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bumbling bard of ecstasy

blossoms from the heart

Mind over Matter 21.7.07 |

Act I Scene i

Mid-morning. Hospital room.
Lights up. The stage is set to look like any drab hospital room. There are three hospital beds in a row downstage. There is a patient in each hospital bed. A door is upstage left, and a window is stage left of it. There are some minor details that make the place eerie; the lighting is bright and harsh. There are no sounds around, no beeping of machinery, no murmuring of other patients. It is completely silent. The beds lack details such as curtains for privacy, an IV machine, or any other usual hospital objects. A nurse, Doris, heavyset and distinctly cheerful but busy, walks in from hallway off of stage right. She holds a clipboard in her hand and checks the stats of the first patient, which hang on the end of the bed frame. The bed is located near stage right. The patient, a man, Felix, glares over the young female patient in the middle bed, The young female, Gail Simon, opens her eyes and screams at the sight of the man looming over her bed. The man screams back. When Gail stops, the man stops. Then he screams again.

Doris: Alright, hun, let’s calm now (takes man, Felix, gently in her arms while he continues to periodically scream) there, there. (She prepares a needle shot and injects the fluid in Felix’s buttock. He instantly stops screaming and goes obediently to his bed. Doris continues to push her cart of medicates along the row of beds slowly, checking the stats of the patients)

Gail: (who has hidden under her covers and squeezed herself into s mall bundle at the corner of her bed) Oh Jesus, oh good god, oh… jeez…oh wow. (She takes a deep breath and wipes the sweat from her forehead. She fixes her hair and looks around the hospital room) Where…which hospital is this? (She frowns) How did I get here? What happened? (Doris continues to check the stats of the other patients, and writes down figures on her clipboard) Excuse me? May I-uh- (Doris exits)

Gail: (turns to the man in the bed beside hers, thinks better of it, and turns to the female patient on her other side) Do you happen to know the time? Or the date for that matter?
(Patient beside Gail, Amanda, turns to her slowly)

Amanda: Orange.

Gail: Excuse me?

Amanda: Orange! Orange! Orange!

Gail: Ok, then (Doris re-enters) Hello? Nurse, may I speak to you for a second, please? Hello? (Gail gets out of her bed and taps on Doris’ shoulder)

Doris: Please, get back into your bed, hun. You need your rest. You’ve had quite the rough ride to the hospital.

Gail: That’s what I’ve been meaning to ask you- what happened? Why am I here?

Doris: (pause) You don’t remember?

Gail: No, I mean, I just woke up and… why? Was it something serious? (She checks herself out) I don’t see any injuries on my body.

Doris: Please, hun, I’m extremely busy right now (pops huge smile) go back to your bed. (Gail begins to protest) Just rest right now, please, we’ll talk later.

Gail: (troubled) All right, then. Wait, can you tell me what day it is?

Doris: Tuesday, the 8th. Now rest. Your baby needs it.

Gail: The 8th, thanks. (News hits her) what? Wait a minute, what baby (Doris exits) Wait, please! WHAT BABY!?

Gail: I’m not with child, please nurse; I think you’ve got your records incorrectly. (Doris re-enters, still entirely consumed with her other patients)

Doris: Okay, Amanda, here are your pills. (Holds the small plastic cup towards the female patient next to Gail)

Amanda: (smiling, swinging her arms around as she bounces on the bed) Orange…orange…I’m an orange. Doris, look I’m an orange…weeee! (She assumes the fetal position and rocks back and forth)

Doris: Ok, ok. You’re an orange. You’re a very pretty orange. Now be a good fruit and take your medicine. (Amanda obligingly does so) Ok Felix, here are your pills. (Felix takes them without saying anything. He holds them in his hand for a moment while Doris waits. He slips them into his mouth and shows his tongue to Doris. She approves. While Doris’ back is turned, Felix spites them back out into his hand. Gail watches this. Felix slips back into his bed and stares at Gail.) Here Gail, these are your pills.

Gail: What are these for? Please…nurse. I seem perfectly fine. What’s wrong with me?

Doris: Honey, your baby needs rest. Now be good and take your medicine.

Gail: Look nurse, I’m not pregnant. I can’t be pregnant, because I’m a virgin. I’m eighteen and I’m a virgin. I don’t sleep around like the other girls. I don’t even have a boyfriend. Please Doris, tell me what’s wrong with me. I think I’m entitled to be aware of my condition.

Doris: Now, now there. Don’t get so rallied up, you’ll upset the other patients, honey. I can’t give you a needle because it will harm your baby-

Gail: I’M NOT PREGNANT!

Doris: Gail! Shhhh…Amanda is trying to sleep.

Amanda: (murmurs) orange.

Doris: Now, I was saying that I couldn’t give you a needle because it will harm your baby, so I need you to relax, and just sit still. Take your medication.

Gail: I don’t take strange pills. Please, Doris, tell me what’s the matter with me. If I’m ok, then I don’t need to be here. I have a very important appointment that I need to be at by 11:30 am, sharp, so please, I’d like to gather my things and go.

Doris: Honey, you can’t go. You cannot go until you get better. If you just rest for a while, the doctor will speak to you. Just wait a bit, hun.

Gail: You don’t understand. Doris, I need to leave. I have a very important interview with the board directors of Harvard College. They’re offering me a scholarship. A full scholarship. That’s the opportunity of a lifetime. Judging by the amount of light outside, I can say I can make the interview in four hours time, if I’m able to leave now. So please, Doris, let me go. You’ve made a mistake. I’m okay.

Doris: (cheerfully) No, you have to stay. Get back to your bed now, hun.

Gail: No! (Tries to go out the door, but Doris, surprisingly is very strong and is able to pick her up and move her back to her bed. They struggle with each other, and Doris is able to shove the pills into her mouth. Gail, in surprise swallows them, and calms down. She falls unconscious.)

Blackout.

Scene ii

Same setting. Not much time has elapsed, an hour, perhaps. Gail, in her hospital bed, moves lightly. Felix yells into her face. Gail wakes up and screams as well. She is shocked to see herself strapped to the hospital bed.

Gail: Wha-What is this?! Get me out of this bed, get me out! UNDO THIS RIGHT NOW! HELP!

(Doris rushes in. She takes Felix, again, in her arms gently and makes sure he stays in his bed.)

Gail: Why am I in this…why am I in straps? Why isn’t HE in straps?

Doris: Please, Gail, the screaming is no good for your baby. The other patients don’t like you being loud. (Felix screams, and Gail gestures towards him, only she can’t move due to the straps) Now, just sit still and the doctor will take a look at you. (Exits.)

Gail: I’m not pregnant! I- (Realizes Doris has left) Why am I even here? I’m not ill…

Amanda: What are you? (Gail cocks her head towards Amanda and does not answer) What are you?

Gail: I- I don’t understand what you speak of.

Amanda: What are you?

Gail: I’m…Gail. And you are?

Amanda: I’m an orange. You’re a gale. Like a bird. I like birds. Do you sing, galebird?

Gail: No, I um, I don’t do anything artistic (she looks longingly at the doorway for a sign of Doris)

Amanda: I’m an orange. I’m round. I can roll everywhere, even off the bed. (She demonstrates this)

Gail: That’s…nice.

Amanda: Galebirdy, pretty birdy. (Giggles) Fly! Can you fly, gale?

Gail: No, I don’t fly. Humans cannot fly.

Amanda: But you’re a gale. You’re meant to fly. (She starts flapping her arms and jumping on her bed. Gail only looks at her in fear) Fly, fly away! Weee!

Gail: Can you sit down please? You’re, uh (gulps) making me nervous. (Amanda sits down on the bed, and pulls a razor blade from her pants) What is that? Oh my god, what are you doing?

Amanda: I’m ripe! (Laughs) I’m making orange juice. (Starts drawing the blade across her arms) Do you want some OJ, galebird?

Gail: Stop! STOP IT! (Struggles to get our of her bed) PLEASE, somebody help! PLEASE, ANYBODY!?

Doris and a man, the Doctor, rush in. Amanda has already started to bleed. Doris prepares a needle when Doc tries to soothe Amanda. He takes the razor blade out of her hands and places it on the bed. Doris injects the fluid into Amanda’s backside. She does not fight

Doc: take her into the other room…commence operation…keep her from bleeding too much.

Doris: OK. (Takes Amanda away)

Gail: How can she possibly have a razor blade in this hospital? Where’s the security? What if she…she could’ve killed herself. She could have harmed somebody else…why am I placed in the same room as her?

Doc: How are you feeling today?

Gail: What? Is the… orange girl ok? Is Amanda ok? She was bleeding and, how did she even get the blade here?

Doc: Do you know where you are?

Gail: Are you listening to me? She could’ve died, you…(She fixes her bed sheet, smoothes her out down etc) I, uh. No I do not know which hospital I am in, why or how I got here. Your nurse won’t answer my questions.

Doc: You’re in the psychiatric ward.

Gail: What? Why am I here?

Doc: Tell me about yourself, Gail. Are you sad?

Gail: No…I… I’m a bit confused and frustrated. Why won’t you answer my questions?

Doc: Do you feel angry? Have you had thoughts about suicide?

Gail: No. Doctor, I don’t wish to be rude, but you’ve messed up. I don’t need to be here. I’m not sick; I’m feeling perfectly fine. I’m not, I’m not crazy. I don’t need to be with these people. I honestly- (she sniffs the air. The Doc, sitting in Amanda’s bed, is indifferent) Is that alcohol I smell? Are you? -

Doc: I just had a few drinks before coming over here. Now Gail, do you hear voices in your head? Do you hear animals sing in Greek? I’ve had cases when some of my patients heard sparrows sing in archaic Greek.

Gail: I’m not Virginia Woolf! Please, Doctor, look at me, you can see I’m perfectly fine. You can release me from this hospital. I’ve got to be somewhere very significant at 11:30. It’s for an interview with Harvard and I need to be there so I can get accepted and leave this place. I’m assuming I have roughly three hours left, and if this is the local hospital, that means I need to get to the bus station in 22 minutes to take the bus that will take me to-

Doc: Did you know my father went to Harvard Law?

Gail: (Astonished) What?

Doc: Yes, my old father went to Harvard. Graduated with honours. Always told me this and that about all he could do. I became a doctor so I wouldn’t have to work in his firm. I showed him that I could be my own person, that rotten bastard. (He reaches into his lab coat, pulls out a metal flask and takes a swig from it) Tell me Gail, how is your father?

Gail: Doctor, please concentrate on what’s at hand. I am in need to get out of here. Please remove the straps from my body. I’m not going to do anything rash. I only wish to leave.

Doc: We can’t remove them because you’ll cause bodily harm to yourself and your baby.

Gail: (sighs) I’m not pregnant. Please get your facts right.

Doc: Tell me about your family. (He drinks again.) Tell me about your father, and maybe your mother too.

Gail: Why? Why do you need to know? My family life is perfect. I’m not suicidal; I’m not mentally unstable. I’m totally ok.

Doc: Did your parents ever hit you?

Gail: No! Doctor-

Doc: Where are they?

Gail: I…I don’t know. (Thinks about it for a moment)

Doc: Where are you?

Gail: You- what? You just told me I am in the psychiatric ward.

Doc: Where am I? (Gail stares at him dumfounded) Who am I? (Takes a swig from his flask) Who are you, Gail Simon? Why are you strapped down like that? (He collapses, unconscious and drunk)

Gail: Do- Doctor? Oh please, oh word, please get me out of here! (She starts to cry in frustration, when Doris walks in with Amanda. Amanda has a large bandage on her forehead) Oh nurse, that doctor, he’s heavily intoxicated- (Suddenly the Doctor wakes up)
Doctor: So let’s check you out, Gail. (He starts checking her throat, and her heartbeat. He touches her neck and her head etc) You seem physically healthy.

Gail: Leave me alone! (Brushes his hands away) Why don’t you let me go! I need to get to that interview. If I don’t get to that interview, I’m never going to Harvard, and if I don’t get accepted, how am I ever going to-?

Doc: Why did you plan this operation?

Gail: What? I’m not having an operation. Who told you I wanted an operation? Why are you people making stories up?

Doc: But it says so in your organizer. You have an operation scheduled today. That’s why you’re here. For this surgery. (Holds up a black organizer in one hand, and her purse in the other)

Gail: How did you get that? How did you get my personal belongings? Give it back to me! Give that back to me now!

Doris: Shh, hon. Amanda is trying to sleep. You don’t want to disturb the other patients here.

Gail: Give back all my things! My organizer, my purse, my notebooks, my cell phone-

Doc: Why did you want this operation?

Gail: I DIDN’T! Stop making things up! YOU were the ones that admitted me into this hospital. I’m not pregnant, I’m not crazy, and I am NOT having an operation today. Now undo my straps, or I’ll-

Doc: Call the police? (He smirks, and drinks from his flask again) (To Doris) Let’s prepare the room for Gail’s operation. (Doc & Doris exit)

Gail: Where are you going? (She gives up. She lies there thinking, as she can do nothing else) Surgery? (She turns and sees Amanda) What happened to your head?

Amanda: Surgery.

Gail: Why did they give you surgery? Are your arms ok? (She nods towards Amanda’s bandaged arms)

Amanda smiles softly, and unwraps the gauze. The wounds are still fresh, still open. Amanda touches them gingerly, winces, but continues touching them. She licks the drop of blood from one of the cuts.

Amanda: Orange juice.

Gail: (softly) Why didn’t they stitch up your wounds?

Amanda: Orange.

Gail: I don’t understand… why did they not sew up your cuts, but instead gave you surgery on your head?

Amanda: It’s routine. They take out pulp every week.

Gail: Pulp? They take something out of your head? Every week? They take out your brain?? (Amanda is quiet. She starts toying with the straps on Gail’s bed.) Can you get me out of this?

Amanda: Everyone has surgery in this hospital. Everyone needs to be fixed.

Gail: What did they do, exactly, Amanda? Did you want this operation? Do you they ask you what you want?

Amanda: No. Everyone gets it. Right Felix? Felix the Cat. Meow. (Felix nods slowly. He positions his body to show a large scar on the back of his head).

Gail: They did that to you? (Felix nods) They do that every week? For what reason do they do that? They can’t just cut up your head, not even if you’re…crazy. That’s inhumane, that’s ludicrous. (Felix’s face scrunches up; he’s wrapped his arms around his body and started rocking.) Felix, why don’t you run away? Why can’t you leave? This isn’t a hospital, it’s… it’s…

Felix suddenly starts wailing; tears burst from his eyes as he starts pounding on the wall. He starts throwing whatever he sees across the room, wrecks things, and runs around the room.

Gail: Felix, you know something. You know what’s going on here. You’re not crazy. What do they do here, Felix, what do they do? Do they cut you open without your consent? Is that what they did to you? Is that what they’re going to do to me? Tell me, Felix, only you know! (Felix is silent, but continues crying) Did they take you away? Did they kidnap you? (Felix begins to wail again and he falls to the ground. He flings his limbs around, like a child during a tantrum)

Amanda: Felix the Cat. Meow. The dog catches Felix. Woof. (She plays with the razor blade and beings to slice through the straps of Gail’s bed. Gail struggles to get out while she continues speaking to Felix.)

Gail: Felix, listen to me (Felix ignores here) FELIX! TELL ME! (Suddenly Doc & Doris come in. They rush to capture Felix. Felix runs from them, but they are blocking the door, so he is trapped in the room.)

Felix: RUN! RUN! (The Doc & Doris seize him. He starts screaming louder, and thrashing wildly.)

Gail’s bed straps are almost cut through, when Doc gets needle from pocket and prepares to inject it into Felix. Felix’s eyes widen in fear; his screams become more high-pitched and urgent. Gail begins to move violently in her bed; the straps weaken and loosen. Felix’s screams cease as the needle enters his body. His face relaxes and he collapses.

Gail: NO! (She manages to break through the straps and runs to Felix. She realizes her opportunity to run, and tries to, but the Doc & Doris have trapped her. Gail struggles to break free. Amanda tries to hit the Doc with a bedpan, but she misses and instead hits Gail.)

Amanda: ORANGE! (Gail falls unconscious)

Blackout.

Scene iii

Same setting. There is still light outside the window. Gail is back in her own hospital bed, but there are no straps. Her arms are hooked up to IV. Her bed is the only one in the room. There are no signs of damage done by Felix. Doris sits with a clipboard beside Gail’s bed. Gail comes to, and murmurs softly. She blinks a couple times before seeing Doris. When she does, she shrieks and covers her head with her hands.

Doris: It’s ok, honey, it’s ok-

Gail: Don’t touch me! Don’t you dare lay a finger on me!

Doris: I’m not going to hurt you. I’m Doris; I’m the head nurse here. Do you know where you are?

Gail: Don’t you pull that trick on me. I know what’re you’re up to. This isn’t the psychiatric ward; it’s some crazy… mad experimental asylum. You’re going to do to me what you did to poor Felix.

Doris: It’s alright if you’re a bit delusional, I can understand. Tell me, Gail, who’s Felix?

Gail: FELIX! FELIX! The man you killed. Don’t tell me this-this bullshit; you know what you did, with that drunken doctor. What happened to Amanda? Did you kill her too? (She attempts to get out of her bed, but finds that she is too weak) What did you do to me? Drug me some more?

Doris: I don’t know what you’re talking about. Who are Felix and Amanda? We don’t have any patients in the psychiatric ward named that.

Gail: What? (She sees the IV tube hooked up to her arm) Was it…all a dream? It was a dream…

Doris: It’s normal to have abstract dreams like that. You did take a lot of substances…
Is Felix someone you know? Is he your boyfriend? Does he know that you’re pregnant?

Gail: Felix… no, he’s not. And I’m not…pregnant. (Remembers something and turns to Doris for understanding)

Doris: (softly) You’re about 7 weeks along.

Gail: Oh. That seems right.

Doris: Do you remember what happened? You had to get your stomach pumped…

Gail: Yes, I…remember. The aspirins. The little blue pills. Other things. Followed by the bottle of vodka. I… must’ve been crazy.

Doris: We’ll have Dr Madison speak to you today. He’ll talk about treatment options and the counseling groups. Don’t worry; you’re in good hands now.

Gail: I’m crazy.

Doris: (gently) No, you’re not. You can get better. It’s ok.

Gail: I tried to kill myself (eyes swelling with tears) I missed the interview with Harvard. It wouldn’t have mattered because I failed my SAT exams.

Doris: It’s ok, Gail. You can cry.

Gail: I…try. I do. But I can’t get anywhere. And now I’m pregnant, and I can’t… fly away. I’m pinned down.

Doris: You collapsed at the…

Gail: Abortion clinic. Yes. That’s why I had to miss my interview. It was the only free time that day. I was supposed to have an operation that day. The 8th. (There is moment when neither of them speaks while Gail cries.)

Doris: I know I shouldn’t ask. But you’re young and you’re in trouble… do you know who the father is?

Gail: Father…

Doris: Yes. (Leans in towards Gail, waiting for her to go on)

Gail: Father…is…father.

Doris: What?

Gail: My father is the father! My father is the father of my baby, damn it! (She sobs)

Doris: (puts her hand on Gail’s) Does your mother know?

Gail: Of course. She denies it, though. She denies everything, because she wants the perfect life. She denies my father beating her, she denies his antics. We all want the perfect life. We try so hard. (She continues crying) Do you…where are they now?

Doris: They’re in the waiting room. They want to see you. Is that ok? (Gail nods warily) Do you want anything first? Maybe some orange juice?

Gail: No. (sobs) No orange juice.

Blackout.

Circles |

She instantaneously slams on the brakes. The car comes within an inch of hitting the Toyota. She hits the horn and lets the sound rip through the air. The man in the Toyota merely raises a hand. Vulgar words pop out of her mouth like splinters as her heart regains its normal beat. Fortuitously the rain is not in full force, and the ground is not wet. With her hands slippery on the steering wheel, she looks up at the sky, a perse curtain draped behind the city landscape. She’s aware she’s already late.
She switches lanes and resists the urge to get Swiss Chalet for dinner as she passes the restaurant. She knows that it would not benefit her. Her face is weathered and worn. Deep valleys are carved into her forehead and wispy lines, thin as hair, fan out from her eyes. She’s nearing the big four-oh and it surprises her a bit. Before she lets her age consume her mind, she pulls into the driveway.
She is greeted by an upheaval of the front closet when she enters the townhouse. A jacket is crumpled into a pile by the bulimic closet, and a pair of shoes lies beside that, flattened and dirty.
Her mouth opens automatically, “Diana!” She presses her bottom against the front door to keep her balance as she undoes her heels. “Diana!” The only response is the voice of some young fashionable pop singer booming through the ceiling.
Once she reaches the top of the stairs, her back tenses. “Diana, didn’t you hear me?”
There she is. Her daughter is sitting by her computer, in a pool of her mess. She is wearing tight black clothes. Her hair is dyed blue. Her fingernails are in a fluorescent spectrum of colour. She turns her blank face towards the door.
“What did I say about leaving your mess behind?” Diana gives an almost inaudible sigh and looks at her nails. “Am I supposed to clean it up for you? Does it look like I’m your personal maid?” There’s no response. “I’m talking to you.” Diana’s head turns.

“I don’t understand where you learned to be so disrespectful. You don’t care about other people’s lives. People have to work. They can’t always cater to your needs.” She wipes the droplets of saliva from her lips.
“Alright, Mom, I get it,” Diana breathes heavily.
She looks around the room. There are clothes and papers strewn everywhere. The duvet on the bed is rolled up and stretched in an unsightly way. Drawers are open; the wardrobe is something she can’t even look at. She sighs. “Look at your room. It’s disgusting. Clean it up. You’re a girl, you’re not suppose to act like a slob.” She decides to cease the conversation then. She is tired; it is close to nine o’clock and she is not up to another fight.
“I’ll clean it up later.” Diana turns back to the computer monitor.
“Didn’t you hear what I just said? Clean up this mess now!”
“And I said I’ll clean it up later. What’s wrong with you?” Diana swivels her chair around and stands up. “It’s only a small mess. Why do you have to make it such a big deal?”
She feels the blood rushing to her head, the gradual buzzing in her ears. “Why can’t you have some respect for things? You’re absolutely spoiled. I can’t believe I raised such a daughter.” She’s not conscious of her words. She’s not conscious of her rising voice or that the vessels in her neck were popping out.
Diana looks at her with disbelief. Then, “Well I can, if she was raised by such a shitty mother like you.”
She doesn’t think at all. Her hand feels disconnected to her body. It rises in the air.



○●○●

She doesn’t feel it at first. Pain. She knows it is supposed to intoxicate her body, attach its strings to her limbs and take over. But she doesn’t feel anything. Shock, perhaps. Then it comes. And she starts laughing, in her raspy chortle. She shakes her head and her eyes start to glisten, despite herself. His hand still lingers in the air.
“What the hell is so funny?”
Her eyes don’t flinch as she says coolly, “Fuck you.”
This time she does feel the pain. Her head is thrown against the wallpaper. Her cheek is crimson, like a Japanese sun. Her breath comes out in short segments, but she decides against rubbing her cheek. She doesn’t say a word as she heads for her room, and she leaves her father in his fuming rage.


○●○●


Her face is reflected in the window. The rain beating against the glass sound like corn popping and for an instant memories of her adolescence spent in movie theatres flood her mind. She rubs her eyes and puts her face above the curling steam from the teacup on the kitchen table. Each time she closes her eyes she’s brought back to her daughter’s face. It tugs at something in her body. She can’t quite put a name to it.
It’s been thirty minutes and she can recall anger spreading from her shoulders to the rest of her body. She wanted to collapse into herself, she wanted to scream and let her voice pull her daughter against the wall. But instead, she let her hand do that.
“Diana?” She’s tentative at the base of the old staircase, but then goes up, “Diana?” She raps softly at the closed door.
“I need to speak to you, Diana,” She doesn’t mean to, but her voice comes out in chunks, as though she’s spitting out rocks. She opens the door. And her heart skips a beat.


○●○●


She dumps the contents of her drawer into the open backpack on her bed. She rushes around the room, picking up objects and throwing them back. Wallet. Her pay cheque from the donut shop. Blue sweater. Toothbrush. She holds the piece of plastic in her hand and drops it on the floor. She’ll buy one. Or Tom will supply her one.
The door squeaks and she turns her head around. She sees her little brother hesitantly standing there, cradling his Transformer in his hands. His brow is knit together so close they nearly touch. He’s frowning. “What are you doing?” His voice is timid.
“I’m leaving, that’s what I’m doing.” She continues to shove things in her bag, not even caring if they’ll be damaged or wrinkled later. She turns her back to his strained face. “I don’t have to take this shit. I don’t have to be here. I’m old enough to take care of myself.”
“Where will you go?” But it’s a stupid question. Where else would she go? He’s young, but intelligent and the walls are not sound proof. “But he’s so old.”
She knows that. Why point out the obvious? She’s losing her patience. “Yeah, what’s it to you? Did that witch tell you to crawl into other people’s business?”
“Don’t say that about Ma!”
She throws the phone near her and it smashes the mirror, casting eight different reflections of her harsh face.
“She’s not my mother! My mother died years ago. My mother would never do treat me like that. My mother wouldn’t brainwash her husband into calling me a whore. My mother would not turn everyone against me. She’s your mother, goddamnit and she’s screwed up!” Her face is right up against his. He wails and thick pearls of tears burst from his eyes. He shrinks away and lets her run down the stairs.


○●○●


Once again her hands are on the steering wheel. The rain pounds her car angrily, as though it is trying to soften out the angles.
She searched the whole house. She can’t believe she didn’t hear the front door close. Most of Diana’s clothes are still there, but some, off the floor, were gone and so was her backpack.
Where could she go? She called Thomas, and he said he hadn’t seen her or heard anything. They got into a huge fight then. She didn’t defend herself. Let him fight her and win. Let her father win, let the world win. She doesn’t care, not now, not at a time like this.
She can’t help picturing muggers and rapists lurking around on a dark wet night like this. Diana’s young and pretty; she’s vulnerable. She’s still hopeful, naïve even, despite her unstinting efforts not to be. It’s a good neighbourhood, but people surprise you.
And then she cannot help herself. It’s the rain; it’s Diana and everything she couldn’t do for her. It’s Thomas and the inevitable divorce. It’s little Billy, her brother she left, who isn’t so little now. She weeps, finally.


○●○●


Her fingers loiter on the cool metal of the bus stop. It’s almost seven. She can tell, because the sky’s taken on a muddy blue. She didn’t call Tom. There wasn’t enough time, and… it’s better if she just shows up. He can’t say no that way.
She has her backpack next to her on the ground. It’s big, like the ones they use for camping trips. She didn’t pack much, though. She knew what she wanted to pack. Her room was immaculate and she knew where everything was. But still, she didn’t pack everything.
She turns to her left and stares. Her fingers tighten on the metal bar, and she stops blinking. She keeps looking, hoping. But there’s nobody. The bus is coming from the right. It rolls in front of her, and wheezes out polluted air as it squeals to a stop. The mechanical doors open. She takes one last look and climbs on.


○●○●


There are only a few splatters on her windshield now. The rain decided to rest. Her face is puffy. Her eyes are pink and wet. She didn’t have any tissues in the car, so she is breathing through her mouth. She wipes her face and continues to search the roads and sidewalks diligently.

Suddenly she sees her. Her whole body is soaked through. She can tell the messenger bag is digging into Diana’s shoulder. The car follows her. Diana turns and sees it, and her feet pick up pace. She rolls down the window on the passenger side.
“Diana.”
Her daughter ignores her, and perpetuates her brisk, sloshy walk. “Diana.” Her voice is hoarse from crying and it takes all the effort she can muster to sound pleasant. Her daughter finally turns. She has a livid look in her eyes.
“Leave me alone!” She shrieks, “Why can’t you just f-”
“I’m sorry.”
Diana stops. She looks away for a moment. She knows what she’s thinking. Her mother is apologizing? She can remember that look. It’s the same one she used to wear. Then Diana gets into the car. “Me too,” she mumbles softly.
It can’t be understood sometimes. Why things are the way they are. Life doesn’t always work out flawlessly. It’s not always a soap opera; there aren’t always mothers and daughters breaking down and crying in the pathetic, slobbery way people see on TV. There aren’t always the words. But people try. They try to love someone the way she wants to be loved. They try to learn from the deceased. They try to break the generation pattern; they try to stop going in circles. And sometimes it does happen. But humans falter.
She clears her throat. “So, how about Swiss Chalet for dinner?” She restarts the car.

Diana chuckles, sadly. “Sure Mom. Sounds great.”