Meadowland
A play in One Act
By Ian Walker
Cast of Characters:
INVESTIGATOR:
BROTHER:
SISTER-IN-LAW:
BARTENDER:
CATCHER:
PRIEST:
WIFE:
HUSBAND:
THIEF:
MOTHER: Played by the same actor as
Wife, with mask.
SHADOW,
BROTHER 2, DEMONS: May
be double cast.
This is a
play deeply rooted in cultural sensibility.
The actors may be from any single ethnicity— Japanese, Middle Eastern,
Native American, African, or any other culture with well-defined social norms. They may also be cast from several
ethnicities as long as the actors represent cultures with robust social values
and roles.
If the production chooses to cast actors from multiple ethnicities, “color blind” casting should not be utilized. Instead, cultural backgrounds should be grouped. The Investigator, Brother, and Sister in Law should be from the same cultural background; Husband and Wife should also be from the same background, though not necessarily the same as the Investigator. The cast should never be a “Caucasian mix” (i.e., from descendents of several European countries); however they can be from a single, well defined European culture, such as Slovakian. Regardless of the casting approach, the characters should speak with a subtle hint of their native accents.
THE TIME: Autumn. Any year between 1953 and the Present
THE PLACE: A small town.
THE SET: A
large platform stands stage left; a smaller platform stands stage right. They are connected by a “bridge”. The floor area in between and in front represents
a No Man’s Land where the outdoor scenes take place.
Both of the platforms have
adjoining pieces, like caps, that appear and disappear. The adjoining piece for the large platform
is a bar interior with stools, a counter, and bottles behind; the adjoining
unit for the smaller platform is a kitchen counter with a small window above
the sink.
A clothes line zigzags upstage of the kitchen platform. A few non-descript items of clothing—a
shirt, a pair of pants, and socks—are on it, as well as a larger blanket or
sheet. This blanket acts as a projection screen, and is designated in the
script as the BLANKET SCREEN. Emotions—in the form of color—and deeper
visual memories appear here. Several
strips of scrim hang upstage, allowing for entrances and exits. The middle scrim acts as the second PROJECTION
SCREEN. More present memories, and
live action video appear on this screen.
Upstage of the scrim there are
several platforms. They cannot be seen,
except when sequences occur behind the scrim.
Overall, the atmosphere is somewhat surreal, ephemeral.
VIDEO/AUDIO: The
images projected on the two screens should never be static (i.e.
photographs). They should always have
some motion. The use of colors projected on the BLANKET SCREEN should subtly
reflect the emotional state of actors onstage; it may be used to
preference.
Audio
has only been indicated where vital or unexpected. In general, supernatural events should be accompanied by
sound. Music can and should be used to
time difficult movements, such as the unison gestures of BROTHER and
SHADOW. The sound should reflect the
cultural background of the world you’ve created.
Meadowland
A play in One Act
PRE-SET: The
adjoining pieces are not present. Both
platforms are set with tables and chairs.
A NOOSE hangs Center Stage above the large platform; beneath it, a CHAIR
lies toppled on its side.
AT RISE: The
lights rise on the large platform. The
adjoining piece has appeared, creating an abstract interior of a Bar: three small tables and a bar counter. The NOOSE is gone.
BROTHER sits at a table in the
previously toppled chair. His feet are
bare. Several boxes of Chinese food and
a dozen fortune cookies are strewn on the table, crumbs everywhere, a debauched
feast. He studies a small notepad,
makes an edit on the page. INVESTIGATOR
enters. He sees BROTHER, stops. His face darkens. He continues his march towards the bar but BROTHER pushes
a chair with his foot, blocking his path.
BROTHER doesn’t look up, intent on his notes. A DRUM tap—an ethnic drum: it may be a Taiko drum, or an African talking drum, or something
else.
(INVESTIGATOR circumnavigates
the chair and crosses to the bar. A
second DRUM tap.)
INVESTIGATOR
Where’s the bartender?
BROTHER
Hold on.
INVESTIGATOR
Where is he?
BROTHER
Hold on.
INVESTIGATOR
Where’s the bartender?
BROTHER
Hu-aah[1]. Heard, understood, and acknowledged, Chief. Obviously, I dunno.
INVESTIGATOR
Why are you here?
BROTHER
I got a good one.
INVESTIGATOR
Why are you here?
BROTHER
You know it just makes it harder when you repeat everything. I lose my place.
INVESTIGATOR
I thought you left.
BROTHER
I did. I got halfway.
INVESTIGATOR
Half way.
BROTHER
At least. Probably more.
INVESTIGATOR
And then you came back.
BROTHER
I got tired.
INVESTIGATOR
Why didn’t you finish?
BROTHER
You ever wonder why you’re so hostile towards me? We’re brothers, Big Bro. You think you’d be happy to see me. I mean, come on. You ever wonder? Brother?
(Beat. INVESTIGATOR sits at the next table.)
INVESTIGATOR
I don’t understand.
BROTHER
I know.
INVESTIGATOR
It’s been two years.
BROTHER
I’m a-trying, Big Bro.
INVESTIGATOR
You were half way.
BROTHER
The way back is always shorter than the way there, you know that. Kung Pao Chicken?
INVESTIGATOR
It’s been two years.
BROTHER
Twenty-three months. Twelve days, fourteen hours, fifty-two minutes, and a breath. Take a breath. Kung Pao Chicken? Take a breath.
(The INVESTIGATOR takes a deep breath, relaxes slightly.)
Kung Pao Chicken?
INVESTIGATOR
Where’d you get it?
BROTHER
(grinning)
Old Man Lao. You think he’d learn, man—every time. Leaves it right on the counter and when turns his back…
(HE makes a gesture of snatching a bag and putting it under his coat.)
The Phantom strikes again.
(Seeing his disapproval.)
Oh, what? You gonna lock me up? Handcuff me? Or you gonna take the fall for me like when we were kids? Offer up your bum? Dad was so proud of you for that one. He whipped your ass with pride. “Cut me a switch,” he said. You shoulda seen your face. “Cut me a switch.”
INVESTIGATOR
(dryly)
You’d think you’d have gotten over that by now.
BROTHER
Oh, no, you hold onto everything. Everything is right in your face—the stuff you remember, the stuff you don’t. It’s… incandescent.
INVESTIGATOR
It was a bag of apples.
BROTHER
“Count it out”. Wa-pish! One! Wa-pish! Tuh-tuh-tuh-Two.
INVESTIGATOR
That was twenty-five years ago.
BROTHER
At least have a fortune cookie. I picked these out for you. (Moving three cookies on his table) Here… no, this one, wait—
(He picks up one of the fortune cookies and holds it to his forehead.)
(slight incantation)
Icenay ake kay ateway orfay ou.
(normal)
Yeah, this one. They’ll guide you through this “dark and winding path.”
(Beat.)
INVESTIGATOR
That was pig Latin.
BROTHER
What did you expect?
INVESTIGATION
Icenay ake kay? “Nice cake?” A nice cake waits for you?
BROTHER
It’s true.
INVESTIGATOR
Are you even here? Are you here at all?
BROTHER
(returning to his pad)
Okay listen.
INVESTIGATOR
Am I just talking to myself?
BROTHER
This is important.
INVESTIGATOR
No
BROTHER
Listen.
INVESTIGATOR
This is ridiculous.
BROTHER
I have something to tell you—
INVESTIGATOR
No.
BROTHER
Brother.
INVESTIGATOR
(angry but listening)
What?
(BROTHER glances at his notepad.)
BROTHER
Okay…. So. Two Penguins walk into a bar, which is pretty stupid cuz, you know, the second one shoulda seen it.
(Beat. The INVESTIGATOR doesn’t laugh.)
It’s no good. Do you think it would be funnier with optometrists? Two optometrists walk into a bar? I think it’s just too short. I mean, it’s what makes it funny, but it’s too short. I guess that sums up a lot of things, don’t it, big bro?
INVESTIGATOR
Is it her? Is she the reason you can’t leave?
(Beat. BROTHER looks away. The DRUM beats again.)
BROTHER
I met someone on the road, today.
INVESTIGATOR
A man?
BROTHER
I didn’t say a man.
INVESTIGATOR
Father?
BROTHER
I just said….
INVESTIGATOR
Someone.
BROTHER
Not a man.
INVESTIGATOR
A woman?
BROTHER
Why can’t we ever have a normal conversation?
INVESTIGATOR
(preparing to leave)
We can’t have a normal conversation because you’re not supposed to be here. Finish what you started.
BROTHER
I met a breathing corpse on the road, today. Just outside of town. His intestines were in his hands.
(Beat.)
He was cut—
INVESTIGATOR
No.
BROTHER
From stomach to sternum—
INVESTIGATOR
You come in here—
BROTHER
(overlapping)
And peeled open.
INVESTIGATOR
(overlapping)
And jerk me around—
(The DRUM again, crashing. BROTHER holds up his hand in time with the sound. It is drenched in blood, dripping down his sleeve. The PROJECTION BLANKET becomes red. Beat. BROTHER looks away. Gasps for air like a man whose windpipe has swollen shut. Gasps again. The drum underscores.)
BROTHER
(amplified voice)
Oob-mab nekorb, oob-mab nekorb. Blood-field, blood-crow. There was a crow in a field of blood. Wait.
(He gasps again. The IMAGE of the HUSBAND is projected on the center PROJECTION SCREEN; behind the same cloth the lights rise to dimly illuminate HUSBAND, holding his stomach. He slowly extends his hands. The projection and the person move in unison.)
The fingernails of the dead lengthen like ivy across cold brick. He spoke a woman’s name. Wait. A wreathe of—oob-mab ne-korb, ne-korb bamboo. A wreathe of intestines lay in his hands—broken bamboo—he cried a woman’s name. Bro— Wait. Ken bamboo. He cried a woman’s name and disappeared into a field of broken bamboo. Full stop.
(The image of the HUSBAND is gone.)
INVESTIGATOR
What name?
BROTHER
You’ll find his body today.
INVESTIGATOR
What was the woman’s name?
(BROTHER looks directly at him again; his voice is normal.)
BROTHER
Say something funny.
(INVESTIGATOR stares at him.)
Something funny, something I’ll remember. A hook. Say something funny.
(Beat.)
INVESTIGATOR
Did you kill yourself?
(Beat. BROTHER looks at him resentfully. He stands.)
BROTHER
Life’s a bridge, Big Brother. Cross over it but build no houses.
(BROTHER crosses away, disappearing up center just as the BARTENDER enters from behind the bar. The LIGHTS change subtly.)
BARTENDER
I didn’t hear you come in, Investigator.
INVESTIGATOR
Just did.
(The BARTENDER looks at him oddly; the INVESTIGATOR glances at the half-eaten Chinese food on the table beside him. Sighs.)
BARTENDER
The Usual?
INVESTIGATOR
What’s the news?
(BARTENDER fixes him a shot of something on ice.)
BARTENDER
Daily Paper. Somebody-and-So’s in love, So-and-Somebody got in a fight. She’s got a Peeping Tom; His chickens disappeared. A bible of aches and pains and tedious jobs. You?
INVESTIGATOR
His Chickens came in. He wanted to file a Missing Person’s Report. On two chickens.
BARTENDER
(shaking his head)
Small Town Rag.
INVESTIGATOR
Worst part is I did it. Took the better part of an hour.
BARTENDER
You reckon fowl play?
INVESTIGATOR
What?
BARTENDER
Fowl play. Hen-pecked to death or goosed by a neighbor.
(INVESTIGATOR laughs.)
They’re probably just out on a bender, tiara’d and feathered.
(re: the Chinese food)
You know we got a kitchen here, Chief.
(CATCHER enters the bar. He is an odd looking fellow, shabbily and dirtily dressed, layered like a vagrant. CATCHER looks distracted, exhausted.)
Now, there’s a strange bird for you.
INVESTIGATOR
Who is he?
BARTENDER
(shrugging)
Passes through once a week. Makes Rosh HaShanah out of one drink.
(crossing back behind the bar; to CATCHER)
Fee-Fi-Fo-Rum, what’s the call today?
CATCHER
What? The Same.
BARTENDER
Money first. You looking empty-handed.
CATCHER
I got money.
BARTENDER
Top up, then.
CATCHER
I got money.
BARTENDER
This ain’t Social Service.
(Beat. They eyeball each other for a moment. Finally, CATCHER rummages secretively in his pocket, and presents a crumpled bill.)
CATCHER
You ain’t charitable.
BARTENDER
Maybe I sit here and listen, but everybody pays. Aw now, you can’t be carrying your Prosperity around like that. You need to have some respect for yourself.
CATCHER
It’s still money.
BARTENDER
(pointing to the INVESTIGATOR)
You see him over there? The one that looks like he washed today? This is a dignified establishment. Tidy yourself up before you come in here.
(He pours CATCHER a drink, then pulls it back from his grasp.)
I’m trying to teach you something here. Oh look, a face only a puppy dog could love.
(BARTENDER slides him the drink.)
He get away from you out there, Green Cheeks?
CATCHER
(alarmed)
How’d you know about him?
BARTENDER
You came in yesterday all, kee-craw, kee-craw, talking ‘bout this
parrot, Green Cheeks.
CATCHER
Aiya.
BARTENDER
I thought they was supposed to talk. Parrots.
CATCHER
Szz…. You gotta teach ‘em.
(under his breath)
Ignorant.
(aloud)
Teach ‘em and you can get three, four hundred for one.
BARTENDER
That much?
CATCHER
Maybe five. They’s rare.
BARTENDER
That’s your problem. You need something common. Easy to catch. Like pigeons. Figure out how to sell a pigeon, you got it made. Dirty, disgusting creatures.
CATCHER
Nothing wrong with pigeons—
BARTENDER
Can’t eat ‘em, can’t keep em as pets.
CATCHER
They wash themselves every day.
BARTENDER
Tell me: how come you can make a delicacy out of snails, out of pig guts, but nothin’ from pigeons?
(INVESTIGATOR stands to leave.)
Hold up, I need a witness on this one.
(to Catcher)
I bet you can’t give me one delicacy made outta pigeons. One delicacy and the next one’s on the house.
CATCHER
I can get my own.
BARTENDER
See, you got animals you can keep as pets, and animals you can eat, and there ain’t no bridge between. Nobody’s barbecuing Fluffy. Then you got the useless creatures in between.
CATCHER
They ain’t useless.
BARTENDER
They dig around in your trash like homeless people.
CATCHER
Just cuz they eat your left-overs don’t make em—
BARTENDER
Cockroaches. Cockroaches with feathers.
CATCHER
They are not!
BARTENDER
Come on, one delicacy— I’ll make it a whole bottle. On the house.
(CATCHER fishes viciously in his pocket and slaps another crumpled bill on the table.)
CATCHER
I can get my own. Scotch this time. Make it a double.
BARTENDER
Oh-ho, suddenly he’s rich? Did you get
him?
CATCHER
Scotch. And not that swill you sell the other suckers.
BARTENDER
(getting
the bottle)
Did you get him? Green cheeks?
CATCHER
I caught something.
BARTENDER
Where’s the cage?
CATCHER
Scotch.
BARTENDER
Whyn’t you bring him in?
CATCHER
Fill it to the top this time.
BARTENDER
Suit yourself. You two alright in here?
INVESTIGATOR
Yeah.
(BARTENDER heads out back again.)
Piccione Ripieno. Stuffed pigeon. Piccione Ripieno. It’s an Italian delicacy. Stuffed pigeon.
CATCHER
That’s what I told him.
INVESTIGATOR
The Chinese eat a lot of pigeon. French, too.
CATCHER
He’s just ignorant.
INVESTIGATOR
You’re a Bird Catcher?
(CATCHER grunts.)
Must be pretty hard. You just set a trap in the woods and see what you get?
CATCHER
(as much to himself)
Sssstupid. You’d catch anything. Wrens and finches. Thrush. People don’t want thrushes… ugly gray bird. Indian Ringneck—that’ll get you 250. Love birds is three hundred a pair. You gotta find the beauties.
INVESTIGATOR
(moving closer)
I wouldn’t know where to look.
CATCHER
Stupid. You don’t look. That’s what people think. You listen. You hear ‘em. You know what a Red-Shouldered Hawk sounds like? Kee-yar! Kee-yar! Hear one of those you got some money. You follow the sound in the trees. Follow it to its nest. Then you can trap ‘em.
INVESTIGATOR
You must know these woods pretty good.
CATCHER
Like your mother’s tit.
INVESTIGATOR
You got something, then?
CATCHER
I got something.
(BARTENDER enters.)
BARTENDER
Can I get you another, Investigator?
(CATCHER stiffens.)
INVESTIGATOR
(to Catcher)
You look like you just saw a ghost. Or a dead man.
CATCHER
I don’t know what you’re talking about.
INVESTIGATOR
It’s illegal to trap wild parrots, isn’t it? Red Hawks, too.
CATCHER
I didn’t catch any.
INVESTIGATOR
But you caught something. You’ve soiled your knee.
CATCHER
It was muddy—
INVESTIGATOR
Looks more like blood.
(CATCHER tries to bolt, but INVESTIGATOR catches his wrist.)
And what’s this? There’s more under your nails.
CATCHER
I just found him!
INVESTIGATOR
With his stomach peeled open?
(CATCHER stares at him in disbelief.)
CATCHER
How… how did you…?
INVESTIGATOR
A bird told me.
CATCHER
He was like that when I found him.
INVESTIGATOR
How’d you do that? You follow his cries?
CATCHER
A bird showed me.
(The DRUM again, rhythmic and spatial underneath. Another instrument may accompany it. The world of the stage responds to his story.)
CATCHER
I heard him yesterday. I knew his voice. Kee-craw-craw-craw!
INVESTIGATOR
The parrot?
CATCHER
High up, so high I couldn’t see him. But I could hear him. He loved to sing, that one. He had the most beautiful voice, Green Cheeks. I followed him from tree to tree.
(CATCHER moves away, eventually onto the small platform. The blanket screen turns to green and the center scrim shimmers like light in a forest.)
Away from the path. I couldn’t see him—just the shadow of wings… Kee-craw-craw-craw. So sorrowful. I thought, “This is some beautiful maiden transformed by the gods. Or a Ji Guang with one eye and one wing, searching for his mate.” I musta followed him half a mile, from tree to tree… until I reached a little grove, a little meadow, where he had his nest. I placed my trap in a tree across from him. You don’t want to frighten them. Bait it with a little fish—they love fish—and it stinks, stinks to high heaven.
INVESTIGATOR
That was yesterday.
CATCHER
This morning I goes back, back to the little grove. Down under the bushes to listen. But there’s no cry… no voice. Nothing in the cage. No bird. No fish. And then I hear it… tzzt… tzzzt. There was a big cut in the trap tree. A fly had gotten caught in the sap and was buzzing its wings. The grass all around, all through grove was trampled flat. Chunks of earth torn from the ground. And then I saw him.
INVESTIGATOR
The body?
CATCHER
Lying against a tree stump, his stomach peeled open and a crow pecking at him.
BARTENDER
Jesus.
INVESTIGATOR
Cut?
CATCHER
From here to here.
INVESTIGATOR
Did you see a knife?
CATCHER
No. Rope. A piece of rope beside him.
INVESTIGATOR
What did you do?
CATCH
I chased the crow away. It kept pecking at him, pecking at his insides. It’s not right for a crow to eat a man’s insides. He’ll get sick. And then I heard another one, up in the trees—and another, and another—all around me, and I ran. I ran all the way back here.
INVESTIGATOR
What else?
CATCHER
Nothing.
INVESTIGATOR
Something else? You found something?
(CATCHER looks at him.)
If I were to search your pockets, I’d find something else, wouldn’t I?
CATCHER
There should be some kind of reward, shouldn’t there? For finding him? Shouldn’t there?
INVESTIGATOR
Give.
(CATCHER reaches into his pocket and retrieves an ivory pendant.
He places it on the table.)
That’s all? The necklace?
CATCHER
Yes.
INVESTIGATOR
This is the truth?
(CATCHER shakes his head, yes.)
You’re going to write down what you said. You’re going to write it down and then you’re going to take me to where you found the body.
(CATCHER nods.)
Go next door. Talk to the Lieutenant. Go.
(CATCHER exits obediently. INVESTIGATOR turns to BARTENDER.)
Let’s keep this out of the Daily Paper for now.
BARTENDER
You got it, Chief.
(INVESTIGATOR begins to exit, stops at the table of Chinese food.)
INVESTIGATOR
Does Old Man Lao have a tab?
BARTENDER
Sure. Twenty and change, I think.
INVESTIGATOR
Put it on my bill, alright?
BARTENDER
You’re the Chief.
(BLACKOUT)
(The Lights rise on SISTER-IN-LAW in the kitchen. She listens intently at a “window”, and then touches her hand to a pot of tea. INVESTIGATOR enters. She greets him warmly.)
SISTER-IN-LAW
Welcome home, Brother-in-law.
INVESTIGATOR
Good Evening.
SISTER-IN-LAW
I heard you outside and warmed your tea.
INVESTIGATOR
Thank-you.
(He sits; she brings the tea and sugar.)
SISTER-IN-LAW
Who were you speaking to?
INVESTIGATOR
Leesha was passing by.
SISTER-IN-LAW
What did she want?
INVESTIGATOR
There are some boys loitering behind the center. She’s concerned.
SISTER-IN-LAW
She can’t come to the station? She has to stop you on the way home?
INVESTIGATOR
If she doesn’t report it right away she might forget.
SISTER-IN-LAW
I think she wishes someone else was loitering behind the center.
INVESTIGATOR
Some of the boys have been getting into trouble.
SISTER-IN-LAW
Was she wearing a blue dress with a sash around the waist?
INVESTIGATOR
(beat)
Yes.
SISTER-IN-LAW
I saw her buying that dress last weekend.
INVESTIGATOR
Oh leave her be.
SISTER-IN-LAW
Hardly the kind of dress you wear for children.
INVESTIGATOR
It’s good she stopped me. I’ll need to
swing by tomorrow.
SISTER-IN-LAW
So she’ll get her loiterer after all….
INVESTIGATOR
(finally smiling)
“Uncle.” I brought you some lotus seeds. They finally arrived at the shop. Nelumbo nucifera.
SISTER-IN-LAW
(sincerely pleased)
Thank you. Will you plant them with me?
INVESTIGATOR
Of course. Where should we put them?
SISTER-IN-LAW
I was walking on the northern trail today, and I sat on the stones where the creek made a little pool by the path. Wouldn’t that be a nice place?
INVESTIGATOR
We’ll go this weekend.
SISTER-IN-LAW
I walked as far as Cedar Grove. The foxglove we planted are finally in bloom. Little purple bells.
INVESTIGATOR
Has it been that long?
SISTER-IN-LAW
Our first garden. When I think of all the secret gardens we’ve planted, I can’t help but… I thought I’d never smile again. I think those gardens saved my life.
INVESTIGATOR
Unexpected beauty is the most affecting.
SISTER-IN-LAW
Yes, Brother-in-law. Would you like something to eat? I made soup.
INVESTIGATOR
No.
SISTER-IN-LAW
You should eat.
INVESTIGATOR
There was food at the bar.
SISTER-IN-LAW
That’s not food.
INVESTIGATOR
There was take out.
SISTER-IN-LAW
What kind?
INVESTIGATOR
Chinese?
SISTER-IN-LAW
Chinese what?
(Beat. He can’t remember.)
Don’t make me into an old hen. You take up everyone else’s worries but you don’t take care of yourself. You carry the world on your back. It’s showing in your shirts.
INVESTIGATOR
(amused)
The world is showing in my shirts?
SISTER-IN-LAW
I found another ink stain on your pocket.
INVESTIGATOR
Shaped like the world?
SISTER-IN-LAW
Like China[2], as a matter of fact.
INVESTIGATOR
I’ll be more careful.
SISTER-IN-LAW
It’s ruined.
INVESTIGATOR
I’ll worry less about the world and more about my shirts.
SISTER-IN-LAW
I almost didn’t see it before putting it in the laundry. It could’ve stained everything.
INVESTIGATOR
“Uncle.”
SISTER-IN-LAW
You’ll have soup?
INVESTIGATOR
I’ll have soup.
(She moves to prepare the soup.)
I saw… I saw my brother today.
(Beat.)
SISTER-IN-LAW
What did he want?
INVESTIGATOR
I don’t know.
SISTER-IN-LAW
Did he say anything?
INVESTIGATOR
He told me a man had been murdered.
SISTER-IN-LAW
Murdered?
INVESTIGATOR
Outside of town.
SISTER-IN-LAW
He wanted to tell you someone had been murdered?
INVESTIGATOR
I don’t know what he wanted, that’s just what he said.
SISTER-IN-LAW
Are you intentionally trying to be difficult?
INVESTIGATOR
I guess so. Yes. I’m sorry. That’s what he wanted.
SISTER-IN-LAW
Is it true?
INVESTIGATOR
We found the body this afternoon.
SISTER-IN-LAW
Who was it?
INVESTIGATOR
No one from town.
SISTER-IN-LAW
Do you know who did it?
INVESTIGATOR
(shakes his head, no)
I think there might be a woman involved. I don’t want you walking in the woods until we know what happened.
(She nods in consent.)
SISTER-IN-LAW
Is there something else?
INVESTIGATOR
What?
SISTER-IN-LAW
You look troubled. Did he say something else?
INVESTIGATOR
No.
(She begins to turn away.)
Did he visit you? Today?
SISTER-IN-LAW
No.
(Beat. She looks at him patiently.)
INVESTIGATOR
It’s very late for foxglove. The leaves are already turning.
SISTER-IN-LAW
Yes.
INVESTIGATOR
They must be very beautiful against the Autumn leaves.
SISTER-IN-LAW
You’re wondering why he doesn’t visit me anymore.
INVESTIGATOR
No. I was wondering… if it’s cold over there. In Winter. Do the trees change there?
SISTER-IN-LAW
He looks up to you. That’s why he visits.
INVESTIGATOR
He thinks I’m rigid.
SISTER-IN-LAW
Strong.
INVESTIGATOR
Self-righteous.
SISTER-IN-LAW
The night before he enlisted, you were all he talked about. You had just made Lieutenant.
INVESTIGATOR
He told you he was going to enlist?
SISTER-IN-LAW
No. He would never have told me. He’d have told you first.
INVESTIGATOR
He told Father. After.
SISTER-IN-LAW
He wanted to be an officer. Like you.
INVESTIGATOR
It wasn’t about me, it was about Father. It was about… winning, Chinese food, it was about… I don’t know.
SISTER-IN-LAW
He’ll leave when he’s ready.
INVESTIGATOR
Why doesn’t he visit you anymore?
SISTER-IN-LAW
I’ve let him go. (Beat.) I loved him. Passionately. Foolishly. Like a girl becoming a woman. I loved his brightness, his mischievousness. And I loved him for the shadow of you I saw in him. If I could bring him back I would, but I would not love him the same way.