text:
CHINA DOLL
BOOKS BY DAVID MAMET

AVAILABLE FROM TCG

_The Anarchist_

_China Doll_

_Keep Your Pantheon (and School)_

_Race_

_China Doll_ is copyright © 2015 by David Mamet

_China Doll_ is published by Theatre Communications Group, Inc.,

520 Eighth Avenue, 24th Floor, New York, NY 10018-4156

All rights reserved. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publisher.

Professionals and amateurs are hereby warned that this material, being fully protected under the Copyright Laws of the United States of America and all other countries of the Berne and Universal Copyright Conventions, is subject to a royalty. All rights, including but not limited to, professional, amateur, recording, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages are expressly reserved. Particular emphasis is placed on the question of readings and all uses of this book by educational institutions, permission for which must be secured from the author's representative: Ron Gwiazda, Abrams Artists Agency, 275 Seventh Avenue, 26th Floor, New York, NY 10001, (646) 461-9325.

The publication of _China Doll_ by David Mamet, through TCG's Book Program, is made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

TCG books are exclusively distributed to the book trade by Consortium Book Sales and Distribution.

Cataloging-in-Publication Data is on file at the Library of Congress, Washington, DC.

ISBN 978-1-55936-831-5 (ebook)

Book design and composition by Lisa Govan

Cover design by Serino/Coyne

First Edition, November 2015
_This play is dedicated to Al Pacino_
Contents

Production History

Characters

Scene

Chapter One

Chapter Two
CHINA DOLL
PRODUCTION HISTORY

_China Doll_ had its world premiere on Broadway at the Gerald Schoenfeld Theatre on November 19, 2015. It was directed by Pam MacKinnon. The scenic design was by Derek McLane, the costume design was by Jess Goldstein, the lighting design was by Russell H. Champa and the sound design was by Peter Fitzgerald. The cast was:

MICKEY ROSS | Al Pacino

---|---

CARSON | Christopher Denham
CHARACTERS

MICKEY ROSS, an older man

CARSON, a younger man

SCENE

An apartment

_One:_ Evening

_Two:_ Morning
She drawled so sweetly and fixed her mouth in such an odd way that he was impelled to kiss her. "You clover blossom," he would say to her, coming over and taking her by the arms. "You sprig of cherry bloom. You Dresden china dream."

**— THEODORE DREISER, _THE TITAN_**
ONE

_The apartment. Evening._

_Mickey Ross is seated at a table by a telephone. Beat. There is a knock at the door._

MICKEY: _Come_ in.

_(Carson enters, carrying a folded newspaper, which he extends toward Mickey.)_

What is that? A newspaper. I don't want a "newspaper." What do I want?

CARSON: Sir?

MICKEY: . . . you _come_ here, what the hell do you _come_ here for? I've got a sheaf of letters _testifying_ to your . . .

CARSON: . . . sir.

MICKEY: . . . your various great virtues, but I ask you to perform one simple task . . . What was that?

_(Pause.)_

I asked you a question.

CARSON: . . . I.

MICKEY: What did I ask you to do?

CARSON: . . . sir.

MICKEY: To find out where Ms. Pierson is.

CARSON: Ms. Pierson is in the hotel.

_(Carson hands the newspaper to Mickey.)_

MICKEY: I _called_ the . . . _(He bats the newspaper away)_ I don't want the fucking newspaper. I want you to do what I'm paying you for. Where is Ms. Pierson?

CARSON: In _Toronto_ , in the ho—

MICKEY: Did I tell you I just _called_? The _plane_ is in Toronto, is that corr . . . ?

CARSON: That's right.

MICKEY: Because you _told_ me she went from the plane to _where_?

CARSON: The Choate Hotel.

MICKEY: She's not there. And find me the pilot.

CARSON: His cell phone doesn't ans—

MICKEY: Get me Flight Services. In Toronto. You have the tail number? _(He checks a note)_ It's CH-134.

CARSON: That's not the . . .

MICKEY: Just . . .

CARSON: "CH" . . . that's the _Swiss_ registration, sir, the plane has a U.S. registration, the number is—

MICKEY: Get me Flight Services in Toronto.

_(Carson makes a call on a second phone.)_

And the plane does not have the U.S. registration. It has the _Swiss_ registr . . . What the _fuck_ am I _paying_ you for?

CARSON _(On the second phone)_ : Yes. I'm calling about . . . tail number, November, 241 Mike Alpha. A _Mark Five_.

MICKEY _(To Carson)_ : That's a U.S. registration. The plane is registered in _Switzerland_ . . .

CARSON _(Holds up a finger)_ : I'm sorry, sir . . .

_(He checks the invoice.)_

MICKEY: Let's start anew . . . the plane _is_ in Toronto?

_(Pause.)_

CARSON: I . . .

MICKEY: The pilot. Closed the _flight_ plan. I was _told_ the plane therefore had landed in Toronto. Is that true?

CARSON _(Into phone)_ : . . . Hello . . . ?

_(Mickey takes the phone from him.)_

MICKEY _(Into phone)_ : Yes. Hello. Who am I speaking to? This is Mickey Ross. Yes. Mickey Ross. We do a lot of business with you folks. I'm looking for: tail number . . .

_(He checks a piece of paper.)_

_(Into phone; reading paper)_ CH-134

_(Pause.)_

It's the new Mark Five.

_(Pause.)_

Aerstar Mark Five. You're only going to have one on the ramp.

_(Pause.)_

You do.

_(Pause.)_

Well, what _is_ the tail number?

_(Mickey writes it down.)_

_(Into phone)_ November 241 Mike Alpha. That's the wrong num . . . I've got a sixty-million-dollar airplane on your ramp and it's a Chinese _fire_ drill up there. Do you know how much business I do with you?

_(Pause.)_

Let me talk to the pilot. Aerstar's ferry pilot. Is he there?

_(Pause.)_

Did he leave a _contact_ number?

_(Pause.)_

Please give it to me . . . It's _my plane_. Call Aerstar. In Switzerland, they will verify . . . Never mind.

_(Pause.)_

When the pilot checks in. Tell him to call his employer. And what is _your_ name?

_(Pause. Mickey writes down the information.)_

And _what_ is your position there? . . . Thank you.

_(He hangs up.)_

CARSON: Mr. Ross . . .

MICKEY: You know, I can't spend my time wondering: "Do those in my employ _appreciate_ my desires." You are not getting paid to do that. But to _fulfill_ them. Which, in this case, were, to _arrange_ for Ms. Pierson and me to . . .

CARSON: Sir.

MICKEY: . . . rendezvous in Toronto and continue on to _London_. _On_ the new plane. _That's_ all.

CARSON: Sir.

MICKEY: And all of this _nonsense_ about how you very much admire me; and all this bow-tied bullshit . . .

_(Carson starts to speak.)_

You think I'm a _fool_? To enjoy your deference? You want someone to praise you? Do as you're fucking told. One thing I asked: to treat my friend with care. _She_ is in an exposed position. What does she require of me? _Protection._ That's not an empty word, Mr. _Carson_? Evil minds might say "she went with him for his money." That's _correct_. She _did_. As _money_ means _protection_ , which she requires, and which I am _thrilled_ to be able to provide. And which job I delegated to _you_.

_(Pause.)_

Have I treated you with anything but respect since you have worked for me? Answer me.

_(Pause.)_

CARSON: No, sir.

_(The phone rings.)_

MICKEY: But you find these errands "beneath you"?

CARSON: I . . .

MICKEY: With your fucking "credentials" . . . Get the phone.

_(Carson does so.)_

CARSON _(Into phone)_ : Hello . . . ? _(Pause. To Mickey)_ It's your attorney.

_(Mickey takes the phone.)_

MICKEY _(Into phone)_ : Yes. _Henry. (Pause. To Carson)_ "The plane _is_ in Toronto." _(Into phone)_ . . . What about the tail num . . . ? "The Swiss Changed the Tail Number."

_(Pause.)_

_Why?_

_(Pause.)_

As a " _courtesy_ "? _Who_ said that? "Aerstar"? That's swell. They gave it a U.S. registration, but it's still a Swiss plane till I accept it. Isn't that the case? Swiss registry, we keep it, based out of the country, six months, and we pay no sales tax. Isn't that corr . . . _What?_

_(Pause.)_

_No._ We don't owe any sales tax. What are they talking ab . . . ?

_(Pause.)_

. . . Because it touched down _in state_? With a U.S. registration? I'm not paying five million in sales ttt . . . Look Aerstar? The _tax_ thing? That's the _dodge_ , everybody here had to tack on the vigorish, Aerstar couldn't sell a _plane_. Wh . . . who's going to spend five million dollars on sales tax if he can legally avoid it? _Why?_ So the Kid can buy votes and play _Dollhouse_? We owe them no sales tax. And I sent Frankie, who, all right, is a British National, on _Company Business_ , from Saint-Estèphe, which, you will allow, is not in the United States, to Toronto, where I am to meet her, avoiding the U.S. _specifically_ , to be in compliance with the state _tax_ law, and you tell that fool at Aerstar, he wants to fuck with me I'll give 'im the plane back, and he's going home by _weeping cross_. It's a Brit expression. I got it from Frankie. Yeah, she's _full_ of charm.

_(Pause.)_

I _think_ she's well . . . She may be somewhere, in _Canada_ . . . it seems we don't _know_. _(Turns to Carson, who has motioned to him) What?_

CARSON: Ms. Pierson's in the Choate Hotel, sir.

MICKEY: Ms. Pierson's _not_ in the hotel.

CARSON: She's registered under a false name.

MICKEY _(Into phone)_ : Henry—I'll call you back. _(He hangs up)_ What?

CARSON: Ms. Pierson is registered. At the hotel. Under a false name.

MICKEY: Why would she do that?

CARSON: Sir, I don't know.

_(Pause.)_

MICKEY: She's in the hotel in Toronto.

CARSON: Yes.

MICKEY: How did you find out?

CARSON: I called the hotel concierge. And described her.

_(Pause.)_

MICKEY: And is that what you were trying to tell me?

CARSON: Yes, sir.

_(Pause.)_

MICKEY: What name is she staying under?

CARSON: Ann Black.

_(Pause.)_

MICKEY: Well—Look what I've done.

_(Pause.)_

Carson, I most humbly beg your pardon.

CARSON: That's all right, sir.

MICKEY: No. It's not. There's no excuse for me to treat you that way.

CARSON: Sir . . .

MICKEY: You have a difficult job. And I am _grateful_ to you. For doing it with _discretion_. For which my arrogance is cruel repayment. And I am _most_ heartily ashamed of my behavior. Well, it has a name. The Name. For the behavior is "An Old Man's Love."

_(Pause.)_

Which cannot excuse, but may perhaps explain my disgraceful outburst. A beautiful _woman_ . . .

CARSON: Sir, you owe me no explanation.

MICKEY: Please.

_(Pause.)_

A beautiful woman will never be alone. As she requires protection. Men _pursue_ her, and she will accept the best current offer. She must _protect_ herself, as all compete for her. And will plague her. Until she declares an alliance. In this competition, might I offer a preemptive bid? Yes. Is it youth or beauty? No. It's wealth. Should I berate myself for having wealth? Should she for having _beauty_? Who would say so? I . . .

CARSON: Mr. Ross . . .

MICKEY: Allow me to perform my penance.

_(Pause.)_

I am not insensible. That some might say: the old man bought her. _Fine._ People may envy me, as well they _should_. But Ms. Pierson was going to accept someone. She could have had any man she wished. She chose _me_. She's welcome to whatever I have. I only wish I could do more.

CARSON: If I may, sir, you give her everything she wants.

MICKEY: But I don't give her everything I want. You understand? I love her. There it is . . . And, after a certain point. What can I offer her but thoughtfulness?

_(Pause.)_

The Old Man taught that if we are unsure of our faults, we should atone for our virtues—I pride myself on being _fair_. But I berated you, which was both unfair and thoughtless. And I'm truly sorry.

CARSON: I assure you, the incident's forgotten.

MICKEY: I very much appreciate it, Carson. And I won't forget it. Thank you.

CARSON: Sir, you're welcome.

MICKEY: That's an admirable trait.

CARSON: What is?

MICKEY: To allow someone to apologize.

_(Pause.)_

Well.

_(Pause.)_

Would you please get me the manager of the hotel in Toronto?

_(Carson dials.)_

What name is she staying under?

CARSON _(To Mickey)_ : Ann Black. _(Into phone)_ One moment . . .

_(Mickey gestures and Carson hands him the phone.)_

MICKEY _(Into phone)_ : Yes? I'd like to speak to a Miss Ann _Black_. Is she register . . . _(To Carson)_ Thank you . . .

CARSON: You're wel . . .

MICKEY _(Into phone)_ : Please put me th . . . Why not?

_(Pause.)_

Of _course_ she has a "Do Not Dis . . ." But would you put the call through? It's quite important . . .

_(Pause.)_

Then please give me the manager.

_(Pause. The other phone rings. Carson picks it up.)_

Yes I'll hold.

CARSON _(Into phone)_ : . . . Yes . . . ?

MICKEY _(To Carson)_ : Who is it?

CARSON _(To Mickey)_ : Your attorney.

MICKEY _(To Carson)_ : Give it to me.

_(Carson takes the first phone from Mickey; into the other phone:)_

Henry. _Hello._ The tax issue? Let it ride. No, I can't talk now. Al . . . _Henry_. What?

_(Pause.)_

They're "holding" the plane? What do you mean? _They?_ Who is " _they_ "? The Canadians. Are "holding my _plane_ "? _Why? "Taxes . . . ?"_ There _are_ no Canadian ttt . . . "The state _sales_ tax"? _Here?_ THE PLANE. Touched down here with a _warning_ light. _(Looks at Carson who nods; into phone) That's_ why it touched down in the states. Their pilot declared an emergency.

_(Pause.)_

Well, you tell _me_.

_(Pause.)_

"The Pilot Had No Choice." What is it?

CARSON: International law.

MICKEY: It's an "aircraft in dist . . ."?

_(Pause.)_

Well, then, why are the Canadians holding my pl . . . A request from _whom_? _(To Carson)_ Our State Franchise Tax Board— _why_? _(Repeating Henry)_ "Because of the U.S. tail number." _(Pause. Into phone)_ How, how can it be an "attempt to evade tax . . ." I don't even _own_ the plane yet. I haven't _accepted_ it. It's on a delivery flight fr . . . _I_ didn't put the U.S. tail number _on_ it. _Aerstar_ did. I gave them a deposit, and I'll cancel the _order_. Why in the _world_ would the Canadians . . . "They got a request to impound my plane as a lien against taxes." That's, that's absurd. I assume the request is from our governor.

_(Pause.)_

Well, where else would the request "issue" from?

_(Pause.)_

All right . . . "Taking a deep breath." It's a pro-forma claim, made by the state, we'll work it out in tax court. And if the state thinks I owe the tax, let them give me a _bill_. Maybe I'll pay it. And let's get _on_ with it. I'm going on a _trip_ . . .

_(Pause.)_

_What?_

_(Pause.)_

"The plane can't fly."

_(Pause.)_

All right: It can't fly until _what_? "Until the tax matter's _adjudicated_ "? That's _absurd_. Where, where is _that_ written?

CARSON _(Into second phone)_ : One moment please for Mr. Ross. _(To Mickey)_ James Price, manager of the Choate Hotel, Toronto.

MICKEY _(Into his phone)_ : _Henry._ Work it out. _They_ can't hold the plane in _Canada_ on a U.S. _tax_. How can they hold the plane, on a U.S. _tax_ matter. _(To Carson)_ Get me in touch with Aerstar. The Mark Five. What's the salesman's name?

CARSON: Brandt. Aerstar, U.S.

MICKEY: _What's_ the guy's name?

CARSON: Frederick Brandt. _(Into phone)_ Mr. Ross will be right with you, sir. Thank you for waiting.

MICKEY _(Into his phone)_ : _Henry._ It may be they're going to want to throw their hands up. But it's their plane. Aerstar. The state wants to stick us with the tax bill, end of the day. Let Aerstar work it out, _pay_ it, or we'll walk away from the deal. More _importantly_? Why are they picking on me? "Have I made anyone mad?"

_(Pause.)_

I'll call you back. _(Hangs up. To Carson)_ I need to talk to Rubenstein.

CARSON _(Referring to phone; sotto voce)_ : The hotel manager.

_(Mickey takes the phone from Carson.)_

MICKEY _(Into phone)_ : Hello? _(To Carson)_ Get me Dave Rubenstein. _(Into phone)_ Mr. . . .

_(Carson hands him a card.)_

_Price._ This is Mickey Ross. Yes. Mickey Ross. A _friend_ is staying in your hotel. _(To Carson) What_ name is she under?

CARSON: Ann . . .

_(Carson dials second phone.)_

MICKEY _(Into phone)_ : Under the name of Miss Ann Black. "She has a 'Do Not Disturb' on her line." But it's essential that I speak to her. Could you please put me through? It's quite important.

_(Pause.)_

She's a friend of mine.

_(Pause.)_

"She's not picking up the phone." Mr., Mr. _Price_ , she _is_ in your hotel? . . . You're _sure_ . . .

_(Pause.)_

Ah. "They brought her some room service." What'd she eat?

_(Pause.)_

Excellent. Yes, no. Well, we'll let her sleep. I just wanted to be sure she was tucked in and taken care of, and I see that she is. Thank you.

_(Pause.)_

Not at all. Not at all, Mr. Price. Thank you.

_(He hangs up.)_

CARSON _(Into his phone)_ : Yes?

MICKEY: Rubenstein?

CARSON: Frederick Brandt, Aerstar, U.S.

_(Mickey takes the phone.)_

MICKEY _(Into phone)_ : _Frederick._

_(Pause.)_

Thank you for calling. The . . . the _gift_? Yes, what gift?

_(Mickey looks at Carson, who shrugs. Carson picks up the other phone and speaks into it, sotto voce.)_

_(Into phone)_ It _may_ be here. I. _Frederick_ . . . What? "The plane is fine." That's _reassuring_. "Just a warning light." "It was not an actual emergency . . ." Fine, but your pilot _declared_ an emergency . . . ?

_(Pause.)_

Well, what other test would there be? Look. Your plane. Has been _detained_ and, it seems, _impounded_. In Toronto.

CARSON _(Covers his phone)_ : There _is_ a package. Shall they bring it in?

MICKEY _(To Carson)_ : No, please go get it.

_(Carson hangs up, then exits.)_

_(Into phone)_ . . . It is being _held_ because of a U.S. _tax_ iss . . . Frederick, why did you paint the U.S. registration number on the plane? "A courtesy." No, the courtesy is lovely. Had the plane not touched down in _state_ , as now there's a _tax_ iss . . . I'm not _saying_ it's your fault—I'm saying it's your _problem_.

_(Pause.)_

Yes, it _will_ be sorted out, as shall most things. But, at this hour: you have my _deposit_ , Canada has _your plane_. My state wants five million dollars in tax, and the green grass grew all around, all around.

_(Pause.)_

No. _Your_ plane, Frederick, not _mine_.

_(Pause.)_

Indeed, but the contract, I presume, specified "airworthy." Was that not included in the purchase price?

_(Pause.)_

Yes. The plane _may_ have been safe. But . . .

_(Pause.)_

"One simple fuel light." That may be the case, but the pilot _declared_ an emergency . . . Does that go on the plane's various logs? Its "flight log," and so on?

_(Pause.)_

You want to add greater redundancies. That's fine. And the cost of those redundancies will, I am sure, be borne by the plane's eventual purchaser, whomever that may be.

I would have _thought_ the price included an operative warning light, as I'd hate to think you folks were cutting corners. At that price . . .

_(Pause.)_

"The increased costs of the interior." "And the permitting . . ." Wait, the " _permitting_ process"—didn't I _pay_ for that? . . . _(Covers phone; to himself)_ "As Ms. Pierson utilized the costliest material and components in its design." "And we'd hate, when she was going to be working for Aerstar, to begin the associ . . ." _(Into phone)_ All right, after the Patty-Cake. Pal, _look_ , should it occur there are artistic differences between Ms. Pierson and your company, she will, no doubt, find other means to pass the time. For example, designing the interior of whatever plane I eventually buy, having rejected yours . . .

_(Carson enters carrying a large gift-wrapped box. Mickey gestures to Carson to undo the wrapping. Carson does so.)_

_(Into phone)_ . . . and _you_ having refunded my deposit. Plus whatever _damages_ . . . Well, perhaps I _misheard_ you, but you _seemed_ to say the plane was not _air-worthy_ , as you skimped on the warning system, to spruce up the interior. Which, I believe I was _paying_ fff . . .

_(Pause.)_

That's _not_ what you're saying? Good, as that, of course, would do havoc to your reputa . . . And to your ability to sell planes here in the United States.

_(Pause.)_

I simply wondered why you chose to mention _the interior_. Oh, good. So we're all _friends_. And you intended nothing. That's swell . . . Oh, and here's your _gift_!

_(Carson takes a model of a large business jet out of the box.)_

_(Into phone)_ Well, look at _that_ . . . That's beautiful. It's made of " _metal_ . . ."

_(Pause.)_

"The same steel and aluminum as the plane _itself_ . . ."

_(Mickey gestures to Carson, who hands him the plane.)_

_(Into phone)_ It's got the same _paint_ scheme, it's got the same unfortunate U.S. _tail_ number . . . And—what—it does _tricks_?

_(Mickey starts manipulating the plane.)_

_(Into phone)_ . . . How do you open it? . . . Ah.

_(The top of the fuselage comes off, revealing a plush interior in beige leather.)_

_(Into phone)_ ". . . And she did the _interior_." _(To Carson)_ "It's _exactly_ the interior designed by Ms. Pierson." . . . The card?

_(Mickey takes the card and reads it:)_

"Looking forward to working with Ms. Pierson." _(Into phone)_ She's going to be very flattered. She's looking forward to working with you, too. I know.

_(Pause.)_

Thank you. I do, too, but then I'm prejudiced.

_(Pause.)_

Well, I hope that she _is_ working for you. 'Cause I suspect you'd rather see a lot of _her_ than a lot of _me_.

_(Pause.)_

It doesn't _need_ a fine-tooth comb, Frederick. I'm sure all that's required's a new warning light, but, we'll _see_. Thank you for the gift. I'm sure the _actual_ plane's lovely, too. Sitting there in Canada. Unable to move.

_(Pause.)_

I _believe_ because, of a request by our _governor_. But, here's what: _Frederick_? I'm . . . I am going to work the tax matter out with the state and, it may be, when the dust clears, perhaps, we'll have another talk. _(To Carson)_ "It will be easy as Ms. Pierson will be working for him." _(Into phone)_ All right. Let's leave it at that.

_(Mickey picks up a newspaper and reads. Then he speaks into the phone:)_

. . . We're not sure of our travel plans, just now, but, when we are . . .

_(Pause.)_

Well, that's very generous of you. _(To Carson)_ He wants to _lend_ us a plane. _(Into phone)_ Thank you. No, I'll _certainly_ consider it.

_(Pause.)_

It's been good talking to you, too.

_(He hangs up.)_

Book me, commercial to London. And Ms. Pierson _Toronto_ to London. Commercial tomorrow, noonish.

CARSON: . . . commercial.

MICKEY: Call Jimmy, have him meet her at Heathrow. Have Mrs. Sims warm up the flat.

CARSON: Didn't they offer you one of their planes?

MICKEY: Oh, yes. Would you like a "lesson"?

CARSON: Sir, I would.

MICKEY: Aerstar. Sells their planes, either with a Swiss registry, or with that of the _country of purchase_. With the Swiss number. I don't have to register it in-state for six months. _If_ I keep it out of the state, I save the sales tax. They changed the tail number, that's a mistake—all right _but_ it's also five million bucks somebody's liable for. _I_ ain't gonna pay it. _This_ fella, wants to lend me _his_ plane, to fly Toronto-London. What would that cost them? In fuel?

CARSON: Eighteen, twent—?

MICKEY: Twenty grand? To save themselves five mil? No thanks, we'll fly commercial. What am I _telling_ him?

CARSON: You're telling him: "Go to Hell."

MICKEY: That's correct. _(Referring to the model plane)_ And what does _this_ little trinket mean?

CARSON: Must it have a meaning?

MICKEY: Oh, I think everything has a "meaning." Why did they send this to me now?

CARSON: To . . . to "commemorate . . ."

MICKEY: To _commemorate_ what? They haven't delivered the plane, I haven't accepted it, they had this made to give me _on_ acceptance. Why do they send it to me now?

CARSON: Because the sale's in question.

MICKEY: That's right. That's all. So, _now_ , what does it reveal? Is it a strong move, or a weak one?

CARSON: It's a _weak_ move.

MICKEY: Why?

CARSON: Because it's transparent.

MICKEY: _That's_ right. Press Aerstar to pay the tax, and they'll withdraw their offer of Ms. Pierson's job. The wiser man. Would know I know that, and refrain from the obvious threat. So they are weak. Thus, that attack is, in effect, a subconscious signal of surrender.

CARSON: If they know they're beaten, why put up a fight?

MICKEY: Oh, you got room for more wisdom?

CARSON: Please.

MICKEY: All right.

_(Pause.)_

Men, faced with aggression, if they do not fight, may turn subservient. That man, however, should he regain the upper hand, will strike back _savagely_ at those who saw him weak. Why risk that? When you beat someone, let him keep his self-respect.

CARSON: How do you do that?

MICKEY: By displaying _such_ overwhelming force that, not only your opponent, but all observers recognize: that there was no shame in surrender.

_(Pause.)_

Like a woman. In a seduction. To protect her reputation. That's how you do business.

CARSON: We should think of business as a sexual transaction? . . .

MICKEY: Only if you want to get rich. The Old Man taught me that. _(Referring to the newspaper)_ Oh, look here: _(Reads)_ "My father, the American values of Hard Work and Perseverance, which I learned from him. If I can be a fraction as brave. In my devotion to the simple truths . . ." _(To himself)_ Fuckin' _Kid_ . . .

_(The phone rings.)_

CARSON _(Into phone)_ : Yes. _(To Mickey)_ Mr. Rubenstein.

MICKEY: Him or his girl?

CARSON _(Shakes his head. Into phone)_ : Yes, I have Mr. Ross. Please put Mr. Rubenstein on.

MICKEY: So what's the _real_ threat? To Aerstar?

CARSON: Pay the sales tax or lose the sale.

MICKEY: No. The _real_ threat is I announce I have canceled acceptance of their new model. For _reasons of safety_.

CARSON: They'll say it's libel.

MICKEY: Their pilot. Declared an emergency. Matter of federal record. Then what does Aerstar do, in reply?

CARSON: They cancel Ms. Pierson's job.

MICKEY: I get her another job. Chess and checkers. My move, _your_ move—that's all there is. Eh? What else is there?

CARSON: Thank you for the lesson.

MICKEY: . . . What the hell . . .

_(Carson hands Mickey the phone.)_

_(Into phone)_ Ruby. How are ya? Well, I bought a new plane.

_(Pause.)_

The _old_ one? The ashtrays were full. I gave it to the Salvation Army.

_(Pause.)_

The _new_ one? Has more " _range_."

_(Pause.)_

I bought it for _Frankie_.

_(Pause.)_

She wants "more range." To go traveling.

_(Pause.)_

Don't _know_ , don't care.

_(Pause.)_

"Likes" it? She _loves_ it. "Why?" It's _shiny_. Here's the thing: new plane. Okay. Swiss registry? . . . The plane. Factory-new, from Aerstar. Pilot, en route from Saint-Estèphe to _Toronto_ , forty-two-thousand feet. Fuel-warning light goes on, all he knows, he's flying a glider. He's got to put the plane down. Puts it down _here_. Guess what your _pal_ wants?

_(Pause.)_

The _Kid_.

_(Pause.)_

No, Ruby, for chrissake, I'm speaking _figuratively_. His _tax_ . . . the state _tax_ board.

_(Pause.)_

Five-million-dollars sales tax.

_(Pause.)_

'Cause the plane touched down in state. Yes. It flew _on_ to Toronto, but it "touched down" here. Now the state _tax_ board . . .

_(Pause.)_

God fo . . . Ruby, kidding as . . . kidding aside, God forbid. The . . . the tax issue. It's only money. We'll work that out.

_(Pause.)_

Well, here it _is_ : they've impounded the plane.

_(Pause.)_

The Canadians.

_(Pause.)_

It _is_ a foreign plane. But _Aerstar_ —

_(The other phone rings. Carson answers it.)_

CARSON _(Into phone)_ : Yes?

_(He listens.)_

MICKEY _(To Carson)_ : Ms. Pierson?

_(Carson shakes his head no. Mickey picks up the model plane and looks at it. He gestures to Carson to take a message. Carson nods, does so, and hangs up the phone.)_

_(Into phone)_ Some "Swiss" painted the U.S. tail numbers on it.

_(Pause.)_

Fuck do I know. In an "excess of zeal." Now the state wants five million bucks in tax. They've impounded the plane. In _Toronto_.

_(Pause.)_

In response . . .

_(He looks at Carson, who nods.)_

_(Into phone)_ To a request forwarded . . .

_(Carson shrugs.)_

_(Into phone)_ To keep the plane as . . . "A lien against _taxes_ "? Is this, a _glitch_? Or, is somebody tryin' to _screw_ with me? Either way, _I'm_ a big boy. Could you just _tell_ me.

_(Pause.)_

I'm not _saying_ it's you. I'm only asking for your _help_ to _determine_ . . .

_(Pause.)_

Why would that be _illegal_? Yes, I _can_ pay the tax, but why _should_ I pay the tax? If I don't _owe_ . . . if I _owe_ the tax, of course, I'll . . .

_(Pause.)_

All I'm asking is: I'd like to use the _plane_.

_(Pause.)_

Well, tell 'em to send me a _bill_ and we'll work it out. Could you have your people look at it.

_(Pause.)_

"Special treatment." Oh, come _on_. Why would you, either, or the Kid, offer me special treatment? Ruby? I'm on the other sss . . . All I'm asking, is the same attention you might give to any taxpayer, our _fair state_.

_(Pause.)_

Dave, _you_ know, I wanted to. I'd pull up stakes and move down to the islands. I'm here out of choice, and I pay every cent in taxes . . . Look, Dave, the plane, okay, you could say it's a _wedding_ present.

_(Pause.)_

Yeah, thank you. And it goes with a sort of _vacation_.

_(Pause.)_

_There's_ an old-fashioned word. _(Covers phone; to Carson)_ "Honeymoon." _(Into phone)_ So here we are: my plane's in hock, and can you reach out and just tell me what's _happening_? I truly appreciate it. How's the Kid?

_(Pause.)_

Yeah. He's a _nice clean-living kid_. And he's more fun than a Swiss army knife. "Politics"? Took to it like a preacher's son to vice. God bless him. Now, what can I do for you? What does the _Kid_ need? _(To Carson)_ "Money and an Issue." _(Into phone)_ The _issue_ , I can't help him with. The _money_? I gave in the _primary_. And I _will_ give, the _general_.

_(Pause.)_

The _maximum allowed by law_. What is that? "Two and a half grand."

_(Pause.)_

_Course_ I don't want him to win.

_(Pause.)_

'Cause I know how to add. But I want him to run. And I wish him well. _(Referring to the newspaper)_ I see he's . . . what _is_ he? . . . "Striving to find his _voice_ "? And "gaining strength from his _constituents_ " . . . to "tap the wisdom of the _common people_ "? _(Laughs)_ How _is_ he? "Stressed-out."

_(Pause.)_

Well, I'd _think_.

_(Pause.)_

_I_ remember.

_(Pause.)_

Not that long ago.

_(Pause.)_

_Doesn't_ it? The Old Man . . . ? Drink or two by the _fieldstone fireplace_.

_(Pause.)_

Currier and Ives . . . I swear to God . . . I'm _proud_ of him, the Kid. The Old Man would be, _too_. The little skeezix. Running for the hotseat. Give him my best, and I mean it.

_(Pause.)_

Just to " _look into it_." I'd appreciate it, Ruby. Thank you.

_(He hangs up.)_

CARSON _(Reading from his notes)_ : A maid went in her room. Ms. Pierson is sleeping. She left a note for Ms. Pierson to call you.

MICKEY: Good. Let her sleep. I want you to find out who did it.

CARSON: Who did what, sir?

MICKEY: Impounded the plane.

CARSON: The _Canadians_ impounded the plane.

MICKEY: Oh, _really_? In response to what? The "phases of the moon"?

_(The phone rings. Carson picks it up.)_

CARSON _(Into phone)_ : Yes?

_(He hands the phone to Mickey.)_

MICKEY _(Into phone)_ : Yes? _Francy. "Francine."_ How are things in the Frozen North? Look, before I forget, I'm going to fly you commercial to Lon . . . Oh, "We don't fly commerc . ." Wait: didn't I find you in the gutter? Hey, France . . . didn't I put your first pair of shoes on your feet? When you were selling matches in Trafalgar Square. Covered in rags. Who . . . wait a minute, I took you in the _shift that you stood up in_ , girl, and don't you forget it, or I'll give you back to the gypsies. I saved the receipt.

_(Pause.)_

You're flying commercial as the government, for technical reasons . . . Immm . . . what would it have to do with Immigration? Frankie? _Customs_ , or some damned thing, is keeping the plane for a tax matter. It has nothing to do with imm . . .

_(Pause.)_

Naa, the governor's just screwing around with me.

_(Pause.)_

Because he _can_.

_(Pause.)_

I do and I _did_. Since he was a _child_.

_(Pause.)_

_I_ don't know. He's on a "vision quest . . ." Carson is booking you to London. Jimmy will meet you at Heathrow, and I'll see you at the flat . . . _(To Carson)_ Book me a seat . . . _(Into phone)_ Were you _scared_? When the _plane diverted_? _(He laughs. To Carson)_ She was _asleep_ . . . _(Into phone)_ France, why the hell did you change your _name_ . . . ? Why, why are you under a false . . . Was there pr . . . was there _press_? At the airp . . .

_(Pause.)_

No, all right, tell me _later_ , I underst . . . Hey, they sent me a model of the plane. Aerstar. Hold on: with your _interior_. Yeah, _you_ saw the real thing, but _this_ is my first exposure. Look here: the _top_ comes off, you can see: your paint scheme, the _seats_. The same leath— Baby, it's gorgeous. And whatsisname said how they were looking forward to working with you.

_(Pause.)_

You go, fly with the poor people, and I'll see you at the . . . The green card? No, I _told_ you, there's no . . . What would it have to do with your green card?

_(Pause.)_

Well, that's why we're going back to Lon . . . There is no problem with your green . . . No, hold on. Let me _finish_. Baby, you're just _tired_. Of _course_ you are.

_(Pause.)_

Just like the "Tired and Poor." Well, ain't _you_ well read. And I thought you were just a pretty face, and "rich girl shoulders." And that baby-doll porcelain _skin_ . . . You want the whole _list_? . . . I got it written down.

_(Pause.)_

I love you ttt . . . there's . . . _Francine_ : there's no immigration problem. Did you get off the pl . . . Did you get off the plane?

_(Pause.)_

Then there's no . . . Listen: you got spooked. And, you're over-tired . . . Because you _get_ this way when you're tired. You got the _heebie-jeebies_. Now your mind's racing. Take a sl . . . Oh, okay then. What woke you up? You . . . What are you worried ab . . . _(He looks at his watch)_ The _paper_? Baby—since when do you read the ppp . . .

_(Pause.)_

You saw it on . . . ?

_(He gestures to Carson to pull it up on a tablet. Carson does so.)_

_(Into phone)_ What were you doing _online_? _Shopping? . . . Bet_ you were shopping, what'd you buy?

_(Carson shows him the item on the tablet.)_

_(Into phone)_ Hold, Frankie, hold on. _(Pause. He reads)_ "After an unscheduled st . . . continued to Toronto. On board, a young woman who claimed to be Mr. Ross's fiancée . . ."

_(Pause.)_

"Who _claimed_ to be his fiancée."

_(Pause.)_

Uh-huh. No. That is not polite.

_(Pause.)_

No. I agree with you. It's unwarranted and insulting. No. You're not overstating it. Look, look: you and I. Wherever we go. Are going to arouse. A certain amount of envy. It's inevit . . .

_(Pause.)_

Frank, Frankie, go look in the mirror.

_(Pause.)_

Who would not envy you? Or me for your companionship?

_(Pause.)_

Yes, they're striking at me, through you. That's absolutely right.

_(Pause.)_

Well, one has to learn some philosophy. We'll sit on a beach and study it. What do you say? . . .

_(Pause.)_

France, what are you concerned about?

_(Pause.)_

"You lied."

_(Pause.)_

When did you "lie"?

_(Pause.)_

When you said you didn't get off the plane. Okay. Don't worrr . . . _If_ it constitutes reentry, we'll set the clock back and stay out of the country for six months. Is that it?

_(Pause.)_

Then what is it?

_(Pause.)_

Well, you have to tell me, and you're going to tell me, so, whatever it is . . .

_(Pause.)_

What do you mean "They _took_ you off the plane"? _Who_ took you off the plane?

_(Pause.)_

"And then . . ."?

_(Pause.)_

I know there's "and then," because I hear it in your voice. What is it?

_(Pause.)_

No.

_(Pause.)_

Oh no.

_(Pause.)_

No. They didn't.

_(Pause. He gestures to Carson for a pad and a pen. Carson passes them to him.)_

_(Pause. Into phone)_ Can you tell me what uniforms they wore?

_(Pause.)_

Because I need to know who they were.

_(Pause.)_

That " _you_ did something wrong"? My God. Frankie. Oh my God.

_(Pause.)_

I have to call you back.

_(Pause.)_

Because I need to find out who did this to you.

_(Pause.)_

_Uh_ -huh . . . Well, you let that be my business. Can you do that?

_(Pause.)_

_Good._ You just let me take care of it. I love you, baby. And I'll call you back.

_(Pause.)_

Francie? I'm so very sorry. I'm so sorry.

_(He hangs up the phone.)_

Get me Mr. Rubenstein.

_(Carson dials the phone.)_

And then get back to Aerstar. Thank them. And I _will_ accept their offer of the loaner plane. And get me out of here.

CARSON _(Into phone)_ : Mr. Ross, for Mr. Rubenstein.

MICKEY: Toronto and then London, with Ms. Pierson.

CARSON: Now?

MICKEY: Give me the phone.

CARSON _(Into phone)_ : One moment, please, for Mr. Ross . . .

MICKEY _(To himself)_ : . . . This sick little _punk_ . . .

_(He takes the phone.)_

_(Into phone) Dave._ Okay, I been around a long time. _As_ have you. But this fuckin' _Kid_. Are you _kiddin_ ' me?

_(Pause.)_

What? My _friend_ . . . Ms. _Pierson_. Was detained. At the airport. By your people, who . . . "How do I know that they're your people?" I'll _tell_ you how I know, as, we find . . . _(Reading from his tablet)_ "Who _claimed_ to be his fiancée . . ." Where and to whom was that said, Dave? So that it's leaked in the newspapers? To whom was it said? _To your people_ . . . At the airport. Uh-huh. Well. Look into this. My fiancée, a young woman, _is taken from the plane_ , TAKEN OFF THE PLANE, and _strip-searched_ , and _strip-searched_ , by some fucking "matron" in a room, and is vio . . . Hold on, and is _violated_ . . . physically _violated_ . . . By, what _is_ it? A "cavity" search. _Why?_ Looking for _what_ , Dave? That's _my_ question. Because, hold the fuck on, because she fit some "profile"? No. Because She Was Associated With _Me_. "How" do I know? Because the same people, who, essentially _raped_ her, went and leaked the story to the press. Upon whose orders, Dave? Who would that be? The feds have no horse in this race. It's this _fuckin_ ' Kid, who thinks his shit don't stink. What did I _do_ to him?

_(Pause.)_

I didn't and I _don't_ support him.

_(Pause.)_

'Cause he's a _fool_.

Is that a crime now? Because I don't vote for this "Man of the People." Was he _always_ this . . . DON'T TELL ME HE'S NOT DOING IT. _Because he is._ Was he always this sly, Dave? Where did he _learn_ this? In the _ivy-covered halls_? I thought, all he learned there, was to make _scented candles_. What does he think, _politics_ , is one of his charming Native _crafts_? He's going to teach us to _weave_? Because I'm in the _opposition_? Look, look, I bounced him on my knee, he went the _other way_ , and you went _with_ him. That's fine. I _get_ it. But might you _explain_ to him, I'm _not_ his _enemy_. I'm just on the _other side_ , and if there _is_ no other sss—there is no ballg . . .

_(Pause.)_

Who knew the girl was on the plane, Dave? Who knew the girl was on the plane? Okay. He needs to make a show about my taxes, that's fine. Here's the thing, how was he brought up? To bring in a woman, who happens to be my fiancée. But if she were not . . . some innocent girl. Who further is under my protection? Does this mean nothing to him? Where'd he get it? From that fucking "man" he married, who . . . No, go ahead and tell him . . . Who, for all her _commie bullshit_ is living off both the wealth and the influence her husband inherited. And thrilled to get it. And the nice _fieldstone house_ on the Vineyard, and the pied-à-terre in town, and the unions in the _family pouch_ , for sixty years. Now he's the _long-lost motherfucker_ come down to walk among us. My question? Where did all this money come from? To buy him this "enlightenment," to "lead the oppressed," and he . . .

_(He picks up the newspaper.)_

_(Reads)_ ". . . parked cars and carried groceries throughout his teenage years." He _did_? The little cocksucker. Two terms of his _share the wealth_ , and then I want to see _him_ fly commercial. This _hypocrite_.

_(Pause.)_

You and me stole some horses, Dave. The Old Man died, you went with the Kid. Whoever complained of that? But his _father_ would of _called_ me. If he had to make a show. "I'm fair game"? All right. But my fiancée is not. His actions are disgraceful, and he wants to fuck with me—there's gonna be a twister in a trailer park . . . Tell me you're kidding. "How?" "How is he fucking with me?"

_(He picks up the newspaper again.)_

_(Into phone; reads)_ To oppose "malefactors of _great and unearned wealth_ " . . . Who would that be? "I, like my father, have devoted my life to public service." Well, but how did they get rich, then? How does that work? With their summer house. Where Steven is raising . . . _(Reads)_ "Little Sam and Lisa. To sail four-meter boats, and ride horses in the _evening surf_ "? How did they get that money, Ruby? Anybody _care_? 'Cause I see in his ads . . .

_(He unfolds the newspaper.)_

_(Into phone)_ . . . the _happy family_ , 'round the rustic hearth. Whose stones, I recall, came from _England_ , at the suggestion of, I believe, some decorator. Who, oh wait, also redid the statehouse. Oh, that was "put to rest"? Wait, _I_ remember that stone fireplace. No. All right. No, not because of how it was paid for, but for what it was used for. Autumn nights, burned a lot of beautiful wood there. _Maple_ . . . Applewood . . . What _else_ did we burn there? Ruby? When the Old Man begged me? When he held. The hem of my coat.

_(Pause.)_

What did we burn there?

_(Pause.)_

I hope that it burned thoroughly, as I hate to leave things lying about.

_(Pause.)_

You still there? You ever clean out your desk? Something? Back in there, a piece of paper . . . "What is that?" You throw it out. Next week? Invariably. You find that you need it.

_(Pause.)_

"I'm playing with fire"? What is he going to do to me? I'm cashing out. "And go where?" Wherever I want. You see. And sit around with my wife, whom you thought good to physically abuse.

_(Pause.)_

What does the Kid _want_ , the end of the day?

_(Pause.)_

He "doesn't want _anything_ "? Don't tell me that. 'Cause if he don't want something from me, he wants to do something _to me_. And, I can't let him do that.

_(Pause.)_

Well, I want something from _him_. I want him to leave me and my friend the fuck alone.

_(Pause.)_

"Or what?" Or I will put an asterisk next to his name, in the record books. That small pointed star. _You_ know what it means? It means _disgrace_. And I will shame this little pimp so badly his children will change their names. Good talking to you.

_(He hangs up.)_

_(To Carson)_ Go down to the office. In the safe. I need you to fetch me some files.
TWO

_The apartment. Morning._

_Coffee service on a tray on the table. An overnight bag, open, sits next to it. Mickey enters from a room off to the side. He is carrying a Dopp kit, and puts it into the bag. He opens a newspaper, which is sitting next to the breakfast tray, and reads._

_There is a knock on the door._

MICKEY: Yes, come in.

_(Carson enters carrying some files.)_

Well, I had a vision. An old man. His obligations are met. He takes a young wife. And retires. To a new life. This new life, you might say, is just the ultimate fantasy of wealth: that success, can buy simplicity. But. It is not a fantasy, this new life. One may have it. But one must abandon the old. In which process I was involved. During which I went and acted like a fool. And dragged myself back. When all I had to do was walk away. No. I don't need the files.

CARSON: What would you like me to do with them?

MICKEY: Would you please get me Ms. Pierson?

_(Carson dials a phone.)_

_(Looks at his watch)_ Have her picked up, at the Choate Hotel, and taken to Flight Services, in Toronto.

CARSON _(Into phone)_ : Ms. Ann Black. Hello?

MICKEY: Call Aerstar. I'll take their plane with thanks. It's not their fault.

CARSON _(To Mickey)_ : Right away, sir. _(He hands him the phone)_

MICKEY _(Into phone)_ : Hello? _(To Carson)_ Thank you. _(Into phone)_ Hello. _Frankie?_ How are you this morning? You see the _Queen_ up there? She out today? Well, she goes there _sometimes_. And the Mounties? Yeah. They Always Get Their Man.

_(Pause.)_

Just like _you_. That's right. Thank God.

_(Pause.)_

No. No. Don't worry about _anything_.

_(Pause.)_

'Cause there's nothing to worry ab . . . _(To Carson, gesturing at the coffee, offering him some) . . ._ They brought in some coffee.

CARSON: No thank you.

_(Mickey points to the coffee service. Carson picks up the tray, and exits.)_

MICKEY _(Into phone)_ : Yes. Yesterday was a bad day, and we're going to let it go. Isn't that what _you_ always advise?

_(Pause.)_

Well, that's what we're going to do. And our trip? I'm _reminded_ that it's called "a honeymoon." Zat too corny for you?

_(Pause.)_

We'll get married in _London_.

_(Pause.)_

You're shook up, of course you're shook up.

_(Pause.)_

No. Here's why. Because I've been through it. Babe, it's just "The Old Life." Reaching out to drag one back. We're going to walk away.

_(Pause.)_

"How did I get so wise?" Because I'm old enough to be your father. _(Pause. He laughs)_ . . . France? You kiss your mom with that same _mouth_? _Where_ did you learn those _words_? Talk that way to _me_? _I'm_ almost a _married man_ . . . "Don't _worry_." It's just some _old friends_ down here wanted to play Ringolevio. But I ain't playing.

_(Pause.)_

Tell you _later_. I'm gonna fly up there, I'll see you in . . . _(He checks his watch)_ Three hours.

_(Pause.)_

The _green card_ , babe, is not an issue. Because, _one_ : they _took_ you off the plane, you did not _leave_ the . . .

_(Pause.)_

"Two?" _Two_ is: _should_ they mess with us, we'll take our football and _go home_ , and you won't _need_ a green . . .

_(Pause.)_

Tahiti, wherever you say, Saint-Estèphe? _Hold_ on, you know what we'll be? "Jet-setters." You ever hear that term? Howz _that_ sound?

_(Pause.)_

As of _now_. All I wanna do's have some fun. The "other" _thing_? It isn't fun anymore.

_(Pause.)_

"Is it because of _you_?" Babe: _everything's_ because of you. I love you. You know what we'll have in London? A roast fowl and half a bottle of mulled claret. With, what do they put in it? "Nutmeg" is that an aphrodisiac?

_(Pause.)_

_I_ dunno either.

_(Pause.)_

_"Ringolevio?"_ It's a _game_ we used to play.

_(Pause.)_

Well, you _can't_ learn it.

_(Pause.)_

'Cause you have to learn it in the _streets_. Cheer _up_. I'll see you at the airport.

_(Pause.)_

You, too.

_(He hangs up. Carson reenters.)_

I'll tell you what: I'm getting _old_. Walking away with the brass ring and the pretty girl, and I went and made a fellow mad. Ain't _that_ tempting fate? . . .

CARSON: Do you believe in fate?

MICKEY: Yeah, no. I don't "believe" in it, I just _seen_ it.

_(Pause.)_

All right, let's mend some _fences_. Our friend, the young _governor_ , what does he want? He wants to put me in the stocks.

CARSON: For what crime?

MICKEY: Oh no, no. For no "crime"—he needs an issue . . . Wants to get the cookie jar, and go save the people. How he would _know_ "the people," is beyond me, as the only time he ever saw them, they were waxing his car . . . Well, he always _was_ a disappointment.

CARSON: To the Old Governor?

MICKEY: To us all.

CARSON: Is he going to win?

MICKEY: There's a lot of foolish people out there—many of them vote.

_(Mickey gestures to the files Carson brought in.)_

You read the files?

CARSON: No, sir.

MICKEY: Why not?

CARSON: So that, if asked, I may say I didn't read them.

MICKEY: Who would ask you?

CARSON: I don't know. That's why I didn't read them.

MICKEY: Good for you. The Old Man taught "first rule." Never look in the envelope.

CARSON: That was the first rule?

MICKEY: It was up there. F'you meet, maybe one man like that in your life . . .

CARSON: And you were his protégé.

MICKEY: Well, perhaps I was.

CARSON: Of _course_ you were.

MICKEY: Yes, of course I was. Last night, in the midst of righteous fury, I thought, What would the Old Man advise.

CARSON: What was the answer?

MICKEY: His answer was, "Think again: a man has the right to change his mind."

CARSON: "It's a _woman's_ prerogative to change her mind."

MICKEY: The Old Man said, "It's _anyone's_ prerogative . . ." "A _woman_ or a _witness_. Or a _judge_ . . ."

CARSON: "Or" a judge? . . .

MICKEY: D'you come here to learn Business, Carson?

CARSON: Yes, sir, I did.

MICKEY: Want to know a "secret"?

CARSON: Yes, please.

MICKEY: _Everyone wants something_. What do they want? Money. Judge is no different than anyone else.

CARSON: The Old Governor would bribe a judge?

MICKEY: He was in bed with more judges than Miss America.

CARSON: How did he know that he could trust them?

MICKEY: He _assumed_ that he could trust them, till they got a better offer. Just like a car. You put fuel in the tank, you assume it's going to run. Fuel starts to run down, you better top it off.

CARSON: Can anyone be trusted?

MICKEY: That's the question of the Sphinx—

CARSON: And what would the Sphinx say?

MICKEY: Sphinx says, You have to trust _someone_ ; who'd want to live in _that_ world?

CARSON: . . . But sometimes you're wrong.

MICKEY: That's part of the cost of doing business. Point _is_ , as the Old Man said, Keep the costs as low as possible. You would have liked him. Hard to fool. Can you imagine what it did, to him; that his son believed the crap we used to tell the voters? Sent his kid to college. Learned to despise the money his dad made to send him there. From nothing. Do you understand? His father? Went out there with nothing? . . .

CARSON: As _you_ did.

MICKEY: Carson, I got a _girl_ to rub my back.

CARSON: Aren't you entitled to admiration?

MICKEY: I have no fuckin' idea. But you are correct—the response to a compliment is, "Thank you."

_(Pause.)_

Thank you.

CARSON: You're welcome.

MICKEY: Well. There you _go_ . . .

CARSON: What did you used to tell the voters?

MICKEY: The voters. We used to croon to them.

CARSON: What did you croon?

MICKEY: Savage rhythmic chants. To induce a state of unreason. Otherwise called "political awareness."

CARSON: What were the savage chants?

MICKEY: We called them slogans and promises.

_(Pause.)_

Two things you need, to win an election, Carson: a shit-load of money, and a magic phrase . . .

CARSON: Is that what an "issue" is?

MICKEY: . . . and the more absurd the phrase the better. Yes, that's exactly what an "issue" is.

CARSON: But people _vote_ for them.

MICKEY: People are fools.

CARSON: Is that why they support the governor?

MICKEY: The governor's bottled water. Y'know what bottled water is? It's _water_. And you tell me voters aren't fools? And we all had a lot of fun playing with 'em. But when it ain't fun anymore, it's time to quit.

CARSON: What would be fun?

MICKEY: What do _you_ think?

CARSON: "Peace."

MICKEY: And what would "peace" _mean_?

CARSON: Sir?

MICKEY: Well, see, that's the problem. Maybe we'll learn to "golf." Ms. Pierson and myself.

CARSON: Doesn't Ms. Pierson _play_ golf?

MICKEY: Na, she played "field hockey." Things they do in England. Tartan kilts, pretty girls knees, li'l white cotton panties. Maybe I'll learn to knit.

_(Pause.)_

The Old King.

_(Pause.)_

The Old King. You see? Cannot find peace, unless he relinquishes his burden—and of course; he cannot.

CARSON: Because?

MICKEY: Because then he's not the King.

CARSON: Yes, of course.

MICKEY: _Now_ : the successful man asks, "What _might_ I bequeath?" Wisdom? Well, you can't, because it's not transmissible. How about wealth and power? His heir? Misuses the power and squanders the wealth. And the Sea is, once again, Still.

_(Pause.)_

The Old Man? The Kid? Broke his heart. Went out and broke his father's heart. _You_ want the business? . . .

CARSON: You're joking.

MICKEY: I don't know that I _am._

_(Pause.)_

CARSON: I . . .

MICKEY: Is the car downstairs?

CARSON: Yes, sir.

MICKEY: Drive out with me, to the airport.

CARSON: Thank you, sir.

MICKEY: Let's have a little talk. Get me Dave Rubenstein, let's patch this up.

_(Carson dials a phone.)_

_(Referring to the newspaper)_ Oh, look, here: "Wicked Despoilers of the Common Wealth . . . and Shirkers of the Communal Burden . . ." You know what _politics_ is, Carson? Pawing through shit. Looking for Other People's Money.

_(Pause. Mickey picks up the model of the plane and looks at it.)_

. . . Fuckin' _airplane_. No. I don't need the files. Bad, bad error. Aerstar. Their "loaner" plane. Have 'em pick me up now, in Strafford. I'll fetch Ms. Pierson in Toronto. And then on to London.

_(Mickey picks up the newspaper and reads:)_

"Everything I know I learned from my father . . ."?

CARSON: Is that untrue?

MICKEY: His father was a man.

_(Pause.)_

CARSON _(Into phone)_ : Mr. Ross for Mr. Rubenstein.

_(He hands the phone to Mickey.)_

MICKEY _(Into phone)_ : Dave I just realized something. I'm too old for the game. My boy or your boy, finally, what does it matter?

_(Pause.)_

I'm calling you to beg your pardon. Yesterday, I said some things, in anger, which were both untrue, and hurtful. And which I heartily regret. I said things, of which I am ashamed. I've grown old, it seems and have lost control of my speech. I'm going to take it as a sign.

_(Pause.)_

Out of business, yes, and out of politics.

_(Pause.)_

That's right. Out of politics. I'm done.

_(Pause.)_

'Cause it occurs to me, lately, Dave, that it was just a game. And all those years. I been playing on the house's money . . . had a lot of fun . . . But . . .

_(Pause. Another phone rings. Carson answers it.)_

CARSON _(Into phone)_ : Yes?

_(Carson listens and makes notes.)_

MICKEY _(Into phone)_ : But now I'm cashing out. I'm taking my girl to a _desert island_. _(Laughs)_ Well, my age is the only age at which I now can do it, so there you are. Listen. Ruby: what I said yesterday. About Steven? It was discourteous, and it was wrong. I acted like an arrogant fool. I'm sorry. I wish him well, and I'd appreciate it if you told him so.

_(Pause.)_

He was upset? . . . No, I'm sure he was upset. I can't take the words back, I wish I could. I can but humbly beg his pardon.

_(Pause.)_

Thank you.

_(Pause.)_

Good talking to you, too, Dave.

_(Mickey hangs up.)_

_(Pause. Referring to the files)_ Get this filth out of here. It's bad luck. Call _Henry_ , tell him to pay the tax.

_(Mickey begins closing up his overnight bag.)_

Tell Ms. Pierson, we'll be in Toronto . . .

_(Pause.)_

What?

CARSON _(Hanging up the phone)_ : Aerstar's canceled the plane.

MICKEY: Which plane?

CARSON: Their standby plane.

MICKEY: Tell me again.

CARSON: Aerstar has withdrawn their offer of the standby plane.

MICKEY: What reason did they give?

CARSON: They . . .

_(Pause.)_

MICKEY: Get Henry on the phone.

_(Carson dials the phone.)_

What exactly did they say?

_(Pause.)_

Carson?

CARSON: "Aerstar regrets we are unable to . . ." _(Into phone)_ Hello? Mr. Ross for Mr. Abrams . . . _(To Mickey)_ ". . . legally supply for Mr. Ross's use . . ." _(Into phone)_ Hello? . . .

_(Mickey takes the phone.)_

MICKEY _(Into phone)_ : Hello, _Henry_. _(To Carson)_ "Legally"?

CARSON: Yes, sir.

MICKEY _(Into phone)_ : _Henry_ , _Aerstar_ , offered me _gratis_ , use of one of their planes. No, hold on, and _lemme_ talk: they've now withdrawn the offer of . . . You _know_ they withdrew? . . . _How_ do you know? _(Into phone) What?_ Henry, _what_? You received _what_?

_(Pause.)_

I don't underst . . . Hold on: _why_ did they cancel the plane? . . .

_(He motions to Carson to transcribe the information.)_

"Aerstar reports they have been issued an _Information_ " . . . what does _that_ mean? ". . . on Michael A. Ross, regarding possible violation of the federal . . ." You're _bullshitting_ me. An "information"? What does that . . . ?

_(Pause.)_

Potential _criminal_ charges . . . ? _What? What_ criminal . . . ?

_(Pause.)_

But that's _absurd_. On a _tax_ . . . _(To Carson)_ Get me Dave Rubenstein.

_(Carson picks up the other phone and dials.)_

_(Into phone)_ On a state _tax_ iss . . .

CARSON _(Into phone, speaking quietly)_ : Mr. Rubenstein.

MICKEY _(To himself)_ : . . . Federal charges . . .

_(Mickey hands his phone to Carson and takes the other phone.)_

Take it down.

_(Carson begins transcribing.)_

_(Into phone)_ Dave? _Stop_ it. Will you just make it _stop_?

_(Pause.)_

You _can_ st . . . You made the _one_ call, you can make the . . . _Don't_ tell me you didn't make the cccc . . . You can _right now_. Yes. You _can_. You can " _advise_ " the kkk . . . Well, then you fucking _tell_ him: The Kid. Wants to Govern the World. He could _start_ by Governing _himself_. Calling this _shit storm_ down. Why? Because "People are Basically Good." Except anyone. _Works_ for a living. Or made a couple _bucks_ , or who _opposes_ him politically. You tell this little prick. The first million is the hardest. Let's see him start from nothing except the terror of dying _poor_ — _then_ let him go out there.

_(Pause.)_

And you can't . . . you can't . . . What the fuck do you _mean_ , "You can't be _involved_ "? What _are_ you but involved . . . What _do_ you want? You want money?

_(Pause.)_

"I can't legally give you money . . ."? Uh-huh . . .

_(Pause.)_

Hold on.

CARSON: I . . .

MICKEY: Hold _on_. Here it is . . . _(To Carson)_ What did I raise in the last election?

CARSON: Raise or give?

_(Mickey gestures "write it down." Carson consults his notes and writes.)_

MICKEY _(Into phone)_ : I will refrain. From raising money for my side. How much, how much money is that the Kid don't have to find . . . ?

_(Carson passes him a note.)_

_(Pause. Into phone)_ You _know_ how much money we raised last time? It's a _fortune_. Well, I'm going to forgo raising anything this time—I'm done.

_(Pause.)_

You're telling me the Kid would turn his back on that advantage?

_(Pause.)_

What does he want? He wants that keepsake we spoke of, I'll send it to you. I'll send it over _now_.

_(Pause.)_

Well, then, what in the name of God _does_ he want? _(Pause)_ An " _issue_."

_(Pause.)_

An _issue_. Thank you for your frankness.

_(He hangs up.)_

_(To Carson)_ What?

_(Pause.)_

Carson.

_(Pause.)_

What is it?

CARSON: They are indicting you for violation of the Foreign Corrupt Practices Act.

_(Pause.)_

MICKEY: Give me the phone.

_(Mickey takes the phone.)_

_(Into phone) Henry._ The Foreign Corrupt Pract . . . _What_ corrupt pract . . . A _bribe_? Whom, _whom_ did I " _bribe_ "? I . . . "The improvements on the plane, I _paid_ for . . . . . . the _permits_ "? I'm sure I paid for those, _too_.

_(Pause.)_

"A special exemption"? For _whom_? "Ms. Pierson"? They purchased an exemption for Ms. Pierson, why? "So she could work on the plane." Why would she need an ex . . . ? "As a Foreign National. She required a special license"?

_(Pause.)_

And they paid someone off? To get it . . . Aerstar? This exemption? They paid someone off?

_(Pause.)_

Did they?

_(Pause.)_

. . . They _admitted_ to it? Well, then, that's _their_ . . . "It's not a crime for them, but it's a crime for _me_ "? _Why? I_ never authorized . . . Well, then, wait . . .

_(Pause.)_

"Under U.S. law . . ."

_(Pause.)_

Hold on: this motherfucker? You _tell_ him, if he wants to take the gloves off, if that's what he wants, he's going to call down hell. Because, remind him, I was _there_. When his father _begged_ me.

_(Pause.)_

_Weeping. Weeping_ , Henry—holding on to my coat. The statute has run and they can't charge the Kid, but I will kill his campaign _dead_ , and his "supporters" will turn from him in _disgust_. DOESN'T HE _KNOW_ THAT?

_(Pause.)_

_Frankie?_ What _about_ Frankie?

_(Pause.)_

Wait, wait, "Canada _what_ "? "Canada may deport her"? To . . . ? "To the U.S." Why? They aren't after _her_ , they . . .

_(Pause.)_

Don't tell me that.

_(Pause.)_

Henry. To " _indict_ " her . . . ?

_(Pause.)_

No, they aren't. _What?_

_(Pause.)_

"To indict her as a 'co-conspirator.'"

_(Pause.)_

What, what is her position, as a Foreign National?

_(Pause.)_

"I shouldn't _discuss_ it"? With _you_? I shouldn't discuss it with you . . . What do you _mean_? I . . .

_(Pause.)_

"As it could be construed as perpetuating a . . ."

_(Pause.)_

"Perpetuating a conspiracy." _What_ fucking consp . . . With whom?

_(Pause.)_

_Frankie . . . ?_

_(Pause.)_

And? And what? What do you _mean_ , "Stay _away_ from her."

_(Pause.)_

Until _what_? She's my . . . Are you _crazy_? I can't leave her alone up there. _(Looks at his watch)_ I'm going up there _now_.

_(Pause.)_

"My passport"? What about my passport?

_(Pause.)_

They've pulled my passport? No they haven't.

_(Pause.)_

Why?

_(Pause.)_

"As a flight risk."

_(Pause.)_

_Uh_ -huh . . .

_(Pause.)_

Well—that would mean they're coming to _arrest_ me. Is that . . . ?

_(Pause.)_

CARSON: I . . .

MICKEY: . . . Are they coming to arrest me?

CARSON: I . . .

MICKEY _(To Carson)_ : Just . . . just a moment. _(Into phone)_ The Foreign Corrupt Practices Act. What does it carry?

_(Pause.)_

You're joking.

_(Pause.)_

Five million dollars and twenty years.

_(Pause.)_

Twenty years _mandatory_.

_(Pause.)_

Then I can't plead and bargain. Is that rrr . . .

_(Pause.)_

I said, "I can't plea-bargain"?

CARSON: Sir . . .

MICKEY _(To Carson)_ : Please, please don't speak for a moment. I _can't_ . . .

CARSON: I . . .

MICKEY: _STOP. FOR ONE MOMENT. PLEASE._

_(Pause. Into phone:)_

_Henry._ Can they make it stick?

_(Pause.)_

Uh-huh.

_(Pause.)_

Will they grant bail?

_(Pause.)_

"Under no circumstances . . ." Well, that means while we fight, I'm going to be in jail . . . Is that right? _(To Carson)_ Get me Dave Rubenstein. _(Into phone)_ It's not the feds, it's the governor. The feds will do as he suggests.

_(Pause.)_

Because they think he's going to win.

CARSON _(Into the other phone)_ : Mr. Ross for Mr. Rubenstein.

MICKEY: Henry, I have to call you back.

_(He hangs up.)_

CARSON _(Into phone)_ : One moment please. _(Pause. To Mickey)_ He's on the phone.

_(He hands the phone to Mickey.)_

MICKEY _(Into phone)_ : Dave . . .

_(Pause.)_

Dave? Well.

_(Pause.)_

Thank you for taking my call. I very much appreciate it. Dave? I'm sorry we had words. I truly am. The years we spent together. And I'm truly sorry I maligned the governor. His anger at me was fully justified. Would you please tell him I said so? And I thank you keeping the channels open.

_(Pause.)_

"You can't keep them open anymore."

_(Pause.)_

Of course you can't. No. No. I understand, it's out of your hands. I _wonder_ though, and then I'll let you go, if you'd listen to me. For a moment, if you would.

_(Pause.)_

Dave. I've been wrong. I've been a fool. And my arrogance has injured. Not just myself. But innocent others. Dave, under my care, who, through no fault of their own . . . I know you don't. But she _is_ involved, Dave. And I put her there.

_(Pause.)_

And I love her.

_(Pause.)_

Dave, a man who was _wrong_ . . . And it doesn't matter if "he overplayed his hand," or however . . .

_(Pause.)_

If he was wrong.

_(Pause.)_

When he admits his error. Dave, when he acknowledges himself _wrong_ , when he _apologizes_.

_(Pause.)_

Of course, of _course_ there must be a price.

_(Pause.)_

Well, Dave, you tell me. What would the price be?

_(Pause.)_

A time for reflection.

_(Pause.)_

How much time would that be, Dave, to cleanse the error.

_(Pause.)_

Tell me a number, Dave.

_(Pause.)_

_Two_ years . . . ?

_(Pause.)_

Two years.

_(Pause.)_

And come home to the girl? Who was not involved.

_(Pause.)_

Dave? Is that right?

_(Pause.)_

Thank you, Dave.

_(Pause.)_

May I send you a gift?

_(Pause.)_

No, God forbid. Just, a souvenir. Of those times we spent by the fire. Thank you, Dave. Thank you very much.

_(He hangs up.)_

_(To Carson)_ Get me Mr. Abrams.

_(He picks up the model plane and examines it.)_

_(To himself)_ Little fucking _toy_ . . .

CARSON _(Into phone)_ : Hello . . . ?

_(He hands the phone to Mickey.)_

MICKEY _(Into phone)_ : _Henry._ The charge will be negotiated down. And I will plead to the lesser charge . . . because Rubenstein just . . .

_(Pause.)_

I told him the truth, that I'd been a fool, and threw myself upon his mercy.

_(Pause.)_

Well, he _did_ . . .

_(Pause.)_

Because he's the better man—I don't know. Here's what it is: the girl gets full immunity. In writing. In _writing_ , and I'll plead to a felony that carries two years. And I'll serve fourteen months . . .

_(Pause.)_

On whatever charge he wants. And that's the deal. Ms. Pierson and I are separated for a while and then it's done.

_(Pause.)_

I want to sit down with you and review Ms. Pierson's situation while I'm gone. No. No, I don't want to come to the office. Can I come to your house, this even . . . No, Henry, it's not the best outcome, but it's the best _possible_ outcome.

_(Pause.)_

Thinking further changes nothing. _(Pause)_ I'll see you around eight.

_(He hangs up. Pause.)_

CARSON: Sir, I'm so sorry.

_(Pause.)_

MICKEY: Lock the door.

_(Pause.)_

Go lock the door.

_(Carson does so._

_Mickey picks up a pad and pen and writes.)_

I want you to leave here, go to this man, and give him _this_.

_(Mickey continues writing.)_

Get me Ms. Pierson on the phone. We need to get her somewhere safe.

_(Carson begins dialing.)_

Tell this man to have one of his people, _in_ Toronto . . .

CARSON _(Into phone)_ : Ms. Ann Black.

MICKEY: Tell him to send a woman. _(He continues writing)_ Ms. Pierson is to walk away from everything she has in the hotel. All of her bags. _Everything._ And go with their woman. Out of the hotel. I want her flown from Toronto, to Saint-Estèphe. Right now.

CARSON _(Into phone)_ : One moment, please . . .

MICKEY: . . . and _I_ need to get out of the country.

CARSON: Your _passport_ , sir?

MICKEY: . . . What . . . ?

CARSON: They canceled your passport.

MICKEY: . . . pick an airport. Out of state. _(Of the note)_ Tell this man to have a plane meet me there in two hours, Miami—Saint-Estèphe, phony the flight plans. Buy the pilot. Buy the plane, you need to.

CARSON: I don't understand.

MICKEY: What don't you understand?

CARSON: I don't understand why you won't take the deal.

MICKEY: Oh, Carson . . .

CARSON: They . . .

MICKEY: There _is_ no deal. He'll have me plead guilty to the lesser charge, then he'll indict me for conspiracy, and I'll die in jail. Isn't that _clear_? That's his _issue_.

CARSON: "That's his issue . . ."

MICKEY: That he "moved against the Great." Transparent corrupt little piece of _shit_. Who does he think he's fucking with?

_(He continues writing.)_

Ms. Pierson may not want to go. You tell him. Have his operative convince her, _drug_ her if they have to. Get her on the plane. You understand?

_(Carson does not move._

_Mickey finishes the note and hands it to Carson.)_

There you are.

_(Pause.)_

What?

CARSON: Perhaps you should take the note, sir.

_(Pause.)_

MICKEY: I'm sorry? . . .

CARSON: I think it might be better if _you_ took the note.

MICKEY: Uh-huh. You don't want to take the note.

CARSON: No.

_(Pause.)_

MICKEY: Well: "There you go . . ."

_(Pause.)_

No, you're not wrong. This isn't your fight. I beg your pardon.

_(Pause.)_

CARSON: Sir . . .

MICKEY: Carson?

CARSON: Yes . . .

MICKEY: I understand. You may go.

CARSON: I . . .

MICKEY: I understand. I "absolve" you. All right? You may go.

CARSON: Thank you, sir.

_(Pause. Carson starts to exit, holding the files.)_

MICKEY: Just leave the files.

CARSON: I'd prefer not to do that, sir.

MICKEY: You'd "prefer not to do that"?

CARSON: Yes, that's right.

MICKEY: Are you a thief?

CARSON: No.

MICKEY: No, I don't think so, but then why would you take my property?

_(Pause.)_

Just tell me.

CARSON: They can charge me with conspiracy.

MICKEY: Well, anyone can charge you with anything. But what conspiracy have you been part of? Carson? There _is_ no consp . . .

CARSON: . . . And you said you were going to trade these files, for imm . . .

MICKEY: _What_ did I say . . . ?

CARSON: For _immunity_ . . .

MICKEY: No, I never said that. No, you may have "understood" that. _Incorrectly._ But I never said those words. I _said_ I was sending Mr. Rubenstein a _gift_. Were those the words I said?

CARSON: Yes.

MICKEY: So why are you taking my property?

CARSON: You threatened, to blackmail the governor . . .

MICKEY: I did? With _what_?

CARSON: With what the files contain.

MICKEY: How would you know what they contain?

_(Pause.)_

CARSON: I read the files.

_(Pause.)_

MICKEY: Ah huh. Of course you did.

_(Pause.)_

Well now you know who you're dealing with.

CARSON: I know who _you're_ dealing with.

MICKEY: All right. But, you're jammed up, too. You stuck your nose under the tent, and now you're frightened. And legitimately so. The question is: Where does your safety lie? Your safety lies with me. Why? Because if you go to _them_ . . .

CARSON: I cannot be party to a criminal act.

MICKEY: Taking the files from me is a crime, Carson, they're my property. They _belong_ to me.

CARSON: I won't break the law.

MICKEY: Then don't. For if you turn on me? Carson? And go to them, if that's your plan. And lie—and they'll make you lie—that's perjury. Which is a terrible crime. To swear away someone's life.

_(Pause.)_

So _you_ tell _me_.

_(Pause.)_

CARSON: I'm frightened.

MICKEY: I know you are, and I'll protect you. How? With money, 'cause that's all there is. You want some? Here's a check. _(He signs a check)_ You fill it in. You'll need it. You deserve it.

_(Pause.)_

_Yes . . . ?_

CARSON: How can I walk away from my _life_?

MICKEY: Carson. Your life is _done_ here. Do you understand.

CARSON: But I've done nothing wrong.

MICKEY: Neither has Ms. Pierson, and they're trying to destroy _her_. What are they going to do to _you_? But. Like her, listen to me, _you will be_ protected.

_(Pause.)_

CARSON: What have you done to me?

MICKEY: I've done nothing to you, Carson, and I'm out of time. I've got to move. If I had the time I could sit _down_ and . . .

CARSON: No. I will not go to jail for you.

_(Mickey picks up the phone and dials.)_

MICKEY: But I swear to you . . . _(Into phone)_ Ann Black . . . _(To Carson)_ If . . . _(Into phone)_ Miss Ann Black. _(To Carson)_ I swear to you, I will take care of you.

CARSON: I can't . . .

MICKEY: Carson, I owe you. And I _will_ repay your loyalty. The other guy, you go to him, all you can do is pray. 'Cause you've got nothing to trade. _(Into phone)_ Hello, Frankie.

Frankie. There's been a change in plans . . . no . . . no one . . . Frankie? Fr . . . no one is going to harm you. Would I ever let that happen? Fr . . . Frankie. I Will Never Let Anyone Harm You.

_(Pause.)_

. . . Frankie, no one _can_ harm you. No one knows where you _are_.

CARSON: I know where she is.

MICKEY _(To himself)_ : . . . Oh no . . .

CARSON: I . . .

MICKEY: You don't want to do that, son.

CARSON: I know where she is.

MICKEY _(To himself)_ : . . . No.

CARSON: And I'm going to propose a trade.

_(Pause.)_

I said I'm proposong a trade.

MICKEY: I heard you.

_(Pause.)_

CARSON: Give yourself up and I'll let the girl go free.

MICKEY _(Into phone)_ : Frankie. Yes. Hold . . . Frankie, hold on. _(To Carson)_ That's the trade—I surrender, and, "You'll let the girl go free . . ."

CARSON: It's a simple proposition.

MICKEY: Of course. How does it work?

CARSON: I tell Mr. Rubenstein that I'm bringing you in.

MICKEY: . . . Go on.

CARSON: Then you can make whatever plans you want. For the girl.

_(Pause.)_

There's no more information.

MICKEY: Well, then. It must be time to make up my mind.

_(Pause.)_

CARSON: It is.

_(Pause.)_

MICKEY: All right.

CARSON: All right, to _what_?

MICKEY: You make the call. To Mr. Rubenstein. And I'll give myself up.

CARSON: I'm sorry.

_(Pause.)_

MICKEY: Huh? You're "sorry"?

CARSON: Yes. I truly am. But I think . . . I think that it's possible—

_(Carson begins reaching for a phone._

_Mickey picks up the metal model of the plane, and begins beating Carson with it._

_Carson starts screaming._

_There is a knocking on the door._

_Pause._

_Carson falls screaming._

_Mickey continues beating the fallen Carson, who is now silent._

_The knocking grows louder._

_Pause._

_Mickey listens to the knocking._

_Mickey begins screaming.)_

MICKEY: HELP ME.

_(Mickey goes around the apartment knocking over furniture and lamps while screaming.)_

STAY AWAY FROM ME. He's _cut_ me . . . He's going to kill me . . .

_(Mickey takes a piece of the battered metal plane and begins gashing his flesh with it. The blood flows.)_

_Help_ me. Will . . . Will . . . Oh my God. Will no one help an old _man_ . . . ?

END
**DAVID MAMET** 's numerous plays include _Oleanna_ , _Glengarry Glen Ross_ (winner of the Pulitzer Prize and New York Drama Critics' Circle Award), _American Buffalo_ , _Speed-the-Plow_ , _Boston Marriage_ , _November_ , _The Anarchist_ and _Race_. He wrote the screenplays for such films as _The Verdict_ , _The Untouchables_ and _Wag the Dog_ , and has twice been nominated for an Academy Award. He has written and directed ten films, including _Homicide_ , _The Spanish Prisoner_ , _State and Main_ , _House of Games_ , _Spartan_ and _Redbelt_. In addition, he wrote the novels _The Village_ , _The Old Religion_ , _Wilson_ and many books of nonfiction, including _Bambi vs. Godzilla: On the Nature, Purpose and Practice of the Movie Business_ ; _Theatre_ ; _Three Uses of the Knife: On the Nature and Purpose of Drama_ and the _New York Times_ bestseller _The Secret Knowledge: On the Dismantling of American Culture_. His HBO film _Phil Spector_ , starring Al Pacino and Helen Mirren, aired in 2013. He was co-creator and executive producer of the CBS television show _The Unit_. He is a founding member of the Atlantic Theater Company.
Table of Contents

  1. Cover
  2. Title Page
  3. Copyright
  4. Dedication
  5. Contents
  6. Production History
  7. Characters
  8. Scene
  9. Chapter One
  10. Chapter Two
  11. About the Author

# Guide

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redpajama_set_name: RedPajamaBook


With few exceptions, CT USSSA Fastpitch will abide by the rules and by-laws governed by the USSSA Fastpitch Rulebook. The on-line rulebook supersedes any printed edition. Like most softball sanctioning bodies the rules of USSSA play are virtually identical to Pony, ASA and other organizations. However, there are some differences. These following rules are the most commonly asked about by coaches and the following will be adhered to in ALL USSSA tournaments in Connecticut.
Common Rules Most Asked About.
Metal Spikes: Metal spikes are allowed at tournaments for ages 13U and up.
4 Pool Games: In 3-game pool play when an uneven number of teams exists, one team will play 4 pool games. The worst result of the 4 games will be dropped.
DP/Flex: A team may use the Designated Player (DP)/FLEX option provided it is made known prior to the start of the game.
The DP's name is indicated on the lineup as one of the batters in the batting order.
The name of the player for whom the DP is batting (FLEX) will be placed in the last position (non-batting) following the last batter in the lineup.
The DP must remain in the same position in the lineup for the entire game.
The DP may be substituted for at any time by a legal substitute or the FLEX.
If the starting DP is replaced on offense by the FLEX, the DP will leave the game. This reduces the number of players in the lineup by one. However the number of batters does not change.
If replaced by a substitute, the DP position remains in the lineup.
The DP may play defense at any position.
The DP may play defense for a player other than the FLEX, that player will continue to bat but not play defense, and is not considered to have left the game.
The DP may play defense for the FLEX and the FLEX is considered to have left the game, reducing the number of players by eliminating the non-batting position in the lineup.
The FLEX player may be substituted for at any time by a legal substitute and the FLEX position remains in the lineup.
If the FLEX player is not playing defense, the non-batting FLEX position is eliminated and the FLEX player is out of the game Unless the FLEX player is playing offensive in the DP's position, then the FLEX player may remain in the game and not play defense.
The FLEX position can be re-established if the FLEX player re-enters or is substituted for.
If replaced by the DP, this eliminates the non-batting position.
b). The DP can leave the game if the FLEX plays offense for the DP.
Placing the FLEX into one of the batting positions for someone other than the DP's position is considered an illegal substitution. The illegal substitute shall be removed from the game and restricted to the dugout/bench.
Additional Player - up to two Additional Players (APs) can be used to increase the batting order to 10 or 11 batters. Teams may use additional APs to bat their entire roster (Roster Batting), subject to the restrictions of Rules 5.2 and 5.3 in the rule book. The AP(s) will be placed in the batting order in the positions to be occupied. The AP(s) can also be used on defense (only 9 defensive players in the field), but must keep the same position in the batting order. The AP(s), if used, must be selected prior to the start of the game, and their name(s) must be included on the lineup card presented to the Umpire. Failure to declare the use of the AP(s) prior to the game precludes the use of the AP(s) in that game. If a pinchhitter or pinch-runner is used for an AP, that player becomes the new AP. The original AP(s) may re-enter like any other player under the re-entry rule. If an AP is used, the position must be used the entire game.
Roster Batting may be used and must be declared prior to the start of the game. This means all players in the lineup will bat. The team must use roster batting for the full duration of the game. APs and DP/Flex can still be used.
Courtesy Runners will be allowed for the catcher and pitcher at any time by a legal courtesy runner. If a team does not have a legal courtesy runner remaining they can use the Last Completed At-Bat as a courtesy runner subject to the same rules and restrictions as regular courtesy runners.
Jewelry that is non-hanging or non-dangling stud type ear or nose piercings only may be worn. Players in the game are prohibited from wearing jewelry such as rings, watches, hanging or dangling earrings, bars or other piercing type jewelry whether covered with tape or not, bracelets, necklaces (including cloth and string type), or other hard decorative items. Unadorned devices with no sharp edges or points, such as bobby pins, barrettes and hair clips, no longer than 2 inches, may be worn to control a player's hair. Medical alert bracelets or necklaces are not considered jewelry. If worn they must be taped to the body, so as to remain visible. Coaches wristbands (play indicators) are legal but must be worn as designed. Exposed jewelry, which is judged by the umpire to be dangerous, must be removed and may not be worn during the game.
Over the past several years the number of altered bats that have found their way into the youth fastpitch program has been increasing at an alarming rate. When a bat displays this new stamp it means that the bat has been manufactured in such a way that if it ever becomes altered in order to increase performance beyond the 1.20 BPF limit then it will show very dramatic visible damage (eg, cracking) to prove that it's been tampered with. In short, a bat with the new stamp is either unalterable or, if altered, it becomes unusable. Note that the attached document titled "Illegal Bat Penalty" describes the penalty for using an illegal bat. We encourage all USSSA directors, umpires, coaches, parents and players to take the necessary steps to avoid the use of an illegal bat prior to and during a game.


The Jefferson Animal Hospital team of skilled veterinarians welcomes you to our practice. Proudly serving the Baton Rouge area. At Jefferson Animal Hospital, it is our daily privilege to provide quality vet care to your cherished pet, with compassion and competence. We hope to ensure a positive impact on our patients, pet owners and the local community.
Dr. Stephanie Thomas grew up in Baton Rouge, Louisiana, and was the salutatorian of the second graduating class from Christian Life Academy. She began her college career at Louisiana State University but took a hiatus before graduating to raise her children. After establishing her children with a good foundation she returned to LSU to become a member of the LSU School of Veterinary Medicine Class of 2013. As a non-traditional student people would hear her classmates often refer to her affectionately as "Mama Steph" around campus. This was especially true in the equine hospital, where she spent much of her time. Dr. Thomas has always had a love of animals but was drawn to veterinary medicine after volunteering with the LSU SVM faculty and students for the equine rescue effort at Lamar Dixon following Hurricane Katrina. Dr. Thomas prefers the clinical side of practice where she is able to work with her clients on a daily basis to ensure an optimum quality of life for their furry family members. Dr. Thomas is a member of the American Veterinary Medical Association, Louisiana Veterinary Medical Association, and Baton Rouge Veterinary Medical Association.
Dr. Thomas currently resides in Denham Springs with her husband, Derrel, in a house that seems to grow quieter by the year with only one of her five children still living at home. Now home has become a farm and is filled with animals including but not limited to eight chickens, four goats, three birds, two cats, one horse, one miniature donkey and one dog,lacking only the proverbial partridge in a pear tree.
In her extremely limited spare time, Dr. Stephanie enjoys motorcycle riding, horseback riding, and scuba diving. She also enjoys traveling and has combined that with her other hobbies at various destinations including England, France, Australia, Isla Roatan, Philippines, Mexico, and New Zealand. Dr. Stephanie's favorite pastime by far is spending time with her only granddaughter, Casey Ann, who knows Dr. Stephanie as "Emme" and Derrel as "Grumps."
Dr. Lindsey McWhorter was born and raised in Oklahoma and was the salutatorian from the 2001 class at Yukon High School. She received her Bachelor of Science in Nursing from the University of Central Oklahoma. In 2006, she moved to Louisiana and started her nursing career at Terrebonne General Medical Center in Houma, working in the nursery and Neonatal Intensive Care Unit. After a few years, Dr. McWhorter was ready to take the next step in her career, which took her out of the field of human medicine and into veterinary medicine. In 2014, she graduated from Louisiana State University School of Veterinary Medicine with a passion for companion animal medicine. She is a member of the American Veterinary Medical Association. Dr. McWhorter has a strong interest in dermatology, but also enjoys general practice because she gets to do a little bit of everything. She loves using her knowledge as a veterinarian and her experience as a registered nurse to help clients give their pets the best life possible.
Dr. McWhorter currently lives in Denham Springs with her husband, David, who is a Louisiana native. They met in college at the University of Central Oklahoma and were married in 2006. Since then, they have acquired quite the menagerie of animals including 8 dogs, 1 cat, 5 snakes, a tarantula, and the occasional foster dog.
Dr. McWhorter's hobbies include reading, hiking, and listening to showtunes. Most of her spare time is spent in the company of family and friends, which includes going home to Oklahoma to visit her parents and sister as much as possible. She also travels to Boston annually to visit her best friend. When time permits, she and David like to travel and most recently spent some time driving down the Pacific Coast in Washington and Oregon. Their dream travel destination is Scotland and hope to make it there for their fifteenth wedding anniversary in a few years.
Hannah Sibley is a Walker, Louisiana native who has always had a sincere passion for animals. Through her schooling at Louisiana State University receiving her Bachelor's of Science and Doctorate of Veterinary Medicine degrees, that passion has grown into a career driven by her desire to help animals and their care takers. Dr. Sibley takes great pride in the relationships she makes with her patients as well as the long term friendships she makes with their care takers along the way. She truly enjoys preventative medicine, surgery, and geriatric patient care. After working 4 years in Las Vegas, Nevada she has returned home to be close to family and friends and share her devotion to quality and passionate veterinary care in her home state.
Dr. Kim Bonaventure grew up in Lake Charles, Louisiana. She completed her undergraduate studies at LSU in 1996, received her Doctor of Veterinary Medicine degree from LSU SVM in 2001, and her Certification in Veterinary Acupuncture from the Chi Institute in Reddick, Florida in 2015. Dr. Bonaventure is currently enrolled at the Chi Institute in the Chinese Herbal Therapy program. Dr. Bonaventure is a member of the American Veterinary Medical Association, the Baton Rouge Area Veterinary Medical Association, and the American Association of Traditional Chinese Veterinary Medicine.
Dr. Bonaventure and her husband David reside in New Roads with their 3 children Andrew, Kate, and Emily, and their yellow lab Girlfriend, their cat Pearl, and guinea pig Sarah Bacon. Both Dr. Bonaventure and her husband are actively involved in their children's many extracurricular activities. She is a coach for Girls on the Run, Girl Scout Leader for both of the girls' troops, and is Advancement Coordinator for her son's Boy Scout patrol. Her husband is involved as a coach for the numerous sports teams. They are members of St Mary of False River Catholic Church.
Dr Bonaventure has many small hobbies, but mostly enjoys spending time with family and friends, running, and YOLO boarding.
Dr. Larry grew up in the rural community of Central located on the outskirts of Baton Rouge. He attended LSU on a Football Scholarship where he received two varsity letters. He completed his undergraduate degree from LSU and commissioned a 2nd Lt.in the USAF thru ROTC in January 1970. He became a USAF Fighter Pilot serving on active duty until August of 1977, in which he then entered the LSU School Veterinary Medicine.
He graduated from veterinary school in May of 1981 and opened McCaskill Veterinary Hospital, a mixed animal practice, in New Roads, LA, in August 1981. While in veterinary school he joined the USAF Reserves continuing his flying career on a part-time basis. In September of 1991, became a United Airlines Pilot, while still maintaining his veterinary practice. He retired from the USAFR in December 1994 and United Airlines in December 2007. Dr. Larry maintained dual careers as a practicing veterinarian and pilot for 29 years.
His interest in and study of Integrative/ Traditional Chinese Veterinary (TCVM) began at the Chi Institute of Traditional Chinese Medicine, Reddick FL, in July of 2008. He became a CVA in March 2009. To continue his training in TCVM, he completed an International Course on Veterinary Acupuncture at the Nanjing Shihuang Institute of Animal Science and Technology, Nanjing, China in May 2009.
Dr. Larry opened the Jefferson Animal Hospital Integrative/ TCVM Small Animal Referral Practice l in the summer of 2009.He is now also a CVCH and has completed his training in Food Therapy.
He loves to promote TCVM and mentor students learning veterinary acupuncture. He has given TCVM presentations locally and internationally. He is an Internationally Chi Institute Instructor, teaching acupuncture to international students at the College of Veterinary Medicine South China Agricultural University Guang-zhou, China.
Dr.Larry resides in Oscar, LA, on False River with his wife, Lu and their Yellow Lab Cakki. They have two children Matt and Megan and five grandchildren. They are active members of St Mary's Catholic Church, New Roads, LA. His favorite hobbies are working out, dove and duck hunting with his dog Cakki.


A music video for Ben Folds Five's Cigarette. I'll appologize right here and now - there isn't a very entertaining preloader...me and programming never really got along. But give it like a minute or whatever and you should be good to go.


Charlie Rich's amazing voice and love of country music helped him become a world-class entertainer. He appeared in a number of television specials, including "Burt Reynolds' Late Show" (1973-74), "I Believe in Music" (NBC, 1973-74) and "Country Music Hit Parade" (CBS, 1975-76). He also landed roles in various films, such as the Robert Hays comedy adaptation "Take This Job and Shove It" (1981). Rich also contributed music to the adventure "Benji" (1974) with Higgins and "Every Which Way But Loose" (1978). In the eighties, Rich devoted his time to various credits, such as "Nionde kompaniet" (1987) starring Thomas Hanzon, "Weeds" (1987) starring Nick Nolte and "The Delinquents" (1989). Rich's music was most recently used in the dramatic adaptation "Wild" (2014) with Reese Witherspoon. Rich passed away in July 1995 at the age of 63.


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Are recent increases in forest mortality a symptom of drought?
Tree mortality is a poorly understood process in terms of its ecological drivers and physiological processes. Recent studies have documented rapid increases in background forest mortality rates and greater incidence of large-scale (catastrophic) forest die-back. These trends are often logically correlated with drought, whether arising from lack of precipitation, increases in temperature and evaporative demand, or both. What is the evidence that drought is an underlying cause of increasing tree mortality?
Physiologically-based investigations have suggested possible mechanisms of drought-induced tree mortality, though the relative importance of different pathways is likely to vary across taxa and specific drought conditions. New evidence suggests drought across several consecutive years may be particularly important, possibly acting through 'cavitation fatigue'. However, our understanding is too rudimentary to predict future forest response to drought. For example, very different outcomes are expected if the dominant physiological mode of drought–induced tree mortality is cavitation or (drought-induced) carbon starvation. This ambiguity is reflected in a recent modeling study where forest responses to future climates was highly variable depending if trees were more sensitive to absolute or relative changes in drought stress. An additional source of uncertainty is our relatively poor knowledge of how pests, pathogens and other disturbance agents amplify drought stress. The severe drought of 2014 across much of the southwestern United States provides a remarkable natural experiment to test our understanding of forest drought responses, including assessments of management actions designed to promote forest resilience to disturbance (such as prescribed fire and forest thinning). In sum, multiple lines of evidence suggest that drought is influencing patterns of tree mortality but we are unsure how forests will respond to continuing climatic changes.


There are many reasons to forsake the pretend false religions in favor of Christianity, but one of the best reasons is that Christianity has a greater ease of worship.
ACTUALLY, those who have been living a lie, professing Jesus only with their lips while serving another will find Christianity to be a much easier path to tread.
Real Christianity is certainly an easier path to walk then the fake, pretend type so many tares are used to.
Yes, the believer is PROMISED to be hated of all men for Jesus' sake.
Yes, the believer is PROMISED persecution.
Yes, the believer is PROMISED tribulation.
BUT, the believer has access to so many resources the pretender lacks.
So, even with all of the promised testing of the believer, in many important ways, life gets EASIER.
There are a LOT of reasons to worship God the Creator and His Son, Jesus Christ.
Not only are God Almighty and Jesus Christ easy masters to serve, but when one no longer has to lie about who he serves, it requires much less remembering what one has said.
IS the reader tired of trudging along the road of life, dodging the potholes which are many and dangerous?


Please help!! Recently bought a stick shift 97 Nissan Maxima V6; that hadn't been driven or started in about a year & a half. After having it checked out we were told it needed minor things; new alternator, new battery, tune up, etc. So we did all of that and had it smogged..it Failed!..w/ 3 codes... 1) O2 Sensor Fault 2) Knock Sensor 1CKT Malfunction. 3) Misfire detected -Cylinder3.
Besides a lil' hesitation on start up... car was running good. Then one day I had trouble going up a hill. It felt as if it wasn't grabbing the gear and didn't have power. Also, if I put in 1st & let go of clutch pedal the car doesn't turn off or even hesitate. It got worse and worse and now I can't go anywhere because it got scary to drive...(One day i was at an intersection & the light turned green, it took me until the light turned yellow to get through the intersection).
Sounds like two separate issues and your clutch is toast.
We`would need exact code numbers, not someone's interpretation of them.


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