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Communications
A One Act Play for Two Characters
by F. David Peat
SCENE
Lights up. A man alone
HE
You know, it's a strange thing but I've been
feeling very... well, I suppose disoriented is the
best word. Yes, disoriented. Let me try to...
Look, have you ever tried going to a movie in the
middle of the afternoon? You're sitting there, all
by yourself, in the dark, totally absorbed... lost.
And then the movie's over and it's time to get out of
your seat. Suddenly you're outside, in the sun
again. But now it's so bright that you have to screw
up your eyes against the light. Inside you'd
forgotten all about the streets and the people, but
now everything seems strange. No... strange is the
wrong word. More... unfamiliar. That's it...
unfamiliar, alien. It's as if you'd never quite seen
it all before. Just for that instant, when your
first step outside.(beat)
Am I making sense out of all this? It's... well.
It's been like this ever since she...(beat)
I've been having this dream lately, the same one. It
always seems to start around three in the morning.
It must be then because afterwards I wake up and the
clock on the radio says 3:30. Night after night, the
same dream at the same time.
I'm in my office in the...(beat) No, that's still
not right. It's not really like a dream at all. I'm
really there. I can feel the edge of my desk.
There's the telephone. There's the computer.
Everything's right. In perfect detail. I'm doing
some work... it's... er... it's a letter. Yes, I'm
writing a letter to... And now I look up. Suddenly
I'm outside. I'm floating, floating outside my
window, right there on the seventeenth floor. And...
yes, there's a rope, a rope tied around my waist and
it's going down, down. Someone's holding on to it...
at the other end. I can't see who. It's warm up
here. I can see all the traffic in the street below.
Look, there's the chip wagon. All those tiny
people... Floating, floating, and the rope going
down. I wonder who...?
My God, she's let go.
That's when I wake up. In the middle of the night.
3:30. I can't get to sleep again. Well, could you
if you'd been floating over the city? My mind's
all... It's agitated. Too many thoughts chasing
round and round after each other... nothing to hold
on to.
I don't know what it means... that dream, floating.
I suppose it all happened after... Look, there was
this woman, after Diane. (woman enters, carrying
books)
We were together for... God, it's hard to think now.
But I can still remember that day I first saw her,
thinking, this is it, this is forever.
(he backs and bumps into the woman. her books fall)
SHE
Hell!
HE
Oh, I'm sorry.
SHE
Just look.
HE
Please. Let me...
SHE
No, it's...
HE
It's all my fault...
SHE
Oh, not really. (pause) Oh, no.
HE
Look...they've got all wet. (he begins to wipe
them on his jacket)
SHE
Let me.
HE
No. No, please, let me.
SHE
Oh, well. Thank you.
HE
Here.
(pause)
SHE
Well...
HE
Good as new. They'll be good as new. I don't
think they'll...
SHE
They're only books.
HE
Well.
(pause)
SHE
Look, I've got to go.
HE
Yes. Of course.
SHE
Well?
HE
Yes. (anything to keep her there)
SHE
Look., I've got to go.
HE
No. Yes. (shouts after her)
Look...I'll...We... er....Don't be late for work.
(to himself) Oh, what a dumb thing to say.
SCENE
She is at the bus stop. He enters and sees her.
HE
Yes! Didn't I?
SHE
What?
HE
A while ago. I bumped into you. You dropped
your books.
SHE
Oh. Was that you?
HE
I'm really sorry.
SHE
It doesn't matter.
(beat)
SHE
Did you?
HE
(over) Are you?
(they laugh)
HE
Sorry.
SHE
No, you.
HE
I was just going to ask you. Oh, it's nothing.
It doesn't matter really.
SHE
Oh. (pause) You could wait forever for a bus.
HE
Yes. There're terrible. Sometimes it's wicker
to quark..er..wicker to walk. That's if you like a
good work...walk.
SHE
It'd be a long quark for me.
HE
(laughing) So you don't quark to work then?
(pause) I saw that book.
SHE
Look, there's a bus coming.
HE
That book you dropped.
SHE
Can you make out the number?
HE
It'll be very crowded. Look, I wanted to ask
you about that book.
SHE
It's a real library around here.
HE
Do you really want to stand on a bus?
SHE
I suppose I could quark.
HE
Why not?
SHE
Better than taking a book.
(they begin to exit together)
HE
About that book...that book you dropped. It's
the most fantastic book I've ever....
(he exits. she turns back to address the audience)
SHE
There's something you've got to realize. About
him. About what made me stop. Not anything he said.
After all, who'd do for all that talk? What a line!
There's no way I'm going to stop and talk to every
man who gives me the eye at a bus stop. No. It must
have been...something that flashed though. Just for
a moment. Now, don't get me wrong. It wasn't sex.
Nothing like that. It must have been...He told me
once about a girl he'd met, when he was a teenager.
A moment of pure concentration. Maybe it was
something like that?
(he enters)
Maybe that's what I picked up from him.
HE
I was sitting beside a tennis court... just a
few friends, sitting together, not talking, watching
the tennis.
SHE
It was summer. One of those hot lazy days.
HE
There was this girl. I'd been looking at her,.
glancing at her out of the corner of my eye.
SHE
She came and sat down beside him, without
saying anything.
HE
She had a white blouse on. Everything came
into focus. Into total sharpness. Each hair on her
arm, the grass beside her legs. It was as if
everything, every particle of the world was vibrating
with life. I could hear the blood pulsing under her
skin.
SHE
She sat down beside him. He could feel the
blood pulsing under her skin.
HE
I put out my arm, beside her. We
just...touched... I could feel the whole of her body
through that touch. It was as if time had stopped.
I could hear each one of her thoughts.
SHE
The intensity became too much.
HE
She took away her arm.
SHE
Everything came back to normal.
HE
I must have felt sweaty or something. We never
even spoke. We didn't even go out together.
SHE
I don't suppose he even remembers her name.
For all I know he made the whole thing up. But
something must have made me stop. Something must
have made me go on talking to him. Something must
have started the whole thing off.
(dark)
SCENE
They sit together playing a game.
SHE
Kate Bush.
HE
Billy Holliday.
SHE
Cocoa.
HE
Cocoa?
SHE
Yes, hot chocolate.
HE
Wood fires.
SHE
Moonlight walks.
HE
A loon on the lake.
SHE
A Colville painting.
HE
Strawberries and champagne.
SHE
Tandori chicken and Guiness.
(they both laugh)
SHE
Woody Allen.
HE
No, foul. You're not allowed Woody Allen.
SHE
And you're not allowed Laurel and Hardy either.
(they laugh)
SHE
Do you want to know what's the most beautiful
thing in the world?
HE
What's the most beautiful thing in the world?
SHE
First guess where it is.
HE
Oh, I know where it is.
SHE
No, seriously. I'm not joking. (pause)
It's here, in this city.
HE
You're serious?
SHE
You still think I'm joking, don't you? Well
guess. The most beautiful thing in the world is at
the National gallery. Guess what it is.
HE
A fire extinguisher. Twenty bricks. A piece
of felt.
SHE
No. It's a painting. By Hans Memling. It's a
painting of the Virgin and child and its like looking
into the heart of a jewel. I used to go and see it
in my lunch hour. It's like visiting an old friend.
I'd just stand in front of it and look. This one
painting. None of the others. It's not very big,
you know...but it's...it's like the whole universe.
Everything's so clear. And the colours...they're so
intense. You don't say anything when you look at it.
You don't even want to think. (pause) Come on,
I'll show you.
HE
Now?
SHE
Yes, right now. Together. I want us to go
together. I want us to stand in front of the most
beautiful thing in the world. Just the two of us.
HE
Then take me.
(cross fade)
SCENE
Evening. They are together in front of a fire.
SHE
It's just right, isn't it. This evening. In
front of the fire.
HE
Mmmmm
SHE
Just the two of us together.
HE
A good meal and a big fire.
SHE
You like it here, don't you?
HE
Mmmm
SHE
Just the two of us.
HE
Mmmmm
SHE
Are you happy?
HE
Hhmmmmm. (pause) Very happy,.
SHE
That's good. (pause) I'm happy too... (beat)
You do...well,...you do love me...don't you?
HE
hmmmm..you know I do.
SHE
Yes, bit it's nicer when you say it.
HE
Mmmm?
SHE
...out loud. Just say it.
HE
I do.
SHE
You...
HE
I love you.
SHE
That feels good. You saying it. Here. Kisses
him
HE
I feel so drowsy after that meal. I could
sleep forever.
SHE
Really and truly?
HE
Forever
SHE
No, really and truly you love me.
HE
Mmmmmm...yes.
SHE
More than anything? More than anything in the
whole world?
HE
Mmmm
SHE
(laughs) That's crazy. You can't love me more
than the whole world. You don't know the whole
world.
HE
Well, most of the world then, Canada, London,
Rome...more than Rome.
SHE
You...
HE
That should be enough for now. When I've had a
good sleep I'll think about New Zealand and possibly
Asia...I'll let you know how I get on.
SHE
You're funny.
HE
Hmmm
SHE
You're funny when you're not lecturing me and
playing records at me.
HE
Me?
SHE
Yes, you.
HE
Mmmm
SHE
I love you, you know.
HE
Mmmm
SHE
I love just being here, with you. Just the two
of us, here in front of the fire.
HE
Hmmm
SHE
We get on so well together. We share things.
We listen to each other. We communicate.
HE
My God! (jumps up)
SHE
What is it?
HE
We didn't put out the cat.
SHE
But we don't have a cat.
HE
That's just it. But what if we did?
SHE
What?
HE
I can't stand the uncertainty of it. Not
knowing if we've got a cat.
SHE
(laughing) You're crazy.
HE
On, no. I just can't put up with any more
talking. Too much talking. I'm going to shut you up
for good. (he advances, stalks and chases her) I'm
going to shut you up.
SHE
No...don't.
HE
No more talking. No more questions. You'll
never utter another world. This is it. This is
action.
SHE
No you don't.
HE
I'm going to catch you...no more talking.
SHE
You'll never take me alive.
HE
Got you.
SHE
That's a trick...you creep.
HE
I'm stronger than you are.
SHE
No, you're not.
HE
My God. You're right. (more play) But I'm
craftier. Now...give in.
SHE
Bastard.
HE
Surrender.
SHE
Creep. Old man. Dirty old man.
HE
Very dirty. Now surrender.
SHE
For now.
HE
No more words.
SHE
Never. Never. Never
HE
No...no more words. (they kiss) No more "I
love you". No past, no future, no comparisons. Just
today. Just this one moment.
SHE
Just today.
HE
I love you. What does that mean? It's all
been said before. I don't want to be trapped into
someone else's past. Do you understand me. I don't
want you to compare me.
SHE
No more words.
HE
I just want you. No more memories.
SHE
Nothing. Open the windows, let out the stale
air. We'll be like a cold stream in the spring.
SHE & HE
(overlapping) No more words. I agree...I
agree.
HE
I...
SHE
No.
HE
I...
She puts her hand to touch his face. She takes his
hand and brings it to her face.
SHE
Begin with that. Only that.
(dark)
SCENE
A cottage. The man is dozing in bed, the woman runs
in with a dance of joy.
SHE
God, what a morning. I've been up for hours.
You should have seen it, the sun coming up behind the
trees and over the lake. Fantastic. And just look
at you lying there... You've slept through the whole
thing. Come on. Let's go for a swim.
HE
God, I love it when you do that.
SHE
What?
HE
When you spin around like that.
SHE
So, what's so great about it?
HE
It's so...it's what I love about you. You can
be so spontaneous, so unaffected.
SHE
Big words for such a clear morning.
HE
I brought Diane up here. But it was all
perfume and make-up with her. She couldn't get into
the whole thing. She didn't know how to respond.
SHE
And I do?
HE
(laughs) Don't worry about Diane, she's long
gone. It's just, something suddenly reminded me.
This gesture she used to make with her
hands...affected. It really used to bug me, grate on
my nerves. I couldn't see you doing anything like
that. It's not in your nature. Of course, once or
twice she'd try to get up early and go outside. I
remember one morning (pause) She came in from the
lake and tried to do this little dance of joy. Of
course it didn't work. Well, it wasn't her sort of
thing... It's all a matter of co-ordination I
suppose. (pause) Well, what are you sitting down
for? Get up, come on, let's go. Let's go out for a
swim.
SHE
No. It's suddenly gone cold.
(dark)
SCENE
A fast-food restaurant.
SHE
Would you say I was fat?
HE
Fat? No, you're not fat. (beat) Not fat.
SHE
Well, would you say I was thin then?
HE
Er...
SHE
No, seriously. I'm serious. Would you say I
was thin?
HE
Thin? You couldn't say...not exactly thin,
but...
SHE
Go on.
HE
Well, you're...just right. You're...erm...
nicely built.
SHE
Built!
HE
No...not exactly, more...
SHE
Well built?
HE
No. I didn't mean anything like that. You're
just, well... You're just right, not too fat, no, not
fat at all and... er... not too thin. Well, you
couldn't exactly say you were skinny, could you?
You're not emaciated... Not one of those anorexics.
SHE
Just right?
HE
That's it. (laughs) Just right. Just right
for me.
SHE
Then I'm not as fat as that woman over there?
HE
God, no. She's really fat.
SHE
Just right? Well... now... that other one, the
one going over to that table.
HE
Look, I've told you. You're not fat. She's
fat... just look at her. This is ridiculous.
SHE
All right. Well, tell me then. Point someone
out. Go on, point to someone who looks just like me.
Someone that's just right.
HE
Well... No, that's stupid. I can't... I mean,
I can't find someone who looks exactly like you.
SHE
I didn't say exactly. Just someone who looks
approximately like me. (pause) Well? Go on.
HE
Well... er... No, this is crazy.
SHE
There's no point to my trying is there.
There's no point to my going on a diet. Not if you
won't tell me. I just want to be objective about it
all.
HE
Objective?
SHE
Yes, objective. Scientific. Detached.
HE
Oh, well. In that case. Let me see...hang on.
That one over there. The one just coming in the
door. The blond with the white sweater.
SHE
The tight white sweater?
HE
Yes, she looks pretty good, doesn't she. She's
about your shape.
SHE
And I look like that, do I?
HE
What? Well... no, not quite then... er not
exactly.
SHE
God, what's the point. I wonder why I don't
let myself go for good, wear polyester suits and
tennis shoes. God, I knew you'd say that. I knew
you'd pick her. Go on then. Buy me a Whopper and a
double order of French fries. I may as well give up
all together. I don't know why we go out together.
I don't even know why we're sitting here.
HE
But what did I say?
(dark)
SCENE
She sits looking through a magazine. He stands and
speaks to the audience
HE
Silence. It all seemed to happen in silence.
In the end the deepest things seem to take place in
the spaces between words
SHE
"You'll have my heart forever". He just sat
there, looking at me, and he said, "You'll have my
heart forever." How corny. (reading) "The lights
flickered, the floor began to tilt and my ears popped
like I was in an elevator that was dropping too
fast." Who do they think we are? Does anyone really
fall for that stuff anymore?
HE
She was sitting across from me... there. Of
course we'd met before a couple of times, downtown
and at the bus stop. I'd even walked her home once.
But that evening, the time it really happened. We
were sitting in this restaurant together. Talking
(beat) Now I come to think of it, I can't even
remember what we said to each other. It can't have
been really important. Just talk... you know.
Laughing, talking about things we both liked.
(pause) Then suddenly she stopped and began to look
down at her hands. It was the suddenness of the
silence that did it. Everything seemed so quiet. As
if all the sounds of the restaurant were blotted out.
And then she looked at me. That silence must have
gone on for minutes. People must have been looking
at us, they must have been wondering what happened.
As if we'd been arguing or something.
SHE
I know that none of it means anything. "My
heart forever". It's just words. Isn't it? Words.
That's what they're so good at... men. They put
together a whole world out of words, don't they, a
whole universe. Words of love like "my heart
forever". Think about it. If you know how to use
words you can do anything. The constitution. The
Declaration of Independence. A declaration of war.
And, yes, the Pope blessing all those pilgrims in
Rome. It's all words when you come down to it. When
they start stringing words together they've got us in
the palms of their hands. Mesmerized.
HE
And then she lifted up her head and looked at
me, straight into my face. It was so strange, that
silence. No words. Just looking into my eyes. As
if everything in the universe had shrunk down to a
tiny, single point Her eyes...looking at me. And
then she said to me, she said "It's your life. I
don't want to make trouble for you." Just like that.
Out of the blue. (pause) Now why would she say a
thing like that?
SHE
Just sitting there. Looking at me. "You'll
have my heart forever." He threw his words over me
like a net. There's no going back now. I had to
believe him. "My heart forever."
HE
I've been thinking about that lately. I've
been working out a sort of theory... about what
happens between a man and a woman. You see there's
always this point of contact... no, this moment of
contact. That's when everything really happens.
That's what really counts. It has to be something
very fast... a high sped message between two...
er...er...
SHE
Computers?
HE
Yes, that's it. Computers. No. No, it's not
like that at all. It's more like... It's...
SHE
Two ships that pass in the night?
HE
That's it... you see there's these two ships.
(arranges a chair, jumps on it, it's his ship) Two
ships in the night. In the middle of the ocean. Out
there it's all waves and stuff. Night. Sailing
alone in the middle of the night. When suddenly.
Out of the blue there comes...
SHE
(makes the sound of a fog horn)
HE
A light. A flashing light.
SHE
Oh! Flash. Flash. Flash
HE
There's something out there... yes, a point of
contact. Another human being. (he shuffles his
chair nearer to her) You get closer... and closer...
and closer. It's a...
SHE
A lighthouse.
HE
My God, I'm nearly on the rocks. Hard a port.
Full speed astern. Beep. Beep. Belay the marlin
spike. All hands on deck. (aside) I'm really
enjoying this. Now where was I?
SHE
You're alone. In the ocean. In the middle of
the night. Standing on a chair.
HE
Yes, that's it. Alone. In the ocean. The
blackness of the night. When suddenly... suddenly...
(gives her the cue again) When suddenly...
SHE
Oh, (makes fog horn noise)
HE
A light.
SHE
Oh, yes. Flash. Flash
HE
You see this flashing light. It's another
ship. Another human being. Another..
SHE
Chair.
HE
And you come closer and closer. You've
touched. You've connected. But nothing has to be
said. No words. Only afterwards you know that
something real has happened. Things change between
you. You'll never be the same. That's what counts.
That's contact.
SHE
For God's sake, could we stop playing around
like this and go to bed.
(dark)
SCENE
In bed. Giggles. Making love? Lights up.
SHE
You know those men?
HE
What men?
SHE
Look, I've got something to tell you. You know
those boyfriends I had... the ones before I met you?
HE
The one in Jamaica?
SHE
Yes... and the others... at university. And
the ones in the bar.
HE
Yes?
SHE
Well...
HE
There aren't any more are there?
SHE
Well, that's just it.
HE
What?
SHE
I made it all up.
HE
What?
SHE
I made it all up.
HE
You what?
SHE
All of them. Well, none of them. There
weren't any. I didn't sleep with any of them. I
made the whole thing up.
HE
You? (pause) Oh, come on now. I don't believe
you. You're just telling me that.
SHE
No. Honestly. I just made it all up.
HE
But... but what about the English professor,
Sir Gawain and the Green Knight? Lying naked
together by the lake. You didn't make that up.
SHE
Oh him. He was horrible.
HE
Ah Haaa
SHE
No, he was just terrible period. A dead bore.
HE
Well, the man from that ministry. What about
him? You couldn't have made all that up. With the
whipped cream? Look, I've even met him. I've
talked to him. I even shook his hand.
SHE
We did go out a few times together.
HE
And?
SHE
We just went out a few times, got kissing and
that.
HE
And then? (pause) No, I don't believe a word
of it. It must have happened. I mean... you
couldn't keep away from them, could you? You must
have.
SHE
I had to have something to tell you, didn't I?
I had to have something You and your bloody Diane.
You never shut up about her.
SHE
Hang on... wait a minute. I've got you. The
Rumanian with the villa.
SHE
The one who flew me to Italy for the weekend.
HE
That him.
SHE
I made him up.
HE
Then you're a bloody liar. I don't believe
you.
SHE
I did. None of that ever happened.
HE
It did. You couldn't... You're not smart
enough... You don't have the imagination. It must
have happened.
SHE
Look, I made them all up just to give you a bit
of a thrill. Well? It worked didn't it? I mean,
after all, why should you be the only one to make up
stories?
HE
But mine are... I mean... Well for a start
it's bloody dishonest. It's deceitful.
SHE
Sorry.
HE
I... I can't trust what you say. I'll never be
able to trust you again.
SHE
I'm telling you the truth. I didn't sleep with
them. I hardly went out with them. Nothing ever
happened.
HE
Ok... Ok... Ok... (pause) No, hang on. Look,
how do I know you're telling me the truth now? I
mean you could have slept with all of them... could
you? You could have slept with all of them and now
you're just telling me that you didn't... That it...
I'll never know (pause) My God, you're bloody
devious.
SHE
Well. If it makes you any happier.
HE
On, no. It doesn't make me happier. It
doesn't matter to me at all. But at least now I know
where I stand. At least I know how far I can trust
you.
SHE
Ok. If it makes you happy. Yes, I did. I
screwed the lot.
HE
Right. (long pause) Did you really?
SHE
(looks at him)
(dark)
SCENE
A car. The man in the driver's seat, the woman sits
beside him. She looks under the seat.
SHE
Oh God, will you look at this. It's a
Penthouse.
HE
Is it?
SHE
A bloody Penthouse.
HE
Oh, I suppose it must be Tom's, he borrowed the
car.
SHE
It was stuck under the seat. Let's see...
Hmmmm. "June is busting out all over." Why do men
need to look at pictures like these?
HE
You mean the cars or the stereos?
SHE
God, look at this one. She's got no shame.
(pause) Well? Aren't you going to tell me?
HE
What? Well... I suppose... it sort of turns
them on... some men.
SHE
Turns them on? They burn things like this at
the customs, you know.
HE
Not Penthouse.
SHE
Does it turn you on?
HE
What?
SHE
Does it? (flashes magazine at him) This one.
Look at her. Does she turn you on?
HE
Oh. That one... here. Well, I suppose I could
say she's attractive. Some men go for women like
that. After all, she's got a good figure. Doesn't
she?
SHE
I didn't ask about that. I didn't ask about
the size of her boobs. I said, does she turn you on?
HE
Me? Oh, well... I don't know. I haven't
really looked. I... well... I suppose she's good
looking... attractive. I suppose.
SHE
You suppose. You suppose she's attractive.
Look again. Careful... mind that tree. Would you
like to sleep with her? Slide into bed with her?
Kiss her breasts? Nibble on her...
HE
Hang on.
SHE
No. Would you?
HE
Ah... but, well the question doesn't arise,
does it? So to speak. Well, she's only a
photograph. She's not real.
SHE
No, go on. Fantasize. You're an intelligent
man, you've got a nice office. Use your imagination.
Mind that truck. Think about her. Would you? Does
she turn you on?
HE
Oh God, you're being stupid. Look, I've told
you. It's just a magazine. Right? It's not my
magazine. It's Tom's magazine.
SHE
You used to be such a good driver.
HE
It's just a photograph. She's not real.
SHE
You mean you can't even fantasize about her?
You can't get all worked up?
HE
No.
SHE
Nothing at all? Not even the slightest twitch?
Careful. No pictures in the mind? Not even when
you're in bed with me?
HE
My God, not then, especially not then.
SHE
Well, I don't understand it then. I don't see
the point of the whole thing. I don't even know why
you hid it. Why on earth did you buy this magazine
in the first place?
(dark)
(long pause to cover his exit)
SHE
Men, they never change to they?
SCENE
Woman alone.
SHE
There used to be some women. If you asked them
what they really wanted they'd say... Oh well, a
good husband, someone kind and with a good steady
job, a nice house, two children. That sort of thing.
Imagine any woman saying that today? But sometimes,
if you've had a few drinks together, after work. No
one would come straight out and say it. But
sometimes, after a few drinks.
But imagine anyone being able to think that sort of
thing today? Fifty years ago maybe. But not today.
You see we've come so far. We know there's more to
life than that. Waiting around year after year for
some man to come along. Women used to have this idea
of a knight in shining armor. It's the magazines
you've got to blame for that. All those stories my
mother used to read. But today they've all got three
piece suites and brief cases with gold combination
locks. The only castle they can offer you is
something with cathedral ceiling and a dwarf's patio
in the new development.
We've all heard that story before. Haven't we?
There's more to life than that. Men working late at
night, off for a game of squash and a few cold ones
with the boys. They're all right. They're all
happy. Aren't they? And us? We've all been set
free. We've been promised so much. There's no
limits any more. We're going to the moon. We're
strong. (pause) There has to be more.
(dark)
SCENE
Evening. Their apartment. She is looking out of the
window.
HE
Penny for your thoughts.
SHE
What?
HE
What are you thinking?
SHE
Me?
HE
Yes. What are you thinking about? Tell me what
you're thinking.
SHE
Oh, nothing really.
HE
But you must be thinking about something.
SHE
No, my mind was a blank. I wasn't thinking.
HE
Look, I could see you thinking. I could see it
all going on. It was totally obvious that you were
thinking.
SHE
Oh, my God, not again.
HE
You were... Look, you even said, "not really".
When I asked you if you were thinking you said "not
really". Now that implies that you were thinking
about something. I mean if you'd been thinking about
nothing you'd have said "nothing". Not "not really".
"Not really" implies that you were thinking about
something. (pause) Doesn't it?
SHE
That's crazy. I was just sitting here, looking
out of the window.
HE
Ah haa. But why? Let me put something to you.
We're sharing our lives together, right? We live
together, right? It's a relationship, a partnership.
Right? There's an equality to the whole thing.
Sharing. Right? But how can you sit there and live
with me if you refuse to tell me what you were
thinking?
SHE
My God.
HE
Answer me that.
SHE
You're totally crazy.
HE
Oh, no. I'm not crazy. I'm being rational.
I'm making a point.
SHE
All right. I was thinking.
HE
Good. (pause) Well? Go on.
SHE
About that woman at the party last night.
HE
Woman?
SHE
The one in the corner. The blond with the
bust.
HE
Oh? I hadn't really noticed.
SHE
Oh, yes? Well that does surprise me. After
all you practically had your arm down the front of
her dress.
HE
Oh come on. (beat) Well, anyway she works in
Web page design (beat) It's a rapidly expanding
field.
SHE
So that's what I was thinking about. I'll
admit I felt bad about it at the time. Seeing you in
the corner with her.
HE
But we were just talking. It was totally
innocent. You could have come over if you'd wanted.
SHE
It's true. I did feel a little jealous... at
the time.
HE
Look, I said... I was just...
SHE
But then I began to think out the whole thing.
I said to myself... well, if all this really doesn't
interfere with us. Well, after all you like to talk
to women like that, don't you?
HE
Women like what?
SHE
You like to get them in dark corners. All
intense. The understanding older man. So I
thought... why not?
HE
It was perfectly innocent... Why not what?
SHE
So I made a decision. I don't mind any more.
HE
That. Well, why shouldn't I talk to women too
on the odd occasions?
SHE
That's what I said.
HE
There's not harm in it. No difference really.
Anyway I'd forgotten all about her until you brought
it up. She's not even my type. Why can't there be a
friendship between a man and a woman. After all,
it'd be sexist to exclude it, wouldn't it?
SHE
I agree.
HE
There's nothing to be jealous about.
SHE
There's nothing wrong in a man and a woman
having a friendship.
HE
That's it.
SHE
A special relationship.
HE
It's natural. It allows someone to explore his
full potential, doesn't it?
SHE
Or her full potential?
HE
Well... I suppose so. Why not?
SHE
Good.
HE
Er... what exactly do you mean by "good"?
SHE
Good, about her full potential.
HE
Ah.
SHE
So that's why I'll be a little late tomorrow.
There's this man I've talked to a couple of times.
HE
Now, hang on.,
SHE
Just at the bus stop. He seems quite
interesting.
HE
Oh now, you're not...
SHE
And he asked me out for a drink.
HE
Hold it right there. I'm not having you
talking to strange men.
SHE
Of course I said no at first. But now I've
been thinking over what you said. Well, why not?
HE
Now stop that.
SHE
So that's all settled. After all, there's
nothing to be jealous about, is there?
HE
But you can't. I... I'm... not having it.
SHE
Oh? But I thought that was the one thing we'd
both agreed on?
(dark)
SCENE
The woman alone.
SHE
Men are strange aren't they? You know, when I
was a little girl I remember how my father used to
stand me on a table in front of his friends. Now why
did I think of that now? There was this one Sunday
evening. I'd been out skipping and he called me into
the den where he'd been playing cards. All his
friends from work were there. It was all smoky and
dark. Anyway my Dad called me in and he pushed all
the glasses and cards to one side, and he lifted me
onto the table. He was very strong. It was still
light outside but my Dad liked to play with the
curtains drawn and just a side light on. So here I
am standing on this table in front of all these men,
and with the side light angled up and me. And what
d'you think he does? He makes me recite this stupid
poem I'd learned at school. Me, On a table. In the
middle of the room. In front of all those men.
Doing my party piece.
The thing I want to know is why. Why did I do it?
Why didn't I say no? And why did my mother go along
with it? Sometimes I get confused. People are
always telling you things. First it's your Dad.
Then it's your teachers. Then it's the women's
movement. Always telling you things. There has to
be some freedom somewhere. Not someone else's
freedom.... my freedom. Always telling us things.
Always standing us on tables to perform.
SCENE
At home. Evening.
HE
Will you pass me my book. That one... the
biography.
SHE
Your book?
HE
That one... yes. I've nearly finished it.
SHE
Good for you. Well here you are then. Here's
your book.
HE
Thanks. (begins to read)
SHE
Are you enjoying it?
HE
Er... er, yes.
SHE
You look so comfortable. Just reading.
Sitting there in your chair, wearing your slippers.
You're' having a really good time aren't you?
HE
What do you mean? I'm trying to read (pause)
I've nearly finished. I've only got a few pages to
go (pause) I want to finish it. That's all.,
SHE
Go on then. Finish your book.
HE
(gives up) God. It's impossible to read with
you watching me.
SHE
Right. I'll look away. I'll even close my
eyes. Go on.
HE
(tries again) My God.
SHE
Don't bother about me. Just finish your book.
HE
It's just a bloody book. It's just a book I'm
trying to finish. God, what's going on? What do you
want? What have I done now?
SHE
Nothing. You've done nothing at all. Just
finish your book.
HE
Oh, I see. It's got your name in it. Well
your book then. A book. The book I happen to be
reading that's got your name in it. It doesn't
matter anyway. It's just a bloody book.
SHE
No. It doesn't matter to you. It doesn't
matter that it's our apartment, our chair, our CDs,
our TV.
HE
Our book.
SHE
Exactly.
HE
Good, then I'll finish our book. I'll sit in
our chair and I'll have a good read of our book.
SHE
Fine. Finish it. Go on, enjoy it. It just
happens to be my book though, and I haven't even read
it yet. And I bought it.
HE
Yes, but with our money,
SHE
(pause) I don't understand you. You used to
be so sensitive once.
HE
Oh, yes, I know all about that. I know all
about that stuff. (pause) And I know what's behind
it all. (pause) The real problem is that you won't
listen.
SHE
Oh, not that again.
HE
No, that's your basic problem. It is, isn't
it?
SHE
Oh please, forget the whole thing.
HE
It's easy for you to say just forget it. It's
easy to say. Isn't it.
SHE
Look. can't we just forget the whole thing.
I'm sorry. Can't we drop it?
HE
Drop it. Drop it? But that's the whole point.
You can't drop it. You're going on and on about it
now. Drop it? Well I can drop it. I don't have to
carry on and on and on about it. But can you? Can
you drop it?
SHE
Let's try. Can we?
HE
If you think you can, go ahead. Drop it.
(pause) Just try.
SHE
If we could just sit here and not say anything.
HE
Sure, right. (beat) Well go on. Don't say
anything. (beat) God, you're just like that
Buddhist monk, aren't you.
SHE
Monk?
HE
Look, there are these two monks, see. They
meet a woman standing beside the river and she can't
get across. Well, one of these monks picks her up
and carries her over on his back. Anyway the two of
them walk on in silence until one of the monks, the
one who didn't pick up the woman, he says "you know
we're not suppose to touch a woman". And the other
one, he says , "I put her down five miles ago. Why
don't you?" See? Get the point? He dropped it.
But you can't let things rest. My God, you're angry.
Just look at you sitting there. God you're really
sick. You have to keep on and on about things. Just
look at you smoldering. Damn it... can't you even
say something? Look, I can't take any more of this.
I don't have to stand here and listen to you. I'm
going out. I'm going to the bar. At least there'll
be someone to talk to. At least I can have a good
argument there.
SHE
Why? Why does it have to be like this. It's
not just me. It's not just him. It's the whole
bloody world.
(dark)
SCENE
The man. Alone.
HE
We always go out and eat at the office. We all
pick somewhere and go out together. Except for the
ones who bring these little salads in plastic tubs.
Anyway, yesterday, I couldn't take it any longer.
I... er... well, I just walked out, left early. I
went to the elevator at around 11.30 and that was it.
I just walked. By myself. It must have been...
what? two or three hours. I couldn't stop walking.
I had to keep moving. I never went back to the
office. I didn't even call them. (pause) That was
yesterday. (pause)
I must have got to the market, somehow. And that's
when I saw The Cardinal. You know, he's a tramp or
something. You must have seen him. He's all dressed
up in scarlet. People call him The Cardinal. She
always gave him money... I once thought of stopping
and talking to him but, well... well you don't want
to get involved with people like that. They're all a
bit crazy. Anyway I just stopped and watched him.
Not directly. I looked at him though his reflection
in a shop window. Just watched him. He was standing
with his back to the wall and all his possessions
were in a shopping cart. He was playing a tin
whistle. All dressed in red, and every so often
people would stop and talk to him. I thought, I'll
go over and give him some money... the price of a
drink. But I couldn't do it. He looked so... so
content. Just standing there. If I'd gone over I
don't know what would have happened.
(dark)
SCENE
The man continues to look out into the audience. The
woman enters on the other side of the stage and looks
out.
HE
(shouts) Hey....hey...
SHE
Oh....What?
HE
I said, Hi.
SHE
I can't hear you.
HE
I said... Hang on. I'll come over.
SHE
What?
HE
I... want... to... talk... to... you.
SHE
What? God, I can't hear you with all this
traffic.
HE
I said... Look, wait there. I'll come over.
SHE
Look out. Be careful.
HE
Hang on.
SHE
Look, there's my bus,
HE
No! Wait! I have to talk to you.
SHE
I've got to go.
HE
No, Hang on. (shouts) Wait! (beat. quiet)
I want to talk to you.
(dark)
Contact F. David Peat
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