Scene One

A tastefully decorated bedroom cluttered with too many things and not enough space to put them all. Paintings of landscapes dot the walls. A duvet on the bed matches the drapes that cover the window, and a lone geranium plant perches on the window ledge.

There are three doors… one to the closet, one to the bathroom, and one leading out of the bedroom to the rest of the world.

MORGAN is in bed. A big man with a low voice, he snuggles into his pillow. He exudes an air of jovial resignation—a successful man who had the air punched out of him by a heart attack.

The light is on under the bathroom door. Silence, until…

LILLY

(off) The squalor you leave in your wake is really unacceptable.

MORGAN

Sorry.

LILLY

(off) You spit on the mirror again.

MORGAN

I didn't spit—it flew out of my mouth when I was flossing.

The sound of running water stops.

LILLY

(off) How many times do I have to tell you to wipe the mirror when you're done brushing? The spray's under the sink, the paper towel is beside it.

A spraying sound is heard followed by the squeak of paper towel rubbing against a mirror—squeak, squeak.

(off) When you've finished wiping the mirror use the same paper towel to wipe along the toilet rim—don't do it the other way around—and when you've done the rim wipe up the dribbles on the floor.

MORGAN

What dribbles?

LILLY

(off) Your dribbles.

MORGAN

I don't dribble.

LILLY

(off) Everyone dribbles, Morgan, it's part of life.

MORGAN

Bernice can wipe them up in the morning.

LILLY

(off) Bernice doesn't come in on Mondays.

LILLY comes out of the bathroom wearing a nightgown. At sixty-six she is a well-preserved, taut-looking woman, her face plastered with cream. Used to dominating a classroom of high-octane high-school students, LILLY's heart never strays too far from her mental whip.

When you're feeling better I'll put your things back in the hall bathroom.

LILLY sits down on the bed and kicks off her slippers. She takes a pill from a vial on her night table and washes it down with water then slides into bed and reaches for a book.

MORGAN

The Housemans are moving into their retirement home next week. It has three bathrooms.

LILLY

Four. Sal drove me around there this morning—massive grounds, two acres of landscaped rock gardens… it reminds me of the Aunties' mansion.

MORGAN

Merv's happy to retire.

LILLY

Sal won't have time to retire—she'll be too busy organizing cleaning staff and gardeners. It's ridiculous.

MORGAN

He wants to grow orchids.

LILLY

What is it about men and orchids?

MORGAN

He likes the way they look.

LILLY

They're complicated things to grow.

MORGAN

The secret is never to touch them.

LILLY

Well, that's no fun.

MORGAN

Did Sal show you the conservatory?

LILLY

Yes—and the library and the five bedrooms—why would anyone their age want five bedrooms?

MORGAN

Grandchildren.

LILLY

Grandchildren, grandchildren—it's a virus.

Silence… LILLY reads.

MORGAN

When I retire I'm going to take up a little hobby.

LILLY

When you retire we're going to Siberia.

MORGAN

I don't really feel like travelling nine thousand kilometres on a train from Moscow to Vladivostok—

LILLY

Open your mind, Morgan. That's what I used to tell my students—open your mind to the world—to history, to art. It's perfectly safe—we won't even have to step off the train. We'll pay station babushkas to bring us food from their kiosks.

MORGAN switches off the lamp on his night table. He turns and lightly kisses LILLY on the cheek.

MORGAN

Goodnight, Lilly.

LILLY

Goodnight, dear.

Silence… LILLY reads.

(absently) Did you lock the door?

MORGAN

Yes.

LILLY

Sometimes you forget.

MORGAN

I locked the door.

LILLY

You often forget, dear.

MORGAN

Lilly, I have a breakfast meeting early in the morning.

LILLY

Are you excited?

MORGAN

Yes… as excited as I'm allowed to get these days.

The sound of a siren drifts up from the street.

LILLY

Remember Ruth—short, fat, Catholic, but attractive in her own way?

MORGAN

Vaguely.

LILLY

Every time she heard a siren she'd make the sign of the cross. One day we were walking past the hospitals, and with all the ambulances racing by her arm nearly fell off. When I quipped that her gesture was both conspicuous and futile, she stopped in her tracks and said, "Lilly Beaumont, a wailing siren tells us that someone somewhere may be dying, and our tiny, compassionate thought will get to them long before a speeding ambulance ever will."

MORGAN

Where's your earplugs?

LILLY

When I hear a siren I think of Ruth.

MORGAN

Put your plugs in.

LILLY

Then I won't hear the alarm.

MORGAN

Is it set for six?

LILLY

Five forty-five.

MORGAN

Put it on my side of the bed.

LILLY

I can wake you up.

MORGAN

You sleep in. I'll bring you your tea before I leave.

LILLY

No, keep it on my side. I love to be woken up then remember that I don't have to get out of bed. It's a pleasant mind game.

MORGAN

Often your mind games make you fall asleep again and forget to wake me.

LILLY

I won't forget.

MORGAN

I know you won't forget but it's easier for me to wake up first.

Exasperated she hands him the alarm.

He puts it on his night table then snuggles against LILLY, barely touching her.

LILLY

Oh, you're squishing my shoulder.

MORGAN

Sorry.

He moves back to his side of the bed.

LILLY

My shoulders need room to… breathe.

Silence.

Poor thing had both breasts lopped off then chemo then radiation then despite copious amounts of prayer, she died.

MORGAN

Who?

LILLY

Ruth—dead at fifty-six.

MORGAN

Goodnight, dear.

Silence.

LILLY

Do you remember the lithograph that hung in Auntie Zim's hall?

MORGAN

Goodnight, Lilly.

LILLY

It was of a pretty woman sitting in front of an oval vanity mirror brushing her hair, but if you adjusted your eyes ever so slightly the picture became a skull. When I asked Auntie which picture was the right one—the pretty woman or the skull—she said, "I don't know. I've reached an age where I see only the skull." I suspect that's all she'd ever seen. She had a bit of a beard and no lips to speak of. The concept "vanity is death" was wasted on her.

MORGAN

Why do you always start babbling after you've taken your sleeping pill? It defeats the purpose.

LILLY

I am not babbling, I'm just thinking of when I lived with the Aunties and how they grew older and older.

A thump is heard, like someone falling or something bumping into something else.

Are you sure you locked the door?

MORGAN

Yes, Lilly—please. The breakfast is eight a.m. sharp so I have to be at the restaurant by ten to eight. Donny will be hungover, Harold will be tense and they'll both treat me with extraordinary care as if I'm a porcelain jug teetering on the edge of a table—they might even ask me to resign.

LILLY

What do you mean resign?

MORGAN

Resign—sounds the way it's spelled.

LILLY

What are you talking about?

MORGAN

Maybe they'll ply me with orange juice and champagne then tell me they've found some young hotshot that has a big future with the company.

LILLY

You mean fire you?

MORGAN

No, resign. Resign is a prettier word. I'd get a large severance package.

LILLY

Why would they ask you to resign?

MORGAN

I don't know… maybe they think I'm too old or too sick—that I don't have a big future. I had a big future when I started with them thirty years ago.

LILLY

Well, you might consider taking the severance package, then we could start making travel plans.

MORGAN

…oh boy.

LILLY

Whatever happens just please try not to worry—the doctor said worry's not good for your heart.

Silence.

Did you slide the deadbolt and set the alarm?

MORGAN

Yes.

LILLY

Remember the night the McNamaras mistook our door for theirs and he crawled into bed beside me when I was asleep. And old Mrs. McNamara sat down on our hall toilet and passed out.

MORGAN

Yep.

LILLY

Where were you?

MORGAN

On the couch.

LILLY

That's right.

MORGAN

They're a nice enough couple until they get into the sauce.

LILLY

I woke around two with my face in Mr. McNamara's armpit, and when I screamed Mr. McNamara yelped and Mrs. McNamara woke up so fast she slid off the toilet seat and fractured her hip.

MORGAN

I jumped up and fell on top of the coffee table.

LILLY

Tommy was up here in a flash—or was it Bobby who came up and yelled at you?

MORGAN

The one with the hair.

Another sound is heard.

LILLY

What's that sound?

MORGAN

…what sound?

Another sound is heard.

LILLY

That sound.

MORGAN

Maybe Mr. McNamara's looking for you.

LILLY laughs.

Another sound.

Tippy's probably on a rampage.

LILLY

I put her out on the balcony.

MORGAN

Maybe she saw another cat down in the street.

LILLY

(calls) Here, Tippy Tippy… puss puss…

MORGAN

(yawning) Turn out your light.

LILLY

Where is she? (calls) Here, pussy wussy—

MORGAN

Maybe she saw a man cat and got excited.

LILLY

Remind me to take her to the vet. She shouldn't be getting excited anymore. Goodnight.

LILLY turns off the lamp on her night table and lies down.

MORGAN

Memories.

LILLY

Pardon?

MORGAN

She probably has memories of man cats.

LILLY

We all have memories, Morgan, but that doesn't mean we have to knock things over and claw up the couch.

Silence.

I thought we declawed her. Didn't we declaw her?

MORGAN

I'm tired, Lilly.

LILLY

Yes, the same day Hattie had Mincey declawed—then we went to Hattie's for tea and two days later she was mugged.

MORGAN

Her cat was mugged?

LILLY

No, Hattie was. She hasn't been the same since.

Another sound is heard.

LILLY

(whispers) Listen… do you hear a thumping sound?

MORGAN

It's probably the couple next door.

Silence.

LILLY

Morgan? Are you asleep?

Silence… then a thump from another room inside the apartment.

(calls) Here, puss puss… Tippy?

Another thump then the sound of someone moving about.

Tippy?

Enter a figure through their bedroom door, a figure crawling weakly on his hands and knees… barely visible in the darkness.

(whispers) Morgan?

MORGAN

I'm sleeping, Lilly.

LILLY

(whispers) There's someone in here.

PARKER

(weakly) …help me.

LILLY

Oh my God in heaven…

MORGAN

(whispers) Don't turn on the light.

PARKER

Help me.

LILLY

Please don't kill us. We're old—and poor.

PARKER

…won't hurt anyone.

Silence.

MORGAN

…what do you want?

PARKER

(weakly) …bandage.

LILLY

We don't keep money or jewels on the premises but you're welcome to the appliances, television, take the paintings—mind you, they're fakes—but take whatever you wish.

MORGAN

Take them and leave quickly. There'll be no trouble.

LILLY

Ah, the smell.

PARKER

…bandage…

LILLY

In the bathroom. Over there.

PARKER

…bandage?

LILLY

Maybe he can't understand English. Some people can't grasp the complexities of the language. (to PARKER) Parlez-vous français?

PARKER

…no.

LILLY

There's a first-aid kit in the ensuite.

PARKER

Where?

LILLY

In the ensuite—right through there.

PARKER

Show me.

MORGAN makes a move to get out of bed, but LILLY stops him.

LILLY

No, Morgan. (to PARKER) My husband's recovering from a heart attack—he's not supposed to have any stress. Just help yourself to the first-aid kit and leave before you asphyxiate us with your smell.

PARKER

I can't fucking see—

LILLY

Do not swear!

MORGAN

Lilly, please—

PARKER

Help me.

LILLY

The bathroom's right by that painting of trees, which is a fake. All the paintings are fakes. (to MORGAN) Tell him all the paintings are fakes.

MORGAN

You already told him the— (to PARKER) The paintings are fakes, sir.

PARKER

…I think I'm blind.

LILLY

Blind or not blind—the paintings are fakes.

MORGAN

How did you see to get in here?

PARKER

…through the door.

MORGAN

Oh boy.

LILLY

(to MORGAN) Every night I ask, "Did you lock the door, Morgan?"—"Yes, Lilly, I locked the door," and every night you leave the thing open—why?!

MORGAN

I can't get used to this apartment—

LILLY

Condo.

MORGAN

Everything's designed in a circle—I'm liable to bump into myself coming the other way. It's hard to remember that the corridor out there is not part of our apartment—

LILLY

Condo!

MORGAN

Condo.

LILLY

(to PARKER) My husband and I are new to this condo business, unlike you, who seem to know your way around in the dark even though you can't see. (to MORGAN) Is it so hard to remember to lock the door? How many times—

MORGAN

Okay, okay—sometimes I forget.

LILLY

Lately you forget to the flush the toilet.

MORGAN

Tell the world why don't you?

LILLY

This is the reason, Morgan Beaumont—this is the reason I want the alarm clock on my side of the bed from now on!

PARKER

Take me to a fucking bandage.

LILLY

I'm not taking you anywhere until you stop swearing!

MORGAN

(to LILLY) Maybe he's hurt.

LILLY

I used to tell my students that swearing is a failure of language.

MORGAN

(to PARKER) Are you hurt?

PARKER

(holding his head) …my head…

MORGAN

Better show him to the bathroom.

LILLY gets up from the bed…

LILLY

(to MORGAN) How do you say "Come with me" in French?

PARKER

I don't speak French, I speak…

PARKER faints and lands on their bed.

LILLY

Oh my God…

MORGAN turns on a light. The fallen man looks younger and more desperate than he sounded in the dark. He wears a worn-out suit and dirty white shirt… and bleeds from a cut on his forehead.

MORGAN

Maybe he had a heart attack.

LILLY

He's too young to have a… oh God, look, he's… he's getting blood on the duvet. Morgan, he's getting blood on the duvet!

MORGAN

Mister, are you all right? (to LILLY) There's a cut on his head.

LILLY

(to PARKER) Get off the bed. (to MORGAN) Get him off the bed.

They push PARKER off the bed and he lands on the floor in a heap.

Now he's getting it on the Persian—get up! Morgan, let's get him out of here. Help me drag him out to the corridor.

MORGAN

We can't leave him lying out there. He's hurt.

LILLY

Lock the door then phone Security and tell them there's a man lying in our corridor. Let them deal with it.

MORGAN

We should at least give him a bandage first.

He moans.

LILLY

Careful. He might attack us when he comes to.

MORGAN

Check if he has a gun.

LILLY

If he's blind why would he be toting a gun around?

MORGAN

Check if he has one.

LILLY

(to PARKER) Do you have a gun?

No response.

MORGAN

Check his pockets.

LILLY

I'm not putting my bare hands in there.

LILLY opens a bureau drawer and takes out plastic clothes bags then wraps them around her hands.

MORGAN

What are you doing?

LILLY

Protecting myself from the possibility of aids and who knows what else.

PARKER is coming to… groggy.

PARKER

…my head…

LILLY

Do you have aids?

PARKER

…no.

LILLY

How do you know what you have or haven't got?

PARKER

I don't have aids.

LILLY

Breaking in here, fainting all over our bedroom—you must have something—fleas? Bedbugs?

PARKER

Help me…

He reaches up for her help but she moves away…

LILLY

Oh, the smell…

PARKER

Help me…

MORGAN

I'll get him a bandage.

LILLY

Yes, a bandage and fresh clothes and then I'll call Security.

PARKER

…no…

Exit MORGAN into the bathroom.

(getting to his feet with some difficulty) …please I don't have a record I don't want one I just I just… I didn't mean to come here… I didn't mean to do anything wrong, I fell, I fell off the edge of the world… I didn't mean to land here…

LILLY

Dear God in heaven the stink…

PARKER

Eh?

LILLY

You smell. I'm not fanatically anal but my nose has limits.

PARKER

I didn't mean to do anything wrong.

Enter MORGAN with a bandage.

MORGAN

Here…

PARKER

(trying to open the bandage wrapper with his shaky hands) …I don't have a record I don't want one I didn't mean to come here I didn't do anything wrong, don't call them, don't please—

LILLY

All right, enough. I won't call Security… on one condition—

PARKER

Thank you thank you goddess of the universe…

MORGAN

(referring to the bandage) Here… I'll open it.

LILLY

Careful you don't get… finger lice or something… (to PARKER) I won't call Security if you take a bath right now.

PARKER

…a bath…

LILLY

Yes, a bath—une salle de bains.

PARKER

…a bath?

LILLY

It'll just take a minute and you'll smell much nicer afterwards. (to MORGAN) Help me get him into the tub.

MORGAN

Are you sure we shouldn't call Security?

LILLY

No—not unless he has a gun. (to PARKER) Do you have a gun?

PARKER

No, I didn't do anything wrong I just fell the door was open—

LILLY

Shhh—don't shout.

PARKER

I didn't do anything wrong.

LILLY

People like you irritate me—living in the woods in the middle of a perfectly good city, breaking into our home then expecting us to feel sorry for you because all that's left of your life is a limp hand begging for a dollar and mumbling in that feel-guilty middle-class way—have a good day—well, I won't have a good day—

MORGAN

Lilly, please.

PARKER

(to LILLY) I don't beg.

LILLY

You hate us when we don't give you money but hate us more when we do.

PARKER

I don't want your money.

LILLY

No, not now—not when you're five minutes away from making off with our—those aren't fakes, you know, those are authentic paintings. My Aunties owned a Harris and two—count them—two Thomsons—

MORGAN

Lilly, don't say— (to PARKER) They're all fakes.

PARKER

There is nothing here I want—I'm free.

LILLY

You're free because you know darned well that people like us—the civilized bunch with the artwork—don't want it to seem like we don't care about the less fortunate so we act like adults so that you can act like toddlers— Morgan, watch him while I pour the bath.

Exit LILLY into the bathroom.

PARKER

She's scaring me.

MORGAN

She'll calm down in a minute. Can you see all right now?

PARKER

Yeah… but my head hurts.

MORGAN

Do you want an Aspirin?

The sound of running water is heard.

PARKER

Tell that greasy-faced bitch I don't want a fucking bath!

MORGAN

Now just watch your language—

LILLY

(off) I used to walk to school every morning and had to step over people like you. I considered it exercise—good for the rectus femoris muscle.

MORGAN

All right, Lilly, you've made your point.

PARKER

(in LILLY's direction) You don't know nothing about me—nothing nothing nothing nothing nothing…

LILLY comes out of the bathroom.

LILLY

Then tell me something. Come on—make me feel sorry for you.

MORGAN

Lilly, please—

PARKER

I don't want you to feel anything for me.

LILLY

Then what do you want bursting in here like this?

PARKER

A bandage… and world peace.

MORGAN

Oh boy.

LILLY

(to PARKER) After Hattie was mugged—Hattie's an old friend of ours—after she was mugged she gave half her money to charity because the thing who clobbered her told some sob story in court and made her cry. I said to Hattie, "If you must throw your money away throw it at something beautiful. Reach for beauty—the ballet, the symphony," but now her thousand dollar donations go directly to food banks while the symphony starves—so you get into that tub and don't give me any world peace crap—I've taught history all my life and there is no such thing as world peace!

LILLY goes into the bathroom.

PARKER

The lion lies down with the lamb, the lion lies down with the lamb the lion… ohhh everything's spinning…

PARKER puts his hands to his head to steady himself.

MORGAN

Are you going to faint again?

PARKER

I'm still flying…

The sound of running water stops.

MORGAN

Would you like a drink or something to eat? A cookie? (calls to LILLY) Are there any oatmeal cookies left?

LILLY comes out of the bathroom.

LILLY

(to PARKER) Your bath is poured.

With great trepidation, PARKER peeks into the bathroom.

I'm leaving the door ajar so don't try anything funny.

PARKER

Funny like ha-ha or funny like taking a poop on the floor?

LILLY

(to MORGAN) See, he was trembling with politeness a moment ago—soon he'll be smashing mirrors and swallowing your pills.

MORGAN

Please don't start talking about my pills.

PARKER

What pills?

LILLY

Get in that tub right now or I'll call Security.

PARKER

Fuck you.

LILLY

Quit swearing and get in there or I'll call the police instead.

PARKER goes into the bathroom. LILLY closes the door… almost.

PARKER

I'm trapped, I'm trapped by a maniac. You lured me in and now you're gonna drown me.

LILLY

Get in that tub or else you'll end up in jail for life.

MORGAN

Lilly, I think you're going about this in the wrong way.

LILLY

Remember when that fourteen-year-old pulled out a gun in my classroom?

MORGAN

That was different.

PARKER

(off) I can't see—everything's too shiny.

LILLY

If you can see to come through our door you can see to climb into our tub.

PARKER

(off) Shiny things make me nervous.

LILLY

I don't care—get into that tub and asseyez-vous!

PARKER

(off) Oh, this feels hot… ow ow ow holy Toledo—it's hot!

MORGAN

Are you trying to scald him to death?

LILLY

He's probably just not used to warm water.

Sounds of splashing and moaning are heard. LILLY peeks through the bathroom door.

MORGAN

You shouldn't peek.

LILLY

I'm guarding him.

PARKER

(off) I peek all the time. Peek through windows.

LILLY

Just concentrate on the soap.

PARKER

(off) I watch people eat—watch them fuck, listen to them fuck.

LILLY

(in PARKER's direction) What did I tell you about swearing?

MORGAN

(in PARKER's direction) If you're into that kind of thing you should have gone next door. There's a young couple there—worse than rabbits—night and day, day and night.

PARKER

(off) Love sounds are beautiful sounds, love sounds are beautiful—

LILLY

Beautiful, sure, if the dishwasher isn't on and you're sprawled on the La-Z-Boy with a magazine eyeballing some gal who's spread open like a banana split, your hand on your privates and your ear pressed against the wall—like Morgan sometimes does…

MORGAN

Pardon me?

LILLY

…but it's not exciting when you're trying to listen to music—particularly Schubert.

MORGAN

I don't whack off against the wall with a… a girlie magazine.

LILLY

You date yourself, Morgan. I bet you say bosom instead of breasts—maybe you say melons.

MORGAN

I absolutely do not read those kinds of magazines.

LILLY

They're scattered all over this condo. Look… (pulls magazines from under their mattress) There are five of them under here.

PARKER

(off) Where?

LILLY

(in PARKER's direction) You stay in that tub! (to MORGAN) When I was packing to move I found them hidden everywhere—in the bottom of drawers, tucked into every nook and cranny in the garage, I even found one under the kitchen sink!

MORGAN

Oh, boy.

PARKER

(off) I want to see titties—

LILLY

(in PARKER's direction) Keep your voice down.

MORGAN

No one says mind game anymore?

LILLY

Pardon?

MORGAN

You talk about me dating myself but your use of mind game is a thousand times worse than girlie magazine.

PARKER comes out of the bathroom, naked and dripping, flapping his arms.

LILLY

Put something around yourself.

PARKER

I'm practising—

LILLY

Here's a towel—take the towel.

PARKER

I'm warming up my flight muscles.

MORGAN

Dry yourself off, mister.

PARKER flutters his arms, faster and faster.

LILLY

Morgan, do something.

MORGAN yanks a sheet off the bed and hands it to PARKER.

MORGAN

(manly) Wrap this around you… here, I'll help—

PARKER

Don't touch me—you have no right to touch me.

LILLY

You lost the right to talk about rights when you broke into our house.

PARKER

I didn't break—the door was open.

LILLY

Cover your privates!

PARKER

I'm a bird… I'm a bird I'm a bird.

PARKER goes back into the bathroom and slams the door.

MORGAN

If he keeps howling someone's going to complain and Security will be up here—

LILLY

People like him need to be talked to with a calm, authoritative voice. (calls to PARKER, calmly, authoritatively) Do not come out until you dry yourself. When you have dried yourself put on the clean clothes… which I will now pass into you. (to MORGAN) Hand me your navy trousers.

MORGAN

I'm not giving away my good trousers to a—

LILLY

The faded ones—and that patterned shirt I hate so much.

MORGAN

Which one?

LILLY

That greenish thing with the leafy design—

MORGAN

I like that shirt.

LILLY

You never wear it.

MORGAN

One morning I may wake up with an overpowering desire to wear that particular garment.

LILLY

Morgan, for God's sake—

MORGAN

I'm not giving him my green shirt!

LILLY

Fine. Give him one of your old white ones—and a pair of briefs.

MORGAN

I don't have extra briefs. You sent them all to the Salvation Army before the move—shirts, briefs—whole shooting match.

LILLY

Then find a sweater or—Morgan, must you be so intractable and unimaginative—the poor man needs some clean clothes!

MORGAN pulls some clothes from the closet and tosses them to her.

MORGAN

Should I toss in a few girlie magazines?

LILLY

Ha, ha—what'd you do, swallow a clown?

LILLY knocks on the bathroom door.

(calls) I found clothes for you.

Silence.

(calls) Hello?

She tries the bathroom door—it's locked.

(calls) Please unlock the door.

Silence.

MORGAN

Maybe he fainted again.

LILLY

(calls) Hello?

MORGAN

I should have given him a cookie.

LILLY

(calls) Are you hungry? Would you like a cookie?

Silence.

MORGAN

Maybe he's lying in the water bleeding to death.

LILLY

Dear God—run down to the lobby and get Tommy.

MORGAN

You mean Robby.

LILLY

No, Tommy—Tommy's midnight to eight, Bobby's eight to four, Robby's four to midnight, so either Robby's still down there or Tommy's just started his shift.

MORGAN

Bobby's the bald fellow.

LILLY

I don't know—one of them has hair. The chap who blasted you for leaving the door open last time has a full head of hair.

MORGAN

They shouldn't be roaming around at night checking people's doors.

LILLY

That's their job, Morgan—they're Security people—go down and get Tommy!

MORGAN goes out through the bedroom door.

(calls after MORGAN) …on your way back bring the room freshener—it's in the side cupboard.

Silence…

…then moans can be heard coming from the bathroom. LILLY gets down on her knees and peeks under the door.

What are you doing in there?

PARKER

(off) I'm lost.

LILLY

Pardon?

PARKER

(off) I'm lost to the world.

LILLY

No, you're not lost, you're in our bathroom. We'll help you get back to wherever you came from.

PARKER

(off) It's too late for me… help them.

LILLY

Who?

PARKER

(off) Squirrels, raccoons, maple trees. Help those trees on your roof—they're being strangled to death—the pots are too small!

LILLY

What pots?

PARKER

(off) The cement pots on the roof are way too small.

The bathroom door opens. PARKER stands there, dry, shirtless and dressed in his own dirty pants. He has wrapped a towel around his head. LILLY gets to her feet.

LILLY

That's my good towel—you'll get blood on… never mind. Take off those pants and put these on.

PARKER

No.

LILLY

Your pants smell.

PARKER

I hear those trees crying, can you hear them? They're crying. Come help me save them.

LILLY

(hands MORGAN's clothes to PARKER) Put these on and give me your pants.

PARKER

Fuck off.

Enter MORGAN who sweeps triumphantly into the bedroom. He carries a can of air freshener.

MORGAN

I told you I locked the door—I told you!

LILLY

Where's Tommy?

MORGAN

Don't need him—the front door's still bolted from the inside and the alarm's intact! (to PARKER) One afternoon, when we first moved here, I walked into the kitchen and saw five purple aliens with bulging eyes standing at the counter making tomato sandwiches and singing "In-A-Gadda-Da-Vida," so I opened the fridge, breathed in a lungful of cold air, then turned around and poof—no aliens, no tomatoes, nothing. It was just an acid flashback—something I get when I'm under stress. So you must be a flashback because you didn't come through the front door.

PARKER

(suddenly horrified) I'm not purple… am I? (to LILLY) Am I purple am I purple?

LILLY

(to PARKER) How did you get in here?

PARKER

Am I purple?

LILLY

No—now how did you get in?

PARKER

…from outside the balcony.

LILLY

How did you get on our balcony?

PARKER

…I jumped.

MORGAN

I better take one of my pills.

LILLY

(to PARKER) How the heck did you get on our roof?

PARKER

It's not your roof—it belongs to everyone.

MORGAN

I'd like to know how you got up there.

PARKER

Walked in behind a girl and pressed up. She pressed down but I pressed up so I went up.

LILLY

Where was Tommy?

PARKER

Eh?

LILLY

The Security person down at the concierge's desk.

PARKER

Nobody was there nobody nobody nobody a girl.

LILLY

What do you mean no one— (to MORGAN) We're paying how much for Security?

MORGAN

Not enough obviously.

LILLY

Call down and see if Tommy's there now.

MORGAN

All right—but I'm not telling him this guy broke in or he'll bawl me out again. Those bald-headed tyrants are all bullies who like to think they're policemen—

LILLY

Just see if he answers then hang up the phone!

MORGAN dials a phone on his night table.

PARKER

The trees are imprisoned in pots, they're being tortured, tortured beyond endurance—

LILLY

You be quiet.

PARKER

Their roots are busted and stripped down stripped to raw trembling pain—

MORGAN

(quickly slams down the phone) He answered.

LILLY

So he's there. (to PARKER) How did you get out on the actual roof?

PARKER

Through a door.

MORGAN

(to LILLY) I bet it was the McNamaras again.

LILLY

Probably.

MORGAN

(to PARKER) Every night they go up to the roof garden and drink themselves stupid then stumble back down, leaving everything wide open behind them— (to LILLY) They're the ones Security should go after—not me.

LILLY

(to PARKER) What were you doing on the roof?

PARKER

Looking at stars.

LILLY

How did you get onto our balcony from the roof?

PARKER

Orion's the brightest constellation.

LILLY

How did you get onto our balcony?!

PARKER

I jumped.

MORGAN

Oh boy…

MORGAN takes one of his pills.

PARKER

Landed on a barbecue. I saw stars then I saw stars again.

LILLY

You're not satisfied accosting us on the streets, now you're falling from the skies.

PARKER

You ever look up at the sky?

MORGAN

Sure. If nothing's on TV I often go up to the roof and admire the stars.

LILLY

It's impossible to see the stars from up there—there's too much reflection.

PARKER

When I can't see stars I just imagine I see them—they're as beautiful in my head as they are in person and I'm happy to the brink of tears.

MORGAN

I'll give that a try next time.

LILLY

Morgan, put him back on the street—take him out through the parking garage.

PARKER

(to LILLY) I blame you I blame you.

LILLY

Pardon?

PARKER

You and your balcony jutting out into the universe piled up patio furniture and a barbecue—why burn helpless animals—burn something like this instead…

PARKER lays his hands on a large wooden armoire.

LILLY

Don't touch—that's a French-pine Louis XV armoire—it's been in my Auntie's family for a hundred years.

MORGAN

Hundred and seventeen.

PARKER

(to LILLY) I blame you I blame you—

LILLY

For what?

PARKER

…saving my life.

LILLY

I did no such thing.

PARKER

Yes you did.

LILLY

Well, I didn't mean to—look, keep the towel and just leave. Go see a doctor and get some pills. Get out, goodbye, au revoir.

PARKER

You saved my life… (begins to weep) and that is unforgivable!

MORGAN

(to LILLY) Now look what you've done.

LILLY

(to parker) The fact that you didn't die should be a lesson to you, I don't know what kind—geography, science, psychology—please stop crying or I'll toss you off the balcony myself.

PARKER

Go ahead—I dare you I dare you I dare you.

LILLY

People with a death wish frighten me.

MORGAN

Maybe he's depressed— (to PARKER) Are you depressed?

LILLY

Everyone's depressed these days—it's a plague.

MORGAN

So what, the point is he's… suffering. (to PARKER) What's your name?

PARKER

Orion…

LILLY

Your real name.

PARKER

Orion Orion.

LILLY

Okay, that's it—I'm calling the police.

PARKER

Parker.

LILLY

Pardon?

PARKER

My name's Parker.

MORGAN

Parker who?

PARKER

…PARKER PARKER.

MORGAN

Would you like a cookie, Parker?

PARKER

…I don't know if I can go on living.

LILLY

Well, try. (to MORGAN) Bring him some cookies…

PARKER

Either I die or face reality.

MORGAN

Groucho Marx once said—"I'm not crazy about reality, but it's still the only place to get a decent meal."

LILLY

Just bring the cookies, Morgan.

MORGAN exits.

(calls) …and a glass of milk!

PARKER continues to weep. Careful not to let him out of her sight, LILLY gets a handkerchief from her bureau drawer and tosses it to him. He ignores it.

PARKER

Touch me.

LILLY

Pardon?

PARKER

I wanna see if I died. Touch me touch me.

LILLY

(tentatively reaches out to touch his arm) Try anything and I'll throttle you. You're lucky I'm a compassionate person.

He grabs her hand, presses it against his chest and holds it.

Let go of my hand.

PARKER

(continues to hold her hand) Every morning I look for reasons… a wildflower in bloom a trillium a trailing arbutus—ah, the smell—like a woman in an evening gown or the colour of bluebells or how the heads of buttercups bow under heavy rain—like this… (demonstrates) just a modest bow, how dappled sunlight dances on the earth's floor, swaying in a breeze… trees surrounding me like long green arms or watching an ant carry a dead insect twenty times bigger than itself—now that's fucking impressive—

LILLY

What did I tell you about swearing—

PARKER

That's like you carrying two hippopotamuses around on your back, so be impressed, lady—imagine carrying two hippos which is about the same as three thousand squirrels—I love watching squirrels play, they're smart little lunatics. Three squirrels perch near my head when I'm sleeping—

LILLY

All right, all right—so you're a nature freak.

PARKER

Wanna hear the other stuff?

LILLY

Please don't say you talk to the squirrels.

PARKER

How it feels at night?

LILLY

Pardon?

PARKER

How my cock feels at night?

LILLY

(calls) Morgan… Morgan?

MORGAN

(off) What?

PARKER

A wildflower blooms and spreads its seed and someone says, "Look, a pretty flower," but what am I what am I, I'm a worthless slug.

LILLY

Let go of my hand.

He lets go.

PARKER

Lilly. You're named after a flower—Lilium longiflorum.

Enter MORGAN holding a plate with one cookie on it and a glass of milk. He hands the milk to PARKER who guzzles it down.

MORGAN

There was only one left.

LILLY

You ate them all?

MORGAN

I only had two after dinner. (to PARKER) Help yourself.

PARKER politely takes the cookie but hunger overtakes his manners. He shoves the whole cookie into his mouth.

LILLY

There were at least a dozen left.

MORGAN

I had two—you must have had ten.

LILLY

I didn't have any after dinner.

MORGAN

Bullshit, Lilly, bullshit.

LILLY

Stop swearing—I had three while watching the news—three! You must have eaten the other seven.

PARKER

Uck— (spewing out a mouthful of milk and cookie) chemicals.

LILLY

There are no chemicals—it's a cookie for God's—it's just sugar, flour, oatmeal, baking powder—

PARKER

It's full of cancer.

LILLY

It is not—now clean up your mess. You people have to learn that your actions have consequences.

PARKER

(feebly wipes up his mess with the handkerchief he had previously discarded then tosses it once more on the floor) I can smell cancer—I can smell if people have it.

LILLY

That's the most ridiculous thing I've ever heard.

LILLY cautiously picks up and deposits the handkerchief in one of the plastic bags.

PARKER

Nature's taking revenge—shutting us down with her death sparkle, filling us up with teeny weenie bombs.

MORGAN

(to LILLY) Maybe he'd like a banana.

PARKER

A third of the world's too fat, a third's too skinny, an' a third of the world had their genitalia tampered with.

MORGAN

(to PARKER) Would you like a banana?

PARKER

No-thank-you-very-much, if I want a banana I'd get one at the Good Shepherd 'cause I go there for coffee and cookies and sometimes a banana but I'm not part of that Good Shepherd crowd anymore.

LILLY

I bet their cookies have just as many chemicals as ours do.

PARKER

Oh yeah oh yeah but Larissa serves coffee there…

PARKER suddenly runs out of the bedroom.

LILLY

Parker—PARKER!

PARKER runs back into the bedroom.

PARKER

Where'd the balcony go, where's the balcony…

PARKER runs into the bathroom.

LILLY

Calm down.

MORGAN

Now what's he going to do—jump off the edge of the bathtub?

LILLY

(to morgan) Quiet.

LILLY goes into the bathroom. A commotion is heard coming from inside.

PARKER

(off) Let go of me let go let go.

LILLY comes out of the bathroom pulling PARKER.

LILLY

I will not have your splattered brains on my conscience.

PARKER

You said you're going to toss me off the balcony.

LILLY

I changed my mind.

PARKER

People like you are confusing.

LILLY

Just calm down. It's best if you go back where you came from and try to cheer up.

MORGAN

Time heals every gaping wound.

PARKER

Larissa and me were gonna get married but this morning a new girl was serving coffee and people were asking her "Where's Larissa where's Larissa?" and the new girl's saying, "Larissa moved away—her husband got a new job." She never told me she was leaving never told me she was even married.

LILLY

Why not?

PARKER

I never spoke to her.

LILLY

You never spoke to her?

PARKER

No.

LILLY

Never?

PARKER

No.

LILLY

You never spoke to her?

PARKER

No.

LILLY

Not even to say hello.

PARKER

No.

LILLY

Did she talk to you?

PARKER

She smiled at me.

LILLY

Did she talk to you?

PARKER

No.

LILLY

Never?

PARKER

NEVER—you deaf?

LILLY

How could she possibly know you liked her that way if you never—

PARKER

I love her. When I look into her eyes my skin vibrates.

LILLY

But if she didn't know how you felt about her, how could she respond?

PARKER

When she hands me a cup of coffee her eyes glisten 'cause she hears my thoughts inside her head!

LILLY

What thoughts?

PARKER

"Larissa let me lick along your spine an' down between your legs—"

MORGAN

Okay, okay—we get the gist.

PARKER

We were gonna be married under a canopy of hawthorn and trembling aspen and have squirrels and doves and we were gonna have three girls two boys and dogs, cats, cows, turkeys, budgies—

LILLY

How could you plan all that if you'd never even said hello to the woman?

PARKER

(sniffs) …what's that smell?

LILLY

Pardon?

PARKER

The fumes I'm breathing… (sniffs harder) bacon fat, cleaning fluid, rugs weaved by tiny, tortured fingers of starving children— (points) Look, their blood's knotted right into the carpet.

LILLY

That's your blood!

PARKER

(looks down, a bit surprised) Oh. Yeah you're right. That's my blood. 'Cause I'm dead.

LILLY

No you're not.

PARKER

Yeah I am 'cause—I climbed the stairs to the roof and slammed the door behind me and seen the trees—big beautiful trees squeezed into tiny pots and they're whispering
"save me save me," their starving arms waving "help help" and I'm trying to free them but their trunks are cemented right into the fucking pot and I want to die and they want to live—it's so confusing with the trees saying one thing and my heart screaming something else I'm not sure if I'm a tree or a pot so I'm going back down getting the fuck outta here but I can't get the roof door open… then look up and see stars and constellations and start dreaming of Larissa and her sapphire eyes… and I knew, eh, suddenly knew knew knew I knew—

LILLY

What?

PARKER

…she doesn't love me, never ever did… a very very sad realization today and there's this story 'bout a boy who jumps off a mountain and on his way down he turns into a bird and flies up into the sky so I close my eyes and run towards the edge and hurl myself off… but… but instead of turning into a bird I… I jumped into your arms.

LILLY

Well, perhaps metaphorically speaking—

PARKER

I jumped into your arms!

LILLY

Yes. Yes you did.

MORGAN

I think it best if you go back where you came from.

PARKER

Where did I come from?

MORGAN

I don't know. Do you live here in the city?

PARKER

Yeah.

LILLY

Do you have family?

PARKER

Yeah a large, happy happy family. We're so happy we exploded.

LILLY

Does your family live here, too?

PARKER

Yeah my mother, father, a foster mother, foster father, stepfather, uncles, brothers and sisters, half-brothers, half-sisters, social workers—

LILLY

Are you close with any of them?

PARKER

Who?

MORGAN

Your large exploding family.

PARKER

Very very close. My whole family's dead and I don't remember my mother but I miss her very much.

LILLY

Well, I certainly understand that. "An ounce of mother is worth a pound of God"—Morgan, who said that?

MORGAN

I don't know.

PARKER begins to weep again.

PARKER

No one loves me and I love everything I love people animals snakes June bugs termites…

Inconsolable, PARKER falls against LILLY.

…can you love me?

LILLY

Well, I'm sure that underneath your… desperation you're a lovable person.

PARKER

Please love me please love me…

MORGAN

Lilly, I think—

PARKER

Love me, hold me—

MORGAN

Okay, pal, this is slipping into weirdness.

LILLY holds PARKER… somewhat tentatively.

Lilly…

LILLY

What?

MORGAN

Be careful.

LILLY

He's like a child.

MORGAN

A child in a man's body.

LILLY

I'm just reassuring him that he's… he's not just a worthless slug.

PARKER

Once I had a car a washing machine a dog—do you have a dog?

LILLY

We have a cat. You can pet her if you like. (calls) Here, Tippy… here, pussy…

MORGAN

Lilly, it's time for him to leave. It's very late.

PARKER

Tippy. Does she tip over?

LILLY

Maybe she's hiding.

MORGAN

She probably freaked out when you crash-landed on the balcony.

LILLY

(to MORGAN) Bring me a damp face cloth and a proper bandage.

MORGAN

I have to get up early tomorrow morning or this morning or whatever time it is—holy shit, it's nearly one o'clock… (to PARKER) Come on, I'll take you down.

LILLY

I'll take him, Morgan.

MORGAN

Lilly, I feel fine. My breathing's relaxed. Look…

MORGAN breathes slowly—in and out.

LILLY

He needs a bandage.

MORGAN

I'm perfectly capable of taking him down the elevator and through the parking garage—I'm not an invalid.

PARKER

Lilium Longiflorum, you saved my life… I'll save yours.

LILLY

My life is just fine, Parker, but thank you for—

PARKER

I will save your life!

MORGAN

Now you're being ridiculous.

LILLY

He's not being ridiculous—it's his way of saying thank you.

MORGAN

Ten minutes ago you were ready to toss him over the—

LILLY

People change, Morgan—

MORGAN

Change doesn't occur in a split second—it's a long, evolutionary process—bugs to fish, fish to reptiles, reptiles to bigger reptiles, bigger reptiles to mammals, mammals to primates, primates—

LILLY

I'll get dressed.

MORGAN

I am perfectly capable of getting dressed—

LILLY

It's no trouble for me to take him down. (to PARKER) Morgan has a breakfast meeting first thing in the morning.

PARKER

Could I stay? (to MORGAN) Could I have another cookie? It might taste better this time.

MORGAN

No. You're all right now, Parker Parker. I'll get you a bandage and—

PARKER

I'm not all right—no one's all right—something's out there… something's calling me… not God, no, something in the atmosphere—look out there…

PARKER yanks open the drapes, nearly knocking the geranium plant over.

LILLY

Careful, my plant!

MORGAN

It's my plant!

PARKER

Hey, I see the ravine…

LILLY

It's my plant.

MORGAN

It's my plant, Lilly—my geranium.

LILLY

I didn't think you cared about plants.

PARKER

…and look look up there… stars!

MORGAN

I don't care about plants but lying here all those weeks while recovering I couldn't help getting involved with this particular plant because it was stuck in my face. Someone gave it to me—it was a get-well gift.

LILLY

It was a get-well gift from me, Morgan.

MORGAN

…oh… well thank you. It's growing nicely. Don't touch it.

PARKER

(in LILLY's direction) You can too see stars from here—come see the stars!!

LILLY

Close the drapes. I don't like people looking in.

PARKER

I'm not looking in I'm looking out.

LILLY

Not you— (points out the window) Them.

PARKER

Nobody's looking right now—nobody sees you lying on the bed your legs spread your hands fluttering between them—

LILLY

I beg your pardon.

PARKER

Oops… that's someone else's window.

MORGAN

Okay, fellow—out! Now!

LILLY

Morgan.

MORGAN

(to PARKER) Come on—out!

LILLY

He made a mistake—a faux pas.

MORGAN

Why are you sticking up for him?

LILLY

I used to tell my students that a person who does not make mistakes does not usually make anything.

MORGAN

He's sucking you into a tragic tale just like that guy who mugged Hattie. I mean, who is he? (to PARKER) Who are you?

PARKER

Parker Parker Parker.

MORGAN

Do you have any ID to prove it?

PARKER pulls stuff from the pockets of his pants…

PARKER

Stones—here's a pretty one and look—dime, nickel and two pennies. People throw money away like it was crumbs.

MORGAN

How do we know you are who you say you are? You could be anybody.

PARKER offers him a stone.

PARKER

Here.

MORGAN

I don't want your stupid stones—how do we know you didn't kill that Larissa character and stuff her into a hollow tree?

LILLY

Don't be ridiculous.

PARKER

Maybe your pussycat's hiding?

MORGAN

Pardon?

PARKER

Maybe you murdered your pussycat and put her in a meat grinder and mixed her into the cookies?

MORGAN

You're crazy—

LILLY

He has a point.

MORGAN

A point—how the hell do you know he's not concocting a story about who he is and where he lives?

PARKER

I used to live in my car and one morning I woke up and poof… no car.

MORGAN

Where do you live now?

PARKER

In the ravine in a lean-to I made with branches and I got a pair of running shoes two sleeping bags a spaghetti strainer a book—

MORGAN

If you're so in love with nature you should get out of the city.

PARKER

Can't leave my family.

MORGAN

I thought they were all dead.

PARKER

Everything on earth is living even dead people are alive 'cause everything feels and the garden on the roof all those trees suffering in captivity… (to LILLY) Help me help me liberate those trees.

LILLY

They're not our property, Parker—we have no business touching them.

MORGAN

What trees?

LILLY

Up on the roof.

PARKER

Let's liberate those trees.

MORGAN

They're not ours—they belong to everyone here. We all pay condo fees.

PARKER

People don't own the trees the oxygen people don't own the stars.

MORGAN

You are so full of bullshit I'm going to pull your ears off—

LILLY

Calm down—both of you. (to PARKER) I can't go around breaking the law at my age.

PARKER

Yeah at any age if a law doesn't serve nature and the future of this world—

MORGAN

Okay, goodbye… au revoir.

PARKER

Say it, Lillian, say, "I gotta break laws that hurt birds and animals and lungs of little babies—"

LILLY

(to PARKER) Hang on a second—I'm not giving up chemicals or cleaning products or gasoline or cars and I'm certainly not going to cuddle up to bugs or outlaw fur coats… but that said… yes… I will go up to the roof… I will go up to the roof and help you liberate a tree.

MORGAN

(to LILLY) Are you nuts?

LILLY

One tree.

PARKER

Not one—all everyone revolution.

LILLY

No, Parker. One tree. Or none.

PARKER

Okay one tree one tree one tree one—

LILLY

Give me a minute to put something on.

MORGAN

This is like the worst kind of acid flashback.

LILLY

(pulling clothes from her bureau drawer) Morgan's got a flashback for every occasion.

PARKER

Can I watch you undress?

LILLY

Certainly not.

MORGAN

Lilly?

LILLY

What?

LILLY goes into the bathroom and closes the door.

MORGAN

Listen, we've been more than kind to you.

PARKER

Do you watch her undress?

MORGAN

You freak—why'd you pick our building to jump off of?

PARKER

It's high higher than the other one 'cross the street.

MORGAN

This is fifteen storeys—the one over there is four storeys higher!

PARKER

(surprised) …it is?

MORGAN

How long have you been watching this building?

PARKER

We're watching all buildings.

MORGAN

Who's we?

PARKER

My friends.

MORGAN

And who are they—gangs of homeless zombies—what friends could you possibly have?

PARKER

Foxes, three squirrels—a skunk, birds, all kinds of birds—even a coyote.

LILLY comes out of the bathroom, dressed, lipstick on.

(sniffs, to LILLY) You smell pretty.

LILLY

(to PARKER) You need a shirt.

MORGAN

Lilly, you're not going out there with him.

LILLY

He needs a shirt.

MORGAN finds his wallet, pulls out some bills and offers them to PARKER.

MORGAN

Here—take this and sneak out the same way you came in.

PARKER

No no money.

MORGAN

It's fifty bucks!

LILLY

He doesn't need money—he needs a shirt!

LILLY goes into the closet.

MORGAN

(to PARKER) Go back up to the roof and try again.

PARKER

Eh?

MORGAN

There's a graveyard near the north side of the building along the top of the ravine so if you've got good aim you can leap straight into your grave.

LILLY

(off) Shut up, Morgan—

MORGAN

…or jump off the south side into the traffic—if you survive the plunge you'll be instantly run over, but don't jump off the east or west sides because they have balconies—ours is the first one and we wouldn't want you to risk impaling yourself on our barbecue.

PARKER

No one loves me no one.

MORGAN

Shut up!

LILLY comes out of the closet with a fur coat.

LILLY

Perhaps it's a question of hygiene, Parker—

PARKER

(sniffs) I smell dead animals.

LILLY

It's my mink. It belonged to Auntie Zim, may she rest in pieces.

MORGAN

(to LILLY) You're terrified of stepping off the Trans-Siberian in the middle of a town but you're happy to go traipsing through a parking garage with a stranger—what the hell is wrong with you tonight?

LILLY

He's harmless, Morgan, and don't swear.

MORGAN

How do you know he's not like that kid who fired a gun in your class?

LILLY

That was different—he pulled the gun out so fast I had no time to think.

PARKER

I don't have a gun.

LILLY

(to PARKER) This happened years and years ago—I don't know what he expected me to do—maybe he thought I'd throw up my arms and surrender. A few of the students started screaming so I told everyone to shut up and stay absolutely still, then I asked the young man if he was a good enough shot to hit the number twelve on the clock. I'd be sued if I did that today but I had to divert his attention and there was a stupid part of me that didn't believe his gun was loaded until he effortlessly blasted out the twelve. I praised him and asked him to try for the six. Each time he shot out a number I praised him and when he ran out of bullets I yanked the gun out of his hand then had one of the students run to the principal's office and call the cops. The young man just stood there crying. (to MORGAN) Now would you please lend PARKER a shirt—he needs help.

MORGAN

You're the one who needs help. Call Dr. Sturgess first thing tomorrow.

LILLY

He's off getting radiation for his prostate. Give Parker the dark blue one—you don't like the cut.

MORGAN

Being nice to a homeless man for the first time in your life isn't going to change anything, Lilly. The reality is that the world needs poor people and homeless people and helpless people because the world is like an aquarium. There are gold fish with beautiful gauzy fins, muscle fish to keep order, plain-looking fish to reproduce and form crowds—then there are fish whose main purpose in life is to suck algae off the glass.

LILLY goes into the closet.

PARKER

A sign… there's a sign in the Good Shepherd saying, "Homelessness is the cancer in society not the homeless people themselves." It's not true, eh.

MORGAN

What's true is that you'd be dead by now if we didn't have a balcony.

PARKER

I don't feel like killing myself any more maybe tomorrow maybe never again.

…LILLY comes out of the closet clutching one of MORGAN's shirts.

MORGAN

What are you doing with my—

LILLY

(to PARKER) Put this on…

LILLY helps PARKER put it on.

PARKER

…wow… new shirt.

LILLY

(to MORGAN) I'll be back soon.

MORGAN

If you're not back in half an hour I'm calling the police.

LILLY

Fine.

MORGAN

Take something with you (searches around)—a weapon.

PARKER

I won't hurt her. "I am a lover of uncontained and immortal beauty in the wilderness I find something more dear and connate than in streets or villages in the tranquil landscape and especially in the distant line of the horizon man beholds somewhat as beautiful as his own nature."

LILLY

(to PARKER) Who's that—Emerson?

PARKER

Emerson Emerson Emerson Emerson Emerson… Emerson Emerson…

MORGAN has unplugged and picked up a floor lamp (or something large) and offers it to her.

MORGAN

Here, take this with you.

LILLY ignores him.

LILLY

(to PARKER) You recite very well.

Exit LILLY and PARKER.

MORGAN puts down whatever he is carrying, goes to the bedroom door and stands still, listening… the sound of a door opening and closing can be heard.

Then, in one long, sweeping move, he walks over to the windowsill, grabs the plant and slams it down on the floor.

With some effort he picks the plant up, rights the pot and tries to stuff the plant and bits of earth back into it. He places the pot back on the window then, feeling pain, he bends over a little…

…and his hand suddenly reaches for his chest.

Blackout.