HOMESICK An American Tragic Farce by JOHN MONTELEONE CONTACT: e-mail: writing@johnmonteleone.com PO Box 2723 Sag Harbor, NY 11963 IMPORTANT NOTE REGARDING PRODUCTIONS STUDENT CLASS PROJECTS If this is for a student class project you may use this text or sections of it free of charge but I want to know that you're doing it for my resume and would love a video tape of the production, and/or quality rehearsals. PRODUCTIONS OF ANY KIND OR LEVEL You may read and use this text-based script for considering work but if you want to produce my work as a student, amateur or professional production you must purchase scripts from me online and pay royalties per performance. __________________________________ Copyright 1997 by John Monteleone All Rights Reserved Registered with WGAE HOMESICK was first produced in New York City at The William Redfield Theatre by The Actors' Workshop of Long Island in February 1992. It was directed by Keith T. Fadelici, Costume design by Tamar Cohn, Lighting Design by Jennifer E. Tanzer with the following cast: MAR Joyce Sozen HOM Steve Abbruscato SEPAR Marjorie Austrian RAT Cam sanders CHARACTERS: MAR Woman Married To Hom. SEPAR Mar's sister. HOM (Pronounced home) Mar's husband. RAT Their child. Twenty two. Just finished college. SET: PLEASE NOTE: Although you could create a very detailed realistic set for this play, it can also be done very suggestively. The outline of the box, is not necessary, but would add a nice touch if it is possible. A typical upper middle class living room. All amenities to the detail. Completely symmetrical and predictable. A Christmas tree up stage center, almost completely decorated, lit with white lights, not blinking. It can be a miniature, up on a table. A couch with two couch pillows up stage center with a coffee table in front of it. On the coffee table is a delicate coffee cup and saucer, ash tray and voss. Two petty chairs stage right and left on an angle facing in with two end tables next to them on the outside. Each table has a lamp on it. A carpet and a bar upstage, near the tree. Around the perimeter of the set, is the outline of a present. The audience looks in through the large cut out hole in the wrapping paper surrounding the edges. This can be simply done. There is an entrance to the outside and exits stage right and left to other areas of the house. As the lights rise, there is a brief silence and tableau of the beautiful living room. Pause. Mar, a women groomed to perfection enters holding a lord and taylor shopping bag filled with presents. She stops, looks at the living room in perfect order, then smiles boldly and speaks to the audience. MAR Isn't it just ... Perfect? She crosses down stage left, takes a box out of the shopping bag, opens it, and removes a blood red blouse. She holds it up to her looking into an imaginary mirror. MAR (sits. To herself.) She'll love it. I know it will make her happy. I can't wait until I see her face. She looks closely at the blouse. She becomes jealous. MAR It is pretty though, isn't it? I love this blouse. It's me it's so so ME. She puts it down depressed. MAR (a complete change) I want to live in a cabin in Vermont and never see another human being again. She looks out at the audience as though she were facing her own Funeral. Separ enters. She is dressed in a bland work outfit and has little make-up on. She wears librarian type glasses. Her hair is in a neat bun. She looks troubled. She crosses strait to the bar. SEPAR Hellllllooooo.... She gets a bottle of whiskey and a glass. She moves to pour it into the glass. Looks to see if Mar is watching, she is not. She chugs the whiskey from the bottle. Chokes. Wipes her mouth in a dainty touch. Pulls it all together. Smiles boldly. SEPAR I said, Helllllllllooooo...... Separ sits next to Mar. Mar rises. MAR Home? SEPAR Yes, what does it look like? MAR I'm not sure anymore. How was work? SEPAR Aggressive. Goal oriented. Upwardly mobile. Opportunistic. Profitable. Devastating to my humanity. (apologizing) I'm sorry I had a bad day at work. MAR I understand. SEPAR (not able to hold it in) The goal is happiness, isn't it? Find happiness. And when you don't find it, poof, you realize that it never existed in the first place, that it was some THING, outside of your immediate reality. And in fact, because you pursued this illusion, your experience was chalked for naught. Every, single, moment, of your life was meaningless, useless, valueless. I'm sorry I'm running off at the mouth. It's my boss. And I'm in debt... MAR Vent, dear, let it out... I'm all ears... SEPAR You don't want to hear it. MAR Of course I do. What is family for? SEPAR Did you hear what I just said? MAR Yes yes yes. SEPAR Oh God, I wish I couldn't think ... DO YOU REALIZE THAT EVERYTHING I JUST SAID WAS ONLY, ONE, BIG, RATIONALIZATION, BECAUSE I HATE MY LIFE... MY BOSS... MY EX HUSBAND... AND I'M JUST UN HAPPY...OH GOD...I want to live in a cabin in Verm... MAR CAREFUL DEAR ... that's my line... SEPAR I'm so sorry, love. I didn't mean to go off the text. MAR Yes you did. You've always taken my lines from me. Even as a child. I made up goo gee ga ga first and there you were the next year, stealing them right out of my mouth. I've always hated you for that. Only kidding, sweetheart my precious little sister. She pinches Separ's cheek. MAR (cute) OOOOOO I just wuv you wuv you wuv you with all your rationalization, your deep personal sense of desperation, alienation, abandonment, loss, uselessness, feeling abused, unwanted, manipulated, fooled, deceived, desecrated, drained... etcetera, etcetera, etcetera... But remember dear, you have us. Separ notices the bag of gifts. SEPAR Oooooo, Gifts? I love gifts. They make me believe I'm loved. Which ones are mine? MAR None. Mar takes the shopping bag and moves it. SEPAR Oh? Well... I don't want anything this year. It's beautiful outside. The acid snow hasn't burnt anything yet. She holds up the blood red see through blouse for Separ to see. MAR Love it? SEPAR Yes. Where'd you get it? MAR At the mall. I bought it for you but I love it so much I'm keeping it for myself. Pause. Separ switches the ash tray and vase on the coffee table. SEPAR You went to the mall? MAR Yes, that's what I said. SEPAR How was it? MAR Large. SEPAR Were people like you there? MAR Yes. SEPAR That's too bad. (giggles) Mar puts the ash tray and vase back in their original positions. MAR (smiling) I need a drink. SEPAR How much did it cost? MAR I don't know. SEPAR Did YOU pay for it? MAR Of course. SEPAR With cash? MAR Charge. SEPAR Not a check? Mar drinks. SEPAR Why not with your husband's life? Separ puts a couch pillow under her feet. Mar drinks. Then her face dies. Pause. MAR Are you feeling all right, dear? You look as though you just had one of those rationalizations. MAR Yes. I'm ... Fine. And you, my ... love? Mar grabs the pillow from under Separ's feet and puts it back onto the couch. SEPAR A little queasy, dear. Separ puts the pillow back under her feet. MAR In the stomach, love? Grabs the pillow from under her feet and holds it in her arms. SEPAR No. In the head, my sweet. Separ puts the other couch pillow under her feet. MAR Have you taken a pill? (pause) Why not take a pill. TAKE A BUNCH. Grabs the other pillow from under Separ's feet and holds it in her arms. SEPAR Only if you slit your wrists, dear. MAR (smiling) Oh, I wish you'd die. (false shock, catching herself) Oh, dear me, I should have my mouth washed out with soap. Separ pulls an ax from her pocket book, screams like a martial artist, and smashes the coffee table which breaks in two. She puts the ax back into he purse. They look at each other. Separ smiles. Pause. MAR You will have to reimburse me for the antique replica you just destroyed. SEPAR Of course, dear. It's the only civilized thing to do. Pause. MAR You will pay. SEPAR How much? MAR Quite a bit. SEPAR How much? MAR Years. SEPAR That's severe. MAR You broke my ... table. SEPAR You broke my life. MAR You destroyed my hopes for a career. SEPAR You stole my boyfriends. MAR Mom loved you best. SEPAR Dad loved you best but how couldn't he you always flirted with him. MAR I'm Flabbergasted, taken aback... SEPAR I LOVE YOU DAMNIT. MAR Christianly appalled. SEPAR ...I'm your sister. Pause. SEPAR Since the beginning, I've seen your eyes, the deep fragility that was hidden there. As were mine. But we're so afraid, aren't we? Pause. SEPAR And I love you. Pause. SEPAR Do you love me? MAR I never flirted with father. I don't know what you're talking about. That's a disgusting accusation. SEPAR Do you love me. Pause. SEPAR I'll write a personal check. MAR Thak you, dear. Separ does. They both look at one another and smile. MAR Are you all right, sweetheart? Pause. Separ's body stiffens. Terror crosses her face. SEPAR (holding in her fear) I'll be fine, once you shut up. Separ pulls out of her purse a bottle of pills and holds them in one hand. She looks at it and her hand begins to tremble. MAR (to herself, looking at Separ) Oh, poor little Separ. Mar crosses to the Christmas tree and begins decorating it with glass ornament balls. MAR I’m so glad you're going through this torment and not me. It's so awful to think that such pain exists. Pause. Mar drops a glass Christmas tree ornament and it smashes on the floor. Pause. MAR (ignoring the broken ornament) But dear, at least you have the common sense to take pills. Slitting your wrists would make such a mess on my brand new carpet. Oh, just teasing. I just wuv you wuv you wuv you like a little puppet doll. Pause. Mar drops a glass Christmas tree ornament and it smashes on the floor. Pause. SEPAR (quietly viscous, trembling) I only took the pills out because the ax would be too difficult. Pause. Mar drops another glass Christmas tree ornament and it smashes on the floor. Pause. MAR You're excruciating. You remind me of myself. SEPAR Does it torment you, dear? MAR Yes. SEPAR Then I'll continue... of course. Pause. MAR I ... can't ... go on ... like... this... Pause. SEPAR But you will, dear. Here. With me. We'll enclose each other, my love. For the fun of it. Pause. They both smile at each other. It is too long. Tableau in profile. Mar moves to exit. Stops. Turns back and grabs the ash tray, vase, shopping bag and other items. Then exits. Separ sits, smiling. Pause. A man enters. He is wearing an old suit and tie; ripped, grime all over It, etc. One leg of his pants is missing. His face is black and blue. His hair sticking up in all different directions. His eyeglasses broken. His briefcase beat up with slashes across the leather. SEPAR Where have you been? HOM (simply, sadly) In world. Hom, looks at the lamp on the table. Turns it on. Looks at the light. HOM Light? Picks it up and throws it offstage violently simultaneously screaming. We hear it crash loudly. SEPAR (scolding) Now, now, we must learn NOT to be honest. Hom stops screaming. Looks at Separ like a rabid dog. Pause. He then darts over to Separ, stands over her panting heavily. HOM Where's childhood? Pause. HOM WHERE'S CHILDHOOD? SEPAR Gone. HOM Wish could ... go back. SEPAR Go back to where, dear? Hom just stares at her. SEPAR Go back to WHERE, dear? HOM Start over 'gen. Hom looks down in sadness. SEPAR Me too. It's just one of those things, Hom. Do you remember? Your break...down? Hom looks up at her. Mouth hanging open. HOM Broke apart. SEPAR No. Broke down. HOM Busted up. SEPAR No no, dear, breakdown. HOM CRUNCH. SEPAR Oh, poor Hom. Poor, lost, neglected, stupid, mindless, pathetic, tied together with threads of traditional metaphor, Hom. HOM How? SEPAR The doctor said it was a reaction to your history. It's common these days. Your childhood's inside of you, gnawing away, reminding you of how perfect life seemed, and how imperfect, even horrific it actually is now that you're an adult. It's a terrible thought isn't it? Think about it. It's amazing that we're not all in hospitals? (pause) PLEASE STOP STANDING THERE LIKE THAT! What do you want? HOME (poetically) Pause. Pause. Hom stares at her, standing. Mar enters with coffee. MAR (to Hom) You're late again. Was there a delay with the train, sweetheart? How was work? Too tired again to speak? I understand wuvy. Commere doll. I'll wub yow feetsies and den tuck yow in nice nice ... Mar sits him on the couch and takes off his shoes, rubs them. HOM No! I stay up and I think of having sex with (points to Separ) Her. Like you, her, last night. SEPAR (flattered) Now now. Those were just porn films... A ha. MAR I'm flabbergasted, disgusted, taken aback, shocked, Christianly appalled. Where did you ever get such ideas...? Mar rises. Hom follows her standing and looking at her. HOM (trying to please Mar) You too. Both you on me. Like movies watch. Tongues lick me. All over. Me in you. Then you. Then you. Then other stuff too. Separ crosses to Hom and puts her hand gently on his shoulder, looking at Mar smiling. Mar looks up. Hom looks out toward the audience. SEPAR (smiling) Now now Hom, please, you know how she is about sex. Frigid, impotent, clitless, aren't you dear? (to Mar) But it's not her fault. Right love? She's lived a sheltered life for God knows how long. Mar crosses to Hom and Separ and gently takes Separ's hand off Hom's shoulder. Hom looks straight out at audience, panting. MAR (smiling) Oh stop communicating to him like he's untrained. He's been properly conditioned. Watch. Pause. MAR Sit. Hom giggles and jumps up once. MAR SIT DOWN! He falls onto the couch. SEPAR DON'T SIT! He bounces up to his feet quickly, like a clown on a trampoline, arms flying up, crazy face, etc. He continues bouncing. MAR SIT! SEPAR DON'T SIT! MAR SIT! SEPAR DON'T SIT! MAR SIT! SEPAR DON'T SIT! MAR SIT! SEPAR DON'T SIT! MAR SIT DOWN! SEPAR DON'T SIT. Hom stares at her exhausted. SEPAR DON'T SIT! Pause. Hom pants, sitting on the couch. SEPAR OH GOD, I WANT TO FIND A CABIN IN VERMONT AND... MAR ...DON'T SAY MY LINE DON'T YOU SAY IT SEPAR... Separ crosses to the chair and sits. Hom falls over on the couch in a fetal position and puts his thumb in his mouth. HOM I'm hungry too. I eat wanna. I'm angry too. Bash wanna. Confused too. Cry. Don't ... get you. Me. No more. Tired of. Separ crosses to Hom, pulls him to a sitting position and sits on his lap. Mar rises. Hom looks out toward the audience in a daze. SEPAR Aren't we all, dear? Maybe later. In the night we can give you a treat, if you're a good boy. But don't let Mar know about it. She's has a moral dilemma. She identifies herself as being proper. A well bred ... human being. Mar crosses and sits on Hom's other lap. Hom stares out toward the audience, mouth dangling open, hair astray. MAR That's just ridiculous. I'm as immoral as the next person. He's just so demented lately (aren't you dear..?) that when he bursts right out with those thoughts he throws me. (sweet memory. Looking at him) Just look at him. It's almost impossible to believe that once he was an All American boy. A full fledged, vital, muscle pumping, virile, pumper thruster of a load and a half ten a nighter All American boy. (she becomes overwhelmed and sings loudly and patriotically, rubbing Hom's hair seductively, unconsciously) "OH SAY DOES THAT STAR SPANGLED BANNERRRRRRRR YET WAVE??? O'ER THE LAND OF THE FREE... Mar grabs Hom's tie and pulls it up like a noose. MAR AND THE HOM OF THE ... OF THE" (embarrassed) I seem to have forgotten the words. SEPAR (to Hom) Later big boy? GO. Hom rises. They are pushed off of his lap. He runs down stage center beaming in demented lust. HOM Oh goody goody. Can't wait 'til later, you me naked, lick good, fun fun fun... He runs to the stage right exit. SEPAR (sweetly smiling) Sweet as home baked apple pie sitting on a sill. Like mother used to make. MAR I think you should leave. Pause. SEPAR I understand. I'm independent and that reminds you of how trapped you are here. I'm sorry. Truly sorry, but in a lot of ways, I envy you sweet sister. I envy the wonderful life you've concocted for yourself here in this adorable little abode amidst the tranquil trees and the little white picket fence surrounding the carefully manicured property. The five bedroom farm ranch with two and one half bathrooms, family room with sprawling stone fireplace, dining room adorned with French doors leading to a deck overlooking the built in swimming pool, worth at least two hundred and fifty big ones, fills my heart with the love of Christmas. And because you've been so kind and generous during the holidays while my life is in fact a mess... MAR ...You can stay just stop running off at the monologue... Jesus you can talk... Pause. They smile at one another again. SEPAR Should I cook dinner? Or are we going out? Pause. SEPAR What time does Rat get home? MAR Soon. SEPAR Maybe we can talk Rat into paying for us. Pause. MAR (business like) That's a good idea. He owes me. I've given him my whole life. Oh, just think of it Separ, there truly is nothing like giving ... to receive. And you owe me, too. Don't ever forget how much you owe me. How many times I've rescued you from yourself. And don't think I won't throw you into the streets if you don't pretend to be appreciative, dear, ha ha ha ha ha... Pause. MAR Are we clear? Pause. SEPAR Would you like me to refill your coffee, my love, until we eat, sweetheart? MAR Oh thank you, doll. Please? Pause. SEPAR You're very welcome. It's my pleasure to serve you. I'll make the dinner reservations immediately. Mar hands her the cup and saucer smiling, and Separ, smiling, covering anger, exits off left. Hom runs in half naked wearing only boxer shorts. His hair is in wet bangs over his eyes and he hunches. This makes him appear monkey-like. HOM MAR MAR? MAR Yes dear what is it NOOOOWWW?! HOM (struggling to remember the frightening images) I had bad dream Mar. Dreamt worse bad things ever dreamt before. Dreamt time before. Remember different feelings have now. Me wear suit. Tie. Noose. Case too. Shoes too. Hair neat. Clean shaved. Lots people on train. Every day twice. Went nice office to. Did things. Big. Then in bad dream, hated what I doing. Couldn't deal pressure. Felt urge to pre...tend success. Keep smile. Each, my heart eaten up. Little more more more more more until all eaten up in chest. Here. Couldn't feel but shame. Then drank. Drank until head numb like heart. So hurt less. Remember falling down. Falling falling falling turning down out big high building down down down to here. Hit cement. SPLAT... woke up. Like this. Is it time work? MAR No. You just came home from work. Now, are you finished with your little story? HOM Don't know. MAR Well then go and get ready for dinner. We're going out. We've decided. Rat is treating everyone for Christmas. HOM Oh goody. Formal? Casual? MAR Wear the red black and blue suit. I meant, The Red, White and.... HOM ...do have to Mar? MAR Yes dear, you do have to. HOM Why, Mar? MAR Because it will please me and I will love you more today than yesterday because of it, sweetheart. Remember, marriage is a sacrifice. HOM 'K. I'll do you 'cause love you and you're spouse. Put me far 'way for you. Do gladly. I love You ... You. I sorry you not love me' cause I angry you. I die, for you. (pause) Did. MAR Dear, don't just stand there do something for me. I'm feeling unimportant again... Hom reaches into his boxer shorts, into his groin and pulls out several twenty dollar bills. He peels them over the elastic band and holds them out to Mar. She smiles. MAR OHHHH, moneeeey. Kissey? He kisses her on the cheek, she winces, he exits repeating the words: HOM "Love you, die for you ". Mar watches him. Then suddenly, a change comes over her. She pours a drink, lights a cigarette, and alone, begins to dance with a drink in one hand, a cigarette in the other. MAR (to imaginary or real waltzing music) La la ta dum dum dum dum dum dum dum dum da dum poof poof poof gone gone da dum die die die die die dump died dump dump died dumped died dumped dumped died died Mar speaks to her imaginary partner, as she continues to waltz around the stage. Oh you dance so marvelously such a dashing prince you are such a Gran' Dam' am I Queen Mar and King Hom like a white stallion taking me into the sun on wings of passion from the light streams of lusty love floating through the azure endless thrust and what a man to simply smile at her and leave his queen breathless on loves embankment of a teardrops aching groin Oh, I'll bet I could sell that to Hallmark for twenty bucks She continues smiling gleefully and dancing with her absent love. Da da dum dum dum poof poof gone gone A motorcycle engine is heard pulling up outside and revving it's engine obnoxiously. Mar stops dancing suddenly. Separ enters with coffee. SEPAR (singing happily) Here it is here it is here it is. I hope it's how you like it. She tastes it. MAR Awful. Burnt. SEPAR (smiling) Stop shitting on me. MAR Does it torment you? SEPAR Yes. MAR Then I'll continue, of course. Pause. MAR What is that awful noise? SEPAR Rat. I saw him pull up on a motorcycle. MAR (rising) A what? SEPAR A motorcycle... MAR He doesn't own a motorcycle. The door bursts open with one kick from the outside. Rat runs on abruptly, and fires a gun into the air twice. Mar and Separ gasp. He wears all black leather and chains. Dark sunglasses. Black leather cap. Long, black hair--the same wig he wears as the Indian at the end of the play only now covered by a black leather cap or bandanna. He carries numerous weapons described below. He his movements are protective and choreographed to be exaggerated, vulgar and hostile. A dance of rebellion. He jumps onto the couch. RAT I'M NOT AFRAID. I'M NOT SCARED OF NOTIN'. I GOT A GUN. I GOT LEATHERS AND CHAINS. I GOT A JACKKNIFE, A MASE, A PHONY CHARACTERIZATION, I GOT EVERYTING I NEED FOR PROTECTION. I DON'T NEED YOUR GODAMNED APPROVAL OR NOTIN', FAMILY BEAR. I KNOW WHO I AM NOW. Pause. MAR I'm flabbergasted. Disgusted. Taken aback. Shocked. Christianly appalled. Where did you ever get such ideas...? RAT SHUT UP! SEPAR I'll dare you speak to your mother like she deserves... RAT SHUT UP! MAR What kind of language is that? I doesn't belong in this home... Rat delivers his lines right into Mar's face. RAT ...FUCK... MAR ...I won't stand for it... RAT ...FUCK... MAR ...you've just graduated Magna Cum Laude... RAT ...FUCK... MAR ...you have an excellent position RAT ...FUCK... MAR ...with all kinds of potential ... RAT ...FUCK... MAR ...and you enter the house looking like that... RAT ...FUCK... MAR ...THAT... RAT ...FUCK... MAR ...THAT! You left this morning in that brand new suit I bought you... RAT ...FUCK... MAR ...groomed like a cosmopolitan ready to impress everyone... RAT ...FUCK... MAR ...and now ... RAT ...FUCK... MAR ...NOW... RAT ...FUCK... MAR ...THIS?!!! RAT FUCK THIS. FUCK da nine ta five masquerade. FUCK behind da desk. I said FUCK IT ALL. An' mama, here I am, flyin' freebird in da night down the strip. The new me over me. I'm never sittin' behind a desk agen. I think I'm gettin' the hang of dis new language. SEPAR Oh Ratty, you're making a terrible mistake pretending to be this monster instead of the other one. Your degrees. The years of study. The practical experience in your chosen field. Your new briefcase. RAT Let da past ride da wind. I'm free now baby. FREEEEEEEEE forever. Separ and Mar look at each other. Rat starts to exit toward bathroom and Hom enters wearing a white jacket, red shirt and white tie, a pair of flag blue pants, a pair of dark sunglasses, a black Dick Tracy hat and smoking a cigar. He must project, through the clothing, a gangster. He is still "Hom" underneath. Pause. MAR (to Hom) Oh, that's so much more American, dear. HOM Hi Rat. We goin' dinner. Dress formal, not like want to. But o.k. 'cause love Mar. RAT Hey, yo, papa bear, how you feelin' today - man? HOM k..O ... you? RAT Different. A new me, Jack. I feel safe. Finally safe. HOM Leather? I saw last night leather. You in movie? RAT No. Dat was porn. HOM Po... RAT Video store. They have sex movies. Anything you want. HOME (excited) SEX WITH SEP....? Hom stares at Separ, smiling. RAT Separ he's got orders from doctor bear, not to be seduced by no one in dis house, you dig? SEPAR He's all nutty. You believe him? RAT Like a brother. Pause. SEPAR I am shocked Rat. She removes the pin from her hair bun and it falls sensually down). SEPAR shocked, that you would even think me capable of such manipulations. (she throws herself at him) SHOCKED. HOM (still staring at Separ) Did so did so did so did so disoooooooooo sex me. SEPAR SHHHHHHH, or no more. HOM No more? SEPAR Ever again. Hom begins to cry like a child. Softly. Hom begins to wail. MAR (taking control) IT'S GETTING LATE. I think we've had just about enough honesty in this house for one day. Now, I must put on my face. When Hom is finished crying, all of us will be able to prepare for dinner. They wait, Hom remains center stage wailing out toward the audience. MAR Hom? HOM (stops crying suddenly) Mar? MAR You're setting a terrible example for our beloved son. And making a complete and utter fool of yourself in front of Separ and these nice domesticated audience members. Let's put some perspective on this, shall we? Now dear, marriage is a learning process. A maturing. Not a romantic escapade into bliss. And in marriage, after years of repetition, years of routine, years of smelling your spouses bad breath, years and years of hearing their quips and complaints, years of seeing them deteriorate before your eyes, well, sex dies a little. Sometimes a lot. Sometimes altogether. Often, but not always, married people become sexual zombies and do all kinds of things to fulfill their sexual desires other than sex, directly. Eating, happens to be one of these diversions and I am VERRRRRY hungry. And further, it is our duty to not fall apart just because one huge part of our humanity has died. We must learn to circumvent our desperation when dinner time rolls along, and, or, when an example of quasi-stability is necessary so as to not give the impression that life can be trying to say the verrrrry least. Or else what do we give the children, anyone, to look forward to. Hmmmm? SEPAR Now look who's running off at the monologue... MAR What am I saying to you, Hom? HOM Dress? MAR You're a whiz. And I wuv you for it. Now EVERYONE, let's go. Mar exits. Rat, Separ and Hom, stay. RAT (to Separ) You leave him alone. Dad, sit down. SIT. SEPAR DON'T SIT! RAT SIT! SEPAR DON'T SIT! RAT SIT! SEPAR DON'T SIT! RAT SIT! SEPAR DON'T SIT! RAT SIT! SEPAR DON'T SIT. Hom sits. Cries. Doesn't move from the position he's sitting in. SEPAR DON'T SIT. RAT I won. Rat sticks his tongue out at Separ, like a child playing mya mya. SEPAR (sensuously) Ooooooo. HOM N ... n ... n... no more sexxxxxxxx ... xxx ... Hom puts his thumb in his mouth and looks out at the audience. Separ looks at Hom, with deep empathy for herself. SEPAR He lives in some kind of infantile fantasy. As if he were reliving his life. Because his present life was too unbearable to face. I know just how he feels. There is a pause. Then, Separ moves to touch Hom. RAT Don't touch him. SEPAR I don't want sex... (pause) ..with him. Pause. Hom stops crying. RAT (nerd. Nervous) Who d... d... do you ... want, sex, with? Pause. SEPAR Oh, I don't know. Who do you want, sex, with? Pause. Hom bursts out crying. RAT DAD?! HOM (stops crying abruptly) Me? SEPAR I always admired the way you took control of things Rat. The way you just, take charge. RAT (sadly) I never take charge. I'm scared to death. SEPAR I bet you could please me. I'm easy to please. RAT I ... I ... SEPAR I'm desperate... RAT I'm ... I'm ... SEPAR Willing... RAT Where's my voice? SEPAR Disgusted with myself. Lonely. In need of the warmth. Alone under the indifferent stars. I'm an easy victim, Rat... Don't be a fool, take advantage of me... RAT (Hells Angel) NO. SEPAR Oh, how adorable, You're so charming with the new identity and all. But I want the real you. RAT (to himself as the nerd) M... M... Mar...? SEPAR Let's pretend our pain never existed. RAT (whining) I'll throw up all over you if you come any closer... SEPAR I love a man who knows how to turn a woman off. RAT (Hells Angel) Don't fuck wit me bitch. SEPAR You don't have the commitment to the character. I see right through it. Come here, stick your tongue in my mouth. Take me back to the cradle darling. RAT (Hells Angel) HEY MAR?! MAR?! CALL THIS NUT CASE OFFA ME WILLYA. SEPAR I love a man who knows how to call his mommy to his rescue. Rat (like a nerd) HELP MAR? HELP? Rat begins to cry. Hom stands and watches. HOM Not him, me, tonight, you promised ... Hom cries and watches her seduce him. RAT (Hells Angel, crying) STOP IT. I'll strangle you. SEPAR Strangle me? Oh how domestic. HOM Me .... mine... You mine. Need Love. Me you love me you. All that's left... Rat grabs her neck and chokes her. She falls to her knees in front of him. He looks down on her. She up at him. HOM (eyes bulging out) NO KILL! ONLY PLEASURE LEFT I HERE... RAT (Hells Angel. To Separ) I won't ... ask again. He releases her and she falls onto the floor gasping for air. RAT (Nerd. In a dilemma) Maybe I'm gay. SEPAR I love a man who knows how to ... strangle a woman. More. Please, strangle me again. Oh please, it feels so American. She crawls to him. HOM I strangle you ... Me strangle you. PLEEAAAASSEEE? SEPAR No dear, you've already strangled each other. It's my turn now. I want to feel part of the family. She crawls onto the couch. HOM Jealous feel. RAT One more step and I'll stand on your face. SEPAR Oh, please, stand on my face. Crush me my darling. Rat, behind the couch, puts his foot on her face. Separ's face looks twisted and looks out at the audience. In pain, she tries to speak. Rat looks bewildered but stuck in his commitment. Hom stands stage left, watching. SEPAR Oh Rat, thank you, that feels so much better. My husband was kind and good to me. So, of course, the only thing I could do, was have an affair. I felt for my lover what I never felt for anyone before. Because there was danger and deception. And ohhhh, now, HE, was as abusive and punishing as anyone could hope for in their wildest dreams. The pain of marital guilt, and the pain of not having him, when I wanted him, and knowing he was having sex with his wife was agonizingly, wonderful. The pain and abuse sustained me for almost a year and then my lover decided he had to make a commitment to his wife and three children. It was with his family that he found the greatest pain and abuse. It gave him the sense of loss and entrapment that he needed to feel whole. And I was left with my family who needed me and loved me and wanted me to be committed to them. The only thing I could do was leave. And so now, with your foot on my face, I feel abused and trapped and limited as always. What relief. He releases her. He turns to leave. RAT We gotta go out to dinner Separ, it's Christmas. SEPAR PLEASE. DON'T LEAVE ME ALONE AGAIN. YOU'RE MY SALVATION. She jumps up and piggy backs him. A struggle begins throughout the room. Separ is hanging on Rat's shoulders and then falls to the floor holding onto his leg and as he tries to get away from her she is dragged on the floor, face down. Other similar positions may be explored. Hom follows them. Separ falls to the floor center stage, face down in a painful tableau. Hom stands above her looking down at her, arms limp at his sides. Rat looks at Hom by Separ's head. During the above, Mar walks past them, not seeing them, and moves directly downstage center looking out at the audience into an imaginary mirror. She is overly made up, black lipstick, lips much bigger than before, deep blue eye shadow, thick, horrific eyebrows, expensive flag blue dress and the red sexy blouse she bought in the beginning of the play. A white band around her waist. MAR (singing) How do I look everyone? (speaking) I bought this new blouse today and I just couldn't wait to put it over me. Doesn't it make me look ... young? She models herself, dances a waltz, in front of the mirror. MAR Look at that, I think I lost the same pound or two that I put back on after the last diet. Mar turns around, sees them stops dancing abruptly. MAR What's this, no one's all prettied up? I'm disappointed in you. Separ pulls the ax out of her purse violently and stands like a cave women about to club Mar to death. SEPAR SHUT UP! Pause. Separ doesn't put the ax down. She holds it over her head ready to attack. Jumps onto the couch. SEPAR Now I want to be heard. Maybe for the first time in my life. All sit. Now. They all sit. Pause. SEPAR Now, listen to me carefully. I want this family. I want it to be mine. That way, you'll have to do what I say and when I need to be listened to, I'll be listened too. When I need compassion, I'll get compassion. When I need hot cocoa, I'll get it. So, from now on, I'm the boss. All respond simultaneously please. ALL Yes Separrrrrrr. SEPAR All kneel. They do. SEPAR I don't care if your love is a lie, as long as it looks truthful. Is that clear? All respond simultaneously please. ALL Yes Separrrrr..... SEPAR Excellent. (pause) It feels wonderful to be loved. Now I'm putting the ax away. Just stay where you are.... One wrong move and Separ kills... She puts the ax into her purse carefully. All watch. As soon as the purse is snapped shut Mar jumps on her sister and beats her up with two sharp, well aimed blows; one to her stomach doubling her over, one to her face, jerking her upright and throwing Separ against the couch, sitting on the floor. She is unconscious and her face has blood covering most of it. Mar takes Separ's purse with the ax in it and attempts to throw it offstage, but it lands directly in Rat's arms. Pause. Rat looks down at it. Looks at Mar and smiles. Runs offstage, almost dancing. Separ comes to. SEPAR Wha ... da ... happened ... meeeee ...? MAR Don't try and take my life again, my love. SEPAR Wha ... me? Happ? ... Da ... MAR I've taught you to behave yourself. From now on, things will be more orderly. Get up, sweetheart. SEPAR Can't. Not know what did now me? MAR (disgusted) Hom, please explain everything to her. I need a before dinner drink. Besides, she seems to be speaking your language. Mar crosses to the bar. Puts her back to the audience. Drinks. We see a glass in her hand at all times. Hom and Separ speak to one another, slowly and deliberately. Not losing the words. Separ's voice is like a little girls. HOM 'K, Mar. (to Separ) Mar not like self no more. Give up much. Self. Life. Dead inside. Past choices her trap. Pissed now. At self. So beat up. Prove right herself. So life lie not. (brief pause) Dignified acts. SEPAR Me talk. Listened to. Want love. Never before. Always beat. All. Beat me. Got used to. Everyone. Me. Why? HOM We people. Once here. Together. Miracles. Never 'gen after end us. Neanderthals like, only dressed. Hom looks out toward the audience. HOM Love forget. Madmen. Madmen. (screams) MADMEN! Tsk. SEPAR Me girl little. Pink bows. Dollies. Coming of. Life, to be. But where now? Why pain so much? HOM Don't want free. Can't deal others. Free. So trap. Traps kill free. SEPAR Not be like this way, have to. Together. 'Stead ofdeath kill, like this all time. Lights change. Spot on Hom sitting on the couch with a look of deep regret stuck on his face. Separ looks out toward the audience, exhausted and limp, resting against Hom. Mar crosses down stage right and speaks to the audience. A spot is on her. The rest of the stage disappears. Mar delivers this speech slightly drunk, hardened, bitter. MAR I was at a party. I was only a child. Everyone wearing funny little hats. And there were presents all over. I was given a great big one with pretty wrapping paper and rainbows and pots of gold at the end of each one. And I began to tear off the wrapping paper to get to the box underneath. Under the layer of wrapping paper was a white box. I wondered what was inside the white box that was hidden under the wrapping paper with all the rainbows and pots of gold. I could not wait to see what was inside. But I was told that I could not see... they said, "you can't see now". Rat dances on wearing a pink ballerina dress, and hot pink ballerina shoes, red hair wig and in full female drag. Mar turns and sees him from the audiences reaction and gasps. MAR Rat, dear, I'm talking to the audi.... (bursts out in disgust) OH GOD TAKE OFF THAT MAKE-UP AND PUT ON SOMETHING MORE MASCULINE BEFORE I SLIT MY WRISTS.... Rat bursts out into tears and exits on tip toe. Mar resumes her monologue to the audience. MAR And so ... I was told that I could not see ... what was inside the white box ... they said, "you can't see now". And so I waited. I waited and I waited and I waited. I grew up waiting to open the gift and get to the present. When I reached adulthood, I ran into my house, and I grabbed the white box and jerked the cover off of it... (pause) Inside ... there was nothing. No gift. No present. No reward. Nothing. But me, and it. Pause. She looks at the audience as if she were looking at her own funeral. With a solemn, expressionless face, she wipes one tear away with a slow, steady, singular movement, her index finger stiffly across and under her eye. She looks at the audience and flicks the tear drop at them. Pause. Separ snaps out of her trance and rises to her feet. As she rises, Hom falls over onto his back on the couch. He folds his arms over his chest like a corpse. He looks dead. Separ is now speaking like Hom, only the tone in her voice, is normal, the location of the words are jumbled. SEPAR Well, get better ready dinner for. Hungry am I, boy. Why words backwards coming out of mouth my? Peculiar. She moves to the imaginary make-up mirror down stage left, peers into it (out over the audience) and gasps. SEPAR Oh dear, happened what? There again it is? Backwards. Separ takes some tissues from her purse and wipes the blood away from her face. SEPAR Deteriorating again. (gasps in shock) Look I as though aging were. (pause. She peers into the mirror) Aging? MAR (still looking out) Don't think about it. Just put on your make-up. You'll feel better. Pause. SEPAR But haven't lived I yet. Pause. Rat enters wearing a mixture of the Hells Angel's costume and the ballerina costume. He stands there. Separ looks at the audience in still, silent terror. Mar crosses to the Christmas tree and looks directly at it. They notice him. MAR (to herself making the sign of the holy cross) I want to live in a cabin in ... (to audience, confidentially) How'd he get ... so fucked up? Rat just looks at her. She smiles at him, covering her deep worry. Rat turns and exits. Mar turns back to the Christmas tree and looks directly at it. Pause. As Separ speaks to herself applying her make- up, Mar begins to put ornaments onto the Christmas tree. Separ begins to apply make-up so that by the end of her monologue she looks like a little plastic doll, overly made-up. She takes her dark red lipstick and begins applying it to her face. She makes her lips huge, doll-like, then her eyes, then two big dots on either cheekbone. She pulls her hair back into a tight bun, so that her hair appears to be short, and masculine. SEPAR (convincing herself) Male? Secure feel more now. Confident. New female? Fit in better to all it of. Free seek. Like Hom - Equality. Job - Up- mobiley-warded. Money - own make. Inda-dent-pended. Out of claws homemaking of and into world new. Self love self now. Deal others, nah. Know who am I now. Now, can be ... me? She is bewildered. Mar stops ornamenting the tree. Looks at it blankly. Separ looks at Hom on the couch asleep. She peers into the imaginary mirror happy yet demented. She is made-up and smiles boldly. She will become the female replica of Hom as the play progresses to the end. She is dressed normally, but completely beat up, exhausted underneath. Rat re-enters. He is wearing an authentic American Indian costume complete with a black long hair wig. No braids or pony tail. Feather in a band and a leather belt with several pouches hanging off of it. He is in bare feet, or moccasins. No bow and arrow. MAR (to Rat) Where is the suit? RAT (his own sensitive voice, rising as he speaks) This costume, makes me feel alive... I can believe that my life has some meaning beyond this. It's like going to church to see God and he actually shows up. MAR (to Separ very politely) Separ dear, you look like shit. I was going to wait for Christmas but it would be perfect this evening. On my dresser you'll find a silver Fortunoff box for you. Separ exits left excited. MAR (to Rat) Suit... In your bedroom... I bought it at Macy's... Charged it... It's an investment... RAT No. MAR (begins to cry) But I went out of my way... RAT I said I don't want to put on that suit. Didn't you hear me? MAR I'm listening. RAT I need you to respect my wishes as an individual. MAR Speak, open your mouth. RAT I need to find myself. I'm lost, can't you understand that? MAR You're going to insult me. You're going to say that I was a bad mother I know it. Go on, tear out my heart. RAT (more to himself out of pain) God, I hate living here. MAR What am I hearing? RAT I hate living in this house... MAR Go on, speak up, I'm not deaf... RAT I'M SICK OF BEING HYPNOTIZED. MAR So what are you waiting for? RAT (exasperated) AHHHHHHHHHHHHH... MAR Is that all you have to say is " ahhhhh". The whole family is getting ready for a nice pre-Christmas dinner and all you can say is... RAT ...I NEED SOME SPACEEEEE... MAR YOU'VE GOT SPACE THIS IS A BIG HOUSE. WHAT DOES THAT HAVE TO DO WITH GETTING DRESSED? RAT YOU'RE NOT LISTENING TO MEEEE.... Rat begins to cry. Mar crosses to him. MAR (comforting him) There there. Now now. It's all right. That's my baby. My little darling son. I know. Mother's always know. You're having a bad day. But we all have bad days, dear. And even on a bad day, we have to eat. Right? RAT I have no appetite. MAR O.k. then, you rest right here. (to Hom) Hom? HOM Mar? MAR Will you do me a favor, I'm exhausted. HOM 'K. MAR Go get the suit for Rat. HOM 'K, Mar? Hom exits. SEPAR (off) I CAN'T I FIND MY GIFTS MY? MAR (screams) IN THE TOP DRAWER. SEPAR (off) LOOKED I IN ALL DRAWERS YOUR. MAR (pause) I want to live in a cabin in Vermont and never see another human being again. She exits off left. Rat becomes disoriented. He darts behind the chair as if in battle, and then crosses behind the couch. He looks at the set as though he were from another time. He sees the Christmas tree and is shocked. He touches it. Pulls his hand away very fast, as if it were burnt. He then walks to center stage. He grows very sad. Then, he pulls out of an Indian pouch the blue bandanna he wore as a Hell's Angel and uses it as a tourniquet. Pulls out a syringe with a needle and prepares to shoot up through the next speech. RAT ( shooting up) Give me a home where the Buffalo's roam and the deer and the antelope play where seldom is heard a discouraging word and the clouds are not rainy all day He begins to cry. Mar, Separ and Hom will enter simultaneously from opposite ends of the stage. Hom dressed in a Santa Clause costume with a gift satchel flung over his shoulder. Mar and Separ with nothing. Separ wears a woman's business suit. They enter quickly and see each other from across the stage. Hom sings quickly to get it over with. He sounds demented, more atonal than melodic. It is a strain for him and painful. HOM Silent night Holy night All is calm All is bright Roun' yon virgin mother and child Holy infant so tender and mild Sleep in heavenly peace Sleep in heavenly peace Silence as they all look at him. MAR Not that suit. The other one. Hom removes the Santa Clause costume zippered down the middle so that it peels off him like a banana skin. Under it he is dressed in a gray pinned stripped suit and groomed neatly. He puts his glasses on and looks just like a business man. He steps out of the suit. MAR No no no you dunce! (praying very quickly to get it over with) OURFATHERWHOARTINHEAVENHALLOWBETHYNAME... (makes the sign of the cross, very quickly) I'm sorry I called you a dunce, dear. (calming herself) The suit you are wearing, is the suit, I bought, for Rat. They stare at each other. Hom's mouth hanging down in utter confusion. MAR Oh never mind, we'll be late. HOM I brought down, Mar. Like said, you. He pulls the red, white and blue suit he wore earlier out of the gift satchel and lays it on the couch. HOM See. He takes three gifts out of the satchel and gives one to each of them. HOM Christmas Merry. They all look at him solemnly. Then simultaneously at their present, then back up at Hom. Tableau. MAR (regarding the red, white and blue suit. to Hom) That suit will have to do. Rat is so tired. Just look at my precious. Hom, when you put the suit on Rat, be gentle. HOM Me help? MAR You always dressed him better than I. You have a way. Remember how you used to put on his diapers. You always loved to do that. Powder his little hiney. This is ... similar ... and I wouldn't want to take the joy away from you during this most sacred holiday season. HOM 'k. RAT Dad, I don't want to wear your clothes. Hom, puts his cigar, unlit, in his mouth and walks, slowly, Frankenstein-like towards Rat. This is not comic. It is real. Rat rises and moves away from his father. RAT NO... I don't want to be like you. Hom grows more sinister. He slowly walks over to Rat and Rat retreats. A slow chase begins throughout the living room. . HOM Still, stand... RAT Please dad, don't force me to wear your clothes. I can still be a part of the family... Hom continues toward Rat. Rat retreats. Mar crosses to Separ. MAR (to Separ) Let's prepare to assist. RAT (to Hom) I know there's a part of you that remembers. we stood on a mountain. Remember? The land, touched the sky and we came right from the middle of it. The miracles. Huge mountains that rose toward the sun, moved like the waves of the ocean. And the sun looked down and cast warmth over us, as if we were infants with all the possibility of the universe within. Hom moves in on him Frankenstein-like. He stands erect, arms out. Rat retreats trying to communicate to him. RAT And I reached out my arms, like this... Rat stands for a brief moment, like Jesus on the cross, center stage. Arms out, head slightly tilted, hands as if they had spikes in them. Tableau. Hom stops. RAT ...and wanted to hug the world, hug the clouds, the mountains, the stars and the universe. And in that moment of glory, I knew that within me, was more than I had ever imagined. I was a child of the stars, of the earth, of the spirit, and of the flesh... Hom is directly in front of Rat, looking into his face. They stand profile to the audience, eye to eye. As if Hom were about to hypnotize him, like a spider attacking a fly caught in his web, Hom's arms begin to rise up slowly, simultaneously toward Rat's forehead. Mar and Separ move in on Rat, grabbing his two arms gently. RAT (weakening) I saw ... their eyes. And their eyes ... warned me. With two fingers, he gently touches Rat's forehead - Rat's eyes close gently and his head stiffens. His chest - Rat's torso stiffens. His groin - Rat's legs stiffen. Rat stands erect. Mar and Separ let go of Rat's arms and his arms rest slightly out from his sides, his legs rest slightly apart. He must look as if he were resting on an operating table, facing the audience, center stage. MAR (to Rat) I'm sorry dear, but we do have reservations... SEPAR (to Rat) It's for good your own. MAR (to Separ) Of course it is. It's for him. SEPAR (to Mar) Because love him we. MAR Awfully terribly. SEPAR With all hearts of our. MAR Of course we do. We love him to death. The lights begin to shift so the light on them changes down stage right, to a deep blood red. Rat's voice will begin to speak throughout the theatre over an echo-like amplifier. It is a ghost-like, not overly emotionalized; a personal, and painful confession. The family removes Rat's Indian clothing until he's completely naked, and will begin to dress Rat during the following monologue in the red, white and blue suit Hom wore earlier. No cigar. Their movements must be smooth so that the event of the ritual is a gradual transformation. They coordinate the taking off and putting on of clothing, with the words and images of the monologue. They place the Indian costume on the floor, arms extended toward the audience and wig where the head would be, center stage. They cover it with the broken table, Santa costume, any other broken or used items and lamps. They cover it with the blood red afghan from the couch. When they are finished, the Indian costume and wig should protrude out and appear to be a corpse, buried by the contemporary mess. The sound tape begins. RAT'S VOICE The operation ... began. One person, took a knife, carving slowly around the shoulder muscle and ligament twisting the arm so that it would come off in one, neat, cut. Hom removes his vest with Indian tassels on it. The open arms are clearly seen by the audience. RAT VOICE Another used suction keeping my blood from spilling. Clean. The other arm. They were merciless, digging away bit by bit, gouging out my eyes; I could not see. My ears; I could not hear. My mouth; I could not speak. My heart; I could not feel. My mind; I was cut apart, completely opened. And all of me, was replaced with all of them. When the dissection had been completed, they sewed me back together. Finally, when everyone was assured... they released me. But the pain didn't cease. I still wanted to find something more. The fighting to be myself became so painful, that giving in was pleasurable ... pleasurable ... pleasurable ... The tape fades out on the word "pleasurable". He is fully dressed. Rat is groomed neatly, wearing the red, white and blue suit, the Dick Tracy Hat and sun glasses, no cigar. Music fades. Red light shifts to a low white light. Pause. Rat opens his eyes wide. His body relaxes. He takes a step forward. He is now completely content and smiles. Lights slowly change to full. Pause, as they all look at one another. MAR Well, now that looks so much better. My handsome son. You stay like that. All right, my love? Or next time, I'll take you off my will. Is that clear, my little miracle? RAT (smiles boldly, fake) Yes mother I understand perfectly now. Is there anything I could do for you? MAR Yes. Tell me how much you love me. RAT (smiles boldly, fake) I love you mother. Very much MAR Thank you dear. And Dad. RAT (smiles boldly, fake) I love you too dad. Hom smiles, demented, looking out at the audience, his body slightly hunched. MAR And Separ. RAT (smiles boldly, fake) Yes. Separ smiles. Pause. She observes them. MAR (pained, but keeping a smile) Isn't this... just... perfect? Fade out on this picture. End of Play