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DEVIL'S MILE
A PLAY IN THREE ACTS
By K. Brian Neel & Paul Shipp
© 2002 all rights reserved
Cast of Characters:
Scott Burton
Ella Burton
Father Max
Naurda
Abronia
Enrique
Rudolfo
Charlie
Pilar
Maria
Pablo
Brian
Keely
'Lover'
Carmen
The play takes place in and around San Lino, New Mexico, in the desert off US Highway 60.
ACT ONE: HOLY THURSDAY
SCENE ONE: DESERT ROAD. ELLA AND SCOTT ENTER WEARILY, HAVING WALKED A DISTANCE. SHE HALTS AND PUTS DOWN THE SUITCASE.
ELLA
Let's take a break. I'm exhausted.
SCOTT
I can see it in the distance. Keep walking.
ELLA
Slave driver.
SCOTT
That's why you love me.
ELLA
(Sits on the case)
Mmmmm.
SCOTT
(Noticing her)
OK, break.
ELLA
So, is Tucson out?
SCOTT
I don't know.
ELLA
What do you think is wrong with the car?
SCOTT
The sooner we get into that town, the sooner we'll find out.
ELLA
I didn't think we'd be going for a walk in the middle of the desert. It's the shoes.
SCOTT
Did you want to stay in the car and hope that someone would happen by?
ELLA
If we'd taken the interstate…
SCOTT
If we'd taken the interstate, we'd still be stuck in the middle of nowhere.
ELLA
Right, no one's to blame.
(Pause)
I’m hungry.
SCOTT
Want a carrot?
ELLA
No.
SCOTT
It's all we got.
ELLA
I don't like raw carrots.
SCOTT
(Crunching on a carrot)
Picky.
ELLA
Should have brought the donuts.
SCOTT
If we get into town soon, they might be able to fix the car today. If it's a small thing, which I think it is. Still make Tucson by ten.
ELLA
I don't think it's a small thing.
SCOTT
Will you help me out here?
ELLA
I'm tired and hungry.
SCOTT
I bet you that town has a burger. Stand up. Walk. Sooner we get there, the sooner you'll eat that burger.
ELLA
Such the motivator.
(Scott starts walking without her)
Wait. I'm coming. Scott!
(She picks up the bag and follows. Cross to the very small town of San Lino.)
SCOTT
There's a gas station.
ELLA
Where is everybody?
SCOTT
It's totally dark. It's closed.
ELLA
Here's a café.
SCOTT
Why would it be closed on a Thursday? This is Thursday, right?
ELLA
(Reading sign)
SCOTT
Great. Just great.
(The faint sound of a sermon rises in the quiet.)
SCOTT
It's a fucking ghost town.
ELLA
Scott!
SCOTT
Let's go to a house.
ELLA
What?
SCOTT
Knock on someone's door.
ELLA
You can't do that.
SCOTT
It's a small town. People are friendly in small towns.
ELLA
Listen.
SCOTT
(listening)
ELLA
Why don't you go knock on the church?
SCOTT
Why is there church on Thursday?
ELLA
Oh, Holy Thursday.
SCOTT
Happy Thursday?
ELLA
Holy. Holy Thursday… Good Friday, Easter.
SCOTT
What's Saturday?
ELLA
I don't know.
(The bell tower rings. They are startled.)
ELLA
What a beautiful church.
SCOTT
At last we can get some help.
(Rudolfo Garadi, rough cut young man, exits the church. He notices the couple and meanders over to them.)
SCOTT
Excuse me, can you tell us where we can find a mechanic? Our car has broken down outside of town. We're on our way to Tucson.
RUDOLFO
(In Spanish) I'm sorry, mister, but I do not speak English.
SCOTT
Christ.
RUDOLFO
(In Spanish) Too bad, it looks like you're totally fucked.
SCOTT
(Miming and deaf-talking)
ELLA
Jesus, Scott.
RUDOLFO
(Laughing.)
SCOTT
He's laughing. Beautiful.
(Abronia and Enrique come up. Enrique unlocks the door to the café.)
ABRONIA
Rudolfo, leave them alone. Go start the coffee.
RUDOLFO
Okay. Pleasure meeting both of you. (Enters with Abronia.)
ENRIQUE
His Spanish is terrible.
ABRONIA
I'm so sorry. Rudolfo is always doing that. Why don't you come inside.
SCOTT
Can you tell us where we can find a mechanic?
ABRONIA
Everything's closed for the weekend.
SCOTT
Weekend? It's Thursday.
ABRONIA
Today is the feast and tomorrow is Good Friday.
SCOTT
Of course.
ABRONIA
Naruda might help you though. He's the tow truck driver.
(Calling)
Naruda. Come here. These folks are having car problems.
NARUDA
Hello.
(They shake hands.)
ABRONIA
Let me get that hominy for your mother.
NARUDA
No, she's fine. She had more than she thought.
ABRONIA
Oh, your mother's pisole. I can't wait. I'm so hungry. (she enters café)
SCOTT
You're a mechanic?
NARUDA
Yes.
SCOTT
My name is Scott Burton. This is my wife Ella. Our car is about three miles down the road. We were just driving when there was this knocking sound. Like a rock bouncing up in the engine. (Makes sound) The car stalled and it won't start back up. I looked in there and didn't find a rock, of course. It's a Toyota Camry.
NARUDA
Could be the manifold.
SCOTT
But I don't think it's serious. My wife and I need to get to Tucson by ten o'clock.
NARUDA
I'm closed for the weekend. Maybe I can go get it on Saturday, but today, my family and I…
SCOTT
That's not going to work.
NARUDA
Tonight's the feast…
SCOTT
All you need to do is run out there. It's only two o'clock. We'll go out there and be done by four at the latest.
NARUDA
That's not going to work for me, sir.
SCOTT
Okay, look. Here. (Pulls money from his wallet) How much?
NARUDA
No, sir.
SCOTT
How much do you want? Is there an ATM? I can get you more money. Is that what you want?
NARUDA
No, sir. That's not what I want. Excuse me.
(He walks away)
SCOTT
Can you believe this? Is there anyone here who can fix my car?
ELLA
Scott. Let's get a glass of water.
SCOTT
This is unacceptable, Ella.
ELLA
I'm going to get something to eat.
(She enters the café)
SCOTT
San Lino, New Mexico. Thursday! Is the hotel open? Is there a hotel?
(He goes into the café)
SCENE 2: CAFE
(Scott joins Ella in a booth. Abronia walks over to them.)
SCOTT
(Under breath)
So why is this place open?
ABRONIA
Sorry folks, not a full menu today. We have coffee, pop, and a sweet roll, is all we got.
ELLA
Can we get some ice water? And I'll have coffee and a sweet roll.
(Scott shakes his head no.)
It's going to be alright.
(He glares at her.)
ELLA
We'll get a hotel, stay a couple of days. Relax. We'll start our vacation here.
SCOTT
I was just looking forward to getting to your parent's cabin. Being alone. I can't relax here. Or concentrate. It's too.. I don't know, crowded. And weird. It's not comfortable here like in the cabin. Not as easy to talk.
ELLA
We can talk here.
SCOTT
I can't talk here.
ELLA
We can go for walks in the desert.
SCOTT
What about your shoes?
ELLA
I'll buy new ones.
SCOTT
Nothing's open.
ELLA
I'm trying to make this alright.
SCOTT
You can't make this alright.
ELLA
I'm sorry.
SCOTT
I don't want to hear that.
(Rudolfo interrupts with water.)
SCOTT
Thank you.
RUDOLFO
You're welcome.
(Rudolfo goes back behind the counter as Abronia comes with their order. Charlie enters.)
ABRONIA
Enrique! Charlie's here.
(Enrique comes from the back
ENRIQUE
Hey there. You alright?
CHARLIE
I'm fine. Why?
ENRIQUE
You didn’t sit with us.
CHARLIE
I was late.
ENRIQUE
So?
CHARLIE
I wanted to sit by myself today.
ENRIQUE
That's it?
CHARLIE
Yeah.
ENRIQUE
Nothing else?
CHARLIE
No.
ENRIQUE
Okay.
CHARLIE
Yeah.
ENRIQUE
You'd tell me, right?
CHARLIE
Tell you what?
ENRIQUE
If something was wrong.
CHARLIE
Who else am I gonna tell?
ENRIQUE
Okay.
CHARLIE
Can I have a cup of coffee now?
(Enrique smiles and heads back to the kitchen. Charlie smiles at the strangers, tips his hat to Abronia.)
ABRONIA
Coffee and a bear claw, but if you ask me, Enrique went a little wild on the cinnamon, and they were made yesterday so they might be a tad dry. I popped it in the microwave to soften it up, but still might be better for dunking.
(She sits next to Ella)
You two alright?
ELLA
We're fine. Thank you.
ABRONIA
Look, kids, this is nothing food. The whole town is shut down for the feast. We all gather at Guadeloupe hall for the celebration of the last supper. Everybody brings a dish. Oh, it's delicious. Fill you up. They'll have to roll you away. Why don't you come? You'll be my guests.
ELLA
That sounds great. Honey?
SCOTT
Sure Where else are we gonna go?
ELLA
Scott.
ABRONIA
I'm sorry you're stuck here, but this is a good time to get stuck. These are the biggest days of the year. Saguardos de Narcisco. The feast of Holy Thursday, the devils of Good Friday. It's quite a sight. It's not a thing for tourists. We keep it to ourselves. But since you are here.
ELLA
Thank you very much. Excuse us, we're just a little in shock right now.
ABRONIA
I understand.
ELLA
Is there a hotel here?
ABRONIA
Oh yes. The Best Western at the end of the street, just past the church. If there's anything I can do to make you feel more welcome… (She goes behind the counter)
ENRIQUE
(Emerging from the back room)
CHARLIE
Max is saving up for supper.
ENRIQUE
Aw, he was full of the spirit. He has all year to rest. Hell, we all do.
(Laughs)
ELLA
What are you doing?
SCOTT
What?
ELLA
I'm trying to make the best of this and you're subverting everything I do.
SCOTT
I'm subverting? What are you talking about? Subverting. You'd know a lot about that.
ELLA
I'm trying to help this. If we're going to work through it, we have to start sometime. We're here, away from it all. Right? That's what you wanted, right? If you're going to be hateful at everything again… hateful at me again. Not that you don't have the right to react this way.
SCOTT
Did he act differently?
ELLA
That's not fair.
SCOTT
What's fair?
ELLA
This certainly isn't. Your saying that isn't.
SCOTT
I can't help it. I look at you sometimes and see it.
ELLA
You need to stop looking for it.
SCOTT
I'm not looking for it. I just see it. It's there. He's there.
ELLA
No he's not. He was.
SCOTT
I don't know why I'm here with you. He should be the one. He's the one who deserves the pain of working through this shit. Not me.
ELLA
I don't want to be with him. I want to be with you.
SCOTT
Then why did you do it?
ELLA
I don't know.
SCOTT
Liar.
ELLA
Okay, you're right, Scott. I do know. But I'm not going to tell you because that would be constructive, wouldn't it.
Scott: Constructive?
ELLA
Constructive. A term about getting through this.
(Scott scoffs)
Fuck you. I'm going. When you want to help things, it shouldn't be hard to find me.
(She leaves. Enrique and Charlie watch her exit, then look at Scott left alone. They return to their conversation.)
CHARLIE
My first wife…
ENRIQUE
Naomi?
CHARLIE
Angilique.
ENRIQUE
Oh. Refill?
CHARLIE
Please.
(Rudolfo goes to Scott.)
RUDOLFO
Are you finished here, sir?
SCOTT
Yes. Thank you.
RUDOLFO
Sorry about earlier. I was just having some fun.
SCOTT
Sure.
(Abronia sees the exchange and pulls Rudolfo away.)
Abronia: What are you doing?
RUDOLFO
What?
ABRONIA
Can't you see he doesn't want you bothering him.
RUDOLFO
I was apologizing.
ABRONIA
Go do the dishes.
RUDOLFO
You're not my mother.
ABRONIA
I'll back-hand you like your boss.
(To Scott)
Are you alright, honey? Here's the check. No rush.
(He pulls out money and gets his bag)
ABRONIA
Oh, sweetie, this is too much. Let me get you change.
SCOTT
No, it's for you. A tip.
ABRONIA
Come to the feast, Okay? It's the hall next to the church.
SCOTT
I'll keep it in mind.
ABRONIA
Starts at five.
ENRIQUE
Max is a good priest.
CHARLIE
Good looking man. If I were a woman…
ENRIQUE
If you were a woman, you'd be ugly.
(They laugh)
ABRONIA
What are you talking about?
ENRIQUE
Father Max.
ABRONIA
Oh, Father Max.
SCENE 3: SOUTHWESTERN ADOBE CHURCH
(Ella enters and lights a prayer candle, but doesn't settle into the traditional praying position. A figure enters, Father Maximilian Sandoz.)
MAX
Isn't this nice?
ELLA
Yes.
MAX
An empty church.
ELLA
That's odd, coming from a priest.
MAX
You can hear yourself breathe. It's comforting.
ELLA
It's overwhelming.
MAX
It reflects you into yourself. Whether you want it to or not. I'm Max.
ELLA
Father Max?
MAX
Max is fine.
ELLA
I'm sorry, you must be busy.
MAX
You're Catholic?
ELLA
I was raised Catholic.
MAX
Not Catholic school, I hope.
ELLA
Up to fifth grade.
MAX
Got enough of the nuns?
ELLA
Yea. If you need to prepare…
MAX
No, I'm on a break.
ELLA
I haven't been in a church in a long time. It is reflective. I feel guilty.
MAX
You are Catholic. Guilt is a terrible thing.
ELLA
I don't need to confess. I've confessed a lot recently. I feel…
MAX
Sometimes the words don't come.
ELLA
I have too many words. Big, biblical words. Betrayal. Adultery. I had an affair on my husband. I know the reasons why I did it. I needed attention. I wanted to connect with someone, I wasn’t getting what I needed. But none of this has any meaning any more. I am sorry. I'm sorry I did it. But he can't forgive me. And forgiving myself is just so hard.
MAX
Forgive yourself and the rest will follow.
ELLA
I've opened myself up and I'm being scraped and pulled apart and I just have to take it. I don't have the right to defend myself.
MAX
It's a sacrifice. That's the ultimate act of love.
(To self)
That's good. I need to write that down. I'm sorry, that's rude.
ELLA
No, it's alright. These are big days for you.
MAX
Big days for the people.
ELLA
I would think a priest would get into these big holidays. Christmas and holy week…
MAX
The women worry about the food and the men worry about the costumes and masks. The kids want the Easter egg hunt. I'm the master of ceremonies of a three ring circus.
ELLA
But you fulfill a need. The voice of God.
MAX
I am not the transmitter of God. They are that. Or can be. The robes, the golden chalice, the call and response are all fine, but it's the talk with them, the one-on-one… that's where I find what I love.
ELLA
But you have God who put you here.
MAX
No, I put myself here.
ELLA
You have God.
MAX
I don't believe in God. I believe in faith. Faith requires the question.
SCENE 4: LARGE CHURCH ASSEMBLY HALL TABLES ARE SET WITH FLOWER ARRANGEMENTS, TABLECLOTHS, AND OTHER ASSORTED WONDERS. A MAKESHIFT ALTAR, IF YOU WILL, STANDS AT THE CENTER OF THE HALL WITH A LARGE CROSS AND LARGE CANDLES ON EITHER SIDE OF IT. OFFSTAGE IS THE SOUND OF UTENSILS CLINKING AND GENERAL KITCHEN BUSTLE. PEOPLE ARE TALKING AND READY FOR THE BIG EVENT. THE SMELLS OF SOUTHWESTERN COOKING FILL THE AIR. AS THE LIGHTS COME UP, TWO BOYS, PABLO AND BRIAN ARE SETTING THE LAST FOLDING CHAIRS INTO PLACE. THEY STIFLE GIGGLES.
BRIAN
O.K.
PABLO
Yeah.
BRIAN
O.K.!
PABLO
Yeah!
BRIAN
Shut up, spaz.
PABLO
Tell your joke, cumbreath!
(An explosion of laughter)
BRIAN
You're gonna get us killed, man.
PABLO
Jizzbucket.
(Another explosion.)
BRIAN
O.K. Shut up.
PABLO
Alright. Alright. I swear.
BRIAN
(All the while, expecting a word from him)
What's the difference between Pilar and a cow?
PABLO
What?
BRIAN
About two pounds.
PABLO
That's not funny.
BRIAN
Fuck you.
PABLO
Shut up, pissdrinker.
(Explosion)
PILAR
(offstage)
PABLO & BRIAN
(Picking up the pace and holding back the laughs)
No, Mrs. Diaz.
PILAR
(offstage)
I know you're not idiots. Focus, please.
(Pablo and Brian go about their chore and keep silent for as long as they can.)
PABLO
So, tell me again why we can't rent "The Mummy"?
BRIAN
Because my dad says it deals with death and the occult and he thinks it's inappropriate to rent it on Holy Week.
PABLO
Dude, this whole week deals with death and the occult. Jesus gets killed and comes back to life. What the hell is that?
BRIAN
He got us "Bad News Bears".
PABLO
It's from the seventies! It's about baseball!
BRIAN
Don't come over then. Besides, we still gotta finish our masks for tomorrow.
PABLO
Did you see all the blood on mine? I'm like one of those Roman soldiers that oversees the whole cross operation. I carry the nails and the hammers. They call me "The Nailer".
BRIAN
You're a gorefuck.
(Explosion of laughter. MARIA comes in from the doors leading to the kitchen. The boys finish their job.)
MARIA
Hey, guys, are you done here? You still gotta get in to your robes. Not to be a nag, but you don't have much time.
PABLO
We're all done.
MARIA
Well, go on, get to the rectory.
PABLO
So how're you doing, Maria?
MARIA
Move it, Pablo.
PABLO
I'll go become an altar boy now, Maria.
MARIA
You do that.
BRIAN
Hey, Maria.
MARIA
Brian.
(The boys smile. Maria smiles back.)
Go.
PABLO
See you later.
BRIAN
Yeah.
(The boys exit.)
MARIA
Give me strength.
(Pilar enters from the kitchen carrying a steaming bowl of pisole. She savors the smell with a prideful whiff, then covers it with a lid and sets it down. Both she and Maria finish laying the table cloths and put out plates and utensils for a large pot-luck dinner.)
PILAR
I make it in the church's kitchen so that it can be perfectly fresh. I'll tell you my secret, but you have to promise me you won't tell a soul. The recipe has been in my family for four generations. But since it doesn’t look like there will be another generation from me…
MARIA
Pilar…
PILAR
No, no. It's true. So I'll trust you to keep this tradition going and to pass it along to your children.
MARIA
Pilar. Children? At my age.
PILAR
Nonsense. My aunt Nita was delivering into her forties. Twelve boys, four girls.
(Getting back on track)
Pisole. The most important ingredient of my pisole is fresh hominy. You must make it from scratch. I can always tell when someone has used canned. It tastes limp and shallow. The flavor of the spices shouldn't enter the hominy like a sponge, but combine with it. One piece of the whole taste.
MARIA
Very poetic, Pilar.
PILAR
Now, the corn, I lay in the sun for Six days. It must be six. From Thursday to Wednesday is good. Then shell them and soak in water and Baking soda for eleven hours. Some say twelve, but they are wrong. Boil three hours and plunge in cold water.
(The main doors open and Scott peeks in. He looks around. Pilar and Maria are startled, intruding strangers in their church is not standard fare around these parts.)
PILAR
(A bit surly)
Can I help you?
SCOTT
I'm looking for someone.
MARIA
(Politely, before Pilar can take over)
Who are you looking for?
SCOTT
Oh, you wouldn't know her.
PILAR
And who are you?
SCOTT
Sorry to bother you.
(He leaves. Maria and Pilar look at each other and shrug. Pilar picks up where she left off)
PILAR
Rub off the hulls and boil in water again with salt and butter.
(Maria goes to put the bowl of pisole on the other table. Pilar takes over for her.)
Oh, let me take care of that. Maria, will you get the napkins down there under the table. Thank you so much.
(Keely, a twenty nine year old Hispanic woman enters with Naruda and a gaggle of children. The couple bicker and nag but it's clear there is a deep love between them.)
KEELY
So go back and get it.
NARUDA
I will as soon as I set this down. Do you want me to just drop it?
KEELY
Alberto, stop it. Pochuno, what are you doing with that?
NARUDA
I told him he could bring it.
KEELY
He's going to be shooting it all over the place. Marta, Rosalie, sweeties, help Mia with her bag. Alberto, don't step on Rantes. Get over here and help me with this.
NARUDA
Just like your father.
KEELY
I wasn't going to say that.
NARUDA
Are you going to let up!? It's Good Friday. That means be good. I was just joking anyway.
KEELY
No you weren't. I know when you're joking. Mesilla, get that out of your mouth.
PILAR
(Extending a helping hand)
KEELY
Nothing big. A simple spinach casserole. Found the recipe in my grandmother's old things.
PILAR
Your Grandma was from Taos. Oh my goodness! Are these Empanadas?
KEELY
Yes.
PILAR
Oh sweet mercy, I love your Epanadas.
KEELY
(Noticing the bowl)
PILAR
Green chile enchiladas too, warming in the kitchen.
(Naruda pushes past Keely to sample a taste of the spread. Keely is annoyed.)
KEELY
Are you going yet?
NARUDA
Where's Pablo? I thought he was going to help.
MARIA
He's in back getting ready for mass.
PILAR
He and Brian were very helpful putting up the chairs and in the kitchen with the dishes.
(Naruda steps back over Keely, satisfied with the dish.)
KEELY
What is up with you?
NARUDA
What?
(He kisses her on the cheek. Rudolfo enters. Maria sets her eyes on him immediately. Though she's twice his age, there is a sweetness about her when he's around.)
NARUDA
Hey, Rudolfo.
PILAR
Hello, Rudolfo.
MARIA
Rudolfo.
RUDOLFO
Hello, Maria.
(Naruda smiles at Maria and Rudolfo, who are starring at each other. Keely notices Naruda.)
KEELY
Will you go!?
NARUDA
I'm not here.
(Naruda leaves.)
PILAR
(To the children)
(She disappears into the kitchen with the kids.)
Little Rantes, you are so adorable. How big you are getting…
(Rudolfo & Maria watch Pilar and the children leave. Rudolfo moves as close to Maria as he can without touching her. Maria is not quite sure what he will do. They stand there transfixed. The spell is broken when the main door flies open and Scott enters with Abronia, followed by Enrique and Charlie.)
SCOTT
I'm not a lawyer. I'm a legal assistant.
ABRONIA
Same thing.
ENRIQUE
…and I'm still paying taxes on the Chavez farm.
CHARLIE
I thought you took care of that.
ENRIQUE
I did. Called Santa Fe, wrote a letter…
CHARLIE
My ex brother in law is a lawyer in Albuquerque. I'll see if there's anything he can do.
ENRIQUE
Is that Margaret's brother?
CHARLIE
No, Anita.
ENRIQUE
How is Anita?
CHARLIE
Triple by pass.
ENRIQUE
Really!
CHARLIE
Six months ago. She's fine now. A strong woman. I remember she smelled like flowers.
ENRIQUE
I remember that.
CHARLIE
Oh, you do?
(Abronia goes to the table. Scott looks around the room, in search of Ella. Maria leaves Rudolfo, goes to the table and greets Abronia. Rudolfo goes to Scott.)
RUDOLFO
Where's your wife?
(Scott glares at him.)
Sorry.
(Singing)
"Take my hand, I'm a stranger in paradise."
(Scott glares at him.)
Hey, have some food.
(Rudolfo walks away. Pilar enters from the kitchen with a relieved sigh. She carries more food to the table. Naruda comes in from the door behind Scott. He is out of breath.)
NARUDA
Hello.
SCOTT
Hello. So, how's my car coming along?
NARUDA
Man, it's a holy day, O.K.?
SCOTT
Yeah. Religious type, right?
NARUDA
You don't know how to be a guest, do you?
SCOTT
I just want my car fixed. Comprende?
NARUDA
(Laughing)
(Naruda moves past him to Rudolfo. Scott looks at the gathering going on around him. He doesn't know what to do. At the table, the women are having a hushed conversation.)
MARIA
After five years, I still have trouble being comfortable.
KEELY
I know what you mean. I remember the first time I put on a mask. My father said let go, let it take over you. But I put it on, and all I felt was that it was me behind it. Like I was hiding in a dark room. A room that could move around town.
MARIA
And seeing everyone else…
KEELY
Yes, through the little eye holes…
ABRONIA
That used to scare me.
MARIA
It still scares me. At first I try to figure out who's behind each mask, and I can't with some of them, but some I can. And if I know who it is behind the mask… and their doing all these things…
(They giggle a little)
PILAR
It's a celebration.
MARIA
After a while I can get into it.
ABRONIA
Yeah, I enjoy it now. I become someone else. I love it.
PILAR
The festival is to purge our sins.
ABRONIA
I purge them, Pilar.
(Keely notices Naruda and makes a b-line his way.)
KEELY
Excuse me. Naruda. Where's the chile?
NARUDA
I couldn't find it.
KEELY
It's right on the counter.
NARUDA
It wasn't there.
(They continue to argue as Ella enters from the kitchen, followed by Father Max. Everyone notices the connection and is distracted. Ella joins Scott in the corner.)
SCOTT
What were you doing?
ELLA
Talking.
SCOTT
With a priest?
ELLA
Yes.
SCOTT
I though we were supposed to be talking.
ELLA
I thought so too. It didn't seem like you were willing to talk like a human being.
SCOTT
And a priest is a normal human being?
ELLA
In this case, yes.
SCOTT
What are you talking about?
ELLA
Max isn't what you think of…
SCOTT
Max?
ELLA
His name is Max.
SCOTT
Max.
ELLA
Father Max.
SCOTT
Father Max.
ELLA
He listened to me, Scott.
SCOTT
Been a while since confession?
ELLA
It wasn't formal. He's a different kind of priest.
SCOTT
What? Touchy-feely?
ELLA
No, not that. I've never met anyone like him.
SCOTT
Oh.
ELLA
Scott, he doesn't believe in God.
SCOTT
What?
ELLA
He told me he doesn’t believe in God.
SCOTT
A priest has to believe in God. That's the rules.
ELLA
I don’t know.
SCOTT
How can a priest not believe in God? They kick you out for that sort of thing, don't they? Isn't that blasphemy or heresy or some other biblical thing?
ELLA
It's not that he doesn't believe in God, it's just that he doesn't believe in God.
SCOTT
That sorts it out just fine, El.
ELLA
He said that if there were proof that God existed, there would be no need for faith. He said, faith requires the question.
SCOTT
Anything else about him you want to tell me?
ELLA
He's lonely.
SCOTT
He's lonely.
ELLA
Yes.
SCOTT
So, you know all about him now.
ELLA
I talked with him for a while…
SCOTT
Are you attracted to him?
ELLA
He's a priest, Scott.
SCOTT
Doesn't sound like a very good priest to me.
ELLA
I am here. I'm working on this with you. I love you. Your anger and jealousy make this worse.
SCOTT
(Very Loudly)
(The hall goes silent. He says to her:)
I'm sorry.
ELLA
I really wish you were here.
(She walks away. Conversations throughout the room slowly rise again. Charlie saunters up to Scott.)
CHARLIE
Looks like you could use some juice.
(Scott takes the Dixie cup from him and takes a gulp, realizing it is hard liquor.)
SCOTT
Thanks.
CHARLIE
See that woman over there, Pilar. . .
(Pilar is momentarily alone at the buffet table, talking to herself and counting the dishes. She occasionally re-arranges a plate. Enrique sneaks up behind her, startling her. She glares at him and then they talk.)
Enrique was once married to her. They grew up together here in San Lino. Married fourteen years. One day he just decided he didn't want to be married to her any more. So he left. Bought a house down the street.
(Enrique crosses to Abronia.)
Abronia moved here from southern California in 1985. Married three times. Divorced twice. Second husband killed himself. Korean War Veteran. Abronia has a beautiful daughter from that marriage. Lives in New York. A painter.
(Enrique hugs her from behind and kisses her on the cheek.)
Enrique saw Abronia at the grocery store and asked her to marry him. She said no, and yes two years later.
(Naruda scarfs up a plate of food. Keely is slumping against the wall next to him, exhausted.)
Naruda over there, always been good at fixing things. Since before he could talk or walk. A gift.
(Naruda pushes Keely to standing straight. They begin arguing.)
He and Keely were high school sweethearts. They're passionate.
(Maria is reading a choir book, rehearsing for her moment.)
Now Maria… She's a piece of work. Her parents owned the big ranch north of here. But she hated this place. Left town when she was fifteen. Went to Arizona and then Southern California. I think she got into trouble. Came back five years ago, after seventeen years. It's been hard for her.
(Maria and Rudolfo… )
She's seeing that young one. They're all trying to accept it, but it ain't easy.
(The crowd quiets a little as Pablo and Brian enter from the main doors. Charlie continues at a whisper.)
Pablo is Naruda's oldest son. Brian's parents aren't Catholic. They both teach at the school. They're liberal. We need to be quiet now.
(Pablo and Brian are dressed in black and white cosecs and move solemnly through the hall to the candles. Brian carries a crucifix and Pablo carries a small candle. They come to the makeshift altar and light the big candles. They then move to an area not too far from the altar and stand there trying to look priestly.)
BRIAN
You ate the enchilada.
PABLO
It was good.
BRIAN
Now you want to.
PABLO
I do not.
BRIAN
Oh. you've got to. You feel it. It must happen.
PABLO
Shut up.
BRIAN
(In rhyme)
PABLO
Shut up. My mom's taking pictures.
BRIAN
Oh, yeah. Act like Jesus.
PABLO
Yeah, like Jesus. Owww, my hands! My feet!
(They hold back laughter. Maria steps up on the altar as the crowd grows silent and takes their seats. The boys fall into respect. Maria sings the Doxology. She returns to her seat as Father Max walks to the altar. He takes his place on the platform and looks out over the audience.)
FATHER MAX
…como agua y piedra
No me cierren los ojos
Necesita mi boca
Amo lo que no tiene sino suenos.
Soy decididamente triangular.
Now, that's not from the Bible, sorry to disappoint you. It is from a poem called 'The Truth." Now, I'm not going to go on and on here tonight. We had enough of that this afternoon in mass. But I do want to begin tonight's feast and send us into tomorrow's festivities with some words. Words that will help keep us on track and remind us why we are here. Soon enough we will feast upon this magnificent meal. More food here than the bread Jesus broke at the last supper, and more drink than the wine he blessed. Jesus offered bread and wine as his body and blood. Then the disciples ate, knowing what was ahead of them, just as we eat knowing what is ahead of us. The disciples knew that Jesus would die for their sins. They knew he would give his body and blood for them. They knew they would betray him. They knew and yet they ate, just as we are about to eat. They ate his body and drank his blood, and we eat his body and drink his blood from his sacrifice. Jesus sacrificed himself. He was crucified in the ultimate act of love. And for that we are all saved. But we are not safe. We sin. We know it is bad, but we still sin. We suffer. We have been cast out. There is no Eden in our lives. We toil. We loose sight of our relationship to him and our relationship to each other. And that is why these days are here. Not just to remind us, but to redeem us from within. With experience. With the purging of the remnants within us--redeeming that which has whittled itself down to a dream. Amo lo que no tiene sino suenos. And yet we keep steadfastly triangular. Soy decididamente triangular. That is where we shall arise from. From our own ashes, our own torment. And be redeemed in our faith. So. Let us eat. Let us strengthen ourselves so that tomorrow we may die and be reborn. And pray that our eyes never shut, Even for death.
(Everyone begins serving themselves in silence. The sound of spoons and knives hitting plates lingers into blackout.
ACT II : GOOD FRIDAY
TOWN SQUARE
Nina Simone’s “SINNERMAN” plays in the background. The Townspeople are dressed in junk clothes (ripped, thrift store bargains, etc.) but they suggest the characters they are about to play. The characters are roughly based on the Pharisees, Romans, and Apostles in “The Way of the Cross” celebration but should have an “all-world”, contemporary feel (black, white, Chinese, Indian, Native American....stereotype but not caricature. A reference is the Yaqui Easter celebrations in Arizona. The characters are:
Enrique: Herod...king
Charlie: Pilate...politician
Abronia: head priest...pontificate
Pilar: Peter...denial, coward
Neruda: Barabas...thief
Keely: Magdalene...street hustler
Maria: everyperson...righteous
Rudolfo: Judas...snitch, informant
Pablo: guard...soldier
Brian: guard...soldier
Once the costume is complete, the person is motionless, lost in character. They are silent but they speak in grand gestures and exaggeration. They move to the beat and let themselves go (if this also includes going into the audience, then so be it). On the surface, they seem to do the “right thing”. Outstanding citizens. But in reality, at anytime they morph into one collective unit. A collection of devils, buffoons, fools. They are transformed into one singular cause: the death of a “Christ”.
The “devils” also act out all the foibles of humans: vanity, gluttony, hypochondria, greed, etc. The movement is fluid and hypnotic.
MAX and ELLA enter. Max whispers to Ella to be quiet and unobtrusive. Max moves to the front and bows his head in prayer and the others follow. Max finishes and moves to the outer edge. Once he gets there, there is a beat. The music abruptly ends. BLACKOUT.
A heavy percussion beat begins. The lights hit at full as the Townspeople scatter about the stage creating their world. The story is basically the head priest, king, and politician all agree to get and bring to death this new prophet. The thief is threatened jail unless he helps, the apostle death. All, one by one, for whatever reason, are persuaded to participate in this death.
Max remains on the periphery, almost like a referee. Ella also is on the edge but she is fascinated by the proceedings and little by little she starts to sway to the rhythms. SCOTT enters. He is taken aback by what he sees and immediately has the feeling of watching an embarrassing, stupid ritual. One "devil" gets in Scott's face. Scott scoffs, laughing him off as though he were a bad street mime. But the devil is persistent, almost violent--he wants a sign of respect. Scott cowers and his sarcastic smile disappears. The devil stands as a proud peacock and taunts his conquered victim. The devil returns to the center. Scott finally eyes Ella who is awash in the ritual. He makes his way to meet up with her.
SCOTT
Where have you been?
ELLA
I fell asleep in the church. Come on, lets do this. It's gonna be fun.
SCOTT
What are you talking about? This is a freak show. What the hell are they doing?
ELLA
I don't know, but what a blast!
SCOTT
We need to talk.
ELLA
Scott. I need this.
(She joins the celebration. Scott begins speaking over the crowd noise and music.)
SCOTT
Ella! What are you doing? Why are you doing this to me? Why do you keep pulling away? I know I'm difficult, but it's hard for me to be nice. I'm sorry I play games. It is me. I know that. For you, it's already happened. I always knew you betrayed me. I knew. When you were different, at home, in bed, I thought it was a hard time for you. A phase. And you were out at night. During the day. Over and over. Lying to me. Telling me you were with your friends. Going to a movie alone. Whatever. I think I knew. But I had to trust. I had no choice. And you were with him. God, it was three months, Ella. That's huge. What took you back to him over and over again? Was he good? I have to finally ask. Was he better than me? Did he have a bigger cock? The questions I've wanted to ask. Did he give you comfort I couldn't? Was he just new and me old? One time is one thing, but over and over. It wasn't an accident. You chose to do it. It's hard to forgive that. How can I accept you back, just like that? We have a history. It's so small, really. It's nothing. Passion is better than history. No matter how much you tell yourself it was an accident, you crossed that line, again and again. It was conscious, not a place, a moment, not a deliberate accident even. It was a choice. To fill you with something new. Fill you with attention and lust and love. I want to see you with him because that must be easier than what my mind imagines. I see you seeing him and glowing. It kills me.
(The beats of the religious dance transform into a disco-rave-dance. The masked figures become people on a dance floor. Ella floats alone in the light among the crowd, standing momentarily. A man enters and walks to her. They begin to dance, soon they are gyrating, very close to each other.
ELLA
I think I've seen you before.
LOVER
Maybe.
ELLA
Lunchtime.
LOVER
Yes.
ELLA
Haven't seen you in a while.
LOVER
Been in Europe.
ELLA
Now you're back.
LOVER
You'll be seeing me.
ELLA
I've seen you before.
LOVER
Maybe.
ELLA
Haven't seen you in a while.
LOVER
You'll be seeing me.
(He dances away. She turns her back. Scott has been watching it all.
Everything stops. Silence. Carmen walks in. She goes to Scott, stopping right up to him. They kiss, then grasp and fondle each other in a passionate moment. It goes on and on, a real make-out session. Carmen eventually pulls away. Scott grabs for her, but she parts, turns, walks away.)
SCOTT
Carmen!
(She's gone.
Boom, back into the ritual.
The demons bring out a large cross and Father Max appears. The townspeople abstractly enact the judgement of Christ. Scott calls out to Father Max.)
SCOTT
You fake! You hypocrite! You are lying to these people. You tell them you believe, when you are nothing but a blasphemer. A false priest. How can you lead these people when you don't believe what you preach? You have no faith! You don't believe in God or Jesus. They trust you. And you lie. You lie to them. You bastard!
(The demons grab Father Max and pull him onto the cross. A hammer appears in Scott's hand. He moves with the crowd toward Max. The demons hold Max onto the cross as Scott drives the first stake into Max's right hand. Max screams. Scott realizes what he has done. Ella pulls him away. The townspeople continue the crucifixion, driving a stake into Max's other hand and through both feet, though he doesn’t scream again. The group then carries the crucified figure reverently off stage.
Scott collapses. Ella kneels and cradles him in her arms.)
SCOTT
What have I done? Carmen? Carmen? Hold me. Ella… I thought… Ella, it was a long time ago. Carmen was a lawyer at the firm. I was assigned to assist her on a case. A medical patent. I remember the case really well for some reason. She was my boss. Bossing me around, in a fun kind of way. Flirting. We were in her office late. She kissed me, and I kissed her back. We started seeing each other. Coffee, lunch. Dinner. Going over to her apartment. We met a lot. For a few months. Then she called it off. I didn't see her for a year. Then we started up again, for a week. It got strange. Kinky stuff. Photos and fetish stuff. I called it off that time. But she was very upset. She wasn't fanatical. She wasn't waiting for me or anything, but she wanted to stay with me. You know, keep doing it on the sly. I said no. But we did it again, I don't know, three times. Then it stopped. I told myself I stopped it, but I don't know. We… it wasn't extraordinary. I didn't love her. It was just sex. It's been a long time. I thought it was enough that I stopped. I moved on. I worked through my shit. The need, the desire, the openness to it. And you didn't know. But I really moved on. It's been years since anything has happened. But, it's not enough, is it? I'm living lies. You deserve to know. I can't live with myself without opening it up and getting it out and cleaning the slate. I've kept it inside out of fear. Fear that you'd leave me. Maybe it's good that I'm letting it out right now. I've been mean to you because I'm mad at me. Am I fucking things up more for us? I'm taking the biggest risk of my life right now. I'm sorry Ella. You deserve the respect of this confession.
(Ella has listened, seeming to understand, and yet hurt. Scott turns to her. She then slaps him on the face brutally. She stands and walks off. Fade to black.)
ACT III : SATURDAY
SCENE 1: SMALL APARTMENT IN BLACK, WE HEAR RUDOLFO SINGING…
RUDOLFO
In a mountain greenery, Where God paints his scenery, Just two crazy people together…
(Lights rise on the two in bed. Maria is having trouble matching the chipper energy of Rudolfo. But she is quite happy.)
RUDOLFO
We love sequestering, Where no pests are pestering…
MARIA
Mmmm. Morning.
RUDOLFO
No dear momma holds us in tethering…
MARIA
Not me, anyway.
RUDOLFO
Hey, that's getting personal.
MARIA
Can't help it, we are personal.
RUDOLFO
Very personal.
(They kiss and cuddle on the bed.)
RUDOLFO
Besides, my mother loves you.
MARIA
If she only knew.
RUDOLFO
She knows.
MARIA
Yes, but in the open.
RUDOLFO
You want me to give her a call?
MARIA
She'll be calling soon.
RUDOLFO
Do you think we have a mother, son thing?
MARIA
Can't be helped.
RUDOLFO
Yea.
(Rudolfo looks at her with doey eyes, and slouches to her in a subservient way.)
MARIA
Stop it.
RUDOLFO
What?
MARIA
Stop it.
RUDOLFO
OK.
(Rudolfo shifts thoughts, rearranging himself, sitting up next to her on the bed.)
RUDOLFO
Sometimes I look at us and see all the possible ways we could go.
MARIA
Oh?
RUDOLFO
Well, This isn't your standard thing. It would be so easy to freak out.
MARIA
I see.
(They take stock of this loaded statement, perhaps trying to read each other as well. Rudolfo changes the subject.)
RUDOLFO
Tell me something, old lady.
MARIA
Okay?
RUDOLFO
Tell me something you've never told anyone.
MARIA
Where do I begin?
(She thinks. She sizes him up. Then lightens up.)
I've been through a lot, Rudolfo.
RUDOLFO
I know.
MARIA
(She makes a choice and goes.)
I never told you why I moved back.
RUDOLFO
To find your past and shit, right?
MARIA
Well…
RUDOLFO
Yea, I figured that was an oversimplification.
MARIA
Nothing in my life has been simple.
RUDOLFO
You were in L.A.? Living with Sol, right?
MARIA
No, I'd moved out, into an apartment. But I was still seeing Sol.
RUDOLFO
Why didn't you marry him?
MARIA
He wasn't the marrying type. Anyway, One afternoon I was in my apartment with Penny…
RUDOLFO
The woman with the spiral breasts.
MARIA
What!?
RUDOLFO
The woman with the tie-dye shirt? In that picture on your desk. The swirls.
MARIA
Oh, yes, the spiral breasted woman. She was visiting me when four policemen came to the door with a warrant to look for drugs.
RUDOLFO
Oh my God.
MARIA
Well, I didn't have anything. But it turned out that Sol had hidden a whole stash of coke in my apartment.
RUDOLFO
Oh my God.
MARIA
I wasn't into that. Sol had it around for the girls. But he kept me out of that.
RUDOLFO
What happened?
MARIA
They arrested me.
RUDOLFO
You were arrested?
MARIA
I didn't even know what was happening. I was in a daze.
RUDOLFO
Did they treat you okay?
MARIA
Yes. They were actually nice. I felt so naïve. And scared.
RUDOLFO
Did Sol bail you out?
MARIA
No.
RUDOLFO
Why not?
MARIA
I don't know. I never saw him again. I should have turned him in, but I couldn't. I had all these friends that would have been devistated. I felt obligated. But it wasn't that that made me come back to San Lino. It wasn't the last straw. It was a clean turning point.
RUDOLFO
How long were you in jail for?
MARIA
Eight months.
RUDOLFO
Jesus.
(Rudolfo doesn't know what to say, but his concern for her is palpable. They look at each other for a bit.)
RUDOLFO
Wow. I'm dating an ex-con.
MARIA
You love it.
(They kiss.)
SCENE 2: SPLIT SCENE SCOTT IS OUT IN THE DESERT SOMEWHERE, HAVING WANDERED THERE ALL NIGHT. ELLA ENTERS MAX'S ROOM WHERE HE LIES.
(Scott wanders on stage, exhausted and wired. Ella enters opposite stage, exhausted, bedraggled. It's a split scene, they do not acknowledge each other. Light rises on Max, center, who is lying on a raised bed in the rectory. Max is wrapped in blankets. Ella stands behind him.)
SCOTT
It's cold. In the fucking desert it's cold. Who'd have thought it'd be freezing fucking cold in the middle of the fucking desert.
(Ella leans over Max and kisses him softly.)
SCOTT
What am I doing?
ELLA
Max?
SCOTT
I'm going to jail.
ELLA
Have you ever been attracted to someone?
MAX
Sure.
ELLA
Did you do anything about it?
MAX
No.
ELLA
Really?
MAX
I have good self-control.
SCOTT
God! Why is this all so fucking complicated?
ELLA
Why should you control yourself?
MAX
I'm a priest.
ELLA
Not in belief.
SCOTT
It's not illegal to fall in love with two people at the same time. Or have sex with two people at the same time.
MAX
I took my vows for other reasons. They are valid to me.
SCOTT
It's human nature, right.
ELLA
You haven't ever tested…
MAX
Well…
ELLA
You have the most beautiful eyes. Powerful eyes.
SCOTT
We're animals.
ELLA
I'm not sorry.
MAX
You don't have to be sorry.
ELLA
When does it happen: when you think it? When it thinks you? When you entertain the idea? Fantasize? Or when you act?
MAX
You can't control your thoughts.
SCOTT
I'm horny. Jesus Christ, I'm actually horny! What is up with that?
ELLA
So you don't act?
MAX
I don't act.
ELLA
For you're promise?
MAX
For my promise to myself.
ELLA
You're a better person than I. Than anyone. You're lying, aren't you? You're lying. No one's that pure.
MAX
My desires are different than yours.
ELLA
Do you wonder what it's like?
MAX
Yes.
ELLA
It would take you from your beliefs. It's the most incredible way to be with someone. It's faith.
MAX
Love is faith. Sex is power.
SCOTT
Ella.
ELLA
What do you know about sex?
MAX
I read books. Self-help, armchair psychology, stuff like that.
ELLA
Really? Then why did I have an affair?
MAX
You were lonely.
ELLA
I'm still lonely.
MAX
I'm sorry.
SCOTT
I'm sorry.
ELLA
I'm becoming less and less sorry.
MAX
Would you like to have sex with me, Ella?
ELLA
Not when you put it like that.
SCOTT
Fuckers.
MAX
Do you want to?
ELLA
Oh, Jesus Christ.
MAX
Ah, ah, ah.
ELLA
Sorry.
MAX
Are you?
ELLA
Yes. There are some things you just shouldn't say.
MAX
Do you still want to be with Scott?
SCOTT
I don't know.
ELLA
I don't know.
MAX
That's the only question you need to answer. Is it worth working through it.
ELLA
But how can I know what's best in the long run? "Do you still love him?" Blah, blah, blah. I just don't know.
MAX
Answer right now. Don't wait. Just answer.
(Pause.)
ELLA & SCOTT
Yes.
MAX
The answer is yes.
SCENE 3: THE CAFE ABRONIA GOES ABOUT CLEANING AND DOING MENIAL CHORES. SHE LOOKS AT THE CLOCK PERIODICALLY. CHARLIE SITS AT THE COUNTER READING A NEWSPAPER. PILAR IS ALSO AT THE COUNTER, SIPPING COFFEE. SHE IS EXHAUSTED. THERE IS A SOMBERNESS AROUND THE ROOM. ENRIQUE ENTERS FROM THE KITCHEN WITH A FRESH POT OF COFFEE.
ENRIQUE
Fill up? It’s fresh.
(Charlie motions and Enrique obliges. He notices Abronia worrying.)
ENRIQUE
Today is the slow day. We all had quite an evening last night. He’s a little late
ABRONIA
I know. I know
PILAR
(smug)
He’s probably got his hands full right now
ENRIQUE
Pilar. Play nice. Fill up?
(Pilar nods no.)
CHARLIE
Nineteen
ABRONIA
What’s that?
CHARLIE
He’s nineteen. Day after the ceremony. Needs his rest. Or something else
PILAR
(scoffing)
He’s resting all right
ABRONIA
Are the devils still with you?
PILAR
Oh it’s obvious where he is and who he left with last night
ABRONIA
Pilar, that’s their business
ENRIQUE
No gossip in my café
PILAR
It’s not gossip. Maria and Rudolfo together. Everyone knows.
ABRONIA
But they haven’t said anything and we should respect that.
PILAR
Maria. Seeing someone twenty years younger than her. She should be ashamed!
ENRIQUE
Yes. It’s scandalous.
CHARLIE
I could make light here but it’s too obvious.
ENRIQUE
Oh if a woman twenty years younger went after me, oh, I’d…
(runs to Abronia)
…throw her aside for my bride.
(He kisses her)
ABRONIA
My crazy nino. I have a kid for a husband.
PILAR
I wonder if Rudolfo knows about her.
ENRIQUE
You know, you’ve been working with Maria for two years now. She’s good and you know it. Pulled off another feast the other night. She works hard.
PILAR
Yes, she does. Enrique, don’t misunderstand me. I love Maria. She’s a good worker and well organized. But can you really trust her?
CHARLIE
Can you trust anybody?
(Scott enters. He’s in a high edge state. Everyone stops and looks at him. He deflates as if giving himself up.)
ABRONIA
Well, hey, you! Good Morning. Did you sleep well, hon?
SCOTT
I’ve been in the desert.
ABRONIA
Oh, hon. Did the ceremony get you all riled up?
SCOTT
Well…yes…
ABRONIA
(matronly laughing)
Why don't you sit down? Coffee’s coming right now.
SCOTT
Can I have some water, please?
ABRONIA
Sure. Relax.
ABRONIA
Where’s your wife?
SCOTT
I don’t know. I need to find her.
ABRONIA
She’ll show up. She can’t be lost. Not here. Let me get the water.
(Abronia goes off. The phone rings and Enrique answers, speaking in Spanish. Scott settles into his seat and notices Pilar glaring at him.)
SCOTT
(to himself)
O.K. O.K….this isn’t weird… they’re not fake. Nice… not her, anyway… nothing is wrong?….Ok Ok
(Abronia brings the water. Scott watches her intently. Abronia smiles.)
ABRONIA
Breakfast?
SCOTT
No thank you.
(Scott looks at her for something. Abronia smiles out of embarrassment.)
ABRONIA
You must be a good lawyer. You’re making me confess and I don’t know what I’m guilty of.
SCOTT
I’m not a lawyer.
ABRONIA
Well, you keep at it. You’ve got the interrogating thing down.
(Abronia leaves. Enrique gets off the phone.)
ENRIQUE
Rudolfo’s mom. He didn’t come home last night.
ABRONIA
(in Spanish)
Rudolfo, you’re causing a lot of problems. Now you don’t come home and drag your mother into it.
ENRIQUE
(to Charlie)
Rudolfo might be in trouble now.
CHARLIE
His mother was always a worrisome person.
ENRIQUE
Not always. Remember the opening of the church hall? The tequila punch?
CHARLIE
Hmmm. She couldn’t dance.
ENRIQUE
She tried.
CHARLIE
Hit me with a broom. So, I took her car keys.
ENRIQUE
She was funny. Good woman.
ABRONIA
That boy! You say, “he’s nineteen”, but this is too much. His mother will hit the roof.
PILAR
The girl is trouble.
ABRONIA
Rudolofo should know better.
PILAR
He’s nineteen and being swayed by a beautiful, older woman. He thinks he’s in heaven. Doesn’t have the sense to know she’s using him.
ENRIQUE
Why would Maria use Rudolfo?
PILAR
No other available men. He’s young. And Maria's had her problems with men back in Los Angeles. Many lovers. And the drugs. . .
ENRIQUE
How do you know what Maria went through? Anyway, she came back here. That’s not easy to do.
PILAR
Old habits die-hard. And Maria…
ABRONIA
Stop it! We just celebrated the death of Christ and it’s glory and we’re all acting like chattering hens.
PILAR
I love Maria. I’m just saying that Maria may not be who she is around us.
CHARLIE
Enough. Pilar. Respect who someone is and what they do.
PILAR
Well, thank you Charlie. And you too, Abronia, Enrique. I know everyone here in this town and I respect and love them all. But I also know the bad that we all have inside us. We turn on each other, we leave each other, we hurt, we divorce. Our happy little town is also ugly. You permit me if I notice the ugly too.
(A beat)
ENRIQUE
Why don’t we all calm down, eh?
ABRONIA
I’m going to make us some breakfast.
PILAR
I’m going to help you.
(Abronia and Pilar exit to kitchen. Scott is still self-absorbed. Enrique smiles at Charlie.)
CHARLIE
(Noticing Scott)
Hey, Chief.
SCOTT
(Looking up)
Hey.
CHARLIE
Nothing like a fight in the morning, huh?
SCOTT
Sorry?
CHARLIE
What did you think about yesterday?
SCOTT
(growing worried)
Yesterday?
CHARLIE
The dance. Quite the experience.
SCOTT
Yes.
CHARLIE
Let your hair down?
SCOTT
I got swept up, yes.
CHARLIE
All inhibitions let loose.
SCOTT
I didn’t know. . .
CHARLIE
You were capable of such things.
SCOTT
Oh, God. God.
CHARLIE
Fascinating what the emotions release.
SCOTT
I wanted to do it. I wanted to.
CHARLIE
The devils take you to places.
SCOTT
But… violence.
CHARLIE
We all bask in the sins.
SCOTT
Murder.
CHARLIE
And then on Saturday we shed the masks for another year and go back to our lives. And put all those sins away.
SCOTT
Put ‘em away! Where do you put that away?
CHARLIE
Well, it is just an act.
SCOTT
An act?
(Scott slowly realizes he is in no danger, but the craziness of it all may be worse.)
CHARLIE
The dance.
SCOTT
A dance.
CHARLIE
Something else?
SCOTT
No, no. Just a lot on my mind.
CHARLIE
Oh.
(Rudolfo enters.)
ENRIQUE
Rudy, you’re late and you got everybody talking about you.
RUDOLFO
I’m sorry, Enrique. I won’t let it happen again. I’ll go mix the corn meal.
ENRIQUE
Rudy. I’m serious.
RUDOLFO
Is Abronia mad?
ENRIQUE
She’s upset. And, your mother called.
RUDOLFO
Oh, boy.
(Abronia and Pilar come from the kitchen.)
ABRONIA
Rudolfo! You crazy kid! You…
RUDOLFO
Abronia, I’m sorry. I’m calling my mother right now.
ABRONIA
You do that. Then it’s my turn.
RUDOLFO
Pilar, Maria wanted me to tell you that she’ll meet you at the church hall. She’s already started cleaning up. She hopes you don’t mind.
(Pilar, Enrique and Abronia take a beat and look at each other.)
PILAR
Thank you Rudolfo. I better go lend her a hand.
(Pilar exits. Everyone is amazed at how she exited so quietly. Abronia slaps Rudolfo moving him into the kitchen.)
ABRONIA
Get in the kitchen and use the phone in there (in Spanish) causing trouble when you can control it! Worry us sick.
(They move into the kitchen. Scott gets up.)
ENRIQUE
You want some breakfast?
SCOTT
No thanks. I’m going to go find my wife.
ENRIQUE
Ella, right?
SCOTT
Yeah. I need to tell her I love her.
ENRIQUE
That’s good.
SCOTT
Thanks for the water.
(Scott exits.)
CHARLIE
Hope it works.
ENRIQUE
Worked for me. Twice.
CHARLIE
Twice?
ENRIQUE
One and a half.
CHARLIE
You can’t lie to me, my friend.
ENRIQUE
“The heart can’t make you lie.”
CHARLIE
That’s nice.
ENRIQUE
Hallmark card I gave to Pilar. Anniversary, 1978.
CHARLIE
Sentimental fool.
ENRIQUE
I am.
CHARLIE
Guess I’ll have some breakfast.
ENRIQUE
Good.
SCENE 5: TOWN SQUARE. IT'S ABOUT 8:30 IN THE MORNING. SCOTT COMES OUT OF THE CAFÉ, LOOKS OVER AT THE CHURCH AND TAKES A DEEP BREATH.
(Across the square, The church doors open and Max emerges. Scott is stunned, as though he's seeing a vision. He falls to his knees. Max approaches, Scott rises as though he has a massive lump in his stomach. Max smiles.)
MAX
Are you alright?
(Scott nods. Max moves past him as Scott watches. Max thinks of his priestly duties and turns around.)
MAX
I'm sorry...Scott, right?
SCOTT
Yes.
MAX
Ella's husband?
SCOTT
Yeah.
MAX
I'm Max.
SCOTT
Hi. It's nice to meet you.
MAX
You sure you're alright?
SCOTT
I'm O.K. Thanks. Is my wife at the church?
MAX
Yes. She fell asleep on the floor. She was exhausted. The ceremony takes a lot out of a person sometimes.
(Scott's mind is in a million places.)
MAX
We talked about you a lot.
SCOTT
Yeah?
MAX
More or less.
SCOTT
Yeah, well, there's a lot to say.
MAX
What you say, and do, right now, will form your future. It's a turning point, not an end. Have faith in yourself, and in Ella. Remember, we never loose faith, we merely cease to shape our lives by it.
SCOTT
Yes.
MAX
Would you please excuse me. I'm absolutely starving.
SCOTT
Sure. Thank you.
(Max starts for the cafe. Scott has a question.)
SCOTT
Max?
MAX
Yeah?
SCOTT
How's your hand?
MAX
(smiles)
It's fine.
(Max exits. Scott takes a moment, then heads for the church. Scott turns to the church just as Ella walks out. A beat. Scott goes to Ella. A moment of awkwardness. Just then, Naruda interrupts their gaze.)
NARUDA
Well, your car's all fixed.
(Hands Ella the keys.)
ELLA
Oh, thank you.
NARUDA
I went out early this morning. Wasn't anything serious. Take it to your mechanic when you get back just to make sure.
ELLA
How much do we owe you?
NARUDA
It's on me.
SCOTT
No, really, how much do we owe you?
NARUDA
Nothing. Have a good Easter.
ELLA
Thank you.
(Naruda starts to leave.)
SCOTT
Well. . . where's the car?
NARUDA
It's on the road, where you left it.
SCOTT
What? Why didn't you tow it back?
NARUDA
I would have. . .
(Naruda goes to the café. Ella and Scott are left alone again. Ella hands Scott the keys. Lights rise on Maria on the other side of the street.)
ELLA
Hi.
SCOTT
Hi.
ELLA
I had all this stuff to say.
SCOTT
Oh.
ELLA
Didn't you?
SCOTT
No.
(Maria looks through the window of the café and smiles. A few moments later she is joined by Rudolfo.)
RUDOLFO
Excuse me, miss. Are you loitering?
MARIA
Yes, I believe I am.
RUDOLFO
Does Pilar know?
MARIA
No, I took a break.
RUDOLFO
Wow. Something's up.
ELLA
You have nothing to say?
MARIA
Yeah. Something on my mind.
SCOTT
No.
MARIA
I want you to ask me to marry you.
ELLA
Well, I did.
SCOTT
Oh.
(Long Pause.)
RUDOLFO
Why don't you just ask me?
MARIA
It wouldn't be the same.
ELLA
And now…
SCOTT
I don't know…
ELLA
It feels so huge. I'm drained.
SCOTT
I wanted passion. Now all I want is comfort.
ELLA
There's so much going on in my head. I thought it was settled, but it hasn't. I feel disjointed—-separate and conflicted. I want to plead for your forgiveness and kill you all at once.
SCOTT
One happens, then the other, then back again.
(Pause.)
ELLA
This can't be fixed.
SCOTT
It will always be there.
RUDOLFO
If I ask it, it will sound naive. If you ask it, there will be baggage.
ELLA
I hate you, Scott.
SCOTT
You should. I hate you.
ELLA
What should we do?
MARIA
I'm forty years old, Rudolfo.
RUDOLFO
I'm nineteen, Maria.
SCOTT
I wanted to work through this…
ELLA
But now I don't
SCOTT
Me either.
ELLA
I'm so relieved.
SCOTT
Strange.
ELLA
Yes. Strange.
SCOTT
Are we breaking up?
ELLA
Yes, I think we are.
RUDOLFO
I love you.
SCOTT
Wow.
MARIA
I love you too.
ELLA
Okay.
(Long pause.)
SCOTT
We have to go back. To the car.
MARIA
Will you?
ELLA
Yes.
SCOTT
Should we get our luggage?
RUDOLFO
Will you?
ELLA
No. Let's go.
SCOTT
Let's go.
(Ella and Scott walk into the distance, together, as Rudolfo sings to Maria. The lights fade slowly on Maria and Rudolfo until a singular light remains on Ella and Scott.)
RUDOLFO
(Singing.)
It's Very clear
Our love is here to stay
Not for a year
But ever and a day
In time the rockies may crumble
Gibralter may tumble
They're only made of clay
But
Our love is here to stay
(The lights fade to black.)
END Copyright © K. Brian Neel. All rights reserved. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without written permission from the author.Professional and amateurs are hereby warned that this material, being fully protected under the Copyright Laws of the United States of America and of all other countries of the Berne and Universal Copyright Conventions, is subject to a royalty. All rights including, but not limited to, professional, amateur, recording, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages are expressly reserved. Particular emphasis is placed on the question of readings and all uses of this play by educational institutions, permission for which must be secured from the author ºs representatives. For all rights, including amateur and stock performances, contact K. Brian Neel. |