A Gorilla Suit, A Judge's Wig, And A Little Blue Cap a 1-act play by Ben Ohmart 723 Boal Ave. Boalsburg, PA 16827 fax: 814-466-7555 email: findline@mindspring.com CAST OF CHARACTERS ARLEEN - A woman in her thirties who is in love with pain. It kills her to admit it but she can't live without it. ARMONT - ARLEEN's husband, and a gorilla. He's tried to succumb to the world of Man, and has pretty much adapted. But he can get very violent. KIEV - ARLEEN's friend and one time co-worker. A woman of about the same age. She doesn't like ARLEEN's preference of pain, but tries to be as good a friend as she can without overstepping bounds. FRANK - Frankenstein's Monster. A gentle creature who wants love, but still doesn't know his own strength or role in the world of today. BOBBY - A date KIEV picked up. Played by ARMONT. WAITRESS - At a bar. Played by KIEV. WOMEN - Who sells papers; another at at a bar. Played by KIEV. BAILIFF - In court. Played by KIEV. VOICES - Played by all the members of the cast, in the dark. SETTING An apartment, a few bars, which can be altered from one another just by furniture rearranging, and various places in the city. TIME Now. (It's a middle-class apt. Much of it looks like a cage in a zoo: some furniture is torn, magazines scattered, banana peels in dark corners. But ARLEEN, an attractive woman in her thirties, who enters tries to keep the place livable. She's not happy with her life, but content as can be. She wishes she could be more satisfied with herself. She takes a small garbage can by the hallway, as normal practice, and breaths in a sigh to begin the work of picking up, etc. She smells something and looks around to discover it; it's in the garbage can. She takes a bigger sniff to make sure and comes back scowling. She goes off to get a plastic bag from the kitchen, comes back and starts the arduous task of putting the mouth of the plastic over the can. Just then ARMONT, a gorilla, enters, flinging his keys down. He's a real gorilla who's managed to repress a lot of natural desires and anger, and so a lot of times takes it out on ARLEEN. He tries to act like a man mostly, but many times his bruteness escapes him. Except this time he's happy, and is a little quicker with his natural actions, such as swinging his arms low, grunting, climbing over the furniture, but all in moderation. He should act more like a man than a gorilla, for the most part. When ARLEEN sees him, she gives a copious smile and moves to the endtable which contains the mail) ARLEEN. Morning.. cold... I suppose it's still on snow. (ARMONT is beside himself and can't speak for a moment. He climbs on the couch) Well! Did you hear already or something or.. (Stops; concerned) You didn't attack the mailman.. like in the summ.. (Sha kes it off) There is a new color in the spectrum, lover. And it is a kind of bullion of white, kind of white. Yes? (She holds up envelope for him to see, then underlines the return address with her fingernail and a wide teethless smile. This calms him somewhat) ARMONT. It came - through the mail. ARLEEN. (Concerned about his lack of enthusiasm) What? You place the stamp, you let it go in the blue box, what does a - (ARMONT begins to grow violent, and she backs away to do the cleaning) The next time you have me write it out for you, make sure you w ant it. ARMONT. Can I tell you what happened to me today? Would you mind if I started in on what my life means to me at this very moment in time? ARLEEN. Por favor. Did you wipe them? (This makes ARMONT jump up and down until he comes close to her) Kiev called and I think I'm going to lunch. Since last week.. I think she wants to pay. ARMONT. I love you, Arleen, so it's the event that most car dealerships are on about, the "once and a lifetime" deal and crap and shit and you never know do you, you turn on them the night following, it's the next year and they still "ever" all over you. ARLEEN. Not these cars, right? I mean. We've passed that? ARMONT. (Growing angry; starts swinging arms) I am setting up a... thing. A thing. You let me talk about Roy with an i, Roi, and he'll let it be told to you about perfection, an amount of spaces that must be filled. Any time there is a "must" in a somethi ng, you've got to know that there is a meaning of parking, yes, it's fantastic, in what it achieves, brings it in and sets it there before, on top, underneath you, whatever! (Being swept away by the excitement, he becomes even more animated than when angr y) And it's on free land, that's the beauty mark that sets this thing into so many directions, you see what I can be on about, when's the preceding time you've built the establishment and lost directions to the rent catcher because there is no just none o f a fucking address?! (ARLEEN shakes her head "no", but really doesn't understand what he's talking about) It's this that is the secret, and do you know how many lots attract, it's like putting up one of those.. you've seen, spiral coin drops, for the GAY DS awareness, whatever, that circle down and down and nobody can stop the hands from going to it, that's what they need! (Pauses to see what her reaction is; she has none and it momentarily confuses him) ARLEEN. I want you to put this in the kind of single sentence thing that you use.. on Delmonte. A full peel. Come on. I love seeing you so excited. (Picks up the letter and shakes it a bit, hoping his excitement's come from this. It agitates him, and he runs over swinging his arms) ARMONT. There is no subject of doctoring at the present point of summits. Uh, climax. Until there is a direct stoppage of what I've got the latch to, I mean Roi knows the land, we go halves for a contractor, he can put the touch in with that too, it's not like we're going to the dole with six months up our sleeve, and a percentage for something like.. three.. months 'til our way paves, ha, ha, it, uh, paves clear to settle it up compl etely, so.. ARLEEN. I don't think run-ons count with me. You're scaring me. (ARMONT becomes excited. He almost hits her the way he's ranting around) ARMONT. I have the chance to get in on the ground floor of a parking garage. You chitter like a jungle aphis and we don't see the logic of countless thousands, we're meaning a hundred thousand over some kind of period. A pie, no pieces for us, and we'll take the plate with us. ARLEEN. (Pauses; worried) This is one of those gorilla things.. ARMONT. What? ARLEEN. A joke of the bush, some kind of - ARMONT. What the fuck is wrong with a proposition, that puts you on the pave to glory, evolution, no, not that, uh - bene - uh! (It's making him mad that he can't think of the word, and he runs around the apt.) The revolution! The revolution of affording it all for the first - ARLEEN. (Very serious; causes the pause in the room) We have an envelope. ARMONT. (Turns away to think) I have seen the white. When held. ARLEEN. You have an envelope. - A kind of bulky substance that can only generate something you've wanted. I think we've both wanted. ARMONT. (Torn) - Of course, the affirmation is a given. But Arleen. (Serious himself) The projected income is staggering. Remember A Day In Hollywood, A Night In The Ukraine? Full to the rafters, a five spot per, and it was like a wedgie to get us in, and then sunbathed by a wonderous moon. Everyone dressed to see, hear, entertained, and they don't care how much... cars... (Stops to have his point taken) ARLEEN. (Pause; thinks seriously about this idea) Moonbathed, then. (ARMONT doesn't know what she's talking about, but after a moment figures it out and goes wild) ARMONT. You're missing the crux of a point set out! You're missing.. (He starts swinging wildly about, and ARLEEN still tries to pretend to clean when all she's really doing is trying to ward off the blows. But at least one finds her and connects. Either an uppercut or direct to the eye. She's down but still ARMONT grunts like a wild beast in front of her to show he's angry. He doesn't strike her again, but lets her watch the anger. A strange feeling comes over ARLEEN in moments like this. This is why she hates herself. She's attracted to the violence her husband shuns on her, but hates feeling the pain. She can't help the attraction; and now stands up, face to face with the mad gorilla screaming before her. It gives her a rush she can't help, and before she knows it, she's in his arms, trying to kiss him as he flails her with his hands. She withstands the abuse because it drives her sexual urges on more, then after a moment, ARMONT too begins to calm more toward sexuality. He treats her rough as he paws over her, kisses, forces her into painful positions. She's almost starting to cry, but doesn't dare come away. He grabs her legs and she busies herself with undoing her panties as ARMONT sets her on the table so that they then commence "the nasty". From start to finish, the act is quick, but with such intense energy, it's obvious that it's a need far too powerful for them to ignore. They finish and the breathing becomes more regular. ARLEEN removes a weak hand to behind the table to find a banana which she then gives to ARMONT. He moves away to peel and eat it, but she feels used and unhappy because of the experience, and quickly takes her gorilla back to hug, faking the afterwards happiness. ARMONT eats his banana over her shoulder; he's calmed as much as a gorilla can) ARLEEN. (To stay away from the depressed subject of herself:) I think, and I mean, I just want to understand that this is a.. um, given with you. Not like the door to door pompano, at four-way stops. Something you'll want to..? ARMONT. I am tired of being beneath the lion. ARLEEN. (Laughs at the absurdity of this) Where is this located? I mean, can you count on - ARMONT. Okay. Now, the first thing to be admitted, is that, it is in a sense in the middle of somewhere, nothing can be nowhere centered, it is just not possibly in a civilized society. (Beats his chest; she gets the joke) But. In the bus lines. O n the trail of a government work station. We will be competitiver, when rates discovered. ARLEEN. Unless they're giving free. (This makes ARMONT angry, and ARLEEN is sorry she's said something. She's afraid. ARMONT didn't think of this) ARMONT. But. A territory of wide expansion. Next to a State Park. Would have the tourist trade, of course any workers that comed to high-rise and "progress". So we've got several. ARLEEN. (Feeling cold; goes about her housework) You realize how long you've been waiting on that envelope. ARMONT. (Pause; thinks; becomes convinced) Yes! But do you know this. To sit in the shade of my box. My box? I read the complete Agatha Christie. Earl Stanley Gardner. Rex Stout. They pass and I ring up and charge out, and count off change. Like a profess ional. And think of the time. (Obviously this is a lifelong dream with him, so she's quick to put compassion into everything she says. Pause) ARLEEN. And it's more than being a doctor? ARMONT. (Screams) I am angry with myself for once being unsure. There is a cypress tree inside every one of us. At the top of that one for some is the desire for the professional capacity. Fixing, doing, becoming, I've realized that once for me. But I know now what I've been feeling, needing. You can't just be cutting it down. Lot of monkeys around. ARLEEN. I understand. ARMONT. What's the matter? ARLEEN. No, it's nothing to do... I mean, if you've changed.. ARMONT. (Excited) No, but yes! That tree to me is reading mysteries. If it can be done in a box somewhere on free land. It's a dream to be made into cash flows. A system of us. And a husband around, forget the calls, the, yuck, defecation of clean up, I i nterned and.. you know how you think something's made for you, just because you're invested. Spent. Done. But you don't become. Am I swinging on your vine? (ARLEEN is preoccupied with something else now. Ever since the word "defecation" she's been afraid of showing ARMONT the smelly trashcan) What? (She smiles and pretends that she's just doing her usual cleaning as she moves to try to take the can away. But she slips on a banana peel and falls, then quickly and seriously tries to throw back all the top papers, etc. she put in there so ARMONT won't see. He notices this strange and serious attitude) Are you going to have to show me what's both - okay, what's in the trashcan? ARLEEN. - Don't you remem - (Decides to stop there. ARMONT starts moving around more: the beginning of getting worked up) ARMONT. What is so -? (He moves closer and ARLEEN tenses, ready for something to happen, as lights fade. A pop song is heard through the scene change, and remains when lights come up on the pub. It's a dark place with tables and chairs around, a counter going off stage that hasn't enough room to show the bartender, a jukebox playing oldies through the scene, perhaps the flicker of the occasional dance light from a far off disco part of the place. KIEV, a nicely dressed woman in her thirties who loves clicking her nails over her teeth while thinking, which is what she now does, waits at one of the tables anxiously. She wards off the invisible come ons of the men now and then. After a moment, ARLEEN, dressed in unrevealing long clothes, wearing sunglasses and a hairnet, enters timidly, but worriedly. KIEV peers through the darkness, then waves to her, but ARLEEN can't see the signal. When she gets close enough, KIEV trips her, then helpds her up. They both try to speak above the music. ARLEEN's shocked about KIEV's appearance) ARLEEN. My God. KIEV. (About sunglasses) Take those off. ARLEEN. You're making me... KIEV. Oh, relax. ARLEEN. You're just.. up. KIEV. Don't fly off. Huh, get away from here, but don't fly off. Remove yourself, why didn't you call? ARLEEN. (Not eager to go into this subject) Why is it here? I don't frequent these... we are two in here together, fighting off the men, haven't you been? (KIEV nods) For the sake of virtues, why... (Floats a hand around meaning "here") KIEV. You have not returned them. ARLEEN. What are you doing up and... I mean, God, what did he say, is it like a.. oh my God, it's drinkable, isn't it? KIEV. Arleen, would you just - ARLEEN. Yes, and we're to become the best of sloggers joined. Whatever it is, I mean, don't do doubles, Christ, don't.. the singles aren't worth the price, I still mean monetary concerns, Kiev.. KIEV. Leave it alone and it'll grow by itself? I told you.. that. To get your butt into a seat I can see, talk to. ARLEEN. (Realizes the deception) I'm not sorry? KIEV. You should be a big time. You dropped me.. in two months, ago, haven't heard a ring, write, drawing God from your kind. What do you think, I don't concern myself with, if living or dead, I wouldn't want to take even money on you, but I could take it. ARLEEN. Hold it. You don't have breast cancer. (KIEV nods "no") Uh-huh, this is the way you go. KIEV. Worried, Arleen. ARLEEN. (Stands to go) This is your playing. KIEV. You're going to sit down, until I'm satisfied with your excuses. (ARLEEN pauses at this serious tone. She really does want someone to confide in, but she's scared. She looks around to make sure she's safe. KIEV doesn't understand) Drink? I think a couple of orange and rums. You know? (ARLEEN shakes her head "no", but KIEV has already signaled the waiter with a snap. KIEV tried to wait until a pause in the music so she'd be heard. There's an uncomfortable pause in the music while ARLEEN sits looking quite depressed. KIEV thinks it's up to her to supply the conversation) You know, I put in for Yardbirds and I think I'm gypped. (ARLEEN doesn't even look at her) "For Your Love"? When Clapton wasn't restless yet, I think. (Tries a laugh, but it's leads to nothing. Pause. She's quite concerned for ARLEEN) You know, I took off the full afternoon out of Lakewood for you, you've got to talk. Speak. Gush forth the words, as you say. You're alarming me in a kind of.. huh. Just.. ah.. ARLEEN. You shouldn't've taken me out. KIEV. That's! ARLEEN. I don't like to.. KIEV. You're worried about Armont? He's... ARLEEN. Yes? He could be here, how would I know? He's.. KIEV. (Notices ARLEEN's sad) You married a black. ARLEEN. (Has to laugh at this) Generalize. And you don't even know.. KIEV. (Getting angry) I'm almost at it, Arleen. Pretty close, all right, now you've been gone away for months, and at home, I've driven by. I don't come in, because of.. your husband. I don't feel it's.. I mean, talk to me. It's obvious... all right, no m ore words unless they've got a tag from you. ARLEEN. (Smiles) We've been friends too long. KIEV. (Also smiles) I don't know where I pick up talk like that. ARLEEN. (Pause; serious) I think it was that Lakewood should've been given up six months before.. the trip. Was I ever happy with it anyway? KIEV. Regrets? Huh. ARLEEN. You don't call them... you've stuck with it and I admire you. Perhaps if I was to have a.. another "space" of my own. I don't know if you call it cope, but. - The fact-finding mission... KIEV. Into Mali. Tombouctou. Up the Niger. ARLEEN. Twenty-five miles north of Gao. My mistake. KIEV. (Understands) I think you should meet someone. I've got a.. there's a saint in mind, my angel. Crosses the t's while he speaks, that kind of good. And all for - ARLEEN. (Still in her own world; grows cold as speaks) Can a person help it, though? There isn't much you can do but dig down and excavate, it may be a copy someone's planted and it's not worth.. but it's from you. And you've got to abide by it. Leaves yo u cleaned out like something, but isn't it better? I mean, better than leaving it alone, and not doing anything about.. it. - If the jungle wasn't my thing. Then. (Pause) I'm sure I woulda found something else. KIEV. (Pause; can't follow. Like a friend:) I blame Trandike. Of all the places. ARLEEN. (Laughs despite herself) Not Trandike. KIEV. Well, I mean. Because of a package? And we should all take advantage because the unions scream for it? What kind of a boat cruise are we talking? ARLEEN. (Though glad for the relief) No, no. Come on, Kiev. KIEV. (Grateful for the smile) Now. You going to take those sunglasses off. There is an eye in this room, I'm a pretty fair guess it's behind one of those windows and I don't mean to say lightly I don't care for the peeps. I like to see the ones that extract this clever talk from my.. (Makes the motion ARLEEN should get 'em off) ARLEEN. (Scared to; rationalizes) It's too light in here. For me. You know how - KIEV. It's nighttime in this place. It's chalkboard without the writing in five feet of any direction, mrs. ARLEEN. Like how you drive at night? And it's so bad when the, on the two lanes, the cars start and you have to shield. Well? There are cracks get in here. The dancefloor? KIEV. Is that what that is? ARLEEN. Sensitive eyes. KIEV. (Lets it go for now) - How's the work coming? ARLEEN. Huh? KIEV. Armont. He get the appointment? I'm sure, since it's been years. ARLEEN. - Two months and he's making more money than I thought possible. Only took them a month or three weeks or what to erect the stupid thing, and it's coming in. KIEV. What? ARLEEN. The car park! KIEV. Sorry. ARLEEN. Sorry. Yeah. Just. This doctor thing. Thought it would.. KIEV. His idea. ARLEEN. I don't remember. KIEV. Maybe? (ARLEEN shrugs) - He's wild. ARLEEN. (Frightened) What makes you say that? KIEV. (Unsure; it's so obvious) Well, he's... ARLEEN. All right, okay. He switches around. I was hoping. - It could do something, and the change would, a doctor. Now that's some sign of pride. A nitch. But the lot's bringing it in, why should I be on about...? KIEV. And that's not my obvious meaning? (A pause between the ladies. ARLEEN has withdrawn into herself, while KIEV makes a short plan) Did we ever get those drinks? (ARLEEN's not listening) I'm going for them myself. I will get picked. Have the affair from the husband who is the invisible man and not feel guilty thanks to you. It is the walk that does the pick up, that's why Yardbirds is good, naturally funky. Blues swivels those legs and hand me the stick, Arleen, I rhythmically strike their hollow heads. Down. (ARLEEN turns at hearing her name. KIEV moves closer to her) What did you say you needed to - (She loses her balance as she leans over and falls on ARLEEN, knocking her sunglasses off. KIEV notices the swollen black-eye and ARLEEN darts to recover the glasses) Arleen! - Is he? Good L - (But she stops because ARLEEN has found the glasses and hurries away as she puts them on. Lights fade here and music from the jukebox comes up to cover the scene change. Lights come up on ARLEEN's apt. again and music fades out. ARLEEN enters, looks carefully around to make sure she's alone) ARLEEN. Armont? - Armont? (She's alone, and quickly goes into her usual practice of cleaning up the apt. She folds up her sunglasses, pockets them, and makes sure she doesn't look like she's been out of the place. She tries to whistle a pop song to pretend she's in happy spirits but her lips aren't working. She picks a large amount of banana peels out of a corner. ARMONT, in baseball cap that has a pocket protector full of pencils latched onto it, enters. It's been a long day and he's moving slow. He's also a little guilty about his previous behavior. He pauses. ARLEEN knows he's there, but waits until he starts the conversation) ARMONT. (Notices the silence) Said I was sorry. - Months ago... ARLEEN. How did it go? ARMONT. You heard me. - I try to contr... - You heard me. ARLEEN. (Nods. Stands and tries to be heroic) - It was your shit. (ARMONT doesn't answer, just gives a slight grunt and bounds away to hang his hat up. Takes a pencil from his hat and scoots around the room with it. He uses it to measure his temper; to control himself) ARMONT. It was - it was.. my shit. ARLEEN. (Ready to turn off this subject) So did the fist fulls come in? ARMONT. They are there. They have been captured. Done away with, into the box that is locked, kept for cash, stocked and barreled probably if it means anything. (Still trying to control himself. It's tough for a gorilla to count to ten) The receipts I bel ieve gross this kind of thing at about, oh, come on, say, a thousand? ARLEEN. (Surprised) Another bottle over the nodes, s'il vous plait! ARMONT. It is a figure, and those are facts. ARLEEN. But for how - ARMONT. This is a weekend figure. A curvy, luscious, bit of boner that just sets you out. Don't it? (Getting himself horny) ARLEEN. (Senses this) Roi? ARMONT. What, doing his box? Reads almanacs, for Dike's sake. ARLEEN. (Correcting) Christ's sake. You do it for Chri - (Realizes she may not want to say this. ARMONT doesn't notice, he's still becoming aroused) Quite a park. ARMONT. Yeah, doesn't it bring it? In? (Comes up to her and fondles her) Curvy, luscious figure. Keeps you hungry.. hungry, for the non-holidays, and who wants a Sunday, God. Legal, free par.. (She tries to pull away to get back to cleaning, but he's too strong) ARLEEN. Haven't done the right wing corner. ARMONT. Not yet? (He looks around and it's driving his rage on. He looks at her, not understanding. She's growing afraid. It's making her blood boil. He starts flapping his arms, and she can't help but throwing herself into them. He's enraged and she finds it so stimulating. She begins to kiss his nipples and hair, and it's hard to keep near him in this ranting state. Finally ARMONT breaks the pencil and begins to stab her with the broken half in his hand when the lights go out. Pop music, perhaps Prince's "Thunder", comes up and stays even when: lights up. It's the same apt., cleaner, three months later. ARMONT enters and grabs his hat as if late for work. There are no pencils in it now. ARLEEN limps in; it's not a bad limp but she's walking far from perfect. She carries a brown bag with a smile) ARMONT. It's no good. ARLEEN. No, they're yellow. ARMONT. No, the attraction. We're pulling them in, another building going soon, near, and it's, I told you about this, there's an eats, so there's no reason to worry about.. I mean, how much are we making? It's going in right on top, and we're working out a discount with the head.. whatever and get a.. thing about discounts. If not free. Parking for food that kind of... put them away! (ARLEEN has developed a thick hide to this kind of random abuse, but it's still difficult to ignore the sheer volume of it sometimes. She's lost a lot of love, not to mention blood, for ARMONT. She's looking quite anemic and has more scars than the obvious limp if the audience could see clearly) ARLEEN. Time? ARMONT. Yeah? ARLEEN. Tonight? Time? ARMONT. In a - oh, uh. A meeting. ARLEEN. What meeting? ARMONT. This thing of the Park Officials. They've gathered already, and it's said to go until an.. oh, what is... an eleven o'clock timeframe I'm thinking. ARLEEN. And you've got to stay. ARMONT. Roi calls in sick out of the blue, grey out there, and you suppose I like pulling double? When are they going to extract their cars? How should I know? I've got a library set for this one. Fucking impossibly. ARLEEN. Ble. ARMONT. You think so. ARLEEN. No, - (Sighs) Doesn't matter. ARMONT. The hurry in, am I. Impossibly the way twelve hours gotta pass. ARLEEN. No bookmark for you. Straight through - ARMONT. (As he reaches for the doorknob) Maybe I'll phone for the paint. ARLEEN. Paint? ARMONT. Going too well. Good? ARLEEN. It's going well. ARMONT. And lines' got to be redone. ARLEEN. It's only five months. ARMONT. Four. But yeah. (There's a knock at the door which surprises both. ARMONT opens it not too quickly) COP. (Off) Ah, Jesus! What the hell is - (Enters. A young man in plain clothes. He looks at ARMONT with a little terror and unbelieving. He tries to speak to ARLEEN but can't get his focus off ARMONT) You Mrs. Ugatun? (ARLEEN nods but doesn't know what to make of any of this) Where is your husband, ma'am? (She points. He looks, then laughs) Uh-huh. Where might I locate him at this present time? ARLEEN. He is standing right there. COP. Am I going to have trouble? (ARMONT sees that this is going to go nowhere, and removes his wallet from one of the socks he's wearing on his big feet to hand to COP. During this:) He is wanted for a few questions, and I would deem it proper if you could help us out? We don't ask for much. (ARMONT takes the driver's license out of the wallet and hands it to COP. COP looks at it and laughs at first at the joke. A pause. He looks at ARMONT and realizes it's true. He can't believe it) They give them to anyone nowadays. ARLEEN. What's this about? COP. Land. You're wanted for questioning. ARMONT. What about? COP. (Jumps when he hears it speak) - Land, I just put in your ears. Are you - yeah, I could think of a couple good questions. You come along. ARMONT. (Growing angry) Am I under arrest? COP. (Places hand on gun; ready for it) I am prepared to do so. ARLEEN. (Concerned) Under what charge? COP. Conspiring to defraud the national government out of three point six acres of valuable government land. Land belonging to the United States of America. ARMONT. (Over "States of America") Yeah, I know where the states are. What kind of a crack is this? I don't know who... what is this in reference to? I don't know anything you're.. how come I'm being picked on, where's Roi, he'll explain everything you ne ed to.. his was the land, and he got it in signed places, saw the deeds, it was a clear case, I mean... why are you.. what are you trying... defraud, I don't.. (During this ARMONT's become very agitated and early on COP's realized he must put the cuffs on this one before something happens. During this, ARMONT is dragged out; COP can do it because ARMONT is suprised more than anything and allows himself to be taken away by the puny official; ARLEEN is concerned) I don't know what you expect to learn by, I mean everything's on file, and things go by.. legal, it's was all legal, like a kind of, I don't nunderstand wha keend of, wha sined o' quoostons, you do knoo wooo.. COP. (Over ARMONT) You have the right to remain.. silent, an attorney, bananas if you want them. (Laughs) If you give up any of these rights, go hungry or something, don't blame me because they were all told, you could do damage to your... case. And how do you like the climate here? Oh, all in a court of law. (They moved out and ARLEEN is worried. She shuts the door slowly. She feels alone. After a pause, she picks up the phone and dials, but no one answers) ARLEEN. Come on, Kiev...... you.... bitch..... (She hangs up, exasperated. She doesn't know what to do, and just walks around the apt. a couple times. Finally she realizes, grabs her coat and scarf off the hatrack and leaves, closing the door behind her. Lights out. Lights up on a jail. There's no need for bars, just a lighting effect of bars on ARMONT who sits on a stool facing ARLEEN. They've lapsed into one of those pauses that come in long, emotional talks) ARMONT. If it wasn't for Darwin I'd be destroyed, now I get a trial. (ARLEEN tries to smile but can't. She's not as outraged as she should be) ARLEEN. (Absently) Darrin. (ARMONT grunts that he doesn't understand. She shakes her head and comes back to earth) You're right. Insanity like.. itself. Nothing else. Me. ARMONT. What can I expect? What do I know? The thing is built. Fine. The thing is, it brings in and fine. ARLEEN. What are they going to do about Roi? ARMONT. Those posters like Jesse James? (She nods, then he nods. Hopeful:) You're coming to it. (She nods, though not sure of herself. He's happier and begins pacing and speaking, but lights fade from ARMONT. Lights stay up on ARLEEN for a moment, then go out completely. Lights up on a bar. Not the same one as before. ARLEEN sits sipping something. Also, she doesn't care if she's seen or not. She's doing some heavy thinking. There are shadows in the back. A pause. KIEV wanders on, laughing, having a good time, she's not looking for ARLEEN so is surprised when she finds her. She waves frantically to someone. BOBBY, a relaxed man of any age who has bad eye trouble from the contacts he wears, enters, unsure of himself since he didn't expect to meet anyone) KIEV. (Taps ARLEEN on the shoulder) Arleen?, you lush. You're sitting between these shades of light, I can't see, I can't tell you even exist, how are.. Months, again. (ARLEEN waves the talk away. KIEV sees that something's wrong) This is Bobby, but you c an meet him later. (She pushes him offstage. She's concerned about ARLEEN, sits down and waits for ARLEEN to say something. Pause) You know, I lost fifty cents here. Not really. But I feel it's our tradition now. These places. Gabber-gabber. ARLEEN. (Looks at her without expression) - The accounts are frozen. (Goes back to her drink) KIEV. (Worried) Months, Arleen. You've got to explain to me.. (Touches her back as she says this, but ARLEEN pulls away because it hurts. She withdraws into herself, unsure. There's a pause, as KIEV doesn't know what to say. Lights fade. A gavel raps. The following voices blend into one another like As Is) BAILIFF'S VOICE. Hear ye, hear ye, all rise, the honor - JUDGE'S VOICE. To be decided on this day being the twenty - PROSECUTION'S VOICE. Did in fact have a secret desire to make more money, sure we all do - DEFENSE'S VOICE. There has been no "obligatory scene change" linking this - PROSECUTION'S VOICE. I think the contracts, this is your signature is it - ARMONT'S VOICE. Milk snake uncoilings, always fund raisers, plays at Nat. Park, so when he pitched in this thing, sure I thought there - JUDGE'S VOICE. This court stands adjourned for Martin Luther King Jr's birthday weekend - DEFENSE'S VOICE. And you know of no one besides Roi, he was the perpetrator - PROSECUTION'S VOICE. Where is he hiding, Mr. Ugatun, there is nothing to prevent this court - (During the following, ARLEEN is seen in a dark area of the stage, wearing her coat, scarf and a little blue cap. The wind howls; perhaps snow. She's slightly sad and pensive) DEFENSE'S VOICE. You are only part owner of this enterprise, and yet it seems this court - ARMONT'S VOICE. If I knew - JUDGE'S VOICE. The witness will answer the question - WITNESS' VOICE. Well, I suppose.. five for an hour - LADY WITNESS' VOICE. But we were really at a race to see City of Angels, found the tickets in a Boston subway garbage can - WITNESS 2'S VOICE. I never found them unreasonable in any way, form, buy one get one free hours - ARMONT'S VOICE. I suppose several thousands - PROSECUTION'S VOICE. Wasn't it closer to the tens of - JUDGE'S VOICE. The defendant will answer the question - PROSECUTION'S VOICE. When in the throws of the Park's Planet of the Apes musical, with real apes - ARMONT'S VOICE. (Becoming excited) Arleen!, I suppose, but I can't be expected - PROSECUTION'S VOICE. To clear close to a hundred thousand in a period of - (The voices fade away just as ARLEEN makes it off the stage. Lights up on KIEV in her house, a newspaper in one hand, the receiver to her ear in the other. She's excited. Obviously no one's answering. Lights come up on another bar; different from the last time. ARLEEN enters, no emotions can be seen. She unbundles and sits at a table. She snaps for service and a WAITRESS, a woman with tied back hair and exposed cleavage, enters. All she has to do is see who it is and she's off to fill the order. There's a huge shadow behind ARLEEN, checking her out. WAITRESS returns with two drinks and ARLEEN puts a couple dollars on the tray) WAITRESS. There's an easterly coming up. (ARLEEN shoots her an inquisitive glance) A three bourbon. Filters to the toes and a man loses his warmth off the top of his head. Donald Pleasance lives in the south of France. That rhymes. (Starts to go) ARLEEN. (To herself; in her own world) Favorable. Favorable. Shouldn't pick them up. What right did I have. Socks on that padding. Six months. Snorting. Too cold to be a favorable.. WAITRESS. (Misunderstands) Strawberry scotchshake. (Exits. ARLEEN holds the glass in two hands as if it could warm her. She's not as upset as she is confused. Looks like she hasn't slept for a while. After a long pause of this analysis, FRANK, the original Frankenstein's monster in complete get-up, enters. He's the one who's been checking her out. He walks, talks, acts just like the Monster. He stretches his hand out for her and taps her on the shoulder. She turns startled, but not by his appearance) FRANK. Mind.. sit down.. (ARLEEN isn't prepared for this, though she could be somewhat attracted to this.. thing) ARLEEN. I don't... (FRANK begins the arduous task of bending his knees to sit, but ARLEEN doesn't want this) I mean... I don't do.... this isn't what I'm here for, I'm thirsty and it's cold. (FRANK grunts disappointed, but respects her wishes. ARLEEN turns at hearing this grunt and pauses. She could be entranced, she could be frightened or shy, but she's got to say something to this bachelor) Those joints. They need something too. Liquified jostle. (She tries to smile and he shakes his head. She thinks that was a stupid thing to say, but after a moment smiles. She traces the smile with a hand and is surprised to be wearing one. She loses it and thinks. She pauses, then shakes her head and downs the drink, and bundles up quickly to go. She starts out, but sees something and stops. She's not sure how to act, but just calmly sits back at her table and doesn't try to hide, but doesn't offer her face voluntarily. In a moment, KIEV enters, peering through the darkness. She's surprised when she finds ARLEEN, but adopts an attitude as if she's getting used to it. She sits and ARLEEN knows she's there, but still says nothing) KIEV. (Pause) There's a much better one on the East. A clan called The Brady Killers. Instead of smashing their instruments, because they may need them. They open up cole slaw containers and heave the ho. It's messy because they use like mega-ounces of ma yonnaise. (Pause) Are you going to talk to me? ARLEEN. No, I'll phone the police. KIEV. (Pause; doesn't understand; concerned) I just got it today. I just got it and there it was, what did you think, I mean why didn't you let me know? About..? You're here? You keep coming to... these... ARLEEN. You introduced me. You're really one of the last, okay? KIEV. What? ARLEEN. I did not meet you. You came and I was about to go. KIEV. Will you talk to me? You can write it down if you'd rather. ARLEEN. (Coming out of her shell) You're trying to be funny? You're trying to make like it's some kind of... all fated thing, and just hold the hand and make it with a Rum Collins, a bit better like you've got -! KIEV. (Cutting in) Hold the cordless. Hold on, Mrs., I'm looking in these places because the other day... and you try to - ARLEEN. Look. Leave. All right? KIEV. What? Talk to me. How is Armont doing, is he... ARLEEN. (Viciously) You want to talk to me about him, after you set him up in the first place! Why do you have to keep after - KIEV. Whoa, whoa, I did what. What? What are you - ARLEEN. You know, don't you? You've always known, but some people just can't stay out of - KIEV. If I had a vague idea I think I could catch it, but it's running too fast for me. ARLEEN. You always did object, and couldn't wait until after Africa, but did anyone ask - (KIEV stops her because she's nodding in the affirmative; KIEV understands. This action has taken all the fight out of ARLEEN and now she tries to drain an already empty glass. To herself:) How can I go there? KIEV. (Forceful friendship) I say to a cause, it's none of my business. They do it that way, that's the way it is, and I can't change anything. My advice, my money, it can go. But when it's forced on something, I say forget it. - You be the way you like, fine. I could always tell, yeah. You don't build heaters together. You don't stand at th ose lines. Side by plastic molds by side and you think you don't understand what makes a girl sweat. So why do I change you? I don't, and you should know that an apology's coming. But. I mean. To be truthful. I've always seen - you don't quite know yourself. But I'm not giving out anything. You come to me, if you don't like something. And I can't help with your own skin, but I can give you a piece of my brains that don't particularly contender... you know, that kin d. Of thing. ARLEEN. You didn't.... KIEV. (Shakes head "no"; means herself:) There's a sane person somewhere. Oh! There she is. ARLEEN. But how.... KIEV. You really expect to build on government land, you don't get caught? ARLEEN. But after so many.... KIEV. Listen, Arleen. You see the sweaters, middle of roads? How long does an artist take to paint a dotted line? Gee, men. (ARLEEN understands and wants to laugh) Man's an idiot.. (ARLEEN looks at her sternly) This Roi. With an "i". Garage on wild life estate... ARLEEN. You really didn't....? KIEV. (Lays a hand on ARLEEN's hand, takes it away quick, remembering last time) I don't do those. Don't do those kinds of things. - If it's the kind of thing you - ARLEEN. (Knows what she means) I know I probably left him there. Make him something he's not. KIEV. - But if he'd have taken the hospital gig.... ARLEEN. Oh, sure. - And then? Does it make a difference. (Pause. Slight mood change) KIEV. I would've expected you to be... I forget the court number, but it's in the - ARLEEN. Twenty-three. (Pause) But how can I? Really? KIEV. You're having thoughts on - ARLEEN. (Almost pleading) We all get our kicks. We get them in some kind of way. KIEV. (Doesn't agree, but nods for ARLEEN'S benefit) Kicks. Yeah. (Pause. Another mood change. She tries to be bright) Know that Bobby? Prick, nine-incher. Launches off on these tirades of a bulk rate overseer. He's discussing to me about the dangers of giving the charity works too much power in poundage, and slams his hand down talking about a man who's trying to cancel those black boxes, you know, that the bulk rate you see it in. And opening doors that stay long enough to bunk me in the ass, and a complete asshole, told him about you, think you might be a couple. Got his phone number, well, I don't mea n couple, but.. you should see about... (A tender subject) Well. Just. - There are a lot of dangerous people out there. Moderation is the key. You be careful. But do something to be careful about. (ARLEEN's been listening attentively but she doesn't want to come out of herself too much. KIEV sees this, but also that she's half-listening; it's better than she expected. She smiles) Let me go refill us. Well, you, and I know the special that this thing causes, it's going to be one of my requested. I do these joints, not roaches. You know you never did drink enough at the retreats. You taste the Kiev Special and Fried Fruit Concoct an d you make up for it. (She walks off. ARLEEN's pensive again, but now more aware of where she is. After a moment, music cranks up. A WOMAN, tightly dressed, walks across the stage. She knows she's being followed and likes it. That is, until she turns around. It's FRANK, and she's repulsed, and so quickens her pace. He's not disappointed, but has that lady's man gait. He sees ARLEEN who's looking at him from the corner of her eye. He stares at her for a moment, being as civil as Frankenstein can be. She turns to face him. He makes a "greetings" gesture. She turns back around. He starts away. She looks back. He looks back and it catches her. She smiles, not sure why. She turns back to her table. He comes over) FRANK. (Always speaks slowly) Frank wonders what beautiful woman has to sit around for. You beautiful woman. (ARLEEN can't help but blush) No. Mean it. Kind of red of lips. That certain.. French expression, don't know what. ARLEEN. (Somewhat attracted; but repressed) Thanks. FRANK. Let me buy you drink. Talk. Talk about selves, or other people, it doesn't get on Frank's bad side in any case. ARLEEN. (Isn't sure it's a good idea) I'm with someone. I think maybe.... FRANK. (Gives the signal "it's cool") There is a time for everything. A season, I like the Byrds. I had to put some change into the jukebox because it is not.. enlivened quite enough, don't you think? ARLEEN. (About music) It's nice. FRANK. Frank think you have nice too. Are nice too. You have that certain French saying something. ARLEEN. (Looks at her wedding ring; it's causing her distress) Yes. FRANK. (Takes a paper out of his huge pockets with some difficulty) Frank ask a favor. See. ARLEEN. I'm not sure if... FRANK. No, no. Just ask to. See. Phone number. Now, I can't write. But I... persuaded this.. man to write out my own pay phone for you. Give me a call? (Hands her the paper. Grunts in an endearing way and shakes away after he sees something off. ARLEEN is taken by him, but isn't sure if it's a smart thing to do. After a moment, KIEV enters with a strange-shaped drink. She shows it to ARLEEN) KIEV. You know what this is all about? (ARLEEN turns back from looking after FRANK. She doesn't know) Said you ordered it, the girl. Girl, huh. She keeps ragging on the Cloisure brothers over there, and I know 'em, enough to... let's put it this way, ther e's enough breast work on her she could do a one-woman magazine. Forget the Newport Kings ads. Drinks coming, it's the banana, you know.. mooshes in the grease.. (Goes off laughing. This puts ARLEEN aware to her situation again. Obviously KIEV's forgotten it's a tactless remark. ARLEEN pauses and looks at the paper FRANK gave her. Lights fade fast and the VOICES start) PROSECUTOR'S VOICE. So you know how everything's run, go to the osprey nests on your lunch hour - DEFENSE'S VOICE. I fail to see how any - ARMONT'S VOICE. Arleen - PROSECUTOR'S VOICE. And of course how do we know that there was in fact, no one can positively rely on a - DEFENSE'S VOICE. Does counsel wish to sum up in a - PROSECUTOR'S VOICE. Who can say what your "Roi" may be made out to be, you have your choice between a gorilla and a man with an almanac fetish, which do you re - ARMONT'S VOICE. You keep twisting every - JUDGE'S VOICE. This is a high charge, with violating the United States National, you will - PROSECUTOR'S VOICE. So produce him! (Lights up on ARLEEN deciding something in her apt., by the phone. She does and picks up the receiver. At another part on the stage, only a hairy hand can be seen picking up another phone after a ring's heard) ARLEEN. (Shyly) Frank..? (There's a light sound, like a wild animal busy on fresh meat, from the shadows. ARLEEN doesn't know what to make of this, but she's intrigued. Slowly) I'll.... hold.. (A loud pounding comes in. It's FRANK's footsteps. He answers the phone) FRANK. This is Frank. (Lights fade on both of them and a romantic song starts, perhaps Derek and the Dominos' "Thorn Tree in the Garden" or something intensely romantic and "cool". This plays during the romantic montage that begins, hopefully ending as the song ends. Lights up on the bare stage. This is the street. ARLEEN is shy and not completely willing to do this. FRANK comes forward; he's intimidating and never looks too friendly. As he advances, ARLEEN gets a rush and it's obvious she's ready for rape or some kind of activity which stimulates her deeply. They exchange first date greetings. He puts a heavy hand on her shoulder to lead her away. They come to a small newsstand where a WOMAN sells newspapers, magazines, etc. She sees FRANK and can't move. He knocks her out of the way and grabs a paper. ARLEEN is breathing hard after this display of strength. He folds the paper to the movie section and throws it to her, pointing that she should look for a film. ARLEEN begins reading the movies, as FRANK shakes his head yes or no. This doesn't have to be heard. Lights dim here. It's another night. A slight addition to their clothes could accommodate this. It's a restaurant and they're having dinner. It's hard for FRANK to use cutlery. ARLEEN's loosened up but still not sure of herself. They talk. Finally FRANK is fed up with not eating with his hands and throws the food, etc. to the floor. Lights dim from here, ARLEEN is scared and hates this, because she's still excited. Lights come up on a doorstep where ARLEEN and FRANK are just coming in. A different night. She's smiling and turns to face him. He holds up three fingers and lunges his face toward hers. She backs off, but thinks) ARLEEN. Third date? I suppose.... (He goes for her. The difference between FRANK and ARMONT is that FRANK is very gentle in his violence; it's from the moment of the violence rather than how ARMONT intimidates with wild actions. ARLEEN senses this and she's caught up in it. For her, it feels like romance. He presses his lips to hers, but pretty soon she wants to get away. She didn't expect such a long one, and he's squeezing her hard. Now she's fighting for air and trying to squirm away from the pressure put on her. She starts kicking to be let go, but FRANK doesn't know anything better to do than hang on. He's killing her. At last, he deems it enough and let's her go. The song has finished. They're both out of breath, but FRANK hides it better. ARLEEN is in heat and it's all she can do from jumping this once dead man's bones. Finally she nods and does a stupid movement that makes her trip or something and she tries to get back inside before her knees give way. She waves goodbye to him and FRANK starts away after giving his cool bye wave. A soft song begins, either a new song or something like Queen's "You Take My Breath Away"; perhaps Ray Charles' "Unchain My Heart". Lights fade here) JUDGE'S VOICE. And the court will now hear both arguments for - ARMONT. Arleen! (It's the next night. A movie theater. Two seats in the dark staring into the audience. FRANK concentrates on the film, it's hard for him. ARLEEN is really falling for FRANK and casts many glances at him. She grabs his hand. He takes it and squeezes it hard, very hard without knowing it. It's excruciating to ARLEEN, she's turning red. But it's also making her legs go crazy. She casts her shoes off and starts to run her legs up and down him; she wants him now. After a moment of this, FRANK gets a very bad scare from what he sees on the screen and breaks hand contact so he can flail them in the air. ARLEEN is surprised by this action, and though she appreciates the freedom from pain, she's still worked up. Lights fade here. Lights up on a picnic setting. ARLEEN and FRANK laying on a table cloth on the floor. A basket and food beside them. Perhaps birds singing. ARLEEN has her head laying on FRANK's leg. She's happy and in the middle of speaking. Song fades) ARLEEN. - but I didn't think there'd be any need of me, you know. So I had a week sick leave coming, I'm never sick if you can believe it. And..... I just take care of the place. If you can miss making boxed heaters. Then. Well, I don't. I suppose. But Ki ev knows gossip when she hears it. Names change, but I listen. I'm actually glad you've never... she goes in for the parliamentary male, wear a title for an eight hour part of the day and then move on. Unless she snares one. See if he can get three feet t o the left - FRANK. What husband think of you leaving? ARLEEN. (Raising head up) What do you mean? I didn't think we had to move onto.. I thought we were leaving Armont - FRANK. Arleen. Honey. I love you. You know that. (He bends down to kiss her. He can't make it, so lays her on the ground. She stares up at this huge creature, her breathing becomes quicker. He starts down slowly toward her. It's not until the last moment that he sticks his arms out. ARLEEN wants to scream. He kisses her, but choking her at the same time. She beats on him to stop, let her go, but he's not ready yet. At last he pulls away and she breaths heavily, putting hands to her throat. It's exhilarating and she throws herself into his arms. He loves it and he's more gentle now that she's making the move. She discovers what she's doing, because of his gentleness, and pulls away quickly) ARLEEN. No! No, this isn't -! FRANK. Arleen. Honey. What's the matter? ARLEEN. (Cutting him off) You know damn.... why do you do this? FRANK. What? What am I doing? ARLEEN. Can't you just.... can't you just kiss me? Like a...? Why do you need to... (Stops then shows what she means. She chokes the air. FRANK shrugs) FRANK. I don't know what you - ARLEEN. Would you come off this? Just come off it altogether? FRANK. Honey. I'm not sure what you need. Mean. ARLEEN. (Cutting in; hates his slowness) Is this romance, with slow? You.. come on.. (Snaps her fingers. He tries, but she gives off a weary sigh) What - you're just like... (Thinks better of it) FRANK. What? Go on. Say it. Honey. Say it. Just like a jailbird husband. Just like - ARLEEN. He's not a - FRANK. You wouldn't know, when was the last time you went down to - ARLEEN. Listen to yourself, you're -! FRANK. I'm like what? ARLEEN. Why do you have to... (Mimes squeezing) You think I like it? Huh? (Softly, a little to herself) - You think I like it? (Pause. She turns away; doesn't want to face the truth) FRANK. Is it my breath? ARLEEN. (A laugh escapes her) You don't understand. You don't - (Pause) I never should've extracted him. It's what Kiev. Said when we were there even. And what was I doing? What was I really doing? (Pause. As if she's got to explain it to FRANK) We crosse d the river. We'd just crossed it. I was at a low point. It's like having a religion chosen for you by the grandparents, but what do you know what you're like. You've got to seed, sow, stitch, buttonhole, I don't know, and tell yourself you know when you find it. - Thought it was the thing. Swinging from.. I forget the species now. They're not here. Hulking. Black. Muscular. Snorting. Breathing. Hard. What else could Lakewood afford for us. But I was thankful. I'd seen. - And I knew exactly what my religi on was about to be. (Pause) The others were terrified. Somehow... Well, I got close. And the rippling muscles just went on like some kind of mountain chain. Got in there. It's amazing. Slipped away from camp that night. Got in there. They grunt, you think it sounds like words, and if you're patient. If you can be patient, teach, repeat, repeat the sounds. It's possible you're right. I knew it. The first time I heard his vocal box. Learned on Agatha Christie. I'm half British, so I speak weird, I know. And the first thing he said, actually said I thought to me was. Armont. - I thought he would work. Thought he could wear a suit and go to the club and drive a car and be a... I don't know. But God. How I felt. (Pause) Almost six months, now, we're married. T hought he would chip in, I mean like. You chip a part out of a tree. You can fill it up with something else. Something stronger. - He needs his trees. (Pause. Softly pleading) And you! You're soft, gentle! What do you need with things like.... (Throttles herself about the neck. Catches her breath. Serious; to both of them) Do you think I need that? Do you think I.... (Pause. Unsure) I don't... that isn't me, you know. (FRANK's been quiet up until now because he's not sure of the situation. He's eager to say something that will make it all better) FRANK. Honey. Arleen. I love you, Arleen. (She sighs as if he's not been listening. She starts eating something. FRANK's disappointed) ARLEEN. This is a picnic. Eat. FRANK. I... (Pause; "never mind") Let me put on some Journey. (Reaches for a tape player as the lights fade here) PROSECUTOR'S VOICE. So that I can't see any reason why this jury should not ask a - ARMONT'S VOICE. Arleen! Why can't you - DEFENSE'S VOICE. And I feel that that is sufficient cause for the only one - (A gavel raps to stop all this. Lights up on a courtroom. Only the JUDGE, sitting on high, can be seen in the light. She wears an English judge's wig and a black robe) JUDGE. Armont Benjamin Ugatun, you will rise. (A light on ARMONT) You have been found guilty by a jury of your... twelve people. On January the seventh, nineteen ninety-four. For the crime of attempting to defraud this government out of four acres of land and getting away with it. All monies as a result of such a scheme are now property of the United States government. All building materials on that said land are also declared so. The maximum penalty this crime can allow is a fourteen year imprisonment and a two hundred and fifty thousand dollar fine. As you're busted, so to speak, the fine is right out. But. I can still give you the maximum the law will allow, and sentence is passed. Fourteen years, eligible for parole in half an hour. Case dismissed. (Raps gavel. Lights out on JUDGE. ARMONT is very disturbed by this, but has learned to control his temper while in jail) Bailiff will please remand this man to the holding cell. (ARLEEN has appeared on stage during this and can't decide if she wants to do anything or not. Suddenly she shouts out) ARLEEN. No, wait! (BAILIFF enters and begins to escort ARMONT, who's now looking around for his wife, away) Please! Just a couple minutes. (ARMONT is excited. ARLEEN grabs BAILIFF's arm who stops) I'm his wife. (She doesn't believe it and gives a laugh. She presses her arm and BAILIFF raises her eyebrows. She shrugs and stands off to the side where she can see but not hear) ARMONT. (Pause. Stifled anger) You remembered where I live. ARLEEN. I've had thinking... ARMONT. You've had....? You should try having a month or five weeks to... ARLEEN. Two weeks. - I've had time to think. I've - ARMONT. (Becoming angry) Yeah, a lot of - why couldn't you...? Two weeks.. (He comes closer and she backs away. He pauses) I'm sorry. I. I'm sorry. It's this. This... they've found me.. but I'm coming back. Yeah. I've found out I can just walk on... - We' ll start, well what is "scratch" anyway? I think we've still got that envelope, don't we? That envelope? ARLEEN. - You seem calmer. ARMONT. Yeah, well. You make a fuss, make a row they hit you with a club. It took me a while, but I realized that. ARLEEN. (Pause; uneasy) Look all right. ARMONT. Why didn't you - ARLEEN. I'm not sure. ARMONT. (Amazed) You're not... ARLEEN. No. I mean.. (Makes the motion meaning "between you and me". This starts ARMONT pacing, as if working up to anger) Give me a reason. That's all I want, a reason. So we can.. not a parking garage. - Calmer. - But how can it be.. not the same? I don't know if that's the word. The word.. ARMONT. (Can't believe it) I know we can do this. A half an hour. What's a half an hour? Come on! I know how to - ! (He goes for her. She backs away from fright, and ARMONT explodes from this lack of trust. BAILIFF is on her feet) All this for you! Everything for you! What's a banana in a bunch? They put those little blue stickers on them! You know how much I hate those little blue stickers?! And you now've got to question.... When I say about the envelope...! Do you know what it's like to ooo to say it's my coat, no don't hang me up! I wash my fingernails, but I have to fight to take blood! Toilet paper? Who invented this stuff! Those little blue tags?! Aug iii oo!! (But the BAILIFF's taken ARMONT away. ARLEEN pauses. Silence. She feels the loneliness. Lights fade here very slowly. ARLEEN takes a few steps in ARMONT's direction in slow motion as lights go out. Beat. Then lights slowly come up on FRANK, in a nightclub, waiting. He's trying to sip a drink through a straw. Pause. ARLEEN enters, distraught, and just stands there looking at FRANK. Long pause. Finally he looks around, for the unseen force, and sees that ARLEEN's watching him. He grunts that he's happy to see her and beckons her to sit. She nods her head "no" but comes closer. He holds out a drink for her and she takes it just so she can set it down) ARLEEN. There wasn't anymore ripple in his eye. - The pupil. What could I see in it? - I don't think there was anything to see. FRANK. You very hampered. We have a nice time. ARLEEN. I don't know anymore. (Pause) I felt I owed him.... The strength was no longer there. (Pause) Is that what I felt? If the ripple wasn't there... was... FRANK. (Doesn't understand) No. This not right. But I think Frank will change your mind. Ease this. Ease this. (Takes a big box, looking much like an engagement ring box, from under the table. He's eager for her to like and open the nice gift. She can't smile, and pauses. She opens it just for him. It's a Bride of Frankenstein's hairpiece. She's surprised and overcome for a moment, then regains her sadness) I want you to be mine. I have often hear you say about him. Frank knows how to treat you. He's in jail. He's nowhere. (She wants to interrupt after "in jail" but decides not to) So I don't see why there should not be something between us. There is somethi ng between us. I will get you drink. (He stalks off to the bar which is on stage. She looks at the wig and tries to keep from crying. She takes the box in her hand, and wants to take a step toward FRANK, but she's not sure. She doesn't know what to do. Long pause. A love song starts on the jukebox. It effects ARLEEN who slowly, painfully puts the wig back in the box and closes it. She begins to back out a different way; she's decided, and makes a few steps in the opposite direction of FRANK. Lights fade) THE END