DAN O'BRIEN | Key West
Act Two: South
NIALL
Hello?
BRIGID
Hello?
NIALL
Hello, Bridge?
BRIGID
—Hi!
NIALL
What are you doing out here?
(They approach each other in the dark, along
the beach, in a mist.)
BRIGID
—Niall?
NIALL
Hi. . . .
BRIGID
How are you? —My light broke.
NIALL
Fine—how are you?
BRIGID
Good, I’m good. That’s funny . . .
NIALL
What is?
BRIGID
Nothing. Just the way we’re—I don’t
know, "talking."
NIALL
. . . What are you doing out here?
BRIGID
I went for a walk, as soon as the rain let up, with
a flashlight which as you can see has just—(her light flickers)
NIALL
Bridge—
BRIGID
—busted. —If you shake it, like that,
it—
NIALL
Brigid—
BRIGID
—flickers—see? It flickers. —My
mood, Niall, it’s so improved!
NIALL
. . . Is there a reason you don’t have an
umbrella?
BRIGID
I don’t believe in umbrellas.
NIALL
I don’t believe an umbrella requires your
faith, my girl—either it keeps you dry or it does not. —Share
mine: (the umbrella)
Shall we walk?
(He offers his arm and she takes it.
They walk:)
NIALL
I see you’ve got yourself a slicker.
BRIGID
A—? yes.
NIALL
And the lightning?
BRIGID
What about it?
NIALL
Doesn’t frighten you anymore?
BRIGID
—Not this kind of lightning, no it doesn’t.
NIALL
What kind of lightning would you call this?
BRIGID
The kind that jumps around up there like—
NIALL
Watch your step.
BRIGID
—I don’t know, like "neural activity."
NIALL
. . . We’re talking about the weather here?
BRIGID
Do you think that, as a culture, the Irish have
an unnatural obsession with the weather?
NIALL
. . . Yes.
BRIGID
That’s it, "yes"?
NIALL
Yes.
—Well I wouldn’t call it un-natural.
The weather in Ireland
is so changeable, so precarious, it demands a constant appraisal: four seasons
in a day, four types of rain: spitting rain, pissing rain, weeping rain—and
of course you’ve got your Biblical deluge. . . .
BRIGID
My father used to talk about the weather.
Some days that’d be all he’d talk about. When he was sick,
we were caring for him at home, I was due to visit after exams and
my mother put him on the phone: His voice—he sounded like an
old woman. . . "I understand you’ve got rain in New Haven."
.
. . Can you imagine?
.
. . We talked about the weather for two minutes and then hung up. And then he
died a few days later.
(They walk in silence.)
NIALL
. . . Rain, when it’s hot, is not such a bad
thing.
BRIGID
No, you might even say that the rain is good.
NIALL
You and your dad didn’t get along, I
take it. I only ask because you can’t blame him. It’s something
in the family, in the genes. Sins of the father, like. We didn’t
get along with our father, for no reason, but it infected the whole
family all the same. . . . We kept a certain—distance.
Once,
we were helping our father dig down to a broken sewage pipe. He was getting up
there, fifties—old for those days—so Harold and I did the digging.
Down deep as a grave, we’d unearthed this ruptured clay pipe: shite mixed
with mud mixed with roots and shale and clay, and our father—your grandfather—was
standing above the hole . . . and he starts to bury us. Laughing. Just a few
spadesful of mud, dropped on our backs. . . .
Harold laughed too, and
took it for the joke I suppose it was meant to be. . . . But I didn’t laugh.
I didn’t get the joke.
BRIGID
That’s terrible. . . .
NIALL
Well . . .
BRIGID
What an awful thing to do.
NIALL
Mmm . . .
BRIGID
—Why did he do it?—why would he do something
like that?
NIALL
Don’t know, it’s a mystery. . . .
BRIGID
. . . I don’t care what you say: I think the
storm’s over.
NIALL
The thing about storms is they move every
direction at once. —Hurricanes, I’m talking about, the
big ones—but tropical storms too. Like spinning tops, they careen
across the map. . . . The one place you’re safe is in the eye
of it.
It’ll start raining
again, you’ll see.
BRIGID
No one’s ever accused you of being an optimist,
have they?
NIALL
Do you know it’s a major symptom of schizophrenia
to divine too personal a meaning in the weather?
BRIGID
Were you schizophrenic . . . ? The other night you
said you’d been institutionalized—
NIALL
A long time ago.
BRIGID
And what was it, a mistake?
NIALL
Everyone’s entitled to an opinion.
BRIGID
So you consider mental health a matter of opinion?
NIALL
—I like to think instead that I was
ecstatic, when I was ill. —"Ecstasy," in the religious
sense. I felt transcendent, and not a bit sick. . . .
At
the time, I remember wishing I were a religious man, so that I could explain
it that way. But I didn’t have the words. How could I say, as a modern
man, agnostic if not atheist, "Look here everyone, I’m hearing voices
and they’re telling me grave things about the world and my place in it
and I swear it’s all coming from God."
.
. . They gave me electroshock treatment.
I got better.
BRIGID
. . . .
NIALL
. . . So tell me, Bridge: where’ve you been?
BRIGID
What do you mean?
NIALL
These last two days.
BRIGID
I don’t know—
NIALL
You don’t know?
BRIGID
I know, but—
NIALL
I thought I would’ve seen you by now.
BRIGID
You’re seeing me now.
NIALL
All the same, I thought you might’ve dropped
by, considering . . .
BRIGID
. . . .
NIALL
I woke up the next morning and thought I’d
dreamt it, thought I’d seen a ghost. —Now why would I think
that?
BRIGID
. . . .
NIALL
—Where’ve you been? Do you remember?
BRIGID
Of course I remember. —What kind of question
is that?
NIALL
Where, then?
BRIGID
Where could I go? I walked around the island. .
. .
NIALL
Where?
BRIGID
Here and there, saw the sites.
NIALL
Which sites?
BRIGID
Houses, you know—homes—
NIALL
Whose homes?
BRIGID
Famous homes literary homes—homes of dead
people. —You think I’m being, what—?
NIALL
No—
BRIGID
—dishonest? deceitful?—I bought a fucking
slicker, Dad!
NIALL
—That’s not fair!
BRIGID
How is it not fair?
NIALL
That money was a gift—
BRIGID
A pay off’s more like it—
NIALL
Do you know how many children I’ve got?
BRIGID
. . . No . . . this is fascinating, please:
NIALL
—You’re not special. . . .
That’s all I’m
saying. . . .
BRIGID
. . . I used the money for where I’m staying.
The rest I have on me. I can show you if you’d like.
(She doesn’t. They keep walking.)
NIALL
I was worried about you. . . .
BRIGID
. . . .
NIALL
You’re in trouble, anyone could see
that—
BRIGID
What kind of trouble would I be in?
NIALL
I don’t know, and I don’t care—
BRIGID
—I’m not pregnant. And it would have
to be an immaculate conception of some kind considering—
NIALL
I said I don’t care to know—
BRIGID
—I haven’t had sex with anyone, ever.
. . .
(They walk in silence.)
BRIGID (cont’d.)
. . . I went walking, the last two days. Around
the island.
I’d
no idea the maps were so wrong. Not wrong: blind. They left out the important
streets—the lanes and alleyways and dirt paths. I took those paths and
came out someplace strange: a street I’d seen but now saw it differently.
One road took me to a house where an old man with a tank and an oxygen mask stood
leaning up against a ladder, breathing hard. He looked at me for the longest
time. . . .
The
whole time it was raining. . . .
The island’s like
a maze, but when I got lost I didn’t feel lost at all. —I love it
here.
NIALL
Do you now?
BRIGID
("Yes.")
NIALL
That’s quite a change from the other day.
BRIGID
I know, I’ve changed my mind—
NIALL
You’ve changed—
BRIGID
—Yes.
NIALL
Shall we pause for a moment and sit . . . ?
(A wet bench, or a fence. She hesitates.
He sits first, wipes the seat with the seat
of his pants, moves over.
She sits beside him.)
NIALL
Shall I tell you a story?
BRIGID
. . . .
NIALL
. . . The Irish believed in a place called
Hy-Brazil. An island. Some call it Tir Na Nog, but that always sounds
like a flavored coffee to me. All that matters is that it was an island
off the west coast of Ireland. An island off an island, so already
we’re dealing in myth. And Ireland in those days of flat-earth
theory was the edge of the world, at least to the West Europeans. So
an island past Ireland—west of west—this was truly an impossible
geography.
There
was a poet named Oisín. He was the son of a warrior named Finn. Oisín
would travel with his father, and fight, and chronicle their battles in song.
One day they were out riding and they saw a beautiful young woman approaching,
riding her white horse across the surface of the waves—naked, of course.
Up out of the ocean, out of the west she rode. They stopped to admire her riding
technique. —It was obvious at a glance she was a goddess. She rode up onto
the dry land and inspected each man from atop her steed. She came to Oisín,
looked down into his eyes and—recognized something. "Come with me," she
said.
He
didn’t have to think twice.
He
bade good-bye to his father, his friends. They were sad to see him go, but they
knew they would’ve done the same. —This was a goddess, for fuck’s
sake! Fair play to you, boy! So Oisín climbed behind her on her white
horse, coiled his hands round the front of her belly, and off they rode across
the waves, into the west, to Hy-Brazil. . . .
Now
in Hy-Brazil, Oisín lived in a perfect state of bliss. He had many children,
and never suffered hunger, nor sickness, nor sorrow of any kind. Yet by and by
he began to miss his family, his home. He went to the goddess one day—her
name was Niamh—and told her of his pain. She felt pity for this her lover,
and granted he could take her horse to Ireland for just a quick holiday. "But
never get off that horse," she warned, "for if you do, if you so much
as touch the tip of the toe of your foot to the ground, all the years you’ve
cheated life and death will fall upon your back—at once." And she
snapped her fingers like a thunderclap.
He
promised her he would remain always on that horse, and away he rode over the
waves to Ireland.
What he found there shocked
him: In his absence, a thousand years had passed. While he had stayed young,
his father and his friends, countless generations of Irish, all had died. A new
Ireland had sprung up, full of churches and bishops and, God avenge us, the English.
Oisín cried aloud, in anger and despair for all that had changed and been
lost, and in his sorrow he fell, toppled down from his horse. And when his body
hit the ground it was just as the goddess had said: He aged a thousand years.
He turned to dust, blew away in the wind.
BRIGID
. . . .
NIALL
. . . D’you see what I’m saying?
BRIGID
(standing)
You don’t want me here. . . .
NIALL
No—
BRIGID
You don’t need to tell me a story—you
can say what you’re thinking—
NIALL
This has nothing to do with you, it’s my—
BRIGID
"It’s my fault"—please, it’s
not like we’re dating—!
NIALL
I need you—!
BRIGID
What . . . ?
NIALL
. . . I said I need you to lower your voice, please!
BRIGID
My voice?—who’s going to hear me?
NIALL
—Sit down please!
BRIGID
There’s nobody out here, Niall—just
you and me—hello! Anybody out there? Anybody care?
NIALL
—Quiet!
(He grabs her arm.)
BRIGID
Let ("go")! (Frees
herself.) —You’re not my real father! You may have
fucked my mother a hundred years ago but my real father raised me
and now he’s dead! So don’t worry, I don’t want
to stay with you. I don’t want to live here. You freak—faggot! —What
did you think I was going to do? Hit you up for child support? Move
in? Open up a flower shop in your God damned kitchen?
NIALL
(quietly)
I’m warning you:
BRIGID
"Warning" me? —What are you going
to do? What could you possibly do to me now?
(He transforms: all bluster and anger disappears.
He turns away from her, voice quieter, fragile, almost childlike.)
NIALL
. . . Do you know why it’s called Key West?
BRIGID
I don’t want to play any more word games,
Niall. I don’t want another story from you—
NIALL
. . . It’s from the Spanish, "Cayo Hueso":
Island of Bones—
BRIGID
It’s because of the white coral wash
on the beach—it’s a fucking metaphor—
NIALL
(pleading)
—I can not get disturbed like this, Brigid!
Please! I have my life here. —This isn’t good for me—
BRIGID
Why don’t you leave?
NIALL
You’re not listening to me—
BRIGID
If this place is an "island of bones," why
not get in your car, your black Jag-u-ar, and drive away?
NIALL
—I called your mother last night.
BRIGID
(she sits again, reeling)
. . . .
NIALL
. . . On the phone, last night, and—
BRIGID
That must have come as a shock to her—.
Stir up any old, you know,
longings?
NIALL
Bridge—
BRIGID
—Any sparks fly?
NIALL
She said you were dead.
BRIGID
. . . .
NIALL
(he looks at her)
. . . .
BRIGID
She’s lying—
NIALL
Why would she say you’re dead if you’re
not?
BRIGID
What kind of question is that?
—She wishes
I was dead—because I came home from school and I told her I was a lesbian
and she won’t accept it. And I told her—I didn’t want to be
a freak to the family, I didn’t want to be some—black sheep, like
you—and she freaked out—and that’s when I decided I was going
to take her car and come down here and stay till I found you. . . .
NIALL
. . . .
BRIGID
She’s doing the same thing to me that they
did to you years ago. They’re liars, the whole fucking clan. —You
didn’t run away, you didn’t hide from them—they turned
their backs on you, made up lies about you. Because
of who you are.
NIALL
—You could be anyone.
BRIGID
. . . Oh, Niall . . .
NIALL
You could be Brigid’s girlfriend—.
She told you about me, before she died, and you’ve come down
here because you can’t get over her—can’t get past her,
you love her so
much.
. . .
Or maybe this isn’t
a love story—maybe you think I still deal and you need money—is that
it?—is this some kind of con?
BRIGID
I’m Brigid, Niall. I’m your daughter.
NIALL
(shaking head)
Brigid’s dead. . . .
BRIGID
I’m not dead—I’m obviously not
dead—
NIALL
—How is this obvious? —How is any of
this obvious?
BRIGID
—Touch me:
NIALL
—?
BRIGID
Go on: touch me, Niall, please:
NIALL
They touched the wounds of the risen Christ—!
(He stands tall in the sand and meets her
gaze: a lunatic or a visionary.)
BRIGID
(astonished)
What—?
NIALL
They touched the wounds of the risen Christ and
the flesh was no less real!
(She sees what she can do.)
BRIGID
. . . Niall . . .
NIALL
I’ll buy you a plane ticket, wherever you
want to go, I don’t care who you are.
BRIGID
Oh, Niall . . .
NIALL
—I can’t handle this now, Brigid. I
can’t—I can’t figure it out.
BRIGID
(laughing softly to herself)
. . . .
NIALL
—What, are you laughing?—are you crying?
BRIGID
. . . You’re right.
NIALL
What am I right about . . . ?
BRIGID
—I give up. This is too hard—
NIALL
Yes—yes, it certainly is. . . .
BRIGID
— It’s ridiculous!
NIALL
What is:
BRIGID
I’m sorry—okay? I’m so, so sorry.
None of this was supposed to happen. —I don’t know how it
got this far—
NIALL
How far? what got far?
BRIGID
My mother’s right: I’m Brigid. I’m
your daughter, and I died like a week ago today.
NIALL
. . . .
BRIGID
I’m dead.
I’m
a ghost. (She laughs.)
I
told you you wouldn’t believe me.
—And
I don’t expect you to understand. That’s why I haven’t said anything
till now.
—Think: How
did I find you in the first place?
NIALL
How . . . ?
BRIGID
. . . I was driving in the rain. South, as
far as I could go. Over a bridge—I was going fast—I lost
control, slammed into a guard rail—I flipped—and for a
second I was flying. . . .
Then
I’m in the water. I can’t open the doors. Water’s flooding
through the dashboard, through cracks in the doors—I can’t open the
doors—I’m punching the glass with my fists—screaming—the
water . . . the water’s rising at my neck and the car is sinking. . . .
I’m screaming and then my mouth is full of water.
.
. . .
Next
thing I know I’m on the road.
I’m
standing. —I’m dripping wet. —I feel fine.
I
walk for hours in the rain and night, and there’s not a soul out walking.
Cars pass me by every once in a while. Thumb’s out—no one stops.
No one sees.
I
keep walking, all night and all day, and I’m not hungry or hurt or tired.
And I realize—I’m not alive anymore! That’s how it hits me:
like when you fish a word off the tip of your tongue—you know: "I’m
dead!" and I hardly noticed. . . .
.
. . And because I’m heading south I kept walking and somehow I got here,
and I saw you through the window and I—just walked in.
I
asked you for my keys because I couldn’t think of an accurate way to tell
the
truth. . . .
NIALL
. . . .
(He kneels in front of her in the sand.)
BRIGID
What are you doing? —Niall:
NIALL
. . . .
BRIGID
Niall . . . what is it? What’s wrong?
(He takes her hand.
Abruptly, he stands:)
NIALL
Come on: It’s starting to rain again.
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