Buried Child by SAM SHEPARD

 

SAM SHEPARD

Buried Child

Sam Shepard is the author of more than forty- ve plays. He won the Pulitzer Prize for Buried Child. He was a nalist for the W. H. Smith Literary Award for his story collection Great Dream of Heaven, and he has also written the story collection Cruising Paradise, two collections of prose pieces, Motel Chronicles and Hawk Moon, and Rolling Thunder Logbook, a diary of Bob Dylan's 1975 Rolling Thunder Review tour. As

an actor he has appeared in more than thirty lms, including Days of Heaven, Crimes of the Heart, Steel Magnolias, The Pelican Brief, Snow Falling on Cedars, All the Pretty Horses, Black Hawk Down, and The Notebook. He received an Oscar nomination in 1984 for his performance in The Right Stu . His screenplay for Paris, Texas won the Grand Jury Prize at the 1984 Cannes Film Festival, and he wrote and directed the lm Far North in 1988 and cowrote and starred in Wim Wenders’ Don't Come Knocking in 2005. Shepard's plays, eleven of which have won Obie Awards, include The God of Hell, The Late Henry Moss, Simpático, Curse of the

Starving Class, True West, Fool for Love, and A Lie of the Mind, which won a New York Drama Desk Award. A member of the American Academy of Arts and Letters, Shepard received the Gold Medal for Drama from the Academy in 1992, and in 1994 he was inducted into the Theatre Hall of Fame. He lives in New York.

ALSO BY SAM SHEPARD

Tooth of Crime (Second Dance)

The God of Hell

Great Dream of Heaven

The Late Henry Moss, Eyes for Consuela,

When the World Was Green

Cruising Paradise

Simpático

States of Shock, Far North, Silent Tongue

A Lie of the Mind

The Unseen Hand and Other Plays


Fool for Love and Other Plays

Paris, Texas Seven Plays

Motel Chronicles

Rolling Thunder Logbook

Hawk Moon



For Joe Chaikin


PREFACE TO THE REVISED EDITION

In 1978, when we rst produced Buried Child at the Magic Theatre in San Francisco, I had an uneasy feeling about it. Although I was more than satis ed with the production, the actors, the set, etc., aspects of the writing still seemed awkward and un nished. The Pulitzer Prize did not change my opinion in this regard, but by that time I was already on to other work and had no inclination to double back. When Gary Sinise started work on the Steppenwolf



production in Chicago in 1995, enough time had elapsed for me to clearly see the holes in the play. This insight was also heightened by Gary's instinct to push the characters and situation into an almost burlesque territory, which seemed suddenly right. It became clear, for instance, that Halie's o stage voice in the opening scene went on too long and that Lois Smith (playing the part) was bringing a sharp irony and wit to it that deserved special attention. The sexual innuendos between Dodge (James Gammon) and Shelly (Kellie Overbey) needed to be more overt and less coy. But, most important, the character of Vince seemed to be hanging in the wind, without real purpose. Even though a core truth of this character is his aimlessness and passivity, there seemed to be no point in allowing him t o be completely outside the play almost in the predicament of a narrator. So I began to try to nd ways to bring him around, to “see the light,” as it were, without turning him into some kind of hero or even Sherlock Holmes. Finally, the language began to settle in and take hold. There were fewer gaps between the actors, the characters, and the words. I'm very grateful for having had the opportunity to do this work. It's now a better play.





Sam Shepard



July 2005


Buried Child, the revised edition, was produced on Broadway at the Brooks Atkinson Theatre by Frederick Zoilo, Nicholas Paleólogos, Jane Harmon, Nina Keneally, Gary Sinise, Edwin Schloss, and Liz Oliver on April 30, 1996. The production transferred from the premiere production at Steppenwolf Theatre Company (Martha Lavey Artistic Director; Michael Gennaro, Managing Director) in Chicago, Illinois, which opened on October 1, 1995. It was directed by Gary Sinise; the set design was by Robert Brill; the costume design was by Allison Reeds; the lighting design was by Kevin Rigdon; the sound design was by Rob Milburn;


and the production stage manager was Laura Koch. The cast was as follows:

DODGE

HALIE TILDEN BRADLEY

SHELLY

VINCE FATHER

DEWIS

James

Gammon

Lois Smith

Terry Kinney Leo

Burmester

Kellie Overbey Jim True Jim Mohr



Buried Child was produced at Theater for the New City, in New York City, on October 19, 1978. It was directed by Robert Woodru . The cast was as follows:

DODGE

HALIE TILDEN BRADLEY

SHELLY

Richard

Hamilton

Jacqueline

Brookes

Tom Noonan

Jay O. Sanders Mary



McDonnell

VINCE FATHER

DEWIS

Christopher

McCann

Bill Wiley

Buried Child received its premiere at the Magic Theatre, in San Francisco, California, on June 27, 1978. It was directed by Robert Woodru . The cast was as follows:

DODGE

Joseph

Gistirak

Catherine

HALIE



Willis

TILDEN

BRADLEY

SHELLY

VINCE FATHER

DEWIS

Dennis Ludlow

William M.

Carr

Betsy Scott Barry Lane Rj Frank

CHARACTERS

DODGE

in his seventies


HALIE

TILDEN BRADLEY

VINCE SHELLY

Dodge's wife;

mid-sixties

their oldest son their next oldest son, an amputee

Tilden's son

Vince's girlfriend

FATHER a Protestant

DEWIS minister


Act One

Scene: day. Old wooden staircase down left with pale, frayed carpet laid down on the steps. The stairs lead o stage left up into the wings with no landing. Up right is an old, dark green sofa with the stu ng coming out in spots. Stage right of the sofa is an upright lamp with a faded yellow shade and a small night table with several small bottles of pills on it. Down right of the sofa, with the screen facing the sofa, is a large, old- fashioned brown TV. A ickering blue


light comes from the screen, but no image, no sound. In the dark, the light of the lamp and the TV slowly brighten in the black space. The space behind the sofa, upstage, is a large screened-in porch with a board oor. A solid interior door to stage right of the sofa leads from the porch to the outside. Beyond that are the shapes of dark elm trees.

Gradually the form DODGE is made out, sitting on the couch, facing the TV the blue light ickering on his face. He wears a well-worn T-shirt, suspenders, khaki work pants, and


brown slippers. He's covered himself in an old brown blanket. He's very thin and sickly looking, in his late seventies. He just stares at the TV. More light lls the stage softly. The sound of light rain, DODGE slowly tilts his head back and stares at the ceiling for a while, listening to the rain. He lowers his head again and stares at the TV. He starts to cough slowly and softly. The coughing gradually builds. He holds one hand to his mouth and tries to sti e it. The coughing gets louder, then suddenly stops when he hears the sound of his wife's voice comingfrom the top of the staircase.


HALIE'S VOICE: Dodge? (DODGE just stares at the TV. Long pause. He sti es two short coughs.) Dodge! You want a pill, Dodge? (He doesn't answer. Takes a bottle out from under a cushion of the sofa and takes a long swig. Puts the bottle back, stares at the TV pulls the blanket up around his neck.) You know what it is, don't you? It's the rain! Weather. That's it. Every time. Every time you get like this, it's the rain. No sooner does the rain start than you start. (Pause.) Dodge? (He makes no reply. Pulls a pack of cigarettes out from his sweater and lights one. Stares at the TV. Pause.) You should


see it coming down up here. Just coming down in sheets. Blue sheets. The bridge is pretty near ooded. What's it like down there? Dodge? (DODGE turns his head back over his left shoulder and takes a look out through the porch. He turns back to the TV).

DODGE:

(To himself.) Catastrophic.

HALIE'S VOICE:

Dodge?

What? What'd you say,

DODGE:

(Louder.) It looks like rain to


me! Plain old rain!

HALIE'S VOICE: Rain? Of course it's rain! Are you having a seizure or something! Dodge? (Pause.) I'm coming down there in about ve minutes if you don't answer me!

DODGE:

Don't come down.

HALIE'S VOICE:

What!

DODGE: (Louder.) Don't come down! (He has another coughing attack.


Stops.)

HALIE'S VOICE : You should take a pill for that! I don't see why you just don't take a pill. Be done with it once and for all. Put a stop to it. (He takes the bottle out again. Another swig. Returns the bottle.) It's not Christian, but it works. It's not necessarily Christian, that is. A pill. We don't know. We're not in a position to answer something like that. There's some things the ministers can't even answer. I, personally, can't see anything wrong with it. A pill. Pain is pain.


Pure and simple. Su ering is a di erent matter. That's entirely di erent. A pill seems as good an answer as any. Dodge? (Pause.) Dodge, are you watching baseball?

DODGE :

No.

HALIE'S VOICE:

What?

DODGE: (Louder.) watching baseball.

No!
 I'm not

HALIE'S VOICE:

What're you watching?


You shouldn't be watching anything that'll get you excited!

DODGE:

Nothing gets me excited.

HALIE'S VOICE :

No horse racing!

DODGE: They don't race here on Sundays.

HALIE'S VOICE:

What?

DODGE:

(Louder.) They don't race on



Sundays!

HALIE'S VOICE: Well, they shouldn't race on Sundays. The Sabbath.

DODGE: Well, they don't! Not here anyway. The boondocks.

HALIE'S VOICE: Good. I'm amazed they still have that kind of legislation. Some semblance of morality. That's amazing.

DODGE:

Yeah, it's amazing.



HALIE'S VOICE:

What?

DODGE:

(Louder.) It is amazing!

HALIE'S VOICE: It is. It would've thought these be racing on Christmas ashing Christmas tree

at the finish line.

truly is. I days they'd even. A big right down

DODGE:

yet.

(Shakes his head.) No. Not

HALIE'S VOICE:

They used to race on


New Year's! I remember that.

DODGE:

Year's!

They never raced on New

HALIE'S VOICE:

Sometimes they did.

DODGE:

They never did!

HALIE'S VOICE:

they did!

Before we were married

DODGE:

“Before we were married.”


(DODGE waves his hand in disgust at the staircase. Leans back in sofa. Stares at TV)

HALIE'S VOICE: I went once. With a man. On New Year's.

DODGE:

(Mimicking her.) Oh, a “man.”

HALIE'S VOICE:

What?

DODGE:

Nothing!


HALIE'S VOICE:

breeder.

A wonderful man. A

DODGE:

A what?

HALIE'S VOICE: A breeder! A horse breeder! Thoroughbreds.

DODGE: Oh, thoroughbreds. Wonderful. You betcha. A breeder- man.

HALIE'S VOICE: That's right. He knew everything there was to know.



DODGE: I bet he taught you a thing or two, huh? Gave you a good turn around the old stable!

HALIE'S VOICE: Knew everything there was to know about horses. We won bookoos of money that day.

DODGE:

What?

HALIE'S VOICE: Money! We won every race I think.

DODGE:

Bookoos?


HALIE'S VOICE:

Every single race.

DODGE:

Bookoos of money?

HALIE'S VOICE:

of days.

It was one of those kind

DODGE:

New Year's!

HALIE'S VOICE: Yes! It might've been Florida. Or California! One of those two.


DODGE:

Can I take my pick?

HALIE'S VOICE:

It was Florida!

DODGE:

Aha!

HALIE'S VOICE: Wonderful! Absolutely wonderful! The sun was just gleaming. Flamingos. Bougainvilleas. Palm trees.

D O D G E : (To HIMSELF, MIMICKING

Flamingos. Bougainvilleas.

HER.)


HALIE'S VOICE: Everything was dancing with life! Colors. There were all kinds of people from everywhere. Everyone was dressed to the nines. Not like today. Not like they dress today. People had a sense of style.

DODGE:

When was this anyway?

HALIE'S VOICE:

knew you.

This was long before I

DODGE:

Must've been.



HALIE'S VOICE:

escorted.

Long before. I was

DODGE :

To Florida?

HALIE'S VOICE: Yes. Or it might've been California. I’m not sure which.

DODGE: All that way escorted?

you were

HALIE'S VOICE:

Yes.



DODGE: And he never laid a nger on you, I suppose? This gentleman breeder-man. (Long silence.) Halie? Are we still in the land of the living? (No answer. Long pause.)

HALIE'S

today?

VOICE:

Are you going out

DODGE:

this?

(Gesturing toward rain.) In

HALIE'S VOICE:

question.

I'm just asking a simple



DODGE: I rarely go out in the bright sunshine, why would I go out in this?

HALIE'S VOICE: I'm just asking because I'm not doing any shopping today. And if you need anything you should ask Tilden.

DODGE:

Tilden's not here!

HALIE'S VOICE: He's in the kitchen, (DODGE looks toward left, then back toward the TV).


DODGE:

All right.

HALIE'S VOICE:

What?

DODGE: (Louder.) All right! I'll ask Tilden!

HALIE'S VOICE: Don't scream. It'll only get your coughing started.

DODGE:

Scream? Men don't scream.

HALIE'S VOICE:

Just tell Tilden what


you want and he'll get it. (Pause.) Bradley should be over later.

DODGE:

Bradley?

HALIE'S VOICE:

Yes. To cut your hair.

DODGE: My hair? I don't need my hair cut! I haven't hardly got any hair left!

HALIE'S VOICE:

It won't hurt!


DODGE:

I don't need it!

HALIE'S VOICE: It's been more than two weeks, Dodge.

DODGE: I don't need it! And I never did need it!

HALIE'S VOICE: I have to meet Father Dewis for lunch.

DODGE : You tell Bradley that if he shows up here with those clippers, I'll separate him from his manhood!



HALIE'S VOICE: I won't be very late. No later than four at the very latest. DODGE : You tell him! Last time he left me near bald! And I wasn't even awake!

HALIE'S VOICE:

That's not my fault!

DODGE :

You put him up to it!

HALIE'S VOICE:

I never did!



DODGE : You did too! You had some fancy, idiot house-social planned! Time to dress up the corpse for company! Lower the ears a little! Put up a little front! Surprised you didn 't tape a pipe to my mouth while you were at it! That woulda looked nice! Huh? A pipe? Maybe a bowler hat! Maybe a copy of the Wall Street Journal casually placed on my lap! A fat labrador retriever at my feet.

HALIE'S VOICE : You always imagine the worst things of people!


DODGE:

That's the least of the worst!

HALIE'S VOICE: I don't need to hear it! All day long I hear things like that and I don't need to hear more.

DODGE :

You better tell him!

HALIE'S VOICE : You tell him yourself! He's your own son. You should be able to talk to your own son.

DODGE: Not while I'm sleeping! He cut my hair while I was sleeping!



HALIE'S VOICE:

again.

Well he won't do it

DODGE: There's no guarantee. He's a snake, that one.

HALIE'S VOICE: I promise he won't do it without your consent.

DODGE: (Afterpause.) There's no reason for him to even come over here.

HALIE'S VOICE:

He feels responsible.



DODGE:

For my hair?

HALIE'S VOICE:

For your appearance.

DODGE: My appearance is out of his domain! It's even out of mine! In fact, it's disappeared! I'm an invisible man!

HALIE'S VOICE:

Don't be ridiculous.

DODGE: He better not try it. That's all I've got to say.


HALIE'S VOICE:

for you.

Tilden will watch out

DODGE: Tilden won't protect me from Bradley!

HALIE'S VOICE: Tilden's the oldest. He'll protect you.

DODGE: Tilden can't even protect himself!

HALIE'S VOICE: Not so loud! He'll hear you. He's right in the kitchen.



DODGE:

(Yelling off left.) Tilden!

HALIE'S VOICE: Dodge, what are you trying to do?

DODGE: (Yelling o your ass in here!

left.) Tilden, get

HALIE'S VOICE: Why do you enjoy stirring things up?

DODGE:

I don't enjoy anything!



HALIE'S VOICE:

say.

That's a terrible thing to

DODGE:

Tilden!

HALIE'S VOICE: That's the kind of statement that leads people right to an early grave.

DODGE:

Tilden!

HALIE'S VOICE: It's no wonder people have turned their backs on Jesus!


DODGE:

TILDEN!!

HALIE'S VOICE: It's no wonder messengers of God's word shouting louder now than before. Screaming to the winds.

the are ever four

DODGE: TILDEN!!!! (DODGE goes into a violent, spasmodic coughing attack as TILDEN enters from left, his arms loaded with fresh ears of corn, TILDEN is DODGE ‘s oldest son, late forties, wears heavy construction boots covered with mud, dark green work


pants, a plaid shirt, and a faded brown windbreaker. He has a butch haircut, wet from the rain. Something about him is profoundly burned-out and displaced. He stops center with the ears of corn in his arms and just stares at DODGE until he slowly nishes his coughing attack, DODGE looks up at him slowly, DODGE stares at the corn. Long pause as they watch each other.)

HALIE'S VOICE: Dodge, if you don't take that pill nobody's going to force you. Least of all me. There's no honor in self-destruction. No honor



at all. (The two men ignore the voice)

DODGE:

that?

(To

TILDEN.)

Where'd you get

TILDEN:

Picked it.

DODGE : You picked all that? (TILDEN nods.) You expecting company?

TILDEN:

NO.


DODGE:

TILDEN:

DODGE:

TILDEN:

DODGE:

back.

TILDEN:

Where'd you pick it from?

Right out back.

Out back where?!

Right out in back.

There's nothing out there—in

There's corn.



DODGE: There hasn't been corn out there since about nineteen thirty- ve! That's the last time I planted

corn out there!

TILDEN:

DODGE:

It's out there now.

(Yelling at stairs.) Halie!

HALIE'S VOICE: Yes, dear! Have you come to your senses?

DODGE: Tilden's brought a whole bunch of sweet corn in here!


There's no corn out back, is there?

TILDEN:

corn.

(To

HIMSELF.)

There's tons of

HALIE'S VOICE:

Not that I know of!

DODGE:

That's what I thought.

HALIE'S VOICE: Not since nineteen thirty-five!

about

DODGE:

(To

tilden.)

That's
 right.


Nineteen thirty- ve. That was the last of it.

TILDEN:

It's out there now.

DODGE : You go and take that corn back to wherever you got it from! TILDEN: (Afterpause, staring at DODGE.) It's picked. I picked it all in the rain. Once it's picked you can't put it back.

DODGE:

I haven't had trouble with the


neighbors here for fty-seven years. I don't even know who the neighbors are! And I don't wanna know! Now go put that corn back where it came from! (TILDEN stares at DODGE, then walks slowly over to him and dumps all the corn on DODGE ’s lap and steps back, DODGE stares at the com then back to TILDEN. Long pause.) Are you having trouble here, Tilden? Are you in some kind of trouble again?

TILDEN:

I'm not in any trouble.


DODGE : You can tell me if you are. I'm still your father.

TILDEN:

I know that.

DODGE: I know you had a little trouble back there in New Mexico. That's why you came out here. Isn't that the reason you came back?

TILDEN:

I never had any trouble.

DODGE: Tilden, your mother told me all about it.


TILDEN: What'd she tell you? (TILDEN pulls some chewing tobacco out of his jacket and bites off a plug.)

DODGE: I don't have to repeat what she told me! She told me all about it!

TILDEN: Can I bring my chair in from the kitchen?

DODGE:

TILDEN:

What?

Can I bring in my chair from


the kitchen?

DODGE: That's not a chair. It's a stool. Milking stool.

TILDEN:

Can I bring it in here?

DODGE: Sure. Bring it in here. Bring it on in here. Just don't call it a chair when it's a stool, (TILDEN exits left, DODGE pushes all the corn o of his lap onto the floor. He pulls the blanket off angrily and tosses it at one end of the sofa, pulls out the bottle, and takes


another swig, TILDEN enters again from left with a milking stool and a pail, DODGE hides the bottle quickly under the cushion before TILDEN sees it. TILDEN sets the stool down by the sofa, sits on it, and puts the pail in front of him on the oor. TILDEN starts picking up the ears of corn one at a time and husking them. He throws the husks and silk in the center of the stage and drops the ears into the pail each time he cleans one. He repeats this process as they talk. After pause.) Pretty good-lookin’ corn.

TILDEN:

Golden.


DODGE:

TILDEN:

DODGE:

Hybrid?

What?

Some kinda fancy hybrid?

TILDEN : You planted it. I don't know what it is. (Pause.)

DODGE: I never planted it. (Pause.) Tilden, look, you can't stay here forever. You know that, don't you? (TILDEN spits in the spittoon.)


TILDEN:

I'm not.

DODGE: I know you're not. I'm not worried about that. That's not the reason I brought it up.

TILDEN:

What's the reason?

DODGE: The reason is I'm wondering what you're gonna do with yourself.

TILDEN: You're not worried about me, are you?


DODGE: I'm not worried about you. No. I'm just wondering.

TILDEN : You weren't worried about me when I wasn't here. When I was in New Mexico.

DODGE : No, I wasn't worried about you then either.

TILDEN : You shoulda worried about me then.

DODGE:

Why's that? You didn't do


anything down there, did you? Nothin’ serious.

TILDEN:

I didn't do anything. No.

DODGE: Then why should I have worried about you?

TILDEN:

DODGE:

TILDEN:

Because I was by myself.

By yourself?

Yeah. I was by myself more


than I've ever been before.

DODGE:

Why was that? (Pause.)

TILDEN: Could I have some of that whiskey you've got?

DODGE: What whiskey? I haven't got any whiskey.

TILDEN:

sofa.

You've got some under the


DODGE: I haven't got anything under the sofa! Now mind your own damn business! Judas Priest, you come into the house outta the middle of nowhere, haven't heard or seen you in twenty-some years and suddenly you're making accusations.

TILDEN:

I'm not making accusations.

DODGE: You're accusing me of hoarding whiskey under the sofa!

TILDEN:

I'm not accusing you.


DODGE : You just got through telling me that I had whiskey under the sofa!

HALIE'S VOICE:

Dodge?

DODGE: (To about it!
 TILDEN.)

Now she knows

TILDEN:

DODGE:

She doesn't know about it.

She knows!


HALIE'S VOICE: Dodge, are you talking to yourself down there?

DODGE:

I'm talking to Tilden!

HALIE'S VOICE:

Tilden's down there?

DODGE:

He's right here!

HALIE'S VOICE:

What?

DODGE:

(Louder.) He's right here!


HALIE'S VOICE:

What's he doing?!

DODGE:

(To tilden.) Don't answer her.

TILDEN: (To DODGE.)

anything wrong.

I'm not doing

DODGE:

(To TILDEN.) I know you're not.

HALIE'S VOICE:

there?

What's he doing down

DODGE:

(To

TILDEN.)

Don't answer.


Whatever you do, don't answer her.

TILDEN:

I'm not.

HALIE'S VOICE: Dodge! (The men sit in silence, DODGE lights a cigarette, TILDEN keeps husking corn, spits tobacco now and then in the spittoon.) Dodge! He's not drinking anything, is he? You see to it that he doesn't drink anything! You've gotta watch out for him. It's our responsibility. He can't look after himself anymore, so we have to do it. Nobody else will do it. We can't just send him


away somewhere. If we had lots of money we could send him away. But we don't. We never will. That's why we have to stay healthy. You and me. Nobody's going to look after us. Bradley can't look after us. Bradley can hardly look after himself. I was always hoping that Tilden would look out for Bradley when they got older. After Bradley lost his leg. Tilden's the oldest. I always thought he'd be the one to take responsibility. I had no idea in the world that Tilden would be so much trouble. Who would've dreamed? Tilden was an All- American, don't forget. Don't forget


that. Fullback. Or quarterback. I forget which.

TILDEN:

(To HIMSELF.) Halfback.

DODGE: Don't make a peep. Just let her babble, (TILDEN goes on husking.)

HALIE'S VOICE: Then when Tilden turned out to be so much trouble, I put all my hopes on Ansel. Of course Ansel wasn't as handsome, but he was smart. He was the smartest probably. I think he probably was. Smarter than


Bradley, that's for sure. Didn't go and chop his leg o with a chain saw. Smart enough not to go and do that. I think he was smarter than Tilden, too. Especially after Tilden got in all that trouble. Doesn't take brains to go to jail. Anybody knows that. ‘Course then when Ansel passed, that left us all alone. Same as being alone. No di erent. Same as if they'd all died. He was the smartest. He could've earned lots of money. Lots and lots of money.

DODGE:

Bookoos. ( HALIE enters slowly


from the top of the staircase as she continues talking. Just her feet are seen at rst as she makes her way down the stairs a step at a time. She appears dressed completely in black, as though in mourning. Black handbag, hat with a veil, and pulling on elbow-length black gloves. She is about sixty- ve with pure white hair. She remains absorbed in what she's saying as she descends the stairs and doesn't really notice the two men who continue sitting there as they were before she came down, smoking and husking.)


HALIE: He would've took care of us, too. He would've seen to it that we were repaid. He was like that. He was a hero. Don't forget that. A genuine hero. Brave. Strong. And very intelligent.

TILDEN:

Ansel was a hero?

HALIE: Ansel could've been a great man. One of the greatest. I only regret that he didn't die in action. It's not fitting for a man like that to die in a motel room. A soldier.


been decorated for valor. I've talked to Father Dewis about putting up a plaque for Ansel. He thinks it's a good idea. He agrees. He knew Ansel when he used to play basketball. Went to every game. Ansel was his favorite player. He even recommended to the City Council that they put up a statue of Ansel. A big, tall statue with a basketball in one hand and a ri e in the other. That's how much he thinks of Ansel.

TILDEN: Ansel was a hero? (DODGE kicks him. HALIE reaches the stage and


begins to wander around, still absorbed in pulling on her gloves, brushing lint o her dress and continuously talking to herself as the men just sit)

HALIE: Of course, he'd still be alive today if he hadn't married into the Catholics. The Mob. How in the world he never opened his eyes to that is beyond me. Just beyond me. Everyone around him could see the truth. Even Tilden. Tilden told him time and again. Catholic women are the devil incarnate. He wouldn't listen.


TILDEN: I don't remember that. I must've been gone somewhere.

HALIE: He was blind with love. Blind. I knew. Everyone knew. The wedding was more like a funeral. You remember? All those Italians. All that horrible black, greasy hair. The rancid smell of cheap cologne. I think even the priest was wearing a pistol. When he gave her the ring I knew he was a dead man. I knew it. As soon as he gave her the ring. But then it was the honeymoon that killed him. The honeymoon. I knew he'd never come back from


the honeymoon. (She stops abruptly and stares at the corn husks. She looks around the space as though just waking up. She turns hard and looks hard at TILDEN and DODGE, who continue sitting calmly. She looks again at the corn husks. Pointing to the husks) What's this in my house? (Kicks husks) What's all this mess? (TILDEN stops husking and stares at her. To DODGE.) And you encourage him! (DODGE pulls the blanket over himself again.)

DODGE: You're going out in the rain for a little soiree.



HALIE: It's not raining now, is it? (TILDEN starts husking again.)

DODGE:

Not in Florida it's not.

HALIE:

We're not in Florida!

DODGE: It's racetrack.

not
 raining
 at
 the

HALIE: Have you been taking those pills? Those pills always make you talk crazy. Tilden, has he been taking those pills? Those teeny



little blue pills.

TILDEN:

He hasn't took anything.

HALIE: (To taking?
 DODGE.)

What've you been

DODGE: It's not raining in California or Florida or at the racetrack. Only in Illinois. This is the only place it's raining. All over the rest of the world it's bright golden sunshine. (HALIE goes to the night table next to the sofa and checks the bottle of pills.)



HALIE: Which ones did you take? Tilden, you must've seen him take something.

TILDEN:

He never took a thing.

HALIE:

Then why's he talking crazy?

DODGE:

TILDEN:

time.

Crazy. Crazy, crazy, crazy.

I've been here the whole


HALIE: Then you've both been taking something!

TILDEN:

corn.

I've just been husking the

HALIE: Where'd you get that corn anyway? Why is the house suddenly full of corn?

DODGE:

Bumper crop! Unexplainable.

HALIE: (Moving center.) We haven't had corn here for over thirty years.


TILDEN: The whole back lot's full of corn. Far as the eye can see. Like an ocean.

DODGE: (To HALIE.) Things keep happening while you're upstairs, ya know. The world doesn't stop just because you're upstairs. Corn keeps growing. Rain keeps raining.

HALIE: I'm not unaware of the world around me! Thank you very much. It so happens that I have an overall view from the upstairs. A panorama. The backyard's in plain



view of my window. And there's no corn to speak of. Absolutely none! DODGE: Tilden wouldn't lie. If he says there's corn, there's corn.

HALIE: What's the meaning of this corn, Tilden?!

TILDEN: It's a mystery to me. I was out in back there. And the rain was coming down. And I didn't feel like coming back inside. I didn't feel the cold so much. I didn't mind the wet. So I was just walking. I was muddy


but I didn't mind the mud so much. And I looked up. And I saw this stand of corn. In fact I was standing in it. Surrounded. It was over my head.

HALIE: There isn't any corn outside, Tilden! There's no corn! It's not the season for corn. Now, you must've either stolen this corn or you bought it.

DODGE: He doesn't have a red cent to his name. He's totally dependent.


HALIE:

(To TILDEN.) So you stole it!

TILDEN: I didn't steal it. I don't want to get kicked out of Illinois. I was kicked out of New Mexico and I don't want to get kicked out of Illinois.

HALIE: You're going to get kicked out of this house, Tilden, if you don't tell me where you got that corn! (TILDEN starts crying softly to himself but keeps husking corn. Pause.)

DODGE:

(To

HALIE.)

Why'd you have to



tell him that? Who cares where he got the corn? Why'd you have to go and threaten him with expulsion? HALIE: (To DODGE.) It's your fault, you know! You're the one that's behind all of this! I suppose you thought it'd be funny! Some joke! Cover the house with corn husks. You better get this cleaned up before Bradley sees it.

DODGE: Bradley‘s not getting in the front door!



HALIE: (Kicking husks, striding back and forth) Bradley's going to be very upset when he sees this. He doesn't like to see the house in disarray. He can't stand it when one thing is out of place. The slightest thing. You know how he gets.

DODGE:

here!

Bradley doesn't even live

HALIE: It's his home as much as ours. He was born in this house!


DODGE: He was born in a hog wallow.

HALIE: Don't you say that! Don't you ever say that!

DODGE: He was born in a goddamn hog wallow! That's where he was born and that's where he belongs! He doesn't belong in this house! (HALIE stops.)

HALIE: I don't know what's come over you, Dodge. I don't know what in


the world's come over you. You've become an evil, spiteful, vengeful man. You used to be a good man. DODGE: Six of one, a half dozen of another.

HALIE : You sit here day and night, festering away! Decomposing! Smelling up the house with your putrid body!

Hacking your head o ‘til all hours of the morning! Thinking up mean, evil, stupid things to say about your own flesh and blood!



DODGE: He's not my esh and blood! My esh and blood's out there in the backyard! (They freeze. Long pause. The men stare at her.)

HALIE: (Quietly) That's enough, Dodge. That's quite enough. You've become confused. I'm going out now. I'm going to have lunch with Father Dewis. I'm going to ask him about a monument for Ansel. A statue. At least a plaque.

DODGE: That oughta heal things up. A statue. (She crosses to the door up



right. She stops.)

HALIE: If you need anything, ask Tilden. He's the oldest. I've left some money on the kitchen table.

DODGE:

I don't need a thing.

HALIE : No, I suppose not. (She opens the door and looks out through the porch.) Still raining. I love the smell just after it stops. The ground. It's like the ground is breathing. I won't be too late. (Shegoes out the door and closes it. She's still visible on the porch as she crosses toward left screen door. She stops in the middle of the porch, speaks to DODGE but doesn't turn to him.) Dodge, tell Tilden not to go out in the back lot anymore. I don't want him back there in the rain. He's got no business out there.

DODGE : You tell him yourself. He's sitting right here.

HALIE: He never listens to me, Dodge. He's never listened to me in the past.



DODGE:

I'll tell him.

HALIE: We have to watch him just like we used to now. Just like we always have. He's still a child.

DODGE:

I'll watch him.

HALIE: Good. We don't want to lose him. I couldn't take another loss. Not at this late date. (She crosses to screen door left, takes an umbrella off a hook, and goes out the door. The door slams behind her. Long pause, TILDEN husks corn, stares at the pail,


DODGE

TV)

lights a cigarette, stares at the

TILDEN: (Still husking.) You shouldn'ta told her that.

DODGE:

(Staring at the TV.) What?

TILDEN:

know.

What you told her. You

DODGE:

What do you know about it?


TILDEN: I know. I know all about it. We all know.

DODGE : So what di erence does it make? Everybody knows, everybody's forgot.

TILDEN:

DODGE:

She hasn't forgot.

She should've forgot.

TILDEN: It's di erent for her. She couldn't forget that. How could she forget a thing like that?



DODGE:

I don't want to talk about it!

TILDEN: Why'd you tell her it was your flesh and blood?

DODGE:

I don't want to talk about it.

TILDEN:

about?

What do you want to talk

DODGE: I don't want to talk about anything! I don't want to talk about troubles or what happened fty years ago or thirty years ago



or the racetrack or Florida or the last time I seeded the corn! I don't want to talk period. Talking just wears me thin.

TILDEN : you?

You don't wanna die, do

DODGE : No, I don't wanna die either.

particularly

TILDEN:

die.

Well, you gotta talk or you'll


DODGE:

Who told you that crap?

TILDEN: That's what I know. I found that out in New Mexico. I thought I was dying but I just lost my voice. DODGE: Were you with somebody? A woman? A woman'll make you think you're dying, sure as shooting.

TILDEN:

dead.

I was alone. I thought I was



DODGE: Might as well have been. What'd you come back here for?

TILDEN:

go.

I didn't know where else to

DODGE: You're a grown man. You shouldn't be needing your parents at your age. It's unnatural. There's nothing we can do for you now anyway. Couldn't you make a living down there? Couldn't you nd some way to make a living? Support yourself? What'dya come back here for? You expect us to



feed you forever?

TILDEN:

go.

I didn't know where else to

DODGE: I never went back to my parents. Never. Never even had the urge. I was independent. Always independent. Always found a way. Self-sufficient.

TILDEN: I didn't know what to do. I couldn't figure anything out.



DODGE: There's nothing to gure out. You just forge ahead. What's there to figure out? (TILDEN stands.)

TILDEN: I was standing. It was night. I was full of the smell of New Mexico. It's di erent than Illinois. Totally different.

Foreign, almost. My lungs were full of it. Like pine smoke and mesquite. That was it. It was foreign. So I left there and I came back here. (He starts to leave.)

DODGE:

Where are you going?


TILDEN:

Out back.

DODGE: You're not supposed to go out there. You heard what she said. Don't play deaf with me!

TILDEN:

DODGE:

I like it out there.

In the rain?

TILDEN: Especially in the rain. I like the feeling of it. Feels like it always did.



DODGE: You're supposed to watch out for me. Get me things when I need them.

TILDEN:

What do you need?

DODGE: I don't need anything yet! But I might. I might need something any second. Any second now. I can't be left alone for a minute! (DODGE starts to cough.)

TILDEN: I'll be right outside. You can


DODGE: (Between coughs.) No! It's too far! You can't go out there! It's too far! You might not even hear me! I could die here and you'd never hear me!

TILDEN: (Moving to the pills.) Why don't you take a pill? You want a p il l ? (DODGE coughs more violently, throws himself back against the sofa, clutches his throat, TILDEN stands by helplessly.)

DODGE: (TILDEN

Water! Get me some water! rushes o left. DODGE reaches


out for the pills, knocking some bottles to the oor, coughing in spasms. He grabs a small bottle, takes out pills, and swallows them, TILDEN rushes back on with a glass of water. DODGE takes it and drinks. His coughing subsides.)

TILDEN : You all right now? (DODGE nods. Drinks more water. TILDEN moves in closer to him. DODGE sets the glass of water on the night table. His coughing is almost gone.) Why don't you lay down for a while? Just rest a little, (TILDEN helps DODGE lie down on the sofa. Covers him with the


blanket.)

DODGE:

you?

TILDEN :

You're not going outside, are

No.

DODGE: I don't want to wake up and find you not here.

TILDEN: I'll be here, (TILDEN tucks the blanket around DODGE.)


DODGE:

TILDEN:

You'll stay right here?

I'll stay in my chair.

DODGE: That's not a chair. That's my old milking stool.

TILDEN:

DODGE:

I know.

Don't call it a chair.

TILDEN: I won't, (TILDEN tries to take DODGE 's baseball cap off.)



DODGE: What're you doing?! Leave that on me! Don't take that o a me! That's my cap! (TILDEN leaves the cap on DODGE.)

TILDEN:

I know.

DODGE: Bradley’11 shave my head if I don't have that on. That's my cap.

TILDEN:

DODGE:

I know it is.

Don't take my cap off.


TILDEN:

DODGE :

TILDEN:

I won't.

You stay right here now.

(Sits on stool.) I will.

DODGE: Don't go outside. There's nothing out there. Never has been. It's empty.

TILDEN:

I won't.

DODGE:

Everything's
 in
 here.



Everything you need. Money's on the table. TV. Is the TV on?

TILDEN:

Yeah.

DODGE: Turn it o ! Turn the damn thing off! What's it doing on?

TILDEN: (Turns o the TV, the light goes out.) You left it on.

DODGE:

Well, turn it off.



TILDEN:

DODGE:

TILDEN:

(Sits on stool again.) It's off.

Leave it off.

I will.

DODGE: When I fall asleep you can turn it back on.

TILDEN:

Okay.

DODGE : You can watch the ball game. White Sox. You like the



White Sox, don't you?

TILDEN:

Yeah.

DODGE : You can watch the White Sox. Pee Wee Reese. Pee Wee Reese. You remember Pee Wee Reese?

TILDEN :

DODGE:

No.

Was he with the White Sox?


TILDEN:

I don't know.

DODGE: Pee Wee Reese. (Falling into sleep.) Bases loaded. Top a the sixth. Bases loaded. Runner on rst and third. Big fat knuckle ball. Floater. Big as a blimp. Cracko! Ball just took o like a rocket. Just pulverized. I marked it. Marked it with my eyes. Straight between the clock and the Burma Shave ad. I was the rst kid out there. First kid. I had to ght hard for that ball. I wouldn't give it up. They almost tore the ears right o of me. But I wouldn't give it up. (DODGE falls


into deep sleep, TILDEN just sits staring at him for a while. Slowly he leans toward the sofa, checking to see if DODGE is well asleep. He reaches slowly under the cushion and pulls out the bottle of booze, DODGE sleeps soundly, TILDEN stands quietly, staring at DODGE as he uncaps the bottle and takes a long drink. He caps the bottle and sticks it in his hip pocket. He looks around at the husks on the oor and then back to DODGE. He moves center and gathers an armload of corn husks, then crosses back to the sofa. He stands holding the husks over DODGE and looks down at him as


he gently spreads the corn husks over the whole length of DODGE 's body. He stands back and looks at DODGE. Pulls out the bottle, takes another drink, returns the bottle to his hip pocket. He gathers more husks and repeats the procedure until the oor is clean of corn husks and DODGE is completely covered in them except for his head, TILDEN takes another long drink, stares at DODGE sleeping, then quietly exits left. Long pause as the sound of rain continues, DODGE sleeps on. The gure of BRADLEY appears up left, outside the screen porch door. He holds a wet newspaper over his head as a



protection from the rain. He seems to be struggling with the door, then slips and almost falls to the ground, DODGE sleeps on, undisturbed.)

BRADLEY: Sonuvabitcli! Sonuvagoddamnbitch! Always some obstacle, (BRADLEY recovers his footing and makes it through the screen door onto the porch. He throws the newspaper down, shakes the water out of his hair, and brushes the rain o his shoulders. He is a big man dressed in a gray sweatshirt, black suspenders, baggy dark blue pants, and black janitor's shoes. His



left leg is wooden, having been amputated above the knee. He moves with an exaggerated, almost mechanical limp. The squeaking sounds of leather accompany his walk, coming from the harness and hinges of the false leg. His arms and shoulders are extremely poweful and muscular due to a lifetime of dependency on the upper torso doing all the work for the legs. He is about ve years younger than TILDEN. He moves laboriously to the right door and enters, closing the door behind him. He doesn't notice DODGE at rst. He moves toward the staircase. Calling upstairs) Mom! (He stops and


listens. Turns upstage and sees DODGE sleeping. Notices corn husks. He moves slowly toward the sofa. Stops next to the pail and looks into it. Looks at husks, DODGE stays asleep. BRADLEY talks to himself) Corn. (Pause.) Harvest's over, Pops. (He looks at DODGE ’s sleeping face and shakes his head in disgust. He pulls out a pair of black electric hair clippers from his pocket. Unwinds the cord and crosses to the lamp. He jabs his wooden leg behind the knee, causing it to bend at the joint, and awkwardly kneels to plug the cord into a oor outlet. He pulls himself to his feet again by using the sofa as


leverage. He moves to DODGE 's head and again jabs his false leg. Goes down on one knee. He violently knocks away some of the corn husks, then jerks o DODGE 's baseball cap and throws it down center, DODGE stays asleep, BRADLEY switches on the clippers. Lights start dimming. BRADLEY cuts DODGE ‘s hair while he sleeps. Lights dim slowly to black with the sound of clippers and rain.)


Act Two

Scene: same set as Act One. Night. Sound of rain, DODGE is still asleep on the sofa. His hair is cut extremely short and in places the scalp is cut and bleeding. His cap is still center stage. All the corn and husks, pail and milking stool have been cleared away. The lights come up to the sound of a young girl laughing o stage left, DODGE remains asleep, SHELLY and VINCE appear up left outside the screen porch door sharing the shelter of VINCE ‘s overcoat above their



heads, SHELLY is about nineteen, black hair, very beautiful. She wears tight jeans, high heels, a purple T-shirt, and a short rabbit fur coat. Her makeup is exaggerated and her hair has been curled, VINCE is TILDEN ‘s son, about twenty-two. He wears a plaid shirt, jeans, dark glasses, and cowboy boots, and carries a black saxophone case. They shake the rain o themselves as they enter the porch through the screen door.

SHELLY: (Laughing, gesturing to the house.) This is it? I don't believe this is it!


VINCE:

This is it.

SHELLY:

This is the house?

VINCE:

This is the house.

SHELLY:

I don't believe it!

VINCE :

How come? It's just a house.

SHELLY: It's like a Norman Rockwell cover or something.


VINCE: What's a matter with that? It's American.

SHELLY: American? Where's the milkman and the little dog? What's the little dog's name? Spot. Spot and Jane. Dick and Jane and Spot. See Spot run.

VINCE: Come on! Knock it o . It's my h e r i t a g e . (She laughs more hysterically, out of control.) Have some respect, would ya!

SHELLY:

(Trying to control herself.) I'm


sorry.

VINCE: I don't want to go in there with you acting like an idiot.

SHELLY:

Yes, sir!

VINCE: Well, I don't. I haven't had any contact with them for years. I just don't want them to think I've suddenly arrived out of the middle of nowhere completely deranged.

SHELLY:

What do you want them to


think then? (Pause.)

VINCE: Nothing. Let's just go in. (He crosses the porch toward right interior door, SHELLY follows him. He opens the right door slowly. VINCE sticks his head in, doesn't notice DODGE sleeping. Calls out toward staircase.) Grandma! (SHELLY breaks into laughter, unseen behind VINCE. VINCE pulls his head back outside and pulls the door shut. We hear their voices again without seeing them)

SHELLY:

(Stops laughing.) I'm sorry. I'm


sorry, Vince. I really am. I really am sorry. I won't do it again. I couldn't help it.

VINCE:

It's not all that humorous.

SHELLY:

I know it's not. I'm sorry.

VINCE: I mean this is a tense situation for me! I haven't seen them for over six years. I don't know what to expect.

SHELLY:

I know. I won't do it again.


Scout's honor. Just don't say “Grandma,” okay? (She giggles, stops.) I mean if you say “Grandma,” I don't know if I can control myself.

VINCE:

Well, try!

SHELLY: Okay. Sorry. (He opens the door again, VINCE sticks his head in, then enters, SHELLY follows behind him. VINCE crosses to the staircase, sets down the saxophone case and overcoat, looks up the staircase, SHELLY notices DODGE ‘s baseball cap. Crosses

-----------------------------------------------------Page 131-----------------------------------------------------


to it. Picks it up and puts it on her head, VINCE goes up the stairs and disappears at the top. SHELLY watches him, then turns and sees DODGE on the sofa. She takes off the baseball cap) VINCE: (From upstairs.) Grandma! (From upstairs.) Grandma! (SHELLY crosses over to DODGE slowly and stands next to him. She stands at his head, reaches out slowly, and touches one of the cuts. The second she touches his head, DODGE jerks up to a sitting position on the sofa, eyes open, SHELLY gasps, DODGE looks at her, sees

-----------------------------------------------------Page 132-----------------------------------------------------


his cap in her hands, and quickly puts his hand to his bare head. He glares at SHELLY, then whips the cap out of her hands and puts it on. SHELLY backs away from him. DODGE stares at her)

SHELLY: I'm uh—with Vince. (DODGE just glares at her.) He's upstairs, (DODGE looks at the staircase then back at SHELLY. Calling upstairs.) Vince!

VINCE:

Just a second!

SHELLY :

You better get down here!



VINCE: Just a minute! I'm looking at the pictures, (DODGE keeps staring at her.)

SHELLY: (To DODGE.) We just got here. We drove out from New York. Pouring rain on the freeway so we thought we'd stop by. I mean Vince was planning on stopping anyway. He wanted to see you. He said he hadn't seen you in a long time. Pay you a little visit. (Pause, DODGE just keeps staring at her.) We were going all the way through to New Mexico. To see his father. I guess his father lives out there. In a trailer or



something. (Louder.) We thought we'd stop by and see you on the way. Kill two birds with one stone, you know? (She laughs, DODGE stares; she stops laughing.) I mean Vince has this thing about his family now. I guess it's a new thing with him. I kind of nd it hard to relate to. But he feels it's important. You know. I mean he wants to get to know you again. After all this time. Reunite. I don't have much faith in it myself. Reuniting. (Pause, DODGE just stares at her. She moves nervously to the staircase and yells up to VINCE.) Vince, will you come down here please?! (VINCE comes halfway


down the stairs.)

VINCE: I guess they went out for a while, (SHELLY points to the sofa and DODGE, VINCE turns and sees DODGE. He comes all the way down the staircase and crosses to DODGE, SHELLY stays behind, near the staircase, keeping her distance.) Grandpa? (DODGE looks up at him, not recognizing him.)

DODGE: Did you bring the whiskey? (VINCE looks back at SHELLY then back to

DODGE.)


VINCE: Grandpa, it's me. Vince. I'm Vince. Tilden's son. You remember? (DODGE stares at him.)

DODGE : You didn't do what you told me. You didn't stay here with me. VINCE: Grandpa, I haven't been here until just now. I just got here.

DODGE : You left. Abandoned me. You went outside like we told you not to do. You went out there in back. In the rain, (VINCE looks back at


SHELLY.

sofa.) SHELLY :

She moves slowly toward the

Is he okay?

VINCE: I don't know. (Takes o his shades.) Look, Grandpa, don't you remember me? Vince. Your grandson. I know it's been a while. My hair's longer, maybe, (DODGE stares at him, then takes o his baseball cap.)

DODGE:

(Points to his head.) See what


happens when you leave me alone? See that? That's what happens, (VINCE looks at DODGE ‘s head, then reaches out to touch it. DODGE slaps VINCE ‘s hand away with the cap and puts it back on his head)

VINCE: What's going on, Grandpa? Where's Halie?

DODGE: Don't worry about her. She won't be back for days. She's absconded. She says she'll be back but she won't be. (He starts laughing.) There's life in the old girl


yet! (Stops laughing.)

VINCE : How did you do that to your head?

DODGE: I didn't do it! Don't be ridiculous! Whadya think I am, an animal?

VINCE: DODGE

Well, who did then? (Pause,

stares at VINCE.)

DODGE: Who do you think did it? Who do you think? (SHELLY moves


toward

VINCE.)

SHELLY: Vince, maybe we oughta go. I don't like this. I mean this isn't my idea of a good time.

VINCE: (To SHELLY.) Just a second. (To DODGE.) Grandpa, look, I just got here. I just now got here. I haven't been here for six years. I don't know anything that's happened. (Pause, DODGE stares at him.)

DODGE :

You don't know anything?


VINCE:

NO.

DODGE: Well, that's good. That's good. It's much better not to know anything. Much, much better.

VINCE: Isn't there anybody here with you? (DODGE turns slowly and looks o to left.)

DODGE:

Tilden's here.

VINCE: NO, Grandpa, Tilden's in New Mexico. That's where I was going.


I'm going out there to see him. We just stopped o here because it was on the way. (DODGE turns slowly back to VINCE.)

DODGE: Well, you're gonna be disappointed, (VINCE backs away and joins SHELLY, DODGE stares at them.)

SHELLY: Vince, why don't we spend the night in a motel and come back in the morning? We could have breakfast. A shower. Maybe everything would be different.


VINCE: Don't be scared. There's nothing to be scared of. He's just old.

SHELLY:

I'm not scared!

DODGE : You two are not my idea of the perfect couple!

SHELLY: (Afterpause.) Why's that?

Oh
 really?

VINCE:

Shh! Don't aggravate him.


DODGE: There's something wrong between the two of you. Something not compatible. Like chalk and cheese.

VINCE: Grandpa, where did Halie go? Maybe we should call her. I don't understand why you're here all by yourself. Isn't anybody looking after you?

DODGE: What are you talking about? Do you know what you're talking about? Are you just talking for the sake of talking? Lubricating the


gums?

VINCE:

I'm just trying to—

DODGE: Halie is out with her boyfriend. The Right Reverend Dewis. He's not a breeder-man but a man of God. Next best thing, I suppose.

VINCE: I'm trying to going on here!

gure out what's

DODGE:

Good luck.



VINCE: I expected everything to be di erent. I mean the same. Like it used to be.

DODGE: Who are you to expect anything? Who are you supposed to be?

VINCE: I'm Vince! Your grandson! You've gotta remember me.

DODGE:

rich!

Vince. My grandson. That's


VINCE:

Tilden's son.

DODGE: Tilden's son, Vince. He had two, I guess.

VINCE: TWO? NO look, you haven't seen me for a long time.

DODGE:

When was the last time?

VINCE: I don't remember exactly. We had a big dinner. A reunion, kind of. Turkey. You made some comment about Dad's fastball. I


was a kid, I guess. It was quite a while ago.

DODGE :

You don't remember?

VINCE: NO. Not really. I mean—we were all sitting at the table. All of us—and you and Bradley were making fun of Dad's fastball. And— DODGE : You don't remember. How am I supposed to remember if you don't?


VINCE: I remember being there. I just don't remember the details.

SHELLY: Vince, come on. This isn't going to work out. I've got a strong feeling.

VINCE:

(To SHELLY.) Just take it easy.

SHELLY: I'm taking it easy! He doesn't even know who you are!

VINCE: (Crossing to DODGE.) Of course he knows who I am. He's just tired


or something. Grandpa, look—I don't know what's happened here, but—

DODGE: Stay where you are! Keep your distance! (VINCE stops. Looks back at SHELLY then to DODGE.)

SHELLY: Vince, this is really making me nervous. I mean he doesn't even want us here. He doesn't even like us.

DODGE:

She's a beautiful girl.


VINCE:

Thanks.

DODGE: Very “fetching,” as they used to say.

SHELLY:

Oh my God.

DODGE: (To SHELLY.) What's your name, girlie girl?

SHELLY:

DODGE:

Shelly.

Shelly. That's a man's name,



isn't it?

SHELLY:

Not in this case.

DODGE:

too.

(To

VINCE.)

She's a smart-ass

SHELLY:

Vince! Can we go?

VINCE: Grandpa, look—look at me for a second. Try to remember my face.


DODGE: She wants to go. She just got here and she wants to go. Itchy.

VINCE: This is kind of strange for her. I mean, it's strange enough for me —

DODGE: She'll get used to it. (To SHELLY.) What part of the country do you hail from, girlie?

SHELLY:

DODGE:

Originally?

That's right. Originally. At


the very start.

SHELLY:

DODGE:

LA.

LA. Stupid country.

SHELLY: I can't stand this, Vince! This is really unbelievable!

DODGE: It's stupid! LA is stupid! So is Florida. All those Sunshine States. They're all stupid! Do you know why they're stupid?


SHELLY:

Illuminate me.

VINCE:

Shelly. Don't!

DODGE: I'll tell you why. Because they're full of smart-asses! That's why. (SHELLY turns her back to DODGE, crosses to staircase and sits on bottom step. To VINCE.) NOW she's insulted.

SHELLY:

Vince?

DODGE: She's insulted! Look at her! In my house she's insulted! She's over


there sulking because I insulted her!

VINCE:

Grandpa—

SHELLY: (To VINCE.) This is really terri c. This is wonderful. And you were worried about me making the right first impression!

DODGE: (To VINCE.) She's a reball, isn't she? Regular reball. I had some a them in my day. Temporary stu . Never lasted more than a week.



VINCE:

Grandpa—look—

DODGE: Stop calling me Grandpa, will ya! It's sickening. “Grandpa.” I'm nobody's grandpa! Least of all yours.

VINCE: I can't believe you don't recognize me. I just can't believe it. It wasn't that long ago. (DODGE starts feeling around under the cushion for the bottle of whiskey, SHELLY gets up from the staircase.)



SHELLY: (To VINCE.) Maybe you've got the wrong house. Did you ever think of that? Maybe this is the wrong address!

VINCE: It's not the wrong address! I recognize the yard. The porch. The elm tree. The house. I was standing right here in this house. Right in this very spot.

SHELLY: Yeah, but do you recognize the people? He says he's not your grandfather.

-----------------------------------------------------Page 159-----------------------------------------------------


VINCE: He is my grandpa! I know he's my grandpa! He's always been my grandpa. He always will be my grandpa!

DODGE: (Diggingfor the bottle.) Where's that bottle?!

VINCE: He's just sick or something. I don't know what's happened to him. Delirious.

DODGE: Where's my goddamn bottle?! (DODGE gets up from the sofa and starts


tearing the cushions o it and throwing them downstage, looking for the whiskey.) They've stole my bottle!

SHELLY: Can't we just drive on to New Mexico? This is terrible, Vince! I don't want to stay here. In this house. I thought it was going to be turkey dinners and apple pie and all that kinda stuff.

VINCE:

you!

Well, I hate to disappoint



SHELLY: I'm not disappointed! I'm fuckin’ terri ed! I wanna go! (DODGE yells toward left.)

DODGE: Tilden! Tilden! They stole my bottle! (DODGE keeps ripping away at the sofa looking for his bottle. He knocks over the night stand with the bottles, VINCE and SHELLY watch as he starts ripping the stu ng out of the sofa)

VINCE: (To SHELLY.) He's lost his mind or something. I've got to try to help him.


SHELLY : You help him! I'm leaving! (SHELLY starts to leave. VINCE grabs her. They struggle as DODGE keeps ripping away at the sofa and yelling.)

DODGE: Tilden! Tilden, get your ass in here! Tilden!

SHELLY:

Let go of me!

VINCE: You're not going anywhere! I need you to stay right here!

SHELLY:

Let
 go
 of
 me,
 you



sonuvabitch! I'm not your property! (Suddenly TILDEN walks on from left just as he did before. This time his arms are full of carrots, DODGE, VINCE, and SHELLY stop suddenly when they see him. They all stare at TILDEN as he crosses slowly center with the carrots and stops, DODGE sits on the sofa, exhausted.)

DODGE: (Panting, to TILDEN) Where in the hell have you been?

TILDEN:

Out back.


DODGE:

Where's my bottle?

TILDEN: Gone, (TILDEN and VINCE stare at each other, SHELLY backs away.)

DODGE:

bottle!

(To

TILDEN.)

You stole my

VINCE: (To TILDEN.) Dad? What're you doing here?

at VINCE.)

SHELLY: Oh brother,
 (TILDEN

just stares



DODGE : You had no right to steal my bottle! No right at all! Who do you think you are?

VINCE: (To TILDEN.) It's Vince. I'm Vin ce. (TILDEN stares at VINCE, then looks at DODGE, then turns to SHELLY.)

TILDEN: (Afterpause.) I picked these carrots. If anybody wants any carrots, I picked ‘em.

SHELLY: (To VINCE.) NOW, wait a minute. This is your father? The



one we were going to visit?

VINCE: (To TILDEN.) Dad, what're you doing here? What's going on? (TILDEN just stares at VINCE, holding the carrots. DODGE pulls the blanket back over himself.)

SHELLY: This is actually your father? The one in New Mexico?

DODGE: (To TILDEN.) You're going to have to get me another bottle! You gotta get me a bottle before Halie


comes back! There's money on the table. (Points to left kitchen.)

TILDEN: (Shaking his head.) I'm not going down there. Into town. I never do well in town, (SHELLY crosses to TILDEN, TILDEN stares at her.)

SHELLY: (To father?
 TILDEN.)

Are you Vince's

TILDEN:

(To SHELLY.) Vince?

SHELLY:

(Pointing to

VINCE.)

This is



supposed to be your son! Is he your son? Do you recognize him? I'm just along for the ride here. I thought everybody knew each other! (TILDEN stares at VINCE. DODGE wraps himself up in the blanket and sits on the sofa staring at the floor.) TILDEN: I had a son once but we buried him. (DODGE quickly

looks at TILDEN. SHELLY looks to

VINCE.)

DODGE : You shut up about that! You don't know anything about that!


VINCE: Dad, I thought you were in Bernalillo. We were going to drive down there and see you.

TILDEN: Long way to drive. Terrible distance.

VINCE: What's happened, Dad? Has something happened? I thought everything was all right. What's happened to Halie? What're you doing back here?

TILDEN: She left. Church or something. It's always church. God


or Jesus. Or both.

SHELLY: (To TILDEN.) Do you want me to take those carrots for you?

VINCE: Shelly— (TILDEN stares at her. She moves in close to him. Holds out her arms, TILDEN stares at her arms, then slowly dumps the carrots into her arms, SHELLY stands there holding the carrots.)

TILDEN:

(To SHELLY.) YOU like carrots?


SHELLY: Sure. I like all kinds of vegetables. I'm a vegetarian.

DODGE: (To TILDEN.) Hitler was a vegetarian. You gotta get me a bottle before Halie comes back! (DODGE hits the sofa with his st, VINCE crosses up to DODGE and tries to console him. SHELLY and TILDEN stay facing each other.)

TILDEN: (To SHELLY.) Backyard's full of carrots. Corn. Potatoes.


SHELLY: You're Vince's father, right? His real father. I'm just asking.

TILDEN: All kinds of vegetables. You like vegetables?

SHELLY: (Laughs.) vegetables.

Yeah.
 love

TILDEN: We could cook these carrots, ya know. You could cut ‘em up and we could cook ‘em. You and me.

SHELLY:

All right. Sure. Whatever

I


works.

VINCE:

Shelly, what're you doing?

TILDEN:

SHELLY:

I'll get you a pail and a knife.

Okay.

VINCE:

Shelly!

TILDEN:

I'll be right back. Don't go.


VINCE: Dad, wait a second, (TILDEN exits o left.) What the hell is going on here? What's happened to everybody? (SHELLY stands center, arms full of carrots, VINCE stands next to DODGE, SHELLY looks toward VINCE then down at the carrots.)

DODGE: (To VINCE.) You could get me a bottle. (Pointing o left.) There's money on the table.

VINCE: Grandpa, why don't you lay down for a while?


DODGE: I don't wanna lay down for a while! Every time I lay down something happens! (Whips o his cap, points at his head.) Look what happens! That's what happens! (Pulls his cap back on.) You go lay down and see what happens to you! See how you like it! They'll steal your bottle! They'll cut your hair! They'll murder your children! That's what'll happen. They'll eat you alive.

VINCE: Just relax for a while. Maybe things will come back to you. (Pause.)


DODGE : You could get me a bottle, ya know. There's nothing stopping you from getting me a bottle.

SHELLY: Why don't you get him a bottle, Vince? Maybe it would help everybody identify each other.

DODGE: (Pointing to SHELLY.) There, see? She thinks you should get me a bottle. She's a smart cookie. Suddenly, she got smart, (VINCE crosses to SHELLY.)


VINCE: Shelly, what're you doing with those carrots?

SHELLY:

I'm waiting for your father.

DODGE: She thinks you should get me a bottle!

VINCE: Shelly, put the carrots down, will ya! We gotta deal with the situation here! I'm gonna need your help. I don't know what's going on here but I need some help to try to figure this out.


SHELLY:

I'm helping.

VINCE: You're only adding to the problem! You're making things worse! Put the carrots down! (VINCE tries to knock the carrots out of her arms. She turns away from him, protecting the carrots.)

SHELLY: Get away from me! Stop it! (VINCE stands back from her. She turns to him still holding the carrots)

VINCE:

(To

SHELLY.)

Why are you doing


this? Are you trying to make fun of me? This is my family, you know! SHELLY : You coulda fooled me! I'd just as soon not be here myself. I'd just as soon be a thousand miles from here. I'd rather be anywhere but here. You're the one who wants to stay. So I'll stay. I'll stay and I'll cut the carrots. And I'll cook the carrots. And I'll do whatever I have to do to survive. Just to make it through this thing.

VINCE:

Put the carrots down, Shelly.


The carrots aren't going to help. The carrots have nothing to do with the situation here, (TILDEN enters from left with the pail, the milking stool, and a knife. He sets the stool and pail center for SHELLY, SHELLY looks at VINCE, then sits down on the stool, sets the carrots on the oor, and takes the knife from TILDEN. She looks at Vince again, then picks up a carrot, cuts the ends o , scrapes it, and drops it in the pail. She repeats this, VINCE glares at her. She smiles.)

DODGE: She could get me a bottle. She's the type a girl that could get


me a bottle. Easy. She'd go down there. Slink up to the counter. They'd probably give her two bottles for the price of one. She could do that. She has that air about her. (SHELLY laughs. Keeps cutting carrots, VINCE crosses up to DODGE, looks at him. TILDEN watches

SHELLY‘s HANDS. LONG PAUSE.)

VINCE: (To DODGE.) I haven't changed that much. I mean physically. Physically I'm just about the same. Same size. Same weight. Everything's the same, (DODGE keeps staring at SHELLY while VINCE talks to


him.)

DODGE: She's a beautiful girl. Exceptional, (VINCE moves in front of DODGE to block his view of SHELLY, DODGE keeps eraning his head around to see her as VINCE demonstrates tricks from his past)

VINCE: Look. Look at this. Do you remember this? I used to bend my thumb behind my knuckles. You remember? I used to do it at the dinner table. Way back when. You told me, one day it would get stuck


like this and I'd never be able to throw a baseball, (VINCE bends a thumb behind his knuckles for DODGE and holds it out to him. DODGE takes a short glance, then looks back at SHELLY, VINCE shifts position and shows him something else.) What about this? (VINCE curls his lips back and starts drumming on his teeth with his ngernails, making little tapping sounds, DODGE watches a while, TILDEN turns toward the sound, VINCE keeps it up. He sees TILDEN taking notice and crosses to TILDEN as he drums on his teeth. DODGE turns the TV on and watches it.) You remember this,


Dad? Rooty-tooty? “St. James In rmary”? “When the Saints Go Marching In”? (VINCE keeps on drumming for TILDEN, TILDEN watches a while, fascinated, then turns back to SHELLY, VINCE keeps up the drumming on his teeth, crosses back to DODGE doing it. SHELLY keeps working on the carrots, talking

tO TILDEN.)

SHELLY: (To TILDEN.) He drives me crazy with that sometimes.

VINCE:

(To

DODGE.)

I know! Here's one


you'll remember. You used to kick me out of the house for this one. (VINCE pulls his shirt out of his belt and holds it tucked under his chin with his stomach exposed. He grabs the esh on either side of his belly button and pushes it in and out to make it look like a mouth

talking. He watches his belly button and makes a deep-sounding cartoon voice to synchronize with the movement. He demonstrates it to DODGE, then crosses down to TILDEN doing it. Both DODGE and TILDEN take short, uninterested glances, then ignore him. Deep cartoon voice.)



“Hello. How are you? I'm ne. Thank you very much. It's so good to see you looking well this ne Sunday morning.” It's the same old me. Same old dependable me. Never change. Never alter one iota. (VINCE stops. Tucks his shirt back in.)

SHELLY: Vince, don't be pathetic, will ya! They're not gonna play. Can't you see that? (SHELLY keeps cutting carrots, VINCE slowly moves toward TILDEN, TILDEN keeps watching SHELLY.)

VINCE:

(To

SHELLY.)

I don't get it. I


really don't get it. Maybe it's me. Maybe I forgot something.

DODGE: (From the sofa.) You forgot to get me a bottle! That's what you forgot. Anybody in this house could get me a bottle. Anybody! But nobody will. Nobody understands the urgency! Peelin’ carrots is more important. Playin’ piano on your teeth! Well, I hope you all remember this when you get up in years. When you nd yourself immobilized. Dependent on the whims of others, (VINCE moves up toward DODGE. Pause as VINCE looks at


him. SHELLY continues cutting carrots. Pause, VINCE moves around, stroking his hair, staring at DODGE and TILDEN, VINCE and SHELLY exchange glances, DODGE watches TV.)

VINCE: Boy! This is amazing. This is truly amazing. (Keeps moving around.) What is this anyway? Am I being punished here or what? Is that it? Some kind of banishment? Some kind of wicked warped exile? Just tell me. I can take it. Lay it on me. What was it? Did I betray some secret ancient family taboo, way back when? Did I cross the line



somehow when I wasn't looking? What exactly was it?

SHELLY: Vince, what are you doing that for? They don't care about any of that. They just don't recognize you, that's all. They don't have a clue.

VINCE : How could they not recognize me?! How in the hell could they not recognize me?! I'm their son! I'm their esh and blood. Anybody can see we're related.



DODGE: (Watching TV) You're no son of mine. I've had sons in my time— plenty of sons—but you're not one of ‘em. I know them by their scent. (Long pause, VINCE stares at

DODGE.)

VINCE: All right. All right, look—I'll get you a bottle. I'll get you a goddamn bottle.

DODGE :

VINCE:

You will?

Yeah, sure, you bet. If that's


what it takes, I'll get you a bottle. Then maybe you can tell me what's going on here.

SHELLY: You're not going to leave me here alone, are you?

VINCE: (Moving to her.) You suggested it! You said, “Why don't I go get him a bottle.” So I'll go get him a bottle! That's what I'll do. Maybe it'll help jar things loose.

SHELLY:

myself.

But I can't stay here by


DODGE: Don't let her talk you out of it! She's a bad in uence. I could see it the minute she stepped in here. VINCE: Shelly I gotta go out for a while. I just gotta get outta here. Think things through by myself. I'll get a bottle and I'll come right back.

SHELLY: I don't know if I can handle this, Vince.

VINCE: You'll be okay. Nothing's going to happen. They're not


dangerous or anything.

SHELLY:

Can't we just go?

VINCE: NO! I gotta nd out what's going on here. Something has fallen apart. This isn't how it used to be. Believe me. This is nothing like how it used to be …

SHELLY: Look, you think you're bad o , what about me? Not only don't they recognize me but I've never seen them before in my life. I don't know who these guys are. They


could be anybody!

VINCE:

They're not anybody!

SHELLY:

That's what you say.

VINCE: They're my family for Christ's sake! I should know who my own family is! Now give me a break. It won't take that long. I'll just go out and I'll come right back. Nothing'll happen. I promise, (SHELLY stares at him. Pause.)


SHELLY:

Unbelievable.

VINCE: Nothing'll happen. (He crosses up to DODGE.) I'm gonna go out now, Grandpa, and I'll pick you up a bottle. Okay?

DODGE: Persistence, see? That's what it takes. Persistence. Persistence, fortitude, and determination. Those are the three virtues. That's how the country was founded. You stick with those three and you can't go wrong. (Pointing o left.) Money's on the table. In the kitchen, (VINCE


moves toward

SHELLY.)

VINCE: (To SHELLY.) You'll be all right, Shelly. I won't be too long.

SHELLY: (Cutting carrots.) I'll just keep real busy while you're gone. I love vegetables, (VINCE exits, TILDEN keeps staring down at SHELLY‘s HANDS.)

VINCE: (Reentering, to want anything, Dad?
 TILDEN.)

YOU


TILDEN:

(Looks up at

VINCE.)

Me?

VINCE: Yeah, you. “Dad.” That's you. From the store? I'm gonna get Grandpa a bottle. Do you want anything from the store?

TILDEN: He's not supposed to drink. Halie wouldn't like it. She'd be disappointed.

VINCE:

He wants a bottle.

TILDEN:

He's not supposed to drink.



DODGE: (To vince.) Don't negotiate with him! He's the one who stole my bottle! Don't make any transactions until you've spoken to me rst! He'll steal you blind!

VINCE: (To DODGE.) Tilden says you're not supposed to drink.

DODGE: Tilden's lost his marbles! Look at him! He's around the twist. Take a look at him. He's come unwound, (VINCE stares at TILDEN, TILDEN watches SHELLY 's hands as she keeps cutting carrots.) Now look at me.


Look here at me! (VINCE looks back to DODGE.) Now, between the two of us, who do you think is more trustworthy? Him or me? Can you trust a man who keeps bringing in vegetables from out of nowhere? Take a look at him. (VINCE looks back at TILDEN.)

SHELLY : Go get the bottle, Vince. Just go get the bottle.

VINCE:

left.)

I'll be right back,

(VINCE

crosses


DODGE:

Where are you going?

VINCE:

I'm going to get the money.

DODGE:

Then where are you goin’?

VINCE:

Liquor store.

DODGE: Don't go o anyplace else. Don't go o someplace and drink by yourself. Come right back here.

VINCE:

I will,

(VINCE

exits left.)


DODGE: (Calling after VINCE.) You've got responsibility now! And don't go out the back way either! Come out through this way! I wanna see you when you leave! Don't go out the back.

VINCE: (O left.) I won't! and looks at TILDEN and
 (DODGE

turns

SHELLY.)

DODGE: Untrustworthy. Probably drown himself if he went out the back. Fall right in a hole. I'd never get my bottle.


SHELLY: I wouldn't worry about Vince. He can take care of himself. DODGE: Oh he can, huh? Independent, (VINCE comes on again from left with two dollars in his hand. He crosses right past DODGE. To VINCE.) You got the money?

VINCE:

Yeah. Two bucks.

DODGE : Two bucks. Two bucks is two bucks. Don't sneer.



VINCE: What kind do you want for two bucks?

DODGE: Whiskey! Gold Star Sour Mash. Use your own discretion.

VINCE:

Okay.

DODGE: Nothin’ fancy! (VINCE crosses to right door. Opens it. Stops when he hears TILDEN.)

TILDEN: (To VINCE.) You drove all the way from New Mexico?


VINCE: (From the porch.) No, I—look —while I'm gone, try to remember who I am. Try real hard to remember. Use your imagination. It might suddenly come back to you. In a ash, (VINCE turns and looks at TILDEN. They stare at each other, VINCE shakes his head, goes out the door, crosses the porch, and exits out the screen door, TILDEN watches him go. Pause.)

TILDEN: That's a long, lonely stretch of road. I've driven that stretch before and there's no end to it. You feel like you're going to fall right


off into blackness.

SHELLY : You really don't recognize him? Either one of you? (TILDEN turns again and stares at SHELLY ‘s HANDS AS SHE

CUTS CARROTS.)

DODGE:

who?

SHELLY:

(Watching

Vince.

TV)
 Recognize

DODGE: What's to recognize? (DODGE lights a cigarette, coughs slightly, and



stares at the TV)

SHELLY: It'd be cruel if you recognized him and didn't tell him. Wouldn't be fair.

DODGE:

Cruel.

SHELLY: Well, it would be. I mean it's not really possible, is it, that he's not related to you at all? Just a stranger? He seems so sure about i t . (DODGE just stares at the TV, smoking.)



TILDEN: I thought I recognized him. I thought I recognized something about him.

SHELLY :

You did?

TILDEN: I thought I saw a face inside his face.

SHELLY: Well, it was probably that you saw what he used to look like. You haven't seen him for six years.

TILDEN:

I haven't?



SHELLY: That's what he says, (TILDEN moves around in front of her as she continues with the carrots.)

TILDEN:

Where was it I saw him last?

SHELLY: I have no idea. I've only known him for a few months, myself. He doesn't tell me everything.

TILDEN:

SHELLY:

He doesn't?

Not stuff like that.


TILDEN:

SHELLY :

What does he tell you?

You mean in general?

TILDEN: Yeah, behind her.)
 (TILDEN

moves around

SHELLY: Well, he tells me all kinds of things.

TILDEN:

SHELLY:

Like what?

I don't know! I mean I can't



just come out and tell you how he feels.

TILDEN : How come? (TILDEN keeps moving around her slowly in a circle.)

SHELLY: Because it's stu privately!

he told me

TILDEN:

And you can't tell me?

SHELLY: I don't even know you! I'm not even sure he knows you.


DODGE: Tilden, go out in the kitchen and make me some co ee! Leave the girl alone. She's nervous. She's ready to jump ship any second.

SHELLY: (To DODGE.) He's all right, (TILDEN ignores DODGE, keeps moving around SHELLY. He stares at her hair and coat. DODGE stares at the TV.)

TILDEN : You mean you can't tell me anything?

SHELLY:

I can tell you some things. I



mean we can have a conversation.

TILDEN:

We can?

SHELLY: Sure. We're having conversation right now.

TILDEN:

We are?

SHELLY: Yes. That's what we're doing. It's easy.

TILDEN:

But there's certain things you

a


can't tell me, right?

SHELLY:

Right.

TILDEN: There's certain things I can't tell you either.

SHELLY :

How come?

TILDEN: I don't know. supposed to hear it.

Nobody's

SHELLY:

Well,
 you
 can
 tell
 me



anything you want to.

TILDEN:

SHELLY:

TILDEN:

I can?

Sure.

It might not be very nice.

SHELLY: That's all right. I've been around.

TILDEN:

It might be awful.



SHELLY: Well, can't you tell me anything nice? (TILDEN stops in front of her and stares at her coat, SHELLY looks back at him. Long pause.)

TILDEN: (Afterpause.) Can I touch your coat?

SHELLY: My coat? (She looks at her coat then back to TILDEN.) Sure.

TILDEN :

You don't mind?

SHELLY :

No. GO ahead,

(SHELLY

holds



her arm out for TILDEN to touch, DODGE stays xed on the TV TILDEN moves in slowly toward SHELLY, staring at her arm. He reaches out very slowly and touches her arm, feels the fur gently, then draws his hand back, SHELLY keeps her arm out.) It's rabbit.

TILDEN: Rabbit. (He reaches out again very slowly and touches the fur on her arm, then pulls back his hand again, SHELLY drops her arm.)

SHELLY:

My arm was getting tired.


TILDEN:

Can I hold it? (Pause.)

SHELLY: The coat? Sure. I guess, (SHELLY takes o her coat and hands it to TILDEN, TILDEN takes it slowly, feels the fur, then puts it on. SHELLY watches as TILDEN strokes the fur slowly. He smiles at her. She goes back to cutting carrots.) You can have it if you want.

TILDEN:

SHELLY:

I can?

Yeah. I've got a raincoat in


the car. That's all I need.

TILDEN:

You've got a car?

SHELLY: Vince does, (TILDEN walks around stroking the fur and smiling at the coat, SHELLY watches him when he's not looking. DODGE sticks with the TV, stretches out on the sofa wrapped in the blanket.)

TILDEN: (As HE WALKS AROUND.) I had a car once! I had a white car! I drove. I went everywhere. I went to the



mountains. I drove in the snow.

SHELLY:

That must've been fun.

TILDEN: (Still moving, feeling the coat.) I drove all day long sometimes. Across the desert. Way out across the desert. I drove past tiny towns. Anywhere. Past palm trees. Lightning. Anything. I would drive through it. I would drive through it and I would stop and I would look around and I would see things sometimes. I would see things I wasn't supposed to see. Like deer.



Hawks. Owls. I would look them in the eye and they would look back and I could tell I wasn't supposed to be there by the way they looked at me. So I'd drive on. I would get back in and drive! I loved to drive. There was nothing I loved more. Nothing I dreamed of was better than driving. I was independent. DODGE: (Eyes on the TV) Pipe down, would ya! Stop running o at the mouth, (TILDEN stops. Stares at SHELLY.)

SHELLY :

Do you do much driving


now?

TILDEN:

now.

SHELLY :

TILDEN:

SHELLY:

TILDEN:

NOW? NOW? I don't drive

How come?

I'm older.

You're not that old.

I'm not a kid.


SHELLY : drive.

TILDEN:

SHELLY:

You don't have to be a kid to

It wasn't driving then.

What was it?

TILDEN: Adventure. I went everywhere. I had a sensation of myself.

SHELLY:

Well, you can still do that.



TILDEN:

SHELLY:

Not now.

Why not?

TILDEN: I just told you. You don't understand. If I told you something you wouldn't understand it.

SHELLY:

TILDEN:

true.

Told me what?

Told you something that's


SHELLY:

TILDEN:

baby.

SHELLY:

Like what?

Like a baby. Like a little tiny

Like when you were little?

TILDEN: If I told you you'd make me give your coat back.

SHELLY: I won't. I promise. Tell me. Please.



TILDEN:

I can't. Dodge won't let me.

SHELLY: He won't hear you. It's okay. He's watching TV (Pause, TILDEN stares at her. Moves slightly toward her)

TILDEN: We had a baby. Little baby. Could pick it up with one hand. Put it in the other, (TILDEN moves closer to her. DODGE takes more interest.) So small that nobody could nd it. Just disappeared. We had no service. No hymn. Nobody came.



DODGE:

Tilden!

TILDEN: Cops looked for it. Neighbors. Nobody could nd it. (DODGE struggles to get up from the sofa.)

DODGE: Tilden? You leave that girl alone! She's completely innocent, (DODGE keeps struggling until he's standing.)

TILDEN:

up.

Finally everybody just gave Just stopped looking.


Everybody had a di erent answer, (DODGE struggles to walk toward TILDEN and falls, TILDEN ignores him.)

DODGE: Tilden! What are you telling he r ? (DODGE starts coughing on the floor, SHELLY watches him from the stool.)

TILDEN: Little tiny baby just disappeared. It's not hard. It's so small. Almost invisible. Hold it in one hand, (SHELLY makes a move to help DODGE, TILDEN rmly pushes her back down on the stool, DODGE keeps



coughing.)

DODGE: Tilden! Don't tell anything! She's an outsider!

TILDEN: He's the only one who knows where it is. The only one. Like a secret buried treasure. Won't tell any of us. (DODGE ‘s COUGHING SUBSIDES, SHELLY stays on the stool staring at DODGE, TILDEN slowly takes SHELLY ’s coat o and holds it out to her. Long pause, SHELLY sits there trembling) You probably want your coat back now. I would if I was you. (SHELLY

her


stares at the coat but doesn't move to take it. The sound of BRADLEY ‘s leg squeaking is heard o left. The others onstage remain still, BRADLEY appears up left outside the screen door wearing a yellow rain slicker. He enters through the screen door, crosses the porch to the right door, and enters the stage. Closes the door. Takes o the rain slicker and shakes it out. He sees all the others and stops, TILDEN turns to him. BRADLEY stares at SHELLY, DODGE remains on the floor.)

BRADLEY:

What's
 going
 on
 here?


(Motioning to SHELLY.) Who's that? (SHELLY stands, moves back away from BRADLEY as he crosses toward her. He stops next to TILDEN. He sees the coat in TILDEN ’ hand and grabs it away from him.) Who's she supposed to be?

TILDEN: She's driving to New Mexico. She has a car. (BRADLEY stares at her. SHELLY is frozen, BRADLEY limps over to her with the coat in his st. He stops in front of her)

BRADLEY: (To SHELLY, after pause.) Vacation? (SHELLY shakes her head



“no,” trembling. To SHELLY, motioning to TILDEN.) YOU taking him with y ou? (SHELLY shakes her head “no.” BRADLEY crosses back to TILDEN.) You oughta. No use leaving him here. Doesn't do a lick a work. Doesn't raise a nger. (Stopping, to TILDEN.) Do ya? (To SHELLY.) ‘Course he used to be a Ail-American. Quarterback or fullback or some thin’.

TILDEN:

Halfback.

BRADLEY: He tell you about that? Brag on himself? (SHELLY shakes her head


“no.”) Yeah, he used to be a big deal. Wore letterman's sweaters. Had medals hanging all around his neck. Real purty. Big damn deal. (He laughs to himself, notices DODGE on the oor, crosses to him, stops.) This one too. (To SHELLY.) You'd never think it to look at him, would ya? All paunchy and bloated, (SHELLY shakes her head again. BRADLEY stares at her, crosses back to her, clenching the coat in his st. He stops in front of SHELLY.) Women like that kinda thing, don't they?

SHELLY:

What?


BRADLEY:

a man.

Importance. Importance in

SHELLY:

I don't know.

BRADLEY: Yeah. Ya know, ya know. Don't give me that. (Moves closer to SHELLY.) You're with Tilden?

SHELLY :

No.

BRADLEY: (Turning to TILDEN.) Tilden! She with you? (TILDEN doesn't answer. Stares at the oor.) Tilden! You're


gonna run now. Run like a scalded dog! (TILDEN suddenly bolts and runs o up left, BRADLEY laughs. Talks to SHELLY, DODGE starts moving his lips silently as though talking to someone invisible on the oor. Laughing.) Scared to death! He was always scared. Scared of his own shadow, (BRADLEY stops laughing. Stares at SHELLY.) Some things are like that. They just tremble for no reason. Ever noticed that? They just shake? (SHELLY looks at DODGE on the floor.)

SHELLY:

him?

Can't we do something for


BRADLEY: (Looking at DODGE.) We could shoot him. (Laughs.) Put him out of his misery.

SHELLY: Shut up! (BRADLEY stops laughing. Moves in closer to SHELLY. She freezes, BRADLEY speaks slowly and deliberately.)

BRADLEY: Hey! Missus. Don't talk to me like that. Don't talk to me in that tone a voice. There was a time when I had to take that tone a voice from pretty near everyone. (Motioning to DODGE.) Him, for one!


When he was a whole man. Full of himself. Him and that half-brain that just ran outta here. They don't talk to me like that now. Not anymore. Everything's turned around now. Full circle. Isn't that funny?

SHELLY:

I’m sorry.

BRADLEY:

Open your mouth.

SHELLY:

What?



BRADLEY: (Motioning for her to open her mouth.) Open up. (She opens her mouth slightly.) Wider. (She opens her mouth wider.) Keep it like that. (She does. Stares at BRADLEY. With his free hand he puts his ngers into her mouth. She tries to pull away.) Just stay put! (She freezes. He keeps his ngers in her mouth. Stares at her. Pause. He pulls his hand out. She closes her mouth, keeps her eyes on him. BRADLEY smiles. He looks at DODGE on the oor and crosses over to him. SHELLY watches him closely. BRADLEY stands over DODGE and smiles at SHELLY. He holds her coat up in both hands


over DODGE, keeps smiling at SHELLY. He looks down at DODGE, then drops the coat so that it lands on DODGE and covers his head, BRADLEY keeps his hands up in the position of holding the coat, looks over at SHELLY, and smiles. The lights black out.)


Act Three

Scene: same set. Morning. Bright sun. No sound of rain. Everything has been cleared up again. No sign of carrots. No pail. No stool. VINCE saxophone case and overcoat are still at the foot of the staircase, BRADLEY is asleep on the sofa under DODGE 's blanket, his head toward stage left, BRADLEY ‘s wooden leg is leaning against the sofa right by his head. The shoe is left on. The harness hangs down. DODGE is sitting on the oor, propped up



against the TV set facing stage left, wearing his baseball cap. SHELLY ‘s rabbit fur coat covers his chest and shoulders. He stares toward stage left. He seems weaker and more disoriented. The lights rise slowly to the sound of birds. The two men remain for a while in silence, BRADLEY sleeps very soundly. DODGE hardly moves, SHELLY appears from stage left with a big smile, slowly crossing toward DODGE balancing a steaming cup of broth in a saucer, DODGE just stares at her as she gets close to him.

SHELLY:

(As she crosses.) This is going


to make all the di erence in the world, Grandpa. You don't mind me calling you Grandpa, do you? I mean I know you minded when Vince called you that but you don't even know him.

DODGE: I'm nobody's Grandpa. He skipped town with my money you know. I'm gonna hold you as collateral.

SHELLY: He'll be back. Don't you worry. He always comes back.


DODGE:

The faithful type.

SHELLY: NO. Determined. (She kneels down next to DODGE and puts the cup and saucer in his lap.)

DODGE: It's morning already! When did it get to be morning? Not only didn't I get my bottle but he's got my two bucks! I'm surrounded by thieves.

SHELLY: Try to drink this, okay? Don't spill it.


DODGE:

SHELLY:

up.

What is it?

Beef bouillon. It'll warm you

DODGE: Bouillon! I don't want any goddamn bouillon! Get that stu away from me!

SHELLY:

I just got through making it.

DODGE: I don't care if you just spent all week making it! I ain't drinking it!



SHELLY: Well, what am I supposed to do with it? I'm trying to help you out. Besides, it's good for you.

DODGE: Get it away from me! (SHELLY stands up with the cup and saucer.) What do you know what's good for me anyway? (She looks at DODGE, then turns away from him, crosses to the staircase, sits on the bottom step, and drinks the bouillon, DODGE stares at her.) You know what'd be good for me?

SHELLY:

What?


DODGE: A little back rub. A little contact.

SHELLY: Oh no. I've had enough contact for a while. Thanks a n y w a y . (She keeps sipping the bouillon, stays sitting. Pause as DODGE stares at her.)

DODGE: Why not? You got nothing better to do. That fella's not gonna be back here. You're not expecting him to show up again, are you?

SHELLY:

Sure. He'll show up. He left



his horn here.

DODGE:

horn?

SHELLY:

His horn? (Laughs.) You're his

Very funny.

DODGE: He's run o with my money! That's what he did. He's not coming back here.

SHELLY: He'll be back. This is where he's from. He knows that. He's convinced. And so am I.


DODGE: You're a funny chicken, you know that?

SHELLY:

Funny?

DODGE: Full of hope. Faith. Faith and hope. You're all alike, you hopers. If it's not God then it's a man. If it's not a man then it's a woman. If it's not a woman then it's politics or bee pollen or the future of some kind. Some kind of future.

SHELLY:

Bee pollen?


DODGE:

Yeah, bee pollen. (Pause.)

SHELLY: (Looking toward the porch.) I'm glad it stopped raining. (DODGE looks toward the porch then back to

SHELLY.)

DODGE: That's what I mean. See, you're glad it stopped raining. Now you think everything's gonna be di erent. Just ‘cause the sun comes out.

SHELLY:

It's already di erent. Last


night I was scared.

DODGE:

SHELLY:

Scared a what?

Just scared.

DODGE: Yeah, well we've all got an instinct for disaster. We can smell it coming.

SHELLY: It was your son. Bradley. He scared me.


DODGE: Bradley? (Looks at BRADLEY.) He's a pushover. ‘Specially now. All ya gotta do is take his leg and throw it out the back door. Helpless. Totally helpless, (SHELLY turns and stares at BRADLEY ’s wooden leg, then looks at DODGE. She sips bouillon.)

SHELLY:

You'd do that?

DODGE: Me? I've hardly got the strength to breathe.


SHELLY: But you'd actually do it if you could?

DODGE: Don't be so easily shocked, girlie. There's nothing a man can't do. You dream it up and he can do it. Anything. It boggles the imagination.

SHELLY:

You've tried, I guess.

DODGE: Don't sit there sippin’ your bouillon and judging me! This is my house!



SHELLY:

I forgot.

DODGE : You forgot? Whose house did you think it was?

SHELLY: Mine, (DODGE just stares at her. Long pause. She sips from the cup.) I know it's not mine but I had that feeling.

DODGE:

What feeling?

SHELLY: The feeling that nobody lives here but me. I mean everybody's


gone. You're here, but it doesn't seem like you're supposed to be. (Pointing to BRADLEY.) Doesn't seem like he's supposed to be here either. I don't know what it is. It's the house or something. Something familiar. Like I know my way around here. Did you ever get that f eelin g ? (DODGE stares at her in silence. Pause.)

DODGE : No. NO, I never did. I get lost in the hallway sometimes, (SHELLY gets up. Moves around the space holding the cup.)



SHELLY: Last night I went to sleep up there in that room.

DODGE:

What room?

SHELLY: That room up there with all the pictures. All the crosses on the wall.

DODGE:

SHELLY:

Halie's room?

Yeah. Whoever “Halie” is.



DODGE:

SHELLY :

She's my wife.

So you remember her?

DODGE: Whadya mean? ‘Course I remember her. She's only been gone a day—half a day. However long it's been.

SHELLY : Do you remember her when her hair was bright red? Standing in front of an apple tree?

DODGE:

What is this, the third degree


or something?! Who're you to be askin’ me personal questions about my wife!

SHELLY : You never look at those pictures up there?

DODGE:

What pictures?

SHELLY: Your whole life's up there hanging on the wall. Somebody who looks just like you. Somebody who looks just like you used to look.


DODGE: That isn't me! That never was me! This is me. Right here. This is it. The whole shootin’ match, sittin’ right here in front of you. That other stuff was a sham.

SHELLY : So the past never happened as far as you're concerned?

DODGE: The past? Jesus Christ. The past is passed. What do you know about the past?

SHELLY: Not much. I know there was a farm. (Pause.)


DODGE:

A farm?

SHELLY: There's a picture of a farm. A big farm. A bull. Wheat. Corn.

DODGE:

Corn?

SHELLY: All the kids are standing out in the corn. They're all waving these big straw hats. One of them doesn't have a hat.

DODGE:

Which one was that?



SHELLY: There's a baby. A baby in a woman's arms. The same woman with the red hair. She looks lost standing out there. Like she doesn't know how she got there.

DODGE: She knows! I told her a hundred times it wasn't gonna be the city! I gave her plenty a warning.

SHELLY: She's looking down at the baby like it was somebody else's. Like it didn't even belong to her.



DODGE: That's about enough outta you! You got some funny ideas, sister. Some damn funny ideas. You think just because people propagate they have to love their o spring? You never seen a bitch eat her puppies? Where are you from anyway?

SHELLY:

that.

DODGE:

SHELLY:

LA. We already went through

That's right, LA. I remember.

Stupid country.


DODGE: That's right! No wonder. Dumber than dirt. (Pause.)

SHELLY: What's happened to this family anyway?

DODGE: You're in no position to ask! What do you care? You some kinda social worker?

SHELLY:

I'm Vince's friend.

DODGE: Vince's friend! That's rich. That's real rich. “Vince”! “Mr.



Vince”! “Mr. Thief” is more like it! His name doesn't mean a hoot in hell to me. Not a tinkle in the well. You know how many kids I've spawned? Not to mention grandkids and great-grandkids and great-great-grandkids after them? SHELLY: And you don't remember any of them?

DODGE: What's to remember? Halie's the one with the family album. She's the one you should talk to. She'll set you straight on the


heritage if that's what you're interested in. She's traced it all the way back to the grave.

SHELLY:

What do you mean?

DODGE: What do you think I mean? How far back can you go? A long line of corpses! There's not a living soul behind me. Not a one. Who gives a damn about bones in the ground?

SHELLY: What was Tilden trying to tell me last night? (DODGE stops short.



Stares at SHELLY. Shakes his head. He looks o left. DODGE ‘s tone changes drastically.)

DODGE: Tilden? (Turns to calmly.) Where is Tilden?
 SHELLY,

SHELLY: What was he trying to say about the baby? (Pause. DODGE turns toward left.)

DODGE: What's happened to Tilden? Why isn't Tilden here?


SHELLY:

Bradley chased him out.

DODGE: (Looking at BRADLEY asleep.) Bradley? Why is he on my sofa? (Turns back to SHELLY.) Have I been here all night? On the floor?

SHELLY: He wouldn't leave. I hid outside until he fell asleep.

DODGE: Outside? Is Tilden outside? He shouldn't be out there in the rain. He'll get himself into trouble. He doesn't know his way around



here anymore. Not like he used to. He went out West and got himself into trouble. Deep trouble. We don't want any of that around here.

SHELLY:

What did he do? (Pause.)

DODGE: (Quietly stares at SHELLY.) Tilden? He got mixed up. That's what he did. We can't a ord to leave him alone. Not now. (Sound oj HALIE laughing comes from o left, SHELLY stands, looking in the direction of the voice, holding the cup and saucer, doesn't know whether to stay



or run. Motioning to SHELLY.) Sit down! Sit back down! (SHELLY sits. Sound of HALIE ‘s laughter again. To SHELLY in a heavy whisper, pulling the coat up around him.) Don't leave me alone now! Promise me? Don't go o and leave me alone. I need somebody here with me. Tilden's gone now and I need someone. Don't leave me! Promise!

SHELLY: (Sitting.) I won't, (HALIE appears outside the screen porch door, up left, with FATHER DEWIS . She is wearing a bright yellow dress, no hat, and white gloves, and her arms are full of yellow roses. FATHER DEWIS is dressed in a traditional black suit, white clerical collar, and shirt. He is a very distinguished gray-haired man in his sixties. They are both slightly drunk and feeling giddy. As they enter the porch through the screen door, DODGE pulls the rabbit fur coat over his head and hides, SHELLY stands again, DODGE drops the coat and whispers intently to SHELLY. Neither HALIE nor FATHER DEWIS is aware of the people inside the house)

DODGE:

You

(To SHELLY in a strong whisper.) promised! (SHELLY sits on the


stairs again, DODGE pulls the coat back over his head. HALIE and FATHER DEWIS talk on the porch as they cross toward the right interior door.)

HALIE: Oh, Father! That's terrible! That's absolutely terrible! Aren't you afraid of being punished? (She giggles.)

DEWIS: Not by the Italians. They're too busy punishing each other. (They both break out in giggles.)

HALIE:

What about God?


DEWIS: Well, prayerfully, God only hears what he wants to. That's just between you and me of course. In our heart of hearts we know we're every bit as wicked as the Catholics. (They giggle again and reach the right door.)

HALIE: Father, I never heard you talk like this in Sunday sermon.

DEWIS: Well, I save all my best jokes for private company. Pearls before swine, you know. (They enter the room laughing and stop when they



see SHELLY, SHELLY stands, HALIE closes the door behind FATHER DEWIS. DODGE 's voice is heard under the coat talking to SHELLY.)

DODGE: (Under the coat, to SHELLY.) Sit down, sit down! Don't let ‘em bu alo you. (SHELLY sits on the stair again, HALIE looks at DODGE on the oor, then looks at BRADLEY asleep on the sofa and sees his wooden leg. She lets out a shriek of embarrassment

for FATHER DEWIS.)

HALIE:

Oh my gracious! What in the


name of Judas Priest is going on in this house?! (She hands over the roses to FATHER DEWIS .) Excuse me, Father, (HALIE crosses to DODGE, whips the coat o him, and covers the wooden leg with it. BRADLEY stays asleep) You can't leave this house for a second without the devil blowing in the front door!

DODGE: Gimme back that coat! Gimme back that goddamn coat before I freeze to death!

HALIE:

You're not going to freeze!


The sun's out in case you hadn't noticed!

DODGE: Gimme back that coat! That coat's for live esh not dead wood, (HALIE whips the blanket of BRADLEY and throws it on DODGE, DODGE covers his head again with the blanket. BRADLEY ‘s amputated leg can be faked by having it under a cushion on the sofa, B’&ADíWí ‘s fully clothed. He sits up with a jerk when the blanket comes o him.)

HALIE: (As SHE TOSSES THE BLANKET.)

Here!



Use this! It's yours anyway! Can't you take care of yourself for once?! BRADLEY: (Yelling at HALIE.) Gimme that blanket! Gimme back that blanket! That's my blanket! (HALIE crosses back toward FATHER DEWIS, who just stands there with the roses. BRADLEY thrashes helplessly on the sofa trying to reach the blanket, DODGE hides himself deeper in the blanket, SHELLY looks on from the staircase, still holding the cup and saucer.)

HALIE:

Believe me, Father, this is not


what I had in mind when I invited you in. I keep forgetting how easily things fall to pieces when I'm not here to hold them together.

DEWIS: Oh, no apologies please. I wouldn't be in the ministry if I couldn't face real life, (FATHER DEWIS laughs self-consciously. HALIE notices SHELLY again and crosses over to her. SHELLY stays sitting, HALIE stops and stares at her.)

BRADLEY: I want my blanket back! Gimme my blanket! (HALIE turns


toward

BRADLEY

and silences him.)

HALIE: Shut up, Bradley! Right this minute. I've had enough! It's shameful the way you carry on. (BRADLEY slowly recoils, lies back down on the sofa, turns his back toward HALIE, and whimpers softly, HALIE directs her attention to SHELLY again. Pause.)

BRADLEY:

You gave me that blanket.

HALIE:

Enough. (To

SHELLY.)

What are


you doing with my cup and saucer? SHELLY: (Looking at the cup, back to HALIE.) I made some bouillon for Dodge.

HALIE:

For Dodge?

SHELLY:

Yeah.

HALIE:

My husband, Dodge.

SHELLY:

Yes.


HALIE: You're here in my house making bouillon for my husband.

SHELLY:

Yes.

HALIE:

Well, did he drink it?

SHELLY: NO.

HALIE:

Did you drink it?

SHELLY: Yes. (HALIE stares at her. Long pause. She turns abruptly away from


SHELLY DEWIS.)

and crosses back to

FATHER

HALIE: Father, there's a stranger in my house. What would you advise? What would be the Christian thing? DEWIS: (Squirming.) Oh, well … I … I really—is she a trespasser?

HALIE: We still have some whiskey, don't we? A drop or two? (DODGE slowly pulls the blanket down and looks toward FATHER DEWIS. SHELLY


stands.)

SHELLY: Listen, I don't drink or anything. I just— (HALIE turns toward SHELLY viciously.)

HALIE : You sit back down! (SHELLY sits again on the stair, HALIE turns again to DEWIS.) I think we still have plenty of whiskey left! Don't we, Father?

DEWIS: Well, yes. I think so. You'll have to get it. My hands are full, (HALIE giggles. Reaches into DEWIS 's pockets, searching for the bottle. She smells the roses as she searches, DEWIS stands sti y, DODGE watches HALIE closely as she looks for the bottle.) HALIE: Roses. The most incredible things, roses! Aren't they incredible, Father?



DEWIS:

Yes. Yes they are.

HALIE: They almost cover the stench of sin in this house. Hanky-panky. Just magni cent! The smell. We'll



have to put some at the foot of Ansel's statue. On the day of the unveiling, (HALIE nds a silver ask of whiskey in DEWIS ‘s vest pocket. She pulls it out. DODGE looks on eagerly, HALIE crosses to DODGE, opens the ask, and takes a sip. To DODGE.) Ansel's getting a statue, Dodge. Did you know that? Not a plaque but a real live statue. A full bronze. Tip to toe. A basketball in one hand and a rifle in the other.

BRADLEY: (His back to played basketball!
 HALIE.)

He never


HALIE : You better shut up, Bradley! You shut up about Ansel! Ansel played basketball better than anyone! And you know it! He was an Ail-American! There's no reason to take the glory away from others. Especially when one's own shortcomings are so apparent, (HALIE turns away from BRADLEY, crosses back toward DEWIS, sipping on the ask and smiling. To DEWIS.) Ansel was a great basketball player. Make no mistake. One of the greatest.

DEWIS: I remember Ansel. Handsome lad. Tall and strapping.


HALIE: Of course! You remember. You remember how he could play. (She turns toward SHELLY.) Of course, nowadays they play a di erent brand of basketball. More vicious. Isn't that right, dear?

SHELLY: I don't know, (HALIE crosses to SHELLY, sipping on the ask. She stops in front of SHELLY.)

HALIE: Much, much more vicious. They smash into each other. They knock each other's teeth out. There's blood all over the court.



Savages. Barbaric, don't you think? (HALIE takes the cup from SHELLY and pours whiskey into it.) They don't train like they used to. Not at all. They allow themselves to run amok. Drugs and women. Women m o s t l y , (HALIE hands the cup of whiskey back to SHELLY slowly. SHELLY takes it.) Mostly women. Girls. Sad, pathetic little skinny girls. (She crosses back to FATHER DEWIS.) It's just a re ection of the times, don't you think, Father? An indication of where we stand?

DEWIS:

I suppose so, yes. I've been so



busy with the choir—

HALIE: Yes. A sort of bad omen. Our youth becoming monsters.

DEWIS: Well, I uh—wouldn't go quite that far.

HALIE: Oh, you can disagree with me if you want to, Father. I'm open to debate. (She moves toward DODGE.) I suppose, in the long run, it doesn't matter. When you see the way things deteriorate before your very eyes. Everything running downhill.



It's kind of silly to even think about youth.

DEWIS : No, I don't think so. I think it's important to believe in certain things. Certain basic truths. I mean —

HALIE: Yes. Yes, I know what you mean. I think that's right. I think that's true. (She looks at DODGE.) Certain basic things. We can't shake the fundamentals. We might end up crazy. Like my husband. You can see it in his eyes. You can



see the madness almost oozing out. (DODGE covers his head with the blanket again, HALIE takes a single rose from DEWIS and moves slowly over to DODGE.) We can't not believe in something. We can't stop believing. We just end up dying if we stop. Just end up dead, (HALIE throws the rose gently onto DODGE ‘s blanket. It lands between his knees and stays there. Long pause as HALIE stares at the rose.)

BRADLEY: Ansel basketball.

never
 played



HALIE: Bradley, I'm warning you. (SHELLY stands suddenly. HALIE doesn't turn to her but keeps staring at the rose.)

SHELLY: (To HALIE.) Don't you wanna know who I am? Don't you wanna know what I'm doing here?! Standing in the middle of your house. I'm not dead! (SHELLY crosses toward HALIE. HALIE turns slowly to her.)

HALIE:

Did you drink your whiskey?


SHELLY :

either!

No! And I'm not going to

HALIE: Well, that's a rm stand. It's good to have a firm stand.

SHELLY: I don't have any stand at all. I'm just trying to put all this together, (HALIE laughs and crosses back to DEWIS.)

HALIE: (To DEWIS.) Surprises, surprises! Did you have any idea we'd be returning to this?


DEWIS:

Well, actually—

SHELLY: I came here with your grandson for a little visit! A little, innocent, friendly visit.

HALIE:

My grandson?

SHELLY: Yes! That's right. The one no one seems to remember.

HALIE: (To DEWIS.) This is getting a little far-fetched.


SHELLY: I told him it was stupid to come back here. To try to pick up from where he left off.

HALIE:

Where was that?

SHELLY: Wherever he was when he left here! Six years ago! Ten years ago! Whenever it was! I told him nobody cares. I told him nobody cares anymore. Nobody's going to care.

HALIE:

Didn't he listen?


SHELLY : No! NO, he didn't. We had to stop o at every tiny little meatball town that he remembered from his boyhood!

HALIE:

My grandson?

SHELLY: Every dumb little donut shop he ever kissed a girl in. Every drive-in. Every drag strip. Every football eld he ever broke a bone on.

HALIE: (Suddenly alarmed, to Where's Tilden?
 DODGE.)


SHELLY: Don't ignore me! I'm telling you something!

HALIE: Dodge! Where's Tilden gone? (SHELLY moves violently toward HALIE.)

SHELLY: (To HALIE.) I'm talking to you! I'm standing here talking to you. (BRADLEY sits up fast on the sofa, SHELLY backs away.)

BRADLEY: (To SHELLY.) Don't you yell at my mother!


HALIE: Dodge! (She kicks DODGE.) I told you not to let Tilden out of your sight! Where's he gone to?

DODGE:

ya.

Gimme a drink and I'll tell

DEWIS: Halie, maybe this isn't the right time for a visit, (HALIE crosses back to DEWIS.)

HALIE: (To DEWIS.) I never should've left! I never, never should've left! Tilden could be anywhere now!


Anywhere! He's not in control of his faculties. He wanders. You know how he wanders. Dodge knew that. I told him when I left here. I told him speci cally to watch out for Tilden, (BRADLEY reaches down, grabs DODGE 's blanket, and yanks it o him. He lays down on the sofa and pulls the blanket over his head.)

DODGE: He's got my blanket again! He's got my blanket!

HALIE:

(Turning to

BRADLEY.)

Bradley!



Bradley, put that blanket back! (HALIE moves toward BRADLEY. SHELLY suddenly throws the cup and saucer against the right door, DEWIS ducks. The cup and saucer smash into pieces, HALIE stops, turns toward SHELLY. Everyone freezes, BRADLEY slowly pulls his head out from under the blanket, looks toward right door, then to SHELLY, SHELLY stares at HALIE. DEWIS cowers with the roses, SHELLY moves slowly toward HALIE. Long pause, SHELLY speaks softly)

SHELLY:

(To

HALIE.)

I am here! I am


standing right here in front of you. I am breathing. I am speaking. I am alive! I exist. DO YOU SEE ME? BRADLEY: (Sitting up on the sofa.) We don't have to tell you anything, girl. Not a thing. You're not the police are you? You're not the government. You're just some prostitute that Tilden brought in here.

HALIE: Language! I won't have that language in my house! Father, I'm —



SHELLY: (To BRADLEY.) You stuck your hand in my mouth and you call me a prostitute! What kind of a weird fucked-up yo-yo are you?

HALIE: Bradley! Did you put your hand in this girl's mouth? You have no idea what kind of diseases she might be carrying.

BRADLEY: I never did. She's lying. She's lying through her teeth.

DEWIS: Halie, I think I'll be running along now. I'll just put the roses in


the kitchen. Keep them fresh. A little sugar sometimes helps, (DEWIS moves toward left, HALIE stops him.)

HALIE: Don't go now, Father! Not now. Please—I'm not sure I can stay afloat.

BRADLEY: I never did anything, Mom! I never touched her! She propositioned me! And I turned her down. I turned her down at! She's not my type. You know that, Mom. (SHELLY suddenly grabs her coat o the wooden leg and takes both the leg


and coat downstage, away from BRADLEY.) Mom!

Mom! She's got my leg! She's taken my leg! I never did anything to her! She's stolen my leg! She's a devil, Mom. How did she get in our house? (BRADLEY reaches pathetically in the air for his leg. SHELLY sets it down for a second, puts on her coat fast, and picks up the leg again, DODGE starts coughing again softly.)

HALIE: (To SHELLY.) I think we've had about enough of you, young lady. Just about enough. I don't know where you came from or what



you're doing here but you're no longer welcome in this house.

SHELLY: (Laughs, holds the leg.) No longer welcome!

BRADLEY: Mom! That's my leg! Get my leg back! I can't do anything without my leg! She's trying to torture me. (BRADLEY keeps on making whimpering sounds and reaching for his leg.)

HALIE: Give my son back his leg. Right this very minute! Dodge,


where did this girl come from? (DODGE starts laughing softly to himself in between coughs.)

DODGE:

She's a pistol, isn't she?

HALIE: (To DEWIS.) Father, do something about this, would you! I'm not about to be terrorized in my own house!

DEWIS:

This is out of my domain.

BRADLEY:

Gimme back my leg!



HALIE: Oh, shut up, Bradley! Just shut up! You don't need your leg now! Just lay down and shut up! I've never heard such whining, (BRADLEY whimpers, lies down, and pulls the blanket around him. He keeps one arm outside the blanket, reaching out toward his wooden leg. DEWIS cautiously approaches SHELLY with the roses in his arms, SHELLY clutches the wooden leg to her chest as though she's kidnapped it.)

DEWIS: (To SHELLY.) Now, honestly, dear, wouldn't it be better to talk things out? To try to use some


reason? No point in going o the deep end. Nothing to be gained in that.

SHELLY: There isn't any reason here! I can't find a reason for anything. DEWIS: There's nothing to be afraid of. These are all good people. All righteous souls.

SHELLY:

DEWIS:

I'm not afraid!

But this is not your house.



You have to have some respect.

SHELLY:

me.

You're the strangers here, not

HALIE:

This has gone on far enough!

DEWIS: Halie, please. Let me handle this. I've had some experience.

SHELLY: Don't come near me! Don't anyone come near me. I don't need any words from you. I'm not threatening anybody. I don't even


know what I'm doing here. You all say you don't remember Vince, okay maybe you don't. Maybe it's Vince that's crazy. Maybe he's made this whole family thing up. I don't even care anymore. I was just coming along for the ride. I thought it'd be a nice gesture. Besides, I was curious. He made all of you sound familiar to me. Every one of you. For every name, I had an image. Every time he'd tell me a name, I'd see the person. In fact, each of you was so clear in my mind that I actually believed it was you. I really believed that when I walked through that door that the



people who lived here would turn out to be the same people in my imagination. Real people. People with faces. But I don't recognize any of you. Not one. Not even the slightest resemblance.

DEWIS: Well, you can hardly blame others for not ful lling your hallucination.

SHELLY: It was no hallucination! It was more like a prophecy. You believe in prophecy, don't you, Father?



HALIE: Father, there's no point in talking to her any further. We're just going to have to call the police.

BRADLEY: No! Don't get the police in here. We don't want the police in here. This is our home.

SHELLY: That's right. Bradley's right. Don't you usually settle your a airs in private? Don't you usually take them out in the dark? Out in the back?


BRADLEY: You stay out of our lives! You have no business interfering! SHELLY: I don't have any business, period. I got nothing to lose. I'm a free agent. (She moves around, staring at each of them.)

BRADLEY: You don't know what we've been through. You don't know anything about us!

SHELLY: I know you've got a secret. You've all got a secret. It's so secret, in fact, you're all convinced


it never happened.

DEWIS.)

(HALIE

moves to

HALIE: Oh, my God, Father! Who is this person?

DODGE: (Laughing to himself.) She thinks she's going to get it out of us. She thinks she's going to uncover the truth of the matter. Like a detective or something.

BRADLEY: I'm not telling her anything! Nothing's wrong here! Nothing's ever been wrong! Everything's the

way it's supposed to be! Nothing ever happened that's bad. Everything is all right here! We're all good people! We've always been good people. Right from the very start.

DODGE: She thinks she's gonna suddenly bring everything out into the open after all these years.

DEWIS: (To SHELLY.) Can't you see that these people want to be left in peace? Don't you have any mercy? They haven't done anything to you.


DODGE: She wants to get to the bottom of it. (To SHELLY.) That's it, isn't it? You'd like to get right down to bedrock? Look the beast right dead in the eye. You want me to tell ya? You want me to tell ya what happened? I'll tell ya. I might as well. I wouldn't mind hearing it hit the air after all these years of silence.

BRADLEY: No! Don't listen to him. He doesn't remember anything!

DODGE:

I remember the whole thing


from start to nish. I remember the day he was born. (Pause.)

HALIE: Dodge, if you tell this thing— if you tell this, you'll be dead to me. You'll be just as good as dead. DODGE: That won't be such a big change, Halie. See this girl, this little girl here, she wants to know. She wants to know something more. And I got this feeling that it doesn't make a bit a di erence. I'd sooner tell it to a stranger than anybody else. I'd sooner tell it to


the four winds.

BRADLEY: (To DODGE.) We made a pact! We made a pact between us! You can't break that now!

DODGE: I don't remember any pact. (Silence.) See, we were a well- established family once. Well- established. All the boys were grown. The farm was producing enough milk to ll Lake Michigan twice over. Me and Halie here were pointed toward what looked like the middle part of our life.


Everything was settled with us. All we had to do was ride it out. Then Halie got pregnant again. Out the middle a nowhere, she got pregnant. We weren't planning on havin’ any more boys. We had enough boys already. In fact, we hadn't been sleepin’ in the same bed for about six years.

HALIE: (Moving toward the stairs.) I'm not listening to this! I don't have to listen to this!

DODGE:

(Stops

HALIE.)

Where are you


going?! Upstairs?! You'll just be listenin’ to it upstairs! You go outside, you'll be lis-tenin’ to it outside. Might as well stay here and listen to it. (HALIE stays by the stairs. Pause.) Halie had this kid, see. This baby boy. She had it. I let her have it on her own. All the other boys I had had the best doctors, the best nurses, everything. This one I let her have by herself. This one hurt real bad. Almost killed her, but she had it anyway. It lived, see. It lived. It wanted to grow up in this family. It wanted to be just like us. It wanted to be part of us. It wanted


to pretend that I was its father. She wanted me to believe in it. Even when everyone around us knew. Everyone. All our boys knew. Tilden knew.

HALIE : You shut up! Bradley, make him stop!

BRADLEY:

I can't.

DODGE: Tilden was the one who knew. Better than any of us. He'd walk for miles with that kid in his arms. Halie let him take it. All


night sometimes. He'd walk all night out there in the pasture with it. Talkin’ to it. Singin’ to it. Used to hear him singing to it. He'd make up stories. He'd tell that kid all kinds a stories. Even when he knew it couldn't understand him. We couldn't let a thing like that continue. We couldn't allow that to grow up right in the middle of our lives. It made everything we'd accomplished look like it was nothin’. Everything was canceled out by this one mistake. This one weakness.



SHELLY :

So you …

DODGE: I killed it. I drowned it. Just like the runt of a litter. Just drowned it. There was no struggle. No noise. Life just left it. (HALIE moves toward BRADLEY.)

H A L I E : (To BRADLEY) Ansel would've stopped him! Ansel would've stopped him from telling these lies! He was a hero! A man! A whole man! What's happened to the men in this family?! Where are the m e n ? ! (Suddenly VINCE comes


crashing through the screen porch door up left, tearing it o its hinges. Everyone but DODGE and BRADLEY back away from the porch and stare at VINCE, who has landed on his stomach on the porch in a drunken stupor. He is singing loudly to himself and hauls himself slowly to his feet. He has a paper shopping bag full of empty booze bottles. He takes them out one at a time as he sings and smashes them at the opposite end of the porch, behind the solid interior door, right, SHELLY moves slowly toward right, holding the wooden leg and watching

VINCE.)


VINCE: (Singing loudly as he hurls bottles.) “From the halls of Montezuma to the shores of Tripoli. We will ght our country's battles in the air on land and sea.” (He punctuates the words “Montezuma,” “Tripoli,” “battles,” and “sea” with a smashed bottle each. He stops throwing for a second, stares toward right of the porch, shades his eyes with his hand as though looking across to a battle eld, then cups his hands around his mouth and yells across the space of the porch to an imaginary army. The others watch in terror and expectation. To the imagined army.) Have you had enough over there?!


‘Cause there's a lot more here where that came from! (Pointing to the paper bag full of bottles.) A helluva lot more! We got enough over here to blow ya from here to Kingdom come! (He takes another bottle, makes the high whistling sound of a bomb, and throws it toward right porch. Sound of a bottle smashing against a wall. This should be the actual smashing of a bottle and not taped sound. He keeps yelling and heaving bottles one after another. VINCE stops for a while, breathing heavily from exhaustion. Long silence as the others watch him. SHELLY approaches tentatively in VINCEí


direction, still wooden leg.)
 holding

BRADLEY ’s

SHELLY: (After silence.) Vince? (VINCE turns toward her. Peers through the screen.)

VINCE: Who? What? Vince who? Who's that in there? Is someone in there? (VINCE pushes his face against the screen from the porch and stares in at everyone.)

DODGE:

Where's my goddamn bottle?!


VINCE: (Looking in at DODGE.) What? Who is that? Who's speaking? Whose voice is that?

DODGE: It's me! Your grandfather! Don't play stupid with me! Where's my two bucks!

VINCE: Grandfather? Grandfather? You mean the father of my father? The son of my great-grandfather? That one? When did this start?

DODGE: Where's my bottle?! (HALIE moves


peers out at him.)

VINCE,

trying to recognize

HALIE: Vincent? Is that you, Vincent? (SHELLY stares at HALIE, then looks out at VINCE.)

VINCE: (From the porch.) Vincent who? What is this?! Who are you people?

SHELLY: (To HALIE.) Hey wait a minute. Wait a minute!



HALIE: (Moving closer to the porch screen.) We thought you were a murderer or something. Barging in through the door like that.

VINCE: A murderer? No, no, no! How could I be a murderer when I don't exist? A murderer is a living breathing person who takes the life and breath away from another living breathing person. That's a murderer. You've got me mixed up with someone else.

BRADLEY:

(Sitting up on the sofa.) You


get o our front porch, you creep! What're you doing out there breaking bottles? Who are these foreigners anyway! Where did they all come from?

HALIE: (Moving toward the porch.) Vincent, what's got into you! Why are you acting like this?

VINCE: Who's speaking?

that?
 Who's
 that

SHELLY: (Approaching HALIE .) mean you know who he is?

YOU



HALIE: Of course I know who he is! That's more than I can say for you, missie.

DODGE: Where's my goddamn bottle? (HALIE turns back toward DEWIS and crosses to him. VINCE sings.)

VINCE: “From the halls of Montezuma to the shores of Tripoli. We will ght our country's battles in the air

on land and sea … ”

HALIE:

(To DEWIS.) Father, why are you



just standing around here when everything's falling apart? Can't you rectify this situation? (DODGE laughs, coughs.)

DEWIS: I’m just a guest here, Halie. I don't know what my position is exactly. This is outside my parish anyway. I’m in the quiet part of town.

SHELLY: Vince! Knock it o , will ya! I want to get out of here! This is enough.

VINCE: (To SHELLY.) Have they got you prisoner in there, dear? (VINCE starts to sing again, throwing more bottles as things continue.)

SHELLY: I'm coming out there, Vince! I’m coming out there and I want us to get in the car and drive away from here.

Anywhere. Just away from here. Far, far away, (SHELLY moves toward VINCE 's saxophone case and overcoat. She sets down the wooden leg down left and picks up the saxophone case and overcoat, VINCE watches her


through the screen, SHELLY moves to right door and opens it.)

VINCE: We'd never make it. We'd drive and we'd drive and we'd drive and we'd never make it. We'd think we were getting farther and farther away. That's what we'd think.

SHELLY:

Vince.

I'm coming out there now,

VINCE: Don't come out. Don't you dare come out here. It's o -limits. Taboo territory, (VINCE pulls out a big

folding hunting knife and pulls open the blade. He jabs the blade into the screen and starts cutting a hole big enough to climb through. BRADLEY cowers in a corner of the sofa as VINCE rips open the screen, DEWIS takes HALIE by the arm and pulls her toward the staircase.)

DEWIS: Halie, maybe we should go upstairs until this blows over. I'm completely at a loss.

HALIE: I don't understand it. I just don't understand it. He was the


sweetest little boy! There was no indication, (DEWIS drops the roses beside the wooden leg at the foot of the staircase, then escorts HALIE quickly up the stairs, HALIE keeps looking back at VINCE as they climb the stairs.) There wasn't a mean bone in his body. Everybody loved Vincent. Everyone. He was the perfect baby. So pink and perfect. DEWIS: He'll be all right after a while. He's just had a few too many, that's all.


HALIE: He used to sing in his sleep. He'd sing. In the middle of the night. The sweetest voice. Like an angel. (She stops for a moment) I used to lie awake listening to it. I used to lie awake thinking it was all right if I died. Because Vincent was an angel. A guardian angel. He'd watch over us. He'd watch over all of us. He would see to it that no harm would come, (DEWIS takes her all the way up the stairs. They disappear above, VINCE is now climbing through the porch screen onto the sofa, BRADLEY crashes o the sofa, holding tight to his blanket, keeping it wrapped around him. SHELLY


is outside on the porch, VINCE holds the knife in his teeth once he gets the hole wide enough to climb through, BRADLEY starts crawling slowly toward his wooden leg, reaching out for it.) DODGE: (To VINCE.) Go ahead! Take over the house! Take over the whole goddamn house! You can have it! It's yours! It's been a pain in the neck ever since the very rst mortgage. I'm gonna die any second now. Any second. You won't even notice. So I'll settle my a airs once and for all. (As DODGE proclaims his last will and testament, VINCE



climbs into the room, knife in his mouth, and strides slowly around the space, inspecting his inheritance. He casually notices BRADLEY as he crawls toward his leg. VINCE moves to the leg and keeps pushing it with his foot so that it's out of BRADLEY ’s reach, then goes on with his inspection. He picks up the roses and carries them around smelling them, SHELLY can be seen outside on the porch, moving slowly center and staring in at VINCE. VINCE ignores her.) The house goes to my grandson, Vincent. That's fair and square. All the furnishings, accoutrements, and paraphernalia


therein. Everything tacked to the walls or otherwise resting under this roof. My tools—namely my band saw, my skill saw, my drill press, my chain saw, my lathe, my electric sander—all go to my eldest son, Tilden. That is, if he ever shows up again. My Benny Goodman records, my harnesses, my bits, my halters, my brace, my rough rasp, my forge, my welding equipment, my shoeing nails, my levels and bevels, my milking stool —no, not my milking stool—my hammers and chisels and all related materials are to be pushed into a gigantic heap and set ablaze



in the very center of my elds. When the blaze is at its highest, preferably on a cold, windless night, my body is to be pitched into the middle of it and burned ‘til nothing remains but ash. (Pause, VINCE takes the knife out of his mouth and smells the roses. He's facing toward the audience and doesn't turn around to SHELLY. He folds up the knife and pockets it.)

SHELLY: (From the porch.) I'm leaving, Vince. Whether you come or not, I'm leaving. I can't stay here.



VINCE: (Smelling the roses.) You'll never make it. You'll see.

SHELLY: (Moving toward the hole in the screen.) You're not coming? (VINCE stays downstage, turns and looks at her.)

VINCE: I just inherited a house. I've nally been recognized. Didn't you

hear?

SHELLY: (Through the hole, from the porch.) You want to stay here?



VINCE: (As HE PUSHES BRADLEY ’s leg out of reach.) I've gotta carry on the line. It's in the blood. I've gotta see to it that things keep rolling, (BRADLEY looks up at him from the oor, keeps pulling himself toward his leg. VINCE keeps moving it)

SHELLY: What happened to you, Vince? You just disappeared. (Pause, VINCE delivers the following speech front.)

VINCE: I was gonna run last night. I was gonna run and keep right on


running. Clear to the Iowa border. I drove all night with the windows open. The old man's two bucks apping right on the seat beside me. It never stopped raining the whole time. Never stopped once. I could see myself in the windshield. My face. My eyes. I studied my face. Studied everything about it as though I was looking at another man. As though I could see his whole race behind him. Like a mummy's face. I saw him dead and alive at the same time. In the same breath. In the windshield I watched him breathe as though he was frozen in time and every breath


marked him. Marked him forever without him knowing. And then his face changed. His face became his father's face. Same bones. Same eyes. Same nose. Same breath. And his father's face changed to his grandfather's face. And it went on like that. Changing. Clear on back to faces I'd never seen before but still recognized. Still recognized the bones underneath. Same eyes. Same mouth. Same breath. I followed my family clear into Iowa. Every last one. Straight into the corn belt and further. Straight back as far as they'd take me. Then it all dissolved. Everything


dissolved. Just like that. And that two bucks kept right on apping on the seat beside me. (SHELLY stares at him for a while, then reaches through the hole in the screen and sets the saxophone case and VINCE 's overcoat on the sofa. She looks at VINCE again.)

SHELLY: Bye, Vince. I can't hang around for this. I'm not even related. (She exits left o the porch, VINCE watches her go. BRADLEY tries to make a lunge for his wooden leg. VINCE quickly picks it up and dangles it over BRADLEY ‘s head like a carrot.



BRADLEY keeps making desperate grabs at the leg. DEWIS comes down the staircase and stops halfway, staring at VINCE and BRADLEY. VINCE looks up at DEWIS and smiles. He keeps moving backwards with the leg toward up left as BRADLEY crawls after him.)

VINCE: (To DEWIS as he continues torturing BRADLEY.) Oh, excuse me, Father. Just getting rid of some of the vermin in the house. This is my house now, ya know? All mine. Everything. Except for the power tools and stu . I'm gonna get all new equipment


plows, new tractor, everything. All bra n d-n ew . (VINCE teases BRADLEY closer to the up left corner of the stage.) Start right o on the ground oor, (VINCE throws BRADLEY ‘s wooden leg far o stage left. BRADLEY follows his leg o stage, pulling himself along on the ground, whimpering. As BRADLEY exits, VINCE pulls the blanket o him and throws it over his own shoulder. He crosses toward DEWIS with the blanket and smells the roses, DEWIS comes to the bottom of the stairs.)

DEWIS:

You'd better go up and see


your grandmother. I think you should. It would be the Christian thing.

VINCE: (Looking upstairs, back to DEWIS.) My grandmother? There's nobody else in this house. Except for you. And you're leaving, aren't you? (DEWIS crosses toward right door. He turns back to VINCE.)

DEWIS: She's going to need someone. I can't help her. I don't know what to do. I don't know what my position is here. I'm quite out of my



depths. I'll be the rst to admit it. I thought, by now, the Lord would have given me some sign, some guidepost, but I haven't seen it. No sign at all. Just— (VINCE just stares at him. DEWIS goes out the door, crosses the porch and exits left, VINCE listens to him leaving. He smells the roses, looks up the staircase, then smells the roses again. He turns and looks upstage at DODGE. He crosses up to him and bends over, looking at DODGE ‘s open eyes, DODGE is dead. His death should have come completely unnoticed, VINCE lifts the blanket, then covers DODGE 's head. He puts DODGE ‘s


cap on his own head and smells the roses while staring at DODGE ‘s body. Long pause, VINCE places the roses on DODGE ’s chest, then lays down on the sofa, arms folded behind his head, staring at the ceiling, his body in the same position as DODGE 's After a while, HALIE is heard coming from above the staircase. The lights start to dim imperceptibly as HALIE speaks, VINCE keeps staring at the ceiling.)

HALIE'S VOICE: Dodge? Is that you, Dodge? Tilden was right about the corn, you know. I've never seen such corn. Have you taken a look


at it lately? Dazzling. Tall as a man already. This early in the year. Carrots, too. Potatoes. Peas. It's like a paradise out there, Dodge. You oughta take a look. A miracle. I've never seen it like this. Maybe the rain did something. Maybe it was the rain. (As HALIE keeps talking offstage, TILDEN appears from left, dripping with mud from the knees down. His arms and hands are covered with mud. In his hands he carries the corpse of a small child at chest level, staring down at it. The corpse mainly consists of bones wrapped in muddy, rotten cloth. He moves slowly downstage toward the



staircase, ignoring VINCE on the sofa, VINCE keeps staring at the ceiling as though TILDEN weren't there. As HALIE continues, TILDEN slowly makes his way up the stairs. His eyes never leave the corpse of the child. The lights keep fading.) Good hard rain. Takes everything straight down deep to the roots. The rest takes care of itself. You can't force a thing to grow. You can't interfere with it. It's all hidden. Unseen. You just gotta wait ‘til it pops up out of the ground. Tiny little shoot. Tiny little white shoot. All hairy and fragile. Strong though. Strong enough to crack the earth even. It's



a miracle, Dodge. I've never seen a crop like this in my whole life. Maybe it's the sun. Maybe that's it. Maybe it's the sun. (TILDEN disappears above. Silence. Lights go to black)

END OF PLAY