|
ALL I EVER WANTED
By Frank Moher
Prologue:
| |
(In the dark, we hear a madrigal sung by a mid-sized
community choir.
Lights rise on a bare, raked stage. Furniture pieces, etc., can
be used to indicate different settings. ELEANOR, HARMON, KIM and
TODD stand at various points on the rake, as if part of a larger
group. They sing along, each in his or her own light.
Successively, they address the audience.) |
Sometimes it seems
every one in the world wants to move here. And has. Every week there are
new faces showing up, at the market, at the Mohawk station, at the
second-hand store. But there was something different about her. She stood
out. Selling her newspaper at the Lions' Rummage Sale, beaming everytime
someone pressed another loonie into her hand. I have to admit I thought:
"Ah-hah! A kindred spirit."
| |
(She stands there, remembering. She doesn't resume
singing.) |
Sometimes all you have to
do is look at a situation to know there's something wrong. Reporter's
instincts, I guess. Or common sense. I mean they looked nothing like each
other; aren't relatives supposed to look alike? And there was something
about the boy, something about the way he could never quite look you in
the eye. That wouldn't hold up as evidence in court, of course. But to a
journalist, it's like wearing a T-shirt saying "Something Going On".
All I ever wanted was to
stay here.
People look at the
scenery around here and they say, "Oh, how beautiful." People from down
east, people from off the Prairies. Like me, though that was a long time
ago now. And it is. Beautiful. But sometimes they don't see what's really
here. Don't see the trees for the forest, so to speak. That girl did, I
have to give her that much. She didn't understand everything. But she
saw . . . a lot.
| |
(The four of them stand there, remembering,
separately. The singing rises to an end.) |
Scene 1:
| |
(Eleanor's home, indicated with a table surrounded
by a few chairs. A smalltown newspaper, coffee mug on the table.
HARMON and TODD enter. TODD wears a "Nine Inch Nails" T-shirt.
Long hair, or maybe no hair. HARMON calls.) |
Lenny?
Lenny!
Maybe she's out back.
Tending her pot patch.
Lenny!
She has a pot patch?
No.
Well you better get started anyway. Least take a look.
What if I get her truck
up on blocks, all the wheels off, and she wants to go someplace?
Then she'll be shit
outta luck, won't she?
You'll drive her.
Prob'ly.
That'd be cool,
her havin a pot patch.
Bout as cool as me
shavin my head.
ELEANOR!
Judas Priest.
| |
(He spots the local newspaper, the "Valley Echo", on
the kitchen table, and sits down to read.
ELEANOR enters, carrying a handful of brochures, but he doesn't
see her. She watches him. He absent-mindedly picks up a nearby mug
of coffee and drinks from it.) |
That's not your
coffee.
| |
(HARMON regards her, regards the
mug.) |
I thought there
was something wrong with it.
Bridgehead. From
Guatemala.
Yuck. Politically
correct coffee. Where were you?
Why?
I'm hoarse from yellin
for ya.
Well then don't yell.
I was over at Mavis Hollorhan's, taking her some peas. Then Jim Friesen
phoned while I was there so I had to talk to him about tuning the piano.
Then I had to stop at the Shop 'N Go on my way home, where I ran into
Sandy Piercy, so I went over to her place to pick up the Tools for Peace
brochures.
So where were
you?
Marge Dutton's. She
needed the brochures. And by the way, it's none of your business where I
was.
I get tired just
hearin about it.
| |
(Pecking him on the head.) | You
and Marge Dutton. She was still in bed.
Ha-ha! Lookit this. Frieda's
outdone herself. "Mrs. Rose Gossage gave an exhibition of clog dancing at
the community hall, gaily decorated with balloons and irises." Musta been
kinda hard to dance, wearin' all that stuff.
Poor Frieda!
Why this woman started
a newspaper I'll never know. It'd be like me tryna be a air traffic
controller.
What a scary thought.
Least I know my
limitations.
| |
(Tossing another newspaper in front of
him.) | Well here, have a look at this one. It
looks quite professional.
What's this?
It's a new newspaper.
Put out by some woman who just moved here from Calgary. Apparently she
used to be a reporter.
| |
(HARMON starts to read. TODD enters, with
wrench.) | Hello Todd!
Hey.
I didn't know you
were here.
Todd's fixin your
truck.
Oh! Thankyou!
He had no choice. It
was either that or shovel out our barn.
Did you bring the
flashlight?
I thought you did.
I thought you did.
Uh-huh. Well I thought
you did.
Would you like to
borrow mine?
Oh. Thanks.
Thankyou for
looking at the truck, Todd. That used to be George's job. It hasn't been
tended properly in years.
| |
(She hands him the flashlight.) | I
called Aston Lake, by the way.
Oh yeah?
They take ten
scholarship students a year. Five of them are fine arts scholarships,
based on an audition. And one of them, my dear, is going to be
yours.
Yeah right.
It is!
Maybe if they got a air
drum scholarship.
A what?
Todd plays air drums.
Show her, Toddy.
Oh I don't think she --
Sure I do!
| |
(Pause. TODD isn't too sure about this. He "centres"
himself. Then he launches into a sudden, vigorous and totally silent
"drum solo". It ends with a cymbal "crash".
Pause.) |
That was "Blonde and
Ragged".
| |
(Beat. Shows them his
T-shirt.) | Nine Inch Nails.
It kinda helps if you can
hear the music.
I thought you
got that T-shirt at the Home Hardware.
Anyway, I don't think --
You don't have to
make any decision now. All they're doing is sending us the application.
Then you'll fill it out, then you'll get in, then you'll become
world-famous, then you'll introduce me to Luciano Pavarotti!
They got any
scholarships for farmers?
The choir can't
afford to lose any basses, Harmon. You'll just have to stay here.
I think I figured out
what's wrong.
What?
I'll letcha know!
Nice boy.
Uh-huh.
And he sings like an
angel. He is going to get into Aston Lake, you know.
Ya'd think you were
his mother.
No. I just think, if
we don't help a boy like that, what's the point in helping people halfway
round the world?
How is his mother by the way?
Hm?
His mother. Your
sister?
Oh! Um . . . better.
Uh-huh. But she's still laid up in bed.
| |
(Something in the paper catches his
eye.) | Well I'll be.
My uncle had
arthritis. He suffered terribly too.
Well I'll be. Guess I
won't be subscribin ta this newspaper, will I?
What?
Nothin. Nothin.
Well it
must be something. You ears are turning red.
| |
(She reads, HARMON looking more discomfited all the
time. Suddenly she bursts out laughing.) |
Of course.
It's wonderful!
You would find it
funny. You think socialism's enjoyin a comeback.
"The News --" -- who's
The News? --
| |
(Regards the front of the
paper.) | Oh, she's The News.
"The News
notes that our federal representative has once again let forth another of
his nineteenth-century views on women, this time suggesting the workplace
is no place for mothers. We agree. The place for mothers is in parliament, so we
don't have to put up with the likes of him anymore."
Marvellous!
All right.
And right on the
money!
He's a decent man.
Decent?!
I used ta curl with
that guy, before he got elected. Besides, there's no need to go makin fun
a people like that!
What about the one
before him?
What about him?
You used to make fun
of the one before him all the time!
The one before him
wasn't a curler!
Think I'll stick ta "Western Horseman".
Where are you going?
I gotta go pick up
some parts in Courtenay. Wanna come?
Be still my beating
heart.
I didn't say it'd be
exciting. We'll do something exciting later.
Dirty old man.
Is that a yes?
To what?
Courtenay.
No. It's my day to
take Mrs. Saville her lunch.
Old Granny Saville. I
remember when nobody liked her. Now people are bringin her lunch.
Amazin how age
improves your character . . .
| |
(He's gone. ELEANOR looks to the "News", still open
on the table. Looks over the article again.
Giggles.) |
Scene 2:
| |
(The community hall. Some bleachers. Light, cheerful
buzz of choristers nearby.
HARMON and TODD sit on the bleachers. HARMON leafs through a
book. TODD wears a "Porno for Pyros" T-shirt. He looks over his
music.) |
Says here . . . that
the average winter temperature in Saskatchewan has risen two degrees in
the last ten years.
You already knew that.
Whaddaya mean I
already knew that?
You already knew that.
You told me that a coupla months ago.
I did?
Yeah. An it leads the
world in innovative grain elevator design.
Is that so?
Geez.
Well I'm not
surprised. Y'know it really is an amazing province. Don't know why I ever
left there. Said I was only comin out here for a year, meant it, an I
still mean it. Thirty-two years later.
| |
(KIM enters, looks around. She approaches TODD,
HARMON.) |
Excuse me. Is this the
choir practice?
Cantcha tell?
I thought probably it
was. But I came by mistake yesterday, and that turned out to be a meeting
of the Rod and Gun Club.
Kim Sayles. How do
you do?
Well I do very well,
Miss Sayles. My name's Harmon Stolee, how do you do?
Looks like you have quite
a lively group here.
Oh we're lively, all
right. Lively and loud.
Hi.
Oh, uh, this is Todd
here. My nephew.
Hi.
You're the boy everybody
talks about!
I -- am?
Oh I've heard nothing
but since I got here. Sings beautifully, people say. Looks like
Axel Rose, sings like Caruso.
That's good, right?
Which part?
| |
(ELEANOR enters, carrying a huge
binder.) |
All right! I hope
you're all warmed up, we're doing the medley tonight.
Good. That means I'm
off the hook.
And Harmon, we're
doing your solo.
Mrs. Demmling? I'm Kim
Sayles, we talked on the phone.
Ahh! The Valley News
lady, right?
Right.
Come right over here,
I want you to meet one of your biggest fans.
Oh, we've already --
Harmon, this is the
author of that article you liked so much. The one about, how did you put
it? -- "Our Jurassic M.P.".
You wrote that
article?
It was an editorial. Yes.
Oh. Well. Oh. Ta each
his own I guess.
I take it you didn't like
it.
Didn't say that.
I've been working on
newspapers since I was twenty-two, Harmon. I can kind of tell.
Well, it just uh --
seems to me -- unnecessary.
What does?
Well uh -- makin fun
of people that way. In print, I mean.
Even politicians?
He was a curler.
I'm sorry?
A curler. And all
that entails.
What I'm gettin at is
-- you can get yer point across without bein nasty, can't ya?
Not always. Sometimes you
have to be nasty, or people just shrug it off.
I see.
Though really, I was just
trying to be provocative.
You don't think
they'll shrug it off anyway?
I don't know. Did you?
Oooo.
Quick, somebody get
me a torniquet.
Well, I suppose that
sort of thing may be all right for the Vancouver Sun. I just hate to see
it start happening here, that's all.
I tell you what Harmon --
you write a letter to the editor and I'll run it at the top of the page.
You will?
I won't touch a word.
Can I be nasty?
Somehow, I get the
feeling you don't have it in you.
Last gentleman left
on earth. Now go do your warm-up.
Maybe she'll forget I'm
here.
There is no hiding
from me, Harmon. Your solo must be sung.
Well. That was
hardly violent at all.
I do have to live here.
Mm. Well, watch out
for those editorials and you'll do just fine. Alto, right?
I think so.
I'll get you your
music.
| |
(ELEANOR goes.
KIM stands for a moment, regarding the bustling room around her.
Pulls out a notebook, jots down a quick note. Turns.
TODD is on the bleachers, looking over his music. She moves to
him.) |
You like "Porno for
Pyros"?
You heard of them?
Sure. They have a sort of
raw but searching quality that's reminiscent of "Stone Roses", but on the
whole I prefer the more plangent approach of, say, "Sharkboy".
| |
(TODD is amazed. KIM laughs.) | I
don't really know that much. I just read "Spin" Magazine occasionally.
Still, you're the first
person I met around here who's even heard of 'em.
I'll bet that T-shirt
gets a lot of reaction.
Yeah.
That might make a good
story, actually.
What?
Well here you are, a guy
who likes "Pyro for Pornos", and yet you sing in the choir, too. And I
hear you might be getting a music scholarship.
Mrs. Demmling told you
that, right?
Uh-huh.
Well. She thinks
so.
That'd make a good
feature. We could talk about that, about how you got interested in music.
Your plans for the future.
You think anyone'd be
interested in that?
They'd be more interested
in that than another one of my editorials.
My Dad was a musician,
actually.
Really?
Well, he wanted to be.
Well, he was, he just -- didn't get paid for it or nothin. Used to play a
lotta blues. Eric Clapton.
Who did?
Oh, uh, nobody.
His father.
Oh yeah?
We were just thinking we
might do an article.
Not really.
Sure we were. On Todd's
background, how he got into music, things like that.
I see.
That would be -- your
brother, right?
Who?
His father. Your brother.
No. Uh, no. I'm -- on
his mother's side.
Mizz Sayles, I don't think we'll be able to do that.
Oh did you want to be
part of the interview too?
No.
It's fine with me.
What I mean is -- I
don't think Todd will be able to do it. He, uh . . . has a lot on his
plate at the moment. Don't you, Todd?
Yeah, that's right.
Well that's the point.
He's an interesting guy, I --
I just don't think
it's going to work out.
I thought Todd seemed
kind of interested.
Lenny wants the
tenors, Todd.
Thankyou for asking.
Sorry we have to say no.
| |
(HARMON goes too, leaving KIM,
puzzled.) |
Scene 3:
| |
(Music: Domingo. Sweet, yearning. Light up on
HARMON.) |
I guess you could call
me a conservative. Small C, of course. Always voted Social Credit. Now I
vote Reform -- until they screw up, and we have ta boot them outta office too. Ta me,
a conservative is someone who understands there ain't just too much
government in peoples' lives -- there's too much people in peoples'
lives too. Nosing around. Tryna impose their values on everybody else. I
keep mine to myself.
Still . . . when I see an opportunity to help out, I do what I can.
That's the key, see -- waitin for the opportunities to come to you. That
way yer not rootin
around, stirring up trouble where none exists. I figure if everybody
just did what they can when they need to, we might not need any government
at all. Course that day is a long way off. Long way off, and not gettin
any closer.
Scene 4:
| |
(Harmon's farm. HARMON and TODD, stacking bales of
hay.) |
You had to mention
your father?
Everybody has a father,
Harmon.
I know that, but if
you get your stories crossed up --
Oh jeez, I hate this,
y'know? -- I just hate this.
You hate what?
All this -- hiding
stuff. Y'know? It's such a pile of crap. I feel like some kinda --
pedophile or somethin.
It's necessary.
I know it's
necessary, Harmon, I'm not saying it's not necessary, I just
--
. . . I woulda liked to do that interview.
Have your picture in
the paper?
Yeah.
Everybody readin about
ya?
Why not?
Last thing I'd care
for.
Yeah, well . . . turns
out I'm good for somethin. Who woulda thought it. I can sing. Big friggin
deal. But I can do it. So why not let everybody know?
Everybody knows it
already.
That's not the same
thing.
Well. I can understand
that. I guess. Maybe if you're real careful --
Naw, you're right. It's
too risky.
Might not be -- the
wisest move . . .
Besides. Mostly I just
wanted to spend some time with that Mizz Sayles.
'Scuse me?
Do you know, is she
married, or divorced, or what?
'Scuse me?
Hey. A kid can dream.
Don't
think that girl from Errington you been going out with would think too
much a that.
I'm just joking
Harmon.
You gonna be seein her
again?
This Saturday. Oh, by
the way. I might need ta borrow twenty bucks.
| |
(ELEANOR, KIM enter. ELEANOR carries a tray with
sandwiches and cokes.) |
Here we are. BLTs
without the lettuce. The one in your fridge has moved on to a better life.
You find everything
you need, Kim?
I took some beef and a
turkey. I left a cheque on your kitchen table.
"Enjoy".
| |
(Taking an envelope from the
tray.) | And this is is for you.
What is it?
It's your audition
date for Aston Lake. Don't worry, it's not till January.
I don't know if I really
want to do this.
Oh. Well. All right
--
| |
(She takes the letter. TODD snatches it
back.) |
Yes. I do.
Y'know if I'd had a
chance like that when I's a kid, I might be a -- farmer right now.
That's uh -- quite a
picture you have laminated on your coffee table, Harmon.
Ya liked that, didja?
I've seen pictures of
Elvis like that. But never one of John Diefenbaker.
They got a statue a
him in Saskatoon 20 feet tall.
Harmon's been
threatening to move back to Saskatchewan ever since I've known him.
Why?
That's what we say.
Oh, you can make fun
all you want. The fact is, Saskatchewan don't have any problem with
excessive mushroom growth. Does it? Ah-hah. Now think about that.
And now -- having vanquished my detractors -- we have a pump to fix.
Get the tray there, Toddy, we'll run it back to the house.
Don't lose the
letter!
I won't.
He'll lose it.
Probably.
| |
(Waving a slip of paper.) | But
I've got the date written down anyway. I wasn't a mother for nothing.
You must think I'm terribly old-fashioned.
What? Why?
Bringing the
"men-folk" their lunch.
Oh, no.
Well, sort of.
It's just -- I love
that man. I really do. And Todd too. I wouldn't do it for just anybody.
You don't have to
explain.
It took me
fifty-three years to find Harmon. The funny thing was, all this time he
was right under my nose.
I know the feeling.
Oh?
Well, I know the feeling
that there's somebody out there who'd be just perfect, if you could only
run into them. I think all the time I was married . . . I felt like that.
Ah.
That must sound awful.
No. Not to me.
Now I think . . . there
must be a place where you fit in . . . if only you could find it.
Of course, my daughters thought they had. It was called Calgary.
Oh dear oh dear.
They think this is
Outer Mongolia.
Well you did the
right thing, coming out here. If it was a marriage like that.
You think so?
I know so. I don't
know what would have happened if I hadn't got out of mine. Nothing good,
that's for sure. George and I . . . had used all our good times up.
But. That's too long ago to worry about. You want to take some
cucumbers with you?
No, thanks.
I better be getting
home myself.
Eleanor.
What would you
do if -- oh forget it. Nothing.
No no. What?
What would you do . . .
if you found out somebody in the valley was -- doing something -- that you
thought other people should know about.
Ohhh. I know what
you're talking about.
You do?
Harmon wouldn't let
you do that interview with Todd, would he? Well look, just wait a few
weeks and --
No. No, it's not that. I
mean something -- dangerous, possibly, that they wanted to keep a
secret.
Heavens. You make it
sound like someone's started a bomb factory.
I mean I know what I'd
have done back in Calgary. I'd have gone to my editor, and if he said run
with it --
Run with what?
-- That's what I'd have
done.
Well can you tell
me?
I don't know if I
can tell you.
Well try me. I'm not
a gossip, and if you tell me I can -
Eleanor, if I was sure I
could tell you, I wouldn't have had to ask you in the first place!
You're right.
I think.
Well I don't know what I would do. I might go -- talk to -- this person -- and then -- well frankly, I'd probably shut up
about it.
That's what I thought.
Why? Is it something
you're going to print?
I don't know yet.
Well, whatever it is,
it can't be worse than Frieda's report on the pig-calling contest. Now
that was truly frightening.
I'm sorry. I shouldn't make fun of --
Excuse me. I'd better get
going.
| |
(KIM leaves, quickly. ELEANOR moves as if to stop
her, but doesn't. She stands there, uncertain.) |
Scene 5:
| |
(Choir practice. Buzz of choristers. HARMON
practising a phrase of music, bass part.) |
"Hark the herald
angels sing . . .
. . . angels sing .
. . siiiiing . . ."
| |
(ELEANOR enters, carrying a copy of "The News". He
glances at her.) | Maybe I'll just leave this one
to the altos.
How long have you
been here?
Just got here. Why?
You haven't seen the
paper, have you?
Nope.
Just as well.
I know what it says,
though.
| |
(Thrusting the paper at him.) | I
don't think you --
She called me
up three days ago an told me what she was gonna print. That was
enough.
| |
(KIM enters, carrying her music folder.) |
Evening, Eleanor, Harmon.
The beef was delicious.
Well now wait a
minute. Don't I get a portion of the proceeds?
I'm sorry?
From your newspaper.
Since I'm the star attraction this week.
| |
(Trying to keep things
light.) | That's not the way it works.
Oh no? And this
is?
| |
(She grabs the paper from HARMON, moves to
KIM.) | How can you do this? How can you put your
name to this sort of thing?!
Eleanor --
I thought you were
running a respectable newspaper! And then you go and print something like
this!
"The News has learned"
-- why do you do that, by the way? -- "The News has learned" - as if you
were somehow above the rest of us!
"The News has learned
that for eight years Harmon Stolee has informally used his farm as a
halfway house for boys referred to him by government agencies. The Young
Offenders Act prevents us from providing details." The only thing that
prevents you from providing details is your lack of imagination!
It's true, Eleanor.
It's nonsense!
Is it?
"Asked to comment on
this information, Mr. Stolee responded, 'Print what you have to.' I
suppose you made that part up too!
No. She didn't, Lenny.
Oh, Harmon. Why would
you even talk to her?
Because. Like she
said. It's the truth.
No it's not!
Yes. It is.
I been providin special custody for a few years now. Remember Kevin?
He was your hired
hand.
He was my hired hand.
He'd also been in trouble with the law, and was still on probation. He was
the first. Since then -- well, you met all the others.
Trevor?
Alex?
Alex'd been in and out
of YDCs for years.
I suppose I should have told people, but I -- thought these boys had
enough ta deal with as it was. An -- maybe I was protecting myself.
Might as well make a clean breast of it. Todd ain't my nephew either.
But your sister --
My sister lives in
Mexico and runs a bike shop. She don't even have a kid.
I'm not sure Todd
deserves this, though.
I didn't name Todd.
You didn't have to.
Everybody's gonna know anyway.
| |
(TODD enters, beating at imaginary air drums. He
stops, when he realizes everybody's watching
him.) |
Hey.
Hello, Todd.
What's the deal with
everybody? Somebody lock up the piano again?
Todd --
Oh hey Mizz Sayles, your
daughter -- y'know, the older one, what's her name?
Monica?
Monica, yeah, she was
lookin at my T-shirts yesterday, like I had em all on display at Video
Alley? -- an she was sayin she might like to buy one off me.
Todd, I need to --
But I told her, like,
they're not for sale, I was just displayin em, but I was thinking, like,
she could have one, you know, for free, I could let her have one.
That's -- very nice of
you, Todd.
So, like, I'll bring it
around to your place, she kinda liked my Alice in Chains T-shirt so that's
probably what I'll give her.
| |
(Pause. KIM turns from him. HARMON takes the paper
from ELEANOR, moves to him.) |
Todd. You better have
a look at this.
Why?
Just -- have a
look.
Now I don't want
you over-reacting --
I don't fucking believe
it.
Todd.
HOW DID YOU FIND
OUT?
Todd!
Ten! Count to ten!
I'LL FUCKING KILL YOU,
YOU PRINT THAT, YOU FUCKING BITCH.
| |
(HARMON struggles to subdue him. KIM has backed
away, terrified.) |
Don't do this, Todd,
you're just --
GET OFF ME!
-- Would you
listen to me?
SHE WANTS TO DO AN
INTERVIEW ON ME ONE WEEK, THE NEXT WEEK SHE DOES THIS!
| |
(HARMON has subdued him on the
ground.) |
This -- is doin
nobody any good. Least of all you. Now take a breath and use some a the
things you learned.
It's not gonna work.
Try.
You don't mean --
Todd is -- ?
| |
(She looks to KIM, who looks away. HARMON relaxes
his grip on TODD, who rises. They regard each
other.) |
Tell em what you
want.
| |
(He goes. HARMON rises too.) |
Todd was in trouble
with the law up in Campbell River. I don't think you need to know more
than that. He'll be done his probation in six months. Till then -- I'm
responsible for him.
You got any concerns with that, speak to me.
| |
(He goes off, after TODD.
ELEANOR stands in shock.) |
I think . . . I had
better go --
I gave Harmon every
chance to tell his side of the story.
Did you.
I can't very well report
it if he won't talk to me.
Then don't report
anything! How did you find this out anyway?
It wasn't hard. I made a
few phone calls.
Oh that's right, I
forgot, you're a professional reporter.
That's right, Eleanor,
this is what I do!
What? Cause trouble
for people?
Provide information.
Good people, people
who --
Harmon's neighbours have
a right to know what he's doing!
I don't even say it's wrong what he's doing, I just think --
Oh isn't that kind of
you.
-- they have a right to
know!
So they can sit at
home and imagine the worst? Stew in their juices, worrying about robbers
and murderers and --
Eleanor, people have
every reason to be concerned with their security. The same issue has a
story in it about a break-in at the fire hall. The last issue had a story
about a thirteen-year-old kid who was selling drugs to --
Are you suggesting
Todd had something to do with that break-in?
Of course not!
Or that he's a
drug-dealer, or some kind of --
This is pointless.
You ran that story to
sell papers!
That's not true!
The only reason you
don't mention Todd in there is that the law won't allow you to!
That's right!
-- That if you did
you'd get convicted yourself!
That's right, and you
know what? It could still happen, if somebody wanted to bring charges and
some judge decided I'd crossed the line! It could still happen! And then
where do you think me and my little home-made newspaper would be?
Out of business.
Which is maybe where you should be.
Fine. But I poured the
last of my alimony into starting this paper. If it goes down, I could have
a hell of a time feeding my kids. But I did it anyway, and you know why?
Because I thought it was important for people to have this information and
make up their own minds about it, whether I get into trouble or not!
So now they have it. It's done.
I don't think I'll stay for practice tonight.
| |
(She goes. ELEANOR looks to the paper, where TODD
dropped it on the ground. She picks it up.) |
Scene 6:
| |
(Light up on KIM. Aria in background, soprano,
low.) |
It's not easy fitting
into a new community. Not that I've had much practise at it. Before I came
here, I'd led a pretty sedentary existence. Childhood, adolescence,
university, all conducted from the same split-level bungalow. Then
marriage, and off to another house nearly the same. This is all quite a
shock.
When we first moved here . . . I noticed this thing that the people
here do. I call it: "The Nod". Like this.
| |
(She gives a sort of blank-faced
nod.) | "The Nod". Used in greeting people along
the road or at the store. Oh, there are variations on it. "The Wave".
| |
(A gay little wipe of the
hand.) | "The Salute".
But most of the time
it's just --
"The Nod". There's
something almost sinister about it. I began to imagine a secret society,
and this was their centuries-old signal, their way of recognizing each
other, kind of like the Masons. So very quickly I began nodding back
--
-- all the time, like
an idiot, to everyone and everything, children, dogs, just so they
wouldn't know I wasn't really One Of Them.
Of course, there isn't any secret society. There are a few
witches around, but they keep posting flyers at the gas station saying
they're having another lunar celebration and inviting everyone to come. I
suppose when I start doing it without thinking -- nodding, or waving, or
-- well I can't see myself saluting somehow, but who knows? -- when that
happens . . . I really will have become one of them. I look forward to
that day. I hope I know it when it comes.
Scene 7:
| |
(HARMON's house. He sits in a recliner, head back,
as if asleep.
TODD enters. He's been drinking. He starts to sneak
past.) |
Evening.
You're up late.
So're you.
Mm. Well I was just
sittin up, listenin to Teresa Stratas. Y'ever heard her, Todd?
I don't think so.
Here, I'll put er on
for you.
No, that's -- fine.
We missed you at
practise.
Sorry.
How much have you had
to drink?
Three beers.
How many?
Four.
Lenny's a little
concerned. With you n Her Nibs gone, an me late gettin back . . . things
was lookin a little thin there.
Well she better get used
to it. I'm quittin' choir anyway.
Oh no you're not.
Look, Harmon, there are
certain things you can make me do, but goin ta choir isn't one of them.
You gonna give in ta
Kim Sayles that easy?
She can go ta hell.
That sounds like
five-beer talk.
Yeah, well I'm eighteen
years old now, Harmon, I can --
Maybe six.
Fine, maybe I had
fifteen beers, Harmon, maybe I drank the place dry! Does it matter?
Obviously I'm dangerous, obviously I'm some kinda criminal! WHO CARES
IF I'M A DRUNK?
Who cares? Me.
Yeah? Well yer just
about the only one.
Lotta people
read that newspaper.
They will this week.
Mike Hegel figures I
must be some kinda homicidal maniac or somethin. Kept callin me "O.J."
Mike Hegel's got his
own problems.
An Jan didden even wanna
serve me. Said if I started any trouble, she'd kick me out.
Well if you hadn flown
off the handle at the hall like that --
What was I supposed to
do?
Don't give em more
reason ta suspect you!
Like they wouldn't
anyway.
Rise above it then!
Harmon, it don't matter
what I do, I can't change what people think!
Huh. I remember my Dad tellin me: "You do one thing wrong in this life
. . . and they ain't never gonna forgive you." Guess he knew what he was
talkin about.
So ya gonna do what he
did?
What.
Just keep provin em
right?
I don't know.
If I thought you was
yer Dad, Todd . . . you wouldn even be here.
Yer drunk an yer past curfew. I'll haveta punish you, you know that
don't you?
Go up ta bed. I'll
think a somethin in the mornin.
Todd.
I told em you was in trouble with the law. I didn't tell them why. I
suggest you keep that to yerself.
| |
(After a moment, TODD goes. HARMON sits
there.) |
Scene 8:
| |
(The hall. Busy. Occasionally we hear snatches of
voices singing/practising bits of various Christmas carols.
KIM stands alone, silently going over her music. She looks up
from her music, and around. Frowns. Looks back to her music again.
ELEANOR enters. She gives KIM a slight nod, but continues on her
way without speaking.) |
Eleanor.
I've uh .
. . been organizing the cakewalk for the school . . . for the Christmas
fair . . . I . . . wondered if you'd have time to contribute something.
I don't have children
at the school.
Oh, well, that's not
necessary.
I don't bake
cakes.
| |
(ELEANOR starts away again.) |
Look . . . I'm really
trying to do the right thing
here . . . I don't really want to be the valley pariah.
You?
Though it looks like I
may have no choice.
I don't really think
you're the victim here.
I've been here twenty
minutes and I've yet to be spoken to.
| |
(ELEANOR looks around. She can see it's
true.) |
You stuck your head
up.
I what?
You stuck your head
up. You created a stir. Some people agree with what you did, some don't.
But nobody knows who does and who doesn't, who's on whose side. So it's
easier just to ignore you altogether.
Amazing.
But it's not the same
as having "Go Back to Jail" scrawled on the front of your property.
What?
Somebody wrote "Go
Back to Jail" on the sign at the front of Harmon's property.
Oh for god's sake.
And Harmon tells me
people are accusing Todd of that break-in at the fire hall.
That's ridiculous!
Is it? Why?
Well if they --
What did Todd do up
in Campbell River?
You do know, don't you?
Yes.
Well then?
It wasn't a break-in.
No, but -- what then?
Look, why are you asking
me this?
Maybe if it was
nothing too important, you should report that too.
I can't report it. You
know that.
You implied once. You
can imply again.
What if it was
something important?
Was it?
If it was something
important, would that change your opinion of what I wrote?
I can hardly answer
that unless you tell me what it was!
I don't gossip, Eleanor.
I print news.
| |
(HARMON enters. He looks
sombre.) |
Kim.
Look. If you're still
angry, write a letter to the editor, but --
It's not about that.
You might want to call home. There's been trouble.
What sort of trouble?
You're in that little
rancher down by the Mohawk, aren't you?
Yes.
Well I don't want you
panicking, your children are fine, but -- someone's put a bullet through
your front window.
Oh my god --
The Mounties are
there. They got everything under control.
Oh my god. Where's a
phone?
It's in the coat
check. They're waiting for you to call!
| |
(He turns back to ELEANOR.) | I was
afraid a something like this.
It could be an
accident, you know.
I don't think so.
We haven't started yet?
Not yet.
Good. Thought I was
late.
I thought you weren't
coming ta choir anymore.
Well, I changed my mind.
Not gonna let that woman run my life for me. Live n let live, that's what
I say.
| |
(They watch as he takes off his jacket, sorts
through his music. HARMON moves to him.) |
Where have you been?
When?
Today. Just now. I
haven't seen you much today.
I've been around.
Where?
In town. Down at the
river. I watered the horses, if that's what you mean.
Todd, there's been a
problem. At the Sayles' house.
What?
A shooting.
Someone got shot?
No, but -- apparently
somebody shot out her front window.
Welcome to the valley,
eh?
This isn't a joking
matter. Where were you before you came here?
Oh jesus --
I'd like an answer,
please.
Jesus! I can't win!
I have to go, my
daughters are hysterical, I --
-- have to get
home.
I'm sorry to hear what
happened, Mizz Sayles.
What happened? How do you
know what happened?
Mrs. Demmling just told
me.
Kim, if you'll just
leave this to me, I'll --
No, I won't leave it to
you! If things were left to you he'd still be calling you Uncle
Harmon!
I started as a police
reporter, you know. I'm pretty good at tracking down thugs.
That's it, I'm out of
here.
Todd.
I don't have to stand
here and be insulted like that!
You say you had nothing
to do with this?
Of course I didn't!
Then let me smell your
hands.
What?
Gunpowder. If he's shot a
rifle in the last hour -- I'll know it.
Oh look, that's going
a little far. We have no reason to suspect Todd any more than --
That's not how you felt
five minutes ago.
What do you mean?
Five minutes ago. When
you were grilling me about what he did up in Campbell River.
Lenny was?
I was just asking
because -- !
You were asking because
you're as nosy as anyone else around here!
And you told her I
suppose.
No. As a matter of fact,
I didn't.
Then I will.
There's no need, Todd.
No, I'll tell her! I'll
tell everyone! You all want to know what I did? Fine! Let's all hear what
Todd did!
I hit my girlfriend! All right? I hit my girlfriend, and I give her a
concussion, and she brought me up on charges of assault!
| |
(Pause. A chill silence has settled over the
hall.) | There. So now you know. So now you can all
stop gossiping about me. Go find yourself something better to talk about . . .
I hit her. But that don't mean I'm not sorry. Or that I put a bullet
through your front window, Mizz Sayles. And here: you wanna smell my
hands? Go ahead -- smell 'em.
| |
(He holds them up to her.) | Go
ahead. Look at 'em! They clean enough for you? How bout you Mrs. Demmling
-- you wanna look at them too?
Now let's sing. I came here to sing tonight. Not to play twenty
questions.
I have to go.
Todd --
| |
(Sings; it is the first time we've heard him sing.
He has an extraordinary voice.) | "Lo, how a Rose
e'er blooming
From tender stem hath sprung!
Of Jesse's lineage coming
As prophets long have sung.
It came a floweret bright,
Amid the cold of winter,
When half-spent was the night."
| |
(He stands there. The hall is silent. HARMON,
ELEANOR look on.
Fade.) | End of Act One
Act Two
Scene 9:
| |
(Kim's house. A cluttered table. A computer atop
it.) |
You can come in for a
moment. I have to get my layout finished before tonight.
| |
(She enters, carrying a brown paper bag, followed by
ELEANOR.) | Excuse my mess.
No worse than my own.
I had to move the
furniture when they came to fix the window. I still haven't put things
back.
| |
(She reaches in the bag, lifts out a small box.
Peeks in. Surprised:) | A cake.
For you.
| |
(Looks in the bag
again.) | Two cakes. Thankyou.
The second box is
cupcakes, actually. I know they're too late for the school fair, but -- I
hope you and the girls will enjoy them.
Look, I thought about this over Christmas and . . . I think I owe you
an apology.
You do?
I, uh, gave you all
that trouble about . . . printing what you did. But now I think I was
wrong. At least
I . . . think I understand why you did it.
Ah.
I mean if Todd had
been charged with -- smoking pot or something . . . but this!
Is worse.
Don't you think so?
Of course, but --
You don't think it's
all right what he did up in Campbell River, do you?
Don't insult me, Eleanor.
He gave a woman a
concussion!
Of course it's not "all
right".
Well?
I'm just not sure there's
any need for all this --
| |
(She picks up a letter on her desk, waves it at
ELEANOR.) | -- hysteria.
| |
(She opens the letter, reads.) |
"Dear Editor: It's
about time we stopped mollycoddling these young hoodlums and gave them the
stiff jail sentences they deserve -- not vacations on farms."
"Funny that we
find this out just when there's been another break-in. Maybe Harmon Stolee
would like to explain why he's been bringing criminals into our community.
And by the way, why's he so interested in young boys anyway?"
Those are the nice ones.
I can imagine.
It's one thing to get
nasty letters about politicians. It's another to get them about people who
live down the road from you. Especially when they're this nasty. Most of
them are anonymous, of course: those I'll ignore. As for the rest -- I'll
print one or two of them, but -- my god.
This one's nothing
but profanities.
Mm. Misspelled at
that.
| |
(ELEANOR puts the letter down,
shaken.) | If I'd known people were going to react
like this . . . I don't know. Maybe I wouldn't have published that story.
But you must have
known.
No.
How could you not?
I've never lived in a
place like this before! I mean in Calgary if I published a tough story --
well, frankly, that was it. There might be a loud phone call or two, a pat
on the head from my editor, then it was on to the next one. Here: I ran
into Todd at the Shop 'N Go yesterday . . . the way he looked at me I
swear I felt a chill pass through me.
Well you're being
awfully understanding.
Am I?
For someone whose
window got shot out.
Do you really think Todd
did that?
I don't know what to
think.
Every instinct I have
tells me he didn't. But, I overreacted, just like everyone else. Frankly,
I'm a bit surprised at the way you're reacting.
I have my reasons.
Good ones?
I'd say so. Yes.
I'm sorry I missed choir
the other night.
It's all right. I'm
not sure there'll be a Spring concert this year.
Why?
Ricky Tefs insulted
Harmon so Harmon left. Then Carol Niwa insulted Ricky so Ricky and his
wife left. At this rate, we'll be a quartet by St. Patrick's Day.
I'm sorry.
Me too.
You live in the middle of
it here.
What.
Your story. And it
doesn't go away.
Scene 10:
| |
(ELEANOR's house. HARMON sits at the table reading
the "Valley Echo".) |
"The Valley Echo" will
not get loored" -- L-O-O-R-E-D -- "into the sort of sensationalistic
reporting of some other newspapers." Hm. I wonder who she means?
Frieda. Master of the
Innuendo.
"However, it's time to
point out that just because someone has a criminal record doesn't mean
he's responsible for everything that goes wrong in the Valley." Y'know . .
. the Valley Echo is lookin better to me all the time.
Unfortunately, you're
the only one.
You don't think she's
right?
Of course she is.
It's just -- oh I don't know Harmon. Put the thing away.
| |
(HARMON regards her for a moment, folds up the
newspaper.) |
We uh . . . haven't
seen you much lately.
Well I have the . . .
Women's Festival to get together. And the daffodil drive. And of course
there's choir.
Todd had his audition.
He was sort of hopin you'd be there with him.
Oh! I meant to be.
He seems to think
you're maybe avoidin us.
That's silly!
Because of -- you
know.
The only reason I
haven't been around is that I'm busy. Now if you want to read more into it
than that --
Yer always busy. You
were born busy. What's so different about it now?
Your paranoia.
I see.
Now finish your
coffee.
You haven't maybe
changed yer mind about things, have ya?
Of course not.
You haven't maybe
thrown yer lot in with Ricky Tefs?
Well, I . . .
would rather you hadn't kept all this from me.
Uh-huh.
I mean me of all
people.
Is that what's eating
you?
Why shouldn't it be?
We are best of friends! What's more we love each other, don't we?
Don't we?
Yes.
Fine then.
But that don't mean I
coulda told you.
Oh go on with you
then.
How could I a told
anybody?! Knowin people'd fly off the handle this way!
It is hardly flying
off the handle to --
Tryna turn Todd inta
some kind of demon. Tryna run him out of the valley.
Well maybe he
should go!
What?
I mean . . . maybe
you should . . . find someplace else for him. Someplace where he . . .
wouldn't have to put up with all this.
Right.
I mean maybe he needs
more help than you can give him!
| |
(Pause. HARMON prepares to go.) |
Well. Pretty soon you
won't have either of us ta worry about.
Where are you going?
Called Trish van der
Lee yesterday. Told her I's thinkin a sellin.
Don't be ridiculous.
I'm ridiculous, am I?
You can't retire. You
haven't been on vacation in fifteen years.
Didn't say nothin
about retiring. I mean movin outta the valley. If I wasn't sure before . .
. I sure as hell am now.
You can't
leave.
Lenny, the stuff I
seen that boy subjected to in the last coupla weeks I wouldn't put a dog
through. Forget the calls I been gettin, forget that somebody slashed the
tires on my truck! I seen people walk outta stores when Todd walked into
them. Seen people cross the street in town just to avoid him! And the girl
he was goin with up in Errington broke up with him, said she wouldn't go
out with a guy who beat women.
Well can you blame
her?
Yeah, I think I can,
when he done everything he can to set himself straight! Got counselling,
stopped taking drugs. Went to the girl he hit an her family an apologized
to their face. Spent two years on probation, but now all people wanna do
is keep punishing him!
It's not a question
of punishing him!
Well what is it then?!
Maybe they're
afraid.
Maybe they oughta
think twice about what they're doing. An then on top of it all, you start
talkin the same nonsense --
Oh you silly old fool
-- WHY DO YOU THINK I FEEL THIS WAY?
I don't know. That's
what I keep tryna --
WHY DO YOU
THINK I MIGHT NOT BE ABLE TO . . . just shrug it all off . . .
What are you saying to
me? Are you saying --
Oh god it's all so
long ago now . . . I thought it was all behind me.
George?
George . . . was not
the "good sport" everyone thought he was . . .
Mother a god.
. . . Not always . .
. not with me . . .
Ya should of told me.
Maybe you should have
known.
I think I did know
sometimes. Just . . . wasn't sure what to do about it.
It . . . wasn't all
the time. Just -- towards the end. He'd . . . drink, and then he'd -- lash
out.
I can't believe I still feel this way about it.
I'm sorry, Lenny.
Don't be. Just . . .
don't go.
It took me twenty-two years to divorce him. Eight years to find you. I
don't think I could go through all that again.
Where would you go anyway?
Well. You know.
Saskatchewan?
| |
(She starts to laugh. HARMON
smiles.) |
Why not?
Oh Harmon.
Saskatchewan. Uber alles.
| |
(TODD enters, startling
them.) | Todd.
What are you doing
here?
I came ta talk with Mrs.
Demmling. Guess maybe there's no point.
You haven't been -- ?
No, but I can understand
it. You don't want me around. I can understand that. I might hit
you, y'know, do somethin crazy.
How long have you been
out there?
Or scare away tourists,
y'know, they find out I'm here, "Ooooo, Todd Horstmann lives up there, we
better not go up there."
I didn't mean --
But I want you to know
if I ever did something like that again, you couldn't hate me more than
I'd hate myself! Because I been hit too, Mrs. Demmling! So I know what
it's like.
I'll call you when we
get home. Let's go.
I don't hate you,
Todd.
An you! -- you
decide somethin like sellin the farm without even talkin to me about it?
I hadn't
decided. I was gonna talk with you about it tonight.
You leave the valley an
yer just giving in. Just like you told me I shouldn't do!
That was last month.
So?
So things are
different now, aren't they?
You leave an I ain't
goin with you. Because I'd know you was only doin it cause of me!
That'll be my
decision, son.
No. It won't.
Sorry for all the trouble I caused, Mrs. Demmling. I'm gonna try to set
things right.
You'd . . . better
make sure he gets home okay.
He will.
Scene 11:
This is "Piggy". Nine
Inch Nails.
| |
(Recording fades in. TODD mimes the drum track. The
effect might be comic at first. Then the anger in the music and in
TODD starts to take over, until he's flailing at the "drums"
violently, frighteningly.
Song ends. Fade.) |
Scene 12:
| |
(KIM's house. Night. She's writing on the computer.
She hears a sound somewhere. Looks up.) |
Hello?
| |
(Nothing. She returns to her work.
TODD enters. He's been drinking. KIM doesn't see
him.) |
Y'know what I've always
liked about living here?
| |
(KIM cries out, quickly moves
away.) |
How did you get in?
There's a crime wave on,
y'know. You oughta lock your windows.
I said -- you know what I've always liked about --
Go home, Todd.
I just got here.
If you leave now, I won't
call the Mounties.
Yes you will.
What I've always liked about living here -- is -- you can drop in on
people anytime and they're happy to see you.
| |
(TODD sits. KIM moves to exit. TODD leaps to his
feet, knocking over his chair, and blocks her
way.) |
I need to talk to you.
Not now.
I wanna make a deal.
If you need to talk, you
call me tomorrow.
I not gonna be
here tomorrow!
Hey Mizz Sayles, whaddaya think? -- think if I leave here tonight,
where do ya figure I'll be in a week? Livin on Granville in Vancouver, or
back in jail?
You don't have to leave.
I do have ta
leave! Nobody wants me around here anymore. Besides. Harmon's sellin his
farm, you know that Mizz Sayles? -- he's sellin his farm cause a people
like you.
When did he decide to do
that?
Ohhhh, it's a
late-breakin news story, Mizz Sayles, you haven't heard? You must be losin
yer touch!
Look, Todd, I got a call
from the RCMP today. They've arrested someone for the shooting.
Who?
Morley Crozier. He's also
confessed to the break-ins. Apparently he was mad at me for reporting them
in the paper, so he took a shot at our window.
Morley Crozier? Pretty
hard ta shoot a gun with a bottle of Jack Daniels in yer hand.
So I owe you an apology.
An apology.
I'm going to report the
truth on the front page of the next edition. And as for my newspaper --
not everybody thinks I'm a hero. If people keep pulling their ads the way
they have been, pretty soon you may not have to worry about it.
People are such
assholes.
So you don't have to
leave.
No really, people are
such assholes, don't you think? They give me an Harmon shit cause of what
you wrote, then they give you shit for writing it!
You're gonna tell people it wasn't me?
Next issue. Yes.
An yer never gonna write
about Harmon again?
Well I can't guarantee
that.
NO. NO. NOT ANOTHER
WORD, YOU HEAR ME? NOT A SENTENCE, NOT A THING!
That guy took me in when I didn't even deserve ta live! He didn't have
to, he coulda just sat on his farm, watchin the hay turn. He doesn't do it for the money, he ends up buyin me stuff
outta his own pocket! He did it cause he's a good man. A good man,
can you believe it, can you believe there's such a thing in the world? So
you leave him alone or I swear to god I'll trash this whole house!
Sit down.
Hey Ms. Sayles, ya see
this?
"Spoon Blow". Know
who they are? Metal group. Broke up.
I'm not interested in --
Know why? Lead singer
knifed the guitarist.
My children are asleep!
Must be the music, huh?
Must be the music makes us kids just so darn violent.
| |
(KIM makes a move for the phone. TODD blocks her
way, trapping her.) |
Say you'll quit writing
about Harmon!
Let me by.
Say it!
I'll quit writing about
Harmon.
Mean it!
I can't.
| |
(Pause. TODD turns away. Then he wheels back towards
her, fist raised to strike her. He remains that way for a moment, a
fierce battle going on within him. Then he turns from her and
collapses against the table.) |
Oh christ. What am I
doing?
I'm sorry. I shouldn't be here.
| |
(He goes. KIM looks for a moment as if she might go
after him. Then she goes to the phone, starts
dialing.) |
Scene 13:
| |
(HARMON's. HARMON in his chair, reading a letter.
ELEANOR enters.) |
No, they haven't seen
him.
My truck is here. He
can't have got far.
Unless he
hitch-hiked.
Goddamn it.
| |
(Knock at the door, off.) | That'll
be her.
| |
(He exits. ELEANOR regards the letter he was
reading, picks it up to examine it more closely. HARMON returns with
KIM, who carries a neatly folded pile of
T-shirts.) |
I can't stay long, I left
my children with Tanya Sandhu. Is he here?
No, we don't know
where he's got to.
I'm sure he's just --
gone to spend the evening with a friend.
Look, Kim, I'm sorry
he come into your house. If that's why you come over, rest assured he'll
be --
No, it's not that.
| |
(She holds out the T-shirts.) | I
thought you should see these.
Clothes?
They're his T-shirts.
Never seen em so clean.
My eleven-year-old
thought his T-shirts were "cool". He once told her she could have them
someday -- after he was gone.
Did he tell
her where he was going?
I think he meant -- after
he was dead.
Oh my Lord.
Scuse me.
Oh my Lord! Maybe you
should call the Mounties!
I don't think he'd do something like that.
He was drunk enough.
Still . . .
He told me Harmon's
thinking of selling his farm.
Not thinking. Here's
the sales agreement.
He was upset about that.
Why wouldn't he be?
And angry. At one point I
thought he was going to hit me.
Did he hit
you?
No.
He came to my house
tonight. We didn't know he was there. I -- said some things I shouldn't
have. I wasn't thinking, I -- don't know that I've been thinking for the last three weeks.
He didn't even get to see this.
What is it?
His acceptance
letter. He got into Aston Lake.
| |
(HARMON returns, putting on a
jacket.) |
My gun is gone. Let's
go.
I'll come with you.
I expect he's
somewhere on the farm.
| |
(HARMON, KIM exit. ELEANOR lays her hand on the
T-shirts for a moment. then she picks up the letter and
follows.) |
Scene 14:
| |
(Later. Moonlight. TODD sits on a fence at the edge
of one of the farm's fields. He holds a rifle.
Sings.) |
"Man mei longe . . .
Him li-ves wene . . .
Ac ofte him . . .
Liyet the wreinch . . ."
| |
(After a moment, HARMON enters.) |
'Lo.
| |
(TODD looks. Looks away again.) |
How'dja know where I
was?
I heard you singing.
Shit. I thought I was
far enough away.
What is that?
This?
The song.
"Man Mei Longe". Mrs.
Demmling taught it to me. It was my audition piece for Aston Lake.
Pretty.
Mm.
You wanna give me the
rifle now?
| |
(TODD looks to HARMON. Looks away again. He doesn't
give him the rifle.) | Y'know, Todd, I've lived
here thirty-two years. Maybe that's long enough.
That's stupid.
Uh-huh. Well I'm a
stupid man. I thought for a long time this place was special. Paradise.
But maybe I was wrong.
It's your home,
Harmon.
No. No. Your home
ain't necessarily where you live. Not even if it's been thirty-two years.
I know this sounds silly to you people, but . . .
My home is a
place up here now. Probably don't even exist anymore, really. But nobody
can take it away from me.
It's my home, then.
Is it?
I thought so.
I thought I could make it . . . I thought I could ignore everything,
the looks in the street, the letters in the paper . . . until I heard Mrs.
Demmling. And then I realized . . . there's no place here for me anymore.
But if I run away . . . I'll just end up in jail again, I'd be breakin
my probation, or I'll end up like my Dad, always lookin over my shoulder,
sellin drugs ta get by. I don't wanna live like that Harmon!
You don't have
to.
I don't have any
choice!
| |
(ELEANOR and KIM hurry on, winded. TODD jumps off
the fence, panicked.) |
Is he all right?
| |
(She spots him, the gun.) | What
are you doing with that -- ? Give me that gun right now!
Get away from me, GET
HER AWAY FROM ME.
Lenny, just stay back.
She told you, didn't
she? She told you to come find me!
If you didn't want us to
find you, you wouldn't have left those T-shirts on my porch.
Those T-shirts are for
Monica!
She'll get em, Todd.
You can give em to her yerself.
Todd, look, here it
is, your acceptance letter from Aston Lake. You got in. Do you hear me?
You got in!
Yer makin that up.
No I'm not! Here,
read it, read it yourself!
I don't want to see it.
Go on.
I DON'T WANT TO SEE IT,
IT'S TOO LATE!
You don't think you
owe Lenny that courtesy?
What's the point,
Harmon?
She went to a lotta
trouble gettin you in that place.
| |
(Pause. TODD takes the letter from ELEANOR, reads it
quickly. Hands it back to her.) |
There.
And Todd . . . I'm
sorry for what I said. I was angry and hurt, just like you, but -- I
didn't mean it. I'm sorry. And I am so proud of you for getting into Aston
Lake. And for everything you've done to fix up your life. I know how hard
that is. And you did it.
All . . . I ever wanted
. . . was to stay here.
I know that, Todd.
And to stay with you,
Harmon. Ta stay with all of you!
| |
(He begins to weep. Falls to his knees, shaking with
sobs. He lays the rifle on the ground before him. HARMON moves to
take it.) |
Thankyou, Todd.
Thankyou.
| |
(He passes the gun to KIM, kneels to hold TODD, who
turns to clasp him closer.
ELEANOR and KIM look on.) |
Scene 15:
Up at the top of the
mountain just outside of town . . . down a labyrinthine path that only a
few of us oldtimers know about . . . there's a bluff where you can sit and
look out over the whole valley. I discovered it when I was a little girl.
I used to hike up there after church on Sundays. Used to take dates up
there when I was a teenager, show them the ropes. You can see clear down
to Courtenay on a clear day. The other 300 days of the year, you can see a
lot of clouds.
| |
(A tenor voice, TODD's,
singing.) | I'm always amazed at how small it is,
our valley . . . even now, when it's bursting at the seams . . . the way
the earth looked to the astronauts the first time they saw it . . . you get so used
to viewing things from down below, the ant's-eye view, so to speak. You
forget there's another way.
I haven't been up there for awhile; the legs are starting to give out.
But I like to think . . . there's another little girl up there, or boy,
right now, looking down at us right now, holding us together with one
glance, reaching out a hand as if to scoop us up.
Scene 16:
| |
(The hall. Buzz of audience nearby.
ELEANOR sits going over her music.) |
"Sumer is icumen in
Lhude sing cu-cu . . ."
There's something I've
been meaning to ask you.
Yes?
What is a "looda" and why
is it singing "koo-koo"?
It's a cuckoo. And
it's singing "lhude".
Oh.
Lewder than what?
That's a good question.
All I know is it has something to do with Spring.
Any luck with the job search?
No. Well Frieda offered
me a job.
You're kidding.
She wants me to be the
Valley Echo's gardening correspondent. No pay, but all the glory I can
handle. I guess she figures it's one area where I can't do any harm.
Little does she know!
She told me she felt
sorry for me because my paper went belly-up. She said this with a
malicious glint in her eye. Do you think she was being insincere?
Frieda? Never!
Oh good, I'm so glad.
Do you know
anything about gardening?
No, but I planted some
peas yesterday. I expect to be an expert before I hand in my first
column.
| |
(HARMON, TODD enter. HARMON is splendidly decked out
in a tux and gumboots.) |
Expert at what?
Expert at gar --
-- dening . . .
Whaddaya think?
What can we think?
Figured since this is
my last public appearance in the valley I oughta get dressed up.
You're not actually
going out there dressed like that, are you?
Wait'll you see my
shirt.
| |
(He opens up the jacket. He's wearing the "Nine inch
Nails" T-shirt.) |
I gave it to him.
Very seasonal.
I'll haveta buy you a
new one. This one ripped.
| |
(Beat. Suddenly ELEANOR starts off, holding back
tears.) |
Excuse me, I better
get ready.
| |
(She exits. Embarrassed pause.) |
I'l uh . . . go make sure
she's all right.
Guess she . . . ain't
quite used to the idea yet.
You 'n me goin,
y'mean.
Yeah.
| |
(Takes an envelope from his
pocket.) | This come to the house today.
Yeah, I uh . . . saw
that.
Oh so you know then . .
. what it is.
Uh-huh.
So you know then . . .
it says I . . . got that scholarship to Aston Lake.
Right.
Course I can't go.
To Aston Lake that is.
Since we're -- goin to Saskatchewan.
I could -- if we . . . weren't.
But we are.
So I -- can't.
Can't what?
Go to Aston Lake.
Course I understand. Saskatchewan bein your home an all.
Well there's no place
like home, is there?
Nope.
It's a man's castle,
y'know.
Right.
Home -- is where the
heart is.
Guess I shouldna tore this up then.
| |
(He reaches into his pocket, extracts some papers
ripped in half.) |
What is it?
Sales agreement. For
sellin the farm.
You got things ta do here an so do I. Things ta prove. Now that people
are watchin the both of us. Prove people can change. Prove I wasn't wrong
about ya. I wasn't, was I?
No way.
Good.
And uh -- Saskatchewan just wouldn't be any fun anyway without Lenny
around. Only, don't say nothin to her just yet, will ya? I'm savin the big
announcement till the party afterwards.
You got a curfew you
know.
You can punish me
tomorrow.
She's must be fine. She
hollered at us to get in our places.
Where's our music
folders?
I thought you brought
em.
I thought you brought
em.
Uh-huh. Well I thought
you brought em.
Let's go, let's go!
Hear you're feelin
better now.
Much. Thankyou.
Coulda been them
left-wing principles a yours y'know. Find em kinda hard ta digest
myself.
| |
(He goes. TODD does too. ELEANOR looks to
KIM.) |
Hopeless.
Completely.
Better go get in your
place.
| |
(KIM goes. ELEANOR stands for a moment, still
struggling with her emotions. Then she starts to go.
She notices a piece of the sales agreement on the floor where
HARMON has dropped it. Stoops to pick it
up.) | What's this?
What is this?
Harmon, what is this?
HARMON?
Scene 17:
| |
(TODD appears in light.
Sings.) | "Sumer is icumen in
Lhude sing cu-cu;"
| |
(KIM appears, joining
in.) | "Groweth sed and bloweth med,
And springth the wo- denu,
Sing Cu-cu . . ."
| |
(HARMON and ELEANOR appear and join in, as we hear
the rest of the choir now too.)
ALL
| "Awe bleteth after lomb,
Llouth after calve cu;
Bulloc sterteth buck- everteth,
Murie sing Cu-cu.
Cu-cu, Cu-cu,
Wel singes thu Cu-cu,
Ne swik thu naver nu."
| |
(The song rises and rises, and ends grandly in the
dark.) End |
|