The Plays
Time to Burn
by C H A R L E S L . M E E
Inspired by Maxim Gorky’s Lower Depths
Night time.
America.
The sound of water dripping into buckets here and there.
We are moving very slowly in darkness
through a vast, dead, peeling, rusting, leaking,
disintegrating factory building.
In the darkness we can barely make out huge, useless, abandoned
19th century machines—big incomprehensible things
no longer capable of giving employment to anyone.
Light bulbs—not now lit—inside conical green glass shades,
hang down from wires that go up three stories to the ceiling
where there are just a half-dozen small windows.
In the center of this vast room are two rows of cutting tables—
steel frame tables with wood work surfaces worn smooth—
on which workers once produced things.
Now we see, as we move very slowly through the darkness,
that a dozen or so people are sleeping on these tables.
As we move along the aisles separating the two rows of tables,
we see things on the floor next to the tables—
a neatly placed pair of terribly worn boots,
a stack of beautiful, leather-bound books,
a pile of junk from the streets.
As we continue to move, we see,
in white type dropped out of the darkness, the title:
Time to Burn
We hear a door opening
and look up to see,
on a landing
at the top of a double flight of stairs at one end of the factory,
a man, quietly, carefully close a door behind himself,
wait a moment,
and then come down the stairs.
The dawn light is beginning to come through the windows
high up in the wall.
The man, Billy,
makes his way noiselessly through the room,
past the sleeping people
to a cluster of four wooden wine crates, makeshift shelves,
near an empty sleeping space.
He takes out of his pockets, and puts into these shelves,
some small tools,
a cluster of keys,
and a handful of jewelry.
We hear nothing, but,
with Billy, we turn to look
and see an elderly black woman, Jessie,
is awake and looking with intent curiosity at Billy.
JESSIE
What have you got?
BILLY
Nothing.
JESSIE
I see you've got something.
What is it?
I've got jewelry, you know, if that's what you want.
[she starts to rummage through the bags of stuff around her]
A watch
you know,
or a tortoiseshell comb
barometer
You see it?
a barometer
a precious old thing
[We see one of the others,
a young woman just next to her named Kadira,
has awakened
and turns only her head to look at Jessie,
sleepily,
and without saying anything, as she goes on.]
BILLY [agreeably]
Where did you get that?
JESSIE
[with indifference]
I found it.
[then, interested again]
An Alamanac
sea shells
A tweezer case
eyebrow brush
Here they are:
a pair of silk garters
You like these?
JAROSLAW
Ssshhhh!!! Quiet.
BILLY [whispering]
No, thank you.
[silence]
JESSIE I have a snuff box.
BILLY
Unh-hunh.
JESSIE
Do you like snuff?
BILLY
Snuff?
I don't use snuff.
JESSIE
Don't use snuff.
BILLY
No.
Where did you get this stuff?
JAROSLAW
Will you be quiet!
[silence]
JESSIE
I thought gentlemen used snuff.
BILLY [still agreeable, friendly toward Jessie]
Well, it may have been true of gentlemen in the twenties,
or something
I don't know,
but I've never used it.
JESSIE
Well, I have a bell pull...
[she holds it up]
BILLY
Oh, well, that's handy.
JESSIE
I have a bell to go with it.
Somewhere here.
[She rummages around, somewhat lost in it all;
she comes upon her bottle, takes a moment to have a drink.
JESSIE
Curling irons
[looking up]
for the hair you know.
BILLY
Yes.
JESSIE
[shakes her head, a little bit put out with how many keys she has
Jessie is lost in a world of objects, of commodities, yes—
each one precious to her—
but more than that, lost in objects of the past, of a former life,
of history
she holds one up]
BILLY
Very handsome.
JESSIE
cork screws, of course
bits of brass
That's from another time.
[Our gaze travels to Jaroslaw just as he starts to speak.]
JAROSLAW
Do you know there are people here who are still trying to sleep!
JESSIE
Then you have your usual utensils
pans
a stuffed bird
[this stops her; she gazes at it for a while before plumping it back down unceremoniously]
opera glasses—very hard to find—you wouldn't think it—people don't throw
them away—I don't know what they do with them
[to Billy]
but, well, this is the stuff of life on earth
BILLY
Is it?
JESSIE
One time I had a desk
that had belonged to my mother and father
and before that to my mother's mother
and after they were gone
I could put my hand out flat in the center of the desk
where my father's hand had been
and feel that close to him.
And now the desk is gone, too.
JAROSLAW
Inconsiderate bastards....
[silence]
JESSIE
Well, would you like a snuff box anyway?
BILLY
I don't think so, thank you.
Look—
now—
these are beautiful things,
but I don't have any place to keep them.
JESSIE
Oh.
[offended]
Oh, of course.
[with sudden distaste]
These things are not in fashion.
BILLY
No, that's not...
JESSIE
They're just trash, you know.
BILLY
No, no, I didn't mean....
JESSIE [not mollified]
Think nothing of it.
JAROSLAW
What is it about you people?
You think you're the only people in the world?
You don't give a damn if other people are trying to get some rest?
[We look around the factory.
Others are just waking up now,
or trying not to wake up,
pulling on their clothes.
One sits for a long while on the edge of the table, his head down,
collecting himself;
another holds his head in his hands,
Jessie moves on to wrapping her swollen ankles tightly with ace bandages,
A man is scratching himself,
another man is putting ear drops into his ear.
With all the disabilities and ailments,
this looks like a wounded army camped here.
Anna, still in bed, coughs
deeply and for a long while.]
BILLY [to JAROSLAW]
She needs a doctor.
JAROSLAW
She needs a blanket.
BILLY
You should take her to a doctor.
JAROSLAW
Mind your own business.
She's my wife.
[The door bangs open.
On the landing is RAUL
struggling to get something through the door.
His cursing is heavily accented—
a foreigner who learned all the swear words first.
He is Mexican—and has several disabilities:
an odd manner that suggests a neurological deficit of some sort;
and he might also be a dwarf,
or have one leg much shorter than the other.
RAUL
God damn this fucking son of a bitch, you fucking cocksucker.
BILLY
You need help?
RAUL
What do you think
this fucking cocksucker
goddammit.
Billy starts for the stairs
when Raul pulls the thing suddenly through the door,
it hits the landing rail
and pieces of it fly over the rail down into the factory
RAUL
Hey, you fuck....
JAROSLAW
Look out!
KADIRA [frightened]
Hey! Fuck! Fuck!
[The people below scatter.
JAROSLAW
People are still sleeping here goddammit!
RAUL
Goddam you cocksucker!
[RAUL kicks the thing,
tears pieces off it and throws them over the rail
and kicks the remainder of it down the stairs
There, you son of a bitch
you goddam fucker
you fuck with me
I'll tear your fucking lungs out
[Silence
BILLY
What is this?
RAUL
It's a barbecue.
I found it on the street.
I thought we could cook dinner.
JESSIE
Cook dinner?
RAUL
Have a party.
[Everyone comes forward now with interest to examine the pieces.
KADIRA [yelling at RAUL}
Then why the fuck did you ruin it?
RAUL [yelling]
I didn't fucking ruin it.
The fucking thing wouldn't fit through the fucking door.
KADIRA [yelling]
It fits through the door if you'd use your fucking head.
RAUL [yelling]
You're so fucking smart.
You use your fucking head then and put it back together.
[Silence.
BILLY
We can put it back together.
[He begins to pick up the pieces,
others come to help him.
At the top of a second set of stairs,
at the end of the factory opposite
to the stairs we have seen used till now,
VINNIE PAZZI the landlord suddenly appears.
He wears yellow rubber gloves (at all times),
polyester satin alligator-patterned trousers,
and a black, see-through polyamide tank top,
and sunglasses.
VINNIE PAZZI [angrily]
What's this goddam noise?
[Silence
ALEJANDRO
Raul dropped something.
VINNIE PAZZI
Did he?
Or did you think you'd wreck the place?
[he starts down the stairs, talking all the way
You think it can't get worse?
You think I can't get other tenants who would appreciate a warm place to sleep?
You people.
A few bucks a month and you think you're being gouged.
I could have a waiting list if I wanted to.
And what's this all over the floor?
Didn't you people sweep this morning?
You think the rats and cockroaches won't come around
no matter what sort of filth you live in?
Spreading their diseases right up the stairs into my home?
What is this?
RAUL
A barbecue.
VINNIE PAZZI
A what?
RAUL
A barbecue.
JESSIE
For a party.
VINNIE PAZZI
You mean you think you'll have a fire down here?
BILLY
It's all contained—
just charcoal, you know,
for cooking dinner
VINNIE PAZZI
What is the matter with you people
you won't be happy till you burn my house down
Do you think the fire department would allow you to
cook down here?
Here's your problem in a nutshell.
You can't think.
No wonder.
Your minds don't let you conceive more than one step ahead.
Now pick this junk up and get it out of here.
BILLY
Wait a minute.
[silence]
The barbecue stays.
[silence]
VINNIE PAZZI
And who do you think you are?
BILLY
I am the guy who gave you a Bolex watch with an alligator band five days
ago
and you owe me my share of what you sold it for. That's who I am. Who
do you think you are?
[silence;
Vinnie Pazzi looks around at all the witnesses]
VINNIE PAZZI
This is no conversation to have in front of all these people.
BILLY
I didn't start it.
VINNIE PAZZI
Come upstairs.
BILLY
I'm busy here as you can see.
VINNIE PAZZI
I see.
[Silence.
All right then.
We'll settle our business later.
BILLY
Meanwhile, the barbecue stays.
VINNIE PAZZI
Oh,
it does.
BILLY
Yes.
VINNIE PAZZI
Unh-hunh.
BILLY
So long as you do whatever you want
we will do whatever we want.
VINNIE PAZZI
I see.
BILLY
And you need to learn to speak to us
with some respect.
VINNIE PAZZI
I see.
[Silence.
Vinnie Pazzi looks around.]
And you, Mister Kacewicz,
I speak to you with all respect,
what is this around your bunk?
JAROSLAW
What?
VINNIE PAZZI
All this shit.
JAROSLAW
All this is my work.
I manufacture computer components.
VINNIE PAZZI
Here?
On my premises?
JAROSLAW
Well, yes.
It's like a—home factory.
I put my faith in capitalism, you know.
This is the new age.
The information age.
People can work from their own homes.
VINNIE PAZZI
Oh, good.
If you're taking up such space for a commercial enterprise,
I guess I'll have to raise your rent.
Say another ten dollars a month.
JAROSLAW
Ten dollars a month?
VINNIE PAZZI
Or twenty.
JAROSLAW
Twenty dollars a month?
VINNIE PAZZI
It's not enough?
JAROSLAW
Why don't you just shoot me?
VINNIE PAZZI
Shoot you,
you dumb fuck,
what good would that do me?
BILLY
[speaking confidentially]
You know, he doesn't make any money at it.
VINNIE PAZZI
Well, that's none of my business, is it?
How well you do, what profit comes your way.
That's up to you, isn't it?
Work all you want.
I wish you well.
As they say:
a rising tide lifts all boats, eh?
But I'll have to have my commercial rent, won't I?
And I don't buy luxuries either, any more than you do.
I'll use it to buy a statue of St. Jude.
You'll share the credit for it.
JAROSLAW
Credit?
VINNIE PAZZI
Credit in the next world, my friend.
Every deed,
every word
every sacrifice
is entered into a man's account there.
You shouldn't abandon your religion, you know.
That's what's wrong these days.
In the next world,
we'll all be equal.
That's heaven, you know.
[he continues speaking very quietly]
But, meanwhile, here on earth,
there is the matter of sweeping up.
This is, in a certain sense, beyond my control.
I have the health department to answer to, haven't I?
[He turns to go back upstairs,
turns back.
Do you understand?
They shut places down
for violations.
Throw everyone out and shut them down.
Do I make myself perfectly clear?
[They watch in silence
as he goes up the stairs and out.]
JAROSLAW
Where am I going to get twenty dollars a month?
You prick.
BILLY
Don't worry,
we'll all chip in.
JAROSLAW
How do you mean chip in?
BILLY
Chip in.
No reason you should pay the whole barbecue tax yourself.
RAUL
Really, there are no better people in the world than thieves.
JAROSLAW
Sure. Money comes easy to them—they don't have to work.
JESSIE
Money comes easy to plenty of people,
but it doesn't come so easy to let it go.
ALEJANDRO
As for work, now,
if you make it pleasant for me,
I'll be delighted to work.
JAROSLAW
Make it pleasant for you.
Right.
That's all you people want is to have something handed to you.
ALEJANDRO [drily]
No doubt it's cultural.
RAUL [continuing the mockery]
Cultural, yes.
Or genetic.
JAROSLAW
Yes, let's be honest.
You're used to living on the dole,
you Third World people
well, it's a different world now, you know.
You'll have to pull your own weight now, you know.
RAUL
I think my people have pulled their weight.
JAROSLAW
You do? I don't see it, anywhere I go.
People looking for a handout.
I''ve worked for everything I ever got in life
and what will become of me?
I own nothing.
RAUL
Well, the point is you had a job all these years!
I haven't even got a job!
JAROSLAW
Who asked you to come here?
Go home.
Go home.
KADIRA
You go home!
Where do you think you are?
ALEJANDRO
Joy
makes you open and light.
Joy
counteracts the pull of gravity.
Joy
banishes the consciousness of self.
Joy is more than contentment,
more than happiness.
Joy has something of the sacred in it,
something we should all have every day.
[silence]
[A door opens
at the top of the double stairway that Billy descended earlier.
Tertius steps out onto the landing and stands motionlessly there.
A vision of Boston Brahmin elegance and grace,
fine clothes and manners,
enters this world of filth and rags like a dream.
The inhabitants of the factory all turn one by one
and look up at Tertius in silence, and even awe.
He descends the stairs slowly,
unable to shed a bearing of natural dignity—
and slight physical awkwardness, as though he were not quite accustomed
to
having to walk about the earth on foot—
and with a certain care of his self, as though he might be breakable,
as though his pockets were filled with uncooked eggs—
and they remain silent all the while he descends the stairs.
TERTIUS
Good morning.
BILLY
Good morning.
TERTIUS
I was told one of you might direct me to my accomodations.
ALEJANDRO
Your accomodations?
BILLY [amicably]
A place to sleep?
TERTIUS
Yes. Indeed.
BILLY [gesturing]
Over here there's room....
TERTIUS
Thank you.
[he moves through the crowd:
Billy, an amiable midwesterner
Raul, from Mexico
Kadira, a young Eastern European woman
Jessie, an elderly African American woman
Jaroslaw and his wife, both Poles
Alejandro, a Brazilian transvestite]
Tertius Hodgson.
Pleased to make your acquaintance.
BILLY
Billy.
[Tertius greets each one with "How do you do?"]
ALEJANDRO
Alejandro....
JAROSLAW
Jaroslaw Kacewicz
My wife, Anna....
KADIRA
Kadira....
BILLY
[as Tertius stops before an empty space on a table]
We're not as—
handsomely equipped as you might be used to....
TERTIUS
Thank you.
This looks quite comfortable to me.
JESSIE
You're a gentleman.
Well, I should say, probably, an aristocrat.
[Tertius shrugs amiably.]
[JESSIE to the others]
You know, as they say,
aristocracy is like the smallpox.
A man may get well, but the pock marks remain.
[silence; she recognizes her faux pas]
Actually, what I meant to say...
TERTIUS [waving it off with complete good humor and equanimity]
No, no, no. I think you're probably quite right.
Pock marks indeed.
BILLY
What brings you here?
TERTIUS
Well, a love of cards, I should say,
primarily.
A love of anything that moves really—
on which a man may place a bet and lose large sums of money—
the stock market, pork bellies, horses
BILLY
The sport of kings.
You know—because if you believe in horse racing
then you believe that ancestry counts.
RAUL
Proving once again: the main thing is luck.
BILLY
Luck?
Breeding I'd have said.
TERTIUS
Well.
Nurture maybe.
ALEJANDRO
I don't think anyone believes in that any more.
JESSIE
Hard work.
Character.
[Shocked silence,
then laughter from all sides.
The laughter goes on and on and on.
They laugh until they cry.]
ANNA, coming out of the laughter, coughs horribly
and for a long, long time
while they all look at her, waiting for her to stop;
awkward silence]
BILLY
We were going to have breakfast.
Will you join us?
TERTIUS
Thank you.
[Billy pours a cup of coffee for Tertius.
Others gather around the coffee pot, pour cups of coffee,
and break off pieces of stale bread from a couple of loaves.]
JESSIE
Of course, this is not a typical day for us.
Normally we wake up quite late in the morning
stretch out a hand to reach for some chocolate,
which we eat, customarily, lying in bed;
and then we get up for breakfast at eight
when we have porridge,
plum cake,
eggs benedict,
a little halibut or
some other fish,
hot biscuits and butter,
with raspberry jam and
cafe au lait.
[we look around the room slowly,
going from face to face as she gives this loving recital]
And then,
really,
our day begins.
TERTIUS
I should feel quite at home.
JESSIE
And just recently we have acquired a barbecue.
RAUL
We thought we might have a party.
ALEJANDRO
A garden party.
TERTIUS
A garden party.
BILLY
So.
Alejandro, would you help me sweep up?
ALEJANDRO
It's not my turn to sweep today.
It's Jaroslaw's turn.
JAROSLAW
I've no time to clean up,
I have work to do.
ALEJANDRO
That's not my business.
It's your turn to sweep.
I'm not going to do other people's work.
JAROSLAW
This is your problem,
you won't lift a finger,
let the whole world sink into rot.
I am working.
ALEJANDRO
Who is he talking to?
JAROSLAW
I'm talking to you, you slut.
ALEJANDRO
Who are you calling a slut, you asshole?
TERTIUS
Never mind.
I'll help.
It will be a novelty for me, you know.
RAUL
Although, let's face it,
you are a slut.
[to the others]
I mean, I don't approve of his behavior either.
KADIRA
Oh, no, you'd fuck him up the ass,
you just wouldn't approve of his behavior.
RAUL
Fuck him?
You think I fuck men?
ALEJANDRO
You know, there are certain things a man knows.
For instance:
have you heard of Inviting the Nectar?
RAUL
Inviting the Nectar?
ALEJANDRO
When a man lets another man's penis
slide completely into his mouth
JAROSLAW
This is disgusting.
ALEJANDRO
and presses the shaft firmly between his lips,
holding a moment before pulling away
this is called
Inviting the Nectar.
JAROSLAW
This is what's wrong if you ask me.
ALEJANDRO
Or a man can take your penis deep into his mouth,
pulling on it and sucking
as though he were stripping clean a mango-stone:
this is what we call
Sucking a Mango.
JAROSLAW
Sick.
ALEJANDRO
You shouldn't be listening to this.
JAROSLAW
You talk here in front of everyone.
ALEJANDRO
Where should I go to talk? Don't I live here?
KADIRA
Come with me shopping.
We'll get things for the picnic.
RAUL
Why do you think I fuck men?
TERTIUS
While you're out, you might pick up some champagne.
KADIRA
So you don't fuck men.
ALEJANDRO [to Raul]
Sometimes, you know,
before you make love
you can massage your penis
with honey mixed with powdered black pepper,
and you'll find you can go on and on.
Women like this.
[Raul looks at him uncomprehendingly]
Just a suggestion.
TERTIUS
I say,
while you're out,
you might pick up some champagne.
RAUL
Sure.
What do you like?
TERTIUS
Whatever is closest to the door.
RAUL
Right.
Sure.
[Raul leaves with Kadira.
Billy and Tertius sweep.
Nikos emerges from the shadows
and approaches Tertius, talking to him, in Greek.
The English translation is not delivered; it's given here
just for the actors' convenience.]
NIKOS
Leepon, eenu chris mos apop sila-stall menos y anna cani ola ta pragh mata ee
bua hoha.
[So it is the oracle from high, sent to make all things amenable.]
TERTIUS
Ah.
Aeschylus.
NIKOS
Kalo-so-ree-sa-te. To on-o-ma mou ee-ne Nikos.
[Welcome, my name is Nikos.]
TERTIUS
Ah.
[turning to NIKOS]
He-ro-me poe-lee.
See-gno-mee
alla te elee-nee-ka-mou
then ee-ne ke to-so k-la e(x)ho na ta mee-lee-so ar-ke-to ke-ro.
[I'm glad to meet you.
Forgive me, but my Greek is a little rusty.
I haven't spoken it in a while.]
[they shake hands]
BILLY
You speak Greek?
TERTIUS
Yes, I suppose I do.
NIKOS
See-gno-mee e an ee-me lee-go af-thor-mee-tos,
alla ee-me ka-lo-tech-nees, ee-tho-pee-os ya teen ak-ree-veea,
ke e-(x)hi pe-ra-see lee-gos ke-ros.
[Excuse me if I seem a bit forward,
but I'm an artist, an actor really,
and it has been quite some time.]
BILLY
What does he say?
TERTIUS
He is an actor.
Between engagements.
BILLY
Yes.
Well,
of course he's between engagements.
I mean: he speaks Greek.
NIKOS
lexo pros humas tond Athenaias megan
thesman delcayos mandi-son duf sef-soni
[I will speak justly before you, Athena's great tribunal—
since I am a prophet, I cannot lie.]
TERTIUS [applauding]
Bravo.
Bravo.
[to BILLY]
The Eumenides.
One of my favorite plays in fact.
[to NIKOS]
to men dikaion touth hoson sthenei mathein
[Learn how strong this plea of justice is;
and I tell you to obey the will of my father]
NIKOS [once again, with great truth and power as an actor]
boulei piphausko d umm epispesthai patros:
horkos gar outi Zenos ischuei pleon
[for an oath is not more powerful]
TERTIUS
Zeus, hos legeis su, tonde chresmon opase
[Zeus, as you say, gave you this oracular command]
BILLY
You know it, too.
TERTIUS
Well, a few lines.
He knows the whole thing.
He's performed it a dozen times, he says.
BILLY
[looking at NIKOS with a new respect]
Really.
A dozen times.
[Billy and NIKOS exchange silent acknowledgement.
NIKOS turns away,
goes to his bunk.
Tertius and Billy sweep.]
BILLY
I often thought I should have been an actor.
TERTIUS
Unh-hunh.
BILLY
But then, it's no way to make a living.
TERTIUS
No.
BILLY
You must have some money left, though.
TERTIUS
How do you mean?
BILLY
It's hard to believe you don't have any money left.
TERTIUS
[good naturedly]
It's hard for me to believe.
BILLY
But probably you still have some connections.
I mean, if you had an idea for a business.
You know, I have some ideas for businesses.
TERTIUS
Really? What sort of businesses?
BILLY
Well, it would depend on what sort of resources someone had to bring to it,
you know.
TERTIUS
Really, I'm afraid I burned all my bridges.
BILLY
Really.
No one, you know, we might have lunch with.
TERTIUS
[smiling]
No, I'm afraid not.
BILLY
Well.
No hard feelings that I....
TERTIUS
No. No.
Certainly not.
Certainly not.
[This is a long, long quiet time.
We watch JAROSLAW work at his computer parts
He is trying to force a small piece into another.
He grows angrier and angrier,
and finally explodes in anger.
JAROSLAW
Da mu eba maikata! Pochti uspyah...
[Fuck. Fuck. I almost got it ]
Izvinyavai. Molya te, Anna, prosti mi.
[I'm sorry. Please forgive me.]
ANNA
Zanam, zanam.
[I know, I know.]
JAROSLAW
Opitvam se da izkaram pari, da te premestya v bolnitsa.
[I'm trying to make some money to put you in a hospital.]
ANNA
Ne iskam da umra v bolnitsa.
[I don't want to die in a hospital.]
JAROSLAW
Koi govori za umirane be chovek....
[Who's talking about dying....]
ANNA
Ostavi me na mira.
[Leave me.]
JAROSLAW
Zashto mislish nai-loshoto?
[Why do you think the worst?]
ANNA
Taka e po-dobre!
[It's better that way!]
[He shakes his head from side to side
finally letting it fall to his chest
probably in tears.
We look at ANNA.
She goes on coughing.
Finally subsides, exhausted,
closes her eyes.]
JESSIE
Of all human qualities, the greatest is sympathy.
ALESSANDRA
Or compassion.
JESSIE
Or compassion.
Sometimes I think:
There are things on my horizon that go beyond me.
There are feelings that rise and rush over me
as if they were written on the walls of my soul-chamber
in some unknown language.
And I am helpless before them.
[Again: a long, long quiet time.
Our gaze moves along
to Billy who is taking a radio from a cardboard box.
He plugs it in, turns it on.
Gershwin.
Everyone listens.
A beautiful love song
from another world.
Billy looks away from the radio, listening.
Our gaze moves along
to Nikos, who is preparing heroin to inject.
We watch him do it.
He lies back and listens to Gershwin.
Our gaze moves along
to Jessie, rummaging in her shopping cart full of junk.
She is drinking out of a bottle.
One of her feet is thickly bandaged,
so that she cannot wear a shoe on it.
Our gaze moves along
to Kadira, who is absently shooting craps by herself
and listening to Gershwin.
She begins to sing along quietly, mumblingly, with the radio.
After a moment or two, Alejandro joins in more overtly.
After another moment, Jessie joins in.
Then Billy.
Finally they are all singing this beautiful sentimental song
with great feeling,
each of them caught up in a private world of memory and longing.
After the song, there is a long silence, and then:
[The door to the landlord's house opens.
NGUYEN, a Thailandese woman, enters with the old man SHLOMO,
giving him some support as they start down the stairs.
NGUYEN speaks with a pronounced Thailandese accent.
NGUYEN
Will someone give me a hand?
BILLY
I will.
[He goes quickly up the stairs to help with SHLOMO.
NGUYEN
This is a new guy.
BILLY
Hello.
My name is Billy.
SHLOMO
How do you do?
I'm Shlomo.
Really I can manage alone.
BILLY
Of course.
But these are difficult stairs.
SHLOMO
Well, you're an honest man.
BILLY
I'm sorry?
SHLOMO
I say, you are an honest man.
[Billy and Nguyen exchange a look.]
BILLY
Ah. Yes.
About the stairs.
SHLOMO
And if you are dishonest about everything else,
what do I care?
You jump up to help an old man.
You're a good human being.
BILLY
[Another look to Nguyen.]
Thank you.
It's kind of you to say so.
[They are down the stairs now.]
SHLOMO
Where shall I settle down?
BILLY
Just over here.
[SHLOMO has a tea kettle on a rope over his shoulder and a backpack
Billy takes SHLOMO's backpack from him.]
Here, let me help.
[Billy puts the backpack on the old man's bunk.]
I see you've brought your own tea kettle.
Would you like a cup of tea?
SHLOMO
Yes, I would, thank you.
BILLY [taking the kettle from the pack]
I'll do it.
JAROSLAW
What a fascinating old man you've brought to us, Nguyen.
I wonder where he's from.
NGUYEN [gently, not harshly]
You should save all your fascination for your wife, Jaroslaw.
She needs you.
JAROSLAW
Everyone lectures me.
NGUYEN
You ought to treat her more kindly.
It won't be long now—
JAROSLAW
Don't I know?
NGUYEN [still gently]
It's not enough to know.
You need to understand.
It's a frightening thing to die.
JAROSLAW [to the others]
Here I have a child telling me about death.
And meanwhile what about life?
NGUYEN
What am I doing here?
I should get a job as a waitress.
JAROSLAW
You couldn't get a job in a Chinese noodle shop.
NGUYEN [to Billy]
He still thinks I'm Chinese.
JAROSLAW
You should get out in the world.
What do you know about anything?
You have such a sheltered life.
You come here with your sister,
she marries this rich man
BILLY
Rich!
JAROSLAW
A man of property!
More than I have!
I pay him the rent,
he just sits around
lets these Orientals do his work for him.
[to NGUYEN again]
You're a kept woman really,
what's the difference.
BILLY
I thought you owned the place.
NGUYEN
My sister and I.
BILLY
Your sister and you.
So really the landlord,
he's a kept man.
JAROSLAW
How do you end up owning this place?
Who did you fuck to do that?
BILLY
Jesus.
[Raul and Kadira return with arms full of groceries
to this moment of silence.]
NGUYEN
No problem.
I'll be out of here pretty soon.
BILLY
Oh?
NGUYEN
I've had enough.
I'll be gone before much longer.
BILLY
When are you leaving?
NGUYEN
I don't know.
[silence]
But the big idea:
getting out of here—
I'm clear on that.
BILLY
Oh, I'm clear on that, too.
NGUYEN
You're going?
BILLY
Sure.
NGUYEN
When?
BILLY
I thought I'd go with you.
[She looks taken aback.]
BILLY
It takes courage just to pick up and go.
SHLOMO
Does it?
BILLY
You don't think it does?
SHLOMO
I wouldn't know.
I've done it so many times, ich fargessen.
I don't remember.
KADIRA
You get to know the lay of the land someplace
You think:
better not go somewhere you know nothing.
RAUL
Unless there's no hope at all
then you have to take your chances
RAUL
Right.
ALEJANDRO
Be a risk taker.
RAUL
Right.
ALEJANDRO
Lead the way.
RAUL
Right.
ALEJANDRO
I sometimes think: this is what I'm doing:
showing the world which way it's going.
This is how it will be for everyone in another ten years.
NGUYEN
It's not so easy for me.
They have my papers.
They say if I leave
they'll have me arrested.
SHLOMO
Your brother-in-law has your papers?
NGUYEN
Yes.
SHLOMO
Why?
NGUYEN
That's how he keeps me here.
[She turns and goes.
They all watch her.]
SHLOMO [sings]
Maybe something like:]
When somebody loves you
it's no good unless he loves you
all the way.
Happy to be near you
when you need someone to cheer you
all the way.
Taller than the tallest tree is
that's how it's got to feel
BILLY
What's that?
SHLOMO
I'm singing.
Deeper than the deep blue sea is
that's how deep it goes
if it's real
BILLY
Well, you can stop now.
SHLOMO
You don't like singing?
BILLY
I like it when it's good.
SHLOMO
I don't sing well?
BILLY
No.
SHLOMO
Imagine that! And I thought I did.
It's always like that.
A man thinks to himself: I'm doing a good job.
Then, bang—everyone is displeased.
BILLY
You sing fine.
I just need fresh air.
[He turns and goes up the stairs to the outdoors.
SHLOMO
People's feelings are so mysterious, are they not?
Now here is a woman
[gesturing to ALEJANDRO]
reading a book
and crying.
Not real life!
A book!
RAUL [handing SHLOMO a cup of tea]
She's not a woman.
SHLOMO
This young woman?
RAUL
No, she's a transvestite.
SHLOMO
Oh.
Well, then,
a transvestite reading a book—
and crying!
These human beings are strange creatures.
[Trang, another Thailandese woman, appears at the top of the stairs.
She wears a very expensive, brightly flowered silk robe.
Her hair is done up in a wild top knot with a silk scarf.
When she enters, Shlomo goes about keeping a low profile by taking out
a
project of his own and working on it—hand-binding a book.]
TRANG [coming down the stairs]
Raul, you bastard,
who do you think you are
saying whatever you please about me?
RAUL
What?
I said nothing about you.
TRANG
People tell me what you say.
You know, you can be evicted.
If I told my husband what you say
he'd have you out of here in an instant.
[to Alejandro]
Why do you let him talk like this?
ALEJANDRO
Who am I, his keeper?
TRANG
I don't care who you are,
you're living here on charity, remember that.
How much do you owe me?
ALEJANDRO
Who's counting?
RAUL
What did I say?
TRANG
You know what you said.
These rumors about me and Billy.
RAUL
These are not rumors.
TRANG
And if you keep talking like that, you'll be out of here.
Who are you? Who are you?
SHLOMO
Just an old man passing through. Don't touch.
TRANG
Who brought you in here?
ALEJANDRO
Your sister.
TRANG
Oh, she did.
No one told me.
How long do you plan to stay?
SHLOMO
That depends.
TRANG
On what?
SHLOMO
On how welcome I am.
RAUL
He's gone out.
TRANG
Who?
RAUL
Billy.
TRANG
Did I ask?
RAUL
I see you looking everywhere.
TRANG
I'm looking to see that everything is in order,
and why hasn't the floor been swept?
How many times have I told you the floor must be swept?
ALEJANDRO
We just swept it.
TRANG
How could I tell?
ALEJANDRO
Well, if you'd been here before it was swept
you could tell.
I can tell.
TRANG
Was my sister just here?
ALEJANDRO
She just brought in the old man.
RAUL
Billy went out.
He went out alone.
TRANG
Did I ask?
[She turns, goes back up the stairs.
They watch her go.
Anna has a paroxysm of coughing.
Shlomo puts aside his bookbinding.]
SHLOMO
Here.
Have some tea with me.
ANNA
What good will that do?
SHLOMO
It won't do any good,
but I think you'll like it. It can't hurt.
What's your name?
ANNA
Anna.
SHLOMO
Anna. A beautiful name. My name is Shlomo.
ANNA
As I look at you, you remind me of my father,
just as kind, and soft.
SHLOMO [laughs]
I've been through the wringer,
that's why I'm soft.
ANNA
I don't remember a time in my life
when I didn't feel hungry.
I counted every piece of bread.
All my life I've worried I might eat more than my share.
All my life I've been wearing rags.
SHLOMO
Poor woman.
You're worn out, that's all.
ANNA
I keep thinking,
O God,
am I to be punished in the next world too?
SHLOMO [stroking her forehead]
No.
You'll have
a good rest up there.
You just need to bear up
a little longer,
then you'll have your rest.
How is your pulse?
Let me feel.
[holding her wrist, gently]
A woman's pulse, you know, can be
sharp as a hook
or fine as a hair.
What do you think is normal?
How is your heart beating?
A pulse can be
like a string of pearls
like water dripping through the roof
like leaves scattering
like visiting strangers
like spring water welling up
like a smooth pill
like glory.
Your pulse is strong
and as smooth as a river.
ANNA
We really ought
to be better people, you know.
We're all the descendants of washerwomen.
This should have nurtured in us
some desire
to bring light
to the lives of our fellow beings
who have known nothing but
hardship
or hard work
all their lives.
Some of us were sent us on ahead,
we were supposed to have the intelligence
to find a road to a better life.
And we've lost our way.
SHLOMO
There.
You've done all you could do.
ANNA
I'll go to hell for it.
SHLOMO
No.
ANNA
Yes, I will.
SHLOMO
We each do what we have within us to do
This is all we can do
[while Shlomo talks, he returns to binding his book,
his practiced hands moving efficiently at the task;
we are transfixed on his hands;
the room is absolutely quiet;
we watch him for a long while in silence]
You might say
what I've done with my life
has been pointless
it might be true
[silence as he works]
Possibly I should have done something else
[looks up, with a big smile]
something that's not just
another of the pleasures for the few
[silence]
But I gave what I had
I couldn't give what I didn't have
so that
now
at the end
I might have to conclude
well:
it's been entirely meaningless
entirely meaningless
and I'm too old now to start again
[silence]
Sometimes I cry myself to sleep.
And I'm a man.
[silence as we watch him work]
ALEJANDRO
Let's play cards, shall we?
Tertius, will you play?
TERTIUS
Of course.
RAUL
I don't think you'll like our small stakes.
TERTIUS
It's not the stakes that matter.
[we see ALEJANDRO at a rigged up table, shuffling a deck of cards
Tertius joins him, and Raul, and Kadira.
We see Billy come back in from outdoors.]
BILLY
Deal me in.
ALEJANDRO
The game is seven card stud.
Ante ten cents.
[everyone puts in some coins]
KADIRA
I thought this was a friendly game.
ALEJANDRO
It is a friendly game.
KADIRA
Ante ten cents?
BILLY
I'll loan it to you.
KADIRA
That's all right.
BILLY
You can pay me back.
KADIRA
No. Thank you.
BILLY
Here. Take it.
[the cards are dealt]
ALEJANDRO
This is the new capitalism
the thieves loaning money
to the poor innocents of Eastern Europe.
RAUL
[while he looks at his cards]
I don't understand it.
I invest my whole life in a job,
and I get just enough to get me to the next day
to do another day's work.
Why does someone think I don't have as much invested
as the owner?
BILLY
No. You don't understand it.
TERTIUS
[idly, as he arranges his cards]
Money is magic.
If you have money
you can move your factories to Mexico,
and then, when you take your profits
you can leave the polluted air behind you in Mexico,
and return to the clean air of Paris or London.
In this way, you can take a man's water,
a man's fresh air.
a man's suntan,
take years from his life
and add them to your own.
This is the true beauty of money.
ALEJANDRO
The stories people tell about business.
no one is ever interested.
But stories about love,
these are stories anyone can understand.
One night I remember
my lover came to me
to the arbor,
[Raul sneezes into his hand and says "bullshit,"
which stops Alejandro only momentarily.]
as we had arranged
I was already there waiting for him
trembling with grief and fear
He, too, was trembling
his face as white as chalk
a revolver in his hand
and he said to me in a deathly voice:
oh my dearest, my precious love,
my parents refuse to give their consent
RAUL
His parents!
ALEJANDRO
And if we marry
they would disown me
RAUL
What do his parents have to do with it?
SHLOMO
Sha. Quiet.
ALEJANDRO
And so I have no choice, he said, but to take my life
I pleaded with him:
Oh, Marcel, I said...
RAUL
Marcel!
Last time it was Robert.
ALEJANDRO
What is the matter with you?
I'm telling you a love story.
Is it that you can't bear to hear it?
RAUL
I'm only saying:
last time it was Robert.
So he's changed his name.
Or he had two names.
ALEJANDRO
I'm pouring my heart out to you,
I'm telling you about my life,
and what do you do?
you've become literary critics!
What do you know about love?
RAUL
We're just trying to understand what you say....
Maybe you've had many young men commit suicide for you.
SHLOMO
Okay, enough,
let her tell her story.
RAUL
Him.
SHLOMO
Him.
ALEJANDRO
Forget it.
SHLOMO
Go ahead.
ALEJANDRO
I can't tell the truth to these jerks
they don't want to hear
they're too afraid of emotions I think
these men, you know how they are,
they'd rather talk business and politics.
What has business to do with you, you idiots?
Forget it!
RAUL
Go ahead.
Just try to keep your story straight.
ALEJANDRO
Oh!
RAUL
It's a good story
just very complicated.
SHLOMO
Let her tell it any way she wants!
It doesn't matter.
It's her story. His story.
This is how she feels.
JESSIE
Even if she read it from a book.
SHLOMO
Go on.
ALEJANDRO [near tears now]
No, really.
Never mind.
It doesn't matter.
I couldn't tell anything now.
I'm too upset.
SHLOMO
Please.
[silence]
ALEJANDRO
The magic word.
So I said to him:
oh, please, no.
My bright star.
[ALEJANDRO is crying now, tears rolling down her cheeks]
You musn't destroy your young life.
Forget me.
Forget me.
I'm not fit for anything.
But you have a life in front of you.
Leave me behind.
You go on, and live.
And know
I will always love you
as long as my heart beats in my breast.
[silence]
BILLY
I recognize this;
it's from the book Fatal Love.
ALEJANDRO
It's from my life
you faggot.
BILLY
OK,
it's from your life.
It just sounded to me like Fatal Love.
But I've only read the jacket copy.
KADIRA
I think I've seen it on television.
ALEJANDRO
You don't have a television!
SHLOMO [putting an arm around ALEJANDRO]
Come along, dear.
Don't mind them.
I believe you.
ALEJANDRO
He was a Chilean boy,
a student.
SHLOMO
I believe it.
Come.
[they go off to sit by ALEJANDRO's bunk]
TERTIUS
When I was a young man
I was in love with a woman.
I saw her in the summer
at a picnic.
She was a married woman.
She had on a light summer dress
and as she walked toward me
the sun was behind her
her dress was translucent
she was wearing nothing underneath it
Her eyes were sky blue
Sky blue
I don't understand it
people's passions are so unaccountable
I fell in love with her
so fragile she seemed.
I said to her: we should have a summer love affair.
She didn't say no,
she said: you're outrageous.
I said: no, it's you who are outrageous.
We met the next day—
her husband stayed in the city all week to work,
and we made love every day the whole summer
every day.
And still
I think of her
all the time.
Every day of my life.
KADIRA
I was once in love with a man
I loved him so much
I would just put my arms around him
and then he would hold me
he would hold me as gently as he could
and I would quiver
and come again and again.
and I would curl up inside his arms.
Whenever we made love, this is how we would always begin.
And every time after we made love
I would sob for a long time
with his arms around me.
Because,
I thought:
we might have lived our whole lives
and died
without ever knowing each other.
[Silence.]
[The door to the landlord's apartment opens,
and Trang steps out onto the landing.]
TRANG
Billy.
BILLY
Yes.
TRANG
Would you speak to me for a minute?
BILLY
Yes. Sure.
[to his companions]
I'm out.
[He puts his cards down and goes to the stairs and up them.]
RAUL
I win.
[Billy is now with Trang on the landing.
They speak very quietly together.]
TRANG
I thought you would want to see me.
BILLY
Want to see you?
TRANG
To say good morning.
BILLY
Oh.
TRANG
I speak to you from my heart
and fifteen minutes later
you can't remember when it was you last saw me.
BILLY
That's not true.
TRANG
It's true you don't care for me.
BILLY
Don't care for you....
TRANG
You know, you could just tell me.
You've fallen in love with someone else.
BILLY
Someone else?
TRANG
Look,
you think I know nothing.
I can tell when you have no connection to me.
It's okay.
BILLY
It's true I might have some conflicting feelings.
Maybe I shouldn't have,
I mean if I somehow let you believe that I...
TRANG
I counted on you to take me out of here with you.
BILLY
You did?
Did I know that?
TRANG
You don't want to leave?
BILLY
Well, yes, but....
TRANG
Anyhow, now I suppose that's not possible.
[silence]
Now you love my sister.
BILLY [laughs]
How do you know this?
I've hardly said two words to your sister.
[silence]
TRANG
I could even help you, you know.
BILLY
How is that?
TRANG
I could give you money.
BILLY
What are you talking about?
TRANG
To go somewhere with her.
My husband is an old man,
I mean,
for his age
he hasn't taken care of himself.
If he were to fall
if something were to happen to him,
he is so delicate
I think it would kill him.
[silence]
And then we'd be free of him,
and I could help you.
BILLY
I don't understand.
TRANG
Of course you do.
We've got a complication with him
as long as he's alive.
BILLY
You mean that I should kill your husband?
[silence]
This is not the kind of person I am.
TRANG
How do you know?
Maybe you don't know what sort of person you are.
[She turns and leaves.
He remains on the landing
turns slowly and walks down the stairs.
Nikos reels, falls against one of the bunks
and starts collapsing to the floor.
Several of the others lunge to catch him from falling.]
TERTIUS
Oh, steady on, I've got you.
ALEJANDRO
Here, I have him, too.
TERTIUS
Whoa, you've done a job of it this time.
SHLOMO
What's the matter with him?
TERTIUS
Heroin.
SHLOMO
Oh, no.
[talking now to Nikos, who is stretched out on his bunk]
This is not a life for you.
You're a young man.
My God, this is no age to give up.
I've known men
who've had some trouble with drink or drugs
they've gotten help
you can get help yourself.
All you need is a few weeks in a hospital you know
TERTIUS
Shlomo.
SHLOMO
Yes?
TERTIUS
He doesn't understand a word you're saying.
He's Greek.
[silence; SHLOMO looks at Nikos, who gazes back at him]
SHLOMO
I think he does.
TERTIUS
No. Not a word.
[Nikos slowly lies back in bed.
And, in the background, an argument erupts between Kadira and Jaroslaw.
Everyone turns
in silence to take this in. It is a completely incomprehensible argument
to those of us who listen to it.]
JAROSLAW
You say Turkic
but what do you know how it feels to be a Turk?
KADIRA
Let's say a person knows how it feels
to be conquered and forced to behave in a certain way.
JAROSLAW
So you feel bad
but this is not to feel Turkic!
You know, the Turks also formed empires.
KADIRA
I am talking about the Turkish military.
JAROSLAW
So am I.
KADIRA [EXPLODING suddenly in uncontrolled and uncontrollable rage; yelling—frightening]
attacking its own citizens.
JAROSLAW
In Armenia the army is not used against its citizens.
KADIRA [still yelling]
I didn't say it was.
JAROSLAW [the words rolling out rapid fire]
No. Exactly.
In Armenia a plane fires a rocket
that lands next to a woman holding the hand of her little daughter,
and the woman just disappears,
and the daughter's hand also disappears,
and she is crying "Mama, mama, mama"
with blood pouring from her arm,
running and running.
KADIRA [still in a rage]
Yes.
Yes.
Or they rounded up two hundred women
took them to an empty slaughterhouse
made them strip naked
and get down on all fours
like cattle
they drove them forward
to a ramp
where they were
where the soldiers
lashed out at them
with knives
and axes
forcing them to
keep crawling
until they could crawl no more
their torsos
their arms and legs hacked off
their headless torsos
left to fall
into the pit below
JAROSLAW
What is your point?
KADIRA
I am telling to you the truth!
JAROSLAW
For your information, the millitary is fighting the PKK, a terrorist organization
that even the Kurds
despise.
KADIRA
Never mind.
I'm not talking to you.
JAROSLAW
I'm talking to you.
KADIRA
No. You are talking to yourself.
JAROSLAW
Nishto ne znaesh!
KADIRA
Iebise!
JAROSLAW
Ti se lebi!
[At the end, no one has understood this any better than we have;
everyone is staring at Jaroslaw and Kadira in uncomprehending silence.]
BILLY
What was that?
ALEJANDRO
Don't ask me.
BILLY
No, really, what was that all about?
RAUL
How the fuck should I know?
NGUYEN
There's water.
[we see Nguyen standing on the landing, calling down]
Vinnie went out. I'm going to turn on the water!
[Everyone starts hurriedly taking off their clothes,
down to their underclothes
and hurrying to one corner of the factory
where there is a thin partition
behind which is an overhead pipe
and a drain in the floor.]
Okay. Two minutes.
[The residents of the factory strip—
one or two of them keep on their clothes—
and step under the stream of water from the pipe.
And they each take a shower
in what must be reminiscent of a prison scene.
Our gaze lingers on each one, stripped naked;
there is no prurient interest here,
just an interest in human individuality,
and in sagging, out-of-shape human flesh.
There should be something of sadness about this.
Those standing in line are patient for a few moments
as they wait for each person who steps into the shower,
and then they begin to say things like "Hurry up...move along...that's all...don't
use up all the water....etc. in a constant chatter.
Billy, meanwhile, walks up the stairs to follow Nguyen back into the landlord's
house.
Just as he reaches the top of the stairs, he looks back down, and we see
the water has just run out
before the last two people in line could have a shower—and they are complaining.]
JAROSLAW
Come on. Come on.
How can you be so slow?
Do you think everyone doesn't want a turn?
NGUYEN [to Billy]
What are you doing?
BILLY
I'm going to get something for you.
NGUYEN
What?
BILLY
Your papers, from Vinnie's safe.
NGUYEN
You're going to steal them?
BILLY
Yes.
NGUYEN
Why?
[silence]
So that I belong to you?
BILLY
I hadn't thought of that.
NGUYEN
No?
BILLY
No.
Well, maybe for a moment.
But I've dropped it.
[He gives the papers to her.]
NGUYEN
You're just going to give them to me?
BILLY
Yeah.
NGUYEN
For nothing?
BILLY
Yeah.
For nothing.
[She takes his face in her hands and kisses him.
He hesitates, then kisses her back.
She kisses him back.
They kiss each other passionately.]
BILLY
Only one thing:
when Vinnie discovers your papers are gone from the safe
he's going to guess you have them.
NGUYEN
Sure, I know.
BILLY
So there is a time limit,
how much longer you can stay.
NGUYEN
I wish I could be with you all the time.
BILLY
So do I.
[Silence.]
NGUYEN
Will you leave with me?
BILLY
Yes.
NGUYEN
Tonight?
BILLY
Yes.
Come on.
[He goes with her into the house to crack Vinnie's safe.
Meanwhile the showering continues,
and then the party preparations continue,
and then Billy returns to the group.]
TERTIUS
Here, Billy, you can give me a hand.
BILLY
Are these the glasses for champagne?
TERTIUS
Yes.
[Each with a dish towel, they meticulously clean an assortment of glasses, mugs,
cans, jelly jars, etc. to use as glasses. We watch them clean every speck off
each container, while, in the background, the others set out food.
Meanwhile we see the bottles of champagne chilling in the pots and buckets used
to catch dripping water.
BILLY
I'll be getting out of here soon, you know.
TERTIUS
I didn't know.
BILLY
Every night as I go to sleep
I nearly choke.
TERTIUS
I think there are things that everyone feels
at least once every fifteen minutes for no reason at all:
a flood of grief, or dread, or hatred, a tinge of regret,
an unreasoning rage.
These are all things that come over me,
and I find I am powerless to resist them.
So I try just to accept
whatever sensations life sends my way.
[they finish with the glasses, and Tertius opens a bottle of champagne]
Ladies and gentlemen, let me give you some champagne,
JAROSLAW
Is this champagne stolen?
TERTIUS
Stolen first from the bosom of the earth
and then from the capitalist bastards who stole it.
JAROSLAW
I have a problem drinking stolen champagne.
TERTIUS
Ah, well,
de gustibus non disputandem est.
Jessie?
JESSIE
I don't have a problem.
I put my faith in capitalism.
[she offers a glass to Tertius for him to pour her a drink]
TERTIUS
Good.
Every experience of life
is an experience of being alive.
[pouring a glass for her]
RAUL
Goddam you, you fucking cocksucker
[we see him banging his shoe repeatedly, violently on the floor]
goddam you to fucking hell goddammit
BILLY
What is it, Raul?
RAUL [close to tears]
This goddam fucking shoe won't go on my fucking foot.
BILLY
It's okay.
KADIRA
I'll help you.
[she takes the shoe from him and starts to put it on his foot]
TERTIUS
Have some champagne.
[he gives a glass to Raul]
This is not, I think,
an entirely despicable vintage.
[as he pours glasses and hands them to each of the guest, he speaks]
and, to be sure,
whatever its provenance and pedigree
whatever unique qualities it possesses
champagne is an event—
one of the finest achievements of our civilization,
an exquisite product of human intelligence
of forethought and patience,
of the accumulated knowledge of cultivation and care,
the subtle, intricate cooperation
between nature and human beings
of the qualities of the earth itself,
of the soil, the air, the sun—
so that we drink not only with champagne but also,
at the same time: to it,
and to the complexity and beauty of life itself
and, finally, to all those things we love best.
ALEJANDRO
Well, then,
I drink to T-shirts from Liquid Sky
a how-to course for walking in stilettos
Dom Casual's pink, terry panties with a silk crotch
And lemon body mist.
SHLOMO
To a wool cardigan sweater
not a new cardigan, but an old cardigan
of dark green wool
to a first edition of Diderot's encyclopedia
signed if possible
a small house in Normandy with a little kitchen garden
a set of copper pots and pans
an old woman
one, if possible,
to whom I have been married for thirty years
three children
no longer living at home
to some geese
and a dog.
JAROSLAW
To an afternoon nap
ANNA
to sheets and pillowcases
white cotton or muslin
TERTIUS
To moss
ALEJANDRO
Yes. Indeed.
Or a fresh pomegranate
TERTIUS
A pear tree.
ANNA
The earth itself.
SHLOMO
Dirt.
SEVERAL
To dirt.
Dirt.
ANNA
The sunlight you see in water
as you pour it from a pitcher into a bowl.
[silence]
I would like to live in a large, beautiful house. My family would stay with
me, and in one of the wings I would have a friend, a woman friend. And whenever
we wished, we would meet to discuss recent poems and other things of interest.
When my friend received a letter, we would read it together and write our answer.
If someone came to pay my friend a visit, I would receive him in one of our
beautifully decorated rooms, and if he were prevented from leaving by a rain-storm
or something of the sort, I would invite him to stay.
ALEJANDRO
But why do you think it is that boys like fresh lemon body mist?
And why do they always want you to make love in a public place?
Or want you to wear a rubber dress that makes a squeaky sound when you put it
on?
JESSIE
This is how men are.
ALEJANDRO
There are men who simply won't look twice
unless you're wearing rubber stockings
or rubber pants
rubber gloves
or some body jewelry
a leather bracelet, or a collar
or something that has a battery attached to it
a little bit of piercing somewhere
JAROSLAW
Of course, you all want these things given to you
These are things other people work for
RAUL
Or take from someone else.
JAROSLAW
Oh, yes, these poor bastards
always having everything taken from them
It's a lie!
You don't have anything to take!
RAUL
We don't?
JAROSLAW
No!
RAUL
We don't?
JAROSLAW
Nothing anyone wants.
RAUL
Not oil?
JAROSLAW
This is not yours!
This is in the ground!
You don't get it out!
The Americans get it out!
They come in with their know-how and they get it out!
You don't lift a goddam finger,
and yet you get paid for it.
You get paid for it.
RAUL
It belongs to us, you fucking nutcase.
And we get it out.
This is our labor you pay for.
JAROSLAW
Your labor!
You lazy bastards
you lie about all day
and then complain about your wages!
It's not fair, you say,
it's not fair, it's not fair.
I tell you: I put my faith in capitalism!
RAUL
You'll be surprised
when someone puts a fucking suitcase bomb in your subway.
KADIRA
His subway?
This Polack?
JAROSLAW
Now you think I should be afraid of a war with you—
you people don't know how to get a plane off the ground
KADIRA
You think I am an Iraqi?
You think I am an Iraqi?
You don't even know who I am!
You people sit there
have the Russians and the Germans run back and forth
back and forth
back and forth
up and down your backsides
and you tell me I don't know how to fight?
So OK.
OK.
Never mind.
In fact, one day soon this evil system will defeat itself.
JAROSLAW
This is garbage.
KADIRA
What is?
JAROSLAW
What you say,
everything you say.
KADIRA
This is my religion.
JAROSLAW
Your religion is garbage.
KADIRA [sudden uncontrolled rage; yelling]
You know, I could cut your fucking throat.
JAROSLAW [contemptuously]
With what?
KADIRA [taking a butcher knife from the table]
With this, you asshole!
[Jessie and Billy step forward instantly,
with the instincts of people who have often been in the midst
of sudden violence, holding both Jaroslaw and Kadira back.]
TERTIUS [stepping between them]
Ah, ah, ah, ah, I'll be needing that to cut the cake.
KADIRA [still yelling]
You should be nice to me.
I haven't done you any wrong.
JAROSLAW
If you knew how to do anything
it would be wrong.
KADIRA
What do you mean, you sonofabitch?
[Kadira breaks free and shoves Jaroslaw violently;
Jaroslaw falls backward,
crashing through Jessie's cart full of stuff,
scattering it,
landing heavily on the floor
SHLOMO [quietly, sadly]
Oh, no.
BILLY
Here. That's enough.
[Billy and several others help Jaroslaw to his feet
while Jessie and others restrain Kadira.]
BILLY [helping Jaroslaw]
Are you all right?
JAROSLAW [to Raul]
I'll rip your goddam arms off!
SHLOMO
Here. Settle down now.
JAROSLAW
Let go of me.
KADIRA
I'll rip your fucking arms off.
[The fight subsides.]
ALEJANDRO
Do you wear rubber?
KADIRA
Rubber?
ALEJANDRO
You know, rubber, like rubber skirts, or, in the summer, rubber shorts or rubber
stockings, or even—you know, rubber underwear.
KADIRA
No.
ALEJANDRO
I thought you might.
[Silence]
Most people, you know, try to repair their rubber with superglue, which is fatal,
because it destroys the material.
KADIRA
No, I didn't know.
ALEJANDRO
I use Copydex for temporary repairs,
but then I always take it into a professional.
KADIRA
What are you telling me?
ALEJANDRO
I just thought you might like to know.
You never can tell when it might be useful.
You know, to get leather or rubber on, you have to make sure you're dry from
head to toe, and then talc yourself....
SHLOMO
Life is more complicated now than it used to be.
TERTIUS
Of course there used to be rules.
JAROSLAW
There are now.
ALEJANDRO
Oh, sure. But now everyone knows they're just made up.
Like the rules for
the Honey Bee or the Cart Wheel
or the Lovely Lady in Control
or the Coitus of the Gods.
JESSIE
The Coitus of the Gods?
JAROSLAW
Now we have to listen to more filth.
JESSIE
I'd like to hear.
ALEJANDRO
You hold each other's hands,
sprawled like two starfish making love,
her thighs stretched out along yours,
and you hold each other for a long, long time: that's all.
[Silence as everyone thinks about this.]
TERTIUS
Ah, but I'd almost forgotten:
there is entertainment this evening.
I have arranged for one of the great classical actors of our time
to render for us
some passages from the immortal comic genius of antiquity
the playwright Aristophanes.
Here,
from Aristophanes' great work: The Birds
[Nikos nods, takes a moment to prepare,
and then launches into his performance—
complete with bird impersonations,
flapping and leaping up and down like a bird,
and so forth.
Once again, only the Greek is delivered;
the English translation here is just for the convenience of the actor.]
NIKOS
hos d' ouchi theori toninun erchon ton anthropon to palaion,
all' ornithes, kabasileuon, poll'esti tekmeria touton.
Aiguptou d' au kai Phoinikes pases kokkux basileus en:
chopoth' ho kokkuk eipoi "kokku' tot" an hoi Phoinikes
hapantes tous purous an kai tas krithas en tois pediois etherizon.
erchon d' houto sphodra ten archen,
host ei tis kai basileuoi en tais polesin ton Hellenon Agamemnon e Menelaos,
epi ton skeptron ekathet ornis metechon ho ti dorokokoie.
ho de deinotaton g estin hapanton,
ho Zeus gar ho nun basileuon aieton ornin hesteken echon epi tes kephales basileus
on,
he d' au thugater glauch',
ho d' Apollon hosper therapon hieraka.
[It was not the gods, but the birds,
who were formerly the masters and kings over men;
of this I have a thousand proofs.
The cuckoo was the king of Egypt and of the whole of Phoenicia.
When he called out "cuckoo,"
all the Phoenicians hurried to the fields to reap their wheat and their barley.
So powerful were the birds that the kings of Grecian cities, Agammemnon, Menelaus,
for instance, carried a bird on the tip of their scepters, who had his share
of all presents.
But the strongest proof of all is that Zeus, who now reigns,
is represented as standing with an eagle on his head as a symbol of his royalty;
his daughter has an owl,
and Phoebus, as his servant, has a hawk.]
[Tertius applauds
shouts bravo—
speaks a few words of Greek
to encourage Nikos to take repeated bows.
Everyone else remains completely unmoved and silent.
Billy, out of embarassment and compassion for Nikos
applauds a few times.
Then there is awkward silence.]
SHLOMO [to save embarassment]
If this is the proper moment, then,
I'd like to sing a song
that we used to sing in my home when I was a child
TERTIUS
Please.
SHLOMO
Luz mir alle inanem inanem
(name of person) makable punim zein
Luz mir alle inanem inanem
(name of person) makable punim zein
Luz mir alle namem
Luz mir alle namem
Trinken ah glazelah v-i-n-e.
Luz mir alle namem
Luz mir alle namem
Trinken ah glazelah v-i-n-e.
[The song repeats, adding others' names in as it goes along.
Alejandro joins in dancing with him;
this moment is prolonged;
Shlomo and Alejandro enjoy dancing with each other;
then Kadira, then others join in.
On the end of Shlomo's song,
Jaroslaw begins his own song and dance
that the others also join in as they get the hang of it.]
JAROSLAW
Ya kazhi mi, oblache le, byalo
of gde idesh, gde si mi letyalo
Ne vidya li bashtini mi dvori
I ne chu li maika da govori.
Shto li pravi moito chedo milo,
s chuzhdi hora, chuzhdi hlyab delilo,
Ti kazhi I, olbache le, byalo,
zhiv I zdrav, che tuk si me vidyalo.
I nosi of mene mnogo zdrave,
mnogo mina, munichko ostana.
Nablizhava v selo da se vurna
da se vurna, maika da pregurna
[Tell me, little white cloud,
Where are you coming from, where have you flown.
Did you see my father's home
and did you hear my mother talk
How is my precious child doing,
sharing foreign bread with foreign people
You tell her, little white cloud,
that you saw me here, strong and healthy
And send my love to her,
a lot of time has passed, and not much is left
It's fine for me to go back,
to go back and give my mother a hug.]
VINNIE PAZZI
[from the top of the landing as he starts to rush down the stairs]
What are you doing, you bastards,
burning down the house?
[silence]
Smoke is pouring up the stairs
and you're dancing!
What's the matter with you?
You didn't hear what I said?
Put this out!
Put this out!
[he grabs a bucket of water, sending a champagne bottle smashing on the floor,
and dumps it onto the barbecue grill; he kicks the grill over onto the floor,
gets another bucket and dumps the water onto the scattered food and hot charcoal]
Cooking over an open fire:
this is for barbarians!
BILLY
[taking a firm hold on Vinnie Pazzi, speaking quietly]
Stop.
VINNIE PAZZI
Don't touch me, you prick.
BILLY
You'll be lucky if I don't break your neck.
VINNIE PAZZI
Are you threatening me?
Do you hear this?
He threatens me in my own house.
I could throw you out of here any moment I want.
BILLY
You throw me out, I'll have you put in jail.
VINNIE PAZZI
For what?
BILLY
For receiving stolen goods!
For selling stolen goods!
VINNIE PAZZI
You can't prove a thing.
BILLY
I have people who will testify against you.
VINNIE PAZZI
Oh, do you?
Who is that?
Who?
TERTIUS
[with Raul helping him pull Billy and Vinnie Pazzi apart.]
That's enough now.
Come.
BILLY
People from your own house.
VINNIE PAZZI
From my house!
TERTIUS
That's all.
JAROSLAW [shouting]
Have you no respect for the dead?
BILLY
What?
[silence as all turn to Jaroslaw
who is in complete anguish and despair,
tears pouring down his face,
holding Anna in his arms]
JAROSLAW
Can't you see that my wife has died?
[holding her]
Oh, Anna.
Anna.
Anna.
[Shlomo puts his arm around Jaroslaw.
SHLOMO
There, there,
she's at peace now.
VINNIE PAZZI
She's died here in my house?
Goddammit,
now what do you think
what kind of bullshit am I going to have now
with the county health department?
Goddammit,
no one told me she was that sick,
and you let her stay here when she could die on my premises?
You bastards!
[he starts for the stairway]
I'll phone the coroner's office.
You get her out of here into the alley,
I'm not having any trouble over this.
[shouting ahead as he goes up the stairs]
Trang! Nguyen!
Call the coroner's office.
Someone's died
goddammit.
SHLOMO
Come.
Bring a sheet for her.
Here, Jaroslaw, just let go for a moment now,
sit just here close to her
but let me cover her
[Jaroslaw, still crying,
slowly surrenders her body to Shlomo.
Others come with a sheet
and help to wrap Anna in it.
Still others come to Jaroslaw and hug him.
NGUYEN [from atop the landing]
I've called an undertaker and the police.
BILLY
The police?
NGUYEN
Yes.
SHLOMO
Why the police?
NGUYEN
I shouldn't have called the police?
BILLY
It's nothing to do with the police.
That's all right, it doesn't matter.
TERTIUS
Here, give me a hand.
[All the men are picking up Anna to carry her upstairs.
She is shrouded in a sheet.
They all carry her, with Jaroslaw following behind,
and then the others behind him.
Talk of "okay," "here, I have her" etc as they go upstairs
On the landing there is now a huge crowd
and a lot of maneuvering to get through the door
into the landlord's house.
Just inside the door, Vinnie Pazzi meets them.
VINNIE PAZZI [enraged]
What are you doing
bringing her in here?
RAUL
You said to take her outside.
VINNIE PAZZI
To the alley, you schmuck,
not through my house,
what are you doing bringing a dead body into my house?
BILLY
Just have some compassion for...
VINNIE PAZZI
Just get this corpse out of my house, goddammit,
you let them in here?
NGUYEN
I...
VINNIE PAZZI
You opened the door to this mob?
NGUYEN
I...
[Vinnie Pazzi slaps her.
VINNIE PAZZI
You stupid bitch!
BILLY
What happened?
TERTIUS
That was uncalled for, I think.
VINNIE PAZZI
What do you know?
[He snatches up a tea pot and throws it at Nguyen
who shrieks in pain.
BILLY
That's all.
[There is now an explosion of frightening violence.
Billy shoves his way through the crowd toward Vinnie Pazzi.
The others are all struggling to get to him, too.
The class war begins.
Someone shoves Vinnie Pazzi,
Vinnie Pazzi spins around off balance
into the crowd of pallbearers,
and now Billy grabs him by the shoulders
and propels him back out through the door
onto the landing
where he gives him a tremendous shove
—and, as Billy then turns to run to Nguyen,
we hear Vinnie Pazzi scream out, and then,
as Billy pulls Nguyen into his arms,
we hear another scream from one of the women
then more shouting
and finally Tertius, who happens to be near Billy speaks
TERTIUS
He has fallen over the railing.
BILLY
What?
TERTIUS
Your landlord has fallen over the railing
into the factory.
[Stunned silence.
The crowd is ashen-faced
at the instant realization of what they have done.
BILLY gets up
moves through the crowd of his companions
to look over the railing.
Already some of the others are running down the stairs.
Billy runs after them.
They part to let him to Vinnie Pazzi's side.
Billy looks at him,
reaches out to touch him,
pulls back an eyelid,
puts his head to Vinnie Pazzi's chest to listen for a heartbeat.
Billy is stunned.
BILLY [under his breath]
I've killed him.
RAUL
The police are here.
[BILLY looks up to see the police coming down the stairs.]
POLICEMAN
Well, what have we here?
Is he hurt?
BILLY
He's dead.
POLICEMAN
Dead?
[the policeman kneels down to examine Vinnie Pazzi,
confirms he is dead
Was he a friend of yours?
BILLY
No.
POLICEMAN
How did it happen?
TRANG
He pushed him.
POLICEMAN
Who?
TRANG
That man,
he pushed my husband over the railing and killed him.
POLICEMAN
Did you?
[Silence.
Kadira steps forward.]
KADIRA
I'm the one who pushed him.
He pushed me.
So I pushed him back.
RAUL
Oh, well, I pushed him.
ALEJANDRO
Well, really, I think I'm the one who pushed him.
RAUL
I think we were all pushing each other.
TERTIUS
Excuse me, officer.
Tertius Hodgson.
POLICEMAN
Yes?
TERTIUS
If I can be of any assistance.
I saw the entire incident.
POLICEMAN
And?
TERTIUS
It was an accident.
A woman died here today,
and these gentlemen were carrying the body of this poor man's wife
up through the house
to take her for burial
there was so little room on the staircase
and such a crowd of people
I think everyone was jostling
don't you know
and under such stress in any case.
This unfortunate fellow lost his balance
I think he had been a bit confused for some years in any case,
if you know what I mean.
And, in any event, he fell over the railing.
It's a tragedy.
I don't think anyone's to be blamed.
POLICEMAN
That's your story.
[silence as he looks around from one person to another]
That's your story.
TERTIUS
If there are further inquiries
you can ask for me here.
POLICEMAN
Thank you.
[to Trang]
If I could speak to you for a moment upstairs.
TRANG
Yes.
POLICEMAN [to Billy]
And you,
don't leave.
There may be further questions for you.
[The policeman starts out upstairs;
Tertius gently takes Trang's arm
TERTIUS
I hope you don't mind my speaking up to the officer,
you know,
in this country,
the courts can be so difficult
sorting out any questions of inheritance
if there is some question of foul play.
I thought you would want to be spared all that.
If you're to be our landlady now,
you'll have enough on your mind without that sort of trouble.
[She turns to follow the policeman upstairs.]
TERTIUS [to Nguyen]
Will you have some champagne?
Life is such a mixed bag
hardly ever all good or all bad.
[he gives her a glass of champagne and has one himself;
it is dark now in the factory;
the light bulbs in the green conical shades are lit]
Where is Shlomo?
RAUL
He's disappeared.
ALEJANDRO
He got his things and left
the moment Nguyen said she had called the police.
TERTIUS
Really?
KADIRA
What did he have to hide?
RAUL
I'd go myself if there were someplace to go.
TERTIUS
If you have no connections to hold you here, why not?
JESSIE
If it weren't for my feet, I'd hit the road myself.
RAUL
I'd go, but I just got here.
I meant to go somewhere.
I mean: I thought I did go somewhere,
but as it turned out
I just came here.
KADIRA
I'd like to go.
BILLY
If it hadn't been for the cop telling me to stay,
we'd have been leaving.
TERTIUS
We?
BILLY
Nguyen and I.
RAUL
Leaving here?
TERTIUS
Do you mean now?
BILLY
Yes.
[surprise; silence]
NGUYEN
Well, you can come upstairs with me
and stay there until we leave.
BILLY
Upstairs?
NGUYEN
It's as much mine
as my sister's.
[All turn to look at Billy,
their new landlord.]
KADIRA
Well, this is how it is:
every man for himself, eh?
we live in a world where the thieves rise to the top.
[silence]
ALEJANDRO
Or you could say: where love is still possible.
KADIRA
Yes, well, I put my faith in capitalism for sure.
[She turns and walks away.
Silence.
[Tertius steps forward,
embraces Billy.]
TERTIUS
I wish you well.
You made me feel at home here when I first arrived.
I wish you both the very best.
[silence again;
finally Raul steps forward
JESSIE
I say good luck to both of you.
[everyone gathers to shake hands,
hug Nguyen, say goodbye—
only Kadira standing aloof.]
RAUL
I for one,
I'd be in your place if I could be.
ALEJANDRO
Well,
you must have us to dinner when you've settled in your new home.
[After a moment, Billy and Nguyen turn away
and go to Billy's shelves,
take stuff from the shelves and toss them in a duffle bag.
Awkward silence.]
TERTIUS
It is so hard for me to understand the customs here.
Two people have died,
and no one mourns.
Is this how it is?
[In response to this remark,
Jessie sings a soulful, melancholy solo
that turns in the end into a positive song.
JESSIE [singing]
The valley may be dark,
the shadows deep,
my heavenly father guards
his lonely sheep.
And surely he
remembers me
my heavenly father watches over me.
I trust in God
I know he cares for me
upon the land
or on the stormy sea.
The billows roll
He keeps my soul
my heavenly father
watches over me.
The end.
Charles Mee's work has been made possible by the support
of Richard B. Fisher and Jeanne Donovan Fisher.
