Scene 1:
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Provincetown, MA
- Tres Gay Resort town. Tom, Phil (now living together), Sprakie
and Flo (who have tagged along) are on vacation in Provincetown
(P’Town). They are staying at the Pink Swallow Inn, a Victorian-style
hotel on the harbor.
There are 3 aspects
to the stage setting in Scenes 1, 2 and 3. Tom & Phil’s
room - which opens out onto a balcony; the Inn’s porch, which
can be easily rolled into place for Scene 2, and the balcony
to the room, which also can be easily rolled into place for
Scene 3.
Tom & Phil’s
room has a queen size bed, a writing desk (with papers), some
lamps, a little refrigerator, and a closet. The door to the
room is to the back.
(Enter Phil first,
Tom after him. They are both very upset - it is clear they
are having an argument)
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PHIL
(shouting) I really
don’t know what the fucks the matter with you?
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TOM
You don’t! You were
trying to pick that guy up!
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PHIL
What guy? I think you’re
dreaming these things up just to drive me crazy!
(enter Sprakie)
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SPRAKIE
Love quarrel?
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TOM
Shut up Sprakie.
(enter Florian)
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SPRAKIE
Jesus Marie, that's
all you ever say to me.
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TOM
Can’t take a hint?
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PHIL
Leave him alone!
(pause)
Tee, I don’t know what’s
happened to you. So I looked at someone else! I used to have the
world looking at me, until you made me quit manluv.com.
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TOM
I didn’t make you quit.
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SPRAKIE
Shit you didn’t!
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PHIL
Shut up Sprakie.
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FLO
Tee, what’s the matter?
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TOM
Ask her? (pointing
to Phil)
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PHIL
Hey Flo, I don’t need
your two-cents worth!
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TOM
Miss Flirt here, tried
to pick this guy in green shorts up at the T-Dance.
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PHIL
Did I talk to him?
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TOM
Speak not talk!
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PHIL
Stop correcting my
grammar, you asshole.
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TOM
You didn’t speak with
him! You’re too expert at that. Those eyes.
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PHIL
You love my eyes.
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TOM
I love your eyes -
but they’re talented!
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FLO
Phil, you should learn
to keep them in their sockets.
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SPRAKIE
(taking Flo aside)
Listen, creepyman -
you better stay out of this one, if you have any sense. With luck
this’ll be the one that ends it all.
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FLO
You think?
(Sprakie drags
Flo away - they exit)
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PHIL
Listen T, I’m not used
to anyone trying to totally smother me. I don’t belong to anyone.
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TOM
No, that would be slavery
- and they fought a war over that and ended it.
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PHIL
Believe me, that war
ended nothing! I know that there’s all kinds of slavery. I mean,
you lose your freedom so easily - and that’s not a good thing,
is it?
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TOM
But Phil, you can’t
deny you were trying to pick up Green-Shorts Guy.
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PHIL
He’s cute - and sexy
-and hot. I like variety.
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TOM
You’re tired of me
then? You say I’m sexy and hot.
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PHIL
You are - and much
more. But, I can’t just stay in one place forever. And you have
always told me you liked my honesty - and now you’re not being
honest.
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TOM
(
pause - calmer)
So, you are saying
we need to rethink our relationship?
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PHIL
There’s nothing to
rethink!
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TOM
Nothing!
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PHIL
I didn’t mean it that
way.
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TOM
Well, in what way did
you mean it! You know, sometimes we say what we mean before we
mean to not say it! Freud’s pet peeve!
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PHIL
Well, there are things
I am missing here!
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TOM
Like?
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PHIL
Like, my old job!
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TOM
Hustling!
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PHIL
It wasn’t hustling!
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TOM
Now who’s being dishonest?
(pause)
Listen, if you want
to show your dick to the world on-line and pick up a few tricks
and a bit of money, be my guest. But, I just can’t get those pictures
out of my head when we’re together.
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PHIL
So it’s THE question!
I must be a lady of leisure and lie back and take what you give
me - and never stir with another living soul!
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TOM
I can’t take much more
of this. You know, just because your father kicked you out and
hasn’t talked to you in 5 years - doesn’t mean I have to be your
father now!
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PHIL
(very angry)
You fucker! How can you say that to me! I don’t love you as my
father! My father is a mean bastard. Maybe you’re mean bastard
too!
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TOM
Let’s be honest. This
old man keeps you in the style you’re accustomed! And all he asks
is a bit of faithfulness.
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PHIL
(enter Sprakie
and Flo)
(seething) I
think the air in hear stinks! I’ve come to P’Town to get laid
- a proper lay - and laid I’m gonna get.
(he storms out)
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SPRAKIE
Wow! Miss Phil is really
in a hissy fit today. I think Green Shorts Guy is gonna get lucky.
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TOM
Fuck you, Robert Sprague!
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SPRAKIE
Not in your lifetime,
Methusallah!
(exits - following
after Phil)
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(pause)
(Tom sits on the
edge of the bed - quite sad. Florian plops down beside him)
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FLO
You know, Tee - I can
see the attraction, but is it worth it? We’ve been through all
this stuff in our lives - and it should be behind us. We should
have some peace and quiet. Yet, you’ve managed to tap into Twinkie
Central.
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TOM
(with a little laugh)
Maybe you’re right. It’s a different generation. I thought I was
being open and honest. But, really, I want his morals to match
his looks.
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FLO
That’s rich. Most of
the world regards homosexuals as immoral - and you expect morality
within our immorality.
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TOM
So, it’s philosphy
time. I’m not sure we’re speaking about deep issues here.
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FLO
We’re not! You’re 48
- he’s 20 . . .
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TOM
. . .he’ll be 21 next
week.
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FLO
Big fucking deal. What
does that do, make him the Christ child? I mean, he may be a sweetheart
and all, but he’s got a different set of rules he follows. Rules,
I’m afraid he’s picked up from that obnoxious queenie friend of
his.
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TOM
Sprakie is obnoxious
- but he does have his moments.
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FLO
Well, Phil and you
just don’t go together. I look at you and see a mature, good-looking
literary man with Arial.
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TOM
Arial? On the shoals
or not? And remember, Arial was with Prospero.
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FLO
But not in the same
sense. And you are no magician. You can’t command here. When we
were together . . .
(Tom looks at Flo)
What?
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TOM
Are we going to start
that again?
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FLO
Well, think about it.
We’ve been coming to P’Town together for how many years? And have
we ever quarrelled like this?
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TOM
No, but we haven’t
fucked each other in 25 years!
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FLO
But we always get something
here in P’Town - with no anxiety and no strings; and we think
nothing of it. Now, I really think you need to think this relationship
out.
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TOM
Which one?
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FLO
You and the Twink!
I’m you’re best friend and can say these things to you. We have
a history and that gives me the right. Besides, I think Sprakie’s
got a thing for Phil.
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TOM
Sprakie! Maybe he does
- but Phil doesn’t.
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FLO
How do you know that?
He’s said so? Big deal. Well
(Tom gets up)
Where are going?
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TOM
I need some air.
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FLO
I’ll go with you.
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TOM
No, I need some fresh
air.
(exits - Flo gets
more intense and restless)
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FLO
If he could only be
civil to me, that would be a thing. He can’t even write since
that little prostitute came into his life. Shit. Look at that
mess.
(goes to the desk
and sorts through the papers)
Well, at least he’s
writing here. P’Town has always been a little more inspiring to
him. What’s this? Some new poetry.
(reads one to himself
- then, puts it down, then picks up another - gets upset and
reads it aloud:)
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For my dearest Phil
-
"I gently draw
the blinds
And the sun plays on the bed where my lover still sleeps;
The light fans
his naked chest,
His wondrous
thighs,
And I am lost
to thinking.
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"How have we come
so far?
Despite a world
of hate and fear,
We managed to
share our kingdoms,
With a good deal
of struggle
As kingdoms will
Fight for their
sovereignty to the end.
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"But now, in the
morning breeze,
He turns his
ass in the sunlight
And no matter
the stuggle,
No matter the
siege
He has my heart
and my kingdom’s soul,
And I return
to that ass in the sunlight."
(Flo is upset and
cries)
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That fucker doesn’t
deserve his love. That little bitch doesn’t have any idea how
hard Tee has fallen for him - and Tee’s love is pure fantasy.
(Tom take a pencil
and writes BULLSHIT on the poem)
BULLSHIT! BULLSHIT!
BULLSHIT!
(he returns the
poem to the stack, then throws himself on the bed)
(black-out)
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Scene 2
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The Porch of the
Pink Swallow Inn, which faces Commercial Street. Sprakie sits
on the stoop watching men passby on the Street. The men passing
by are out in the audience - giving Sprakie an opportunity
to key in on some audience members as potential pick-ups.
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SPRAKIE
What a beautiful, shirts
off day, in the neighborhood.
(waves)
Look at the old trolls
on the porch at the White Swan. Hi senior citizens! Pinkies up.
Martinis down. If you like me, I’m yours
(waves)
(aside) In your
dreams - cattle!
Ooo, look at Mr. No-underwear.
Mmmm MMMM. Leaves nothing to the imagination. Woah! What’s he
doing with Miss Barbie doll? Such a waste of man-flesh. These
breeders shouldn’t come and flaunt their wares at this end of
the street. That’s it, sweetie, hold on to your man. Ah! Look
the White Swan guys stop and look. (laughs)
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Now what do we have
here?
(looks out into
the audience)
You’re a cute one -
do you come here often? Hands-hands - I know where those hands
have been - And those lips are meant for more than sucking up
the frappes.
(flirts with
audience members ad libertum - and as long as the traffic
bears)
The T-Dance must be
getting out at the Boatslip. Look at the bevy coming this way.
(enter Phil - rather
crestfallen)
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Phillip dearest, couldn’t
find Green Shorts-Guy?
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PHIL
Didn’t look.
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SPRAKIE
Didn’t look? Mama didn’t
bring you up like that. Where were you? Old man Tom left here
a while ago. I guess he’s in search of rejuvenation cream. Come
tell Mama where you were?
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PHIL
I walked down to the
Coast Guard station.
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SPRAKIE
Always love a man in
uniform! And they’re such hunks down there. And don’t believe
that they’re all straight. Why else do you think they got stationed
in P’Town. I mean, how many straight bars are in this village,
missy. There isn’t even one for the heterosexual fag-gawkers that
come every Saturday to report home about "those queers holding
hands in public, you’d never believe."
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Really, it fries my
ass to be a museum piece for a batch of tourists who come for
nothing but to see how the other 10% live. Then, they really don’t
see what they could be seeing. I mean, when you go to the zoo,
you see the mating habits of the lions. We should conduct a Trollop
tour though the town and include a view - under the boardwalk.
Can you imagine, Jesus Marie.
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"Ladies and Gentleman,
on your right is the famous Boatslip Bar, where the fags come
and dance each afternoon and arrrange for after hour fucking.
Then, I direct your attention to the left, where we have a prime
example of the sexual proclivity of the modern hamosexual - in
this case an average orghee of five men. I refer you to your tour
guide, match the picktures to the appropriate sexuel act and you
will soon see the importance of this life-style" (yeech)
"in keeping the population explosion in check! Videos are
available at the trolley stop."
(Phil chuckles)
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(Sprakie hugs Phil)
See hon, you can laugh
in the face of adversity. And look, the queens at the White Swan
are looking at us. Wave to them.
(they both wave).
It’s good for their
old spirit - these ancient members of our species. But, I ask
you, when Tom winds up on the porch of the White Swan, will you
be still here waving to him from the porch of the Pink Swallow.
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PHIL
That’s not funny or
fair.
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SPRAKIE
But true. Hon, it’s
not working out. You know it. You’re a free spirit. You’re like
me.
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PHIL
I’m not like you. Who
could bear two of you?
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SPRAKIE
I’ll take that as a
compliment. I mean, we enjoy life, sex, showing off and a need
for variety. Tom is nice - I can’t deny that - but, he’s so set
in his ways and inflexible. I mean, doesn’t sex with just one
man get boring.
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PHIL
I’ve never had bad
sex with Tom. But what aggravates me is his constant attention
to improving me. I mean I like that, but I can’t constantly hear
it.
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SPRAKIE
Never try to live your
life to someone elses expectations. If we did that, we’d all still
be in the closet.
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PHIL
Well, I love the man.
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SPRAKIE
You really, really
like him, you mean.
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PHIL
I think it’s love -
but, I’m not sure what kind of love. He really pissed me off before
- not over Green-Shorts Guy - but acused me of looking at him
as a replacement for my father.
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SPRAKIE
Well, there could be
some truth to that.
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PHIL
I know, and that’s
what’s making me afraid. I would never sleep with my father.
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SPRAKIE
(shudders) I’m gonna
puke here. Listen, Sprakie is about to tell you something really
important. You are looking at this relationship subject through
heterosexual eyes. You can have a relationship - but you know
it must be open. We don’t have marriage. We don’t have babies
and college educations to worry about. We just need to be sexually
compatible and be able to respect each other; and maybe be within
a light year of each other’s age.
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PHIL
It all comes back to
that. It never bothered me until now.
(enter Florian
from the Inn)
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SPRAKIE
Sush! Here’s Creepyman.
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PHIL
I can’t stand him.
He’s always around us. He comes to the apartment in the middle
of the night and Tom always lets him in - and Flo talks to the
wee hours of the morning.
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SPRAKIE
(loud) Well, my dearest
sister, I think that you need to lie down - now that the room
is vermin free.
(Phil shakes his
head, kisses Sprakie and enters the Inn)
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Hey, Florian - did
you see the old queens on the porch of the White Swan. It’s cocktail
hour. You don’t want to miss it do you?
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FLO
Can’t you be civil?
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SPRAKIE
Wait.
(sees a hunk on
the street)
Pinch my ass with a
lobster, look at that basket.
(Flo does and they
both oogle together)
I could slobber on
that in a flash.
(enter Tom, with
Green Shorts Guy "GSG" - who is in tight revealing
green shorts - and bare chested)
(Both Flo and Sprakie
are really surprised)
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Well Thomas Dye, you
shouldn’t have?
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TOM
I haven’t! He’s not
yours.
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FLO
Tee, what’s the meaning
of this?
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SPRAKIE
Well, don’t be rude,
introduce us to this god in green shorts.
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TOM
Oh, Arthur . . .
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GSG
Allan.
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TOM
Sorry, Allan this is
Sprakie and my friend, Florian.
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SPRAKIE
(in a Southern
accent taking GSG’s hand and kissing it).
What a pleasure. Y’all
come over here and sip a bit of cognac with us girls, before you
retire for the evenin’. You say no. Aw, what a pity - And I do
so like gentleman callers, don’t you Floiran, honey.
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TOM
Cut the shit, Sprakie.
(to GSG) He’s always clowning around.
(Sprakie takes
GSG around the waist and manages to get his hands around his
crotch)
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SPRAKIE
Why, why what do we
have here? A basket of fine fruits, ripe for the pickin’ and plump
for the stuffin’.
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TOM
Arthur . . .
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GSG
Allan.
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TOM
I mean Allan, why don’t
you wait for me in the foyer.
(GSG extricates
himself from Sprakie and enters the Inn)
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FLO
Tee you’re an asshole
and no better than they are. And, by the way, Phil is in the room,
so you probably better go off under the boardwalk.
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TOM
Oh, good. I didn’t
bring him back for me . . .
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SPRAKIE
Oh, you liberal sweetheart.
You brought a truce gift for Phil.
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TOM
No, Green Shorts Guy.
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SPRAKIE
Arthur . . .
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FLO
Allan
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TOM
Whatever, he’s for
Phil and I.
(This piece of
news upsets both Sprakie and Florian)
I have been too stuffy
and traditional. I haven’t allowed him any variety or myself -
and who the fuck am I to allow or disallow anything. So, this
bit of flesh is not a gift - he’s something for us to share. So,
if you guys wouldn’t mind staying away from us for the rest of
the day, I’d take it as a personal kindness.
(enters the Inn)
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(Sprakie is unusually
quiet. Florian is very sulky)
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FLO
I can’t believe this.
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SPRAKIE
What can’t you believe!
Eh, creepy guy.
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FLO
Stop calling me that.
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SPRAKIE
Well you’re creepy.
You’re always lurking around and bothering Tom.
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FLO
You mean, bothering
you and Phil. Tom and I have been friends for years. We lived
together.
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SPRAKIE
You did - and you haven’t
ever gotten used to him living with someone else.
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FLO
Look who’s talking.
You miss your little Phil, just as much.
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SPRAKIE
Just as much. You admit
it then.
(they come face
to face)
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FLO
That I loved Tom? I’ll
admit that.
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SPRAKIE
Loved? Love - present
tense.
(pause)
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FLO
I’ll admit that too
- and you should admit you love Phil.
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SPRAKIE
Please. I can have
any man on earth for a wink.
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FLO
Any man, but one!
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(Sprakie is really
upset)
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SPRAKIE
You bastard. You shouldn’t
fuck around in territory you don’t know.
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FLO
But I do know - and
you’re fucking around in the same territory. We’re fucking around
together.
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SPRAKIE
Jesus Marie.
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FLO
Stop with the Jesus
Marie already. I hate when you say it.
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SPRAKIE
Jesus Marie. Jesus
Marie. Jesus Marie.
(Flo grabs Sprakie
violently)
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FLO
I’ll fucking rip your
head off, you little bitchy slut.
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SPRAKIE
Oh. The man’s physical.
(being real nelly) Help me, oh Help me. Maybe someone at the White
Swan can come over and take you on. Maybe one of the older ones.
Jesus Marie
(Flo shakes Sprakie
to the ground and they wrestle for a time. Then Sprakie gets
up and runs to a corner of the porch. Flo runs after him and
catches him. Once in his clutches, he kisses Sprakie, who
passionately embrasses him. They start sliding downward, obviously
to have sex.)
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FLO
You see, you can get
any man in the world for a wink.
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SPRAKIE
Jesus Marie
(black out)
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Scene 3
|
The balcony of
Phil and Tom’s room. It’s dusk. The balcony is a small affair
but raised 3 -5 feet above the stage, and faces the harbor
area (the audience would be at sea). There are curtains on
the window to the room. The sound of the waves can be heard.
The balcony is empty for some time, then Phil emerges from
the room completely naked onto the balcony. He stretches,
leans on the railing and looks out at the sea.
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PHIL
Look at it. It still
holds its mystery.
(pause)
I came to see Whales
- and all I could do was puke my guts out on the deck. How can
something so wonderful be so extraordinarily painful? Yet, even
as I concentrated on the waves, looking for the great grey flukes
- I could swear, they were just below the surface. I wanted so
to see them.
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(from Moby
Dick)
"I leave a white
and turbid wake; pale waters, paler cheeks, where’er I sail. The
envious billows sidelong well to whelm my track; let them; but
first I pass."
(Tom, also naked,
comes out on the balcony during this and takes over the passage
from Phil.)
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TOM
"Yonder, by the
ever-brimming goblet’s rim, the warm waves blush like wine. The
gold brow plumbs the blue. The diver sun - slow dived from noon,
- goes down; my soul mounts up! She wearies with her endless hill."
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PHIL
Is he still asleep?
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TOM
Arthur . . . ?
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PHIL
Allan.
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TOM
Yes, and let’s not
wake him. Did you like it?
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PHIL
Allan? It was a nice
gesture on your part and quite enjoyable. You surprise me. Why
this sudden change?
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TOM
No need to analyse
it - or discuss it at all. I just acted on instincts.
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PHIL
Your instincts were
correct. But, sex is not the answer. It doesn’t solve stuff.
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TOM
I know. Phil, I really
am sorry about what I said.
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PHIL
I know you are. I know
you didn’t mean to hurt me - but, I know there must be some truth
in what you said. And for the first time I am wondering whether
your age is a factor in my attraction to you.
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TOM
Is that so bad?
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PHIL
Well, let’s not look
at right or wrong. I still think we need to change some things.
I think I need to move back with Sprakie and get my old job back.
(pause)
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TOM
You must do what you
must do, but why Sprakie? I’ll help you into your own place.
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PHIL
Sprakie understands
me.
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TOM
I understand you. I
really do. Wait.
(Tom goes back
into the room and come out with some poetry)
Look, I’ve been writing
again. And I think some of this is among my best. Let me read
this to you.
(Tom looks at the
page that Flo wrong BULLSHIT on and, thinking Phil has already
read it and defaced it, becomes crestfallen)
Well, you know what’s
here.
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PHIL
Something in praise
of me.
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TOM
Something like that.
No matter. It’s really bullshit.
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PHIL
I
f you say so. I’ll
listen, but right now I think we need to . . .
(looks out on the
sea).
Wow. See him.
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TOM
See what?
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PHIL
The whale. I thought
I saw it’s tail come and splash the waves.
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TOM
They don’t come in
this close.
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PHIL
But I saw it. I really
saw it.
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TOM
(looking at him
lovingly)
And so you did. I will
miss you, your wonderful infectious smile, your love of new things
and wonder at all things. I will feel so old when you are gone.
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PHIL
Don’t be so depressing.
I’m still here. There are still the memories - the great times.
|
|
TOM
Can we live on them
and feed on them forever? Time will wave its waning wand over
them and they will brush away in the morning mist.
|
|
PHIL
I will miss your gift
for phrase. You don’t speak, you . . .
|
|
TOM
Diarrhea.
|
|
PHIL
No, it’s elegant and
. . oh wow.
|
|
TOM
I saw it this time.
It is a whale. Look at that. You were right.
(they fall into
each others arms and kiss).
|
|
I love you.
|
|
PHIL
(no answer)
(pause)
We still have a few
days. And look at that sky, have you ever seen such a sky?
|
|
TOM
It is glory itself.
This is a magical place. I’ve never seen such a brilliant glow
about the sun - it’s the margin of heaven and earth swallowing
up the blaze into the cool, dark quiet of the sea’s most shimmering
chasm.
|
|
(They watch the
sunset, in awe. GSG enters, he’s also naked. He stretches,
belches then sees the sky and taken aback)
|
|
GSG
Holy shit! Look at
that sky. What a fucking beautiful sunset! That’s one for the
record.
(pause)
Now, are you guys up
for another round of fun?
(he goes back inside)
|
|
TOM
We still have tonight
. . .
|
|
PHIL
And our memories. So,
let’s go make some more memories.
(they go inside,
and draw the curtains. The lights come down slowly. Then just
before the blackout, we hear Whale song.)
(black-out)
|
Scene 4
|
The stage is split
in two parts. Stage right is one chat room at manluv.com -
computer is set in profile to the audience. Stage left is
Tom Dye’s apartment. Stage right is dark at the beginning
of the scene. Stage left is fully lit.
|
|
The apartment has
a computer, also in profile on the right wall, a big window
view of Manhattan, a couch in front of the window, a coffee
table with books, a desk with papers and a door to the extreme
left. Tom is sitting on the couch reading.
|
|
TOM
(puts the book
down)
I wonder what he’s
doing for his birthday? I bet he’s working.
(sighs)
Birthday. 21! When
I was 21, we were still in Vietnam and wore leisure suits.
(sighs)
(picks up the book)
|
|
(Reads from Moby
Dick)
"Upon waking the
next morning about daylight, I found Queequeg’s arm thrown over
me in the most loving and affectionate manner. You had almost
thought I had been his wife. "
(looks up - turns
some pages - backward if we are accurate to the volume)
Reads again:
"Now, Queequeg
is my fellow man. And what do I wish that this Queequeg would
do to me? Why, unite with me in my particular Presbyterian form
of worship. Consequently, I must unite with him in his; ergo,
I must turn idolater."
|
|
(stage right
lights up slowly, revealing Sprakie preparing for his shift.
This is a "duo" shift - meaning Sprakie will
be on-line videoCam with another model. Max Ballard enters.)
|
|
MAX
Sprakie, who on with
you tonight? Phil?
|
|
SPRAKIE
Yep
(unusually subdued)
You haven’t seen him
yet, have you?
|
|
MAX
I’ll keep a lookout.
(exits)
|
|
TOM
21st birthday
- and I got him a gift - and he’ll never see it.
|
|
SPRAKIE
C’mon Phil - you’re
late.
(Sprakie starts
undressing)
These dudes will be
ready for us.
(pauses)
I’m ready for you.
I am.
(muses quietly)
|
|
TOM
(walks across the
room and get a coffee table book on Whales)
Ars Cetacian!
What wonders we have here!
(sits and turns
pages)
|
|
SPRAKIE
(sits - queitly)
Jesus Marie. I am so
happy he’s back. I did miss him so. That Tom guy wasn’t a bad
sort. I kinda feel sorry for him, but not too sorry. After all,
that wasn’t going anywhere - and me and Phil, we’re just like
made for each other.
|
|
TOM
(sighs) I really
miss him. There’s a deep pit in my stomach and ache . . .
|
|
SPRAKIE
I ache for him. I can
finally have him on my own terms - here in the studio. This is
my dream come true . . .
|
|
TOM
Those dreamy eyes and
memories of his laugh. They lift my soul and make me young and
alive.
|
|
SPRAKIE
I am alive for his
touch, his very touch . . .
|
|
TOM
I had never been so
alive in my life. Never been so. But now . . .
|
|
SPRAKIE
(enter Phil - kind
of moppy)
It’s about time you
got here. Did you turn out the lights before you left the apartment?
|
|
PHIL
Yes.
|
|
SPRAKIE
I don’t have shares
in ConEd, you know.
|
|
TOM
(goes to his desk,
sorts through papers and gets a poem)
Here it is.
|
|
SPRAKIE
Are you ready for this
tonight? You’ve never done one of these duo sessions with me.
Mmmmm they’re in for a treat. And so are we.
|
|
PHIL
I’ll survive.
|
|
SPRAKIE
Hey, they don’t pay
for gloomy Guses. You better be bright and merry.
|
|
PHIL
Don’t worry. I am a
professional.
(Phil begins to
strip to his shorts.)
|
|
TOM
(Reading a Poem
aloud)
"Ring me with
young hearts -
Songs green with
remembrance,
But not so green
to be mowed -
Scarlet hussies
With laughter
on their breath -
And liquor too,
For they know
what I have forgotten
And I need to
know again."
|
|
SPRAKIE
I thought we’d begin
with just a little chat with the regulars - you know tease ‘em
a bit. Then, each of us could do a little strip number.
|
|
TOM
"Ring me with
fiery youth,
Dancing boys
who know their stuff -
Who know what
I know -
That life is
invincible
And infinite."
|
|
SPRAKIE
Then . . . you’re so
moody tonight.
(Phil smiles)
|
|
PHIL
Is that better?
|
|
SPRAKIE
I don’t know. I’ll
warm up the cam.
|
|
TOM
"And when I whisper
the truth to them
They laugh at
my falling body
But laugh with
my seeking soul
And hold me fast
to the lies of youth
Which I need
to remember
In this life
of infinite laughter."
(he stops, muses,
then turns the computer on)
|
|
Fuck it. I need to
see him. Even if I can’t have him. I need to see him.
|
|
SPRAKIE
OK Boys
(typing) "Hi
all!"
|
|
TOM
(at the computer)
(typing) "Robert."
|
|
SPRAKIE
Shit. He’s here.
(typing) "Hey
dude. Glutton for punishment?"
|
|
PHIL
(hearing this) Who’s
that?
|
|
SPRAKIE
No one.
|
|
TOM
(typing) "Sprakie,
I see him. Tell him I’m here."
|
|
SPRAKIE
You know Phil, hon,
I forgot my lube. Could you . . .
(Phil goes to the
computer and sees Tdye’s screen name)
|
|
PHIL
Tee. Sprakie let me
sit there.
|
|
SPRAKIE
It’s a mistake.
(they switch seats,
Sprakie looking over Phil’s shoulder)
|
|
TOM
(typing) "Ismael."
|
|
PHIL
(typing) "Tee"
|
|
TOM
(typing) "Just
wanted to say Happy Birthday."
|
|
SPRAKIE
It’s your Birthday?
|
|
PHIL
(typing) "Much
appreciated. Now they all know, we’ll be getting click upon click."
|
|
TOM
(typing LOL) (laughs)
|
|
PHIL
(typing) Laughing
again.
|
|
SPRAKIE
(very upset)
Phil, we’re supposed to be working here. This isn't the lonely-hearts
club. It’s the pay as you go society - and this much pathos will
certainly drive this session into the red.
|
|
PHIL
(typing) "Need
to work Tom."
|
|
TOM
(typing) "I
understand - but it was good to . . ."
|
|
PHIL
(typing) "I
have missed you."
|
|
SPRAKIE
Jesus Marie.
(picks Phil up
and retakes the seat)
|
|
TOM
(typing) "Sprakie
let him be."
|
|
SPRAKIE
(typing) "Fuck
off, Tom.
|
|
PHIL
Sprakie, don’t! Don’t!
(cries)
I can’t. I love him
so. I love him so.
(Sprakie stands.
Slowly Phil comes to the keyboard)
(meanwhile - there’s
a knock at Tom’s door).
|
|
TOM
(typing) "Shit,
someone’s at the door. (shouts) Just a minute! (types) Are you
alright?"
|
|
PHIL
(typing) "Tee,
I’m coming home. Coming home right now."
(Phil gets his
clothes and starts dressing)
|
|
TOM
(goes to the door.
It’s Florian)
Oh, Flo. Come in -
sit down - I’m on-line.
|
|
FLO
That again?
|
|
SPRAKIE
(to Phil) You can’t
leave in the middle of a gig! What am I supposed to do! Where
are you going?
|
|
PHIL
Home.
|
|
SPRAKIE
So I forgot your birthday
- big deal.
|
|
PHIL
Not your place - my
real home!
|
|
SPRAKIE
Him! Phil, honey. You’ll
only come to the same place time and again. Phil!
|
|
PHIL
(leaving) Call
me Ismael
(leaves)
(Sprakie is very
upset and sits in front of the computer. Then he realizes
his is still on-line, and switches the cam off. (sits and
cries as the lights dim)
|
|
TOM
They’re off-line now.
|
|
FLO
It’s a good thing.
You’re too addicted to those twinkies. I will say one thing, since
you dumped that little cabbose, you’re writing has improved.
|
|
TOM
How would you know?
It’s only been a week.
|
|
FLO
I know.
(Tom grimaces,
but decides to let Florian have his full say. Meanwhile,
Flo picks up some of the scattered poems).
But look at this stuff.
It’s pretty thin compared to what you sent me earlier in the week.
|
|
TOM
But, I just wrote that
now.
|
|
FLO
No. Don’t bullshit
me! These were in P’Town. And I judged it to be pretty thin stuff.
(It dawns on Tom
that Flo had read the poetry in P’Town - and that it was Flo
who wrote BULLSHIT on that one poem - not Phil).
|
|
TOM
Oh, so you were able
to look at some of this while we were in Provincetown. Funny,
you never mentioned it before.
|
|
FLO
Well, I didn’t think
I’d get to ever see them - they were a bit watery and sunless.
I think it’s good that we’re back to normal.
|
|
TOM
We’re back
to normal? I hear a WE in that remark, as if we were a WE.
|
|
FLO
Well, whether we’re
together or not, we are soul mates, deeply devoted to each other’s
interests. I mean, we would never do anything to harm each other
- and are always on the look-out for each other’s interests. So,
we are a WE of some kind.
|
|
TOM
True. But do you want
to know what I think? I think you have in your sick little mind
that we are still a couple. And I think that you can’t grasp the
truth that you are driving me crazy.
|
|
FLO
(alarmed) How can you
say that? You light up my life. If you weren’t so wonderful for
me --- to me --- I don’t know what I’d do.
|
|
TOM
Now don’t get into
a panic.
|
|
FLO
(in a panic) A panic!
You say a panic! You are throwing out our time together as if
it were some footnote in our lives.
|
|
TOM
Flo. Listen. You can’t
have what I won’t give. You can’t take what I haven’t available
for you. At base, we’re friends. But you want it all - never a
small bit. And it’s my fault that I have let you proceed this
way. I admit it.
|
|
FLO
So you’re telling me,
it’s over between us!
|
|
TOM
Flo, it can’t be over,
if it never was! I’m sorry if that hurts you, but I have a new
life to live.
|
|
FLO
You’re gonna find another
twinkie and live another lie.
|
|
TOM
I have found the man
of my life and soul. And he’s coming back to me as we speak.
|
|
FLO
(very anxious and
panicky) No! I don’t believe it. I don’t believe it! He’s
going to have what’s rightfully mine.
(pause)
|
|
SPRAKIE
It’s not fair you know.
I’ve given him so much and he’s being ungrateful. I don’t even
feel like screwing in public tonight. Oh, it’s come to this.
|
|
TOM
Flo, compose yourself
and leave. You have done great damage here. And I am afraid you
need some professional help - and I can’t give it to you.
|
|
FLO
But . . .
|
|
TOM
But nothing
(opens the door
- Flo leaves)
|
|
SPRAKIE
(Max enters on
the chat room side of the stage)
What do you want?
|
|
MAX
Monitor 5 sent me here
for the "duo." Told me Phil went home sick.
|
|
SPRAKIE
Sick? Homesick,eh?
You better believe that puppy’s homesick.
(looking at Max,
who as eager as a beaver)
|
|
TOM
(upset) I feel like
shit for doing that - and he made me loose my temper and I can
never forgive him for that. And he was the one who wrote
"BULLSHIT" on that poem - and I thought Phil did it!
So Phil has never even seen that poem.
|
|
SPRAKIE
(turning on the
Cam)
(typing) "Hello
again boyz."
(Max has striped
and has taken up Phil’s place)
|
|
(There’s a quiet
knock at Tom’s door)
|
|
TOM
(looks through
the peephole. Open the door and lets Phil in)
Where are your keys?
|
|
MAX
Tell them that Phil’s
sick and Maxie’s here to strut his stuff.
(Sprakie rolls
his eyes back)
(black-out on the
chat room set, stage right)
|
|
PHIL
I gave them back to
you, remember?
|
|
TOM
Oh, of course.
(Phil enters demurely
and a bit nervous)
Well, happy birthday.
(they kiss - innocently)
|
|
PHIL
(walks over to
the computer - peers into the monitor)
Holy shit! Look at
Sprakie go and with Max.
(Tom joins him)
|
|
TOM
Shall we watch them
for a while?
(pause)
|
|
PHIL
Actually, it’s boring.
It has no soul.
(clicks the computer
off)
And he forgot my birthday.
|
|
TOM
21. And do you feel
any older? (laughs)
|
|
PHIL
Actually, yes. But
you said you had a present.
|
|
TOM
Yes I did.
|
|
PHIL
Did? You mean do.
|
|
TOM
Well, I had one - which
is here.
(gives him the
Whale book)
|
|
PHIL
Oh wow, what a great
present.
(kisses him)
|
|
TOM
But I have a better
one (hands him the poem)
(they sit on the
couch)
|
|
PHIL
What’s this? Who wrote
BULLSHIT on it! Not you!
|
|
TOM
No, it was Florian.
(Phil reads to himself)
You know Florian is
insanely jealous of you; and he read this poem in P’Town and wrote
all over it. I was going to give you this in P’Town - but somehow
I thought . . .
|
|
PHIL
You thought I wrote
BULLSHIT on this. This is beautiful, Tom and even if we were arguing
I would never deface a thing of beauty. How could you . . .
|
|
TOM
It’s easy when you’re
in love.
|
|
PHIL
Florian has got to
. . .
|
|
TOM
I wouldn’t worry about
Flo again. He was just here and I had it out with him. He’s crushed
and I am sorry for it - but, I need to get on with my life.
|
|
PHIL
Flo always made me
uneasy, but I hope he’s ok. Sprakie is very upset. I left him
as well. I think you were right . . .
|
|
TOM
I know I was right.
It is wonderful to have the love of others, but when you can’t
truly return it, it is a burden indeed. A burden to everyone.
(Phil puts the
poem down - he kisses Tom. He then sifts through the other
poems)
|
|
PHIL
Any other good things
here?
|
|
TOM
I don’t know - you
be the judge.
|
|
PHIL
(reads one more
silently)
I like this one.
|
|
TOM
Which one?
|
|
PHIL
(reads):
"Finding in your
arms in the evening
The lullaby -
The sweet song
to carry me away
From the day.
Down to the river’s
bevel to drink in the clear pool -
Counting the
minnows that wink at our image -
Resting beneath
the chestnut of our home."
|
|
TOM
(reads):
"No one needs
to know us or about us -
Knowing might
confuse them and then they’d know the secret -
The cool of my
contentment -
The wisdom of
my power -
The source of
my compassion -
The truth of
my steadfastness.
They would know
then,
And would envy
my very nature."
|
|
TOM
& PHIL (TOGETHER)
(reading)
"Hear the wind’s
sweet whisper -
The lull of the
lilac perfume -
The rich gardenia
balm
And the chestnut
of your arms."
|
|
PHIL
(kisses Tom more
passionately)
|
|
TOM
I’d say I love you
again, but the last time I said it, you could not.
|
|
PHIL
I cannot because to
say "I love you" means nothing to us. There’s so much
in that word that doesn’t apply. And there’s so much in every
other word that does. You are all I need to be me.
|
End Play
|
TOM
And you are all I need
to be WE.
(deep embrace as
the curtain falls)
|
|
|