i

it
Christopher Shinn
l
,(
,,ff.
Oust then, a flickering light in the upstairs window goes on.
Neither notices the slight light it spills.) :l.t ",

scOTT: Come back in the morning, Jeff.

JEFF: Yeah? }l
.t
scoTT: And we'll clear the path to the lake. ~----------------------------------~
JEFF: Cool yo! Gonna do some work. ·.!:·.
I'

SCOTT (Moving to house): Now I have to get some rest. 1· ~-

,,,i
JEFF: Okay. ;

.~· ~
I

The Coming World

(Scott lightly taps jeff on the h~ad with the book.)

scoTT: Good night, little man.

(Scott goes to the door. Before going inside, he turns to jeff:)

Sweet dreams to you.

JEFF: Good night, Scott.

(Scott exits. jeff surveys the lawn from the porch for a beat. Then l
he moves off. As he crosses to the driveway, he sees the light h:
flickering in jaime's window. He stops and looks up at it. I

Quietly, as if to himself:) l
'\
l'
Good night, Jaime. 1
(Hold.)
I " ··-
END OF PLAY

190
 Production History Characters

The Coming World was originally produced by the Soho Theatre ED

(Abigail Morris, ArtiStic Director) in London, opening on April 3, DORA
2o<n. It was directed by Mark Brickman; the design was by TY
Michael Pavelka, the lighting design was by Jason Taylor and the
stage manager was Lorraine Tozer. The cast was as follows: Note: Ed and Ty are played by the same actor.

ED/TY Andrew Scott

DORA Doraly Rosen Place

A beach on the coast of New England.

Time

Summer 2001.

The Design

I am not a designer but it is, I think, worth noting that as I wrote .

this play, I imagined it taking place on a bare stage (no sand!),
with no costume change or use of makeup effects, etc. While the
play may benefit from a careful nod toward more traditional
design elements, it's important that they not overwhelm the text
which, I think, can tell us more than showing can.
In the London production there were no sound effects or
music; no makeup effects; basic lighting, bright (though the play
takes place largely at night); and a mostly bare stage made of gray .
wooden planks. Scenes in the ocean were created by taking out
all lights; the actors held thin flashlights which washed light over
their bodies. What I would stress most is that the play mustn't get
lost in darkness and night. The text tells the audience it's evening;
the lights should let us see clearly those evenings play out.

The Text

Dialogue in the play often overlaps. A slash in the text (I) indi-
cates where the character who speaks next begins.
In the second scene, I use punctuation to convey a distinct Sure, what do you care for money?
sense ofthe unspoken. The meaning should be clear to both. the You'd give your last penny to the first beggar you met-
actors and the audience, while maintaining the idiosyncratic and if he had a shotgun pointed at your heart!
intimate system of communication the lovers use in their dis-
-EUGENE O'NEILL
tress. Sometimes it's used to portray a gap in communication, a
A Moon for the Misbegotten
pregnant nonspoken moment different from a flat pause. Other
times, a manner of speech is conveyed. For instance, if the dia-.
Iogue in the text reads:
... this music's a:Imost unrecognizable,
DORA: (You said) What? so utterly of the coming world it is.
-MARKDOTY
The actress would speak, and the audience would hear: "Tunnel Music"

DORA: What?

The parentheses are !Jleant to clarify the meaning of what is

i;!l
actually spoken (rather than implied), to avoid a situation where
ill!
I!
an actor would say:

DORA: What?

And the audience would understand it to mean:

DORA: What (do you mean)?

--t ~
.II.·~

1Jif

Scene 1
The beach. Dora and Ed are laughing.

ED: Come on, dare me.

DORA: "Dare" you!
ED: Fifty more! (Flicking a little handful of sand at her) Come I on!
•. DORA (Laughing): Ah! Don't throw sand at me! -Go ahead, tor-
ture yourself.
ED: Here we go. One ...

(Ed does push-ups. Dora brushes sand out of her hair.)

DORA: Hey, the DVDs are coming in a couple weeks, they called
today.
ED: No shit!
DORA: They're starting slow, building them in slow. They did a
survey I guess, and not that many people here have DVD
players yet.
ED: Yeah, 'cuz there's no fucking place to buy DVDs! What am
I at, forty?
DORA: Yeah, right. That's gonna be a pain, though, building them
in, we're gonna have to totally rearrange the store to make
room for new shelves.

197
 Christopher Shinn The Coming World

(Ed stops and catches his breath.) ED: Dora-

DORA: No, I worked all day, I don't I wanna
ED: What are we doing tonight? ED: I can't just I blow him off
DORA: I dunno. Why don't we just stay on the beach, it's nice. DORA: So go without me.
ED: You're not working tomorrow, right? ED:No •••
DORA: At night I am. I'm closing.
ED: Get some drinks? (Pause.)
DORA: We could watch a movie ...
ED: Go out, have a couple gin and tonics ... DORA: Why not?
DORA: When is it ever "a couple!' All night. ED: 'Cuz I wannabe with you tonight.
ED: I'm not saying all night. Plus-Martin's gonna be out tonight.
DORA: Martin? (Pause.)

(Ed starts doing push-ups again.) DORA: All right ...

ED:Uh-oh. Dora's got an idea.
ED: You remember Martin. DORA: I'll go out for drinks if you call Ty and invite him out.
DORA: Yeah, no shit. Why, what about him?
ED: They're hiring. He said-at the-they need money I runners (Pause.)
DORA: You're not gonna fucking work at the casino.
ED: Maybe-not, like, right away. But-enough time's passed, ED: Why?
right? DORA: I wanna meet him! Eight months, your twin brother and
DORA: Every day going there? I have no idea what he's I like
ED: The pay is so good. They're hiring. Where I else ED: He's not gonna come out.
DORA: So, if you gamble it, so, who cares how much the pay is, DORA: Why not?
you know? li ED: He doesn't go out.
I~
ED: Gambling wasn't-it was the coke that was the thing. The DORA: Tell him I want to meet him. - I wanna meet the guy!
gambling wasn't-I don't even like gambling. Plus I feel so
much better now- (Pause. Ed...looks at the ocean. Then turns to Dora and smiles.
DORA: That's what I'm saying, you're feeling so much better, so Grabs Dora's foot and kisses it, bites it a little. She moans qui-
why put yourself back there? etly. He licks her foot. She begins to laugh.)

(Pause.) ED: What's so funny?

ED:It's just drinks, I mean-I don't even know-it's not like I got (He tickles her foot, she shrieks, laughs.)
the job.
DORA: No, I don't wanna go out drinking tonight. DORA: No!
ED: No? No?
(Pause.)
(He embrg.ces her.)
ED:All right. The thing is ...
DORA: You told Martin already. (Pause) So cancel. DORA: Stop! You're all smelly!

198 199
 Christopher Shinn The Coming World

ED: I'm smelly? ED: ( )?

DORA: Yes! DORA: I don't wannabe here.
ED: Then I guess I'm gonna make you all smelly! ED: I know-
DORA: No! DORA: I can't get in your shit now-
Eo: Nothing for you to get into ... Sit.
(He tickles her, she shrieks with laughter. Then he stops. Then he DORA: I'm just-if you want something ... (just tell me now)
tickles her again, she shrieks with laughter. Then he stops. He ED: All I want-serious-all I want is to just ... ( ) ... (She doesn't
starts to tickle her again, she laughs less, as though exhausted. sit) Miss you: -Okay that I say that?
He stares at her a beat, then looks out at the ocean. She follows DORA: (You) Just did.
his gaze to the ocean.) ED: Yeah.
DORA: You look bad.
ED: Beautiful. ED: I look bad?
DORA: It is ... DORA: Yeah.
ED: It's dark!
(Ed turns to her.) DORA: What.
ED: I look bad (in the dark)?
ED: No. You. You have the most beautiful face.
(Dora sits.)
(Pause. Dora smiles, then turns away.)
DORA: Circles under your eyes, unshaven ...
ED: Really?
Okay. (Ed playfully smacks Dora's thigh) Call my weirdo
DORA: Are you ... (on drugs)?
brother for you.
ED: No.
DORA: No?
ED: You look good.
DORA: I worked all day, I look tired.
Scene 2
ED: How was work?
DORA: (You wanna talk about) Work?
The beach. Dora approaches Ed. She startles him; he jerks.
ED: What movies came in today?
DORA:Ahh! DORA: They come in Tuesdays.
ED: Shit!
ED: You put them up Tuesdays, but you get them before~
DORA: ( ).
DORA: Ed!
ED: Sorry.
(Pause.)
DORA: Jesus.
ED: Sorry. ED: (I'll) Rub your feet.
DORA: (No.)
(Ed looks at Dora, smiles.) ED: Shoulders. You look tense.
DORA: I don't (want a massage).
DORA: ( ). ED: Stressed-qut, standing all day, the kids, annoying, come on.
DORA: Not everyone hates their job.
(Pause.) ED: Thanks.

200 201
 Christopher Shinn The Corning World

DORA: "The kids, annoying" -(actually) I like my job. I got the check so I didn't tell you but. In the mail. Five thou-
ED: Good for you. ( )? sand dollars. (I was like) Shit! Five thousand dollars! Just in
DORA: -I'm just saying, you're making it like I hate my job. my mail! No note, no anything, and so-I called him, to
ED: I just said do you want a massage that place stresses you out. like-1 don't know, to thank him or to say (why did you send
me five thousand dollars) ... (I keep) Calling, but he won't
(Pause.) call me back. -Why did I get so drunk that night?
DORA: He just-(sent you) five thousand dollars.
DORA: You have to stop calling me.
(Pause.)
(Pause.)
I
~ (I hope) You don't need more.
ED: Who's talking about this.
DORA: We broke up. ~-t ED (Laughs): Why do you say that?
DORA: Because-you don't look so good, you don't look like a guy
ED: Okay. who has five thousand dollars, so-(do you need more?) ...
DORA: Okay?
ED: I just wanted to talk. Am I doing anything? (Ed reaches into his pocket, takes out ten singles.)
DORA: "Can I rub your feet!'
ED:? What (are you doing).
DORA: You don't do the same things after you break up. You don't ED: Ten dollars.
(give massages)- DORA: (I know) But (why)?
ED: -I don't even feel bad. ED: (This is) All I have left.
DORA: ( )?
ED: Not about you. Something else. I mean I do (feel bad) about (Pause.)
you. But I don't know if I (feel bad) about this other thing.
Maybe after I say it I'll feel bad. -No one knows (what I did). ·.DORA: ( )?
DORA: What are you talking I about ED: It went.
ED: Why do you think Ty won't talk to me? DORA: I don't (understand).
DORA: ( ). ED: Paid bills, paid-not like five's a fortune, I mean, what I owe.
ED: He won't call me back. Since we hung out. Which. That was I was just trying to set things up, climb outta this hole-
a fun night. He had fun, right? DORA: The thousand (I gave you, is that gone too)?
DORA: (Like) You remember (that night). ED: I paid off the credit card (with that).
ED: It was only a month ago. DORA: Where did it (go)?
DORA: No. Because you blacked-out. (I was) Dragging you home. ED: ...
ED: (You didn't) Drag me home. DORA: I'm not (giving you anything) -Nothing.
DORA: Yeah (right)! ED: I had a job.
ED: He's probably just heavy into work. Computer shit. Big DORA:?
money. I thought it was maybe the money (he lent me) but ED: (I got paid a) Thousand a week.
that doesn't make sense. Why he would be mad about that. DORA: ...
DORA: ( )? ED: You want p:J.e to jump to the end of the story or start at the
ED: He lent me money. I think he sent it, I think he sent it the start of it?
next day, day after we hung-out. We were broke-up when DORA: I don't (care).

202 203
 Christopher Shinn The Corning World

ED: It's just, I don't know which way (makes more sense)-start- But-if there's (another reason)-you can tell me, I just
ing and going forward or going to the end and then back. ('Vanna know)-
Makes sense-(not the story, but) telling you. DORA: No, there's no other reason, Ed.
DORA: I'm not going to get all (wrapped up in it) ... ED: All right, okay, that's all I wanted (to know) ...
ED: But do you want to hear just the outcome or how I got
there ... (She looks out at the ocean.)
. DORA: It's not gonna make me do something (I'm not gonna do).
ED: (Do you know) I'm the only person Ty ever showed his tat- Okay. Okay. So. There's this (guy).l'm in the (casino)-at the
toos to? I ever tell you that? / least, I promise you, this is a good story.
DORA: This (relates how)? ... DORA (Turning back to him): Then (start telling it).
ED: I'm just-trying to talk like-like there's none of this shit in ED: No, because you look like (you don't care)-
between us. DORA: I'm (listening, just tell me).
DORA: (So you lost) Five thousand dollars. ED: I'm just (saying)- ... Okay. -I haven't even told this (to any-
ED: You think I should get a tattoo? . one). Okay. I'm in the casino chilling, and this guy says there's
DORA: -They're gross. this guy he knows. And the guy, the guy I'm talking to-
.ED: Why? DORA:?
DORA: It's like self-mutilation, they're ugly. ED: (Okay,) Martin.
ED: Ty showed me his. I'm the only one. DORA: Martin (great).
DORA: Ed. Come on. ED: Don't get all stupid.
DORA: Fucking Martin.
(Ed looks at her. Pause.) ED: Martin and John.
DORA: (I don't know) John (who is he)?
ED: Okay. All right. (I'll tell you) What happened.
ED: They just know each other. John's at the casino all the time,
(Pause.) Martin knows hirri from there. Okay. So Martin tells me
'. John,John needs somebody for something-under-the-
DORA: I don't need all kinds of details. qUick-buck thing. Puts me in (touch)-Martin-with
ED: All right. John-in touch so-okay? Okay. So: what do I have to lose?
I figure (what the hell, who knows)- so-okay. I call John.
(Pause.) Hello, hello, come over, so. I go over. House, his house, oh my
God. It's (fucking amazing)-totally new, mile away (from
I just-there's this one question to get-out of the way-so the casino)-inside-big TV, flat-screen, DVD. Guys watch-
I can tell you what happened because, just-I ... ing The Matrix-the scene (where Neo fights the guy in the
subway)-John sits me down, this other guy, guy gets me a
(Pause.) drink, and I'm ...-(sitting) on this like electronic plush
chair-massage, adjust the-
DORA:? DORA: (What are all) These details ...
ED: ... ED: (Sorry, I'm getting all excited.) Okay. So. Okay. So John's like,
DORA: ... ? a big guy, maybe thirty, well-groomed, but, like, hairy back
ED: No, I know (why you broke up with me). I had no money. kind of guy. (He's) Mob- (and he's like-)
What you (said), I have no (money), I'm in debt, I have no job, DORA:?
you can't be with someone (with) no money (and) no job ... ED: But (not scary).

204 205
 Christopher Shinn The Coming World

DORA: Mob. ED: Okay. So. Next day. I get the backpack. They give me a phone
ED: (All right, but) He says, "It's a very simple thing, Ed." Simple. number. ·(of) The guy I'm handing over to. I'm supposed to
I'm like-(it's) like a movie, (I'm) sitting there, like-"1 sup- go to the pay phone in the parking lot of the bank near the
ply"-this is him-"1" Burger King. I call and let it ring. l can only use that pay
DORA: You don't have to get all dramatic- phone because what the guy is going to do is, is look at his
EO: (You don't think it's funny?)-Okay. "I supply a local man Caller-ID, and when he sees that pay phone number, he's gonna
with Ecstasy. He distributes it to his people at six schools. come meet me at the bank. That way there's no talking on
I don't like to be involved with drugs but it's a lot of money any phones. So. I get the backpack. I get in my car and go. Get
and this is as far as I go with it. It's safe, it's easy, it's very to the Burger King, the bank, pull in, pull around back ...
lucrative. What your job is is this:" -and I'm sitting there, DORA: (Wait,) What time is it?
with my drink, thinking like (is this really happening?)- ED: What?
"Youf job is this:"-not would be, (but) is-"once a week, DORA: Is it dark? (Short pause) This is the phone, the one behind
you'll deliver the Ecstasy to this man. You'll be paid a thou- the bank, out of sight of the road?
sand for each delivery. All you do is come here, pick up a ED: There's-the Burger King-
backpack with ten thousand dollars of pills, drive half an DORA: There's the fence between the bank and the Burger King.
hour, hand it over, take the cash, bring it back, I'll cut you a And it's dark. (Do you see?)
thousand, and you'll go home:' (Pause) I mean, problem ED: What are you (saying)?
solved! Before Christmas! Four thousand a month! DORA: (You're sitting where) No one can see you.
DORA: So you just (say yes) ... ED: Why would you want anyone to see?
ED: (I know but) I think-what if he knows some other guy, more DORA: (It's a) Backpack-you could hand it over in the Burger I
eager guy, I don't want to (lose the chance)-Martin (must King!
know other guys but)-he thought of me first. John's like, ED: You wanna tell the story? You know what happens?
"Martin speaks very highly of you." DORA: ( ). ··. !!
DORA: Martin speaks highly of you. Which, he knows you from
(what). "He's a good drinker. He sniffs coke and loses money (Pause.)
really wen:·
ED: (Fuck you.) ED: (So I) Pick up the phone. Dial. Ringing. Then (I hear) a tap on
DORA: ( ). the glass. (Out of) Nowhere. (I) Look. (It's a) Gun. Passenger
ED: ( ). side, guy with a gun, tapping on the glass. (I) Turn around,
DORA: Five minutes (you know this guy) and you say yes. (my) window's rolled down, (I) still have the phone to my ear,
ED:I thought-he needs his money-drugs need to get where sitting in the car, so my window is down, (I) turn. Another
they're going-(it's) simple how I fit in. John said he doesn't guy. (Guy) Rips the phone from my hand,,hangs it up, slams
like his guys to do it because if you get caught it's mandatory it ... (I) Give him the (backpack) ... They just (go) ...
minimum sentence, so he contracts it out to keep it out of
his thing. He said no one ever got caught but it's better for (Pause. Dora looks away.)
him that he's not directly connected to it.
DORA: Fine, so. What (happened). So.
DORA: Do you know what happened?
(Ed pauses, staring at Dora.) ED (Grabbing stomach): Fuck, my stomach. Can you hear that?
DORA: What?
( )? ED: I guess only I can hear it, 'cuz ofthe vibrations in my body.

208 207
·. ·y
'·
 Christopher Shinn The Coming World

DORA: What are you talking about? ED: OhGod.

ED: My stomach is making weird noises, it hurts.
DORA: -Ed, they didn't see the Caller-ID, so how did they know (Pause.)
what time you were gonna be there?
ED: I guess-I figure John probably told them around when to DORA: (Tell me the truth,) Are you doing coke?
expect me. So they were probably just hanging out, waiting. ED: Not-really, I don't know, a couple oftimes-
Waiting for a car to pull in there, pick up the phone. Boom. DORA: Five thousand dollars partying.
DORA: But ... you don't see? ED: I haven't (been partying that much), I've been paying (off my
ED: ( )? debts.)-you doing coke?
DORA: Okay. So-Martin and John know each other a little, they DORA: (We're) Talking about me now?
bullshit, whatever. One night John says to Martin, "Hey ED: Don't be so angry.
Martin, I need a favor!' Martin's flattered, (he's a) bartender, DORA: Fine, (let's) talk about me, what do you want me to do?
(and a) mob guy needs his help. (He) Says, "Want you to find
me some kid, some fuck-up who needs some money. I'll jerk (Pause.)
him around, scare him a little, but I won't hurt him, you have
my word. You know anybody?" (You.) Now, John's got this all ED: ( ).
planned out already with the guy-the distributor guy, the DORA: So I can just leave now.
dealer. John fills him in, the dealer gives him nine thousand ED: All right. This is what I came up with. I thought-! can move
bucks. The dealer gets to save a thousand, and now John has home, (that) kills my rent, (that) kills my bills. I gotta pay
an errand boy who thinks he owes him ten thousand bucks. John, God knows what he's gonna make me do to pay it off.
Who'll do whatever he wants. So, get the ten thousand out of the way, hold off my other
ED: What ... ? debts-
DORA: (They) Pumped you up, gave you a bullshit story-the whole DORA: So, what, this ten thousand is just gonna wash up on
thing was planned out. Robbing you works out for both of them, shore?
they both save all this money, meanwhile, you get a gun in your ·.ED: Well-I gotta find a job. Obviously.
face, and now you think you owe a mobster ten thousand DORA: How do I fit into this.
bucks. Which, if he says you do, you do. So now he'll make ED: Well ... I know I can't-stay with you.
you work it off, doing all his dirty work or whatever. DORA: You already figured that out, you're gonna stay with your
ED: I don't ... you think he set me up? But-no. No way. John- folks. ·
no, there's gotta be holes in there. ED: Right.
DORA: There's no holes.
ED: ( ). (Pause.)

(Short pause.) I know ... you don't have any money I could ... ( ) ...
DORA: ( ).
Oh-ohfuck- ED: I know.
DORA: They're not stupid, these guys, they know what they're DORA: So all that's left that I can do for you is fuck you, basically.
doing. This dealer is gonna rob a mobster? No one robs mob- ED: (Seriously)?
sters. They have a whole system, this whole thing together, DORA:!
and this guy's just gonna up and rob him? It's where he gets ED: Kidding, Dora! I'm not (that dumb). But what's going on with
the Ecstasy from-like you said, they both need each other. you, you seeing anybody?

208 209
 Christopher Shinn The Coming World

DORA: ( ). ED: How much is it before you put the final night's total in the
ED: I hope he's good to you, that's all I hope. safe?
DORA: (I) Got it. DORA: Ed.
ED: What? ED: Corporation, won't feel a thing. A couple thousand, right? At
DORA: Ask Ty for more money. closing, so easy, just you in the store-
ED: No. DORA: No, Ed!
DORA: Why not? ED: I know there's all those cameras and stuff, but I put on a mask I
I
ED: That's not right. or whatever, we make it look like an actual robbery, like, with
DORA: Why not? a gun and stuff, simple!
ED: No! DORA: A gun?
DORA: He gave you five thousand. ED: I have one. I got one.
ED: I didn't ask for it. He just gave it to me. DORA: You have a gun?
DORA: So? ED: What if I get into trouble with John? (What if I have to do)
ED: What I don't understand is. Because you said you loved me. Some ghetto shit?
So when. How do you just stop. Two people I who
DORA: ( ). (Pause.)
ED: If you loved me one month I ago
DORA: Ed DORA: I'm going, Ed.
ED: Do you love me? ED: You're gonna go. You're just gonna go.
DORA (Rising): Yeah.
(Pause.) ED: All right. Whatever. (Starts removing clothes) Thanks for the
help!
Did you?
DORA: What are you doing?
DORA: ( ).
ED: (I'm gonna) Take a swim. You wanna?
ED:?
DORA: Fuck you.
DORA: Yes (but)-
ED: So when did you stop.
(Dora starts to exit. Ed stands naked, laughs.)
DORA: ( ).

(Pause.) ED: You know you want me. That's why you're leaving!

ED: I'm sorry. (She keeps going. Then she is off.)

DORA: I'm gonna I leave, Ed.
ED: Okay, wait. Wait. I got this idea. It's a way you can help me.
(Calling) You know that's why you're leaving! Come on, come
It's a really good idea. swimming with me. (Pause. He yells) WHY DON'T YOU
COME BACK HERE AND COME SWIMMING WITH ME.
(Dora looks at Ed: Ed looks at Dora.) WHY DON'T YOU COME BACK AND SUCK MY DICK
LIKE YOU USED TO! (Long pause. He's still watching.
I wanna. Okay. Ready? Screaming). WHY DON'T YOU COME BACK AND TELL ME
DORA: ( ). YOULQVEME.
ED:I wanna rob the Blockbuster.
DORA: -What? (Hold.)

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 Christopher Shinn The C:oming World

(Short pause.)
Scene 3
I just-wanted to talk to someone.
Ty approaches Dora on the beach~ tentatively. TY: Sure.
DORA: Because-I didn't-feel like I could go to the wake. I was
TY: Dora? gonna, but. Your folks didn't-they always said to Eddie how
I was "loud." And Eddie's friends ... Eddie partied so much
(She turns, startled.) less when he was with me so they ... I would have just gone
in, fuck 'em, but-my face ...
DORA: Oh-I didn't ... TY: Right.
DORA: They don't-the doctors don't know what it's gonna look
(She stands with some difficulty.) ljke yet ... (Short pause) Anyway, I just kept-all night, dri-
ving by the funeral home. His buddies outside smoking.
Hey, Ty. Called information, got your number, left you that message,
TY: Hi. -Are you okay? and just came here and ... -What-was it-nice, or? ... The
DORA: I'm okay. wake, what was it like?
TY:Jesus. TY: Actually ... I didn't go.
DORA: It's not that bad. They got me on Vicodin, so ... DORA: You didn't go?
TY: What happened? TY: Same thing basically. Ed's friends, I can't stand those guys.
DORA: You don't know? You didn't hear? And I guess Ed never told you, but I don't-I don't speak to
TY:No. my folks.
DORA: The Blockbuster got robbed. DORA: Oh. I didn't know that. Why not?-
TY: We just don't get along.
(Pause.) DORA: Uh-huh. (Pause) I actually- I called you because-when
I was driving by, like, the funeral home, I kept, I kept think-
TY:Oh. ing about something you said. That night we all went out.
DORA: Didn't get any money actually. But I got roughed-up ... TY: What?
TY: Oh my God. DORA: That's the thing. It's like, I can't remember it! You talk so
DORA: I thought everybody heard. good-I can't talk that good. But it was something like-
TY: No, I ... remember, Eddie was getting drinks, or in the bathroom or
DORA: Don't talk to anybody? something and you said-it was so loud and dark-in the
TY (Smiles): Right. bar-and I was like, Why, if you want to hang out with your
friends, why would you come to a place like this? Where it's
(Dora sits, with some difficulty.) so loud you can't hear them and so dark you can't see them.
-Do you remember what you said?
DORA: I figured your parents would have told you. Just some ran- TY: I think ... I said that guys don't like to talk.
dom thing-it happens-just happened to happen to me, so. DORA: Yeah. But you kept going.
TY: Does it hurt? TY: Well, that they go out because they're looking for a girl to
DORA: Just normal pain. sleep with or a guy to fight.
TY: What's normal pain? DORA: Yeah, no, it was after that.
DORA: Just-you know. Pain you can live with. TY: Right-that they communicate with actions. Not words. Guys.

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DORA: Yeah! That was it. That's so right, like. And it came back the casino with getting something for free, with generosity.
to me-because I was thinking-what you said, with Eddie. That's what makes you gamble more. We actually don't want
Like-what was it Eddie couldn't say. That he would do this. you drunk, we actually pump oxygen into the casino to keep
(Short pause) That he'd-shoot himself. (Short pause) you sober and awake." And Martin laughs. I think it's gross,
TY: I don't know. Ed was never the most-rational guy ... this guy, talking about how they trick people into losing
DORA: No ... their money, but I look at Eddie-and Eddie's got this look
TY: Just-spending that one night with him. He was a mess. on his face like-he's entranced. Like this is the coolest
DORA: Yeah. I actually broke up with him the next day. thing. But Eddie-I'm thinking, like-Eddie works hard. All
TY: You did? his jobs, you can't fuck anyone over in those jobs, they can
DORA: You didn't know that? just fuck you. Eddie moves boxes. Eddie drives trucks, mows
TY: No, I-no. lawns, plows snow. Eddie gets fucked-over all the time, so-
DORA: I didn't know if you talked to him in the time ... between why does he think this is all cool? Anyway, the night goes
... then/and- on-Martin doesn't say a word about any job. Takes out a
TY: Right. bag of coke, Eddie's eyes go real big, like-that was it.
DORA: Did you? Dragged him out of there, drove him home, puking in my car,
TY:What? put him in bed, and left. (Pause) And ... that was the last
DORA: Talk to him at all or ... ? time I saw him. That night. Blacked-out, puking all over
TY: I-a few nights ago-he showed up at my apartment sort himself. Called him the next day and dumped him.
of-out of the blue ... TY: I actually-sent him some money after that night.
DORA: What was ... DORA: You did?
TY: Just. Urn. Well. Really, he seemed just-basically like he was TY: Just to-I don't know what. Something ...
fucked-up on a lot of drugs. He didn't make much-sense ...
DORA: That was it? (Pause.)
TY: Yeah ...
DORA: Thiit fucking night. Mter you left. It was horrible. Eddie DORA: I told Eddie to invite you out that night. I wanted to meet
kept drinking, right. Then this guy Martin showed up, like you. He was kinda weird about it. He didn't talk about you a
three hours later than he was supposed to. Do you know this lot.
guy? TY: Didn't have·inuch in common.
TY:No. DORA: Eddie said you're like a genius.
DORA: Martin. Works at the casino, he's a bartender, and Eddie- TY: He said that? That's funny. He never really understood what
thought he might help him get a job there, right? So we're I do. It's pretty simple.
talking and drinking and Eddie keeps, like, bringing up jobs DORA: You work really hard though, right?
and stuff, but Martin's not-he's not saying anything about TY: Not really.
jobs, right? Then Martin kinda leans in and says, "Wanna DORA: Yeah right.
know a secret?" And Eddie's like, "Sure!' And Martin says, TY: No. I just have a skill most people don't.
"You know why you get so many free drinks in a casino?" DORA: What exactly do you do?
And Eddie's like, "Because the drunker you are, the more TY: You really want to know?
you'll gamble!' And Martin gets all quiet, like he's being all DORA: Yeah.
bad by telling us this, and says, "No!' He says, "We want, we TY: It's pretty boring.
give out free drinks because we want you to feel like every- DORA: No, what I do is boring. ·
one here is your friend." (Pause) "We do it so you'll associate TY (Laughs): I design educational programming for use in schools.

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DORA:Uh-huh? (Dora clutches her jaw.)

TY: Which means-I take what would have been a schoolbook,
and put it on a computer screen. So what I'm really doing is TY: Are you okay?
taking what something is-the content-and changing the DORA: The d-d-doctor said not to. T-t-talk too much. Nnnh.
look of it-the form-to fit a different medium.
DORA: Uh-huh ... (Pause. Dora holds her jaw, in evident pain. She reaches into her ·i
TY: I'm making it sound more complicated than it is. Like-all purse, takes out a Vicodin pill, dry-swallows it.) !i
right: you have computers at Blockbuster, right? What do
they do? I'm okay. Sometimes it throbs.
DORA: The computers. Just-keep track of your account. What TY:What? I
you rented, if it's overdue, like that. DORA: The pain. It just, out of nowhere, this throbbing. I'm okay.
TY: Exactly. Those are primitive programs-meaning they do I'm fine. -You had a horrible night, too, right.
simple tasks-but even so-think about before those com- TY:What?
puters. Someone would have had to write down all the infor- DORA: At the bar that night.
mation, what you rented, when it was due, and store it in a TY:No!
file cabinet, and retrieving that information would have DORA: Come on, you hated it.
taken time and slowed down the business . . . so, now, TY: No-it was really cool talking to you. I left because-I just
instead of lots of file cabinets and paper cuts and hand couldn't watch him like that.
cramps, you have a computer on a desk and sore wrists and DORA: You were so uncomfortable like.
tired eyes. What I do is, instead of a kid sitting in a class- TY: In the bar. Yeah-it's that thing-like Eddie's friends. I just
room, with ink all over his hands and seven books in his don't fit in.
backpack, and five notebooks for his different classes- DORA: Eddie loved taking me out to bars. I hated it, but. He said
instead, he's tapping away at a computer. I'm sort of the he always wanted to show me off. I thought that was stupid,
bridge between the past and the future-or the file cabinet but. I don't know, is that how guys are?
and the computer. TY: Is that-"are guys? ...
DORA: I have no idea what you just said. DORA: Like, do you like showing off your girlfriends, or? ...
TY (Laughs): Meaning, we're not there yet. Kids still have books. TY: Urn ... I don't-I never really thought about it ...
They still write notes in notebooks with pens. But they DORA: Like, do you like to go to the movies with your girl, or do
won't always. Someday, they'll type notes onto a computer, you like to hang at home?
and read lessons· on a screen, and the teacher will type TY: I guess it-depends ...
lessons during class, which they'll read on their screen, and DORA: Yeah. Do you have a girlfriend now or ... ?
be able to read when they go home, because they'll be doing TY: No, no, not at the- . . . I no.
their homework and going over their notes on their com- DORA: Oh-secret's out-Ty's a player!
puters at home. I'm designing the programming that will TY: Hal I Right!
make that happen. DORA: You are, for real. I see that little grin, that's a player grin.
DORA: Wow. What's the company's name that you work for?
TY: Education Alternatives. "Preparing Children for the Coming (Ty laughs. Then clutches his stomach.)
World!'
DORA: The backpack companies won't be happy. (Laughs) I like Are you.okay?
my job. It's okay. People'll always wanna watch movies TY: Oh, I'm fme, just-my stomach.
I guess. DORA: Is it? ...

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TY: It's a-I'm fine. DORA: The nipple ring?

DORA: That's funny. Eddie had stomach things all the time. TY: Just- (Laughs) just normal pain.
TY: He did? DORA: All down just the one side ...
DORA: I always thought it was how much crap he ate. Do you eat,' TY: I wanted it to be ordered-not random, all I over
like, Burger King every day? DORA: He didn't tell me they were all down just the one side.
TY: I'm a vegetarian. TY: That's because-actually-he never saw them actually. (Short
DORA: That must suck. pause. Dora looks at him) He knew that I had them, but I never
TY: No-it's really easy being a vegetarian. I cook I my own showed them to him.
DORA: No, I meant, it must suck having people always assume
because you have a twin, you're the same in all these ways. (Short pause. She places her hand on his chest, slowly moves it
TY: Oh. Yeah. When I was a kid-I hated it. Everyone thought down across his abdomen.)
I liked what Eddie liked-because what Eddie liked was what
DORA: Where did you get them?
everyone liked.
TY: I-I did them myself.
DORA: Is that why you got tattoos? (Pause) To be different?
DORA: Wait-you did them?
TY: How do you-?
TY: Yeah, I-bought the tools and studied and ...
DORA: Eddie told me. I hope it's okay that I-he was so proud,
like-that you showed him your tattoos. (Pause. They look as if about to embrace; then, Ty turns away.
TY: That's-he said that? Dora looks out at the ocean. Ty reaches down to pick up his
DORA: Could I see? (Pause) They're-you can't see them on your shirt.)
/arms-
TY: I wanted them to be private. DORA: Wanna go swimming?
DORA: Right. TY: -Now?
TY: But. If you- ... DORA: You think I'm crazy?
DORA: It's just-I'm so curious. TY: It's-a little /cold
·ooRA: You ever·done it?
(Short pause. Ty stands. Dora follows. A beat. Then Ty lifts his TY: Swim-in the I ocean at
shirt over his head, covering his face.) DORA: At night?
TY:No.
Oh my God. So many.
DORA: Eddie and I used to.
(Short pause. She takes his T-shirt and lifts it the rest of the way
(Short pause. She looks at him and smiles. Then she removes her
off his head, and gently lets his T-shirt fall to the ground. Ty
clothes, to her undergarments.)
smiles. She looks at his body.)
Coming?
They're beautiful.
TY: I ...
TY: Thanks.
DORA: What do they mean? (Dora smiles at Ty, then runs into the ocean. Ty watches her for
TY: They're j-just-abstract designs ... a moment. Then he takes off his pants and rushes into the ocean.
DORA: You're shivering. In the ocean, we see Dora; Ty appears far behind her, slowly and
TY: A little I cold blindly finding his way to her.)
DORA: Did that hurt?
TY:What? OH!

218 219
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DORA: TY? DORA: Come closer.

TY: IT'S COLD!
DORA: TY? (She moves somewhat blindly toward him, while he remains rel-
TY: IT'S FREEZING! atively still, groping a bit dumbly.)
DORA: CAN YOU SEE ME?
TY:NO! Am I-I'm right I in
DORA: WHERE ARE YOU? TY: Yeah, I'm right I here
TY: BACK HERE! DORA: Hold my hand to stay warm.
DORA: COME TO WHERE I AM! I'LL KEEP TALKING! FOLLOW TY: Hold your-where-but I can't I see
THE SOUND! DORA: Find my hand, in the I water
TY: OKAY! TY: I can't I even
DORA: HELLO HELLO HELLO! GOOD-BYE GOOD-BYE GOOD- DORA: Just move your hand around ...
BYE!
TY: ... GETTING CLOSER. (Beneath the water, both hands search. And connect.)
DORA: I HEAR YOU BETTER. HELLO HELLO HELLO!
TY: HELLO HELLO HELLO! There!
DORA: SEAWEED! SEAWEED! SEASHELL! SEASHELL!
TY: Yeah!
TY: Seaweed! Seashell! DORA: Found it.

DORA: Hal Hermit crab!

(Silence. They look at each other, still significantly obscured by
TY: Hermit crab!
darkness, so that thougq they are inches away from each other,
DORA: I think I see you!
they stare intensely as if far apart. Their hands stay clutched.)
TY: Barely!
DORA: You're here.
Your face ...
TY: Yeah-a hideous mistake but-here I am. TY: My face?
'DORA: I can't see you ...
(They are a few feet away from each other, though both looking TY: I'm here .. .
sol!lewhat past each other, as though still indistinct.) DORA: You are ... God.
TY:What?
DORA: God it's SO dark.
DORA: Just feel it.
TY: No moon. No stars.
TY: What?
DORA: There's clouds.
TY: Are there clouds? (Dora wraps her arm around Ty's waist, and moves behind him,
DORA: You can tell 'cuz the sky feels so low. Can you feel how low
clutching him. She sways with the gentle tide.)
the sky is? Look up.
TY (Looking up): It is low. DORA: There.
DORA: You can feel it, right?
TY: It's colder than I thought. (Dora presses against Ty, swaying; he begins to sway as well.)
DORA: It gets warmer.
TY: Ha, does it? Do you feel it?
DORA: You're really cold?
TY: Shivering. (Now they are swaying in unison to the tide.)

220 221
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TY: I think ... DORA:Mmm ...

· DORA: Close your eyes ...
(She runs her hand up and down his chest, toward his groin.)
(A beat. He does. The swaying grows more close, more intense,
though it continues to be gentle.)
TY:OhGod-
Do you feel it? ...
TY:Mnun ... (She puts her hand beneath his boxer shorts.)
DORA: Right? ...
Dora-
(Ty opens his eyes. He turns his head to look at Dora, whose eyes DORA:Mmmm ...
are closed. He stares at her a long :while.)
(She continues to kiss his neck.)
DORA: Can I tell you something, Ty?

(Ty turns back, closes his eyes.) TY: I know-Dora-No-oh God-oh- ·

TY: -Sure. (Ty releases from Dora almost violently. Her eyes open. Ty
DORA: It's a secret ... strides back to shore, through the thick water. Dora watches him
TY: A-secret? go. On shore, Ty dresses. In the ocean, Dora stares blankly
DORA: You don't have to say anything. ahead. Then suddenly she plunges herself under the surface of
TY: Wh-what? the water, and hangs there, lifeless, peaceful. just as suddenly
DORA: A secret from that night at the bar ... she emerges, almost violently, from beneath the ocean. She sucks
TY:What? in air and chokes, then takes in a monstrous, gasping breath.
DORA: Shhh. Slowly her breathing normalizes, and she starts her way out of
the vast dark ocean to shore. On shore, Ty sits, dressed, his head
(Dora, eyes ~till closed, still clutching Ty, begins to kiss his neck. between his-knees. Dora comes onto the beach and moves to her
Again he opens his eyes and looks, as if about to speak. She con- clothes. Silently, she starts to dress. Ty picks up his head and
tinues to kiss him with great feeling. Then he closes his eyes and watches her. She turns and sees. Conversationally:)
arches toward her. Their lips meet. Abruptly, he pulls away. Dora
opens her eyes and looks at him. He stares back, somewhat DORA: I do not wanna work tomorrow.
inscrutable, as if about to speak but hesitant. Slowly their gaze TY: What time are you working?
entwines, and Ty turns away. She approaches him. She puts her DORA: Morning. The corporate people are sending all these peo-
hand on Ty's chest. He turns to her and with a sense of ple down-it's this thing they do after a ropbery, this whole
inevitability and deep communion they embrace. They kiss. fucking interview thing. But since they didn't get any money
Then Ty pulls back, ever so slightly, and whispers:) it shouldn't be that bad, hopefully.
TY: I can't. TY: ~ght.
DORA: You should come in sometime. I got this stack of free
DORA: Shhh.
rental coupons for dissatisfied customers, but we can use
TY: Dora.
them for whatever.
(She continues to kiss his neck.) TY:Cool.
DORA: Someone was telling me ... (She's fully dressed) You can
I know, Dora. rent movies online now or something? Do you do that?

222 223
 Christopher Shinn The Coming World

(Dora looks to Ty. His head is bowed again.) (Dora doesn't answer. She slowly removes her hand from her jaw.
She gains her balance, then starts to move to where her purse is.
Ty? Ty takes a few steps as if to retrieve it for her, but she shakes her
head no. She reaches her purse and, in agony, sits down. She
(Ty looks up to her. A beat.) takes out a pill. She manages to open her mouth ever so slightly; she
bends her head back and drops the pill onto her tongue. She tries
What's wrong? to swallow; gags badly, then forces it down; Ty takes a step
TY: I know it was Edward that-did this to your face, Dora. toward her. She looks at him. They stare at each other for a
moment. Then she turns away from him and looks out at the
ocean. Ty watches her for a moment, and then turns and leaves
(Pause. Dora chuckles.)
the beach. Dora does not turn to see that he is gone.)
DORA: What are you talking about?
TY: He came to me the night-he shot I himself.
DORA: You know-I gotta work tomorrow for like I twelve hours Scene 4
TY: He told me he needed ten thousand dollars-he wouldn't say
for what, I but he seemed really desperate-and Day. Dora approaches Ty, who is sitting on the beach. He is wearing
DORA: He always needed money- headphones. So is she. She sees Ty and takes off her headphones.
TY: He told me he was going to rob you. (Pause) He was really
high, he was fucked-up. I knew I should have done some- DO_I~A: Ty.
thing but I just-wrote him a check and-I ... they didn't
(He doesn't respond. She sees he's wearing headphones. She
find it on him so. I guess-after he went to the Blockbuster
moves in front of him and smiles. He looks up. Eventually he sees
he-that's when he decided to-that's when he came to the
beach and killed himself. her, and takes his headphones off.)

Hey!
(Suddenly Dora clutches her jaw.) TY:Hi!
DORA: Sorry I'm late. I would have called but I don't have your cell.
DORA: Nnnnh. Nnnnnh. Nnnnnh.
(He rises.)
(Ty rises. Dora breathes, Then another wave of pain.)
TY: It's okay.
DORA: What are you listening to?
Ahhhh. Ahhhhhhh.
TY: Oh-just-a mix I burned-different stuff.
DORA: Trade for a ser;ond?
(Ty moves toward Dora.)
TY: -Sure!
DORA: You're gonna hate this. Okay.
TY: Let me take you home-
(They sit down and switch headphones. Both sit and listen to
(Ty reaches out to her. Dora slaps his arm away, her purse flying each other's discs. Dora rocks out a little. Ty laughs, grooves to
off her arm. Ty takes a shocked step back.)
Dora's music.)
What's wrong? IT'S GOOD. WHAT IS IT.

224 225
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.)
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Christopher Shinn The Coming World

TY: IT'S THIS FRIEND OF MINE. CREATES IT ALL HIMSELF, TY: You look-amazing.
JUST HIM, A KEYBOARD AND A MAC. DORA: I do?'
DORA: COOL. -DO YOU HATE MINE. TY: Like-nothing happened.
TY: WHAT'S THERE TO HATE ABOUT CYNDI LAUPER. DORA: They did a good job, right? When they did the operation
on my nose, they actually, I think they made it better than
(Dora laughs. They listen a few more seconds. Then Dora takes before. The girls at work are all like, "Did you get a nose job?"
the headphones off, and Ty follows. They hand headphones back TY:Wow.
to each other.) DORA: I swear to God. I thought the rest of my life, people were
gonna look at me, like, "What the fuck happened to her?"
DORA: Your friend is good. Is he from here? Like one ofthose people.
TY: Yeah, he's in school here. Doesn't go to class much, spends TY: Right.
all day writing songs on his computer. Big into Ecstasy, kind DORA: 'Cuz I see those women. They come in to Blockbuster.
of a drug freak. Alone. The ugliest guy can come in, there's some woman
DORA: Tell me about it. It took me so long to get off that Vicodin. with him. Ugly women, forget it. I got two new teeth too,
TY: Yeah? see? Discolored, just like my real ones.
DORA: Do you know you can get it on the internet? My last refill
ran out and I was freaking, and then this guy was like, I get (She bares her teeth.)
Vicodin online. They have like online pharmacies and doc-
tors talk to you on the phone and stuff, and just prescribe it. TY: Watch out, she ean bite.
So then he got me some ...
TY: But you're-you're off them? (Short pause.)
DORA: Yeah. I'm basically fine. I still have a little back thing, but
I do this water therapy, 'cuz the water helps it supposedly. DORA: What about you?
TY: Are you in a rehabilitation program or? ... TY: What about me.
DORA: No, they just showed me how, I do it on my own; DORA: What's going on, player!
TY: In the ocean? TY (Laughs): Not much. (Short pause) I've-missed you. (Short
DORA: It's too cold now. I've been using the pool at the casino, pause) Been thinking of quitting my job.
actually. DORA: You're kidding.
TY:Oh. TY: Thinking about it.
DORA: I went to this acupuncturist too for a while, for my back. DORA: Why?
TY: Oh yeah? TY: I'm just tired of it. There must be something else I can do.
DORA: It really helped. They rake it in, those guys. Good line of DORA: Don't quit your job.
business to be in. Everyone's back is a wreck, right? Nobody TY: No?
can walk in this country. DORA: No. You have a good job, Ty.
TY: Or sleep.
DORA: Ambien for that. You like Ambien? (Short pause.)
TY: Never had it.
DORA: Ambien-Vicodin combo ... like peanut butter and jelly. TY: Just something I'm thinking about.

(Ty laughs. Short pause.) (Pause.)

22S 227
 f
Christopher Shinn
I1
<t
•' [l,
~ The Coming World

.I_·(.,
~:,.
t,
ll,;
DORA: I'm going to this therapist. (Pause.)
TY: Really?
DORA: Yeah. It's good, you know? We talk a lot about-we talk
-;, { I don't I want to
about everything that happened and. TY: I actually-have to get somewhere, so.
·,,I'
DORA: Oh.
(Short pause.)
;,,, (Ty rises.)
TY: It's okay. ·~ t
"' Can I get your cell?
(Dora smiles at Ty and looks away. Then Dora's cell phone rings. TY: Calling me at home is the best way I to
She checks it, then shuts it off. Pause.), DORA: Well-give it to me anyway.
·~~.
TY:Why?
DORA: I'm sorry about that night, Ty. And not calling you and.
I'm sorry.
(Pause.)
(Dora's cell phone rings again. She answers:)
DORA: -I don't wanna say anything stupid to you, Ty.
TY: So don't.
Hey. Yeah. I'm running late. At the store, we're rearranging
the whole store and it's taking forev~r. No: Soon. Okay.·
(Pause.)
(She hangs up.)·
DORA: -1 want what I have to say to you to come out right.

Sorry. Meeting someone later ... -. TY: Fine. Call me when you figure it out.
TY: It's okay.
DORA: The last thing I expected. (Ty starts to go. Dora rises.)
TY: -What?
DORA: Remember that guy I told you about? Martin? Who works DORA: You know that's not how 1-wait, Ty.
at the casino, Eddie's friend?
TY: Yeah? (He stops and turns.)
DORA: I guess he was all upset, like, that I wasn't at Eddie's wake,
and so he called a couple days after to check on me. Turns Forget all that, okay? There's one I thing.
out he's like this really cool guy ... TY: Forget it?
DORA: Just-there's something I need you to tell me. (Pause)
(Pause. Ty looks away.) ·:, I need you to tell me the truth. 'Cuz I know you know it.
TY:What?
My therapist thinks it's a really good thing for I me
TY: I'm sure it is. (Pause.)

(Pause.) DORA: When I think about that night. I think about how you said
you should have done something. How you should have
DORA: I'm not-I'm not gonna say some stupid thing to you that done something but you just let him go. (Pause) Sometimes
isn't true. I think about things I did to him. Things I said. And my ther-

228 229
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 Christopher Shinn

apist, she says, she always says, "It's not your fault that he
killed himself. It's not your fault, Dora!' But. Like. What
I think is, Whose fault is it then? (Pause) Because. In a way.
It is my fault. (Pause) Is it?

(Dora and 1)' look at each other. Pause. Dora turns away from 'I
1)', and looks out at the ocean. 1)' turns away, toward the shore.
· Then 1)' turns to Dora. He is quietly crying. He watches her
looking out at the ocean. Then, as if sensing his eyes on her, she
turns to him. A long silence. Then:) Where Do We LJ.ve
TY: (No.)

I.
(Pause.)

DORA: (Thank you.)

(Hold.)

END OF PLAY
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230