zigzag cowgirl

ZIG ZAG COWGIRL


dominique gallo
domigallo@gmail.com
copywrite: Fall, 2006


ANNA: a woman

MICKEY: a man

LESLIE: Anna’s closest friend

BEN: Leslie’s husband



PRODUCTION NOTES:
Sounds should come from the stage: the record player, a real band. Except for the baby’s cries: this should be from the house speakers in a fashion that is overwhelming and clearly not from a baby on the stage.

Leslie is going to need to make an unseen exit. (Scene 5) This needs to be figured out in the set design.










SCENE I


ANNA’s home… It is a one room cement house. It is sparse and disheveled but not filthy dirty.

LIGHTS UP

ANNA lies face up on the bed. Her head half hangs off. MICKEY sits on the edge of the bed. His head is placed in his hands as he looks at his feet. He looks up and looks around. MICKEY stands. Walks to dresser. Pick up wallet, keys. Walks to mirror. Checks beard. Looks at ANNA. Walks out of the room. Locks door.

BLACKOUT

LIGHTS UP

ANNA lies face up on the bed as before. MICKEY enters “a little older.” Places keys and wallet on the dresser. Lies down next to ANNA.

BLACKOUT

LIGHTS UP

ANNA lies face up on the bed as before. MICKEY sits on the edge of the bed. His head is placed in his hands as he looks at his feet. He looks up and looks around. MICKEY stands. Walks to dresser. Pick up wallet, keys. Walks to mirror. Checks new growth on his beard. Looks at ANNA. Pause. Takes a blood-stained piece of cloth from his pocket. Looks at it. Places it on the dresser. Walks out of the room. Locks door.

BLACKOUT

LIGHTS UP

ANNA lies face up on the bed as before. MICKEY enters “a little older” than before. Places keys and wallet on the dresser. Pause. Sees then picks up blood-stained cloth. Crosses to ANNA. Stands over ANNA. Picks up pillow. Smothers his own head in the pillow- crying. Looks at blood-stained cloth. Drops pillow. Sits on corner of bed.

BLACKOUT

Bob Dylan tune plays.

LIGHTS UP

ANNA lies on her belly. Smoking a cigarette. MICKEY sits on the edge of the bed. His head is placed in his hands as he looks at his feet. MICKEY looks up and around.


MICKEY
Wow… (ANNA giggles)… I have some thing I want to show you. See you tonight?

ANNA
Alright. (bashful smile)

He exits. ANNA releases a big laugh. Lights out. BACH’s “partita for violin solo number 2 in D minor” plays.




SCENE II

LIGHTS UP. ANNA’s home. It is a sunny summer. The room is clean and bright. There is a table where ANNA and LESLIE are seated drinking coffee and eating coffee cake. LESLIE is looking at the newspaper.

LESLIE
Oh, my god, they found those kids.

ANNA
Oh, really? What does it say?

LESLIE
This is the one where the mom was stabbed and the baby was…

ANNA
Yeah… (pause)… yeah… how can you…

LESLIE
The baby was torn out…

ANNA
I know… how do you… how can you…

LESLIE
It’s worse. There were three children were home when it happened.

ANNA
Oh my god…

LESLIE
It looks like, they were stuffed in the washer and dryer.
(ANNA looks over LESLIE’s shoulder and tilts the paper toward herself)

ANNA
What is wrong with people… this is, what, the third one this month.

LESLIE
I think it always happens. One made the paper; so they all make the paper.

ANNA
How do you… so violent… I just… (They continue through the paper)

LESLIE
Honey, you can’t know… anyway, it’s awful… them poor kids.

ANNA
It’s awful… that poor family…

LESLIE
Yeah.
(ANNA walks to look out a “window”. She just stares, clutching herself. LESLIE watches her then places her head into hands)
Well, enough of that.

ANNA
Yeah… (makes herself busy arranging table and refilling coffee)

LESLIE
Life is really lookin’ up, huh?

ANNA
Yeah, I think they are.

LESLIE
Anna… do you want kids, someday?

ANNA
Oh… I guess…. Can you image? This place… (she goes far away imagining. Laughs to herself.)

LESLIE starts to talk but we can’t hear her. Then, ANNA kneels down to give an imaginary child a real piece of coffee cake. LESLIE continues to talk. We cannot hear her until…

LESLIE
It would be good for her to have all the facts of what brand of bastard ‘e is. I mean, He beat you until you couldn’t walk no more.

ANNA
Yeah… the facts.


LESLIE
Although, you know I am a little surprised that I told ‘er, ya know… I mean, who would of thought I’d be telling that woman to stay away from your former bastard. They nearly deserve each other.

ANNA
Protected you are… I’ll watch over ya.

LESLIE
I guess no one deserves what he’ll dish out. Watchin’ you in that hospital room, I never thought your eyes would open…

ANNA
A little person you are… learnin’, drawin’ seein’ this for the first time…

LESLIE
I don’t think you’re listening to a word I am saying.

ANNA
Oh, What… I am…. I am. I just saw…

LESLIE
You’re my best friend, Anna. You know I’m here for you… You okay?

ANNA
Yeah, I’m sorry… Actually, I’ve never been so good. (PAUSE) I think I want kids. (Laughs… They acknowledge happiness.)

(Knock at the door. ANNA staring at door almost sick.)

LESLIE
Good… I invited someone to our breakfast.

ANNA
What? No…

LESLIE
Yes.
ANNA
Why… I’m sorry… I don’t think I want to do this today… Um… I’m sick…

(Knock at the door.)

LESLIE
What? Well… you have little choice now…

ANNA
But… it’s too soon… Jerry… Jerry… he just got paroled… Did you know? He out!

(Knock at the door)

LESLIE
All the more reason… I know you’re scared. I would be after—well—
Look, he’s a really nice guy. You don’t have to let him in… You—
You’re finally walking around again. I’m sorry, honey, I just thought…

Pause

I’ll tell him to go. I’m sorry… (makes for the door.)


ANNA
No. (goes to the door. Takes a deep breath.) He can’t beat me forever. ( Opens it. MICKEY and BEN are standing there) Um… hello… Welcome… (invites them… they enter)

BEN
Hi Anna. Hey babe. (half hugs LESLIE who kisses his check).

ANNA
Hi… (to MICKEY) I’m … um…

LESLIE
Mickey this is Anna. Come and sit everybody. (Everybody sits.)

BLACKOUT








SCENE III

LIGHTS UP several hours later. Frank Sinatra or Tito Puente or Big Band plays on the record player. There are a couple of empty Kailua bottles amongst the coffee and cakes. LESLIE and BEN are slow dancing. ANNA and MICKEY are sitting on the floor amid ink drawings of a boot in water. The audience should be able to make out the water level and the boot and the number. The drawings are numbered and contain their own detail (a particular tree or something). These drawings, if put in order, would arrange a sort of topography map. In Chronological order, they reveal the depth of the water as well as landmarks.

MICKEY
There must be a hundred of these.

ANNA
One hundred and seventeen, to be exact. (filled with pride)

MICKEY
Why?

ANNA
What?

MICKEY
Why do you have them?

ANNA
I painted them… they are mine.

MICKEY
Oh…

(ANNA begins to clean them up)

I’m sorry. I— don’t put ‘em away. I just wanted to… (gently grabs her arm. She stops and looks at him.) I like ‘em. (ANNA kneels in front of him)

ANNA
They make a map… The creek near my house…. my house when I was a kid… I use them to find my way home if I got lost… (MICKEY goes to kiss her. The record has come to the end. She turns her head away.)
I… I…

MICKEY
I just thought— I’m… I have to go… I’m sorry…

ANNA
Oh, okay

Pause he observes her

I—

Pause

MICKEY
I’d like to pick you up tomorrow at 8pm.

ANNA
Oh, okay. (stands: “seeing him out”)

(MICKEY exits. ANNA hears the music. The record is still turning on the turntable. ANNA observes BEN and LESLIE)

BLACKOUT









SCENE IV


In the darkness we hear sounds of music, laughter and moaning (ANNA and MICKEY). Lights up on ANNA standing on the opposite side of the stage of the door. She is holding a long curtain, standing on a chair. MICKEY is throwing flowers at her. She guards like a matador. They are laughing. MICKEYgoes to her. Picks her up, off the chair and onto the floor, ravaging her. Blackout, sound out.

In the darkness, we hear sounds of music, laughter and moaning (ANNA and MICKEY). Lights up on ANNA in the same area, drawing her foot crossing the threshold of their house. MICKEY plays his guitar. She looks at him.

ANNA
I’m home… (MICKEY smiles, continues to play more excitedly)

Blackout, sound out.

In the darkness, we hear sounds of music and whispering (ANNA and MICKEY). Lights up on ANNA in the same area, standing on a chair, trying to put up a curtain, different from before. MICKEY sits reading a paper. ANNA reaching but can’t quite reach.

ANNA
Mickey… (chair wobbles) Mickey… (she falls off the chair and shouts out.)

MICKEY
(looking up from the paper) Oh… (goes to her and helps her up.)

Blackout, sound out.

In the darkness, we hear sounds of music, laughter and whispers (ANNA). Lights come up on ANNA in the same area, drawing her foot walking away from her house. MICKEY just sits.

MICKEY
I’m going out.

ANNA
Okay. (He leers at her. She does not notice. Continues to draw.) I have tacos for dinner. Could you pick up some beer?

MICKEY
Aren’t you the least bit interested in where I’m going?

ANNA
(She stops. Thinks a little.) No. Should I be?
ANNA (cont.)
Pause

Do I want to go?

MICKEY
No, I guess not.

Blackout, sound out.

In the darkness we hear sounds of laughter and moaning (LESLIE and MICKEY). Then we hear BEN’s muffled voice yelling. LESLIE yells a muffled “NO.” Light up on ANNA drawing another boot standing in water. In the darkness comes the sound of a baseball bat hitting a car. Screaming and yelling ensue. A death scream issued by LESLIE.

Lights up on ANNA, setting the table, looks up as though she heard it. Looks toward the door. MICKEY bursts through the door. He is covered in blood and bruises. His clothes are torn and a mess.

ANNA
Oh my god… (MICKEY is unable to respond)

What happened…?

Sit down…

(MICKEY stumbles into the house. He does not look at ANNA. ANNA sits him down and gets towels and water. She becomes his nurse. He says nothing.)

Where were you? What were you doing? (MICKEY pathetically tries to stop her.)

Okay… it’s okay…

I’ll take care of you.

I’m here. Was it the car? A car accident?

(ANNA removes his shirt)

MICKEY
(Mumbling) stop… you… I can’t… Please stop.

ANNA
No… no… I’m will clean you up and you just go to bed… it’s okay… I’m here…

(MICKEY puts his hands up as though to defend himself. But not with a lot of will to stop her from cleaning him)

It’ll be fine… you’re safe…

MICKEY
(picks her up by her throat and pushes her against the wall) Stop it! You bitch! Open your eyes. Why didn’t you care!

ANNA
I can’t… stop—

MICKEY
You slut… You got me… you didn’t care… jealous… you got me to… you killed her!


ANNA
Let go! I can’t breath! Let go! Help…. (gasping for breath) Let go!

(They stare at each other. He lets go of her. She falls to the ground, panting. Pause. ANNA looks at him… recovers. Crawls to water and towels. Cleans Towel. Returns to MICKEY who is staring at the wall. ANNA washes his back)

MICKEY
I…
I…
Do you want to know where I was?

Don’t you care?

ANNA
I am happy you are safe… alive.


MICKEY
I was… I was…with Leslie.


ANNA
Is she hurt? (Silence) Where is she? (Silence) Is she hurt? (Silence) Did you hurt her?

MICKEY
Oh, No… Ben… it was Ben… He did…

He knew…

Silence

But, not you…
You didn’t…
I had sex with Leslie!

ANNA
Where is she?

MICKEY
Don’t you care? I cheated on you with your little friend.

ANNA
I heard you. Where is she?


MICKEY
What? I had my dick in her mouth… I fucked her!

(ANNA pauses… hits him with the towel. Finds herself. Then continues bathing him)

ANNA
Where is she?

MICKEY
She felt real good!

ANNA
Is that why you hurt her? (hits him with the towel.) ‘Cause she felt so good? (she hits him with towel as though it were a whip.) What did you do? You are covered in blood. Is it hers? (MICKEY guards himself against the beating )

MICKEY
Stop! Stop! Enough!

ANNA
Did you kill her? What did you do? (she gives him one last slashing)

MICKEY
Ben! It was Ben. Ben hurt her! I didn’t hurt her…

ANNA
Okay…

MICKEY
Aren’t you mad? Don’t you care?

ANNA
Did he kill her?

MICKEY
I don’t know.

ANNA
Where is she?

MICKEY
In my car… behind the fields. You’re not jealous? Don’t you love me anymore?




ANNA
What’s wrong with you? (PAUSE) You don’t know?

Is what you did, a sign of love?

You want to talk about love? That is not love… I’ve been down that road. I know this road. That bastard hurt me… just different than you. Jerry hit me with his hands with objects. I woke up in hospitals or got there eventually. You, you don’t hit… you don’t talk… you lash out without fists, without words. I wake up, four walls… I stay in… four walls. Four fucking walls…

Pause

(She picks up his shirt. She tears it in many pieces.)

I want you to keep this piece. I will keep this piece. (She hands him one piece. She places her piece in her pocket.) You want a sign of my love. You want a sign? This is a sign. Whenever you forget, look at it. Remember today. I don’t know if it’s love. But, it’s somethin’. And, I don’t wanna know no more. (He takes the piece of shirt. Places it in his pocket. They are very sober.)

Are you hurt anywhere?

MICKEY
No.

ANNA
Fine. I’m going to find Leslie. I’ll be back.

MICKEY
I’ll go with you…

ANNA
No, please no… stay here. Eat your dinner. I’ll clean up when I get home.

Go to bed.

(starts to leave)

ANNA (cont.)
We’re going to have a baby.

Pause

I’ve always wanted a baby. (Big smile… closes door behind her.
BLACKOUT


SCENE V

Lights come up on an extremely colorful and fantastic scene. There is a band playing festive Mexican songs. ANNA and LESLIE are preparing an enormous feast and decorating for a party. They move as though they are dancing on a stage. LESLIE is only a memory. She is according to ANNA’s idealized vision of her. This translates in beauty, movement, voice, and dress. But, she is not there, so she should not touch anyone. Nor, should she be able to lift or do things on her own. She can help, however, like a helpful wind that aids you to open the door. ANNA is very pregnant. The place is decorated for a party. This is a one to two minute choreographed intermezzo.

LESLIE
Do you have the salsa?

ANNA
Oh my god… I can never remember anything… Where are the tomatoes?

LESLIE
Under the table.

(ANNA takes out an enormous box of tomatoes. They are beautiful.)

ANNA
Oh my god, I can hardly lift it. Wow, these tomatoes… this place is so beautiful. Just like I always imagined.

LESLIE
Oh, those sounds… I have to dance… Do you need me?

ANNA
I couldn’t live without you. But I can cook on my own. I love to see you dance.

(Enjoy the moment)

You know, I never thought life would turn out like this. It is like all my dreams came true. Like a fairy tale. Just like a fairy tale.

(ANNA focuses on her belly then continues to prepare the salsa. There is a rattle at the door. It is MICKEY. He is having a difficult time with the doorknob because his arms are filled with field flowers. LESLIE helps with the door. ANNA lets out a burst of glee.)

MICKEY
I’m sorry I’m late. But, they were so beautiful… I couldn’t carry enough.

(ANNA takes an armful and places them in a bucket of water. MICKEY looks down at the remainder and throws them into the air. He catches one and prunes it. Places it in to ANNA’s hair or maybe her dress)

MICKEY
Everything is perfect isn’t it.

(He kneels down and embraces her legs, gently kissing her belly)

ANNA
Everything is perfect.

(During this time, LESLIE disappears.)

(MICKEY gently leads her to the bed and lays her down. He lies behind her, caresses her arms, belly, legs. The bands is nearly unheard, nearly unseen as they play their ballad)

MICKEY
Tell me you will never leave.

(ANNA turns her head to the side, staring off into the distance.)

(The lights shift to darken on the bed and come up on the band and LESLIE dancing.)

ANNA
You never told me about that night.

MICKEY
Shh… not now.

(LESLIE sits at the table. ANNA unknown to MICKEY gets up and sits at the table. MICKEY continues as though she is there.)

LESLIE
Hello, honey.

ANNA
Hey, are you hungry?

LESLIE
No.

ANNA
Gosh, I am.

LESLIE
I’ll watch you eat.

ANNA
It’s almost time, you know. (LESLIE nods.) I’m so scared. I just—

LESLIE
Honey… (ANNA is sobbing) Honey! You don’t need to worry. Everything is perfect. We are going to have a beautiful baby. You will be a perfect mother.

ANNA
But— (controlling herself) but, Mickey… he’s so good, he’ll be a good father, won’t he?

LESLIE
Oh, the best. Don’t you worry… don’t you worry one bit. We’ll be one big, happy family.

ANNA
Sometimes (laughs to herself) you know, sometimes I think you’re not really here. Sometimes I think you really did die. And I get so—

LESLIE
Shh… he’s finishing up, honey… it’s time to go back.

ANNA
Oh… (she walks toward the bed and lays down. LESLIE disappears. ANNA screams.)

BLACKOUT

SCENE VI

In the darkness, we heard the sounds of a baby’s cries. The band is playing a lonely ballad. Lights rise on ANNA who lays face up on the bed the baby is on the bed with her. MICKEY enters with a rocking chair.

MICKEY
Anna, the baby…

(He puts the rocking chair down and picks up the baby.)

Anna, Anna… um… I brought… you rest

(He sits with the bundle in the rocking chair. He sings a little lullaby. The band no longer plays they are dark. ANNA sits up. She is clutching her bloody piece of cloth. She looks at MICKEY. LESLIE comes in and stands behind him. He sees ANNA looking at them.)

MICKEY
The baby was cryin’. Didn’t you hear her?

ANNA
I guess I was dreamin’

MICKEY
What were you dreamin’ about?

ANNA
I don’t know… (Pause)… I think I am dreaming about… a little creek. A little creek near a little house… were I lived once. But I can’t find it. The house… I can’t find the little house. There’s only the creek and trees. And I think I have a friend nearby.

MICKEY
Well, this little bundle needs her momma. You can’t just check out like that.

ANNA
Sure. Where were you? Where were you?

MICKEY
Oh, don’t you see? I’m sittin’ in it. (Pause) I bought you a rockin’ chair.

ANNA
I see. (She stands and walks to him and drops her cloth in his lap. Exits)

MICKEY
Anna! (Stands) Wait, come back.
MICKEY (cont.)
You can’t leave me. You can’t. I won’t let you.

You can’t leave me with this kid. With this shirt. You can’t go. (cries and clutches the baby.) I won’t allow it.

(He puts the baby down and runs outside. We hear a struggle and watch him drag her back inside.

MICKEY
You see? We are a family, here, a family. Lay down. You’re just tired. (He goes to a cabinet filled with Christmas decorations and gets a bell and a ribbon. He ties the bell to her leg, near her foot.)

ANNA
What are you doing?

MICKEY
Protecting you.

BLACKOUT



























SCENE VII

In the darkness we hear the baby cry. Then we hear the sounds of footsteps. There is a large bell tied to ANNA’s foot. MICKEY turns on the light. ANNA is holding the baby in the rocking chair.

MICKEY
Again? (He goes and brings her a glass of water.) Here. Is she hungry?

ANNA
No, just tired. Go back to bed.

MICKEY
Nah, I stay up with you. My beautiful Anna, beautiful mother.

ANNA
I think I’d like to get some air. Walk around maybe.

MICKEY
Come back to bed. The baby’s fine.

ANNA
But, it is a lovely night. I won’t be long.

MICKEY
You are needed here, mother. Walk tomorrow. Lay down with me. I need you now. Not the moon.

Lights fade to black.















SCENE VII
Lights rise on ANNA and LESLIE sitting at the table. There are shirts tied around the bell. They are drinking tea.

ANNA
I had to put a sock in it.

The bell… I can’t move anymore.

I am dying.

LESLIE
Honey… you’re not dying.

ANNA
Yes, I am. He’s killing me. Slowly. Quietly. Death comes sweetly but not fast enough.

LESLIE
Anna. You’re not dying. You don’t want to die.

ANNA
How do you know. You’re free. You can come and go as you want. No one ties you up. Tells you not to cry.

LESLIE
That’s not true.

ANNA
Right.

LESLIE
Honey, you tell me when to come, when to leave, what to say. You keep me here. I was dead.

I was dead. And you keep bringing me back.

You have to let go… of everything.

You have to leave. Take that baby and go. Make a new life. Somewhere else.

I can’t come back. I can’t come back.

You need to let go. Let me die.

Let me leave.

(ANNA looking at her, crying,)

ANNA
You’re right. I gotta go.

LESLIE
Just follow your map. Follow those boots all the way back to that tree to that bench. Follow the creek back to that place.

ANNA
I’ll miss you. (LESLIE stands and opens the front door. LESLIE walks out. MICKEY wakes up.)

MICKEY
Anna! Close that door! Come back to bed. It’s too late for walks.

(ANNA goes to the baby’s crib and caresses his head. She sits on the bed and removes the shirts from the bell. She lies down)

MICKEY
It’s too late, now. Go to sleep. We’ll walk in the morning.

BLACKOUT



SCENE VIII

LIGHTS UP

ANNA lies face up on the bed. Her head half hangs off. MICKEY sits on the edge of the bed. He is tightening the bell around her foot. He looks up and looks around. MICKEY stands. Walks to the baby. Lays baby down next to ANNA. Walks to dresser. Pick up wallet, keys. Walks to mirror. Checks beard. Looks at ANNA. Walks out of the room. Locks door.

BLACKOUT

LIGHTS UP

ANNA lies face up on the bed as before. MICKEY enters. Places keys and wallet on the dresser. Sits down next to ANNA. Picks up baby.

BLACKOUT

LIGHTS UP

ANNA lies face up on the bed as before. MICKEY sits on the edge of the bed. His head is placed in his hands as he looks at his feet. He looks up and looks around. MICKEY stands. Walks to dresser. Pick up wallet, keys. Walks to mirror. Checks his beard. Looks at ANNA. Pause. Takes a blood-stained piece of cloth from his pocket. Looks at it. Places it on the dresser. Walks out of the room. Locks door.

BLACKOUT

Baby cries in the darkness.

LIGHTS UP

ANNA lies face up on the bed as before. MICKEY enters “a little older” than before. Places keys and wallet on the dresser. Pause. Sees then picks up blood-stained cloth. Crosses to baby. Picks her up. Sits in the rocking chair. Holds the cloth to his face and cries.

BLACKOUT

LIGHTS UP

Bob Dylan tune plays.

ANNA lies face up on the bed as before. She looks to MICKEY who lies next to her. She sits up and carefully removes the bell. She stands and gets a hidden overnight bag. Picks up the baby. Go to the dresser. Places her bloody cloth on the dresser.

ANNA
(whispers) Good night, Leslie.

Takes his keys and his wallet. Exits, locks the door behind her.



BLACKOUT
END OF PLAY