Stone Cold Dead Serious: And Other Plays - Softcover

Stone Cold Dead Serious
STONE COLD DEAD SERIOUS Stone Cold Dead Serious was originally produced in Cambridge, Massachusetts, by the American Repertory Theater on February 6, 2002. It was directed by Marcus Stern; sets were designed by Christine Jones; costumes by Catherine Zuber; lights by John Ambrosone; and sound by David Remedios and Marcus Stern. The production stage manager was Jennifer Rae Moore. The cast was as follows: WYNNE LEDBETTER Matthew StadelmannCLIFF LEDBETTER Guy BoydSHAYLEE LEDBETTER/SHARICE Elizabeth ReaserLINDA LEDBETTER Deirdre O'ConnellJACK GAM Robert RunckRANDALL "THE RANDYMAN" ROCKEYJOHN Philip Graeme  
Stone Cold Dead Serious was subsequently produced in New York City by the Edge Theater Company at Chashama on March 28, 2003. It was directed by Carolyn Cantor; sets were designed by David Korins; costumes by Victoria Farrell; lights by Ben Stanton; and sound by Eric Shim. The production stage manager was Jeff Myers. The cast was as follows: WYNNE LEDBETTER Matthew StadelmannCLIFF LEDBETTER/JACK GAM Guy BoydSHAYLEE LEDBETTER/SHARICE Gretchen Cleevely ,LINDA LEDBETTER/SNAKE LADY Betsy AidemRANDALL "THE RANDYMAN" ROCKEYJOHN Anthony Rapp CHARACTERS WYNNE LEDBETTER sixteen, small for his age, a video game geniusCLIFF LEDBETTER fiftyish, Wynne's father, an injured window glazerSHAYLEE LEDBETTER seventeen, Wynne's sister, a runawayLINDA LEDBETTER mid-forties, Wynne's mother a waitress, exhaustedJACK GAM fiftyish, a salesmanSHARICE sixteen, Wynne's girlfriend, a fighterSNAKE LADY mid-forties, an East Village eccentricRANDALL "THE RANDYMAN" ROCKEYJOHN a hyperbolic Australian, a live- action death match pundit SETTING  
In and around the Chicago suburbs and New York City. ACT I  
 
SCENE 1. THE LEDBETTERS The living room of a small house on the outskirts of Chicago, somewhere near O'Hare Airport. Paneled walls. Drifts of coupons, empty cans of Old Style. A color console TV that doubles as a coffee table. Also on the coffee table is a block of shiny new knives. There is the sense that nothing ever gets thoroughly cleaned. Upstage of the living room a small kitchen visible through a cutout. Upstage left, a small staircase leads to the second floor. Downstage right, the front door and a window. The only light source other than the TV is the harsh kitchen overhead spilling into the living room.  
LEDBETTER fiftyish, heavy, unshaven, is beached on the sofa, watching QVC. There are three or four pharmaceutical containers on top of the coffee table. He is awake but appears to be in a state of hypnotic sloth. Perhaps his mouth hangs open. Perhaps he drools. The two men on the QVC are narrating sales pitches having to do with baseball cards. CLIFF wears a housecoat, slippers, a white T-shirt. His hair is ridiculous. He has been farting continuously and without shame. Periodically, jets can be heard flying over the house.  
In the kitchen the phone rings several times.  
CLIFF continues staring at the TV, catatonic.  
WYNNE enters through the front door, holding a paper sack. He bolts across the living room for the phone. In a blur we see that he is sixteen, small and thin. He wears corduroy pants, skater sneakers, and a rock-n-roll T-shirt. His hair is dyed blue. CLIFF continues staring at the soothing miracles of QVC.  
WYNNE (from off ) Hello? ... Hey ... Yeah ... Uh-huh ... Hang on.  
WYNNE enters the living room, holding the phone, the cord stretching from the kitchen, still holding the paper sack.  
WYNNE Pop ... Pop ... Pop ... ( covers the phone) Hey, fuckhead! ( to phone) He ain't responding ... Yeah, he's up. I don't know ... I'll try it. (to CLIFF) Cliff ... Yo, Cliff ... Clifford Ledbetter ... CLIFFORD LEMOYNE LEDBETTER! ( to phone) Didn't work ... Yeah, he's been drinkin ... I don't know ... You want me to hit him? ... Like hit him hit him? ... Where? ... Ma, I ain't gonna punch him in the balls ... No way, he'll kill me, man ... Okay, okay, fine, I'll do it ...  
WYNNE puts the phone down, takes a step toward his dad, sets the paper sack on the TV, hesitates a moment, and then punches CLIFF in the balls.  
CLIFF Hey! You just punched me in the balls, man! WYNNE Sorry, dude. Those were my instructions. CLIFF From who? WYNNE Ma. CLIFF Thanks a lot, Linda! WYNNE She's on the phone. CLIFF Wha? WYNNE The phone. She's on the phone. CLIFF Who's on the phone? WYNNE Ma. She wants to know if you want your potatoes baked or scalloped. CLIFF Where the fuck's the phone? WYNNE It's over there. Baked or scalloped? CLIFF Scalped. WYNNE And she wants to know on a scale of one to ten how your back is feelin. One bein the worst, ten bein the best. CLIFF Four-fifty for a Tiger Woods rookie card. Must be blue book value. WYNNE It's two payments of four-fifty CLIFF Two payments? WYNNE Yeah, man--it's called the Flexplan. That's nine hundred bucks. CLIFF Well, I can't afford that. WYNNE Nobody can afford that. The Flexplan is fuckin larceny.  
WYNNE turns a lamp on.  
CLIFF I went to school with a kid named Larceny. Larceny Dimitrovits. Drove a '64 Skylark. Hand-cleaned the engine every mornin in the parkin lot. Hood popped, shoulders hunched. Wiped her down with a warshcloth. Guy smelled like vinegar. WYNNE Pop. CLIFF I said scalped! Scalp the fuckers!  
WYNNE crosses to the kitchen. CLIFF Two payments of four-fifty. That ain't fair. I should write a letter and report those guys.  
CLIFF stands up very slowly, using every part of the sofa. He turns a full circle, disoriented.  
WYNNE ( into phone) He said he likes em scalped ... Yeah, scalped--that's what he said ... No he wouldn't give me a number ... He's trashed again ... I couldn't help it, Ma, he takes em when he takes em! I ain't a fuckin nurse! ... All right, see ya in a few.  
WYNNE re-enters.  
WYNNE Pop, sit back down ... Sit down, Pop!  
CLIFF starts to cry.  
WYNNE What's wrong? CLIFF I pooped again. It's goin all down my leg. WYNNE Jesus Christ, man. CLIFF I can't help it, it just starts comin out. Please don't tell Linda. If your ma finds out I pooped again she won't let me sleep in the bed with her. WYNNE Stay there.  
WYNNE exits to the kitchen, searches for CLIFF 's diapers.  
WYNNE What happened to your diapers? CLIFF I ran out.  
WYNNE You tell Ma? CLIFF Yeah. WYNNE No you didn't. You gotta tell her, man.  
WYNNE re-enters with a wad of paper towels, hands them to CLIFF.  
CLIFF Who're you, anyway? WYNNE Who am I? CLIFF I ain't never seen you before. WYNNE Dude, I'm your son. CLIFF My son don't got blue hair. His hair's black. Blackest hair I ever seen. His name is Wynnewood. Wynnewood Jericho Ledbetter. Who're you--Fuckhead Joe? WYNNE Pop, it's me, man--Wynne. CLIFF I wanna go to Cracker Barrel. WYNNE You ain't goin to Cracker Barrel.  
WYNNE exits to the bathroom, starts water in the tub.  
CLIFF I wanna go to Cracker Barrel. Homemade Chicken-n-Dumplings. Hickory Smoked Country Ham. Grilled Tenderloin. Peach Cobbler with ice cream. Last year they had a punkin carvin contest. Big huge fuckers. Punkins the size of Cadillac Sevilles. They got em for sale under the old wilma tree. A million inna half punkins. Carve up the jackalanner. Put a candle in it, set her on the porch. WYNNE ( re-entering) Pop, we don't got a porch. CLIFF Wha? WYNNE We-don't-got-a-porch-man. That was in Kankakee when you were a kid. That tree's in Bourbonnais. You used to make us get out of the car and run around it. You'd race us. We stopped doin it after you sprained your ankle that time. Come on, Pop. CLIFF What ever happened to the wilma tree anyway? WYNNE Nothin happened to it. It's still there. I saw it last week when I went down to Carbondale with Palumbo. And it's willow, tree. Let's go to the bathroom, okay?  
They exit to the bathroom.  
The knob to the front door is jiggled. The failure of keys. Cursing from a young woman can be heard. Moments later SHAYLEE can be seen peering in through the living room window The window is lifted, she quietly crawls through. She is seventeen, pretty but sickly-looking. She wears old jogging pants rolled down at the waist, old running shoes. She carries a bag that contains the few fragmented parts of her life. She looks around the living room, runs upstairs, comes back down. Perhaps she limps a bit. She studies the labels on the pill bottles, She opens the bottles, takes a few, chases with Old Style dregs. She stares at the block of knives, removes a small paring knife, puts it in her bag.<...