by Sam Shepard
CECILIA: Are you all right?
CARTER (still at window): You’re on my side, aren’t you Cecilia? When we get right down to it? You’re not going to—betray me? Even though you might’ve kissed him. That’s—forgivable. That’s understandable. But you’re not—deceiving me now, are you? You’re not hiding something?
CECILIA: I’m from Missouri, Mr Carter. There’s nowhere to hide in Missouri.
CARTER: I could trust you—I mean if I asked you to do something for me, you wouldn’t double-cross me? You wouldn’t go to Vinnie—You’re not like the rest of them are you?
CECILIA: I’m not going to do anything illegal, if that’s what you mean.
CARTER: No. None of us are. Nothing like that. I’d never ask you to break the law. I’m not a criminal.
CECILIA: I think you should try to get some sleep and think things over. Maybe in the morning—
CARTER breaks away from window, back toward the bed and begins to wander again, drinking.
CARTER: It’s too late for that! It’s too late for sleeping and waking and sleeping and waking. I’ve been doing that all my life and it hasn’t helped.
CECILIA: I don’t really want to get involved. I mean, Vinnie and me were just friends—
CARTER: This is strictly on the up-and-up, Cecilia. Best way to be in this business. Gotta protect your reputation. People find out sooner or later anyway.
CECILIA: I don’t know anything about business or—
CARTER: I could get you box seats at the Derby, Cecilia. Free access to the Clubhouse. The Paddock. Mint juleps. The Inner Circle. You could meet the Governor!
CECILIA: The Derby?
CARTER: Yes. First class all the way. Deluxe. Understand? Wined and dined.
CECILIA: The Kentucky Derby?
CARTER: That’s the one. Churchill Downs.
CECILIA: I’ve got nothing to wear.
CARTER: I’ll take care of that. Don’t worry about that.
CECILIA: But, I’ve got a job here—
CARTER: This is the chance of a lifetime, Cecilia! It’s like no other horse race in the world. Impressions are stamped on you for life. Branded. The Twin Spires. The icy eyes of Laffit Pincay. The hands of Eddie Arcaro. The rippling muscle of Seattle Slew. These are things that never leave you, Cecilia. Things beyond seduction. Beyond lust!
CECILIA: I don’t know, I’ve never—
CARTER: “My Old Kentucky Home”? They sing that, you know. They all sing that. The masses. Even the ones who don’t know the words. Even the ones from Illinois and Wisconsin. They all want to be part of it. They’re all dying to belong to something old and rooted in American earth. They’re swept up in the frenzy. Have you ever felt that, Cecilia? Have you ever felt like throwing yourself to the dogs?
CECILIA: I’ve dreamed about it.
CARTER: Yes. But the dream is nothing. Wait ’til you see it in the flesh and blood.
Pause.
CECILIA: What do you want me to do?
CARTER goes to cellular phone and dials SIMMS’ number, Lights come up dimly on simms again.
CARTER (as he dials): I want you to talk to this man. Tell him you’re coming. Tell him you’re bringing him something. He’ll know what it is.
CECILIA: What man?
CARTER: Tell him you’re working for me. My personal representative. He’ll understand. Here—Tell him.
CARTER hands her the phone, once he’s dialed the number. CECILIA takes it and stands there, waiting for SIMMS to answer but he doesn’t. CARTER crosses to VINNIE’s bed, takes another drink and lies down on his back. Phone keeps ringing. SIMMS stares at it and goes back to his work.
CARTER (lying on bed): You make a move like this, Cecilia. A radical move. Just one little move and everything shifts. Everything falls into place behind it. It carries its own momentum. It’s a frightening thing but it pays off in the end. You’ll see. It pays big dividends. It has a power all its own. Like a force of nature.
CECILIA stands there waiting for SIMMS to answer phone but he never does. Lights fade slowly to black on both sides as phone keeps ringing in SIMMS’ OFFICE.
Act Three
SCENE ONE
Day. Place-name card that reads—“LEXINGTON”. Split-stage right. Living room of CARTER’s Kentucky mansion, very simple set with the impression of wealth. A sofa, glass table and carpet. VINNIE is standing in the room with his box tucked under his arm, facing a young and very attractice nanny named KELLY. She is dressed in a dark skirt, white blouse, short black heels and her hair done up in a bun. Lights up.
KELLY: Did you uh—have an appointment with Mrs Carter or anything?
VINNIE: Does she take appointments now?
KELLY: Well, I mean—was she expecting you?
VINNIE: No, I don’t think she was.
KELLY: How did you get in, exactly?
VINNIE: Through the back door.
ROSIE’S VOICE (off stage): Who is it, Kelly? Is someone there?
KELLY (to ROSIE): It’s—I don’t—
ROSIE’S VOICE (off): Don’t send them away! Kelly?
KELLY: Yes, mam?
ROSIE’S VOICE: Don’t send them away, all right? I’m in the mood for company! I can feel it coming on me!
KELLY: He’s—(To VINNIE.) What’s your name?
VINNIE: Webb. Vincent T. Webb.
KELLY (to ROSIE): It’s a Mr Vincent T. Webb!
ROSIE’S VOICE: Vincent T. Webb?
KELLY: That’s what he says!
ROSIE’S VOICE: Who in the world is that? Sounds like a lawyer! He’s not a lawyer is he?
KELLY (to VINNIE): Are you a lawyer?
VINNIE: No. I’m a detective.
KELLY (to ROSIE): He’s a detective!
ROSIE’S VOICE: A what!
KELLY (to ROSIE): A detective!
ROSIE’S VOICE: A detective?
KELLY: That’s what he says.
ROSIE’S VOICE: Is something wrong? Has something happened?
KELLY (to VINNIE): Has something happened?
VINNIE: No. Nothing’s happened.
KELLY: Nothing’s happened!
ROSIE’S VOICE (off): I can’t take any excitement, Kelly! My pills haven’t kicked in!
KELLY (to VINNIE): She doesn’t know you. I think you should just—
VINNIE: She knows me.
ROSIE’S VOICE: Has something happened to Carter! Is that it?
KELLY (to VINNIE): She says she doesn’t know you.
ROSIE’S VOICE: Kelly!
KELLY: Mam?
ROSIE’S VOICE: Has something happened to Carter! Where’s he from anyway? This detective.
KELLY (to VINNIE): Where are you from?
VINNIE: California.
KELLY (to ROSIE): California!
VINNIE (to KELLY): Cucamonga, California.
KELLY (to ROSIE): Cucamonga, California!
ROSIE’S VOICE: Cucamonga?
KELLY (to ROSIE): That’s what he says!
ROSIE’S VOICE: Nobody’s from Cucamonga! That’s where Carter’s from!
KELLY (to VINNIE): She says her husband’s from there but nobody else is.
VINNIE: I am her husband.
Pause. KELLY stares at him.
KELLY (to VINNIE): You’d better leave.
ROSIE’S VOICE (off): Don’t let him leave, Kelly!
ROSIE enters upstage, slightly hung over and rumpled, pulling the sash of her robe together, pulling a slipper on. She spots vinnie and smiles.
ROSIE (to VINNIE): Oh—I’m sorry. So you’re the detective. I uh—slept in: I heard the taxi in the driveway. It was in my dream in fact. I love taxis. I don’t know why. They remind me of town, I guess. So colorful. All that—local advertising. We get so—disconnected sometimes—out here. Don’t we, Kelly?
KELLY: Yes, mam. Um—this gentleman came in through the back door.
ROSIE: I know. Isn’t that something. A Backdoor Man! We have such a disregard for crime out here. We leave doors open. Keys in the car. It’s disgusting. It’s a wonder
we’re not all raped and murdered.
KELLY: He says he knows you.
ROSIE: Oh. He does? (To VINNIE.) I’m sorry. Mr—Webb, was it?
VINNIE: Yes.
They shake hands. VINNIE is reluctant to let her hand go.
ROSIE: From—Cucamonga?
VINNIE: That’s right.
ROSIE: That’s amazing. My husband’s from Cucamonga. Originally. In the beginning.
VINNIE: Yes. I know.
ROSIE: This isn’t about my husband, is it?
VINNIE: No.
ROSIE: He hasn’t done something?
VINNIE: Not that I know of.
ROSIE: That’s a relief. You never know these days. Even the most intimate relationships are full of surprises. I’m from Glendora, myself. You know Glendora?
VINNIE: Yes. I walk there every day.
ROSIE: You do?
VINNIE: When I’m there.
ROSIE: Oh, that makes me so homesick! You have no idea. Just the sound of it—“Glendora”. Like a Spanish woman’s hair or something! Grapefruit trees! Orange blossoms on the wind! The snow-capped San Gabriels! I suppose it’s changed though. Over the years.
VINNIE: Yes. It has.
ROSIE: Lost its splendor.
VINNIE: Yes.
ROSIE: Oh, would you—Kelly, did you offer Mr Webb a drink?
KELLY: No, mam. I was—
ROSIE (to VINNIE): What would you like? Coffee? Coca-Cola? Iced tea?
VINNIE: Bourbon please.
ROSIE: Ah, good choice. I like an early jump-start myself. What kind?
VINNIE: Black Bush.
ROSIE: I’m not sure we have that particular one in stock, do we Kelly?
KELLY: Mam—
ROSIE: What is it, Kelly?
KELLY: This man says—he knows you.
ROSIE: Yes, I know that. You already told me that. We’re repeating ourselves, aren’t we, Kelly?
KELLY: He says he—
ROSIE: Would you please go see if we have any of that—(To VINNIE.) What was the name, Mr Webb?
VINNIE: Black Bush. Irish.
ROSIE: That’s it. “Black Bush”. Those Irish have a way with words, don’t they? Go see if we have that, Kelly.
KELLY: Mam. He says he’s your husband.
ROSIE: Go find the Black Bush, Kelly! Do it, now!
Pause. KELLY exits. ROSIE watches her. rosie turns to VINNIE. They stare at each other. Pause.
ROSIE: Would you like me to take your coat and uh—your package?
VINNIE: No thanks.
ROSIE: If you’re wearing a sidearm under there it doesn’t matter. We’ve seen that before around here. Kelly’s seen it. It’s old hat.
VINNIE: I’m not.
ROSIE: So, you haven’t come to do me in then? Splatter my brains all over the carpet in a fit of jealous rage? (Pause.) You’re a long way from home, Vinnie.
VINNIE: Yeah. I am.
ROSIE: Carter just went out to see you. Did you know that? That’s what he said he was up to anyway. You didn’t somehow miss him did you? “Ships in the night”?
VINNIE: No. I saw him.
ROSIE: Oh, good. Did you work things out? I know it’s been a long and bitter negotiation.
VINNIE: He said you two were on the outs.
ROSIE: Who?
VINNIE: You and him.
ROSIE (laughs): Is that what he said? Just like that? “On the outs”! Those were his words?
Pause.
VINNIE: Is it okay if I—sit down?
ROSIE: Help yourself! Mi casa es su casa, Vinnie. You know that. Just like the old days. Nothing’s changed.
VINNIE sits on edge of sofa, clutching shoebox under his arm.
ROSIE: So, what’ve you got, a bomb in the box or something? Gonna blow us all to Kingdom Come?
VINNIE: I’m not going to hurt you.
ROSIE: You’re not still harboring something, are you Vinnie? That’s not healthy. That’s the kind of thing that leads to cancer and insanity.
VINNIE: I just wanted to see you.
ROSIE: Well, here I am! Still in the bloom of things. I never would’ve recognized you though, Vinnie. You’ve let yourself go. I was watching you from the window and I was asking myself, “Now who is this? Who in the world could this be, arriving by taxi, with a package under his arm?” It’s not roses, is it Vinnie? Roses for Rosie?
VINNIE: No.
ROSIE: I didn’t think so. Too short for roses. Too compact. Unless you’ve cut the stems off. Out of spite or something. Wouldn’t that be a shame.
VINNIE: So, how did you know?
ROSIE: What.
VINNIE: How did you recognize me?
ROSIE: Oh. The voice. Something in the voice rang a bell. A kind of apologetic menace. I don’t know how else to describe it.
VINNIE: I’m not going to hurt you.
ROSIE: I’d feel a lot more reassured if you didn’t keep repeating that.
VINNIE: I just want you to know. I didn’t come here for that.
ROSIE: Good. That’s good news. Now we don’t have to talk about it anymore, do we? (Pause.) So you met up with Carter then? How did that go?
VINNIE: All right.
ROSIE: He said you were in some kind of an emergency again. He left here in a big rush.
VINNIE: I am.
ROSIE: Still?
VINNIE: Yes. I’m at the end of my rope. I may not look like it but I am.
ROSIE: Well, actually, you are looking a little rough around the edges, Vinnie. I didn’t want to say anything—
VINNIE: I got arrested.
ROSIE: Oh. That’s too bad. When was that?
VINNIE: A while back. Couple weeks ago.
ROSIE: Well, I’m sorry to hear that, Vinnie. What was it this time?
VINNIE: Assault with a deadly weapon. Attempted manslaughter.
ROSIE: You’ve escalated.
VINNIE: It won’t stick. Just—hysterical reaction, is all it was.
ROSIE: It wasn’t Carter, was it?
VINNIE: What.
ROSIE: Did you assault Carter?
VINNIE: No. He’s safe.
ROSIE: Where is he?
VINNIE: Out there. My place.
ROSIE: How come he’s out there and you’re here? What’s going on, Vinnie?
VINNIE: He’s—He took up with a woman out there.
Pause. ROSIE stares at him. KELLY re-enters with a tray and drinks. Pause, as she sets the drinks down on glass table then turns to go. ROSIE stops her.
ROSIE: Kelly?
KELLY (stops): Yes, mam?
ROSIE: What time are you picking up the kids today?
KELLY: Three o’clock. The usual time.
ROSIE: Doesn’t Simon have band practice?
KELLY: No, not today. That’s Thursdays.
ROSIE: Oh. Right. Well, look Kelly, why don’t you take them to have ice cream and then go to Toys ’R’ Us or something. All right? Just find something to do with them for a little while.
KELLY (looks at VINNIE): Okay.
ROSIE: I need to talk with Mr Webb here.
KELLY: All right.
KELLY starts to go, then stops. She eyes VINNIE then turns to ROSIE.
KELLY (to ROSIE): Is everything—Are you sure you’ll be all right, Mrs Carter?
ROSIE: I’m fine, Kelly. Just go get the kids now. Do as you’re told.
KELLY eyes VINNIE again, then exits. Pause as ROSIE and VINNIE sip their drinks.
ROSIE: So—he’s run off with a woman. Not that I’m shocked or anything. He’s been carrying on behind my back since day one.
VINNIE: When was that?
ROSIE: What?
VINNIE: “Day One”.
ROSIE: We’re not going to drag that back up out of the dirt, are we Vinnie? Things happened. One thing led to another. I don’t know. It was a long time ago.
VINNIE: But now it’s over, right?
ROSIE: What.
VINNIE: You and him?
ROSIE: Apparently so! What’re you tryin
g to tell me? He’s shacked up with a woman at your place and you’ve come all the way out here to give me the good news?
VINNIE: He met this girl—
ROSIE: A girl! A girl! It’s always a girl. Never a woman.
VINNIE: He met this girl in a bar out there.
ROSIE: What a surprise!
VINNIE: I guess she got infatuated with him.
ROSIE: Oh, she got infatuated with him!
VINNIE: I guess.
ROSIE: And you, very generously, donated your bed to the cause!
VINNIE: No—
ROSIE: And now you’ve gone out of your way, as a friend, to make sure I understand all the sordid details!
VINNIE (sudden burst): HE STOLE MY BUICK, ROSIE! HE STOLE MY BUICK AND HE STOLE MY WIFE!
Pause. ROSIE stares at him.
ROSIE: You know, for a long time I kept dreading this confrontation. I had little nightmares about it. But now that it’s here, it seems dull actually. Stupid.
VINNIE: You could’ve left me a note or something.
ROSIE: A note!
VINNIE: Something.
ROSIE: Oh you mean like: “Gone to the 7-11 to get a six-pack. Be right back”?
VINNIE: Something. Not just—disappeared.
ROSIE: We were all checking out of there, Vinnie! All of us. That was the plan. Remember?
VINNIE: Yeah. I remember.
ROSIE: No contact. No trace of any connection between us.
VINNIE: That was the plan.
ROSIE: It’s a little late for regrets.
VINNIE: I just thought maybe you’d—
ROSIE: What?
Pause.
VINNIE: Come back.
ROSIE: To what? Life on the backstretch? Fifteen-hundred-dollar claimers? I could’ve set up house in the back of a horse trailer, maybe?
VINNIE: We had fun. We had some fun.
ROSIE: Fun!
VINNIE: Read the Form ’til two in the morning sometimes. Picking long-shots. Clocking works.
ROSIE: Fun.
VINNIE: Slept in the truck bed. Listened to the tin roof flap on the shedrow.