Burley Man
by James David Patterson
Copyright 1998
Royalties/Inquiries can be sent to the playwright.
Setting
The action of the play takes place in the downstairs rooms of the Mitchell house in a small, poor town in the South. It is late summer, and the morning and evening hours are cool. There is a stairway leading to the upstairs rooms at right. There is a front door up right and a back door down left. There are many large windows giving us a view of the front porch. There is a dining area up stage and a sitting area down center. The sitting area contains a certain chair which is not used until so specified. It was Charles Mitchell's chair. There is a liquor cabinet down right. There is a kitchen left. While characters coming through the back door and into the kitchen can be seen by the audience, they are out of view for the characters in the dining and sitting areas. The wall unit separating the sitting area from the kitchen has a side table where the telephone is located.
Time
This play is based on a newspaper article that appeared in the Arizona Republic in the fall of 1981.
Act I, Scene 1
At rise, MADGE ISAACS stands outside the front door, waving goodbye to an unseen collection of people. JOANNA MITCHELL stands center with REVEREND JONES. Both women are dressed in black, and the reverend is wearing his dark suit. JOANNA has been wearing a black hat with veil, and now holds it in one hand while offering the other hand to the Reverend.
REVEREND
I'll be gettin' along, too. Let you settle down and rest. I know the last coupla days have been tough for you, Joanna, but you can rest now. Maybe get back to an ordinary schedule.
JOANNA
Thank you, Reverend.
REVEREND
I'm gonna miss coming over to play checkers. Now that your father's gone, I'm gonna need to find someone else to play with.
JOANNA
I suspect you'll find someone.
REVEREND
Oh, no doubt.
(He starts to leave and MADGE comes into the house toward center leaving the front door open and closing only the screen.)
REVEREND (Continued)
I'll stop by and look in on you once in a while. . . . If you don't mind.
JOANNA
Why should I mind?
REVEREND
You might try comin' to church, you know. We could use your pretty voice in the choir.
JOANNA
Yes, maybe I will.
MADGE
It's gettin' warm in here. I'm gonna open up some of these windows.
(MADGE begins to do so.)
REVEREND
Bye for now.
MADGE
Goodbye, Reverend Jones.
(REVEREND exits. JOANNA goes to the liquor cabinet. She puts down her hat and prepares herself a shot of whiskey.)
MADGE
Now, Joey, it's too early in the day to start doing that.
JOANNA
Madge, my daddy's dead.
MADGE
Yes, I know it.
JOANNA
I just buried the son of a bitch.
MADGE
Now Joey, you shouldn't be talking like that.
JOANNA
(She drinks down the shot. She winces.)
Damn. You like this house?
MADGE
Well, of course I do. You got a nice house.
JOANNA
(Pouring another shot.)
I mean the color. You like the color?
MADGE
It's a nice color. Could use paintin'. That what you got in mind?
JOANNA
Yep. Only I'm gonna change the color.
(She drinks down the shot. She winces.)
How about . . . black.
MADGE
Black?
JOANNA
With green polka dots.
MADGE
Shoo, you're just kiddin' me.
JOANNA
Maybe. But I do wanna change things around.
MADGE
How about a nice wallpaper. They got some nice patterns in the book at the hardware store.
JOANNA
Maybe. Somethin'. Somethin' different.
MADGE
Look, Joey, how about I make you some lunch. You like that?
JOANNA
Sure, that sounds nice.
MADGE
Good. I'll be right back.
JOANNA
Madge?
MADGE
Yeah?
JOANNA
Thank you for being here. Today.
MADGE
(MADGE crosses to JOANNA and gives her a hug.)
It's my gift, Joey. You're my best friend in the whole world. There ain't nothing I wouldn't do for you.
JOANNA
I'm sorry you couldn't come to the funeral.
(JOANNA sits on the sofa as MADGE heads for the kitchen.)
MADGE
Oh, Lordie. I'd a scared the willies out of them white folk seeing me in a white man's cemetery. They'd a thought I was putting a hex on somebody. . . . Now you sit down and rest. I'll get you a nice sandwich and a coke.
(MADGE exits into the kitchen. She starts a pot of coffee, and then begins getting materials ready for sandwiches. A moment passes. We HEAR the sound of a car pulling up and stopping.)
(JESSE SHOEMAKER approaches the front door in a shirt and tie. He has his jacket over his arm.)
JESSE
Anybody home?
MADGE
(She pokes her head out of the kitchen.)
Oh, Mr. Shoemaker, come on in. Joanna's just restin' after the service.
JESSE
(He comes into the room.)
I'm sorry I missed the service, Joanna.
MADGE
I'm just makin' some sandwiches. You want one, Mr. Shoemaker?
JESSE
That'd be nice, Madge, sure. . . . Joanna, sorry I didn't make the service. I had to appear before the County judge this morning on another case I'm handling. How are you doing?
JOANNA
I'm doing fine, now. You want a drink?
JESSE
Oh, no, thank you. Too early in the day for me.
(He sits next to her.)
The service go okay?
JOANNA
Yeah, sure. You like this house, Mr. Shoemaker?
JESSE
Please, you can call me Jesse. And yes, I like this place. You and your daddy always kept this place looking nice.
JOANNA
I'm gettin' ready to change things.
JESSE
Oh, sort of remodel it?
JOANNA
Yeah, maybe just some paint, maybe move the furniture around a little.
JESSE
That sounds good. It'll give you something to do.
JOANNA
I think I will.
JESSE
Now, Joanna, if you're up to it, there's some things we need to talk about. But only if you're feelin' up to it.
JOANNA
(Pause.)
What kinda things?
JESSE
Well, I'm handling the probate for you and your father's estate, and I need your help on a little thing.
JOANNA
(A little tension.)
Everything's okay, ain't it?
JESSE
Yes, don't you worry yourself about nothin'. I've got all the paperwork down at my office. Everything's gonna be fine. . . . There is one problem, though, about the will.
JOANNA
Mr. Shoemaker, . . . Jesse, you're scaring me.
JESSE
I'm sorry, Joanna, I never know how to talk to people what just come from a funeral. It's the hardest part of my job.
(He pats her hand.)
There is nothing to worry about, Joanna Mitchell. Somewhere in this ol' house of your father's is the original copy of his will. I got a copy of it in my office. But for probate, I'm gonna need the original.
(MADGE enters from the kitchen with two plates, two sandwiches.)
MADGE
Here's some sandwiches. What y'all want to drink? You want a coke, Joey?
JOANNA
Yeah, that sounds fine.
MADGE
How about you, Mr. Shoemaker?
JESSE
You got any coffee?
MADGE
I'll be right back.
(MADGE exits into kitchen.)
JESSE
Now, Joanna, it's probably stuck in some old box in the attic or cellar. Your father worked out his will a long time ago, right after your Mama died, and I'm sure he put it someplace that's been long forgotten.
JOANNA
It could take days to find it.
JESSE
That's okay. There is no hurry. As the only surviving heir, there is no problem. It's just a technicality, and it's nothing to get scared over. Just, as you feel up to it. You just said you was thinkin' of changing the place. I figure you're gonna clean out all your daddy's old garbage anyway. When you come across the will, just give me a call and I'll come out and pick it up.
JOANNA
Okay.
(MADGE comes out of kitchen with coke for JOANNA and coffee for JESSE.)
MADGE
Here you both go. You want sugar or cream, Mr. Shoemaker?
JESSE
No, thank you, Madge, this'll be just fine.
MADGE
Okay. Joey, I'm goin' on home. If you need anything, you just holler.
JOANNA
I will. Thanks, Madge.
(MADGE exits though kitchen down left.)
JESSE
Good. Now, is there anything else I can do for you?
JOANNA
(She hesitates.)
I'm okay.
JESSE
You sure?
JOANNA
Yeah, I'm sure.
JESSE
Okay. I worked with your daddy for a lot a years, Honey, so you just think of me as a second daddy if you need anything. . . . Is Madge gettin' in your hair?
JOANNA
Oh, no. She's takin' good care of me.
JESSE
I was just wondering . . .
JOANNA
She's practically like a sister to me, anyway, and she lives right next door. She's okay.
(They eat in silence for a moment. JOANNA seems to watch SHOEMAKER warily when he's not looking. Somewhere in the neighborhood, a hound dog begins barking. The dog barks two or three times, whines, and then stops.)
JESSE
So, . . . You're gonna fix up the place a little?
JOANNA
Yeah.
JESSE
You plannin' on staying on here, then?
JOANNA
Where would I go?
JESSE
Oh, some people want to move to a different place after they lose a family member. I'm glad to hear you're thinkin' of changin' the place 'stead of moving.
JOANNA
I've always wanted more flowers, Mr. Shoemaker, I mean, Jesse. You know what I mean?
JESSE
Yeah. Your daddy kept the place kinda drab. Your mama always had rosebushes out front.
JOANNA
(A distant look appears in JOANNA's eyes.)
I remember the rosebushes.
JESSE
But your daddy just let 'em die out. I never understood why.
JOANNA
(The look in her eyes changes.)
Maybe because he hated my mama.
JESSE
(Pause.)
Oh, I don't think that's so, Joanna. I think he loved her. Course, I wouldn't know. I think maybe he just didn't want anything around the house to remind him of her being here.
JOANNA
That would've included me.
(She stands.)
JOANNA (Continued)
You want some more coffee, Mr. Shoemaker?
JESSE
Oh, uh, no, thank you. I should be gettin' back to the office anyway.
(JOANNA takes JESSE's plate and cup and takes them with hers into the kitchen. JESSE stands.)
JESSE (Continued)
Uh, Joanna, there is somethin' I'd like to talk to you about, if you don't mind.
JOANNA
(From the kitchen.)
I don't mind.
JESSE
I was thinkin' that maybe you oughta have a will now, yourself.
JOANNA
(Entering from the kitchen.)
What for?
JESSE
Well, if anything were to happen to you, there's no designated heir.
JOANNA
(A smirk.)
There ain't no heir, no how.
JESSE
I know that, Joanna, but if there's no designated beneficiary, then the state would absorb the property. I was thinkin' maybe there's a charity or church that would get some benefit from the house and all rather than just turn it all over to the government.
JOANNA
Oh, I see your point, there.
JESSE
Then again, if you ever do marry . . .
JOANNA
(Laughs loud.)
That's a hoot, Mr. Shoemaker.
JESSE
Well, I thought you were seeing someone.
JOANNA
I'm "seeing" Brian Martin. I ain't marryin' Brian Martin.
JESSE
(Collecting his things.)
Okay, okay. I can see, Joanna Mitchell, that you're gonna be as hard to work for as your father. I'm just advisin' you that it'd be a good idea to have a will. Now, if there ain't nothing else I can do for you, I'll let you be for now. You got my phone number in case you need anything?
JOANNA
Yes, I do.
JESSE
All right, then. You take care, you hear?
JOANNA
Yes, sir, Mr. Shoemaker. Thank you for stoppin' by.
JESSE
(JESSE starts toward the front door.)
And again, there's no hurry on your father's will. Just give me a call, though, when you come across it and I'll drive over and pick it up. Goodbye.
(JESSE exits. We see him pass by the front windows on his way to his car.)
JOANNA
Goodbye, Mr. Shoemaker.
(After a beat, we HEAR the sound of a car start up and drive away.)
(JOANNA stands alone for a LONG MOMENT, looking around the room. The hound dog begins barking. After the dog has barked an incessantly long time, we hear a male voice in the distance yell at the dog to shut up.)
(The dog continues to bark. JOANNA continues to stand motionless for a long beat. Her eyes seem to be watching some previous or fanciful event being played out before her. Her immediate position in time and space are momentarily forgotten. Then, about the time the audience begins to get restless, she comes to herself and her surroundings. She looks down at her black dress. She locates and retrieves her black hat and exits upstairs.)
(She has been gone only a minute when we HEAR a small radio begin to play. At first, the radio is low though loud enough to be heard.)
(The phone rings. Once, twice, thrice. After the fourth ring, the volume of the radio jumps up to a louder sound. After the seventh ring, the phone stops.)
(The sound of a diesel truck is heard pulling up outside and shutting down.)
(A man appears at the windows along the front of the house. He approaches the windows with familiarity and peers into the main room. He is dressed in dirty blue jeans and a tired flannel work shirt. He has several day's growth on his face and he wears a greasy baseball cap with a trucking company logo on it.)
BRIAN
Joey? Joey! You here, Honey‑Babe?
(He disappears from the front of the house, and re‑appears a moment later coming through the back door and kitchen. He gets a can of beer from the refrigerator. JOANNA re‑enters from the stairs. She has changed from the black dress into blue jeans and a T-shirt. She looks up as he snaps open the can top. He takes a long drink of the beer. He moves toward the sitting area, bringing himself into JOANNA's view.)
JOANNA
(Angry.)
Where the hell have you been?
BRIAN
(Not noting her anger.)
On the road coming back to my baby. I just drove fourteen hours straight through to get back to you, Babe. I haven't even been home to take a shower yet.
JOANNA
I can see that.
(BRIAN moves closer to JOANNA and drops into a lower voice.)
BRIAN
I was thinkin' maybe we could go over to my place and take that shower together, know what I mean?
(He starts to put his free arm around her, but she pushes him away.)
JOANNA
Brian, you been away for two solid weeks without a word. Don't you dare expect to come in here and have me jump in bed first off.
BRIAN
(Nervous about her volume.)
Joey!? I thought you'd be glad to see me. I drove fourteen hours straight through, Hon. . . . Do I stink? Is that it?
JOANNA
You always stink.
(She moves to and sits on the sofa.)
BRIAN
You are in a nasty mood. You broke or something?
JOANNA
(Suddenly very angry.)
Damn!
BRIAN
What'd I say?
JOANNA
Not you. I said damn to myself. I forgot to ask Mr. Shoemaker about the insurance check.
BRIAN
Insurance check? Hell. Who died?
(He takes another long drink of the beer. JOANNA watches.)
JOANNA
(When BRIAN finishes drinking.)
My daddy.
BRIAN
(Burping.)
What about your daddy?
JOANNA
He died, you ignorant son of a bitch.
BRIAN
Oh, God, oh god. Oh god, Joey, I'm sorry.
(He quickly puts down the beer, and sits beside her.)
I had no idea.
(He puts his arm protectively around her.)
JOANNA
(Pushing him away.)
Get away from me. I said you stink.
(She stands and moves to the phone. She gets out the phone book and begins looking up a number.)
BRIAN
I'm sorry, Joey. I'm sorry. I didn't know.
JOANNA
Of course you didn't know. You been gone two weeks without so much as a simple phone call.
BRIAN
Why didn't you try to reach me. I coulda ‑‑
JOANNA
He weren't no relation of yours. The State Patrol wouldn't track you down unless he was a relation of yours.
BRIAN
Oh, I'm sorry, Joey. I'm really sorry.
JOANNA
Would you stop saying you're sorry. You're makin' me wanna vomit.
(She picks up the phone and starts to dial.)
BRIAN
I'm sorry, I'll shut up.
JOANNA
Look, go home and clean yourself up. I'm kinda pissed at you right now.
(Into the phone.)
Hello? Yes, this is Joanna Mitchell. Mr. Shoemaker was here a few minutes ago and I forgot to ask him something. . . I know he ain't there, he was just here a minute ago. I just wanna leave a message for him, okay? My name is Joanna Mitchell. Mr. Shoemaker is handling my daddy's estate for me. My daddy's dead. Look, I'm just wondering about the insurance check. . . . I got some bills that need paying and my job ain't gonna pay me for the days off I'm takin' to get my daddy buried and all. . . Thank you.
(She hangs up.)
What're you still doing here?
BRIAN
Look, I've got a check from this trip I ain't cashed yet. Most of it's already spoken for, but I can lend you some 'til you get that insurance money.
JOANNA
(She gives him a long hard look.)
You can "lend" me some money?
BRIAN
It ain't much, but maybe it'll help.
JOANNA
I got bill collectors knocking on my door, mostly because they "lent" me money a while back, and now you're gonna "lend" me some money to pay them off so you can come knocking on my door because you "lent" me money. I told you I was pissed at you. Why are you still here?
BRIAN
Oh, I'm sorry, Joey.
JOANNA
And stop tellin' me you're sorry.
BRIAN
I'll go.
(He starts for the front door.)
Okay if I call you later on?
JOANNA
Go!
BRIAN
(At the door.)
Look, Joey, if any of them bill collectors come around, just tell you ain't Joanna Mitchell.
JOANNA
(She missed his logic.)
What?
BRIAN
It'll stall 'em at least 'til the insurance money comes in. They can't give you no trouble if you tell 'em you're not Joanna Mitchell until they can prove you are Joanna Mitchell. That could take a coupla days. By then, you'll have the insurance money, I bet.
JOANNA
Brian?
BRIAN
Uh huh?
JOANNA
Go home. Take a shower. Clean yourself up. Take a nap. Get somethin' to eat. Then call me.
BRIAN
(He brightens visibly.)
Okay, Joey. Bye!
(BRIAN goes.)
JOANNA
(She waits until we hear the diesel truck start up and drive away.)
God, is that the best I can do?
(JOANNA goes to the liquor cabinet again and pours another shot of whiskey. The music of the radio is replaced by a news report. JOANNA exits upstairs. The radio is shut off. Into the quiet comes the sound of the neighborhood dog barking. JOANNA comes downstairs, she puts her shot glass on the cabinet and crosses toward the kitchen.)
First thing I'm gonna do is buy me a big gun . . . and kill that stupid dog.
(She exits into kitchen.)
(We see a young man approach the front of the house. EDWARD WILKINS. He carries a small travel bag which he sets down on the porch. He checks a piece of paper, puts the paper away in a pocket, takes a deep breath and rings the doorbell. JOANNA re‑appears from the kitchen and stops when she sees him.)
JOANNA (Continued)
Yes? What you want?
EDWARD
(A look of fear and excitement flash across his face.)
Yes, Ma'am. I'm looking for a Joanna O'Farrel ‑‑
JOANNA
(Responding to the name "Joanna".)
She don't live here no more. . . What was that name?
EDWARD
Joanna O'Farrel?
JOANNA
(Visibly shaken. She speaks again, but the anger is replaced with fear.)
She don't live here no more. . . . Do I know you?
EDWARD
(Pause.)
No, Ma'am.
JOANNA
You live around here?
EDWARD
No, Ma'am. I'm originally from Burleigh, but I'm in the Navy now, sorta.
JOANNA
What you want O'Farrel for?
EDWARD
It's a long story, ma'am. Thank you for your time.
(EDWARD picks up his bag and starts to leave, then stops and turns back.)
EDWARD (Continued)
Excuse me, you wouldn't happen to have a forwarding address or anything?
JOANNA
(Pause.)
No. She ain't lived here for a long time.
EDWARD
Oh. I thought maybe you might've known her. You kinda jumped when I mentioned her name.
JOANNA
(Searching.)
Yeah, well, see, my name's Joanna, too. Joanna Mitchell. That's why I jumped, 'cause I don't know you and I didn't know how you knew me, you see.
EDWARD
Well, . . . thank you, ma'am.
(EDWARD starts to leave.)
JOANNA
Hold on.
(He stops. She looks confused.)
EDWARD
Yes, ma'am?
JOANNA
(A beat.)
You wanna Coke? It's kinda warm today.
EDWARD
Thank you. That'd be right nice of you.
JOANNA
The door's not latched. Come on in. I'll get you a Coke.
(JOANNA exits into the kitchen briefly while EDWARD enters. He puts down his bag just inside the door and moves center toward the kitchen. JOANNA re-appears and hands him a Coke.)
JOANNA (Continued)
There you go. . . . Have a seat.
EDWARD
Thanks.
(He sits.)
Thanks for the Coke, too.
(He drinks it down with obvious thirst.)
JOANNA
You say you're from Burleigh?
EDWARD
Yes, ma'am.
JOANNA
God, stop callin' me ma'am. I don't look that old, do I?
EDWARD
Oh, no, ma'am. I mean, no.
JOANNA
You can call me Joanna if you like.
EDWARD
I'm Edward, Eddy, Eddy Wilkins.
JOANNA
(It rings a bell.)
Wilkins?
(She stands and moves around behind him so he cannot see that she is beginning to shake.)
EDWARD
Yes, ma'am. I mean, yeah. Although I'm not a born Wilkins. I'm adopted.
JOANNA
(Searching.)
Uh, would you like a sandwich or anything? It's gettin' on about noon.
EDWARD
Well, thank you, yes, I would. I was gonna get lunch when I got to town, but I was in kinda hurry to get here and all. . . . A sandwich would be nice.
JOANNA
I'll fix us some sandwiches.
(She starts for the kitchen.)
You just make yourself at home. I can hear you from there.
(She exits to the kitchen. Her emotional state is more pronounced once she is out of EDWARD's line of vision.)
JOANNA (Continued)
You said you were in the Navy?
EDWARD
Yeah, Seaman First Class. I'm a boilerman.
JOANNA
(From the kitchen.)
You're a long way from the ocean.
EDWARD
I'm sorta on leave.
JOANNA
(From the kitchen.)
You came all this way to find . . . To find Joanna O'Farrel?
EDWARD
She's my mom.
(JOANNA reacts to his words with a stifled cry which he does not hear. EDWARD stands and wanders around the house. The pause is long enough to fully witness JOANNA's reaction to his announcement. The neighborhood dog is heard barking.)
EDWARD (Contined)
You got a nice place.
JOANNA
(From the kitchen. She must control herself before she can speak.)
I like it.
EDWARD
Not a lotta pictures, though. . . My mom, my adopted mom, over in Burleigh, she's gotta lotta pictures all over the place. You know, photos of family, relatives, vacations, all kinds a stuff. I got a step‑mom too. She's got pictures too.
JOANNA
(From the kitchen, trying to stay calm. She literally throws two sandwiches together.)
I never was one for puttin' up pictures of people I already knew.
EDWARD
You live here alone?
JOANNA
(Re‑entering from the kitchen with two plates with sandwiches.)
No. I mean, yes, I do now. Here.
EDWARD
Thank you.
(They converge on the sofa and sit again. EDWARD is clearly very hungry and begins tearing into his sandwich.)
JOANNA
I lived here with my father. He died recently.
EDWARD
(Stopping his eating.)
I'm sorry.
JOANNA
The funeral was just this mornin' in fact.
EDWARD
(Embarrassed.)
I'm terribly sorry.
(He stands.)
I shouldn't be botherin' you like this.
JOANNA
(Standing as well. She can't let him leave.)
No, no. It's no trouble. Please, sit. Finish your sandwich.
EDWARD
You probably want to be alone.
JOANNA
No, really. Please. I don't want you to leave, just yet. I mean, I could use the company.
(They sit.)
Everybody in this little town is just oozing their fake sympathies all over me. I feel like I keep needing to take a shower after they've been around. Huh. You're the first real person I've talked to this week. . . . Please, eat.
EDWARD
You sure?
JOANNA
Yes, I'm sure.
(EDWARD continues eating his sandwich.)
You, uh, plannin' on bein' in town long?
EDWARD
I'll probably head out soon.
JOANNA
I mean, you were lookin' for . . . the other Joanna. You probably were gonna stay for a while to get to know her, I suppose.
EDWARD
Yeah, maybe.
JOANNA
Do you have to be leavin' soon?
EDWARD
No, it's open. She might not've wanted me to stick around, that sorta thing.
JOANNA
You didn't try to reach her? Earlier, I mean?
EDWARD
I kinda had some free time on my hands, and well, it's something I been thinkn' 'bout doin', but I wasn't sure if she'd want me to. She might have other kids, you know, and maybe a husband and a family, and she might not want me comin' around.
JOANNA
How'd you get this address?
EDWARD
I gotta friend in Naval Intelligence. He made a few phone calls for me. He knew who to call and that sorta thing. Are you okay? You look kinda pale.
JOANNA
I'm fine. It's been a long day, and it ain't even half over.
EDWARD
I should leave . . .
JOANNA
No, really. . . . You were tellin' me about the other Joanna. She moved some time ago. Your friend didn't find that out?
EDWARD
It happens. This was the address he found, but the information was pretty old, back when I was put up for 'doption.
JOANNA
Are you angry with her? For puttin' you up for adoption?
EDWARD
No, not now. I was when I first found out about it. My parents raised me as their very own. Hell, they didn't even tell me when they got divorced. They didn't tell me until I was eighteen. Then, they figured it was something I oughta know.
JOANNA
You were angry then?
EDWARD
Hell, yes. I was so angry I joined the Navy just to get away from 'em. I mean, I thought at the time, how could they say they loved me all those years and lie to me about such a thing.
JOANNA
What changed your mind?
EDWARD
Boot camp.
(He smiles.)
The Navy's been good for me. Made me face up to certain realities, they call 'em. The fact that I wasn't born to my parents, biologically, I know now didn't keep them from loving me any less. Even when they didn't love each other no more. . . . I just got this temper, see? And it gets me in trouble all the time.
JOANNA
I'm sorry your momma ain't here.
EDWARD
It's probably for the best. I ain't never had no contact with her. Hell, she last saw me over eighteen years ago, and then I was just a little lump of pink flesh more'n likely. That's hardly something to build a mother‑son relationship on.
JOANNA
Still, maybe you could be friends.
EDWARD
Yeah, maybe. I guess that's what I was hopin' for.
JOANNA
Here, why don't you finish my sandwich. I'm not gonna eat it.
EDWARD
Thanks.
(He eats the second sandwich.)
JOANNA
(She watches him eat in silence for a moment, broken only by the barking of the neighborhood dog.)
Look, I expect you're kinda disappointed and all, but, . . . uh . . . you're welcome to stay here, for a night or so, if you want. I got an empty bedroom upstairs you could sleep in while you're in town, if you don't mind sleepin' in a dead man's bed, and all.
EDWARD
(His eyes brighten. He begins to see her a little differently now. Perhaps he has misinterpreted her offer.)
Thank you. That'd be nice. But I don't want to put you out or anything.
JOANNA
No, no trouble at all. I'd like the company. The house's been too quiet the last coupla nights.
EDWARD
People might talk.
JOANNA
(A smirk.)
Hell, let 'em. We can say you're the son of an old friend. You were plannin' on comin' for a visit, and you left home before you got word of my daddy's death. People'll believe just about anything.
EDWARD
I won't stay long, I promise. Just a night or two, 'til I figure out where to go next.
JOANNA
(She takes both plates into the kitchen.)
You thinkin' about trying again to find your mother?
EDWARD
Ah, I don' know. I wouldn't know where to look next. The trail's probably gone too cold by now. It's for the best, though, I reckon. I guess it just wasn't to be.
JOANNA
(From the kitchen.)
Can I get you anything else?
EDWARD
No, thank you. Thanks for the sandwiches.
(JOANNA comes back out of the kitchen.)
Can I pay you somethin', you know, for the food and lodging?
JOANNA
(She sits again.)
Oh, that ain't necessary. Like I said, I could use the company.
EDWARD
Well, maybe there's some work or something I can do for you?
JOANNA
(She smiles. It's the first smile in some time.)
Now you're talking. I was just thinkin' about changin' the house around a little, now that my daddy's gone. Maybe some paint or wallpaper. Get rid of some of the junk. I gotta go through all my daddy's stuff and find some things and papers about the house and all.
EDWARD
Sure thing. Where'd you want to start?
(They both stand.)
JOANNA
Well, now. Let's see.
(She begins wandering around the room.)
We could . . .
(She looks at things carefully which she has not looked at carefully in a long time.)
That was my daddy's favorite chair. I'd like to . . .
(She hesitates, then sits in the chair.)
EDWARD
(Tenderly, after a pause.)
You loved your daddy?
JOANNA
(She looks at him strangely.)
No. I hated the son of a bitch.
(EDWARD is surprised by her words.)
EDWARD
I'm sorry.
JOANNA
No, don't worry about it. He hated me, too. I kinda envy you. You have a problem with your parents, you just remember they ain't your real parents. I'd be happy to find out he wasn't my real father.
EDWARD
If you don't mind my asking, how'd he die?
JOANNA
(Pause. The neighborhood dog barks.)
Heart attack. He's had a bad heart for a long time. It's just a matter of when.
EDWARD
And your mother?
JOANNA
Hm? Oh, she died a long time ago.
(The back door opens, and MADGE enters through the kitchen.)
MADGE
Oh, Joey?
(JOANNA jumps up from the chair and stands like a frightened animal ready to run or attack. MADGE stops when she spies EDWARD.)
MADGE (Continued)
Oh! I'm sorry. I didn't know you had company.
(She starts to leave.)
I can come back later.
JOANNA
No, Madge. It's okay. What is it?
MADGE
I was just gettin' things together for supper and wondered if you'd like to join me and Pa tonight. It won't be a fancy spread, just meat and potatoes mostly.
JOANNA
Edward, Eddy, would you mind givin' me a minute with Madge?
EDWARD
No problem. I can wait outside.
(EDWARD starts for the front door, but JOANNA stops him.)
JOANNA
No. Uh, why don't you take your bag upstairs. You can find it easy enough, it's the large bedroom at the head of the stairs.
EDWARD
Okay. Sure. Thanks.
(EDWARD picks up his bag and exits upstairs. The two women are quiet until he is out of earshot.)
MADGE
Lordie, Lordie. Where'd he come from?
JOANNA
Now, Madge, you gotta help me. If he asks you any questions, me and daddy moved in here years ago, and you don't remember the woman that lived here 'fore that 'cause you was just a kid at the time, you got that?
MADGE
(Completely confused.)
What are you talkin' about?
JOANNA
His name is Edward. He's on leave from the Navy. He's goin' to stay here a coupla days and then he's gonna leave. I told him I moved in here years ago and don't know the woman who lived here 'fore that. You gotta back me up on that.
MADGE
Joey, you know I am a Christian. I can't lie to him. You lived in this house all your life.
JOANNA
I'm not asking you to lie for me.
MADGE
Oh, yes, you are. And you're not tellin' me why neither.
JOANNA
All I'm askin' is that you don't mention anything that happened before, oh, say, say before I came back from that time I lived in California for a while. Just think of me comin' back from California as when me and daddy moved in here.
MADGE
(A penetrating gaze.)
Why? Why'd you tell him you haven't lived here? He don't look old enough to matter. Anything before your trip to California's probably before he was even born. . . . And why is he staying in your daddy's room?
JOANNA
It's a long story, and he might come down again any minute. I'll tell you everything later, I promise. Just trust me for now. Okay?
MADGE
Okay. But I won't tell no lies.
JOANNA
That's all I ask. . . . And don't mention my mother, whatever you do.
MADGE
What's your momma gotta do with anything?
JOANNA
Just trust me.
MADGE
Joey, you up to somethin' ain't you?
(They are interrupted by BRIAN's shout as he steps up onto the porch in front of the house. He is carrying some flowers.)
BRIAN
Hey, Joey! Hey, Madge! Mind if I come in?
(He comes in through the screen door and approaches the two women.)
JOANNA
Brian! What the hell are you doin' here?
MADGE
Does he know ‑‑
JOANNA
(Waving MADGE quiet.)
Brian, I thought I told you to call me. I thought I told you to take a nap and then call me.
BRIAN
I'm sorry, Honey-Babe. I just wanted to apologize for earlier. I shoulda called you from the road, I know that. I'm real sorry. I just wanted to ‑‑
MADGE
Look, while you two love‑birds talk this out, I'm gonna make myself scarce.
JOANNA
Madge! ‑‑
MADGE
Oh, that's right, I came over to borrow your old tablecloth for supper tonight. . . You know, the one with the daisies embroidered on it? The one you keep in the upstairs linen closet?
JOANNA
Oh, yes ‑‑
MADGE
You two go ahead. I'll find it.
(MADGE heads up the stairs. JOANNA moves to the sofa and sits down, trying to gain control.)
JOANNA
Oh, my! Oh, my!
BRIAN
(Moving around to sit beside JOANNA.)
Are you okay, honey? Is that Madge bothering you? God damn it, you just buried your daddy and here she is just traipsin' in here like she owns the place to borrow some tablecloth. You really oughta talk to her about that.
JOANNA
What?
BRIAN
You want me to talk to her? I'll give her a piece of my mind, I'll tell you what.
JOANNA
(Anger flaring.)
What are you doing here?
BRIAN
Oh, I just came over to tell you how sorry I was.
JOANNA
Brian, . . . Look, it's sweet of you to come over like this, but I just need some time to myself right now. I want you to go away for a few days.
BRIAN
But, Joey, I been gone two weeks already. I need you, Baby.
JOANNA
I know. I need you, too, Brian, but I just can't. Not right now. You understand that, don't you?
BRIAN
You mean, 'cause you just buried your daddy?
JOANNA
Yes. It ain't proper for a woman to go to bed with a man right after she's buried her daddy. It's got some superstitious thing where you get seven years of bad luck if you sleep with someone right after you bury your daddy. You understand?
BRIAN
You ain't superstitious, Joey.
JOANNA
That's not what I'm saying. I'm saying it wouldn't feel right. If we did it now, I'd just start cryin' . . .
(Anger flaring again.)
. . . and I don't wanna cry right now.
BRIAN
Maybe that's what you need, Honey‑Babe.
JOANNA
Brian, I just want some time alone. Can you understand that, please?
BRIAN
(Pause.)
You're seeing someone else, ain't you.
JOANNA
God! You are so stupid.
(MADGE appears on the stairway coming down. She carries a folded tablecloth with daisies. JOANNA and BRIAN stop when they hear her on the stairs. MADGE stops when she sees them.)
MADGE
Oh, looks like you two aren't ready to be interrupted. You want I should just slip out quietly?
JOANNA
(Standing.)
No, Madge. . . uh, I was just thinkin', there should be some linen napkins in the closet up there that match the tablecloth. Maybe you'd like to borrow those, too.
MADGE
I didn't see no napkins.
JOANNA
They're there, just look around for a few more minutes.
MADGE
Oh, . . . oh, sure, that'd be nice. I'll go look around for 'em.
(MADGE ascends the stairs and exits.)
BRIAN
Madge havin' a party or somethin'?
JOANNA
No, she's just fixin' a nice dinner for me and her Pa tonight. You're not invited because she didn't know you were back in town and because I don't want you there.
BRIAN
(Standing as well.)
Are you breakin' up with me, Joey?
JOANNA
No. Maybe. I don't think so. Just stop pushin' me. I need a coupla days, and I'll be fine.
(JOANNA takes him by the shirt and starts moving him toward the front door.)
JOANNA (Continued)
Look, it's been a tough time since you left. I missed you. But then daddy died, and thing's have gotten real funny inside me, you understand?
BRIAN
I think so.
JOANNA
I just need a coupla days to get things back into order around here, and then I'll be fine again.
BRIAN
I could help.
JOANNA
You can help by not being here.
BRIAN
(Whining.)
But, how come Madge gets to be here and I don't?
JOANNA
Madge is like a sister to me. . . Madge's known me longer than you have. . . You come into my life, and then you go out again, but Madge is always there. . .
(Anger flaring.)
Hell, it's just different with Madge than it is with you. Okay?
BRIAN
Okay. A coupla days?
JOANNA
A coupla days.
BRIAN
Okay.
(He starts out the door.)
Oh, I brought you these flowers.
JOANNA
(Taking them. Fake smile.)
Thank you. They're lovely.
BRIAN
Not as lovely as you, Joanna Mitchell.
(BRIAN attempts to kiss her, but she stops him.)
JOANNA
Goodbye.
BRIAN
Bye!
(He exits away from the house. MADGE comes down stairs again. She is still carrying the tablecloth but has no napkins.)
JOANNA
Thank you.
(JOANNA goes to MADGE and they sit together on the bottom steps of the staircase.)
MADGE
I couldn't find no matching napkins. I don't suppose you really have matching napkins?
JOANNA
Do you think he heard any of that?
MADGE
He's stretched out on your daddy's bed, fast asleep.
JOANNA
What am I doing, Madge? What am I doing?
MADGE
I haven't the slightest idea. Who is this kid?
(There is an obvious struggle inside JOANNA between wanting to speak and counting the cost of speaking.)
JOANNA
He's just a kid in the Navy. He's passin' through town and thought he used to know somebody who lived here. I didn't want to break his heart that they didn't live here, so I told him they moved a long time ago.
MADGE
Who's he lookin' for?
JOANNA
It don't matter. He's got the wrong name, he'll never find who he's lookin' for.
MADGE
You could help him more if you told him the truth.
JOANNA
No. Look, he's on leave. He has to go back to the Navy in a few days. He'll stay here until he leaves, and then he'll never come back again. He's just a nice kid who got lost on his way somewhere else.
MADGE
(Long pause.)
You gonna sleep with him?
JOANNA
Madge!?
MADGE
I seen that look in your eyes. You know how I feel about that kinda stuff outside of marriage. But I know you and Brian have done it, and God ain't punished you for it yet.
(JOANNA stands and moves away from the stairs toward center. MADGE stands and follows.)
MADGE (Continued)
Joey, why don't you just marry Brian and settle down? Be a real wife and have a real family. You should have a child by now, runnin' you ragged and makin' you crazy. And your daddy ain't here no more to take care of you.
JOANNA
You been talkin' to Mr. Shoemaker?
MADGE
No, he tell you the same thing?
JOANNA
Brian is a stupid ass.
MADGE
Stupid men don't cheat on their wives. It don't come to their minds. It's the smart ones you gotta watch out for.
JOANNA
Every man that's come into my life, he's either pushed me around, or I've pushed him around.
MADGE
It might just happen they just stop comin' into your life.
JOANNA
Yeah, and that's what happened to you? They stopped comin' into your life?
MADGE
(Laughing.)
Lordie, I wouldn't know what to do with a man if'n I had one.
(EDWARD appears on the stairs above them.)
EDWARD
Whoa. I'm sorry. I laid down for a minute and went right to sleep.
(The two women stop and watch him enter the room.)
EDWARD (Continued)
Did I sleep long?
JOANNA
No, not long at all. Madge and me were just talkin' about men.
EDWARD
Oh?
JOANNA
Seein' as how Madge has never had one.
MADGE
And seein' as how Joey can't get one to stick around more'n a few days at a time. . . So, you two interested in comin' to supper over with me and Pa?
JOANNA
I, uh, . . . don't think so. Not tonight. But maybe tomorrow. Edward agreed to help me do some work around the house, and I want to get as much work out of him as I can.
MADGE
Okay. Maybe tomorrow. It was nice to meet you, Edward.
(MADGE starts to exit through the kitchen.)
MADGE (Continued)
Don't let her work you too hard now. And holler if you need anything.
(She's gone.)
EDWARD
Okay, what's first?
JOANNA
First, daddy's chair goes away.
EDWARD
(EDWARD moves over and picks up the chair.)
Where to?
JOANNA
(Pause. She looks at him searchingly.)
You don't have to do this, you know?
EDWARD
I want to. Now where do you want this?
JOANNA
The attic.
(She starts up the stairs.)
JOANNA (Continued)
Follow me.
(EDWARD follows.)
JOANNA (Continued)
And while we're at it, we can bring down some of daddy's boxes and stuff and go through it all later.
(BLACKOUT)
END OF SCENE 1