WHEN LILACS LAST
by
Tony Devaney Morinelli
and
the original student cast
at
The Shipley School
Bryn Mawr, PA
36 Linwood Avenue
Ardmore, PA
19003
610.348.4669
tmorinelli@verizon.net
This page blank
WHEN LILACS LAST
By Tony Devaney Morinelli
And the original student cast at The Shipley School
Bryn Mawr, PA
A Play in a Montage
Cast:
JACK O'Donnell
MARIE O'Donnell
JACKIE O'Donnell, their son
JIMMY Conlin
BRENDAN Conlin, his son
CHORUS of Men and Women. The Chorus parts in this script are set up for four men and four women but the lines may also be distributed according to need.
In the optimum casting, in addition to the adult chorus, there would be a chorus of teenagers.
__________________________________________________
Note on the text.
The text is written in dialect. What may look like misspellings are attempts to capture the working class Philadelphia speech. Thus, "himself" is rendered "hisself", "you" (plural) is "yous," "contradict" is said "counterdict."
Production Notes.
The set for this piece should be kept at an absolute minimum.
Furnishings should be no more than simple wood chairs and stools painted black.
There may also be a simple black wood table.
The curtain warmer might be a black and white projection of the Walt Whitman Bridge.
The only other projection is "Philadelphia, 1955."
Costuming as well should be simple. 1950 type clothing may be suggested by t-shirts, jeans, and "house coats" available anywhere.
Proper lighting is essential. All backgrounds should be kept at pale silver blues. Characters speaking lit accordingly.
The Chorus would be best placed below the action on the stage. They should face forward towards the audience, even though the character to whom they may be speaking is behind them.
Lighting Chart:
X X X ( over table and chairs)
X (DSR X (DC) X (DSL)
_____________________________________________________________________________
Apron ______________
Chorus ______________ Chorus
steps
Characters speaking lit accordingly. All monologues are delivered directly to the audience.
When Brendan calls for Jackie, Brendan stands facing out DSL. Jackie stands facing out DC.
The Chorus would be best placed below the action on the stage.
The Chorus is the Audience.
The chorus must face forward and always speaks directly to the audience even when assailing Jackie.
THE PLAY
The stage.
There is no curtain.
Before the play begins, we see :
The back wall shows a projection, black and white, of the Walt Whitman bridge.
On stage we see:
Stage right - a simple wooden table with a chair on each side, facing DS. Behind the table is a small stool or table that holds the only props needed: a six case of bottled beer and a stage revolver.
Just before the play begins the image of the bridge fades to
a projection that reads:
PHILADELPHIA 1955
We see BRENDAN in silhouette.
In the dark we hear the voices from the CHORUS.
1. Come, said my soul,
Such verses for my Body let us write,
2. (for we are one,)
3. That should I after return,
3. Or, long, long hence, in other spheres,
4. There to some group of mates the chants resuming,
1. (Tallying Earth's soil, trees, winds, tumultuous waves,)
2. Ever with pleas'd smile I may keep on,
3. Ever and ever yet the verses owning—
4. as, first, I here and now
Signing for Soul and Body, set to them my name,
Lights slowly up on BRENDAN.
BRENDAN: (first down stage on the apron, then descending to out on the floor just ahead of the chorus, before the audience.)
Where you are now
The place where you are now
leave it behind.
Leave it behind and come with me.
Come with me to where I live.
Come with me to a different time.
A different place.
This is Philadelphia.
South Philadelphia.
(half beat)
South Philadelphia,
1955.
(beat)
Philadelphia
(beat)
Penn's city of Brotherly love.
City of love
Brotherly love.
Philadelphia
(beat)
Love
(beat)
So, let me tell you this city
Let me tell you this story.
A city you may know
A story you may know
Let me tell you...
(beat)
It may even be yours....
I mean
Your city
Your story
Your story with different names.
Your story at a different time
But still,
The same story.
(beat)
Do you know this world?
Or even just a part of it?
Did you know this world?
Did you know it?
But choose to forget it?
Was this you street?
Was this your home?
And was this you?
Are these your words
This what you said?
Or have you forgotten?
Or have you denied?
Is that what you chose?
What you chose to do?
Chose to forget?
To forget the shame?
Do you chose to forget?
(beat)
So, you have forgotten it?
You have hidden it?
(beat)
Where?
(beat)
Because you see, ...
It's not hidden
It is not forgotten.
(beat)
It will not let itself be forgotten.
Not let itself be forgotten
Not let itself be hidden.
Because it is always before you.
It is always beyond you.
It is beyond the world you create
In your kitchens
In your homes
At your tables
In your cabinets and cupboards and tables and chairs.
It is beyond the world you want it to be
And yet so deeply inside it.
There is another world.
A world you close your eyes to.
A world you will not hear
A world you will not speak of.
Your children know that world.
Yes, your sons know it.
Yes, your daughters too....
But even they do not speak it.
They dare not to.
(beat)
It is an endless voice.
It speaks in all times
It speaks in all worlds
in all cities
in all streets
It speaks of all our children.
(beat)
So then....
(beat)
If you chose to forget...
If you chose to deny....
I leave that to you.
(beat)
But,
Stay with me for a moment……
Let our voices speak.
Let them speak.
Perhaps our voices
Are not unlike your own.
So, when you hear them,
You may ask,
(beat)
Don’t I know them?
__________________________________________________
SCENE
(Lights up on the CHORUS LEADER)
CHORUS LEADER steps out - THE PRIEST
First time down this street?
First time on this block?
You're not from 'round here.
You don't know these homes?
These are my people
This is their world.
Christian homes.
Some Jews too.
God fearing homes.
An honest world
A hard working world
Good people.
Working people
People with homes.
Brick homes.
Row homes.
Philly homes.
Their homes,
This they call...
The city of homes.
Homes of bricks
And white marble stoops.
Trinity homes
One room to a floor
three floors to a house.
One room
One floor
One window out front
One window out back
A view of the alley
A view of the street
What else to see?
Row homes
Brick homes
Rib to rib.
Shoulder to shoulder
Pass by the stoop.
Come sit on the stoop.
The white marble stoop.
(Lights now up on the CHORUS)
CHORUS : MEN and WOMEN
1. Passing by?
2.Passing by?
3.Come sit.
4. Sit on the stoop.
1. We ken talk.
2. Come sit and talk.
(Women step out of the mix and move down and left. Men remain behind.)
Women only
1. Our men
2. Our husbands
3. Our fathers
4. Our sons
1. Father to son
2. Brother to brother
3. father
1. husband
4. son.
1. Iron and steel
2. Steel and iron.
3. Father and son.
(beat)
MEN ONLY
1. Yous work onna docks?
2. Yous work onna ships?
3. Yous work onna bridge?
4. Yous work 'roun here?
(beat)
1. Soes we all. ( So do we all.)
(beat)
1. Most of us Whites
2. Some of us Collerds
3. Some of us Pollacks,
4. Some of us Jews.
1. Daygoes and Jews ( Daygo = Italian)
2.Coloreds and Mics ( Mics= Irish)
3. Unloaded the ships
4. Unloaded the stocks
2. Yeh, we stole from the hold
1.an extra percent.
2. a little percent
3. A fifth 'a whisky
4. Some Cuban cigars.
2.Then, there was the others
3. The others with skills
4. We shimmied the iron
1. And bolted the beams
2. Over the river
3. We mastered the steel
4. Over the water
1. We fashioned the bridge.
2. But under the bridge we work the docks.
3. Under the bridge we load the ships.
1. But we's up on top.
2. We had the steel.
3. Work hard on that bridge
4. Work hard onnem docks.
3. But, Men died on nat bridge.
2. Yeh, fell from nat bridge.
1. Saw 'em fall from 'at bridge.
3. Saw em fell from 'na docks.
1. And what yous gonna name it?
2, What yous nammin' 'at bridge?
3. "Walt Whitman Bridge?"
ALL: (loudly) Walt Whitman?!!
( The PRIEST steps out of the crowd.)
PRIEST:
"Walt Whitman ?
"A bridge is a beautiful and graceful structure
A structure that thrusts heavenward.
Thrusts heavenward and then descends...
Descends again to security
Security on the opposite bank."
Security.
"A beautiful and graceful structure."
(break)
Beautiful and secure.
Secure like our homes.
Secure like our families.
Secure like our men.
(beat)
But, Whitman?
(beat)
CHORUS:
Walt Whitman?
PRIEST:
(beat)
A poet?
(beat)
This man a poet?
(beat)
Degenerate!
(beat)
Godless and selfish!
(beat)
This man's life and works are personally objectionable to us,
This, ….
This …
homo-erotic!
(beat)
Revolting works
revolting imagery
revolting language
That is not confined
but permeates...
permeates the fetid whole."
(In the next exchange, Men and Women stir into a mix and speak as one.)
CHORUS ( speaking together.)
(heavily )
NO!
(beat)
Not in our city!
(they stomp feet in unison.)
Not in our homes!
(they stomp again.)
NOT IN OUR CITY!
NOT IN OUR HOMES!
(Lights down on the CHORUS.)
BLANK
BLANK
SCENE
(Lights up full on BRENDAN DSL. Light gradually come up to half to reveal the central table - CS, the kitchen of the CONLIN'S.)
BRENDAN: (Down stage left.
Come with me now
And let me show you
Let me show you.
Show you....
(beat)
Show you where it began
Show you how it began....
(beat)
This is his house.
Jackie's house.
A row home like mine
A brick home like mine
His father, like mine.
A worker like mine.
He worked on the docks,
He lugged on the piers,
The hook
The pallet
The crate
Covered
Shrouded
Clouded by the work
Shadowed by the world.
One day like the other
One moment like the next
One life like another.
The heave,
The hoist,
The tow.
Always the same.
Everything the same.
( beat)
His mom,
Well,
His mom was there.
(semi beat)
That's not like mine.
My mom left
left when my dad came back.
Came back from the war.
Or, that's what they tell me.
(beat)
But Jackie's dad,
like my dad,
Went to work every morning
Came home every night
Every night with the paper
Under his arm the paper.
The Evening Bulletin
And like all the fathers
Like all the men...
In his hand the lunch box.
The empty lunch box.
That smells of ham
Of soured milk and ham.
Of ham and mustard and bright orange cheese.
It smells of a thermos.
A tight capped thermos.
Of rancid milk.
Of plastic and metal
Of soft paper napkin.
Waxed paper and tin.
(half beat)
The smell of a lunch box.
(half beat)
The smell of work.
The smell of work
and sweat
and men
and bridges
and iron.
and cargos
and docks.
(Lights up full center stage. MARIE is at the table preparing dinner (pantomime) JACK, JACKIE's father enters the kitchen after his day on construction at the new bridge. JACK enters with his lunch box and newspaper. )
JACK: Yo, Marie.
(beat)
Marie,
'Ahm home.
(beat)
(He hesitates as he enters because of the door lock.)
God damn, lock.
Gotta fix 'at lock.
(beat)
Be sure you keep 'at door locked, Marie.
Keep it locked.
Make sure you keep it locked.
Hear what Ahm tellin ya?
All that crud out there.
All that crap....
All 'em scum....
Never know who's tryin' ta get in.
Come breakin' right in.
Right inta yer home.
They don't know....
They don' care...
Streets is crawlin' wit' em
Crawlin wit' em
'em niggers...
'em guinees....
'em greasy for'ners.
Crawlin' wit' em
Like cock'a roaches
Like cock'a roaches
All a 'em... ( All of them)
All kinds out 'ere on na street. ( out there on the street.)
Makes yer skin crawl.
Makes yer skin crawl, Ahm tellin' ya.
Ya know,
'Ay make ya feel dirty.. (They make you feel dirty.)
Dirty....
Wanna wash it aways.
Scrub it off ya....
(half beat)
All a 'em out 'air. ( All of them out there.)
(beat)
Ya never know.
(He hands her his lunch box. He takes off his jacket. JACK takes off his shoes and rubs his feet.)
Know what I mean, Marie?
Know what I mean?
Ya never know.
MARIE: Yeh, Jack.
Yeh.
JACK: Ya know what Ahm sayin'?
MARIE: I do JACK,
I do,
I keep the door locked.
Don' worry none.
I keep the door locked.
JACK: Yeh, well...
Be sure ya do.
(beat)
JACK: (under his breath.)
(Th)em roaches out 'air.
(pause)
MARIE: ( takes a breath, changes the topic) How was yer lunch taday, Jack? ( pronounced tah-day - not Today)
How was yer lunch?
OK?
Was it OK?
Ya like your lunch?
JACK: Lunch?
(half beat)
Ya mean my sammich?
(half beat)
Hey, what was that you give me?
MARIE: Oh, somthin' new.
I give ya somthin' new.
JACK: Somethin' new?
MARIE: Yeh,
(half beat)
I made ya salami.
JACK: Salami?
MARIE: A salami sammich. (sandwich)
JACK: ( repeating inquisitively) What kinna sammich?
MARIE: Salami,.
(beat)
JACK: What?
MARIE: Salami, Jack.
(beat)
JACK: Salami?
MARIE: Salami, Jack.
Eye-talian salami.
Got it down at the corner.
Down at Fiorelli’s.
you know.
The eye-talian.
the eye-talian on the corner.
JACK: That guinea wop?
What the fuck for?
Why you go'ne to them dagoes?
Them greasers.
Don' trust 'em
You know them people.
Them grease balls
Prob'ly in the mob.
Come blow yer brains out.
MARIE: Oh, Jack..
how you talk....!
JACK: Blow yer brains out...
MARIE: JACK....
JACK: Yeh, well.....
MARIE: He ain't in no mob...
JACK: (folding his newspaper) Wanna bet?
MARIE: No, JACK, no....
Nice man that Fiorelli.
Nice man ...
Nice man with kids...
(beat)
JACK: prob'bly got 'em runnin' numbers.
MARIE: Soes, anyways...
I goes 'ere all 'a time.
I see all 'at stuff in his window.
I see all 'at stuff in 'is window
But I ain't never bought none 'a it.
Pigs hangin'
Chickens' on hooks...with their heads and their feet.
All kinna stuff I ain't never seen before.
I jus' buys yer cheese and yer ham.
So, I goes in.
I goes inta Fiorelli's
An som'in jus' tells me I wanna try som'in else.
Som'in dif'fren.
Jus' wantin ta try somethin' else.
Som'in' in 'at window I ain't never tried before.
Soes, I goes in.
I goes in an' right away, he says "hello."
You know., in the funny way he says it.
Them Italians has a funny way
But, I know what he's sayin'
(semi-beat)
Then he says.
He says to me:
"Mrs. O Donnel."
"Mrs. O'Donnel," he sez.
"Mrs. O"Donnel."
"You always take the same thing.
You come in every week an' you say
" poun' a ham" Mr. Fiorelli."
(beat)
Such a nice man, that Mr,. Fiorelli.
(beat)
Then he says somthin'
Something' I don' get...
Somethin' In Eye talian,
'Somethin' monkey talk,
Somthin' Eye-talian'
You know....
Gabba Gabba Gabba!
You know...
Some daygo stuff.
You know how they do.
With the han's goin' (with the hands going)
An' talkin' fast.
(beat)
So, he sez
He sez,
"Same a t'ing's not good all da time."
(semi beat)
"How 'bout if I sugges some-a-tin differen?"
You know how they talk.
( Marie laughs at her imitation of Mr. Fiorelli.)
(beat)
So, I says.
Mr. Fiorelli.
Mr. Fiorelli,
You know,
You know, my Jack,
My Jack likes his sammich (sandwich) the way I makes it.
That's what he likes.
(semi beat)
But then he says.
he says..
(beat)
Mr. Fiorelli says,
(semi-beat)
"How 'bout some-a-tin new?"
Why you not try'a dis?
Try a dis.
(beat)
Look
(beat)
real a nice.
JACK: What you talkin' 'bout Marie?
MARIE: Listen
Listen.
(beat)
Soz, I sez.
OK.
(semi beat)
OK, Mr Fiorelli.
Let's try "some-a-tin new. "
(She laughs at her imitation)
(beat)
So, he gives me 'is 'er salami ( this here salami)
Salami, Jack.
An' I put it in yer sammich. (in your sandwich)
Ya don' like it?
JACK: No, I don' like it!
MARIE: Aw, JACK, I was jus' tryin'...
(pause)
JACK: Yeh. Well, don't get it no more.
That greaseball stuff...
All that greaseball stuff.
That greaseball stuff gets me here ( he thumps his stomach with his fist).
Right here. (again)
Ya know.
(beat)
Don't buy it no more.
Gets me right here.
(thumps his stomach again.)
MARIE: ya didn' like it?
JACK: No, I didn’ like it.
MARIE: Sorry, Jack.
JACK: Jus' stick with the ham.
Jus' the ham,MARIE,
The ham an' the baloney.
(beat)
An you can leave out the cheese too
MARIE: No cheese?
JACK: No cheese,
Gives me gas.
MARIE: Sure, Jack.
OK,
Whatever you wan'
Jus' ham an' b'loney.
JACK: Yeh, jus' ham an' baloney.
(beat)
JACK: An' be sure I get a TastyKake.
A TastyKake.
How many times I tol' you ' that.
How many times?
(beat)
MARIE: I know JACK.
JACK: I like a little dessert MARIE.
Jus' a little dessert.
You know.
A little cake
A Tastey Kake.
(half beat)
Not 'em Twinkies.
I don' like 'em Twinkies.
Get me TastyKakes.
I like TastyKakes!
You know.
MARIE: But I gave you TastyKakes, JACK.
JACK: Yeh, but not 'em chocolate ones.
They stick in yer mouth.
Up here ( he sticks his finger in the roof of his mouth,.)
The roof a' yer mouth.
You know.
Gi' me 'em Krimpets or 'em ones with somthin' innem.
You know, the ones wit' the jelly or the cream.
MARIE: Sure, Jack, sure. I'll get 'em jus' for you. ( She rubs his shoulders.)
(beat)
JACK: Be sure you do.
(pause)
(MARIE cleans out JACK'S lunch box. As she does she asks:)
MARIE: So, how'd it go today Jack? ( she kisses him on the top of his head.)
What was the ship?
Where’s it from?
JACK
One a ‘em banana boats
Come from Brazil.
Them damns things is fulla spiders.
Goddamn spiders under ev’ry crate.
Frawley got bit by one na 'em suckers.
Hand swelled up like a watermelon.
MARIE::
Don’ know how ya do it.
Just the thought….
(She shivers.)
JACK:
Spiders ain’t nothing….
Yawta see ‘em snakes ‘at gets on board…
MARIE:
Don’t say no more, JACK.
I don’t even wanna hear it.
(Pause.)
JACK: ( continuing with his newspaper.)
They was back again taday.
MARIE: Who was back again?
JACK: You know..
MARIE: Who?
JACK: All a 'em ( all of them)
(semi beat)
all 'em people
all 'em people.
people shoutin' and screamin'
them people carryin' them signs.
MARIE:
What people?
JACK: You know - 'bout the bridge.
'bout what they's callin' na bridge. ( the bridge)
MARIE: Oh, Ya mean about what they's callin' na bridge? (the bridge)
JACK: Yeh, I mean about what they's callin' it
(beat).
(paging through his newspaper uncomfortably.)
Even had a priest with 'em
MARIE: A priest?:
JACK: Yeh,
Some priest.
Some priest from na church.
MARIE: A priest?
JACK: Yeh, you know. From na church.
MARIE:
But, JACK, You don’t never go ta church.
JACK:
Yeh, Well....
So what?
That don' mean nothin'
(beat)
MARIE:
But, you always tell me how you don' like 'em priests...
You're always sayin'
It ain't natural.
JACK:
Whadda you talkin', MARIE?
'At don' matter,
At’s not the point!
MARIE:
I donno know JACK,
It's what you always sayin'
JACK :
What you talkin'. MARIE?
What you talkin'?
(pause)
So's anyways.
'ere was 'is here priest.... (there was this here priest.)
'is here priest. (this here priest)
He led 'em all
Led the whole group.
Talkin' about the bridge
Talkin' about the bridge an'
what they's callin it.
The Walt Whitman Bridge!
They was blockin’ the whole road,
Backed up all the trucks.
Stopped up tha loadin’
(Jack speaks awkwardly in the following. He doesn't know how to express his thoughts.)
You know
(beat)
Whitman, 'at 'ere Walt Whitman.
(beat)
they says he's not right.
(beat)
You know...
(beat)
Not right
(beat)
You know
one a them that's ...
well.
....
you know.
one a them that's
(beat)
MARIE:
Whadda ya talkin, JACK?
JACK:
that's one a them queers!
MARIE: (stands stupefied.)
(semi beat.)
JACK: Yeh,
(semi)
You heard me.
(semi)
One a them queer.
MAIRE:
JACK !?
JACK:
(Jack, now with a certain vigor)
But ya know.
Ya know what?
They're right.
They're right, Marie.
They're right.!
(beat)
Ya know,
I don't go for that protestin' stuff
But they's right.
(beat)
Ya know,
They's right Marie.
Ya know
Ya know
look at it
I see ‘em fellas up ‘ere.
Fellas I know from na Vets.
Fellas I know from na Hall
Yeh,
I see em e'ry day' ( e'ry = every)
I sees 'em up 'ere
I sees 'em
Shimmyin’ on some girder
E'ry day climb'in on some beam
E'ry day 'em fellas take 'ere lives in ner hands.
e'ry day up 'em beams.
E'ry day.
E'ry day for what?
Fah what? ( For what?)
Fah some faggot poem writer?
Fah some fuckin' pervert?
Fah what?
Tell me!
For what?
You read the papers?
(beat)
No.
(beat)
You don't.
MARIE: I dun' know, Jack.
I dun know.
JACK: Up them beams, MARIE.
up them beams.
Yous can see ‘em from na docks
Like bugs crawlin up ‘ere.
Up on 'em beams
Straddlin' 'em girders
(beat)
(he rattles his evening paper.)
Damn it, MARIE
Damn it!
I seen 'em
(semi-beat)
I seen 'em
(beat)
Callahan saw one 'a 'em fall.
Fall right inta da river..
(beat)]
Fall, I'm tellin' ya.
(semi beat)
Shit, MARIE
Fellas get killed.
Fellas get killed, God damn it!
Fellas get kiilled on'at god-damn bridge.,
(beat)
Ya know what Ahm sayn?
Fellas get killed.
Know what I mean?
Fellas get killed.
(longer pause)
Callahan was tellin me jus’ last week'
That guy onna corner
You know
That Pollock guy.
'Member that Pollock guy?
What was his name?
"inski"
"plinski"
Somethin like 'at
Some Pollack name....
What the hell?
Who knows.
(beat)
MARIE: I don' remember Jack.
JACK: Onna corner. (on the corner.)
(JACK, changes voice and direction. suddenly.)
JACK: I got it.
(beat)
Now, I got it.
(beat)\
I remember.
(beat)
JACK: Belinski.
(beat)
Yeh, Belinski.
That's it.
That was his name.
Belinski.
When ya passed the house place stunk like hell.
‘Cause they eat that Pollack crap.
You know...
And that cabbage stuff..
(beat)
Man, that stuff stinks!
(half beat)
But,
Ya know
Ya know....
Callahan says that fella left three kids.
Three kids, Marie.
Know what I mean?
Three kids.
Fell into the river.
Yah know?
(half beat)
Fellas get killed.
They get killed.
They get killed for what?
(subdued)
For some freakin' poet pansey?
Some poet pansey!
What the hell?
(Jack opens his newspaper.)
(Reading the paper)
Look at this crap!
What the hell's wrong with this country?
What the hell they doin'?
Look at this!
Jus' look at this!
(beat)
Look at this here picture....
What's this colored woman on a bus?
Coloreds on buses!
Who wants to read about coloreds on busses?
Oughtta know their place.
Always makin' trouble.
Oughtta know their place.
Damn cullerds.!
Ya know,
Ev'ry body's got a place.
A place.
Know what I mean?
(beat)
(He turns to the sports page.)
Cripes!
Look at this!
Look at this will ya?
Baseball!
Even baseball ain't sacred
It ain't sacred I tell ya.
Look what they're doin'.
What they doin' to our team.
Philly team
(beat)
Athalectics ( note: the Philadelphia pronunciation of Athletics is "athaletics.")
Athaletics off to God knows Kansas
Philadelphia Athletics.
(beat)
-Philadelphia!- not Kansas.
(beat)
Ya hear me, Marie?
MARIE: yeh, Jack.
Yeh, what?
JACK:
What?
I'll tell ya what...
Where the hell's fuckin' Kansas?
(semi-beat)
Kansas,
Philly A's in Kansas....
In Kansas.....
How can they be Philly "A's" in Kansas?
Ain't nothin' makes sense.
The whole country’s goin’ ta hell inna han’basket.
MARIE:
Kansas,
Yeh, JACK,
Kansas!
You know!
You know!
Dorothy!
You know!
Judy Garland!
Judy Garland and that little dog.
That little dog.
What was his name??
The little dog
and the midgets
and the witch!
(MARIE starts to sing off key.)
"Somewhere,
over the rainbow...."
JACK:
(JACK joins in the final notes and continues:)
"Over the rainbow...."
(beat)
Rainbows.
Yeh.
Rainbows.
Right.
Rainbows an' midgets. (yawns)
No wonder the kid's the way he is.
(beat)
MARIE:
Toto!
JACK:
(JACK pays no attention.)
That kid should be out workin'
MARIE:
That's his name!
JACK:
Should be out after school
makin’ a penny
a penny for hisself.
MARIE:
Toto!
(JACK ignores MARIE.)
JACK:
Ta hell inna han’basket.
(beat)
Why ain’t he home yet?
Why ain't he home yet MARIE?
MARIE : I don’t know.
What time is it?
JACK: After five.
MARIE: After five already?
(she looks at the kitchen clock.)
Yeh.
You're home.
So's, I guess it is.
JACK: ( He looks up at the kitchen clock.)
Yeh,
After five.
Where the hell is that kid?
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