WRITTEN BY SCOTT UTLEY
“STOOPS TO NUTS”
WOODSIDE-QUEENS-NEW YORK CITY
A WARM SPRING DAY IN APRIL,1972.
BLISS STREET IS A VERITABLE BEEHIVE OF ACTIVITY. STICK BALL PLAYERS OUT CUSS EACH OTHER FOR ATTENTION. A FIRE ENGINE IN FULL THROTTLE SCREECHES UP THE STREET WHILE VARIOUS NEIGHBORS CONVERSE FROM ONE APARTMENT WINDOW TO THE OTHER. THERE are SINGING AND LAUGHTER MIXED IN WITH THE VIOLENT RACKET OF ARGUMENTS BETWEEN ALL SORTS OF PEOPLE; OLD, CHILDREN, EVEN ANIMALS CAN BE HEARD IN EACH DIRECTION OF BEAUTIFUL 46 STREET OR ‘BLISS STREET’ AS IT IS DESIGNATED UP AT THE ‘EL’ (ELEVATED) SUBWAY STATION ON QUEENS BOULEVARD.
EDITH PASSES IDA’S GROCERY STORE ON THE CORNER AND MAKES HER WAY UP THE BLOCK TO 48-25-46 STREET; THE THIRD COURT OF THE METROPOLITAN APARTMENT COMPLEX. A GREAT BEAUTY AGING BADLY, EDITH HAS FIERY RED HAIR TEASED UP IN THE FASHION OF THE DAY. HER PIERCING, ROYAL BLUE EYES CONTRAST BOLDLY WITH HER BRIGHT, RUBY RED PAINTED LIPS. SHE IS HUMMING A POPULAR UPBEAT TUNE FROM 1942. (DON’T SIT UNDER THE APPLE TREE) HER SONG IS INFECTIOUS. EVEN THE SPARROWS JOIN IN WITH HARMONY. OUR FOCUS SEAMLESSLY SHIFTS FROM BLISS TO THE PORTAL OF THE THIRD COURT’S GRIT. EDITH SURVEYS HER NEIGHBORHOOD WITH QUICK AND WEARIED GLANCES WHICH SHE ALTERNATELY PUNCTUATES WITH BURDENED SIGHS AND THEN CAREFREE GIGGLES. EDITH IS THE SOUL AND THE DREAMER OF A HOME COURT CONGREGATION OF THREE.
EVELYN AND LORETTA STROLL ONTO THE STOOP FROM INSIDE THE COURTYARD. BOTH WOMEN ARE DRESSED IN TICKY TACKY CAFTANS. EVELYN IS A SHORT ROTUND FIGURE OF A WOMAN. SHE HAS CHILD’S EYES. HER ESSENCE IS THE COMPOSITE OF A NAIVE STURDY FRAGILITY. SHE IS LOADED WITH IDIOSYNCRASIES. SHE SQUINTS HER EYES WHEN SHE TALKS. SHE PONDERS THINGS AS A BEWILDERED CHILD MIGHT. SHE IS A PARADOX. SHE IS THE SALT OF THE EARTH. EVERYTHING IS A MYSTERY TO HER BUT SHE SOMETIMES CUTS TO THE POINT LIKE A KNIFE. SHE IS THE HEART OF THIS TRINITY.
LORETTA POSSESSES THE SAME DEGREE OF KINDNESS AND COMPASSION EDITH AND EVELYN HAVE, BUT HER HEART IS NOT WORN ON HER SLEEVE AS IT IS WITH HER PARTNERS IN CRIME. SHE IS KEENLY PERCEPTIVE. SHE IS THE SENTINEL WHO GUARDS HER FLOCK. SHE POSSESSES A VAST INTELLECT WHICH SEEMS QUITE OUT OF PLACE IN THE THIRD COURT. SHE IS A RATHER TALL WOMAN WITH TRUE RED HAIR AND THE FRECKLES AND OCEAN BLUE EYES OF AN IRISH LASS. SHE SEES THE FUTURE WITHOUT EFFORT BUT SHE STRUGGLES TO UNLEASH THE GHOSTS OF HER PAST. SHE IS THE PHILOSOPHER QUEEN OF THIS CABAL.
EDITH
Hi, Evelyn. Hi, Loretta. Hot today, huh?
EVELYN
86 degrees. Unusual for April. Why don’t you take your coat off?
EDITH
I’m an idiot, that’s why. Why do you think why?
EVELYN
Why? I don’t know why. It’s hot. I don’t know why it’s so hot.
EDITH
Oh, shut up, will you? (Edith indicates to the women she is concealing something under her coat. They both nod in understanding.) Have you seen Scott?
LORETTA
A couple of hours ago. He and Patty were heading up to the cemetery.
EDITH
Oh, for Christ’s sake. I told him to stay away from her. She’s trouble. (Edith arranges items in her girdle).
EVELYN
But Edie, Scott is a good looking boy. He should be on TV. Why don’t you get him on TV, huh?
EDITH
What the hell has that got to do with Patty Ann?
LORETTA
She’s just saying, Edie.
EVELYN
I’m just saying.
EDITH
That and five cents will get you a cup a coffee. Where’s other one, whatshername, numb-nuts?
EVELYN
You mean April? Why don’t you say April? Why are you so strict with her? She’s very nice. She has a beautiful figure. She’s very popular with the boys on the corner.
EDITH
What do you mean, she’s popular on the corner? Get out of here. Have you seen her?
EVELYN
She’s cute. Don’t you think so, Loretta?
LORETTA
Very cute.
EVELYN
Nice figure. Especially for her age.
EDITH
I mean, have you seen her? What the hell are you on?
EVELYN
Say what you mean.
LORETTA
She was up on the corner with one of the Kelly boys about ten minutes ago. Another bad day, huh?
EDITH
So where is she now?
EVELYN
She’s around someplace. Jeeze. Definitely a bad day.
EDITH
Ass kicker. Foreman’s a friend of mine. Black fellow, real nice. Pulls me aside this morning tells me the gig is up. Someone’s blown the whistle. So I hide my stash in the men’s toilet bowl. Five minutes later security comes in and frisks the whole assembly line. Everyone was fired except me. I feel sorry for them. What are they going to do now?
LORETTA
What a damn shame. Those poor girls. What the hell they suppose to do for a living now?
EDITH
That’s what I ask?
LORETTA
What about all the orders I got? I have them up the yin yang.
EDITH
Yeah? (Hopefully.) There’s plenty. I can’t barely breathe with all the crap I swiped today. I took extra just in case. One never knows, do one? God Bless Elizabeth Arden.
EVELYN
God bless her.
[Edith retrieves her grocery bags and climbs the stoop.]
EVELYN
What should we tell April and Scott if we see them?
EDITH
Tell em to kiss my ass! (Edie laughs.)
EVELYN
Edie!
LORETTA
Edie, you should watch your mouth around here.
EDITH
Fuck you. (All three laugh.)
EDITH
You’re both Bozos. Bye-bye. If you see Scott and Johanna, April, Jo, April if you see them tell them to get upstairs if they want to eat. I’m tired. I’ll see you all later. Hell’s bells, I’m tired.
[Edith disappears into the dilapidated courtyard leading to her fifth-floor walk-up apartment.]
EVELYN
Have a nice day.
EDITH (O.S.)
Yeah, sure, you too.
EVELYN
What do you think, Loretta? Edie hasn’t mentioned Craig in what, how many? Three weeks? It’s not natural for him to get up and disappear. Not like him.
LORETTA
Can you blame him? He was holed up over in Manhattan at the VA. Six months? They drug everyone up there until they’re zombies doing the Thorazine shuffle. That alone would drive someone nuts. I don’t blame him walking off the ward. Still, where the hell is he? You’re right. Something isn’t right.
EVELYN
I thought he was over at Creedmoor?
LORETTA
That was Mickey.
EVELYN
Oh yeah, of course, Creedmoor. I had a cousin there. I was there. I had real problems then.
LORETTA
There wasn’t nothing the matter with Craig until he joined the Army. Nothing. I read those letters he sent back from boot camp. Paris Island? Paris my ass. Make it sound like a frigging resort. They beat the shit out of him down there. Those people are assholes. They send him to Viet Nam. Only seventeen.
EVELYN
It’s a shame.
LORETTA
It’s a damn shame.
EVELYN
Sure is.
[In the distance we hear the unmistakable chimes of an ice cream truck.]
EVELYN
Mister Softy, thank god. So late today, huh? Want something?
LORETTA
No, thanks. I’m on a diet…maybe a small vanilla…with chocolate sprinkles… (Loretta gives Evelyn change from her purse.)…and some nuts if he’s got any.
END OF SCENE ONE
DISSOLVE TO: INT. HALLWAY-GREEN FRONT DOOR-APARTMENT 5B
Edith fumbles with keys. Door swings open revealing interior. There is a small built-in nook to the right with a domed adjustable lamp hanging over a white-washed built-in table. An iron gate spans the inside of a window leaving little visibility. There are several Snake plants scattered about vying for air with several formally stray cats. The fire escape beyond the window doubles as a convenient way for some of the occupants of 5B to access the roof as well as escape natural disasters. Overlooking this touching pastoral hangs a cheap Woolworth’s faux gold-framed replica of Da Vinci’s ‘The Last Supper’. Edith steps into a puddle as she enters the apartment.
EDITH
Ah shit. Ginger! Did you pee on the floor again? Come out of that bathroom, you little… ah hell, it ain’t your fault, poor thing. It’s that bum’s fault, Scott.
[Edith sits down on the bench in the nook. She begins removing Elizabeth Arden cosmetics from under her brazier and girdle. This task seems to go on forever.]
EDITH (CON’T)
What’s this? (She holds up an eyebrow pencil for inspection.) Oh good, I forgot about that.
[Having finished with her inventory, shes sighs, removes her dentures, and then begins to sob for no apparent reason. From the direction of the street we hear the sound of April’s voice.]
APRIL (O.S.)
Teresa, you should talk, you’re the whore… (sounds of tin garbage cans crashing about).
[Edith races to the kitchen window next to the stove overlooking the alleyway below and shouts:]
EDITH
April, is that you? April? Answer me. April? Now! I’m going to come down there and knock the … April?
APRIL (O.S.)
Ow, that hurts!
EDITH
Hey Teresa, leave her alone, you hear me, Teresa?
TERESA (O.S.)
Yes, Mrs. Utley. I hear you, Mrs. Utley.
EDITH
Teresa, stop picking on her.
TERESA
Yes, Mrs. Utley.
EDITH
You little snot nose, how would you like it if I told your mother?
TERESA
I wouldn’t, Mrs. Utley.
EDITH
Get lost, Teresa.
TERESA
I will, Mrs. Utley. Have a nice night, Mrs. Utley.
EDITH
April, do you hear me?
APRIL (O.S.)
What?
EDITH
Get your ass up here. Right now!
APRIL
I’m coming, I’m coming.
[Edith moves away from the window and grabs a few paper towels which she then uses to wipe up the puddle she had stepped into at the beginning of this scene. While stooping down to manage that task, April bursts through the front knocking Edith onto her butt.]
EDITH
Watch it, will you?
APRIL
Sorry.
EDITH
How you like me to throw you out the window?
APRIL
I said I‘m sorry. What’s that on the floor?
EDITH
Ginger peed again.
APRIL
Great, I guess I have to go walk her now?
EDITH
Why? She already peed.
[Edith gets up off the floor and forgets to finish the cleanup.]
EDITH
And you’re not going anywhere. Where were you just now?
APRIL
I went to Ida’s to get a Yoo-Hoo.
EDITH
Evelyn said you were on the corner with the Kelly boys.
APRIL
She’s full of shit. She’s a liar.
EDITH
Why would she lie? And watch your dirty mouth, twinkle toes.
APRIL
She’s jealous.
EDITH
I’ll tell you one thing, if I catch you with that Marty Kelly one more time I’m going to send your ass back down to Mississippi.
APRIL
Why, you plan on having shingles again?
EDITH
You’re a pain in the ass. Where’s your dopey brother?
APRIL
How should I know? I haven’t seen him in weeks.
EDITH
Not that one, the other one.
APRIL
He’s having a nervous breakdown over at Bellevue.
EDITH
The other one.
APRIL
He’s down south someplace.
EDITH
You know damn well who I’m talking about, Mickey, Craig, Richard, whatever the hell his name is. Scott, where’s Scott?
APRIL
He went up to the Calvary to pick flowers with Patty Ann.
EDITH
He promised me he wasn’t going to do that anymore. Who in the hell would go pick flowers in the cemetery? What is he, a nut or something?
APRIL
Don’t ask me. You’re the one who had him.
EDITH
Smartass. One of these days someone’s going to knock you on the head. I wish he wouldn’t go there. It’s so dangerous.
APRIL
Not any more dangerous than hanging out in the Village every weekend. You don’t say anything about that, do you? But me? Oh no, I can’t even go to the frigging corner store without that stupid mutt.
EDITH
He’s older than you.
APRIL
The dog?
EDITH
Your brother.
APRIL
Which one?
EDITH
Scott.
APRIL
He’s only 14.
EDITH
So what? You’re only 11. Now get out of here before I smack you.
APRIL
My pleasure.
[We hear the clamor of footsteps and inaudible voices coming from the direction of the stairwell. April races to the door and cracks it open.]
APRIL
Scott?
JOHANNA
It’s me. I got Mike with me.
APRIL
What?
JOHANNA
It’s me. Johanna. Come get these bags.
APRIL
I can’t. Ma won’t let me go out into the hallway after dark.
MIKE
Put a light bulb on, that will help the situation.
APRIL
What’s a light bulb?
JOHANNA
You think you’re funny?
APRIL
Ma thinks so.
MIKE
What’s that smell, Jo?
JOHANNA
You promised me, Michael.
MIKE
It’s killing me. I’m dying out here. Smells like something crawled up someone’s butt and died.
JOHANNA
Shush. (Johanna giggles.)
MIKE
Well, it does.
JOHANNA
You can go to hell for saying stuff like that.
MIKE
It’s got to smell better than this.
[Just before Johanna and Mike reach the landing April heads for the bathroom unbuttoning her pink blouse as she goes. Edith pulls out a compact from her brazier and deftly applies another layer of cake onto her face. Mike walks into 5B first. He is hauling several bags of groceries which he drops to the floor. He turns to Johanna and whispers:]
MIKE
Smell that?
EDITH
Hey Michael, what’s your problem?
JOHANNA
Here are some groceries for you and the kids. We left the car running. No place to park and Mike’s got bowling tonight so we have to go anyway.
EDITH
Hey Mike, what’s your problem?
JOHANNA
Nothing.
MIKE
How you doing, Mrs. Utley?
EDITH
Fine, Mike.
JOHANNA
Here, Ma.
EDITH
Jo, we don’t need your money. Keep it.
MIKE
Buy some disinfectant.
EDITH
What did you say?
MIKE
Something that smells nice.
JOHANNA
He didn’t say anything.
EDITH
What are you saying?
JOHANNA
He didn’t mean anything.
EDITH
You think this place stinks?
JOHANNA
Ma, take this twenty dollars, you can use it.
EDITH
I said I don’t want it.
JOHANNA
Have you seen that blouse of mine?
EDITH
No.
JOHANNA
The pink one.
EDITH
No, I told you.
JOHANNA
April?
APRIL
No.
JOHANNA
I love it. I want it.
EDITH
What’s it worth to you.
JOHANNA
Ma, don’t play with me. I’ll start crying.
EDITH
You’re a big baby. April, get that damn blouse, will you?
APRIL
Where?
EDITH
Right where you left it.
APRIL
I never even ever seen it.
Edith
You did.
APRIL
I did not.
EDITH
You did too
APRIL
Didn’t.
EDITH
Get it, please?
[April caves in and heads for the bathroom.]
MIKE
Let’s go, Jo, this place is making me sick.
EDITH
What did you just say?
JOHANNA
Nothing Ma, we’re going.
MIKE
This place is a dump.
JOHANNA
Michael!
EDITH
You have some nerve. You try raising six kids, you goombah!
JOHANNA
Ma, he didn’t mean anything.
MIKE
I didn’t mean anything.
EDITH
Who the hell do you think you are?
JOHANNA
Ma, please.
EDITH
Get the hell out of here, you rotten guinea.
[Edith begins throwing anything she can find at Michael.]
JOHANNA
Ma! Ma! Ma, stop!
EDITH
Get out! You hear me? Your nothing but a lousy wop!
[April comes running out from the bathroom with a balled-up piece of cloth. She throws it at Johanna. Johanna catches the blouse and forgets for a moment her husband is about to be neutered. Johanna sniffs the blouse and screams out in horror.]
JOHANNA
What the hell did you do to it? You ruined it!
EDITH
(To Michael) Out! Get out! Get out of my house!
[Edith picks up a massive rococo style lamp from a table. April starts screaming. Michael heads for the door.]
JOHANNA
Ma, you’re going to hurt somebody.
APRIL
That’s the idea.
JOHANNA
April, why don’t you go cover yourself?
EDITH
Out of here. You hear me? You dumb dago!
APRIL
Yeah, you heard her, out.
JOHANNA
April, I’m going to smack your ass.
MIKE
Jo, I think Edie broke my arm.
EDITH
Good, you deserve it.
JOHANNA
This is a damn shame.
[The lamp Edith has been threatening Mike with, goes shooting through the air. It hits Michael in the back. All hell breaks loose. Johanna manages to help Michael to the door. There are words exchanged. Finally, Johanna and Mike are out the door and down the steps in a flash. Edith runs to the door. April follows after her. Edith shouts out into the void of the stairwell:]
EDITH
And don’t come back.
APRIL
You hear?
EDITH
You hear me?
APRIL
You hear her?
EDITH
Shush. Listen. Let me hear them.
[Total silence. You can hear a pin drop. After a few beats, Edith and April turn to face one another, and then they both break out in laughter.]
APRIL
What an idiot he is.
EDITH
I keep telling you.
APRIL
He’s a jerk.
EDITH
He’s stupid.
APRIL
He’s a danger to him and everything else.
EDITH
Look what he did to my lamp.
APRIL
He didn’t leave that twenty bucks either.
EDITH
He’s a cheap fuck.
APRIL
Tight ass.
EDITH
What do you want from a wop?
APRIL
Lower your voice, you don’t want Loretta to hear you say that.
EDITH
Say what? Dago? Guinea?
APRIL
No, wop.
EDITH
Wop, wop, wop, wop.
APRIL
Ma, stop it.
EDITH
I’m singing. You don’t like my voice? Guinea, guinea, guinea, wop, wop, wop.
APRIL
Ma, stop with the wop, just stop. Loretta will hear.
EDITH
What are you talking about? She’s not Italian.
APRIL
Her son is.
EDITH
Who, PJ? He don’t know nothing.
APRIL
Any soda in the kitchen?
EDITH
Cool Aid.
[Scott comes running into the apartment carrying a few dozen gladiolas.]
APRIL
About time.
SCOTT
Look what I got you, Ma?
EDITH
So pretty.
APRIL
You stole them from dead people.
SCOTT
I don’t steal. They gave them to me.
[Scott goes into the kitchen to find a vase.]
APRIL
Dead people gave you flowers?
SCOTT
The guards gave them to me.
APRIL
The guards are on strike.
SCOTT
So is your face.
EDITH
Don’t be funny, Scott.
APRIL
Banana face.
SCOTT
Bubblehead.
EDITH
Be nice, you two.
APRIL
I know you are but what am I?
EDITH
You two aren’t funny.
SCOTT
Ma, you want to know what I heard about April today?
APRIL
Hey you.
EDITH
Hay is for horses.
[There is a hard curt knock at the front door.]
EDITH
Who is it?
VOICE
Mrs. Utley?
EDITH
Yes? Who is it?
POLICE OFFICER ONE
Police.
EDITH
Who?
POLICE OFFICER TWO
Police.
EDITH
Police?
POLICE OFFICER TWO
Police officers. We’re with the Long Island City station. Is this Mrs. Utley?
EDITH
This is she. How can I help you?
POLICE OFFICER ONE
Mrs. Utley, we need to speak with you. It’s about your son. Open the door.
EDITH
Wait, hold on.
[Edith crosses to the chair next to the couch. April and Scott sit motionless as they witness the rest of this scene unfold. Edith grabs an overcoat and fusses with her hair. She crosses back to the door. She unlocks it as she speaks.]
EDITH
Did Mrs. Writz call you about the yelling? It’s not my fault.
POLICE OFFICER ONE
No, Mrs. Utley, Mrs. Wirtz didn’t call us.
EDITH
It’s that bum’s fault, my son in law, Michael. He’s nuts.
POLICE OFFICER ONE
No, Mrs. Utley, this is about your son.
EDITH
My son? You mean Scott? What the hell has he got into now? I told him stay away from the cemetery.
[Scott moves closer to April. The two of them stare in dread as they watch their mother‘s countenance change from one degree of concern to the other.]
POLICE OFFICER ONE
No, Mrs. Utley, it’s about Craig Utley. Do you have a son named Craig?
EDITH
Yes, I do, officer. He’s been missing. Is he alright? What happened to him? Did something happen to Craig?
POLICE OFFICER TWO
Yes, Mrs. Utley, something terrible has happened to your son.
EDITH
Oh no, what? Is he dead?
POLICE OFFICER TWO
There is no easy way to tell you this. We found his body in the East River this morning. It looks as though he had been in the water for a few weeks. If the weather hadn’t warmed up, we probably wouldn’t have found him. We’re sorry, Mrs. Utley.
EDITH
No, you’re mistaken.
POLICE OFFICER ONE
I’m afraid not, Mrs. Utley.
EDITH
You are. You are mistaken. He was fine a minute ago, just fine. He’s doing well. Ask his doctor, you’ll see. This must be some kind of a joke. It’s not funny.
POLICE OFFICER ONE
No, Mrs. Utley, this is not funny at all.
EDITH
My son is fine, I know he is. He’s going to call here any minute, you’ll see.
POLICE OFFICER ONE
I’m afraid that’s not going to happen. I wish it would, I really do.
EDITH
He is. He will. You don’t know what the hell you’re talking about.
[Edith runs to the phone on the wall in the kitchen and picks up the receiver.]
EDITH (CON’T)
Call damn it, call. Johanna, tell him to call.
APRIL
Johanna’s not here.
[Edith slams the receiver several times into the phone’s cradle. She finally sits on the bench in the kitchen nook and begins to sob. Scott and April rush over to her and cradle her in their arms.]
APRIL
The phone was disconnected, remember, Ma?
POLICE OFFICER TWO
April, do you have the telephone number to a relative, an adult who may be able to identify Craig’s body?
APRIL
My sister’s husband, Mike, he can do it. He is the best one to call. You want his number?
POLICE OFFICER TWO
That would be wonderful, thank you, April.
POLICE OFFICER ONE
Mrs. Utley, we’re sorry. We are very sorry. This is the saddest thing we ever have to do. God bless you and your family.
END OF SCENE TWO
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NUCLEARMIND ~ SCOTT UTLEY