rbrb

willow_nts.tm

www.willow-n.com

FIRST: A football field/college sports complex. A chorus line of cheerleaders is on. Trixie is one of the cheerleaders.

CHEERLEADERS
HAARRGH! Pretty little schoolgirls all in a row,
here to play the prologue to the show;
so ready, steady, get set go,
here's what we're here to let you know:
if maybe you're curious or maybe in doubt,
honey oh honey don't be down and out,
cause baby I'm ready with a jump and a shout
to tell what it happens that the show's about.

CHORUS LINE LEADER
Before you came we were so worried

TRIXIE
Right. And now rocketeers, it's time fo

CHORUS LINE LEADER
Trixie!

TRIXIE scurries back into line
Mh!

CHORUS LINE LEADER
Places. Ready. Alright, see

CHEERLEADERS
This morning this playhouse stood silent
and this dark room lay locked up in these walls
lightless and wholly free of any human life

TRIXIE
But the mice and the roaches we all think we don't have

CHEERLEADERS
like some dimly conscious creature fast asleep.
If I'd been here to listen I'd've heard it dream,
suffused in echoing of plays long past,
as ghosts of players scurry from the wings
to for a moment mimic life and fade,
as gone as audiences once the curtain falls.
But all that faded echoing all drowned
as today in ones and twos we walked off from the street
and on in here (in this the way you see us doing now and see done
everywhere, this upright two-step us primates only, dare,
to use when on our own we move from a here to a there).
And then tonight this room changed so much more
as you came crowding through those scupper doors,
then tressed apart astwitching into knots and files
to weave back up this teeming meadow made of persons
close-packed 'cross what was this slope of barren seats --
this field where atop the stemtops of your necks the lights
that glow from off this stage so palely play on petals soft
as faces' skins, the way the moon in echoed light
plays soft on fields of flowers Summer nights.
You see, our coming in to this strange room,
all shuffling feet and babbling mouths, dispelled
the dreamerie that waiting empty, rooms like this hold fast:
we sent the ghosts of plays long past -- the lilt of the lines
and the life in the laughter -- flurring 'cross the floor,
dust kittens to corners, or flitting, like birds on wings of silent sparks
to perch, and atwinkling, peer down from the rafters.

CHORUS LINE LEADER
You know we can't see 'em, but they're there alright.

CHEERLEADERS
They watch us, memories, like dreams that when
the dawn first spills into our eyes get scattered to the mind's
dark corners to follow us from hiding through our day.

TRIXIE
Watch and follow us like predators stalk prey
unseen til we misstep, forget our outside selves
of will and reason, and then whoa...HWUH!
snatch and shook! shocked to the feral that's within.

CHEERLEADERS
So look gently when our dream tonight steps out
from these dark wings to play on this bright stage
for our frail work can no more stand stern looks
than the morning dew fight off the sun.

Lines in { } are to be sounded simultaneously, timed as indicated by their vertical alignment. CL - Cheerleaders; CLL - Chorus Line Leader; T - Trixie.

CL {Deceive your eyes...}
T {Bereave your eyes... Whoops!}

CLL {What's the matter now, guys?}
CL {Oh, it's Trixie again, that's all.}

TRIXIE
I'm not used to it yet, okay? I mean I didn't think it'u'd be like...'precision dancing team', I thought cheerleading'd be more like..um..'improvisational solo', you know what I mean?

CHEERLEADERS
Listen, size-up chub-tub, this is the most tech-tight cheerleader line this side of the Mississippi, so if you want to do this 'expression' personal art stuff, this organization may not be right for you, alright?

TRIXIE
Oh, okay...

CLL {Okay, guys... Places. Ready...}
T {Still... You know, more like this...}

CL {Deceive your eyes or they'll burn the paint}
T {HEEEuhuhuhuhHUH! Oh I oh I no I ain't}

CL {from our faces, strip the rags from our skins,}
T {just some other pretty face, but a winsome}

CL {estrange our roles from our names and selves}
T {changeling thing, heart and soul so much my own}

CL {and so destroy what they see.}
T {even those what know me most, don't know me. What am I?}

CL {And cast adrift your ears again though oh}
T {Oh no}

CL {much so much now they're stressed so near}
T {no no, no no, no I'm not, not an angel, not a ghost}

CL {to numb and broken by the engine skrees,}
T {but an old old giggling thing for once and ever born anew}

CL {the slam and clatter of these streets we're in}
T {so longs the sun strikes sparkling sea foam}

CL {and so would just as soon no longer trawl}
T {from her laughing laughing lace-like shawls.}

CL {this ambient sea for sounds, swimming in the air.}
T {Hmhmhmhmhmhmhmhmhm-huhuh-HARARGHARGHARGHAH!}

CHEERLEADERS
These that hie, wavy fishes to the nets you hold
'longside your heads: and once those sounds weigh hard
in on that sense, haul home, and make of them mind's sustenance --
make words. And so that part that's yours to take, it will
when played as one with ours, make our saying something said. SO!

Cheerleaders in two groups, CL-A & CL-B.

CL-A {La la la la la la la etc. for a time}
CL-B {Dee dee dee dee dee dee dee etc for a time}
T {Daddy daddy daddy etc. for a time}

CL-A Daddy's in the front yard trying to fix the car,
CL-B Momma's with her TV wondering where we are;
CL-A Sister's in a bedroom with a brand new beau,
CL-B And brother's in the street with no place to go.
CL    Why I'm here at home oh I just don't know,
CL-A Cause daddy's drinking whiskey out by the car,
CL-B Momma's with her habit -- don't care where we are,
CL    While grandma's in the kitchen making choc'late cake
T       Cause I'm hiding in the basement with that ol' heartache.
CL    So
CL-A Ohohoh
CL-B Uhuhuh

A CHEERLEADER
Wait, we forgot to say what happened

TRIXIE
It happened just this way one night when boy
met girl and girl met boy -- and well, the rest is hizertry.

A CHEERLEADER
Right, tell me about it.

TRIXIE singing
Ol' fashion' Dallas that's who 'is gal is, she's who I used to be.

CHORUS LINE LEADER
Uh-huh. Okay guys. Positions. Alright, see:
it's a tale as commonplace as commonplace can be

CHEERLEADERS
of Rhett and Claudia sitting in a tree
kay aie ess ess aie en gee;
first comes love and then comes marriage
and then comes the baby in the baby carriage.
So, one's for the money, two's for the show
three's to get ready, and four's to OH!

Cheerleaders scatter as blocking sled, ridden by assistant coach and propelled by football players, comes on.

ASSISTANT COACH
TWEET! TWEET! Move it, move it, make it fly.

PLAYERS
HWUH!

ASSISTANT COACH
TWEET! TWEET!

CL-A {Watermelon, cantaloupe, pumpkin, squash}
CL-B {Whoa come on boys, I'm hot to trot}

CL-A {Can we beat 'em, can we beat 'em -- oh my gosh!}
CL-B {and looking out for what you got.}

ASSISTANT COACH
TWEET! TWEET! Give it, give it, give it all up. Dig!

PLAYERS
Dig it! Momma! HWUH!

CL-A {Who's a high stepping, low strider, run so right?}
CL-B {Slow rider, rocker rhythm, butter my blues}

CL-A {he's my high-flying, daydream, crazy boy}
CL-B {lazy baby time's mine to lose}

CL-A {going down and gone}
CL-B {so don't be}
T {down on me}

CL-A {on a long gone Earth-sight Shuttle flight}
CL-B {so low-down no-count you only sleep}

CL-A {to run by the uprights, catch the pass}
CL-B {puppy-hurt match your pleading eyes}

CL-A {but he be}
CL-B {see}
T {help me please I'm falling}

CL-A {out-skyed high dreaming on his ass.}
CL-B {I'm feeling your desire's mostly lies.}

ASSISTANT COACH
TWEET! TWEET! Give it, give it, give it all up. Dig!

PLAYERS
Dig it. Momma! HWUH!

Assistant Coach, players, sled go off.

CL-A {Oh woh-oh woh-oh woh-oh woh-oh (etc. for a time)}
CL-B {Ooh-ooh ooh-ooh ooh-ooh ooh-ooh (etc. for a time)}
T {Whoa whoa whoa whoa (etc. for a time)}

CL-A {Call my heart too faithful till it break,}
CL-B {Pal of mine oh darling let me go,}
T {Palomino goldstar come and play,}

CL-A {don't let me know yet what I can take.}
CL-B {now I'm grown too old to court so slow.}
T {down to the meadow with me today.}

CL-A {Call my heart too faithful till it break,}
CL-B {Pal of mine oh darling let me go,}
T {Palomino goldstar come and play,}

CL-A {don't let me know yet till I awake.}
CL-B {now I'm grown to what you now don't know.}
T {down to the meadow and far away.}

CL-A {Tell me where and I'll follow,}
CL-B {Well now you're here you got to know,}
T {Wildwood stallion ride me slow,}

CL-A {where I'm now there's only sorrow.}
CL-B {there's a backdoor where I got to go.}
T {carry me home oh wildwood hollow.}

CL-A {Tell me where and I'll follow,}
CL-B {Well now you're here you got to know,}
T {Wildwood stallion ride me slow,}

CL-A {like I feel now there's no tomorrow.}
CL-B {like I feel now you're just a shadow.}
T {take me where wild lillies grow.}

CL-A {Ah-uh ah-uh ah-uh ah-uh ah-uh (etc for a time)}
CL-B {Ugh ugh ugh ugh ugh (etc. for a time)}
T {Harrgh harrgh harrgh (etc. for a time)}

CHEERLEADERS
Whoa, what's this?
Play a kiss?
Given, not taken.
'Scuse me -- I'm mistaken.
All your might,
Gives no right
Back up!
I'm so fed up.
Whoa, what's this?
Mean a kiss?
C'mon kool,
You're so fool.
In the street,
Got to meet.
It's a try,
Not much why.
Whoa, what's this?
Forget a kiss.
By my side,
'S still my pride.
Not moving over
So you're not getting over.
Don't make me,
Don't take me.
Whoa, what's this?
Love a kiss?
Work of art,
For the heart.
Walk with me,
Talk to me.
Stay with me,
Crazed with me.
Whoa, what's this?
Thing called now?

TRIXIE

Cm'on, Baby!

Baby, Baby!

Whoa, Baby!

Baby, Baby!

Oh, Baby!

Baby, Baby!

Hmm-uh, Baby!

Baby, Baby!

Yo-uh, Baby!

CL-A {Ohohohohohohohohoh (etc. for a time)}
CL-B {Huhuhuhuhuhuhuhuhu (etc. for a time)}
T {Mmmhmmmhmmmhmmmh (etc. for a time)}

CL-B break up my heart and cut me loose
CL-A loving you right just ain't no use
CL-B that what momma, momma tell me tried
CL-A since I was young I thought she lied
CL saying, everybody get what they deserves
whoa, come on home boy, I'm getting nasty nerves.

CL-A come down from heaven in a blue space suit
CL-B maybe you dirty, but you sure is cute
CL-A from countdown to touchdown I'm biding my time
CL-B way you been wheeling boy, it mess up my mind.
CL Slip slider drive rider all of my own oh
I never knowed you'd make me groan so.

CL-A So make it up,
CL-B Give it up,

CL {reach for a touchdown, touch, touch, touch!}
T {reach, reach, reach!}

CHEERLEADERS COACH & PLAYERS
UUH-UNH!

Cheerleaders go off. Head Coach and foootball players -- Rhett and Robbie among them -- come on. Because of their helmets with sunshields and the rest of the head-to-toe football gear, the individual features, skin color etc. of the players -- particularly Rhett and Robbie -- is undiscernable by the members of the audience. Quarterback calling signals, players run passing drill. When Rhett/Robbie's turn comes to run a route; quarterback throws pass, and ball bounces right out of RR's arms.

HEAD COACH DOOSERIE
Alright, alright; execution, execution is the key! Yeah! TWEET! Yeah! Motivated execution is executed motivation! Run it out, run it out. And now let's hear some pop on that bump! Alright, alright. TWEET!

HEAD COACH DOOSERIE
What in tarnation happened with you, what in tarnation happened with you? Huh? Huh? It was a baby in your arms.

RR
Coach, awoh..awoh...I don't know Coach, I reckon I missed it.

HEAD COACH DOOSERIE
I'll reckon you. How'd you think your child'u'd feel, you haul off an drop it so? Motivation, motivation, motivation is the key. TWEET! Witness for me now: what's our watchword, our watchword for the here and now?

PLAYERS
Motivated execution is executed motivation! HUH!

HEAD COACH DOOSERIE
Oh yes indeed! Oh yes indeed! And golden is

PLAYERS
as golden does!

RR
(Or might as well be when so it seems, to those by their own avidity, self deceived.)

HEAD COACH DOOSERIE
Hey! Alright, boys. Alright. Back on top, back on top. Same thing over, same thing over. Listen to me now, listen to me now, your mission now's to be gold example for us all -- for ye shall know them by their smallest acts of everyday -- and in your everyday moment in this drill, like all your actions from now on, you'll emblemize for all, all execution, leadership and motivation mean. Yeah. Yeah. Alright. Alright. TWEET! Is smart

PLAYERS
acts smart!

HEAD COACH DOOSERIE
TWEET!

Signals called; same drill run through; RR, as before, misses the ball.

HEAD COACH DOOSERIE
You didn't even try! You didn't even try!

RR
Coach...I reckon not.

HEAD COACH DOOSERIE
What?! What!? I did not hear that. Son, you got an attitude problem, that's right, an attitude problem. Son, I want to talk to you about your attitude problem. Oh yes indeed. I want to talk to everybody about your attitude problem. Alright, alright. Everybody! Gather 'round, gather 'round. School circle! TWEET! Now listen up. I got an article of informational importance to communicate. One day from today is the most important day of your life. It's the day every man among you dreams of achieving. Oh yes indeed. In that bowl game the eyes of all the nation will shine upon you and a broadcast team'll be behind the cameras to point out your mistakes to 'em. And shame, disgrace and humiliation shall deplore upon the team that fails to accomplish its appointed mission. Just a minute ago back here -- hang your head down, young man, hang your head down -- failed to accomplish his appointed mission: he dropped the ball. And come one day from today when we play in that bowl game what we've -- praise, praise -- concentrated to achieve and are here and now gathered together in instigation to the process to win, if we fail to accomplish our appointed mission, we'll feel a thousand-fold the shame, disgrace and humiliation you..you feel when you drop the ball. Oh yes indeed. For gold can't turn to rust! So witness, witness for us now your determination, total determination, to try, try, try!

RR
Coach..coach... Ain't no use in trying. For me, it's over, can't put in no more to covering up this lie 'bout how I love this video cut-out life that this star football jive has forced on me. Coach, my days of football now are over. You heard it right. And starting this right now. It's like it had to happen sometime, hey... and now it's happening just this way.

Murmuring among the players.

HEAD COACH DOOSERIE
Son... I did not hear that... Son, you're not serious.

RR
Yeah?

HEAD COACH DOOSERIE
Naw... I can't... Son...definitely not, not never, no way!

RR
Oh yes indeed, and now the deed's done done.
I locked me on as good to go, so now I'm gone.
What on the field I had to prove I've proved,
and that I loved. To play was real and really me.
But that all off the field, made by money,
old men's fantasies of youth, and fame's
distortion of every other we are with -- uh-uh.
And this ain't sport; it's marketing hook.
This ain't sport; it's software for channel time-fill.
And Coach, you just don't know it yet, that's all.

HEAD COACH DOOSERIE
What?! Ho...whoa there a minute, son. Naw... You don't know what you've got -- you're too young -- man, oh!, ther're guys out there'u'd kill to have what you're wanting to throw away. Boys, boys I know great pressures build upon the individual in times of stress such as before a bowl game or a combat mission. But when Providence Devine is with you the most discouraged'll find the strength to bring out what's best in them. Together, let us flee to our brother's aid -- lay our hands upon his helmet, lay our hands upon his helmet and call upon, call upon His Mighty Majesty Team Leader in Chief of All the Universe to take the serpent of indifference from his breast. Oh-ooh witness! We stand here before you with our brother in sweat-browing murtoil, dissent and distress, stand here before you before the most important game of games and call, call upon you oh Transcendent Father to exercise the snake that tramules his blinding speed, blunts the edge off of his natural athletic ability, and hardens his heart against submitting to team needs.

SOME OF THE PLAYERS
Yea-yah; yea-yah.

HEAD COACH DOOSERIE
Render back unto us oh Prime Motivator the team player of selflessness, the scholar-athlete of this season's games who doth take unto himself the hand-off and, like the angel of avenging might smites the army of the philosophers, confounds the secondary bursting through to victory in the promise of your end zone. For like a teacher of righteousness, fierce and sinless amid the corruptedness of men, the linebackers of evil shall not tackle thy running back down to earth!

SOME OF THE PLAYERS
Yea-yah; yea-yah.

RR
Coach, save your prayers for them that prayers can save. I'm gone.

HEAD COACH DOOSERIE
Son, you don't know what you're doing. And you're going to regret what you didn't know.

RR
I'm doing it, and it'll be my regret.

HEAD COACH DOOSERIE
Okay boys, okay. We're going to go over and scrimmage with the defense now. All this is going to be all taken care of later. (Right? Right, Son?) We're just going to forget any of this all ever happened. Everything's going to be just like it always was. Right? Right? TWEET! (There's a devil in you boy, a selfishness devil like a darkness-creeper in your soul.) Let's go, let's go! Golden is

PLAYERS
as golden does!

HEAD COACH DOOSERIE
Is best

PLAYERS
acts best!

HEAD COACH DOOSERIE
TWEET!

Coach and players go off. Rhett and Robbie stay on. This action can take these two to a locker room to change. There, somehow -- the helmets with the sunshields and the rest of the head-to-toe football gear, sightlines blocked by lockers, steam from showers, towels hooded over head and face, etc. -- which voice belongs to which actor is unclear to the members of the audience. Either of these two can emerge from the following sequence as Rhett, the player who quits the team, as the other emerges as Robbie, the player who stays on the team. In script immediately below the two parts are kept apart simply by the slightly different rubrics "R-" and "R*"; and "RR" at points where the roles can elide -- the lines can be taken by one or the other.

R-
What do you think you're doing, man?

R*
Nothing new. Just doing what a man's got to do.

R-
Awh... Soo-ee! Farmtime! Hwuh, zap-game terminator, man -- bzeep bzeep bruggh! Self destruct. Game over. "Just doing what a man's got to do." Awh! Alright, so...the coach, the whole football...some here like get so intense it's like some kind of ritual spectacle for them, and with all the release of uncertainty resolved, tension broke with all the stand-up and howl of top dog of victory or tail drag and whimper of down dog of defeat -- to get hoping, and paying, for next time. Yeah... No wonder they raise so much money, people get to have so much feeling about it. That's why you can't up and quit like that.

R*
Yeah? Why not?

R-
Cause. Hey, it may be college, but it's still business -- interlocked: TV, the pros, on the net, you name it, there in the kill-time space. What do you want people be thinking about? Politics? Foreign policy wars? There's real money tied up. You know that. So it's too important. So you can't just up and out. It's just not..you know..done.

R*
It's just been done. You just saw it happen. And it happened just the way you saw it.

R-
You know how much a minimum, nobody player, NFL salary is? There's people out there got to work for a living. Politicians say you work full days all year at basic wages and you're not poor -- but they ain't never tried it -- and all you got to do is take a long shot at minor injury and sit on the bench for six months half days and you're making twenty some times that practically in the income elite. And you can make all that -- and not know fly-by 'bout..whatever. And you only have to do it for the about the length of a service enlistment and you can retire -- and the only field you got to go into's got the bombs you catch, and not the kind catch you -- and send you home to mama in a box. So you can be secure for life, guaranteed. And if you're a star...

R*
And that big basic salary's but chump-change for the hat-check girl, the way ownership high rolls. If they want to put me on TV, ride on how I attract, then they can pay me like I'm a piece of the reason that makes their mass marketing happen.

R-
That's a star talking -- so think about how many umpteen times of money.

R*
Money's got nothing to do with it. I ain't ever playing football again.

R-
So you must've been born rich -- or just rich enough to throw it away anyway. Hey, it's not happened all the way yet. All you got to do is go back on it.

R*
Nope. Mind's made up.

R-
"Nope. Mind's made up." Now that you programmed yourself, now you stuck with running it. Hwuh... Sometimes, man... Ever since I've known you... I mean sometimes I look at you man and you look like you just stepped off of a UFO for the first time onto Earth from someplace else.

R*
What? Oh..will..oh! Sure is a fine looking planet y'all got here; yessir, mighty fine.

R-
Well that's right kind of you to say that there. Uh-huh. Whatever it is you call yourself.

R*
Who? Me? Hey, I'm just a tourist here. You know, just passing through. Rawak, rawak, roofk, roof! Huarugh! Limbed figure dressed in clothes striding up and forthright on across the ground of the only living Earth we know. You know, just one more other one in the primate experience.

R-
Uh-huh.. Feature that... Just another..human..Australowhatchamaman, solitary soul aroam on the wide savannah, responsible to himself alone. Right? Wrong. You can't just up and quit on it all this way.

R*
I just did.

R-
Okay... Okay, mister anthroman, so why don't you just dehype your limbed self down a minute here and tell me what it seems in your perception space behind them eyes you think, think, you're doing.

R*
I don't know, but I've done it.

R-
But you've done it? So now what're you going to do, run around campus all Spring like some kind of tourist attraction? "Quick, Mom, quick, there he is the all-America Heismann quitter, Mom, lock on the mini-cam, quick! Did you get him? Did you get him?"

R*
Tell me about it. Nah, I'm getting out of here -- been here too long and learned too little. And like I've bagged my credit quota already so like all's they got to do is just send the paper. That way I can find out if it's all as useful as they say.

R-
I hear you. Man, if I don't get drafted by somebody...

R*
You will alright. Hey my man, come next fall I'll be watching you on nationwide, worldwide now practically.

R-
I don't how much money I'd put on that, my man.

R*
No, for sure. I'm telling you, yeah --
real, as face-to-face primates, brawn and brain,
here, on this warming planet now --
you're one the ones, you got it, believe it.
Like God Himself had winked at Nature,
as at the instant of your conception, He let Her
run away with Herself and give an overmeasure
of the best in talent. You got the same thing I got, man --
that breeze of movement where all can see
the forces pagans made their deities.
That natural athletic talent, man. And you got it gigabytes. So they'll pick you up. You can bet the farm.

R-
Hhw... Bet that farm now.
RR
Make that bet the whole plantation.

R-
What? Hey..lay back man. We shopping mall America now, and there's nobody use no history see our social relations now. History now's just for personal identity, you know, like whatever background box, interest group, gender, religion's yours to check, that's no more than like picking up on this lifestyle or that, you know, dance man, Civil War buff, porn enthusiast, news junkie, aviation fan, theater-goer, gun nut, net head, sex addict, whatever. It's like nobody's business but your own and everybody's business to leave you alone.

R*
"Leave you alone". Hey man, like Leave Me Alone! I like living like a lone dog on that Oldulvai plain. Uh-huh. Like tolerate in complete indifference so you're free from all connection and responsibility -- like whatever individuals pick up on, no matter how much hurt on themselves or others, it's "nobody's business but their own" -- and their victims'? Right?

R-
It's a free country, and you can't be that if you got everybody being brother's keeper, minding people's doings to each other out of having responsibility.

R*
You know I am going to buy that gun on the way home. And I'm going to wave it in your face, like it's some kind of freedom flag of my own. Cause it's a free country, see?

R-
And maybe you're going to use it -- put me out of my misery?

R*
Huhf! Yeah... And what's flags got to do with it? I pledge allegiance to the check-out line at Buymart's, where they may be individual differences of present circumstance -- your money in the bank, your purchase patterns, habits doing unto others, what way you speak, your skin and lifestyle look -- but there're no political differences of past history -- no injustice and no inequality -- conscious in your mind right then, cause there's no memory in it to bind you up to other's with that way.

R-
Man, how'd you expect anybody get their shopping done if they got their minds all distracted on what makes their political community with each other?

R*
Better we drag on with no troubling our mind with one, huh? Too much headache having get active responsibility. "I'm sorry darling, but I've just got this horrendous headache tonight"'

R-
Whu...? Anyway, mass-media democracy's for business and government to have responsibility, not people, okay? For people, mass democracy's passive responsibility, a last, late sanity-check on power, but it's still democratic and that's a damn sight better than..I don't know..name it.

R*
Theocratic insurgency? Passivity is powerlessness. And real self-government is pro-active.

R-
So you think of a practical way to make it happen if you're so dissatisfied. It's the scale, man. At a quarter of a billion Americans in an economy architectured with the world, it can only be mass culture and mass democracy.

R*
The jive democracy of the forever indentured to the credit consumer culture keeps on keeping on for making sure the rich with know-how and education stay that way and the poor and ignorant stay helpless in the powerless class -- with one mostly one and the other mostly other. And it's wrong and failure for all, but it's the big G's to pretend to fix, not me and you cause we're too powerless and we're too busy

R-
cause we got things to buy and a lifestyle to act out. There it is, bubba-bear, you and me and better here than many a place else, in one Nation under marketing propaganda power, indivisible under big government and big business in the atomized desirings of the struggle to buy some more.

R*
You're going to look good in that gas-guzzler viagra rod when you spend your signing bonus.

R-
And you are going to get drafted and be in the pros and have all that money, and dig all them chicks, lick them slick pink goobers, homeboy. And then you can do all them good hometown hero things... You know, buy your mom and dad a house..whatever.

R*
They already got a house. ... My mom and dad... Now there's two people who's work on memory made one.

R-
Work? On memory?

R*
Yeah... Tradition..identity..I don't know..whatever. I mean, it's got to be passed on to you or else you got to teach it to yourself, but that's much harder. Either way, it's work alright, and educational work at that.

R-
Nah..people just pick up on it. You know, like it's cultural osmosis, that's how tradition works.

R*
Hmph! No osmosis with no schooling or example. It's got to be by educating to it. And here today in what's this USA what's best -- what's left -- of self-government, them stand-on-their-own like church communities, that tradition -- the culture's so opposed to it, man -- like's dying away in the choke of lonely, consumer crowd. Can't no one live true liberty less they got a place connected to where others also carry the burdens of society. No way to be that free 'cept by teaching and example: no more 'n one unschooled in how to swim can win against an ocean undertow; that person just wilds out, flails and drowns like from all the tiny gulps of atomized desire.

R-
Hwuh... Not me, man, I'm going to get what I want and get out. So what about your mom and dad?

R*
Yeah... My mom and dad... Man, that was back, like 'way back -- some kind of history-book time, man: America before -- no computers, no video, that music, hwuh, like they just invented electricity, man. They were in college -- for the first time ever on my father's side -- and they were, you know, so involved -- seemed like people had all this hopefulness then..like we could get justice just cause it was justice, like people had right too, not just the government to do just like the big boys want and no dignity for anybody that objects. So they were making all the marches and activisim and all, and somehow she got roped up in this experiment he set up to work on memory. I mean they met in the strangest way..this "happening experience" he called it.

R-
Yeah? And?

R*
It was so funny, man; they looked a mix-up
of scarecrows and old-time campus radicals.
Everybody had all this big hair and tired clothes,
but matched up with this..what they figured was
like historical rag wear and barefoot,
but everybody holding cig'rettes, with shades on
and plastic-matic cam'ras here and there.
I look at them pictures now when I go home
and don't know how I laugh with what I feel,
but do it anyway. But growing up,
like all in fam'ly picture books, it look as right
and nat'ral as you please: them stillness eyes and faces,
alive and warm as them you come from, freeze-framed,
so familiar, but like so unreachable,
like knowing your parents in their youth.
Still, them family pictures and their story
were like my personal history books to me.

R-
Yeah. It's the same way here. So anyway?

R*
So they -- he -- got this farmer to agree that they could
camp out by his field and use a piece of it to work --
some scraggle-edge of just some cotton field.
And they -- aw hey, it wasn't more than just a week --
were out to like re-create what must've been
the working day of field hand slaves.

R-
What?

R*
Yeah. And he was deep intense on it -- the others, hey,
Spring break laughtime, man -- but he believed for sure
that there'd be deep'ning of knowledge there
in knowing in his hands the hurt,
the stun pain in the spine at every tug
his arms took from the hoe. She explained once
he'd declared that what he'd wanted was leave
the salt burn in his eyes, one with the searing of the sun
til all spun blank, no self, no name, just that pure life,
and cancel out of so endless work and anger
he couldn't tell what was his body crying and what his heart.

R-
Hwuh...

R*
Of course, it didn't really work. Like he told me once
explaining who's who in them pictures to his sons,
he said he should've known he couldn't catch --
like it was something out there you could like reel in --
the actual suff'rance of the past. That mem'ry life,
whichever one's the main one you call yours,
he said he later learned we got it with us, inside, all the time --
wilderness of sorrow that somehow's always got the drop on you.
But it seemed then to him that acting out the time and motion
of that daily work he'd like get so next
to the hard, bare facts he'd know the deep,
so bitter ground of old America's Black folks' soul.

R-
Hwuh. ... So it did work? I mean... Yeah?

R*
So yeah. ... So he hated White people. ... Just like I do. ... Had to live with them all day long too.

R-
Yeah...

R*
I mean..hate..not like personally individually..'less they call for it 'cause their character. But like the whole identity set-on and its way of trap-so-deep in one way or the other everyone a part of it. Yeah. I mean he was deep into realism 'bout America's way of always evolving new ways of keeping the set-apart that always comes first, alive as can be in everybody's everyday life. Always was a source of wonder to him, the secret engine of the American dream: all these people come here all along, step off that boat onto Ellis Island, step off them planes -- bigger than some of them boats were -- right here in Miami right now, and that tremendous transformation happens: that new self begins, the American! Cause now whatever you were before is relegated to secondary, cause from now on, you're White first, cause guess who's here to be the other.

R-
What if you're already Black?

R*
Doesn't matter, at first anyway. In their mind this is the multi-racial modern motherland, not the ancestral slave land. Sure, you still better believe what you are, first and forever in every two eyes that lays their sight on you. But when they come you bet they believe -- the idea's power can move people so -- that it was meant as it was wrote. We hold these truths..hwuh..that all... all... I remember with my father once, heard him go on about when he believed it was possible come true in America..looked back in sadness like couldn't believe the same man could change so from young to old..back..in the dream some had, 'bout what America could be, back the Movement time time..that took that old America away and made the hope

R-
that's now so failed, right?

R*
I didn't say nofin'; no, sir!

R-
Hwuh... First and forever, huh?

R*
First for sure anyway. Look, what's the first thing anybody sees about somebody when they walk past in the street or walk on on TV?

R-
Uhh...

R*
"Uhh" yourself. Oh yeah. Before even whether they're a man or woman.

R-
Yeah but that..that's facts straight in your eyes beyond all control.

R*
What the eyes they see is on the inside of the mind, and they don't see but what you get taught set in there.

R-
Hwuh... So you ain't told me how they met yet.

R*
No. I haven't told you.

R-
So tell me.

R*
Well it was there working in that field. I mean they'd seen each other but not that way -- the way that love will hit you like a train that runs without a sound and WHUH!? wherefrom you been blindsided, it's too late cause now you got two trains running. And six children down them tracks later, here I come seventh son of a seventh son!

R-
Really?

R*
Really. ...Now back to now's business. You're still so hard-headed you're up and out of here?

R-
Yup.

R*
"Yup." Awh... So then where you going to go?

R-
I don't know, someplace I've never been. New York, say.

R*
New York? Man, that's not a place, that's just backdrop for twelve million TV shows.

R-
You want to come too..you know..I...

R*
No. No way. I wouldn't go with you even if I wanted to. Cause you wouldn't go with me, even if you wanted to. It's over. Who's going to be the hero? And who's going to be the sidekick? You? Me? See? There you go. Can't do it. Man, I've been studying this. It's my major.

R-
Don't look at me like that. I been studying too -- same course as you.

RR
Awh! Pfuh! Like there we're going to go, that same old..old and tired..lock one on in to that permanent other -- role that completes the other. Write it right up -- permanent sidekick here -- no place for their own, just place beside. Awh! So you and me we can hit the road in archtype, secret-sharers looking-for-America mode? Who's going to be Huck, and who's going to Jim?. Hwuh! Not never, no how, no way! Oh yeah. Cause ever from the myth that sings so deep: and Natty Bumpo got Chingachgook, and Ismael got Qweeqweeg, and Huck got Jim, Kimo Sabe, Tonto and on to that same old..old in every variation in a thousand movies and TV shows. Why they call it English, I'll never understand. There's the one, and there's the other -- man of color -- and hero from the city on the hill, going on to get authentic and complete, like get the inside on his peers cause he's been brother with the other -- gone down into the darkness valley that's always shadowing there below, where the disorder class been muddying the equal rights for all shining on the mountaintop.

R*
Yeah, wouldn't that be great -- pretty soon that whole valley be just one gated community beside the next, and we can all live there -- secure.

R-
Hwuh...

R*
Yeah... I mean... I...

R-
Yeah...

R*
There's got to be some new set-on at least possible. I don't know..like a woman and a man maybe, not black and white --
RR
Man and man of color.
RR
America could use a new first and foremost one and other. I been studying that. What do you think I am, ignorant?

R-
Jack, we're football players. Studying is like the last thing we do. ... Huhf, just like Romeo and Juliet. Hwuh..Tristan and Iseult.

R*
Yeah. ..But not so heavy..you know, all that death deal..but still..I dont know...

R-
Yeah... Don't hope too hard; heartbreak's the way of this world.

R*
Yeah... So, gonetime. Cause now I'm going.

R-
Coach'll send somebody after you. Guarantee.

R*
Why I'm going now. ... Keep on...

R-
Hwuh... Keep on...

R*
Sometime...

R-
Yeah, sometime...

R*
Later, man.

R-
Hwuh, later. ... Now.

R*
Now..

Rhett and Robbie go of. Claudia and Security Officer come on. This can be another part of the field/sports complex -- gate to field or entrance to facility etc.

CLAUDIA
Look, I'm a woman.

SECURITY OFFICER
Yes ma'am, but that's notwithstanding.

CLAUDIA
Notwithstanding what?

SECURITY OFFICER
Notwithstanding what you are cause I'd say you're a reporter too. Oh yes ma'am. No ma'am, I can't let you in here 'less you're authorized cause I'm the security officer here and I got orders, that's right orders, and there's no way I can let you up into this complex 'less you're authorized and I got orders, and there's no way you're going to get authorized cause my orders are reporters can't get authorized. So it's notwithstanding. Let me tell you, all the coach has got to do, all he's got to do, is just see a reporter, see a camera and reporter and he gets all riled ghrruruh like he

CLAUDIA
What's he got against reporters?

SECURITY OFFICER
Everything.

CLAUDIA
Well, that's notwithstanding. If I'm a reporter I got the right to report, right?

SECURITY OFFICER
Yes, ma'am. But no ma'am, cause that doesn't mean you're authorized.

CLAUDIA
Rights don't need authorizing, that's why they're rights.

SECURITY OFFICER
No, ma'am, you don't understand. 'Less you get authorization from duly constituted authority, you don't have rights.

CLAUDIA
Yeah, I got 'em. Duly constituted authority's just for securing 'em.

SECURITY OFFICER
No, you don't understand, I'm the security officer here and

CLAUDIA
that's notwithstanding

SECURITY OFFICER
and my authorizing orders disauthorize reporters, rights or no rights, see? Cause of informational security.

CLAUDIA
What makes you so sure I'm a reporter?

SECURITY OFFICER
You just told me.

CLAUDIA
No I didn't, I said if.

SECURITY OFFICER
Yeah, but that's

CLAUDIA
No, don't tell me.

SECURITY OFFICER
And anyway, that's a mini video cam -- so what else could you be?

CLAUDIA
No it's not. Look closely. See it like I see it. This is not a cam anything. This is an imagist, electronic notebook. Just like in one you write things down to remember; here, you see things down to remember.

SECURITY OFFICER
Yes ma'am, but how you see it's still notwithstanding cause

CLAUDIA
Forget notwithstanding. Look... Listen, I'm not here to do a story on the coach or the team or football or the Bowl game; I'm just going to interview the cheerleaders, you know, just do a story about how that image that's got a history, a role in the culture has evolved up to today -- can't do it except by taping some, right? Think of it like anthropology, see. And what's that got to with football, right?

SECURITY OFFICER
Uh-huh. No ma'am, still notwithstanding.

CLAUDIA
Please...

SECURITY OFFICER
Awh...

Head Coach Dooserie comes on with walkie-talkie. Lines in [ ] indicate Coach/Orville talking over radio.

HEAD COACH DOOSERIE
[This is field general number one, come in logistic support. Over.]

CLAUDIA
Who's that?

HEAD COACH DOOSERIE
[Come in logistic support! Over!]

SECURITY OFFICER
That's Head Coach Dooserie, that's who. A plus out of sight now maybe I'm chewed out cause you're here.

CLAUDIA
How could I know he was coming?

SECURITY OFFICER
Yeah. Now kool.

HEAD COACH DOOSERIE
[This is field general number one, come in logistic support. Over.]

ORVILLE over the radio
[Hey there Coach, this here's Orville. What's going on over on your end?]

HEAD COACH DOOSERIE
[What do you mean "what's going on"? Orville, you know that's no way to talk over the radio. Orville, don't you ever do anything right? Now we're going to do this over, and we're going to do it by the numbers. Over.]

ORVILLE over the radio
[What are we going to do it over for? Coach, I got a high fives copy on you so good, you could be over here right now.]

HEAD COACH DOOSERIE
[Quiet! Orville... Alright... Urghgh! And ye shall know them by their gladness as they suffer fools. Alright. This is field general number one, come in logistic support. Over.]

ORVILLE over the radio
[This here's logistic support, deputy under assistant athletic director Orville Audrey modulating over on your air line. Come in field general number one. Over.]

HEAD COACH DOOSERIE
[Orville, I don't want to talk you. Put on the athletic director.]

ORVILLE over the radio
[Coach, if you want to talk to logistic support you got to talk to me cause I'm the only one over here.]

HEAD COACH DOOSERIE
[Well where in tarnation is he? Over.]

ORVILLE over the radio
[I told you he ain't over here. He must be someplace else.]

HEAD COACH DOOSERIE
[Over where, Orville? Now, over!]

ORVILLE over the radio
[What I do wrong this time?]

HEAD COACH DOOSERIE
[Orville! Orville Audrey if you cut up one more time... If you... Why?.. I'm conspired and harassed, I'm beset like a plague to obscure my greatness coachability and block up my goals. Orville do you know what's happening? Over.]

ORVILLE over the radio
[Ain't nothing happening over here, good buddy; what's happening over there?]

HEAD COACH DOOSERIE
[Lord forgive him, cause I'm not going to. Orville, he just quit the team -- the best, best running back we need, he just up..and up... We got to get him back, we just got to... Orville!]

ORVILLE over the radio
[What?]

CLAUDIA
What?

SECURITY OFFICER
Shshshsh...

HEAD COACH DOOSERIE
[Don't you sleepywhat me, Orville Audrey. Orville! Yeah, him, Orville. And that's yardage in the clutch, that's what. And what've we got coming up the day after tomorrow? Orville, you got to get him back, you just got to...]

ORVILLE over the radio
[Who's he?]

HEAD COACH DOOSERIE
[Rhett Smedley that's who! And he just quit the team.]

CLAUDIA
He's got to be kidding.

SECURITY OFFICER
You haven't heard a word.

ORVILLE over the radio
[Coach, he can't quit the team, he's the star.]

HEAD COACH DOOSERIE
[He just did, Orville. And you got to get him back, you just got to. Now! You hear me? ... I'm laid trials upon me like a dung heap of disappointment; against me I'm connived upon by circumstance to make success beyond reach. You got to get him back, you hear me Orville?] Am I looking at what I'm looking at over there?

SECURITY OFFICER
Woh-oh, here goes.

ORVILLE over the radio
[How do I know, I ain't over there.]

CLAUDIA
Goes what?

HEAD COACH DOOSERIE
You!... That's... I see it! Didn't I give orders? Didn't I expressly instruct? What kind of a job?... And you just stand there like some toon bazoombo, baldfaced and derlicting like you couldn't care? Less 'bout duty and what you're required for... You're a veteran of my organization, and if you don't know better... Urrghaghaghagh! That's, that's a... So that's a reporter! And you dare authorize presence that corrupts by cynical observation and just wants to tear down, tear down and..and revert the motives of the righteous! You're!... I know that's a reporter. Stop shooting that thing at me! Awoourgh... No cameras, no reporters, no nothing of that pry and prevert...

SECURITY OFFICER
Sir... Yessir... But no sir, yes indeed... See, sir, that's notwithstanding cause

CLAUDIA
Oh, absolutely, notwithstanding as can be.

HEAD COACH DOOSERIE
I see what I see. And what I see's what I see. And all, all... First Smedley, now a reporter... Awohoh... How will I ever get over...

ORVILLE over the radio
[Yeah, I'm here. Hey Coach, what's going on over there?]

SECURITY OFFICER
See, sir, that's not a reporter, and see, that's not a camera. Here

HEAD COACH DOOSERIE
[Shut up Orville! This is serious. Our media security has been breached.]

CLAUDIA
See I'm... This, see... Just listen a minute.

ORVILLE over the radio simultaneously with the following
[Hey, I know it. Important. But you know me, good buddy, I'm Orville Audrey and hey, we still got days till the game comes, and if it's the last thing I do, the last thing I do, I'm going to get him back on that football field come gametime, come rain come shine, so take that burden, like a man reliefed of what was once one of many troubles, now unworried off your mind. Oh yeah, cause I'm Orville Audrey and you know me, oh yessiree, and when I say that's when talk turns to useless, cause I'll have that Rhett man back in your backfield in no more time than it takes a snake to shake its tail, you hear me now?. ... Hey Coach...]

SECURITY OFFICER
No doubt about it Coach, this is just a woman. And what could she have to do with football?

CLAUDIA
You're the Coach? The Head Coach Dooserie? Oh, I've heard so much about your inspirational

HEAD COACH DOOSERIE
Aw-oh? ... Miss, you don't pull the wool over my eyes for a minute. Oh yes! No, no indeed. Cause I see

SECURITY OFFICER
Oh no, no, yes indeed, Coach, 'cause in this instance, what you see is absolutely notwithstanding. She just looks like a reporter but see, she's an anthroposologist. See, she's even got an imaginarist notebook.

HEAD COACH DOOSERIE
What?

SECURITY OFFICER
Yeah, that's not a camera.

CLAUDIA
Oh no, no..yeah, it's my instrument for scientific recording of what my project's on. All scientists need instruments. Obvious. Physicists have acelerators, entomologists have nets -- and I'm in the social sciences, and this is not a camera; this is an instrument of vidiotic social recollectivity.

SECURITY OFFICER
Socially scientific vidiotic recall... Coach, with one o these, you recall whatever you want -- and just like file it away someplace in memory -- in case you can't remember. Mh! What'll they think of next?

CLAUDIA
See, I'm working on human primate emotional response. It's for my project. That's my field -- for a Ph.D. -- in primatological sociology, see. It's just my work -- strictly academic -- not at all like journalism, or football.

HEAD COACH DOOSERIE
Young lady, our football program's an integral supporting part of our institution's commitment to achieve across-the-board academic excellence -- and you can quote me on that.

CLAUDIA
Yessir, but only a reporter would want to do that. Oh no, in my work, oh..wow are you an ideal subject -- but anonimity's guaranteed for all. Oh yessir, there, like you reacted, all that charge and adrenalin, such terrific twisted features, howl and contortion... All made by mere perception -- misperception -- of what you per -- misper -- cieved me for..in your mind. I mean... Great, just great..but all off. Wish I'd been here when this..to record I mean..when this..Rhett Smedley, huh? Quit the team? Stupendous reaction..must have been. I mean, when Rhett Smedley, the All-America running back? He quit the team?.Like now? Wow! What happened exactly?

HEAD COACH DOOSERIE
Miss, you don't pull the wool over my eyes for minute. I can tell, I can tell just by the cutting in, aggressivity of the way you question. Oh no, no comment, no nothing. Nothing, nothing, nothing happened. You hear that? Everything's just fine, fine as sunshine on a sunny day. Look around, what could be wrong like that here?

SECURITY OFFICER
Oh, absolutely. Everything calm and steady as that sunshine star's shine, oh yes indeed. Yessir. I mean what could come over anybody, not think everything's just fine, fine as wine. Yessir. Yes indeed -- over, over now.

ORVILLE over the radio
[Hey Coach, you still over there? Now Coach, don't you worry 'bout a thing, cause I'm in my car going over to the hotel right now, get him back in no time -- like he hadn't never left. Put some sensibleness in that headstrong self, have that no count individual back in your backfield in less time than you can say shake a snake. That's right, cause you know me, I'm Orville Audrey and I got my feet in the street and my trash in one bag.]

HEAD COACH DOOSERIE
Snake, that's what shook him. Devils, everywhere. [Now, Orville, you proceed as you best devise. Over and out.]

ORVILLE over the radio
[What? How 'bout some facts of what happened? I mean ain't you going to tell me]

HEAD COACH DOOSERIE
[Orville, there's nothing more to tell you, cause there ain't nothing happening over here. We all know that. Only thing going on over here's some disputatious primatological scientist that's a reporter -- a reporter -- you got that Orville? But we got that successfully frustrated. So, Orville, this is field general number one and now you get on and accomplish your appointed mission, over and out. You got that Orville, over and out, Orville! (And don't you tell a single soul.) Over.]

ORVILLE over the radio
[Hey Coach, you know me, I'm Orville Audrey, results man extraordinary, so don't you worry 'bout a thing, 'bout a thing at all cause you know me, secrets safe as National Security in the hands of security professionals. This here's logistic support, Orville Audrey cutting over and out, and that's with a big ten four to you with a coast to coast smile.]

CLAUDIA
Coach, you were just saying back here a minute ago Rhett

HEAD COACH DOOSERIE
That incident never happened. And I will not dignify the allegation by making comment upon it. Now I'm going back to work.

CLAUDIA
Coach, you're not a politician, and this is not a lawsuit.

HEAD COACH DOOSERIE
It's worse; you're a reporter!

CLAUDIA
Coach, how can you say that?

HEAD COACH DOOSERIE
Experience.

CLAUDIA
Look, I'm just trying to confirm

HEAD COACH DOOSERIE
There's nothing to confirm. Everything's just like it always was. All's fine. Nothing happened. Everything is proceeding exactly as planned and the situation is completely under control.

CLAUDIA
Oh-oh, sounds like the governmnet's in charge.

HEAD COACH DOOSERIE
And anybody you ask'll confirm that? Right?

SECURITY OFFICER
Oh, yessir. Absolutely as planned... And we can completely confirm -- that's right -- that because of security the wool is pulled over everybody's eyes, just like your rights, right? cause you're not authorized to know -- so you don't! Right?

CLAUDIA
Cause you've got orders, that's right orders!

HEAD COACH DOOSERIE
Now young lady; you are a reporter

CLAUDIA
Coach

HEAD COACH DOOSERIE
And rules are rules and fools are fools and the wise know when the fool in them knows it's time to quit.

SECURITY OFFICER
So come on along, like I've been telling you -- I've been telling her

CLAUDIA
That there ain't no reporters 'lowed up on this field 'less they're authorized and it's notwithstanding and your orders authorize you and I'll go peacefully.

SECURITY OFFICER
Yes ma'am. Yessir. 'Cause I'm the security officer here

CLAUDIA
So I don't have the right to any rights cause you got to secure your right to be secure, right?

HEAD COACH DOOSERIE
That's right. Oh, yes indeed. And now I have to go. And have a day better than mine.

SECURITY OFFICER
Yessir.

CLAUDIA
Bye, Coach.

HEAD COACH DOOSERIE
Oh Lord, Lord, why do the unjust prosper and make such fools of your faithful servants?

Coach goes off.

CLAUDIA
So what happened?

SECURITY OFFICER
I can't tell you that. You don't have the right to know.

CLAUDIA
I already know.

SECURITY OFFICER
So what do you need me to tell you for?

CLAUDIA
Cause I'm a reporter and I got to confirm.

SECURITY OFFICER
So he quit the team. There. Pretty soon half America's going to know, and I'll have a hundred reporters here.

CLAUDIA
He quit the team? Rett Smedley, the most picture perfect, minted image, finest running back in American college football since..since who knows when, he quit the team? Just like that?

SECURITY OFFICER
I thought you said you already knew.

CLAUDIA
Yeah but now I know for sure. Why'd he do it?

SECURITY OFFICER
That you're going to have to ask him yourself. Cause I've never seen anything like it, and I've been doing security for this organization going on fifteen years now. You know sometimes a player'll say-so quit but you can see that coming -- most times it's just so they'll cozy on up to him, sweeten on that ego that feels dissed away. But like this out of the blue like that... You can tell by how calm and final he said it... "All I had to prove, I've proved; I ain't playing football here again". Wasn't a cloud in the sky and he just, shfoom -- like he was hexed by a UFO -- did it.

CLAUDIA
Where's the team staying? He'd have to go there first, get his stuff, whatever, before moving on, right?

SECURITY OFFICER
I don't know, I'd reckon

CLAUDIA
Where's the team stay?

SECURITY OFFICER
Old hotel down here not too far. Take the road the field house's on, south, three, four lights, big intersection that's Barbados Boulevard -- used to be Jeff Davis Boulevard -- take a right, hotel's on the corner, two blocks down.

CLAUDIA
Right. Thanks. Bye.

SECURITY OFFICER
Hey, now you tell me. How and when are you going to report this so we can set up for the media blitz.

CLAUDIA
I'm not. So far, it's my scoop. And this could be the human interest sports story of..I don't know..this week anyway. And I'm keeping it as mine to do my way for long as I can. So if the coach and all keep the news in-house and nobody says anything..it could hold til game time.

SECURITY OFFICER
Yeah. Maybe. Thanks.

CLAUDIA
Bye. ... And thank you.

SECURITY OFFICER
You're welcome -- but that goes with your anonimity guarantee, right?

CLAUDIA
Hey, I'm a professional reporter. Honoring my committments to my sources is a matter of honor.

SECURITY OFFICER
Take care of yourself now, you hear?

Claudia and Security Officer go off.

willow_nts.tm

www.willow-n.com

Running Back Running Back

NEXT: A hotel -- downstairs and upstairs. Downstairs, a lobby with desk along with two elevators; upstairs, a hallway with two doors ("room 505" and linen closet/service room) along with the same two elevators. Upstairs, or in elevators, a mirror. Valmira and Otilia are hotel charwomen; they are on upstairs. Nona is at the desk; she is on downstairs.

VALMIRA
Ohh... Otilia, Otilia, I'm telling you I'm tired, tired tired, tired as only work all day can make a body be. Oh yeah. Now I knows you understands what's tired even you don't understand a word I say.

OTILIA
Si. Aie, Valmira, si. Hijole pero no entiendo nada, nada aqui -- salvo el miedo y trabajo de mojada.

VALMIRA
And there you go, go go talking that talkety talk -- just like I can understand a word you say.

OTILIA
Valmira... Aie pero si pudiera comprenderte, te pudiera entender. Si... "Tired?" Si?

VALMIRA
Ohh Otilia hey, you tired too. So now we got to take it. Break time! Huh, supervisor say he got his motivational philosophy, say he believe in employee autonimity. And I say, fine by me. So now we done decided. We be taking that breaktime now, cause we been working and now we tired.

OTILIA
Aie Valmira, hay cancancios que no tienen descanso. Y me parece que tu tienes uno como yo..en tu mundo como en el mio, la vida que me da el destino aqui, remedio no tiene..aunque sea mejor... Y hasta quando aguantarla? Hasta quando volvere a la vida y pueblo que deje -- y que ahora nunca, nunca otra vez vivir podre.

VALMIRA
Oh Otilia, what could your constant sorrow be,
there's no way I be knowing, but oh so long
as life is life and human humankind -- oh I know!
So don't you, don't you like that smoke-fog in the dawn
come creep across the ground let sadness creep across your soul --
there ain't no dark the sun of God can't burn away
like there ain't no weight upon a soul the Lord won't come
put beams of oak like muscles to the back
that's straining with that weight life's put on thee.

OTILIA
Que bella la voz quando habla un'alma, aun nisiquiera entiendo palabra.

VALMIRA
Huhh, whatever you saying I reckon must be true cause it got that fullness ring. And now Otilia we going in here, going to take this flesh and bone, set it down and going to take our rest.

OTILIA
Si, Valmira, si -- el break.

Valmira and Otilia go off into linen closet/service room. Rhett comes on upstairs from elevator. Catches sight of himself in mirror.

RHETT
Hey there mirror man..and you're a mess and for that matter crazy too -- well, that way's why they couldn't recognize me -- and what is this you jive, what about me, huh, when I'm talking to you? Yeah, you..me. Ohhh... And what took a hold of you do a thing like that? -- bringing you up here creeping through like some kind of security suspect skipping the key like I'm not here. ... And somewhere here there's got to be somebody so I can be here like I'm not. Right?

Rhett goes to linen closet/service room surprising Valmira and Otilia.

VALMIRA
What happened? Ohh, Otilia, I knows I's explain' to you you not s'ppose' to move 'less you told me. And here you go jump up like a jackrabbit set on by doghound.

OTILIA
Si, pero como entro el como camion sin frenos..

RHETT
Pardon me, I

VALMIRA
Phm! So what you want come busting in here like some kind of accident? I don't know where you coming from, but where it was you sure must've left in one kind of hurry.

RHETT
Well, actually yeah...more or less. And so I couldn't quite..quite get my key on the way up so I thought maybe you could open up my room for me, it's five-oh-five.

VALMIRA
You number five-oh-five? Mmmh-mh! Sure enough your moma didn't bring you up right -- mess you got on, mess you left in your room. And what you doing back so soon? Don't tell me -- cause I already knows -- mess you done make on the football field, and now they done kick you off the team! Minute you come busting in here, minute I knowed -- that nervous in the walk, that wild in the eyes -- minute I knowed you was trouble, minute I knowed you was five-oh-five! Water all on the bathroom, clothes every which way, cigarette butts down underside the bed, beer cans on the floor -- you name it, you left it -- and in the wrong place! Sure enough your momma didn't bring you up right. Minute we get finish clean up your room, get these body and bones some rest, minute you come busting in here with "Well, actually, more or less. So I thought you could open up my room for me, it's five-oh-five". Well here you is. And this time you make sure sure you leaves everything where it go, 'cause we ain't your momma and we ain't get paid to pick up behind, make up for what she didn't do!!! Phm!

OTILIA
Phm!

RHETT
Yes, ma'am.

VALMIRA
Phm!

RHETT
I will. Scout's honor. Cross my heart and hope to die. Besides, you got nothing more to worry about, cause I'm leaving.

VALMIRA
Uh-huh? And where you going to take your messing up to now? Cause you got to be here for that big time game you come for. So the only place you can go mess up is someplace else -- right here.

RHETT
Yes Ma'am. But that's still where I'm going -- someplace else. So anybody come looking for me, that's where I'm gone.

VALMIRA
Phm!

RHETT
Thank you.

VALMIRA
You welcome.

RHETT
Adios.

OTILIA
Adios. Que lo pase bien. Y cuidado con la recamera!

Upstairs, Rhett goes off into "505". Downstairs, Claudia comes on.

VALMIRA
Now don't you go jumpin' up less you tell me. Otilia, you comprende? Life been long for me now, and it done jumped so on this old heart, it can't take no skip beat from surprise.

OTILIA
Si. Creo que entiendo...pero quantas veces ya, he creido qu'entendia, y estaba equivocada?

Upstairs, Valmira and Otilia go off back into linen closet/service room.

NONA
Hi, can I help you?

CLAUDIA
Oh hi. Well, yeah. You can. I'm looking for Rhett Smedley; he's a guest here. Can you give me his room number?

NONA
Rhett Smedley? Well..he rightly shouldn't be here now. I mean, he ought to be still at practice with the rest of the team.

CLAUDIA
Well..yeah, but... That's alright, just tell me how to get to his room. I'm a friend of his. He asked me to wait for him.

NONA
Ma'am, I'm sorry but I don't believe team rules..Head Coach Dooserie..I mean, 'llows that sort of thing -- not that it's any of this hotel's business, but... And anyhow, what you got in mind, doesn't it take it all out of them, I mean before a big game and all..like that?

CLAUDIA
Listen you, I'm a reporter, alright? And it's what you got in..never mind. Just tell me how to get to his room, okay?

NONA
You ain't from about these parts now are you?

CLAUDIA
No, and what's that got to do with anything?

NONA
I don't know. But you know, there's some girls'll do most anything for a man that's a football player.

CLAUDIA
Yeah well most of the time I wouldn't do most anything for any man no matter what he is cause what seems like most of the time none of them seem to be worth the time. At least that's how I feel most of the time. But sometimes I change my mind -- and then regret it.

NONA
Aw honey tell me, cause I know so well. Cause I go always changing my mind too, go give it one more go 'round ev'ry time, over one new man, and then the next. And I mean I can hear me say'n' to me as anger from that being used gets stronger -- it's like it's hardly heartbreak any more -- oh Nona, Nona I can hear me say'n' you should've 'way back learned this song by now.

CLAUDIA
Yeah. It's a mess isn't it?

NONA
You're telling me? Oh honey..hooh!

CLAUDIA
Yeah. So, uh...

NONA
Oh. Yeah. Let me look. Fact is he's up there, I just saw him, try duck and tiptoe through like sight unseen. Talk about a one mighty handsome man... Yeah. It's five oh five.

CLAUDIA
Five oh five, okay. You know I don't even know the guy. I'm just going up to interview him.

NONA
Uh-huh. Yes, Ma'am.

CLAUDIA
Honest.

NONA
For sure. Bye now.

CLAUDIA
So long.

Downstairs, Claudia goes to the elevators and gets into one. Upstairs, Rhett, set to travel, has come on out of "505". As Claudia gets out of one elevator, Rhett gets into the other. Claudia catches sight of herself in mirror.

CLAUDIA
And why'd she immediately think I'm here wanting to...? Didn't even try to believe me. Because she's older? Cause she's overexperienced -- and the wrong way by life. Cause she has no experience and is mistaking one-track TV for the way life is? Does it really get like that? Not for me. But why's there never anybody...? I mean, look, what's wrong with me? Ohh... And I feel I could give..more than most can dream, to love. Stop it! Claudia, ohh... But someday it'll be..it has to..doesn't it? Claudia..Claudia..back to the reality channel. You're the reporter now. Smart and tough and you're going to get this story. This is an opportunity dropped into your lap from heaven, and you're going to gather it up and run with it. I can do this. Okay, now where's...

Upstairs, Claudia goes to knock at door of "505". Downstairs, Orville comes on; when Rhett comes out of elevator and sees Orville, Rhett hides. Lines enclosed in [ ] indicate Claudia talking upstairs into her mobile phone and Nona talking downstairs into the phone at counter/desk.

RHETT
(Damn. Orville.)

NONA
Hi, can I help you?

ORVILLE
Well I..I sure, sure hope so there...
Oh soft and sweetest little one -- to look
at you's to see the loveliness that sets
upon the twigs amid the leaves so green
of the blossoming dogwood tree in Spring --
or more like seein' the whole dang tree --
so small, so person-size' beneath the sky,
but here beside, so strong and gently sway'n'
to breezes softened by that warmin' sun.

NONA
Sir, how can I help you?

ORVILLE
Where? I don't see no sir nowhere..anywhere

NONA
Yessir. Welcome to the Madison Hotel. Can I help you?

ORVILLE
No, you can't. Cause I can't help myself. It comes jus' tear'n' right out of me like it's got pow'r like be'n' alive itself -- my eyes see beauty and the self of me comes reachin' out right after like set free.

NONA
Sir, I think

ORVILLE
Oh go on and laugh, cause for sure I don't deserve none of that 'fraidness worry.

CLAUDIA
[What do you mean, what city? I don't know, this city. ... Look, I got to be in the same area code, alright? I don't know, this palookaville...]

NONA
Alright, I laughed.

CLAUDIA
[What? As the number I'm trying to find! Ohh... Okay, okay, try the same city the stadium's in where they're going to have the bowl game tomorrow.]

NONA
I don't believe you think you're for real, that's all.

ORVILLE
I'm not. Already had all the reality one life can stand. Want as less I can to do with it, for whatever life I got left.

CLAUDIA
[Yeah. ... The John Quincy Madison hotel. ... Oh right. Obvious. James Madison. Sorry.]

ORVILLE
My name's Orville, Orville Audrey. The boys all call me Orv. And my momma she always called me Orvie.

NONA
Yeah, and your girlfriends?

ORVILLE
Aw shucks..but... Aw, they always call me all kinds of things.

NONA
Yessir...I bet you could bet on that -- before, during, and after.

ORVILLE
But I still can't help it. Don't want to help it. And maybe you won't want to if the time comes.

NONA
So lead us not into temptation lest we regret what our weakness led us bet on.

ORVILLE
I bet you sing in the choir too.

NONA
Used to.

CLAUDIA
[Five-seven-seven-five-oh-five-oh. Right, thank you. ... What thank you? "And the number is". Claudia, now it was a computer.]

ORVILLE
What time you get off work?

NONA
Five o'clock.

ORVILLE
Yee-yiii! So I got five minutes take care of business

NONA
Look... Sir, I don't think

ORVILLE
Walk around the block, walk through the mall, and back through the mall -- take a walk..that might not even come to a closer walk..with thee -- guaranteed, walk where you can always walk away.

phone rings

NONA
I'm sorry, but I don't believe... No, no sir. [Madison Hotel, can I help you?]

CLAUDIA
[Hi. Is this Nona, right? At the reception there?]

NONA
[Yes, Ma'am, this is Nona speaking.]

ORVILLE
(Nona, oh Nona, oh Nona I knows --
your name hand-in-hand with your beauty goes,
so all my hope's your verdict's yesses not noes!)

CLAUDIA
[Well, he's not up here.]

NONA
[Ma'am?]

CLAUDIA
[Ohh... I'm Claudia -- the reporter who was just there talking to you, right? Looking for Rhett Smedley, remember? Well, I'm upstairs and he's not there. I keep knocking on his room and, nothing. I mean, did you really see him come up?]

NONA
[Yeah I saw him. I wouldn't lie -- not in this type situation anyhow. I saw him, right here. Rhett Smedley, big as life.]

ORVILLE
Whoa! Wait. Stop that clock! Belay that last! Time out. Just a little itty-bitty sec, alright?

NONA
Huh? [Can you hold the line a minute please?]

ORVILLE
You saw him? Rhett Smedley?

NONA
You a reporter too?

ORVILLE
No, uh-uh. Matter of fact I'm a deputy under assistant athletic director -- and anytime you hear them ten yards of deputy assistant under anything, you know that's just organization talk for low man on the totem pole. And, Nona..Nona, I am truly pleased to meet you.

NONA
Ohh... [Well, Ma'am, I don't know what else to suggest. He went up there so he must be up there, cause he ain't been back down here. Ours is a full security access hotel, and if you're a guest, there's no way you can get out, except this way. So he's got to be here somewhere.]

CLAUDIA
[Well isn't there somebody else that might've seen him?]

NONA
[You might try the Room Turn Around Team for that floor; they should be up there, somewhere.]

CLAUDIA
[The what?]

NONA
[The maids.]

CLAUDIA
[Oh. Okay.]

NONA
[Yes, Ma'am.]

CLAUDIA
[Okay. Great. Bye.]

NONA
[Bye now.]

ORVILLE
And just out of curiosity, what do they call your job?

NONA
Client Interface Representative. It means I'm the girl at the desk. But..they seem to like it, all them in management world -- so we all go along, right?

ORVILLE
I tell you, Miss wide eyes of the Southland, you

NONA
I ain't from the South, I'm from Texas.

ORVILLE
And I'm going right up talk to this boy Smedley and try spin this reporter that this ain't no story and I'll be right back and we'll go right out. Right?

NONA
No.

ORVILLE
So suit yourself. But then tonight you might
just maybe think on..on just maybe..me...
I bet you'll lay awake in your life's known and worn
details and bet you'll wonder..I'd.. that if you'd come
you might'd met someone that'd take a place
in your experience that might rightly run,
with give it time, right on past stranger, where we all begin,
to someone that's becoming someone more.
There's no way you can know but try,
so why not come ahead, let go, and just find out.

NONA
And try, and try again? Gets to be a bad habit when experience's been hope's been took for one too many rides.

ORVILLE
Okay. Go home and have that hankering tap, tap, tap
that maybe this time love, love that might've,
just might've, lasted could've been. Look at me --
nothing but a man, light of good sense and truthfulness
shining in my eyes. And while I'm waiting on
that elevator try to keep your mind from keeping on me,
and if you can't, then let you come with me.

NONA
Orville, I don't believe a word you're saying

ORVILLE
That's a wise choice -- it is. So you're free to just make believe you do. Now what room's Rhett Smedley in?

NONA
Five oh five.

ORVILLE
Nona, Nona, my girl, this won't take but a minute.

Downstairs, Orville goes to elevators and waits for one, all the while exchanging glances with Nona as she busies herself trying to ignore him. Upstairs, meanwhile, Claudia has gone to linen closet/utility room and surprises Valmira and Otilia.

VALMIRA
What happened? Ohh, Otilia, I knows I's told you comprende. And there you go

OTILIA
Si pero ella entrando asi

VALMIRA
Phm! So what you want come busting in here right behind like destiny determined can't nobody take no break?

CLAUDIA
I'm sorry but

VALMIRA
No you're not, cause then there wouldn't be no but.

CLAUDIA
Well, actually

VALMIRA
"Well, actually" -- you too huh? -- "I couldn't get my key so I thought..."

CLAUDIA
Huh? No, I'm not a guest. I'm looking for someone.

VALMIRA
Well honey, it ain't me and it ain't she, so you ain't found 'em here, so you got no need to keep on looking here. So now you can let us be.

CLAUDIA
Yes, ma'am but

VALMIRA
Don't you yes ma'am me, young lady. Can't you see I'm old. I got no time left for hypocrisy.

CLAUDIA
Look. Okay. I'm looking for Rhett Sedley. He's in five oh five.

VALMIRA
You looking for five oh five? Hm, hm, hm! She be looking for five oh five, Mmmh-mh!

OTILIA
Five oh five? Aie Valmira, el señorito zafarancho?

VALMIRA
Yes 'm, Otilia. Must be. Child, what you want with a no good man like that?

CLAUDIA
Well, I'm following him. Have you seen him?

VALMIRA
Child, I don't know what that man's done, and I don't wants to know cause I already knows. And what lies he told -- and lies you told yourself -- when he come steal your heart and pregnate you ain't fit for honest folk to playback in they minds. Cause you knows what they's doing to you, and you knows what's you doing to yourself cause love come like a dream take hold of you you trying shake up off but can't wake loose. And now you got a child that's coming, huh?

CLAUDIA
Wait a minute

VALMIRA
I know I ain't you, but if I be, you know I just let him up and go -- be gone! -- he left you once, he ain't going stay next time, now -- so I wouldn't even find the time to wave. Mens they's all like that -- the unification of all selfish bad habits there be on this Earth.

CLAUDIA
Well, yeah..okay..but he's not

VALMIRA
Oh yes he is. They all is. A woman and her childrens, that's the family today. So you take your burden and you just live your struggle with it, the way it is. You don't need no man -- used to, but not now -- cause you can't count on them at all -- 'cept to put the blame on you for what they done to you. I know all what can be knowed 'bout mens cause I's knowed all the mens and all the need-a-man I cares to know. And a man ain't but a child inside that leave a child behind. And ain't no society left, make 'em act like they grown up.

CLAUDIA
Yes but you don't understand, I don't want to..I don't know -- I just want to interview him, you know, get him to open up..tell me about himself.

VALMIRA
Pfm! And ain't that what they all think they want? When love come take a woman it come take, come take so pow'rful strong take ev'ry last piece of sense and peace a woman have til she feel she can't make no sense at all.

CLAUDIA
Look, I'm not

VALMIRA
Pfm! Look at yourself! Look how your eyes they be stabbing they looks out, looking worried-searching, like they's fearful to find what they's most looking to see, look how they looks so sadful and tense like they's dying from drought, dying to drink the sight of his face.

CLAUDIA
Oh come on! That's ridiculous. Really. I hardly even know the guy.

VALMIRA
And that, most probable's, the only reason you still in love with him.

CLAUDIA
Ohh... See

VALMIRA
See? See what? See what you don't see yourself? I know I don't knows all what school-bred folks knows, but I knows what I sees, and what I sees now's the most helpless, pathetic thing on this Earth -- a woman in love that don't even knows yet love's what she's in.

CLAUDIA
Look, I know what I am; and in love I'm sure's what I'm not.

VALMIRA
Pfm! Just like when you first takes sick, but ain't 'nough sick yet to know sick's what you is.

CLAUDIA
What?

VALMIRA
Yeah, you know, like when's you just living your life and friends and peoples comes up, looks at you, ask: "What's wrong with you? You don't look so good. You feeling alright?" And you tells 'em you's fine, fine as you's always been, cause you ain't admit to yourself yet there be something wrong -- and then come the next night you's in bed with the bug. Child, you can looks in the mirror and not ever sees what looks back at your face -- it ain't nothing new -- all you can see's what's you lets yourself sees. It's like..just like -- and this be the thing I understands the most less in all life -- how the same self same folks (cause all people's the same) can looks at the exact, zack same thing, and not sees the same thing at all.

CLAUDIA
I don't understand.

VALMIRA
I know, oh child, I know. So you hear what I say
and I's explains. Pretend now, you pretend up in
your mind you stand with me some morning,
some morning for the bus when on the avenue
all round it feel the whole, whole city be going to work.
And then there come this man, come bus stop way.
Me you both now, we sees this zack same man --
like he going to work at the bank or the office,
his shoes be so new the shine on them gleam,
and face so fresh like shave done clean clear to youth,
suit so sharp, tie so bright, shirt so white and pearly smooth
like sunlight shed on snow. You sees that man,
them upscale clothes so fine, the world-is-mine
look in his eyes, and you, you don't sees him at all,
cause you, all you sees what most folks they sees --
so you think something to yourself at all it ain't but
"Hm! Ain't that just like it should be, ain't that man
just the picture of all a man ought to be."
But when I sees that man, his shirt so smooth and white
I can't help, I just can't help but sees, from how my life
been used away, it was a poor, and working woman
iron that shirt, and how for years and years she maybe iron
and cook and clean and mind the childrens and work
and work in that man's home -- so I can't help
but sees her standing in the laundry room
as down the years and years she worked
all the wrinkles she done press off all the cloth
of all them shirts was done sucked up by the iron
and then raise on up her arm to line up on her face
like these wrinkles line on mine.
See? We still be looking at the zack same man but you don't sees all that when you sees that man.

CLAUDIA
No.

VALMIRA
And the truth is, there ain't no experience in your life to make you see like that.

CLAUDIA
Well, no..but no! Now

VALMIRA
Now? I don't know, maybe it's all different now, all different for young folks anyhow. Young folks is always different from old folks cause the young folks can't remember what the old folks can't forget.

CLAUDIA
Yeah... Look, it's not what you think. I'm a reporter, okay? So have you seen him...please. This is my big break.

VALMIRA
Pfm! That's what it always seem like from before, but once the truth break in you finds out quick it ain't nothing what you wanted. Now maybe I's seed him, and maybe I ain't... And he say to say he be gone, and I still says, child, I just let him stay gone.

CLAUDIA
So he was here. Where? How long ago?

VALMIRA
He just left.

CLAUDIA
What? Why didn't you tell me?

VALMIRA
I told you. Just you won't listen cause you young.

CLAUDIA
Right. Bye. Got to go. Thanks.

VALMIRA
Pfm!

Upstairs, Claudia goes to elevators.

VALMIRA
Otilia, oh Otilia, like this we ain't going to get nothing done. How we going to rest this way? So next time, we just keep sleeping, keep sleeping, like this, comprende, till they just gets tired and goes away.

Upstairs, Valmira and Otilia go back to linen closet/utility room. Claudia gets into elevator and goes down. Downstairs, Orville, who's been waiting for an elevator, gets into one and goes up. Rhett comes out from his hiding place.

RHETT
Hi, where's the bus station in this town?

NONA
Hey, you're Rhett Smedley -- oh, you look just like him. I knew you was here someplace. You know I got a little step-brother back home in Sierra Santa -- that's in Texas -- and he says he wants to grow up and be just like you are. You're his favorite running back in the whole NCAA. We're not supposed to ask cause it's against management rules for serving celebrities, but you think you could give me your autograph for him?

RHETT
If I am Rhett Smedley you can bet I'm not letting on after what I just did. So I'm not giving out any autographs anymore cause I'm just not that Rhett Smedley anymore and that's all there is to it. Now maybe I'm some other one? I'll be glad to give you his autograph to give to your little brother.

NONA
You're him alright. No matter what you say. You look just like I seen you -- I cna check if it's you, right here on the screen. I mean, you're no look alike..are you?

RHETT
Perfect look alike..cause that's all it means when you're a used-to-be. Now you want my autograph or don't you?

NONA
Oh yeah. My brother's name is Robert. Here.

RHETT
Right. Alright, now where's the bus station?

NONA
You go down to Jeff -- used to be Jeff Davis Boulevard -- while back they named it Barbados Boulevard -- but it don't look the same at all -- hang a right and just keep walking till you see the parking lots for the fast foods. Bus station's right across the street.

RHETT
Right. Thanks. Appreciate it a whole lot. Tell your little brother: do what you love, love what you do. Bye.

NONA
Wait! Ther're messages..there was people here looking for you. Mr. Orville Audrey and this reporter..friend of yours..she said. Orville said he'd be right back.

RHETT
Orville? Orville was here? Huh? Well I'll be doggone but I didn't see no Orville, no sir nowhere..anywhere. But if you say so..matter of fact, that's why I'm leaving, right now. And I don't know no reporters so

NONA
Wait! You know Orville?

RHETT
Oh yeah, I know Orville.

NONA
What's he like, Orville?

RHETT
Orville? Hard to say. Orville's a strong good man, fighting hard not to turn out wrong

NONA
but life just won't let him win? We've all heard that excuse before.

RHETT
I don't know. But he's giving you the chance -- find out for yourself.

NONA
How do you know that?

RHETT
Cause, I was hiding over there the whole time.

NONA
You were not.

RHETT
Got to got to go 'fore he gets back. Adios.

NONA
Bye now. Hey wait, what do I tell that reporter girl?

Downstairs, Rhett goes off and Claudia comes on out of elevator. Upstairs, Orville gets out of elevator and goes to knock on door of "505". Orville catches sight of himself in mirror.

ORVILLE
Breaker, breaker you got a copy on me mirror man? Hey there -- handsome is as handsome talks and does -- you lying son of a bitch -- and too bad you don't feel near as good as you look.

CLAUDIA
Hi again. You were right. He was up there. But now he's gone.

NONA
I know.

CLAUDIA
Huh? You haven't seen him come through here have you?

NONA
Yeah. He just went out the door.

CLAUDIA
What!? Where was he going?

NONA
I don't know. He didn't say. And what's everybody looking for Rhett Smedley for?

CLAUDIA
Cause, he's the human interest sports story of the month, but not too many people know yet -- that he quit. I'm the only reporter that knows -- and I'm sure they're not going to let any others know. But now I don't know where he is.

NONA
So you're not a friend of his?

CLAUDIA
No.

NONA
So why'd you lie when you first asked me?

CLAUDIA
Come on, that wasn't a lie. That was..discretionary professional deception.

NONA
Oh. Yeah. Like Washington and politicians all the time. Since they all think they know better than we can understand, they can't never tell us the whole truth.

CLAUDIA
Yeah. And the war for power over you between them and the media makes it worse. Didn't he mention anything?

NONA
About what?

CLAUDIA
About where he was going!

NONA
I told you. He didn't say. All he wanted to know was where the bus station was. What do you mean he quit?

CLAUDIA
Aiee! I'll have to get my things back at my hotel. I'll miss him. Well, where!?

NONA
I just told you. He didn't say.

CLAUDIA
No, stupid. The bus station.

NONA
Ma'am, you got no call talk to anybody that way, cause who you think

CLAUDIA
Ohh... Okay, okay... Really, I... (Like life from the other side of the college entrance divide...)

NONA
What was that?

CLAUDIA
Never mind..didn't mean anything. I'm sorry, but..Miss, please, just where's the bus station.

NONA
'Cross the street from a line of fast foods -- down two blocks and over two that way.

CLAUDIA
Right. Beautiful. Bye.

NONA
Yes Ma'am.

CLAUDIA
Taxi!

Downstairs, Claudia goes off. Upstairs, Orville, who was knocking at the door of "505", goes to linen closet/utility room. Valmira and Otilia don't budge.

ORVILLE
Hey there. I said hey there. Hurry up, hurry up, time's awasting. Revenuers in the hollow! Fire in the hole! INCOMING!!! Well, I'll be a tadpole but they're dormacious as brand new-born babies -- and don't even come close for cuteness too. Must be some kind of mysterious stress disease, something, cut them off, out like a light like that -- like darked out to life. Narcophilia, lethosismia, solipmiasma, sleep sickness, something. That's why all them sicknesses sound alike, cause you can't truly know the difference twixt them till you've had more than one. Hey, I seen it happen -- Saturday mornings on the cartoon shows. TV was brand-new where I come up. I weren't but a wee tad back then -- you know, imperishable, so I remember it all real good. Right aflicker on that memory screen you can't cut off. Anyhow, there was this young fella. And he was all racked out under this big old tree. Must've been in South America or someplace. You know in South America they sleep all day and party all night cause it rains so much it's useless try do nothing else. Uh-huh, yeah. Anyhow he's snoring under this tree and there come this big old teetsie fly. Small in the sky and loud like a fast mover looking for your marker smoke. Nothing but a little itty bitty critter, but they bring you in on a close-up and you can see he's got this mean old pecker on him just looking for somebody to dig on. And this fly come down on this fella blink of an eye like that fly-by slip them iron bombs into the tree line -- and gone, scream on out of there, leave them snuffies still squirming in the dirt. And left that man so asleep like sucked out all the wakefulness a man ever had in him. Hey, I seen it happen, after, in the silence by the crater holes -- called it victory, get that count -- clothes blown off and the man untouched. I swear he looked so asleep I near put a round in his head just in case. Dormacious as a still-born child. You think maybe it's some kind of foreign legionnaire's disease, come up on them like breathed in something? It wouldn't be contageable now would it? Doggone it I got better things to do try rouse you two up, get shot up with something to be quarantized. Huh! I'm Orville Audrey and I got a lariat made from talk that I'm going to use to rope me a cow-eyed angel. HIIIIIII-YAW!

Upstairs, Orville goes to elevators, gets into one and goes down.

OTILIA
Psst, Valmira..duermes? You sleep? Oye, Valmira...

VALMIRA
Sleep? Sleep! How you spec nobody get no sleep with some fool that's all mouth running loose?

OTILIA
Si. ... Pero que estaba diciendo ese? Dios mio, no entiendo nada..nada.

VALMIRA
And Dios is right, if I understands just a word of that talk, cause Lord, my Lordy here we go -- them fools from your creation took our break time down the drain and here we got to goes back to it -- work time. Work all day, all day all the days of your born days til now the sweat of my brow got gullies in my face for running down. If I been Eve, I can tells you Otilia, oh! -- I takes down that apple and throws it fars I can up 'cross that Paradise wall into home run country. And when Adam come I lie like the devil 'bout what that serpent said. PFFM! "Oh Adam baby..no..nothing..didn't see nobody, uh-uh, not even ol' God..just been waiting for you baby, that's all." But she didn't lie, she told him the whole truth 'bout what that serpent said -- cause she was too dumb, too innocent honest for to lie -- so now we're going back to work.

OTILIA
Work. Si. El work. De vuelta a este destino de pobre -- trabajo que nunca acaba y pago que nunca alcanza.

Upstairs, Valmira and Otilia go off. Downstairs, Nona catches sight of herself in mirror.

NONA
A strong man fighting hard -- and no more good
that do than fighting the blind fortune that
decides who's coming home from war, alive,
or not, or all in pieces inside and out.
And walking out to tempt the fortune that
may make, or not, for what may not be love,
but yet, the hell beats out of loneliness,
is too, a facing up to fate's blind draw
that dealt out lives fated to fight -- and lose.
And here I go, astepping out to take
another turn at turning out so wrong.
Yeah, but it seems so long now since I have.
Oh it's so easy when your loneliness,
your love and hopefulness've made you act
so reckless strange and sent you out to run
so wild out on the dark side so
that watching you out looking out for love
the one you think you are, she'd never know
that she was you as I look here at me.
Oh I've so cut me off since when I took
to getting down on me for being all
disgusted, tired and mistreated, that
the things that make my life up feel like walls
that stand around me with no life inside:
the job, apartment, product music and TV, and all
them nights with all that endless video --
the chores that day to day add up to years
through which we find we've blindly passed,
and all them nights to bed, alone..or not.
All these things, the situations and routines
that are the things my daily life's made out of
as I live 'em make me scared 'bout what it means
to live a life I feel all life fade out of.
My life is days filled up by habitual actions
that feeling empty fill the hours they erase,
the way that rooms divide a house up into portions
and even empty, fill up all the walls embrace.
And as I run through this house my life
I feel so shadowed, nervous-crazy
so like, cause it's all she can do to keep from crying,
a woman, working hard to keep too busy,
runs feeling like a widow though she's till a wife
through a house where her life's still living there, but dying.
Orville...? Any man named Orville... Orville... sounds like the name of a teddy bear on a cartoon show. He didn't look dangerous. All strangers can't deserve the fear...and why's it always strangers that we fill our minds up with when wishing all for someone make our dreams of being wanted all come true? He'll be love and such sweet tendern... There now! Oh I go again, jumping ahead of myself so...Like all on my own all I'll ever be is always feeling only part way whole; always feeling like I'm always missing both someone and some part of me. Ohh! Like all I'm going to do is sit in a bar with him a while, see if I like him. I mean it's not like... Oh I knew I'd go once he'd asked. It's always like that. We make our minds up long before we let us know we have.

ORVILLE
Slowest doggone elevators you ever saw, huh? Hey there, you ready yet?

NONA
Uh...

ORVILLE
Well, he wasn't up there. He must've gone on back on his own.

NONA
Oh yeah? Where was he going?

ORVILLE
Who?

NONA
Rhett Smedley.

ORVILLE
What?!?! You saw him?

NONA
Yeah he just

ORVILLE
How'd you let him get away?

NONA
I didn't know he quit.

ORVILLE
Huh? How'd you know that? And where was he going?

NONA
I don't know. He didn't say.

ORVILLE
Ohh... Now what am I going to do? Help me.

NONA
I'm sorry. ... All he said was he was going to the bus station.

ORVILLE
What?!?! Well come on sweetness. Soon as we get him back, you and me we'll be going out tonight and set the woods on fire. So now come on honey, come on.

Orville and Nona go off.

***

willow_nts.tm

www.willow-n.com

Running Back Running Back

NEXT: Bus station with bus. Bus riders are on, as can be Rhett and Claudia and two winoes. Lines enclosed in { } indicate simultaneity as appropriate.

TICKET SELLER
Next...

P.A.
{Yallerdawg Buslines 'nounces the departure of Li'l Dawg Local Service to Mixtapaxville, Dirty River, Creole Landing, Watka-hahatchka-kawoke-oowee, Mighty Southland Themepark Mall, South Furston, Furston, East Furston, North Nowhere, Big Sleepy, Booneburg, Cherokee Grave, Jackson, Thebes, and Mosquito Creek. All aboard please.}

BUS RIDER
{'Scuse me but the clock on the wall's out and I don't got no watch or phone}

RHETT
{Um, pack of Coolies, please...oh...}

BUS RIDER
{so've you got he time, please?}

CLAUDIA
{Ohhh...Sure, It's five-oh-five.}

RHETT
{I mean..sorry..I want a ticket to New York, alright?}

BUS RIDER
{'Preciate that a whole lot. Thanks.}

CLAUDIA
{Right, right.}

RHETT
{I'm sort of absent-minded sometimes.}

TICKET SELLER
Uh-huh? ... Here you go, Sir.

RHETT
Here. Thanks.

TICKET SELLER
That's eighty-nine, ninety, ninety-five, a hundred. Thank you. Next.

CLAUDIA
Yeah, I'd like to go to..uh..Pacacooley..?

TICKET SELLER
Pacacooley? That'u'd be in Georgia now, wouldn't it?

CLAUDIA
Right. Georgia. Must be. It's a small town. ... One of those tumbleweed towns, say, that came with the wind.

TICKET SELLER
Huh?

CLAUDIA
Never mind. I mean, Atlanta is in Georgia?

TICKET SELLER
Yeah... Pacacooley, uh-huh... Sure must be small cause I don't believe we go there. I can check on that for you Miss but

CLAUDIA
Of course you go there. It's where that man that was just here before me's going. That's what he said, right? He uh..he's my husband -- it's where he's from. See..someone in his family passed away..that's how come he's so distracted -- like he didn't even know me anymore.

TICKET SELLER
Oh I'm..I am sorry. I hope it wasn't a war casualty -- they're always the hardest to accept -- so far away -- like he or she was just still gone and going to be coming home -- til you got to go through all the funeral and all.

CLAUDIA
No, ... sorry -- I'm sorry -- it was nothing like that.

TICKET SELLER
Oh it's alright. You know he did say he was a little beside himself. But it's like that..how the healing process begins, if it does. He bought a ticket to New York; he must've done it by mistake.

CLAUDIA
Oh no. No. New York? That's where the funeral is -- must've completely slipped my mind.

TICKET SELLER
Oh?

CLAUDIA
Yes. I know. I mean I don't. How much for New York?

TICKET SELLER
Oh, that'll be eighty-eight dollars and seventy-seven cents.

CLAUDIA
Eighty-eight...! Oh..here.

TICKET SELLER
Here you go. Thank you. And don't forget, you got to change in Atlanta.

CLAUDIA
Oh no -- I'm not forgetful. Thanks.

TICKET SELLER
Take care. Next.

Claudia, keeping eye on Rhett, moves away to make call on her phone as two panhandling wineheads accost her. Lines enclosed in [ ] indicate Claudia talking into her mobile phone.

YOUNG DRUNK
Hey babe, have a hit.

OLD DRUNK
Yeah, c'mon sister, have a snort -- and help us out.

CLAUDIA
Thanks but no thanks boys, I'm working.

OLD DRUNK
Working? I did that once.

CLAUDIA
You should do it again.

OLD DRUNK
Well, I'd like to but..but I can't.

YOUNG DRUNK
Huh! What's that like, work?

OLD DRUNK
I don't know. Was so long ago, I forgot.

YOUNG DRUNK
Hey, that was real funny man. They ought to make a clip of you, put it on the tube sites-- like TV. No, seriously.

OLD DRUNK
No, seriously. I had it 'splained to me once, how serious, at the unemployment office.

YOUNG DRUNK
So why didn't you get no job? They made you a job proposition, right? That's their job.

OLD DRUNK
No. That's what they 'splained to me. They can't have no job for me even when I wanted cause I ain't lost no job. See, I ain't just unemployed. Yours truly, I'm structural. So I'm good to go. See, once you're structural, you're home free. You don't have no obligation no more. That's why I don't have to work, and the system can't draft me -- good to go.

CLAUDIA
[Hi? Can you put me through to Gladys, please? She's in Mr. Lootus' office.]

YOUNG DRUNK
{Gladys?}

OLD DRUNK
{Mr. Lootus' office huh? Ho Lootus, must be some kind of Brutus big.}

CLAUDIA
{[Oh... Yeah, I'll hold.] Go away! Go uh-way-ee!}

OLD DRUNK
Seriously Gladys, I say everybody ought to be on TV.

YOUNG DRUNK
Seriously. Right there on TV. Just like the President. How 'bout it, just a little help.

CLAUDIA
Absolutely not. You don't deserve it.

YOUNG DRUNK
Lady, you blind? Look what shape I'm in. What's deserve got to do with it? Just a little help..how 'bout it?

OLD DRUNK
Just a little something. Get us through..we're not lying..this night's wine need.

CLAUDIA
[Yeah, I'm still here.] No! [I mean yes. I mean no..there isn't. Look, I got to get through to Bruce Lootus, producer of "Real Stars, Real People" right? And you know he only takes calls she clears so..so I'll hold.] Leave me alone! Don't you understand? I'm working.

YOUNG DRUNK
Right. So you got to have some spare change.

CLAUDIA
I'm not going to give you anything. I don't believe in charity to the undeserving.

YOUNG DRUNK
Aw, absolutely not! No charity, nuh-uh. You are completely one-hundred and ten percent right and I totally agree with you. I don't deserve charity. And I don't want no charity. I want welfare.

CLAUDIA
Get a job. Okay, smartmouth?

YOUNG DRUNK
I can't get no job, even if I wanted.

CLAUDIA
Forget it! There's hundreds of jobs go begging in the classifieds every day.

YOUNG DRUNK
Yeah but I can't get one. I did, then I wouldn't need your personal welfare, right? I go buy my own wine with my easy-earn money just like you.

CLAUDIA
I don't drink and I don't smoke and of course you can get one, but you don't even want to try. That's the real reason you can't get one.

YOUNG DRUNK
Nuh-uh. I can't get no job for the same reason nobody else like me can.

OLD DRUNK
And what's that?

YOUNG DRUNK
Global economic progress. Like a freight train gone, done left us behind.

OLD DRUNK
Amen, brother. See, structural.

CLAUDIA
Pff! Right. I'm telling you, forget it. I'm not buying.

YOUNG DRUNK
You can't forget it. I'm too diseducated, too addicted and too nondependable to get no job today. Besides, I don't speak no Spanish -- and this is Florida.

OLD DRUNK
A-Amen, brother.

YOUNG DRUNK
Fact is, I'm so unresponsible I don't deserve no job. That's why you got to give me welfare. Then you can forget it.

CLAUDIA
No way. [Hi. Gladys? ... Yeah. ... Look, I got to talk to your boss right away. I'm onto something big, okay? ... Huh? ... It's Claudia. ... What? ... No, I'm in Florida.]

YOUNG DRUNK
{Claudia? Where'd Gladys go?}

OLD DRUNK
{'N' be sure you say hi to Lootus now.}

CLAUDIA
[Look, this is the biggest exclusive that schlockmaster show of his has ever had alright? It's real news even -- and it's sports!] Leave me alone now or I'll scream. This is very important to me.

YOUNG DRUNK
And what if my wine is important to me as your work is for you?

CLAUDIA
Orrgh! [Of course he's interested. Tell him Rhett Smedley... He knows who it is..just quit his team -- may've even quit football. And I'm the only one that knows where he is. ... Don't you see? ... Gladys, stop obstructing; how would you know a lead story like this even if it reached up and whacked you. ... Just tell him Rhett Smedley, and you bet he wants to talk to me!]

OLD DRUNK
Phoom! Boom! Huh! Get some, Florida!

YOUNG DRUNK
Hey Lootus, you flootus now! ... C'mehmehn...

CLAUDIA
[I'm not getting excited. I am getting excited; this is exciting! Don't you see? He doesn't know I know where he is. This is celebrity exposure at its most perfect. This is our ideal for what we do!) No! Go away! (No. ... Yes. ... Right. I'll remember to call him chief -- he likes that. And thanks..okay, Gladys?]

OLD DRUNK
Aw, Florida... And you was doing so good.

CLAUDIA
Alright. Here. Take it. And now, leave!

YOUNG DRUNK
Lady, this is a quarter. Do you know how much a pint of wine costs today?

OLD DRUNK
I don't believe it. After all that. There ought to be a law against people like you.

YOUNG DRUNK
They're working on it. Up in Washington they're putting a contract on people like me. They're going to make a legal act so's I got to get personal responsibility for myself. And you know what? It's going to work. Minute they pass that law, minute I'm going to accept my consequences..minute I'm going to be socially born again..be a person totally responsible for his self. Lord, I'm guilty! I'm guilty for all I am and all I done -- and now I'm mashed down with remorse! Yes I'm guilty for my irresponsible self! So then I won't need no welfare -- cause I'll deserve charity.

CLAUDIA
[Mr. Lootus..oh, Mr. Lootus, It's Clau..I mean Chief..Chief, this is Claudia..Clau...]

OLD DRUNK
AAAEEEmen, brother. Ho Lootus!

CLAUDIA
[Claudia Zance,.I'm on RSRP..the piece last week, with the great video -- how many hits did it get? ... Right. ... Thanks, that's... Huh? ... Well, I was working on the cheerleaders project but..that's what I got to tell you. ... Yessir..Chief..I understand the importance of checking..yes..otherwise that does make a mockery of supervisory responsibility..so that's what I'm doing now..I mean, by calling you to tell... ... Look, just what do you know about Rhett Smedley, okay? ... Well they mus'n't've told anybody yet -- and they won't, they're going to cover it up. ... He just quit the team that's what! Said he was through with football and disappeared -- but I know where he is. ... Right here! I can put my microcam right on him, now, shooting from the hip -- and he doesn't even know it. It's perfect, really, the ultimate in what we do. ... Don't you see? He doesn't know he's being covered -- and he's not going to find out -- that's the beauty of my concept! And we're getting it exclusive -- it'll be as tops a story as your show's ever told -- a first! Can't you see it? Long and intimate, close-up tape -- and he's really himself 'cause he doesn't know! ... What do you mean, CIA television?]

P.A.
{Yallerdawg Buslines 'nounces the departure of Big Dawg Super Service to Jacksonville, Savannah, Charleston, and all them places up further. All aboard please.}

Claudia has come nearer Rhett as the two drunks have panhandled among the bus riders and now head for Rhett.

CLAUDIA
[Yeah, he just up and quit. I was virtually there..almost. ... I don't know why he did it. That's what I'm going to find out. ... Mr. Lootus..Chief... ... No, I'm not going to tell you where he is. This is my story and I'm going to keep it. ... Yessir..No. So you can send a crew of old jocksters and blow the creative potential of my..no way! ... Yessir, I... But no. ... Oh no! Mr. Lootus..Chief!, this phone's lighting up like a Chistmas tree! Terminal battery failure! I'll stay on the story till we can re-establish contact. Mr. Lootus, can you hear me? separates battery from phone You pompous little bureaucrat hiding behind a hip facade!]

OLD DRUNK
{Phoom! Boom! Alright Florida!}

YOUNG DRUNK
{Handsome Dan, the ladies' man... Sir, you look}

RHETT
Yeah, I know. Here.

YOUNG DRUNK
Whoa! Man! Hey Gladys, you see this? This ain't welfare, and it ain't charity; it's largesse.

OLD DRUNK
Oh my, oh my. Let's go, let's go.

CLAUDIA
You gave them that?

RHETT
Yeah.

CLAUDIA
Look..I don't know you but..why? Even if you can afford it.

RHETT
Cause, they're less people and I'm a more person -- helpless, shiftless and hopeless, so I give them more than they expect every chance I get.

CLAUDIA
Yeah. ... Ever thought that you're not really helping them? Just feeling big and leaving them where they are?

RHETT
Where they are is where they are, and didn't you or me put them there. And they're feeling whole lot better now than ten seconds ago.

P.A.
{Last call, last call. Yallerdawg Buslines 'nounces the departure of Big Dawg Super Service to Jacksonville, Savannah, Charleston, Montreal and points between. All aboard please.}

RHETT
Hwuh...? ... Well, that's me.

CLAUDIA
You're on that bus too?

RHETT
Yeah.

CLAUDIA
Funny, so am I.

RHETT
Hwuh... Yeah.

BUS DRIVER taking tickets at bus door
Have your tickets ready. That's right. Thank you.

A BUS RIDER
Does this bus go to Sumneyville?

BUS DRIVER
No, not this bus. But that bus. Well, yes and no. That bus takes a flag stop at route twenty-four and that's five miles up the road from Sumneyville. Now that's not exactly going there, but it's the closest you're going to get there if you're going to go there by bus.

A BUS RIDER
I got to go there by bus. I ain't got no car.

BUS DRIVER
Yes Ma'am. Thank you. Step right up.

CLAUDIA
Alright.

BUS DRIVER
Okay, Son. Thank you.

RHETT
Yessir.

Claudia and Rhett get on bus. Bus Driver keeps taking tickets from other Bus Riders. General bus-before-departure commotion in bus. Orville and Nona come on. Following exchanges CLAUDIA/RHETT and NONA/ORVILLE, then RHETT/ORVILLE and CLAUDIA/NONA are largely simultaneous.

*******
RHETT
You want... Mind I... I mean we could sit...

CLAUDIA
Oh yeah... Well, okay... Where do you want to sit?

RHETT
Doesn't matter. Anyplace there's two empty seats.

CLAUDIA
We can sit here then, right up front.

RHETT
Can't we sit in the back? That's where there's smoking allowed, maybe.

CLAUDIA
So then it does matter, doesn't it?

RHETT
Well... But it wouldn't've if we'd happened to go for that right off

CLAUDIA
So then why'd you ask? Here's fine, okay?

RHETT
You want the window?

CLAUDIA
Yuhie... Alright.
*******

*******
NONA
Orville, where we going so fast?

ORVILLE
Nowhere -- not so long as I can help it we ain't. Now what was it he was wearing?

NONA
Who?

ORVILLE
Rhett Smedley. Honey, what do you think we're doing here?

NONA
I don't know. Oh, I don't know... I don't see him though.

ORVILLE
Uh-huh. You wait here. I'm going to check on that bus that's loading.

NONA
Orville, wait!

ORVILLE
Honey, imagine you're going across a street and there's this car acoming. Now how you going to get out the way wearing shoes like that?

NONA
Wouldn't ever have to cause I got the sense to stay out of being in a hurry.

ORVILLE
Angel-one, you know, only reason I'm rushing's so's to get done with it just so's to be with you.

NONA
Orville, no need to explain what you got to do.
*******

BUS DRIVER
Tickets, tickets... Sir, could I see your ticket please?

ORVILLE
My ticket? I want to see your ticket.

BUS DRIVER
My ticket? I'm the bus driver here.

ORVILLE
Is that a fact? I'd like to see your license, registration, keep your hands away from your body and don't make no sudden moves.

BUS DRIVER
Why sure, officer, I..I didn't know. It's up there on the seat in my jacket.

ORVILLE
Well, get it, why don't you?

BUS DRIVER
Yessir.

Bus Driver steps up onto bus. Orville and Nona follow.

RHETT
Damn. Orville.

CLAUDIA
Who's Orville?

RHETT
He is.

ORVILLE
Hey there star-man, I been looking for you every place.

RHETT
Leave me alone. And I ain't going back, Orville. I ain't.

ORVILLE
Oh yes you are. Oh yes indeed you are. Come on Rhett, just talk to me.

RHETT
I'll talk to you but I'm not going to listen.

ORVILLE
So how you expect me to change your mind?

RHETT
I dont' know.

ORVILLE
Why you want to make my life difficult? I got important things to do --and you're not one of them.

RHETT
I'm like your job right?

ORVILLE
Yeah -- and your job's to play football, so -- be like me -- just come back and do it.

RHETT
Orville...

NONA
Orville...

ORVILLE
L'il sweetness, you just rest easy now, you hear? Just set yourself right down here a spell cause this won't take but a minute and then ol' Orville here'll be right back. Hi there, how you doing?

CLAUDIA
Oh I'm..oh I'm doing just fine, thank you.

ORVILLE
Is that a fact? Now Rhett..Rhett, I don't know where to start.

*******
NONA
Hey, you found him..you're that reporter lady

CLAUDIA
Shshshsh! He doesn't know that and he's not supposed to find out.

NONA
So you're going to tell him something else?

CLAUDIA
Well... Yeah. I mean I won't have any choice, if he asks.

NONA
Deception..discretion -- what was that? Oh, maybe he won't. Keep his mind on that one track, men all set on --- tends to keep their curiosity down about your personality and deeper self.

CLAUDIA
True. ... Who's Orville anyway?

NONA
I don't rightly know. See, me and Orville, we just met.

CLAUDIA
Well, is that a fact?

NONA
Yeah. I wouldn't lie to you or anybody else.

CLAUDIA
I'm sorry. I didn't mean it that way. Really. Here, I'm Claudia.

NONA
Oh... It's my pleasure. You know

CLAUDIA
Yeah, Nona.

NONA
You always shake hands with girls like that?

CLAUDIA
Yeah.
*******

*******
ORVILLE
You getting next to that girl there?

RHETT
I was til you got here.

ORVILLE
You're doing alright for yourself now ain't you, bubba-bear -- make your ol' buddy Orville proud.

RHETT
Don't you even look at her. She's mine. You dirty old man.

ORVILLE
Old..yeah. Doggone it. But that other..nope, too much life in me yet. Besides, what's yours about her?

RHETT
I don't know. I saw her first.

ORVILLE
Son, take to taking a woman as mine and soon enough she's took to pushing 'gainst possession, take back the pride you crossed -- so she takes to taking to every mule that's looking to kick in the stall you thought was yours, but ain't. And how 'bout you take back her with you, cut all this out, and come on back and play football?

RHETT
Nope. And this is the last time I'm going to talk to you about it.
******

BUS DRIVER
Here you go officer, licence and registration just like you wanted. Sure hope everything's alright.

RHETT
Officer?

ORVILLE
You know it too. Now let me see here now, perfuse these here documents in a manner becoming to a an ossifer and gentleman of the law -- security -- enforcement forces.

BUS DRIVER
Yessir.

RHETT
"Yessir?".

ORVILLE
Driver, I find it incumbent upon me to here to necessarily advise you that all is A-okay, joe-toe and you're completely in the clear. Now why don't you go on back, stow this all back in your jacket where it ought to go.

BUS DRIVER
Yessir, officer. Anything you say.

ORVILLE
It's a wonder he can read the road signs. Now you ain't going to put your life in that man's hands and ride this bus? Now are you? You come on back, Rhett; you come on back, get yourself a good night's rest before tomorrow's practice, huh?

RHETT
Orville, I ain't going back.

ORVILLE
Rhett...

RHETT
Mind's made up.

ORVILLE
Oh, I understand that. Rhett..good buddy..I got a lot of money on that game, so why don't you come on back for your ol' pal Orville. I mean you wouldn't want ol'Orville here be out two weeks pay, now would you?

RHETT
You can afford it. Cause knowing you, only place your money goes is the pleasures of life.

ORVILLE
Being broke don't mean being unhappy.

A BUS RIDER
Driver, how much longer they going to hold this bus back? This bus was s'posed to leave here at five-oh-five and we're fifteen minutes late already and ain't even left yet.

A BUS RIDER
Yeah. What's going on here?

A BUS RIDER
Mister, the officer here's got to

RHETT
Officer!? He's nothing but a deputy under assistant

ORVILLE
field marshal for national security affairs.

A BUS RIDER
Marshal, what's that man done? If he's dangerous, we got a right to know.

Murmer of commotion among Bus Riders.

A BUS RIDER
He's a criminal?!

A BUS RIDER
A murderer?! Where?!

ORVILLE
Ho! Whoa! Hey, hey folks, folks..hey... This here..this here... ... Folks, this here's Dwayne Dweebus, my prime suspect, wanted in thirteen states for everything you can think of -- and then some.

Explosion of commotion among Bus Riders.

A BUS RIDER
Just look at his eyes, Hattie, that's the kind alright. Young killers is always the most vicious.

A BUS RIDER
That's got to be him -- seventeen years old, shot his whole family, fifteen people, cousins and in-laws too.

A BUS RIDER
The Tallahassee Teen Killer!

CLAUDIA
Terrific. you can believe this?

NONA
Kindle up people's fear and unthinking side -- and you don't just put it out.

A BUS RIDER
Get him! He was on TV!

A BUS RIDER
Mom, Mom I want to see him, I want to see him!

A BUS RIDER
Eddie, don't you dare turn your eyes on evil!

A BUS RIDER
Get him off the bus!

A BUS RIDER
Wait! Let me get his autograph.

A BUS RIDER
Pero que pasa aqui?

A BUS RIDER
No se.

A BUS RIDER
Un terrorista, un terrorista -- no puede ser!

A BUS RIDER
No...

A BUS RIDER
A terrorist, a terrorist -- he's a terrorist!

Explosion of commotion among Bus Riders.

RHETT
Oh, shit...

SOME BUS RIDERS
{Get him! Get him! Get him now!}

SOME BUS RIDERS
{Get him off the bus! Get him off the bus!}

SOME BUS RIDERS
{Get him! Get him! He's a terrorist!}

RHETT
No, I'm not..

ORVILLE
Now you know you don't want to stay on this bus.

A BUS RIDER with hand gun
Freeze! Freeze, you evil one. Okay, marshal, you can step aside now. I got him covered.

ORVILLE
Ho! Put up that gun. He ain't but a suspect yet.

A BUS RIDER
So?

RHETT
No, you

A BUS RIDER
Shut-up! You see this?

RHETT
Look, I got rights

ORVILLE
No you don't. You're a suspect

A BUS RIDER
And this is Patriot Act America now -- and you got no rights left.

ORVILLE
See?

RHETT
And you're proud of that?

A BUS RIDER
Better take him down now, Marshal, make sure

ORVILLE
No -- you don't understand -- see -- just between you and me -- we've got to interrogate him, so's we can frustrate their plans -- so I just, got to take him away. I got a plane waiting at the airport.

A BUS RIDER
Oh...

ORVILLE taking handgun
Oh, yeah. So best thing might be, you just -- gently now -- give me that thing -- I'll cover him. What's the matter with you anyhow, carrying a thing like this around?

A BUS RIDER
Cause, when they come, you got to be ready.

ORVILLE
Oh yeah...ready... Oh yeah, and you never know when they're just, going to be there... And you're going to want to be ready, but you won't be. The way people carry guns in this country, it's a wonder so few get shot.

A BUS RIDER
Marshal, what are you going to do with that man?

SOME BUS RIDERS
Arrest him! Arrest him!

ORVILLE
Quiet!

A BUS RIDER
Get him out of here!

A BUS RIDER
People like him ought to be put away, no questions asked.

SOME BUS RIDERS
{Get him! Get him!}

SOME BUS RIDERS
{Get him off the bus! Get him off the bus!}

SOME BUS RIDERS
{Arrest him! Arrest him!}

A BUS RIDER
Marshal, what are you going to do with that man?

ORVILLE
Bring him back alive, that's what. Now quiet! Ho! Now everybody shut up! fires shot up into the air Next person says a word... unloads hand gun Next man says a word gets their dick blown off -- if I can find it.

NONA
Orville, what do you think you're doing?

ORVILLE
I don't know honey. I honest to God don't know. But you just lay back an rest easy now cause soon as all this here's all over, we're going to be going out tonight and have a good ol' time.

NONA
Orville... What do you want me to do with these?

Murmer of commotion again rises among Bus Riders.

ORVILLE
Hide them somewhere. Alright. Alright. Y'all just relax now. This boy he ain't but a suspect yet -- and for a record as long as your arm of nothing but moving violations -- that's why he's taking the bus -- so you good people just rest easy now til I've done conducting my investigation. Son, let me see some ID.

RHETT
Yessir! (You crazy)

ORVILLE
(Me crazy? Listen, back home there's millions -- I mean millions now -- counting on you for two TD's and a bunch of receptions in that bowl game -- and you ain't going to do it? And when you get back everybody in the program'll break out the tar and feathers for you -- and you're calling me crazy?) Son, let's see that ID, now!

RHETT
Yessir! Marshal, Sir. Right away, Sir!

ORVILLE
That's right (or I'll deputize everybody on this bus).

RHETT
Yessir, right here you go.

ORVILLE
What is this?

RHETT
That's a passport..Sir.

ORVILLE
At least you're here legally, huh? Looks like Little Lord Fontlejoy here's taking a trip to Europe huh?

BUS DRIVER
Marshal, don't you think we'd better get in touch with terminal security.

ORVILLE
Somebody die? Where? Oh whoa there Bus Driver, see I'm a SFI -- Special Federal Investigator -- I work alone so there's no necessity at all in revoking the local jurisfictons. You understand. You and me we'll keep this whole thing under wraps..like cloak and dagger..sensitive and unaccountable. I know you can be trusted to keep silent.

BUS DRIVER
Yessir, Marshal. Yessir.

ORVILLE
Doggone it, them smokeys is coming anyhow. to Nona Honey, it's time you and me checked out -- and pronto. to Bus riders Well, folks... Folks, this here's a case of mistaken identity. Ol' Rhett here he ain't no killer, no terrorist, no danger -- to anybdy but himself. Nope, he ain't but a traitor and a newly-wed insurance salesman. So any of you good people got any insurance needs -- oh you know iwth insecurity today we all got to be ready -- so's if you maybe you got some long lost kin up in Detroit or over on the West Coast or someplace in South America you want to make a surprise beneficiary -- if you do, you just come see my good buddy Rhett here and he'll fix you right up. And you can rest insured that him and his new bride

CLAUDIA
What?!

ORVILLE
They'll 'preciate your patronage something powerful. And you be sure to tell 'em 'twas ol' Orville was the one that sent you.

CLAUDIA
Now just a minute.

ORVILLE
to Claudia Ain't got the time honey, just ain't got the time, not now. returning hand gun to Bus Rider Here, It's yours, and I ain't going to take what's not mine. Now you put this right by the corn chips right next to your remote and you leave it there. That way when they come at you, you can be ready -- dry fire it right at them right this way -- bust them right back to the world where they come from -- and don't even have to get up off the couch. to Nona Come on little sweetness time's awasting.

NONA
Bye now.

CLAUDIA
Oh, bye.

ORVILLE
(And Rhett Smedley, if it's the last thing I do I'm going to get you back on that football field come game time.)

RHETT
(And no you won't, Orville Audrey; no, you won't.)

Orville and Nona get off bus.

A BUS RIDER
Driver, how much longer this foolishness going to hold this bus back? Don't you know? There's places we got to get to. There's people counting on us getting there.

BUS DRIVER
Yes ma'am, yes ma'am. I understand. We're heading out right now.

ORVILLE
Come on! We got to follow them in my car.

NONA
Orville. Orville! Orville, I'm not taking another step til you stop and talk to me a minute tell me what's going on.

ORVILLE
Honey, we ain't even got started yet and I'm all talked out for one day anyhow. And Angel-one, if we stop now how 'm I going to explain to them good buslines people how their brand new bus top got modified to a thirty-eight caliber sunroof? Come on. We ain't even got started yet. You do what you want now, you hear?

NONA
Orville, wait.

Orville and Nona go off. Bus pulls out of bus station.

CLAUDIA
So what was that all about?

RHETT
Hwuh... It's a long story.

CLAUDIA
You want to tell me about it?

RHETT
No.

CLAUDIA
Tell me later?

RHETT
Who are you?

CLAUDIA
For on this road right now, the one beside you. Just the one happening to be here in this moment to moment changing destiny. You can dig that?

RHETT
Wow...

CLAUDIA
You can tell me later, when you feel it's right. Cause this is going to be one long bus ride.

RHETT
Yeah.

Rhett and Claudia and Bus Riders fall asleep.

** **

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Running Back Running Back

NEXT: Bus on highway through the night. For chorus Bus Riders variously divide: WOMEN/MEN (W,M); AFRO/EURO/LATINO (A,E,L).

AW   Trouble I've seen
LW   Hope I've had
EW   What I mean
W     'S I feel so bad.

LM   Far from home
AM   Love I've known
EM   Lost I roam
M     Like I chose alone.

E    Where we going
L    There's no knowing
A    But we sho' nuff
ALL Reap our sowing.

M    City and land
W    In His hand
ALL Roll on, roll on, roll on by --
        Got me til I die.
        Thristy and weary
        Lay down my burden;
        Rest my bones
        Fore I up and move on.
        Fetch me to drink
        From freedom's fountain;
        Lest I find -- Oh!
        No hope to live on.

EM
Hey I, believed I'd, like a child
u'd take this land so new and wild;
make her mine, with my rifle by my side.
But ain't no onward now, that's all near died.

AM
Huhoh! Brought here, spilt from my cradle
sold on these shores like Cain kill' Abel;
body chained to rock of serv'tude.
Lord! My soul done loosed the light'ning of your sword.

LM
Andar, andar, immensa tierra del Norte, agotando mi alma,
desespero de mi esperanza.
Si a balazos de llanto no caigo, mas sigo,
vida mia a quien vale, que acaben con migo.

AW
Men cut so down, I only left to stand,
make home and children, and what's the end?
Oh sister, sister lend a hand, this Jordan's mighty wide and cold --
but I got to get to that farther shore.

LW
Amor, una cancion que se acaba,
amar, un recuerdo que lleba
el alma en su pena a callar su dolor.
Mis hijos, que me dejan abandonada
ni me acercan a ser olvidada
a causa de sangre de 'la vida 'l color.

EW
To sing alone I went down to the river;
man I knowed surge up in that shady grove.
The rest's that story, pow'r to blind that made a believer,
so I lifelong rue the dark that cuts love loose so low
and mighty as them water's flow.
To shop alone, I went down to the highway mall;
drove home with my new things, and now that's all.

AW   {Trouble I, trouble I, trouble I, trouble I, trouble I, trouble I 've seen}
LW               {Trouble I, trouble I, trouble I, trouble I, trouble I 've seen}
EW                           {Trouble I, trouble I, trouble I, trouble I 've seen}

AM   {Hope I, hope I, hope I, hope I, hope I, hope I 've had}
LM               {Hope I, hope I, hope I, hope I, hope I 've had}
EM                           {Hope I, hope I, hope I, hope I 've had}

W {What I mean, what I mean, what I mean, what I mean}
M {What I mean, what I mean, what I mean, what I mean}

ALL 'S I feel so bad, feel so bad, feel so bad, feel so bad.

M {Far, far, far, far, far, far, far, far, far from home}
W {Love I, love I, love I, love I, love I, love I've known}

SOME {Lost I roam like I chose alone, lost I roam like I chose alone}
OTHERS {Lost I roam like I chose alone, lost I roam like I chose alone.}

ALL variously
I'm sleeping, yeah sleeping, dreaming I'll wake
to work the amber vineyard where the fruits
of liberty we'll grow, then tall and tired we'll take
the hurts of life and blessings time makes peoples' roots.
Why I, I hew and keep on, to this last best hope
makes of me some kind of fool to still believe.
Hey, I'm more 'n getting by, I'm out to cope,
and more than that, I'm fighting to achieve.
If there's no reason more 'n buy stuff for living here --
for taking part, for my work of mind and hands,
for my sending sons to war in distant lands --
I can dig that, life's for only money-making here.
But yeah..I'm still like singing in the dream..'tis of thee...
Like a love you can't cut loose, I'm happier not free.
Trouble I've known
Hope I hold on
Moving me on
Like lights on the highway
Taking me home
To a someplace that's my own.
Can I get..can I get...?
I'll be your witness.
There like neighbor
For a house-raise in the sun.
I'm sleeping, yeah sleeping, dreaming I'll wake
to work the amber vineyard where the fruits
of liberty we'll grow, then tall and tired we'll take
the hurts of life and blessings time makes peoples' roots.
{City and land, city and land, city and land etc, ... city and land...}
{Moving me on, moving me on, moving me on etc. ... moving me on...}

ORVILLE from his car, heard on bus over CB
Breaker, breaker. This here's the Kitty Hawk; the Orville that'll fly you right. Looking for your sixty, Yellow Dog. Yellow Dog, go.

BUS DRIVER
Yellow Dog? That's me. Now...

ORVILLE from his car, heard on bus over CB
Breaker, Yellow Dog, breaker. I'm on your five and see some kind of something leaking from your driving wheels. Yellow Dog, go.

BUS DRIVER
How do you work this thing?

ORVILLE from his car, heard on bus over CB
Channel nine, Yellow Dog, channel nine. Ho! Flames aspurting! Yellow Dog, looks like you got a shock strut come loose, work through a brake line -- that fluid on your drums lighting up like sparklers in the night. Better pull that bus over Yellow Dog and safety check that out.

BUS DRIVER
Yellow Dog..Kitty Hawk..yessir..pull right over -- fire in my wheels? Oh my but this run didn't start out right.

BUS RIDER
Driver, why you stopping this bus? This place is no place. No place but highway space in the boondock place. So what we stopping here for?

BUS RIDER
Are we at the rest stop mall?

BUS RIDER
Yeah, this ain't but the wilderness.

BUS DRIVER
Yes ma'm..yessir. But I got word on my CB we got to check out the fluid burning.

BUS DRIVER
Now you know why I don't ride airplanes.

Bus stops. Orville and Nona pull up behind.

RHETT
Damn, Orville!

CLAUDIA
Whuh...?

RHETT
Out of here. Boom! Don't even want to talk about it.

CLAUDIA
Hey, where are you going?

Rhett gets off bus. Claudia follows.

BUS RIDER
Driver, what's going on here?

BUS DRIVER
Wish I knew.

ORVILLE
Hey there good buddy.

RHETT
No way. Don't even dream. I'm tired.

Rhett goes off.

CLAUDIA
Hey, where are you going?

ORVILLE
Hey! Ho, Rhett! Now wait a cotton-picking minute...

Orville goes off.

NONA
Orville..wait. Hey!

Nona goes off.

CLAUDIA
Wait, wait for me.

Claudia goes off.

BUS DRIVER
Hey that was that officer fella. Hey... You can't get off here. There ain't no stop here. There ain't nothing here. This is ain't but the wilderness here. Oh...

BUS RIDER
Driver, there's nothing wrong with them wheels. And all them fluid's fine. They chumped you in a set-up, that's all.

BUS DRIVER
What?

BUS RIDER
"Whut?"

BUS DRIVER
I'm the driver of this bus, and I don't care what you don't like, but so long's I'm the entrusted driver

BUS RIDER
So drive.

BUS DRIVER
They can't go off like that. And we can't leave them here anyway. What're they going to do?

BUS RIDER
That's their business. Let's go.

BUS RIDER
Bus company's got no call making people go if they don't want to. Anyhow they got a car. So get on up and jam them gears, driver.

BUS RIDER
Yeah. We ain't going to sit here all night. And you ain't going to go after them. This here's a free country, so's they want to go run off into the wilderness to nowhere, ain't nobody's business if they do.

BUS RIDER
Driver, we got places to go, we got people waiting on us, we got things to do. So you just move this bus now, you hear?

BUS RIDER
Yeah, we got important games to watch on TV.

BUS RIDER
Bus driver, you got a job to do and that's drive this bus, so

BUS RIDER
Yeah, get on with it. Now.

BUS DRIVER
Yes, Ma'am. Oh...

Bus goes off.

*****

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Running Back Running Back

NEXT: a wilderness at night.

RHETT
Damn, I'm losing it. It's dark out here.

ORVILLE from off
Ho! Ho! Rhett! C'mon Rhett, now stop. You're going to get us all lost.

RHETT
(Get lost. See if I try and find you.)

Rhett goes off. Orville comes on.

ORVILLE
I heared you, heared you, boy; oh yeah.
And one sound in the jungle's all,
all a trailghost needs. And in my self
I feel again that fierce anger, that froze heart
sad like steel that the rounds from nowhere got
the other's name on 'em, not mine. And what I'd give
to leave that self behind..but its mem'ry's so taken over
that rifleman's the only self that I got left.
And I heared you, boy; I heared you; oh yeah.

Orville goes off. Nona comes on.

NONA
Orville, Orville, where are you? (I don't believe it.) Orville, you give me the keys to that car right now. Orville, answer me! I'm getting out of here, and away from you! Orville! Orville, you answer me right now!

CLAUDIA from off
Hey! Hey, somebody! No..Nona? Is that you? Yelling for Orville? Nona!

NONA
Yeah. Here. Yelling at Orville. Orville!

Claudia comes on.

CLAUDIA
Hi.

NONA
Hi.

CLAUDIA
Well..what?

NONA
What nothing. I don't know what. What I'm doing's following that fool so I'm the fool -- and so are you. Oh!

CLAUDIA
Where are they? I can't lose him now.

NONA
Forget where they are. Let's go back to the car..or the bus, get on it and leave those two so the wolves can have them.

CLAUDIA
What wolves?

NONA
Oh... Maybe not. I don't know. Come on.

CLAUDIA
The bus left. I heard it, way back there now, coming after you. I think.

NONA
Yeah? You sure?

CLAUDIA
Pretty sure.

NONA
No... And we got no keys to the car.

CLAUDIA
Well..it's not your car anyway, so you couldn't really take it like that.

NONA
From him? Now? Yeah I could.

CLAUDIA
Oh... Well, let's go back to the road anyway.

NONA
Yeah.

CLAUDIA
You sure it's this way?

NONA
Uh... No. Let's stop. Maybe we can hear it.

CLAUDIA
Okay.

NONA
You hear anything?

CLAUDIA
Yes, and it's not the whooshing highways make. What is it?

NONA
I don't know. I don't know. Maybe a sinkhole opening up.

CLAUDIA
What?

NONA
Come on. There's no way we could be that far away from it.

CLAUDIA
I don't know. Is a sinkhole what I think it is? We've gone pretty far if we've been going away from it.

NONA
So we're lost?

CLAUDIA
I didn't say that. We're not lost. We can't be lost. I wouldn't know what to do if we were lost.

NONA
So where are we?

CLAUDIA
Uh... Oh my God!

NONA
C'mon, we can't be that lost.

CLAUDIA
Yeah?

NONA
Well..we can't just wait here for nothing. Let's go some way anyway.

CLAUDIA
Okay.

NONA
Maybe this way.

CLAUDIA
Okay, but we're lost.

NONA
Yeah, alright. But at least we're still going some place.

CLAUDIA
Hu-huh.

NONA
Ow! Careful.

CLAUDIA
Yahie! Oh! Aargh!

NONA
It's a dead tree, I think.

CLAUDIA
Oh... How'd it get so dark out here?

NONA
Cause it's night time and they're no lights.

CLAUDIA
Stick to the obvious and you can't get it wrong. Uhie...

NONA
Yeah it is, so watch your step. Here. C'mon.

Claudia and Nona go off. Orville comes on.

ORVILLE
I hear you boy, and you're not just out there but
coming here right this way. Walk on, walk on
like you owned the night, like there's no one else
got a lease on darkness. Huh, I followed from behind,
run by your flank, and now I'm waiting from in front.
So come on ahead for a small surprise.
Only thing on Earth that lies still like a log but sweats silence
in the dark's a man waiting on an ambush set at night.

Rhett comes on.

RHETT
And I'm so lost I'm set to holler help. And I'm one sooner die than ask directions. And now there's no one, I'd be a girl about it, and ask any fool that passes where I'm at. Oh man, it's so damn dark it hurts to use your eyes.

ORVILLE
HWARGH!

RHETT
HUHUH! Son of a bitch! Uhoh... Oh! I could've bit my heart you sent it up so. Orville... Aw, Orville...

ORVILLE
Got you, huh?

RHETT
Ohuh...

ORVILLE
Huh!

RHETT
It's not funny.

ORVILLE
Yeah it is.

RHETT
I ain't going back with you. Orville, I ain't. But I am going back with you how to get back..somewhere where I know where I am.

ORVILLE
And what if I couldn't care if you come back or not?

RHETT
Then why you coming after me?

ORVILLE
The challenge. So listen to me, come on back.

RHETT
No. Where those other two anyway?

ORVILLE
I don't know. I followed you.

RHETT
Didn't you hear them come after us?

ORVILLE
Yeah. We'll find 'em. Maybe get some good hay for the donkey huh?

RHETT
So's far's you know, they're out here too..somewhere.

ORVILLE
You bet. Women're that way. Even if they ought to know better. Let's go.

RHETT
Yeah. Women are more interesting than football.

ORVILLE
Well, leastways there's one thing we agree on.

RHETT
How do you know the way?

ORVILLE
Memory -- foresight first, and memory after.

RHETT
Huh... Hey Orville, you were in a war, right?

ORVILLE
Yeah, and?

RHETT
And I don't know, for you it was a long time ago?

ORVILLE
Like yesterday.

RHETT
Yeah, and?

ORVILLE
And it's been one long motherfucking yesterday.

RHETT
Uh? ... Like looking around here..you know...
You know I bet there was soldiers fought here once..
in the War Between the States maybe.. in a wilderness like this...
And now I reckon I can feel, made as much
by history as ghostly presence, the men
that staggered packs and rifles through these leaves.
Figures, like filmed, hesitant yet coming on, stunt and lanky,
seen then fading hid, but still seized to grapple with the foe,
the group they're part of urging on, but each alone
like more inclined to hold back and resist

ORVILLE
closing with the killing clash, and hang it up..
if it'u'd only let 'em..but it reels you in, and won't let go --
that stumblerush addicts the soul, and trusses you
to the partners you go in with there. After your time
a rifleman, master of the firefight and fear, it never lets you go,
and everywhere you are you always see how good's your cover,
and all that moves, you only see the target that it makes,
and ever, repeated in the mind's the cry,
the crumpling, of the bodies newly glistening, torn apart.

RHETT
'Twas in a wilderness like this they fought for nights and days
in that campaign before the last that left Lee's tide of gallantry
spent and washed up 'genst the stones of Grant.

ORVILLE
And romance never dies. Besides, it weren't here anyway, right? But way up North near Richmond, I think.

RHETT
Still, it was in a wilderness like this.

ORVILLE
Maybe so.

RHETT
So what was it like fighting in a war?

ORVILLE
Man...

RHETT
Just asking, alright?

ORVILLE
Huhoho... Good morning, Rifleman.

RHETT
Huh?

ORVILLE
First thing you do's get tired, tired tired,
so tired the only thing that wakes you's when
that fear fires out ev'ry nerve that's in your self.
And pretty soon you're stuck with wanting it again,
'cause nothing, nothing rushes you alive that way.
'Cause all that reason's seen and knows 'so wrong
is useless 'genst that combat's hold on you.
Lock, loaded, through them gates to no-rules land
where ain't no such thing left as crime -- and it's all blind
good luck or bad, and you're but one more in the heave
of this big, big fucked up maker of death,
and that the heart of war is massacre and atrocity.

RHETT
Orville, you okay? Orville, what...

ORVILLE
I'll be alright. Well, no I won't but that's alright.

RHETT
Sorry. I mean I was just asking..what was it like, Orville..I mean not killing but fighting.

ORVILLE
The killing is the fighting. ... Hey, it's like football, okay. C'mon Rhett, let's move it out.

Rhett and Orville go off. Claudia and Nona come on.

NONA
There's no point in going on; we're just getting loster.

CLAUDIA
I thought we weren't lost.

NONA
People can think what they want; but the facts don't care. Look at all these wars they start -- think they're going to win so easy -- and then the facts come home.

CLAUDIA
And they absolve themselves because their motives were pure. I sometimes wonder that if women ruled the world we all wouldn't keep getting screwed by righteous old men's violent fantasies of doing good.

NONA
Shoulder that burden girl, best you can -- cause the way it is, is the world is run by men.

CLAUDIA
Yeah. Run by the way men think -- the weight of the world is with their way of the world, and it keeps the higher hand, and all we can do is resist.

NONA
As best we can.

CLAUDIA
Yeah. So wat are we going to do?

NONA
Hey, come morning. I don't know, maybe they'll find us.

CLAUDIA
Who? Those two? How d'you know they're even looking?

NONA
I don't know..I just got this confidence -- men think that way.

CLAUDIA
Yeah, right. They're just looking out for themselves.

NONA
That's right. That's why they're looking for us. Hey, you're the one that's coming after him.

CLAUDIA
I know, I know.

NONA
Look, we're two women, all alone lost in the woods. I mean, wouldn't you figure we're still out here? I mean that we'd just leave 'em? Wouldn't even cross their minds -- they're always so surprised right?

CLAUDIA
The last to know though it's been plain as day for days and days

NONA
and night and nights.

CLAUDIA
Yeah. And they're always like "whut?"

NONA
"You're leaving me?"

CLAUDIA
You've had a lot..I mean..experience..leaving?

NONA
Leaving too late.

CLAUDIA
Yeah. ... So they're going to come find us?

NONA
You bet they are -- come on eager to find us..so grateful. Mh-mhh! Bat them barbie eyes. "Oh, boys, you found us, and just in time too..oh!" You bet they're going to come find us and get that helpless woman reward that's buzzing in their minds. Mhh! I'd almost rather stay lost.

CLAUDIA
Huh... Maybe we could build a fire..help them find their way. Here, I was in the Girl Scouts. Besides, I'm cold. And it's still dark out here.

NONA
Alright.

CLAUDIA
Here, I'll clear a space..then let's

NONA
Yeah, I'll get some.

CLAUDIA
Little ones; then we'll find, and build up

NONA
There's a whole tree down over here, good and dry.

CLAUDIA
Watch those sinkholes. And I've even got some papers in my purse.

NONA
How's this?

CLAUDIA
Perfect. Put them down and hand them to me.

NONA
You want a cigarette?

CLAUDIA
You smoke? Nobody smokes. I mean, nobody except socially.. I mean like on the less side people -- and like Euro-trash, you know and like they're all unaware.

NONA
What?

CLAUDIA
It's murder on yourself and secondhand risk to those around you -- and everybody knows it.

NONA
Well... I think them Indians were onto something. Besides, if I didn't do this disapprove, Ms. Fancystyle, then we wouldn't have no lighter and then where'd your boffing fire be?

CLAUDIA
Okay, okay. My what fire?

NONA
That's how all the star style people say it. Like in Europe and Hollywood and all; I watch all about 'em all the time, like everybody does.

CLAUDIA
Yeah, I do too. I mean, I wasn't sure you would've picked it up that way too.

NONA
Yeah, like..socially..you weren't sure we like had shared habits... Like Americans we all used to share liberty and self-government culture, but now all we all got's celebrity and consumer culture. So

CLAUDIA
So we got solid ground to pretend on.

NONA
Here, fire it up.

CLAUDIA
Yeah... Go! C'mon... Be a good little fire.

NONA
Looks good.

CLAUDIA
Yeah. I think it'll do.

NONA
It's great. Least til we got to find some more wood.

CLAUDIA
How long are we going to be here?

NONA
I don't know.

CLAUDIA
What time is it?

NONA
You're wearing a watch too. And it's that..max kind, goes with the rest of the style..I know.

CLAUDIA
Uhie... Yeah, one that implicitly promised increased self-esteem from the envy in others' eyes.

NONA
And in consumer culture, definitely delivers. I mean, I didn't just notice, right?

CLAUDIA
He... I'd give it to you...right now...but giving out of embarrassment and guilt isn't generosity.

NONA
I don't want it. ... I don't want to want it.

CLAUDIA
Yeah... Almost midnight. I mean, it does tell time too, okay? What if we've got to be here all night? What are we going to do? What can we do?

NONA
Not complain.

CLAUDIA
I'm not complaining. I'm just pointing out..with questions.

NONA
We could sing a song.

CLAUDIA
'Round the campfire. Right.

NONA
Isn't that the way it's supposed to be?

CLAUDIA
Yeah. ... What song?

NONA
You know Cry Angel Cry?

CLAUDIA
No.

NONA
Well I'll learn it you.

Nona sings; Claudia joins in as gets chorus.

Like a wind over water
an angel comes hover
o're the ground of the Southland
to shed tears on its pain.
Her taking darkness in hand
is the sound of a rain
that we sleep through unchanged.

You come back, bye and bye
and look homeward aching,
there's no one there waiting
so cry, angel, cry.

She sees it's all re-arranged
where we live so estranged,
the highways and car malls,
the houses and towers
all holding in small walls
our lives with no powers
to seize freedom at last.

You come back, etc.

It's the dream and the past,
the dark shade they cast
that keeps her come taking
her try at deliv'rance,
but there's no use in shaking
us who look like we're waking
but are walled in a trance.

You come back, etc.

CLAUDIA
Huh... People don't do much singing nowadays.

NONA
Maybe they never did..do that much.

CLAUDIA
Oh, I don't know..before electronic everything, and all life recorded -- anything you want, just a beam up of the browser away...

NONA
Hey, so most couldn't have heard any music..'cept now and then.

CLAUDIA
Yeah but what they heard they remembered, not like just having it stuck repeating in your mind like it's a workstation looping with no one there working.

NONA
Yeah. ... No TV tonight, huh?

CLAUDIA
Can't believe we miss it..I mean, here now.

NONA
Habit's always missed -- no matter how long you've beat it.

CLAUDIA
You think they're really coming?

NONA
I don't know.

CLAUDIA
But we're still waiting for them?

NONA
Okay, no we're not. We've forgotten them.

CLAUDIA
Huh... Sorry. ... So what don't you forget? I mean what do you dream of for your life..that doesn't go away?

NONA
I dream..don't know that I do much anymore,
'cause dreams take hopes that got to have some prayer
of happening in fact, 'n' I got many more
that ain't but fantasy that's goin' nowhere.
I dream of rest, of finding I'm at the end
of this quest for love -- when you know there's no mistake
'cause the true and strong with harmony they mend
the wounds that loneliness and lust did make.
I want a love that deserves all I got to give --
simple as that -- now maybe I'm dumb to be believing,
'spite experience, it'll someday be mine to live:
but letting go that hope for me'll be some lightout grieving.
And that it's what all so many hope for so bad
don't change the way it makes so many live so sad.

CLAUDIA
Yeah...

NONA
How 'bout you?

CLAUDIA
Oh, I don't know...

NONA
Yeah you do. Ev'rybody does..dream..something, keeping it like it's a treasure only theirs..but it's strange how when you face and show it, it's so commonplace..and not yours alone at all.

CLAUDIA
Yeah. ... I dream... I dream of being useful -- do well, get paid --
but live a life I'm proud of; I want to add
something that makes the sacrifice my parents made
worth their struggle to give me more than they had.
That old guilt, I guess, but still it's in me,
and I accept that, and'll make the best of it.
Crazy though, how it never quits in me --
hey, I'm getting mine, and all the rest of it --
and I still can't not care, 'cause I know there's a judging
past and power weighing our lives' acts,
and it's sternly indif'rent to human fudging
of our motives' and actions' hard, true facts.
The grace of one who hews to law and right
is up to me to earn, and keep in honor bright --
that righteousness, that's up to only me
to live by or to lose you see,
but happiness, that's just a maybe, if I should be so lucky.

NONA
Shouldn't we all... But left still waiting in hope you won't let die.

CLAUDIA
Maybe we could put a big log on it.

NONA
Don't want it to get too big..start a forest fire or something. We got no water.

CLAUDIA
What do we have?

NONA
They're coming, alright?

CLAUDIA
And then we'll make it their problem? And what if they're lost too -- even if they show up?

NONA
So? They wouldn't admit it anyway.

CLAUDIA
Great. So we'll be stuck having to point it out them.

NONA
With questions. You know sometimes my mind goes clear about it and, through the fog of attracting and desire, I see the depth of diff'rence between men and us.. and I'm ready to go hopeless on it.

CLAUDIA
Uh-huh. I think it's deep biology that does it

NONA
What?

CLAUDIA
Yeah. Like way back when..their tactics for making sure their genes live on still pushes them to make as many offspring as they can, but for us it made more sense to stick to a male that might protect the one babe a year that we can only have. And so we still see love so totally diff'rently.

NONA
Yeah?

CLAUDIA
And now, conditions are, like that nature doesn't fit --
but it's still there, making how we see erotic use.
I see my body like a tree in nature,
clasped tangled to the Earth in richness,
standing free and living, strong receiving
all the sweetness sun and rain
the weather and the sky so wild bestow.
Don't see it at all like flat into the sawmill of how men see love.

NONA
I see mine... I see mine like a part..that's apart from me,
that I yearn was held and sheltered as once it was --
and then let go -- in the rampart cradle of my father's arms --
and then gone he stayed. My happiness like needs another's that I've lost,
so I've let mine get put to use too much like that.

RHETT from off
Argh! Damn!

CLAUDIA
You hear that!?

NONA
No. What?

CLAUDIA
It's them. It's got to be.

NONA
Yeah? You sure?

CLAUDIA
Yeah. I think. Thank God -- now we can get out of here.

NONA
No! Come back here.

CLAUDIA
What?

NONA
We'll pretend we're asleep. Like not waiting for them at all, and couldn't care less.

CLAUDIA
What?

NONA
Yeah. 'Cause when I think about it I'm angry..anyway, they don't deserve the satisfaction of saving us.

CLAUDIA
Oh. You sure?

NONA
Yeah, now come on; start snoring.

Claudia and Nona pretend they are asleep. Rhett and Orville come on.

ORVILLE
Chilly, chilly..silent, silent like you're so at home, the dark's your working clothes.

RHETT
I didn't know we were so close.

ORVILLE
Didn't myself. Didn't see the fire, but do now.

RHETT
There. It's them.

ORVILLE
You betchuh, bubba-bear. Oh lookee and didn't I..didn't I tell you we'd find 'em. Ho...and ain't they a sight to blind your eyes and churn your throat.

RHETT
Hey, Orville, you think we going to get some mufftime?

ORVILLE
Ho boy, if we don't there's something mighty wrong. 'Lone and lost in the wilderness there's only one way man and woman can go -- together. Oh yeah.. Oh, yeah.. And I breathe deep..ohohohoh..and I breathe deep the bloom and breath of woman's own that brings such life to the dead in me..and there they are sleeping peaceful as you please. Can you believe that?

RHETT
What?

ORVILLE
Yeah, take a look. Oh my..oh my..found'em..found 'em like a trace of perfume led my mind.

RHETT
So now what're we going to do?

ORVILLE
Well, with women, you got one of two choices. You can come on like a freight train on a downgrade and talk the truth that hits 'em right over or you can act like it's the last thing on your mind and get them troubling theirselves 'bout what's wrong with them that you're so shrugged 'bout their charms. And I advise, in your case, you take the second.

RHETT
Huh... That's not what I meant, I mean now that we found 'em.

ORVILLE
Walk on up and say hi.

RHETT
Oh... They look pretty asleep.

ORVILLE
Been one kind of day for sleepfulness, huh?

RHETT
Yeah, I slept on the bus. Guess they don't know how.

ORVILLE
Don't touch, don't touch. Never touch a woman til she knows you're going to. That'll spoil it all for you -- every time.

RHETT
I wasn't... Just they look so peaceful. She's so beautiful.

ORVILLE
Like the peace of sleeping children 'cause that love rambunctiousness just got to get recharged. Harrghm..harrghm... Ho there little sleepy ones, lookee who just come into town.

NONA
Hrrghm-mmh! Why Orville, what are you doing here?

ORVILLE
Me? I'm looking for you. And that's all I been doing, ever since we got separated, that's all, all that's been on my mind, honey, is you.

NONA
Uh-huh, that's why you cut out and left.

ORVILLE
Had to. My duty called

CLAUDIA
Hi.

RHETT
Oh, hi.

NONA
Well, pull up a chair, 'less you know how we get out of here. 'Cause now that you got us lost, we're going to be here all night. And it's all your fault.

CLAUDIA
We built a fire and everything.

RHETT
Hwuh... Beautiful..fire.

ORVILLE singing
Oh but when love's true
fault's the fault of two.
Darling, c'mon along
cause right or wrong,
to me it's all the same --
yes darling, I'll take the blame.

NONA
Orville, stop that. What do you think you're doing?

ORVILLE
Oh no, nothing like that -- not here, not now -- just looking for and looking to give some of that innocent, basic human warmth, here in the night.

NONA
Orville, I'm going to try and believe you.

CLAUDIA
Maybe we should build it up some, get some serious warmth going.

ORVILLE
Put it out, I'd say.

CLAUDIA
What?

ORVILLE
Well, I don't know about you if want to camp out with the owls, but I'm going back to my car and spend the night in a motel.

NONA
Orville! So we're not lost?

ORVILLE
Right thisaway, and we'll leave them woods behind. I want a beer. And I want a bed. And most of all, darling, I want to be with you, in civilization.

NONA
Orville...

ORVILLE
Honey, ain't no use in fighting destiny.

NONA
Orville, you take me home right this minute.

ORVILLE
Can't. ('Cause I got to take them two to a motel first). And then it'll be too late and we'll both be too tired so we got to go to the motel too. You'll see.

CLAUDIA
Actually that wouldn't be..come to think of it I'd..yeah, put it out.

ORVILLE
If you want you can stay out here all by yourself now.

Orville and Nona go off.

RHETT
Well...

CLAUDIA
Bye? ... You're not coming?

RHETT
Uh... Well, okay. Actually, I could use a beer myself.

Rhett and Claudia go of.

*** ***

willow_nts.tm

www.willow-n.com

Running Back Running Back

NEXT: A motel, two rooms with connecting door, and doors to hallway and bathrooms. All four come on from hallway.

ORVILLE
Ho! Home to the bunkhouse now the drugstore's day is done. And here we are mouseketeers. And remember, first place you come to's the best place you come to.

CLAUDIA
I don't know..this...

NONA
Better than the woods.

CLAUDIA
But I thought, since the economy's been driven by services, quality control in hotel management is supposed to have made great strides

NONA
Not when your main business is the world on PA.

RHETT
PA? PA? Putrid accomadations? Or did did I miss something?

NONA
Public Assistance. Only them from the world where people run for office, they never been on it and don't know nothing about it -- so they call it welfare, like well's got something to do with it.

RHETT
They know what it costs.

CLAUDIA
In Washington they don't know what anything costs cause it's not their money, from the welfare to the wars

ORVILLE
in money or in lives

NONA
Cause it's not their children.

CLAUDIA
Anyway, why're we

NONA
He said first place and we agreed and this is it..'cause you said you were tired.

CLAUDIA
Not this tired. I mean is this safe?

ORVILLE
Aw, safer..safer..safer 'n some corporate quality motel someplace but we didn't get to it, so this is it. Beside, maybe you got an expense account, but I don't.

RHETT
Yeah you do.

ORVILLE
(Not for two.) Hey this coach house motel

CLAUDIA
Roach house motel

ORVILLE
If these walls and beds could talk they'd sing you songs of loves gone so wrong make the jukebox its own self cry.

Claudia goes to other room.

NONA
And they won't be adding no stories tonight.

ORVILLE
Come on, honey, it ain't where you're someone with, it's the someone you're there with. Ain't no need now to jump on into it..you and me, we go find a fast beer franchise honky-tonk..talk it over on the dance floor.

NONA
Orville... Oh, give me five minutes.

Nona goes off.

ORVILLE
Get in there before they decide to make us roommates for the night.

RHETT
Where're you going -- falsify that expense account, right?

ORVILLE
Naw! Going dancing..hear some music -- best use you can put an expense account to. Proper use includes R&R -- and you been making me work too hard. 'Sides, I'm off now and I got better things to do than get you back on that football field. I got the only life that counts on the line -- and I'm going to talk in that receiver ear like to save my life, forget my life. I'll bring you 'round come morning, after..love's come down like grace from heaven, and blessed my night.

RHETT
Orville... You know I ain't going back, not tomorrow, not ever.

ORVILLE
How do you know? Tomorrow don't know nothing 'bout today, and by daylight, maybe you'll see the light. Cause what you're doing... Now get in there 'fore she comes back, and they take to talking, and remember they haven't made up their minds about this at all.

RHETT
Yeah. You know, I don't think she's thrilled exactly.

ORVILLE
Sure she is. She just don't know it yet. If she had a life and somewhere she's got to be, what's she doing here with you and me..and her. And remember, like it's the last thing, the last thing -- or you'll be swinging that bat in your on hand circle and not even get to step up and hit for home, huh?

RHETT
Yeah, yeah.

Rhett goes into other room; Nona comes on.

ORVILLE
Come on honey, time's awasting!

NONA
Well, Orville, I thought I'd talk to Claudia before and

ORVILLE
Oh, I wouldn't do that. Oh no. Oh I'd say they're already wrapped in that first kiss that leads

NONA
To where we're not going.

ORVILLE
That leads, and ev'ry time leaves you amazed,
as love's grace and pow'r comes take you up
and make you will- and breath- less as she bless your night.

NONA
Not this night.

ORVILLE
Now how do you know that? Now know's nothing 'bout later. Come on, let's go. Tell me about it. I'm listening. You just got to get used to me and then..love's that way.

NONA
Love... Orville...

ORVILLE
What's there to lose that we ain't already left long gone? But now there's a dancefloor out there and songs

NONA
That'll say it all for us? Oh no, I'll say t for myself.

ORVILLE
I said I was listening. And I always tell the truth.

NONA
Orville...

Orville and Nona go off.

RHETT
Well, uh...

CLAUDIA
Wait a minute. You... I thought Nona'u'd..I mean, in this room.

RHETT
Well, I think she and Orville had other plans. If you know what I mean. So we're..I mean, like roommates...

CLAUDIA
Fat chance.

RHETT
Relax, I'm .. last thing on my mind.

CLAUDIA
It'u'd be best all around if I just got another.

RHETT
There aren't any others. These were the last two

CLAUDIA
In a dump like this? You sure? Who'd stay here? Don't tell me, all the people welfare reform left with no place else to put.

RHETT
Well, all the people with no place left to go anyway.

CLAUDIA
Some difference.

RHETT
Look, I'm going down the office get some beers.

CLAUDIA
The motel office? At this time? They can't sell beer anyway.

RHETT
Yeah? Here? I'd say they'd can sell me a whole else to get high if I wanted. Can I get you anything?

CLAUDIA
No, thank you.

RHETT
Okay. I won't be long, I reckon.

CLAUDIA
Maybe you could pass out on the way back. That's what the football players did where I went to college.

RHETT
How'd you know I was a football player?

CLAUDIA
Oh..uh..you just look like it that's all.

RHETT
Hwuh...

Rhett goes off to corridor. Claudia goes off to bathroom as muffled sounds from rooms and corridors around are heard, including argument between man and woman with cries of children. Rhett comes back on with six pack, opens beer and lights up cigarette. Claudia comes on out of bathroom.

CLAUDIA
You're going to smoke? Thanks for asking.

RHETT
Think nothing of it. Besides, it's okay; I'll open a window.

CLAUDIA
What if I'd prefer you didn't?

RHETT
I'm here too. And I'm addicted.

CLAUDIA
So? That's no excuse. What're you going to do, just sit there and smoke cigarettes and drink beer 'til I can't breathe?

RHETT
Yup. And I'm going to watch TV too.

CLAUDIA
I thought you said you were tired.

RHETT
Nope.

CLAUDIA
So you're just going to sit there, leave the light on and sneaky-watch. ... Me. I mean you might not have noticed, but 'cause of you near all my stuff's still on that bus, and I don't have a nightgown or change of clothes or toothbrush or anything.

RHETT
So why'd you get off the bus?

CLAUDIA
I don't know. Uh..I don't know, I fell asleep on your shoulder and suddenly awakened I was like pulled along.

RHETT
Like sleepwalking, huh? Here, try these.

CLAUDIA
Yeah. Exactly. Wasn't my idea at all. These are..pyjamas?

Claudia, using bedspread, starts trying to put it up like a curtain between the two beds.

RHETT
What are you doing?

CLAUDIA
Building the walls of Jericho.

RHETT
Building the walls of Jericho?

CLAUDIA
Give me a hand alright? And help me find a way to do this.

RHETT
I don't get it.

CLAUDIA
You ever see a movie, with Clark Gable and Claudette Colbert where they're in a motel and they

RHETT
Who? No.

CLAUDIA
Obviously, we come from different universes of cultural reference.

RHETT
You know how many movies they make nowadays? Even if you're rich or unemployed and got nothing to do all day, you still don't have time to see them all.

CLAUDIA
It's not a nowadays movie. It's a real movie -- when stars were stars and not celebrities.

RHETT
Huh?

CLAUDIA
Never mind. Just help me put this up somehow..for a little privacy, okay?

RHETT
Sure. A little old-fashioned this privacy kick..I mean, I'm not

CLAUDIA
Privacy is not old-fashioned. It's progressively feminist.

RHETT
Progressively feminist. Whoa! I'm going to need some privacy myself -- might even need a lawyer defend my right

CLAUDIA
To be a lookism porker... Relax I'm... C'mon, there's got to be a way.

RHETT
Yeah, use this extension cord. Tie it 'round the posts on the bedboards.

CLAUDIA
What about the other side?

RHETT
Turn one of the beds around.

CLAUDIA
Oh. Why didn't I think of that?

RHETT
'Cause, obviously, we come from different universes of psychological orientation.

CLAUDIA
Alright, alright. I'm not practical, but I am realistic.

RHETT
So that makes me practical, but not realistic?

CLAUDIA
That..uh..would be normal for a man. What happened to the lights, TV?

RHETT
No cord, no power, no lights; natural law. Here, take that end.

CLAUDIA
No, take..there..and then we'll back up and swing around.

RHETT
Huh...

CLAUDIA
And now..right.

RHETT
Yeah.

CLAUDIA
There. Private enough?

RHETT
It'll have to do.

CLAUDIA
Well..I think I'll turn in. Make the best of this. Get some sleep. Thanks for..these too.

RHETT
Great idea.

CLAUDIA
And you're going to drink all those beers? That's great.

RHETT
Look, I got a lot on my mind I got to think over.

CLAUDIA
That's why you're drinking?

RHETT
No. I'd drink even if I didn't have anything on my mind.

Indistinct argument and screaming from other room again heard.

CLAUDIA
What was that?

RHETT
What?

CLAUDIA
Didn't you hear it?

RHETT
Yeah. I don't know. Something. Nothing.

CLAUDIA
Yuh-ie...

RHETT
It stopped, alright?

CLAUDIA
Yeah. ... Look, just one question, 'cause our orientation's so different, right? How can you drink and smoke so much?

RHETT
Willpower.

CLAUDIA
Pathetic.

RHETT
Hwuh.

Indistinct argument and screaming from other room again heard.

CLAUDIA
There it is again. What's going on there?

RHETT
Don't know and don't want to know -- 'cause that's somebody else's universe of interpersonal orientation.

CLAUDIA
That's not funny and you can't get away by shutting it out with sick joking.

RHETT
What could we possibly do about it? Like..that's poor people's destiny.

Indistinct argument and screaming from other room again heard, louder and more violent.

CLAUDIA
There's somebody in there getting violent with his girlfriend or wife or children or something and you

RHETT
What if they're his children?

CLAUDIA
Or his girlfirend! Orgh! If you

RHETT
No. What if he's from some other race or culture or whatever and I'll just get slammed for messing with his way and I'm some kind of racist for jumping in his face and..oh, God...

CLAUDIA
That's got nothing to do with it -- whatever he is. And here, the odds are he's the same low-class life as you.

RHETT
What?

CLAUDIA
And if he's not you can't be paralyzed by fear of.... Race has got nothing to do with it.

RHETT
In this country race has got everything to do with everything and you know it.

Indistinct argument and screaming from other room again heard, louder and more violent.

CLAUDIA
That's wrong what somebody's doing to others in there. How can you stand yourself not doing anything about it? I'm going!

RHETT
Alright. Alright. I'm going. I'm going.

Rhett goes off to corridor. Altercation stops, as Claudia, alone, listens to muffled voices, including Rhett's, heard from off. Rhett comes back on.

CLAUDIA
So what was it?

RHETT
I don't know. Nothing.

CLAUDIA
What nothing? "Nothing", he says. It was there. You went. Now it's stopped.

RHETT
Yeah, alright...

CLAUDIA
So?

RHETT
So what do you want to know?

CLAUDIA
Something! Talk to me.

RHETT
I don't know. There was this guy..these kids..the wife, woman, whatever went out getting who knows what who knows how..and he was just losing it, stressed past his envelope, man, 'cause they wouldn't stop..being hungry maybe..'cause the dope comes first..I don't know..I bought them some candy bars so they seem settled down some now anyway.

CLAUDIA
Ohoh... Candy bars. That's what they'll think of next -- send today's GI's pass out candy bars to America's poor children.

RHETT
Imported candy bars.

CLAUDIA
So what happened?

RHETT
Nothing. I mean he just crawled right down..long broken already..like a dog that once the spirit's mashed just shrinks down and whimpers looking back at you with them pain eyes.

CLAUDIA
People aren't like dogs.

RHETT
You ever had a dog?

CLAUDIA
No.

RHETT
I did. Still do. Miss him. And the first one too. Yup. A dog. Got one, just like all low-class low lifes.

CLAUDIA
I didn't mean that.

RHETT
You did when you said it.

CLAUDIA
I suppose you also had a matching firearm?

RHETT
Shotgun. And that's not like a weapon..gun nut thing -- it's a hunting implement..sports equipment.

CLAUDIA
Like roller skates?

RHETT
If that's how you see it.

CLAUDIA
Alright. You're right. I'm a little stressed out by all this that's all. I'm going to sleep.

RHETT
Suit yourself.

CLAUDIA
I said I was sorry.

RHETT
Yeah..and it's really okay. Maybe's it's the truth..if that's how you see it.

CLAUDIA
It's not that simple. So what were they?

RHETT
I don't know. Maybe I forgot 'cause I'm all stressed by all this too.

CLAUDIA
Yeah... I'm taking this bed. That makes that one's yours.

RHETT
I'll stay in it. Don't even worry about it..last thing on my mind. You're not my type anyway.

CLAUDIA
I'm not a type -- and it wouldn't do you any good if I was.

RHETT
You a graduate of assertiveness training or what?

CLAUDIA
I'm not that insecure.

RHETT
Yeah..sorry..I...

CLAUDIA
It worries me you're going to drink all those beers.

RHETT
Just getting drunk. Do it all the time.

CLAUDIA
It's well established when people get drunk they often lose their inhibitions and often do

RHETT
Don't even think about it..last thing on my mind, okay?

CLAUDIA
Oh... Well, that's a relief.

RHETT
What are you doing?

CLAUDIA
Taking my clothes off.

RHETT
Under the covers?

CLAUDIA
I told you. Privacy is very important to me. No privacy, no intimacy, right? You need it as part of the context to make intimacy possible. And it's especially important with strangers.

RHETT
You don't even know my name, right?

CLAUDIA
Rhett.

RHETT
You know anything about college football?

CLAUDIA
I went to the Harvard-Yale game once.

RHETT
Right. My name's Rhett, Rhett Smedley. You never heard it?

CLAUDIA
No. My name's Claudia, Claudia Zance.

RHETT
Claudia Zance... You know, it's like I've heard it before..or should've.

CLAUDIA
No. Impossible.

RHETT
Yeah..it's just so many people are famous now, or semi-famous with all them channels and websites and all that... What do you do?

CLAUDIA
Uh..uh, I'm a sociologist.

RHETT
Huh. That must be pretty interesting.

CLAUDIA
It's got it's moments. ... That was a brave thing you did, going over there. I mean, you never know, ahead of time..I don't know, if they've got a gun or there'll be a violent reaction or...

RHETT going over to bed and taking Claudia's hand etc.
If we knew ahead of time we'd live without daring..and that'u'd hardly be human life.

CLAUDIA
What are you doing?

RHETT
Exactly what it looks like I'm doing.

CLAUDIA
What?

RHETT
Alright, I'm saying my prayers -- praying you'll take me in your arms tonight.

CLAUDIA
You said it was the last thing on your mind.

RHETT
It's the only thing on my mind.

CLAUDIA
Pray real hard.

They are about to kiss when interrupted by Orville singing from off with Nona laughing.

ORVILLE
Oh darling, darling, darling I know we've both been here before.

RHETT
Damn. Orville.

CLAUDIA
Ohohoh...

ORVILLE singing -- simultaneous with Rhett/Claudia exchange following
Place where the mournful rolls along
when that freight train whistle blows,
place where the lonesome goes
from the whip-p'r-will's sad song.

Place where our heartache sends
mem'ry to sing the pain love means,
place where that lost highway ends
in the land of broken dreams.

RHETT
And on top of that that cereal box cowboy's going to make us listen to his mattress springs sing all night. Might as well tune these up and make it an all night spring quartet, huh?

CLAUDIA
Yuh-ie. You just blew it.

RHETT
What?

CLAUDIA
"Whut" Yeah. Forget it. Maybe..I almost... I'm sorry. I'm sticking to my original plan.

RHETT
Why?

CLAUDIA
You're not my type..I don't know..thinking about her falling for that -- it's ridiculous how he's..how can she be so dumb?

RHETT
That's her business. And ours now's to

CLAUDIA
No. I'm not giving in to you.

RHETT
Why not?

CLAUDIA
'Cause, giving in's how you see it. And my life's not some musical made in Nashville.

RHETT
Maybe not, but their musical's still got a lot more life to it than your life and mine right now.

CLAUDIA
Maybe. ... Maybe not -- and that's how I see it.

RHETT
So more power to you. ... I'm going out. Go take a walk.

CLAUDIA
Come back.

Rhett goes off; Claudia goes to sleep.

NONA
Orville..hey! I'm not a teddy bear!

ORVILLE
Nope. You're a woman.

NONA
Yeah.

ORVILLE
You're going to sit there like you're thinking? What's there to think about?

NONA
Orville, I had a real good time.

ORVILLE
Sure you did. And you know what, we ain't even got started yet.

NONA
Orville...

ORVILLE
What's wrong?

NONA
There's nothing wrong, I

ORVILLE
Oh please, please honey please don't lay that deep meaning boogie on me.
Close your eyes, close your eyes and let Nature
fill your heart and be your guide. I know
she's pushing out so strong inside like Spring athaw
beneath the melting snow on mountain sides in May.

NONA
Nope. Don't want any more of that something made me do it, and it wasn't me.

ORVILLE
So what do you want?

NONA
Orvie, would you go get me a soft drink maybe? I sure am thirsty all of a sudden.

ORVILLE
"Orvie?" Ohohoh... Sure. I'll be glad to. I'll be right back.

Orville goes off. Nona gets into bed and goes to sleep. In other room, Rhett goes on, and gets into bed.

CLAUDIA
Goodnight.

RHETT
Goodnight.

Orville comes back on.

ORVILLE
Well here you are. The doctor your doctor ordered, huh?

NONA
Oh Orville, I think I'll have it later. I'm real sleepy right now, okay?

ORVILLE
Well just wake up a minute and then get sleepy -- finish this night up right, with the cure the love doctor knows is right. See, it's like man and woman -- you got the symptoms and I got the diagnostic equipment.

NONA
And start it up all wrong with weak and sickly love again. Trust me. I'm too tired.

ORVILLE
We're not old enough to be too tired.

NONA
Yeah we are. Oh, are we. Now just get into this bed and hold me, hold me, Orville, that's what I want.

ORVILLE
Honey, don't you see, I'm

NONA
Orville, what you want..go on down to the road and it's out there, lined up in the headlights in everyplace on Earth. And God knows they need the money and could do a whole lot worse than you.

ORVILLE
I ain't -- well, here at home -- I ain't ever bought no skivvy time 'cause..'cause I'm so much fun to have around.

NONA
And proud of it too? 'Cause you only think about yourself and you're too cheerful and cold to ever get upset and care.

ORVILLE
Huh? Ohaw...

NONA
Orville, get into this bed with me and hold me close so I can sleep. That's all.

ORVILLE
Why everybody sleep so much? Miss all that could happen in waking world -- and all them bad dreams too.

Orville gets into bed and he and Nona go to sleep. All four sleep. The following can be recorded playback. Dawn comes up as, variously,

RHETT/CLAUDIA/ORVILLE/NONA
Blue pale speck against the black, the ball of sun
not far beside glints 'genst one side
as on the other is over and done
another day of life here's brimming tide.
How gently curved she moves on along like proving --
spin and circling in her planet's dance --
the law that binds up masses moving,
law dead to life that's made by time and chance.
The blind luck that brought this evolution
tempts us deny our place is Nature,
though her ev'ry single new revolution
should make us surer she's ours to nurture.
This turning stage of all life's play
from day to night, from night to day,
makes the measure of time's sway
over all that lives as all dies away.

*******

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Running Back Running Back

NEXT: Parking lot of motel. County Sheriff, Titus Clemons and his Deputy, Gomer Hebert, come on.

GOMER
Ho Sheriff, them taxpayers sure making us work early today.

TITUS
Deputy, lawbreakers don't punch clocks.

GOMER
Sheriff, duty might not, but the body does.

TITUS
Gomer, you better trade that old body in, get your new model on line, 'cause otherwise you ain't ever going to love this work.

GOMER
Now Titus, I told you, don't call me Gomer when there's anybody ahearing.

TITUS
Aye, aye. And 'fore we're through, we'll be getting you a new name too. And alright, snap it open, but there's no need to unholster 'cause I feel this ain't but a social sadness call.

GOMER
Yessir.

Titus and Gomer go off into motel as Rhett comes on.

RHETT
And I'm took off and out of here and Orville..and the cops here too, but not for me..so cool..hate to steal your car this way Orv, but you'll maybe understand. Sneak in there like some kind of break-in artist, lift the keys from your pocket..roll a roller in his hotel room with hooker..dark before dawn when even the wicked sleep their sleep sound as happy children. And now if I'm going to do it, I'm gone.

Rhett goes off. Sound of door, car started, and driving off. Sound of another car driving up, parking, doors, and Calvin Wilmon, itinerant preacher, and Durrell Darwin, his hatpasser, come on.

DURRELL
Reverend...Reverend, this place ain't going to have no breakfast, no coffee even. Look. This place so run down no enterprise zone no urban renewal no tax no nothing they try could change it -- program just come and die away with it. But then, hey, there's no place so run down, money in your pocket won't jingle some life up.

CALVIN
Not for sure -- no it won't -- not no more. Things've changed, young man, and the..huh!.. new age has got us gripped up now. And the Lord he best come deliver us and

DURRELL
He best come with a pocketful of money or he won't get much done.

CALVIN
So he can get possession fever just like you?

DURRELL
Respect today's what people see's the stuff you got.

CALVIN
Respect! There it is, only reason I want it, so's you can see I got it. Hah! Consumer man -- damned to dream. I just imagine me..and so I got to have..I got to have them clothes so other people look at me like someone..that got them clothes. I know..you had to have that car..'cause that dream you had of yourself in mind with all the girls and ev'rybody looking you like..you got to be somebody..like in that ad that made you want to be seen that way and want it. Huh! Got to have it, got to have that..that so others see you're one that's got that..hah! That ain't self-respect; that's other-envy.

DURRELL
Must be why I want to trade this one in, huh? Just ain't 'the one' for how I see myself now.

CALVIN
See, they got you where they want you -- you already dreaming of some new one -- still dissatisfied.

DURRELL
Got it picked out already.

CALVIN
Lord, how'd it come to this? You know,
when civ'lization in her Grecian cradle
was play and bawling all fire of first life
her ancient philosophers they said
that man was an animal political
who worked to live together in society.
Long time and changes come to recent times
and brought us down to economic man who worked to live --
and that's all he did. But now we got consumer man
condemned to dream -- and live to work and work
so he can buy more stuff to call his own.
And that's where you are with that car, in financial serv'tude to the bank that takes the payments and lifestyle-tied to check you locked it and set alarms and ho! Lord, the sooner you come free us now

DURRELL
And like make them loaves and fishes cash -- to feed our debt service.

CALVIN
Huh! So you stuck, consumer man. You got style 'cause you got stuff, but you got debt so bad that paying it down's done made the heaven of what was your carefree life sheer hell -- and like them squealing piglets in the sty, squeal and squeal won't save you from making bacon for the bank.

DURRELL
But insurance money might

CALVIN
Insurance! Ho! Huh..progress! Can't get over it, how possession fever make the poor man like the rich man -- 'cause now you too can live to worry 'bout who's out going to steal your precious, precious feather-fine that only envy makes that way.

DURRELL
So? Alright! I'll get free and never worry. I'll just leave it open, keys in the lock, right there -- nobody takes it, I'm not worried; somebody takes it, I'm not worried..'cause I'm living possession-free. That's what you think's the way?

Durrell goes off, sounds heard of car door opening and not closing.

CALVIN
You'll be peeking up, looking out the window for it the whole time, huh!

DURRELL
No I won't -- possession free, just like you counsel. That's me. And you think like I can't take the dare, huh!

CALVIN
There's nobody here any ol' how so

Durrell comes back on.

DURRELL
So let's get that coffee.

Orville comes on, followed by Nona.

ORVILLE
Rhett! Hey, Rhett, you out here?

NONA
Orville, wait.

ORVILLE
Can't; he's gone. I just went over there. She said so.

NONA
He couldn't've gone far..'sides, wouldn't be gone 'cause she's still there.

ORVILLE
Yeah..just maybe maybe. Hi, how you doing?

CALVIN
Good morning, good morning, and health, happiness and blessed goodness be with you this fine day.

ORVILLE
And I need them too.

CALVIN
Brother, we all do, and more than we know. Like I preach in my sermon entitled "Lost in the Desert" -- man doesn't know it, but thinks he knows where he's going but huh!

DURRELL
And if you feel the need to be found, God sees no diff'rence. He takes unto fulfilled account all the contributions from all his children. Brother Calvin here he'll preach come morning right up the road here, chapel called

ORVILLE
I don't feel no need to be found; I feel the need to find somebody.

CALVIN
You can't hide from God behind no merely carnal, human love.

DURRELL
You know they got any coffee, breakfast in there?

NONA
I don't know..this place..but you can try.

ORVILLE
You see this young man just come by here somehow?

DURRELL
Nobody here that we saw.

CALVIN
Fella drove out just as we was pulling in -- went off that way -- but that's all we saw.

ORVILLE
No, couldn't've been him. Man I'm looking for's got no car.

CALVIN
Well then, wish we could help you but looks like we can't. Not that we don't want to now, but can't. Have a blessed day, and remember, you thank the Lord for all the breaks he sends your way.

Calvin and Durrell go off.

NONA
Bye. Thanks. Orville, maybe we should go..I'm glad I met you, you know..it is like a blessing meeting someone that...

ORVILLE reaching in his pocket
Where my keys? Where?! ... It's gone!

NONA
What?

ORVILLE
He took it! He took my car! That ding dang no count..him! He did it!

NONA
What?

ORVILLE
That's it! He snuck in and took my keys this morning. That... He did it!

NONA
Orville!

Orville goes off.

ORVILLE
Over here. Yeah... I'm going to take one too. This one -- might as well've left it running too.

NONA
You can't steal that car.

ORVILLE
I'm not. I'm just taking it for a test drive -- down the road that way -- get mine back. You don't think law enforcement today's going to get it back for me, right? Real quick. Blessing the break Lord sent my way -and I thank Him for it. I do.

NONA
Orville!

ORVILLE
I'll be right back.

NONA
Orville, wait.

ORVILLE
Can't. I got to get him -- and get my car back.

Nona goes off.

NONA
Who's going to pay the bill?

ORVILLE
I am..want to or not. They slidered my credit card so..I'll call them later anyway.

NONA
Orville..Orville..

ORVILLE
C'mon honey, time's awasting.

Sounds heard of doors, engine, pulling away. Titus and Gomer come on.

GOMER
Sheriff, we can't leave those children there.

TITUS
What're we going to do with them? Take 'em home? Like we didn't have our hands full with our own.

GOMER
Well no, but

TITUS
No bad bruises, no blood, first call -- no case to even put a caseworker on. Write it up. And if later all goes wrong, some long lost relative'll use that report to sue the state that we should've known better.

GOMER
And with the right attack-dog attorney, they'll win, right?

TITUS
Right.

GOMER
So what good's our coming? Why'd this flophouse honcho call us anyway?

TITUS
Make sure his profit stays the government's problem, and don't make none for him. He just wants to make sure Human Services'll pay. 'Cause there was a man there with that woman and them. And now he's gone.

GOMER
How do you know? She said

TITUS
Smelled like it, my dear Watson, felt like it. Some people talk to us it's like they can't tell the truth even if they want to; they're in that..alternate framework, and it's stronger than them.

GOMER
Yeah, yeah. That perp framework..Oh Lordy, Lordy...

Claudia comes on.

CLAUDIA
Rhett...

TITUS
Ma'am...

CLAUDIA
Oh..hi.

GOMER
You spend the night here?

CLAUDIA
Yes.

GOMER
Room up on that side?

CLAUDIA
Yeah. What..?

GOMER
You hear anything? Last night..altercation?

CLAUDIA
Yeah. Well..but that was early..I mean around midnight anyway. This..who I was with went over there, then it stopped

TITUS
Who went over there?

CLAUDIA
Uh..his name's Rhett..he must be around here somewhere. I guess he went for a walk or something.

GOMER
He's gone too? But he was in there with her and them kids?

CLAUDIA
No, him. I mean, he was with me. He just went in there to try and..I don't know..stop it.

TITUS
What he say was going on?

CLAUDIA
That there was this man there

TITUS
See.

CLAUDIA
And he was like losing it..and these kids screaming and this woman that wasn't there and..I don't know..but then it stopped. He said it seemed to be..oh -- stopped anyway. Why?

TITUS
We don't know.

Calvin and Durrell come on.

DURRELL
Hey! Hey! See, they took it!

GOMER
What?

CALVIN
Thank you, Lord

DURRELL
He gave you your wish. Where's the phone? I got my insurance card right here. And I'm all paid up.

CALVIN
You look like the Sheriff in these parts. Well then you the blessing the Lord sent our way and just in time. 'Cause this man he just got his car stolen.

TITUS
Just now?

CALVIN
Yeah. It was right there!

DURRELL
Now it's not.

CALVIN
No more time than we just went inside

DURRELL
To find out this heap's got no coffee shop.

GOMER
You desire to file a complaint report?

DURRELL
You know it too. And it better be a full report 'bout my victimation by unmitigated crime.

GOMER
Sheriff, I'll go get the paperwork started.

TITUS
Any idea which way they went?

CALVIN
Well..there was this man and woman here, and they asked 'bout some other fella that we saw drive off that way so

GOMER
So you got suspects?

CALVIN
We got suspicion anyway..that's all..that they took it.

CLAUDIA
This guy with [fill in for Orville] and this woman with [fill in for Nona] hair? That's

GOMER
You know them too?

CLAUDIA
Well

GOMER
C'mon lady, you can tell us the truth.

CLAUDIA
Well..I don't know them well but they wouldn't..I don't know...

TITUS
He said he was looking for somebody?

CLAUDIA
Yeah, they were looking for..who I'm looking for. The guy I was with..sort of. But

GOMER
What kind of car he have?

CLAUDIA
He didn't. And the two you're thinking of, he had a car so why'd they take yours?

TITUS
And what the one you're with look like?

CLAUDIA
Oh he [fill in for Rhett].

CALVIN
That's him we saw just as we was coming in, driving away.

CLAUDIA
What? It can't be.

DURRELL
Just going to have to fill out that report huh? No big rush. Just give me a copy. I'm going to need it.

GOMER
Right this way. We got a whole glove box full of forms in the patrol car.

Gomer and Durrell go off.

TITUS
And there ain't none of them here now? Cat never comes home but the mice and cheese done gone. And if we're wrong, we ain't going to catch 'em. And if we're right, we still might not catch 'em. Let's go who's coming. We're going that way and see.

Sheriff and Calvin go off.

CLAUDIA
Hey... Wait for me.

Claudia goes off.

**** ****

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Running Back Running Back

NEXT: Chase on the highway -- Rhett in Orville's car, Orville and Nona in Durrell's car, and Sheriff, Deputy, Calvin, Durrell and Claudia in Sheriff's car. Lines enclosed in [ ] indicate CB transmissions between cars.

RHETT
And I got to be some kind of crazy, let this get to this.
The way things snowball on you sometimes
the last thing you can afford's regret.
'Cause character's destiny and when yours is all
impetuousness then only follow-on commitment
'll save you from ruin. So get me down this road apiece
and find a place to bail out of this car, somewhere
they'll find it and get it back to ol' Orv.
And talk of finding how'd I lose that sudden
presence there beside me that drew me with such strength
from somewhere in me I never knew I felt? And I
left her like some fool feel-sorry-for-yourself, dumb,
like in my own movie I'd lost control of the part I'd set me up
to play in it. And now check the action on the airwaves case..
case..don't even want to think about it.

*******
NONA
You know what kind of serious car theft is? Felony serious that's what. And you just oo-ooh! Like don't even think once.

ORVILLE
One, he took my car and I got to get it back. Two, it's just this once and I'm going to get away with it.

NONA
That's what they all tell themselves.

ORVILLE
And three, this'll be one of the cars they find and give back, and that'll be that and no harm done.

NONA
Til it hits you that's not how they see it. Orville, you -- like my dad used to say -- got two kinds of crime out there. You got the kind where they know what they're doing and do it like that's their commitment in life, and you got the kind like you, when it's just thoughtless -- opportunity and excitement sudden gets you -- and then it's too late.

ORVILLE
This was a calculated risk.

NONA
That's how fools that just won't listen justify the disasters their stupid pride and righteous folly make. Yeah, and other people get to live with the scars -- like of all them wars reckless old men keep starting.

ORVILLE
So the young that lived them can get painful old before their time.

NONA
What?

ORVILLE
You'll come visit me in jail?

NONA
Oh yeah -- and listen to how surprised you are you're there. Just like it was a surprise to you when they catched you and charged you. Oh-ooh..just the last thing on your mind when you did it, that that clang behind you and its world inside is what it got you.

ORVILLE
Your dad was in law enforcement huh?

NONA
Yeah.

ORVILLE
And didn't he also tell you so many -- maybe most of them -- get away with it?

NONA
They don't.

ORVILLE
You don't want to know..but they do. Take any bunch of people and in there there's a bigger number than you'd think that sometime stole, sold some dope or cleaned its money, cheated on society and government, hell, beat their wives and children bloody, even raped or killed somebody and they're out there free and unsuspected, and proud of themselves that way. Conscience? Fear of the long arm of the law? Huh! More like: So? Catch me..and then convict me if you can. And I say the odds are I'm going to get away with this too.

NONA
I don't believe that. Justice can reach and win. Or we all lose.

ORVILLE
So you just don't want to know? ... Hey, you got my admiration.

NONA
I bet they're after us already, and we're both going to the system.

ORVILLE
They ain't got you til they get you, and worry just tires you out.

NONA
Yeah, and when you got fatalism, no need to bother your mind with foresight. Great -- like made for that crime life. Turn that thing on and see what there's to pick up.

ORVILLE
Yeah. And where's that Betty Bearcat when we need her now?
*******

*******
DURRELL on cellular phone
{Seven seven six, one six one nine, seven eight nine..yeah..and I'm getting the police report right here and I'm all paid up so... What? Yeah, I'll fax that to you but your claim form was in the car so... Yeah alright, next time I'll keep it in a safe place at home. Now while you're waiting get that check ready so I can get a new car.}

CALVIN
New car? You ain't hardly started pay for the one you got now.

DURRELL
Had. {What waiting period? I'm paid, my car's gone, and you called it full coverage.} Man, this is a set-up.

GOMER
Just speaking personally, you ain't ever going to see no money..or not much anyhow.

CALVIN
You don't need no money. That car's right up the road.

GOMER
You better hope so, oh yeah.

DURRELL
That car's long gone. {What've you got to check? Yeah, I'll hold.}

GOMER
Better find a lawyer, huh, if you want to get paid.

DURRELL
Hueh?

GOMER
None of my business but..personally..you know they got deregulation now so all they got to do is what market forces makes them do, so you need a lawyer make them pay, 'cause you ain't got no market force.

DURRELL
Market, man? Who let them in there selling if they got to be forced to pay?

GOMER
Nobody. That's why it's free. Hey, don't get me wrong, I'm for it. Patriotic freedom's way..it's got to be free enterprise so the government can't be no spoiler in there regulating all this and that -- see, government ain't got no rights, only individuals and businesses do.

DURRELL
It better have the right make me have insurance. I got to have insurance -- that's the law.

GOMER
Yeah, but that's 'cause you're regulated -- 'cause you ain't got no market force to make you free. So for them the law's deregulated, so it don't say they got to pay. So they won't -- 'less you get a lawyer and make the courts force them to.

DURRELL
I can't afford no lawyer..I been paying my insurance.

GOMER
See. So you ain't going to see no money. I know.

TITUS
That's not that kind of insurance you got to have.

DURRELL
You know, that car wasn't all that tired after all.

CALVIN
Huh! And don't nobody love they job till they got layoff tension following them 'round.

DURRELL
{Yeah..okay..right. ... We'll get back..to each other. Thanks. For nothing.}

DURRELL
Hey Sheriff, can't you step this up? Let's get this guy!

GOMER
Now we're talking. File that complaint! Sue somebody! Oh yeah!

TITUS
You called in the claim so I guess we got to call in our report too. [Big Smokey, Barn; Barn go.] One more statistic for the crime numbers huh? [Big Smokey, Barn; Barn go.]

GOMER
What's our perp look like?

TITUS
Ain't but a suspect yet.

GOMER
Sheriff, he's in the stolen car driving it. That's perpertration if there ever was.

TITUS
Deputy, guilty ain't guilty til the jury says so.

GOMER
Guilty is guilty no matter how the lawyers con the jury.

TITUS
The facts is one thing; the law's another. [Big Smokey, Barn; Barn go.]

CB
[Barn, Big Smokey; reading to copy. Big Smokey, go.]
*******

*******
ORVILLE
We got 'em.

NONA
More like they're getting us.
*******

*******
TITUS
[Got an eighty-eight for you, Barn; car theft's alleged but not confirmed. Scene of said event

DURRELL
Nothing sad about it. I'm free..like of pride of ownership..one car, another..it's a throwaway. I got insurance, get me a replacement.

GOMER
Yeah uh-huh. I told you, insurance is like sweepstakes -- they promise you some real prize but don't give you but tokenism..'less you sue them and then you can win big. I know.

TITUS
[Scene of said..alleged..event Coach Motel on highway forty-one. Complainant...] What's your name?

RHETT
Orville, you called this in on me? Oh man...

DURRELL
Huh? Durrell Darwin. Is this going to be some kind of record or something?

GOMER
Doing into that big database in Federal City. You owned the car right?

CALVIN
He don't own but the debt on it -- but that's all the same now right? Huh!

TITUS
[Durrell Darwin..believes suspect might be..hold one, Barn.] What he look like?

DURRELL
That's Durrell with double R and double L, as in double R, double L.

TITUS
[That's Durrell with two Rs and two Ls.] And so what he look like?

DURRELL
Oh huh, he was..you know

CALVIN
Yeah, he was a tall, handsome man -- fine looking, stand-up of a man.

GOMER
How old was he?

CALVIN
Aw, he was that..man age, when all your youth is gone,
but old age ain't yet laid that cold hand on
clap that time grip on your shoulder,
and start to slowly shake your body dry.

GOMER
Yeah, so what he look like?

TITUS
[We're getting that for you, Barn.]

DURRELL
I told you; he was tall, good looking

GOMER
Look, if he's going to be suspect, you got to use the right lexigraphy -- gender, group, build, age, features -- and no extras. So he was male... So what's his group?

DURRELL
How do I know? I don't run with him. He stole my car.

GOMER
His racial-ancestral group.

DURRELL
Aw..he was..he was a goddamed, no-count middle-aged old fool.

GOMER
That's not an acceptable group.

DURRELL
Why not? That's what he was.

GOMER
Cause, the legislature. Legislature done legilislated -- regulated -- the're seventeen exact racial-ancestral groups that all suspects got to be accounted for and that we got to enter in by number code.

TITUS
He's a four.

GOMER
I thought that'u'd be a three. I'm a three, right Sheriff?

TITUS
Deputy, I'm a three, you're a two.

DURRELL
So that makes me a number one? So what if you're a half breed? Or some umpteen kind of breed? They just going to string all the numbers along -- hey, I'm a forty-three or a twenty-one or a six two five one seven -- or what?

GOMER
You sure about that, Sheriff?

TITUS
Yeah...pretty sure. [Barn, that's..suspect's male, code four, build above average] right?

CALVIN
Yeah..but that depends what size average is. Didn't they regulate that too?

TITUS
[Middle age, regular features. And my pos is north on forty-one in possible hot pursuit. How copy, Barn?]

CB
[Fives, Big Smokey.]
*******

*******
NONA
And I'm not going to tell you who that sounds like.

ORVILLE
Could be anybody. What's a code four anyway? You know your code?

NONA
Anybody on..see that highway sign..forty-one! Orville, I can't stand it!

ORVILLE
Hun, this here's why criminals love they life -- addicted to the thrill -- 'cause it's relief from the pressure that's got that permanent drop on you.

NONA
And when the sirens come tingle up your spine, that's thrill bliss?

ORVILLE
Some kind of release anyway..til you're a goner, know it, and let go. You going to come visit me in prison? Get conjugal visitation rights, I'm going to have to marry you yet, get anywhere with you.

NONA
Orville...

CB
[You got an ID on that vehicle?]

TITUS
[Ten four.]

GOMER
What kind of car was it?

ORVILLE
[Breaker, Big Smokey, breaker]

NONA
Orville, what are you doing?

ORVILLE
[This here's your prime suspect, Big Smokey. You read me on this net, Big Smokey?]

GOMER
Sheriff, you hear that?

CLAUDIA
That's his voice -- Orville.

DURRELL
No-count four flushing..four.

ORVILLE
[Big Smokey..now hear this..I got the car, but I ain't stealing it 'cause I'm justified. I'm just using it get mine back 'cause mine got stolen just before -- and then I'm going to give it back, intact. I'd got to use it Sheriff, or mine'd be gone. So under the principle of aiding immediate redress, I'm justified -- so this ain't theft at all, 'cause I'm going to give it back soon as I can.]

TITUS
Maybe sooner, son.

ORVILLE
[Sheriff, you got to understand. You're a lawman; you know what it looks like is hardly ever what it is.]

GOMER
What it looks like, nine times in ten, is exactly what it is.

ORVILLE
[Sheriff, you on this? Big Smokey, go.] Nope. Not on there or not hollering.

RHETT
[Hey..hey uh..this thing working? Anybody hear me on this?]

ORVILLE
Ho! Look for one, find another.

NONA
Orville, find a way out of this.

CLAUDIA
That's Rhett.

TITUS
So you say he took his and all that huh? Principle of aiding immediate redress -- only crooks and lawyers think like that.

GOMER
You can always tell they're guilty just by how they explain they're not.

TITUS
This country, you got the common sense truth and you got the legal truth -- ask near any politician hiding the tired facts of his life -- and they don't feel they're lying as they talk you legal on and on.

CLAUDIA
The facts are the extenuating circumstances too.

TITUS
But I ain't the judge; I'm the cop.

RHETT
[Hey..hey uh..this here the Running Back..the Running Back..and yeah, I took it. I took the Prime Suspect's car -- and I'll give it back just as soon as he let's me be.]

CLAUDIA
See.

RHETT
[Anybody on this?]

ORVILLE
[Running Back, Running Back, you're a sound for sore ears. Now where's my car?]

RHETT
[Right here. And I'll give it back to you soon as you cease and desist.]

ORVILLE
[Deal. Give me a where.]

RHETT
[I'm on the ramp to the Interstate north. First rest stop parking lot's your there.]

ORVILLE
[I'm coming, buddy boy.]

TITUS
And so are we.

All go off.

*** *** ***

willow_nts.tm

www.willow-n.com

Running Back Running Back

NEXT: Parking lot of gas and food stop on interstate. Travelers are on. Rhett comes on.

RHETT
Okay Orville..let's go, let's go. ... Where...? And get on with your lives you all, the face of stone clapped on the life beneath, heads down and up and at..whatever, so full of pressing aim of individual intent, and so, making so sure the lives going down beside, like mine, go by without so much as..bye.

ORVILLE from off
Hey, Rhett!

RHETT
I'm here.

Orville and Nona come on.

ORVILLE
You sure you want me to give up on you now?

RHETT
You want your car back?

ORVILLE
Oh, man... Giving up like breaking up

NONA
ain't that hard, once you get started.

RHETT
Got the keys right here.

ORVILLE
You sure you're not the one giving up?

RHETT
Nope. I mean, yup.

ORVILLE
You're going to regret it.

RHETT
I'm planning on having too much to do to get to that.

NONA
Too much to do, so you never get to it -- all what you regret you didn't get to?

DURRELL from off
That's it! That's it! That's my car!

CLAUDIA from off
There they..he..they is!

TITUS from off
Deputy, put up that gun!

GOMER from off
Yessir. Halt! You're under arrest!

NONA
I told you.

RHETT
Why'd you call me in on them?

Claudia, Titus, Gomer, Calvin and Durrell come on.

ORVILLE
Wasn't me, man, wasn't me -- cause that's not me. Don't jump to no conculsions cause ain't nobody guilty till proven so.

GOMER
Don't move. Don't move, cause for the moment now, you're all guilty parties now. Don't move 'less we tell you.

TITUS
And we'll all get to next with no regret.

RHETT
Claudia.

CLAUDIA
Hi...Rhett.

GOMER
Rhett, huh?

TITUS
These the keys to your car, son?

RHETT
Well, actually, they're the keys to his car.

GOMER
"Well, actually," you know every time I hear that

ORVILLE
You think to yourself in your mind, well actually, I'd best stop and listen -- case maybe I'll learn something.

GOMER
Learn no Mr. Sassy's got no excuse for a smart mouth, open wide and spewing out -- got a mind to soap it right up and ream it right out.

ORVILLE
And soaping and reaming's what always the likes of you with your sad ass little bit of power makes you be dreaming?

GOMER
Huuh... And I thought grown men like you be too old to have attitude. And you want to know a little something? No attitude ever's too old for a prisoner rectification session.

TITUS
Deputy! A suspect don't become a prisoner till due process makes them so. This ain't no Guantanamo. And you ain't but a suspect yet.

NONA
Till they see the obvious.

GOMER
So now we'll just duly proceed to the establishment of the facts. Ain't that right, Sheriff? So, you! What you driving?

NONA
Deputy, let me tell you the truth. This man, this man's been driving me crazy -- and now I want satisfaction.

GOMER
What's he done to you little lady? Sheriff, this suspect -- look at him; I bet but he ain't but the surface of crime.

DURRELL
That's my car over there. And it didn't drive itself.

ORVILLE
That's your car?

DURRELL
Yeah that's my car and don't you give me no crazy like oh I just up this morning and went down to the cafe bar, had me two triple doppios and I was so hepped I just up and stole a car this morning, didn't know what got into me. Uh-huh, cause now I'm here and I'm with the law and I'm going to have you reparated right now.

CALVIN
Ho, first you didn't want it, and now you want revenge for it.

TITUS
Revenge is a civil matter.

ORVILLE
That's you car? Oh, my, my, my -- my lucky day! Good buddy, you know I been looking for you every place.

DURRELL
Don't talk to me; I got psychic damage from what you done.

ORVILLE
Come on over here now and let me reparate by way of truthful explanation.

GOMER
(We better separate them, Sheriff, or they'll be coordiniving their story.)

TITUS
(That's alright. Longer the alibi, longer they get to trip on the truth.)

ORVILLE
Mister..Sir..I have oh so honest to God been looking for you so.

NONA
(They're going to arrest him, aren't they?)

CLAUDIA
(Looks that way. Aren't you worried they're going to arrest you too?)

NONA
(Didn't think of that.)

CLAUDIA
(Just thought of him? It'll be alright.)

NONA
(No it's not. It never is. We just get used to, that's all.)

ORVILLE
I mean..Sir..there's no way words in speech can say
how I'm obliged for how you helped me get my car
back stolen shameless like that, like it was.
And now you're exactly who I need to give yours back.
And I just want to thank you now something powerful,
for your gracious happenstance of being here,
so's I can restitute with gratitude my thanks to you.
I mean there's no way that words can say

GOMER
how guilty, guilty, guilty you are today. Guilty, yessir! Mr. Suspect, huh! of interstate grand larceny -- so you're a prisoner now! You can't get away with it, 'cause you did it.

TITUS
You did take it, didn't you?

ORVILLE
Yeah I took it, but to steal it you got to take to keep it. And you can see I didn't cause now I'm giving it back. Here. Mister, there're no way that words can say, how much it means to me that you're here for me, and I'm here for you, and there it is. Thank you.

DURRELL
I don't want you to be here and I don't want it back. I want violation restitution.

CLAUDIA
Well, if you've got insurance for that

A LAWYER TRAVELER
Somebody say insurance?

GOMER
Okay, folks, stand back. Stand back, now. Move along. Nothing happening here, you can get on with your business.

DURRELL
Thank you? Huh! I'm going to sue you that's what. And I deserve all them mental anguish damages -- cause of how you made me a victim of crime.

A LAWYER TRAVELER
You need a lawyer -- I know you need a lawyer.

DURRELL
You know anything about insurance?

A LAWYER TRAVELER
Of course. My practice extends across the entire liability spectrum, from utter random happenstance and sheer unthinking ignorance to deliberate neglect and wilful malfeasance -- it does, it does, it does indeed and fact!

TITUS
Alright. Sir, let's please step back now.

CALVIN
Come on now, there's no call to be like that.
No harm was meant, nor no loss endured.
No restitution's needed, so can none be rightly claimed
when there's no loss. And such transgression without harm's
the easiest forgiven and buried in forget.

A LAWYER TRAVELER
Fuck forgiveness. I'm a lawyer. I can get you damages -- loss or no loss.

DURRELL
Yeah, it wasn't your car he took.

CALVIN
And now you got it back.

ORVILLE
Like nothing ever happened.

TITUS
Oh yes it did. And what you did was against the law.

A LAWYER TRAVELER
And a crime. With collateral, lasting, deleterious effect to my client's well being and potential happiness only equitable compensa

TITUS
Sir, would you please step back.

A LAWYER TRAVELER
Sheriff, that's my potential client (here's my card; my cellphone's on it) and you are violating my rights preventing me

TITUS
Get back! Now, Mister. Deputy, read him his rights.

A LAWYER TRAVELER
You are violating my rights. You are violating the fundamental Consitutional rights of my client and myself. I'll sue you; I'll sue you, you hear me, all the way up to the Supreme Court.

GOMER
You understand you have the right not to answer any questions now

NONA
Oh my God...

ORVILLE
Sheriff, you're not going to arrest me?

TITUS
Look at me. Look at me. It's not you I'm arresting. It's a lawbreaker. Like you're not a you; you're a perp. It was personal, I wouldn't be no sheriff worth a damn.

ORVILLE
Come on, Sheriff, look at me. I'm a man, I'm a man with life to live. I'm a man..just about to get married. Folks, folks, ain't it just cruel and unusual take a man away for a legal violation that's been completely undone right on his wedding day?

GOMER
Move on along now people. Put up that video cam, you're not going to see no police brutality here now. Oh!

A TRAVELER
Let him go. Typical law enforcement -- break up the fam'ly 'fore they even get started.

TITUS
What his personal situation brings to bear, that the judge can take into account. Now let's all move along and we can all get on with our business.

ANOTHER TRAVELER
What you need a judge for? Look at him. He's guilty. They're all guilty.

A ETC. TRAVELER
Yeah!

A ETC. TRAVELER
What he do, Sheriff?

DURRELL
Stole my car that's what.

A ETC. TRAVELER
Hey, hang him. Hang him high.

CALVIN
But he gave it back, and can't be no crime done where there ain't been no harm done.

A ETC. TRAVELER
So why don't you catch some real criminals?

TITUS
We catch who we can. It ain't everybody, I know. Now let's just move along here now. Ain't no negotiation we're doing here.

A ETC. TRAVELER
But you don't never catch the big-timers that do all the harm that don't bleed.

A ETC. TRAVELER
Yeah. Let him go. I ain't paying tax money keep him in jail.

A ETC. TRAVELER
Put all the lawyers in jail. I'll pay for that.

A ETC. TRAVELER
Yeah Sheriff, how come all them big operators that rip big, and rip big..keep all they take, and they always walk away?

A ETC. TRAVELER
Yeah Sheriff, and how 'bout them mean old men that lie on and on, starting wars, getting people killed and they just walk away?

A ETC. TRAVELER
Yeah, look at all them mean angry old liars, sitting on their money

A ETC. TRAVELER
waiting to die

A ETC. TRAVELER
still out there walking around.

A ETC. TRAVELER
There ought to be a law -- can't nobody send you to war or put you in jail 'less you're over fifty.

A ETC. TRAVELER
So where you going to keep all the hoodlums? School?

A ETC. TRAVELER
Come on, Sheriff, tell us why.

A ETC. TRAVELER
Let him go!

A ETC. TRAVELER
Yeah!

GOMER
You want me to call for reinforcements, Sheriff?

TITUS
No. Well folks, there's good reason for the way things are. Now listen to me...

A ETC. TRAVELER
Hey, you really going to married?

ORVILLE
That's right. Oh yes ma'am. And marry her right here right now you want me to.

A ETC. TRAVELER
Oh go on now. Must be some kind of reality TV stunt.

A ETC. TRAVELER
Mira, una boda, parece.

A ETC. TRAVELER
No..aqui?

ORVILLE
No. I'm serious as serious can be. You folks want a wedding? Well alright! We got a preacher right here. Dust off your blessing, padre; let's go. Everybody loves a wedding!

CALVIN
Come on now. Marriage ain't some kind of snap judgment thing. Anyway ther're procedures and reflection and

ORVILLE
Marriage is a destiny thing. Ain't that right now, people? When a man's time comes, his time's come, and you sure better not think about it or nobody'd do it. Oh yeah!

A ETC. TRAVELER
Come all night.

A ETC. TRAVELER
What about her time?

A ETC. TRAVELER
She gets to come too.

ORVILLE
Folks..hey! I'm right on 'bout marrying her right here right now, so long as she'll have me, and with you as my witnesses I'll

NONA
Who you fixing to marry, Orville?

ORVILLE
You.

NONA
I thought so, Orville.

ORVILLE
Nona, oh Nona, Nona my love, I swear,
as God is in his heaven safe asleep
and we're down here I'd say half awake,
I'll stand right here and vow I'll try my best
to love you true. Come on, the diff'rence there's
'tween now and later for deciding's what?
Re-assurance we shouldn't need if we and destiny's
set up to set us on to bind us up. With this ring
and all that good stuff don't mean a thing
'less ardent hearts will all to keep
alive the fire they set, that cold to ashes
pale it goes if there's no tending it by emotion freed
cause bound to minding love that lasts.

NONA
Orville, if you're just talking on...

ORVILLE
Look in my eyes and take the chance the heart

NONA
and hope within would make me dare?

ORVILLE
And stranger dares have worked out right.

NONA
Alright.

ORVILLE
There. C'mon padre, send the summons out for heavenly bendication.

CALVIN
You're not approaching this with appropriate humility and I'm not

A ETC. TRAVELER
Go on. Marry 'em!

A ETC. TRAVELER
Yeah!

ORVILLE
Yes, ma'am. That's right. That's how serious we are 'bout honoring it right here with you in the moment destiny improvised it to. We got all we need right here. Come on over here; you're my best man.

RHETT
What?

ORVILLE
And who wants to be the bridesmaids?

A ETC. TRAVELER
Oooh! Go on.

A ETC. TRAVELER
I can't...

A ETC. TRAVELER
Go ahead.

ORVILLE
Come on up here.

A ETC. TRAVELER
I can't...

A ETC. TRAVELER
Tengo unas flores...

NONA
Oh... Thanks. (Claudia...)

CLAUDIA
(Yeah?)

NONA
(You ever been a maid of honor?)

CLAUDIA
(No.)

NONA
(Well, I ain't ever been married either.)

CLAUDIA
(You sure you want to do this?)

NONA
(Yeah. Like the last all or nothing, and I'll play it to break my way. And I ain't got much to lose to see.)

CLAUDIA
(I'll hope for you.)

NONA
Orville, Orville, I'm the one daring you now
that you'll take your goodtime self and stand and say
'fore God, society and me that here you vow
to let it go and ever more meet me halfway.
You get down to your deepest heart and haul out
your naked truth 'bout your intentions and
you come clean. Ain't no point 'less you, like me, call out
all we got that's best for our relation's end.
And as you call so will I pledge to answer,
truth for truth, need for need, like love
must be if it's to last, be true, and prosper --
'cause God's up in his heaven, caring from above.
Orville, Orville Audrey, I'm the one daring you now
to make it your deepest honor to keep your marriage vow.

ORVILLE
I understand.

A ETC. TRAVELER
Oh..oh that's love you're looking at.

A ETC. TRAVELER
Beautiful...

A ETC. TRAVELER
Hey...

A ETC. TRAVELER
I can't help it. I always cry at weddings.

A ETC. TRAVELER
Oh Hon, do you remember?

A ETC. TRAVELER
That's how we all look like when we start -- blind -- til time comes lookee, see what you done did with!

A ETC. TRAVELER
No, you have to have three bridesmaids. You can come, okay?

A ETC. TRAVELER
No, no puedo.

A ETC. TRAVELER
Ella tampoco podia y ahi 'sta.

A ETC. TRAVELER
Well, go on. Marry 'em!

GOMER
Can't. Got to have a license. Hah!

TITUS
When you got life breaking out, paperwork and procedures got to come later.

GOMER
Sheriff, we can't be letting them get away with this?

TITUS
Deputy, the law's the law; and duty to it's one thing, mercy for its sake another.

GOMER
Sheriff...

ORVILLE
Let's go preacher, and lay that blessing down.
I'm ready as I'm going to be, and she

She's here beside to stand by me, and that's
a stronger yea than words and paperwork can make.

CALVIN
Is that what you are?

NONA
I am.

ORVILLE
So crank up that blessing, padre, cause

CALVIN
Blessing's just for getting started, getting started up that uphill road that winds and scrambles to that final wayside where you lay you down for your last time, and one or other death does do you part. Mercy me... Marriage... No, look..I'm not sure at all that this...

A ETC. TRAVELER
You gotten started good there preacher

A ETC. TRAVELER
so carry on!

A ETC. TRAVELER
Yeah, you can't leave 'em half married.

CALVIN
Ain't no such thing as half married. You either not married or you all married.

A ETC. TRAVELER
Don't you know it. And you forget it, you got in-laws to remind you. Ain't that right, mom?

A ETC. TRAVELER
Oh don't throw no cynicism wet blanket on.

A ETC. TRAVELER
Amen.

CALVIN
Amen. Don't never throw that blanket on that snuffs
out cold that flame of hope that burns more bright,
cause frail cause of the dark so vast around.
What persons they can do to make wrong right
is strong as that child-held candle that undoes
the mighty night of give-on-up. Children's eyes by candlelight --
you've seen 'em, and yours were that way once --
are like that goodness power within,
so shine it out cause it's the image He made us in!

A ETC. TRAVELER
Hawwww-yes!

A ETC. TRAVELER
Hear that grace...

CALVIN
Hear that grace come now -- but make you sure
what you're hearing ain't no dream that stay recede
in wishtime world. Yeah, you got to have that dream to hear it,
hold it close like a life you're saving, cause every day
you got to take that farther step in how this world is,
coming closer to that call -- cause what you live,
it can't be no dream. But when you're walking on the purpose
of that justice dream, you can hear that grace come now!

A ETC. TRAVELER
Hear that grace come now.

CALVIN
So as we call God's blessing down on us
as much as on this bride and groom, we best
recall that blessing's for the trust that makes
the ties that unblessed just won't bind.
Oh indeed, oh yes! we best recall it's up to us
to find the faith to walk the road your parted waters
done cleared between them walls of angry sea.
So take that step on off dissension's shore
for that promise land, unseen, of last best hope.
Saying hello stranger, take my hand in yours
cause we got ties can bind us stronger,
make us freerer than, alone, we was before.
And way this world is, Lord, we can't hol'back any longer!
May these thy people in your Providence
get the chance to make their dream come true;
the rest we'll on our own run right with hence,
with mutual respect and confidence in You.
Hold up your heads and stand us all together
cause here were trust is, hope and goodness they
will also be. And use the strength they gather to soldier
onward for that new and brighter day.
Older wiser, makes it harder, oh I know!
to choose the future, but together we shall go!
So in the power vested in me I do hereby now begin: Do you

ORVILLE
Orville Audrey

CALVIN
Take this woman who stands by you for that lifelong road of joy and sorrow until death does do you part?

ORVILLE
I do.

CALVIN
And do you

NONA
Nona Bowes

CALVIN
Take this man who stands by you for that lifelong road of joy and sorrow until death does do you part?

NONA
I do.

CALVIN
And hence by your vows before us, you are man and wife. Bride, you may kiss the groom.

All, singing, congratulating newlyweds etc.

To have and to hold,
forever and always,
too often I'm told
is a promise that strays.

With wide open eyes
'bout how hard it's to be true,
'til the best in me dies
I'll live my best for you.

Yes, I'll work to keep
all the sweetness and bliss --
close as lovers sweet sleep --
of this first married kiss.

How bright can it stay
the mem'ry of our wedding day? --
the bells I hear ring,
the blessings we sing;
the smash of the glasses,
still strong as time passes;
the toasts and good wishes,
feast and how good the dishes;
and at last dance away
to the music at play --
it can stay as bright as this day,
if you'll keep it that way.

Through the laughter and tears,
the hopes and the fears
of our happy, golden years.

all go off

***** *****

willow_nts.tm

www.willow-n.com

Running Back Running Back

LAST: Ramp onto Interstate -- Rhett and Claudia come on, hitchhiking.

CLAUDIA
So how 'bout that, they just up and got married?

RHETT
So did all the people that just up and get divorced.

CLAUDIA
Just like all the people that just up and stay married. ... What makes you think anybody's going to up and stop for us?

RHETT
I don't know. ... We'll see. ... Things have a way of turning out.

CLAUDIA
Where are we?

RHETT
Here, home, somewhere nowhere USA -- looking at a line of cars. ... Why're you staying with me?

CLAUDIA
Cause I'm..well, was..doing a story on you. ... There's something I got to tell you.

RHETT
I'm listening.

CLAUDIA
Okay, I'm a journalist, and I've been following you, doing a story on you.

RHETT
Oh, Claudia

CLAUDIA
But now I'm not, Rhett...

RHETT
Oh. Just up like that, huh? Like we could zap
ourselves at will in or out of any roles
ourselves and circumstance sets us up in?

CLAUDIA
Yeah. Now I'm just here..with you... -- not 'cross
from you an other watch and judging you,
and living to a diff'rent story;
now I'm beside, together you and me,
like looking in the same direction working off
a story that's the same for both so makes
us one -- somewhere nowhere, but still, one.

RHETT
I believe you.

CLAUDIA
So where we going?

RHETT
Good question.

THE END