|
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?
|