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                            George Spiro:

                             CHICKENHEAD

                       A Tragedy in 16 Scenes

                               (1985)

                       Characters of the Play:

                              Old Woman

                              Professor

                                Woman

                               Father

                               Mother

                                 Boy

                                Punk

                              Sergeant

                                 Cop

                       City Building Inspector

                                Flirt

                              Teenager

Time and Place: Budapest, mid-1980s, an apartment building's internal

courtyard, on the outskirts of the city. Upstage center is a tall,

arched entryway with wooden doors. Up right, OLD WOMAN's apartment

door. Stage right is WOMAN's door, and down right is PROFESSOR's door.

Up left is a small garage, and left is FATHER's apartment door. Center

stage is a carpet rack. Also center stage is a small plot of dirt.

-------------------------------------------------------------------------

                              Scene 1.

(Afternoon. From the carpet rack a dead cat is hanging by its neck. OLD

WOMAN enters through the upstage entryway holding a plastic bag in one

of her hands, blood dripping from it.)

OLD WOMAN Here kitty kitty, kitty, pssss psssss! (She puts the bag down

in front of her door and looks for her keys in her purse.) Come on out

now -- I brought your food! (She takes the bag into the apartment with

her. Short pause, then she comes out.) The chicken heads melted -- they

weren't frozen through well enough -- but they're still good, kitty --

I smelled them -- now I don't have to go out again for another ten

days. (Beat.) If you only knew what a line there was -- I thought I

wouldn't get any -- but I did -- I was praying the whole time that I

would -- they were buying 'em up in big bags -- 20 kilos at a time -- I

thought I wouldn't get any but I did. We were lucky today, kitty --do

you know that? What a long trip it was there and back -- and then they

melted -- and the blood was dripping -- what a long trip -- I put them

inside two bags -- they watched on the street car -- the blood dripping

-- well, come on and I'll give you some -- some of the good stuff --

then I'll chop it up and put it in the freezer so you'll have delicious

chicken heads. Nobody has it this good -- even you don't deserve it,

kitty, pssss pssss! (She  walks around the courtyard looking for the

cat.) You didn't even eat breakfast -- now where the hell are you? You

must be hungry -- I'll put them in the sink -- I'll give you some then

chop up the rest with the hatchet because they're frozen -- I'll put it

in the freezer -- you'll have delicious kitty food -- it's good for two

weeks -- at least twelve days -- at least twelve days -- you've got

some life, you little animal -- where are you? Kitty?

(She sees the cat hanging from the carpet rack. Beat. She cries out

inarticulately, after a second walks shaking to the cat and with

quivering hands grabs the twine and tugs at it until it breaks off. She

hugs the cat to her breast, runs inside her apartment, and screams are

heard. Her voice fades. Silence.)

                              Scene 2.

(Enter BOY and PUNK from the arched entryway. BOY walks over to

FATHER's door, turns the doorknob and tugs violently, but the door

doesn't open.)

BOY       Fuck.

PUNK      Huh, not here?

BOY       Fucking bullshit.

PUNK      Not home, huh?

(BOY pounds on the door. Beat.)

No one's here, huh?

BOY       Why ain't he fucking home? I come home -- why ain't he

fucking home?

(He pounds and kicks the door violently.)

PUNK      Why don't you got a key?

BOY       From where? Huh? Idiot.

PUNK      Why didn't they give you one?

BOY       'Cause they didn't.

PUNK      My dad gave me one.

BOY       Fucking great, he gave you one. I don't give a fucking shit.

PUNK      Why didn't your old man give you one?

BOY       Dude, man. Shut the fuck up.

PUNK      Okay, then let's go.

BOY       What the fuck for --

PUNK      You just like want to fucking wait here?

BOY       That fucking bother you?

PUNK      We'll like come back later --

BOY       Dude, man! I pictured me coming home -- he's here -- I

pictured the whole thing. I come home and here's pop -- I saw it lots

of fucking times and it was cool -- it was fucking cool. -- I saw it

all: we go to a game, drink beer, everything..

PUNK      No game today.

BOY       I pictured all this shit -- you know?

PUNK      No game nowhere today --

BOY       Who fuckin' cares! I saw it a hundred times -- I remember --

fucking everything, man -- why ain't he home?

PUNK      We'll come back.

BOY       Sit the fuck down -- go to hell.

PUNK      What? What the fuck, man?

BOY       Nothing. Fucking dick.

PUNK      Man he'll be here.

BOY       Shut the fuck up. (Short beat. PUNK sits down.)

Everyone was asleep -- and I see me coming home -- then I was already

here -- and everything was like I wanted -- and it was mine -- just

mine -- I could always see this -- this courtyard -- they snore -- you

can't sleep -- the guard comes in at night to see if anyone's jerkin'

off. (PUNK laughs.) Jerkin' off ain't allowed -- but they do -- there's

a light on so the guard can see -- but not everywhere -- 'cause I got

the bottom bunk and the light don't shine in my face.

PUNK      Man, I'd like go for the top bunk.

BOY       Fucking go then.

PUNK      The top one'd be better, man.

BOY       OK, the top one's fucking better. Yeah, you know. Try making

your bed on the top -- they jump you if you step on the bunks -- I jump

anyone who steps on mine. Make your bed in two minutes -- 'cause the

fucking guards comes in and if it ain't right they fuck you up. Get the

top bunk. (Short beat.) Like you can fucking choose. Like you can say

what you want. Smack you so hard you puke your fucking brains. It ain't

like that. If your shoelaces break -- smack! Lunch and you spill soup -

- smack! And they knock your arm when you're carrying the tray or when

you're lifting the spoon -- and you can't fucking get 'em -- 'cause

they come in at night gauran-fucking-tee you're sorry.

PUNK      Fucking rough.

BOY       They steal your fucking tools -- put grease on 'em -- you

don't know who -- them. Then you fucking grease theirs like fucking

hell -- in two weeks you're greasing -- and then they puke on your

fucking clothes -- then you get wasted and puke on their's -- it's not

like you think.

PUNK      What'd they grease?

BOY       The motherfucking tools! (Mockingly:) What'd -- your balls!

PUNK      Your tools?

BOY       Their's. Such a dick stain. Their tools.

PUNK      Yeah.

BOY       Fuck it. You find a weaker kid and beat the shit out of 'em -

- you got to -- and if you don't -- they fuck with you. You ain't in --

you can fucking forget it.

PUNK      It must be alright.

BOY       What?

PUNK      Over there.

BOY       Fucking excellent.

PUNK      There's like something there at least, that's like something.

What's here, man? That's like something over there.

BOY       They fucking do anything they want. We work in the factory --

black market shit -- we steal for them -- do their work -- they sell it

-- we even deliver it 'cause  if not they fuck us up -- the

motherfuckers! And they got this whole talk -- we should be grateful --

they say all this fucking bullshit -- one big family, they are our you

know -- our you know -- they're our parents -- our guardians --

everything -- and we should be happy we got a dick to piss from.

PUNK      Man, they talk shit over here too, that's, like, everywhere.

BOY       I got this -- this fucking courtyard -- I saw it lots of

times -- it was just bigger -- taller -- everything was bigger -- why

ain't pop home?

PUNK      What'd you think, man? He didn't even write, did he?

BOY       Just shut the fuck up -- fucker.

PUNK      You said he didn't write, you said it.

BOY       I'm gonna hit you so hard you'll fucking explode!

PUNK      What'd you want from your old man, he don't even know where

you are.

 (BOY suddenly punches PUNK in the face. PUNK looks stupidly up at him)

Hey, man, why'd you do that?

BOY       Shut up. (Short beat.) Cocksucker. Be happy that's all you

fucking got. Shooting your fucking mouth off. If you were there you'd

fucking learn -- I even told you -- they don't even tell you -- the

teacher fucking drinks -- they can't fire him 'cause there's not enough

-- you don't know why he smacks you -- 'cause he hates all the boys --

he's just there 'cause he gets a place to stay and he drinks. What's

this?

PUNK      What?

BOY       (Pointing to the garage:) What the fuck is this?

PUNK      Garage. A garage.

BOY       What garage?

PUNK      That's what it is.

BOY       This wasn't here before! This wasn't here!

PUNK      I don't know, man. It's here now.

BOY       Why's there a garage here? Why right here?

(Short beat.)

PUNK      Okay, we gonna stay here for fucking ever, let's go. To the

square.

BOY       Why? What the fuck's there, huh?

PUNK      Nothing, man, we just hang out. I go over there and see who's

there. And sometimes -- you came over -- didn't you? I was there

watching you come over, and I'm, like, thinking he looks like you. And

you hit me, man! I was fucking happy it was you 'cause there'd be

something happening. Something. Nothings ever happening around here.

And then you, man, I didn't narc on you, did I, man, huh?

BOY       Huh? What? What happened?

PUNK      I remember. They took you away, I stayed fucking right here,

no friend no nothing. Didn't even know why they took you. I asked

people, no one knew nothing. I remember.

BOY       That's history -- I've been to -- this is the eighth home

since then -- eight -- they don't fuck with me -- not me -- I know how

to deal -- they don't fuck with me -- can't fuck me over. I know who

makes the rules -- know right off. There's these fucking teachers who

like boys -- pretend to care about them -- then go away with them --

you can fucking guess. I don't fall for that shit -- all that talk --

the tough guards are full of shit too -- and they don't do nothing to

anyone -- not me -- no fucking way.

(Short beat.)

PUNK      Hey, where's the fucking cat?

BOY       What?

PUNK      It fucking climbed down! (Laughs) The fucking cat jumped

down!

(He shows BOY the torn twine on the rack.)

BOY       They took it down.

PUNK      She cut it off, huh? (Laughs) Bet she fucking freaked, bet

she freaked. Too bad we couldn't see it. That fucking cat. Clawing the

air scratching.

(Laughs) Its four legs twitching, stupid cat. I'd a watched her take it

down.

(BOY goes to FATHER's door and bangs on it.)

Hey, your old man, like, come home now, or what?

BOY       Why the fuck ain't he here? I come home once why ain't he

here?!

PUNK      Let's go, come back later.

BOY       Why this shit happen to me? Motherfuckinghell! Why this shit

happen to me?!

PUNK      Let's fucking go.

(WOMAN enters through the arched entryway, bags in both hands)

BOY       Hello.

WOMAN     Hi.

(She puts the bags down and searches for her keys, opens the locks. BOY

and PUNK watch. She turns around to face BOY.)

WOMAN     Is...  Is that you? (Short beat.) They let you come home?

BOY       Yeah.

WOMAN     You've grown up handsome.

BOY       Well --

WOMAN     Your sister didn't come?

BOY       I dunno.

WOMAN     Why, where is she?

BOY       I dunno.

WOMAN     We haven't seen her for years.

BOY       Me too.

(Short beat.)

WOMAN     And are you staying?

BOY       No -- just three days -- don't you know where my dad is?

WOMAN     No. (She grabs her bags.) How you've grown. I bet the girls

are running after you. Sure they are.

BOY       Good bye.

(WOMAN goes in and closes the door. Short beat.)

PUNK      Fuckin' a!

BOY       What? (Looks at the door.)

PUNK      Her tits! Fuckin' a.

BOY       Ah, she's old.

PUNK      Why? She ain't old.

BOY       Ah, she's no good. Her?

PUNK      Well she's alright. Why, wouldn't you fuck her? Huh?

BOY       Then fucking fuck her. You don't even say hi.

PUNK      Why, I don't even know her, why should I fucking say hi when

I don't even know her?

BOY       You come here for years and you don't fucking know her?

PUNK      Why should I say hi? Huh? Why? Fuck it!

(Short beat.)

Let's go, what're we doin' here. There's nothing here, we'll come back,

or go in and fuck her, let's fucking go.

BOY       Fucking shit he ain't here -- why ain't it like it should be

-- it never fucking is.

PUNK      Let's fucking gooooo.

(Both exit.)

                              Scene 3.

(OLD WOMAN enters from her apartment crying. She walks to PROFESSOR's

door and knocks.)

PROFESSOR (Walks out in pajamas and slippers, stops, looks at OLD

WOMAN.) Hello. (OLD WOMAN continues to whimper.) Is something wrong?

OLD WOMAN She was still warm! She was still warm! If I'd come home

minutes earlier  -- if the streetcar had come -- what am I living for

now? (She weeps.)

(Short beat.)

PROFESSOR Pardon me --

OLD WOMAN I come home, professor -- I was bringing her from the market

-- bringing chicken heads -- waited half an hour in line -- the street

car didn't come -- I thought I wouldn't get any -- so many people in

line -- and I waited and the heads melted -- and they watched -- then I

come home -- call her -- called to her -- she didn't come -- I think

she's wandered off -- see her (Sobbing) hanging there -- they hung her

on the carpet rack -- what is this rack here for -- what for -- around

her small thin neck -- around her neck -- a string Professor! Around

her neck. (Sobs.)

PROFESSOR That's terrible.

(Short beat.)

At least she had a good life.

(OLD WOMAN weeps.)

You did everything for her you could, yes, that's what's important.

It's difficult to say something at a time like this... It was a

beautiful cat, healthy, nice, an attractive little animal. I felt

affection for it myself.

(OLD WOMAN weeps.) I was just taking a nap in order to rest before my

lesson. I'm very sorry that something like this has happened, I think

it's horrible, but there's nothing to be done now.

(OLD WOMAN weeps.)

But it did have a nice life, and that's what important. A cat couldn't

have had a better life, than the one she had.

OLD WOMAN Filthy murderers -- all of them --

PROFESSOR Please, don't get yourself upset. I have to prepare for a

lesson. I had five lessons this morning -- with my one free hour -- I'm



very sorry.

(WOMAN appears in her doorway and listens.)

OLD WOMAN How long I waited in the market -- at the doctor's, when she

was sick -- I prayed for her when they kept her there -- bought her

chicken heads -- you don't always get them -- they grind them up for

feed -- when there wasn't any I bought liver -- beef liver -- because

pork liver isn't good -- I bought her western medicine when she needed

-- because they didn't have any -- how I took care of her--her fur was

so shiny--had her vaccinations--then they grab this little animal --

they grab her -- this little innocent animal -- yank her up -- string

around her neck -- yank her up -- I'm sure she was calling out for me -

- when -- and I wasn't there -- I couldn't help her -- what she must

have thought -- what she must have thought -- (Weeps.)

PROFESSOR Well, if you weren't here and you chose to go out, you chose

to go shopping at that particular time --

OLD WOMAN Just this morning it came to me -- there's enough for two

more days -- I didn't have to -- I felt it -- a voice told me there was

enough for two days -- that I shouldn't -- she would still be alive --

but I didn't listen -- to the voice.

WOMAN     Her cat die?

PROFESSOR Yes.

WOMAN     And what happened, they hung it?

PROFESSOR It seems so. Pardon my appearance --

(OLD WOMAN weeps and coughs phlegm.) You'll be ill.

WOMAN     Where'd they hang it?

PROFESSOR Somewhere -- on that carpet rack. Excuse my appearance. (To

OLD WOMAN:) I'll bring a sedative, do you hear me?

WOMAN     They hung it on the carpet rack?

PROFESSOR (To OLD WOMAN:) Now listen to me, stop it, you'll choke,

you'll strain your heart. You can't keep this --

WOMAN     It must have been the kid.

PROFESSOR Which kid?

WOMAN     You know, that kid. They let him come home, I saw him

earlier. I come home after waiting half an hour in the store, I come in

all loaded down with my bags, and there's this big kid standing here.

It must've been him.

PROFESSOR Please calm down, I'll bring a sedative if you want --

WOMAN     Here on the carpet rack? This one?

PROFESSOR (To OLD WOMAN:) Please, I'm asking you to pay attention --

OLD WOMAN Murderers, killers, everyone.

PROFESSOR Please --

WOMAN     I'm sure it was him. I come in with all my bags, and I see

right off they're just hanging around, him and his pal. Didn't even

recognize him, but then I realized how long I haven't seen him for -- I

don't even know how long, a long time. He's really grown -- it was him

alright. As soon as I opened the door I knew he must have found his way

here, when he's supposed to be in the boys' home. He must have broken

out.

PROFESSOR All kinds of strangers drift in and out of here.

WOMAN     I don't know, no one comes around here much.

PROFESSOR Every type of man drifts in and out of here.

WOMAN     I don't know, I don't see anyone.

OLD WOMAN An unprotected little animal -- a little animal -- how can

there be -- how can they even -- they're not human...

PROFESSOR Please, you mustn't talk like that. Emotions such as those

need to be kept in perspective.

OLD WOMAN Don't you tell me what I should do!

PROFESSOR Right, I'm sorry, perhaps it wasn't --

OLD WOMAN Don't you tell me -- you might be a man of learning -- still

-- don't tell me! You're not going to tell me what I should feel!

PROFESSOR Really, the last thing I wanted to do -- I just took the

liberty to point out that calling everyone a murderer -- because of a

cat -- though a very nice cat -- is not very appropriate.

OLD WOMAN Killing a defenseless little animal -- that is appropriate?

She was the only one -- the only one. (Weeps.)

WOMAN     You don't have to hurt her feelings. What are you hurting her

feelings for?!

PROFESSOR I'm not hurting her feelings, I didn't hurt the cat's

feelings either, thank you very much. It was a nice animal and it's a

shame that -- and I'm very sorry, but still --

(OLD WOMAN erupts weeping again.)

WOMAN     Did you see it? It was up there? It was hanging on that?

PROFESSOR Please, I didn't see it. (OLD WOMAN weeping again.) I'm very

sorry, I don't think I can do anything for her. If she needs any

medication please tell me, I have to prepare for my lesson. (He goes

into his apartment and closes the door.)

OLD WOMAN And him -- too -- all he can say is I shouldn't -- shouldn't

what? And if it had been his? What would he do? What would he do?

WOMAN     I don't even dare walking home after dark, but how can I

afford taxis all the time? Where could I make that much? I bring the

work home with me, but I could never make that much--it's terrible the

kind of scum that drifts around here.

OLD WOMAN Why's he sticking his nose into this? They're always sticking

their noses in everything. An educated man. Still, he doesn't have to

stick his nose in.

WOMAN     All a person can do is be afraid.

OLD WOMAN What does he mean, tranquilizer -- I stood in line at the

market -- they pushed and shoved -- I stand there to bring her

something -- I come home -- she's hanging there by her neck -- and I

should take a sedative. People have no compassion -- none!!

WOMAN     It was hanging there by it's neck? It hung there?

OLD WOMAN What?

WOMAN     The cat. The kitty. They hung it?

(OLD WOMAN cries.)

 Where is it now? Is it inside? In there?

(OLD WOMAN points to her apartment, sobbing.) Does it look real ugly,

its eyes, are they bulging out?

(OLD WOMAN weeps.) Bury it, as soon as you can. It's no good in there -

- it'll start rotting -- it's got to be buried.

OLD WOMAN She was such a good cat -- you could talk with her -- if she

was thirsty she'd climb in the tub -- not even in the tub, she'd just

go in that direction -- and she knew that I knew from that -- and she'd

thank me for her food -- even when she was hungry -- she'd come over --

rub up against my leg -- and then eat -- even when she was hungry --

and she'd get angry -- with her face to the wall for half a day -- and

wouldn't talk to me -- and she could be grateful -- like no one else --

we lived together for so long -- twelve years -- twelve years -- nine

of those only with her -- nine -- she'd come to bed -- at my feet --

get comfortable and go to sleep -- and she trusted me so much -- yes

trusted -- when she slept deeply she'd lie on her back -- with one of

her paws she'd cover her eyes -- she slept there like a child because

she knew she was safe with me -- I never hurt her -- no one ever --

such a sweet little animal -- and now and now -- (Cries, then silence.)

WOMAN     Yeah -- it's good you had a cat -- maybe a cat -- that's good.

(Beat. Enter FATHER from arched entryway.)

FATHER    'Lo. (He walks to his door and looks for his keys.)

WOMAN     Look at what your kid did! Look!

FATHER    What?

WOMAN     She's completely a wreck! Look!

(FATHER looks at OLD WOMAN, stares.)

Your stupid kid! Your kid! That's what I'm talkin' about!

FATHER    What?

WOMAN     He hung her cat! Here on the carpet rack! He hung it! Your

son, your son! It's a good thing that she only had one cat! A good

thing!

FATHER    Where's cat? What'd you want? Where's my boy? Huh? What'd you

want? What'd want now again? What the hell all you want with me again?

WOMAN     Don't you see she's crying?

FATHER    What? She's crying. So?

WOMAN     Well I'm not surprised. I'm not surprised. This is what

became of your son, a sadistic animal, that's what.

FATHER    What'd you want from me? For chrissake what you need? Jesus

Fucking Christ? Where's my boy, huh? Well where? In boys' home, no?

Well ain't he there? What you want? For chrissake what'd you want from

me? They're always lying, back and forth. Always. Now what'd they want?

Didn't she take him way? Huh? Wasn't it her? Wasn't that enough? Why,

ain't I earnin' a living? I earnin' or ain't I? I work. Don't I work?

What'd you still want, huh? What'd I do? Who? What cat? What'd they

want all the time? What'd I'm doin' here? I ain't doin' nothing.

Fucking enough already.

WOMAN     Your son killed her cat? Do you understand? Killed it!

FATHER    He did good. He did real good. He ain't even here? Why, is he

here? He ain't been here for how long? Where is he? Is he here?

(Unlocks his door and throws it open.) Is he here? Yes? Come and look

in case he's here. Well, where is he? Please come over here. You. Come

over here and look. Where is he? Huh?

PROFESSOR (Opens his door, in a shirt and jacket but without a tie and

still in his slippers:) Please, I'm asking if possible do not shout.

I'm asking nicely.

FATHER    I ain't shouting! They're fucking with me all the time! All

the time! Why? Huh? You're an intellectual, for chrissake tell me,

what'd I do?

PROFESSOR Please, don't shout. I can't work this way. (He goes back in

and closes his door.)

FATHER    There, 'cause he's an intellectual? That's why? Always me?

What'd I do to him? He's an idiot. An ass. Such a great educated man,

look where he lives. A prick. (Goes in his apartment and slams the

door.)

WOMAN     If I ever have enough money, I'm getting the hell away from

here. Why do I have to live here?

(OLD WOMAN sobs quietly.)

Cut it out. Go inside. Bury it somewhere, okay? Go inside. Like that.

Be careful. And bury it, the sooner the better, it has to be buried.

(OLD WOMAN goes inside. WOMAN closes her own door, walks over to the

garage door, checks the lock, then goes into her apartment and closes

the door.)

                              Scene 4.

(Enter two police officers. They look around.)

SERGEANT  What a godamn long driveway.

COP       Yeah.

SERGEANT  This is one of those real old ones. From when those horses

and carriages were around.

COP       Yeah.

(Beat.)

SERGEANT  They can come into these kind -- at night. Because it dark.

So they come in.

COP       Yeah.

(Short beat.)

SERGEANT  You don't got to worry during the day 'cause it's day out.

But the night. There's not much lights around here. None. It's dark as

hell.

COP       Yeah.

(Short beat.)

SERGEANT  When you come in at night--you keep your back to the wall.

COP       Which one?

SERGEANT  What?

COP       To which wall?

SERGEANT  Which wall?

COP       Well there's one: here,  and one: there. Wall.

SERGEANT  To one of them, it's the fucking same, ain't it the same? To

one of them. So they can't come from behind. Get it. And that's how you

go, nice and slow.

COP       Yeah.

SERGEANT  But you don't got to come in. You see -- it's dark as hell.

So you forget about it.

COP       Yeah.

SERGEANT  You go into a bar -- you go in -- both of yous -- there's

always two of you -- you go in -- you don't do nothing. They're fucking

scared of you just the same. You're inside -- then you go out. Get it.

Don't take drinks. They're always trying this and that, they buddy up

to you, 'cause they're scared. Get it. Never show 'em you're scared.

'Cause they're scared. If you check ID's, then check the others. Get

it. Don't check the regulars.

COP       How'd I know?

SERGEANT  What?

COP       That they're there?

SERGEANT  Who?

COP       The ones who ain't the regulars. How'd I know they ain't the

regulars?

SERGEANT  Because you're there regularly, and you see who's the

regulars.

COP       Yeah.

(Beat.) What are we doin' here?

SERGEANT  We're just here. Don't got to do a thing.

COP       Yeah.

SERGEANT  We look around -- 'cause this is our beat -- this here -- we

let 'em see us then we go.

COP       Don't see no one.

SERGEANT  'Cause they ain't here. Or they're inside. We look around and

we go.

(Beat.)

COP       Now what are we doin'?

SERGEANT  We're here. This is our fucking work.

 (Beat.)

COP       Hey, a carpet rack.

SERGEANT  Yup.

COP       We had a carpet rack.

SERGEANT  Had?

COP       Yeah. Like this.

SERGEANT  Well there you go.

(Beat.)

COP       I don't know know where it went.

SERGEANT  What?

COP       Uh, the carpet rack. At our place. At my whachacallits. My

step-mother's. My first one. It was like this. Then it wasn't there. I

don't even know where it went, I didn't see 'em take it, they just took

it away -- when was that?

(Beat. Enter FATHER from his apartment. He's drinking.)

FATHER    Hey.

SERGEANT  Hey.

FATHER    I'm going out of my fucking head. It's always something.

SERGEANT  What's the problem?

FATHER    I come home--from my fucking job -- my shit job -- I don't

know -- you know -- I'm running between two machines -- then I'm coming

home on the bus -- packed in there -- and then I come home and they

start in on me -- they're shouting -- I don't know what's their problem

-- they always fuck with me, always. Their fucking mothers.

SERGEANT  Yup.

FATHER    He's not here -- for how long -- 'cause they took both of

them -- his sister too, took her -- and they blame me godamnit -- I'm

going out of my fucking head. Have a drink you guys?

SERGEANT  Can't now.

FATHER    Yeah, come on, a short one.

SERGEANT  Can't.

FATHER    Okay, still, just one.

SERGEANT  Can't now.

FATHER    Really -- it can't go on -- I can't take it -- I come home

and then this. Really you won't have a drink? Homemade.

SERGEANT  Thanks. No.

FATHER    I come home -- get this -- I'd fucking had enough -- then

this. Like it wasn't enough -- then this too.

(Enter OLD WOMAN, black scarf on her head, the dead cat clutched to her

breast, she stops center stage, and all stare at her.)

OLD WOMAN I have to bury her -- she has to be buried. (She stands

still.)

(Beat.)

SERGEANT  A cat. It's dead.

COP       Yeah.

OLD WOMAN I don't know -- I didn't even -- she was warm -- now I have

to bury her -- I don't know. (Beat. She puts down the cat, stands, then

goes back into her apartment.)

FATHER    This is the shit she's throwing at me -- her cat.

SERGEANT  What?

FATHER    That my kid -- who ain't home for how long -- that bitch.

OLD WOMAN (Enters with a spade.) She has to be buried. (She looks

around.)

FATHER    Not here. This is a garden. Corpses ain't going to rot here -

- not here.

(OLD WOMAN looks at him. Beat.) No way -- corpses here -- the flys'd

come real quick.

OLD WOMAN They said I had to bury her -- so where?

(Beat.)

SERGEANT  I think I don't know. But I guess you can bury it.

FATHER    Bury it! What'd I care -- but not here. This is my garden.

SERGEANT  Hey, it's not just yours. This is a public, interior

courtyard.

FATHER    I don't care. Bring a permit -- from the council -- what do I

know.

(OLD WOMAN stands, crying.)

SERGEANT  Make yourself useful -- dig it for her.

COP       Here granny, I'll do it.

OLD WOMAN NO! Go away! Go away!

(COP shrugs. Beat. OLD WOMAN starts to dig. WOMAN appears at her door

and watches. OLD WOMAN digs as all watch. She holds the cat to her

breast, strokes it, kisses it, places it in the pit.)

COP       No coffin? (He laughs.)

(OLD WOMAN stares at him, then takes the dirt and lets it pour through

her fingers. All watch. She kneels, levels the dirt. Beat. COP

whispering:) Is she praying?

SERGEANT  Quiet.

(OLD WOMAN, perhaps praying, stands up then exits into her apartment.)

FATHER    She's crazy, no? She's completely loony. Crying over a godamn

cat. It's      crazy.

SERGEANT  (To COP:) No need to shoot off at the mouth. She's fucking

mourning. They do that.

COP       Right -- I --

SERGEANT  You fucking deal with people, that's the worst of it. So you

got to learn to keep your mouth shut.

OLD WOMAN (Enters with a bag in her hand, blood dripping from it.) What

should I do with this? Now what should I do with this? (She walks to

the grave, stops.) Two weeks -- enough for two weeks -- I waited in

line -- brought it home -- the street car didn't come -- now what

should I do with it? Her dish is inside -- in the kitchen -- underneath

the sink -- her little dish. (Runs inside.)

COP       What's that?

SERGEANT  Food and whatnot.

OLD WOMAN (Enters with a plastic dish in her hand.) This was her dish -

- now what should I do with it?

(Beat.)

I look at -- in the kitchen -- I see her dish and I cry. I can't -- how

can I -- it can't -- her dish-- I  can't leave it there. Twelve years -

- and always from this dish -- this was hers. It was always there --

under the sink -- she'd tug at her food -- drag it across the floor --

I always had to clean up after her -- twelve years -- every day -- how

I scolded her -- (She stands up, tries to break the dish in half,

can't, puts it down on the ground, exits into her apartment.)

FATHER    She's a lunatic. I'm serious she's nuts and they listen to

her -- not to me -- just her. She reports me and then they believe her

-- her! Why don't the council see this now? Why?!

OLD WOMAN (Enters with a hatchet in hand. Walks over to the dish,

breaks it with the hatchet, then strikes the chicken heads in the bag.

All watch her.) Look! Here's your food -- look -- here it is -- look.

(PROFESSOR appears at his door, now with shoes on but still without a

tie. He watches OLD WOMAN grinds what is left into the ground with the

spade and her foot.)

There was never room in the freezer for my food -- now there will be --

my food will be in it -- in the freezer -- I took you to the doctor

when your paw was infected -- I bought medicine -- western medicine --

no more -- not for anyone -- I've had enough. (Stomps the ground.) Here

it is -- Look --

(She pants, looks around spitefully, throws the spade down next to the

hatchet, runs inside her apartment, slams the door behind her. Beat.)

FATHER    A lunatic -- ought to be locked up, huh? -- completely nuts -

- and she reports me -- they come snoop around -- say there's no order

-- that I don't give him nothing to eat -- and they didn't give me an

apartment -- nothing. And so they come -- 'cause the old woman -- that

bitch -- says that she'll take them in -- this here -- who asked her?

What's it to her? And so they fucking come over here -- I'm pissing in

my pants I'm so embarrassed -- what I'm supposed to do with them by

myself -- I was on workers' comp. -- wasn't I? Tell 'em, professor!

Then they come sniffing around here -- fucking shit -- shake their

fucking heads -- when someone like this ought to be locked up -- a

lunatic.

(Exit PROFESSOR into his flat, he closes his door. Beat. WOMAN goes in

her flat, closes her door. Beat.)

SERGEANT  Well, we'll be going now.

FATHER    Why, ain't she insane? And then they take both of them away

from me-- because of fucking her -- why, what'd I do?

SERGEANT  We're going now.

COP       This carpet rack -- we had one like it -- where'd it go? I

don't get it. Too bad I can't go back home -- and ask when --

SERGEANT  Well, see you.

FATHER    Yeah, see you. See you guys.

COP       Good bye.

(Exit SERGEANT and COP.)

FATHER    This is a loony toon. I'm telling you -- buries her cat --

I'm telling you.

(SERGEANT and COP exit.) See you guys!

(Short beat.)

Buries her cat, I'm telling you. (Exits into his flat and closes the

door.)

                              Scene 5.

(Enter OLD WOMAN from her apartment. She stands, then walks towards

WOMAN's door, stops, walks to PROFESSOR's door, stops, and knocks.

PROFESSOR opens the door, not wearing a tie, holding a book.)

PROFESSOR Good afternoon.

OLD WOMAN Don't be upset with me, professor -- that I've come over --

that I'm bothering you.

PROFESSOR Not at all, it's just that I'm preparing for my lesson.

OLD WOMAN Don't mind me, professor -- but somehow I have to --

PROFESSOR Of course. (Sighs.) I'm preparing a lesson but, please, come

in.

OLD WOMAN No -- I'm not -- it's just that I have to -- don't worry --

I've calmed down -- I won't -- I'm not like that anymore -- so, so

disturbed like before -- I was before -- wasn't I?

PROFESSOR No, not at all --

OLD WOMAN But I've -- please believe me -- I've calmed down, really --

I'm not here to -- it just can be so painful -- I won't cry -- not

anymore -- it just can hurt so much --

PROFESSOR Yes. Absolutely.

(Short beat.)

OLD WOMAN Because I knew -- I was scared of this -- of what would

happen to me if --  if -- (Her voice falters. Short beat.) I won't cry,

professor -- don't worry -- I was scared about what would happen -- and

I thought if I die first -- if she outlives me -- oh, it was a terrible

thing -- an ugly thing -- what would have happened to her -- who would

feed her -- I wanted to make it -- so that I wouldn't have to mourn her

-- so that she would mourn me -- it wasn't good of me.

PROFESSOR Yes, well this is how things are. For a time --

OLD WOMAN Because I thought -- if she went first -- then what would

happen -- how should I say this --  as though, and she was still alive

-- but I cried so that I would -- how can I say this--so that I would

mourn her before she -- but you can't do it -- I just wanted to cry --

and it was good to think about these things -- truly -- because then I

could cry -- people have to cry sometimes -- they have to -- but this

isn't how -- it's so different from the way I -- please tell me,

professor -- this a terrible thought -- is there a God?

(Short beat.)

PROFESSOR Why do you ask?

(Short beat.)

OLD WOMAN Because if there isn't -- I don't know -- if there isn't then

I don't understand anything -- then I don't understand anything at all,

professor -- but if there is -- if there is -- then perhaps I still am

somehow -- He -- you see -- He is punishing me -- and all this -- all

this -- is how it should be. Because if He, then I -- deserve it -- I

deserve this, too. This too -- believe me.

(Short beat.) There has to be a God, Professor. And I deserved this --

because I've sinned a lot. Yes. And so this -- this here -- this has to

be -- it has be this way and I have to bear it -- this too -- because I

deserved it. Yes. I didn't go to church, professor -- just when I was

very young -- not after that -- I didn't even think about such things -

- just later -- even then not really -- not the way -- just when I was

sitting in the waiting room -- in the clinic -- there were parrots,

cats, dogs, hamsters, guinea-pigs, mice, there were terrible people

there, too -- who caught stray dogs and brought them in for twenty

Forints -- for experiments -- they were awful people -- and it shows --

I can spot them out right away -- and the dogs -- poor things -- didn't

suspect -- they're so stupid -- but the others were decent people --

there were children and old ladies -- gentlemen -- I watched them and

prayed -- Oh Lord, just don't let me end up like them -- who only have

their cat left. I prayed -- those were decent people -- and I thought

about why destiny was punishing them so much. That's what I was

thinking about. There was once -- when was it -- there was this nice

old lady -- she must have been, I don't know -- 80 or 90 years old --

with such a wrinkled face -- very wrinkled -- she brought a little cat

-- she brought a little cat -- that's all she had left -- a little

kitty -- the kitty's brother died -- not that long ago -- and that one

also got sick -- and the old lady was very frightened -- she told me

she had a myna bird -- and when her husband died the bird knew that he

had and stopped eating and starved to death. She was very smart -- the

old lady said -- very smart.

(Beat.)

I went there so often -- she always had something wrong -- but it was

okay -- because I talked with those people -- they all complained --

and they didn't listen to me -- just them -- not to me -- but it was

alright -- I sat there and thought -- why people are so unlucky -- not

all people -- just those that don't have families -- not everyone has a

family, professor -- you don't have one -- right -- for example -- and

we grow old -- alone -- and there's nothing worse than not to be

mourned after -- I wonder why that is. But I never thought about --

really deeply, even then -- because I had my cat --

PROFESSOR Yes --

OLD WOMAN I don't want to keep you, professor -- but this is -- this is

-- when you're young you think something still might -- even -- even if

you don't hope -- because you can't not hope -- when my daughter died

during the siege[*]  she was so small -- but it was different back then --

so many died at her age -- and I thought we could still -- but no -- my

marriage was no good, professor -- but still I thought there could be

something -- but no -- and when my husband's leg went bad -- you didn't

live here then, professor --

PROFESSOR I didn't live here then.

OLD WOMAN He was diabetic and first his toes started to rot -- then

upwards -- they cut it off at the knee and then he walked on crutches -

- and I nursed him for a long time -- but I didn't love him -- I nursed

him faithfully because even if I don't love him I should at least care

for him -- and then they cut off his whole leg -- I took care of him

and buried him beautifully -- even then I didn't think about these

things because I had things to do -- I had hope -- I had such hope that

there would be something more -- that there wouldn't be nothing. It was

bad when I retired -- that was very bad -- but I still had my cat --

and I worked at home and that was good -- but I didn't make much -- and

I got so angry -- and even then, professor -- even then I didn't have

to think -- there has to be a God -- who is punishing me now so much

for all my sins!

PROFESSOR Well, yes.

OLD WOMAN Do you know why the Lord is punishing me? Because I wasn't

good. That's why. I didn't love my husband. I'm saying this aloud,

Professor because I have to. I couldn't love him -- I didn't even give

it much thought -- just when he said that I love the cat more than him

-- he didn't have his leg then when he said that -- then I realized

that I really did love the cat more than him -- and I lied to him --

called him stupid -- but he wasn't stupid -- he knew it, too -- but I

saw that he liked it -- that's why I said it -- I really loved the cat

more -- and I didn't love him. But I took care of him -- cooked for him

-- and I didn't love him. That was a sin. Don't say -- I know. And I go

out to his grave -- pay them extra -- but still they don't take care of

it. And I committed bigger sins, too. In the Nazi time -- right before

the siege -- they came to me to hide them -- and I was scared -- and I

said go away from here -- because I was scared -- everyone was scared -

- and they caught them and I heard later that they didn't come back. I

turned my back on them because I was scared--everyone was scared--but

they died because of me, professor -- it's true -- I haven't told a

soul, professor -- but that's what happened.

PROFESSOR You can't be sure that --

OLD WOMAN I know, professor -- it was because of me, I know -- I forgot

about it right away and didn't even think about it later -- but it was

definitely a big sin, Professor. And if the Lord is punishing me so

much -- so much -- then it was a big, big sin. And there were other

sins I committed, too -- many --

PROFESSOR Please, look --

OLD WOMAN In 1946 I had an abortion because I was starving -- everyone

in the city was starving -- but why couldn't I have got food? Tell me,

professor, why? I could have -- even while the whole city starved! And

then I would've had a child again -- abortions were illegal -- but

still I had one -- because we decided -- me and my husband -- that we

had to -- he didn't earn much and I agreed -- because the world then

was a terrible place -- but I know now that it was a sin -- a big sin -

- because the world is terrible -- always terrible -- I know -- and

then I didn't want children from him -- I don't know who with --

PROFESSOR Please, look here: people commit many such sins, everyone,

and still the Lord does not punish them all uniformly. I believe that

everyone has their own God. Everyone has their own. Because He is

inside us. And there are those who will never understand this. In them

the Lord doesn't exist. Still, they are human, just a different kind,

somewhat -- and we mustn't look down on them, because they too are

human. And because He is inside us. There is something within us. And

we therefore are capable of suffering. Of feeling deep emotion and

suffering. And we are truly rich because of this, immeasurably rich.

And this is good. This is a gift from God. He has given us the ability

to suffer, and this is unique in all creation. We are blessed by Him.

OLD WOMAN I don't know -- but He's definitely watching if He can punish

us all this well. And the smallest things don't escape His eye -- it

has to be -- because if not then we suffer for nothing -- but perhaps

this way there's a -- how do you say it -- there's a --

PROFESSOR Moral.

OLD WOMAN Yes! A moral -- to what's happened to us. Isn't that it,

professor? Oh, I'm sorry -- I don't mean to keep you so long --

PROFESSOR Oh, not at all.

OLD WOMAN I'm thinking that -- it's time -- it's time for me to be

good. What do you think, Professor?

PROFESSOR Well, I think that you've been good until now, and those sins

which you recalled were not very big sins --

OLD WOMAN If they weren't so big then why is the Lord punishing me?!

(Short beat.)

PROFESSOR Perhaps they were sins, big sins, cardinal sins --

OLD WOMAN That's right -- and now I have to repent for my sins --

that's it -- I'll do it for them. And if I'm good -- and I have some

time still -- then maybe something better will come out -- something

better --

PROFESSOR Of course. There's nothing that can't be put right.

OLD WOMAN Oh, I don't know -- I wake up in the morning -- then what do

I do, professor? I wouldn't go to the market just for myself -- even

though it's cheaper -- and now I don't have to buy anything for the cat

-- I get up in the morning -- then what do I do? But if I'm good,

professor -- then there's still a chance that something, professor.

There's still a chance.

PROFESSOR That's right.

OLD WOMAN How can I do something good, professor?

(Short beat.)

PROFESSOR Well, out of the blue I don't really know.

OLD WOMAN I need something to do for a long time -- something that's

hard.

PROFESSOR Yes, I understand.

OLD WOMAN I don't know -- I could clean your flat -- everyday -- for

free --

PROFESSOR Thank you very much, but I like to do that myself.

OLD WOMAN But I'll do it for free --

PROFESSOR It has nothing to do with money -- I like to do it myself.

OLD WOMAN I see. I don't know -- maybe these people here -- the woman

is coming and going all the time as it is --

PROFESSOR These people? He takes his wife back time and again instead

of just once putting his foot down, still, it's what he deserves. You'd

be wasting it on them -- but we'll find you something. We'll find you

something. I'm here, trust me, we'll find something. I'm preparing for

a lesson now, but afterwards we'll find something. And please calm

down, you know your intention is very important.

OLD WOMAN What?

PROFESSOR The good intention has merit all its own. And we'll find

something. Now I have to -- Good bye. Good bye.

(PROFESSOR closes the door. OLD WOMAN stands, then knocks on WOMAN's

door. WOMAN opens.)

OLD WOMAN I don't mean to disturb you --

WOMAN     No, no --

OLD WOMAN I'll clean for you -- for free -- free -- every day -- I'll

shop for you -- I have time -- lots of time -- and it's good to shop --

on the way -- standing in line -- there's always something -- faces you

can watch --

WOMAN     Thanks, no. I'm fine just the way I am --

OLD WOMAN Then tell me what I should do! What should I do?!

WOMAN     Oh God.

OLD WOMAN You live here all alone -- you're pretty -- young -- you live

here alone -- you need a husband -- I'll find you one -- you know what?

I'll find you one.

WOMAN     No don't. I will. I'm full of guys.

OLD WOMAN Yes -- your guys -- after one night they leave you -- don't

you think I see?

WOMAN     'Cause that's the way they are. It doesn't matter. I like it

this way.

OLD WOMAN You can't -- that there's no one for -- that you wouldn't

have -- it can't be.

WOMAN     Yes it can.

OLD WOMAN You can't -- I know -- it's ruined me -- have a baby -- with

anyone -- why do you take those pills -- you need a family -- I'll help

you --

WOMAN     Where are you going to find me one?

OLD WOMAN What?

WOMAN     A guy. I have twenty a year. Minimum. At least fifteen. Where

are you going to find one for me?

OLD WOMAN I'll look after it -- I have time -- I'll find you one --

here's the professor.

WOMAN     The professor! He wants to be ten years older than he really

is! He walks bent over when he knows someone is watching -- the

professor! You don't have to help me, look for a new cat instead.

OLD WOMAN No! Never again -- I wouldn't do that to her -- even if she's

not alive -- I cheated on my husband more than once -- and that was bad

-- even though I didn't love him -- still it was bad.

WOMAN     Yeah, if you have someone to cheat on.

(Short beat.) Just relax, you're worked up, but it'll pass and then

everything will be alright.

OLD WOMAN Don't you understand? You don't. It's not that -- that -- she

died -- it's not that. You don't understand -- the professor doesn't

understand either -- it doesn't matter that he's educated -- if he

doesn't understand.

WOMAN     He doesn't understand, he doesn't understand a thing. Well,

come on in, I got a little cognac from work from one of the guys who

want to make it with me, but I won't as long as I keep getting the

cognac. Come on in, it'll do you good.

OLD WOMAN I don't know -- there's no place where a person can just be -

- while there's still --

WOMAN     I come home, too -- bring my work -- draw -- measure -- it's

no dream but if I don't bring it home what'll I do? Where can I go? I

can go over to my girlfriend's and get drunk, but I can't do that every

day. She comes over here -- we cry -- get plastered -- but she can't

come over here every day. We couldn't stand it. I go to my mother's --

every Saturday afternoon -- then that becomes a chore -- at my class

reunion last year they were showing their kids' pictures -- a lot are

already divorced. I sleep here at night -- alone -- it's better this

way 'cause they stink -- got fungus of all sorts -- trichomoniasis --

all kinds of strange -- I sit down put on a record -- have a drink -- I

can't even get to sleep at night without a couple.

OLD WOMAN I don't know -- this whole business -- when I'm nervous -- I

chop wood -- and they've figured out so many clever things -- all kinds

of things -- but how a person should live -- if they aren't young

anymore --

WOMAN     Even if they are --

OLD WOMAN If my older brother hadn't been killed -- he would've had so

many friends --  and I would have had a lot of men courting me -- a

lot. But -- look here -- I have a little money -- it's hidden in the

wall -- so there'd -- I saved it -- back when I worked at home -- so

there'd be -- and when I took from it I always put it back later --

from my pension, too -- sometimes I just ate soup -- so it's there in

the wall. Because I was thinking what would happen -- if she had a

serious problem -- it's so expensive -- but that's not really true --

or if we went on a trip somewhere -- even that, he never would let me

take him anywhere -- I bought one of those wicker baskets -- closed it

up -- but you still had to hold it because she kicked -- she was so

strong -- and how she cried in that basket -- I thought we'd travel

somewhere -- if I only knew where! What am I going to do with it now?

WOMAN     It'll come in handy, don't you worry, the way prices are

going up.

OLD WOMAN But I don't need it -- what do I need -- I'll give it --

there must be someone who really needs it --

WOMAN     Don't even think about me -- I've got money. I'm doing real

good. I've even got a garage -- I wouldn't have believed it few years

ago -- that I'd have my own garage and apartment -- but I got it -- at

least I've got that --  (Starts to weep.)

OLD WOMAN But there's nothing wrong with that --

WOMAN     Should I get a cat? To baby? And if it dies? Should I get a

dog? I'm too young for that... (Cries.)

OLD WOMAN Oh God.

WOMAN     How can it be -- that I come home and make myself busy in my

room -- my room -- mine -- I waited for him to -- I couldn't help it

that he died -- I took care of him--he smelled--nobody would even look

at him.

OLD WOMAN What do you mean, I bought him apples --

WOMAN     No one -- just me -- I had to smell him -- I couldn't do

anything about it -- was it good for me that he died -- did I kill him?

I took care of him like I was his daughter -- I cried over him and

buried him, too -- then I could have moved into his room but I stayed

in the small one -- and I wake up at night -- the floor's creaking --

even though I had it repaired -- and it cost a lot -- and it still

creaks -- the dresser creaks, too -- even though I threw his away and

bought a new one -- but he's in that one, too -- almost every night --

as if I'd poisoned him -- or he's taking revenge on me -- that I'm

still alive -- take sleeping pills -- bring up guys so I don't have to

hear the creaking by myself -- I can only fall asleep with pills -- I'm

too young for this -- why aren't there any more convents -- they're so

nice and cool inside -- oh, this life is -- don't be mad at me -- don't

be mad.

OLD WOMAN Why -- I sit in the kitchen -- heat it with a hot plate --

the kitchen isn't that big --

WOMAN     I'm moving away from here -- I'm trading this place and the

garage -- I can get a two and a half room flat for this one with the

garage -- I'm giving up my car too -- I'm fixing up my room and one

more, too, so if a certain man comes it'll be ready for him -- just so

it's far away from here -- it'll be better over there -- and everything

will be fine. Don't be mad. And believe me: I loved that cat. Really.

So believe me -- anything I can do -- really.

OLD WOMAN If you want I'll sleep here with you at night -- at your

place -- the floor won't creak then.

WOMAN     No! No! I can't stand anyone sharing a room with me. I can't

stand anyone's smell. It's my flat! Mine!

OLD WOMAN I'm not -- I'm not -- or maybe you can come over to my place

-- there's no ghost at my place.

WOMAN     No way am I coming -- I fixed this flat up -- every piece of

furniture -- I painted it -- no way am I coming -- I come home, close

the door and everyone can go to hell -- I could've got a phone line put

in -- this one guy who wanted to get me into bed told me he could get a

line put in -- not here, no way -- they're not going to come from all

over the neighborhood to use my phone -- not here -- that's all I need

--

OLD WOMAN Alright -- I'm not --

WOMAN     Because they're jealous -- it's unbelievable how jealous

people are -- they're all so jealous -- that I've made it -- what have I

got? But I worked for it all -- no one's ever helped me -- never -- let

them work for it, too. Who do they think they are? No one's going to

leech off of me -- no way.

OLD WOMAN Why? -- is that what I want? -- me? -- darling girl? -- I'm

going to put you out? No, sir -- just go rot in your flat -- in your

garage -- drop dead in your apartment, darling girl!

(OLD WOMAN runs into her flat and slams the door.)

WOMAN     Everyone go to hell! Leave me alone! Enough!

(She runs into her flat, slams the door, the sound of putting the chain

on the lock is heard. PROFESSOR appears at his door, looks out,

grumbles, goes back in, closes his door.)

                              Scene 6.

(FLIRT and TEENAGER enter from the arched entryway, stop in front of

PROFESSOR's door.)

FLIRT     Laci and Mara are going out but they're just making out, Ildi

said they're just making out. She's still into Laci but he won't even

look at her, even though he's just making out with Mara. Ildi doesn't

even think he's touched her tits yet. Laci's got really big hands, huh?

TEENAGER  (Going through her notebooks:) Ah-huh.

FLIRT     Forget about that already.

TEENAGER  Okay, wait a second. (Reading aloud:) Allegorical expression

is valid when it is ambiguous, it's meaning apprehended, for only on

the surface are things unambiguous. (She looks up.) Things are

unambiguous only on the surface. Things are unambiguous only on the

surface. (Reading:) Symbolism rejects positivit...  positivit...

positivist simplicity, considers naive its explanation of causality...

(Looks up.) Explanation of causality. Explanation of causality...

FLIRT     Hey, Laci's hands are huge, right? Think how big his cock

must be.

TEENAGER  Yeah, big. (Reading:) ... explanation of causality, but also

views existence simply as an attribute, thereby intimating a world

devoid of causes and precedents, enigmatic and predetermined... (Looks

up.) Enigmatic and predetermined...

FLIRT     If you were in Mara's place, would you let him do you?

TEENAGER  Just leave me alone, okay? (Flipping through, reading:)

Para... Paradoxically it is in the motif of partic... particularity,

that the personal image of God was created for the I, which then was

manifested in anti-anti-particularity... the bidding of the sexes.

FLIRT     What?

TEENAGER  (Examining it closely and reading:) The bidding of the

sexes... (Looks up.) Bidding of the sexes, bidding of the sexes...

(Reading:)... the feeling of responsibility for all humanity

explains... that with humanity's unique impulses... (Looks up)

What is the bidding of the sexes?

FLIRT     What?

TEENAGER  What does that mean? The bidding of the sexes?

FLIRT     Who the hell knows. You're a girl, Laci's a guy, like that,

right?

(Short beat.)

TEENAGER  (Reading:) ... humanity, with its unique impulses, have fused

them into God's image, historically. (Looks up, silence.)

FLIRT     Mara doesn't even have tits. Does she have tits?

TEENAGER  Leave me alone for a second.

FLIRT     She doesn't. Do you think they'll grow? I don't think they

will. I'll have a boyfriend -- with a car -- mazda -- or Honda -- my

hair will be long -- it'll fly in the wind -- watch me go then --

TEENAGER  (Reading:) ... humanity, with its unique impulses, have fused

them into God's image, historically. (Short beat, then she starts to

cry.)

FLIRT     What?

TEENAGER  (Wiping her tears and sniffling:) I don't even know why I

wrote this down, I wrote down so much... (reading:) All symbols,

directly or indirectly, refer to the central figure, the I. The

redup... redup-li-cation or accumulation of nominals and verbs,

moreover, demonstrates the neither separately nor together are they

able to fully give expression to the subject...

FLIRT     Let me see. (Takes the notebook, flips through it.) Fuck,

you wrote a lot. All this is from the textbook?

TEENAGER  Not just. There's a second book too.

FLIRT     (Reading:) The natural and the spiritual man have become

separated from one another... (Looks up, sighs, reads.) ...  Biological

prison, death, and sex:

(Laughs. Reading:) Biological prison, death, and sex: from the

realization of the former's inescapability arose man's second face, the

spiritual face of man. (Looks up.) You're an idiot. (Reading:) Love

of God was born from our respect for humanity, the love of ourselves:

Prometh... promethean humanism. (Looks up, whistles, reads:) ...

religious vocabulary, though twisted in the head in man... (Laughs,

reads:)... has nonetheless allowed a profound, worldly feeling -- an

anthropological optimism -- to be expressed through it." (Beat, she

reads to herself, furrows her brow.) This is nothing. It's just saying

that man is miserable, and that there's a happier thing who is just

imagined in the mind, and that's God. (Reads silently, laughs.) Are

you listening? (Reading:) Several important characteristics of man

as both historical-social being as well as spiritual being have come

to light: His mundane nature, his earthly immortality. His sense

of community. His gender. A grammatical poeticism -- the distilled

comparative... (Stands up, shouts.) Distilled! That's great! (Reading

loudly:) ... the distilled comparative was not, least of all,

harbinger of the above attributes... In The Love of Ourselves there

are 47.8 comparatives per hundred poems. Later, the number jumps to

56.6. And as is so often the case with lyric verse, this increased

frequency belies the work's intended message." (Looks up, smiling.)

Well?! Distilled comparative! This is how it was in the book?

TEENAGER  Yeah.

FLIRT     Distilled comparative! God!

TEENAGER  Let's go in.

FLIRT     Distilled comparative! Great!

TEENAGER  Let's go in.

FLIRT     What's the rush?

TEENAGER  I've got to get into a school -- I got to! I can't stand them

-- I want to get away -- and I'm gonna -- 'cause I'll into a school in

some other town -- see? You've got no problems at all -- but I can't

stand it -- you know? My stupid rotten father, my stupid rotten mother

-- I can't stand it there!

FLIRT     Don't freak. (Beat.) Who ever is dumb is dumb. You could

stand on your head and...  (Beat.) Distilled comparative! (Burst of

laughter, then she knocks on PROFESSOR's door.)

(PROFESSOR comes out in suit, tie)

FLIRT     Good afternoon, sir!

TEENAGER  Good afternoon, sir!

PROFESSOR:     Good afternoon. Please come in.

(The girls go in, TEACHER after them, he closes the door.)

                              Scene 7.

(OLD WOMAN comes out with a piece of paper in her hand. She hesitates,

then goes to WOMAN's door and knocks. WOMAN opens her door as much as

the chain will allow.)

WOMAN     Hello.

OLD WOMAN This here -- I'd like to ask you --

WOMAN     I'm sorry about -- don't be mad --

OLD WOMAN What?

WOMAN     Please don't be angry about before --

OLD WOMAN Oh, it's not important --

WOMAN     I didn't want to -- I'm just a little upset -- I didn't

really think that --

OLD WOMAN Read this and see if it's good --

WOMAN     What is this?

OLD WOMAN Will.

WOMAN     A will?

OLD WOMAN Look at it and see if it's okay.

(WOMAN removes the chain from the door,  comes out and takes the piece

of paper, reads.) The top there's the title too -- will.

WOMAN     Ah-hah. (Reads.)

OLD WOMAN I was sitting inside -- crying again -- then I knelt down --

in the kitchen -- strange that it was in the kitchen -- I was kneeling

-- and then I prayed -- and I cried -- and then at once -- I don't know

-- like a voice, really -- I couldn't understand it -- it was like --

they told me -- what I need to do -- for who --

WOMAN     Dresser, mirror, easy chair, the bed --

OLD WOMAN Double bed, box spring -- we made it -- it's more than forty

years old -- good strong double bed -- hard wood frame -- that's what

they used back then.

WOMAN     And who are you leaving all of this to? All of this?

OLD WOMAN Well -- to the boy -- he was such a nice boy -- poor darling

-- how he liked me -- how he took care of his father -- that stupid man

-- and how happy he was when he could come over to warm up -- he never

came in -- just sat by the door -- he was blue -- this is good --

because while I was kneeling there it happened -- as if someone --



whispered to me -- I heard it -- I don't know it was like a -- voice --

and then everything became so clear -- I calmed down -- and then I knew

-- what I have to do. So I sat down -- wrote everything down --

everything I have -- didn't leave out a thing -- I went through the

whole place, it's all in there --

WOMAN     Yeah, and so what am I supposed to do?

OLD WOMAN Well -- tell me if it's okay like this -- or if I need

something else -- because it's such a good thing -- it's so right -- it

has to be right.

WOMAN     I'm sure it's alright -- it's just -- I don't know -- I think

it was the boy -- who -- the cat --

OLD WOMAN I wrote the title there -- will -- see there?

WOMAN     I see it. But I think -- he doesn't need it -- I think --



OLD WOMAN The date is at the bottom there -- today's date -- where I

wrote it down -- and I signed it -- I think I need to stamp it or

something --

WOMAN     I don't know. I don't think so --

OLD WOMAN Is this one copy enough --

WOMAN     Oh, it's got to be -- you wrote it in your own --

OLD WOMAN Then sign your name.

WOMAN     Me?

OLD WOMAN I need two witnesses -- I know -- I heard -- you need two

witnesses for everything.

WOMAN     Okay, I'll sign my name -- then what? Let's say you leave

everything to him forever when you die -- but I hope you live for a

real long time yet.

OLD WOMAN Maybe a few years still.

WOMAN     And then he gets it all?

OLD WOMAN Only then, of course. I need it until then -- I'm still using

it.

WOMAN     Yeah -- okay -- I can sign it -- but what's the rush? You

still have time -- maybe you'll change your mind ten times before then.

OLD WOMAN Never. It'll stay like this. I knelt there -- on the kitchen

floor -- and all at once -- it happened. I know it has to be this way.

WOMAN     Yeah -- I don't know -- I've never been a witness to

something like this before. If I sign it and somebody challenges it --

and my signature is on it --

OLD WOMAN What do you mean challenges it. What?

WOMAN     Okay, forget it, I was just thinking --

OLD WOMAN Why haven't you signed your name yet?

WOMAN     I'll sign it but you still need two witnesses --

OLD WOMAN If I need two then two.

WOMAN     Maybe you can get the professor, too.

(She knocks on PROFESSOR's door. Short beat, then she knocks again.)

PROFESSOR (Opens the door.) Yes.

WOMAN     We have a problem here, professor.

PROFESSOR I'm having a lesson now. Please come back later.

WOMAN     Right, but can you tell us if we need two witnesses for

something like this.

PROFESSOR Please, I'm working. Come back later. (Closes the door.)

WOMAN     Let's not bother the professor now. Why don't you think this

over until then, and if you haven't changed your mind still -- then --

OLD WOMAN I don't understand! Why can't anything be done easily here!

Nothing -- not even when it has to be done! Why?

WOMAN     You can do it a little later --

OLD WOMAN No I can't! I wanted so much from life and nothing ever came

later! I don't have any time! I don't have any time!

WOMAN     Oh God, why are you --

OLD WOMAN You don't understand -- I didn't understand for a long time,

too -- you can't know when you have time -- that there's no time --

WOMAN     You're still healthy.

OLD WOMAN That's it -- I don't have a problem in the world -- still I

have to die... (cries.)

WOMAN     Oh God -- please don't -- why now --

OLD WOMAN Nothing ever came of anything -- and I couldn't understand

why -- life was so long and boring -- still now it just seems like a

minute -- when I dream -- I see -- how short it was -- I have this

dream -- I'm running in the garden -- a long time ago -- my mother and

father are there -- and then I believe -- in the dream -- that anything

can happen -- but I'm scared -- so scared they're going to die -- my

mother -- my father -- and I check to see if my mother is sick yet --

because I know she'll get sick -- but she's not sick -- and I'm so

scared that she'll get -- and my father is so young -- I don't see how

-- he was still alive -- how could I remember all this -- how old was I

-- four years old -- but I knew before what you aren't supposed to know

ahead of time -- and so I don't know -- when I wake up -- if I should

be happy that I saw them -- or that the whole thing is terrible -- (OLD

WOMAN weeps. WOMAN fidgets.)

WOMAN     Listen. Come on in, I've got some cognac --

OLD WOMAN (Angrily:) Why won't you sign it? A person can't even ask

this much from someone -- to scribble their name -- not even this much!

WOMAN     It's not that --

OLD WOMAN A person doesn't do anything bad her whole -- just helps --

others -- and then this -- when she needs something!

WOMAN     It's not like that --

OLD WOMAN Why, is it so tiring -- will it hurt your hand?

WOMAN     You still need two witnesses --

OLD WOMAN The professor, too -- an educated man -- but even he won't help!

(OLD WOMAN throws herself at PROFESSOR's door and pounds on it.)

PROFESSOR (Angrily opens his door.) Don't disturb me! What a place!

OLD WOMAN Yes! What a place! A person begs for help and then -- and

then --

(WOMAN waves to PROFESSOR.) It doesn't matter to you even if someone is

rotting right next to you! It would only take one word -- but nobody

could care less! That's the truth! (TEENAGER and FLIRT appear at the

doorway and giggle.) I suffered all of it -- fine-until the end -- fine

-- but this is too much! When -- in my life -- was there -- when? Tell

me! And then a person writes down -- too late -- but at last -- does

something -- good -- and then this, too -- not even this -- I can't get

a signature -- even that's too much for them -- (Cries.)

(The two girls giggle quietly.)

WOMAN     She wrote her will, needs a signature -- two witnesses --

PROFESSOR Give it here. (Takes the will from OLD WOMAN, reads it. Short

beat.) You're leaving it all to him? To him? (OLD WOMAN nods, sniffles,

blows her nose.) Fine. I find nothing reproachable about this. Let's

sign our names and everything will be fine. (Looks for a pen in his

pocket.)

TEENAGER  (Hands him a pen.) Here you are, sir.

PROFESSOR Thank you. (Signs the paper and hands it to WOMAN.)

WOMAN     I don't know -- I think you need to put down your

identification number and that kind of thing.

PROFESSOR Here you are. (Takes back the will and writes his ID number.)

WOMAN     I don't know mine by heart. Wait a sec.

(She exits into her apartment. Beat.)

PROFESSOR There, you see everything can be put right. Everything can be

solved perfectly. And there's absolutely no need to pound on the door.

OLD WOMAN I knelt there -- on the floor -- and prayed -- for the Lord

to help me -- and you see -- He helped me. He told me. I'm sure it was

Him.

PROFESSOR Ah yes. Then everything's worked out.

OLD WOMAN Thank you very much, professor.

PROFESSOR Not at all.

OLD WOMAN It's good -- there are still good people. I knew you were

always one of them.

PROFESSOR Ah yes. Now please if you don't mind I have a lesson. (He

ushers the girls back in, closes the door.)

OLD WOMAN No matter what--it's good that there are good people. (Waits,

then knocks on WOMAN's door, short beat.)

WOMAN     (Opens the door, stands there.) I don't know where I put it --

OLD WOMAN It doesn't matter--when you find it you can put it down then.

(Short beat.)

WOMAN     Okay, I'll do it then.

OLD WOMAN Here you go. (Hands her the will.)

(Beat.)

WOMAN     Maybe you better think about it some more -- why to him, what

for --

OLD WOMAN What?

WOMAN     They'll take it away from him anyway -- drink it up -- yell -

- they won't wait -- not even 'til you're -- they're like that. It'd be

better if you don't. I've dealt with the courts and God save me from

having to go back -- one signature and there's so much trouble -- it's

better if you didn't. Or go to a-- you know -- what's it called -- a

notary -- that's it -- a notary -- and they'll stamp it -- that's the

best -- then nobody'll have to get mixed up in it. But if there's

anything else I can do -- anytime -- count on me.

(Short beat. WOMAN closes her door, the sound of the chain is heard.

Beat.)

OLD WOMAN (Tears up the will. Throws it in front of WOMAN's door:) Look

-- you worm -- look here -- clean it up!

(OLD WOMAN runs into her apartment, slams the door.)

                              Scene 8.

(Enter BOY and PUNK from the arched entryway.)

BOY       But they don't pay you -- just when you're working for some

guy jerking off in the john. This prick gave me a fifty once -- you

know those leather -- you know -- you put round your neck -- you know -

- leather --

PUNK      Coin holders?

BOY       Yeah. I got change for the fifty so it'd be full -- 'cause I

wanted it to be full -- then it was full --

PUNK      Cool.

BOY       'Cause if we get paid we drink -- hard -- there's a fucking

millionaire -- got his own private club -- he's cool -- 'cause if we

ask him -- he stays open late -- eleven -- later, too -- he got two

fucking Mercedes -- fucking fuckwad.

PUNK      Fucking great. (Laughs.) Fucking fuckwad! That's a good one.

Fucking fuckwad! That's a good one!

BOY       It's a bitching club -- we fucking show up and they take off

-- and it's a fucking rough club -- then Kares starts screaming -- and

no one says a fucking word -- 'cause we're the wolves -- I gone there

alone and shouted -- some song -- and no one said nothing -- and I was

alone.

PUNK      Cool. That's pretty fuckin' cool.

BOY       You can break out at night -- I've broken out a lot -- tied

fucking sheets together and out the third floor window.

PUNK      Like in a movie?

BOY       See -- like today -- I just up and walked out -- the guard

just watched me -- not everyone'll do it -- and the girlies are waiting

-- down below -- two or three of 'em -- and then -- fuck -- man -- you

go to it -- all night -- and when you're done -- back up the fucking

sheets --

PUNK      Cool --

BOY       They suck you off -- and man --

PUNK      Shit --

BOY       Cause I'm good to them -- man -- and they love it -- and just

with me.

(Beat.) Everything's there -- there's a secret tunnel -- everyone knows

it -- machine guns -- when we find them -- and when we do -- whoa --

fuck.

                              Scene 9.

(Enter OLD WOMAN carrying a broken crutch.)

PUNK      (Quietly:) Watch it, man, the old lady.

(Beat. OLD WOMAN sticks the crutch into the ground where the cat is

buried and pushes it in as far as it will go.)

BOY       Hello.

(OLD WOMAN looks at him but doesn't recognize him.) Hello. Don't you

know me?

OLD WOMAN What?

BOY       It's me -- don't you know me?

OLD WOMAN Who?

(Beat.) What?

(Beat.) You -- you?

BOY       Yeah --

OLD WOMAN Sweet Mary and Joseph -- it can't be true -- it can't be true

--

(Beat.)

BOY       (To PUNK:) Fuckin' say something already --

PUNK      Hello.

OLD WOMAN You're bigger than -- than your father -- too -- oh Lord --

BOY       I'm strong too -- I work out -- well -- you can push the

walls -- that's the work out -- but I'll get strong --

OLD WOMAN To grow so much in such a short time --

BOY       Not so short --

OLD WOMAN This is a -- I thought -- you had such a thin neck -- you

were such a small, sickly child -- such intelligent, sad eyes -- such a

frightened face -- how could this -- how can it --

BOY       I dunno -- but it's alright 'cause they can't beat me up now

-- they can't pull nothing on me --

OLD WOMAN Oh -- do you remember? You came over -- when they locked you

out -- you came in to warm up -- do you remember?

BOY       Well -- yeah.

OLD WOMAN I gave you food -- but you didn't want to eat -- you were

just cold -- do you remember?

BOY       Naw -- I ate something -- this thing -- noodles and stuff.

OLD WOMAN Noodles?

BOY       Yeah -- that was good.

OLD WOMAN Noodles and Cheese?

BOY       Well -- maybe -- something like it.

OLD WOMAN What could it have been? When did I ever make something like

that? Noodles and cheese?

BOY       It was kind of -- you know -- had that stuff -- paprika in

it. That's it. It was good.

OLD WOMAN Then it was potatoes au gratin!

BOY       I dunno --

OLD WOMAN Yes, of course  -- it was potatoes au gratin! Don't you

remember?

BOY       Yeah -- yeah --

OLD WOMAN Of course -- and how you loved it -- of course -- it was

potatoes au gratin!

(Beat.)

They way he ate -- poor boy -- even though he said he wasn't hungry --

PUNK      Good one! (Laughs.)

OLD WOMAN Because his father wouldn't give him anything for three days

-- he went without eating anything at all --

BOY       No -- it was just that -- he didn't have any money then --

that's why --

OLD WOMAN Oh no, he had money!

BOY       No -- really -- no!

OLD WOMAN He sent you to steal food -- didn't he? He just lay there --

'mourning' after his wife who went out whoring!

BOY       No -- he was sick -- it was official!

OLD WOMAN Sick! As soon as they took you to the boys' home he stood up

-- 'cause there was no one to feed him! And he was sick!

PUNK      (Laughs.)

BOY       Shut your hole you fuck!

(Beat.)

It wasn't like that -- you're not saying it right -- it wasn't like

that -- he had a fever -- they registered it -- who would'a looked

after him -- who?

OLD WOMAN Why are you defending -- he didn't even heat -- you were

frozen -- you were blue -- don't you remember?

BOY       Yeah -- 'cause it was cold --

OLD WOMAN But then he heated it when you went off to school -- what do

you mean -- it just cooled off in the afternoon so you'd feel sorry for

him -- I saw it all -- you felt so sorry for him --

BOY       No -- no!

OLD WOMAN What do you mean no? I saw it!

BOY       But no!

OLD WOMAN You didn't even have a hat -- I knitted one -- I lent them my

pot -- and then begged them to give it back -- they didn't even wash it

-- I had to scrub out the filth -- and your mother when she was here --

(Beat.) Well -- you're here now -- and that's good -- that you're --

but I knew it -- I asked and received it from the Lord. I don't know --

if you're hungry I can cook something. This is a -- what do you call it

-- an act of grace from God --

BOY       Have you seen my dad?

OLD WOMAN Well -- you're back now -- (To PUNK:) he was such a good,

clever boy -- well I'll go in now and write another one -- so he'll be

alright -- you know?

PUNK      Ah --

OLD WOMAN I don't know -- he won't fit in the bed -- but I'll buy a

bigger one -- I didn't think about that -- and will you grow any more?

BOY       Will I what?

PUNK      (Laughing:) Will you fuckin' grow any more?

BOY       Shut your godamn hole!

OLD WOMAN How you speak! Don't speak like that!

(Beat.)

BOY       I wasn't --

OLD WOMAN I'm telling you -- and a long time ago I bought everything --

baby things, too -- childrens' clothes, too -- such nice things -- I

saw them in the window and liked them so much -- they felt so good --

the material -- and I bought everything -- and hid them -- so my

husband wouldn't see -- it's all down in the basement -- in mothballs -

- I don't know -- I think you've outgrown them now -- you were so much

smaller -- when I bought them -- but it'll be good for when you get

married -- for your children -- so I'll put them in, too -- I'm going

in now -- and I'll write a new one -- my Lord -- when someone has

completely given up -- all of a sudden -- (Smiles, goes in and closes

the door.)

                              Scene 10.

(Beat.)

PUNK      That old bitch is crazy--

BOY       It ain't true -- I went in 'cause it was cold -- it ain't

true that I ate -- that fucking bitch is lying -- how the fuck could

dad heat the fucking place, huh?

PUNK      She didn't see the cat --

BOY       Shut the fuck up or I'll smash your head open!

PUNK      Man --

BOY       Why ain't no one here, godamnit!

PUNK      Maybe he's back --

BOY       Just you shut up -- just you shut up --

PUNK      Yeah, okay, I wasn't --

(Beat. BOY gathers his strength and pounds on FATHER's door, beat.

Silence. BOY pounds harder, then kicks the door. FATHER opens it.)

FATHER    (Screaming:) Fucking hell!

(Beat.)

BOY       Dad --

(Beat.)

FATHER    What is it?

BOY       Dad --

FATHER    That you?

(Beat.)

PUNK      Hello.

(Beat.)

FATHER    You're big. (Beat.) Did you break out? You broke out -- or

what is this?

BOY       I didn't break out! I didn't break out! They let me!

FATHER    They did?

BOY       For three days!

FATHER    What? Three days?

BOY       Three days! They let me!

(Beat.)

FATHER    So they let you. (Beat.) Well. Hey. They let you out -- you

got the papers? That they let you out? 'Cause they'll come out -- snoop

around -- and I'll take the wrap -- you know.

BOY       I've got them -- why don't you believe me -- why don't you

believe me --

FATHER    Okay, I believe you -- you know -- so -- they let you out?

(Beat.) How many days? What'd you say?

BOY       Three days.

FATHER    That's good -- three days -- that's good. What's this? A

break? Or what?

(Beat.) I mean you could'a wrote -- before -- you could'a wrote you

were coming -- next time write ahead -- when you're coming. 'kay? Say

something!

BOY       I didn't know.

FATHER    What?

BOY       That they'd let me out --

FATHER    Why didn't you know? They didn't say or what?

BOY       No.

(Beat.)

FATHER    Right -- it don't matter -- they didn't say -- right -- then

you couldn't know -- when you're coming -- you see -- no problem -- I'm

here -- good thing -- that I'm here. (Short beat.) Were you here when -

- I wasn't? Were you? Today?

BOY       Yeah.

FATHER    Hey -- look here -- tell me -- did you touch that cat? Huh?

The old woman's cat -- but don't lie to me!

BOY       No.

FATHER    No?

BOY       No.

PUNK      We ain't even seen no cat.

FATHER    It died on her and they're blaming me -- you didn't?

BOY       Naw.

PUNK      Naw.

FATHER    You guys can tell me -- stupid bitch -- she deserved it, huh?

Well. Go ahead. No one's around -- did you touch it?

BOY       No.

PUNK      No.

FATHER    No? 'kay -- alright -- alright then.

(Beat. They stand.)

PUNK      Okay, I'm leaving. I'll come back later.

BOY       I dunno -- I'll go too.

FATHER    Where you going now? Why you got to run off all the time?

You're not going nowhere.

PUNK      You stay here -- I'll come back -- see ya. (He runs out.

Beat.)

FATHER    Run after him -- if you've had enough -- that at last you

come home after so long -- and then you can't stand to see your old man

-- go run after him.

(Beat.) You know -- if you'd wrote -- then we could'a had some food --

something -- everything -- it would'a been better -- next time try

telling me --

BOY       But I couldn't -- they didn't want to -- 'cause they need

that fucking -- fucking -- that paper -- from the council -- but the

council guy -- the custody supervisor -- don't give it out -- if the

parents don't ask -- they didn't ask -- you didn't ask -- and without

it there ain't no way -- but then the headmaster couldn't take it -- I

kept bugging him -- he's alright -- let me out -- without the papers --

he ain't allowed to do it.

FATHER    Oh yeah? I dunno -- didn't say nothing to me 'bout it --

BOY       I wrote you -- a long time ago -- to call me back home --

then the council dude'll come over --

FATHER    Here? Nobody's coming over here -- been here enough for me --

cocksuckers. (Short beat.) Why -- you ain't written -- I got nothing --

really -- when?

BOY       Oh -- long time ago -- I dunno -- a year and a half ago -- I

dunno.

FATHER    I didn't get it -- nothing -- they must'a lost it -- mailman

don't even come out here -- I didn't get nothing.

(Beat. They stand.)

So -- what's it like there?



BOY       Aw, it's okay.

FATHER    Okay?

BOY       Okay.

FATHER    Where is it -- where'd you say?

BOY       This one?

FATHER    Yeah.

BOY       Far -- where that factory -- next to a farm.

FATHER    But you didn't go there first --

BOY       No -- I was here -- in juvenile denention -- J.D. -- then --

I dunno -- they move you all around --

FATHER    Food? Shit, huh?

BOY       Not shit -- it's okay.

FATHER    It's okay?

BOY       It's okay. There was this one place -- where was it -- it

sucked -- but it's pretty good. They give seconds -- on everything.

FATHER    Don't tell me -- bet they're starving you the bastards --

stealing food --

BOY       No -- really -- they steal -- but not food -- and if food --

there's still enough --

(Beat.)

FATHER    And what'cha guys do there?

BOY       Oh, I dunno. What we gotta -- hang out.

FATHER    And?

BOY       Nothing.

FATHER    And what -- you learning a trade?

BOY       Yeah. But there ain't a lot -- we grind shit -- things like

that -- hang out -- you can hang out --

(Beat.)

FATHER    Your stupid sister -- bet she's earnin' --

BOY       I dunno -- 'cause they split up the brothers and sisters--so

I dunno where she went --

FATHER    Ah, she's turning tricks -- didn't even write once -- became

a whore, huh?

BOY       Dunno.

(Beat.)

Once a big fucking mess -- someone put a frog in the guard's bed.

FATHER    What? A frog?

BOY       Yeah -- and they didn't know who did it --

FATHER    Who?

BOY       This fuckup -- this asshole -- he was up all night -- they

made us get up -- we stood at attention by our beds -- but we didn't

narc him out -- big mess.

(Beat.)

There's lots of frogs -- we make 'em smoke -- you shove it in their



mouth -- it smokes and smokes -- gets real big and blows up --

FATHER    The frog?

BOY       Yeah.

(Beat.)

FATHER    You don't smoke -- hear? Don't tell me you smoke --

BOY       Naw.

FATHER    You smoke?

BOY       No.

(Beat.)

FATHER    There's nothing here -- Fero left --

BOY       Fero?

FATHER    Yeah -- the bookie -- you know --

BOY       Fero?

FATHER    Yeah -- he went private sector -- he came back once -- says

he's earning five times more -- he's lying 'course -- but he's earning

-- came back in a suit -- good thing he didn't wear those -- gloves --

gloves -- he don't go to the games no more -- funny, huh?

(Beat.)

BOY       Once I dreamed -- it was so bad -- cut off your leg -- this

machine -- I dunno -- you were running at me -- on one leg -- and blood

was coming out of the other -- an' it wasn't there -- and I was running

away from you -- and you were on one leg --

FATHER    What -- my leg -- got cut off?

BOY       And you were running --

FATHER    Which one they cut off?

BOY       Dunno -- I dunno which one. Nothing happened -- with your

leg?

FATHER    Ah -- my leg -- ah!

(Beat.)

BOY       And -- I was -- scared -- that slivers would go in my eye --

and they'd take it out -- my eye -- they took it out -- the whole thing

-- and I saw -- from the one they took out -- what they took out -- and

nothing went in it.

(Short beat. BOY points to the garage.)

What's that?! It wasn't here! What is that?

FATHER    Garage -- the stupid cunt's -- she got a car -- inside --

'cause the bitch don't know how to drive -- failed five fucking times -

- good one, huh? (Laughs.)

BOY       But why a garage -- why here --

FATHER    It's a garage.

(Short beat.)

BOY       The shed was there --

FATHER    Yeah.

BOY       It was good -- the shed -- you could always go there -- the

shed --

FATHER    It was rotting -- fell down -- why?

(Beat.)

How's come you're so fucking big?

BOY       (Takes a paper bag from his pocket and opens it.) Dad - -look

--

FATHER    What is it?

BOY       I made 'em -- out of metal -- with a saw -- animals -- look -

- without a drawing --

FATHER    (Takes one or two into his hands:) What's this?

BOY       What? That's a cow.

FATHER    This?

BOY       You got to turn it 'round -- a cow --

FATHER    A cow -- yeah -- really.

BOY       I do all kinds -- I just start and it 'comes an animal --

first I gave 'em to the  -- sluts  -- 'cause they like 'em -- after

that ten Forints each. Good, huh?

FATHER    Good.

BOY       I do it real good -- I didn't even know I could -- they said

it's so hard -- I can even do small bits -- the teacher is doing it

with me -- can you believe it.

FATHER    That's good. (Short beat.) I was taking a nap -- reading

before.

BOY       Dad -- I'm a wolf.

FATHER    You're what?

BOY       A wolf -- 'cause when the guard's there or the workers --

they lay low -- but then they go -- and at night the wolves -- they

rule -- whoever don't go along with 'em -- they get fucked up --

FATHER    What do you mean wolves?

BOY       The gang -- you can't disrespect 'em -- they beat the shit

out of you -- when I was little I thought I could fuck up -- once they

took me to the hospital -- 'cause of that -- knocked out these two

teeth. (Shows them.)

FATHER    The motherfuckers.

BOY       But now I'm a wolf -- it don't matter in a new place -- I

know there too-- how to be wolf -- in eighth grade I knew -- I see

right away who's boss -- you can tell -- and I tell him okay -- I don't

wanna fuck with you -- and it ain't always the strongest guy -- but you

can tell.

FATHER    That's good.

(Beat.)

Hey, I'm in my prime -- this is the best time -- I'm not even forty

yet, huh? Any woman sixteen to forty-five is okay by me -- but I'm not

so easy no more -- I'm particular -- your whore mother took my best

years --wrung me -- like a rag -- but no more -- a person learns --

what you can and can't do -- these chicks come over -- at work, too --

there are these chicks -- just smocks on -- no underwear, nothing --

smiling at me like hell -- but I look after myself -- I learnt what you

can do and what you can't do --

(Beat.)

BOY       And dad -- you okay?

FATHER    Me? Yeah, I'm okay. Why -- how should I be -- nothing special

-- I bust my ass -- during the day -- morning shift -- but we'll find

something -- what to do -- for those three days -- I dunno -- we'll go

out -- here and there -- do everything --

BOY       And -- I dunno -- someone look after you?

FATHER    Me? Don't need it -- why'd they look after me --

BOY       I dunno -- like me -- back then --

FATHER    Ah -- don't need to -- that was then -- ah --

(Beat.)

You were real good to me -- really -- when I was messed up -- you were

real good to me -- they took you right then -- when I was messed up --

bastards -- your stupid sister didn't give a shit -- then they came and

took her --

(Beat.)

Okay -- soon -- it's a mess inside -- don't matter -- nothing's where

it was -- we'll put it back --

BOY       I'll clean.

FATHER    Ah -- what for. It'll get done.

(Short beat.)

Hey, I was thinking -- what shit -- that you're in there learning a

trade -- why don't you work -- and earn something.

BOY       Dunno -- everyone goes over there --

FATHER    That's bullshit. Look at me -- if I wanted to -- I could earn

more than the other fucking workers -- if I wanted-- what the hell for

-- hey -- how about -- if say you get out -- back -- and use some

muscle -- a big guy like you -- I don't know what good this trade is --

you'd be earning -- I'd be earning -- that'd be some money, huh?-- if

they'd let you out -- what'd you make now -- you bust ass for them for

years -- you don't make nothing -- but not if they liberate you -- then

you'd see -- I dunno -- come home -- we can talk them into it, right --

they'll come looking around again -- the motherfuckers--but we'll talk

'em into it -- us two, huh? (Laughs.)

(Beat.)

BOY       Dad -- I want to stay here -- dad... (He erupts weeping.)

(Short beat.)

FATHER    Stop bawling -- why -- what'd I say -- hey --

BOY       (Weeping:) It's shit, fucking shit --

FATHER    Hey, I said we take care of it --

BOY       I don't want to go back!!

FATHER    You don't want to -- you don't want to, okay -- I'm saying

that, too -- we'll do something -- you're here now -- what'd you say --

how long? How long you staying?

BOY       I don't want to go --

FATHER    When are you leaving? Tomorrow?

BOY       Day after tomorrow.

FATHER    Good -- then you have three days, huh? That's good -- stop

bawling -- you just said it was good over there before -- didn't you?

The food -- the wolves -- why -- what did I say -- that you're coming

home soon -- and we'll make shitloads of money -- but go back now --

'cause they'll come say you ran away -- blame me -- and I'll get

screwed again -- I know -- then our -- don't you get it?

(Beat.)

Good -- three days -- what do you want to do?-- What'll we do?

BOY       (Sniffling:) I dunno.

FATHER    Why don't you know? Should I know? When I was your age I knew

-- I chased girls -- went to the movies --  you know -- there wasn't

T.V. then -- we played ball -- the boys over there -- you all play

ball?

BOY       There's no field --

FATHER    Why not? That's why we never have a winning team -- I always

say -- why ain't there places -- the papers say it, too -- still

nothing -- why ain't there a field there?

BOY       I dunno. There was a ping pong table -- they took it -- a

guard has it --

FATHER    The ping pong table -- it's not his, huh? It's yours -- and

he took it, right?

BOY       I never saw it -- they told me --

FATHER    You got to stand up to things like that -- get it back -- why

don't you stand up? Don't give up -- they'd take everything -- 'cause

you leave it there for them -- they'll take it every fucking time --

tell them I said so.

(Beat.)

Okay -- let's say we go out -- okay? -- cruise around -- or you go to

the movies -- I dunno what's on -- I'll give you money -- you'll get a

twenty, okay? I'll read -- 'cause I usually read after work -- you'll

get a twenty.

(Beat.) I'll clean now -- didn't have time -- but now that you're here

-- it's a good thing -- that you came home -- I'll clean up --

(Beat.)

                              Scene 11.

(CITY BUILDING INSPECTOR [C.B.I.], a woman, enters carrying two large

fishnet bags full of groceries, and a briefcase. She stops.)

C.B.I.    Good afternoon! Is this number forty-four?

FATHER    This is forty-four.

C.B.I.    I don't understand, there's no house number outside. I've

been wandering around for half an hour, no number, no street name --

FATHER    'Cause it fell off -- and I made one -- put it up -- it was

up there -- 'cause the old one was so -- was so -- worn off -- the

council came -- said it ain't --  regulation -- took it down -- said

they'd do it -- since then nothing.

C.B.I.    I just don't understand. On the fence of the neighboring lot

it says twenty-eight... I asked and no one knew.

FATHER    The mailman don't come in -- 'cause he says he don't have to

if there ain't a number -- old woman lives here and stands outside for

her pension -- 'cause the mailman don't come in -- we ain't even here.

(Laughs.)

C.B.I.    (Puts her bags on the ground and takes out a drawing from her

briefcase, opens and studies it.) I don't understand. This isn't what's

here.

FATHER    What'cha looking for?

C.B.I.    I'm from the council.

FATHER    Council?

C.B.I.    The council.

FATHER    Please -- here's my son -- they took him away to state

custody -- but it's bad over there -- please let him go.

C.B.I.    Custody case. (Looks at the drawing.)

FATHER    They took him away -- illegally -- his sister, too -- please

come in -- my place is in order -- clean -- I work -- then they take my

kids away.

C.B.I.    I said that's a custody case. There is a custody official. Go

see him. (Looks around.) I don't get it.

FATHER    Please let him go -- and make me his -- his -- how do you

call it -- who looks after him -- you know --

C.B.I.    Guardian. (Points to the garage.) What is this?

FATHER    Garage.

C.B.I.    Well it isn't here.

FATHER    It's that woman's -- lives there --

C.B.I.    You mean it isn't a residence?

FATHER    This? I said it's garage -- that woman's --

BOY       There was a shed there -- shed -- mine --

FATHER    I'll call her out -- don't worry. (He knocks on WOMAN's door.

Silence, he knocks again.)

WOMAN     (Opens her door, but just as much as the chain allows.) What

is it?

FATHER    Come out -- council came 'cause of your garage.

WOMAN     What do you mean the council? I got a permit -- it's mine.

FATHER    Council says it's residence.



WOMAN     (Takes the chain off, comes out, walks toward C.B.I.) You're

from the council, comrade?

C.B.I.    I am.

WOMAN     This is my garage. I got a permit -- inside, I can get it.

There wasn't anything here -- just a rotting shed. I made it.



C.B.I.    Well it doesn't appear on this drawing.

WOMAN     What do you mean it doesn't appear? I went to the council,

it's been here a year and a half --

C.B.I.    When did we inspect the premises?

WOMAN     I don't know... (To FATHER:) Did they inspect?

FATHER    When they took my kids away -- my son, too, illegally --

'cause the old bitch reported me -- even though she's crazy -- just

buried her cat -- tell her -- she buried it, no? Didn't she bury it?

WOMAN     Well, yeah.

C.B.I.    What's this, a garden? I have a garden here.

FATHER    This is a garden.

C.B.I.    Not an interior courtyard?

(Short beat.)

FATHER    Is this a garden?

WOMAN     I don't know. Why, is there a difference?

(Short beat.)

The professor knows for sure, and he can say that this is a garage --

(Goes to PROFESSOR's door, knocks, pause, knocks again.)

PROFESSOR (Opens his door.) I implore you to let me work!!

WOMAN     I'm sorry, but this comrade here is from the council. Please

tell her if this is a garden or a courtyard, and that garage there is

mine -- tell her!

PROFESSOR I've asked you all a hundred times not to bother me while I'm

teaching --

WOMAN     But they're here from the council!

C.B.I.    (To PROFESSOR:) This is number forty-four?

PROFESSOR Yes, it is.

C.B.I.    Nothing is the way it should be. I've come here to inspect

for the gas hook-up. But the neighboring lot is number twenty-eight and

there's no number on this one. And this garage doesn't exist.

PROFESSOR One second. What gas hook-up?

C.B.I.    We're hooking up the gas here.

PROFESSOR Now?

C.B.I.    In the next three months.

PROFESSOR Pardon me, but I happen to know that they're going to raze

this whole building.

C.B.I.    That's right.

PROFESSOR If they're razing it, why hook up the gas? It would have been

good if we'd gotten it sooner, but if they're tearing it down now why

do it at all?

C.B.I.    City planning called for gas in this building. There wasn't

the capacity before. Now there is.

PROFESSOR This will cost the council a lot of money.

C.B.I.    You're right. So be happy that you're getting it.

PROFESSOR If they start now, we'll use it for a few months, half a

year, a year, then along comes a bulldozer and clears the whole place

out. They'll move the public utilities. That's very expensive. They'll

build ten-story panel houses like the others in the neighborhood.

They'll put down new pipes.

C.B.I.    That's right.

PROFESSOR Wouldn't it be simpler if you didn't bother hooking us up

now?

C.B.I.    Don't get excited. It's been approved.

WOMAN     Don't cause trouble. If we have gas when they assign us new

apartments, they'll have to give us better ones.

PROFESSOR Still it's a waste, if you please. The state is throwing away

a lot of money.

(FLIRT and TEENAGER listen closely at PROFESSOR's door.)

C.B.I.    That's right. Is this definitely number forty-four?

PROFESSOR This is number forty-four.

C.B.I.    The way I see it, even the measurements are wrong.

PROFESSOR If they're hooking up the gas up now -- fine, so be it. But

then maybe you don't have to tear down the building. It's not in bad

shape, neither are the other houses in the neighborhood -- they've

renovated quite a bit, not that long ago -- the new buildings will hold

just a few more people than all the houses they'll destroy. And there

are beautiful gardens here, with fruit trees, all of them will be

destroyed. It's a shame.

C.B.I.    A decision was made. You should be happy you're getting it

for free.

PROFESSOR These are brick buildings, there are basements below them,

they're in good shape, they can take another forty-fifty years. That's

more than block housing can.

C.B.I.    Please, would you please just leave me alone. I get an

assignment and I do the best job of it I can. You can go to the

complaints office. Open late Mondays.

FATHER    Hey, gimme a paper that everything's clean here, I don't

drink, I work, he works, too, please look, what a big guy he is!

C.B.I.    Explain to him, this is a custody case.

FATHER    You're from the council -- I'm talking to the council now --

tell 'em -- what happened -- when my wife left -- I stayed here -- I

was messed up -- my boy looked after me -- 'cause I couldn't get up --

and he brought me food -- everything -- cleaned -- washed -- 'cause his

sister also ran off -- if I didn't have my son -- I would'a died there

-- he was just a little kid -- and he did it all -- then they reported

me -- and the council took him from me -- it was like that! Tell her!

It was like that!

WOMAN     Yeah, 'cause the old woman wanted to help -- to take him in -

- and that's when they came out and the state saw. But he couldn't have

gone to the old woman's -- 'cause you would have fought -- so they took

him.

C.B.I.    (Sighs and looks at BOY:) And?

FATHER    He wants to come back -- it's no good over there for him --

why can't he come back?

BOY       Let me stay here -- I dunno -- I always imagined -- that I

could come back -- and be with dad -- here -- even though he didn't

write -- but I wanna be here -- with him. (Weeps.)

C.B.I.    Please, go to the custody office.

FATHER    (Opens his door.) Come inside -- everything's where it should

be -- clean -- please take a look -- there's room for him here --

(PROFESSOR goes back, ushers the girls in, closes the door.)

C.B.I.    A caseworker will come out soon, alright, do you understand?

(She puts the drawing back in her briefcase and picks up her bags.)

WOMAN     This garage has a permit -- I can show you -- it's inside --

so I've got a good two-room flat with garage coming to me -- please

make a note of it.

C.B.I.    They'll be out here soon.

OLD WOMAN (Comes out in a clean, very girlish dress too small for her,

wearing make-up and holding a piece of paper. Shouting:) Get away from

there! (C.B.I. jumps in fright.) You're stepping on the grave! The

grave! Get out of there!

WOMAN     Wait here -- it's only a cat -- they hung it --

(C.B.I. turns to go. FATHER runs after her, grabs her arm.)

FATHER    This dusty old whore -- I'm reporting her now -- she took my

boy away -- that's what happened --

C.B.I.    Let me go!

FATHER    She didn't have the right -- she didn't have the right. A nut

case -- burying her cat here -- and the council believes this!

WOMAN     (To OLD WOMAN:) She came from the council --

OLD WOMAN (To C.B.I.:) Sign this for me -- my will -- only the

professor was willing -- no one else -- please sign it --

C.B.I.    Let me go!

OLD WOMAN I'm leaving everything -- to this boy here -- everything --

furniture -- everything -- my money, too -- ten thousand Forints --

that too -- I wrote it all down -- please sign it --

C.B.I.    I'm not signing anything! Let me go -- you're all mad! I'm

here to bring you gas!

FATHER    She took my boy -- so she could be his guardian -- I know the

game -- she'd get the money -- as his guardian -- sure --

OLD WOMAN Don't you get it, you imbecile? I'm leaving everything to

your son?! Don't you get it?!

FATHER    What?

OLD WOMAN This is a will -- I'm leaving everything to him -- my money -

- ten thousand Forints -- that too -- and I'll take him in -- I'll turn

in an petition --

FATHER    You have money, huh? But it should'a been mine, you stole it

-- I figured it out -- 'cause the check for guardians is four hundred a

month at least -- I know -- I'm not stupid -- you think I don't know?

You stole 9,600 Forints from my pocket -- that much -- 9,600 -- I

counted it!

OLD WOMAN Who? What? I stole -- from you?!

FATHER    'Cause if I'd been his -- his guardian -- for the kid -- then

-- I'm not even counting the girl -- then it'd be that much. You can

figure it out! That's how much you owe me!

OLD WOMAN This is -- this is --

FATHER    You reported me -- said I just lay around. (To C.B.I.:) She

reported me -- said I just lay around -- cause I was having a hard time

-- 'cause this here -- she wanted to get her hands on that money --

from the boy -- she could count! But she didn't get the money -- 'cause

the case worker came -- saw what was going on -- and I didn't get it --

fucking hell -- I didn't! (To OLD WOMAN:) 'Cause if you weren't such a

piece of shit -- I'd get it!

WOMAN     What happened was the case worker came and saw that things

would explode if the old lady -- that's why she didn't want to -- she

really meant well -- you can believe that.

FATHER    Yeah, and I would'a wrung her neck -- for sure --

WOMAN     The boy was so good -- nursed his father -- skipped school --

worked so there'd be money -- they threw him out of school 'cause he

stole money --

 BOY      I didn't steal money! Just from my sister! I didn't steal!

WOMAN     His father just laid around -- the boy cooked for him --

cleaned -- everything -- pretty unlucky thing that the council came --

but I know the council meant well.

C.B.I.    (Freeing herself:) Go to the custody office! (She flees out

the arched entryway.)

OLD WOMAN At least sign this -- I need two witnesses -- sign it!

(C.B.I. is gone.)

FATHER    (Shouts after C.B.I.:) I didn't even beat him--never!

Everyone beats their kids -- me never! (Beat. To BOY:) Why, did I beat

you?

BOY       No.

FATHER    There! A slap here or there -- but beatings never! You got to

take him out from where they beat the shit out of him -- but you never

do -- just from me -- when they're big -- when they're earning --

that's another thing -- 'cause if they ain't here -- they won't give me

a bigger place -- that's what it's about -- I know! 'Cause the council

-- why do they butt in -- why -- when it's tough enough as it is -- why

do they fuck with me -- why?

WOMAN     They meant well -- that was a real nice case worker.

FATHER    Even so why they messing with me -- why they messing with me

-- (To OLD WOMAN:) You're a godamn snitch.

OLD WOMAN I have nothing to say to you. I'm leaving everything to your

son. But I have nothing to say to you. (To WOMAN:) To you, too -- you

worm -- you can't even sign this -- but it doesn't matter -- because

the Lord doesn't want evil to rule the Earth. (To BOY:) Soon you'll see

--

WOMAN     I'm a worm! I'm here defending you -- and then -- then -- you

were always worming your way -- always -- you got rid of the only man -

- the engineer-- who rowed --

OLD WOMAN What? Me? Who?

WOMAN     He was the only guy that -- but you were all over him -- with

'come and have some coffee' -- you were always watching us when he came

over -- and he couldn't take it -- the only guy who -- who --

OLD WOMAN You are insane.

WOMAN     Me? Me? What did you say to the old man -- about me -- up

until the end -- he told me -- that I was just there 'cause of the flat

-- until the end -- because I'm young -- and beautiful -- you were vile

-- 'cause you were jealous -- I know --

OLD WOMAN What? Me? That was an old man!

WOMAN     Younger than you!

OLD WOMAN A broken down old man! I pitied him -- 'cause you did as

little as you could -- and he rotted here alone all day -- so I invited

him in -- bought him apples -- you were afraid that I wanted that flat

-- and the only vileness that's here is --

WOMAN     You spy on us -- when the professor and me are talking -- you

run out right away -- so that nothing --

OLD WOMAN That is --

WOMAN     Yes! That!

FATHER    (Laughing, to BOY:) Hear that? Ripping each other apart --

great, huh?

(Laughs.)

WOMAN     You just shut your damn mouth -- the most you're good for is

looking out your window!

FATHER    Stupid whore -- sleep with everyone -- you think I don't see

-- with everybody --  your tits are always hanging out for me to see --

whore.

WOMAN     Soon -- I'll -- I'll -- (Runs in, shuts herself behind her

door, sound of the chain being put on.)

OLD WOMAN What did she need with my cat? She'd try to call her over --

and that stupid thing even rubbed up against her --

FATHER    Your cat! (Laughs.) Your stupid cat! Your cat bit the big

one, honey! The pussy packed! Kitty, kitty, psss, pssss, here kitty.

(He laughs, starts jumping around the crutch, imitating American Indian

chanting, waves for BOY to come over.)

BOY       (Laughing) Dad... Dad... (Joins him jumping around the crutch

chanting.)

OLD WOMAN (Watches them, pulls herself together, stands motionless.) My

Lord, thank you, for once again reminding me -- my Lord! (FATHER and

BOY dance around the crutch slapping their palms to their lips while

they chant.) You know, Lord -- why this must be -- you know, Lord --

(FATHER and BOY stop, panting. FATHER puts his arm around BOY who is

taller than him. OLD WOMAN dries her tears, smearing her make-up.) It's

alright, Lord -- it doesn't matter at all -- even so -- even so -- (She

exits into her apartment and closes the door half-way.)

FATHER    (Panting:) Well, what do you fucking say? (Laughs, panting.)

Ah, fuck, whoah --

BOY       (Laughing:) Dad -- oh, fuck --

(Enter MOTHER from the arched entryway, carrying several plastic bags.

She stops.)

FATHER    (Clears his throat.) Got to get some exercise, huh? -- Soccer

or something -- (He wheezes.)

(BOY sees MOTHER, steps toward her, stares, becomes nauseous, sits down

in front of the garage, numbly looks at her, beat.)

MOTHER    Wha' happen'?

(Beat.)

FATHER    Nothing -- fucking nothing -- here's your kid -- don't you

see him?

(MOTHER looks over at him dumbly.)

Well, go inside -- clean up -- dammit -- I can't even give him nothing

to eat -- where you been for fuck's sake -- when he comes home -- and

clean up -- you take your bed into the kitchen -- 'cause he's sleeping

with me in the room -- okay? Don't fucking stand there looking at me --

don't look -- and put your things away -- (MOTHER walks into the

apartment in silence.) Your mother's here -- came back a while ago --

now she's here -- she came back -- she's staying here -- at least she

cooks, huh? -- Should I throw her out? -- Then what? -- At least she

cooks when she's here, huh? -- What is it? -- What the fuck is it? --

Why ain't you said nothing -- she's your mother for chrisssake.

(Beat.)

Ain't nothing between us -- she can come back -- what can I do --

where's she gonna go? They always kick her out -- where would she go --

let her cook -- who cares -- let her do what she wants -- let her marry

some dope -- if she finds one -- but she always comes back -- ain't

working out for her.

(Laughs) Who needs an old bag like her? It don't work that way -- just

she thinks so -- I ain't saying a word -- for a man this ain't old --

this age -- I'm not forty yet -- I'm still something, huh? This is the

best time. Every babe 16 to 45 is okay by me -- but I watch myself --

I've learnt what you can do and what you can't do.

(Beat.)

What're you sitting down for -- your mother's cooking -- I'm going in.

(Beat.) Come on in soon -- you'll need food, huh? -- come on in soon.

(He goes in, closes the door. Beat. BOY sits in front of garage.)

                              Scene 12.

(Enter PUNK.)

PUNK      What's happening, man? (Beat. PUNK sits down next to BOY in

front of the garage.) I went to see if anyone was coming, no one did.

(Beat.) What's goin' on?

BOY       That fucking bitch.

PUNK      What's goin' on?

BOY       (Stands up, picks up the hatchet.) I'll smash her head open -

- I'll smash --

(PUNK listens.) I'll smash her fucking head open! (Screaming, he

smashes the lock on the garage door, breaking it off.)

PUNK      We taking the car?

WOMAN     (Enters.) Jesus! What are you doing? Why? (She runs back

inside, leaves the door open a crack, puts the chain on and looks out

in terror.)

PUNK      (Opens the garage door, and looks in.) A little Polski.

WOMAN     Please, don't!

PUNK      She's fucking scared to come out! (Laughs.)

WOMAN     Don't do it -- I'm begging you -- don't!

PUNK      We taking it?

BOY       Sit your ass down.

PUNK      Can't drive, man?

BOY       No. Sit the fuck down!!

(PUNK sits. Beat.)

WOMAN     No -- please -- no! --

(Beat.)

PUNK      The bitch is freaking out. (Laughs.)

BOY       Shut up.

(Beat. WOMAN stares out fearfully. Beat.)

                              Scene 13.

(Enter FLIRT, TEENAGER, and PROFESSOR from his apartment.)

PROFESSOR So then next week.

FLIRT     Yes, professor. (Takes out her money.)

WOMAN     Professor!

PROFESSOR (Looks over.) Yes.

WOMAN     Nothing, I'm sorry that I bothered you, during your lesson --

PROFESSOR No problem, no problem at all. (Beat.) Furthermore, I would

just like to say that this prayer, this brilliant, deeply human prayer

is a prayer of desperation; it is not only the finest Hungarian poem of

this century, but perhaps of all Hungarian poetry, because, as I've

pointed out, like the greatest writers of this age, Dostoevski and

Nietzsche, for example, the writer here struggles with experiences

which, as they say, have remained pertinent to this day -- experiences

the entire world faces, if you will -- but this isn't what's most

important. Rather, this brilliant, desperate, deeply felt prayer, this

soul-searching exclamation, if you will, is the ultimate expression of

the spirit that believes in spite of itself. And I dare say in this it

even surpasses the greatest of poems. Because in this poem its author

does not seek refuge in the Lord because he has found his salvation,

not because of God's existence, nor because the poet believes in His

existence, in another poem he refers to the Lord as an 'old God.' This

is not a weak man seeking solace, but rather a mature, earnest person

who weighs the consequences of our renouncing this forever-

unresurrectable Lord, if you will.

(Meanwhile, FLIRT has been making eyes at PUNK.)

And as this earnest man is perfectly honest about his weakness, for

this very reason he no longer remains weak, clearly shown when he

writes:

Let us give ourselves faithfully

For of Spirits, he is best

Nothing remains in which to believe,

Let us believe this may-be Lord

Please note that until this point the poet has referred to him as God,

and now, all at once, addresses him as Spirit, capitalized, naturally.

The Spirit could also be an evil sprit, please note. The poet is

saying, even if there is a God, even if there isn't, even if good, even

if evil, there needs to be one, even, surely, especially when Nothing

remains in which to believe. This is an incomparably deep thought from

a somber, desperate man. The poet is saying whatever spiritual nature

exists, hovering above man, be it disastrous, hostile even towards man,

it is still better that it exist than not exist. And this is what is

found so beautifully expressed in the final stanza, the Hungarian

poet's four most beautiful lines, which I ask you to learn by heart:

For of Spirits, he is best

And dreadful it can not be

That belong to no one, or to man

Life, life, life

Please note, if you will, that even if good, even if evil, the Spirit

here is designated the best Spirit. Its quality makes no difference,

just that it exists. And the explanation: It is horrendous and

impossible, that above all life belongs to no one -- please note the

paradox, the adjective, independent of the poet, dreadful commingles

with the soul of the poet's outcry, It can not be -- and after that for

the first time, that life belongs to no one. Only after this comes the

truly deep, great thought, which unfortunately has been proven correct

to this day, the most terrible prophecy which any poet has penned, the

heaviest cassandrian prognostication which has come to pass:

And dreadful it can not be

That life

Belong to no one, or to man

Because man is undeserving of life, because man when he wins dominion

over the Earth wreaks havoc upon it. (Short beat.) So then please learn

not only the final stanza, but the last two. (Short beat.) And if you

come to these conclusions for yourselves, then these eight lines will

come to mind, even so, even if now you don't understand them

completely.

TEENAGER  But we do understand them, professor.

PROFESSOR And if they come to mind, then, no matter how strange, you

will be comforted. You will be comforted, because you will feel as if

you too are a part of something great, a part of something awesome, in

which great souls before, like our poet Endre Ady, have also suffered.

And then you will feel the beautiful, great community to which mankind

belongs, a humanity capable only of destroying life, but, if you feel

it, then the spirit, the spirit which Ady speaks of will appear in you,

the Lord will then appear in you.

(PROFESSOR wipes his tears. The girls stand. Beat. Then PROFESSOR

clears his throat.)

So please learn the last eight lines, I have to leave now --

FLIRT     Thank you. (She hands him the money.)

PROFESSOR Yes -- (He takes the money.) Thank you. So in two weeks then.

(He quickly exits back into his apartment, leaving his door open.)

TEENAGER  (Giggling:) God!!

FLIRT

PROFESSOR (Comes out with a shopping bag.) I forgot to pick up a few

things -- when I came home from school I didn't have it with me -- my

bag -- I'm hurrying -- good bye. (To WOMAN:) Good bye.

TEENAGER  Good bye!

FLIRT

(PROFESSOR exits.)

PUNK      Fucking look over there --

TEENAGER  Come on, let's go.

FLIRT     Where are you going?

TEENAGER  Let's go!

FLIRT     Cute guy.

TEENAGER  Come on.

PUNK      Fucking look at that --

BOY       Leave me alone.

PUNK      They're looking over here, huh? They're looking.

TEENAGER  (To WOMAN:) Hello.

WOMAN     (Quietly:) Hello.

TEENAGER  Okay, let's go.

(PUNK stands up, moves a little closer to the girls.)

FLIRT     The one who's sitting cute, isn't he? (PUNK stops.)

Maybe he can't get up.

(PUNK bursts out laughing.)

TEENAGER  Hey, why now --

FLIRT     He's sitting there like a dead something.

TEENAGER  (Giggles, then stops.) Don't start with them.

(FLIRT and TEENAGER start walking toward the arched entryway. WOMAN

listens.)

FLIRT     (Looks back.) He can't come.

PUNK      Let's fucking go!

BOY       Whores!

TEENAGER  (Angrily:) Let's go!

(TEENAGER and FLIRT exit.)

PUNK      Hey, why'd you -- didn't you fucking see -- they wanted it,

man? Didn't you fucking see that?

BOY       Your fucking mother. Shut up.

(WOMAN stands silently.)

PUNK      (Walks over to BOY, sits down.) What the fuck, man?

(Beat.)

Cute bitches -- why'd you --

(Beat.)

What, man? Your old man gone or what?

(Beat.)

Why don't you got a fucking key -- I told you to get one -- I got one.

(Beat.) Hey -- she's looking here -- look --

BOY       Shut your mouth you stupid fuck.

(Beat.)

She stole dad's money -- ten thousand Forints -- that bitch --

PUNK      What?

BOY       That stupid old shit -- it's all 'cause of her --

PUNK      What? That old woman -- the cat --

BOY       (To WOMAN:) What're you looking at? What're you looking at?

What are you looking at?

WOMAN     No -- please --

BOY       You took my shed -- mine -- why'd you take it?! (Cries.

Beat.)

PUNK      Hey, man, don't --

WOMAN     I didn't know -- don't be angry -- I didn't know --

PUNK      What, man --

WOMAN     What can I give you -- if you want something I'll gladly --

BOY       You go to hell! Don't stare! I'll smash you car if you stare!

WOMAN     No -- not that -- I'm not staring -- just don't --

BOY       Go to hell!!!

(WOMAN goes inside but peeks out of a crack in the door.)

PUNK      Fuck it up -- her car, huh?

BOY       You stupid fuck --

PUNK      Hey, man, what's up with you --

(Beat. PROFESSOR comes in with bread, milk, wine, and cold cuts in his

bag. WOMAN, hearing his footsteps, appears in the doorway.)

WOMAN     Hello.

PROFESSOR I didn't bring my bag in the morning -- forgot it -- so I had

to go shopping now. I had five classes, and I forgot. I had to go out

after class -- in the afternoon -- otherwise I couldn't get the East

German earplugs -- those are the best -- there's a shortage you know.

Those are the best. (Towards the boys): Hello, boys. (To WOMAN:) The TV

is always -- so I need sleeping pills, too --

WOMAN     Yes, you've said that many times.

PROFESSOR But I try not to take too many -- Geza Chath smoked opium --

have you read him? I'll tell you about him -- he's written beautiful

short stories -- well, good bye.

WOMAN     Good bye, professor.

(PROFESSOR goes in his flat, closes his door.)

PUNK      Hey, she's looking.

(PUNK takes the hatchet in his hand, looks at her. WOMAN closes door,

the sound of the chain is heard. Beat.)

BOY       She stole from dad -- the money --

PUNK      The old woman? At least we did her cat, huh?

(He puts down hatchet, beat.)

Don't freak. We go in and she gives it back --

(Beat.)

There's no way she won't give it back -- we go in and she gives it back

--

(Beat. He picks up the hatchet.) She'll see this -- shits her fucking

pants -- then out comes the money, man --

(Beat.)

BOY       Four hundred's mine.

PUNK      What?

BOY       'Cause she stole nine thousand six hundred -- and she's got

ten thousand. So four hundred's mine.

PUNK      Why -- I'm going, too -- ain't I?

BOY       I didn't ask you.

PUNK      Yeah, she'll give it up to you, stupid.

BOY       Okay, two hundred's yours.

PUNK      Why two hundred -- five thousand.

BOY       You dick. Dad gets nine thousand six hundred.

(Beat.)

PUNK      Well, you know, man, your fucking dad--

BOY       Watch it, man, I'll fucking smack--

(Beat.)

PUNK      Dunno -- we need something -- put over our heads --

BOY       Fuck -- what for?

PUNK      Well, we need something -- don't we?

BOY       Fuck.



(Beat.)

                              Scene 14.

(Enter SERGEANT and COP from the arched entryway. BOY and PUNK stand

up. PUNK holds the hatchet in his hand.)

PUNK      Hello.

SERGEANT  Hey. Who's this?

PUNK      Well, he's -- you know -- him.

SERGEANT  Identification. (BOY takes out his ID, hands it over.

SERGEANT flips through it.) Hey, is that you? I didn't even know you.

(To COP:) His son.

COP       Yeah.

SERGEANT  You're at the boy's home, ain't you?

BOY       Yes.

PUNK      He broke out! He told me! He broke out!

(Beat. BOY looks at PUNK, takes out a piece of paper, hands it over.

SERGEANT looks at it, shows it to COP.)

SERGEANT  Is this an official leave permit?

(COP studies it.)

BOY       It's official.

SERGEANT  I didn't ask you.

(Short beat.)

COP       Well -- permit.

SERGEANT  Stamped and dated?

COP       There's a stamp. There's a date.

SERGEANT  Letterhead? (COP nods. He takes it back.) This is an official

leave permit. For how many days?

BOY       Three.

SERGEANT  I didn't ask you.

COP       (Looking at paper:) Three.

SERGEANT  This is an official leave permit for three days. (He gives

the paper back to BOY who puts it away.) It is forbidden to keep

anything within the covers of your State identification.

BOY       Ain't nothing in it.

SERGEANT  I did not say there was something in it, but that it is

forbidden to keep anything within the covers. Is that what I said?

(Beat.)

Is that what I said?

BOY       Yes.

SERGEANT  The state identification must be kept with you at all times.

BOY       I had it with me -- ain't it with me?

SERGEANT  I did not say that it wasn't with you. Did I say that you

didn't have it with you? (To COP:) Did I say that?

COP       No.

SERGEANT  (To BOY:) Is that what I said?

BOY       No.

SERGEANT  The State identification must not be mutilated.

(Beat.)

This is not mutilated. Its loss must be reported to the appropriate

police authority.

(Beat.)

Here. (BOY takes it back and puts it away.) You seen your father?

BOY       Yes.

(WOMAN opens her door a crack and listens.)

SERGEANT  Okay, carry on.

(Beat.)

So, what's doing? What you been doing so far?

PUNK      Just hanging out.

SERGEANT  Okay, carry on.

WOMAN     Hello.

SERGEANT  Hello.

(Beat. WOMAN withdraws, locks herself in, sound of the chain. BOY walks

in direction of OLD WOMAN's door. PUNK follows after a brief

hesitation. BOY opens her door. Both go in. Beat.)

COP       That was a woman.

SERGEANT  Yeah.

COP       Got to be a whore -- ought kick her ass -- why's she always

screwing --

(Laughs.)

SERGEANT  That was a joke? Stupid godamn joke!

(Short beat.)

COP       Me -- no, I didn't -- I didn't -- really -- I even sleep in

my uniform --

(Beat.)

SERGEANT  Well, sometimes little ones like this forge another date --

scratch out the old one -- or use ink remover. Got to watch that -- and

they lie -- say they had it -- and lost it on the train --

COP       Yeah.

SERGEANT  But this is a good kid -- when his father was sick -- he

looked after him -- took care of him -- even though his father was sick

-- after his old lady had left him for the second time -- she was still

alright then -- his sister whored around -- real business like -- so

the kid's alright.

(Beat. COP leans against the wall in the arched entryway.)

Beat, huh?

COP       Naw, just you know --

SERGEANT  I didn't say this was easy -- walking around all day. Over

here -- over there. Your fucking feet kill you, huh?

COP       No, just my back --

SERGEANT  That's the way it is -- in cold -- in heat -- you breathe in

the dust -- the smoke -- to keep the peace -- that's the way the work

is.

(Beat.)

You'll get used to it -- and you got to be careful -- pay attention --

but you'll get used to it.

(Beat. Suddenly, a scream, crashing sound, then silence. COP jumps away

from the wall, looks alarmed.)

SERGEANT  (Impatiently:) What got you -- you shit your pants?

COP       What was that?

(Beat.)

SERGEANT  Nothing -- the TV-- a police story --

(Beat. They listen.)

Okay, we were here, let's go --

(From OLD WOMAN's flat come BOY and PUNK, pale, their hands and shirts

covered in blood, they stop.)

PUNK      Why'd you have to -- why --

BOY       Her brains -- her brains --

(Both are about to vomit. COP and SERGEANT stare, then jump on them.

They make the boys spread their arms and legs. BOY and PUNK don't

resist. They handcuff the boys to each other.)

SERGEANT  (To COP, kneeling on BOY and PUNK:) Go look --

COP       (Enters OLD WOMAN's flat hesitantly. Beat. He comes out

visibly nauseous, then breathes deeply and slowly recovers.) Caught in

the act! Caught in the act!

(COP and SERGEANT pull BOY and PUNK up, rush them out quickly and

disappear.)

                              Scene 15.

(WOMAN unchains her door, opens it, sniffles. She has a new lock in her

hand, goes to the garage door, puts it on, takes the old one, starts

back toward her apartment. Stops, walks towards PROFESSOR's door,

knocks, waits, then goes back into her apartment and locks the door.)

                              Scene 16.

(Beat. FATHER and MOTHER come out of their apartment.)

FATHER    Where's that kid...

MOTHER    The thing came today -- stupid -- the whole day I -- I didn't

-- they ran around all day -- I was -- I don't even got time -- to take

a shit -- and that -- you know -- died, huh? It's suspicious -- said on

the radio -- suspicious -- at ten -- but I couldn't go -- the others --

I got a headache -- but the others don't care -- yeah -- and I come

home -- by the church -- really in his heart, huh? With that -- with

that, uh -- with that wood -- hook -- at the end -- metal, huh? I don't

get it -- but it's that -- terrible -- they're going around -- all the

time -- I don't got enough time -- to shit -- and their big mouths --

FATHER    Yeah, don't start --

MOTHER    Why -- I had enough -- they come -- Ersi, too -- stupid bitch

-- comes over -- talking -- while I -- but I said -- why not -- when

the big shots, too, huh? You'll see --

FATHER    Shut your mouth!

(Beat. From WOMAN's flat comes Leonard Cohen's "Who by Fire." FATHER

looks up.)

They're already over there -- hear that?! They're already over there!

(Beat, except for the song.)

Well, the kid is here -- clean the fucking place up -- 'cause it's bad

for him -- if he sees that we turned the room around -- you go into the

kitchen while he's here --

MOTHER    Why should I go? Where? And the radio said that, uh -- you

know --

FATHER    Why're you going to the fucking kitchen -- 'cause -- that's

fucking why -- and he's coming home soon -- that's the way it's going

to be --

MOTHER    What'd you mean he's coming home?

FATHER    He's coming home -- then I'll be appointed his thing --

that's it -- his -- I'll be his guardian -- that's it -- that's at

least four hundred a month -- see -- I'll be appointed -- 'cause he's a

strong kid -- he'll go out and work -- who the hell needs his trade --

he'll be earning four thou, five -- fucking strong kid -- see -- how

much does a kid like that eat -- let's say -- he eats a thousand --

he'll get another thou -- that's two left -- maybe three -- see -- so

go to hell -- and clean up --



MOTHER    I'll clean up -- I'll throw out your stupid books --

FATHER    Just try it -- you piece of garbage -- just try it --

MOTHER    I'll throw out -- stories --77 Hungarian Folk Tales -- an old

jack -- ass like you -- reading stories --

FATHER    Hey, those are good fucking -- and it's nothing to you --

what I do -- be happy you can stay here -- go clean up inside -- what I

says goes!

 (MOTHER goes in. Beat.)

There. 'Cause it'll be the way I want it to be. (Heads toward his

apartment.) What's on the fucking TV?

(FATHER walks in, slams the door.)

                              Curtain.

-------------------------------------------------------------------------

[*] The siege (1944-45).  Both Allied and Russian forces bombed

    Budapest into ruble in a long, bloody drive to liberate the city

    from the Fascists.

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