Angels in America (8 page)

LOUIS
(Entering)
: Prior? They'll be here in—

     
Oh my God.

PRIOR
: I'm sorry, I'm sorry.

LOUIS
: What did . . .? What?

PRIOR
: I had an accident.

(Louis goes to him.)

LOUIS
: This is blood.

PRIOR
: Maybe you shouldn't touch it . . . me . . . I . . .
(He faints)

LOUIS
(Quietly)
: Oh help. Oh help. Oh God oh God oh God help me I can't I can't I can't.

Scene 2

Night. Harper at home, sitting on the floor, all alone, with no lights on. We can barely see her. Joe enters, but he doesn't turn on the lights
.

JOE
: Why are you sitting in the dark? Turn on the light.

HARPER
:
No
. I heard the sounds in the bedroom again. I know someone was in there.

JOE
: No one was.

HARPER
: Maybe actually in the bed, under the covers with a knife.

     
Oh, boy. Joe. I, um, I'm thinking of going away. By which I mean: I think I'm going off again. You . . . you know what I mean?

JOE
: Please don't. Stay. We can fix it. I pray for that. This is my fault, but I can correct it. You have to try, too.

(Joe walks to a floor lamp and switches on the light, then sits next to her on the floor. As soon as he sits, Harper stands, goes to the lamp, turns off the light, and then returns to sit beside him. They sit quietly, close together, in the dark. Then:)

HARPER
: When you pray, what do you pray for?

JOE
: I pray for God to crush me, break me up into little pieces and start all over again.

HARPER
: Oh. Please. Don't pray for that.

JOE
: I had a book of Bible stories when I was a kid. There was a picture I'd look at twenty times every day: Jacob wrestles with the angel. I don't really remember the story, or why the wrestling—just the picture. Jacob is young and very strong. The angel is . . . a beautiful man, with golden hair
and wings, of course. I still dream about it. Many nights. I'm . . . It's me. In that struggle. Fierce, and unfair. The angel is not human, and it holds nothing back, so how could anyone human win, what kind of a fight is that? It's not just. Losing means your soul thrown down in the dust, your heart torn out from God's. But you can't not lose.

HARPER
: In the whole entire world, you are the only person, the only person I love or have ever loved. And I love you terribly. Terribly. That's what's so awfully, irreducibly real. I can make up anything but I can't dream that away.

JOE
: Are you . . . Are you really going to have a baby?

HARPER
: It's my time, and there's no blood. I don't really know. I suppose it wouldn't be a great thing. Maybe I'm just not bleeding because I take too many pills. Maybe I'll give birth to a pill.

(He laughs a little.)

HARPER
: That would give a new meaning to pill-popping, huh?

(They both laugh.)

HARPER
: I think you should go to Washington. Alone. Change, like you said.

JOE
: I'm not going to leave you, Harper.

HARPER
(A beat, then)
: Well maybe not. But I'm going to leave you.

Scene 3

One
A.M.
, the next morning. A hospital room. Prior is in a bed, oxygen mask on his face, IV tubes draining bags of fluids into his veins. Emily, a nurse, finishes checking the tubes, the machines. Louis watches Emily; he avoids looking at Prior
.

EMILY
: He'll be all right now.

LOUIS
: No he won't.

EMILY
: No. I guess not. I gave him something that makes him sleep.

LOUIS
: Deep asleep?

EMILY
: Orbiting the moons of Jupiter.

LOUIS
: A good place to be.

EMILY
: Anyplace better than here. You his . . . uh . . .?

LOUIS
: Yes. I'm his uh.

EMILY
: This must be hell for you.

LOUIS
: It is. Hell. The After Life. Which is not at all like a rainy afternoon in March, by the way, Prior. A lot more vivid than I'd expected. Dead leaves, but the crunchy kind. Sharp, dry air. The kind of long, luxurious dying feeling that breaks your heart.

EMILY
(Not following, exactly)
: Yeah, well. We all get to break our hearts on this one.

     
He seems like a nice guy. Cute.

LOUIS
: Not like this.

     
Yes, he is. Was. Whatever.

EMILY
: Weird name. Prior Walter. Like, “The Walter before this one.”

LOUIS
: Lots of Walters before this one. Prior is an old old family name in an old old family. The Walters go back to the Mayflower and beyond. Back to the Norman Conquests.
He says there's a Prior Walter stitched into the Bayeux tapestry.

EMILY
: Is that impressive?

LOUIS
: Well, it's old. Very old. Which in some circles equals impressive.

EMILY
: Not in my circle. What's the name of the tapestry?

LOUIS
: The Bayeux tapestry. Embroidered by La Reine Mathilde.

EMILY
: I'll tell my mother. She embroiders. Drives me nuts.

LOUIS
: Manual therapy for anxious hands.

EMILY
: Maybe you should try it.

(Louis looks at her, then finally looks directly at Prior. Then he looks away.)

LOUIS
: Mathilde stitched while William the Conqueror was off to war. She was capable of . . . more than loyalty. Devotion.

     
She waited for him, she stitched for years. And if he had come back broken and defeated from war, she would have loved him even more. And if he had returned mutilated, ugly, full of infection and horror, she would still have loved him; fed by pity, by a sharing of pain, she would love him even more, and even more, and she would never, never have prayed to God, please let him die if he can't return to me whole and healthy and able to live a normal life . . . If he had died, she would have buried her heart with him.

     
So what the fuck is the matter with me?

     
(Little pause)

     
Will he sleep through the night?

EMILY
: At least.

LOUIS
: I'm going.

EMILY
: It's one
A.M.
Where do you have to go at—

LOUIS
: I know what time it is. A walk. Night air, good for the . . .
(Quickly brushing his hand across his heart; then)
The park.

EMILY
: Be careful.

LOUIS
: Yeah. Danger.

     
Tell him, if he wakes up and you're still on, tell him good-bye, tell him I had to go.

Scene 4

Same night. Split scene: Joe and Roy sitting at the bar in an elegant restaurant; Louis and a Man, dressed in leather, in the Ramble in Central Park. Roy's in a tuxedo, bowtie loosened. He's been drinking heavily, a rye and soda before him. Joe's dressed casually, nursing a tumbler of club soda. Louis and the Man are eyeing each other, alternating interest and indifference
.

JOE
: The pills were something she started when she miscarried or . . . no, she took some before that. She had a really bad time at home, when she was a kid, her home was really bad. I think a lot of drinking and physical stuff. She doesn't talk about that, instead she talks about . . . the sky falling down, people with knives hiding under sofas. Monsters. Mormons. Everyone thinks Mormons don't come from homes like that, we aren't supposed to behave that way, but we do. It's not lying, or being two-faced. Everyone tries very hard to live up to God's strictures, which are very . . . um . . .

ROY
: Strict.

JOE
: I shouldn't be bothering you with this.

ROY
: No, please. Heart to heart. Want another . . . What is that, seltzer?

JOE
: The failure to measure up hits people very hard. From such a strong desire to be good they feel very far from goodness when they fail.

     
What scares me is that maybe what I really love in her is the part of her that's farthest from the light, from God's love; maybe I was drawn to that in the first place. And I'm keeping it alive because I need it.

ROY
: Why would you need it?

JOE
: There are things . . . I don't know how well we know ourselves. I mean, what if? I know I married her because she . . . because I loved it that she was always wrong, always doing something wrong, like one step out of step. In Salt Lake City that stands out. I never stood out, on the outside, but inside, it was hard for me. To pass.

ROY
: Pass?

JOE
: Yeah.

ROY
: Pass as what?

JOE
: Oh. Well . . . As someone cheerful and strong. Those who love God with an open heart unclouded by secrets and struggles are cheerful; God's easy simple love for them shows in how strong and happy they are. The saints.

ROY
: But you had secrets? Secret struggles . . .

JOE
: I wanted to be one of the elect, one of the Blessed. You feel you ought to be, that the blemishes are yours by choice, which of course they aren't. Harper's sorrow, that really deep sorrow, she didn't choose that. But it's there.

ROY
: You didn't put it there.

JOE
: No.

ROY
: You sound like you think you did.

JOE
: I am responsible for her.

ROY
: Because she's your wife.

JOE
: That. And I do love her.

ROY
: Whatever. She's your wife. And so there are obligations. To her. But also to yourself.

JOE
: She'd fall apart in Washington.

ROY
: Then let her stay here.

JOE
: She'll fall apart if I leave her.

ROY
: Then bring her to Washington.

JOE
: I just can't, Roy. She needs me.

ROY
: Listen, Joe. I'm the best divorce lawyer in the business.

(Little pause.)

JOE
: Can't Washington wait?

ROY
: You do what you need to do, Joe. What
you
need.
You
. Let her life go where it wants to go. You'll both be better for that.
Somebody
should get what they want.

MAN
: What do you want?

LOUIS
: I want you to fuck me, hurt me, make me bleed.

MAN
: I want to.

LOUIS
: Yeah?

MAN
: I want to hurt you.

LOUIS
: Fuck me.

MAN
: Yeah?

LOUIS
: Hard.

MAN
: Yeah? You been a bad boy?

(Pause. Louis laughs, softly.)

LOUIS
: Very bad. Very bad.

MAN
: You need to be punished, boy?

LOUIS
: Yes. I do.

MAN
: Yes what?

(Little pause.)

LOUIS
: Um, I . . .

MAN
: Yes
what
, boy?

LOUIS
: Oh. Yes sir.

MAN
: I want you to take me to your place, boy.

LOUIS
: No, I can't do that.

MAN
: No
what
?

LOUIS
: No sir, I can't, I—

     
I don't live alone, sir.