Turning Idolator by E. C. Patterson

Act II: The Counterpane
8 months later

Scene 1:

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)

PHIL

(shouting) I really don’t know what the fucks the matter with you?

TOM

You don’t! You were trying to pick that guy up!

PHIL

What guy? I think you’re dreaming these things up just to drive me crazy!

(enter Sprakie)

SPRAKIE

Love quarrel?

TOM

Shut up Sprakie.

(enter Florian)

SPRAKIE

Jesus Marie, that's all you ever say to me.

TOM

Can’t take a hint?

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.

TOM

I didn’t make you quit.

SPRAKIE

Shit you didn’t!

PHIL

Shut up Sprakie.

FLO

Tee, what’s the matter?

TOM

Ask her? (pointing to Phil)

PHIL

Hey Flo, I don’t need your two-cents worth!

TOM

Miss Flirt here, tried to pick this guy in green shorts up at the T-Dance.

PHIL

Did I talk to him?

TOM

Speak not talk!

PHIL

Stop correcting my grammar, you asshole.

TOM

You didn’t speak with him! You’re too expert at that. Those eyes.

PHIL

You love my eyes.

TOM

I love your eyes - but they’re talented!

FLO

Phil, you should learn to keep them in their sockets.

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.

FLO

You think?

(Sprakie drags Flo away - they exit)

PHIL

Listen T, I’m not used to anyone trying to totally smother me. I don’t belong to anyone.

TOM

No, that would be slavery - and they fought a war over that and ended it.

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?

TOM

But Phil, you can’t deny you were trying to pick up Green-Shorts Guy.

PHIL

He’s cute - and sexy -and hot. I like variety.

TOM

You’re tired of me then? You say I’m sexy and hot.

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.

TOM (

pause - calmer)

So, you are saying we need to rethink our relationship?

PHIL

There’s nothing to rethink!

TOM

Nothing!

PHIL

I didn’t mean it that way.

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!

PHIL

Well, there are things I am missing here!

TOM

Like?

PHIL

Like, my old job!

TOM

Hustling!

PHIL

It wasn’t hustling!

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.

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!

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!

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!

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.

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)

SPRAKIE

Wow! Miss Phil is really in a hissy fit today. I think Green Shorts Guy is gonna get lucky.

TOM

Fuck you, Robert Sprague!

SPRAKIE

Not in your lifetime, Methusallah!

(exits - following after Phil)

(pause)

(Tom sits on the edge of the bed - quite sad. Florian plops down beside him)

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.

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.

FLO

That’s rich. Most of the world regards homosexuals as immoral - and you expect morality within our immorality.

TOM

So, it’s philosphy time. I’m not sure we’re speaking about deep issues here.

FLO

We’re not! You’re 48 - he’s 20 . . .

TOM

. . .he’ll be 21 next week.

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.

TOM

Sprakie is obnoxious - but he does have his moments.

FLO

Well, Phil and you just don’t go together. I look at you and see a mature, good-looking literary man with Arial.

TOM

Arial? On the shoals or not? And remember, Arial was with Prospero.

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?

TOM

Are we going to start that again?

FLO

Well, think about it. We’ve been coming to P’Town together for how many years? And have we ever quarrelled like this?

TOM

No, but we haven’t fucked each other in 25 years!

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.

TOM

Which one?

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.

TOM

Sprakie! Maybe he does - but Phil doesn’t.

FLO

How do you know that? He’s said so? Big deal. Well

(Tom gets up)

Where are going?

TOM

I need some air.

FLO

I’ll go with you.

TOM

No, I need some fresh air.

(exits - Flo gets more intense and restless)

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:)

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.

"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.

"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)

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)

Scene 2

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.

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)

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)

Phillip dearest, couldn’t find Green Shorts-Guy?

PHIL

Didn’t look.

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?

PHIL

I walked down to the Coast Guard station.

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."

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.

"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)

(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.

PHIL

That’s not funny or fair.

SPRAKIE

But true. Hon, it’s not working out. You know it. You’re a free spirit. You’re like me.

PHIL

I’m not like you. Who could bear two of you?

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.

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.

SPRAKIE

Never try to live your life to someone elses expectations. If we did that, we’d all still be in the closet.

PHIL

Well, I love the man.

SPRAKIE

You really, really like him, you mean.

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.

SPRAKIE

Well, there could be some truth to that.

PHIL

I know, and that’s what’s making me afraid. I would never sleep with my father.

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.

PHIL

It all comes back to that. It never bothered me until now.

(enter Florian from the Inn)

SPRAKIE

Sush! Here’s Creepyman.

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.

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)

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?

FLO

Can’t you be civil?

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)

Well Thomas Dye, you shouldn’t have?

TOM

I haven’t! He’s not yours.

FLO

Tee, what’s the meaning of this?

SPRAKIE

Well, don’t be rude, introduce us to this god in green shorts.

TOM

Oh, Arthur . . .

GSG

Allan.

TOM

Sorry, Allan this is Sprakie and my friend, Florian.

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.

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)

SPRAKIE

Why, why what do we have here? A basket of fine fruits, ripe for the pickin’ and plump for the stuffin’.

TOM

Arthur . . .

GSG

Allan.

TOM

I mean Allan, why don’t you wait for me in the foyer.

(GSG extricates himself from Sprakie and enters the Inn)

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.

TOM

Oh, good. I didn’t bring him back for me . . .

SPRAKIE

Oh, you liberal sweetheart. You brought a truce gift for Phil.

TOM

No, Green Shorts Guy.

SPRAKIE

Arthur . . .

FLO

Allan

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)

(Sprakie is unusually quiet. Florian is very sulky)

FLO

I can’t believe this.

SPRAKIE

What can’t you believe! Eh, creepy guy.

FLO

Stop calling me that.

SPRAKIE

Well you’re creepy. You’re always lurking around and bothering Tom.

FLO

You mean, bothering you and Phil. Tom and I have been friends for years. We lived together.

SPRAKIE

You did - and you haven’t ever gotten used to him living with someone else.

FLO

Look who’s talking. You miss your little Phil, just as much.

SPRAKIE

Just as much. You admit it then.

(they come face to face)

FLO

That I loved Tom? I’ll admit that.

SPRAKIE

Loved? Love - present tense.

(pause)

FLO

I’ll admit that too - and you should admit you love Phil.

SPRAKIE

Please. I can have any man on earth for a wink.

FLO

Any man, but one!

(Sprakie is really upset)

SPRAKIE

You bastard. You shouldn’t fuck around in territory you don’t know.

FLO

But I do know - and you’re fucking around in the same territory. We’re fucking around together.

SPRAKIE

Jesus Marie.

FLO

Stop with the Jesus Marie already. I hate when you say it.

SPRAKIE

Jesus Marie. Jesus Marie. Jesus Marie.

(Flo grabs Sprakie violently)

FLO

I’ll fucking rip your head off, you little bitchy slut.

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.)

FLO

You see, you can get any man in the world for a wink.

SPRAKIE

Jesus Marie

(black out)

 

 

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.

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.

(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.)

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."

PHIL

Is he still asleep?

TOM

Arthur . . . ?

PHIL

Allan.

TOM

Yes, and let’s not wake him. Did you like it?

PHIL

Allan? It was a nice gesture on your part and quite enjoyable. You surprise me. Why this sudden change?

TOM

No need to analyse it - or discuss it at all. I just acted on instincts.

PHIL

Your instincts were correct. But, sex is not the answer. It doesn’t solve stuff.

TOM

I know. Phil, I really am sorry about what I said.

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.

TOM

Is that so bad?

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)

TOM

You must do what you must do, but why Sprakie? I’ll help you into your own place.

PHIL

Sprakie understands me.

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.

PHIL

Something in praise of me.

TOM

Something like that. No matter. It’s really bullshit.

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.

TOM

See what?

PHIL

The whale. I thought I saw it’s tail come and splash the waves.

TOM

They don’t come in this close.

PHIL

But I saw it. I really saw it.

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.

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)