IN THE NAME OF THE AWESOME/AND THE SEED/AND THE BLINDING LIGHT Fred Jay Gordon 574 East Shore Rd. Kings Point, NY 11024 IN THE NAME OF THE AWESOME/AND THE SEED/AND THE BLINDING LIGHT -- a play -- Act I scene i As the house lights darken, we hear: "Where Have You Been Asked the Doctor," from the Philip Glass album, 111000 Airplanes On the Roof" (Virgin Records, 7 91065-2). The curtain comes up on an art gallery in SoHo, New York, a large, white, and immaculate space. It is the end of March, 1995. Hanging downstage and with their back to the audience are eight paintings, each four feet by four feet. Some painting are alongside each other and others are a various eye levels. The audience can see through the back of each painting and each of the paintings, to us, are blank. ABNER STEIN, the owner of the gallery, walks admiringly in front of the paintings. ABNER is in his early thirties, well made and in good physical shape, and HE is dressed in a beautifully tailored, simple but elegant and expensive dark blue suit. NICHOLAS QUIN and MAGGIE LUTE, both in THEIR early twenties, are on step-ladders finishing hanging the paintings. NICHOLAS is dressed in a t-shirt and jeans and MAGGIE is wearing a dancer's leotard. THEY each radiant intelligence and animal energy. ABNER My God, they are beautiful and shocking and -- NICHOLAS Yeah, well, I'd call 'em eerie -- lush and eerie. MAGGIE (walks in front of the paintings and mimicks them with HER body) And so sensuous. NICHOLAS Wooooo -- MAGGIE Or sensual. What do you think, Nicholas: would Brother Matthew call them sensuous or sensual? NICHOLAS Ah, screw definition, I sure couldn't do stuff like this -- I mean, not yet. MAGGIE Lickable, that's what I'd say about him. Don't you want to just lick her all over, Nicholas? Hmmmmm -- ? NICHOLAS I ain't into that -- ABNER Yet. NICHOLAS Hey, it's a free country. MAGGIE Uh-huh, day and night. ABNER No,, it's not. NICHOLAS Yeah, well, if you got the money -- MAGGIE There's nothing wrong with money, Nicky. NICHOLAS You just write a check. And you always got Daddy's checks. ABNER Come on, you two. MAGGIE There are some lovely advantages with money. NICHOLAS Yeah, yeah. ABNER All right, let's get the ladders into the back, Brother Matthew should be here -- come on, move it . MATTHEW (off-stage) Oh -- I'm here already. BROTHER MATTHEW HOENIGMANN, 29 years old, enters. HE is cherubic, solidly made, filled with energy, and dressed all in white. MATTHEW I was just watching. NICHOLAS Did ya have a Happy Easter, Brother? MATTHEW Ah -- (HE nods) -- thank you, Nicholas. I saw your parents and your sisters but I didn't see you. NICHOLAS Yeah -- well - - I haven't been sleepin' right. MAGGIE Don't you love them? I just love them. MATTHEW Oh! They're terrifying, actually -- secrets in public. ABNER And if you do it well, they call it art. NICHOLAS Yeah -- who's "they". MAGGIE Sleep around some more, you'll find out. ABNER Maggie, not in front of -- MATTHEW That's all right, Abner, but thank you. NICHOLAS I'm not a cipher, right, Brother? I got balls. MATTHEW Right, Nicholas. MAGGIE Yeah, sure. NICHOLAS Okay, okay. Hey, can I turn off that music already? ABNER It's Philip Glass. MAGGIE Very chic. NICHOLAS It goes up my nose and makes my head crazy, you know what I mean? MATTHEW (laughs) It can, yes, I do know what you mean. ABNER Turn it off, then. (NICHOLAS exits and turns off the music.) What do you think, Brother Matthew -- I matched the body parts -her breasts -- his chest -- her shoulder -- his shoulder -thighs -- buttocks -- pelvis -- are they hung right? Do you approve? MATTHEW Yes, yes, it's -- they're -- I'm a little off balance -- it's all so out there. MAGGIE Each one is like a little, frozen moment in a dance, don't you think so, Ab? ABNER Which dance? And with whom? ABNER and MAGGIE laugh. NICHOLAS (enters) Oh. MAGGIE Sshshsh, not now with your Brother Matthew here. NICHOLAS Where were you last night, Maggie, you never said. ABNER Matthew, I love them, I do, and -- ah, would you two put away the ladders, please, and leave us for a moment? NICHOLAS Yeah, sure. THEY start to carry off the ladders. NICHOLAS You're really close to it now, Brother. All that stuff you used to talk about in class living on its own and all. I mean, look at this work, it's -- it's -- MAGGIE Alive. One and one equal three -- wasn't that what you always said? MATTHEW Yes. Thank you. NICHOLAS Yeah, well, almost alive. MATTHEW Thank you. NICHOLAS Come 'ere, little bitch, I wanna talk to you. MAGGIE Ooooooo -- talk, Nicky, talk at me, talk, talk, talk. NICHOLAS Shut up. MAGGIE You gonna make me? With what? NICHOLAS and MAGGIE exit. ABNER Kids! MATTHEW Well, they're more than that. ABNER And your work is more than photographic. Somehow, Matthew, your oils take each part of the David and the Venus make the stone like flesh, and yet we know it's stone, and yet now it has color -- Michaelangelo used no color and we've lost the colors of the Greek statues -- if they were ever painted -- but your work , Matthew, puts blood in the marble -- under the surface of the marble -- and yet it's oil color, but it's stone,, and it's flesh. It's truly haunting -- all those differences -- you have a great gift. MATTHEW Thank you. ABNER Thank you. And yet -- MATTHEW Yes? ABNER Almost alive, that's what your Nicholas said. It's all extraordinary, Matthew, yes -- it just needs -- ah -- MATTHEW Heavenly grace? ABNER No, actually, just the opposite, some sort of counter-effect to set off the haunting quality of your work. MATTHEW Something more of the flesh? ABNER Maybe. MATTHEW (laughing) I have taken vows, Abner, you know that. ABNER We all take vows. I'm sorry, Matthew, please excuse me, sometimes I -- I'm glib just to fill space. There was lots of space in Texas. MATTHEW I'll bet. I grew up in Brooklyn -- I didn't see a lot of space. Flesh. Sometimes all you want to do is copulate. ABNER Ah -- yeah -- yeah , right. MATTHEW Because living the purely spiritual can -- sometimes -- be breathless. Even for a grown-up altar boy like me. ABNER Yeah, I suppose -- me, I know, I want variety. MATTHEW Variety? Mother Church teaches us to see it as all one. ABNER You mean as in one God, therefore, one church? MATTHEW Yes. ABNER Well ah -- anyway -- Matthew, do you think -- we have almost a week do you think you could paint a counter work that would set off these extraordinary -- ? MATTHEW A counter work? You mean, instead of using sculpture and trying to make it flesh, use flesh and try to make it stone? ABNER Maybe. MATTHEW Work from live models, not make copies from copies of statues? ABNER Perhaps. MATTHEW Terrifying. ABNER That's what I thought. MATTHEW I couldn't. ABNER That's what I wondered. Well, just an -- MATTHEW I couldn't. ABNER -- idea. MATTHEW You mean as a pivot? ABNER Something like that. MATTHEW Really shake 'em up -- screw their heads, as Nicholas would say. ABNER How far do you go? Could you go? MATTHEW Until one and one equal three, that's what Maggie said. ABNER Quoting you. MATTHEW Another Holy Trinity -- I'm finished with this series. ABNER Oh. Yeah, I can see that. So now what do you do? MATTHEW Live bodies -- ABNER Maybe. MATTHEW Coupling -- ABNER Well -- maybe. There's always Nicholas and Maggie. They do model for other artists -- he's poor and struggling, you know that. MATTHEW Yes, I helped get him a scholarship at St. Andrews. ABNER Probably endowed with her family's money! And she dances knows her body. And you know them. And they know you. MATTHEW Well -- I -- I -- Me? ABNER Your work is glorious. MATTHEW But? ABNER No buts. MATTHEW That's not what you're saying. ABNER Well -- ah -- the "but" is not for me to say, it's for you. MATTHEW Yes,, I know. ABNER I don't mean to push you, Brother Matthew. MATTHEW Sure you do, Abner Stein. ABNER (laughing) You're right. It's an historical relationship. MATTHEW The German and the Jew. It's terrifying. ABNER That's not really what I meant, I didn't even know you were -- MATTHEW oh, yes, I'm Matthew Hoenigmann -- my grandfather fled Germany in the late thirties. And what's ironic, Abner, is that his younger brother actually fought in the war -- on the other side, of course. Brother against brother -- it still haunts our family. Oh, well, just another historical relationship, right? ABNER Yeah. MATTHEW He -- my grandfather's brother -- I have his blood, you know -- he was in Paris in a basement room -- getting out of his uniform when he -- this Hoenigmann was knifed in the back. It was when the Germans were occupying France. By a whore named Mary, they say. They say she was Jewish. Part of the underground. A real heroine. Do you -- could I have some water? ABNER Sure. MATTHEW It's hot in here, isn't it? Isn't it hot? ABNER Be right back. HE exits. MATTHEW is left alone with HIS paintings. MATTHEW Oh,, Father, help me to be like Christ, Your Son, that I may transform the darkness of its pain and transfigure their eyes with dazzling light. (MATTHEW looks down to his groin. Then HE slowly looks up to the Heavens.) Father -- Father -- why do I rise? BLACKOUT. scene ii A. In BLACKOUT we hear "Nightswimming," from R.E.M.'s album AUTOMATIC FOR THE PEOPLE (Warner Bros. 9 45055-2). Lights up on MAGGIE'S loft. There is a boom box on a little table and MAGGIE is up-stage right and facing stage right. SHE is naked as SHE works at the barre. Toward the center of loft and upstage is a king size bed with no frame. The sheets and blankets are a mess. Downstage right, perhaps partially off-stage and with its back to the audience, is a gigantic television. At first MAGGIE'S movements are classical exercises and SHE moves very well. As the music progresses, HER movements become more improvisational. Enter MATTHEW from stage left. HE is carrying drawing pad and paint box. HE watches HER but HER back is to HIM and SHE does not see HIM. HE says HER name but the music is enveloping and SHE does not hear. MAGGIE moves more sensuously to the music. MATTHEW is confused and mesmerized and HE can neither go forward toward HER nor can HE leave. MAGGIE begins to make slight turning gestures and MATTHEW is horrified SHE will see HIM. Finally, HE rushes off. BLACKOUT. Music up louder. B. Lights up again. Music back to normal. MAGGIE is still dancing at the barre with her back toward stage left. HER movements are more senuous. Enter MATTHEW again with greater resolve. HE tries saying HER name but it sticks in HIS mouth. Enter NICHOLAS. HE does not see MATTHEW and NICHOLAS, too, watches MAGGIE and HE, too, is mesmerized by HER. Slowly, NICHOLAS crosses the stage, walks on top of the bed, and stands behind MAGGIE. SHE almost imperceptively acknowledges HIS presence. NICHOLAS moves in behind MAGGIE and the two of THEM press together and move together to the music. HE places HIS hands on HER body and presses HIS face into HER neck. Stunned, MATTHEW rushes off. BLACKOUT. Music up louder. C. Lights up. Music back to normal. NICHOLAS and MAGGIE are now even more like glue and still with THEIR backs to stage left. MATTHEW enters and quickly crosses to the boom-box and turns off the music. HE clears HIS throat. MATTHEW Sorry to interrupt , but -- MAGGIE Oh, Matthew, oh -- MATTHEW Here -- ah -- thanks, here are the keys. NICHOLAS takes off HIS shirt and drapes it around MAGGIE and SHE buttons the buttons. NICHOLAS is barechested. MAGGIE What time is it? I guess it's time for you to be here, Brother, I'm sorry, I -- I guess we didn't realize. NICHOLAS Talk for yourself, Maggie. MATTHEW What? NICHOLAS Just kiddin', Brother, hey, just wigglin'. MATTHEW Oh. MAGGIE Well, let's start then, shall we? Let me just change and I'll be right back. Hungry? Maybe there's some food in the frig. SHE runs off stage , then returns for an instant, naked, and throws NICHOLAS HIS shirt which NICHOLAS puts back on. MATTHEW (holding MAGGIE'S keys out) The keys? NICHOLAS They're an extra set, I got mine, so -- you know, so if it works, Brother,, we might be at this a few nights or -- you know -- until we finish. I mean, if it works for you. Because theoretically, it's a very interesting idea Abner had for your show -- different than your other work -- like you're more into blood this way -- maybe getting closer to the truth. Or a truth. or another truth. MATTHEW The truth? NICHOLAS I mean, I think you draw really great but -- well, as you used to say, which is more true, art or God? MATTHEW I said that? NICHOLAS Oh, yeah, oh, yeah. Hey, you doin' okay? MATTHEW I may have a fever . NICHOLAS Nerves. With your first show openin' next week and everything. It's not uncommon, Brother, I seen it before. Hey, you'll be okay, and your work is really good -- it's really primo. MATTHEW You think so? NICHOLAS Yeah, and that Abner's real smart about business. He's from a little town in Texas but I think he watched a lot of television. He ain't gonna be showing you Iles he thinks you can do it. You know, get the buzz and sell. The art business today -- well, you know -- We all got the overhead, right, Brother? MATTHEW Right. MAGGIE (enters wearing shorts and a halter) Right-o. Keep the keys for a while, Brother, until we're finished. MATTHEW Yes -- ah -- Nicholas suggested I do that. MAGGIE Oh? NICHOLAS You got plenty of keys, Maggie. MAGGIE Really? NICHOLAS We're sharing, ain't we? MAGGIE Let's start before we get too hungry, you hungry, Brother? MATTHEW Not really. MAGGIE I can wait. NICHOLAS I can't. MAGGIE You'll have to. So: do you have some ideas or do you want us to improvise or what's your thinking , Brother? MATTHEW I'm not really sure. MAGGIE Not a problem. You set yourself up and when you're ready I'll do something and then Nicky here will do something and then maybe we'll do something together, okay? MATTHEW Okay. But I'm ready -- I thought I just sketch first -- you know, start easy. MAGGIE Great. Okay. MATTHEW You won't be cold? MAGGIE No. NICHOLAS Got my skin to keep me warm. Clothes are just extra. MAGGIE Big talker. NICHOLAS My easel's here, Brother, you want it? MATTHEW Ah -- NICHOLAS No problem, really , you'd give me. MATTHEW All right. NICHOLAS exits. MAGGIE So: if you stand there (SHE points to up-right), I could lie on the bed? or sit in a chair? Or did you like me at the barre? MATTHEW Well, you're very beautiful so -- I mean, anything -- why don't we start with you in the chair? MAGGIE Great. MAGGIE goes off. NICHOLAS returns with easel and places it next to MATTHEW who begins to set up. MAGGIE returns with two chairs, places one next to the bed and brings one over to MATTHEW and places his paint box on it. MATTHEW is nervous and both MAGGIE and NICHOLAS smile at HIM to try to relax HIM and make HIM feel comfortable. MAGGIE How 'bout some music or wouldn't that help? MATTHEW Ah -- thanks, but -- NICHOLAS If you change your mind, Maggie's got about three million CD's, you know her father owns all those music stores. MATTHEW Right. Well, maybe later. NICHOLAS picks up a book on Jackson Pollak and sits on the floor next to the television set as MAGGIE sits in the chair. MATTHEW stands next to the easel with HIS pencil watching HER. MAGGIE Say when. SHE effortlessly moves into different poses. MATTHEW watches. Finally, SHE stands, turns the chair so its back faces MATTHEW, straddles it, and faces MATTHEW, too. MATTHEW (whispering) When. Quiet. Suddenly, NICHOLAS slams HIS book shut. NICHOLAS Jackson Pollack painted with his cock! MAGGIE Shut up, Nicholas. NICHOLAS Cum -- that's what's on his canvas. Colored cum. MAGGIE Nicky -- NICHOLAS You think -- hey - - that's why he had no children! Open up, Jackson, let the awesome talk through you, Jackson, so you're the vehicle, not the thing -- right, Brother? MATTHEW Well -- MAGGIE Make three, right, Brother? NICHOLAS Connect with the light, ain't that the ticket, Brother? MATTHEW To get God in there, yes. NICHOLAS Yeah. MATTHEW And make a Saint. NICHOLAS Huh! Yeah, make a Saint, I never thought of it like that. MATTHEW Oh, that's a great tradition of the Church, you know, painting icons, representations of Christ -- and I like to think we're painting icons, but without the figure of Jesus Christ Our Lord in the foreground. He's there -- He's hidden between the layers, invisible but there. And -- don't you see? -- the closer we come to painting the spirit of Christ, the more we are His true messenger -- His servant -- His Saint. MAGGIE That's beautiful. MATTHEW Come closer -- you, too, can become a Saint. MAGGIE You're beautiful. NICHOLAS Well, I don't know , Brother, maybe I shouldn't be sayin' this to you, but -- you know -- I'm think in' I got a lot of sinnin' to do. I mean, in the good sense. MATTHEW Prerequisite of all the great Saints. NICHOLAS Yeah? MATTHEW Historically, yes. PAUSE. MATTHEW draws. MATTHEW Historically, yes. BLACKOUT. A church bell begins to ring 11:00 p.m. D. Lights back up. Scene as before. NICHOLAS, now stretched out on the bed with HIS hand unconsciously on HIS groin, is watching both MATTHEW and MAGGIE. MATTHEW is more agitated. Church bell finishes ringing. MATTHEW It's not working -- I -- I -- it's too -- NICHOLAS jumps up and goes to look at MATTHEW'S drawing. NICHOLAS That's really good. You're really good. MATTHEW But it's -- ah -- NICHOLAS Kinda the same as the David and Venus drawings. Real meticulous. Anal. Like the church. MAGGIE Nicholas! MATTHEW Yes. MAGGIE (gets up and looks) Hmmm. How 'bout a wash? NICHOLAS That's inneresting . MAGGIE Want to try it ? I'll get some water. MATTHEW But I didn't bring any -- NICHOLAS oh, you can use my brushes -- got a real fine camel for you, Brother, smooth as skin. MATTHEW Ah -- MAGGIE and NICHOLAS go off. We hear water being turned on. MATTHEW is nervous and tightens HIS belt and takes a red handkerchief from HIS pocket and wipes HIS face. MATTHEW stops and faces up toward God. HE crosses HIMSELF. BLACKOUT MATTHEW I look to you, oh, Lord, my God, Father in Heaven, I look to you to prevent me from totally despairing. Lights up. Enter MAGGIE with a large clear jar of water and NICHOLAS with several brushes. NICHOLAS These are the best from Pearl Paint up on Canal Street, Brother, used my 'necessity' money for these babies -- these are the necessities for real work, right, Brother, right? MATTHEW Absolutely. MAGGIE (offering HIM the jar) If you like -- if it helps -- just an idea. As MAGGIE offers the jar of water and NICHOLAS extends the brushes, MATTHEW becomes caught in both THEIR offerings and tries to take both. In this moment, the jar of water spills all over the front of MATTHEW'S white shirt and pants. MAGGIE Oh, I'm sorry, oh -- goodness, excuse me, Brother -- MATTHEW It's all right, it's nothing, it's water, that's all. MAGGIE Yes, but -- MATTHEW It's fine, really, thank you. MAGGIE grabs a red towel from the bed and gives it to MATTHEW who turns away and dries HIMSELF as best HE can. MATTHEW Maybe we -- MAGGIE Maybe we should eat. NICHOLAS You want, Brother, to change? I can give you my other jeans -they ain't fresh clean, but -- and I got another shirt that's okay, okay, can I, is that good for you, Brother? Hey, you okay, Brother? MATTHEW I'm fine, thank you, Nicholas. MAGGIE Yeah, go get your clothes for the Brother and I'll -- you like Chinese, Brother? Nicholas and I'll go around the corner, get some Hot and Sour Soup and String Beans and Chicken and Black Bean and -- what else you like? MATTHEW No, that's all right, I'm not -- MAGGIE Please, Brother, I feel stupid about what I did -- MATTHEW It was an accident . MAGGIE Can't I try to make it better? Barbaqued spare ribs? Roast Pork Egg Foo Young? THEY look at each other and laugh. NICHOLAS (exiting) I'll get my stuff . MAGGIE Get my coat. NICHOLAS Yeah, okay. MAGGIE You can put on my modeling robe -- it's real big, it'll fit you, Nicky wears it sometimes. MATTHEW (shakes HIS head, no) That's all right, but thank you. NICHOLAS (enters with clothes and both THEIR coats) Here, Brother, here. Pants may be just a little tight but we're almost the same size, okay? You okay now? MATTHEW (holding jeans and black turtleneck shirt) Thank you both. MAGGIE Come on, Nicholas , let's get some food. Back in flash, Brother, make yourself at home. Put on music or -- (finds the remote control for the television under HER pillow on the bed) -- oh, here's the remote for the VCR and the tube -- there's a movie in there so -- just make yourself comfortable. Come on, Nicky. THEY exit putting on THEIR coats. MATTHEW stands very still. HE takes some deep breaths. HE feels the wet over HIS groin. Slowly, HE takes off HIS pants and white shirt and white undershorts. HE sits on the bed, feels the sheets, and slowly dries HIMSELF with MAGGIE'S red towel. HE puts on NICHOLAS' jeans and black turtleneck. They fit. HE sits on the bed. HE puts on MAGGIE'S robe. HE picks up the remote control and clicks on the huge television. We hear "Theme From Schindler's List," track one , from the original motion picture soundtrack of Schindler's List (MCA records, MCAD10969 ). ANNOUNCER And now here are some scenes from our Feature Presentation: Steven Spielberg's masterpiece, the Acadamy Award winning,, "Schindler's List," the story of one man's heroic attempt to save the lives of an oppressed people being massacred by Germany's monster, Adolph Hitler. As Nazi soldiers swept into the streets of -- MATTHEW punches a button which is the mute button and the sound goes off. But the glaring light from the television covers HIM ahd HE watches, mesmerized. Suddenly MATTHEW stands and gasps. HE stares down at the remote control, pushes a button and the image on the screen freezes and lights flashing on MATTHEW'S face freeze, too. MATTHEW pushes another button and we hear the low hum of the VCR backing up. HE pushes Play and the tape starts again. We hear: "Wenn Die S.S. und Die S.A. Aufmarschiert" ("When the Black S.S. and the Brown S.A. March Away") (from Hitler's Inferno. volumn 1). MATTHEW comes closer, watches, then freezes the frame again. HE stares in shocked silence, then comes closer again. MATTHEW Oh, no tell me, no -- no -- can't be -- Oh, Heavenly Father -- no oh -- Then in Your wisdom show me why -- then in Your love protect me -- protect me! MATTHEW pushes button again and sees, again, and hears the Nazis marching and their images flash across HIS face. HE lets out a deep moan and runs out from the loft. BLACKOUT. Sounds of the Nazi marching song fade up and blare full force. scene iii Sounds of Nazi marching song mixes with the Aria, "Thou Shalt Break Them," from Handel's "The Messiah," disk 2, track 16, from the NAXOS recording (8.550667-668) by The Scholars Baroque Ensemble. The Nazi marching fades out as the Aria grows stronger. Lights up on Confessional. FATHER JOSEPH steps into HIS side of the Confessional and closes the door. PAUSE. HE steps out. The music fades. The Church's bell tower strikes 2 :00 a.m. FATHER JOSEPH Matthew? Brother Matthew? MATTHEW hurries on stage, dressed in his usual white clothes. A white handkerchief is wrapped around the thumb of his left thumb. THEY BOTH step into THEIR respectives sides of the Confessional. MATTHEW Forgive me, Father, for I have sinned. FATHER JOSEPH And when was the last time you confessed, my son? MATTHEW To you, Father, some days ago. FATHER JOSEPH Yesterday? MATTHEW Was it only yesterday? FATHER JOSEPH Yes. And what is the nature of your sins, my son? MATTHEW Mortal! I am filled with pride and lust, Father. FATHER JOSEPH Every sin can be forgiven, Brother Matthew. MATTHEW Oh, please, open me, Father, to God's mercy, open me, open me. FATHER JOSEPH What is the nature of your actual sins, Matthew? MATTHEW I have killed! I have had carnal knowledge! I have challenged God! FATHER JOSEPH Shshshsh, Matthew, shshsh, God knows you want forgiveness. Shshshsh, speak, open your heart, He is here, speak, sin is present when man tries to separate himself from God. MATTHEW Yes! I know! FATHER JOSEPH Shshshsh -- who have you killed, Brother Matthew? MATTHEW I don't know -- I mean, forgive me, I do, but -- FATHER JOSEPH How did this happen? MATTHEW I saw it. FATHER JOSEPH Yes? MATTHEW That's why I called you in the middle of the night, Pather Joseph, because I saw myself -- my other self -- doing the unspeakable. FATHER JOSEPH Human weakness is the burden that Christ died for on the cross. He knew our sins, He died for us. With repentance, we can all live in God's grace, you can live in God's grace. Brother Matthew, what 'other self' did you see, Brother Matthew? MATTHEW I -- oh saw myself saw -- I was a Nazi! I killed the Jews! I saw it! As Christ was murdered, I, too, murdered! FATHER JOSEPH How? Where? Shshsh , silence, control yourself. You are protected here in the Sanctity of the Confessional and I am here to act in the place of Christ and to judge you and give you sacramental absolution, do not forget that, Matthew, all sins can be forgiven. MATTHEW Serve me, Father, guide me, I have killed and fornicated and separated myself from God -- in my heart -- and -- and -- FATHER JOSEPH Shshshsh, shshshsh , Matthew, shshsh, I love you, God is here and loves you, shshshsh. MATTHEW quiets. FATHER JOSEPH What happened tonight, Matthew? MATTHEW (holding up HIS bandaged thumb) And, look, I hate myself! FATHER JOSEPH Ate yourself? MATTHEW Yes, ate, look, I bit my thumb to see my blood. FATHER JOSEPH (calmly) Oh, yes, I know, I've done that, too. MATTHEW You have? FATHER JOSEPH Yes. Maybe that's why the Bishop assigned me as your Father Confessor, Matthew. He knows you. And he knows the conflicts of the flesh as all of us do. Almost all of us. You are not unique. MATTHEW No? FATHER JOSEPH You love God. You love man. Therefore: conflict. When were you a Nazi, Matthew? Tell me, but whisper it. You don't need to cry in the presence of Christ. MATTHEW Yes. Tonight, FATHER JOSEPH, I saw myself on television. In World War II -- in Germany -- I was a German soldier. I was watching rows and rows of Nazis parading -- marching -- goose stepping for Hitler. And the camera was going up and down the faces of those Nazi and there I was, Father, in my uniform, in my helmet, clean, cold, proud, and ready to kill -- again. FATHER JOSEPH Matthew! MATTHEW Oh, yes, it was me, Father, God made sure I saw me. I stopped the film. I backed it up. I looked. God made sure I saw. And now, as I think about it here with you in this sanctity in God's house, I had always Father? FATHER JOSEPH? I had always suspected me. Am I am I all sin, Father? FATHER JOSEPH You are filled with pride, Brother Matthew. Pride is a fundamental sin which denies the faithfulness of God. That boy you saw could not be you, it was in your mind's eye. MATTHEW No, no, it was in the movie, "Schindler's List," everyone has seen that movie, everyone will know I was there -- that I loved Hitler -- that I killed Jews -- oh, Father, forgive me, for I have sinned. FATHER JOSEPH I saw the movie, I didn't see you, Matthew, shshshshsh, Matthew, it was only a movie. MATTHEW He used real footage, too, I know that, I read that -- I was there, Father, I have the blood of the innocents on me. FATHER JOSEPH (exits HIS side of the confessional and opens door on MATTHEW'S side and pulls MATTHEW out of the confessional and wraps HIS arms around MATTHEW.) You are not Christ, you are only mortal. MATTHEW (pushing HIM away) Shshshsh, FATHER JOSEPH, don't you understand the larger will of God? FATHER JOSEPH What? Tell me. MATTHEW God has chosen me, FATHER JOSEPH. He wants me to be a Saint. Now I understand. Thank you for your guidance, Father, you have truly helped me tonight. FATHER JOSEPH Matthew, please, get hold of yourself! (HE grabs MATTHEW'S hand, unwraps MATTHEW'S thumb, and pushes MATTHEW'S thumb into MATTHEW'S mouth.) That's blood, Matthew, your human, mortal blood. MATTHEW (takes HIS thumb out) Yes. (Pushes HIS thumb into FATHER JOSEPH'S mouth) And Christ's blood, too, Father, not bread, not wine, but blood from Him to me to you. I have a mission. FATHER JOSEPH (pushes MATTHEW away) Oh -- dear Jesus! MATTHEW Yes. Help me, Father, help me live with this choice He has made for me. FATHER JOSEPH (walking toward MATTHEW) Yes. Yes, Matthew. Now come with me and I will bring you back upstairs to your room. And then we will see the Bishop and talk with him. MATTHEW Oh, that's good, yes, that's good, Father. FATHER JOSEPH He'll be back tomorrow -- ah -- today -- this morning -- and we'll meet with him, you and I, during my usual Wednesday morning meeting with him -- but this time you and I will be there, that's all -- today, Matthew at 11:00, yes? Maybe we'll all have lunch. He was at Retreat upstate. He'll understand. We'll talk. The three of us. Yes, Matthew? MATTHEW Thank you, Father, for I have sinned. FATHER JOSEPH Yes. Shsshshsh, Mathew, come, come now, rest. MATTHEW Don't tell the Bishop I'm a Nazi, don't tell him, Father, that's a secret. FATHER JOSEPH I would never violate the sanctity of confession. MATTHEW The priest's do it in Italy. They tell on the Mafia. FATHER JOSEPH To save the people, but this is not Italy. You are not Mafia. MATTHEW I'm a Nazi, I'll show you! FATHER JOSEPH No, no, you cannot be, no, Matthew, impossible, no, shshshshsh, shshshsh. MATTHEW Oh, Mary, Joseph, and Jesus -- my body is so hot, Father -- oh, Mary, Joseph, and Jesus. FATHER JOSEPH Shshsh -- shshshshshshsh. THEY EXIT. The "Theme From Schindler's List," as before, is heard. scene iv Music from "Schindler's List," fades and is crossed with "Legend In My Living Room," from ANNIE LENNOX DIVA album, (Arista 0782218704-2). Lights fade up on MAGGIE'S loft. MAGGIE and NICHOLAS are under the sheets making love. MATTHEW, dressed in white and with a red bandaid on HIS thumb, enters slowly with HIS box of paints and watches. HE watches some more. Then HE goes over to the boom-box and turns off the music. MATTHEW Good morning. THEY disentangle THEMSELVES and sit up. NICHOLAS (sweetly) Hey, Brother. What you doin' here? What time is it? MATTHEW Seven o'clock. The sun is rising. NICHOLAS Not any more. MAGGIE I don't mind if you didn't knock, but, Brother, you could of whistled. MATTHEW I'm whistling. Good morning. Hey, you want to do some work? MATTHEW takes the easel and begins to set up his pad. NICHOLAS Do we have to move ? MATTHEW Well -- well -- MAGGIE I'm not moving. You want to work, Brother, then you got to do us like we are. NICHOLAS (laughs) Talk about a masterpiece! MAGGIE Or was this what you were hoping for, huh? MATTHEW No. Maybe. Yes. MAGGIE Well, then tell us when. (To NICHOLAS: ) Come here, you. NICHOLAS I -- MAGGIE He's given to you, Nicky. Now it's your turn to give. SHE pulls NICHOLAS on top of HER and THEY kiss. MATTHEW (whispering) When. MAGGIE keeps moving and kissing NICHOLAS. NICHOLAS Hey -- MATTHEW When. MAGGIE Come here, come here. NICHOLAS Hey. (HE rolls off HER, and strokes HER, and looks up at MATTHEW.) MATTHEW When. MAGGIE For now. NICHOLAS and MAGGIE hold the pose and MATTHEW begins to draw. MAGGIE You nervous? MATTHEW No. NICHOLAS You look nervous. MATTHEW Not nervous. MAGGIE It's hot. You want to take something off? MATTHEW I'm not that important. I'm only here as His instrument. MAGGIE Oh. MATTHEW A vehicle to do His work. MAGGIE You've been doing His work, Matthew, everyone knows that. You been doing yours? MATTHEW He brought me here this morning. I wrestled with Him all night. MAGGIE I can see that . Must of been some fight. NICHOLAS Brother, if you want, I'll help you, Brother. MATTHEW Shshshsh, that's all, shshshshsh. HE continues to draw. NICHOLAS What's with your thumb, Brother? MATTHEW Blood. NICHOLAS Yeah, right, but - - MATTHEW Shshshshsh. PAUSE. MATTHEW paints. NICHOLAS You're sweatin'. You're thinkin' you got to do a masterpiece, but you're all tight inside, Brother. Only God does the masterpieces, right, ain't that what you said? We're just mortal, right? MAGGIE Just blood. Wooo , loved hearing you read Milton and that "Paradise Lost." You were everyone's favorite, young and so -all enthusiastic and weld just sit there listening and getting your fire 'cause you were on fire, up there reading and standing on that old desk just like one of the Angels saying His words. Almost singing, you were. And you know, Matthew, you got to know you really made a difference at St. Andrews -- that college is proud of you. And now, Matthew -- hey, Brother Matthew - - you got to look at us -- at Nicky and me really and truly as people - we're not just your kids anymore -- we're out there -- you sent us out there and now we're here -- right here -- in this bed -you helped make us and we're free people -- you taught us that -and you got to be free, too, right? You're a person, you came here, you chose us and now it's our turn -- for you. NICHOLAS That's right. So , hey, try somethin' else. Ain't that why you came here, Brother? You want to do a masterpiece, I'm knowin' that. You got your show openin' in three days and you want somethin' that's goin' to fly. Change the stroke maybe. Go back to the water maybe. You want to be tryin' the wash again? Hey, might glide you to the place, Brother. Got those silky-skin brushes, real good , might give you that extra uhmmm that I know you're wantin' and you're needin'. Huh? MAGGIE I'll get the water for you. NICHOLAS Huh? Yeah? It's a different feel maybe like Abner said, you know, go another route. Might equal the three -- Worth a try? MATTHEW cannot answer. Naked, MAGGIE gets out of bed and goes off- stage. We hear water running. SHE returns with the same jar and some paint brushes. SHE gives it to MATTHEW. HE takes the brushes and places the jar next to HIM. MAGGIE They're Nicky's brushes. MATTHEW I know. MAGGIE goes to the boom-box and pushes the button. Annie Lennox sings "Whyll from the above mentioned album. MAGGIE returns to the bed and assumes HER previous position. MATTHEW drops the brushes. HE holds HIS head. HE exits. BLACKOUT. Music swells. scene v The BISHOP'S office. Another church bell begins ringing 11:00 a.m. The BISHOP is facing out the window. FATHER JOSEPH stands watching HIM. BISHOP I warned you about him, I never liked the idea of him showing those wings to gallery people, and now with this show of his opening -- oh, FATHER JOSEPH, the temptations -- the temptations can be difficult. FATHER JOSEPH And we don't want to lose him, he has so much to give. BISHOP But, today, everybody's watching Mother Church, and we all know the Pope His wisdom has decided we must become more rigorous in our ways, not e lenient, that the strength of the Church is in its historical adfastness. But you pick up the newspapers and read each story more rible than the next about the religious -- one story more wrenching n the next about the declining fortunes of the Church, and -- FATHER JOSEPH We need his young blood. BISHOP But not at the peril of our Ecumenical Theology, FATHER JOSEPH. FATHER JOSEPH Our congregations are aging. BISHOP I know, I know. FATHER JOSEPH He can help bring young people back to us. But we need to let him feel can reach his fullest self here in the folds of Mother Church. oh, hop, he has always been a dreamer and the church is his home. You n't know him as a little boy when his father deserted the two of them oh, so determined, Matthew was, even then. And his mother -- well, is just say she continues to seek Jesus -- practically won't leave apartment except for church -- a tiny bit of a woman -- very igious -- she's always praying -- anyway her lips are always moving and Matthew runs to her whenever she calls -- and she does call -- he ngs her food which she's perfectly capable of buying. We raised him Matthew went through our schools -- he's one of us, Bishop, you know t -- and he is fighting. He is in great pain, Bishop Edmond. BISHOP Perhaps too many temptations for his spirit. FATHER JOSEPH To help make him a better servant in the eyes of God. You were tested. You sacrificed. You grew . You know in your heart and soul that today you truly serve God and the Church . God understands. God has forgiven you. BISHOP Shshshshsh. Bring him in. FATHER JOSEPH exits and closes the door. BISHOP (sings the first line of the lent hymn, the Gloria, to HIMSELF and with a surprisingly clear and beautiful voice) Glo-o-o-o-o-o-o-oria, In Excelsis De-o, Glo-o--o-o-oia The door opens and the BISHOP stops singing. MATTHEW enters in HIS black religious habit including a white collar. MATTHEW Thank you for seeing me, Bishop Edmond, I'm feeling better today, thanks to FATHER JOSEPH. I do not mean to create any problems for you. I can think more clearly today, my fever broke. BISHOP Good. Sit. MATTHEW Or more problems for FATHER JOSEPH who has helped me and loved me all my life in the true spirit of Christ. BISHOP Sit. MATTHEW Or for Mother Church whom I have always, always loved -- even as a boy. I sang everywhere I could for Mother Church for four happy, wonderful years -- All City Boys Choir. BISHOP I know. Sit down, Brother Matthew. MATTHEW Thank you. HE sits and FATHER JOSEPH sits , too. BISHOP You and I have spoken before, Brother Matthew. MATTHEW Yes, Bishop. BISHOP Intriguingly argued discussions of purity of doctrine, of law and lore where they cross, yes, Brother Matthew? MATTHEW Yes, Bishop. BISHOP Your FATHER JOSEPH has spoken several times to me with great concern about your welfare. And, perhaps, including times you do not know about. And I continue to believe, as you know, that your art work is rich -- and potentially troublesome. And now with your exhibit opening -- well, all the objections have been expressed to you before, yes, Brother Matthew? MATTHEW Yes, Bishop. BISHOP I imagine, knowing this, you have a speech prepared for me, yes? MATTHEW Yes, Bishop. BISHOP (sitting) Speak. MATTHEW I have always and always dreamed of being a religious. I have taken the vows of poverty and simplicity with great humility and I want to succeed the honor of Jesus Christ, Our Lord, more than anything in the world and more than anything in my heart. But, Bishop, sometimes my mind and body cross and torment me. BISHOP Yes. MATTHEW And, because I know the Father in Heaven is Supreme, I know that this is test. And -- and sometimes I lose my way. BISHOP Uh-huh. Therefore? MATTHEW And I wonder, what is this test? Must I lose my way so I can find it? I have taken vows, I want to honor them. I want to go to Heaven. BISHOP Of course. And? MATTHEW I have such great joy. And -- sometimes -- such despair. Why is there much war in me -- sometimes? BISHOP I appreciate your conflicts, Brother Matthew. I appreciate your rhetoric. But expressing your dilemma does not absolve you from responsiblity. The issue is not what you feel, Brother Matthew, but what you will do. Beware of your own speeches, Brother, language can seduce. MATTHEW Oh, Bishop, everything seduces me. THEY ALL laugh. BISHOP I know, I know. All the more reason for clarity and rigor. I have just come from Retreat. It helped enormously as it always does, as I know you know. And you need that balance, Brother Matthew. For your body and your soul. I will make the arrangements. I want you to leave today. MATTHEW You are right, of course, and I understand. And I appreciate the time and FATHER JOSEPH have given me. But, Bishop, my show is opening in days BISHOP So soon? MATTHEW Yes, and -- BISHOP Then go for two days. MATTHEW I -- I have one more painting I must -- BISHOP You are young, you have time, there will always be one more. Go, Brother Matthew. Joseph, make the arrangements. It will help. MATTHEW Please, after the show -- after the show. BISHOP Then why have you two come to see me now? What is this? Only a discussion of crises? An abstract puzzle? FATHER JOSEPH, it is your responsibility to guide this soul, I have many other -- Oh, forgive me. You came in candor, I do not mean to chastise you. Inch by inch we go.Tak e your two or three days, Brother Matthew. Thank you for coming. I will give you everything I can. Thank you, our strength is as a community. Good morning. The BISHOP stands. BROTHER MATTHEW takes the BISHOP'S hand and kisses it. MATTHEW You know, I want to walk with God, to be one with Jesus, to make a contribution within Mother Church. BISHOP I know. FATHER JOSEPH Thank you, Bishop. FATHER JOSEPH takes MATTHEW and THEY exit. Telephone on BISHOP'S desk buzzes. MALE SECRETARY (voice only) The Archbishop is on the telephone for you about today's meeting in Manhattan. BISHOP Good, thank you. MALE SECRETARY Did you -- did you finish? BISHOP (goes to HIS desk.) I -- I -- thank you for asking, young Brother Jonathan. I have a system -- it's my interpretation of Ecumenism -- it's only mine -- it may need go to Rome -- we'll see. MALE SECRETARY Yes? BISHOP Where does 'shared love and charity to all peoples' leave off and self- preservation begin? MALE SECRETARY Right. BISHOP The Church must grow. That's the issue. MALE SECRETARY Right. BISHOP (picks up telephone) Yes, Your Holiness , hello, and how are you feeling today? BLACKOUT. scene vi In the BLACKOUT we hear sounds of ocean waves lilting softly. The lights come up on MAGGIE'S loft, 2:00 p.m., and the sounds we hear are from a CD playing on HER boom-box. There is movement under the sheets and MAGGIE giggles. MAGGIE No, no more, you're so slurpy. Naked, SHE sits up , looks around, gets out of bed, and goes offstage to get a robe. ABNER, naked, sits up. ABNER What do you mean by "slurpy?' MAGGIE (entering wrapped in a white robe) You drip -- drip -- drip -- You just do your slurp all over me. ABNER God, you turn me on -- come here, feel this. MAGGIE You're great, you're fabulous, I love it, I have a rehearsal, I have to work, time to go. ABNER Where? MAGGIE You're not the only one with a show, mister. The Washtub has asked me to choreograph a piece for their Evening Eclectic next month, and I -- ABNER The Washtub! MAGGIE Oooooo, oooo, careful, cowboy, your Texas roots are showing. Yeah, the Washtub. It's dance, you don't know that world, and they're coming here and I haven't finished my work and -- and Nicholas should be coming back soon from the restaurant. Oh, come on, Ab, we're fun, but this was just sex -- sex and condoms - - don't get messy, okay, I really haven't figured it out yet with Nicholas and I do -- I do love him. In a way. Today. Yesterday and today and we'll see about tomorrow. Oh - - come on, cock-man, out, out, out -- you're great, you're fabulous, I love, now out. Where's your underwear? ABNER I don't wear any. And Matthew? Hand me my pants. MAGGIE Yes, sire. (Gathers up HIS clothes.) Here. Here's everything. You're very dangerous with your clothes on. Come on, Abner, put them on. ABNER Maggie, stop moving me around, okay? How's Matthew doing? Are we going to have a centerpiece? Is it working? MAGGIE How do I know? I don't know, just go, Ab, just go. (SHE starts getting dressed.) I hope for Brother Matthew -- we're trying to help -- I don't know -- he has so many other considerations. ABNER What are you talking about? He doesn't owe anyone, he's not in the material world. Me, I'm back three months rent on my gallery, sweetheart, we got to make this show work or the landlord'll throw me out. I ain't got a rich daddy-o to ride in and save the ranch. MAGGIE Hey, give me a break, you don't have to be a fuckin' snob about bein' poor, Abner. We're trying -- Nicholas and I -- we really want it to work for Matthew -- we owe him something -- and Nicholas worships him -- now come on, hunko, tuck that thing away and go be important in the world. ABNER Hey, gorgeous, don't patronize me. You wish you had his hunger. And mine. (Grabs HER and kisses HER.) Right, baby face? MAGGIE I'm hungry, I'm hungry all on my own. (Kisses HIM. Breaks from HIM) Now come on, move. ABNER Hand me my Gucci cowboy boots, thanks, babes. SHE hands HIM sleek loafers. MAGGIE I'm not your babe. ABNER No, you're not. But you're so delicious. You got that mind and that body -- MAGGIE And the money. I always think you never forget I got the money. ABNER Yeah, that's true. So I push you to get you up. That's what I do, Maggie, I help people, I help get 'em up. I don't want to be out on the streets again, so go out there, baby, toughen them sinews. MAGGIE I'll bite your ears off. ABNER Promise? MAGGIE Get outta here, Mr . Show Business. No, no, go that way. (SHE points.) out, slurpy. 'Cause I got to help you get the rent by getting Brother Matthew's show in the New York Times , right? Got to make those telephone calls to Daddy's friends, right? ABNER Bye. HE laughs and Exits. MAGGIE (turns off the boom-box and sounds of the city in the background return. MAGGIE listens.) Okay, okay, you can come out now. I know you're there. Brother Matthew, come on, it's okay. Come on. BROTHER MATTHEW enters wearing jeans and sneakers and a red plaid shirt. MATTHEW I didn't realize -- and then I didn't know what to -- MAGGIE Hey, it's fine, really. Want some coffee? Put on some music you like. Where d'you get those jeans? And what happened to your thumb? MATTHEW Sure, coffee, fine . No, I'd rather work just in silence, thanks. Ah -- from the corner of my closet. And -- ah -- just an accident but not my painting hand, I can work, I can, I know I can. MAGGIE Gee, you're methodical. THEY laugh. MATTHEW Ah -- Maggie, I won't say anything about -- you know -- MAGGIE That'd probably be best, thanks. It's symptomatic of something but I haven't figured out what it's symptomatic of yet. I mean, really. I mean, deeply, you know how it relates to my father. Hey, I'll get the coffee, you set up. You heard the man, we got to make this work, right? MATTHEW Yes. MAGGIE exits. MATTHEW sets up the easel and goes off stage for a moment and returns with huge canvas stretched in a frame. HE secures it on the easel. NICHOLAS enters. NICHOLAS Hey, that's great, hey, Brother Matthew, wow, great, good, wanna use my brushes? MATTHEW And paints, too, if that would be all right. NICHOLAS Hey, my honor. Maggie here? I got off early 'cause -- well, business, see, the word's gettin' out that the food's not any -well, it stinks, everybody's figurin' that one out and I'm tellin' you they better fire the new chef if they wanna stay around, he's such a Nazi creep anyway. Hey, Mags? MAGGIE (off-stage) Hi. NICHOLAS I'll get my paints and whew! I gotta take a shower, I stink of his cheese omelettes. Just take a second. Hey, Mag, hey, whatlcha doin'? HE exits. MATTHEW holds HIS chest and doesn't move. MATTHEW (whispers as HE crosses HIMSELF) In the name of the Father, and the Son, and the Holy Ghost. Amen. HE leans down and takes off HIS sneakers and HIS white socks. MAGGIE enters with coffee and a box of NICHOLAS' paints. Sounds of shower. MAGGIE Here you go, captain. MATTHEW Thanks. SHE puts the coffee and the box of paints on a chair next to the easel. MAGGIE Why did you -- ? Matthew, would you like rug, I have a little blue fluffy rug, so when you -- yeah ? MATTHEW No, I'm -- MAGGIE The floor's cold. I'll get the rug. SHE exits. MATTHEW examines the paints and begins to set them up. MAGGIE returns and places the rug in front of the easel. MAGGIE (placing MATTHEW'S sneakers under the chair) Keds, how sweet, I'm so sick of all that fashion hype. I mean, they're just sneakers. Basic, that's you, Matthew. MATTHEW Well, I wouldn't necessarily -- MAGGIE Basic, like in everybody who's alive has to eat. You get hungry. You eat. PAUSE. Shower sounds off. MATTHEW Yes. MAGGIE Same as last? MATTHEW Ah -- ? MAGGIE Same pose as last? MATTHEW Oh, yeah, yeah. MAGGIE Okay. SHE starts to arrange the bed and take off HER clothes. NICHOLAS (off-stage) Hey! Where's the -- ? MAGGIE Out here, Nicky, it's okay, come on, come on, don't take all day. MATTHEW I didn't want take his -- MAGGIE Nah, it's fine, you worry about what you got to do and we'll do what we got to do, deal? MATTHEW Well, I -- MAGGIE Hey, I got a responsibility here, Matthew, and I take it real seriously. I do mine, you do yours, deal? MATTHEW Ah -- MAGGIE Say 'Yes,' Matthew . MATTHEW Yes. MAGGIE Good. NICHOIAS enters carrying two jars of water, HIS brushes, and with a towel around HIS waist. HE places them on the chair next to HIS paints. NICHOLAS Here you go, good luck to you, Brother. Same as last? MAGGIE Yeah. NICHOLAS takes off HIS towel and gets into bed with MAGGIE. THEY assume the pose from the previous scene. MATTHEW starts to work. HE works easily and is totally absorbed. MAGGIE (gets out of bed and goes to HER boom-box) I don't want to hear this city now, okay? MATTHEW Ah -- music doesn't necessarily -- MAGGIE Nah, I got something else. SHE takes a recording of NATURE'S MUSIC, "Song of the Whale," (Silver Bells Music, Nashville, TN), and puts it on. We hear the haunting sounds of whales deep in the ocean calling musically to each other. MAGGIE They're whales. They're telling secrets. Okay? MATTHEW Okay. NICHOLAS Yeah. MAGGIE gets back into bed and assumes pose. MATTHEW begins to paint. MATTHEW It's haunting. They're so alive. As MATTHEW paints, the stage lights almost imperceptibly fade. And as those lights fade, almost impercptibly, two spotlight grow: one on BROTHER MATTHEW and the other on NICHOLAS and MAGGIE. NICHOLAS I can help you, Brother. MAGGIE Yes. NICHOLAS It's our turn. We can both help you. MAGGIE It's okay. NICHOLAS Come on. MATTHEW puts downs HIS brush and paints and slowly crosses to the bed. NICHOLAS, on the other side of the bed , rolls away from MAGGIE and sits up and looks across MAGGIE to MATTHEW. The spotlights become one, the other stage lights have faded to black. MATTHEW I'm so afraid. NICHOLAS (standing) It'll be our secret. MATTHEW takes off HIS shirt. MAGGIE reaches out to HIM. MATTHEW takes HER hand and SHE draws HIM into bed. THEY kiss. Fade to BLACK. Sounds of the whales surge. scene vii ABNER STEIN'S Gallery, the opening of BROTHER MATTHEW'S Show. Sounds of the whales fade as Vivaldi's "Concerto No. 4 (Winter)," from THE FOUR SEASONS, (Pinchas Zukerman, CBS Masterworks, MK 36710) fades in. After the first movement, the Allegro non molto, is played, we then hear the complete "Concerto No. 1 (Spring)" from the same recording. We begin to hear sounds of people chatting and glasses clinking. MATTHEW'S hanging paintings are displayed as before, downstage facing up, but now, in the center, is a large new painting, the one MATTHEW had begun in the previous scene. The lighting is bright only on the paintings while the rest of the room seems almost to be moving in and out of shadows. ABNER enters with drink in hand. HE greets the "guests." ABNER Yes, thank you, the work is marvellous, isn't it? Yes, hello, glad you could come, Mr. Darcy, and Mr. Wittenberg, this is an honor for my gallery and for Brother Matthew. Thank you, yes, the work is very special. Excuse me, please. Ah -- Miss Raster, hello, how do you like the work? Yes? Yes? Ah -- which is your favorite? (HE looks at the large new painting.) Extraordinary, oh, yes, you have, as ususal, impeccable taste. You would? Certainly, I'd be pleased to hold it for you. Ah -- he's here, somewhere, I'm looking for him. One moment and -- MAGGIE enters in a long, strapless, shapely evening gown. ABNER Maggie, Miss Raster would like to put a reserve on Brother Matthew's "Entwined" for the Museum, could you secure that for her, please? MAGGIE Certainly. MAGGIE writes the sale in HER little book and places a red dot next to the painting. ABNER And have you seen our artist? MAGGIE No, I've been looking, but -- ABNER Mr. Zucker, hello , how do you -- Oh, I'm sorry, the Contemporary just put a reserve on that one, but -- oh, well, this series of the front torso of Venu -- these three here -- are so haunting and three- dimensional that you might -- you would? Certainly. oh, we can come to an agreement on price for the three, I'm sure of that. of course, they're yours, I'll just tell my assistant. Maggie? MAGGIE Right here, Abner. ABNER Mr. Zucker would like to purchase this suite of three. MAGGIE Of course. Oh, this series is beautiful. You can almost see her breathing in these drawings and I never thought of Venus as a breather, did you, Mr. Zucker? Oh, yes, I love them, too, I could live with them forever. All of them. (SHE writes in HER little book and places red dots next to each painting.) Enter NICHOLAS in a cordoruy suite with a checkered shirt and knit tie and white sneakers. NICHOLAS (to MAGGIE) Have you seen the Brother? MAGGIE No, I don't know where he is. We're all looking for him. The ARCHBISHOP and FATHER JOSEPH enter and begin examining each painting as THEY make THEIR way to the large, new painting. FATHER JOSEPH What did he say then? BISHOP He talked about Arizona being bankrupt, he talked about the real weekly attendance numbers not the published ones, he talked about the schools and their cost and the shrinking attendance and all that real estate to heat. (Points to the drawing) This is really very good. FATHER JOSEPH Oh, yes, truly, he has a gift. And what else? BISHOP And then -- have you ever see the Archbishop at his most political -- his most benign -- and his most uncomfortable? FATHER JOSEPH Sex and the clergy . BISHOP Exactly. 'How are you handling that among your religious in your parish?' he asks. So I talk about the Pope's latest and the need to return to churchly values but the Archbishop -- who has never been accused of stupidity -- waves his hand in my face and says, 'Yes, yes, my dear Bishop, but this is New York, and that is Rome and the issue is how shall we two meet?' FATHER JOSEPH He looks to Heaven but our congregants hunt in the streets or else they're old and hiding in their rooms as they slowly die of terror. BISHOP Slightly overstated, my dear FATHER JOSEPH, but -- FATHER JOSEPH Not inaccurate. BISHOP No, unfortunately not inaccurate. These are wonderful drawings. Uncanny. Eerie. Our Brother Matthew has many gifts. FATHER JOSEPH Yes, he does. Many gifts. THEY finally arrive at the largest and newest painting. Involuntarily, THEY both cross THEMSELVES . Enter ABNER in a tuxedo with drinks in HIS hands. ABNER Well? Is not our Brother Matthew a breath of fresh air? BISHOP Blasphamy -- FATHER JOSEPH (at the same time as the BISHOP) Beautiful -- shocking. ABNER But it is magnificently painted. FATHER JOSEPH Yes. BISHOP Yes, technically, but -- he has taken vows. FATHER JOSEPH I don't think we need to discuss here the solemn promises made ABNER Would you excuse me? BISHOP Yes. NICHOLAS and MAGGIE walk past the BISHOP. BISHOP Why, you're the -- FATHER JOSEPH In the flesh. BISHOP Yes. FATHER JOSEPH You were Brother Matthew's students, weren't you? NICHOLAS You bet. MAGGIE Uh-huh. NICHOLAS Isn't his work wonderful? Isn't it wonderful? BISHOP Well, it's certainly ah -- NICHOLAS Hey, I'm sorry, but could you excuse me. BISHOP All right. NICHOLAS exits. ABNER Mr. Torkuru, good evening, sir , how nice to see you again. Do you? I'm so pleased -- well, Brother Matthew was born here in New York, Brooklyn as a matter 6f fact -- ah -- German -- part of his family escaped the war -- and he went to St. Andrews and as a matter of fact he teaches there now. No, not art, literature, isn't that interesting? Oh, yes, his work does have that 'other' quality -- would you? How wonderful. Which one? Oh, I'm sorry, but as you can see, 'Entwined' has already been purchased by the Contemporary. But -- oh, good, these two then. I'm very pleased and slightly flabergasted -- almost all the work has been spoken for. Maggie? Could you please take a reserve on this one -- two? fine -- for Mr. Torkuru? MAGGIE My pleasure. And don't you just love tushes? Hmm? No, I don't believe he did any drawings of -- well, he is a Brother after all. Hmm? Yes, well, maybe in the future he will. oh, excuse me, and thank you very much for your purchase, Mr. Torkuru. I'll be right back. Katherine, Katherine, I've been looking for you. ABNER Mrs. Rothstein, a great pleasure to see you this evening, you look very beautiful. And thank you again for your purchase this morning. I told Brother Matthew you were the first person to buy one of his drawings and he wants to enscribe it especially for you. Mrs. Rothstein? Truly, thank you for your support. NICHOLAS (enters and goes to ABNER) Have you seen the Brother? ABNER As a matter of fact, no, he was here just before we opened but then I don't know where he went. oh, excuse me, Mrs. Rothstein this is Nicholas Quin -- Nicholas, Mrs. Rothstein. Yes, he and Maggie over there were the models for the large painting and -- no, I wouldn't really call it shocking or too -- NICHOLAS I'm going to find him. Excuse me, Mrs. Rothstein. ABNER Tell him we're all waiting for him, Nicholas. Now, Mrs. R., I'll bet if you didn't know it was painted by a member of the Church, your response may have been quite different, what do you think? Tell me honestly. Lights and sound fade. A small spotlight comes up down left and BROTHER MATTHEW, dressed in white shoes, black pants, a black tunic with a white collar and a white jacket, enters, kneels, and prays. MATTHEW (crosses HIMSELF) Have I violated You? Have I sinned? Am I more impure now than I was before? Forgive me, Father, oh, forgive me for I have grown large and hungry and I'm filled with pride. It's all so hot and dizzy -- I'm burning all over like fire, like the sun, it's all so bright, Father -- Father? is the sun a sinner, too? Enter NICHOLAS. MATTHEW Have I lost something or have I gained? Help me, Father, help me in my time of need. NICHOLAS Matthew. MATTHEW Oh. NICHOLAS It's only me. MATTHEW Yes. NICHOLAS I haven't seen you since -- MATTHEW Yes, well, I finished it -- NICHOLAS Yeah, I saw, it's brilliant -- it's really alive, Matthew. MATTHEW Is it? NICHOLAS Oh, yeah, everyone thinks so. And they're buying like crazy -- I'll bet it'll all sell out, you know? And -- Abner wants you to be there -- they're all asking for you. MATTHEW You both were very kind. NICHOLAS Yeah? Maggie was right, then? MATTHEW I don't know. NICHOLAS But then you left. MATTHEW So I could work. NICHOLAS Yeah, I figured. It's always connected, you know? I don't know how -- sometimes if I do sex, then there's something and sometimes if I don't, I'm all charged and crazy and MATTHEW So burning hot but you don't know where the pieces go. NICHOLAS Yeah. MATTHEW The literal flow of life. NICHOLAS You're still a Brother, aren't you? Does being with a woman change that? MATTHEW I don't know. NICHOLAS (takes a step toward MATTHEW) I love you, Brother. MATTHEW (holds up HIS hands and stops NICHOLAS) Shshshshshsh. NICHOLAS Yeah, well -- they want you inside. This one's all yours. MATTHEW Go on. I'll be right there. Tell them I'm coming. NICHOLAS exits. MATTHEW turns and looks up. MATTHEW And if I have fallen, is this part of Your plan? Do you want me to just go out there and burn like the sun? Yes? If that's Your Will, I am still Your servant. Spotlight goes out and MATTHEW exits. Lights fade up higher on the gallery. NICHOLAS enters. NICHOLAS (to ABNER) He's coming. ABNER Ladies and Gentlemen -- NICHOLAS Yeah, here he is. ABNER Ladies and Gentlemen, I have the enormous pleasure of introducing to you the man who has created these works of such enormous beauty and provocation, Brother Matthew. NICHOLAS (to MATTHEW) Come on. BROTHER MATTHEW enters and stands still. The "guests" begin to cheer and applaud. MAGGIE goes to MATTHTW and brings HIM center stage, then SHE steps back. Applause and cheers build and build. Then it all suddenly stops and a spotlight snaps up on MATTHEW. MATTHEW Real flesh is so sweet. BLACKOUT. scene viii Sounds of the city's traffic: sirens, trucks, car horns, etc. A church bell tolls 8:00 a.m. Lights up on classroom and on BROTHER MATTHEW who is standing in the same position as the last scene. MATTHEW Good -- well - - ah -- here we are and -- Mary-Claire, would you please -- ah -- please -- ah -- close that window -- they always leave it open -- it's freezing and the trucks -- Tony, would you -- would you help her, it's an old window and she -- great -- good -- (City sounds are lowered.) -- ah thank you. Well, now, this morning -- the sun seems a little bright this morning, yeah? Well -- ah, oh -- good morning, John Kernan -- difficult night last night? Hope you weren't burdened by too much truth seeking, hmm, 'til all hours? (Some laughter from the class.) Well, John, I -- ah -- that was a cheap laugh on you and I should apologise but it's one of those mornings when -- and we should forgive John for the ways of -- he didn't ask for it, it was just given him -- the ways of flesh and hormones and we should move forward. Because forgiveness is a core theme of our Mr. Joyce, one of the most -- ah -- reverberating writers in the English language. Although I don't know many other languages -- Latin, of course, but Latin of the Church, not the flesh. It was flesh, wasn't it, John? No, no, sorry, rhetorical question, this is not a confessional so keep your fluids in, just try to work your brain about the conflicts. Sit down, please, good, thank you, John. And here we have it, young ladies and gentlemen of the future : the conflict between flesh and the Church which, as we saw, ate at Joyce all through Portrait of the Artist as a Young Man -- perhaps the most brilliant book ever written on the human heart -- after the Old and New Testaments but they're more historical or religous or -- not as idiosyncratically pulsing on the chaos of the heart like James Joyce is -- was -- and -- so: now we explore in his story ' "Grace," from Dubliners. Do you love language? Oh, I do love the rituals of the Church -- I love the Mass -- I love the Mass -- I love the old prayers -- I love the Latin -- I love speaking it on my lips and soothing my brain. Don't you wish language had the answers? Ah -- sorry, had a strained night myself last night. Hmm, oh, it went fine, thanks for asking, Margaret. But -- ah excuse me for troubling you but that morning sun is so could you, Tony, lower the blinds -- the shades -- those things that shield us from the sun? Those overwhelming pinpricks of light and energy. Yes, more, all of them, thank you. I'm fine now, thank you, Tony and Peggy, thank you, please sit down. Or an image, if we had one perfect image -- like a visual epiphany -- that's what art is about -- seeking to encapsulate within the frame. Art is internal, comes from darkness. That's what Joyce was driving toward -- but it's slippery -- you're always on ice -- fire and ice. The ultimate Awesome. Yes, Mike? Ah, good question, as usual, Mike, a good question for a bright, probing Catholic boy. Mike asks the ultimate question in human morality: who determines the balance? Mike, this is my topic for the morning, how did you know that? What kind of a night did you have? Excuse me, Mike, for asking -- maybe. So: let's secure our little parish here and please huddle in and turn to page 169 and I'll read from the last paragraph -- all right? Everybody with me -- I mean, as best you can? Page 169, Thomas, yes, thank you -- after your night, did you take a shower? I did, for hours, seemed like hours -- very hot . In the dark, too. But can the water cleanse us? So, I read from the finite page 169: "There they were at it, all the cardinals and bishops and archbishops from all the ends of the earth and these two fighting dog and evil until at last the Pope himself stood up and declared infallibility a dogma of the Church ex cathedra. On the very moment John M acHale, who had been arguing and arguing against it, stood up and shouted out with the voice of a lion: 'Credo!"I "With the voice of a lion -- Credo." Well, what does that mean to you? Remember, the infallibility of the Church -- the "charisma of truth" -- is as old as apostilic times and a doctrine of divine assistance given to the Church whereby she is preserved from the possibility and liability to be in error on matters of faith and morals. That said, as vital and pulsing young human beings, we still must investigate and confirm for our own structures of truth, yeah? Yes, Mike, yes, speak from your heart. Well, then, what should we do? Take off our clothes and fling ourselves at each other? Yes? I -- I'm sorry, I -- you see, I didn't sleep at all last night so, please -- ah, Katherine, I've made you blush, and young ladies and gentlemen, I have to tell you that Katherine's blush saves us all from flesh and the devil and eternal damnation. Because God Himself knows truly that the heart is not wanton, it is only curious. We live with God and the Devil and our greater being seeks His truth, yeah?, isn't that right? And, because this is a classroom and I hope you never leave -- or at least never stop probing -- let's turn the conflict -- the warring passions -- around and examine from them another point of view. A point of view so magnetic and blinding that all of us as flesh are drawn to its sun. What we call midnight. What we call sin. Ah, Katherine, God bless you, you blush again. Your blush redeems my soul. Because it means that, for Katherine, she has the intuitive answer. But what about the rest of you -- the rest of us -- what is our answer? or, at the very least, what is our approach? Because it is true -- isn't it? -- that nowhere does Jesus say that celibacy is the only way to God's grace. If that were true, there would, obviously, be no generations to sing to the greater glory of His name ' right? I mean, that's obvious to all of us -- obvious to all of us -- so: will pleasure desecrate the soul? Are we all not caught in the temples of our body and why did the Pope just declare we should be living as if in the Fifteenth Century? That's what His Holiness declared and we -- as His good sheep - must follow. But in the Fifteenth Century they didn't have television with all those naked people advertising perfume and urging us all to have safe sex with condoms. Whereas Joyce, in Portrait knew the pangs of testerone in the eyes and bursting -yes, blush, Katherine, because all the greats have to deal with the muck and mire of human fallibility. Only the Pope is infallible. Where does He put his seed? Doesn't He have dreams, too? Do they burst? Why does the seed pass through the urinary tract? Are we all damned as toxic waste even before we are created? Oh, Lord in Heaven, forgive my unceasing mind hot and turbulent -- I mean -- you see, isn't that what Stephen Dadalus in Portrait cried out over and over again in language and truth so penetrating that all questions of protection in the bosom of Mother Church made him crazy -- yes, crazy -- and didn't Stephen eventually decide not to enter the church as everyone thought he would -- should -- had to? Yes! Stephen chose the other road and -- well, we have Joyce's words to salve us in moments of horror but we must make them our own. Yes, Katherine, future mother of us all, yes, speak your heart and redeem my soul -- our soul, I mean, all of our souls. Yes, speak. Water? Would it be pure? No, thank you, my mouth is dry but my heart is on fire and I only want to celebrate His great glory and not be shut out from His house of eternal truth. Thank you, Katherine, but your water is not from the pure stream -- I think probably there is no pure stream -- we all drink water from the tap -- tap tap the tap -and with chlorine and chemicals of purity to cleanse the souls of -- whereas most well water is now polluted. Jesus drank well water and it wasn't toxic, He didn't die from well water, He died from all those who wanted to limit Him, to diminish Him, to crush Him, when all He wanted to do was to celebrate the greater glory of God in His Church -- Mother Church -- whose bosom is close and sometimes I can't breathe and when I became a carnal being -venal and common and only seeking the true placement of my real seed -- did I, oh, Lord, my God, did I not celebrate Your Eternal great goodness? Go, yes, all of you, go and celebrate! We are all living in constrictions but can we, like John MacHale, accept the Pope ex cathedra? But the Pope has no erections and we are all proof of erections -- or does He? We are only seeds, we have no infallible answers to the real issues so we must celebrate -- these are our only firm acts of attrition -- we must celebrate and must try to understand the true limits of our truly awesome beings -- all our multiple and conflicting beings all housed as one within the same stupendously fleshy body which drives us to madness and to overwhelming desire for His greater glory. His greater glory -- (MATTHEW kneels.) Oh, Jesus, my Lord, my Saviour, in my hour of need, do not abandon me, do not keep me secret and tiny -- I explode! Save my soul and heal my flesh! Give me light. Give me authenticity and take me from the well. I am a Nazi. I am a Nazi. Take me, oh, Lord -- take me out -- take me out from the well! MATTHEW breaks and cries. Sounds of bumble bees as the lights fade to BLACK. scene xix The BISHOP'S OFFICE. MATTHEW is kneeling in prayer as before as the sounds of bees fade and city traffic is heard. Church bell strikes 2:00. The BISHOP enters. BISHOP Brother Matthew -- ? MATTHEW (rising) Yes. BISHOP Brother Matthew? MATTHEW I'm fine, now, I am. BISHOP Where did you go? After you left your class, we searched everywhere we could think of. Sit down. MATTHEW Yes, Bishop. BISHOP (sitting behind HIS desk) Well? MATTHEW I searched my heart. BISHOP Good. And? MATTHEW I love the Baby Jesus -- I love Him as the Son of the Father and as the Savior of us all -- He died on the cross to save us love the Mother Church.... BISHOP But? MATTHEW Bishop -- Bishop - - I don't know how the Baby Jesus grew. I don't know how He became a man. BISHOP Ah. MATTHEW It's missing. BISHOP There is no doctrine to follow. MATTHEW No. It's difficult enough when you know the path -- but when you don't, then -- BISHOP Yes. MATTHEW But now, curiously , after -- after my -- storm -- I feel easier and now more ready. BISHOP Hmmm. I'm glad you're easier -- but -- you know, you created quite a -- ah, focal point, this morning -- MATTHEW I am a sinner. BISHOP As are we all, but -- you are also a teacher of the young and -- MATTHEW Even lost, I am my true self -- but not yet arrived. BISHOP Yes, well, I understand, but -- you see even the Archbishop called. How he knew I don't -- know but MATTHEW FATHER JOSEPH called him. I asked him to. I cannot hide. I cannot live in fear. BISHOP No, of course not, but -- MATTHEW I must continue my search and seek the wisdom of both our history and my heart. BISHOP Yes, good -- then we agree. MATTHEW Oh, yes. Agree? On what? BISHOP This is the time for your retreat, Brother Matthew. MATTHEW Oh, no, not now, not now that I am so ready to be pierced. BISHOP There are always many considerations. As your advisor, I tell you this is the time. MATTHEW What was Jesus thinking on the Cross? And what was He feeling? And how could He accept what He perceived as abanndonment by the Lord, His Father? And -- do you think? -- was He in physical pain? What did Jesus feel -- with His body? And -- and -Bishop, do you think Jesus ever have an ejaculation, do you think so, Bishop? How not? And if He did, wasn't His sperm sacred and supremely holy? And -- and if He had been not only a son but a father, may Jesus have started a race of truly holy people who would all live in supreme grace with God's Holy blessings and with no - - with no wrath? What do you think, Bishop? BISHOP These are your questions, Brother Matthew, and they are real for you. You must now go to Retreat and sort the passions in your soul. MATTHEW And body! But what better place than to do it here -- in the world -- not sequestered within walls -- BISHOP Recognize, Brother Matthew, that this is your time. MATTHEW Yes! To be in the world! Let me be free to speak! In words and paint -- and -- BISHOP Listen to me. Accept my will. MATTHEW But -- BISHOP Enough. MATTHEW Jesus wandered, oh , let me wander. BISHOP Then leave Mother Church. MATTHEW Oh, no, no, no, never. BISHOP Brother Matthew, do as I say, Brother Matthew. MATTHEW Yes, Bishop. BISHOP Go now, Brother Matthew, go this afternoon. Return to you house and get ready. MATTHEW Yes, Bishop. BISHOP (rising) In the name of God . MATTHEW (rising) In the name of God . And the blinding light. BLACKOUT. scene xx BROTHER MATTHEW'S room. Sounds of the city fade and cross with "Theme From Schindler's List," as heard before. MATTHEW is standing in the same position from the previous scene. During this scene, MATTHEW takes off all HIS clothes until HE is naked. MATTHEW It is because I love You. It is because I am nothing. It is because I was born into sin. It is because I have no ability to go beyond the limits You have framed for me. It is because my heart is small and You are great. It is because I am unworthy of Your love. It is because I want Your love. It is because I am a Nazi, I have killed -- I am a rapist, I have violated -- I am a blasphemer greater than anyone who has ever lived and I devote my life to You, oh, to You the most Supreme Being. (MATTHEW, now naked, takes up long lashes and begins whipping HIMSELF.) Forgive me, Father, for I have sinned. Forgive my transgressions which are as multiple as the grains of sand in Your endless oceans. Forgive my longings to be as powerful as You. Forgive me, Father, I am Your sinner, and -- if You want me -- if You want me -- I am Yours -- now and forever -- always and always to do Your work in Your endless and mysterious ways. I am Yours. I am Yours. I am Yours. MATTHEW continues beating HIMSELF as the curtain falls. end of ACT I ACT II scene i A. Extreme stage right is MATTHEW'S tiny room at the Retreat in upstate New York containing a single bed, a dresser, and a straight backed chair. Above the dresser, a cross is hanging. A suit-case is on the chair. There are no actual walls and the lighting suggests moonlight through the window. Lights up on only this small area. Silence. Enter MATTHEW wearing black pants and a black turtleneck shirt and black sneakers. HE turns and looks off-stage. MATTHEW Thank you, Brother , and Christ be with you. Oh, I know the kitchen, but -- if I become hungry then -- yes -- no, but thank you for asking again, Brother, good night, good night -- and with you. MATTHEW opens "door" to HIS room and then closes "it." HE sits on HIS bed in exhausted silence. Then HE stands, turns on the naked lightbulb from the cord hanging in the center of the room, and goes to HIS suitcase and begins to unpack. Suddenly, HE turns and falls to HIS knees in front of the cross. MATTHEW (crossing HIMSELF) In the name of the Father, and the Son, and the Holy Ghost, forgive me, Father, for I have sinned . I -- But MATTHEW has nothing to say and HE finally stands and continues to unpack HIS few things and put them in the dresser. Again, suddenly, HE kneels and prays in front of the cross. MATTHEW Lord Jesus Christ, may your body and your blood deliver me from my sins and wash me of my faults. Again, unable to go further, HE rises and places HIS suitcase under the bed. MATTHEW turns off the lightbulb, sits on the bed, and stares out the window into the moonlight. MATTHEW (singing in a surprisingly sweet and clear voice) Oh, Holy Night, the stars are brightly shining, it is the night of our dear Saviour's birth. Silence as HE continues singing but to HIMSELF. Then: MATTHEW (singing) Fall on your knees , oh hear the angels singing, oh night divine, oh night, when Christ was born. MATTHEW wraps HIS arms around HIS knees and makes HIMSELF as small as possible. Then: MATTHEW (singing) Oh, night, oh, night divine, oh, holy night. Slowly, HE gets out of bed and stands before the cross. MATTHEW (singing) Fall on your knees -- But HE cannot continue. HE turns and sits on the chair. Unaware, HE squeezes HIS thighs together until HE realizes what HE is doing. Then HE stands, turns -- turns again -- then suddenly opens the "door," leaves HIS room, and begins to walk stage-left. MATTHEW'S room glides off-stage. B. MATTHEW walks slowly through the "hall" until HE comes to a "door" which HE opens. The sounds of night crickets grow and MATTHEW closes the "door" and steps outside into the moonlight. MATTHEW looks up to the moon and quotes from John Donne's "Holy Sonnets," verse XIV: MATTHEW Batter my heart, three person'd God; for, you As yet but knocke, breathe, shine, and seeke to mend The sounds of wind grow as the sounds of crickets fade and MATTHEW wraps HIS arms around HIMSELF. MATTHEW Take mee to you, imprison mee, for I Except youlenthrall mee, never shall be free, Nor ever chast, except you ravish mee. Lightening flashes in the distance. MATTHEW One thousand one, one thousand two, one thousand three, one thousand four, one thousand five -- Thunder roars and the wind howls and MATTHEW opens HIS arms. MATTHEW Burn me, 0 Lord, with a fiery zeal Of thee and thy house, which doth in eating heal. In the distance, a cow bellows a frightened, "Mooooooo," and catches MATTHEW'S attention. HE follows the sound and moves stage left. MATTHEW come upon the "barn," opens the "door," and steps inside. The wind quiets. Bales of straw are piled three high, several buckets are on the floor. The cow moooos again. MATTHEW Hey, Daisy, shshshshsh, Daisy. Cow moooos a third time. MATTHEW Are you scared, huh? Hey, Daisy, don't be scared, it's only me. Hey, hey, Daisy, ho there, shshshshsh, Daisy, shshshshsh. MATTHEW goes to DAISY and HER stall, which is just off-stage, leans ups against its door, and pats HER. MATTHEW Yes, yes, there's a good girl, yes, Daisy, yes. Hanging over the door to DAISY 'S stall is an old blanket and MATTHEW puts it on. He walks to the "window" and stares out. MATTHEW (from a blessing from the Eucharistic Prayer) You are blessed, Lord our God, King of the universe, you who form the light and create the darkness, who shed the light of your mercy upon the earth and those who dwell on it, who, out of goodness,unceasingly renew every day the works of your creation... DAISY mooos again. MATTHEW See, Lord, all your creatures love and need your glory. MATTHEW sits on a bale of straw. Then HE gets up and opens the barn "door" and the sounds of crickets return. MATTHEW Ah -- 'tis past. MATTHEW lays down on a bale of straw and falls asleep. As the moonlight changes to dawn and the morning light fades up rosy and warm, the crickets' chirpings fade, too, and birds begin to sing. C. Suddenly, off-stage from the direction of the Retreat, we hear, "Seeing is Believing," from Mike & The Mechanics: Living Years (Atlantic Records, 781923-2). Enter RACHEL, 17, dressed in faded jeans, red sneakers, and a wool jacket. SHE has a babushka on her head and is wearing glasses. On HER shoulder SHE carries a portable AM/FM radio cassette player which SHE holds next to HER ear. When SHE gets to the place where MATTHEW held out HIS hands and pleaded, "Burn me 0 Lord.... " RACHEL does a little dance of leaps and graceful turns as SHE bursts with exhuberance. MATTHEW wakes up and goes to the window of the barn and watches HER. DAISY moos. RACHEL begins to dance HER way to the barn and MATTHEW retreats. Just as RACHEL opens the door, MATTHEW ducks behind a bale of straw. RACHEL puts down the radio on a bale of straw, goes off-stage and returns instantly wheeling a brand new pink bicycle with a huge pink ribbon on the handlebars. She wheels it downstage near the pails and baskets which are arranged neatly on the floor, takes out a brightly colored red, white, and blue dishtowel and lovingly cleans the handlebars and the seat. MATTHEW (stands) Hello. But the music is still on and HIS voice cannot be heard. RACHEL finishes wiping the new bicycle, then picks up a pail from the group of pails and baskets, examines the pail, puts it down, picks up another one, pulls out a white napkin from HER pocket and wipes down the pail, and then stands and opens the door to DAISY'S stall. RACHEL Oh. RACHEL turns and MATTHEW, confused, ducks down behind the straw, and RACHEL goes to the radio and turns off the music. RACHEL Ooops, sorry, Daisy, I know you're not into rock and roll. Good morning, good morning, were your dreams as sweet as cream? (Note: RACHEL is almost totally deaf and so HER speech has the awkward sounds of one who cannot completely hear HER own words.) DAISY moos. RACHEL And God be with you, Daisy. RACHEL enters DAISY'S stall and MATTHEW stands up. Sounds of chickens squawking from within DAISY 'S stall. RACHEL Good morning, and good morning, oh -- thank you, thank you very much -- how did you know it was my birthday? Oh, beautiful, thank you, Esmeralda, thank you, Lucy. Sarah Joseph: keep trying. RACHEL enters and MATTHEW ducks down out of view. RACHEL places the four eggs down on a bale of straw near where MATTHEW is hiding. SHE takes out the white napkin again and wraps the eggs in the napkin. Then RACHEL takes the eggs and goes to a basket which is near the pails and carefully lays the eggs in the basket. MATTHEW (standing and clearing HIS throat) Ah -- good morning . RACHEL does not hear MATTHEW and does not respond. RACHEL I'm going to make myself a special breakfast and I'll share it with with -- MATTHEW Ahm -- excuse me. RACHEL Daisy? Do you like my new bicycle? RACHEL wheels the bicycle to the door of DAISY'S stall. RACHEL It's a special present for my seventeeth birthday but it's like a mystery. Everybody here says, ' Oh, no, Rachel, not me.' So I ask you, Daisy, if no one in the monastery gave me this beautiful bicycle, who did? MATTHEW (louder) Ahm -- good morning. RACHEL still makes no response but picks up HER head and turns around to MATTHEW. RACHEL Oh! MATTHEW immediately steps out from behind the straw. MATTHEW I'm sorry, I was - - RACHEL Oh -- you came last night. You're the wicked one. MATTHEW I am? RACHEL You don't look very wicked. MATTHEW No? RACHEL I'm Rachel. Today's my birthday. MATTHEW You're seventeen. RACHEL Yes. And you're - - ? MATTHEW Matthew. I heard you talking to Daisy. RACHEL Oh. Yes. Hello. MATTHEW Hello. RACHEL I can hear you , but I'm really reading your lips. MATTHEW You read beautifully. RACHEL Thank you -- I was born this way. MATTHEW Me, too. RACHEL You're -- ? MATTHEW No, I mean, I was born like who I am. RACHEL Oh. Yes, of course . I mean, I'm not sure I you're much older. MATTHEW Maybe. Happy birthday. RACHEL Maybe not that much older. Thank you. MATTHEW Do you know how to ride it? RACHEL I can ride horses. I grew up in a convent in Utah and took care of the cows and horses and chickens and -- but then they told me I would be living here so I moved here last month and I -- No, no, I don't know how to ride bicycles. MATTHEW After my father died when I was six, my mother bought me a bicycle and I rode my bicycle every day , even in the rain, all over the neighborhood. RACHEL Oh. Where was -- ? MATTHEW Brooklyn. New York. RACHEL I don't know Brooklyn. MATTHEW It's changed. He -- didn't die -- he ran away. RACHEL Leaving us with ourselves. MATTHEW Yes. Would you like me to teach you how to ride? RACHEL Uhm, I have to help the Brothers with breakfast -- MATTHEW Oh. Yes. RACHEL But today's my birthday, they won't mind. MATTHEW Good. RACHEL But Daisy will hurt if I don't -- MATTHEW Well -- RACHEL But she can wait a few minutes, she's a mother, she understands. MATTHEW Great. RACHEL (takes bicycle) Here. Let's go outside. MATTHEW Okay. RACHEL wheels the bicycle to the center of the stage. RACHEL Okay. MATTHEW Just sit on it and I'll hold you up. RACHEL Ah -- what? MATTHEW I'll hold you. RACHEL Oh. RACHEL climbs onto the bicycle and MATTHEW grabs holds and wheels RACHEL and the bicycle around and around. RACHEL Oh -- oh -- this is wonderful -- oh, look -- oh, let me go, let me go, Matthew, I think I can do it -- I know I can! MATTHEW All right, but you asked for it. MATTHEW lets the bicycle go and RACHEL rides around in a large, slow circle. RACHEL Look! Look, Matthew, I can do it! I can! SHE falls laughing . MATTHEW goes to HER and helps HER up. THEY get tangled in each other and the bicycle and MATTHEW steps back. RACHEL You have a sweet breath. You're not that old. MATTHEW I -- I should go to morning prayers. RACHEL Yes, of course. MATTHEW I'll help you put the bicycle back. RACHEL Thank you. In silence, THEY wheel the bicycle back into the barn. DAISY MOOS. RACHEL Oh, poor Daisy , she's very bursting and I MATTHEW You're very beautiful. RACHEL Yes? MATTHEW As God is my witness. RACHEL Oh. Am I? MATTHEW Very. RACHEL Yes? Matthew, may I -- ? MATTHEW What? RACHEL May I -- ? SHE holds out HER hands to HIM and goes closer to HIM and gently places HER hands on HIS face. RACHEL This way, I can hear you better. MATTHEW Good. As RACHEL gently touches MATTHEW'S face, MATTHEW takes off RACHEL'S glasses and then removes HER babushka. HER long hair falls over HER shoulders and HE strokes it. RACHEL You don't look at me the way the other brothers look at me. MATTHEW Oh? RACHEL And you told me your name was Matthew, not Brother Matthew. MATTHEW I did? RACHEL Yes. Your eyes are different. They see different places. MATTHEW Yes. And -- sometimes -- that can be very frightening. RACHEL I know. I know. Matthew, today's my birthday, but the Brothers -- when they see me -- they don't see me as a woman. MATTHEW Rachel -- RACHEL I am a woman, you know that, Matthew, I am a woman. SHE slowly leans forward and up to HIM and THEY both kiss. RACHEL Man. Man. SHE leads HIM behind the bales of straw and draws HIM to HER as SHE lays down. Lights fade to BLACK. scene ii A telephone rings and a spotlight comes up on FATHER JOSEPH who is holding a telephone and pacing. Spotlight up on another part of the stage. A green telephone with a long green cord is on the floor. ABNER (off-stage) Maggie, get that phone will you? God, everything's a mess here. Maggie? Maggie, get that god-damn phone. Telephone keeps ringing. ABNER Maggie, where the hell are you? (ABNER enters and follows long green cord to the telephone.) Just as ABNER picks up the telephone, FATHER JOSEPH hangs up. ABNER Hello, Stein Gallery, may I -- ? Hello? Hello? Oh, god! FATHER JOSEPH checks HIS little address book and redials. ABNER starts to go off-stage as the telephone rings again. HE races for the telephone and picks it up. ABNER Stein Gallery, good morning. FATHER JOSEPH Yes, please, may I speak with Abner Stein, if that's possible. ABNER This is he, may I help you? FATHER JOSEPH Yes, well, this is FATHER JOSEPH, I work with Brother Matthew at St. Andrew's and ABNER FATHER JOSEPH, of course, how are you? And how's Matthew -Brother Matthew? FATHER JOSEPH Well -- ABNER I've been calling the Rectory -- leaving messages -- but I haven't heard from him in more than a month -- is he all right? FATHER JOSEPH Yes, well, we did get your messages but -- ah -- Brother Matthew has been at Retreat -- ABNER Yeah, I heard that. Is he all right? How's he doing, Father? FATHER JOSEPH Well, we -- I heard from him this morning. ABNER Uh-huh -- and? FATHER JOSEPH He sounded fine -- quite excited -- and he asked me to call you. ABNER Oh. Great. And? FATHER JOSEPH It seems he's been painting quite a bit -- quite a bit -- and -- he has several -- well, he said he had a series of new paintings. ABNER Really? Paintings? That's great. I have a surprisingly long waiting list for his new work -- I mean, surprising only because he's not well known yet but the work -- ah -- well, you know his show sold out in three days and we all -- FATHER JOSEPH Yes. Well, Mr. Stein, Brother Matthew wondered if you and your people could meet this afternoon at the Bishop's office in Brooklyn. ABNER Ah -- well -- we're right in the middle of an expansion here, success has its own problems, you know, but for Brother Matthew, sure -- ah -- sure -- FATHER JOSEPH It seems Brother Matthew is bringing his new paintings back from Retreat and would like you and your associates to be there. At the Bishop's. I'll be there, too. ABNER Sure, sure, absolutely, I'll -- which associates? FATHER JOSEPH His students -- his ex-students who helped with the first show? ABNER Maggie and Nicholas? Sure. Sure. Hey, that's great. How does he sound? I mean, he must -- FATHER JOSEPH Possessed. 'By love possessed.' ABNER Huh? FATHER JOSEPH He said he's been painting day and night -- hardly eating -hardly sleeping -- 'possessed with furies that act as angels.' ABNER Really? FATHER JOSEPH Those were his words. ABNER Yeah, that sounds like him. FATHER JOSEPH Will you be able to bring your associates? ABNER I'll get them. Ah -- Father? FATHER JOSEPH Yes? ABNER Father, how many paintings does he have? FATHER JOSEPH Ten. ABNER Ten? Really? Paintings? FATHER JOSEPH That's what he said. And they're big. ABNER Wow. FATHER JOSEPH Two o'clock? 2477 Bartholomew Street. ABNER You got it. FATHER JOSEPH Thank you, Mr. Stein. It was very important to Brother Matthew that you three be there this afternoon. ABNER A pleasure, believe me, a pleasure. FATHER JOSEPH Goodbye, then, see you later. ABNER Right, Father, bye . Two o'clock. 2477 Bartholomew. And thank you very much for calling. THEY both hang up. ABNER Ten new paintings? Holy fuck! BLACKOUT scene iii The BISHOP'S Study. Silence. Then, off-stage: FATHER JOSEPH Careful, please, oh -- yes, careful -- careful. Enter NICHOLAS and ABNER carrying a huge 5 x 6 foot canvas which THEY bring downstage and place the "painted" canvas facing upstage. (On each of the frames is a folding device that, when opened, enables each picture to stand on its own .) Enter MAGGIE carrying a smaller picture, 3 x 4 feet, which SHE places in a smiliar position. NICHOLAS They're goin' freak, I'm tellin' you. MAGGIE He's a genius. ABNER Yeah, but at what? MAGGIE What do you care? They'll sell. Boom, boom, they'll sell like crazy. NICHOLAS This is really powerful work -- woooooo, he really hit the goldmine. The colors, the texture -- MAGGIE The bodies. You think he came on the canvas, huh? ABNER Smell it, Maggie, you should know. NICHOLAS Hey, remember where you are, and that ain't funny, Abner. ABNER No? Why, 'cause it's true. NICHOLAS I don't know, but look at the work -- it's like gorgeous MAGGIE It's possessed. ABNER & NICHOLAS Yeah -- yeah -- NICHOLAS Both. Enter BROTHER MATTHEW and FATHER JOSEPH carrying another 5 x 6 painting which THEY place downstage facing up. ABNER Come on. ABNER, MAGGIE, and NICHOLAS exit. FATHER JOSEPH Oh, Matthew, oh, Matthew, what has happened to you? MATTHEW He has spoken to me in all His glory, Father, can't you see that? FATHER JOSEPH Glory? I -- Oh, I don't know, Matthew, but don't expect the Bishop to understand and -- MATTHEW All I ask him to do is to look, and see, and feel, and think, and remember we are all children of Christ Jesus. FATHER JOSEPH Oh, Matthew -- Enter MAGGIE carrying another large canvas which SHE places downstage. MAGGIE Like you were in a feeding frenzy, huh, Brother? FATHER JOSEPH Oh, Matthew. (HE exits.) MATTHEW More like ecstasy. MAGGIE What's her name? MATTHEW Rachel. MAGGIE She's beautiful. And we all know who the guy is. MATTHEW Yeah. Enter ABNER and NICHOLAS with a 5 x 6 which THEY place downstage. MAGGIE (seeing painting) Oh. (SHE goes off -stage.) MATTHEW Abner? ABNER Brilliant. Brilliant. NICHOLAS Yeah, Brother, and scary for you. Beautiful, but maybe too hot? MATTHEW It's God's truth. NICHOLAS Yeah, well -- but you can say everything is true, Brother. ABNER They're sensational. Congratulations, Matthew. MATTHEW Wait til you see the rest of them. Enter MAGGIE and FATHER JOSEPH with another huge canvas which THEY place in the usual position. ABNER Oh, my You're in another league now, Brother Matthew. (HE exits.) FATHER JOSEPH Oh, Matthew, Matthew, may God have mercy on your soul. MATTHEW Oh, He did, Father . He did. FATHER JOSEPH exits. NICHOLAS Hey, Brother? MATTHEW Yes,, Nicholas? NICHOLAS When you're out there and it's like you're all alone?, I'm here, you should always know that, Brother, I'm here with you, I'm for you, I'll be there, Brother, you don't even ever have to ask. Remember I'm sayin' this to you, okay? Anytime. MATTHEW Is that what you see? You have many gifts, Nicholas, and you will spend your lifetime revealing them to yourself. Nicholas, Nicholas, thank you. NICHOLAS embraces MATTHEW and exits. MATTHEW kneels. MATTHEW Thank you, 0 Lord, for Your bountiful gifts. BISHOP (enters from other side of stage) Brother Matthew, I'm sorry, I -- (BISHOP sees paintings.) Oh! MATTHEW (rising) May I speak with you? BISHOP Oh. (HE goes to HIS desk and sits down.) ABNER and MAGGIE enter carrying another huge painting, followed by NICHOLAS and FATHER JOSEPH each carrying a smaller one. THEY all put the paintings downstage facing up. Because of the size of each canvas, THEY do not see the BISHOP . NICHOLAS This one -- hey, with the bicycle and the pink ribbon and those bodies with all that pink flesh, woo-weee, like Renoir mixed with Chagall, huh, Brother? ABNER Yeah, Lady Godiva and the Minotaur meet in the skies over Minsk. MAGGIE Were you thinking of Minotaurs, Brother Matthew? MATTHEW Anything of man is also a creation of God. FATHER JOSEPH (turning) Bishop! MATTHEW Therefore, we are all His creatures wanting only to live with His grace and be called out of darkness into His wonderful light. BISHOP (whispering) Brother Matthew! MATTHEW I only ask that I be judged as a servant wandering in the Kingdom of God searching for the true spirit of Christ Jesus. BISHOP Brother Matthew, what have you brought! Take -- take -- take them out of here! ABNER We'll bring them to the Gallery, Bishop. BISHOP Just get them out! ABNER and NICHOLAS gather two canvases and take them off-stage. BISHOP FATHER JOSEPH? In the name of God, what has happened to his soul? FATHER JOSEPH (goes to BISHOP and whispers) I spoke to Brother Francis at the Retreat about him and about Rachel. BISHOP Rachel? Oh, worthy is the Lamb who was slain -- and? FATHER JOSEPH whispers into the BISHOP'S ear. MAGGIE (goes to MATTHEW) You still have the key? (MATTHEW nods.) I'm at Abner's place now so it's mostly empty. MATTHEW Thank you. MAGGIE Will I -- will I go to Hell because I -- we -- ? MATTHEW Jesus taught us mercy and forgiveness. God is everlasting and everlasting love. ABNER and NICHOLAS return and take two more big paintings. MAGGIE Yes, but -- ? MATTHEW I am not a Priest, I am a Brother, I cannot give you absolution. But, Maggie, I believe. And if you believe, then there are no doubts. We are all in His awesome hands. MAGGIE I love you. MATTHEW I asked and you answered me. We both are weak. And strong. Maggie, we are children and all our sins are known to Him. Confess, purify your soul, and go in peace with His love. ABNER and NICHOLAS exit and MAGGIE takes two canvases and carries them off-stage., BISHOP (to MATTHEW) You call that love ? You are a servant of Christ and you have blasphemed, Brother Matthew, you have blasphemed. MATTHEW As have we all. FATHER JOSEPH Let's try to -- BISHOP In the eyes of Mother Church, all men are sinners and must -- MATTHEW Look into your own heart and you can not condemn me. And look to your own body, Bishop. We all are captive to flesh. You know that. And I know that. Enter ABNER BISHOP Meaning what? MATTHEW Meaning -- ABNER Excuse me? MATTHEW Yes, Abner. ABNER Excuse me, Bishop, there's one more piece here and ah may I speak to Brother Matthew? FATHER JOSEPH This is not the time to -- BISHOP In front of all of us, Mr. Stein, what is it that you would like to say? ABNER That I think your new work, Brother, is extraordinary and brave and beautiful and I would be honored to give it a show it in my gallery. MATTHEW Do you? Do you really? ABNER Oh, yes, and I believe these paintings will -- FATHER JOSEPH Bring high prices? Very high prices? ABNER Oh, yes, quite probably, their textures are so varied and their colors are so -- lush -- and their -- their -- BISHOP Say it -- you mean those bodies. ABNER Yes, those figures -- MATTHEW All that -- all that rosy flesh. FATHER JOSEPH Matthew -- ! ABNER Well -- yeah. BISHOP Thank you, Mr. Stein. ABNER Thank you. And Bishop, I understand your dilemma I have always been respectful of the Church and I -- I've gone to Christmas Eve Mass at St. Patrick's on Fifth Avenue and -several times -- and I hope you think of me as Brother Matthew's advocate in the -- ah -- non-church related -- the outside -- the -- ah -- secular world. BISHOP Yes. Well -- thank you, Mr. stein. ABNER Thank you. ABNER gathers the last painting and leaves. PAUSE. MATTHEW I love Mother Church. BISHOP Of course you do. MATTHEW You were young . You were in conflict. BISHOP Brother Matthew, do not confuse my sins with your blasphemy. In the great goodness of God, in His compassion, He has thoroughly washed me from my guilt and cleansed me from my sin. With the help of the Archbishop many years ago. And with FATHER JOSEPH's continuing help. MATTHEW To purify my soul is all that I want. BISHOP Then -- all that being said -- all my evils out there for the Holy Father to see, we can now begin, Brother Matthew. And Brother Matthew, how -- how could you violate such an innocent? MATTHEW In the same way that the Lord fathered Jesus through Mary. BISHOP What? MATTHEW Outside of Holy Matrimony. FATHER JOSEPH What did you say? MATTHEW In the same way that all the species live and celebrate His name. BISHOP Do not compare yourself to the Lord. Do not compare yourself to the animals. We have souls. We pray. You have no dialect here, Brother, do not think you are discovering new ground. MATTHEW All right, say that God fathered Jesus within the Sacrament of Matrimony, then why did he abandon Mary? If God is married to Mary and His uniting of Himself with the Church is to make the Church resplendent and holy, why then did God also abandon His son, Jesus? God the Father seems to be neither Father nor Husband. BISHOP Do not receive the grace of God in vain, Brother. Salvation is possible, reconcile with God, I implore you for your soul, we are not here to question why. MATTHEW Why not? Jesus was a Jew, Jews question everything -- that's part of their liturgy. Why can't the Church be questioned? Why can't the Church be in error? FATHER JOSEPH What? MATTHEW We have strayed from the words and the actions of the Lord, our Father. We have worshipped His son Jesus to the exclusion of our true parentage. FATHER JOSEPH The Holy Trinity - - MATTHEW Yes, yes, all equal but the Father is Supreme among equals. He fathered Jesus, Mary was a virgin , Joseph brought her into the sanctity of marriage but the Lord, our Father, in His blinding ways, had seduced her and then abandonned her and it was Joseph who saved the name of the Lord. BISHOP You have it all twisted, you are not in your right mind, you cannot be. MATTHEW We, His servants, have been truly thinking about the Lord foretwo thousand years. We have accepted the liturgy and the encyclicals without questioning the basic -- BISHOP Yes! Without questioning because we have the words of the Lord. open your mind and lips and proclaim His praise! MATTHEW Oh, I do. And -- but -- how do we know -- really -- that cows don't pray? BISHOP Cows? MATTHEW Sheep? A butterfly? A praying Mantis? A deaf girl? BISHOP Say her name, there is no power in withholding it. MATTHEW Is Rachel different from you? No. Aren't I a Nazi? Yes. Aren't we all equal in the eyes of the Lord? FATHER JOSEPH Oh, Matthew, Matthew, you have lost your way. MATTHEW No, Father, I have found it. I am a whale. I am a rock. FATHER JOSEPH Rocks have no soul . MATTHEW How do we know? BISHOP You are dealing in heresy. MATTHEW Oh, no, the Pope is the heretic. FATHER JOSEPH Dear Mary, Joseph, and Jesus, spare him 0 Lord, take pity on his soul. BISHOP In what way, Matthew? MATTHEW God demands we expend our seed in order to survive. We do it knowingly and unknowingly. The control of seed is an encyclical from the Pope -- and in direct conflict with the flow of God. We three are men. We make sperm. Billions and billions. To impregnate. Why have the Popes denied us? Even God knew -- He impregnated Mary. I love you, FATHER JOSEPH, but I understand the Bishop. How -- what do you do with your penis, FATHER JOSEPH? Why does it hang there? Don't you ever wake with wasted seed? That is either unchaste or deeply human. Which are you? FATHER JOSEPH Brother Matthew, Christ said that not everyone can accept the teachings of Corinthians 7:32 of serving God with a greater singleness of purpose. And Vatican II says that through celibacy observed for the sake of the kingdom of heaven, priests are consecrated to Christ to hold fast to Him with an undivided heart to more freely devote themselves in Him and through Him to the service of God and men. MATTHEW Oh, FATHER JOSEPH, I love you, but you know those words too well. FATHER JOSEPH Yes! BISHOP Yes, as do I. MATTHEW Yes, as do I. I know those words, too, but -- I have erections, I have seed, I am one with God. FATHER JOSEPH Christ said, "Not everyone can accept this teaching." MATTHEW Oh, no, don't you see, I am God's servant in Mother Church. But first I am God's servant. BISHOP They are one and the same. MATTHEW Everytime I burst with seed, is that inordinate desire? Am I not inherently natural and legitimate ? BISHOP You are born in sin! MATTHEW How? What did I do ? BISHOP Man has fallen from God's grace but man can always be forgiven. Do not separate yourself from God because, Brother Matthew, that is sin. MATTHEW Separate? Oh, no, not at all! Through my flesh and through my painting, I come closer to Him -- I am one with God! I am a Jew and a Nazi and a - - FATHER JOSEPH Please, please, that kind of general thinking leads to pride which is sin, leads to loss of purpose which is loss of God, leads to isolation and death, Matthew. MATTHEW No! No, Father, it leads to the glory of God! I will spread my seed, I will consort with animals, I will not lock up my soul the way the interpreters of Mother Church demand I do! Too many words have stood between me and the Lord, my God, since the birth of Jesus Christ, our Lord, and I tell you here and now that I free myself from bondage, I welcome the sanctity of the real world because the sanctity of the Church does not exist! FATHER JOSEPH (grabbing MATTHEW) You are fevered, you are lost, Brother Matthew, go, return to the retreat, find again true humility and save your soul. MATTHEW That's where I found it! Oh, Bishop, you can no longer keep her locked out of the real world. BISHOP I thought she would be safe there, I should never have wanted her moved, I should never have yielded to the temptation of wanting to see her. MATTHEW You, too, you are human! BISHOP I am a servant of God. MATTHEW Yes! BISHOP And I have atonned for my sin by sacrificing her life to the service of the church. MATTHEW Oh, my dear friend , oh, Bishop, you are a sexist pig. Who are you to sacrifice her life? BISHOP Her deformity is a sign of my sin. MATTHEW Deformity? We all are deformed! She is radiant! She is beautiful! She is alive. BISHOP She must live in a state of grace within Mother Church. MATTHEW You are not afraid of sin, Bishop. The Archbishop knows. FATHER JOSEPH knows. I know. You have been absolved. You keep her there because you are afraid in the outside world of men and women -- of your parish and the media and the tongues that may wag. FATHER JOSEPH Matthew, in the name of our -- BISHOP Enough! Out! Back! Leave us! FATHER JOSEPH Both of you, get hold of yourself. BISHOP May your soul find salvation, Brother Matthew, you are burning in the fires of Hell. MATTHEW Too easy -- that's too easy -- you are more than that, Bishop. You, too, are blood and seed. MATTHEW stands and kneels in front of a crucifix: MATTHEW Behold, o kind and gentle Jesus, I kneel before you and pray that you would impress upon my heart the virtures of faith, hope, and charity, with true repentance for my sins and a firm purpose of amendment. At the same time, with sorrow, I do meditate on your five precious wounds, having in my mind the words which David spoke in prophecy: "They have pierced my hands and my feet. I can count all my bones." MATTHEW rises, crosses himself. MATTHEW (to God) Renew us that we may help renew the face of the earth. (To BISHOP and FATHER JOSEPH.) I love you both. I love God. HE exits. FATHER JOSEPH We must stop him. BISHOP No. No. We can't -- it's his. FADE to BLACK. scene iv A. Fade up music from Natalie Cole's duet with Nat King Cole, "Unforgettable," which plays under the following: Enter ABNER carrying one of the huge canvases which HE places downstage facing up. The green telephone on the floor rings and ABNER goes and picks it up. ABNER Stein Gallery, good afternoon. Miss Raster, hello, oh thank you so much for calling me back. Yes, yes, you're quite right I did sound almost hysterical, I'm sorry, forgive me, but the news is, Miss Raster, the news is extraordinary. Are you ready? I have the new Brother Matthew canvases and they will blow the art world apart. We have a revolution here -- they are outrageous, deeply passionate, lush graphically sexual, monumental, and like all great art, about man and God. Ten. No, no, I'm just setting them up now. Enter MAGGIE and NICHOLAS each carrying smaller canvases which THEY place downstage facing up. NICHOLAS then exits and brings on another painting, sets that one down, and exits during the following: ABNER I haven't really thought this through we just received them -and they're beautiful -- huge bodies of such fluidity and grace in the most basic positions -- and I knew the Museum would -yes, of course, that's why I called you first. Tomorrow? Well, I -- can -- let's see, it's almost four-thirty now -- if we work all night, how 'bout ten -- ten-thirty? Fine, ten it is. Thanks, Miss Raster -- all right, Helen -- thank you. See you tomorrow. Bye, now. HE hangs up. Music abruptly ends and changes to the Rolling Stones', "Ruby Tuesday," from "Flowers," (Abkco 750 92) ABNER exits and bring on another painting, set that one up and exits during the following: Telephone rings again and MAGGIE goes to it and picks it up. MAGGIE Good afternoon, Stein Gallery, this is Maggie Lute, may I help you. Oh, Mr. Zucker, thank you very much for calling me back, I have the most extraordinary news. You asked that when Brother Matthew has a new group of paintings that we call you immediately -- well, Mr. Zucker, we called you first and the news is: we have ten new paintings and they're going to blow you away. oh, it's true, you've never seen anything more religious and more sexy than these canvases, Mr. Zucker, Brother Matthew's sending shock waves through the Church already. No, no, because they're so religiously profound and, at the same time, I'm telling you, he must've painting them before, during, and after! -- if you know what I mean. Right! Oh, they're huge -- in more ways than one and the colors are so evocative of real passion and real faith why, they're so Catholic -- I mean, so basic -that they're almost Jewish, I'm telling you. Well, you're right, I'm not really sure what I mean, but you've got to see them, you've just got to, Mr. Zucker, everyone's lining up including the Museum. Good, good, well you better come then right after lunch tomorrow. Great, we'll see you then. Yeah, really, yeah, really, they're goin' blow you away. Ciao. SHE hangs up. Music changes to " Shape of My Heart" from Sting's "Ten Summoner's Tales" (A&M Records, 31454 0070 2) as NICHOLAS enters with another painting. MAGGIE checks paintings, kisses NICHOLAS on the cheek, exits. NICHOLAS set up painting, looks around, takes out a piece of paper from his pocket, crosses to telephone, and dials. During the following, ABNER and MAGGIE continue bringing in paintings and placing them downstage facing up. NICHOLAS Yeah -- ah -- this is Nicholas Quin? Yeah, uhm -- well, I'm a -- I mean, I was a student of Brother Matthew? Yeah, and ah -can I please speak to the Bishop? Oh, he is. Oh. Well -- ah, could you please tell him that it's important? Really important. Okay, okay, I'll hold the phone. (NICHOLAS sits on the floor.) No, no, it'll just take a second -- it's just I really have to talk to him. Okay. Hello, Bishop, this is Nicholas Quin, I'm a -- I was a -- oh, good, good. Yeah, well, Bishop , Brother Matthew -- you see, he believes. He's a kind and gentle man, he's got a lot of passion that needs help, Bishop, and he's really inspired, you know?, inspired by somethin' inside him and he wants to fly. He's not a sinner and I know you think the paintings are -- offensive and detestable and deserve punishments but, you know , under all of Brother Matthew's searchin', he is good and deservin' of God's love, I mean, I was his student, he helped all of us dream of who we could become, he was our supporter, Bishop, and I just wanted you to know that we love him, all his students love him , and, Bishop, I'm just a voice but -- help him. He believes mightily and joyfully and divinely, but he's in real pain because he feels so much. Like Jesus did. I'm sorry, I don't mean to compare him with Jesus Christ our Lord -- but in your mercy, Bishop, hear him -- renew him. Please. Well -- ah -- I think Mr. Stein is goin' to show the new paintings here at the gallery and -- Oh, don't say that, Bishop, don't do that -- that would kill Brother Matthew, he's just lookin' around -- he's real important to the Church -no, no, I mean -- I didn't want to upset you more -- but, Bishop, if you make it 'either or', you're kinda puttin' Brother Matthew in a box and -- just let him fly a bit, he'll come home, he will, I promise you. You -- burn them all? But -- but -Oh. And good day to you, Bishop. NICHOLAS, now standing, hangs up. Music stops. NICHOLAS stares into space. NICHOLAS Remember, 0 most gracious Virgin Mary, that never was it known that anyone who fled to your protection, implored your help, or sought your intercession, was left unaided. NICHOLAS picks up telephone. Music: "The Sins of Memphisto from John Prine's "The Missing Years" (Oh Boy Records, OBR-009CD). NICHOLAS Billy, Billy, listen to me, go over to the school and check out that broadcast quality video camera and get it here to the gallery tonight. I don't know -- borrow a car or some thin' -take a cab -- but I'm tellin' you, Billy, you wanna be that reporter you always been talkin' about? well, I'm handin' you your future on silver platter -- gold! -- it's gonna be a story so big, they'll be fightin' for you. And shave and wear a tie and shirt. Get it out of my drawer, I don't care, just hustle like your blood depends on it. Billy, Billy, you'll thank me your whole life long. Good. See you soon. HE hangs up. Lights fade. B . MATTHEW, completely naked, walks onstage and goes down center in a dim light. HE is pushing a single-suit clothes rack on which hangs HIS religious habit and, during the following scene, MATTHEW puts on black underpants, a black tee shirt, black socks, black pants, black shoes, a black shirt with a white religious collar, and a black jacket. By the end of the following scene, MATTHEW is dressed and the light on HIM is up full. Telephone rings and a small light comes up down left on a table with a black telephone. Light goes out on NICHOLAS who exits. BISHOP, dressed in a bathrobe, enters down right carrying a white telephone. BISHOP Pick up, I'm sorry , pick up. FATHER JOSEPH, dressed in a bathrobe, enters and picks up the telephone. FATHER JOSEPH Rectory -- hello? BISHOP Joseph, I apologize for calling you at this hour -- it's Edmund. FATHER JOSEPH Oh -- Bishop - - are you all right? BISHOP No, no, I haven't slept, I can't sleep, and that infernal ward of yours, that Brother Matthew, is driving me toward an edge that screams like the fires of hell. FATHER JOSEPH I'm sorry BISHOP Sorry?! That dripping young animal of yours is out to destroy the church and he'll take me with him! FATHER JOSEPH I haven't been able to talk with him for two days -- he hasn't been back to his room and -- BISHOP Now, listen, Joseph, I got a call from one of his students who works at that sinful gallery run by that -- Stein fellow. FATHER JOSEPH Nicholas Quin? BISHOP That's it. And I told him I wanted all Brother Matthew's paintings burned. FATHER JOSEPH Oh -- BISHOP I can't let those paintings be seen. That's my daughter with that crazed monk riding her like Satan raping the innocents! Good Jesus Christ in Heaven, that Brother Matthew will bring the church to her knees. FATHER JOSEPH Well, I wouldn't - - BISHOP Now, I told that kid-student to have those blasphemous paintings burned and it's been two days and I've heard nothing -- what should we do? FATHER JOSEPH Well, I -- BISHOP This whole thing was your idea, Joseph. You wanted him to have that first show in that stinking little gallery -- you told me he needed space or time or -- I don't remember your exact words, you were bubbling like a soap opera -- but I did as you suggested and now look where we are! What are you going to do? It's your head, too, Joseph, we've got to stop this. Well? FATHER JOSEPH I can go to the gallery and try to -- BISHOP It's too late. They've all pulled some rabbit out of their hats and his show is opening there tonight! FATHER JOSEPH How do you know that? BISHOP Because, my dear FATHER JOSEPH, the Archbishop just called me. FATHER JOSEPH It's -- it's three o'clock in the morning. BISHOP Exactly! And why is he telling me what's going on in my own parish! You haven't been doing your duty as a servant of God and the Church, Joseph, you haven't been effective and you've kept me in the dark and now I look like a fool to the Archbishop and my daughter will have herself shown -- shown -- in public! You are bringing the Church to her knees, Joseph, what are you going to do? FATHER JOSEPH Huh -- huh -- huh -- BISHOP Stop panting like a fool and get hold of yourself. I can't go on like this, I'm too old, I'll explode. Now, each of us, say a silent prayer, we'll calm down, and work this out. FATHER JOSEPH Yes. Good. THEY each say a silent prayer. FATHER JOSEPH All right? BISHOP All right. FATHER JOSEPH I'll go over to that gallery first thing in the morning. I'll find our Brother Matthew and I will speak to him about the dangers to his soul. BISHOP Uh-huh. And? FATHER JOSEPH And I'll -- tell him the Archbishop will ask the Pope to excommunicate him if he allows those paintings to be shown in public. BISHOP Uh-huh. And? FATHER JOSEPH I will make a personal plea based on our long relationship not to endanger his soul -- not to endanger himself as a teacher to all his students who love him -- he -- oh! -- he's concerned about his responsiblity as a -- you see, he had an aberration where he thought he saw himself as a Nazi and that he killed Jews -- BISHOP What? Oh. dear Jesus, this is too much. FATHER JOSEPH And I'll tell him we all are Nazis, we all are Jews. BISHOP Oh, that's gobbley -de-gook, Joseph, he'll never accept that. FATHER JOSEPH But that's what he feels. BISHOP It means he doesn't know who the hell he is. FATHER JOSEPH Yes. Yes, and I'll -- I'll -- oh, may God have mercy on his tortured soul -- BISHOP Don't fall out on me now, Joseph, grab hold of yourself, pray for strength, you may be the only one who can save this life. Burn those paintings. FATHER JOSEPH I'll -- I'll try. BISHOP Or we shall all be doomed. We shall all burn. Everlasting pain. Failures. Failures in Christ's army. Puny -- unworthy -- failures. God be with you. THEY hang up. FATHER JOSEPH The Lord is loving and merciful, to anger slow, and full of love; the Lord is kind to all, and compassionate to all His creatures. BLACKOUT on FATHER JOSEPH. BISHOP I call upon you, God, for you will answer me; bend your ear and hear my prayer. Guard me as the pupil of your eye; hide me in the shade of your wings. Your ways, 0 Lord, make known to me; teach me your paths, Guide me in your truth and teach me, for you are God, my savior. Hear me -- hear me. Oh. Oh, God, I hate my sex -- I hate my sex. BLACKOUT on BISHOP. MATTHEW, now fully dressed, places a beautiful, glittering, large crucifix around HIS neck. HE puts on a pair of large, dark sunglasses. HE drops HIS hands, turns them palm up, opens HIS mouth and extends HIS tongue as if receiving the host during Mass. BLACKOUT. scene v A. We hear the excited noises from the crowd fade up as THEY excitedly view MATTHEW'S new paintings in ABNER'S gallery. The music is "Concerto No. 1 (Spring)" from the Pinchas Zukerman's recording of Vivaldi's, "The Four Seasons." During the BLACKOUT, MATTHEW pushes the rack that held HIS clothes off-stage and, when the spotlight comes up on HIM, HE is down left and kneeling in the same position HE was in Act I, scene vii. MATTHEW Do not abandon me, Lord. My God, do not go away from me! Hurry to help me, Lord, my Savior. You will free me from the snare they set for me, for you are my refuge. Into your hands I commend my spirit; you will redeem me, 0 Lord, 0 faithful God. Background sounds rise louder, fall softer, and NICHOLAS enters, dressed in a tuxedo. MATTHEW I hear the whispers of the crowd that frighten me from every side as they consult together against me plotting to take my life. But my trust is in you, 0 Lord; I say, "You are my God." In your hands is my destiny; rescue me from the clutches of my enemies and my persecutors. And I know -- I know the Son of Man did not come to be served, but to serve, and to give His life as a ransom for many. Lord, We are your people -- NICHOLAS -- the sheep of your flock. MATTHEW Heal the sheep who are wounded, touch the sheep who are in pain, clean the sheep who are soiled, warm the lambs who are cold. NICHOLAS Help us to know the Father's love through Jesus the shepherd and through the Spirit. MATTHEW Help us to lift up that love, and show it all over this land. Help us to build love on justice and justice on love. Help us to believe mightily, hope joyfully, love divinely. MATTHEW & NICHOLAS Renew us that we may help renew the face of the earth. Amen. THEY each cross THEMSELVES and MATTHEW rises. NICHOLAS They're waiting. THEY exit. B. Lights up on the gallery. The noises of the people rise, the music rises. NICHOLAS enters carrying a video camera on a tripod which HE places center stage. ABNER, dressed in a tuxedo carrying a large still camera, and MAGGIE, dressed in a floor length evening gown, enter. MATTHEW enters and NICHOLAS leads HIM to the camera and television light blare up full on MATTHEW. NICHOLAS gives MATTHEW a microphone. MAN'S VOICE Do you see a conflict between your role as a religious and your paintings? ABNER gives MAGGIE the camera and SHE stands in front of MATTHEW and flashes several pictures of him. MATTHEW The answer is self evident. If I did, I wouldn't be here. I see my role as a servant of God. WOMAN'S VOICE But isn't the sexuality of your paintings unusual for a religious person such as yourself? MATTHEW Yes. WOMAN'S VOICE Is that your whole answer? MATTHEW Yes. God has a phallus, He preenated Mary and His Son, Jesus Christ was born. I, too, have a phallus. I, too, have seed. MAN'S VOICE Are you saying you're God? MATTHEW Jesus Christ was the Messiah because He was the Son of God who is Awesome. Is the Grand Rebbe Menachim Schneerson, the Son of God, and is he also the Messiah. Am I? Are you? Do we not all walk within the power of the blinding light? WOMAN'S VOICE But the Church -- this has already been viewed as heretical, what is your position regarding the Archbishop and his condemnation of your work? MATTHEW I have been praying for the last few days, I haven't read a newspaper, I haven't watched television, I don't know that news and, if what you say is true, I turn to the Pope to save my soul and lead me back into the folds of Mother Church. MAN'S VOICE If you were to appear on the cover of Time Magazine -- MATTHEW Will I? MAN'S VOICE There are rumours. MAN'S VOICE Would that help your chances with the Archbishop and how do you think the Pope would react? MATTHEW You're all here. There has to be something about this event -other than the fact that I'm a ordained Brother in Christ and these paintings use God's gift of sensuality to try and reach for His Mighty Realm -- there has to be some lightening rod here -what do you think it is? MAN'S VOICE Are you a virgin, Brother? MATTHEW I am chaste to my God. MAN'S VOICE But are you a virgin? It looks like you in these paintings -- is that you, Brother, huh? You gonna do a video, too, huh? Laughter. MATTHEW If you see only with the eyes of the heathen, harden not your hearts as in that day in the desert where your fathers tempted Christ. They tested Christ though they had seen His works. WOMAN'S VOICE But -- meaning what, Brother Matthew? MATTHEW I am the resurrection and the life, said the Lord: he who believes in Me will not die forever. WOMAN'S VOICE But what does that have to do with these paintings? MATTHEW My soul is thirsting for the living God: when shall I see Him face to face? Enter FATHER JOSEPH. Music stops. FATHER JOSEPH Come to the waters all who thirst, come and drink with joy. Oh, Brother Matthew, your hour of decision is here, do not dwell outside the house of the Lord. MATTHEW I'm inside, I'm searching inside more than I have ever done. MAN'S VOICE Yeah, well, but Brother, aren't these paintings just really -well, dirty? You know, we admire your being part of the Church and all, but isn't this stuff just pornographic? FATHER JOSEPH (putting His arm around BROTHER MATTHEW) Come with me, Matthew, come. MATTHEW I am here, I seek only Him. FATHER JOSEPH Good, good, now -- excuse us, please. MATTHEW No, FATHER JOSEPH, no, I must go forward. FATHER JOSEPH I agree, yes, absolutely, now come with me, Brother Matthew. MATTHEW I put my trust in the Lord and rejoice in His mercy because He has seen my affliction. FATHER JOSEPH Yes, come now, quickly. MATTHEW 0 Lord, you brought me up from the nether world. You preseved me from among those going down into the pit. No, FATHER JOSEPH, I am here. Enter BISHOP EDMUND BISHOP The Lord confronts the evildoers to destroy remembrance of them from the earth. MATTHEW And when the just cry out, the Lord hears them and from all their distress He rescues them. BISHOP Ladies and gentlemen, as we can see, our soldier in God, Brother Matthew, this wretched and troubled soul, is lost. Please excuse us all now and let him return to the ways of God's truth. NICHOLAS (to MATTHEW) I can get you out of here I know a place where you can MATTHEW No, Nicholas. Have hope, friend, have strength. BISHOP Excuse us, excuse us. MAN'S VOICE How could you be a teacher? WOMAN'S VOICE Is it true that your father was a Nazi? FATHER JOSEPH Matthew, please. MAN'S VOICE Is it true you got AIDS? Is that why you're doin' this? Is this like a personal protest? MAN'S VOICE You never had a real job, did you? NICHOLAS Brother, Brother, please, I got a place for you, you'll be okay. BISHOP (takes out a spray can of black paint and begins to make huge X's on the paintings) These are desecrations, all! MAGGIE No, don't do that! ABNER Hey, cut that out, they're not yours. SHE rushes to the BISHOP but MATTHEW stops her. ABNER begins to carrying the paintings off-stage. MATTHEW That's only the skin, not the soul, Maggie, you know that. WOMAN'S VOICE You're an embarassment to the Church, how can you call yourself a Brother? NICHOLAS Maggie, get the paintings, get the paintings. MAN'S VOICE Could you look this way, Brother? (Flash) And one more this way, please, thank you. (Flash) MATTHEW Is the video camera still on? NICHOLAS Yeah. MATTHEW Good. And, later, make copies and send one to the Archbishop and one to the Pope. NICHOLAS But, Brother -- MATTHEW Promise me. NICHOLAS But -- MATTHEW Promise me. NICHOLAS I promise, I promise. Background sounds of people yelling begin to fade up. VOICE Get him! CAMERA FLASH. VOICE Kill him! VOICE Heretic! Traitor! CAMERA FLASH. VOICE Kill him! As the BISHOP continues to spray X's on the paintings, cameras flash and ABNER, MAGGIE, and NICHOLAS carry as many of the paintings as possible off-stage. MATTHEW kneels. MATTHEW (to BISHOP) I love your daughter. BISHOP (spraying) You have destroyed everything that came from God. CAMERAS FLASH MATTHEW I have only brought out His truth. BISHOP We are His children and need His shelter. MATTHEW I pray for your eternal soul. Shouts and cries of "Prevert" and "Nazill and "Traitor" and "Infidel" and "Kill him," "Kill him," continue to rise in the background. ABNER, MAGGIE, and NICHOLAS return and continue carrying off the paintings. ABNER Just keep moving, get 'em out and I'll lock 'em up. Here we go, here we go. NICHOLAS Maggie, were we wrong? Were we evil? Did we sin with his soul? MAGGIE (carrying a painting) I think he's beautiful, Nicky, I think he's beautiful. NICHOLAS Here, I'll help you. NICHOLAS grabs another two paintings and both of them carry off three canvases. BISHOP (to ABNER) Bring Brother Matthew into a back room, you've got a back room, don't you, Mr. Stein? ABNER Yeah,, sure. BISHOP FATHER JOSEPH, help us. The BISHOP, ABNER, and FATHER JOSEPH grab MATTHEW and begin dragging him off-left. During the following, MATTHEW does not help himself one way or the other. NICHOLAS and MAGGIE enter. MATTHEW I love you both. NICHOLAS Hey, put the Brother down! MAGGIE Abner, what are you doing? don't do that! NICHOLAS FATHER JOSEPH?! ABNER We got to get him out of here -- they're eating him alive. MAGGIE Put him down - - he's not yours -- he doesn't belong to you -- NICHOLAS Hey, Bishop, Brother Matthew's a person, hey, I talked to you about him, hey, come on, will ya? let him go. MAGGIE Put him down, Abner. ABNER Maggie, not now, just help us get him into the back. This thing is gonna be big -- it's our chance. MAGGIE For you, not for me. (SHE smacks ABNER across the face.) Let him go! ABNER Hey! NICHOLAS You're not part of this, Abner, it's over your head here, step back, now, step back, Abner -- this isn't yours. ABNER I -- NICHOLAS You're not in this pew, Abner, it's not about paintings, let him go. ABNER I -- NICHOLAS Let him go. ABNER steps back. BISHOP Mr. Stein! FATHER JOSEPH Abner, please. ABNER I can't -- I can't . NICHOLAS takes the BISHOP'S hands off MATTHEW. NICHOLAS You said you didn't want him. NICHOLAS takes FATHER JOSEPH'S hands off MATTHEW. NICHOLAS He always loves you, FATHER JOSEPH, he always loves you. NICHOLAS takes off MATTHEW'S glasses. NICHOLAS You come with us, Brother. NICHOLAS and MAGGIE lead MATTHEW off-stage and out of the gallery. During the following, ABNER takes off more paintings. BISHOP (kneels, then FATHER JOSEPH kneels) God our Father, help us to hear your Son. Enlighten us with your word, that we may find the way to your glory. We ask this through our Lord Jesus Crhist, your Son, who lives and reigns with You and the Holy Spirit, one God, for ever and ever. Amen. FATHER JOSEPH Amen. (THEY both rise.) But his soul, Bishop, what about Brother Matthew's soul? BISHOP In Christ, through the shedding of His blood, we have redemption and forgiveness of our sins by the abundance of His grace. Find his soul, FATHER JOSEPH, and as Brother Matthew's confessor, hear him, administer the Sacrament of Penance, and absolve him -absolve him -- FATHER JOSEPH I know where he'll go -- I'll be there -- I'll be there. FATHER JOSEPH runs off. Crowd noises swell. Camera flashes on BISHOP EDMUND. BISHOP But -- if the weight is too much -- if that is Your will -- if that is best.... SPOTLIGHT on BISHOP EDMUND. BLACKOUT. scene vi About thirty minutes later. As before, the Aria, "Thou Shalt Break Them,"' from Handel's "The Messiah," is heard and lights up on the interior of the Church and the Confessional , as before. Upstage center and against the wall is a white ladder that goes all the way up into the flies and out of sight. NICHOLAS and MAGGIE are on-stage looking up. The sound of the Church bell is heard twice, then stops. It is heard once, then stops. It is heard three times, then stops. NICHOLAS Brother Matthew? Brother Matthew? MAGGIE You okay? Brother ? He-ey? From the flies and down the white ladder, MATTHEW comes down quickly. Music fades and ends. MATTHEW Oh, you wouldn't believe it -- I used to go up there sometimes in the middle of the night when I first came to the Rectory -- you know, they play a tape now from a machine which is in the kitchen but that bell works -- I always wanted hear the real bell -there's nothing wrong with it -- aren't those sounds beautiful? Could you tell it was real? Could you tell it was me up there playing that bell? NICHOLAS Not really. MAGGIE You okay? (SHE kisses HIM on the forehead) You feel really warm. MATTHEW Beautiful. I'm glad you're with me. (HE hugs MAGGIE.) I'm glad you're with me. (HE hugs NICHOLAS) I'm glad you're with me. Would you -- ah -- would you wait over there? (HE points to down left) NICHOLAS Sure. MAGGIE Sure. THEY cross and then turn and look at MATTHEW who facing the other way and looking off -stage to the outside door to the Church. MATTHEW I'm ready. Off-stage we hear voices shouting, "Just a quick question, Father," and "I'm a Catholic, Father, I understand, lemme go in with you, please," and "Father -- Father, look this way ." FATHER JOSEPH (off-stage) No, please. We see two off-stage flashes, then hear the door close and the voices are lowered. Enter FATHER JOSEPH FATHER JOSEPH I thought you'd be here. MATTHEW Yes. FATHER JOSEPH I am your confessor. MATTHEW Yes. FATHER JOSEPH goes to the confessional and puts on his robe. MATTHEW goes to the other side and kneels. MATTHEW Forgive me, Father, for I have sinned. FATHER JOSEPH And when was the last time you confessed, my son? MATTHEW To you. To you. FATHER JOSEPH And what is the nature of your sins, my son? MATTHEW I want to be Jesus Christ. FATHER JOSEPH Oh, Brother Matthew -- MATTHEW I want our Blessed Virgin, Mary, Mother of Jesus, to love me. I want see God, my Father, in His Holy Heavens. FATHER JOSEPH Oh, Brother Matthew -- MATTHEW I love Him -- I love Him -- FATHER JOSEPH May almighty God have mercy on you, forgive you your sins, and bring you to everlasting life. MATTHEW (sings) Kyle, eleison. FATHER JOSEPH Christ,, have mercy. MATTHEW (sings) Kyle, eleison. FATHER JOSEPH Lord, have mercy. In the name of the Father MATTHEW In the name of the Father -- FATHER JOSEPH And the Son MATTHEW And the Son FATHER JOSEPH And the Holy Ghost . MATTHEW And the Holy Ghost . Amen. FATHER JOSEPH Amen. MATTHEW (standing) Thank you, Father. FATHER JOSEPH My son. MATTHEW turns and nods to NICHOLAS and MAGGIE who start to go to HIM but MATTHEW raises HIS hand and THEY do not move. FATHER JOSEPH leaves the Confessional and watches MATTHEW. MATTHEW Let this be written for the generation to come and let His future creatures praise the Lord: "The Lord looked down from His holy height, from heaven He beheld the earth to hear the groaning of the prisoners, to release those doomed to die." MATTHEW crosses to behind the white ladder and, facing downstage, HE begins to climb up. Music: The Hallelujah Chorus from Handel's "The Messiah," (NAXOX 8.550317) fades up. As MATTHEW climbs higher and higher, the white ladder below HIM disappears. Sudden noise from off-stage and BISHOP EDMUND enters. BISHOP Brother Matthew! MATTHEW (singing) Hallelujah! Hallelujah! BISHOP Brother Matthew, in the name of God, in the name of our Lord, Jesus Christ, do not do this! MATTHEW (singing) Hallelujah! Hallelujah! MAN'S VOICE Where's the Brother? MAN'S VOICE Brother Matthew?! MAN'S VOICE Brother Matthew?! BISHOP Ladies and gentlemen, please, not here -- please leave now! MAN'S VOICE There he is -- look up there -- there he is. CAMERA FLASH. BISHOP Matthew! Matthew, you are God's child, come down. MATTHEW I am nothing -- I am nothing, Jesus! (sings) For the Lord God omnipotent reigneth! Hallelujah! Hallelujah! MATTHEW, high above the stage, steps onto a platform which the audience can not see. The ladder disappears. MATTHEW Lord, You rescue me from raging enemies, You lift me up above my attackers, You deliver me from violent men! BISHOP Matthew! Matthew! NICHOLAS Pray, Bishop Edmund, kneel and pray for your soul. FATHER JOSEPH He will rise with Christ to a new life in God the Father who prepares Matthew for his reward from all the ages. NICHOLAS Kneel! MAGGIE Kneel, Bishop Edmund. MATTHEW reaches for a rope and pulls it. The Church bell begins to ring. MATTHEW (sings) And He shall reign for ever and ever! MAGGIE Kneel for your own soul. BISHOP kneels. MATTHEW (sings) King of Kings -- Forever and ever -- Hallelujah -- hallelujah -and God of Gods -- and God of Gods -- And He shall reign for ever and ever! MATTHEW opens out HIS arms and, looking up into the heavens, HE jumps. BLACKOUT. Screams, music swells, bells ring. Then, suddenly, all sounds stop and the silence sits like a deep vacuum and a deep weight. In this dark, MATTHEW'S voice comes over the speakers throughout the theatre. MATTHEW Shshshshshshshsh - - shshshshshshsh -- I live -- on the floor of the now empty stage, a tiny, laser spotlight appears. A small trap door opens. MATTHEW Shshshshsh -- shshshshshshsh -- Suddenly, thunder resounds throughout the theatre and the tiny spotlight creeps up-stage and then up the back wall where the white ladder was. A strobe light flashes violently. Thunder cracks and shudders. And, as the light climbs the wall, and the curtain drops, we hear MATTHEW: MATTHEW Shshshshsh -- shshshshsh -- I live! I live! end of play Note: When the house lights come up, we hear the following piano solo: "Untitled,ll tract 12, from Crash Test Dummies album, "God Shuffled His Feet," (ARISTA 74321-16531-2).