from A Blessed Unrest

In order to keep the illusion that Jacob is quadriplegic, the actor playing Jacob should not be seen moving on his own, especially during scene changes unless in the stage directions.

Much of Martha’s dialogue quotes from her autobiography, Blood Memory , as well as from various sources on the Internet.

ONE: THE LIFT

(Flowing fabric, interesting lighting, and a minimal set are the feel for this play, as if in a modern dance concert. The two most important set pieces are an electric wheelchair and an electric hospital bed. It is all very mobile and rolls in and out with ease. We begin in darkness with a single light on JACOB, a good-looking, fit man in his mid to late 40s. He is wearing hospital pajamas, sitting in an electric wheelchair with a headrest.)

JACOB For the lift—a dancer’s feet are clearly not in contact with the floor; his body weight is supported for him and he, for just a moment, is flying. Like a plastic bag that catches the wind, he is up, suspended in what feels like heaven.

(JACOB holds his breath as he is thrust around the dark stage by the other actors in full black so that we do not see them, but we do see what they are holding—bright colored parts of a car, a door, a mirror, a bumper, etc. JACOB is in a slow-motion contact dance with the car parts as he speaks.)

JACOB And then you can feel the change in propulsion and everything crashes at once—skin, tendons, bone, blood, teeth, glass, metal, gravel, pavement.

(Light change. Car parts exit. JACOB crashes to the ground in a heap. MARTHA GRAHAM enters the corner of the stage.)

MARTHA (V.O.) “There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time this expression is unique.”

JACOB Nurse?

MARTHA (V.O.) “And if you block it, it will never exist through any other medium, and will be lost. The world will not have it.”

JACOB Nurse!

MARTHA (V.O.) “It is not your business to determine how good it is, nor how valuable it is, nor how it compares with other expressions.”

JACOB & MARTHA (V.O.) “It’s your business to keep it yours clearly and directly, to keep the channel open.”

JACOB Yes, I know this letter, Martha. I love this letter. But I’m a little busy right now. Get out of my head!

MARTHA (V.O.) “Keep the channel open.”

JACOB I love you Martha, but shut the fuck up.

(Sound effect of a car crash. As the car parts appear again getting closer and closer. Lights out.)

TWO: GROUNDED

(It is 11 p.m., the winter of 1997. The only decoration in this sterile rehabilitation hospital room is a poster of an old Martha Graham dance performance. JACOB is in his wheelchair, alone.)

JACOB (to himself) Why didn’t they just let me die?

(PATRICIA enters. She is in her mid to late 30s, a striking Latina who wears a gold cross and moves purposefully; obviously Jacob’s nurse.)

PATRICIA Because you wouldn’t have met me, silly.

(Beat.)

And if you didn’t meet me, then who would I chat with when I work the night shift? Trust me, I tried talking to myself and got funny looks.

(PATRICIA smiles. JACOB perks up around PATRICIA. She prepares to cut JACOB’s hair, taking out a towel, scissors, and a mirror.)

JACOB I heard about some people who hand out cell phones to the mentally ill so they can talk to themselves and not be embarrassed.

PATRICIA That’s a good idea. I should get a cell phone.

JACOB You don’t have one?

PATRICIA I’m one of those people who can live without new technology. I know; crazy, right?

JACOB You’re not crazy. I’m the crazy one. I’m having nightmares.

PATRICIA That’s to be expected. You’ve been through a lot. You’re in mourning. You’re allowed to feel bad, sad, whatever. Okay? But enjoy the little things. They say that’s the key to happiness.

JACOB So I hear. What’s your little thing?

PATRICIA A glass of wine and a good book about traveling and adventure.

JACOB Yeah?

PATRICIA Yeah.

(Beat.)

Hey, how about doing something a little loco?

JACOB What are you thinking?

PATRICIA Haircut. I’m pretty good. I practice on my Chihuahua.

JACOB Ah, that’s encouraging.

PATRICIA Come on, I’ll make it very modern; your kids are gonna love it.

JACOB Oh, right, their mom’s bringing them tomorrow.

PATRICIA They’re going to be so happy to see you out of your bed.

JACOB I’m happy to be out of that bed. I stared enough at that ugly ceiling. They should put a mural up there or something.

PATRICIA You know what? I’ll buy some glow-in-the-dark stars and we can put them up together.

JACOB You mean you can put them up and I watch.

PATRICIA (ignoring him, cutting his hair) Turn your head this way.

JACOB Why don’t you believe in cell phones?

PATRICIA I know, I know; it’s the nineties—everyone’s getting one. Alfred says I need one. He’s shown me how his works a thousand times. Has he shown it to you yet?

JACOB No.

PATRICIA Well, don’t ask him to show it to you, because then you’re in for the history of cell phone technology.

(looking at his hair)

PATRICIA (cont’d) Let me see your head.

JACOB I love when you talk dirty to me. PATRICIA Jacob!

JACOB (flirting) What? It’s the only thing I can move on my own, so watch out.

PATRICIA Shhh, anyone who walks by would think—

JACOB What? That you were cheating on your husband with me? There’s nothing to cheat with anymore.

PATRICIA Enough. I believe in being positive. You are what you think.

JACOB I thought it was, “You are what you eat.”

(Beat.)

“You do not even have to believe in yourself or your work. You have to keep open and . . .”

PATRICIA What?

JACOB Sorry. I’m a big Martha Graham fan. It’s one of her quotes.

PATRICIA Oh—

JACOB Do you know who she is?

PATRICIA Yeah, sure. She’s the one who invented the graham cracker, right?

JACOB (disappointed) No.

PATRICIA I’m kidding.

JACOB You’re killing me.

PATRICIA Alfred told me you are a dancer.

JACOB Was a dancer. You guys talk about your patients?

PATRICIA It’s very quiet at night, not much to do but talk, and I really hate most TV.

JACOB I think I love you even more now.

PATRICIA She’s the elegant one with the pitch-black hair always up in a bun. I know her, I saw her on PBS, I think.

JACOB She taught me a lot about—

PATRICIA No me mandes fruta . (Don’t bullshit me.) You took classes with her? This is so exciting. Tell me everything.

JACOB Nah, you don’t want to hear this. It was a long time ago.

PATRICIA Come on. It’s not every day I get to hear firsthand about a celebrity.

JACOB It was a long time ago.

PATRICIA Okay, bearing our souls time. I had a huge dream of being a ballerina when I was a kid. Had the tutu and everything.

JACOB So what happened?

PATRICIA Tutu got too small.

JACOB Come on.

PATRICIA I can’t believe it. You took classes with the famous Martha Graham?

JACOB She was the one who told me I had a spark. She’s why I went into dance in the first place.

PATRICIA Amazing. When was this?

JACOB I was twenty. Snuck into Studio 54 before I was legal. And weddings, nobody could get me off the dance floor.

PATRICIA I know, me too. I was dancing so much at my wedding that I didn’t eat a thing. Ed and I stayed up all night eating room service, opening up gifts.

(quickly changing the subject)

You want to see how it came out?

(PATRICIA holds a mirror up for JACOB to see his haircut.)

JACOB Did you just get married? You don’t look a day over twenty-two.

PATRICIA You are such a liar.

JACOB Twenty-three?

PATRICIA So, how’d you first meet the Queen of Dance?

JACOB I was dating Tina who took dance classes every day. She said they needed more male dancers. So she talked me into going with her one day. I had no idea what I was getting into. I just knew I loved to dance.

(PATRICIA cleans hair off JACOB’s neck and shoulders.)

PATRICIA You look very handsome. I’m sure you’ll be back on your feet dancing at Studio 54 in no time.

JACOB (vehemently) No. Don’t lie to me.

PATRICIA I’m not lying. I believe it.

JACOB Studio 54 has been closed for years now.

PATRICIA Oh. That’s too bad. I never got there.

JACOB Where did you go shake your groove thing Patty?

PATRICIA (with an extra Spanish accent) It’s Patricia. (pah-TREE-syah) But no one ever says it right.

JACOB I thought all Patricias were Irish.

PATRICIA I’m named after Saint Patricia. She was born rich and noble but gave it all away to help the poor.

JACOB Tricia?

PATRICIA Careful, or you’ll have to go back to Nurse Torres.

JACOB Whoa, we’re past formal. You’ve seen me naked. So, I need a nickname, that’s just for us. “P.T.” How’s that? It could stand for physical therapy and it’s your initials. Not bad, right?

(PATRICIA smiles. He takes that as a yes. She puts gel in JACOB’s hair, slowly.)

PATRICIA You have such nice, thick hair.

(PATRICIA looks at the time.)

JACOB You better get home, if I were your husband, I’d be dying to see you.

PATRICIA Sounds like you want to get rid of me.

JACOB Me? Never.

(JACOB doubles over in pain.)

PATRICIA Breathe through it, count one, two, three—

JACOB (through clenched teeth) I thought being paralyzed meant no feeling, silly me.

PATRICIA . . . four, five . . . See it’s over. Water?

JACOB Yes, thank you.

(PATRICIA helps JACOB sip water through a straw.)

PATRICIA (calling into the hallway) Alfred!

JACOB You think these phantom pains will go away?

PATRICIA I don’t know. Sometimes they do. Sometimes they’re a blessing, helps tone the muscles, helps people stand, roll over in bed—

JACOB A blessing?

PATRICIA No, maybe not the right word. Maybe you should try massage or acupuncture.

JACOB Sticking me with more needles, no thank you.

(ALFRED, a vibrant Jamaican man in his 30s, enters in scrubs. He is sturdy, strong, and has a great big smile.)

ALFRED Patricia, you still ‘ere?

PATRICIA Could you ask Dr. Weaver to up Jacob’s meds, he’s still in pain.

ALFRED Yeah, sure t’ing.

(to Jacob)

Looks like you got some special treatment this evening, yes sir. Hm-hm. Not’ing like a good ‘aircut to make you feel bran spankin’ new.

JACOB Look there he goes again— “spanking”—not in front of the lady, please.

ALFRED Oh Jake, you all right. You all right.

PATRICIA (to Jacob) Do you need anything else?

JACOB A working spine.

ALFRED I go order you one. You can buy whatever you want on the World Wide Web, you know.

PATRICIA The web, the web, that’s all this fella talks about.

ALFRED Jake, tell this lady she needs a computer, will you?

PATRICIA I don’t even know how to use one.

ALFRED & JACOB I’ll teach you.

PATRICIA Well, thank you gentlemen. I’ll take you guys up on that if I ever get one.

ALFRED She so old fashioned; she still driving a Plymout’.

JACOB What year?

ALFRED Before t’ey count in years.

PATRICIA All right, enough making fun of me—1971 wasn’t so long ago.

JACOB Alfred, do you have a cell phone Patricia can borrow? She wants to see what it would feel like to walk around with one.

PATRICIA (under her breath) I’ll get you for this.

(ALFRED takes out a large, 1997 Motorolla portable phone.)

ALFRED (Overlapping) Isn’t it a beauty? A Motorolla. Do you know why cell phones are called cell phones?

JACOB No. P.T., do you?

ALFRED Each town is broken up into these cells and the cell towers cover one area, so t’ey ’ave to connect to another tower to go farther. I can call my cousins in Jamaica from outside the park. Isn’t t’at amazing?

PATRICIA Alfred, would you sign me out? I’m already late—Ed’s going to worry. ALFRED Okay, you be careful; you look beat.

(ALFRED exits.)

PATRICIA I don’t know why I rush home. I can’t sleep when it’s light out.

JACOB (to PATRICIA) Here take a book. My mother brought them to me but I read them all before.

PATRICIA “Blood Memory ?” No, sounds scary.

JACOB It’s Martha Graham’s life in her own words.

PATRICIA Ah, then maybe she’ll teach me something too?

(PATRICIA winks at JACOB then exits. JACOB has another spasm.)

JACOB One, two, three . . .

(Lights out on JACOB. In transition to the next scene, DANCER/S count out a Martha-like warm-up starting with the floor work with deep contractions leading to standing. It is a representation of the miracle of being born.)

THREE: CHIN UP

(The sun starts to rise. JACOB is awake in the hospital bed. He sighs a few times. ALFRED walks by.)

JACOB Hey Al! Albert!

ALFRED Who calling me? Jake? I thought it was 207. She make me crazy, that woman. You ‘ear ‘er calling me “boy?”

JACOB I can’t sleep. Can you get me up?

ALFRED It’s early, not’ing to do but sit in your chair.

JACOB Better than stare at this ceiling.

ALFRED Okay. Ready, set— t’ere you go.

(ALFRED lifts JACOB into his chair.)

JACOB Why me?

(ALFRED rolls him over to the window. They watch as the sunrises. Beat.)

ALFRED You know, Jake, when my fat’er pass I stay up three days and nights. I just sit on the beach and watch the sun—set and rise. Set and rise. I don’t remember anyt’ing else.

JACOB I don’t remember the last time I watched the sun rise.

ALFRED Only reason I like working nights. You know what we need?

JACOB What?

ALFRED Music.

(ALFRED looks through JACOB’s audiotapes. He picks up a few and shakes his head at each one.)

ALFRED No, no, no. Ah, yes. I just know you have it.

JACOB What are you looking for?

(ALFRED puts on the song “Get Up, Stand Up” by Bob Marley.)

JACOB You’ve got to be kidding me. Doesn’t Jamaica have any other bands?

ALFRED We do, we do, but sunrise, Marley and a Red Stripe—now t’at is a party.

(Beat.)

You know, I ‘ate that question, Jake.

JACOB What question?

ALFRED See—Marley—‘e ‘elp you forget.

JACOB Except for the “get up, stand up” part. I can’t forget that I can’t do that.

ALFRED No mon, stand up for what you believe in. Come on.

(sings)

Get up! Stand up!

(ALFRED turns the music up and sing together.)

JACOB Won’t you get in trouble—all this noise?

ALFRED Me? No, I just blame you.

JACOB You all right Alfred. You all right.

(Lights fade on them as they continue to sing. In transition, the music continues and the DANCERS, in modern dance leotards to the reggae as if in a dance club.)

FOUR: RITUAL

(It is dark, the middle of the night. JACOB wakes from a nightmare.)

JACOB (sarcastically) I was on stage. Everyone looking at me. Nurses, doctors, the injured with fluids dripping into their veins, Bob Marley was there—all together we took a collective deep breath in—waiting for the first graceful movement. I look out somewhere over the audience’s heads. Chin up, tendu extension with the left leg, arms open ready to make my contraction in—I’m thinking about love, about the need for love, about a hug, about yearning. Soon the audience gets restless. What is going on? Why isn’t he moving? Someone shouts, “Boo!” There’s pandemonium. The hospital food is thrown onto the stage. Applesauce, microwaved potatoes, little cups of pudding, yogurt, bland salads, hard boiled eggs bounce toward me. Applesauce. Potatoes. Pudding. Yogurt. Salad. Eggs. Applesauce, potatoes, pudding . . .

(MARTHA sits on a stool, facing downstage, her back to JACOB. She looks into an imaginary mirror and fixes her hair into a large bun, as if getting ready for a performance.)

JACOB Oh thank God you’re here. It was getting messy.

MARTHA Rituals are very important. Check hair. Makeup. Then a moment of fear. Go back to the ritual. What you don’t want to do is fail in clarity or passion. You give all your life to this one thing. But . . . fear comes. Feel the light. It is an ever-present thing. Do you feel it? I grew up in darkness. Magically, I found the light. Once I found it, I couldn’t stop. Running, impassioned by the light. As the Bible says, “Let there be light!”

JACOB Are you my fairy godmother? Or guardian angel? Is the light—supposed to come? I’m ready. I’ll go now.

MARTHA Feel the light. It is an ever-present thing. Do you feel it?

JACOB Are you trying to tell me something? Is it in code? I don’t understand.

(MARTHA storms away, agitated. She is about to exit, when she quickly returns talking directly to him for the first time.)

MARTHA Bob Marley? Really, Jacob? Where’s the spark? Where’s the light?

(MARTHA exits again.)

JACOB What light? Hello? Martha.

(Beat.)

(Lights out on Jacob. As the scene changes DANCERS follow the moving light on stage. Soon they play with the light, running to it, hiding from it and ending with swimming in it. They also set the stage for whatever is needed for the pool scene.)

FIVE: LEAP

(A week later, PATRICIA is holding JACOB up in the suggestion of a pool. He can look like he is floating via the dancers underneath him or a platform that is hidden. JACOB is scared shitless.)

JACOB Don’t let me go.

PATRICIA Jacob, I’m right here. JACOB Don’t let me go.

PATRICIA I’m not going to let you drown. I’m trained in this, remember. JACOB I feel like I’m going to die.

PATRICIA Guess you are going to have to have faith in me. Close your eyes.

JACOB I’d rather be the one holding you up in the water. I don’t like this.

PATRICIA (soothing him) Shhh, you grew up by the beach, right? This is the ocean. You are being rocked by the waves, held up by the salt water. And the sun is shining down on you.

JACOB Are you there with me?

PATRICIA Sure.

PATRICIA And way out in the distance is . . .

JACOB A plane with a banner telling us to come to some new club opening.

PATRICIA I was thinking a cute gray dolphin but a plane’s good too.

(JACOB opens his eyes.)

JACOB This is nice. Like dancing.

PATRICIA It is like dancing.

JACOB Just rocking back and forth, except I should be standing and holding you in my arms.

PATRICIA I’m reading the book you loaned me.

JACOB Do you like it?

PATRICIA It’s sad. Martha has so much talent, so much—and yet she’s still sad.

JACOB “No artist is pleased.”

PATRICIA And she fell in love with that younger man, gives him everything, marries him—she lets him run her dance company and he just leaves her.

JACOB The world doesn’t work in happy endings.

PATRICIA I don’t believe that.

JACOB Then you’re a fool.

PATRICIA You know just what to say to a girl.

(ALFRED enters humming Marley as he folds towels. PATRICIA waves ALFRED over.)

ALFRED You ready to come out?

JACOB How’d I look? Ready for synchronized swimming?

ALFRED (laughs heartily ) Almost.

(ALFRED and PATRICIA carry JACOB out of the pool and gently into his chair. PATRICIA towels JACOB off first, then herself. ALFRED and PATRICIA put JACOB into a robe. Then she puts one on as well.)

PATRICIA Thanks, Alfred.

ALFRED No problem. ‘Ey, I was looking in the paper and I found you a Pentium 133 MHz wit’ a 4MB video card. Could set t’at up for you this weekend with a monitor, keyboard and get you playing Doom and Quake in no time, or get you a new portable computer. Yes, you could bring it wit’ you to work. IBM T’inkpad, I’m t’inking.

PATRICIA Is that English?

(to Jacob)

Is he speaking English?

JACOB It’s computer-ish.

ALFRED We could all do our charts on the computer. It would be much faster, but she won’t hear of it.

PATRICIA Okay, already. I did speak to Ed about buying one. I have to do something or you two are going to keep picking on me.

ALFRED Really? I go print out the specs I ‘ave been collecting for you. You ‘ave no idea ‘ow much this computer is going to make your life easier.

(ALFRED exits with a little hop in his step.)

PATRICIA He really needs a girlfriend.

JACOB Can I ask you something?

PATRICIA Shoot.

JACOB I’ve seen Alfred in the pool before, but not you.

PATRICIA It’s been awhile.

JACOB Well, thank you. I’m glad it was you who gave me a heart attack and almost drowned me.

PATRICIA My pleasure. Same time tomorrow then?

JACOB No, sorry I have to fly off to Switzerland for some work thing and then hit the slopes.

PATRICIA Do you ski?

JACOB Yes, my boys and I go skiing every winter. Did go every winter.

PATRICIA You’ll have to take me some time. I’ve never been.

JACOB Never?

PATRICIA No. Ed and I tried one time but the minute we got there he fell down and twisted his leg so badly he needed an X-ray. I’d like to go sometime, maybe when the little one gets old enough.

JACOB Oh, I didn’t know you had children. You never spoke of them before.

PATRICIA That’s because there wasn’t any before.

(PATRICIA pats her stomach.)

JACOB P.T, congratulations.

(She rolls over a cart with food for JACOB to eat. She feeds him.)

PATRICIA Thank you.

JACOB That’s wonderful news.

PATRICIA I’m glad you think so.

JACOB Don’t you?

PATRICIA (changing the subject) You ready for another miracle? You’re going to feed yourself today.

JACOB I can’t move my arms and I think you just changed the subject.

(PATRICIA shows him a plastic contraption for his arm and dish holder. PATRICIA straps a feeding brace around JACOB’s arm. Clasps a fork into his fingers and shows him how to swing his shoulder to move his hand up to his mouth. JACOB practices.)

PATRICIA You have mobility in your right shoulder. Told you, you’re one of the lucky ones. You can use this brace that will hold your arm in place and you’ll see—I’m pretty sure you will be happier feeding yourself. When you’re a pro, I’m taking you out to lunch. There’s this cute little diner down the road—

JACOB Did you just ask me out?

PATRICIA Well, I—

JACOB I’m just kidding.

PATRICIA My life’s complicated.

JACOB (smiling) I love a complicated woman.

(Beat.)

You’re going to love having kids. I did. Playing with them, throwing them up in the air and dancing around with them.

(Unable to work the brace)

Now look at me.

(JACOB, unsteady with the brace flings a piece of food into PATRICIA’s face, or some other mess. She laughs.)

JACOB This isn’t working.

PATRICIA (stifling a laugh) Try it again.

(Beat.)

I just hope my child adores me as much as your sons adore you. They look up to you, seek out your advice, listen to your every word.

JACOB Yeah, they’re good kids. Amazing, huh? They could have been embarrassed of their old man but they were actually proud of me for dancing, doing what I love to do. Especially Dillon.

(Suddenly sad)

PATRICIA You are going to dance again. You hear me?

JACOB Yeah.

PATRICIA You can’t get better if you don’t believe. Do you pray?

JACOB What? No. We’re not religious.

PATRICIA You don’t need to be religious to pray. I tried for seven years to have a baby, then I prayed to Saint Anne—The Virgin Mary’s mother—and Daniel was born. He was a beautiful sweet boy, but he died within a month. Ed wanted to stop trying. He says I get too depressed.

(Beat.)

Maybe I’m not supposed to be a mother.

JACOB What are you talking about? Look at you? You take care of so many people. You will be a great mother.

PATRICIA You think so?

JACOB Of course.

PATRICIA Thank you.

JACOB Hey, if it doesn’t work out with Eddie . . .

PATRICIA Oh yeah? You want another baby crying, keeping you up all night?

JACOB I’m up all night anyway.

PATRICIA Oh yeah? Another medicine perhaps?

JACOB I thought we tried them all. Hey, because I wake up every fifteen minutes, I remember my dreams. And I had really vivid dreams last night.

PATRICIA Tell me.

JACOB Nah.

PATRICIA Why not?

(excited)

It’s not PG?

JACOB No, I won’t even let myself dream that. There was one nice dream. I was starting dance class for the first time.

PATRICIA With Martha Graham?

JACOB I was told that I needed a dance belt and tights. I was worried about anyone I knew seeing me in tights. But I really flipped out when I learned what a dance belt is.

PATRICIA What is a dance belt?

JACOB A jock strap with a thong.

PATRICIA And you wore it?

JACOB Had to. And I remember trying my hardest to do a sashay and a leap across the floor.

(Beat.)

But I was so nervous. It was so embarrassing, like an octopus trying to walk on land. I think some of the dancers laughed but Martha, she lifted her head in that proud way she had and they all suddenly felt her stare. She said— “He has more passion, more life within him than all of you put together. Craft can be taught, and some of you have style, form, elegance, but Jacob has a yearning inside him that is simply magic on a stage. You should study him. Take notes. He can practice and learn more style and form but you all can practice all day, every day and still not have the fire he has inside him.” I will never forget that.

PATRICIA Wow, what a dream. It’s a sign. It must be a sign of good things to come.

JACOB No, it’s not a sign. That happened a long time ago.

PATRICIA Ay dios mio , Martha? The Martha that told you that you had a spark?

JACOB Well—

PATRICIA That’s amazing. I wish I had someone say that to me. Jacob, if Martha Graham says you have a spark—you have to believe it.

JACOB I used to.

(Beat.)

You said you took lessons too.

PATRICIA When I was five or something.

JACOB Let me see.

PATRICIA See what?

JACOB Can you remember the ballet positions?

PATRICIA I don’t know. First position. Second position. Third—

(struggling)

third position. What’s fourth?

JACOB An open third.

PATRICIA Oh yeah, fourth.

JACOB Why’d you stop dancing?

PATRICIA My parents didn’t have much money. I stayed at my abuela’s house a lot after school. I learned how to cook, how to clean and take care of her when she got sick. When I first understood that she was going to die, I became obsessed with this book she gave me. An illustrated book of the female Patron Saints, I used to read it over and over, staring at the pictures. That’s what I wanted to be. When I grew up, I went into nursing—the closest thing I could think of to a saint.

JACOB You are a saint.

PATRICIA (joking) Yeah, well, saints don’t dance much. And it would have been nice to let loose once in awhile.

JACOB Why don’t you start now?

PATRICIA I’m too old.

JACOB No one’s ever too old. Tell Eddie to take lessons with you. Salsa’s sexy. Take Salsa lessons.

PATRICIA I’d love to. I should. But, after the baby.

JACOB Why? Exercise is good for you, and anyway, the baby will come out knowing the music, feeling it and maybe he will be a great dancer some day.

PATRICIA (laughs) Maybe. Ed doesn’t like dancing so much. I don’t think he’d let our son take lessons. He’s already talked to me about dolls. No dolls, not even G.I. Joe he says. I didn’t know this about him when I married him.

JACOB So he’s the old fashioned one, not you.

PATRICIA I would let our son be anything he wanted. He could be a hair stylist, a painter, a ballerina, wouldn’t matter if he was happy. No not happy, because happiness fades, but fulfilled—purposeful—like Martha Graham—you know? Driven by some kind of divine calling.

JACOB Ask him to take lessons with you. He’ll see how sexy dancing can be. He’s not a hot-blooded Latino like you?

PATRICIA He is, but his whole family is from here. The guys here, they don’t dance. Except you. I can’t wait to see you dance.

JACOB We’ll dance together. You and me—breathing together, gliding on air, shutting out the world for one slow song.

PATRICIA I would love to dance with you. (After a moment, PATRICIA takes JACOB’s hand and makes him dance with her.)

JACOB What are you doing?

PATRICIA Come on, let’s dance.

JACOB No.

PATRICIA You chicken?

(PATRICIA and JACOB dance ending with PATRICIA spinning and falling into his lap. A moment as they look into each other’s eyes, and then suddenly ALFRED bursts in with a computer printout. He stops short when he sees PATRICIA on Jacob’s lap. PATRICIA stands up.)

ALFRED You’re wanted in room 207.

PATRICIA What does Mrs. Reddy want now?

ALFRED W’atever it is, she don’t want it from me. You better go see.

(PATRICIA exits and ALFRED follows her.)

ALFRED (to PATRICIA) You be careful.

PATRICIA Mrs. Reddy doesn’t scare me.

ALFRED You know w’at I’m talking about. I do not want to see you fired, or breaking his ’eart.

PATRICIA You’ve got it all wrong, we’re just friends.

ALFRED Hm-hm, and I invented the Internet.

(ALFRED walks away. PATRICIA tries to respond but she turns and walks away. Lights out. During the scene change DANCERS, with or without MARTHA GRAHAM, perform a pas de deux. It is a ballet dance for two, consisting of an entrée and adagio. The dance is fluid, beautiful and focusing on giving/receiving or the moving dialogue between two dancers.)

SIX: PAS DE DEUX

(Nighttime. JACOB is in bed sleeping. He wakes with a start.)

JACOB Shit. Shit.

(JACOB tries to move his limbs. He cries, wails, and screams.)

JACOB Move arms. Come on. I want to hug my kids again.

(JACOB struggles to move his arms to no avail.)

JACOB Fine, just lay there, lifeless. What the hell good are you? They should just chop you off.

(MARTHA enters.)

MARTHA Jacob.

JACOB Martha, what’s going on? How is it, I see you?

MARTHA Focus on the bigger questions.

JACOB Okay, what kind of light am I looking for? I still don’t understand what you were talking about—

MARTHA Dance.

JACOB Martha, I can’t move! How can you dance when you can’t move?

MARTHA The body is energy. Feel the energy.

(A dancer enters. DANCER lifts Jacob’s limbs,forcing him to dance.)

JACOB Hey—get off me!

MARTHA (V.O.) This is the Pas De Deux, graceful now—spin.

(The dancer spins his bed and dances as if in a ballet with JACOB. Ambulance sounds. The red lights flash.)

JACOB Martha, make it stop. Make it all stop.

MARTHA (V.O.) I can’t. Only you can.

JACOB How?

MARTHA Dance.

(Sound and lights continue.)

JACOB I’m not like you!

MARTHA Oh Darling, no one is.

(MARTHA and DANCER exit. JACOB is alone while the lights and sound continue. He is utterly spent, all his emotions come pouring out of him.)

JACOB God, I can’t live like this.

(JACOB closes his eyes. ALFRED enters and opens the curtains.)

ALFRED You ready for our ritual?

JACOB What?

ALFRED The sunrise. The Internet say it ’appen at 4:53 this morning. Let’s see if it is right.

JACOB You know what Alfred, you were right about Marley. Pop him in. And I have a surprise for you.

(ALFRED puts on another Bob Marley song.)

JACOB Look under the bed. My kids brought you a gift.

ALFRED W’at you be sayin’?

JACOB Well, not them exactly but I asked them to ask their mom to get it.

(ALFRED opens a cooler to reveal Red Stripe beers.)

ALFRED No, you didn’t.

JACOB Now it’s a party.

ALFRED No mon, I cannot drink on the job.

JACOB Just one. You can’t let me drink alone can you?

ALFRED Oh, you are bad influence, my friend.

(ALFRED opens up two beers. He puts a straw in one and helps JACOB drink.)

JACOB I needed that.

ALFRED Yes sir, now t’is is a party.

(The sun rises.)

JACOB To the sunrise!

ALFRED To you, Jake, to you!

(ALFRED raises his glass, sips and helps JACOB drink.)

WOMAN’S VOICE (Offstage) Boy?! Boy where’s my meds? I’m dying!

JACOB 207?

ALFRED She not dying. She be killing me t’ough.

(takes a swig of beer)

Don’t drink without me.

(ALFRED exits.)

JACOB You know it.

(JACOB sighs. He sings the Bob Marley song. Sound and lights fade out. On the corner of the stage, as the next scene is setting up a DANCER glides in dressed as a mail carrier. He takes out a card and then opens it, reading from a get-well card as the following is heard. He slowly warms up with tendu exercises as he reads.)

DANCER (reading) Hi Jacob, we tried stopping by but a nurse said you were in pool therapy. Sorry we missed you. We’re now out in Santa Fe, remember our tour that almost ended there last year? The bus breaking down and us dancing for our supper at some cult retreat thing? Got some good photos out of it, but it was crazy. Man, I’m so sorry. I don’t know what to say. We want to do something for you, if that’s okay. A benefit concert. What else can we do for you? Anything. You name it. Love, Ray and the whole gang.

(DANCER stands the card up on JACOB’s bedside table. He exits.)

SEVEN: THE DROP

(Hours later, ALFRED sits with JACOB, laughing. PATRICIA storms in.)

PATRICIA Maldita sea ! (Damn it.) Mrs. Reddy is accusing you of abusing her! She says she could smell alcohol on your breath and you dropped her several times last night. She’s filled out a formal complaint. This is serious Alfred.

ALFRED She is one crazy woman.

PATRICIA I know she’s crazy but she’s never filed a formal complaint about anybody. They’re going to do an investigation. You weren’t drinking last night were you? Alfred? Tell me she’s lying.

JACOB He was with me all night. We listened to music and bullshit ‘til the sun came up. I don’t know what she’s talking about.

PATRICIA Alfred?

ALFRED It’s true. I was with Jake all night. Just talking.

PATRICIA Okay. I’ll tell Dr. Weaver and H.R. You know how serious this is? It could mean your job.

ALFRED T’at woman ‘as always ‘ad it in for me.

PATRICIA Thank God for Jacob. They’ll believe him. I’ll go tell ‘em.

(PATRICIA exits.)

JACOB I’m sorry man.

ALFRED No, you saved me. I did not drop that old woman.

JACOB You gonna be okay?

ALFRED I t’ink so. But t’ank you, Jake. I better go. You need anything?

JACOB Just a working spine.

(ALFRED doesn’t even smile. He nods, distracted and then exits.)

JACOB Yeah, don’t worry about me. I got lots to do. Tons. Lots to do.

(JACOB sighs.)

JACOB Martha? Martha, come back. I hate being alone.

(JACOB sings “Get Up Stand Up” to himself. Lights fade out.)

EIGHT: TENDU

(A month later in physical therapy, PATRICIA is stretching JACOB’s legs. She is visibly pregnant now, as she is in her fourth month.)

PATRICIA You’re kidding? Relax. Stretch.

JACOB That’s what they said.

PATRICIA Show me.

JACOB I can’t “relax, stretch” and show you.

(PATRICIA lifts JACOB up to a sitting position.)

JACOB This is so humiliating.

PATRICIA Why? It’s wonderful.

JACOB It’s a finger.

PATRICIA It’s progress.

(JACOB moves his index finger.)

PATRICIA It’s a miracle!

JACOB One small step for man, one giant finger for quad-kind!

PATRICIA Jacob, I’m so proud of you.

(PATRICIA hugs him.)

JACOB This is the part in the movie where I lift my arms and hug you back. When the music swells, and we fall madly in love.

PATRICIA Jacob—

JACOB I’m sorry, I shouldn’t be talking like this. I’m so tired.

PATRICIA Okay, let’s stop awhile.

(PATRICIA sits JACOB up in his wheelchair. She helps him sip water out of a straw. Then takes a few sips for herself out of the same glass.)

JACOB Alfred gonna be okay?

PATRICIA They moved 207 to another part of the building. He’s no longer her aide.

JACOB Good. He’s a good guy.

PATRICIA Yes, he is. Hey, I bought you something.

(PATRICIA stands on JACOB’s bed and puts up glow-in-the-dark stars.)

JACOB Is that what I think it is?

PATRICIA Stars! Now, I don’t know the constellations, so does it matter what patterns I make?

JACOB No, anything’s better than white ceiling.

(Long beat as JACOB watches PATRICIA put up the stars.)

JACOB P.T.—I can see up your skirt.

(PATRICIA jumps down off the bed.)

PATRICIA Good thing I’m not wearing my granny underwear.

JACOB Looks good.

(smiles)

The stars, I mean.

PATRICIA (mock angrily) Uh-huh.

(PATRICIA turns off the lights and they stare at the glowing stars.)

PATRICIA That’s better.

JACOB Much better. Thank you.

PATRICIA You’re welcome.

JACOB How are you feeling, by the way? Any morning sickness?

PATRICIA No, just a little pain once in awhile. But that’s normal right?

JACOB Are they sympathy pains for me?

PATRICIA She must be sitting on something.

JACOB Oh, did you find out it was a girl?

PATRICIA At my last sonogram.

JACOB A little ballerina.

PATRICIA I’m going to be all-disgusting and buy her pink frilly dresses.

JACOB And bows.

PATRICIA Tons of bows.

JACOB And Barbies?

PATRICIA And all the dolls she can handle.

JACOB Even G.I. Joes?

PATRICIA If she wants.

JACOB I think my sons still have some in a box in the basement. I’m sure they don’t want them anymore. They’d play with them for hours—not like girls play—they’d drop them off rooftops, have them body slam each other like they saw on WWF, pretending to fight Stone Cold Steve Austin.

PATRICIA I bet you played with them more than they did, didn’t you?

JACOB You know it. I miss those days.

(Beat.)

Enjoy every minute of it. Every minute.

PATRICIA I plan on it.

(Beat.)

Oh hey, I’d like your opinion. I want to stencil on all these fairy tale characters, but Ed wants to paint the walls in pale yellow. So I just found these simple shades that I could stencil on instead of the walls.

(PATRICIA takes out an IBM portable laptop, modern for 1997.)

JACOB What is that? I thought you were Mrs. Old Fashioned?

(PATRICIA can’t figure out how to open it. She finally does and sits really close to JACOB’s bed and leans in to show him the computer screen.)

PATRICIA It’s an IBM ThinkPad. Alfred made me buy it so I could bring it in and he could help me learn how to use it. Isn’t it amazing?

JACOB I’ve never seen a computer so small.

PATRICIA They use one on the Space Shuttle. Did you know that?

JACOB You sound like Alfred.

PATRICIA I know, what’s happening to me? But I’m not Alfred yet, how do you turn this on again?

JACOB Try the button on the side, the other side, isn’t it?

PATRICIA Ah dios mio. Yes, right. Alfred’s trying but I can’t understand a word he says.

JACOB I used to use computers all the time. I did transcription for a law office when not dancing.

PATRICIA Well, good now once I figure out how to email, we can write back and forth.

JACOB I don’t know if you noticed, but I can’t type.

PATRICIA You’ll use a voice recognition program, called Dragon. Alfred has taught others how to use it. You have a week before they start prepping you for home, that’s plenty of time. And since you can move your shoulder and now your finger—we should be able to hook you up so you can maneuver a mouse. Okay how do I open this thing? Here?

JACOB Click on it twice.

PATRICIA Like this. See, isn’t it precious? I’m ordering everything in this picture, the furniture and everything.

JACOB It’s beautiful.

PATRICIA And when she grows old enough to decide on her own what she wants, this furniture turns into big girl furniture.

JACOB Yes, that’s the type we got for the boys.

PATRICIA Am I boring you?

JACOB No, it’s sweet. I’m very happy for you.

PATRICIA Now I just click here to close it down, right?

JACOB And click “Yes.” Good job.

PATRICIA I’m so bad at this.

JACOB It’s nice seeing you struggle for a change. And good you’re getting with the times.

PATRICIA Me, never. Still refuse to get a cell phone.

JACOB Of course.

PATRICIA Oh my goodness, I didn’t even ask about your boys. They visited yesterday didn’t they? How are they doing?

JACOB T.J. got into trouble again at school. I don’t know what to do about him. Talking back to teachers, getting into fights. The other day they tell me he slammed a kid into a locker pretty hard. The kid’s parents were screaming at the principal, they want T.J. suspended. The principal recommended counseling.

PATRICIA He’ll improve once you get home and things return to normal.

JACOB Normal? P.T., there is no normal anymore.

PATRICIA Well you know, once he feels his father is back.

JACOB He was in the backseat, he saw—the car turning over—glass breaking—his brother screaming—blood dripping down his face. And he saw how I couldn’t do anything. Nothing! I’m not equipped to be a father anymore.

PATRICIA You are still you, no matter whether you can move your stinkin’ arms. They need you to be strong and there for them, there to tell ‘em it’s not okay to slam other boys into lockers.

JACOB It was a girl.

PATRICIA (shocked) Oh my.

JACOB T.J.’s got some serious issues with women. He’s angry at his mother.

PATRICIA For leaving.

JACOB I think he wants her to move back in and take care of us.

PATRICIA And you?

JACOB No, no, no. We divorced over a year ago. None of this is her problem.

PATRICIA I don’t think of it like that. No matter what history we had together—I’m sorry, two people make a commitment—they love each other. It’s always there somewhere. You just have to find it.

JACOB My mom is moving in with me.

PATRICIA That’s great. Your mother is wonderful.

JACOB Wonderful? From the time I was T.J’s age I wanted to get as far away from her as possible, and now she’s moving in.

PATRICIA She’s nice.

JACOB She just moved to Florida, bought a place for the first time, ever. Now she has to leave it and move in with me. Do everything for me, just like I was a baby.

PATRICIA You’re getting upset. Why don’t you lie down a bit?

JACOB What’s wrong with upset? Am I supposed to be happy, happy all the time? I’m tired of smiling even when I’m miserable. I’m tired of pretending, it takes too much effort. I don’t want to be a burden.

PATRICIA You need a live-in nurse.

JACOB They think they’re doing you a favor, keeping you alive, but then they say, “Okay—good luck.” My insurance doesn’t cover half the stuff I need.

PATRICIA I know.

JACOB You see this all the time, right. This is the part where the patient freaks out, where he wishes he could throw something, but he can’t—he can’t lift a fucking feather!

PATRICIA Calm down, Jacob.

JACOB I hate showing you this side of me.

PATRICIA Jacob, look at me. Look—I think in this short time that we’ve known each other, we’ve grown very close. And I don’t care if you curse, and cry, and—

JACOB I want to be optimistic for you.

PATRICIA You don’t have to be. Sometimes you have to feel like hell, before it can get better. What about the medical miracles that are happening every day?

JACOB You want me to live on hope? Is that it? Is that all you got?

PATRICIA Yes, yes it is. What’s wrong with hope? “Hope is the steadfast anchor of the soul.” There’s got to be a reason—

JACOB Don’t you dare say there’s got to be a reason why this happened! There is no reason. There was ice, I flipped over—the top of the car crushed in and severed my vertebrae. There is no damn reason.

PATRICIA You have to think positive.

JACOB Are you kidding me? You see quads day in and day out and you still have the nerve to say—think positive.

(deflated)

Just leave a line of pills on the table and when you leave I’ll just take them all.

(PATRICIA places a handful on the table where JACOB could reach them if he wanted to.)

PATRICIA (frustrated) Here. You can bend over and take these no problem. I’ll put them on the edge. Is this what you want? An easy out? Go ahead, leave your boys, leave the possibility of seeing them dance at their wedding, seeing your own grandchildren—go ahead. Take ‘em. Leave me who has grown to care for you so much. Don’t think we won’t suffer when you’re gone.

JACOB I’m supposed to think of all of your suffering? What about mine!

PATRICIA So you got a raw deal, huh? You don’t care about anything anymore is that it? All of your problems would be solved? Then go ahead—take all the pills you want! I’m so glad our time together has meant so much.

(PATRICIA dumps the rest of the pills on the table. They are both in full attack mode.)

JACOB That’s the worst part—our time together has meant too much!

(PATRICIA feels a sharp pain.)

JACOB What is it?

PATRICIA It’s nothing.

(PATRICIA falls to the floor and is having trouble breathing.)

PATRICIA Ow, this is normal right? Jacob?

(PATRICIA is having a miscarriage and seeing the blood makes her panic. Maybe she starts cursing in Spanish, or saying a prayer.)

JACOB (Overlapping) Help! Shit! Somebody!

PATRICIA (Overlapping) No. No. No. No.

JACOB Help! Help! Call 9-1-1! Oh Shit. Damn it—I can’t lift a phone. Somebody! Anybody!

(ALFRED runs in, sees PATRICIA and jumps into action.)

ALFRED What the devil is going on?

(calling into the hall)

Get Doctor Weaver! Hurry!

(to PATRICIA)

Patricia honey? It’s going to be okay.

(ALFRED carries PATRICIA out. JACOB stares at the blood. Lights fade.)

NINE: SPOTTING

(Lights rise on JACOB alone in his wheelchair. The stage fills with dark red light, the color of blood. Sounds of a car accident turns into haunting music as MARTHA and a DANCER enter dressed in costumes similar to Martha Graham’s dance piece, “Lamentations” except their faces are covered too. They dance as if trying to get out of their own skin. Then they drive, holding onto a steering wheel and pretend to drive all over the stage—bumping into each other, into JACOB sometimes engulfing him in the fabric as well.)

JACOB Stop it! Stop! You’re not helping anything. This is a dream! And if it’s my dream I should be able to control it. I want you all to leave. Get out! Now!

(MARTHA GRAHAM & DANCER speak simultaneously as JACOB tries to talk over them.)

MARTHA GRAHAM & DANCER “No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

JACOB (Beat.) Oh no.

(screaming)

I am not an artist. I’m not even a man. I am broken. Severed C4 vertebrae. Everyone says you must endure. Well you know what? I don’t have a fire, not anymore! I’m a nobody! And I want—I want—

(ALFRED enters. Lights return to normal.)

ALFRED ‘Ey, ‘ey, ‘ey—what’s all the screamin’ for? You be dreaming, mon? It be okay. Why don’t you come out of this room? Get some air, hmm? You be in this room for days. You need company.

JACOB I don’t want company.

ALFRED Well, I do. Come on, now.

(ALFRED opens the window.)

ALFRED Such a nice day out. Smells like spring, doesn’t it? A good day for a party—for someone special, no?

JACOB I can’t do it.

ALFRED What’s that Jake?

JACOB I can’t leave here.

ALFRED Everybody says that, but they all do.

JACOB It doesn’t feel right.

ALFRED Look man, it’s your party day. Everyone’s setting up right now outside—don’t ruin it, mon. We like celebrating good things around here. And t’is is a good thing.

JACOB I’m sorry. I didn’t sleep well again last night. I think I’m hallucinating.

ALFRED I’ll tell Dr. Weaver to check your meds. Okay now come on outside. The nurses are setting up balloons and there’s Momma’s Jamaican rum cake, which is not Red Stripe, but it is not to be missed.

JACOB Is Patricia here?

ALFRED No, no man. Patricia is not coming in for a while. She needs to rest. Now let’s get you ready for this party. A clean shirt. Comb down that ‘air.

(ALFRED helps him get dressed.)

JACOB I don’t feel like partying.

ALFRED You’re leaving tomorrow, mon. You have to let the nurses do this. It’s tradition. You want to ‘ear a joke? Mrs. O’Brien’s ‘usband just tell me. This woman—she is sleeping and after she wake up, she tell her ‘usband, “I just dream that you give me a pearl necklace for my birt’day. What do you think it means?” “You'll know tonight,” he say. T’at evening, de man come ‘ome with a small package and give it to ‘is wife. Delighted, she open it to find a book called “The Meaning of Dreams.”

(laughing)

T’at’s a good one, right?

(JACOB doesn’t laugh.)

ALFRED You really need a party. Okay, so I made you my favorite. You never ‘ad a dish like this—goat curry. Yes, better than chicken. You gonna love it. My mother, she taught me how to make it when I was just a boy.

JACOB My mother can’t cook for her life. Depression era cooking—all from a can and boiled to death. Look at me a grown man and my mommy’s going to take care of me.

ALFRED My mot’er live with me. It’s not so bad. Except when she tells me to put on a coat even w’en it be warm out.

JACOB Your mom and my mom will hit it off.

ALFRED Oh, I don’t know. She do not see too well anymore, my mot’er.

JACOB That’s okay, my mother can’t hear anymore.

ALFRED Ah, so they’ll get along fine! Yeah.

(They laugh. Beat.)

JACOB How is she?

ALFRED My mot’er?

(laughing)

No, Patricia. Yeah. Her doctor say to stay ‘ome another week or two.

JACOB (conflicted) That’s good.

ALFRED She need a rest after such a thing.

JACOB She must be devastated.

ALFRED You and her . . .

JACOB I know what you’re thinking, but it’s not like that.

ALFRED No? She a good-looking woman. You allowed to look.

JACOB And see there’s an upside to being a quad, you can’t ever be accused of touching.

ALFRED Oh Jake, you know—she is married.

JACOB You’re right. It’s not like anything can happen anyway.

ALFRED Oh you’d be surprised. People’s wives/’usbands come to visit. You have to be careful when you open a door around here. Never know what you see. You know Christopher Reeve stay here. Good man. Just like you, funny. And ‘is wife—she is beautiful.

JACOB He was married before the accident. Do you know of anyone who met someone after the accident?

ALFRED Sure! You don’t know how many I see. I get letters from them all the time inviting me to weddings. I expect an invitation to yours too, my friend.

JACOB You are a very optimistic man.

ALFRED Okay, I’m going to go tell the girls that you’re ready for the big surprise. Now you get ready to act surprised. Let me see your surprised face.

(JACOB fake smiles. ALFRED shakes his head.)

ALFRED No, no, no—you look constipated. Keep working on it.

(ALFRED exits. Suddenly PATRICIA sneaks in holding a gift bag.)

PATRICIA I’ve been waiting for him to leave. Ay ya yai , he talks a lot.

JACOB P.T.—

PATRICIA I couldn’t— I was pacing— I needed to get out.

(PATRICIA locks the door and cuddles up close to JACOB putting her head on his chest, rocking him side to side.)

JACOB What are you doing?

PATRICIA Shhh. We’re dancing.

JACOB Patricia, you’re supposed to be resting at home. Alfred told me that the doctor said—

PATRICIA (crying) I had to force myself out of my pajamas and into the car but I had to see you. I’m a mess. I can’t stop crying. I can’t stop. I’m sorry.

JACOB No, I’m sorry—

PATRICIA You know what I keep seeing? Us. Traveling. Samba in Brazil, salsa in Spain—

JACOB P.T.—

PATRICIA (desperate) We could go to San Juan, where my family is from and we’ll go to where your family is from. Where is your family from?

JACOB Flatbush.

PATRICIA We’ll go there, we’ll go and dance all night; we’ll dance the sun up. Say you’ll go with me. You’ll go, right Jacob? And dance with me?

JACOB Sure, yes, we’ll dance the sun up. And how about the City of Love—

PATRICIA Paris.

JACOB You and I will eat crepes and walk along the Seine.

PATRICIA Let’s go. Let’s go to Paris. Right now. Tonight.

JACOB P.T. in reality, I’m a quad. I can’t go anywhere.

PATRICIA Yes you can. Come on, I’ve got weeks of vacation saved up. And money that I saved for . . .

JACOB You’re not thinking straight.

PATRICIA No one understands but you. Nobody.

JACOB No, you’re here because I’m safe. Nothing can really happen.

PATRICIA What are you talking about?

JACOB You can pretend with me but it’s not really going to happen. You know that. I know that. You’re married.

PATRICIA I left him.

(Long beat. Out of a box PATRICIA pulls, a new GI Joe doll with a tutu on.)

PATRICIA This is for you.

(PATRICIA straightens the tutu and shows it to JACOB.)

JACOB What is that?

PATRICIA It’s Dancer G.I. Joe.

JACOB Cute.

PATRICIA (crying and exhausted) It’s supposed to be funny. I think it’s funny.

JACOB Patricia, listen—

PATRICIA Martha said somewhere that being a dancer—“It’s permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.” That’s us. Inevitable.

JACOB You’re serious?

PATRICIA (closing her eyes) Taking strolls on the Seine eating crepes.

JACOB Right—eating crepes, sipping champagne.

PATRICIA Just you and me. Inevitable.

(PATRICIA relaxes, almost sleeping. Long beat.)

JACOB (whispering) P.T.? I’d like more than anything to go with you.

(ALFRED tries to open the door.)

ALFRED Hey, Jake—the door. How’d it get locked?

(ALFRED uses his keys and opens the door. He sees PATRICIA in JACOB’s embrace.)

ALFRED What the ‘ell is going on?

(PATRICIA sits up still on JACOB’s lap.)

ALFRED What have you done?

JACOB Me? I can’t do anything.

PATRICIA

(to Alfred)

Leave us alone.

ALFRED No, get up and get out of here. We ‘ave enough trouble here this week. Go. Don’t let anyone see you. If they see you, they want you on the schedule.

PATRICIA But I—

ALFRED You can call here tomorrow. Right, Jacob? Tomorrow.

PATRICIA Okay, tomorrow, I’ll call early in the morning. I’m going to go home and pack. Okay, Jacob?

ALFRED Yes, yes—Patricia, now go.

(PATRICIA exits.)

ALFRED What do you t’ink is gonna happen, mon? You’re going to get your ‘eart broken. She a married woman. You think those bonds go away overnight?

JACOB No, no they don’t.

ALFRED And I know Ed. He loves her. And she loves him. She’s a little lost right now. JACOB You’re right. That’s why I should go home tonight. Call my mother. I can’t wait for tomorrow. I’ll say goodbye to the nurses.

(JACOB moves the wheelchair with his finger on the control stick toward the door. He can’t look at ALFRED.)

JACOB And Alfred, tell her not to call me at home. Tell her that I can’t go with her because . . . I don’t love her but I wish her all the best.

(JACOB exits.)

ALFRED (calling out to him) This a party, Jacob. It be a happy occasion.

(ALFRED looks around the room sadly. He packs a few things for JACOB, including taking down the Martha Graham poster and rolls it up. Lights fade out.)