
DONNA
Don’t stop.
His thighs match them perfectly. I love him in shorts. I love to kiss every inch. Upward and upward and upward, and he goes
wild. He loves me, down there.
DONNA
You drive him wild.
And I keep him in suspense.
DONNA
And you get there. Is it big?
He wins, if that’s what you mean.
DONNA
Secrets, secrets, Dougie...
What’s there to tell?
DONNA
So much. Ninety degrees, one hundred and eighty...
thick, skinny, pink, blue, polka-dotted...
Polka-dotted like this here?
(
DONNA
Hello, mole. Beauty mark, darling, it’s beauty.
(
You’ve gotten me horny again.
DONNA
Dougie likes his boy’s body, his “plump
calves”...My breasts, are they plump?
Ripe.
Full.
DONNA
Fuck me, Dougie.
You sure?
(ARTHUR
appears, alone)
DONNA
& ARTHUR
Fuck me.
You talk dirty.
DONNA
& ARTHUR
I want you to take me. Be inside me.
Let’s forget about all this.
ARTHUR
And then I want to fuck you back.
Bad girl.
DONNA
Good boy.
ARTHUR
I want to do to you what you do to me.
Um.
Condom.
ARTHUR
Twice as hard.
(ARTHUR exits)
DONNA
Condom...
Let me get another condom.
DONNA
Keep me waiting.
Shit, where’d they--? Did they fall?
DONNA
(Teasing
him)
Lost.
Mm.
DONNA
(Kissing his body)
Let’s forget about them.
They must have fallen off the
headboard. On the ground.
DONNA
Leave them.
Serious?
DONNA
Don’t need them.
Seriously? You want--
DONNA
Fuck me, now.
Let me just find them, they’re here.
DONNA
Now.
Are you sure what you’re saying?
DONNA
Fuck me, Dougie, no, I’m not sure...
You want...
DONNA
(Crying
softly)
I don’t know. I don’t know what I want, I want to feel it,
get me...It’s okay. No. We don’t have to.
Um, look...should we call it a night?
DONNA
(A beat)
Sorry.
Hey, it happens. You know, sometimes I wish that he’d just
vanish. Poof! Just disappear without consequence, never to
come back. I think I hate myself for
that.
DONNA
You want him now.
Well, no. No.
(Shakes
his head)
I guess so.
DONNA
You left the condoms in the bathroom.
(
I know.
DONNA
We’re both criminals. It’s time to go. Pants in the bathroom, too.
(
(Off)
So, did you read any of it?
DONNA
A few pages.
And?
DONNA
I like the character of Iris, a
lot. She’s striking.
I wanted to make her powerful. Sort of an enigma.
DONNA
It shows.
(DONNA’S phone rings by her bed)
DONNA
(cont’d)
Your language is nice and fluid. Plump.
Who the hell?
(Answering
the phone)
Hello.
This is she, it’s two in the morning.
(
I’m just glad I got back into my
writing--Oh, sorry.
(HE retrieves his shirt and continues
dressing while SHE talks on the phone)
DONNA
Oh, it’s you, lovey. Can’t sleep?
What’s the matter?
(Pause)
What?
Where’d I put--there they are.
DONNA
When?
This was in the hospital? Oh,
God. I see. Do they...?
No. No, I’ll be there.
(Fully dressed, checking himself)
Do I look like I’ve been fucking
someone?
(DONNA makes a swatting gesture to
shush him)
DONNA
Well, at least there was no
suffering. Oh, lovey. When is it?
Are they working that out, still?
Okay, just...yeah, I’m out of it.
Get some rest, I’ll call you tomorrow.
Love you too. Tell them all, for
me. Yeah. Bye-bye.
(SHE hangs up the phone and sits still
for a moment)
Everything okay?
DONNA
That was my brother, Ian. He called to tell me that my grandfather just
passed away.
Oh God, I’m sorry.
DONNA
He was old. It’s okay.
It wasn’t unexpected, just...
(Awkward
silence)
Is there...Do you need anything? I...
DONNA
(Cold)
No, you don’t have to say
anything. I’ll be fine. Just go home.
Are you sure?
DONNA
Doug, you don’t know me. Okay?
I don’t know you, we just mess around.
There’s nothing to say about it.
Go home. I’ll see you when I see
you. Let’s just both piss off, okay?
Okay.
Goodnight, then.
DONNA
Yeah.
(DOUG reaches out to touch her
shoulder)
DONNA
(cont’d)
Don’t.
(DOUG withdraws his hand and slowly
turns and walks away. HE exits)
SCENE 7
MICHAEL speaks to ARTHUR.
MICHAEL
What’s the point?
ARTHUR
Shut up, go away.
MICHAEL exits. THE DANCER begins to undress ARTHUR.
ARTHUR
(continued)
Ladies and gentlemen, what you have
seen so far has been a pathetic collection of fragmented fantasies and
fallacies. Enough foreplay. Time to begin, for real. This is what it’s like, all mashed
together. And here Douglas and I are,
emotionally isolated in the midst of a social swarm.
A scene begins to form. A party.
JUNE’S apartment.
ARTHUR
(continued)
Just like the night I met you, you
smelled like sweat and cologne. Like
sex. When the music burned us, and the
light was deep and satisfying...
JUNE
White or red?
ARTHUR
We existed in a world of static, of
drowning connection...
(Going
through JUNE’S CDs)
Are there more down here?
JUNE
Hello?
Did you want white or red?
REX
White.
ARTHUR
Red.
Oh, hell yes, here we go...
ARTHUR
Just you and me. My
(THE DANCER has stripped ARTHUR to a
t-shirt and pair of boxer shorts and exits as
ARTHUR
Open me. Enter Dougie.
QUENTIN
Arthur, put your goddamn pants on.
(ARTHUR has fully entered the scene --
HE is tipsy and enjoying making an ass of himself)
ARTHUR
It’s hot in here.
JUNE
(Rolls
her eyes)
You want some more wine?
QUENTIN
Don’t give him any more.
ARTHUR
Yes.
Red. Who’s up for strip poker?
OLIVIA
Uh huh.
LISA
June, did you make this dip? This is to die for.
ARTHUR
I brought the dip.
LISA
Oh.
It’s good. You know, my mom used
to make a dip just like–
ARTHUR
(Sitting
next to PAUL)
Paulie, Paulie, Paul...what’s up, old
chap?
PAUL
Can’t complain, Artie, old bean. How’s the air?
ARTHUR
Nice and drafty.
JUNE
Anybody else? Any takers?
I’ve got plenty left. Paul, I’m
looking at you.
PAUL
I don’t think so. I shouldn’t.
ARTHUR
Oh, yes you should. Red!
PAUL
No, no...
ARTHUR
I insist. I insist.
PAUL
Small glass of red.
OLIVIA
(Talking
to QUENTIN)
So, did you enjoy the movie?
QUENTIN
Oho, oh! Fucking brilliance. Let me tell you why...
JUNE
(Handing
over glasses of wine)
Here.
Don’t. Spill any. On that coffee table.
KYLE
(
Good song, wanna dance?
Woo!
ARTHUR
Have I ever told you what I love about
you, Paulie?
PAUL
What’s that?
ARTHUR
Seriously. It’s because you’re so modest. I value that, I do: modesty. It’s so rare to see it, anymore. Not from a guy as good-looking as you. Modesty is hard to find.
LISA
(Laughing
loudly)
Yeah, no shit.
PAUL
Well, thank you.
ARTHUR
And also, so polite. Sincerity.
You are sincerely polite. And
sincerity just warms the heartles of my cock.
(Laughs)
OLIVIA
Yes.
Yes. So funny.
JUNE
Arthur, are you sure you’re not
cold?
ARTHUR
(Rubbing
his chest)
Why, can these guys cut glass yet?
JUNE
Whatever.
ARTHUR
But seriously, Paulie: you are modest,
sincere...and I am one corruptive and selfish bastard. No, I am.
Which is why: I will pay you fifty bucks if you whip it out and show it
to me.
(Mixed reactions from those around)
OLIVIA
Woahhhh!
LISA
Yeah, I’ll be in the kitchen, let me
know when you guys are done with that.
PAUL
I said I was having one glass of
wine.
JUNE
I’m sure we’ll have our fill of bare
ass from you, Arthur, before the night is out.
ARTHUR
I’m serious. Seriously.
(
JUNE
Hey, hon!
QUENTIN
Doug, m’boy!
(ARTHUR rushes up and greets
Suddenly, all action on stage freezes
as ARTHUR stands in front of
THE DANCER enters and moves with
ARTHUR’S speech)
ARTHUR
It’s like this. Every time, you’re right in front of me, but
I can’t reach you because I’m the one who’s gone. You make me feel ashamed, and I love it. My shame dances inside me. But then it dances away, I’m too weak to keep
up with it, and leaves a hole. I can’t
stand leaving it empty, so I fill it.
With contempt. With anger. I fuck it.
(THE DANCER exits and the scene
resumes)
ARTHUR
(continued)
‘Bout time.
(
ARTHUR
(continued)
What do you think? We were just saying--I want your opinion,
here. Paul should show us his dick,
shouldn’t he?
What?
ARTHUR
(To
PAUL)
He’ll get a kick out of it too!
Sorry, got here as soon as I could.
ARTHUR
I been gettin’ nekkid.
So I see. Where should I set...?
JUNE
Food’s over on the counter there,
hon. I’ll help you.
(JUNE and
(To JUNE)
I see he’s wasted no time.
JUNE
Oh, the center of attention, as usual.
I also see Rex is...
JUNE
Yup.
ARTHUR
(Sitting
near PAUL again)
Okay, Paul, you have to have another
glass.
PAUL
I’m not finished with this--
ARTHUR
We’ll get you a bottle. And come on, I dare you. I wanna see, I wanna see, I wanna see. Look at him blush! You’re blushing, Paulie. Who else wants to see it? Show of hands. Hold on.
(Calling loudly so everyone can hear
him over the music that’s playing)
Hey, Doug! Whatever perfume that is on you, tell her she
smells like heaven, next time.
(There is a momentary awkward
silence. ARTHUR then returns his
attention to PAUL)
ARTHUR
(continued)
Come on. Sixty bucks.
PAUL
I...
ARTHUR
Seventy-five!
(To
himself)
Goddamn it...
JUNE
(Pause)
Did you?
Yes.
And he knows. He should know
better.
JUNE
Here, have a drink.
Is anyone else gonna dance?
LISA
Doug, you up for it? I’ll dance, come on, dance with me!
In a while, maybe.
LISA
Arthur?
ARTHUR
Eh, sure, why not?
(To
PAUL)
I’ll be back in a while, with my
wallet.
(ARTHUR goes to dance)
OLIVIA
He’s just drunk.
PAUL
You think?
(DOUGLAS and JUNE have retreated
further back into her kitchen. THEY
talk, the rest of the noise softens)
JUNE
I thought you’d made up.
Yeah.
We did. Sort of.
JUNE
So?
It’s nothing. I just got horny, maybe I just wanted a
woman. He’s off here cockhunting,
anyhow.
JUNE
Mm.
Did you and Rex smooth things over?
JUNE
You could say that. I really don’t know. He just sort of...showed up. I can be cordial, you know? But right now: he better stay the hell away
from me.
He hasn’t said anything...
JUNE
No.
It’s a party, it’s not like he would bring that shit up in front of
everyone.
(Pause)
Oh.
Sorry.
It’s okay. I’m used to it.
(ARTHUR has made KYLE uncomfortable,
hanging on him a bit too much as HE dances)
KYLE
Woah there, buddy.
ARTHUR
What?
I’m having fun. Someone bring me
a scotch or something!
Oh, by the way, Arthur, this is
Kyle. Kyle, Arthur.
ARTHUR
Pleasure’s all mine. Could be yours, for a fee.
KYLE
That’s enough, man.
ARTHUR
(Getting offensively close to KYLE)
You know you’re tempted.
(KYLE shoves ARTHUR away from him)
KYLE
Just fuck off, man.
Kyle...
ARTHUR
Touchy, touchy...strong guy, I like
that.
(
KYLE
This is bullshit.
Oh, come on!
KYLE
You didn’t tell me we’d be going to a
fag party.
ARTHUR
Life’s full of pleasant surprises.
(KYLE shoves ARTHUR away again,
violently; OTHERS begin to react)
JUNE
Hey!
ARTHUR
(Smiles)
That’ll cost you.
KYLE
Fucking faggot.
(ARTHUR rushes KYLE. KYLE is startled by ARTHUR’S surge of
vicious, violent strength. It seems to
come out of nowhere. ARTHUR pins him
down and punches him in the face, repeatedly)
ARTHUR
WHAT?!
IS THAT IT?! YOU WANT TO FUCK
ME?! FUCK YOU! CLOSET BASTARD! FUCK YOU!
JUNE
HEY!!!
QUENTIN
Jesus, man!
(Several rush in and separate ARTHUR
from KYLE.
PAUL
Arthur, let go. Let go.
(As
THEY pry him off, ARTHUR starts to to
laugh)
laugh)
ARTHUR
Little tumble in the hay. He likes it rough.
QUENTIN
Come on, stand up.
ARTHUR
You stand up.
KYLE
(Getting
up, his nose is bleeding)
What the hell is wrong with you?! This is--fuck, this is bullshit. I’ll kill you!
Just calm down.
KYLE
FUCK YOU, CALM DOWN! Dumb bitch!
(KYLE storms out)
JUNE
Arthur!
ARTHUR
Yes, my fair, summery friend?
JUNE
I think you should leave. You need to go home. Now.
LISA
(Near
the door)
June, there’s people from next door,
wondering what’s going on.
JUNE
Shit.
Tell them we’ll keep it down.
ARTHUR
I can’t ever keep it down, it has a
mind of its own.
JUNE
Right--Get. Out.
Go. Put on. Your clothes.
ARTHUR
That was nothing, it was clean-up, the
guy’s a tiny-dick bitch-bastard, I feel great, now we’re starting the
party, let’s--
QUENTIN
Arthur, man...
(Pause.
JUNE shuts off the music)
ARTHUR
I’m tired. I’m tired.
Where are my pants?
PAUL
(Bringing
them)
Here.
ARTHUR
Thank you, Paulie. So polite.
(ARTHUR starts getting dressed while
the OTHERS settle back down or clean up)
QUENTIN
(To OLIVIA)
...so, as I was saying: quite possibly
the best movie about relationships I’ve ever seen. And any doubt you ever had before about Jim
Carey’s acting ability--this will dispel it.
All doubts will be put to rest.
Kate Winslet, too. Go see it. You shall not regret it.
LISA
Here, June, let me get that.
REX
(Half-amused,
to JUNE)
Quite a party.
JUNE
Piss off.
REX
Can we talk?
JUNE
Stick around, if you want, but until
we’re alone--piss off.
(ARTHUR is now fully dressed and
putting on his shoes, preparing to leave)
QUENTIN
Art, man, you need someone to walk you
home?
ARTHUR
Nah.
I’m good.
QUENTIN
You sure about that?
(ARTHUR doesn’t respond. HE exits, without another word)
Not a glance.
JUNE
You’re staying here.
Nope.
JUNE
Doug, what is it? You don’t have to run after the jerk. He didn’t so much as look at you. Why do you put up with him? Look: he is going to keep hurting himself,
and you. It’s not your responsibility.
And whose is it?
JUNE
You just got here.
I have to go--
JUNE
Don’t.
You don’t deserve--
Keep the food. Goodnight, everyone.
(Several say their goodnights to
JUNE
You want another glass?
REX
White.
OLIVIA
(Engaged in conversation)
You know, tonight’s the full moon...
SCENE 8
DONNA, alone. SHE stares out a window, speaking to the
night.
DONNA
It’s full. They say the moon is carnal, it does strange
things to people. Maybe humanity is just
a charade. The daylight sees us, and we
perform for it. We want to mimic it. But it’s impossible to burn that bright, here
in the middle ground. But the moon...the
moon’s dark. It’s like the sun’s light
reflects off of it, and we see ourselves for what we are, looking into a
mirror. For a while, you had me
wondering. If I should forget
myself. I believed in you. But now, lovey, I’m not so sure. I don’t know anymore, which light makes more
sense. Some of us...need to see
ourselves constantly, to know we exist.
To know that we’re still here, when you’re not.
(SHE chokes up, slightly. SHE gets out a cigarette and lights it)
Still trying to quit. Sorry.
Split scene:
Out on the streets,
Back in her apartment, JUNE is talking
with REX. Most of the guests have begun
to wander home.
Arthur!
Wait!
ARTHUR
You should have stayed.
I’m sorry.
ARTHUR
Was she good?
Let’s not--please. Look at me.
ARTHUR
Guess I made a complete ass of myself,
huh?
A little.
ARTHUR
That asshole...“Fucking faggot,” that’s
what his mom used to say to him, when she was drunk. I remember.
He loved her, and she loved him, but she was sick, and he couldn’t even
count the number of times--“fucking faggot.
You’re a fucking faggot.” And
he’d endure it. He was strong, like
that.
Is that what this is all about?
ARTHUR
Nah.
Full moon. Who the hell knows?
(
REX
(To JUNE)
You need help cleaning?
JUNE
Nope.
REX
Arthur’s something, ain’t he?
JUNE
You wanted to talk about something.
REX
Yeah, I...listen--
JUNE
(Stopping and looking intensely at him)
You’ve got a lot of nerve, I’ll say
that much for you. A lot of nerve. Showing up here.
(Beat; SHE resumes cleaning)
Arthur’s always something. Goodnight, Lisa. Drive safe.
LISA
Night!
JUNE
Are you sure you’re all right to drive?
LISA
Oh?
Yeah, I’m fine. I know my
limits. Trust me, this is nothing.
JUNE
Okay.
Thanks for coming!
REX
Please, June...
JUNE
Why are you dressed like that?
REX
I just wanted to look nice. For your party.
JUNE
Hand me that empty glass, please.
(HE
does)
Well, I can be cordial.
REX
June, I’m so sorry.
JUNE
About what, exactly?
REX
All of it.
JUNE
No, no, no. You think you can cover all the parts, like
that? That’s not how it works. It isn’t going to work that way. There’s so much. You don’t even know where to begin. “All of it” is not fair. To me, or to you.
REX
You’re right. I don’t know where to begin.
JUNE
Well, find a starting point. A dangerous one, way up high.
REX
And...?
JUNE
Just don’t lose your balance.
(
(Looking
up at the moon)
Gorgeous.
ARTHUR
I found some pages, lying around.
I started writing it on a whim.
ARTHUR
Is she Iris?
Yes.
Well. Sort of.
ARTHUR
Dougie, Dougie, Dougie...
(Squeezing him tighter)
Shithead.
ARTHUR
Dougie, Dougie...
You’re such a shithead.
ARTHUR
(Looking
at the sky, touching DOUG’S hand)
Fuck you.
(DOUG’S face is near ARTHUR’S
hair. HE inhales deeply)
Fuck you too, shithead.
(Exhales)
ARTHUR
Yup.
I’m sleepy. Let’s go home.
(THEY exit)
REX
Truly.
It doesn’t matter to me.
JUNE
Well...
REX
I know I...Wow, June. What can I say? I was drunk.
I was...I’m tearing myself up.
JUNE
You look very handsome in that. That jacket.
You’re drunk now.
REX
Tipsy.
And amazed at myself. And thank
you.
(Small pause)
JUNE
And Arthur?
REX
What about--
JUNE
And Arthur.
REX
(Beat)
How did...
JUNE
You were drunk. Is that it?
REX
I’m only tipsy now, and I--
JUNE
Get out.
REX
I love you. You know that. Look--look at me. June.
It’s not...You don’t know. I
screwed up. I screwed up a lot, I’m
sorry.
(Finishes his glass)
What more can I say? It wasn’t that, it was...me. I’m an asshole. You’re right.
I’m a total and complete asshole.
And if it means I
lose you, I’ll kill myself. I love you.
I can work at it. Really. I promise.
Please, I promise.
JUNE
Well, that’s nice.
REX
I don’t want to lose--
JUNE
You aren’t. Yet.
But goodnight.
(SHE returns to cleaning up the place.
REX pauses a moment, stands up to
leave, still holding his wine glass.
HE suddenly hurls the glass at the
wall, smashing it. JUNE lets out a brief
noise--an instinctive noise--then stands her ground and stares at him.
REX instantly looks ashamed and
mortified. HE exits)
SCENE 9
DOUG and ARTHUR’S bedroom. THEY have just gotten home, and THEY are
kissing as THEY remove clothes, engrossed in the beginnings of lovemaking. The kissing is aggressive, but not
angry. It is passionate and needful.
(Whispering)
Here.
(ARTHUR kisses his neck.
MICHAEL enters. Only ARTHUR can see or hear him)
MICHAEL
Did you get this one in the stairwell?
ARTHUR
(To
Off.
(HE starts to undo
MICHAEL
What look did he have on his face? You fucking asshole.
Ow.
Careful, tiger, you almost bit my lip.
MICHAEL
Are you going to fuck him?
ARTHUR
Shh...
(MICHAEL
approaches closer, very near
to
ARTHUR and DOUGLAS, invading in
an
intimate manner)
MICHAEL
I bet he doesn’t even get you off. Not like I could.
MICHAEL
& DOUGLAS
I love you.
ARTHUR
Yes.
MICHAEL
Let me fuck you. Let me in.
I’m not dead.
ARTHUR
God...
It’s all right.
MICHAEL
I’m not dead. I’m in the bathroom, and my wrists are cut,
but I’m more alive this way, and the blood is rushing to my dick, and you want
it.
(
jeans)
ARTHUR
Please...
DOUGLAS
& MICHAEL
How’s that?
ARTHUR
Yes.
MICHAEL
Yes, you want it. You want to fuck me, and then kill me. I’ll die for you. But not until I fuck you back.
ARTHUR
No.
MICHAEL
I’m going to make you bleed, you stupid
son of a bitch. I’ll show you who gets
fucked, you lying, filthy motherf--
ARTHUR
(Breaking)
NO.
(MICHAEL vanishes. ARTHUR lies very still, with his hands on his
face. DOUG pauses. His hand is still awkwardly inside ARTHUR’S
jeans)
(Calmly)
Arthur.
Arthur.
(ARTHUR remains locked up. HE is shaking, slightly.
I guess that’s it, then.
ARTHUR
Ah God, ah God...
He’s not here. Damn it.
ARTHUR
Why weren’t you at the party with me,
why weren’t you there, you were out with some woman, you’re a bastard, you
don’t want me, but he’s dead and it’s because I met you, he killed
himself so you can go fuck some bitch...
(
needs
to hit something, HE is so
frustrated. HE takes deep breaths)
ARTHUR
(continued)
Some woman. I hate her.
I hate her because you love her.
(DOUG turns over the nightstand)
ARTHUR
(continued)
They said he died slowly, he bled to
death. He got to watch himself die. He stared at himself in the mirror, watching
himself just fade away. He fell down and
he waited. He waited.
(Pause)
You’re trashing the place. You told me not to make messes.
(DOUG sits on the edge of the bed)
ARTHUR
(continued)
I’m still hard. Do you love her?
(A beat)
No.
ARTHUR
I deserved to die, not him, I should
have blown my fucking brains out with a--
Shut up.
(
ARTHUR
I feel numb.
Shut up.
SCENE 10
The coffee house where DONNA and
DOUGLAS met. DONNA is waiting, reading
some pages of something.
PAUL enters, looking around. DONNA notices him and gives a little
wave. PAUL looks very confused for a
moment. DONNA nods. PAUL looks wary as HE slowly approaches her HE
sits down near her.
DONNA
Paul, right?
PAUL
Yeah.
You were...waiting for me?
DONNA
Yes, I was. Do you want to order something? I recommend the crème brulée. It’s to die for.
PAUL
I’m confused. Did Don send you...Are you here to meet me?
DONNA
Oh, that. Well...
PAUL
So, he’s not here, or is he here,
or...?
DONNA
Mm...It’s a little complicated,
lovey. But I’ll get to that.
(Referring
to the pages)
Iris really is a pretty name, don’t you
think? The iris is such an odd-looking
flower, but there’s something just uniquely beautiful about it. And of course the iris is part of the
eyes. Put them together, and you’ve got
the bizarre, decorative window to the soul.
PAUL
Excuse me, I’m not trying to be rude,
um...Is Don...?
DONNA
He’s not coming.
PAUL
Oh.
So, who are you?
DONNA
I’m Donna.
PAUL
(Pause)
Donna...
DONNA
Now, now, I know what you’re thinking.
PAUL
I don’t understand.
DONNA
Yes, you do. There’s no Don, obviously. And he doesn’t have an eight-inch cock, and
he doesn’t want you to finish by cumming all over his moderately hairy
chest. He didn’t want to meet you; I
did. So I asked you to meet me
here. And you so graciously accepted my
invitation...Et voila, lovey!
PAUL
Okay, this is...I need to leave, I’m
sorry...
DONNA
Relax!
I don’t want to have sex with you, Paul.
No offense.
PAUL
You lied? What the hell is this?
DONNA
It’s magic, lovey. Magic Paul and Magic Donna are going to do a
magic trick.
(PAUL
just stares at her)
DONNA
(continued)
Now, that’s precious. Believe me, I know this sucks. And I’m sorry to dash your cyber-fantasies,
but this is what’s going on. This is
reality. So...first, we chat. Tell me a little about yourself, Paul.
PAUL
Do I know you?
DONNA
No.
You don’t.
PAUL
But you know me?
DONNA
I know of you. Very important distinction, you know. But that’s why I wanted to chat, in person.
PAUL
What is this? How do you...? Is this a joke?
DONNA
One question at a time, please. No, this is not a joke. Now, it’s my turn. I want to know, Paul, something about your
fantasies about this guy, Arthur, that you’ve told me oh-so-much about...
PAUL
What does that have to do with
anything?
DONNA
One at a time...You haven’t answered my
question, yet. Tell me: in your dreams,
is he ravaging you, or are you the stud in control? Is he yours for the taking?
PAUL
Woah, um...Okay, I don’t know who you
are, this is really weird...
DONNA
What about Doug? Is he out of the picture entirely, or is he there,
hurt and dejected? Does Arthur leave
him? Does he die, perhaps, fabulously
tragic? Oh, I’m sorry, that was more
than one.
PAUL
Right, I’m leaving.
(PAUL
rises to exit)
DONNA
Or is it more cheap porn than
harlequin?
PAUL
Would you keep it down?
DONNA
Give me a reason, Paul. Give me a reason to tell them. Go ahead, walk out that door.
PAUL
What are you talking—
DONNA
Your own first cousin, only
fifteen years old, but you were nineteen, which could be considered a statutory
offense—
PAUL
(Whispering)
Shut up.
DONNA
I’ve got it all saved, lovey. Every conversation...
PAUL
Is that a threat?
DONNA
Sit.
(PAUL
sits back down)
DONNA
(continued)
Good boy. Now...No worries, your secret’s safe with me.
PAUL
You saved all those conversations?
DONNA
Paul, you were both young and
horny. You just got caught, that’s
all. Happens all the time. Well, maybe not the incest thing, but...
PAUL
You’re a stalker and a blackmailer.
DONNA
And you’re a sex offender. Yes, only by a one year margin. But that’s one year too much.
PAUL
Just tell me what you want.
DONNA
So deadly serious! Paul.
I want. To chat. I want to really know you, Paul. Not just the fantasy you pretend to be. Tell me your secrets.
PAUL
Don’t you have enough, already?
DONNA
You can never know enough.
PAUL
You want to know what I think about
Arthur?
DONNA
(A
beat)
Paul, have you ever read Les
Misérables? I know – everyone’s
heard about it, there’s the musical, and all that – still, it’s a really good
book. I highly recommend it. You know what it’s about? It’s about a convict who’s given a second
chance. He wants to live decently as a
good man and give his life over to God.
But there is his past. His name
haunts him. He’s chased throughout his
life because of his name, and he has to hide from it and always watch behind
him. But throughout all this suffering,
do you know what does? He sacrifices his
own life for someone else – a child whom he loves more than life itself. And he gives everything to ensure that she
will be free and live happily, without the stigma he carries. It’s his sacrifice – love so strong, it
kills. In the end, he must let go of
her, and without her, he begins to die.
She finds the love of a young man, marriage...A good life, decent and
proper. But the old man, the convict,
dies. But you know – this part always
gets me, Paul – The final chapter gives a description of a headstone at a
cemetery, but it’s alone in an off-path place that hardly anyone would ever
think to go look at. And do you know
what name is written on the stone, Paul?
(PAUL
shakes his head, no)
DONNA
(continued)
None.
There’s no name at all. The world
moves on, and he is erased from it.
PAUL
I don’t understand what that has to do
with Arthur.
DONNA
It’s not about Arthur. It’s about us.
PAUL
Us...
DONNA
Erasure...I know you, Paul. We’re the ones who get erased. It doesn’t matter what we give. There’s always something staining or slowing
us down. And the world moves on, rubbing
up against us without even noticing, and just rubs us away. Unless, like our hero, Jean Valjean, we find
some sort of salvation. What matters in
the end, lovey, is not whether or not we’re still here, but whether or not we
find salvation in our erasure.
(A
beat)
Come on, order something. Enjoy our time together with some simple
pleasures.
PAUL
I’ll be right back, then.
(PAUL exits to get coffee. DONNA leafs over the pages of
DONNA
The story always gets worse before it
gets better, Iris.
Alone, JUNE enters. ARTHUR enters, opposite of her.
JUNE
He’s told me so much about you. How you tease him...
ARTHUR
And we go on and on and on...
JUNE
What you said to him about losing the
condoms...
ARTHUR
And he stands still.
JUNE
Donna, lady of the night. Your grandfather passed away.
ARTHUR
And he reads to me, while others he
gives it to, to read.
JUNE
I know all about you. You’re what he shares with me.
ARTHUR
“Iris, lady of the night. The Moon.
She moves in mysterious ways.”
SCENE 11
ARTHUR remains. THE DANCER enters and seduces him. The mood is mysterious. The energy is sporadic.
ARTHUR
Sometimes, I’ll wake up in the middle
of the night, from a dream. I can never
remember what it was, but even in the moments after I open my eyes, I know that
he was there. And there’s always some
thought that causes me to open my eyes.
To wake up. I can never quite
remember what it was, that thought. But
vaguely, I seem to recall his voice. And
I can’t describe my reaction.
Panic...desperation...I don’t know.
But every time, when I wake up,
ARTHUR
(continued)
next to me. I’ve never woken up from one of those dreams
without him there. Any time he wasn’t
there, I had no dreams.
(MUSIC picks up louder and ARTHUR,
slowly at first, gradually getting more into it, dances with THE DANCER)
As THEY dance, in the foreground, we
see JUNE, TARA and LISA. JUNE is
applying makeup.
LISA
I got into the wine. Hope you don’t mind.
JUNE
I have too much of the stuff. Drink the whole bottle, please.
So, did you and Rex talk the other
night?
JUNE
You could say that.
Bad?
JUNE
Let’s just say any near future
conversations will be somewhere a little more public. With no alcohol. Like a breakfast diner or something.
LISA
Ugh, I hate breakfast diners, all that
syrup and crap...You know, one time I went to one and there was this disgusting
black hair on one of the coffee creamers.
Um.
Ew.
(To JUNE)
Are you okay then?
JUNE
It’s nothing I can’t handle. There are far less stable people than
Rex. Like Arthur.
(Beat)
It’s really too bad about him.
JUNE
Who?
Rex?
Arthur.
JUNE
How so?
Well, you know...the whole gay
thing. It’s too bad, he could be a real
heartbreaker, with that dangerous, sad thing.
JUNE
You’ve got to be shitting me.
(Shrugs)
Well...He’s cute. He is.
LISA
Believe me, hon’, there’s no point
barking up that tree. He’s cute and he’s
gay and it sucks.
JUNE
Yeah.
Cute, in a sociopathic sort of way.
But I don’t foresee him and Doug lasting much longer, really. I will throw Doug a huge party once he breaks
it off.
You really, really don’t like him, do
you?
JUNE
It’s not so much that I don’t like him
as I don’t like what he’s doing to Doug.
Okay. All set. Ready?
LISA
I guess. My hair looks like crap.
JUNE
You look fine.
(JUNE exchanges a look with
ARTHUR finishes his dance with THE
DANCER, as more dancers enter. A
nightclub. THE DANCER mingles with the
crowd. QUENTIN and OLIVIA are seated on
a couch.
QUENTIN
Art, man!
ARTHUR
Hey there, fuckers-y’all.
QUENTIN
Cute colloquialism.
ARTHUR
Olivia...
OLIVIA
Bon soir.
QUENTIN
Have a seat, man. Sit.
(ARTHUR sits)
ARTHUR
And to what do I owe this pleasure?
(To a passing WAITRESS)
Could I get a gin and tonic?
WAITRESS
Gin?
Sure.
OLIVIA
Thought we’d try the whole wallflower
thing.
QUENTIN
(Smiling)
I don’t dance.
OLIVIA
We’re taking Paul out. It’s his birthday.
ARTHUR
Paulie’s birthday?! Where is he?
QUENTIN
Went to use the john. Should be...yeah, here he comes.
(PAUL enters)
ARTHUR
Paulie!
PAUL
Hi, Arthur.
ARTHUR
Birthday boy!
PAUL
Yeah.
Well, on Monday anyhow.
ARTHUR
Ugh.
Monday birthday. Should be
outlawed.
(ARTHUR has scooted close to PAUL,
talking very near his face)
OLIVIA
That’s why we had to get him out on the
town, tonight. Nothing says “birthday”
like going out to a club and sitting on your ass watching other people dance.
QUENTIN
And listening to me ramble on about
movies you’ve never seen!
OLIVIA
Amen.
PAUL
I like your synopses, Quentin.
QUENTIN
Ah.
Well.
(THE DANCER has wandered from the crowd
and towards ARTHUR and the others)
ARTHUR
So, does the Paulie wanna dance?
PAUL
Dance?
ARTHUR
Come on, birthday boy! Present for you, a free grind with me.
(A beat. THE DANCER tempts PAUL)
PAUL
Sure.
What the hell.
ARTHUR
Let’s go.
(THE DANCER leads them off into the
crowd)
OLIVIA
You look lost. You doing all right?
QUENTIN
Sure.
Just don’t handle crowds well.
It’s the whole confidence thing.
(On the dance floor, we see ARTHUR
dance with PAUL, who is not as uninhibited as ARTHUR. After a bit, ARTHUR whispers something into
PAUL’S ear. ARTHUR retreats off
somewhere. After a moment’s hesitation,
PAUL follows him.
THE DANCER’S tale escalates feverishly
into a climax until...)
SCENE
12
Silence.
DONNA
Hello.
Are you free tonight?
DONNA
Come over.
SCENE
13
THE DANCER moves into the background,
watching, motionless, from the shadows.
Various locales:
JUNE is getting ready for bed, making
tea. ARTHUR returns to his and
ARTHUR
Doug?
(HE pauses a moment, then sits. JUNE’S phone rings. SHE stares at it until the machine picks up)
JUNE’S
ANSWERING MACHINE
“This is June. I’m not here right now. Please leave a message.”
REX’S VOICE
I know it’s late. But...I don’t know. I wanted...If you’re there, please...pick
up. No.
No, you don’t have to. I haven’t
had anything to drink, tonight. I’m
sorry I’m calling so late. Pick up.
(Short
pause)
June, pick up. Listen, I don’t know what the hell you want
from me! Answer the phone, or I’ll come
there and break down the fucking door, why won’t you just--?! Damn it.
Shit. June...Never mind,
goodnight.
(REX hangs up. JUNE sits, staring at the blinking light on
the answering machine.
I’ve written another chapter.
DONNA
We have something in common, then.
What?
DONNA
Hush.
Can I stay here tonight?
DONNA
(Vulnerable)
You’ve got no choice. I’ll trap you. Be afraid.
Be very afraid.
Petrified.
DONNA
Like a rock.
I didn’t leave him any--
DONNA
There’s nothing to leave. You were no where until now. It’s erased.
Poof!
(JUNE erases the message on her
machine. SHE pours tea and sits down,
huddling on her couch.
ARTHUR lies on his and
MICHAEL enters, music plays)
ARTHUR
He’s out, with her.
MICHAEL
Yeah.
ARTHUR
Will you stay with me tonight?
MICHAEL
For a little while.
(MICHAEL sits on the bed, looking at
ARTHUR)
ARTHUR
There’s this guy. Paul.
He told me tonight how he feels.
He’s sort of like you. But
nowhere near as strong as you.
MICHAEL
I’m not as strong as you think. I was just as afraid as you were.
ARTHUR
You’re the strongest person I
know. Knew. I went somewhere hidden with Paul.
MICHAEL
And you feel guilty?
ARTHUR
I don’t know. I was hoping you would tell me what to feel.
(DONNA and DOUGLAS are at her bed,
kissing, seducing, undressing)
Iris...is running from someone. Her feet can’t take her fast enough, so--
DONNA
So she flies in other ways. She seduces, with her odd charm.
ARTHUR
Michael?
Her scent...her color...delicate
petals...
DONNA
They take her places she’d never known.
MICHAEL
(Standing)
What do you want to feel?
ARTHUR
(Standing
also)
Show me.
(MICHAEL smiles and extends his
hand. ARTHUR slowly reaches out and
touches MICHAEL’S fingers with his own, their hands slowly coming together,
until THEY’RE wrapped together. MICHAEL
takes a step back and ARTHUR moves with him, moves into him, into a tight
embrace, as the music swells into a crescendo.
THEY vanish into the shadows.
In the dim light, we see JUNE, staring
at her phone, and we see PAUL, standing alone.
DOUGLAS and DONNA are naked, wrapped
into sheets, kneeling together on her bed)
I...
DONNA
You want me.
(THEY kiss, tenderly, with
passion. THEY begin to make love.
In the darkness, ARTHUR and MICHAEL
appear in light, connected, but far across from one another, their eyes clear
and visible, looking at one another)
MICHAEL
(Softly)
I’m what you always wanted me to be,
Arthur. There was nothing else we
needed. We were amazing, and we danced
together. We were one.
ARTHUR
Michael...
MICHAEL
We escaped.
(MICHAEL vanishes, leaving ARTHUR alone
in his own light.
JUNE tentatively picks up her phone and
dials a number. PAUL speaks from the
shadows)
PAUL
Arthur, I’ve always felt...You’ve
always been kind to me.
JUNE
(On phone)
Rex?
Hi. No, it’s okay. It’s not, but it is. I’m angry with you, and I’m frightened. But I want to remind you of something, okay?
PAUL
You understand me.
PAUL
& JUNE
I love you.
(All locales vanish except for ARTHUR,
who now sitting back on his bed)
ARTHUR
I remember when he first realized. I was there.
I helped him fight them all, his fears, the hurt...Sometimes, I think
about the look on his face, the first day he accepted it. He was bright as the sun, that day, when I
looked into his eyes. That day fills me
and drowns out the moon, making me want to love. He died so that I would know.
(ARTHUR lies back on the bed. THE DANCER comes forward, and kneels and
closes ARTHUR’S eyes)
-END OF ACT I-
ACT II
SCENE
1
ARTHUR is walking down a street. DONNA is walking down the same street. THEY pass one another.
ARTHUR stops. HE turns back to find DONNA also stopped,
looking at him. HE stares at her. HE knows her.
DONNA
(Cold)
Hey, Arthur.
(SHE exits. ARTHUR stares after her)
SCENE 2
Music.
Dancers from the nightclub surround ARTHUR.
We see
THEY dance, away from the crowd, off on
their own, oblivious to anything else.
Scenes begin to appear around them:
TARA and LISA...
LISA
(Hanging up her cell phone)
She’s not answering. I wonder what the deal is.
Maybe we should check on her?
LISA
I’m sure she’s perfectly fine. Hey, is that Doug, over there?
Oh my!
Who’s that he’s with?
PAUL, QUENTIN, and OLIVIA...
QUENTIN
(Taking
a pint from BARTENDER)
Thank you, sir!
BARTENDER
Anything else?
QUENTIN
Yous twos? Come on, I’ll buy. Paul, you gotta try this one.
PAUL
I’ll take the same.
QUENTIN
Milady?
OLIVIA
Apple martini. More pucker than gin, thanks.
QUENTIN
Wasn’t Art supposed to be here by now?
PAUL
That’s what I thought.
QUENTIN
You all right, man? You seem a little...
PAUL
It’s nothing.
(DOUGLAS and DONNA continue to dance.
All dancers seem to swarm in around
them, and suddenly ARTHUR appears, walking.
DOUGLAS and DONNA move together, in the background, like a scene born
from ARTHUR’S mind)
JUNE, alone, the music quieting enough
for her to speak...
JUNE
I don’t know if it happened more than
once. And I doubt that it did. But something’s changed. It’s like a virus that just spreads and spreads
and destroys. And all you can do is
watch. You spread poison, Arthur.
(JUNE disappears.
THE DANCER emerges from the crowds,
mouthing words to the music, dancing by ARTHUR, catching his attention,
beckoning him. HE follows...
ARTHUR is brought before a doorway, as
the music continues. It is MICHAEL’S
bathroom door.
DOUGLAS and DONNA are dancing in front
of it, blocking ARTHUR.
Simultaneously, we see JUNE and REX
arguing. They are shouting, but the
music has increased in volume, and we can barely hear their words)
JUNE
I want to know why!
REX
I’ve told you, I don’t know! You need to calm down!
(REX grabs JUNE’S arm)
JUNE
Don’t touch me!
REX
You’re lucky I’m even here!
(The music gets louder and louder. We see a figure appear in the doorway, a
silhouette. ARTHUR cannot reach it. THE DANCER moves uncontrollably.
We see REX hit JUNE. SHE tries to shove him, but HE loses
control. REX continues to hit her.
MICHAEL’S hand extends from the
doorway, but ARTHUR is surrounded. The
door disappears)
SCENE 3
What do you mean? Are you all right? Well, did you throw him the fuck out of
there? You should call the cops,
you--June! Yes. Yes, I’ll come over. No, he’s...I don’t know, I’ve been out. Out.
Well, yes, what does that matter?
June, look--I’ll be over shortly, don’t take his calls, don’t
let him in again. I know you know that,
I’m just...Right, bye.
(ARTHUR enters.
ARTHUR
Where are you going?
(
ARTHUR
(continued)
Hello?
Where are you going? It’s late.
I’m going to June’s.
ARTHUR
You’re going to her place,
aren’t--
I’m going to June’s.
Rex beat her up, you dumb fuck.
ARTHUR
That perfume...what is that?
I don’t know, it’s some perfume.
ARTHUR
What’s her name? It’s not Iris, is it?
Listen, you know, Arthur...
ARTHUR
I blew Paul, the other night. He’s big.
Fan-fucking-tastic!
ARTHUR
(Overlapping)
You’ve been gone...
(Overlapping)
That’s just what I wanted to know, the
size of Paul’s...
ARTHUR
(Overlapping)
...all night for three nights, we
weren’t fighting, but you’ve been--
You weren’t alone.
ARTHUR
I had a dream, and you weren’t here!
(Beat)
Look.
I’m sorry.
(HE kisses ARTHUR)
I have to go.
(
ARTHUR
You’re the one who told June. About Rex.
(
Well, aren’t you?
(
Why would you do that? What was the point? It only made things worse. There was no need to tell her.
(Quietly)
I had to. I just had to.
ARTHUR
Quite a move...and you’ve got her on quite
a string.
(DONNA appears, alone)
DOUGLAS
& DONNA
We’re both criminals.
ARTHUR
Yeah, well...go be the hero. But you might want to wash up first, or
something. Put some cologne on.
DONNA
Her scent...
ARTHUR
Don’t make her smell it, too. You can hurt me all you want. I’m here for that. Don’t take it out on everybody else.
Right...that’s right, Arthur. That’s wonderful.
ARTHUR
I never said I’m no hypocrite. I love you. I watch out for you, not me.
(Beat)
Go.
(
DONNA
Poof!
(DONNA exits.
ARTHUR pours himself a rum and
coke. HE sits.
MICHAEL enters, alone)
MICHAEL
It’s not even that. I don’t think you’re lying, I think that
you’re--
(The buzzer rings. ARTHUR answers it, as MICHAEL disappears)
ARTHUR
Yeah?
(We
hear PAUL’S voice)
PAUL
Arthur, it’s Paul. Can I come up?
ARTHUR
Now’s not a good time, Paul.
PAUL
Is Doug there?
ARTHUR
No, Paulie, but really, now’s—
PAUL
Donna sent me, Arthur.
(Pause.
ARTHUR buzzes PAUL in. HE looks
around for a moment, then fetches a bottle of red wine. There is a knock at the door)
ARTHUR
Come in, Paul. Should be open.
(PAUL enters. ARTHUR pours a glass of wine)
PAUL
Hey.
ARTHUR
Go ahead, sit down.
PAUL
She told me to give you this.
(PAUL puts an envelope on the coffee
table)
ARTHUR
(Offering
the glass of wine)
Here.
PAUL
No, I couldn’t possibly, I need to just
get home and go to bed--
ARTHUR
Drink, Paul. For me?
(HE accepts)
PAUL
Okay.
Just one.
ARTHUR
Just one.
PAUL
Thank you.
ARTHUR
So, what does she want?
PAUL
I don’t know. She said it didn’t matter. I don’t know how I got mixed up in this,
Arthur, but she...
ARTHUR
She what?
PAUL
Art, I swear all this and all what
happened isn’t because of her. I
swear. I’ve always--
ARTHUR
Shh, Paulie. I know.
Fuck her. Finish your wine. Go on, one big gulp.
PAUL
What about the...?
ARTHUR
I’ll read it later. It’s not important. Right?
It’s not important.
(ARTHUR begins kissing and seducing
PAUL)
ARTHUR
(continued)
I can taste the wine.
PAUL
Where’s Doug at?
ARTHUR
He’s out saving damsels in
distress. Stand.
(PAUL stands)
ARTHUR
(continued)
Good boy. Shirt off, Paulie.
(PAUL hesitates, then removes his
shirt. ARTHUR touches his chest. PAUL closes his eyes, shivering slightly)
ARTHUR
(continued)
Let’s go into the bedroom.
PAUL
Are you sure that’s okay--?
(ARTHUR
silences him with a kiss)
ARTHUR
Don’t worry. It’ll be fine.
SCENE
4
JUNE’S apartment. There is a knock at the door. JUNE enters from her bedroom. Her face is bruised. We hear
June, it’s me.
(JUNE looks through the peephole, and
then unlocks and opens the door.
JUNE collapses into him, clinging to
him, and SHE breaks wide open, sobbing on his shoulder)
It’s okay. It’s okay.
Oh God, sweetie. I’m so
sorry. I’m so sorry. It’s okay.
Here, let’s shut the door, and let’s sit down. It’s okay, sweetie.
(
JUNE
I don’t know...why I let him come
over. He just...
Shh...
JUNE
We were talking, at first...he...we
were laughing about something, smiling, I can’t remember now...I thought...I
thought everything was going fine. And
then, we...started talking about things, about...me. He still...wants children someday. I said, “I do, too. We can adopt.” But that’s not even...but it led to
certain...
It’s okay.
JUNE
We...got to talking about Arthur.
And?
JUNE
I just wanted...him to confess it, I
wanted him to tell me why. He wouldn’t
talk about it. So I started to get
angry. We started yelling, and...I just
never...never...
I know.
June, you need to press charges.
(As
SHE is about to protest)
You need to. I’ll go with you.
JUNE
Doug, please, please leave him,
leave that asshole...
What?
JUNE
You need to leave Arthur. He’s doing this to you. I can’t watch him, I can’t watch you with
him, while he destroys—
June, what Rex did wasn’t—
JUNE
(Getting angry)
We wouldn’t have talked about that,
none of this, it wouldn’t have gone this far and Rex—
You don’t know what would have
happened. It would have happened,
sooner or later.
JUNE
And the same thing will happen to
you. Not physically, maybe, but Arthur’s
going to beat you down, Doug, until there’s nothing left. You already look so different. We all see it.
You don’t know him.
JUNE
You don’t see him.
(Pause)
Come on. Let’s go to the hospital. I’ll drive.
Come on.
(A moment, and JUNE embraces
JUNE
(Softly)
Promise me. Promise you won’t let him, promise me...
I promise. I’ll be the same person. Here.
Here’s your shoes.
JUNE
Thank you.
(
SCENE 5
The Past...MICHAEL’S apartment living
room.
The scene feels very unreal, somehow
dark and garbled, sort of nightmarish.
MICHAEL sits on the couch, his face
buried in his hands. The TV is
playing loudly. The radio is on, as well.
After a few moments, we hear a loud
KNOCKING at MICHAEL’S front door.
MICHAEL slowly glances up at the door, but looks away again, staring at
the TV.
More KNOCKING; then, we hear ARTHUR’S
VOICE, off.
ARTHUR
(Off)
Michael!
(Knocking)
Michael, open the door. I can hear you in there; you’ve got the
television blaring, Michael.
(Knocking)
Michael! Michael!
Open the door! Come on! Open up!
(There is a long pause. MICHAEL does not move...
Then, the KNOCKING becomes
POUNDING. It only seems to amplify all
the other noise)
ARTHUR
(continued)
Michael! Michael!
(The pounding continues; MICHAEL puts
his hands over his ears)
ARTHUR
(continued)
Michael, let me in your fucking
apartment. Michael, I’m going to wake
your neighbors, if you already haven’t.
Open the door. What the hell,
Michael? What’s this about? What is all this? Is this what I get? Is it?
Open the door, Michael! I’m
drunk, Michael. And you know what that
means. You can’t hide from me. Hey, fuck you! I could be out getting laid fifty ways to
next Tuesday, and you...Michael...?
(Short pause)
You told me you’d call. I’m not the one who fucked up, this
time, babe! I was trying. You’re hearing every word I say, Michael; I
know you are. Open the door!
(Suddenly, a woman enters from another
room – it is DONNA. SHE walks directly
and furiously to the front door. SHE
unlocks it and opens it. SHE stands in
the doorway, yelling at ARTHUR, whom we do not see. MICHAEL remains seated)
DONNA
Go away, Arthur! Get out of here!
ARTHUR
Ohhhh, Christ, I should have—
DONNA
I’m going to call the...
ARTHUR
I should have KNOWN! I should have KNOWN you had something
to do with this.
DONNA
...cops, Arthur. Get out of here, you’re waking up the
neighbors...
ARTHUR
This just reeked of you, I could
smell your shit-perfume all over this.
DONNA
...and I’ll call the police. Leave him alone.
ARTHUR
LET ME SEE HIM, DONNA.
DONNA
NO!
ARTHUR
Fuck you, you...
(We hear a mild struggle, as if ARTHUR
were trying to move past her)
DONNA
Don’t you even—...GET! BACK!!!
(ARTHUR is drunk, and SHE easily shoves
him back. A clatter, outside)
DONNA
(continued)
(Heaving, near tears)
LEAVE HIM ALONE!!!
(SHE slams the door shut and locks it
from inside. SHE remains standing by the
door, ready for anything, breathing heavily.
MICHAEL remains seated.
DONNA waits; nothing happens. SHE looks through the peephole and sees that
ARTHUR has left. SHE relaxes.
After a few moments, SHE turns and
stares at MICHAEL. SHE walks over
towards the couch HE is sitting on and picks up the remotes for both the radio
and TV. SHE switches them both off.
In the silence, SHE slowly walks back
to look through the peephole of the door one more time. SHE does, then turns to stare at MICHAEL
again)
DONNA
(Soft, but deliberate)
Oh now, lovey...at least this wasn’t
all hide and seek.
(There is something about this remark
that is insidious and subtle. MICHAEL
looks up at her)
MICHAEL
Fuck you.
DONNA
(Laughs, without humor)
Yeah.
Yeah, that’s it.
(Pause)
You’re pathetic. Both of you.
If you’re staying up, then keep the TV down, please. I have an early flight tomorrow.
(SHE exits)
SCENE
6
ARTHUR, alone...HE is drunk and
distracted. A bit incoherent...
ARTHUR
We were...dancing. We were.
I couldn’t hear anything, but I could feel things. I remember breath. We...
(HE rubs his face, looks up at nothing)
Fuck...
(HE clams up and sits still for a
moment, breathing anxiously)
That perfume he...that shit-perfume ...
“Tell her she smells great...” or, “...like heaven...” or
what-the-fuck-ever. He was out. They were dancing.
(HE looks up again)
Why did you go? Why did you leave me here alone to deal with
this? Shh...don’t talk, now, don’t
talk...I’m...where am I, I’m sleeping with Paul, I’m naked with Paul with naked
with Paul with Paul with Paul...
(Small pause)
I should have known. I should have known.
LIGHTS come up, full.
ARTHUR and DOUGLAS’S bedroom...ARTHUR
is sitting up in bed, staring at the note PAUL gave to him. PAUL stirs in bed, next to ARTHUR.
PAUL
What time is it?
ARTHUR
Light, soon...
PAUL
My blood is pounding. I have to work in a few hours. I shouldn’t have drank that...I shouldn’t
even be here.
ARTHUR
No.
(Looks at PAUL)
Why not?
PAUL
(Uncomfortably)
I don’t know.
ARTHUR
Paul...You’re not hurting
anything. Don’t feel guilty. It’s not you.
PAUL
But am I being used to hurt something?
ARTHUR
Things are complicated, all over. We’ve bent the rules all out of shape, Paul.
PAUL
Do you want me to go?
ARTHUR
No, stay.
(Kisses him)
Stay.
(PAUL
tentatively clings to ARTHUR)
PAUL
How do you know her?
ARTHUR
It’s not important.
PAUL
She...knows things. She threatened me, Arthur, if you can believe
that.
ARTHUR
I’ll take care of that. You’ve done your part, Paulie. She’ll leave you alone. You’ll see.
She’s nothing.
PAUL
What does the note say?
ARTHUR
Exactly what I thought it might say.
PAUL
(Beat)
I should go.
ARTHUR
Why?
PAUL
I just should—
ARTHUR
You’re fine, everything is fine, Paul—
PAUL
(Angry)
This is Doug’s apartment,
Arthur! I’m tired of this. I’m tired of feeling like...
(Beat)
I’m sorry. It’s been an exhausting night.
ARTHUR
Stay.
Please.
PAUL
Not everything is what it seems,
Arthur. You think of me as shy, humble
Paulie. There’s so much I want to say to
you, sometimes. You have no idea how
much it hurts, watching it happen. I’m
messed up. There’s something about me
that’s broken. And I know it. I’m not stupid. I know where I stand. And not just with you.
ARTHUR
If you won’t stay, I’ll go with you to
your place.
PAUL
Is this where “Now’s not a good time,
Paul” comes from?
(Pause)
ARTHUR
I’m sorry. You’re right.
I’m sorry.
PAUL
What do you think she wants out of
this?
ARTHUR
You don’t have to worry.
PAUL
But I’d like to know.
ARTHUR
You’re better off—
PAUL
Quit talking to me that way. Everybody treats me like I don’t need to know
anything, like it has no impact on me!
Paulie’s so modest, here, have some red wine and whip it out for us,
Modest Fucking Paulie—
ARTHUR
Woah...
PAUL
None of you fucking know! You treat me like I’m some gimp fucking
child.
ARTHUR
Paul. I’ll tell you, if
you really want to know.
PAUL
(Getting dressed)
No.
I’m not interested, obviously. I
don’t do things like that. I
don’t gossip. I’m too nice. Just forget it. I’ve got to work soon, and I’m going to have
one hell of a headache. Where are my
shoes?
ARTHUR
Paul, please – I’m sorry—
(There
is a KNOCK at the door)
ARTHUR (continued)
...the hell?
PAUL
Is that Doug?
ARTHUR
He wouldn’t knock; it’s his place.
(ARTHUR opens the door; REX enters)
ARTHUR
(continued)
Uh.
Hi. Rex? How did you get in the build--?
REX
Where’s Doug at?
ARTHUR
Uh...I don’t—
REX
Yes, you do. And you’d better tell me.
ARTHUR
Okay, goodnight, Rex—
(ARTHUR attempts to shut the door, but
REX suddenly plows through and shoves ARTHUR back)
REX
I don’t think so! You tell me where he’s taken June, right now,
or I’m gonna...
ARTHUR
HEY!
YOU GET OUT OF...
PAUL
Hold on a second...
REX
...bash your fucking head in!
ARTHUR
...MY APARTMENT!
REX
This is all your fault. Your little swingin’ bitch of a boyfriend
told her, didn’t he? You’re both a
couple vindictive fairy-fucking...
ARTHUR
Paul, call the cops!
REX
...cocksuckers, trying to destroy
everything good, you fucked it up for me, I love June, but no, she runs to
Doug, she’s in love with that little manipulative—
ARTHUR
At least he didn’t punch her in the
face.
(REX rushes at ARTHUR, ready to kill
him)
REX
FUCK YOU! YOU FUCKING...
PAUL
Hey!
Stop it! Stop it!
(PAUL rushes between ARTHUR and REX,
trying to break them apart. In the confusion,
REX accidentally strikes PAUL, who is thrown down and gashes his head against a
piece of furniture. PAUL falls
unconscious)
ARTHUR
Shit!
REX
I ought to kill--!
(Realizing)
Oh my God...
ARTHUR
Oh my God, Paul! Paul?
Oh fuck...
REX
I didn’t mean...
ARTHUR
Paulie, answer me, Paul? Oh my God!
Call
REX
I didn’t mean to...
ARTHUR
CALL
REX
Where’s the phone?
ARTHUR
It’s right in front of you, hurry! Paul? Oh
fuck, he’s bleeding...ohhh, fuck...
REX
(On phone)
Yes, I have an emergency. Someone’s hurt here.
ARTHUR
He’s bleeding...fuck, we need something
to stop the...
(Runs off to get a tourniquet)
REX
They’re unconscious. He fell, he hit his head on something, and
he’s bleeding. Yes. Yes, uh...is he breathing?
ARTHUR
Here, I’ll use this. Tell them to hurry.
REX
Is he breathing?
ARTHUR
I don’t fucking know! Yes, he’s breathing.
REX
Yes, he is. All right.
All right. Yes, please hurry.
ARTHUR
(Tying a rag on Paul’s head)
Fuck...Paulie...
REX
Yes, you’ve got the...? Yes, that’s the address. Arthur, it’s 1612, right?
ARTHUR
Yes.
REX
Yes, I’ll stay on the line.
ARTHUR
I’m so sorry, Paulie...please be
okay...please...
(Unseen by ARTHUR and REX, MICHAEL
enters the scene, approaching ARTHUR)
REX
Okay, that’s good.
(To ARTHUR)
They’re on their way.
ARTHUR
It’s okay, Paulie...it’ll be okay...
REX
Yeah.
Uh huh. It was an accident. We were...it was my fault, it was an
accident. I don’t know, the coffee table
or something...
(MICHAEL is near ARTHUR. ARTHUR looks up from PAUL and sees MICHAEL
there, staring at him.
After a moment of seeing MICHAEL’S
eyes, ARTHUR is suddenly overcome by some horrible and overwhelming terror and
begins screaming at the top of his lungs, over and over. HE jumps up and backs away from MICHAEL,
covering his face.
REX is startled by this. MICHAEL continues to stare)
REX
Arthur!
What’s wrong?
(The scene suddenly blacks out)
SCENE
7
In the darkness, we hear an outgoing
voicemail message:
DOUG’S
OUTGOING VOICEMAIL
“Hi there, you’ve reached
(DONNA appears, in a spotlight)
DONNA
(On phone)
Hey, stud. This is Iris, lady of the night.
(Short pause; then, in a voice that
carries a vulnerability to it)
Listen, I, uh...I’ve been thinking
about you a lot, lovey. And...God, this
is so ridiculous...Your writing is really beautiful, you know. And I’ve really enjoyed getting to know you,
Dougie. And...okay, I’ll just say it. I know our agreement. I know what we’ve had together, and I know
that you’re with someone you care deeply about.
But...I can’t help it.
I’m...having feelings...I’m falling in love with you. I can’t believe I just said that in a voicemail. I’m sorry.
This is just...really hard for me.
Look...maybe we should stop...Oh, I don’t know what I’m saying. Hey, I enjoy fucking you, too. Don’t get me wrong. So...never mind. I’ve been drinking, lovey. Disregard this whole stupid voicemail,
please. Okay, well...call me. Goodnight.
(DONNA hangs up the phone; the moment
SHE does, her whole demeanor becomes casual again, as if nothing had happened a
moment ago. SHE lights a cigarette. SHE blows smoke into the air and looks up and
out)
DONNA
(continued)
Goodnight, Mikey.
-END OF ACT II-
ACT III
SCENE
1
The nightclub, one year ago. The night ARTHUR met
It is silent. The energy is calm. The mood is sacred.
Whatcha drinking?
ARTHUR
Rum and coke.
Hi.
I’m
ARTHUR
Hello,
And you are...?
ARTHUR
Arthur.
You wanna dance?
ARTHUR
Sure.
(MUSIC, dreamlike and sweet...
THE DANCER enters and continues her
story, slowly, gently, as the MUSIC soars serenely above everything.
During the dance, we see MICHAEL’S
apartment, the next day. The bathroom
door is still ajar.
ARTHUR and DOUGLAS are caught in an
isolated world together, their eyes never parting.
Underneath the MUSIC, we can vaguely
hear knocking and a woman’s voice calling “Michael?”
The front door of MICHAEL’S apartment
unlocks. DONNA enters, tentatively. SHE looks around – MICHAEL’S living room is a
mess. SHE notices the bathroom door
ajar. SHE wanders, dream-like, towards
it, led by the movements of THE DANCER.
DONNA reaches the bathroom door,
hesitates a moment, then slowly opens the door and steps into the
threshold. The MUSIC rises sweetly as
DONNA stares at what SHE finds in the bathroom and her hands fall to her side,
dropping the keys to the apartment. The
apartment fades...
The same morning, ARTHUR awakens in bed
with
As ARTHUR rises from the bed, the
memory disappears. THE DANCER helps
ARTHUR to dress.
JUNE enters, watching ARTHUR as HE
dresses. SHE speaks to him. The MUSIC finishes during the beginning of
her speech)
JUNE
You won’t hear this. But I’m saying it. Deep inside, these things are bursting with
explosive noise, Arthur. You can’t hide
for too much longer. Sooner or later,
the truth will uncover you, Arthur...and all of us. You should have known. You and I are both going to lose him. And I’m holding you responsible. What did you take? How many pieces from how many people now? Michael had slit his wrists, and she was the
one who found him. If he hadn’t given
her a spare key, they wouldn’t have found him for days. Tell me how it feels, Arthur – one already
dead, and now two others have been hurt because of you. But you lose nothing. You take the pieces and steal them, so you
can have them and feel nothing. But if
you keep running, he won’t stay put.
SCENE
2
A hospital waiting room. The morning after the final events of Act
Two.
ARTHUR has remained on stage, and so
has JUNE. THEY now sit in opposite
chairs. JUNE has a few bandages on her
face. ARTHUR looks a bit jittery.
JUNE
I don’t know what’s taking Doug so
long.
ARTHUR
Got me.
JUNE
Do they know if...?
ARTHUR
They haven’t given the final results
yet. Quentin and Olivia are on their
way.
JUNE
That’s nice of them.
ARTHUR
They’re dating now, you know. They make a very cute couple. How are you?
JUNE
I’ve had better mornings. Look, Arthur...
ARTHUR
Nah, don’t. Let’s not make things even weirder than they
are. The whole thing’s pretty...well...
JUNE
It definitely is.
ARTHUR
This is all my fault. He was trying to attack me; Paul got in the
way.
JUNE
I never thought he...I wasn’t going to
press charges, at first. It was Doug who
convinced me. And now this.
ARTHUR
Doug’s a good guy. The hero type.
JUNE
Yes.
He is.
(Pause)
Arthur, did
something...happen...tonight?
ARTHUR
Let’s stop, this is getting
maudlin. Rex went nuts, that’s all that
happened. We didn’t do any—
JUNE
That’s not what I meant, Arthur.
ARTHUR
I mean, is that why you think--?
JUNE
I wasn’t talking about you and
Rex! Calm down. I mean that you’re shaking, Arthur.
ARTHUR
It’s nothing. Nerves, trauma...I’ll be fine.
(
ARTHUR
(continued)
Here he comes.
There were no creamers left that I
could find. Here you go.
JUNE
Thank you.
ARTHUR
It’s all right. I probably need it black.
Have you heard any--?
ARTHUR
No.
I see.
(Awkward silence)
ARTHUR
Lively fucking group, that’s us!
JUNE
(Mutters, uncomfortably)
Language...
Public place, lovey. Could be children around.
ARTHUR
Oh, fuck...
(Stares at DOUG for a moment, caught
off guard)
What did you just call me?
What?
ARTHUR
That word you used...
JUNE
Children?
ARTHUR
No, you called me...
I...
ARTHUR
Did you say “lovey”?
JUNE
You’re right.
(To DOUG)
Lovey???
I don’t know, I must have gotten it
from somewhere. Just rambled on out of
me, I guess.
ARTHUR
(Pensive)
Yeah, guess so...
What’s wrong?
ARTHUR
Nothing’s wrong. I’m fine.
Everything’s A-OK. Well, except
the whole Paul’s-unconscious-with-a-head-injury thing.
Are you going to be an ass, even now?
ARTHUR
Are you going to wash off that shit
perfume?
Well, from the sound of tonight’s
events, you’re not the embodiment of purity either.
JUNE
Guys, please don’t...
ARTHUR
At least I don’t pretend to be
something I’m not. I’m not trying to
prove something to the world by sleeping with women.
No, you just pretend that you’re the
only person that feels anything and that the rest of the world is as dead...
JUNE
Guys!
...as he is and that you somehow have
the right, now, to hurt everyone because...
ARTHUR
I fucking dare you to...
JUNE
Hey!
...you want them to hurt as much as
Michael hurt you!
(A brief silence)
JUNE
Unbelievable...after all that’s
happened this morning, simply unbelievable, I can’t listen to this shit...
ARTHUR
Thank you for that eloquent analysis,
Captain Cocksucking Muffdiver Writer-Man.
“Iris stares in the moonlight.
Iris sucks my moon-dick, and it feels so fucking straight, and I
shed my faggoty moon chrysalis and become a heterosexual moon-fucking-moth,
because the moon is so carnal!”
(A NURSE approaches them)
NURSE
Excuse me. I’m going to have to ask you to please keep
it down. There are other people waiting
for patients.
JUNE
We will. Sorry.
(NURSE exits)
How long did the police question you?
ARTHUR
I don’t know. An hour or so.
JUNE
They’ve got Rex down at the station.
Arthur, are you all right? You’re shaking.
ARTHUR
Fantastic...
(QUENTIN and OLIVIA enter)
Hey, guys.
QUENTIN
Got here as soon as we could.
OLIVIA
June, are you okay?
JUNE
I’ll be fine. Thank you for coming.
OLIVIA
What about Paul?
ARTHUR
We haven’t heard yet.
OLIVIA
That bastard...Did the police...?
JUNE
Yes, he’s in custody with them. Everything’s so crazy right now.
QUENTIN
Art...Doug...
Hi, Quentin. There’s coffee in the cafeteria if you want
some.
QUENTIN
Nah, I’m good.
OLIVIA
Those bandages...he didn’t do
anything...?
JUNE
They’ll heal. They’re not that bad. Really.
(A DOCTOR enters)
DOCTOR
Are you the one who came with the
patient, Paul? Arthur?
ARTHUR
Yes, that’s me. I’m Arthur.
DOCTOR
He’s going to be all right. He’s suffered a nasty head injury, but
there’s been no brain damage.
OLIVIA
Oh, thank God...
Is he awake?
DOCTOR
Yes, but he’s still very weak, at the
moment. He lost a lot of blood from the
injury. The police have asked to
question him. And they have some further
questions for you, as well.
ARTHUR
Okay.
Now?
DOCTOR
Yes.
It’s just through those doors...
ARTHUR
I’ll be there in just a minute.
DOCTOR
Certainly. I’ll let them know.
(Exits)
OLIVIA
Thank God he’s okay...
QUENTIN
I think we can all expel a sigh of
relief, there.
ARTHUR
Yeah.
You gonna be okay in there, Arthur?
ARTHUR
I’ll be fine.
(ARTHUR rises to exit. HE stops)
And by the way, lovey...you’ve been
fucking Michael’s sister.
(ARTHUR exits.
SCENE 3
ARTHUR walks into a memory of
MICHAEL. THEY are at a nightclub. ARTHUR is attempting to have a good time, but
MICHAEL is uncomfortable and self-conscious.
ARTHUR
How’s the drink treating you? What is that now, your fourth? Puttin’ ‘em away tonight, huh?
MICHAEL
I guess.
ARTHUR
Come on! Loosen up, have some fun. Come dance with me.
MICHAEL
I don’t know. Maybe after another drink or so...
ARTHUR
You’ve got to be kidding me. We’re at a nightclub, and you just
want to sit around and drink. Come
on. It’ll be okay. You’ll be fine, you’ll move fine.
MICHAEL
No.
Really, I’m okay.
ARTHUR
All right. But you could play a jealousy trap – that
guy over in the corner, he’s looking this way.
I swear he’s staring at you.
MICHAEL
(Looks)
He’s straight.
ARTHUR
He’s hot for you. Michael.
You gotta look over that way and smile every now and then, you know.
MICHAEL
You’re hyped up. It’s the alcohol – he’s looking past us. See?
Over there.
ARTHUR
Dance with me – he’ll notice you!
MICHAEL
This really isn’t my thing,
Arthur. Sorry.
ARTHUR
Awwwww!
(Resigned)
All right, maybe later...Sorry. Seriously, are you okay? I mean...we don’t have to stay.
MICHAEL
No, it’s cool. If you want to be here – go and dance, if you
want. Maybe I’ll work up the nerve to
join you, eventually. Like I said, a
couple more drinks...Who knows what can happen, right?
ARTHUR
Hey – do you think that one’s...? How do I look? I look totally retarded, don’t I? Bouncing around, probably sweaty-faced, but
maybe, you know, that’s sexy or something...
MICHAEL
You look great, Arthur.
ARTHUR
Should I move in for the kill?
MICHAEL
Do you really think...? Sure, I guess. Whatever.
ARTHUR
Maybe he has a friend. Seriously, we gotta get you laid tonight.
MICHAEL
Don’t worry about me, man,
just...whatever.
ARTHUR
I’m going. Wish me luck!
(ARTHUR darts off across the dance
floor)
MICHAEL
Good luck...
(THE DANCER emerges from the dance
floor and wanders over toward MICHAEL, who sits by himself. SHE takes his hand and leads him to stand
up...HE almost has the nerve to go off in ARTHUR’S direction, but suddenly HE
breaks away from THE DANCER and quickly darts out, leaving the nightclub...
As HE exits, DONNA enters for the next
scene...)
SCENE 4
DONNA’S apartment. SHE opens her front door.
DONNA
Hey.
I don’t understand why...you knew. Don’t tell me you didn’t know.
DONNA
Would I lie to you, Dougie?
Don’t call me Dougie!
DONNA
I thought being pissed was what this
was all about. We take it out on each
other; no strings attached. It was fine,
but I didn’t screw it over. You’re the
one writing about me, lovey.
Did you know this whole time? Did you or didn’t you?
DONNA
About what, in particular?
Enough with the bullshit! This isn’t cute. I feel like I could hit you, right now.
DONNA
Then why haven’t you? Why don’t you do it? Dougie, Dougie, Dougie, Dougie...
Don’t do this.
DONNA
Dougie, Dougie...Why, what’s it to
you? Anger comes in many forms, pick
one. Maybe it’ll get you off. Maybe it’ll get us both off.
Don’t.
DONNA
(Pissed)
Don’t what?!
(Short pause)
No – you tell me – don’t what? Don’t call you Dougie? Don’t pretend like I don’t want to fuck
you? You can’t even deal with something
as real and as base as that.
Everything’s got to be so ideal and isolated. I’m not a fantasy, and my name’s not Iris,
Dougie.
You’re pathetic. You’re pathetic and you’re a liar.
DONNA
How am I a liar? Silence is not lying, Dougie, and I have only
ever been silent about things. The way
we like them.
I got your voicemail.
DONNA
Of course you did. What difference does that make?
You’re a liar. I know what you’re trying to do.
DONNA
Oh.
I get it. So I’m a liar,
then...So what are you still doing here?
(Short pause)
Fuck you.
DONNA
How eloquent. I think that should be the climax of the
novel, dear. Iris looks up at the moon
and says, “Fuck you.”
(Beat;
PAUL’S hospital room. ARTHUR is seated near the bed. PAUL wakes up and looks at him.
PAUL
Art...
ARTHUR
Hey there, buddy boy, Paulie...
PAUL
You’re still here...you should go
home. I’ll be fine.
ARTHUR
No can do, Paul. You’re stuck with me. I got you injured, now I’m going to stay and
annoy you until I finish the job.
PAUL
(Smiles)
Thank you. Are you all right?
ARTHUR
Peachy.
PAUL
(Takes his hand)
You don’t have to go on like this,
Arthur.
ARTHUR
Like how, Paulie?
PAUL
(Drifting asleep)
You don’t have to be scared. No matter what you did.
Focus shifts back to DONNA and DOUGLAS.
I have a question.
DONNA
Ask.
I won’t lie. I haven’t lied to
you, at all. Scouts honor.
Not even the voicem—
DONNA
Shh...What’s your question?
It’s Arthur...do you hate him?
(Pause)
DONNA
(Sincere)
With every ounce of my being and every breath...
Because of what happened to M—
DONNA
Don’t say his name.
I’m very sorry. I don’t know everything. He doesn’t talk to me about it. Well, he does. But not...really...he tells me about it, but
he won’t say...
DONNA
(Crying softly)
You probably won’t find anything more
out from me, either, lovey. That night
is silent. But I have not lied to
you. Not once.
Sometimes, I feel like...I don’t
know...I want to get it wrong, you know?
There’s a silence that comes to a house, where no one can sleep.
DONNA
Do you hate me?
I know you haven’t lied. You’re dangerous because you’re honest. And you don’t know what you want.
(THEY approach one another. The mood between them is very tense and
desirous)
What is this?
DONNA
It’s sheer terror...and you don’t know
the half of it.
Iris...her skin is pale, like–
DONNA
Shut up, Dougie.
(SHE kisses him. THEY begin to make love as MUSIC plays. THEY continue their sensual affair in the
shadows, as the scene with PAUL and ARTHUR continues)
PAUL
What did the note say, Arthur?
ARTHUR
It was short. All it said was, “Arthur...At least, this
time, it’s not all hide and seek.
Donna.”
PAUL
What does that mean?
ARTHUR
Difficult to explain. And I’m not...I’m sorry, Paul. I just can’t tell you. And it’s not you. I would...be betraying someone’s memory. Someone I loved, you know? I wish I could find a way–
PAUL
No, it’s okay. Really.
I understand.
ARTHUR
I’m so sorry, Paul. For everything.
PAUL
Arthur?
ARTHUR
Yeah?
PAUL
Thank you.
(The hospital room fades.
This almost makes sense.
SCENE
5
ARTHUR, alone.
ARTHUR
It’s funny, how quickly things
rearrange themselves into the most fucked up positions. Fate’s a bitch.
(Pause)
I’m living with Paul now. It’s been a couple of months. Paul’s the only one of us who’s not a
bastard. If you can believe it, he
didn’t press charges against Rex. June
dropped hers, too. Amazing, isn’t
it? But what the fuck do I know about
forgiveness?
SCENE 6
JUNE’S apartment. The night of a dinner party.
JUNE, LISA and DOUGLAS are making
preparations. QUENTIN and OLIVIA sit
chatting with
JUNE
Oh crap, Doug, could you check on the
potatoes? I don’t want them to boil
over.
Yah.
OLIVIA
...so you went dancing?
Yeah.
You should see him, he can dance, it’s like...mm! You know?
All eyes were on him, and he was with me. He even held the door, and everything!
OLIVIA
Ooh, a real gentleman!
(To QUENTIN)
You taking notes?
QUENTIN
I wrote the book, sweethaht. Now gets me a drink, toots.
OLIVIA
(With
Yer retahded!
QUENTIN
You ahh.
(THEY kiss, sweetly)
PDA, guys, come on, back to me!
LISA
Oh my God, that smells delicious. What is that?
Did you use rosemary?
JUNE
Mhm, and olive oil! Always works like a charm. When in doubt, rosemary and olive oil.
LISA
You know, I wish I could cook like
that. Everything I make just turns out
hideous. Well, except for my h’ors
d’euvres. In those, I am unrivaled.
Anyway, I really, really like this
guy. Dreamboat, and totally romantic! I almost think I should have my gaydar
checked, it’s almost too good to be true.
(The doorbell rings)
JUNE
Can someone get that? I’ve got my hands full, here.
Got it.
LISA
Oh June, did you see the
JUNE
I think so.
(DOUG answers the door; PAUL and ARTHUR
enter)
Hi.
PAUL
Hello.
(ARTHUR nods)
Need me to take your jackets? Or that wine?
PAUL
Sure.
ARTHUR
Nah, I’m good.
(
June!
More wine!
JUNE
Hey, it’s a party, after all.
LISA
Hell, I can always use more alcohol.
PAUL
(Calling)
Sorry.
Couldn’t think of anything else.
JUNE
No, no, it’s fine! Hi, Paul!
How’d the meeting at work go? Did
they come to a decision?
PAUL
No, still working out the details. But it’s looking good. From the hints my manager’s been dropping,
they’ve got a new position they’re pushing me towards. And I’ll finally be getting paid what I
deserve to get paid.
JUNE
Awesome!
LISA
We may as well crack into one of these
bottles.
(As the OTHERS continue talking, ARTHUR
awkwardly removes his shoes and takes off his jacket. HE sits in a chair, near QUENTIN and OLIVIA)
ARTHUR
Howdy, folks.
QUENTIN
Howdy to you.
Hey, Arthur! You look nice.
ARTHUR
You’re looking rather goddess-y yourself. My place in thirty minutes?
Alas, we must end our affair!
OLIVIA
She’s got a new Prince Charming.
ARTHUR
Tramp.
JUNE
(Brandishing wine bottle)
Chianti, Paul?
PAUL
Don’t mind if I do. Arthur?
ARTHUR
I’m good for now, thanks.
LISA
We’ve got h’ors d’euvres, people! I slaved over these, so you’d all better eat
up.
QUENTIN
Kick-ass!
LISA
My special recipe! Eat up, eat up, guys! Bet you can’t eat just one!
JUNE
Well, I think that’s everyone. Dinner should be ready soon, guys. Should we put on some music or something?
I got that covered!
(
PAUL
So June, you would not believe who I
ran into yesterday, on my lunch break, just walking down the street.
JUNE
Who’s that?
PAUL
Think Ruby Tuesdays and self-professed
charm.
JUNE
Oh no!
Ayn!
PAUL
She even recognized me and said hi.
JUNE
(An imitation)
“You’re ordering that? Man, I feel sorry for you!”
(The doorbell rings again)
JUNE
Well, who’s that? I didn’t think I invited anyone else, but who
knows?
QUENTIN
Need someone...?
JUNE
No, I got it.
PAUL
“You’re ordering salmon? I don’t like salmon.”
JUNE
(Chuckling)
Oh, Lord...
(JUNE answers the door.
DONNA enters)
JUNE
(continued)
Yes?
DONNA
Hi, is um...Doug...?
JUNE
You’re here with...oh...um, Doug?
Yeah?
JUNE
(To DONNA)
Uh – come in. I’m June.
DONNA
Nice to meet you.
(DONNA enters fully and starts to take
off her jacket. SHE is dressed to the
nines.
ALL the others notice DONNA and stare
at her. ARTHUR’S face instantly drops
and HE freezes. PAUL, too, looks
somewhat uncomfortable)
Donna...
DONNA
Sorry I’m late! Last minute emergency...Hi, sweetie.
(Crosses to DOUG, kisses him)
You told them I was coming, right?
Uh...I...everyone, this is Donna. Donna, this is, uh...Quentin, Olivia, Tara,
Lisa, Paul...and Arthur...
OTHERS
(except ARTHUR and PAUL)
Hi, Donna...Hello...etc.
JUNE
Donna...Uh...Doug, this is a
surprise! Do you want me to take that
for you?
DONNA
No, don’t bother!
(DONNA drapes her jacket over a chair
and makes herself at home)
DONNA
(continued)
Lovely to meet you all. What is that mouth-watering aroma? I’m famished.
JUNE
Oh, that would be the potatoes,
probably.
LISA
H’ors d’euvre?
DONNA
Lovely.
Thank you.
(Indicating the wine)
May I?
LISA
By all means!
(LISA pours DONNA some wine. DONNA hangs on DOUGLAS, who is very
uncomfortable)
DONNA
Well, I certainly know how to break up
a party! Please, don’t pay any attention
to me, keep talking or whatever. Oh,
this is a good song! Thanks for inviting
me, Dougie. This is fun.
JUNE
Dinner’s probably ready any
minute. Uh...Lisa?
LISA
Yeah, I’ll help.
(JUNE and LISA retreat to the kitchen
area)
QUENTIN
Arthur, you seen
ARTHUR
No.
QUENTIN
Aw, fuck, man! Go see it.
Seriously! Like right now. You all right, man?
DONNA
Cheer up, Arthur! Come on, we haven’t seen each other in ages.
OLIVIA
You two know each other?
DONNA
Absolutely. Arthur and I go way back. Don’t we, lovey?
OLIVIA
Oh, that’s...interesting.
JUNE
Okay, guys – let’s file over to the
“dining area”. At my new table! Doug, could you get the salad?
I’m on it.
(
OLIVIA
Foodses?
QUENTIN
Foodses!
ARTHUR
(To PAUL)
I’m going to find some more wine.
(The OTHERS start to gather around the
dining table, while ARTHUR darts into the kitchen, where HE meets
ARTHUR
(Soft, almost mouthed)
Why the fuck?
I didn’t...
(JUNE pops back into the kitchen)
JUNE
You got the...? Oh. Arthur,
we brought all the wine out here. Got
it, Doug? Great.
DONNA
(Referring to the table)
Oh, wow! This is gorgeous, June. Where did you find this?
JUNE
Antique store. I love old things. I’m an old soul.
DONNA
I would love a table like this.
(ARTHUR and DOUGLAS join the OTHERS)
JUNE
Okay, here’s that...everyone dish up...
QUENTIN
Pass me that, would you, Doug?
(Everyone dishes up, mostly in silence,
other than exchanges of “Could you pass that?”, “Thanks”, etc.)
JUNE
I’d like to propose a toast...Here’s to
the blessings we have: to good company with good friends, to Paul’s new
opportunities at work, to Quentin and Olivia, the most disgustingly cute new
couple I have the misfortune of watching, and to this lovely new antique – may
we have many occasions to gather around it!
LISA
Hear, hear!
(ALL clink glasses)
DONNA
I’d like to add something...To absent
company – may they be with us in memory, always.
(EVERYONE looks a bit confused and
thrown by this. ARTHUR doesn’t look up
from his wine glass. The OTHERS politely
smile and toast)
JUNE
Absolutely...Okay! Dig in, people!
(ALL begin eating)
So, how do you know Arthur, Donna?
DONNA
(Chatty, matter-of-fact)
Oh, I’ve known Arthur for years. I just haven’t been around for a while. I moved to
(A wave of shock and awkward silence
envelopes the table. DONNA takes a bite
of potatoes)
DONNA
(continued)
Mm, these are fantastic!
JUNE
I’m sorry, Donna...Did I understand...?
DONNA
Oh – Michael – yeah, but that was a
whole year and a half ago. Practically
ancient history! No point in dwelling in
the past. Arthur, here, was able to jump
straightaway, head-over-heels, in love with Dougie – and now look where
we are! Things shift so quickly, don’t
they?
JUNE
Uh...Donna...
DONNA
Oh, I’m sorry! I just ramble on and on, sometimes. Michael was always telling me to shut up – sibling
thing, you know. I wish you all could
have met him. But he slashed his wrists
and bled to death – depression – and Arthur didn’t help matters much.
Donna, I think you should leave.
DONNA
(Takes a drink of wine)
What’s wrong, lovey? You said it, yourself. I’m dangerous in my honesty. Isn’t that why you keep coming back?
Why are you doing this?
(DONNA
just stares at
QUENTIN
Um...maybe we should switch gears here,
guys?
LISA
You know, Quentin, I was curious about
that one movie, if it’s any good, oh what’s the title...
DONNA
Arthur certainly knows all about
switching gears. Every day, something
new, keeping people on a string, keeping them guessing...
JUNE
Okay, Donna...?
DONNA
Always a surprise, always something
else! I’m sure you guys know – like that
thing with – what’s his name - Rex – weren’t you the one in the relationship
with Rex, June? Doug told me all about
that. You know, it’s amazing, the things
people reveal in the heat or the afterglow of angry sex. The things people want to get off their
chest...All the secrets they can’t tell anyone else...Did Rex beat you
up because he can’t cope with a woman
who can’t have children, or is he just a plain old psycho?
(JUNE rises from the table, stunned)
(To DONNA)
What the hell is the matter with you?!
DONNA
Oh, I’m sorry – touchy subject?
JUNE
(Tearing up, sick)
Excuse me.
(JUNE leaves the table and goes off
into her bedroom)
Goddamn it!
DONNA
Well, that was rude. Isn’t she the host?
LISA
Maybe you should be quiet.
Why did you come here to do this?
DONNA
I came here, lovey, so that you could
see the full effects. The full effects of
Arthur...the poison he spreads...I wasn’t always this vicious. Arthur taught me. I stand before you, today, his creation. Isn’t that right, Arthur? Keep leading them on, tell them so many lies
that everything starts to sound like truth...exploit and use and make them love
you for it. Until you don’t need
them anymore, and then leave them to whatever fate has in store.
(ARTHUR’S eyes finally meet DONNA)
ARTHUR
You...fucking...cunt...
Get out.
DONNA
Is this making you angry? What time will you be over, then?
Get out!
DONNA
Because I can busy myself, till
then! I know ways to kill time – the
internet is such an amazing thing, really – You can hook up with just about
anyone. Or get information for a party
without having to even pick up the telephone.
Right, Paul?
PAUL
You told me he’d already invited you...
DONNA
Well, lovey, you’ll believe anything I
say, won’t you? You certainly believed I
was “hot, hung and horny.” And now, I
got directions to the party, and you got your wish, didn’t you? The Arthur fantasies have all come true!
PAUL
It had nothing to do--!
ARTHUR
(Rising, violently)
Leave him out of this!
DONNA
(Rising also)
Well, Arthur, I’m impressed – it’s
about time you stood up for someone who cares about you.
Donna.
Leave. Right now.
DONNA
All right, Dougie. I’m done here, anyway.
(DONNA swiftly picks up her jacket and
starts to exit. SHE stops and looks at
PAUL)
DONNA
(continued)
Don’t worry, Paul. We’re done.
I understand you. We’re two of a
kind. You just don’t know it yet. The only difference between us is that I’ve
already been through Arthur.
You’ll see.
(Exits)
Bitch...
QUENTIN
What the hell was that?
Shit...June! June!
(
LISA
Well, there goes my appetite.
OLIVIA
That was...wow...
PAUL
Arthur, I’m sorry. I swear I didn’t know...
(But ARTHUR suddenly leaves the table
and storms out after DONNA)
Hey...
QUENTIN
Arthur, where you going, man?
June!
I’m sorry, please...
(
Where did he go?
QUENTIN
He went after...hey, where’s
everyone...?
(
There is a momentary stunned silence
from the OTHERS, before the transition into the next scene...)
SCENE
7
The LIGHTS change, dramatically. The mood and energy become similar (yet
somehow darker) to the beginning of the play.
THE DANCER enters.
The characters (QUENTIN, OLIVIA, etc.)
left behind at the dinner party move in the shadows, clearing away the scenery
until the stage is bare. THE DANCER
weaves between them, as the characters become the silhouettes of other dancers,
moving with THE DANCER and the mood, as it builds.
DONNA enters, walking quickly.
Suddenly, ARTHUR’S voice rings across
the stage.
ARTHUR
Donna!!!
(DONNA stops, turns, ready for him...
ARTHUR enters. His entrance and DONNA’S confrontation of him
are punctuated by the movements of the dancers in the shadows.
The two of them are at a stand-off in
the isolated lighting)
ARTHUR
(continued)
Stop!
DONNA
I am.
(Brief pause)
Let’s get down to it, lovey.
ARTHUR
YOU!
FUCKING! CUNT! HOW DARE YOU!
HOW DARE YOU!
DONNA
On the contrary, this is exactly what
you’ve been waiting for!
ARTHUR
You have no right to be here. You have no right!
DONNA
And you think my rights are
going to stop me? You think my rights
are going to fix this?! Do you think I
care what right I have to any goddamn thing, you son of a bitch?!
ARTHUR
I knew...Even after everything, you
never stopped. You can’t handle it!!
(
DONNA
I haven’t done a damn thing, Arthur. I didn’t start any of this shit, and
you know it. Isn’t that right, Douglas?
ARTHUR
You miserable bitch...you’re a
black-hearted, manipulative...
DONNA
Exploitive, lying, spineless,
cocksucking...
That’s enough!
ARTHUR
...rotten cunt!!
DONNA
...COWARD!!!
You...you fucking used me...
DONNA
Oh, did I use you, then?? Oh, I’m so ashamed of myself. Oh, I want to rip out my heart – no – no
wait, I want to cut my wrists...
ARTHUR
Don’t you even...
DONNA
...with a knife – in my fucking bathroom
– because I feel so guilty.
ARTHUR
...fuck you.
(Going to ARTHUR)
Arthur...
ARTHUR
And fuck you!
Please, Arthur...I’m sorry...
DONNA
He’s so sorry, Arthur. He loves you. He’ll never do it again.
Would you shut up?
DONNA
You’re the only one he really loves,
Arthur, isn’t that right? Again and
again and again, he’ll keep coming back.
He’ll use you, he’ll drain you, but it’s okay because you’re the only
one. There’s no one else.
ARTHUR
Both of you...you can both fuck off...
Arthur, I swear...
DONNA
He swears, Arthur! Look at that face! Isn’t that a face you can trust? He’ll never abandon you. After all, you were meant to be
together. Isn’t that why Michael had to
die, that night?
Don’t listen to her.
DONNA
Michael wasn’t as perfect as
ARTHUR
Stop...
DONNA
It only makes sense.
ARTHUR
Stop!
DONNA
And the most beautiful thing about him
is that through him, you didn’t have to be there - through him, you were able
to let Michael just vanish and die!
(Suddenly, THE DANCER lets out an
earth-shattering cry.
It is the first time we have heard THE
DANCER’S voice. The cry is deep...one of
pain, guilt and horror. It is long, and
seems to echo. All action on stage
freezes at the sound of it.
DONNA and ARTHUR stare at one another,
as THE DANCER falls into “collapsed” kneeling or squatting position.
It feels as if something throughout the
entire atmosphere has just shattered into a million pieces.
ARTHUR continues to stare at
DONNA. Both of them are silent. Tears begin running down ARTHUR’S face. When HE speaks, the anger is gone from his
voice. All that is left is
vulnerability)
ARTHUR
What is that you want, Donna?
(And DONNA cracks, too. SHE begins to cry quietly)
ARTHUR
(continued)
Do you wish I were dead? I want to be.
I should be. I deserve it.
DONNA
I...
ARTHUR
There’s not a day that goes by when he
isn’t everywhere, for me. There’s
nothing I can think of without coming face to face with him. And it...
DONNA
Say it, Arthur. It’s all right. Feel something, you stupid fuck.
(ARTHUR begins to sob, without anger)
ARTHUR
Oh, God...he’s...
DONNA
How much does it hurt?
ARTHUR
It’s like he burrowed inside me, like
roots...and they’ve been ripped out. And
I don’t know how to fill it. I don’t
know how to fill it. It’s so...so
fucking...empty...
DONNA
(Vulnerable)
Arthur...I hate you.
ARTHUR
I...did so much...wrong to him.
DONNA
We’re both criminals.
ARTHUR
It’s my fault...it’s all my fault—
DONNA
(Snapping open, hysterical)
No!
Don’t you dare, Arthur! You don’t
take full credit for this, you asshole!!
Look at me! He’s dead! And you will look at me! We did it together. You and I killed him together. Do you understand me? YOU FUCKING LOOK AT ME!
(ARTHUR’S
eyes meet DONNA’S)
This hurts so much. And don’t you dare look away. Keep looking at me. Tear me to pieces.
ARTHUR
Donna...
DONNA
You’re not the only one who wants to be
dead, Arthur.
ARTHUR
Donna, don’t...
(DONNA approaches ARTHUR and slaps him
across the face. HE lets her. SHE collapses against him. HE kneels with her, letting her sob)
DONNA
You both...shut me out...both of
you...I hate you...I hated both of you...I hate you so much...
ARTHUR
I’m sorry. I’m sorry, Donna. I can’t...
DONNA
Don’t. Just shut up. Shut up and just...look at me. Let it hurt.
(
ARTHUR
Michael was messed up, Donna. He loved you.
He loved all of us, but...He couldn’t show it. He shut you out. But he didn’t stop loving anyone, even if he
didn’t know it. I saw.
(DONNA stands)
DONNA
Arthur...I want you know
something. I regret nothing that I’ve
done to you. I don’t regret anything
that I’ve done. I want you to hurt. Do you understand?
ARTHUR
Yes.
DONNA
Good.
Good. Don’t you ever forget
it. Don’t you fuck with the people who
love you again, Arthur.
(
DONNA
(continued)
Goodbye, lovey.
Goodbye.
(Pause.
DONNA slowly approaches
DONNA
At least this time, it wasn’t all hide
and seek.
(DONNA exits, leaving ARTHUR and
DOUGLAS alone)
Arthur...
ARTHUR
Go talk to June.
I want to be with you, right now.
ARTHUR
Not now. You need to go talk to June. I want to be alone right now.
Are you...?
ARTHUR
We’ll talk later. Go.
(
ARTHUR stands. MICHAEL enters, and the scene changes to a
memory)
It appears to be the same memory we
experienced early in Act One, with ARTHUR sitting watching TV while MICHAEL is
making a drink. Something about the
energy of the scene, however, and the mood of both characters, feels different
this time.
ARTHUR
(Flips through channels)
Nothing on.
MICHAEL
Go to a movie?
ARTHUR
Nah.
I don’t know.
MICHAEL
You want another drink?
ARTHUR
Yeah.
Thanks.
(MICHAEL takes a glass from ARTHUR and
prepares him a rum and coke)
ARTHUR
(continued)
Maybe a movie would be okay.
MICHAEL
Make up your mind.
ARTHUR
Hey, did I tell you what happened at
work yesterday?
MICHAEL
(Not really listening)
No.
Um, I don’t know. It was at work?
ARTHUR
Remember the guy I mentioned? Jason.
The one with the permanent five o’clock shadow.
MICHAEL
Yeah.
ARTHUR
You know who I’m talking about?
MICHAEL
Right.
I remember.
ARTHUR
In the stairwell.
MICHAEL
Huh?
ARTHUR
Guess.
MICHAEL
I’m not in the mood to guess.
ARTHUR
Oh, you’re no fun!
MICHAEL
Guess it’s difficult to be fun when you
don’t go around blowing guys in stairwells.
ARTHUR
Michael, come on! And it wasn’t like that, he just kissed
me. He used to look at me, you know, so
I kinda...
MICHAEL
Must be nice.
ARTHUR
He has these deep, hollow eyes, only it’s
like you can see through them. Made my
whole day! I’ve been hearing violins,
and all that shit, all day today.
MICHAEL
I thought this happened yesterday.
ARTHUR
Well...yeah – but I mean, you know, the
effects carry on. I told him I had to
make copies, after it. You should have
seen the look on his face!
MICHAEL
Yeah.
ARTHUR
So, what do you want to watch?
MICHAEL
You said there’s nothing on. And you won’t make up your mind about going
to a movie.
ARTHUR
What the hell is wrong with you? Why are you so testy?
MICHAEL
(Flips through channels)
Why do you do that?
ARTHUR
What?
The stairwell thing? I was just
saying, you know...
MICHAEL
You’re so pathetic.
ARTHUR
Excuse me?
MICHAEL
Why do you make up this bullshit?
ARTHUR
Make up what bullshit? Are you saying that I’m lying?
MICHAEL
Arthur, did you...you make up these
stories, and it’s absolutely pathetic.
You say you like playing games, and this is simply un-fucking-believable...
ARTHUR
I didn’t...
(But ARTHUR doesn’t finish. HE doesn’t look at MICHAEL)
MICHAEL
Why do you do this? Do you feel you need to, or something? Do you want control over me, I mean, what?
ARTHUR
I don’t—
MICHAEL
Bullshit! You know, it’s not even that. I don’t think you’re lying, I think you’re—
ARTHUR
You said I make shit up and—
MICHAEL
-not lying, it’s like you’re just
trying to—
ARTHUR
Wait!
You expect me to sit here, and take this from you? You don’t have any goddamn trust—
MICHAEL
There’s nothing about you to trust,
Arthur!
(Pause)
ARTHUR
Ouch.
MICHAEL
Yeah, does it hurt? I’m sorry I can’t participate in your
charades, Arthur. Some of us don’t have
the luxury.
ARTHUR
Well, maybe if you don’t trust me...
MICHAEL
You treat me like I’m the one who’s
supposed to sit here and listen and be all naïve and shit, when it’s you who’s
just fucking pathetic! What do
you know, anyway? You’re going nowhere. You do nothing. You have no idea, you can’t justify things.
ARTHUR
I can justify whatever the fuck I want.
MICHAEL
What is it that you want?
ARTHUR
(Pause)
No.
No.
MICHAEL
No, what?
ARTHUR
Michael...no.
MICHAEL
You think so?
ARTHUR
No.
No. No.
MICHAEL
That’s too bad. Because you have to make shit up, otherwise.
ARTHUR
We’re watching what I want to watch.
MICHAEL
What do you want?
ARTHUR
Or we can watch what you want to watch,
it’s okay.
(MICHAEL leans over on the couch and
starts to kiss ARTHUR’S neck. ARTHUR
closes his eyes and doesn’t say a word.
After a moment, MICHAEL whispers into his ear)
MICHAEL
I’m drunk. Do you want to suck me off, is that it? Now’s the time. Use it wisely.
ARTHUR
I...can’t...
MICHAEL
What are you afraid of?
ARTHUR
Why did you tell me that, the other
night? Why would do that, Michael? You scared me.
(MICHAEL turns away and finishes his
drink)
MICHAEL
It’s my right to decide that.
ARTHUR
No.
It isn’t.
MICHAEL
You had no right to tell anyone else.
ARTHUR
I had to. To protect you.
MICHAEL
It’s no one else’s busin—
ARTHUR
You’re wrong, Michael!
MICHAEL
Get the fuck out. GET OUT!
(ARTHUR stands to leave)
ARTHUR
Fine!
If you’re going to be like this, fine!
I’m trying to help you, but this is the thanks I get.
(ARTHUR exits the scene. MICHAEL sits for a minute, shaking, as if HE
had been hiding the bulk of his emotions until ARTHUR had left)
The scene returns to where we left
off. ARTHUR kneels, facing THE DANCER,
whom HE looks directly at.
ARTHUR
It doesn’t make any sense. I wanted to be the cause. It’s the only way. It...doesn’t make sense...
JUNE and
June.
(JUNE stares at
I’m sorry. I’m so sorry.
JUNE
(Angry)
And?
You were right. I was wrong.
Please forgive me. I was wrong.
JUNE
Apology accepted. And I’ll forgive you, soon...but right now...
I know.
I screwed up.
JUNE
Yes.
You did. Big time.
You’re one of the most important people
in my life, and I betrayed that. Please
don’t leave me. Don’t hate me—
JUNE
HEY!
Don’t you let me ever hear you say that again. You should know me better than that. I’m furious at you, Doug. I don’t want to see you right now, and
probably not for some time. But don’t
you ever dare think that I hate you.
Don’t you ever dare think that.
Got it?
Yeah.
I love you.
JUNE
I love you too. Now get out.
I will call you. And Doug? No more, “just fucking”.
(
JUNE waits a moment, then SHE dials her
phone. Her phone rings into someone’s
voicemail)
JUNE
It’s June. I didn’t expect you to answer this call, and
it’s probably for the better, so I’m saying this in voicemail. Rex, I don’t want anything left open. I don’t know if you’ll take this to heart or
not, but at least I’ll have done my part.
Obviously, I don’t want to see you again. But I want you to know that this hurts. Either way, this hurts. This is what I want you to know. Please, Rex...take care of yourself. Get help, or something. But don’t ever come back here. I love you.
Goodbye.
(JUNE hangs up. SHE remains still. ARTHUR remains on stage, looking at THE
DANCER)
ARTHUR
I...can’t balance it. Because I never got my footing in the first
place. There’s something about me that’s
broken.
(THE DANCER looks at him for a moment,
then takes his hand. After a moment, SHE
breaks contact with him, then walks off, leaving him alone)
SCENE 8
Split scene:
JUNE’S apartment and
JUNE is on the phone and preparing
lunch.
JUNE
Okay, yeah...That would be great. That works out much better, for me. No, it’s because Doug has this thing
tomorrow, he’s meeting with an editor, or something. He wanted some moral support, so...I
know. He’s such a baby. Oh, is she there? Tell her I said hi! Is Quentin there with you guys? Tell him – oh, they are? Blech!
Couples!
(JUNE’S doorbell rings)
Oh, sorry,
(Calling)
Be there in a minute!
(Into phone)
Okay.
I’ll talk to you later. See you
then. Bye!
(JUNE hangs up the phone. SHE wipes her hands on a dish towel and goes
to answer the door.
DONNA enters)
JUNE
(continued)
(Polite)
Hi.
DONNA
I got your message.
JUNE
I figured you would. Come in.
I was just making lunch. Would
you like some?
DONNA
Not hungry.
JUNE
Your loss. I’m quite the chef. Well, sit down, then. This won’t take long. I just need to finish a couple of things.
DONNA
Sure.
(DONNA sits, a touch uncomfortable and
mildly suspicious, but carrying her usual confidence and willing to play along)
In
ARTHUR
Well...I think that’s it.
Yeah.
I’ll let you know if I find anything else.
ARTHUR
Thanks.
Are you sure you don’t want to stay for
a drink or something? Or some lunch?
ARTHUR
Nah.
I gotta get back. Paul wants to
go to this movie later, with Quentin and Olivia.
Okay.
Maybe some other time, then.
ARTHUR
Maybe.
Well...I’ll see you later.
Oh!
Wait! I forgot something.
(DOUG dashes off, then returns a moment
later holding a manuscript)
I uh...always valued your opinion.
ARTHUR
Oh, yeah. Just what I needed – “The Memoirs of Iris.” Just kidding, I’m sure it’s great. I just...
You never read much of it, Arthur. Iris is actually just a supporting character.
ARTHUR
Oh.
(Flips through the pages)
The main character is this
guy...he...he’s kind of like you. Sort
of. I mean, not totally like you, but
you know...I like using people I know as a basis...I hope you don’t mind. It’s not your name, though. I couldn’t figure out what to name him at
first, but...I probably should have asked first. The name...if you want me to change it...
ARTHUR
(Looking at the text, smiles)
No.
Keep it. He would have been
honored. He would have loved your
writing. He was always smarter than me.
I hope you enjoy it.
ARTHUR
I’ll let you know. Hey, maybe I’ll take that drink. Real quick.
Nothing strong, though. Tea,
maybe.
Sure.
Yeah, I’ll go make some.
(
JUNE sets her lunch on the dining
table, across from DONNA. JUNE does not
sit down yet)
JUNE
Hope you don’t mind.
DONNA
Not at all. It’s your place. And it’s one hell of a nice table.
JUNE
Yes.
It is. So I suppose you’re
wondering what this is all about.
DONNA
I have a few ideas, lovey.
JUNE
Do you?
DONNA
(Smiles)
Listen, lovey – if this is about the
whole Rex comment, I know it was out of bounds – but believe me, it’s nothing
personal. You were just in the crossfi—
(JUNE calmly approaches DONNA and
smacks her across the face.
It
is not a mere slap – it is deliberate and hard, intended both to stun and to
silence. DONNA lets out a brief cry of
shock. JUNE doesn’t hesitate)
JUNE
Before I get to my point, I want to
make two things perfectly clear: First, if you speak to me in that
condescending tone or call me “lovey” one more time, I will throw you down the
fucking apartment stairs. Secondly, you
will not mention Rex to me again, as he is not nor never will be any business
of yours. Do we have an understanding?
(DONNA nods)
Good.
Now, this will be short, I promise.
Donna, I know that
(DONNA actually smiles at this – not in
a patronizing way, but with pleasant surprise)
DONNA
I’m impressed. You know, I like you, June. Really, I do.
JUNE
Well, that’s nice. Gee, where’s that fickle bitch, Reciprocity,
when you need her?
DONNA
I don’t expect anything from you,
dear. But I am impressed, nonetheless.
JUNE
Good.
That’s all, then. I’d like to eat
lunch, now, if you don’t mind.
DONNA
Sure thing.
(DONNA stands, touching the table as
SHE does)
JUNE
And don’t touch my fucking antique
dining table.
(DONNA obliges. SHE exits.
ARTHUR and DOUGLAS drink tea)
ARTHUR
You always make peppermint.
No, I don’t.
ARTHUR
Whatever. Thanks.
Arthur...
(ARTHUR looks at him)
We could start over.
(Pause.
ARTHUR approaches DOUG and puts his hand on DOUG’S shoulders)
ARTHUR
I still love you. I probably always will. But we can’t start over. Time didn’t stop for Michael, and it won’t
stop for us.
No one else understood - We were
amazing.
ARTHUR
And we danced together. We escaped.
(ARTHUR embraces
ARTHUR
(continued)
And Doug?
Yeah?
ARTHUR
(Sweetly)
Fuck you.
(Grins)
Fuck you too, shithead.
(DOUG inhales ARTHUR’S scent one last
time. The embrace parts)
Sure you don’t want - you know - one
last time?
ARTHUR
Tempting. But no.
Time to grow up. I’ll see you.
Bye.
(ARTHUR gathers his things and
exits.
DONNA, alone. SHE rubs her stinging cheek. SHE lights a cigarette and takes a drag from
it. SHE looks out, and speaks to the
daylight...
DONNA
Still trying to quit.
SCENE
9
ARTHUR, alone.
ARTHUR
How do you describe a whole
person? What they were like? I don’t know.
A person like Michael...well...Doug’s the writer, not me. It’s now almost two years since Michael’s
suicide. They say it takes three years
to move past the grief of a loved one’s death.
I look forward to this final year.
I do not want to overlook this grief.
I will drink it to the dregs.
(ARTHUR moves away from the
foreground. THE DANCER enters. As SHE speaks, MICHAEL appears in the
background, with ARTHUR. THE DANCER
speaks to us)
THE
DANCER
“Michael S. Blackwell, age 26, a
lifetime resident of
(THE DANCER exits. We see a memory of ARTHUR and MICHAEL, from a
few years ago – MICHAEL’S birthday. Both
of them are dressed up)
ARTHUR
Happy birthday, stud! You ready?
MICHAEL
Where is it you’re taking me again,
tonight?
ARTHUR
Ah!
It’s a surprise!
MICHAEL
Uh oh...I should be worried, then. Hang on, let me just get my shoes.
ARTHUR
You mean you weren’t waiting, with
bells on, at the door?
MICHAEL
I don’t do bells.
ARTHUR
Come on, come on, come on...
MICHAEL
Keep your shirt on. I’m coming.
ARTHUR
Can I take it off later?
MICHAEL
Maybe.
If you’re good. Depends on where
you’re taking me. Okay. Birthday boy is ready.
(ARTHUR looks at MICHAEL, seriously)
ARTHUR
Hey.
You look handsome. You really do.
MICHAEL
Thanks.
ARTHUR
Happy 24th. And many more to come, stud.
(ARTHUR hugs MICHAEL. HE pats him on the shoulder)
ARTHUR
Come!
Destiny awaits!
MICHAEL
Oh, great...you’re up to something, I
just know it...
(ARTHUR and MICHAEL start to exit. The LIGHTS change and illuminate them,
together, laughing, with ARTHUR’S arm around MICHAEL’S shoulder. The LIGHTS dim on them, frozen that way)
-END OF PLAY-