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Overview
Two brothers meet on the grounds of a private psychiatric facility. Drew, has been court-confined for observation and has called his older brother, Terry, to corroborate his claim of childhood sexual abuse by a young man from many summers ago. Drew's request releases barely-hidden animosities between the two: Is he using these repressed memories to save himself while smearing the name of his brother's friend? Through pain and acknowledged betrayal, the brothers come to grips with and begin to understand the legacy of abuse, both inside and outside their family home.
In a Dark, Dark House is the latest work from Neil LaBute, American theater's great agent provocateur. The play will have its world Premiere in May 2007, Off Broadway at New York's MCC Theater.
Product Details
| ISBN-13: | 9781429996433 |
|---|---|
| Publisher: | Farrar, Straus and Giroux |
| Publication date: | 03/04/2008 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 84 |
| File size: | 339 KB |
About the Author
Neal LaBute's most recent works for the stage include This Is How It Goes (Faber, 2005) and Fat Pig (Faber, 2004), which won the Outer Critics Circle Award for Outstanding Off Broadway Play.
Read an Excerpt
In a Dark Dark House
Off-Broadway Edition
By Neil LaBute
Farrar, Straus and Giroux
Copyright © 2007 Neil LaButeAll rights reserved.
ISBN: 978-1-4299-9643-3
CHAPTER 1
First Part
Silence. Darkness.
A manicured stretch of lawn surrounded by trees. Several areas to sit (benches, chairs, etc.) on two levels, with stone steps leading down from one to the other. It feels well hidden from the rest of the world. It is, in fact.
A man — DREW — staring out at the coming morning. Sound of wildlife. Maybe just a hint of traffic in the distance.
DREW goes over and checks a high hedge, trying to look through it. He wanders down a set of steps and studies a different wall (unseen). Stands on tiptoe.
Another man — TERRY — appears out of the forest. He stands and watches this for a moment. Silent. Finally:
TERRY Go for it. Make it over and you're outta here.
Startled, DREW turns around and then smiles — he takes one step forward; TERRY keeps his distance for the moment.
TERRY Or you can fall back on your ass and I'll say I found you that way. Broken collarbone or however you wanna play it. / (Beat.) Should buy you an extra few weeks ...
DREW You're funny. / Right! Hey, man, what's up?
TERRY Not much
DREW smiles at this and waves TERRY over — another step from DREW but he doesn't commit just yet. TERRY doesn't move.
DREW No, come on, dude, seriously ... what?
TERRY Nothing. Really. (Beat.) And don't say that, call me dude. Grown-ups don't use words like that — not if we can help it, anyway ...
DREW Whatever.
TERRY That one, either. (Beat.) Time to grow up, dude ...
DREW See?! (Smiles.) You said it.
TERRY Yeah, but who says I'm a grown-up?
DREW True ...
TERRY ... I stopped doing that shit years ago. Growing up sucks.
The two men smile at this. DREW seems content to grin for a while, but TERRY calls it quits pretty quickly. Listening.
TERRY The road's close ... the highway or whatever that is. Freeway. / Place is right off the exit, almost ...
DREW Yeah. I noticed that — I mean, not today but, you know, like, at some point. Sitting in one of the, ahh, six hundred groups a day they make us go to here! / I heard traffic ...
TERRY Huh. / ... Probably five hundred yards's all.
DREW Which is really stupid, right? I'm not gonna do anything — I was just looking around — but a bunch of the people they've got in here? If they knew civilization was just over there — man, it could really get messed up in this joint ...
TERRY S'pose so. Crazies all running up and down the road, dodging cars ...
DREW Exactly! (Laughs.) / That'd be cool.
TERRY Uh-huh. / Pretty funny ...
DREW Although nobody around here likes it if you use that word, crazies. Just so you know.
TERRY Thanks for the tip.
DREW I'm just saying ...
DREW shrugs — TERRY nods but doesn't say anything.
TERRY Great. (Beat.) ... So.
DREW Yep. So, so, so. (Beat) So, you gonna stay for lunch or what? I mean, they'll let you in if you want some; chow's pretty decent.
TERRY Sounds good. (Thinks.) I need to be back at six, but otherwise, fine.
DREW Too bad, gonna miss movie night ... It's On the Waterfront or some shit. Black and white. (Beat.) Work?
TERRY Uh-uh. 'S Friday. I'm off Fridays and Tuesdays ... unless I get hooked up for some overtime, but usually no. / Fridays're mine.
DREW Huh. / Then what, some lady ... ?
TERRY Nah. Got a Little League game at six, I'm doing some umping this year — but I'd be happy to have a bite with you. Sure.
DREW Cool. (Beat.) I think it's stuffed peppers or something today ... plus they've always got their sandwich bar. Loads of cold cuts and crap. / It's tasty ...
TERRY That sounds fine. / Good.
DREW Nice! (Beat.) Just like old times.
TERRY Not really. Mom's cooking was the worst. / Christ help us if she did anything like a stuffed pepper!
DREW True! / That's totally true ... Thank God for Swanson's, right?
They smile at this — apparently Mom wasn't much of a chef.
TERRY Yeah ... (Beat.) So, I'm not sure I can find the right ... whatever-you-call-it ... segue for this, so I'm gonna just jump right in — what's going on? / Huh?
DREW Nada. / Nothing.
TERRY Nothing's gonna come of "nothing," Drew, so try again. (Beat.) You're in the hospital, little brother, okay? The psych hospital, so don't do the whole "it's cool" thing ...
DREW I'm serious, I'm just ... you know. (Tries to grin.) Anyway, this isn't the real hospital. It's only the addictions unit — for us overzealous wine drinkers ...
TERRY I'm not your wife, okay, so I don't need all the bullshit excuses ...
DREW ... Terry, I'm not ...
TERRY I got called to come down here and do some family therapy, Drew, so don't tell me I drove a bunch of hours to have you play games with me. I got a game tonight — I need the truth from you ...(Waits.) I don't give two shits what you do with these folks up here — that is your business and if the insurance pays for this, then all the better — but do not mess around with me because I'll come over there and kick your fucking ass, I swear to God.
A silence grows after this — the dynamic between these two is now pretty obvious.
DREW Great to see you, too, man ...
TERRY You're a dick.
DREW Yeah. It's my specialty ... just ask Judy. She keeps a running list of my failings in her purse ...
TERRY She should. / And I don't have time for your dumb-shit act, either, Drew.
DREWThanks, dude. / I know that, bro.
TERRY I really do not.
DREW All right, cool. I get that, and it is totally respected. / Totally.
TERRY Then fine. / Drew! God ... you sound like an episode of one of those, you know ... some bad TV show.
DREW What do you mean?
TERRY You know, those, like, California-type television programs. With the surfer kids and that sort of deal. / 9-0-2whatever-the-fuck-it-is ...
DREW No, I don't. / Uh-uh ...
TERRY Bullshit! "Dude, bro, totally ..." All your crap. I hate that. (Beat.) Did you used to do that in court?
DREWSometimes ... Forget it, man. Sorry.
TERRY Don't be sorry, just stop. / Stop doing it when I'm around you ...
DREW Fine. / Okay.
TERRY You're not a kid, all right? You are not some teenager who can run all over doing that, because it sounds stupid. You sound childish, Drew. You just appear goofy and it's a little embarrassing ... (Beat.) You are a grown man.
DREW Thirty's the new twenty ...
TERRY Yeah, well, you're thirty-five.
DREW So? That only makes me twenty- five then. Still young ...
TERRY Right.
DREW I can't help it — I've got a lot of young people working for me. They rub off on you.
TERRY Yeah, and how does Judy feel about that? Having a husband who sounds like that Tori Spelling girl ...
DREW We're ... I try and keep it to a low roar around her — this little midlife thing I'm dealing with ...
TERRY So that's what this is? / This.
DREW Hmmm? / What ... ?
TERRY Why I'm here.
DREW No, its ... (Beat.) What'd they say to you? I mean, do you have any idea why I'm ... What'd they say?
TERRY Nothing. That you were here and in for a while, that's all. 'S court-appointed or something ... right? It doesn't really matter — you've done so much shit it all just blends ...
DREW I'm sure.
TERRY They said you mentioned some stuff in session that ... stuff that also would be of interest to me.
DREW Ahhh. Got it.
TERRY Yeah, and so I drove down. I drove here today so that we could ... you know. Talk about it.
DREW ... they didn't really say "stuff," did they? No offense, but that's not very professional if they did.
TERRY Drew ... don't bust my balls, okay? It was something like that ... "issues" or "problems" or some damn thing. I don't remember now. It sounded urgent so I hopped in my Skylark and dragged my ass down here for four hours. / To be with you ...
DREW Thanks, man. / I appreciate that.
TERRY Yeah. You know ... yeah.
DREW Not that I want you to see me in this place, but hey, that's part of my recovery, to get past the whole vanity thing. Be in touch with the "real" me ...
TERRY Sounds good.
DREW Don't lie — that sounds gay even to me and I have a far greater threshold for that stuff than you do ...
TERRY Well, that's true!
For the first time in a while the two brothers laugh at something together. DREW suddenly pounces on TERRY. Bit of horseplay erupts-pushing and shoving. Wrestling.
TERRY ... Faggot! / Get off me! / Well, you always did know, right?
DREW Come on! / Ohh, dude! / What's that?
TERRY When something's queer or not ... you've got this, like ... / Yes!!
DREWGaydar? / Oh yeah, I'm the king of that kind of stuff. The gay-osity of things!
TERRY I figured.
DREW I'm super-gay when it comes to all that crap!! / Curtains and cologne and shit ... I'm a Pottery Barn fag.
TERRY Exactly! / Ha-ha! When you gonna do the ol' "out of the closet" deal? I still got all that part to look forward to, don't I?
DREW Fuck yeah! / We'll have ourselves a big party and everything ... fly Mom out for it, even.
TERRY I knew it! / ... Sounds great ...
DREW She can make some stuffed peppers for us ... (Falls to ground.) Ahhh!
TERRY ... and you can help her — being the big queen that you are now. (Pins DREW down.) / Slip on your Crate and Barrel apron and just go to town!
DREW 'Course! / You got it ...
The two men slowly stop, letting the moment pass — trying to keep it light. The silence gets uncomfortable.
TERRY Here. (Helps DREW up.) Anyways.
DREW Yeah. Anyway. (Beat.) Nothing like a couple fag jokes to help break the ice, right? / (Smiles.) Yep.
TERRY Good times. / So ... (Beat.) What's up?
DREW Nothing.
TERRY Uh-uh, try again. Now.
DREW I'm ... dude, you are a tad intense, anybody ever say that to you?
TERRY Don't call me "dude." Really ...
DREW Whatever.
TERRY I mean it. (Beat.) I'm waiting to hear, Drew, so come on ...
DREW It's not a big deal! I was in for a seventy-two-hour observation and they ... you know, chose to extend — at gunpoint. (Grins.) ... So I'm embracing the thing and I'll be here as long as it takes this time. I promise.
TERRY Fine. / That's great, Drew.
DREW I'm gonna kick the pills and everything. / Yep. Simple as that.
TERRY Nothing is simple. "Simple's" not even simple anymore ...
DREW 'S that right?
TERRY Yep.
DREW Sorry, didn't get the memo ...
TERRY Yeah, well, you best keep up, bro. World is changing on us, each and every second, so it pays to keep a close eye on things ...
DREW I hear ya.
TERRY Uh-huh ... (Beat.) So?
DREWWhat?
DREW stares at him for a minute, a grin rolling off his face in waves.
DREW You're right, man ... you are shit at transitions.
TERRY Yep. So I'm gonna ask you again ... and then after that, that's when I'm gonna get pissed and start in on the angry part of this.
DREW Terry ...
TERRYDrew — why the fuck am I here right now? Tell me.
DREW ... Come on, dude.
TERRY You're pushing it, seriously. You are, like, really pushing me here. Just-say-it.
DREW It's embarrassing.
TERRY I'm sure it is ... I mean, wait'll this gets around your office! I don't care if it's a private wing or not — people are gonna talk.
DREW I don't mind about that. / Who do I know that their opinions are gonna matter to me? Huh?
TERRY Oh, sure ... / ... Somebody ...
DREW Who?! (Grins.) I don't have a boss, I'm fucking rich ... and my wife and kids've already heard. (Beat.) Only person I was nervous about telling was you.
TERRY ... And here I am.
DREW Exactly.
TERRY And why is that?
DREW What?
TERRYWhy am I here, Drew? At this place with you, out in the woods, right now?
DREW Because, man ... Because ... TERRY Good, that's good. Get it out.
DREW Don't patronize me, big brother.
TERRY Then just fucking say it, okay? This is getting a little silly ...
DREW Okay, fine. Okay. I need you, all right? That's why ...
TERRY What's that mean?
DREW I'm ... what does it usually mean? / I'm reaching out here ...
TERRY I dunno. / Fuck you are.
DREW That hurts, dude ...
TERRY Yeah, well, then put a bandage on it because it's already starting to stink ... (Beat.) You don't need anybody, not one person, and you have proved that a thousand times over, baby brother ...
DREW WOW.
TERRY Uh-huh, wow's right. I get about two calls a year from you — and since it's not Christmas or the week after my fucking birthday — why don't you go ahead, enlighten me.
DREW Fine. (Beat.) I need you to do something for me. Is that what you were looking to hear? Huh? 'S that better?
TERRY "Better" is pretty relative — but at least it's honest. You need for me to do you a favor, that sounds more believable than this other ... shit you've been pitching my way. / Right?
DREW S'pose so. (Shrugs.) / Yep.
TERRY So tell me, I'll see what I can do ... if it gets me back for the first inning, you can probably count on it happening.
DREW sits down and fiddles with his ID bracelet for a bit. TERRY waits, silent.
DREW I just need you to tell 'em the truth about something, back me up here on some stuff and that's all. / That is it.
TERRY "Truth." / Well, that shouldn't be too hard ... for me.
DREW What's that mean?
TERRY Well, the "truth" is not exactly your specialty, is it? / If you've got the whatever-you-call-it — woo/ — pulled over their eyes then that wouldn't surprise me. Par for the fucking course.
DREW Dude ... / You know what, man, forget it.
TERRY Fine.
DREW Seriously.
TERRY Happy to. Take care, pal ... enjoy the fucking cold cuts.
TERRY starts off but DREW jumps up out of the chair and moves in front of him. Not blocking him exactly, but in the way. TERRY steps back.
DREW Terry, come on.
TERRY Don't suppose you wanna go to your art therapy with a broken nose, so I'd step outta my way.
DREW Whatever.
TERRY "Whatever" is what they're gonna use to pick you up off the grass with in a few minutes, you don't back the fuck up and let me pass.
Stalemate as the two men stare at each other — in the end, DREW steps aside and lets his brother go. Just before TERRY disappears, DREW speaks:
DREW It's about Todd. Todd Astin.
TERRY comes to a quick stop. Freezes. He slowly turns.
TERRY What'd you say?
DREW I told them about him. 'Bout what he did. / Come on.
TERRY What? / ... I don't follow.
DREW Todd Astin.
TERRY I know his name, you don't have to keep saying the name, okay? (Beat.) I wanna know why you just said it ...
DREW It's about when we were kids.
TERRY And?
DREW ... and nothing, except for all the, you know ... his ... TERRYWhat?
DREW I told 'em about the stuff that we ... I had to — had to, you know, get it off my chest.
TERRY People don't have to do anything. Not at all — live, die, breathe, okay, but other than that, you don't got to do much of anything else ...
DREW Yeah, well, if I wanna keep Judy and the kids in my life, then I do. I had to ...
TERRY Huh.
DREW She made an ultimatum on me, like, a week ago ... said if I didn't get honest with her about myself — my history and all that — then she was gonna leave me. Take the kids and go. Judy does not say shit like that without meaning it. Unlike me. (Beat.) She's at the end with all this ... surprised she lasted as long as she did.
(Continues...)
Excerpted from In a Dark Dark House by Neil LaBute. Copyright © 2007 Neil LaBute. Excerpted by permission of Farrar, Straus and Giroux.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Title Page,Epigraph,
Preface - The Darkness at the Top of My Stairs,
First Part,
Second Part,
Third Part,
Production History,
Author's Note to the Off-Broadway Edition,
Also by,
Neil LaBute - In a Dark Dark House,
Praise for the plays of Neil LaBute,
Afterword,
Swallowing Bicycles,
Copyright Page,