AMERICAN About the Playwright Diana Son's plays have been produced at Actors Theatte of Louisville (Louisville, Ky); Ensemble Studio ‘Theatre (New York City} La Jolla Playhouse (La Jolla, Cali); The Joseph Papp Public TheateriNew York Shakespeare Festival (New York Citys the Mark Taper Forum (Los Angeles); New Georges (New York City); and Soho Repertory Theatre (New York City) She is a member ‘of New Dramatists and recipient of the 1999 New Dramatists’ and Royal National Theatre's Brooks Atkinson Exchange/Max Weitzenhoffer Fellowship. She isa graduate of New York University’s dramatic lteature program. Her other plays include Boy, R-A.W. 000 Mile, Stcaling Fire and Happy Birthday Jack "Cause I'm a Woman), Fishes, he Ply Stop Kiss was originally commissioned by Playwrights Horizons (New York City) and supported by that theatre's ongoi nt from Amblin Entertainment. In August 1998 it was workshopped in the Play program at The Playwrights Center in Min neapolis. Stop Kiss received its premiere production, directed by Jo Bonney, in November 1998 at The Joseph Papp Public Theater/New York Shakespeare Festival where it ran for neatly four months, The play will be published as a trade paperback edition by Overlook PressPenguin Books in late 1999. Stop Kiss recently received the 1999 Media Award from GLAAD (Gay & Lesbian Alliance Against Defamation) for Ourstanding New York Theatre Production on Broadway of Off-Broadway, and has been nominated for an Outer Critics Circle Award for outstanding Off-Broadway production and a Drama League Award for distinguished production of a play ‘The Playseript Series is supported by Audrey Skitball-Kenis Theater Projects (A.S.K.), a scevie organization ‘that facilitates the creation of new work through a broad range of artist aal educational programs 11845 W. Olympic Blvd, #1250, Los Angeles, CA 90064, A ieee a See -ONnet An interview with the playwright by Jennifer Tanaka What was the impetus for Stop Kiss? T'm consistently interested in che conilic between how other peopl identify you and the more complex way in which you know yoursll. In the ease of Stop Kiss, ther cen teal characters get beaten because they were kissing—to others, they've lesbians. But in their minds chore exists this whole web of emotions chat they're alternating giving ineo and fighting agains. 1s the title meant to be ist | mean ito go both ways-—a command, as in “Scop kissing," but also, “Let's stop playing games and juse kiss.” Or, “L stop precending we'e not atrac other and kiss.” aad as “Stop that ed tocach asthe sorytn in Sop Kis isp by cei cnet? No. Burgas soatingthat is pee sein dhe dl lives of many poole ay people vise ona daly asian yt isnot arcuate Sof hae wanted to sible, Because hci in the play ap Pets to women other peopl think af “erp thks each lesbians cna waters ply stout ay ing? loihecment Tabet come theo tet of Cale’ joey tbconesometody whncanbe deca who conte neon iment Wael pot sel ite nti pn nyse nt see thar Mtevents that happen to People, 7 Toul eer p Personally say, “This is play about homo- This isa play abou gay-bashing. This is a play about the civil rights of gays and lesbians in America.” I would desert play as a love story. Ler'stalk about the structure, Why did you ‘choose to intercut the past and the present? Ie seemed a way t0 tell the story that kept the audience engaged, tying to reconcile how these women who, in Scene Is tale about ther boyfriends and are strangers, result in the woman in Scene 2, describing this beating How did they get to that point? I wanted people to be able to make that connection throughout the play. When I'm in an audi- ence, realy want to fel that 'm dong some thing, that I'm not just there to indulge the writers need to impress me with the use of language or wich one-liners that can make me laugh. I always appreciate ie when the writer asks me to pu chings together mysel ‘orto have an opinion about a character that may not be the writers opinion, ‘Was there anything about the mechs the play that you found surprisingly effec- ies of I really loved it when you could see certain audience members make a connection and pc things together. One nighe I was siting behind this cow of young women about -my age—I'm 33. fe was the scene where Sara Thece this bae inthe West Village called Henrietta's.” Isa ‘one of the women infront of me put her face later they were going to ge beaten. [loved ‘Another time Isa in the house when the screen came out and the chairs gorse up for the fise depiction of Sara in the hospital, The woman behind me said, “Ob, no. I don't wane to se this, she was going 10 be shown was Callie says, "Lees go somewhere im her hands because she knew th ‘Wren she realized that all Diane Son taking care of Sara behind the scree remember that she went, “Whew!” And I thought, “See? You didn't trust me. You thought chat I was going to cheapen this ‘moment by bringing oue an actes in bevise makeup.” When you talk about this issue of trust, it implies a continuing relationship with your audience Very much so. The Public has commis. sioned a new play from me, Is the story of two sisters who come to New York feom a small town; the story is set in three dif ferent time periods. [feel that Tean do this now because people asiociate that structure with my writing and they will ust me and be wlng to doa like more work feel that Tan be more challenging, Was putting a Korean-Ameri the role of Sara important ro you? ‘What’ crucially important to mes that actors of color get cast inthis play, period. Thisis New York! goto the theatre sometimes and I see plays that take place in New Yorks and everybody's white think, “What New York do you lve in? I's very different from the one cha 1 lve io.” So I want to present this image of New York with the same con fidence as people who write about a New York in which everyone is white. But you also have co be realistc—the rac ofthe characters is not specified in the script. I don’t want people to fet like they can't put on this play ea et CelaSTOP KISS “© The Characters Callie late 20s to eatly 30s Sara, mid-20s to early 30s. George, late 205 to eatly 30s. Peter, mid-20s to eatly 30s, Mrs. Winsley, late 30s to mid-40s Detective Cole, late 30s to mid-40s, Nurse, late 30s t0 mid-40s, (The Nurse and Mrs. Winsley can be played by the same actor) Place New York City STOP K Cali’ apartment. Callie puts ona CD: The Emotions, “Best of My Love.” She cere- ‘moniously closes all the blinds in ber apart- ‘ment, making sure each blade is turned ‘over. She lacks the front door and pute apiece (of back tape over the peep bole. As the vocals begin, Calle ip-synchs tothe song with the polish of someone who bas their own pri- vate karaoke often. The phone rings. Callie ‘turns off the music like a busted teenager, sand picks up the phone. ‘cate: Hi George..yeah I know I'm late, | forgot this person is coming to my house ‘at— (Calle checks her watch) —shit. Well | would bring her along bu I don even know her. She's some friend of an old friend of someone I used to be frie—she just moved to New York and Isai that 'd—I can, what if she’s some big dud and we all have a ‘miserable tme...Exactly,you'l all blame me. Give me half an hous, tops. (She sets the phone down. Her buszer buzzes) Yes? sana (Offstage, tentative): e's Sara and— ‘CALE: Come on up! (Calle buzzes her in and looks at all che junk on her sofa: news- papers, several pairs of drty socks, a box of Kleenex, mail, a couple of videotapes and 4 bra. She picks up the bra and heads for the bedroom) 28 Aweeicaw Twearne ‘The doorbell rings. Cali hides the bra and opens the door Sara is holding a pet carrier ‘CALLE: Hi, sana: You're Callie ‘CALLIE: Yes. sana: I'm Sara— (She looks atthe pet car- rier) This i Caesar and [can't believe you'te doing this. CCALLIE (Gestures at the couch, notices it's ‘mess: Please uh, sit— ‘sana: Some apartment. ‘CALLIE: I was cleaning, sana: Its huge—and the neighborhood (She sits on a pile of books) ‘CALE: You can’t be comfortable. sana: Ob, Lam. ‘CALLIE: Are you sure? saa: Very. Ccattse: —Just. let me get rid ofthis stuff Calle gathers an armful of junk and heads toward her bedroom. As soon as she turns ‘rer back, Sara sits up ard pals out rom under thera large key rng full of sharp, pointy keys and a candlestick as she silently mouths, "Ou" She moves the objects to another part of the sofa, covers them wit leftover junk ‘making sure the keys still show and makes 4 space for Calle. Callie reenters. ‘catute: Coffee! ‘sana: Would be great. Listen, this sso nice of you— ‘CALE: I was thinking about getting a cat anyway. Oh, my keys! This'll give me a chance to se if can hack i sana: That's how [feel about New York, ‘CALLE (Sounds familiar): Oh yes. Sara hops up and approaches Callie. sata: How long have you been here? ‘caLLie: Eleven years. sana: ve lived in St. Lous my whole lif. My parents ive lke, half an hour away. go there for dinner when it's not even anybody's birthday. Things there—ie's been, i is so— ‘cattie: Easy? sana: So easy. ‘atti e's hard here. sana: Good—Great, lean’t wait, ‘cacti: Yeah, you uh—what do you...de? sata: I teach, Thied grade, ‘cattie: Well c won't be hard finding a job. sana I already have one. ccatuie: Where? sana: PS. 32 in the Bronx. ‘CALLIE: What was the school like that you ‘came from? sana: Society of Friends, a Quaker school, ‘caLLe (She bursts into laughter): 'n not— Pm not laughing at you, I'm laughing... around— sana: T's obviously—it's very...but Lean {do good work there. ‘CALLEE: I'm sure you're a good teaches. sana: No you don't know, but am. Pause. ‘CALLE: Where inthe Bronx? ‘Ata: Tremont. ‘CALLE: Is that where... Taft, i it Tah? sana: Taft High School? ‘CALLE: You've heard of it? aka: Mm-hm. ‘CALE: You know there was a guy who taught there, this rich, whive guy— sana: Yes [know. Pause, ‘cALLEE: He got killed — i sana: By a student. 'm here on a fellowship : setup in his name. ‘caLLit: How long is the fellowship? ‘Sana: Two years Calle ofers Sara a coffee mug and raze here ina toast. ‘cattie: Well, congratulations— saga: Thank you. t ‘CALLE: Best of luck— Sara nods. b CALLE: And...f it gets too cough—go home. Callie touches her mug to Sara's but Sara does not reciprocate. sana: What brought you ro New York? Callie nals to prepare for her lng andinter- esting answer then realizes she has none. ‘CALLE: College. sana: And what keeps you? ‘cattte: Keeps me from what? sana: What do you do? CcaLLE I...cuin tings for everyone ese. sata: You're Rudolph Giuliani? ‘CALLE Tima trafic reporter fra twenty four hour news radio station, SARA (Impressed): Helicoptes CCALUE: “The inbound lane atthe Holland “Tunnel is closed due to a eat accident. The Brooklyn-bound lane ofthe Williamsburg Bridge is under construction through 1999, “The D trains not running due to a track fie, ‘You can’t get in. You can't get out. You can't get around. Ill be back inten minutes ‘otell you that nothing has changed.” Juuv/Aucusr 1999sana: Dov cease (She sana (Check fave you lived in ths (CALE: Five peas fafunny—n0t ba ha—sory sana 8 OK, tha ute: moved in here with my boyfriend ‘Fam. This seas his aunts ap: fived here for went years sana: Your rene must bo cca: Luck: sana: You ae cae: Wel gore ents How long, partment he got..my © sane: Oh. ‘cauite: They live in L.A, now: I's perfect. san: Well at leas, I don’t mean to be crass = but— CALLE: Yes no, well 4K le’ as big os min with rwo other people Cats Are they ‘any of them? +4aRA: No, they came with the apartment. ‘They're a couple. Ie kind of awkward but, bel sweet, she's swect, they seem to have a— “entsse: Sweet? © sana: —celationshipchey’refine. “CALLE (Nods): tes awkward. aRAG Rents are so—everything is— 2 CALLE I's impossible Pause. Sara studies Cae 5 Hak: You love SCALE You know, Se. 25 YOSt. Louis and ie gust, prety city bur— Nha: the point of that? Fveryone’s still Bot theie cars all reaved up with clubs and alarms and compurerized keys. And Breet dive allthe wy across town to 0 the good, cheap ples to ext. And drive, ean you're in a city . Dave to get aroun Ea EL MRA: Where did you grows up? J Shute: Tiny cown upstate {HARA Industial? BAe: Councrified subueb, Inthe middle of the mal SARA: Pretty, though? cau like the aparement. and I'm shag it sli you..move here with rere. Vee actually been Wd you have t0 Tractor display Bees, the little animal i J Ber how youn he wih coo [Bel vreau —— they sab me. You «people et time, Then the STOP KISS Detective Cole (Sau Stein) questions Calle (Jsslea Hecht) about the attack. The Publle ‘TheaterNISF production. French and the two of them burst into Inyghter—best laugh anyone’ had all nigh And you'e lft out because you took Spanish in the seventh grade, not French. That's ‘what nature does to me. Speaks French tothe ‘other people at the table. Slight p. Saas Thatejave cause Yor do? sana: don’t usually say that out loud because then people think I don’t have a soul or something, but T don't like the way it sound [don’t like saxophones ‘CALLIE: My sister played the saxophone. saws: Pim socry— ‘CALLIE: [hate my sister ssa: The one whom ‘cats: Yeah! sana: [hate your sister too. Callie gives up a surprised smile, Sara does too. They hold it just a beat longer than ‘normal, then Sara looks away CALE: So, do your friends think you'e ‘Ras Pf, Forget it. And my parents and ete? ‘eatute: Huh? sara: —My ex. I mean, I've never lived away from them. Even when [wa in college Teame home every weekend, CALLE: Close fail sas [ta cul, les embarassing I should've moved... mean, you were what, eighteen? ‘eatuit: Don't look at me. Iwas going t0 go to one of those colleges that advertise on matchbook covers. My guidance counselor filled out my application to NYU. sana: Thad to interview five times to got his fellowship. By the fourth one [had a rabbi’ foot, rosary beads, crystals a tiger’ tooth and 2 Polynesian si ll in my parse—now that 1 got his fellowship Ihave every god to pay Callie bands Sara a Magic -Ball, sana: What should [ask i? thing whose answer you won't take too seriously sana (Addressing the ball): Was moving to New York a good idea? (She shakes the ball then looks at i) Ie’ sort of in between ‘so of them, Catt: That means yes. Another shared smile, Sara stands up. sana: [should go, Um taking up too much of your— Callie [ooks at her watch ‘CALLE [told some fiends [would meet them, otherwise I wish— sana: You should've said— ‘catttt: No—n0— snnas dida’t mean to keep— CALLE: What're you doing this weekend? sana: I don’e know. Unpacking. Buc then T ‘gotta do something New Yorky, don't 2 ‘CALLE: Do you want to come over and I'l take you around the neighborhood? Show you some fun places to go ro and eat— sana: Yes! ‘eattit: And you can hang, out hers, spend some time with, Sara rushes tothe pet carrier sana: Caesar, forgive me. He haces being in this thing, CALLE: Let im out Sara does ‘sui He may be a litle shy at first, ina new is it Caesar?STOP place with a new person: catttts You could come and visit him, Just lerme know. [hope you'll feet— sara: Thaoks Callie, ‘CALLE: For nothing, for what. Scene 2 A hospital examination room. Callie is sit- ting om an exant table buttoning the top button of her shirt. Detective Cole stands it front of ber DETECTIVE coLE: Was he coming on to you, trying to pick you up? (CALLE He was just saying stuf, guy tuff, stupid kind of — DETECTIVE cout: What did you do? She folds her arms protectively across her stomach as if ts tender cau DETECTIVE COLE: Your girlfriend? ccatttt: My friend—Sara...said..some- thing— DETECTIVE cove: What ccatttts “Leave us alone” or something. perecrve cout: And thats what set him off? ccattie: N—n—yeah. Well, she said—but then he said something back and she told him...she said something —upset ht. peTECTIVE cout: What'd she say? ‘CALE: ..She sai—I think — perective cove: What. ‘cattit She rod him co fuck oft. Then he hit hee DETECTIVE COLE: He hit hee with his fist? ‘eatttt: He hit her in her back then he grabbed her away— DETECTIVE COLE: Grabbed her from you? ‘eatties FI was holding onto her arm with ry hand like thie— (She puts her band om ber other elbow) | wanted us to leave. But then he grabbed her and started banging her head against the building. And then he smashed her head against his knee—Hike ‘one of those wrestlers—that's when se lost consciousness—and then he smashed ber ‘again. (She refolds her arms across her stomach) Detective Cole looks at his report. DETECTIVE COU This was at Beeker and West 1eh-—that litle park. atts: Yes. DETECTIVE COLE: Ar 4:5 in che morning? ‘cau: Yes. II wanted toleave— KISS s perecrive cout: What were you doing there? Callie shakes her head. Catt: Just...walking around. DETECTIVE coLE: Which bae were you at? ccature: Excuse me? DETECTIVE COLE: Four-fifteen, honey, that’s closing time. ‘cacti; Well, we had been..wwe were atthe White Horse Tavern DETECTIVE CoLE: The White Horse. On Hudson Street. ‘enue: Yes. Detective CoLe: Was there a good crowd there? ccattu: ..Yeah? Presty crowded. DETECTIVE CoLE: Did anyone at the White Horse try to pick you up, buy you or your ftiend a drink? cat No, DETECTIVE COLE: Did you talk to anyone? Ccatti: Just to each other mostly. perecrive cout: What did the bartender look like? cata: Excuse me? Derective cove: Bartender cate: DETECTIVE COt and pepper haie? ccauttt: No. DETECTIVE COLE: Kind ofall skinny guy with 2 receding hair line? I know a couple of suys there ccatutts I didn't really get a good look at him—Sara ordered che drinks. But I think he was tall, DETECTIVE COLE! I'l go talk to him, Could be someone followed you from the bar. Maybe there was someone suspicious acting that you didn’t notice. Bartender mighta seen some thing you dida’s or talked to someone. What'd the bad guy look lke? fe was tall, ike the bartender CcaLLt: He was big—sor of, ike he worked DETECTIVE COLE: Was he black? Callie shakes her head no. DETECTIVE Cote: Hispanic? cexcttt Ie was dark, Leouldn— DETECTIVE COLE: Short haig long hair— ‘CALLE: Short. Wavy, dark brown, petecrive COLE: You remember what he was wearing? Je was a man. Snort, stocky guy? Sale cai He hada leather jacke..jeans...some kind of boots. He was twenty-something maybe mid. DETECTIVE COLE Like a college ki? Fra boy? ‘aL: No, DevEcrive cote: Like a punk? CALLE: No. DETECTIVE COLE: Like what then? DDETECHVE COLE: Any markings on the jacker? Anname or symbol? cate: No, DETECTIVE COLE: So he sees a couple of, good-looking girls walking—were you drunk?— ‘CALLE: Not a al. DETECTIVE COLE: He gives ema line, one of the women tells him to fuck off and he beats her ino a coma. Anything ese you want to tell me? conta; That's—that’s what [..cemember persctive cote: Doctor done with you? ‘atta: [think DETECTIVE COLE: Alright, { need you t0 30 somewhere with me right now and lok at some pitures. ‘cattae: Can you bring them here? DETECTIVE COLE: need to take you thee CcaLtt: Because, my friend—if ny friend — DerEctive cott: They say shes out ofthe ! woods in terms of life or— ‘CALLE: But if she wakes up— I don't know. Scene3 Callie's apartment. Callie hanes up her jacket and Sara’ Sara sits on the fe couch : San mca chat the way am wh be i ‘CAE: Suc, with kids i's OK sana: Why just them? Listen, eve df when Ew by this ark, his go bea cracked out, says something t0 m6 iow, somthing nasty andl us TOwet head and walk by cau: Yep. sana: But yesterday, on 0 Malik, is waiting for me ouside the and says he wants to walk tote st So Tsay sure” thinking maybe be problem he wants co tel me about ‘we're walking and we pass bythe path Ym worried, Is this crac ead 09088 tion my vagina in fron ofthis hg 718 juryravaesSTOP toy? Sure enough, it's “pussy this" and hoot chat” and Malik say, “This i my teacher watch your mouth” And the guy shu up. cat: Slt sna: Freaking eight yard boy should feable vo do tha for mse (ALLE: Thebes ting ro do is walk on by Sina: Bu it worked. The phone rings. Sara looks wp but Callie does a: Nexe time, just walk on by Sins: Why, what’ ever happened 0 you? ALE: Nothing and chars why The machine dicks on cence (Voice on machine): Hey Cali,’ George Your light son, I know you're there Cale walks toward the phone then stops. caonc Vai on machine asin and Lidia tod Lave othe Sinatra bg where ae you? Anyway, well be here fra ile so come hangout. Bye Themacine clicks of sau should go. CALE: No no, the'le therefor hours Saar 'etaken up your whole— CALE Are you hang? We oul order in fomething There's Posh, adan, Cuban, there's a peety goo Vietnamese | us Areyou sue you don't Ive ever had SE Alam show you the men, (She bps up Tad goes into the hthon) Somehing to ps her bead toward the phone Were those fiend fromm work? ‘Oh no, the people at my job are a of stiff—ean you imagine? They the same news epors every en in- ight hours a day. They repeat een in regular converstons, No, # BUY on the phone—Lidia, Jas Sally, Ben—ave were all friends lege tnd now we've stuck 0 each We're someone's science exper: Wt don't know it. 4 suy in KISS Sara takes the mene CALLE: George and Late friends. Who sleep together But dat oer people. Sore times for long periods of time. We've been doing this sioce we were..rweaty. Although he sever likes anyone I'm dating, he's unabashedly—and I admit an getjealous Dyucat lease ey wo hide it, I'm prety goo att, r00. e's only after they've broken up that Anyway, well probably get marced Sara gets the 8-Ball and shakes it She looks sp at Calli. CCAaLLf2 Or noe sans le stack between two again CALLE: Why's hat kep happening o you? saa Me? Think you hae ie igged. Callie takes the all ard shakes it. She looks a the arstoer—its stuck benwen two agai. Sara tres to look— : ‘Alt: OK, OK. sua: All my feiands are marred or geting engaged, having babies oF wishing they were—and lately when Theat about i 1 binky’ ccautts Why now? sana: Maciage. Why would you say «9 anyone: “Iwill stay with you even if ou grow you." Passe CALLE (Remembering Sarai unresponsive, then finally nods aut: Did you leave him to come here? saunas ..No. CaLLe: Man. saunas In what. cai: Acting Sara looks down. (CALE I'm sorey— sana: No n0— cate: Fe peying— suas No, that's nor why— ‘cate: Lhope I didn’ — saz No i's OK. ‘CALLE Did you decide what you wanted 10 order? suse I moved out fom our apartment —we lived rogether—and moved in with my pat ents about a month ago. Leame hee from there. when he's Peter cr ature: How—how long— suka: Seven years (CALLE Seve...s0 you must still bo— sat Fially. Finally where [want co be. Tl say in New York for wo years and then I'm going to cake off. ‘caLst: Let me guess: India, sana: “A” for effort, but no. Australia, Malaysia Indonesia, Micronesia— ccauutt: All the countries thar sound like skin cashes? saa Peer sad, “What about Anesthesia?” ‘Mm, Speaking-—whar time is ie? CcaLL Almost si. saa: Hi. ccatuie: Whae? saa: Ob, he lefea message on my machine saying he was going co call at six, He wants tocome visit, He manages arestauranc in St. Louis so he wants to come and check out some ofthe special places here. CALLE: You'd better huey. saa: [couldn make iin fftoen minutes. CCALLIE: You could if you to0k a cab. Sigh pause. sa: Bur then I would’ have Vietnamese food. ‘CALLE: We could do it another time. sa [just started this beet Pause ‘CALLE: You wouldn't want to waste a beee sanas That's whet was thinking, ‘CALLE: Cheers. They tap glasses. There isa sudden loud and rhythmic clomping on the ceiling. Calle does not respond. ‘CALLE: Falways get this, Its nor too spicy sans: What is thae? ‘CALL: Crispy squid in a litle sae and— saa: No, what i that? CcaLt: Huh? Oh. Every Thursday and Sat. wurday a six saa: What CcaLL: [think he teaches horses how t0 Riverdance sana: Have you complained? ‘CALLE: Iehappens at exactly the same ime twee a week for an hour. I just make sure Pm out or doing something lou. sta: Ler go up there ‘cauute: No, no— sana: Why 901? CcaLut: We gota stay here and wait forthe food, saa: We haven't ordered it yt. Ccattte (About the food): Yeah, so what do saa: Chicken, American Tears 32STOP KISS ‘CALLE: What kind of chicken? sata: You're chicken, ccatttt: No I'm not, 'm sm sare: Aleight, I'l go ‘cattie: Sara. Come on, don't. Please Slight pause, sara: OK. ‘CALLE: I'm gonna order. What do you want? saa Come on, let's go! Scene 4 Police station, Mrs. Winsley sits bein a table that Detective Cole is sitting on. She's swearing a sharply tailored business suit. MS. WINSLE: Hl called them, pussy-eating dykes.” DETECHVE coLE: Come on, why would he call them thar? AUS, WINSLEN: Two women in a West Village park at four in the morning? What’ the chance they're not dykes? DETECTIVE COLE: You tell me. You live inthe West Village. Mas. WINSLEY: My husband and Ihave lived therefor eight years. DETECTIVE COLE: Like the neighborhood? Rs. INSLEY: I sure do. DETECTIVE COLE: Lot of clubs and bars ther, MRS. WINSLEY: They even have ones for straight people. errerive cots: Is that why you live there? Dans. wmstey: My husband and I have a beautiful apartment, Derective Cole. na safe building onan otherwise quis street. The fact that ie Graceland for gay people doesn't DETECTIVE COLE: So, what were these giels doing? Is, WaNsLeY: I did't see— DETECTIVE Cour: Were they making out, rubbing up against each other?— us, wast I didn't see anything ill 1 heard the other one screaming, I went tothe window then I called 911 DETECTIVE COLE: What'd you see then? Mas. waNstty: He was beating on the both cf them. I yelled down that I called the cops and I threw a couple flower pots at him. My spider plants— DETECTIVE COLE So the screams woke you up? MRS. WINsLE¥: Iwas in bed but up. Reading DETECTIVE COLE: Fouethity inthe morning? Mas. WINSLEY: I'ma fitful sleeper. 32 Awcnteaw Tuearne DETECTIVE COLE: You ever take anything? aS. HINSLEY: No, DETECTIVE COLE: So, you weren't groggy oF half asleep? Mas. WINSLE: No, DrEcrive Cote: And you're sure you heard him call them dykes. MS. WINSLEx I'm sue, Detective cote: And your hushand? No response DerEcrive cote: Your husband! tts, WESLEY: He missed all the excitement DETECHIVE CouE: What'd he—leep right through ie? Mrs. Winsley avoids his eyes. DETECTIVE COLE: Oh. .he wasn’ home, Four thiey in the—is he a doctor? MRS. vEINSLEX: No, MAS, WINSLEY: Ha DETECTIVE COLE: Fire chief? Mas. WINSLEN: He's a book editor, Detective Cole DETECTIVE COLE: [didnt know book editors worked so late. aS. WINSLEY: They don’t DETECTIVE COLE: Was he..out having drinks with some buddies? Mis, WINSLEY: He was obviously out, wasn't he, clieestment bank DETECTIVE COLE: So, you were waiting up for his Is. wINsten: Tm a fitful sleeper, Detec tive, Have been since before I macried him and those two gitls are lucky that [amand that I was up and that I di something DETECTIVE COLE: You called 911. MIS. WINSLEY: And my flower pots. DETECTIVE COLE: Did you hit him? BS. WISLEY: They fell near him, He topped and took off DETECTIVE COLE: You stopped him, MRS, WINSLEY: Well, it wasn’t the cops, took thirty minutes for someone to show up. You'd think it was Harlem, nt the West Village. Scene 5 Calle’ apartment. Callie walks on stage wearing jeans and carrying a fresh bouquet of lowers. She places the flowers in a vase. She goes into her bedroom and reenters swith several hangers with clothes on thers She looks at herself in the mirror az she Callie Jessica Hee) samples shies from her wardrobe in The Pulle Theater IS production. Folds up a tube top in front of ber—too slutty—she drops the top onto the floor. ‘She picks up a shirt and holds it up infront of he-—t00 butch—sbe drops it onto the loo. She tries ona short sire which she can’t get past er hips-—she throws tonto the floor— “she puts er jeans back on. She pts oa third top—it looks like something Sara would wear. The front door buzzer buzzes. Callie buzzes without asking who itis, She fusses over the flowers and accidentally knocks the whole vase over. She gets the disobedint skirt and uses it to wipe up the mess. There is @ nnock on the door. Before Callie can get up, George walks in and stops inthe puddle (GEORGE: Hey Cal, when di they paint the— whoops! Callie is stunned to soe George but plays it of like it's about the puddle. ‘CALLE: George! George looks down, ‘ceonct: Did you get a puppy? ‘catut: Yeah, right Callie stands up. ‘GeonGE: So you're alright, huh? CALLE: Yeah, what? ‘GEORGE: No, [haven't heard from you ina while (CALLE: I'm fine, Fim fine... busy. Calli goes to th kitchen ta throw away the shirt. ‘GEORGE: Lidia said she called you aboutSTOP KISS #f Diaya that book you were looking for, you didnt call her back. ‘cau: 1 forgot. ‘GEORGE: She gor that job, you know. ‘cau: No, I didnt George stretches himself out onthe couch, stacking apie of pillows bebind his head. Cceonce: Yeah she's cally excited, Calle looks dsapprovingly at is move. ceonce: We're gonna take her oucon Friday night so try nt o be “fine but busy” that night, OK? (He grabs the remote and clicks onthe TV) ‘CALLE: remember. Um, George— He looks at bis watch. CGtonct: know, I know, we can watch Your show Iust want to check to see what the score is. ccaute Ihave plans for conight Cerone: Oh yeah, what? ‘CALLE: 'm meeting someone for dinner. George turns off the TV and sits up. ‘ceonce: You have a date? ‘cattt: Not GEORGE: With who? ‘CALLE T's nota date, 'm just meeting my friend Sara for dinnee. ‘ctoRcE: Who the hell is Sara? CALLE: told you, that friend of friend of a (Refreshing his memory She's new in town, I'm taking cae of her at— Ceonce: I thought you std she wat a big sez, Cau [sid I didn't know, but ow I do— she's not. CGeonce: So whats she? Ccauie: What. ‘ozone: What's she do? ‘CALLE: She teaches up inthe Bronx ‘GEORGE: Oh, so she's a nut. ‘cau: There's something wrong with us. ‘ceonct: Why? ‘CALLE: Because that's what thought when she cold me. ‘ctonct: You have to wonder about people who want to do stuf like that. What does she want to do—save a life? Give a kid a chance? Or jst feel good about tying. ‘cau: She won a fellowship. She com- peted co get this job. ‘Gtonct: To teach inthe Bronx? What'd the losers gee? The front door buzzer buzzes. Callie buzzes back. ‘ceonce: You don't ask who itis anymore? ee eee (CALLE: F's hee CGeonce: You thought i was her when you buzzed me in. CLL: You're right that was a mistake, Sara knocks atthe door. Callie holds Georges jacket open for hi ‘CALLE: OK. Please leave now. ‘otonce: Why? ‘CALLE: Beeause I gotta go. He stands up Cceonce: I'll walk out with you. Cate: But Tm not leaving yet. cceonce: Huh? Calle grout at George then unlocks the doo. Sara walks in, ‘CALLIE: Hey, sana: Hi ere, these are— Sara shyly hands Callie a small bouguet of ‘baby roses. Callie takes them. ‘cauit: Thank you. They'eeso— saa: They're—babies Callie goes to kiss Sara on the cheek but retreats. Sara takes the ee late and now her head is sticking ont. Callie tries to respond but Sara has already reled in lke a tule Calle tums away, takes the other flowers oxt of the vase and puts the roses in. CALLE: Iwas ust going to throw these out. (She crosses tothe kitchen) sana: Hey, did you see they'ee filming a movie or something on the next block? Do you think we could stop on our way to the restaurant and watch for a while? ‘ceonce: I's NYPD BI— Sara starts. Sbe had not noticed him. ‘ctonce: Oop—dida't mean ro scare you. sans No, no, you dda. He crosses to her and extends bis hand. ‘ceonce: I'm George. Sara shakes bis hand. sata: Oh, George, heard so much about you! ‘Ge0RGE (Can't say the same thing): ..Nice to meet you. ‘aunt (She comes out ofthe kitchen): Ob, sorry. Sata this is George. George, this is— ‘ceonce: We did this. CALLE: Good. (To Sara) We should go. CGronce: Where're you guys having dinner? {caLLe (Tries to slip it pat him): Vong ‘czonce (He looks at Cal): Dressed lke tha? ‘cauue:I didn't have time— sana (Consoling: You look great. ‘Gconce: Well, tell me what you get. saa: Have you ever been? ‘czoRGE: Out of my league. SARA (To Callie): Is ic expensive? I don’t ‘want you ro— CALLE: Ie’ not expensive. ‘Gtonce (To Calle): You'ce treating? Then | ‘CALLE (To George): You stil owe me for my birthday, saa: Let's go dutch, Callie ‘CALLIE e's my treat. ‘Gzonce: What's the occasion? Silence. There is none. Sana: Actually, we're celebrating the fact ‘that today LaChandra, one of my students, ‘wrote her name for the very first time. ‘CALLE (She looks down at her clothes):I'm changing, (She runs off) ‘Geonce: That's right, you're a teacher. saga: Man-hm. ‘cronce: Kindergarten? sana Thied grade. GEORGE: And this kid wrote her name forthe fire time? sana: Perfectly. ‘Groce: Isnt that— sana: Wonderful? CGiorce: ...Yeah, isn't i? Calle reeners wearing the blouse she started off wearing. ‘CALLE (To Sara): We should go, our reser- vation’ at eight. sana: Do we have time to stop by? The NYPD— ‘aL: Sure. Sara stars for the door. ‘GEORGE: OK, well um, "bye. Nice to meet you. sana: Don’t you want to come with us and watch them filming? George flashes Callie a furtive look. ‘Geonce: Mm, I think Tl wait undies on TV. He looks at Cali, she ushers bi cut the door. ‘CALLE: Meanie. ‘GzoRGE: Never take me to Vong. Callie closes the door and locks it. Scene 6 Police station. Calli sts in am interview room. Detective Cole enters. DETECTIVE COLE: Hey, thanks for coming, in, You want some coffee? ‘cattte: Thank you, I'm fine. He flips ehrough bis report. DETECTIVE COLE: We were talking about the Pp rere seSTOP KISS White Horse Taveen last time, sight? On Hudson Street? cau Yes. DETECTIVE COLE: That's a famous bag you know? Has long iterar tadton. They say Dylan Thomas ed waiting fra dik thee. ‘cai: ..Thada't heard DETECTIVE COLE I talked to the bartender there. [eld you I wanted to ask him if he noticed anyone suspicious thete chat night. Maybe someone paying attention to you and your frend that you dda’ notice ‘CALLE: Yes, you sa DETECTIVE COLE: I went in and talked to Stacy, she sud she dont emember you and your friend coming i. Catan: Iwas prety crowded. Slight pause, pberecrve cout: Do you remeber ting ne thac the bartender atthe White Horse Tavern that night was tll gig? ‘caLLE: Sata ordered the drinks. DETECTIVE COLE: So, you didnt get a good Took at the bartender ‘cau Laide. DETECTIVE COLE: Not even enough to tellif itwas a giclora guy. CALLE: I'm sore. DETECTIVE COLE: So after you leave the ‘White Horse, you and your friend go fora walk. You end up in that parkarea ouside the playground. And you'e..doing what? ‘aun We were sting on one of the benches, talking to each other...when this guy ays something. DETECTIVE Cote: What'd he say? ‘CALLE: Something lke, “Hey, you want to pay DETECTIVE COLE: What did you say? ‘cate: dda’ DETECTIVE COLE: Sara said something. ‘cats: Yes. DETECTIVE COLE: So she provoked him. ‘cau: What!? [DETECTIVE COLE: She tod him to fuck off and tha’ wien he bit hes right? ‘cate: No DDeTECTVE COLE mean, if the wo of ou had {ignored him or walked away, tht wouldn't have happened, would it? ‘CALLE If he hada’ started — Devecrive cote: But Sara had to say some- thing an that's what go him pissed, that’s why he wanted to hit hee Why did she say 34 Autaicay THeatae something? CCALLIE: He started it, he— DETECTIVE COLE: Alright. He must have said something first—something that upset het. ‘What upset her so much? ‘caLLit: He was bothering — DETECTIVE cOLE: What did he say? She said, “Leave us alone,” and then he said what? Callie does not respond. DETECTIVE COLE: Did he call her something? ccature: What? DETECTIVE COLE: Did he call her something. Like a name? ‘CALLE: No. DETECTIVE COLE: What's name that might upsee her? ‘caries don’t know. DETECTIVE cote: How about “bitch”? ccattte: No. DETECTIVE COLE: He didn’ call her a bitch? ccattt: don't— DETECTIVE COLE: “A pussy-eatng bitch’ alle looks at Detective Cole. cAaLLte: No. DETECTIVE COLE: What'd he say, then?— ‘caLLit: He shoulda’t've— DETECTIVE COLE: What'd he call her? ‘CALLE: He called— DETECTIVE COLE: What? ‘ALI: A fucking— DETECTIVE COLE: Say it ‘CALLE: “Fucking dyes! Pussy eating dykes"— both of us. DETECTIVE COLE: Why would he say that, why ‘would he cll you that? Two nice gies sing fon a park bench talking, why would he cll you dykes? Pause. CALLE: Because we were kissing, Detective Cole gestures—there itis. ‘CALLE It was the first—We didn't know he was there. Unt he said something: “Hey, save some ofthat for me.” Sara told him to leave 1s alone. I couldn't believe she—then he offered to pay us. He said he'd give us fifty bucks ifwe went toa mote with him and let thm watch. He said we could dry hump or whatever we like to do—turns him on just to see it. I grabbed her arm and started walking away. He came after us, called us “fucking dykes—pussy-eating dykes.” Sara told him to fuck off. Icoulda’t believe—He came up and punched her inthe back, then grabbed hee and pulled her away. [yelled foe someone to call the police. He pushed her against the building and started banging. her head against the building. He cold her to ‘watch her cunt licking mouth. Bute had his hhand over her jaw, she couldn't—she just made these mangled—she was trying to breathe. [came up behind him and grabbed bis haic—he turned around and punched me in the stomach, [ehew up, got on im. Sara ‘tied to get away but he grabbed her and started banging her head against his knee. tried to hold his arms back but he was ssronger—he knocked her out. He pushed me to the ground and started kicking me. Someone yelled something—“Cops are ‘coming”—and he took off in the opposite direction. West. He was limping. He hurt his knee, (She looks at Detective Cole) That's ‘that happened. Scene 7 Callie's apartment, Sarais sprawled out on the couch holding several giant playing cards inher band. She places a card on the discard pile and drains a glass of wine. Calle brings a bottle of red wine from the kitchen, an empty one stands om the table. ‘sana: OK. Ifyou'r in someone else's bath- room and they have the toilet paper coming ‘out from the bottom instead ofthe top— ‘CALLE: Ihate that! ‘ata: Do you change itor leave it the way ‘caLLE: What do you mean change it? You'd change somebody else's toilet roll? SARA: If Twas gonna use it a couple ties. ‘CALLE: PE sana: Alright, you go net. CALLE: So, if you were driving down a highway and saw a pothole in the road ahead what would you do, straddle or swerve? sana: Mm, straddle. You? ‘cause: Stradle, sana (About Cali): Swerve. CALLE: Nah-ah. sana: Yes you would. ‘cate (A second scenario}: Cat inthe road. ‘CALLE: OK, a eabbit. Straddle, swerve oF brake? SARA (Thisis clearly not an option}: Stradale a rabbit. JuviAvgusr 1999STOP KISS 3% CCALLIE: Sport utility vehiele—four wheel Ative, you could. (She sts down, picks up her cards and discards) sana: Screech toa brake, check the rabbit, then—smoke. You? ‘caLut: Why do you keep saying that? sana: This is you (She grips ber hands around an imaginary steering hel She fills her eyes with panic, urns the wheel ahard right then a fas lft) Calle puts down ber cards. ‘cause: These cards are driving me nuts. saga: One more hand, pleas. Calle picks up the cards again. ‘CALLE: Can Lask you something about your job? sanas Yep. ‘caus: Why did you want it? sana: You mean ths fellowship? ‘cau: Public schoo, he Bonx—teaching saza: Instead of privat schoo, St. Louis— teaching? ‘CALLE: Tha’s what you're used to right? sna where Lworked fr five years, never got used to vate school. We all went to the cruddy public schoo!—I mean, it was ruddy com- pated to the private school, it the Sor- bonne compared to where Iteach now. But, in a private school... mean, what am I ‘Bring them? They have mae than everthing. ‘CALE: And the Bronx? sana: These kids—you know who I was when [was thei age? Iwas the kd who had the right answer knew Ihad the right answer bur would never raise my hand. Hoping the teacher would call on me anyway. Those are ny favorit kids teach And here? Now? 1 got a classroom fll of them. Calle looks atthe discard pil. ‘cau Did you pik up ard? You have ro Pick up a card. Sera does. ‘sana: You should come and meet them one day. ‘cau: Yeah, OK. sana: bet you've never even been to the mean, Tnever went to pri- sana: Fly over. ‘CALLE: That's more than most New Yorkers. ‘sara: Can I ask you about your job? JuursAueust 1999 cause (Filled with dread): Go ahead. sata Why che tate? CALLE: Why the raf indeed, sana: men, a appoted to news reporting cor oher kinds of ural, atu: Tim no ural. never worked in radio or TV before | gt hat jo. saa: So how’ you ge CALL: My boylriend Tons ule worked at the sation. sana: Oh CALLE T ean the trafic not eer the weather Yoajust ide around ina hel copter and tell people what the cars ae dong Sank: The heliopter pat is prety great right CALL: Yea, how great? ‘a: Wl if you don’ He ityou shoul get another job cau: Tea’. Sarai Cale serving ier maginary oxrepsin Cou: don't get tha, sana: What ime ii? Clie looks ther watch, nut Twoshiny. ‘ana: Already? Is the subway OK thistime of night? (aut: You should ake ab, ow much wl that be? aut: About en bucks? Sata lake the esi. CALL: il give you the money— sans have ijt 00 mach only four or ie stops onthe ain, Cale it up aie cau Listen youcan..you know, yout wel: come to sty..ths pulls out tobe «sta bed.you can take strain inthe morning, ‘when it's safe. I'm not getting up for anything in particular S40: Maybe Catsar will come deep with me. CALLE Yes Youcan reconcile wih your ‘sana: He's holding such a grudge. He never ome ou when im here CALLE rtok few days beforehe stared toslep with me. sas Lcky Slight pense. Calum Tm sure el seep wth you nigh sana: Yeah CAL: Hee etme ust ge these— She pulls off the cushions, Sara helps Together they pul out the bed. ‘CALE: think is comforabe, haven slept ‘on it myself—because [live here, but if i's ‘not comfortable enough then [ll switch beds with you In fac, should we just do that? You sleep in my room and I'l sleep out bere? ‘ABA: No, no, this'l be fine. ‘CALLE: [think it's comfortable allie bounces omit once then gets up. ‘CALE: Is there anything else you need? ‘sana: [think I'm all set. ‘CALLE: Alright. Sleep tight. ‘sana: Good night. ‘They stand there. Finally, Callie smiles and walks off into her room. Sara takes off her shirt just as Calle renters with a Tshirt. ‘CALE: Do you need a T—whoop. Callie looks away. sana: Oh—tI have one (She pus one out of ‘er bag) We did face painting today s01— ‘CALLE: 'm sorry. Callie eaves. Sara puts on the shirt. ‘sana: Ie OK. ‘atts (Offstage): Good night. sana: Sweet dreams. (She gets in bed aed shuts ‘ut the light. She es hare a minute) Ps sss sss pss pss. (She lifts her head up and looks for Caesar) Caceeesae. (No sign of him. ‘Sara lays there another mite) Come on You srudge holder. Pssss psss pss. (Nothing. Finally, to Callie in the otber room) Is he in there with you? ‘CALLE: Ub-th He's nor out there with you? sana: No. Callie appears in her doorway. ‘CALE: Is he under your bed? ‘Sara leans over and looks. ‘sana: No. Callie shrugs at Sara, sana Will you do me. favor? For just ike, ‘catti: Sure. sana: Would you just ay in bed here for just a minute tose if he comes? ‘catuit: OK. ‘na: Since he's been sleeping with you. Callie gets in mext to Sara and pulls up the ‘CALLE: I guess we have to convince him ‘welee sleeping. ‘sana: Oh, eight. They lie down. CcaLLI: This bed is comfortable. Amentcaw Twearar 36STOP Kiss ‘sana: Ione? ‘CALLE: Inever laid on it before. sana It's comfortable, ‘CALLE: I got it secondhand. sana: Really? hundred and fifty bueks, ‘saRA: Thats cheap. Catt: It's comfortable. Pause. SARA: Are yout feet hot? ccALUTE: Whar? ‘SARA: My feet get hot when Islep, ‘CALLIE: Even in winter? sara: Yeah, ‘CALLE: Take them out. ‘ana: Tusually move the sheet so that it goes the other way, you know, the short way— ccaLUIE: OK. Sara gets up and turns the sheet around so ‘that both pairs of feet are exposed. She lies back down. Pause. ‘sara: Do you see him? ‘CALLE: Who? sana: Caesar (CALLE: Not yet. ‘They both lie there staring atthe caling. After a while— ‘cattit: Huh? (Pause) Are you asleep? (No response, Calle turns and looks at Sara) You're not asleep already, ae you? No response. Cali draws her feet under the covers and turns her back to Sara. Sara ‘opens her eyes. Scene 8 Calis apartment. Theres loud banging on hher door. Callie enters from her bedroom ‘wearing pajamas. She looks through the peephole. ‘CALLE: Alright George, Ihear yout ‘She unlocks the door and opens it. George bursts in wearing his bartender uniform. ‘Gzorce: How long have you been home? ‘cau: Lower your voice. ‘Gz0Rce: Why dida’t you answer your phone? ‘CALLTE: I don't know. ‘GEORGE: You wanna know how fucked-up and ‘worried about you everyone is right now? CcaURE: No, (Gtonce: You wanna know how I heard? ‘CALLE: No, ‘GzoRcE: You wanna know exactly what dink Iwas making at the moment I heard 36 Awenican Tueatar ay your name on the goddamn TV? ‘CALLIE: No, I don’t, (GeORGE: Dirty martini. TV's on inthe back round. [hear about this gay bashing, wo women atacked and [sort of pay attention, ‘ot realy. im making this dik and thinking about how I gocta run downstairs and get some more peanuts, And then I feel my cars close and my face gets all hot ike just swallowed a mouthful of hot peppers So 1 turn to the TV but-now they're talking, about some apartment fre So, Iswitch the channel and they're just stating the story. Gay bashing. Woman in a coma. Callie Pax. ‘CALLIE:T'm not in a coma. ‘ceonce: Whar? Ccatti: Sara's in a coma, ‘czonce: How do I know that? ‘cattse: What was I— ‘ctonce: How do [know anything but what see on the goddama— ‘cause: What did you want—me to call you from the hospital? ‘cronce: Yes! ‘caztit: What would I say? On a pay phone. Inthe hospital. Sara lying in a room swollen and blue, face cracked open, knocked out, not responding to anything but the barest ‘eflexall beceuse..because— Geonce: Come and get me. That's what youcould've ssid. Pause. (GEORGE: Are you hure? Callie does not respond. ‘GeoRce: Did a doctor look at you? ‘CALLIE: Sara’ hurt. ‘GzoRcE: Nothing happened to you? Callie does not respond. He walks toward ser, she walks away. ‘czORGE: Callie— ‘CALIE: Bruises ‘aronce: Where. ccattte: Cracked rib. ‘Gzonce: Let me see. ‘CALLE: Is nothing. ‘GEORGE: Let me se. ‘GEORGE: Do you want me to call anyone? CALLE: No. Slight pause. ‘ceoRGe: Do you want me to spend the night? CALLE No. ‘czorce: Do you want me to go? Slight pause. ‘CALLE: No, Pause. ‘CALLE: George, do you remember the first time we kissed? ‘GEORGE (Thinks about it): No. ‘CALLE: Me either. Pause Catt: You know, would stand here ar the door with Sara and say, “Good night,” “Take care,” “See ya tomorrow,” “Get home safe..." —When what I really wanted to do was plant her a big, fat, wet one. Square on the lips. Noching confusing about it She wouldn't have to think, Maybe Callie ‘meant to kiss me onthe cheek and...issed, You know, just right there. Not between {iends. Not a fiend kis, at al. Biggec So she'd know. She'd know for sur, That I was answering her. Sara is always asking me, “What do you want, Callie?” And finaly, I let her know. I answered, Scene 9 allie apartment. Callie walks in from the kitchen carrying a roasting panin too mit- ‘tened hands, She pulls the top off and rears ber bead back as the smell assaults her. She reaches in and pulls out a drumstck it's fos- silized. She bonks it on the table, it sounds like a baseball bat. There's a knock om the door—Callie starts. She looks out the peep bole and sees Sara. She hurries to hide the roasting pan and all signs of cooking. She ‘opens the door and Sara steps in sans The kids talked about you the rest of the day, you were hilarious Ccatute (Shady): How'd you gee in? saga: Huh? Oh, there was this woman with 4 baby carriage. I held the door for hee then squeezed in behind her. Ie smells like something in here. ‘CALLE: Like what? ‘AtA: Like someone vomited in sawdust. ‘Oh—1 brought you this— (She hands her a ‘bottle of wine) For coming in and talking to the kids. Callie silently takes it and sets it down. ‘CALLE: I’ a lite eatly for me, saa: Is. calmost six, ‘CALLE: Go ahead, you have some. sana: Don't open it for meSTOP KISS 4 ccaute: OK, SARA (Trying to igure her out) So, what you do che rest ofthe day? ‘CALLE: Nothing. sana: Nothing? ‘caLLtE: Nothing, sara: You know Michelle the ie! who hed the sweater with the pupper on it today? She used to say, “Nothing” just lke that. Unil [squeezed an answer out of her ‘caLLit: Those kids adore you, ‘sana: Do you think? ‘CALLIE: You have a knack for them. ‘SARA (Asif this isthe first time she's heard it): Thank you. ‘CALLE: Ie was humiliating for me. sana: Why? CALL: Standing up there talking about my idiotic job. sata: You ride in a elicoptes, Callie, what could be cooler than that? ‘CALLE: Have you noticed? The only thing you ever praise about my job is that I ride in a helicopter? Pause. ‘CALLE: But that doesnt even matte Standing up in front of those kids today telling chem about what I do I thought—why should these kids care about traffic, their fanlies don’t have cars. [don’t have a car. No one Tare about has a car. Who am I helping? sara (Gently): People with cars. CCALLiE: Who ate they? Why do they live in New York City? Why havea car when you hear every ten minutes on the radio thatthe traffic is 50 bad? saa: Maybe you should look for another job. CCALLIE: Whose uncle’s gonna get it for me this time? sana: You could get a job based on your experience, cate: Asa traffic reporter? sana: What do you want to do instead? ‘cari [ don’t know. sana: Alright. Come on, we can think about this. What do you like? Catt don’t want to do this. sana: You know a lot about food...you have great taste in testaurants— Ccatu I don't really don't want co do this. sata: You should become a chelt The noise (rom upstairs starts again. Callie ‘00s for her coat. CCALLIE: Ler’ get the hell out of here. sana: You could go 0 cooking school— ‘CALLE: Let’ see what’ playing atthe theee- dollar movie theatre sana: You obviously have some kind of talent for food— Catt: Come on, put your coat on, let's go. sana: God, what is that smell? CALLE I think someone downstairs was trying to cook something. saa: Ugh, you tink that smells related co food? Callie opens the door for Sara ‘cat: Barely. They exit. Scene 10 Sara's hospital room. Callie walks in and ‘stands atthe foot of Sara's bed. What can she do? She thinks fora monet. She remembers ‘She wrtucks the sheet and rolls it back so that Sara's feet are exposed. She tucks the sides of the sheet in 0 that i'l stay that way Scene 11 Calle’ apartment. Callie, dressed up, is waiting impatiently for Sara. She refuses to sit—she paces across the apartment, picking up things, scoring at ther then putting thers down. Finally, theresa buzz. She buzzes back and puts on ber coat. Sara aocks and Calli opens the door—Sara is holding a wet newspaper over her head. san: Wont eeally starting to come down, ‘cattit: That means it's gonna be hard toget cab, Sara looks at her watch, sana: We sill have time, ccatttts Not realy. saa: We can bea lite fate can’t we? ‘cattt; Sara, Tasked you tobe here by 5:30. sara: know, I'm sory, los cack of time. (She takes of er coat) Let me just stand next to the radiator for a second. ‘aL: Is thar what you're wearing? sana ...Yeah, (She looks at her clothes) What? ccattse: Noxhing, santas Imean, is this dress up event? Callie shrugs. sata What are you wearing? 1. clothes. 2S EEL ET OT TTT] sana: Let me see ‘CALLE: Is just friend's wedding ssanas Lee me see? Callie opens her coat a lee bit sataz Oh, you look great. Callie shuts her coat, sana: Im underdressed, ‘CALLE: We don’t have rime to stop by your place. SARA: Can I barrow something of yours? CALLE: Lets just forget ity I don’t want 10 go. Calli sits with her coat on sagas I chought you had to. CcaLut: Technically. sana: Isn't your station getting an award? cats: They are, Pm not. SARA: So, do you want to go or not? ‘CALLE: Thave to. sata: OK, le’ go. Sara makes for the door. Callie remains seated. sana: What's going on caLLE: Nothing, Pause. saa: Why are you stil sting down? Callie shrugs saa: Let me see whar you've got in your closer. ‘Sara goes to her bedroom and comes back holding adress on a banger saa: Could I wear this? CcaLut: Lore that co reception last week. sana: You did I didn. ccatut: People will recognize it. sana: Do you care? Callie shrugs sana: Calli, whae the hell. Ccatuits don't know. saa; OK. Just ell me, What do you want? CcaLLR: [have to goto this thing, saw; Do you not want me ro go? fs that i ccattits You don't have to go if you don't what wore to my hippie sana Callie, will you say what you want? CCALLIE: Thave to g0, Lhave to. sana So, let’ go. ‘CALLE: What are you going to wear? amas What? Callie gets up. CALLE: have to goto this ching and I want you to go with me but [don’t want you to ‘eae what you'te wearing and [don’t want ‘you to wear my clothes. What will peopleSTOP hink if we walk in together and you're wearing my clothes? Sara sts down, sas: ['m not going, ‘cattit: Now this sana: Um tired, Pm underdressed, Pm not going to know anyone there except for you~forget i ‘CALLE: Sara, [asked you to go to this thing with me a week ago, Irold you it was an awards ceremony, why did you dress like you were going camping? sana: You didn’t make it sound like it was that big Ccatuit: An awards ceremony? sana: Ifyou had wanted me to gee dressed up you should've cold me. CALLE: I told you to be here at 5:30, you coulda’ manage that. sas Whar’ the big deal—you don’t even like youe job. ‘CxLUtE: Edon’ like my job the way you love your job but that doesn't mean you shoulda't ‘come at the time I asked you to, wearing something appropriate. sara: Obviously this is more important than you The clomping from upstairs starts again, Catt: There's my cue, I'm leaving now I don't care what you do, deal sana: Yeah go, get chased ous of your own apartment again. ‘CALLE: What? sana: Bete to plan your life around someone dule than have to face them and tell them what you have every right (CALLE: What do you care? What do you care? This is my apartment— sawa: You'te pathetic, Callie— Callie takes off ber coat ‘cattse: Fuck it stay eight here then, saa Perfect. ‘CALLE: You ean leave. ska: Glad to. Catt: I'm busy tomoreow so forget about the museum. ska: Yeah, Pim busy ro, Callie opens the door for Sara. Sara grabs her coat and exits. Callie slams the door Debind her else sch Scene 12 Hospital waiting room. Callie walks in, 3G Awenican Tweatee KIss fe a Sara (Sandra Ob, right) tels Calle (Jessica Hecht) and George (Kevin Carol) that it’ only three for dinner in The Public ThestevNVSF production, Peter is already sitting, She recognizes him. Callie sits one seat away from him. Peter co tines to look straight abead. Finally PETER: Anita and Joe are in there now, yeah Silence. cates T pital. Two ata time veTeR: Noah's CcaLLi Excuse me? ete: Two at a— (He shakes his he self) —stupid, ‘More silence. Ccautte: Did youn PETER: There were whole— (He covers his eyes) Flight was fine, fine. Thank you. ‘CALLE: Her pacents, are they—how ae they? PETER: Anita is..wrecked. And Joe— they're... mean, Sara’ their only daugher— ccatute: know. veten: They never wanted her to come here ‘CALE T know. reTeR: The doctor said she can't be moved until she eegains consciousness. ler parents? ‘restrict about that—the hos at bin ' your flight OK? six peanuts in the CCALLIE: They want to move her? vere: Mav-hi. ‘CALLE: Back to St, Louis? eR: To Chesterfield, where Anita and ide, Joe lve. les about twenty minutes 0 Peuse ‘CALL: But whae—what if she doesn’ want togo? verer: Why wouldn't she? ‘zi: Because the fellowship she wanted — she worked s0 hard to get and the kids— veTeR: Herold school would ake her back ina heartbeat, CcaLLg Hee old school, but she even: But—I mean we have no idea when shel be able to go back to work—or if The doctors can’ say. Thete could be perma- nent...she'll need rehabilitation, maybe home caze— (CALLE T know, vem: She needs her family. And they need rorake care of het reve: ...There was a response. ‘cat: Excuse me’ re: The doctor, He said Sara responded told her co squeeze his hand and she. squeezed, CALE: She did? vere: Yeah, ‘CALLE She di! eer: Fucking A. (ALU: Amazing! rTER: I thought you'd want to know. Callie looks bi in the : Thank you. (Pauae) Sara..Sara told me..nicethings...abour you—s0 many Passe, bre: She didn't tell me about you. Callie looks down, JuursAvousr 1999STOP KISS veTER: She said you were a fiend, Pause. ‘CALLE: Iam her friend, Pause. ‘TER: And that you knew good restaurants to go to— (He looks at Cale) That's all Sara told me about you. ‘CALLIE: I se. verer: Sara and I— ‘CALLE: She rold me, Pause. ern: We lived rogether for— ‘cat: Yes. Pause. ever: [still ‘cate: Yes. Pause, even: I'd like—T' like you ro tell me what happened that night. Silence. Peter wats long enough to figure out Calle’ not going t0 answer. ereR: Please. Slight pause. ‘CALLE I'm sorry. ever: What ‘CALLIE:Tcan't verer: Why can't you? ‘CALLE: Everything you need ro know has been in the papers, on the TV— veer: I've seen the newspapers and the TV. ‘CALLIE: Then you know every— eTER: No, I don't know everything. [know ‘what time it happened, [know where and I know that you were there. And now you're bere and Sarasin there. Thar’sthe pare want to know about. Why is she in there. ‘cattre: I wish it was me but isn't. veren: Why isn it? Calle doesn’t respond, verER: Were you hurt? fou don’t know what fucking Callie doesn’t answer. rerEr: Why could’ you protect her? CCALLIE: He was big, he was stronger—I ‘CALLE: tried. veer: Bigger than me? Callie terns away from him. veTer: Could Ihave— He turns her back. veer: Hey, was he bigger than me? Jurv/Aueust 1999 ALLE: Not Peter steps back. even: Why was she protecting you? Callie bolds on his eyes but does not answer Scene 13 Calle’ apartment. The phone rings. Her smacine picks up. Callie non in from the bed room and picks it up. ccautte: Hello? Dial tone sounds over the speaker. She hangs up. She hovers over the phone for a ‘moment. She jerks the receiver upto her ear, dials three numbers then abruptly hangs up. She stares atthe phone. She picks up the phone, dials seven numbers then bangs up. ‘She picks up the phone and places it on the floor in front of the sofa. CcaLLie: Caesar, please? Come on, you've ‘known her longer than I ave. I'l dial her ‘number for you Tell her F—tell her thought ‘about just tll her ro come over. (Caesar doesn't come out. ‘cattt: Ifyou were a dog you'd do it. (Cale ‘picks up the phone and dials seven mnbers (quickly) Hi George, i's me—what. Did you just call here—why not. Yeah, Vong was ‘great I got the sea bass with cardamom, Sara _got the grilled lamb chops wit lemongrass— yeah she eats meat, why wouldn't she? So what?—Listen, what are you doing for dinner "Cause I just walked by Tomoe and noticed there’ no line. Come on, [ned ashi fix. Alcigh, if you get there first just tll them-—I know you know. OK ‘bye. Callie hangs up. Sbe puts the phone back on the floor. ‘CALLE: OK Caesar, second chance. Scene 14 ‘Sara's hospital room. Callie walks in and stands at bedside. ‘CALLE: They're finished building that building ‘across from your apartment. Sara doesn't respond. ‘CALLE (Conversation volume): Wake up now. No response. CcatLie (A litle stronger) Sara. No response. ‘caLLtE: Can you hear me? (She looks down. Nothing) Open your eyes. No response. CcaLu: Open your eyes. No response. ‘CALLE: They're gonna start you on physical therapy tomorrow. Just litle stuff, range ‘of motion, something to get your blood moving. (Pause) You've gotten all these cards and leer, I'll read some to you later. (Pause) You know youe parents are here. ‘They'se doing their best—I think they'ce doing OK, considering. You geting better makes them fel berer—yeah. (Pause) They look at me...your parents look at me..jike Pm some dity old man. (She waits for a response) And the newspapers, the TY, the ‘adio—my sation, my own station, when they ran the news about the artack, they ident- fied me—"Traffc reporter for this station.” Now everybody—the guy at the deli—I sed tobe the bluberry-malfin Indy, now Fm. the lesbian traffic reporter whose lover got, beat up. And I've gotten letters—from two ‘women, their girlfriends were killed duit attacks—and they wrote me these hea breaking letters telling me what they've been through..and dey tll me to speak ruth to power and I don’ know what that means, Sara, Do you? Do you know me? (Cale leans in closer) Do you know who Lam? Sara opens her eyes ‘CALLIE: Oh my God. Hi Scene 15 Callie's apartment. Calli walks in from the bedroom in her barefeet wearing « Tshirt cand underwear. She pours noo glasses of water and drinks from one. George enters from the ‘bedroom wearing jeans and pulling on a T- shirt, Callie bands him the second glass of water He takes a sip. (Geonce: Deer Park? ‘caLuie: You can‘ rel. ‘Gzonce: Tastes like plastic. ‘CALLIE: You want Evian, you buy it. (Geoncse: Not Evian, Vermont Natural Springs. ‘Catt: I's Deer Park or Dos Equis, George. ‘That's what I've got. ‘ceonce: Dos Equis, please. Calle hands bim a beer. CGzonce: You got any snacks? ‘CALLE: [think Ihave some wasabi peas. ‘GzORGE: Those green— ‘CALUE: Taste like sushi— ‘ceonce: Oh shit. Amentcan Tueatee 39STOP KISS 3 ‘ature: What. GEORGE: I have t0 go. ‘caLtte: Where? He goes to get the rest of his clothes, ‘GEORGE: I's someone's birthday at work so 4 bunch of people are going out to that Japanese tapas place on 9th Sereetafter- wards, I promised I'd meet them. ‘caLtt: Blow them off. cceonce: Ican'. ‘CALLIE: Come on. We'll go to Aggie’ in the ‘morning for breakfast. Banana pancakes, ‘czonce: I'm sorry, Callie. I made these plans before you called. Ccattte: Whose birthday? This new gic at work. don’ think you've met hee. ‘CALLE: Let me guess. She's an actress. He puts on bis shoes. ‘GEORGE: She's classically trained CALLE: You gotta get out of the restaurant business, George. Brosden your dating pool. ‘czonce: 'llcall—Tl see you on Wednesday, at Jasmine’, right? She's having everyone over for dinner ‘cauutt: Yeah, I putt down, He gives her a quick kiss on the lips. ‘GEORGE: ‘Bye. He exits and Callie closes the door behind him. She pours bis beer down the drain, There's a knock on the door ‘cattre (Calling): didn’ lock it. ‘Sara opens the door halfvy and takes a small step in. sara: saw your light on— Callie turns around, unconsciously pulling (on the bottoms of her T-shirt. ‘CALLE: [I'm not—I didn't know i was you. ‘ara: I saw him—he didn't notice me. ‘cate: Juse..just give me a second. Sara steps back into the hallway as Callie pushes the door closed and goes to her bed- room. She comes back out wearing a sweater over her T-shirt and a pair of sweat pants, ‘She opens the door. Sara enters carrying a bottle of wine. ‘aka: [think—T think you'l like this kind, Callie takes it and gestures toward the ‘couch. Sara steps in tentatively and sits down on the edge of it ‘CALLIE I'l get us some glasses. (She starts ‘toward the kitchen) sana: You don't have o open it now— i lte, Huse wanted to— (She gets up and follows 40 Awcnteay THeatae Callie) apologize, Callie. You've been so ‘ood 10 me since {came here rm embarassed that Lacted, that Tsaid— ‘CALLE: That I'm a loser? sana: I dida'— ‘CALLE: That I'm pathetic, sana: You're nor pathetic, (CALLE: Ido, Tknow—{ sometimes...swerve. | was thinking...you know, when I was little, my parents made me take tennis lessons—I'm not an athlete—neither are ‘my parents, I don’t know why—because the lessons were free! And it was summer nd ‘iy parents didn't want me sting around the hhouse doing nothing which is what they thought I was doing—which was...tue. So, they made me take these lessons, even ‘hough I was a klutz, and I tried—but 1 was a natural klutz. Still atthe end of the summer we all had to play in these cham- pionships and compete against the kids from the other classes. So, for the fist round, [ get pitted against this kid who obviously took tennis lessons because she wanted to bea really good tennis play Ican’t even return her serves. The match takes like, ten minutes. Afterwards, my parents can barely speak they fel so bad. They take me to Dairy Queen, tell me to order whatever 1 want—I gec the triple banana split and for the rest of the summer they le me sit around and watch Love Boat reruns which is all 1 wanted to do anyway. (She hands Saraa glass of wine) ‘Ra: It was a good show, ‘atte: But lately, fel like. there's some thing...worth...winning. ‘saRA: Callie, I know that neither you nor { hhave ever—well at least know that havent, ve never really asked— ‘CALLIE: By the way, I did get an awacd. sana: What? ‘CALLE: An award for traffic reporting— who knew? SARA: Are you serious? ‘CaLLE: I'm sorry, Interrupted — sana: Did you know? ‘CALLE: What. sana: You knew you were going to get an award, didn't you? ‘aL: I swear, Idida’s, sata: Is that why you were so? — ‘CALLE: Sara, I could never have known, Trust me. Sana: Did they call you up to the dais and eveeything? ‘CALLE: Just lke the Oscars, sana T wish Thad seen, ‘Sara touches Call's hand. ‘CaLLitsI wish you'da been there Callie squeezes Sara's hand. Slight pause, ‘aL: You want to see it? sans Yes! Calle roots through a pil of papers. ‘cat: [thought I stuck it in here. Sara goes to the sofa and lifts the pillows. sana (Sotto voce): Somerimes [find stuff in here. (She pulls out a plague and holds tin the air) {found something. (CALLE: There ie ist Sara looks at it. She walks over to the ‘bookshelf and slides some photographs out of the way, . ‘RA: Pu i here, OK? ‘CALLIE: Not there ‘sana: Why not? ‘CALL: Everyone will se it. SARA: Just keep i cere. Callie reaches for SARA: Stop it. Callie takes her hand away but then reaches for it again, sana: Tmean it, Callie takes her hand away. Sara takes the plague, exhales omit, rubs itom her shi, then uts it back, Scene 16 Sara's hospital room. A nurse is writing on ser chart. Callie walks in. ‘CALLE: Any good news? NURSE: She's stable. ‘CALLEE:I guess that’s good news. ‘Nurse: Her bruises are healing. Callie looks at Sara's face. ‘CALLE: Yes. ‘Nurse: Can tel she’s a petty girl. ‘cauiie: Yeah. 1Nunst: She's a schoolteacher? ‘CALLE: She is, unse: Where? ‘CALLE In the Bronx. (Makes ee contact with ‘the rarse)Thied grade. She has thiry-fve kids. ‘She knew all oftheir names bythe end of the fies day NURSE: Takes a lot to be a public schoo! teacher in New York City. Pope eeeSTOP KISS ‘CALLE She's got it. INuRsE: Those kids are lucky. ‘catute: They know 'NURSE: I'm gonna give her her bath now. ‘CALLE: Oh, aleight. (She starts to leave) ‘Nurse: I'l show you so you can do it. Callie stops. Slight pause. Ccatuse: Oh—thae’s very—but I don’ think I should, P've never— ‘Nurse: You've seen the worst of her. Most ‘of be bruises are on her face. Her body looks fine. If that's what you're afraid of ‘cate: I don't know ifshe'd want me to. ‘Nurse: Ir won't hurt my feelings, you know. Tm suce she'd like i better if you doit. ‘CALL: ...Right now, though, Thave to go. (She taps on her watch face) The time. But...thank you. She heads out) Scene 17 Calli’ apartment. Callie and Sara walk in, Sara caries groceries, Calli cares abag from a record store. CALLE: Which airports he flying into? sana: JFK, ‘caus At eleven inthe morning? sana: Eleven-thiey. ‘CALLE: Have the car service pick you up at around 10:30, rll them o take the BQE to the LIE tothe Van Wyck—tha'l get you to the sipoc by eleven. Buel the iver to take the Midtown Tunnel back, i'l cost you thee fifty but the Manhattan-bound trafic con the Willamsburg Bride will be too heavy. sana Check. Sara looks through the CDs. sana: Do you ever go out dancing? ‘aun Sometimes I do—ay fend Shia goes tothisclub on Wednesday nights and some- times she invites a bunch of ws ‘sanas 1 like to go sometime, ‘cate ..Sure. sana: Wil you let me know next time you go? CALLE: A bunch of us gilriends go,.i's fun..the musi’ great and it’s fun, you don’t have worry abou guys eying 0 pick you up.“cause ital women. [ike 10 go ‘there and dane, thee'sthis kindof warm— ce when you go tothe bathroom, there only one line and everyone's really nice and smiles. sana: Have you ever..asked someone to dance? Jury/Aveust 1999 ‘CALE: We kind of stick ro each other—us friends. Sheila usually knows a bunch of women there and I've met them. sara: You ever meet a woman there, that seemed...interesting..c0 you? cats .No. Pause. CcaLute: Not cere. Pause. CCALLIE: Have you?— sara: What. CCALUE: In St. Louis, do they—or have you been co? sara: We havea couple places like that but TTve never been. My friend, Janet, says that ‘only college gies go to the clubs and bars; ‘older lesbians just stay home and read. ‘That's what everyone in St. Louis does, says home and brews their own beer or does their e-mail. Slight pause. ‘CALLIE: But I mean, have you ever...? ‘saRA: Of course, right? I mean, right? 1 ‘mean I can’t imagine any woman who's never fel attracted — ‘cate: Right! sata: Ie’ jus, I mean if you've never— ‘CALE: You want a beer? sana: Love one. CCALLIE: [hope I have some. saa: What time is it? sana: promised my roommates P'd clean the apartment by the time they came back from thee trip and they're gonna be home nan hour. ‘CALLIE: Just—wait here a couple more minutes saa: [really should go. ‘CALLE: Just wait one minute. sara: Why? ‘CALLE: I wanna..show you something. sana: Callie— ‘CALLE: Take my watch. (She takes off her watch ‘and hands it to Sara) What tiene is it now? SARA: 5:59. ‘CALLE: And how many seconds? sana: Thirty-eight seconds, ccauute: And what day is today? sana: Thursday. ‘caLuie: What time sit now? ‘sana: 5:59 and fifey seconds. ‘att: So count “em, sana: What? CCALUE: Count ‘em down, Five seconds, four— sana: Four, three, two, one—what. Callie opens her hands toward Sara. sana: What? Callie points toward the ceiling. sana: Yeah? It's quiet. Oht Callie gestures: Yes [did it sana: Tes Thursday at six! And it's quiet! Sara opens her arms and they bold each ‘other. They keep holding. Calle lets go. ‘saa: ['l all you tomorrow. ‘CAULIE: OK. Pause. sana: Um, see ya cat: OK. "Bye. ‘Sara opens the door and ets herself out. Callie ‘ambles slowly over to the sofa, looks at the door, buries her head in a pillow and Scene 18 A coffee shop. Mrs. Winsley is sitting at @ table, Calle walks in. ‘CALLIE: Mrs. Winsley? ns, wanste: Yes. Callie extends ber band, Mrs. Winsley shakes it Ccattss: m sorey I'm lace. [came straight — Ms. WANSLEY: I's fine i’ fine. I don’ have to meet my husband until eight. (She gestures for Calle to sit) Should we order some- thing? Coffee or tea? CCALUE: Coffee would be great mgs, winsuex: How are you doing? ccatue 'm OK. ‘ns WiNsLen: Yeah? ‘cauLitI want to thank you for..what you did, Mrs. Winsley. [MS WINSLEY: [only did what I should've. ‘CALLIE: Nor everybody— Mas, winster: How's your girlfriend? ‘CALLIE: Sara—She's better. Alert and responding, We just have to wait (0 see what kind of effect. How much and what. ans, WNL ea ‘CALLE: St, Louis. Missouri. Kansas in Missouri but Sara’ from St. Louis. Mas, wins: I'm from outside Cincinnati myself, although I've been here wenty years. ‘When I fist moved here I would smile at Amentcan TueaTae @STOP KISS =F giay strangers on the subway, give quarters ro beg> son the steeet. CcaLUE: Sara gives a dollar ‘Mas. WINsLEY: So, [can imagine what it ‘must've seemed like to het. Small-town gic in the big city—seeing men dressed as women, women holding hands—must've seemed lke gay paradise to het. Slight pause. ‘CALLIE: St Louis isnot a small town. es, wonsLev: She's a St. Vincent’ isn’t she? ‘cautie: Yes. mS. WINSLEY: How are the doctors there? Are you pleased with them? ‘CALLE: I's hard to say. You want them to do everything, you just want them to make hher better. But they do what they can, I think they'ce OK. ‘ass, wnstz¥: How do you find it—spending all your time there. 1 mean I know they have limited visiting houes bu they probably lee you stay all day. ‘CALE: Ihave to go to my job— ‘as. WINsLEY: OF course. I didn’t mean to imply— ‘CALLE: But Ido visi every day. ‘os, WINSLEY: It must be exhausting for you. ‘cauttts Well, her family’s hete— DMRS, WINSLEY: Are you close with them? CCALLEE: No,..Not close. Mas, waNster Lknow what it’ like with in- laws, Ittook years before mine...Have you and Sara been together long? ceatuie: Um...n0. Mas, WONSLEY: Oh, I'm sorty I thought you ‘wo were— ‘CALLE: know, ‘Ms. winsLey: Here I've been going on and on as if— ‘CALLE: Yes, you were. Mas. WINSLEY: So, you're not really— ‘GALLI: No, like I said I go there every— Ma, WINSLEY Bu, you'e not relly involved. Scene 19 ales apartment. George, wearing jeans and «adress shir, checks bimeelf out in the ful: length mirror Callie walks in from the bed room wearing a dress. ‘ctonce: I'ma litle strapped ‘cause business was slow lastnight, ‘ALi: Just don’t worry about it. ‘Ge0RGE: I broughe fifty bucks 42 Awentcan THearne ‘Catt: That'll get you a salad, ‘GtORGE: How expensive is this place? ‘catie: Expensive (GE0RGe: Why do we have to goto a place lke ‘that? Why can’t we just goto Benny's Bur- ritos and drink a bunch of margattas ‘CALLE: [told you, Tm gonna pay forthe whole thing so stop stressing out about ie. ‘She pushes George out ofthe way with her hip and looks at herself in the mirror ‘onc: OK. Miss Trafic Reporter ofthe Uni- ‘verse or whatever you ae, I'm gonna get the lobster ‘CALLIE: They have venison. ‘GtonGE (Even better): Ooo! Callie turns toward him. ‘CALLIE: Does this dress make me look fat? (GEORGE: I cannot, will not, ever answer that question ‘cate: I'm changing, ‘She heads for the bedroom. ‘GEORGE: What are you so uptight about? Ccauute (Offstage): em not uptight. (GeORGE: That’ the tied time you've changed. Who is cis guy anyway? ‘eaLtie (Offsiage): Saras ex. ‘ctoRGE: Why do you need to look so good for him? ale comes back on wearing a diferent dress ‘She stands in front of the mirror, ‘CALLE: I's a nice restaurant. ‘GzORGe: Is he gonna be dressed up? You told sme I could wear jeans. CALLE: Because I knew you'd wear jeans anyway. (GEORGE (Has to admit she's right): Hin, (He stands next to Callie and looks at their reflection. He puts his arm aroueid her waist) ‘CALLHE: So how was the bicthday party the other night?She wriggles away) ‘GzORGE: Fine, id the birthday girl get everything, she asked for? ‘Gtonct: You want to talk about this ‘CALLE: No, ‘czonct: Cool, Pouse, ‘CALLHE: Did you fuck her before or after midnight? ‘GEORGE: Nice, ‘caLLt: I'm just wondering about the tech- sicaity— (GtORGE: Listen, I'm not like you and that uy CALLE: Who? (EonGE: Who was that, that guy with the nose fing that you ‘CALLIE: Hey— ‘GtORGE: In the bathroom of the— ‘CALE: Hey— (GEORGE: With no protection, ‘The buzzer buzzes. ‘CALLE told you that? GzORGE: I asked, CCALUIE: We should start keeping more to ourselves, (ctORGE: Too late. ‘CALLE: Don't say that, (ctonce: Why noe? ‘CALLIE: Makes me fel old. (cEonce: We are old ‘cattte: You are, ‘There's a knock on the door. Calle opens it, ‘Sara walks in alone. Callie looks bebind her (CALLE. Hi, ‘GEORGE: Hey, how's it going? Sana (Ina small voice): Hi, ‘CAULIE: Where's Peter? SARA: He...uh, left. You look beautiful. You New York? he changed his ight. He lefea couple hours ago. I told him to tell the driver to take the Van Wyck. ‘CALLE: Something happen at work? sana: No it—I asked him to leave. Callie moves closer to ber. CALLE: Oh, um— (She looks at George ‘then back at Sara) Listen, we don’t have to goour— ‘GEORGE: Yeah, no, if you're upset— sata: No, it’ fine, [want to go out. I want toget to know George. ‘caLtt: Are you—did something happen?— (Again she looks at George: why can't he dis- ‘2ppear?) | mean, you don't have to— George stands behind Callie and puts his brands on her shoulders. She looks at his hands like they are dead frogs. ‘RA: He was being so—he was criticizing everything. *Your apartments too small. [es in a bad neighborhood. Your school is dangerous. I's too far away.” All he could talk about was how dirty and dangerous everything is. ccatt: Well (GEORGE: Ii, sana: What? Compared to St. Louis? don't JueriAucusr 1999STOP KISS 8 DIANA ‘want to live there I've stared something here ‘and [that’s what—because it’... (Pause) Tlove...New York! ‘GeoRGE (Nods): Mm. ‘CALLE: Lets go eat. ‘ceonce (To Sara}: Ace you sure? sara: Yeah. ‘czonce: Great! Lets got George offers Sara his arm, She takes it. He offers his other arm to Calle. Ccattte ll catch up with you. ‘GeoRcE: OK. (To Sara, on the way out) “They have venison you know. sana: You mean Bambi? George and Sara exit. Callie walks over to the Magic 8-Ball, shuts ber eyes a moment then wiggles the ball. She looks at the ‘cattse (Quietly) Yes! ‘She puts down the ball and hurries to catch up with them. Scene 20 Sara’s hospital room. Sara's sitting in a ‘wheelchair, ees open. Peter sits next to her reading from a book. veren: “And then niney-eight kilometers”— that’s sixty-one miles—"north of Wileannia is a lunar landscape.” That looks lunar, doesn’t it? “Some of the locals don’t mind showing off the interiors of their white- walled, subterranean settlements"—You'll ‘want to sign up early for that tour gonna be regular Who concert trying to ge into— (He looks at Sara, clears his troat, ther goes back t0 the book) As I was saying, “Looping around about a hundred and sixty kilome- ters”—a hundred miles to you and me—"a road leads to Moorwingee, a surprising patch of greenness in the barren Bynguano—" ‘Australia i an English-speaking country, inne ie (He fingers the ast few chapters of the ‘book) You know, I'm dying to se how this ends, but ean we— Sara nods. He kisses her band. verter: Thank you. We'll save the big finish for afer dinnet (He puts the book away and picks up something) Did you see this? He bolds a homemade greeting card in front of her. Callie steps into the room then steps back. She watches. reTeR: You got a card from your old class at Friends. Se, there’ Matthew and Sophia and Juryraucust 1999 Emily—your favorite, the anti-Christ She writes, “I hope you feel bier and come bark soon.” I see your replacement is letting her spelling skill slip. ‘Sara tentatively takes the card in her hand. reer: Hey! Get you. ve een talking to Jenny and Steve lot, keeping them updated. Jenny's been letting ‘everyone know whats going on. Margarer’s called, Jamie, Lisa—ie's frustrating for them not to be able to see you. They picture the worst, all they have are the images in their hheads fcom reading the newspaper articles. Tell be ber for them when they can see you "The doctor says we can move you soon. Your parents and I have been talking. I agree that you should stay with them after you get ‘out of rehab. You're welcome to stay at ‘our old place, of course, if you want to, 1 would takeoff from work so that Icould— Well, I'm going to take off from work even: Just because you're coming back home I'm no going to act like everything is ‘going to be the way i was. I know you ‘went to New York because you wanted t0 change things. (He touches her face) You do ‘want to go home— Tears drop from Sara's eyes. vereR: Don't you? Callie tus, walks toward Sara's nurse who is standing at her station. cats: Excuse me. ‘Nurse: You're back. ‘CALLE: Do you have time now? To show me how to doit? Scene 21 Callies apartment. Callie and Sara exter “after having left the restaurant. Calle takes off her coat, Sara does not. ‘CALLE: Ungggh, I'm so fli huts to move ‘What do you want to do, we could watch a movie if you sana: Let's uh..ler's go out, let's go some- where. ccatute: Where do you want to go? sana: There's a bar In the West Village. Henrieta’s, you ever been? ccatute: Once. sana: Will you go with me? ‘cattte (She looks at her dress): Like this? sana: We could change. Friday night, i sup- posed to be a good night. CcaLLiE: OK. Slight pause. ‘CALLE: Good for what? sana: There's supposed to bea lot of people there. ‘CALLE (Nods though she doesnt quite wnder- stand): OK, let's g. sata: You change, and chen we can stop by sy place and then we'll go. ‘CALLE: We don’t—you can borrow some of, my clothes. san: Really? That's grea. That’ great! ‘They stand there. fou go ahead and change and Jhange next. 'l wear whatever’ left- ‘catti: I'll go change. ‘RA: Maybe we'll like it there— (She looks ‘elplessty at Callie) ‘CALLE (Trying tobe helpful): Yeah, OK. sana: Lee’ just— ‘CALLE: We'll go, we'll hang out, bave a dink. sana: Yes! You know, maybe meet people. CcALUE: Are you—I mean, do you..want romeet people? sat: Yee!—Nol I want ro meet people co— meet people, maybe make friends, but no, | done want to meet someone, some sranget— CcaLLie: Wel just go. saa: I's just a bas, ‘CALLE: With a whole bunch of lesbians ini. sana: And us. “They lock ees hoping the other wil sz some- thing perfect. They keep waiting, Scene 22 “The hospital, Sara's sitting ina wheelchair Callie enters carrying a bag. ‘cats: Sara. Sara turns to her. ‘cat: I brought you stuf to change into. (She pulls some clothes out of the bag) Don't you think? (She puts them in Sara’ lp) ‘We're gonna do this. Watch me. You gota listen to me too. (She undoes Saras gown) ‘OK, we're gonna start with the left side because we're taking things off (She takes off Sara's left sleeve) And now the right. She helps Sara pull her arm out of the right sleeve. She takes outa bra) Ths closes infront Awentcaw Tweatee 43a cerca STOP Can you...go like this? Calle lifts ber arms at the elbows. Sara Lu: Good for you, I should kell looks around for the nurse) Latee (She puts (0% the bra) So far so good. (She takes the shire off Sara's lap) Nice shire, huh? Did pick out 8 nice shirt for you? OK, you're gonna need to sic upa lel for me. Sara sits up. Calli puts on the right sleve, (CALL: If ean just—am {hurting you? Pm sorry, Sara—t'm sorey— (Ta herself) Relax, (She puts om the lef sleeve.) so, Push—push—keep breathing, and push— Sara pushes her arm through the sleeve ‘CALLE: Tea girl! (She buttons Sara's shi Lets keep you warm. I's cold inthis pla (She takes the pants, She helps Sara’ right Foot off the foot ret) We're gonna do this {ogether. I'l do this one. (She points to her {eft} That one you can do, ‘Sara life her lft leg of, it spasms. {CALLAE: Oh—oh. OK. OK. (She flips up the foot pads. She scrunches up the righ og of. the pants and wrangles it on) We gotta ‘work together on this one, OK? Calle scrunches up the left le. Sara lifs ber leg. CALLE: Are you helping me? Yes, You ae, Now, the shoes go last. Like this. (She puts (1 the right shoe) And like that. Sara slips ber left foot in the left shoe. Gallic pushes Sara's fet closer to hen Callie stands up, CALLE: Now you're gonna stand up. t'm gonna help. One, two, three— (She puts ‘her banal under Sara's arms ad ifs her up. She pulls ber pants up) Callie and Sara st back down, ‘CALLIE: I can do this, you sce? Sara nods, ‘CALLE: Choose me Sara smiles. Seene23 Sara and Calle are walking down the street, braving just left Henriecta’s. Finally, Sera turns to Calle Sata: What—was | thinking? {catutt: That was like—going toa birthday Party when you don't know the person whose birthday itis, sas I don't know why I was expecting 44 Aneuicas Tweara Kiss Theatres) tes to convince Sara (Sandra Oh to recuperate in St, Luis a The Pie Theater¥SF production, don’t know what I was expecting. What Callie checks her watch, CCALLIE: Around four, san: So late ‘CALLE: Should we o you want t0 go? sanas I don't know— ‘CALLIE: Let’ just...keep walking {0 somewhere—where sana: Sure, They walk a few while CALLE: How do you eat corn on the cob. Around the world or typewriter style? san: Typewriter, CALLE: Me too, ska: What kind of person eats around the world ‘CALLE: I don’t know. sits mean, what is that based on? You read left eight, right? ‘atu I do. Saka: So you should eat your cor that ‘CALLIE: Do you thnk in Egype they eat right oleh? sara: I don't know. (CALLE Fascinating question, though, sana: Do you wait in line or on line? (CALLE: Oh. Now I wait on line. But fused 8 in silence. After @ ieee Sana But physically, you're ina line, aot on fone, right? CALit: Yeah, stick by your guns. caved in, saa: You say on, I say in ‘cata: What about this? (She plans hor one They pull away. Saka: Huh, atts: What? SARA: You just did that. CcaLLt: Yes Edi, saa: Nice They come at each other but with their beads angled toward the same side. They bump noses (CALLE: Whoop — Saka: Sorry— ‘They back away. Callie puts her arms arvoud Sara's waist and pulls ber toward her Sak: Do you think we should — ‘Catt: I don’t wane to go anywhere, don't want fo change anything. Let’ just— sana: OK, ccatute: Try agai, ‘They get ther heads right, connect lips, put their arms around each other And kiss, End of Play Jucyiauevsr 1999