NATHAN ROSS FREEMAN 353 JONESTOWN RD SUITE 299 WINSTON-SALEM, N.C. 27104 PH: (910)777-0648 FX: (910) 777-0648 E-MAIL: nfreeman@bellsouth.net WINTER ISN'T OVER YET BY NATHAN ROSS FREEMAN COPYRIGHT (C) 1988 POEMS "QUEEN OF BEINGS" AND "AMONGST AND ABOVE" BY TOVIEA COPYRIGHT (C) 1990 COPYRIGHT C 1990 BY NATHAN ROSS FREEMAN. ALL RIGHTS RESERVED UNDER BERNE, PAN AMERICAN AND ALL OTHER INTERNATIONAL COPYRIGHT CONVENTIONS PRINTED IN THE UNITED STATES OF AMERICA. NO PART OF THIS PUBLICATION (MANUSCRIPT) MAY BE REPRODUCED, STORED IN A RETRIEVAL SYSTEM, OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC, MECHANICAL, PHOTOCOPYING, RECORDING OR OTHERWISE WITHOUT PRIOR WRITTEN PERMISSION OF NATHAN ROSS FREEMAN, S.S.# 173-40-4956, OR HIS APPOINTED REPRESENTATIVE. NATHAN ROSS FREEMAN 353 JONESTOWN RD, SUITE 299 WINSTON-SALEM NC 27104 PH:(910) 777-0648 FX (910) 777-0648 E-MAIL: nfreeman@bellsouth.net SYNOPSIS "WINTER ISN'T OVER YET" WRITTEN BY NATHAN ROSS FREEMAN COPYRIGHT (C) 1990 "WINTER ISN'T OVER YET IS A FIVE CHARACTER PLAY THAT BLENDS COMEDY WITH DRAMA, A UNIVERSAL THEME AND A MIXED CAST (3 BLACK AND 2 WHITE OR VICE VERSUS WITH TWO DELIVERY ADJUSTMENTS). THE FIVE CHARACTERS ARE WOMEN BETWEEN THE AGES OF 25 TO 35. SOME OF THE LANGUAGE IS STRONG. SOME OF THE SCENES CONTAIN EXPLICIT MATTER REGARDING MALE AND FEMALE INTIMACY. AN "R" RATING WOULD BE FAIR. THE CONTENT MATTER OF THE PLAY APPEALS TO A BROAD AUDIENCE OF ALL ETHNIC GROUPS, TARGETED FOR ADULTS 18 AND OVER. RUNNING TIME: 1.75 TO 2.0 HRS. ACT I HAS THREE SCENES AND LAST ABOUT 45 MIN. ACT II HAS THREE SCENES AND LAST ABOUT 45 MIN. Four of the characters in the play are members of the Weeping Willow Widows Club. They are on their annual retreat. What is remarkable or peculiar about this club is that it is for women whose husbands have not died but left them, still alive, still walking the earth. Then why "widows" club? What these four women and whoever else they recruit have in common is they have married that ultimate "sensitive" man, the one of their dreams. The one that finally makes you happy in every way. The theme: what happens when that doesn't even work. These women come to this retreat yearly to deal with the tragedy of losing the ultimate sensitive man through their own prescribed methods of self therapy using a dummy they made called Old Dead George. Their membership is down to four. But during the retreat a fifth woman, Mavis, crashes their retreat, complaining that she has sent them application after application and she never got a response. When discussing this problem with the four members Mavis reveals the events that led to her husband's death. The four members reel back in gasps at the idea that her husband actually died. Because of the extraordinary details of how her husband passed and the fact that she also was married to a "sensitive" man who made her completely happy, the four members make Mavis an exception, and they initiate her on the spot. The ensuing interaction among the five women that night and the mysterious ritual with Old Dead George the next day is crazy, witty, thought provoking, funny, sad and heartful. "WINTER ISN'T OVER YET" THEME SONG: "HE FELL ASLEEP WITH HIS HAT ON" MUSIC AND LYRICS COMPOSED AND WRITTEN BY LATONYA BLACK I've been through some crazy things Who knows what this life will bring That man is so good to me It's such a mystery He'd rub my back when days were long Talked sweet and mellow like a love song Didn't have to try to please him He said there is no reason I never thought he'd do me wrong Till he fell asleep with his hat on Just look at those dreamy eyes Don't you know they hypnotize Those lips they look so sweet Taste good enough to eat So nice to see you when I get home The perfect angel soft but strong I made him mad and angry He said that's okay, baby I never thought he'd do me wrong Till he fell asleep with his hat on I knew he was gone When he fell asleep with his hat on "WINTER..." LYRICS CONT'D "OLD DEAD GEORGE" MUSIC AND LYRICS COMPOSED AND WRITTEN BY LATONYA BLACK Chorus Hello, I see you sitting there Tell me why must you stare Seems like I know everything you feel And I can't help but wonder Georgie What is your appeal Bridge Just remember I made you say Everything that I wanted to hear I made you move Any way that I needed you to I made you mine So why don't you give me a sign Don't you hear me, can't you feel me, can't you tell What's on my mind Verse You've seen the torture of my needs You've felt the pain of my dreams I know you've heard the anger in my soul Don't you have the something Georgie that can make me feel whole Repeat Bridge CHARACTERS SHARON - SEPARATED (WHITE) CHARLOTTE - DIVORCED (BLACK) CYNTHIA - SEPARATED (WHITE) RITA - DIVORCED (BLACK) MAVIS - WIDOWED (BLACK) OLD DEAD GEORGE (dummy) TIME - PRESENT SETTING - RUSTIC RESORT RETREAT COMPLEX NOTE: THIS PLAY IS AN ENSEMBLE EXPERIENCE. OLD DEAD GEORGE MUST BE MADE BY THE HANDS AND IMAGINATION OF THE PERFORMING CAST OR PERFORMED BY A MASTER MIME. MUSIC: WRITTEN AND COMPOSED BY LATONYA BLACK ARRANGED BY VINCENT CRENSHAW LYRICS BY LATONYA BLACK ACT I SCENE 1 SHARON, RITA, CYNTHIA AND CHARLOTTE ARE IN THE LOUNGE AREA OF THE RETREAT COMPLEX. THEY ARE SEATED ON TWO LEVELS IN FRONT OF A LARGE, STONE FIRE PLACE, WITHIN A CIRCLE OF PILLOWS, CHAIRS, OTTOMANS AND ONE ROCKING CHAIR. A FEAST IS SPREAD WHICH INCLUDES COCKTAIL MEATS, FRUITS, CHEESES, DIPS, POTATO CHIPS, FISH BITS, MARIJUANA, WINES, SWEETS AND NUTS. THEY ARE CHEERFULLY SINGING THE LYRICS TO THEIR THEME SONG, (THE THEME SONG OF THE PLAY) "HE FELL ASLEEP WITH HIS HAT ON" AS THEY ARE PASSING AROUND THESE CONDIMENTS WITH FEVERISH INDULGENCE. AS THEY FINISH THEIR RENDITION OF THE THEME SONG, THEY COLLAPSE IN THEIR RESPECTIVE SPACES AROUND THE SNACK SPREAD AND BEGIN TO CHATTER, TALKING WITH THEIR MOUTHS FULL. CYNTHIA (TO RITA) Pass the wine, (TO SHARON) then pass the marijuana, (TO CHARLOTTE) but before you do any of that, pass the fish ... CHARLOTTE Better watch that fish, girl. You know what they say. Pass me the cheese ... CYNTHIA Alright, Ms. cheeese. What do they say? SHARON No one has done a blessing and there you two go already. CYNTHIA Fork over the meat. SHARON AND CHARLOTTE TOGETHER Wooooooa! CHARLOTTE Ms. Cynthia wants some meat! Disgusting. SHARON She wants her meat forked up and over her Scorpio rising. RITA And why don't we pass around the wine and get the ceremonial toast over with. How was everybody's trip. CYNTHIA Which trip honey at which hour of which day that I can remember. SHARON We all know about your trips, Cynthia. Come on, come on, Cynthia stop letting the paper burn. CHARLOTTE What about our contribution to the war on drugs, ladies. Whose side are we on? CYNTHIA Listen, honey, we agreed that this little retreat here was going to afford us puke on the floor self indulgence. CHARLOTTE Yeah, but, Cynthia, honey, we talked about this and you were doing so well. Remember we all decided you had a problem. RITA Don't we all, Charlotte, but according to our agenda tonight is the time for auld ang sine, and save the heavy stuff for tomorrow. CYNTHIA All I know is I got my cache of stash, gallons ruby red wine and your are welcome to all you want, Charlotte, so let your hair down or whatever you do with it. Plus I got two kegs of beer outside in the Laredo, as frozen as your ice cubed catholic ass, 'cause here it is April and winter isn't over yet. But when the brew thaws, honey, I'll drink you down so deep, your draws will grow hops. Now what were you saying about some war, miss pope. CHARLOTTE I really didn't want to get into anything about it, Cyn. Damn, seems like you were just waiting for me to open my mouth so you could jump in my ass. CYNTHIA If I see either of my sons take a swig, or suck I'll kill 'em and hang myself. How's that? CHARLOTTE Back off, bitch. (EVERYBODY SAY'S "WHOOO".) I'm here, like you. I'm here because you are. Okay, fine, let's have a hellacious time. (THERE IS A PAUSE CYNTHIA POURS THE WINE OVER HER OWN HEAD. THEY ALL LAUGH OR SMIRK. CYNTHIA THEN GIVES CHARLOTTE A BIG HUG. WHILE SHE DELIVERS.) CYNTHIA Oh, I'm sorry, Charlie. It's just that I don't like you, that's all. But I love you to death. (STILL EMBRACING CHARLOTTE) Sharon, you're the one letting the damn thing burn out. Pass it, will ya? (SHARON PASSES IT AROUND TILL IT GETS TO CYNTHIA, WHO VERY ABRUPTLY RELEASES CHARLOTTE.) RITA I wish I had your Laredo or something with tires thicker than my contacts. I actually had to change my tire on the way up here all by myself. All these men passing me by, giving me a salute to women's lib. CYNTHIA Speaking of which, Rita, darling have you found the lovable dude of your fantasies, all square jawed, bifocled and house broken? RITA He's an actual dentist. (ALL THE GIRLS "WOW" AND "WHOOO.") SHARON "Out of the mouths of babes" ... CHARLOTTE Comes the bad breath of the status quo ... CYNTHIA Tell us, does he pick your teeth and suck tarter at nighty night? RITA I don't know what he's done. COLLECTIVELY (STAGGERED RESPONSES THAT AMOUNT TO:) You don't know? RITA He's a doll and doesn't mind splurging. And I always know where he is. And there may be some other things in the works. SHARON Watch for the Dudley Doos, sweetheart, 'cause when they do disappear they keep showin' up in your dreams. CHARLOTTE He's probably married. RITA He's getting a divorce. CHARLOTTE (GENUINELY SURPRISED) He is married! CYNTHIA Oh, how damn archaic. SHARON (TO RITA) You need to change your diet. This must be your first life time ever. CHARLOTTE Rita, how could you? Married? Me, maybe, and only for a night, but you? And you believe him? Scary! God, what hope does that leave for the rest of us? CYNTHIA Whooo. Wait a minute before you start lumping me with the rest of your lot. Who's looking for house and hearth? Hell, I may be down to my last ten thousand in computer dating investments, but CYNTHIA I have enjoyed the star search and my last sample from Soul Mate, Inc. was so thorough in tending to the bod. SHARON Real hunk, huh? His sign, his sign, quick, tell me. RITA Do you ever bore yourself with that astro flipping, Zodiac trippin' shit, Sharon? CYNTHIA I asked him, "Where'd you learn all that stuff that you're doing to me?" He started telling me about spiritual this and natural that. Come to find out after further investigation he's bisexual. CHARLOTTE I used to sit under guys having me believe all the bull, all the science and religion and guruisms and positive thinking ... bull. I just lost faith in the approach. There was always a fuck hidden somewhere in every philosophy ... And I'd fuck it. SHARON Pisses you off, doesn't it. They do it the best. CHARLOTTE Oh, DAMN, I feel wet. CYNTHIA Charlie, you're so easy. CHARLOTTE No, I think I just went on the rag. Anybody got one? RITA I'm sure I do. I've been carrying them around for the past two weeks. I'm late. (EVERYBODY LOOKS AT HER.) ... I'm scared. CYNTHIA Ritzy, you? CHARLOTTE The great mistress of law and order ... SHARON Woman of the year for thinking linear, Capricorn common and all, yet she's talkin' embryos which don't mix with common sense ... CYNTHIA And he's married?! CHARLOTTE Look, if you guys don't want this shag white to turn Red Sea red ... RITA (GOES TO HER BAG AND RUSHES THE NAPKIN TO CHARLOTTE) Here, here, honey. Cramps? CHARLOTTE Not since I graduated from St. Vincent's High. Just loose bowels. (CHARLOTTE TAKES THE NAPKIN AND EXITS.) SHARON (HALF WHISPERING) Hurry up before she gets back. Is she okay? Is she still picking up strange men off the street? RITA I haven't talked to her in over month before tonight. She seems okay. SHARON I don't know. Maybe that last one who threw-up in her lap really scared her. She's got a weird aura, a messy blue with dirty white, and it does not match what she's got on her mind, add PMS and we're talkin' tensile stress karma ridin' a descending moon. Did you sense her aura? CYNTHIA What about her odor? ... SHARON AURA! CYNTHIA Go on, go on, tell me 'bout the last time. What last time? (THERE IS A LOUD CLAP OF THUNDER. THE LIGHTS FLICKER. SHARON LET'S OUT A MILD SHRIEK.) SHARON Well, she was standing on this corner like she does when she gets like that and this guy pulls up in a Nissan, one of those 280 or 300 things ... CHARLOTTE (ANOTHER CLAP OF THUNDER AS CHARLOTTE APPEARS) Shaaaaron, couldn't you wait at least until you heard some water running? ... It would be pretentious of me to think that picking up men can be excused as some disorder-psychosis. I know what I'm doing when I do it. I know the danger. I know the pain it causes my mother. It's not a disorder, it's a sin. But who's going to throw the first stone. How else do you get pleasure, sinning pleasure. You get it with a stranger. No, I wouldn't mind dying in some alley. The threat of death in the arms of a pickup is a cleansing thing for me, or so my counselor warns me. That's sick? Then tell me, what turns YOU on?! Who do you think you're talking to? We are the widows, aren't we? CYNTHIA Well, we weren't talking to you, WERE WE. SHARON Oh, Charlie, it has nothing to do with being too catholic. You are always ... How ... CHARLOTTE Excuse me, I have to wash. (SHE EXITS) CYNTHIA (ON HER WAY OUT THE DOOR) I gotta go get those kegs or they won't thaw till it's time to exit this exciting resort. SHARON (TO RITA) What am I going to do with you? Do you plan to have this baby? RITA Don't worry what you're gonna do with me. You better know what to do with Cynthia and Charlotte. Last time we spent more than three hours together it got into the war of the wenches. SHARON Two nights, one day and a morning. Let's make it nice. RITA Let's have a combination toast and official opening of this, the second annual retreat of THE WEEPING WILLOW WIDOW'S CLUB. (CYNTHIA ENTERS ROLLING A KEG IF BEER.) Come on, Charlotte! (CHARLOTTE ENTERS. THEY ALL GRAB ONE OF THE FOUR GLASSES AND PASS THE WINE AND FILL TO THE BRIM.) Here's to the loss / of the head man boss / and the woes he bestows ... SHARON & CHARLOTTE CHEERS! RITA I made that up especially for the occasion. Why'd you cut me off. It was my rap poem. CYNTHIA I just need a drink, actually. Any of you ladies want some to my Kentucky hard stuff, just send me to my suitcase. It's the anniversary issue - 114 proof. (THERE 'S A KNOCK AT THE DOOR. WHOEVER IT IS DID NOT BOTHER TO WAIT FOR SOMEONE TO ANSWER. HER ENTRANCE IS FOLLOWED BY ANOTHER LOUD CLAP OF THUNDER. SHE IS SOAKING WET. CYNTHIA: TO THE GROUP WHO IS STARING AT THE WOMAN AT THE DOOR) By the way, it's pouring out there. (AFTER A SUBSTANTIAL PAUSE.) SHARON But it seems so cold for a thunder storm. A witches welcome. RITA Hello, can we help you? MAVIS My car is stuck way, way at bottom of the hill. Flat tire. RITA I know the feeling. CHARLOTTE You are more than welcome to stay here till you get your car fixed. (SHARON ESCORTS HER TO THE ROCKING CHAIR.) MAVIS Thank you very much. I was on my way here anyway. This is the second annual retreat of the Weeping Willow Widow's club, right? (EVERYONE JUST STARES AT MAVIS FOR A MOMENT, THEN, ONE BY ONE THEY BEGIN TO ACKNOWLEDGE.) RITA Right ... SHARON Right ... CYNTHIA Right ... CHARLOTTE Right... (SHARON HOVERS AND ENCIRCLES MAVIS, USING GESTURE TO SENSE HER VIBRATIONS. CHARLOTTE BRINGS HER A TOWEL. RITA OFFERS HER THE ROCKING CHAIR. MAVIS SITS.) MAVIS My name is Mavis. I've come to join. I have been sending several letters in request of application over the past eighteen months. I've never received a response, not even a note of receipt for my request, and there was no number I could find listed, just a post office box. But I continued to see your add in various tabloids. What's the deal? RITA Honey, we get a lot of request for applications. Did you fill out the situation section with details? MAVIS I filled it out and added fourteen pages, single spaced. CYNTHIA Fourteen pages, Jeeez! MAVIS Is that why? Was it too long? RITA Everybody receives an application and sends back a novel. We have to be scrutinizing. There are a lot of nuts out there. We pick twelve per year. MAVIS Where are the rest of them. CHARLOTTE It seems that our recruitees are more scrutinizing than the recruiters because out of the twelve this year and the twelve before that, what you see is what we got. CYNTHIA I have enough stash to send this entire lot to hell and an early grave, in that order. What do you say ladies? We can't send her back out in the rain. SHARON It might add a new mood to the atmosphere and off set some negative vibrations. Plus we need an odd number for a proper quorum. RITA At least she can stay for the night. SHARON I'm Aquarian, moon in pisces, meditate in tantra, read people at a glance like a pick pocket in Times Square at midnight. I see you. I am anxious to hear all about you. I see you're into crystal. MAVIS This ... (TOUCHES THE NECKLACE RESTING ON HER BREAST) is a diamond. (EVERYBODY LAUGHS AT SHARON) SHARON Well ... It's still a crystal, (EVERYBODY LOOKS AT SHARON) ... only better... Much better. Well, I brought the frame to an old tent my husband left me. Ever sleep under a pyramid? If you like you can sleep with your diamond under a pyramid and play like an egyptian (SHARON LAUGHS. NO ONE ELSE DOES). CYNTHIA Watch Sharrie, sweetheart, she'll use all that MESS-tic stuff to get all in your business. By the way my name is Cynthia. We just go by first names here, if you catch my drift. I'm the treasurer. RITA Rita, I'm the chairperson. SHARON Sharon. I'm the Secretary. CHARLOTTE Charlotte. I'm the post hoc something or other if anything happens and they are unavailable. If you join it will be my vote that breaks the tie. You have no idea how long I have waited for the odd number five. It'll be my vote that counts. Isn't that right, Cynthia? CYNTHIA Let sleeping dogs lie, darlin'. MAVIS I don't want to seem ungrateful, and I surely do accept your hospitality. In fact when the rain stops I'll go down and get my bags. But I still would like to know why you didn't respond. (THE FOLLOWING PERTINENT RACIAL EXCERPTS CAN BE EXTRACTED FOR AN ALL WHITE CAST.) At first I thought the reason might be racial, but as I see ... CYNTHIA You know, as a matter of fact, that would make them a ruling majority, Sharon, damn. Whaar are those applications, shit, we gonna hafta draft us an even number of red necks to go wit' da nigras, so's we kin hab problems like a reeeal society. Problems only liquor and git-highs kin cure ... I got the stash! I got the STASH! And that's the last time I'm gonna make that announcement, if you please, you sober idiots. RITA Alright, cut the vaudeville. Mavis, we were about to finish our opening ceremony ... SHARON A La Run DMC (ACTS LIKE RAPPER) ... CYNTHIA TU POT SECURE is my favorite (ACTS LIKE RAPPER)... SHARON And have you heard the one, ah Fat Sam ... RITA Mavis, it would be impossible to recall, because of slack record keeping (SHE LOOKS AT SHARON)... SHARON ... Ah, Fat, Fat Fred, Ed ... RITA ... why we failed to respond to your request. SHARON ... Ah, Fat One, Fat One! ... RITA ... As I was about to say, please join us for a toast and maybe this time I can conclude my ... SHARON MAVIS! ... That name. Let's be appropriate. To hear from Mavis about Mavis, that would be timely and in order, Ms. Chairperson, Rita, wouldn't it be. (SHARON, CHARLOTTE, AND CYNTHIA SIT ON CUE.) RITA (SLIGHTLY IRRITATED) I guess so. MAVIS We were married for 13 years. I have five lovely children ranging from age 7 to 12 ... CYNTHIA ... My God! ... MAVIS ... He was good to me and the children. When he died ... CYNTHIA DIED?! MAVIS He was only 44. SHARON HE'S DEAD?! CHARLOTTE WOW! (CYNTHIA IS LEANING TRYING TO SMUGGLE HER LAUGHTER.) SHARON You mean gone as in buried. CHARLOTTE You gave him a funeral? CYNTHIA You mean dead-dead? ... (CYNTHIA IS VERY HIGH, SHE BEGINS WHISPERING) What is going on? What is she saying? SHARON Try to keep up. I'll fill you in later. RITA No, honey, I think there has been a misunderstanding. (ALMOST TO HERSELF) Now I know why you got no response. (TO MAVIS) RITA You see, we are not the typical widows' organization, if such a thing is typical. Didn't you read our paraphernalia? MAVIS I liked your caption: "FOR PARTNERS WHO ACKNOWLEDGE PERMANENT SEPARATION AS PERMANENT SEPARATION." My husband's death was a traumatic ordeal for me ... CYNTHIA Oh, he really IS dead! ... MAVIS He was the only man, father, friend I have ever had ... CYNTHIA (LOOKS OFF IN MALICE REFLECTING ON HER EX) I wish HE was dead. RITA You see, the WEEPING WILLOW WIDOWS CLUB is, well, how should I put this? CHARLOTTE Husbands simply vanish. SHARON Sayonara, chow, chow, chow. CYNTHIA Yeah, like, "I'm going to the store, dear. I'll be right back," and don't have the decency to get hit by a car ... CHARLOTTE ... Make that a truck. RITA They just keep on gittin' up. You see ... our husbands are still alive. MAVIS In your hearts. CYNTHIA More like in my butt, like a pain. RITA No. There still walking the earth. CYNTHIA Slithering is more accurate. MAVIS They're still alive?! ... SHARON And erect. CYNTHIA (LAUGHS) I like that, Sharon, very good. MAVIS Well, even if they are alive ... to spend years with someone, there are some good memories. I feel so much bitterness in this room. CHARLOTTE Sit down, honey, you do need therapy. SHARON Yeah, haven't you been watching any talk shows for the past twenty years? RITA Well, this changes matters, doesn't it. You sure have one up on us. Actually there is not much you may gain from membership here. (TID-BIT SARCASTIC) All your problems seem to be solved. CYNTHIA What killed him, ah, deadened, ah, I mean how? MAVIS I don't know if I am prepared to share that, especially if my membership is in question again. SHARON Well, hell, hurry up and join so you can tell us all about it. From the look on your face it must have been controversial. CHARLOTTE Hey, ladies, what kind of faces are we showing HER? Mavis' husband has died. Show some compassion if not respect. (CYNTHIA TRIES TO QUELL HER LAUGHTER.) MAVIS Well, maybe I do qualify. It was the nature of his death that still haunts me. And being that all of your husbands are still living, what isn't controversial ... He died in my arms ... making love. SHARON Whaaa ... CHARLOTTE Actually in your arms? MAVIS Literally ... Wow, I never believed this would be so easy. It's the first time I said that out loud, even to myself. SHARON Well then go on, honey, go on ... CHARLOTTE You've held that ... SHARON (TO CHARLOTTE) Shhhh! (TO MAVIS AS SHARON MOVES TO SIT UP UNDER HER.) SHARON We are going to give the respect you deserve and we are going to be quiet and listen to your story, aren't we girls? TOGETHER Yes! MAVIS He was a good man and many years older than me ... Well, anyway, sometimes he would go off, said he needed his space. No much to ask, right? He would go off and stay out late, but that's what men do. I didn't like it and I would let him know it. But he would always quietly reassure me. This one night he didn't come home till about four in the morning. Anyway, I accused him. Hell, I was always accusing him. My divorced, separated and abused girlfriends taught me how to do that. Anyway, we continued to argue and it got physical. He would never hit me, so, I guess it was easy to let myself go and I began to hit him. He held me down, crying, begging me to trust and believe him. I'll never forget the look on his face, like a man begging for his life. I tried to push him away. He held me down, started kissing me all over and I mean all over. You can guess what the rest was like. SHARON No! ... Tell us. MAVIS (PAUSE) We touched souls. It was like a life and death thing, like once and for all, like he was going to finally prove beyond the shadow of a doubt his love and devotion. When he reached his peak he let out this awesome growl, grabbed my face in his hands and in a voice I cannot describe said, "Look at me." It's so hard for me to ... RITA It's alright, baby. Relax. (MAVIS LETS OUT A SIGH.) CYNTHIA Now FINISH!!! RITA Cyn! MAVIS I couldn't distinguish his orgasm from my own! He ... he brought me into him. He, he, he tried to take me with him. (BREAKS DOWN) HE TRIED TO TAKE ME WITH HIM ... and like I knew something ... He fell on me. He was sooo heavy ... CYNTHIA It's called dead weight, honey, go on, go on. MAVIS I knew something had happened but I couldn't ... I couldn't ... SHARON ... Mavis, it's okay ... MAVIS I couldn't st ... sto ... stop ... stop ... COMING! ... I KEPT COMING, AND COMING, AND HE WAS HEAVY AS HELL, BUT I KEPT COMING ... (MAVIS GETS MANIACAL LAUGHING AND CRYING.) CHARLOTTE Sharon close your mouth and do something! MAVIS ... AND COMING, AND COMING! ... I couldn't move. He wouldn't move. (RITA HOLDS MAVIS, CHARLOTTE GETS HER SOMETHING TO DRINK BUT MAVIS IS TOO OBLIVIOUS TO ACCEPT, SHARON TURNS IN CIRCLES AND FINALLY DECIDES TO READ FROM HER BOOK, FOLLOWING THE PROCESSION ESCORTING MAVIS BACK TO THE ROCKING CHAIR AS SHE READS.) SHARON AMONGST AND ABOVE THROUGHOUT DUST AND DEBRIS THERE SHINES A HEART IN THE MIST TO REMIND YOU OF THE GREAT THEE (AS SHARON FINISHES MAVIS PULLS HERSELF TOGETHER.) MAVIS He was dead, I knew it, but I couldn't stop holding him. We always lay for long times after, but never that long. (THERE IS AN INFINITE SILENCE AND EVERYONE SEEMS TO BE IN THEIR OWN THOUGHTS. ALL TURNED AWAY, YET INTO EACH OTHER.) RITA With no further adieu, ladies, I feel we should fill our glasses and welcome our newest member into the fold. (THEY REACH FOR THEIR GLASSES. THERE ARE ONLY FOUR.) CHARLOTTE Here, dear, take mine. I think I had enough anyway. CYNTHIA Nobody escapes this moment. Come here, Charlie, my cup runneth over. You can catch what I miss. (CHARLOTTE AND CYNTHIA GRAB THE STEM TOGETHER. RITA POSES FOR THE TOAST.) RITA Here's to our newest and most prolific member to join the Weeping Willow Widows Club. We ask that she join us in our trek and retreat. Every woman is a widow when a man leaves dead or alive. For they go away and pick up where they left off while we have to start all over again ... and ... Here's to the loss / Of the head-man-boss / (THE REST OF THE GROUP DELIVER "AH, COME ON'S" TO SHOW THEIR DISPLEASURE. BUT RITA CONTINUES AND THE LIGHT CHANGE SEPARATES HER FROM THE SPACE AND TIME OF THE PRESENT SETTING AND THE OTHERS. THE RAP STARTS OUT RECITED BUT BECOMES INTENSE, INTERNAL, ANGRY, MEANT, A RAP.) And the woes he bestows / On the wives just tossed to the side Walkin', / walkin', in the gloom Of the ultimate doom of True love, true love, / true love, Last chance to dance if you can catch him, / True touch, true kiss, don't miss/ a step in The dance to the rhythm of the sensitive man, / Last stop, no more / This bitch is beached for sure / Grounded in the gloom / of the empty room Of True Love / gone, sailin'/ to the land of another True love gone, / wailin'/ see ya later, brother Wish you all the tenderness that you brought to me / Tears fallin' from my eyes ain't but a drop in the sea Of true love, / 'Cause you were the one and only one / My last crack of dawn, after a sleepless moon With them, / the others, / the nickel and dime me Brothers / You were the one, / the one, one true love, / true love, true love, true love, true love / bathin' like a castle in the sand / The one and onliest ... THE SENSITIVE MAN ... Now, you're Gone. (RITA IS ANGRY, TOTALLY CAUGHT UP IN THE MESSAGE OF HER RECITATION. THEY ALL CLANG THEIR GLASSES, SAY "CHEERS," IN A MELANCHOLY WAY AND SHARON LIGHTS THE FIRE.) BLACK OUT SCENE 2 IT IS SOME HOURS LATER EVERYONE ELSE GOES TO GORGING THEMSELVES. CHARLOTTE TURNS ON SOME MUSIC. ALL TRACES OF THE FEAST IS CLEARED. CYNTHIA BUSTS THE KEG. THEY ARE ALL SITTING AROUND THE FIRE PLACE. MAVIS Who founded the club? CHARLOTTE Oh, she's long gone. She remarried. Lives on an uninhabited island with her (TURNS UP HER NOSE) too-too husband. MAVIS Well, isn't that the aim of the club, for us all to find happiness with someone else. (THEY ALL GET VERY QUIET FOR QUITE A PAUSE LOOKING AT MAVIS, THEN AT RITA. RITA WALKS AWAY REFUSING TO DEAL WITH THE ISSUE. AS CHARLOTTE BEGINS TO SPEAK RITA TURNS AND FOLDS HER ARMS IN DISGUST AT THE ATTEMPT. CHARLOTTE TAKES COURAGE AND CONTINUES. CHARLOTTE That's a notion ... It is our consensus that (WITH STUTTERING DIFFICULTY) ha...haaaaap...haaaaap...eeeeness is a very frightful and dangerous state of mind to pursue. SHARON (JOINS IN CHARLOTTE'S COURAGEOUS EFFORT AND HAS THE SAME STUTTERING DIFFICULTY. CYNTHIA JOINS RITA IS HER DISGUST AND BEGINS BANGING SOMETHING ON THE TABLE IN PROTEST WHILE SHARON SPEAKS.) In a universe whose law states that for every piece of energy you invest, there is an energy equal and opposite to it that will divest. The more haaaaa...haaaaa...hap... you get, the more sad could get, potential-wise. Why set yourself up. CHARLOTTE However, yes, I guess we ... (LOOKS AROUND FOR SUPPORT. ALL SHE GETS IS A CRESCENDO OF PROTEST FROM CYNTHIA BANGING.) ... could say we still dare to dare to consider ... You see the extra peculiar thing about our club and the reason why we are so scrutinizing in our recruitment is that we all were haaaaa ... haaaaa ... haaaaaaaaaaa ....aaaaap ... puh ......puh ... haaaap CYNTHIA (THROWS WHAT SHE IS BANGING) Aw, shit, just say it! HAAAPPY!!! (SILENCE) CHARLOTTE What we have most in common is that all of our ex's were the GOOD men. The alleged sensitive man. I guess you could say, although we never admit it, we come here and do this for some hope of something like (HARD TO GET THE WORD OUT) hap ... hap ... haaaaaa ... in some possible future. But what do you do when the best man in the world leaves you and you've had all the bad ones, the most you can find is somebody as good, which is worse than someone worse, 'cause of the memories ... And he's not coming back ... And he's still alive ... Which means he's probably with someone else. Mavis ... you ARE very lucky. RITA (TO CHARLOTTE CHASTISING) We have our version of therapy. (TO SHARON CHASTISING) But that's our agenda for tomorrow. (TO MAVIS) I guess you can have that WORD as your goal ... if you RITA want ... IF you want. MAVIS Well, what is the goal of your sessions? (THEY LOOK AT EACH OTHER AGAIN. THEN THEY ALL LOOK AT RITA.) RITA Oh, I don't know. To survive, I guess. MAVIS To survive ... what? CYNTHIA (SHE IS WASTED) Oh, come on, damn it. This shit is getting spooky. And it's thundering like balls outside too. Hell, to survive whatever people survive. To survive, that's all. to survive everlasting love. To survive our obstreperous, delusions of grandeur, thinking that some piss poor human species could feel a damn thing longer than an orgasm. And you know how often they come. (SHE LAUGHS) "Come." Get it? (SHE LAUGHS HARDER.) Come get it! (SINGS) COME AND GET IIIIIIT! ... To survive Old Dead George. RITA Not now, Cyn! MAVIS Old who? CYNTHIA OLD-DEAD-GEORGE! Read my lips. (NO SOUND COMES OUT OF HER MOUTH AS SHE REPEATS "OLD DEAD GEORGE.") CHARLOTTE Don't mind her. She's ripped. CYNTHIA Whose ripped? Mind your face, you, you, hussy. That's right - hussy. I said it. Why don't you tell your story, the ex post facto bananas man-HUSBAND who caught the alleged hee bee jee bees searching for 1000 points of light brown bagging for National Geographic. CHARLOTTE Thank God for PMS! (CHARLOTTE QUIETLY GETS UP, WALKS OVER TO CYNTHIA WHO IS SITTING ON THE FLOOR, LIFTS HER FOOT UP AND SHOVES IT INTO CYNTHIA'S SHOULDERS, KNOCKING HER ALL THE WAY DOWN. RITA AND SHARON AS IF REHEARSED EACH GRAB THE ONE CLOSEST TO THEM AS CYNTHIA SQUEALS ADLIBS OF "I'LL KILL YOU BITCH," WHILE CHARLOTTE SHRUGS SHARON'S HOLD AND STANDS COLDLY PREPARED TO DO MORE DAMAGE TO CYNTHIA. THEY EVENTUALLY QUIET CYNTHIA DOWN WHO SLUMPS WHIMPERING, CRYING, MOANING.) RITA I must apologize. They always get to this. SHARON (INDIGNANT) Apologize? We never apologize. She is a member. No special treatment. Where do you come off, Rita, saying you're sorry ... MAVIS ... Who is Old Dead George?! (EVERYBODY FREEZES. THE SICKENING QUIET AGAIN. THEN SHARON GOES AND SITS SQUAT IN FRONT OF MAVIS.) SHARON He's a dummy. We made him. CYNTHIA I made him. SHARON We all made a piece of him. CYNTHIA I made the head. (LAUGHS) It's the head that counts. MAVIS Where is he? I'd like to see him. RITA No! CYNTHIA (WHIMSICALLY) She's gonna dream. SHARON She's a member. She has the right. And what's with all this protective stuff from you, Rita? You take that chairperson stuff too much to heart, which is symptomatic of a suppressed guilt trip for being alive so you do suicidal shit like screw around with a married man. RITA SHARON WILL YOU CUT IT WITH THE FAMILY DOLLAR PALM READING CRAP? JUST SHUT UP! SHARON A blind woman readin' the stars in the daytime! MAVIS I think I am going to go to the bottom of the hill, try to fix my car myself or sleep in it till help arrives. Thank you for your hospitality. SHARON (GOES OVER AND GRABS MAVIS) Mavis! No, no, please don't go. Stay. It'll be better. CHARLOTTE, GO GET OLD DEAD GEORGE! (ABRUPTLY ESCORTS MAVIS BACK TO THE CHAIR) Be gentle, his nose is working it's way loose, no thanks to Cynthia. (MUSIC: OLD DEAD GEORGE THEME. CHARLOTTE DOESN'T MOVE. CYNTHIA IS GIGGLING. THERE IS STILL THE THUNDER. RITA DRINKS FROM THE BOTTLE. MAVIS LOOKS FROM ONE TO THE OTHER WITH GREAT EXPECTANCY. EVEN THE MUSIC HAS MELLOWED. CHARLOTTE SUDDENLY SNATCHES HERSELF IN THE DIRECTION OF AN EXIT ALMOST LIKE A POKE LIPPED LITTLE GIRL. SHE RETURNS WALKING WITH GEORGE IN FRONT OF HER MAKING IT SEEM AS THOUGH HE IS WALKING ON HIS OWN. SHE IS WALKING WITH AN ALMOST MELANCHOLIC PROCESSIONAL GAIT, GENTLY LAYS HIM FACE UP AT THE FEET OF MAVIS WHO IS SITTING IN A LARGE ARM CHAIR. MAVIS BEGINS TO BREATHE AS IF TRYING TO CATCH HER BREATH, BUT IN A CALM CONTROLLED WAY AS IF SHE DOESN'T BELIEVE HERSELF. CYNTHIA BEGINS TO GIGGLE AGAIN. MAVIS STARES AT ODG WITH HER MOUTH AGAPE IN A TRANCE.) RITA (STANDING ON THE FIREPLACE LEDGE, FACING THE FIRE, WITH HER BACK TO EVERYONE.) Therapy tomorrow girls. I suggest we all get some sleep. (RITA EXITS, PISSED. CHARLOTTE AND SHARON EXIT EACH SAYING GOODNIGHT TO MAVIS AS THEY DO. MAVIS DOES NOT ACKNOWLEDGE OR TAKE HER EYES OFF ODG. CYNTHIA HAS PASSED OUT, LYING SLUMP ON THE RUG. MAVIS JUST SITS FROZEN, STARING DOWN AT OLD DEAD GEORGE GASPING AT HER VISION OF HIM.) MAVIS It's ... it's ... it's HIM! FADE TO BLACK SCENE 3 (MUSIC INTRO TO ODG SONG AT HOUSE-TO-HALF, THEN LYRICS AS THE LIGHT CROSSFADES, SHARON ENTERS HER ROOM. SHE IS UNDRESSING WITH SENSUAL STYLE, UNTIL SHE HAS ALL HER CLOTHES OFF EXCEPT FOR HER SLIP AND BRAS SHE WALKS OVER TO THE MIRROR AND FACES IT WITH HER BACK TO THE AUDIENCE. SHE RUBS HER FACE WITH THE PALM OF HER HAND. HER FACE IS EXPRESSIONLESS. SHE LOOKS AT THE DOOR MOMENTARILY. SHE GOES TO IT, WALKS OUT AND COMES DOWN STAIRS. EVERYTHING IS AS IT WAS LIT IN STEEL BLUE WHEN SHE WENT UP STAIRS EXCEPT THAT MAVIS IS NOW SLEEP IN THE ROCKING CHAIR. SHE KNEELS DOWN BESIDE OLD DEAD GEORGE EVER SO QUIETLY LEST SHE WAKE MAVIS AND CYNTHIA (WHO IS SNORING) UP. SHE SLIPS HER ARMS UNDER HIM AND LIFTS HIM UP, CRADLING HIM CLOSE TO HER CHEST. AS SHE IS WALKING TOWARDS THE STAIRS SHE TALKS WITH GEORGE. LYRICS STOP, MUSIC CONTINUES.) SHARON It was a "high" watching you build a nest and putting things in it that made me know you were really never going to leave me no matter what. I tended to you with a fierceness risen from my ashes, the creator forgiving me my karmic debt if I could succeed at you. A fierceness you claim didn't let you breathe. Your accountability was impeccable. (SHARON APPEARS IN AN ABSTRACT SPACELESS RELIEF IN FRONT OF HER ROOM DOOR IN THE HALLWAY.) It's embarrassing to lose a man. I can't tell you why, and it may be for all the wrong reasons, but every woman knows what I'm talking about even if they won't admit it. Maybe it's because we change our entire lives to keep you. I didn't even have to trust you. How do you trust a man? That was too new to me. You made yourself accountable for every hour of the day to me wherever you were and gave me numbers to call could always find you. Where are you now? Can you breathe now? (REACHES IN BAG AND PULLS OUT A PILE OF CRUMPLED PAPER) See! Piles of numbers you used to give me so I wouldn't worry. Hundreds of them, some to phone booths even. You just went away and never came back "right back." (SHOVES HIM THROUGH THE DOOR) You just walked out on me. (CYNTHIA LETS OUT AN EERIE GIGGLE.) CYNTHIA You're gonna dream. (VERY RITUALISTICALLY SHARON TAKES GEORGE TO HER BED AND POSES HIM SITTING ON THE EDGE WITH HIS BODY PROPPED UP ON HIS ARMS, LEANING OVER THE SPACE THAT SHE HAS DRAWN BACK THE COVERS TO SLEEP. SHE THEN CRAWLS UNDER AND THROUGH HIS ARMS TO LAY IN THE SPACE SHE PREPARED FOR HERSELF.) SHARON Talk to me. Talk to me. That's it. Yesss. Yesss. I met someone tonight. Her husband is dead. Actually dead. What do you think about that? ... You're not dead. You're out there, man. You are away. You are...gone. Where are you now? You are alive and somebody is living under the body of you, bathing. Do you take baths with her. Do you tell her how much you like to kiss her in the raw, morning breath, sex and stuff. Touch me. (SHE RAISES HER BODY SO THAT IT APPEARS AS IF GEORGE IS KISSING PARTS OF IT.) Yesss. One in a million. One in five billion. Always wanting to make love. So softly. True blue lover man. (SHARON IS WRITHING IN EROTIC MOVEMENTS CAUSING GEORGE TO KISS HER ALL OVER. HER AROUSAL IS REACHING A PEAK. SUDDENLY SHE STOPS, GRABS HIM IN A HEAD LOCK.) Die in my arms ... If you were dead we could finish. (SHE THROWS HIM TO THE FLOOR. NOW HE IS ON HIS BACK AND HIS ARMS ARE STICKING STRAIGHT UP. SHE LAYS BACK EXASPERATED. CYNTHIA AWAKES GETS UP, STAGGERING IN THE MONTAGE OF BACK LIGHTING. SHE WALKS UNDER THE CEILING THAT IS THE FLOOR OF SHARON'S ROOM AND LOOKS UP, STANDING CROOKED WITH THE AFTER AFFECTS OF INTOXICATION. SHE STANDS THERE LOOKING UP AS IF TO EAVESDROP. SHARON BEGINS TO WHIMPER AND CRY.) I have no where to go. Nowhere. We did everything together. Not letting each other out of sight. Since you've been gone the nights I have lain, astro tripping, stiff lying for hours trying to connect, going nowhere, candles smelling, wax burned doilies, spinning sacred wheels, we used to stare through crystals searching our next life, beyond forever, you promised. Chimes, rattles, gypsy craft shows, cycles, mountains ... the sea ... the sea. You promised! I said I was scared to be in my own space, alone. You said you didn't need your space. I said how about so and so and such and such and the rest of God's new age clan. You said they were jewels placed in the crown of us. You said we could have OUR space. Two beings, one soul. Dared me to test your love. The sea like tea. Inseparable. You promised. (SHE CRAWLS MENACINGLY OFF THE BED TO GEORGE AND STRADDLES HERSELF OVER HIM. AND AS SHE BEGINS TO DESCEND UPON HIM.) Let's just do it. The way of the world. (THE LIGHTS FADE IN THE ROOM TO BLACK TO THE MOANS OF SHARON. CYNTHIA IS STILL FROZEN IN HER MONTAGE. SHE SITS SQUAT ON THE FLOOR. SHE GIGGLES BRIEFLY THEN:) CYNTHIA Damn. BLACK OUT INTERMISSION ACT II SCENE 1 THE SCENE OPENS TO REVEAL OLD DEAD GEORGE POSTURED ON THE STEPS, LEANING AGAINST THE BANISTER WITH HIS LEGS CROSSED LOOKING DOWN AT MAVIS. MAVIS IS SITTING IN THE ROCKING CHAIR, STARING AHEAD. THE STAGE IS A CROSS SECTION OF THE RETREAT HOUSE. ALL THE LADIES CAN NOW BE SEEN IN THEIR RESPECTIVE ROOMS GETTING PREPARED FOR THE DAY. CYNTHIA IS SITTING ON THE FLOOR BESIDE THE TOILET WITH AN ICE BAG ON HER HEAD, EATING A POTATO HUMMING TO A VARIATION OF THE THEME SONG. SHARON IS SITTING AT THE VANITY TABLE IN HER ROOM FOREVER COMING HER HAIR. CHARLOTTE IS DOING HER AEROBICS IN A MILITARY WAY. RITA IS WALKING OUT THE DOOR FULLY DRESSED IN A BUSINESS LOOKING OUTFIT WITH A NOTE BOOK UNDER HER ARM. ON HER WAY DOWN STAIRS SHE JUST WALKS PAST OLD DEAD GEORGE AS IF NOT TO NOTICE HE IS THERE. WHEN SHE REACHES THE LOUNGE SHE STOPS TO GREET MAVIS. RITA Oh, I'm so sorry, dear. How inhospitable of all of us. No one showed you to a room. MAVIS What is this all really about? RITA What do you mean? MAVIS I saw him. Was it a dream. Something in the wine. who are you people? (CHARLOTTE HAS COME OUT HER ROOM AND IS KNOCKING AT THE BATHROOM DOOR. CYNTHIA IGNORES HER. SHARON IS GETTING DRESSED.) I went so many places last night. I saw so many things, him. I kept hearing, ah, the drunk one ... RITA Cynthia ... MAVIS Yes, Cynthia. She was giggling in her sleep. What is this about? I want to get out of here. RITA You can't leave till we get that tire fixed. Besides, you don't really think you can leave now, do you? MAVIS Who do you think is going to stop me? (SHE GOES TO GRAB AN EMPTY BOTTLE.) RITA (CALMLY, SOOTHING) Mavis, Mavis, come on, you know that is not what I mean. Please don't hit me with that. I mean you don't really think you can leave now, with all the questions. MAVIS All I do know is that I am scared and I don't know why. And who put that dummy on the stairs. It was looking down at me. It looks different now. Who put it there? RITA It could have been any one of us. We never ask how he winds up where he does the next day. It would violate somebody's privacy. He's harmless. He can't do anything without us. (CYNTHIA THROWS THE POTATO IN THE TOILET.) We're in control here. (CYNTHIA OPENS THE DOOR AND CHARLOTTE FALLS IN BECAUSE SHE WAS LEANING UP AGAINST IT.) MAVIS In control of what? RITA (YELLS UPSTAIRS) Come on, girls, it's time. (CHARLOTTE LOOKS IN THE TOILET DISGUSTED.) CHARLOTTE Cynthia, you stopped up the toilet. Come get it out. Yuck! (CYNTHIA BRUSHES PAST HER INDIGNANT. CHARLOTTE BEGINS TO BRUSH HER TEETH. SHARON IS IN THE MIRROR MAKING THE FINISHED TOUCHES. CYNTHIA HAS REACHED O.D.G. SHE SITS ON THE STEP BESIDE HIM. MUSIC SCORE ENDS.) CYNTHIA What's happenin', mate. Had all-night-capper, did ya? Whoooaa, wouldn't every man love to be in your shoes. But not for long, bud, not for long. Want something to eat, huh, do ya? Well you can't 'cause your dead, you dumby. (KISSES HIM ON THE HEAD) I love your rag bones. (GETS UP AND GOES DOWNSTAIRS) Wrong, no I don't. I hate you with a seething. (TO RITA AND MAVIS) Hey, chief. Good morning Mavis. RITA (EXITING OUT OF DOORS, WRAPPED IN A COAT AND SCARF.) Good, afternoon, Cynthia. MAVIS (WALKS OVER TO CYNTHIA) Why do you say, you're gonna dream, every time somebody mentions Old Dead George? CYNTHIA How do you feel? You look bedeviled, you poor thing, we haven't been very good initiators, have we? MAVIS What's this ritual, or meeting, and what does it have to do with George, I mean Old Dead, oooh, I mean do I have to participate? CYNTHIA But yesterday you were so eager, so insistent, so .. MAVIS So what! But I didn't dream. I just looked at that oversized rag doll, last night and couldn't take my eyes off him. The only other sound I remember was you giggling. But something happened to me. When yawl first put him in front of me, he, he changed into, he ... my husband, but, no, not my husband, the feeling of my, no, no, a way of feeling came over me that felt like the way I used to love, the first- time feeling the way it feels when you have given up on ever feeling that way again, strong, young, ... CYNTHIA Before you started menstruating, when you were still bald at the nape, as it were, like when you were (SINGS) "Just like a virgin..." (CLAPPING LIKE A MOTHER FOR HER CHILD) MAVIS Yeaaah, only it's, it's, c'mon ... CYNTHIA C'mon ... It's ... MAVIS It's ... Like you feel right after ... the moment after you lose your virginity. CYNTHIA Ah, honey, virginity isn't something we loose, it's something you acquire, like maturity. MAVIS Beautiful hope, helpless fear. Except for those lucky enough never to mature. CYNTHIA If you have five conscious minutes to yourself just before you die, you mature. MAVIS His last breath, I felt it! I felt it last night. I felt it. That dummy made me feel it. Somebody workin' roots around here? CYNTHIA Somebody workin' roots out there. That's why we in here. Except yourself, of course. You ain't got nothin' out there hauntin' you but fond memories of a good husband who died, ACTUALLY died. In your arms even. Anyway I look at it, I don't know why you're CYNTHIA even here. And, if I can be honest, I am slightly put out by it. Sharon don't like you at all. She's jealous - the devaluation of your Karmic debt compared to hers, and all that shit. But it ain't nothin' to worry about. Now Rita ... well ... you're gonna get it. But what I would do if I were you is eat hearty or get low down filthy high. The meeting can last five minutes or five hours and when it is over you won't know the difference. I'm gonna excuse myself from your presence so I can do my Head-Ups. MAVIS Head-Ups? CYNTHIA Yeah, ya go somewhere like a corner or something and do like this till you think you're gonna fall. (CYNTHIA JUST BOWS HER HEAD UP AND DOWN, LIKE A BOUNCING BALL, WALKING TOWARDS A CORNER OF THE ROOM NEAR THE FIREPLACE.) I get dizzy after awhile, sometimes I fall, but ... it's nice. It's the closest I come to that astro projection shit that Sharon always trying to do with her hands folded across her teatties. (LAUGHING OUT LOUD TO HERSELF) like she's Queen Mo Tet, (laughs) oh please go get the Queen Mo Tit! (MAVIS IS DISTRACTED FROM CYNTHIA BY THE SIGHT OF OLD DEAD GEORGE ON THE STAIRS. SHE WALKS OVER TO THE STAIRCASE, TIMIDLY, EMBARRASSED AT HER TREATING THE DUMMY LIKE A BEING WITH A POINT OF VIEW, APPROACHES OLD DEAD GEORGE, REACHES FOR HIS FACE, HANDS TREMBLE. SHE YELPS.) MAVIS Ahhh, don't do that, Sharon, you scared the hell out of me. SHARON (WHO HAS APPEARED VERY SUDDENLY AT THE TOP OF THE STAIRS) Did you hear any funny noises last night? MAVIS Only Cynthia giggling. Why? CYNTHIA Because she was making them and she wants to know how low she should go next time. (RITA ENTERS FROM OUT OF DOORS.) RITA (INTERRUPTING) Look everybody, look what I got. (A HUGE HORN OF PLENTY FILLED WITH FRUIT, NUTS, CHEESE AND CONDIMENT BASKET. CHARLOTTE COMES RUNNING DOWN THE STAIRS AND FALLS OVER GEORGE. SHE GOES TO KICK HIM.) MAVIS "NO!" (MAVIS IS STARTLED BY HER OWN OUTBURST. CHARLOTTE TURNS AND GREETS RITA AND THE BASKET. MAVIS SLUMPS AT THE BOTTOM STEP LOOKING UP AT SHARON STANDING STATUESQUE AT THE TOP OF THE STAIRS. EVERYBODY ELSE IS PARTAKING OF THE GOODIES.) RITA Cynthia, I couldn't help hearing your remark on my way in. You know better. Privacy. Sharon's privacy. All our privacy. We guarantee it. Sharon, come down, honey. Ya gotta eat. Mavis, close your mouth, you look like you're about to drool. Get over here. We have a long day. SHARON I gotta chant. Is there not grace for the blessing. Somebody please move that thing and put it back where it belongs. I took the trouble to get it out. The least someone can do is put it back ... CYNTHIA Is he clean? RITA Cynthia! CHARLOTTE I'll get him. CYNTHIA I bet you will. (CHARLOTTE GOES TO PICK UP GEORGE AND PUT HIM IN THE CLOSET.) SHARON But not like you, Cynthia. No one ever gets him like you. (SHARON DESCENDING THE STEPS CHANTING NOW THAT OLD DEAD GEORGE HAS BEEN REMOVED.) RITA (EATING A N APPLE) Mavis, come here. (MAVIS COMES AND STANDS BEFORE RITA.) We play games with George. MAVIS Why do you call him Old Dead George? RITA You have fantasies, don't you? I mean like what you and your husband would be doing at this moment, let's say, right now. And that could be anything YOU would want it to be, being that he is dead, right? MAVIS It's not quite like that. RITA But there is a dignity to the fantasies, isn't there? MAVIS I don't know what you are talking about. SHARON She's talking about we can't do that! She's talking about the difference between transcendence and reality. Our husbands are right now somewhere out there doing something ... RITA We, therefore, create Old Dead George over and over again, like children make up invisible friends who are not as heartbreaking as real ones. CHARLOTTE (JUMPS AT MAVIS) Or like the bringing back the living dead. Wanna play? MAVIS What happened to me last night? (NO ONE ANSWERS. MAVIS GOES FOCUSES HER ATTENTION ON THE CLOSET.) MAVIS Let's play. (RITA TAKES A BITE OF THE APPLE.) BLACK OUT SCENE 2 PRE-SET: OLD DEAD GEORGE IS SITTING IN A MAKE-SHIFT CUBBY-HOLE WITH OTHER STUFFED ANIMALS AND PILLOWS STREWN ABOUT HIM. HE IS LAYING IN A LOUNGING POSITION WITH A CRIMSON LAPELED ROBE. MAVIS IS SITTING DL IN SILHOUETTE. THE WIDOWS CHANT: THEY EACH TAKE A LINE OR WORD BELOW AND RUN THE CHANT OVER TWO OR THREE TIMES. WIDOWS You... tuck us in, / rub between ... our fingers, ... kiss ... our scabs, / knead our hair, ... squeeze ... / your sweat / to salt our basin soaked feet, ... massage ... / Ooo, / massage, / lasting, / carry us / to bed, biceps trembling, ... breathe ... with us / our births, make babies, ... ex-cer-cise ... sitting up with, / pushing up on, / hand ... feed ... my mouth food / with your / lips, / everyday / everyday ... (MAVIS IS STILL IN NON-PARTICIPATORY SILHOUETTE. AS EACH OF THE WIDOWS SPEAK THEY SOMETIMES OVERLAP, THEY JUST GO ON AND ON WITH THEIR WAILS AND THEN ANYONE OF THEM AND EVENTUALLY ALL OF THEM DO SOMETHING TO OLD DEAD GEORGE IN THE FORM OF KILLING HIM BUT WITH SUCH REMORSE, SUCH LOSS, SADNESS, TO KILL THE IDEA OF HIM, TO KILL THE IDEA OF HA...HAP..PI...NESS, TRUE LOVE LOST. THIS SCENE IS MANIACAL, DISJOINTED, TRUE ENSEMBLE, DIFFERENT EVERY REHEARSAL AND PERFORMANCE, SHOULD INCLUDE THE ACTOR'S DAY, MOMENT, CULT FRENZY ... SCARY BUNCH OF BABY JANES.) CYNTHIA (SNORTING COCAINE IN BETWEEN SLUGS FROM A BOTTLE) Bastard, look at me. I was in the gutter wallowing in my alimony. You couldn't want me. Nobody could want me. You wound up just like all the rest. Made me believe again. True love. So sweet. WELL LOOK AT ME! Right back in the trash. RITA Mavis, he is the art of love. The man with the horn rimmed RITA glasses in the library. Sailing in his solitude in a boat that he built himself. Drinks spring water. Wants to save whales. An excellent stepfather who the children love more than their actual mother ... I mean the dog can crawl in between the two of you an he won't mind, even though he doesn't like pets. CYNTHIA You started too much shit in me ... made it work too perfect. Now I got to pray for an ending. Yeah, I drink now that you're gone. How do I spell relief? RITA But it's your dog, so he loves it too. He paints. He's the one who busted track instead of football. Cross country, chess and biding time, until he could beat the macho mothas winning us over with his fermented grasshopper ninja lethal frail skinny leg body. Pays attention to detail. He's the one looking off in the distance in one of those roadside mag ads wearin' jeans sold in only three stores around the world. Sittin' on the roof to ease his anger. His love is incurable. CYNTHIA Oh, but we kill ourselves trying to find a cure. How do yawl get relief? Sinnin' pleasure, Charlie? Let's get the cure for hap-hap- HAP-piness. Fat? Do you get fat for relief? CHARLOTTE Rituals, I know about rituals, all my life I'm told, "Hold your CHARLOTTE breath, WAIT ..." SHARON (SHOOTS HIM) Last night was SICK ... God gave me you, this pure, honest complete campfire man. He comes with juxtaposition, virtue and size. RITA I mean you are so surprised to see how hung he is. Mavis, look at the expression on his face. Look familiar? He loves me, truly loves me. I told him what I had been through with guys and he just understood the bitch left to die in me and said, "... whatever it takes. I love you unconditionally." CHARLOTTE Kneel, wait, hold my urine, wait ... CYNTHIA Mavis, do you get high for relief? Do you go to church and sit in the first two rows rockin' the heart-break away? Or do you take a chance on him? CHARLOTTE They say someday a good man, maybe, if I wait, wait 12 grades, cramps, first love abortion and a diploma, 4 more years with macho abuser and a degree, then four more years with a mother's son, another degree, then, two more years with SIZE and po-si-tions, and another degree. WAIT! ... THEN YOU FINALLY ARRIVED. CYNTHIA The cure, the relief, Mavis, how about tarot cards, astrology, astrological positions, MSG, red dye, warfare, aerobics 'till your pain is your pleasure, coke, rock, tobacco, suicide. What- is-your-relief? CHARLOTTE To earn my wings, my husband, used to always say, I must tempt fate, let go, fly blind. Well, I waited for you and you arrived and I did this blind flying in your big world, your love for me an extension of your universal love of all things and people and people, taking pictures of endangered species, winning awards with your telephoto and loving me like none of that stuff mattered near as much as our love. And then you left me. CYNTHIA (TO ODG) Why didn't I ever stop the relief ... (HOLDS UP BOTTLE) ... in spite of being hap, hap, hap, py?! Why?!!! LOOK AT ME!!! 'Cause I saw it comin'. It always comes. It's gotta come. THE END. THE END. RITA You see, Mavis, he came riding in shining armor with a kiss for the princess pea and untied the damsel in distress from the tracks just in time ... When he says forever, he means it. He means you will never love another. So you owe your life and love RITA to a free spirit. Even after he's gone. CHARLOTTE Arrives just in time after the psychs and ministers have drained me dry making profits off my hopelessness. CYNTHIA Talk show shit. CHARLOTTE Marriage ... e pluribus unum we were. RITA Maybe not a prince, but a reasonably responsible frog. CYNTHIA Jesus, why are we here? Every year. They're probably in the conference room across the way with babes jumpin' outta cakes, while we're shovin' it to a dumby. Well, let's get high, boy. High till you die, HAP! (AT THIS POINT CYNTHIA GOES UP TO OLD DEAD GEORGE AND GIVES HIM A LETHAL INJECTION OF COCAINE, SHAKES THE OD DUMMY TO HIS DEATH AND MAKES IT MORBID. MAKES HIM DIE IN PAIN.) SHARON (TO ODG) Huh, baby? Nothin's wrong with sin, if we're environmental about it? (SHOOTS HIM) I followed him in the rain, under the mud, out in the wilderness, God's country. CYNTHIA He follows YOU. That's his secret. CHARLOTTE Seven years dying in my arms. Dying in my arms, too, Mavis. My HUSBAND could go any time, the doctors used to say, month in and year out. Seven years with a dying man, now that's love making. But he didn't die, he just left. Why? CHARLOTTE How wonderful, sensitive, loving, insightful, redeeming, martyr, saint persecuted, devoted can you be, kind with sacrecy. Out there running loose, black as the night. Wise as the pyramids. Running wild back to your roots, taking pictures of your people's history. You endangered species, you. It shouldn't be ... (SNATCHES SHARON'S GUN AND SHOOTS HIM) ... I can't share you with no people. Then, then, and then you drag your duffel bag to the front door, me barefoot. How was I supposed to share you? RITA Slow song, slow, slow song. SHARON You wanna see how he dies in bed, Mavis? (SHARON TAKES AN ORANGE RAG, STUFFS IT IN ODG'S MOUTH, SQUEEZES HIS NOSE TILL HE SUFFOCATES. WHEN SHE IS FINISHED THE NOSE COMES OFF IN HER HANDS. SHE GIGGLES, THE OTHERS GIGGLE, THEY LAUGH TO A ROAR. CYNTHIA STORMS OVER TO SHARON, SNATCHES THE NOSE AWAY FROM HER AND TRIES TO STICK IT BACK ON. MORE ROARING LAUGHTER EXCEPT FOR CHARLOTTE (MAVIS IS A MUTE SILHOUETTE.) RITA WALKS UP TO ODG AND PREPARES TO HANG HIM WITH HER SCARF.) MAVIS Stop it! ... Stop! How do you know what it's like to have him dead? (SHARON SHOOTS ODG. RITA TIES THE NOOSE AND HANGS OLD DEAD GEORGE.) MAVIS STOP IT!!! (MAVIS SNATCHES THE NOOSE FROM AROUND ODG'S NECK. ODG DROPS, LIMP, MUTILATED.) RITA Too late. He's already dead! MAVIS He died trying to love me. (MAVIS STARES AT EVERYONE IN THE ROOM IN HORROR.) You fuck and kill a dummy? That's your membership? I won't see him ever ... EVER! ... in this life. I would trade for all the pain in hell if he could breathe again with me or without. He's ... he's gone. I only have the love. So I have to TAKE that love and do something with ME. I have to! ... I have to start all over again with me. I have to love what's left ... How dare you! (MAVIS THROWS THE NOOSE IN THE DIRECTION OF RITA IN DISGUST AND STORMS OUT THE COTTAGE.) RITA Let's pack and get the hell out of here ... now. BLACK OUT SCENE 3 THE GIRLS ARE PREPARING TO LEAVE. SHARON IS ON THE STEPS CHANTING, CHARLOTTE IS TRYING TO CLOSE HER SUITCASE, CYNTHIA IS CLEANING UP TRASH. RITA IS OUT OF THE COTTAGE CHECKING THEM OUT. CYNTHIA (STUFFING TRASH IN LITTLE PLASTIC TRASH BAGS.) I brushed, I scrubbed, I cannot get the smell of cheese out of my mouth. Plus somebody got the wrong size trashies. CHARLOTTE (TRYING TO CLOSE HER SUITCASE) Can you not be so loud and grumpy? Just use what you have. CYNTHIA You got the wrong size trashies, Charlie, and it's no big thing but you have a habit of being so inaccurate when it comes to doing simple shit. CHARLOTTE Let's put a lid on this, 'cause I don't think this atmosphere can stand another explosion. CYNTHIA Well, I'm not going to try to stuff all this stuff ... (THROWS DOWN STUFF ON THE FLOOR, KICKS A BAG OF TRASH.) Here, you do it. Your trashies, your trash. SHARON (MEDITATING AT HER PORTABLE ALTAR WITH HER MANY BAGS SURROUNDING HER) Hey, you two, knock it off. I am trying cleanse this place, make sure we leave no traces of ourselves and you two keep filling the SHARON place back up with your nick picking. RITA (COMES IN THE FRONT DOOR FROM OUTSIDE, SHIVERING FROM THE COLD.) Well, everybody's car is fixed, let's load up and take our lives back to hell where they belong. Need any more pons, Charlie? How's the cramps? Oh, that's right, diahrea. You two been at it again? (MAVIS COMES IN, RITUALISTIC, THE FRONT DOOR BEGINS TO RECITE A POEM "QUEEN OF BEINGS" OUT LOUD TO THEM.) MAVIS MOTHER MOTHER OF GOD MOTHER EARTH MORNING STAR QUEEN QUEEN OF THE UNIVERSE QUEEN OF HEAVEN QUEEN OF BEINGS BLESSED BLESSED NEW CHILD BLESSED WOMAN DIVA BLESSED WOMAN, BLESSED FOR I SEE AND FEEL YOUR TRUE GREATNESS THE REALITY OF YOUR EXALTED POSITION SHARON (APPROACHING THE BASE OF THE STAIRCASE) AMONGST AND ABOVE THROUGHOUT DUST AND DEBRIS THERE SHINES A HEART IN THE MIST TO REMIND YOU OF THE GREAT THEE HUMBLENESS AND THANKFULNESS MAVIS FILL THE HEARTS INSIDE NO ROOM FOR EGO OR SELF DOUBT YOU HAVE TO GIVE, GIVE, GIVE AND GIVE LOVE IT IS THE PRICE FOR CREATOR'S RIDE MAVIS & SHARON TOGETHER (HIGH FIVING) SO ALWAYS REACH UP AND OUT GO FAR BEYOND YOUR LIMITED LIMIT PUT YOUR LIFE HEART AND SOUL IN IT MAVIS There's this woman at sitting at the widow, waiting, complete with dripping candle, been burning for years. She's waiting for HIM to show up. She is sitting, waiting, still bleeding from her poor punctured heart that's been beat to death by years of impostors. I mean the girl is so down and out about life and herself that she is depending on this hero, this good man to do it all, 'cause she's wasted. She remembers asking girl friend ages ago, "Where are all the good men?" This girlfriend replied, "He's the one we pat on the head and say let's just be friends." Oh, but it was challenging ones that have left her for dead. Now she's dead tired of challenges and just wants to be loved for herself ... Then HE shows up, the actual good man soul mate God created for the woman at the window. She is so startled that he actually arrived, she freezes, 'cause it has to be too good to be true and then she rushes to the door, opens it and into each other's arms they slam at the threshold. Yes, the threshold. He is about to carry her over, BUT, he almost trips from the pile of MAVIS trash. she leaps from his arms and, oh, my God, look at the place. It's a WRECK! It's worse. It's an unhappy place. But he understands. After all, that's what good men do - understand. He accepts her as her unhappy self. And promises, promises, that he is the very definition of happiness. CYNTHIA What's the point, I gotta go. CHARLOTTE You mean what's the catch. He promises to make her Haaap ... but she's gotta take the risk. CYNTHIA Punch line, punch line, c'mon, I don't get it. MAVIS (LOOKS AT ODG) Poor George, lying there beat up and killed because you FAILED, man. Ah, you FAILED. Dummy! Didn't you tell them what they had to do before you arrived? Didn't you tell them how demanding your true love can be? C'mon, tell 'em how much of themselves they gotta bring to the table with 'em. You deserve to be ... (STARTS KICKING HIM REALLY GOING OFF ON HIM. CYNTHIA AND SHARON EVENTUALLY BEGIN TO CHEER HER ON.) dead, dead, dead, DEAD!!! CHARLOTTE (RUNS TO ODG, GRABS HIM ROUGHLY, CARRIES HIM TO THE CLOSET AND CASUALLY THROWS HIM IN.) CHARLOTTE Rita, did you check us out of this place? (EVERYBODY LOOKS AT MAVIS WHO IS BREATHING HARD, RECOVERING.) MAVIS Yes, I was very lucky to have my man die on top of me. CYNTHIA Well, Mavis, virgin of actual dead husbands, got your stuff ready to pack, I'm sure somebody'll will help you. CHARLOTTE Why are you so shitty, Cyn? CYNTHIA (GRABS HER SUITCASE AND HEADS FOR THE DOOR.) Don't start with me, I mean it Charlie. Let sleeping dogs creep the hell out of here in peace. RITA (STOPS CYNTHIA FROM LEAVING) What is it Cynthia? CYNTHIA I mean all this po-e-try, mush shit, freaking-out talk and I don't understand what the hell she's talking about, do you? Does anybody? I mean, if you got something to say, be clear, be-cleaaar. I just want to know what the broad is talking about. Is that asking too much? I'm sorry if I hate poetry, but I do. Just tell me what's up so I can be outta here, I ... Aw, nevermind, I don't even care. (CYNTHIA WALKS TOWARDS THE DOOR AWKWARDLY DRAGGING HER SUITCASES. RITA STOPS HER AGAIN.) MAVIS What are you going to do with Old Dead George? RITA Leave him there. Like the commercial say, we can always make more. (EVERYBODY LAUGHS.) MAVIS Isn't that what they did with you all? SHARON Who, the Old Dead Georges? MAVIS No, the ones before, the ones who abused YOUR tender loving caring sensitive ways. The ones you complain to Oprah, Geraldo and Donahue about. You all act like a bunch of banged bitches, but I still don't know why your sensitive husbands went away. RITA Therapy is over, babes, and we appreciate the opportunity you took to be traumatized by our bitchiness ... MAVIS (TO RITA) I WANT TO KNOW! From each of you I got to know. You had to know about me. I have to know about you. I gotta know how I would have wound up if he lived. I'm a member, remember. (THEY ALL LOOK AT ONE ANOTHER.) SHARON Rita's old man said it was the routine. RITA SHARON! I'm gonna kick your ass! (CYNTHIA GRABS RITA AS SHE GOES FOR SHARON. RITA SNATCHES AWAY AND GOES TOWARDS THE PHONE.) SHARON (DISTRACTING RITA FROM CALLING TO THE DESK) Seemed they only did it 11:30 after the news. Accused her of always being afraid to really let herself go. Spontaneity and all that mush stuff. She thought that sort of thing stopped when courtship ended. Because it always did before. She didn't take him literally when he said it would always be like the first time. She thought he was being extra nice so he could do his dirt elsewhere without her becoming suspicious. She hated the way he hugged everybody instead fo just saying hello. RITA (SLAMMING THE PHONE) Yeah, well, okay, Ms. Oohm, Oohm, while you are at it why don't you report, oh, what was it your husband said on the way out? Something like "Sharon, I have done you a disservice. I tried beyond my rights, to prove my love to you. No one can do that. It has made you a loaner and me a debtor. I can't pay up for the interest. Good-bye. Maybe in the next life. Here's a number where you can reach me if you need me." He forgot to write the area code. By the time she called all the area codes in the RITA United States the phone number he gave her was no longer in service. I guess he needed a break from keeping a third eye on him. The guy couldn't have a bowel movement without the woman on her knees aahooumin' the toilet paper off the roll. Yeah, free love. CHARLOTTE Mavis, my husband couldn't take living with me in his deteriorating body. He felt if he couldn't love with his wellness then he would be a burden and that ... CYNTHIA Aw, that's crap. Your husband got tired of your using his illness to keep him from his humane journeys, in the Nepal with some possible hefty native momma to fill your shoes. It wasn't enough that he was dying. You made him cripple. He got sick and tired of your crying about, "How do I know what you're doing out there in the jungle?" You were so glad the man was dying so he couldn't go nowhere... CHARLOTTE How can you say that? CYNTHIA You told me he said that your fear of losing him to his world was greater than his fear of death and killing him faster. CHARLOTTE I can speak for myself Cyn. And how do I know he wasn't out there knocking it to some indigenous broad? Anyway, whether they bring home the love or disease of another woman what's the difference? Men bring home some surprise package with a lit fuse. As for this sensitive man stuff, I told my husband that I was better off with the macho abuser. At least I could see the punch coming. And I may not know where the mother's son was hanging out but I always knew where he'd wind up. But this sensitive, unconditional love thing, wooo, leaves tooo much room for anything goes. Too much room for a bust. He said to me, "Charlotte, I will see your eyes in every sunset from borneo to LA., I love you unconditionally," and left ... As for you, Cynthia (COMING TOWARDS CYNTHIA THREATENINGLY), I have had enough of your shit ... RITA (RITA BLOCKS THE ENCOUNTER. CYNTHIA PREPARES TO STORM OUT.) Cynthia, do not let Mavis do this to us. She doesn't belong here. You do. Please don't leave that way! (CYNTHIA DROPS HER SUIT CASES AND CALMLY WALKS OVER TO MAVIS.) CYNTHIA He never hit me. He never abused me mentally. He told me he would make up for all the horror in my life. Boy was he an angel. I couldn't stand it. I kept waiting for the bubble to burst. I had to bust him. I just had to. It got to the point that I started testing him by going back to my old vices, the smoke, the coke, the booze, comin' in late. He showed me only love and understanding, lying with me, easing me on the downside of a high, going in late for work. I just couldn't stand it. Then I started provoking him. Not intentionally. Please believe me, I didn't want to ... One day he was holding me down, waiting for me to tire, me hollering, "Come on, hit me, mother fucker! Him reassuring my sons that he could handle it, "Your mother has some tears in her heart and we have to heal them? (SHE TALKS AS IF HE WERE THERE) Come on, you know you want to do it! You think you're sooo human so, so, true blue. You are a MAN! ... I did it, boy, did I do it. I started talking about his penis and his mother and his God and his manhood and he still held up. Grittin' his teeth, sweating blood, fighting the devil herself. He held on. The only thing that got his goat was when I went to his computer ... I brought up the DOS prompt "C" on his gigga meg computer, of which he had used 25,000,000 bits that stored the memory of his life, his work, his dreams. I mean I was Regan in the movie "The Exorcist". I had to break him ... He was just to good to be true ... I typed "ERASE" directory "C", all files, every gigga bit of him. The computer replied, "Are you sure, parenthesis yes slash no." When he came into the room I saw that look, Mavis. The one you saw when you sat in front of Old Dead George. The look the moment your husband died. His mouth wide open, trying to scream "NO DON'T DO IT" while Pushed I "YES, I'M SURE" ...(PAUSE) The next thing I saw was carpet spread before my busted lip, sons standing over me. And the front door wide open, hole in the wall from the door knob slammin'. (ABSOLUTE SILENCE AND SOME TEARS) MAVIS And now he's out there as scared as we are of being hap ... hap ... hap ... God, I don't believe this. (SHE CONTINUES TO TRY TO SAY THE WORD.) Ha ... hap .... I wonder what Old Dead George is doing to whoever, after the hell he caught from you, after the hell you caught from those before him. Arriving for each other just in time late. If my husband had lived that night, I probably would have driven him away eventually. Or he, me. WE were too hap ... happ ... CYNTHIA (SOBER, SOMBER) Happy. RITA (GOES BACK TO THE PHONE TO CALL THE FRONT DESK) Yes, we decided to check out early and we're on our way out now. Tell them to bring on the vacuum cleaners and free soap. Oh, tell them not to be frightened by the big voodoo doll in the RITA closet. All the pins are in our hair. ("HE FELL ASLEEP WITH HIS HAT ON" INSTRUMENTAL: SHE HANGS UP THE PHONE. THEY ALL EMBRACE. THEY ALL LEAVE EXCEPT FOR CYNTHIA AND MAVIS.) CYNTHIA Come on girl, lets go. I'll help you get your things. MAVIS I'll be fine. Thank you for letting me stay. (THERE IS A PAUSE.) Please! I hate to be rushed. CYNTHIA (EXITING WITH HER SUITCASE) You're gonna dreeeeam. (CYNTHIA EXITS. "OLD DEAD GEORGE" INSTRUMENTAL. MAVIS GOES UPSTAIRS AND BRINGS DOWN HER SUITCASE. SHE LOOKS AT THE CLOSET WHERE ODG LAY, GOES OVER TO IT. PICKS HIM UP AND CUDDLES HIM LIKE A TEDDY BEAR. SITS HIM ON THE CHAIR. GOES TO THE PHONE AND CALLS THE DESK.) MAVIS Yes, ah, we changed our minds. We'll be staying for one more day ... and night. (SITS AT THE FEET OF ODG AND BEGINS TO PUT ON ONE OF HIS SHOES THAT WAS TAKEN OFF BY SHARON DURING HER BED SCENE.) CURTAIN