2.
Scene I
A boxcar, rust and gray wood and spray paint. The sliding doors, which are
open, have been painted in layers of graffiti; one blue and white tag almost
legibly reads ‘PARADISE’. The opposite doors are open as well, revealing the
landscape rolling by: farms for acres, dwarfed by deep violet mountains in the
distance, lit wetly by the haze of promised morning and a million million stars
twinkling out.
GERALDO and FIREFLY sleep against the walls, wrapped in threadbare
Mexican blankets. IDA sits, her legs dangling out the car doors, with a gas
lantern, turned down low, beside her. In her lap is a notebook and in her fingers
a pen, which scratches lines deep into the page in absent frustration. Her hair is
long, matted, wrapped up; her skin tanned. She is dressed like a boy, in pants
rolled up to the ankle, held up by suspenders, and a filthy wool shirt that was
once white, now the color of smokers’ teeth. She mutters to herself; the night.
The train slows. The vague light and noise from a town not too far off. The red
light of a railroad crossing barrier, passing over Ida’s face and the boxcar.
Swift paces aggravating gravel, and then a bag appears, tossed in through the
open back door. Ida turns to see ALEXIS’ hands and arms follow soon after,
hauling her into the boxcar. Ida starts, lifts the lantern and turns to the girl.
Alexis pants, on her knees. She wears a jacket over a dress that might be called
‘cute’ by a loved one too suspicious to call it ‘bohemian’. She has scraped her
knee climbing in and torn her leggings. A small amount of blood begins to
appear. She looks at Ida, too exhausted to speak. Ida nods at the unoccupied
corner of the car, then turns back to her writing. Alexis lugs her bag to a corner
of the car and collapses, using it as a pillow. Ida looks out as the city passes and
the lights go. She turns out the lantern.
Scene II
Five hours later, a bright, full morning. Geraldo wakes up, and eventually sees
Alexis. As though nothing were strange, he rummages through a bag. Ida sleeps,
leaning against the edge of the car, away from Firefly, also still asleep.
Geraldo’s accent, in obvious contest with his appearance, has a slightly dizzying
effect. He uses it, or not, at will, enjoying the resulting air of what he would call
‘mystery’. He pulls two cans out of the bag.
GERALDO
Peaches?
3.
ALEXIS
Thanks; I’m starved.
(she opens the can and eats a peach with her fingers)
These are delicious.
GERALDO
(handing her a fork)
Nunca dura, pero por dos dias comemos como los reyes.
ALEXIS
Siento. Mi Espanol no esta fuerte. Uh, me llamo Alexis.
GERALDO
Hola Alexis, me llamo Geraldo. Encantado.
He eats a peach with grave investment.
ALEXIS
Gracias. Uh, yo tambien.
They eat peaches. Geraldo begins to chuckle despite his best efforts. Alexis looks
out of the train, keeping him in the discomfort of her periphery. He apprises her.
GERALDO
So what’s your deal?
She gives him a chance to explain. He does not.
ALEXIS
Excuse me?
GERALDO
I’m just interested. You don’t seem...
ALEXIS
What, like a hobo?
GERALDO
Lost. Like you’re lost is that— makeup?
ALEXIS
No, it’s just ‘not dirt’.
4.
GERALDO
(toasting with his can, an apology of sorts)
Not yet?
ALEXIS
(completing the toast, a forgiveness of sorts)
Not yet.
(she eats a peach)
So you’re the real deal? Train riding hobo, bindle and everything?
GERALDO
What’s that?
ALEXIS
Bindle, you know:
She mimes holding a stick with a weight at one end, her shoulder as a fulcrum.
Geraldo shrugs.
GERALDO
M aybe not a ‘hobo’ then.
ALEXIS
(eating a peach)
Does it offend?
GERALDO
Some people—older people use it.
ALEXIS
And how old are you?
GERALDO
How old do you think I am?
ALEXIS
I dunno—late twenties.
GERALDO
Amazing.
5.
ALEXIS
What?
GERALDO
I am exactly late twenties.
ALEXIS
Sure.
GERALDO
How old are you?
ALEXIS
How old do you think I am?
GERALDO
(he glances at her)
Sixteen—we say travelers, by the by.
ALEXIS
What?
GERALDO
Instead of ‘hobos’. Travelers.
(he eats a peach)
I’m right, huh?
Alexis eats a peach in the way that only a teenager fed up with adolescence can.
Geraldo looks at her and suddenly feels his age.
ALEXIS
What?
He shakes it off, and puts it back on to his liking.
GERALDO
Nothing. I just don’t know how to talk to a runaway. I should be telling you to head back
home.
ALEXIS
What makes you think I have one.
6.
GERALDO
You’re too well dressed.
ALEXIS
Is that a guitar?
GERALDO
You play?
ALEXIS
No.
GERALDO
Well it’s how we eat, more often than not. You sing?
Alexis shakes her head.
ALEXIS
Nothing worth paying for. Looks pretty beat up.
GERALDO
Came that way. Found it about a year ago in an empty car back west. Guy must have
tossed it in and missed the train. Or he fell out in the night. Either way, keeps us fed. You
been out there, California?
ALEXIS
No.
GERALDO
Stick around and you will. Every winter those two take us West. It’s this little town
they’re from, way off from the nearest train station, doesn’t even have buses go to it.
Hitching there is a pain, but. What is great, what I love about it, on the train south, once
you come out of the forests, you ride right along the ocean for a few hours. California
knows where to lay track.
ALEXIS
So are they brother sister?
GERALDO
Who knows? M ight be. They’re in love though.
7.
ALEXIS
Thank you. For the peaches.
She hands Geraldo the spoon and empty tin. He tosses the tin out the back of the
train. He licks the spoon, wipes it with a rag, and puts the spoon back into the
bag.
GERALDO
S’no problem. Do you think you will though?
ALEXIS
Will what?
GERALDO
Stick around?
ALEXIS
Probably. Nowhere else to go.
GERALDO
We’re not perfect, but we’ll look out for you.
ALEXIS
I’m not looking for perfect.
GERALDO
What are you looking for?
Ida emerges from her blanket. She tends to lie awake for a moment, taking stock
of her limbs, then puts them all into action at once, overcoming the concept of
grogginess. This does not translate as ‘hyper’ or ‘peppy’, but something else
more daunting.
IDA
Good morning. So you are real then?
ALEXIS
Oh, good morning?
Ida rolls over to Firefly and nudges him not too gently.
8.
IDA
Wake up. I had a dream; last night.
Firefly rolls over and sits up.
FIREFLY
I’m still having one, so could you(He sees Alexis, marks her.)
Oh. Alright.
(he goes back to sleep)
Ida keeps leaning on Firefly’s shoulder.
IDA
What’s breakfast.
GERALDO
(checking in the bag)
Peaches or pears.
IDA
Do I dare to eat a peach? Shall I wear white flannel trousers, and walk upon the beach?
ALEXIS
I have heard the mermaids singing, each to each.
Ida looks at Alexis out of instinct, as though she’d caught a scent. She grips
Firefly’s shoulder too hard.
FIREFLY
Ow! Jesus, Ida!
IDA
(gaily)
I thought you were asleep.
FIREFLY
Put your talons away, harpy!
IDA
Bright eyed and bushy tailed, aren’t you?
FIREFLY
I will push you off this train.
9.
IDA
Try it, you bastard!
Firefly sort of half tackles half trips Ida and they wrestle. They might be siblings,
but they are in love.
GERALDO
Ellos estan locos.
(a pause as they watch)
Totalmente.
ALEXIS
Claro
Ida has pinned Firefly with her knees and ankles.
FIREFLY
I give! I give!
IDA
Damn straight you give. Peaches.
Geraldo tosses a can to Ida. She cracks it open and drinks, the juices running
down her chin and neck, probably onto Firefly’s shirt or face.
GERALDO
Ida, behave. There’s a young lady present.
IDA
No girls on the train.
ALEXIS
What?
IDA
No girls on the train/ means youGERALDO
Ida’s a strict feminist.
10.
IDA
Shut up Geraldo, everyone’s a feminist.
It’s the rule. You don’t use your femininity to get things. You know, no prostitution. No
getting men drunk and stealing their wallets, no begging in a...
(Firefly struggles; Ida pins him again)
...skirt. Stuff like that.
ALEXIS
Why?
FIREFLY
Could you get off me if this is going to be a long conversation.
IDA
You’re not weak.
(She gets off of Firefly)
They should know that.
ALEXIS
That’s fine, I won’t seduce any men.
FIREFLY
(to Geraldo)
Peaches?
IDA
(to Alexis)
Well, though I doubt you’d have to try.
GERALDO
Fresh out brother.
ALEXIS
Oh!
FIREFLY
(standing)
Don’t worry about it. Pears it is.
(Geraldo tosses a can)
So what’s your story?
A pause of anticipation.
11.
ALEXIS
I’m Alexis.
GERALDO
She’s not telling.
IDA
Smart girl.
ALEXIS
I don’t know you yet. You seem / nice enough.
IDA
Please, we understand. You can lie too, if you want.
(she spears a peach)
Everybody does. Or(a brief glance at Firefly)
-you can stay quiet.
Ida eats the peach.
FIREFLY
Fine, fine.
ALEXIS
I’m grateful for your hospitality, I truly am.
FIREFLY
Sorry. Sorry. I’m hell before breakfast.
He eats a pear.
GERALDO
You’re no angel after it.
Firefly swipes at Geraldo and misses. Geraldo goads him a bit, like a dog might
a cat. Ida watches Alexis keenly.
ALEXIS
So, uh, where are you all headed?
Ida sticks her head out, looking toward the front of the train. Her hair blows
softly. She smiles as though the horizon had challenged her.
12.
IDA
(pointing)
That way. M ake yourself at home.
Firefly and Alexis look at her there. She is beautiful like this.
GERALDO
(clutching his stomach)
Op, must be half past.
He walks to the back of the car and swings around the frame onto a ladder on
the side of the car. He switches over to the next car back.
ALEXIS
Where’s he going?
FIREFLY
Downwind.
ALEXIS
Oh. Oh.
FIREFLY
(to Ida)
She’s a runaway.
IDA
Don’t be mean.
FIREFLY
I’m not.
(to Alexis, who is about to interject)
I’m not judging, really. I remember when we were runaways.
IDA
Still running.
ALEXIS
You go back for Christmas, right?
(a silence)
To California?
13.
FIREFLY
That’s right.
ALEXIS
Geraldo told me.
FIREFLY
It would have been a damned specific guess if he hadn’t.
ALEXIS
So we’re going?
FIREFLY
We’re going. M y bet by Boston—
IDA
Chicago.
FIREFLY
Chicago? Fine, anyway, you’ll be itching to call M om and Dad and get a passenger train
back home.
ALEXIS
I won’t.
FIREFLY
That was pretty convincing. Felt like you meant it.
IDA
So what do you do? Not, you know, what do you do?
ALEXIS
(with seeming confusion)
I’m a student.
IDA
High school.
Alexis looks out of the train.
FIREFLY
Really? I would’ve thought you were older.
14.
ALEXIS
(measuring his tone)
Thanks. I probably still have some makeup on.
She wipes at her face.
IDA
(offhand)
Looks pretty.
Alexis stops wiping.
ALEXIS
How old is he, Geraldo? He was being—vague.
Ida and Firefly share a brief glance.
FIREFLY
Refusing to turn twenty. Forever.
IDA
Well put. So.
ALEXIS
So?
IDA
You tried to dodge. You didn’t. What do you do?
ALEXIS
Skip town and hop trains, apparently.
FIREFLY
(to make nice)
I sketch. Landscapes.
ALEXIS
(to Firefly)
Oh. That’s cool. I mean, I write a little, but nothing like—
FIREFLY
Oh do you?
15.
ALEXIS
Yeah?
IDA
What do you write?
ALEXIS
Poetry. Poems.
IDA
Rhyming?
ALEXIS
(as though offended)
No. I mean, once in a while.
IDA
Good. That’s good.
ALEXIS
Why?
FIREFLY
She does too.
ALEXIS
Yeah?
IDA
Yes.
ALEXIS
Oh, so do youIDA
(anticipating)
No. They’re worth more when they’re mine.
ALEXIS
You sound very serious. I’m not very good.
16.
IDA
Well you’re a teenager. Doesn’t matter I want to see it. Do you have any on you?
ALEXIS
I brought my journal.
IDA
You’ll let me read some.
ALEXIS
I don’t have a choice?
IDA
No.
FIREFLY
(to Ida)
Do you have any peaches left?
IDA
No. Firefly doesn’t like my poetry.
FIREFLY
I don’t know if I like it because you never let me see it! You’re being a dick this morning,
you know that?
IDA
What? Am I being a dick? Is this dickish? Dick-ensian? Is this what a dick would do?
ALEXIS
(cutting in)
Your name, is it really Firefly?
FIREFLY
Yes.
Geraldo appears above, making the return journey.
ALEXIS
Were your parents hippies or something?
FIREFLY
No. It’s the name that Ida gave me on the night we met.
17.
ALEXIS
Oh, wow, I’d love to hear about that.
FIREFLY
And your name, it’s really Alexis?
ALEXIS
Of course it is.
Firefly shrugs. Geraldo appears, swinging back into the car with vivacity.
FIREFLY
And you! Menteroso! Geraldo can’t be your real name!
GERALDO
(in accent)
Iss Herr-aldo, and iss my name as sure as my mother’s was Ariana Juanita Lobez de
M arca Flores. Domingo.
FIREFLY
Your mother’s name was June.
GERALDO
June, Juanita, juatever.
IDA
Gerry, we’re heading west.
GERALDO
Figured. It’s not too soon?
FIREFLY
We can get there early, get some temps, buy some new coats. We need them.
IDA
(putting the hat away)
We don’t need any more junk. We should be paring down.
GERALDO
(to Alexis)
Lap of luxury, this. Our hot-tub is three cars up. Pain in the ass to lug around, but it’s
worth it. I’ll show you.
18.
FIREFLY
Stop flirting with family.
GERALDO
Family? She gets here last night and she’s—quick, what color are her eyes?
Geraldo covers Alexis’ eyes.
FIREFLY
Shut up.
GERALDO
And she’s family. Brown, by the way, flecks of gold.
FIREFLY
You don’t ease in. It’s- If you’re with us, you’re family.
IDA
True.
GERALDO
What he means is, what did you bring with you.
FIREFLY
You know damn well that’s not what I meant.
GERALDO
Yeah, but what did you bring with you?
ALEXIS
IIDA
We’re not going to rob you.
GERALDO
Come on, dump it out. I’ll show you what’s in mine if you—
FIREFLY
Am I going to have to smack you? She could be your niece.
19.
GERALDO
Nieces can be any age. I could have a niece older than me.
FIREFLY
If you were Hispanic, I might believe that.
GERALDO
That’s a little racist.
IDA
Gonna take offense? You’re from Idaho, he’s from Idaho.
GERALDO
So there’s no M exicans in Idaho?
FIREFLY
You think that accent you do is M exican?
GERALDO
So sue me, I never had the chance to visit mi... mi.. Como se dice ‘homeland’?
ALEXIS
Patria.
GERALDO
Yeah, that. Never had the chance, ‘causeIDA
Oh my god shut up.
FIREFLY
Yeah, callate.
ALEXIS
I didn’t bring much. Honestly. I didn’t think I’d...
I thought I would— You know, what people do. Sit around, probably. Beg. It’s stupid
but I— It’s stupid.
IDA
No it’s not.
20.
ALEXIS
I mean, I read this diary, of a runaway. There’s a girl like me, I mean, different, but
enough. She had had this life and this trauma, you know, and she runs away to start over
and she runs to San Francisco with her girlfriend or whatever, and opens this like coffee
shop slash living room and gets wrapped up in revolution. It’s the sixties.
IDA
That’s what you want to do?
ALEXIS
I’ve never seen the Pacific. That would be a start.
IDA
Well we can get you there.
FIREFLY
Where’d she get the money?
ALEXIS
What?
FIREFLY
To open the cafe.
ALEXIS
I don’t remember.
Alexis gets her bag and opens it. It contains a journal, which she takes out and
puts behind her, some beef jerky, a bottle of pain relievers, a swiss army knife,
lighter, lip balm, loose pens, etc.
FIREFLY
Lousy thing about diaries. No sense of continuity.
GERALDO
The sixties are dead, now you need permits and shit.
IDA
(sarcastic)
Yeah, why don’t you tell us about the sixties Gerry.
GERALDO
Don’t remember much, to be honest.
21.
IDA
(looking through the bag)
Did you bring anything else?
ALEXIS
Just my sweater, my hoodie. Socks. Underwear. A toothbrush.
IDA
Flashlight? Rubbing alcohol? Rope? No pants?
ALEXIS
I didn’t plan, really. Didn’t think I’d have the balls to, you know, do it.
GERALDO
I have a pair you could use.
FIREFLY
You better mean pants.
GERALDO
(ignoring him)
Hey, hey. You ain’t got a cell phone, unh? Quiero llamar a mi abuela; it’s her birthday
today.
FIREFLY
Oh yeah? What day is it?
GERALDO
C’mon, no me jodas!
ALEXIS
I didn’t bring my phone. I didn’t want to be able to call for help.
FIREFLY
Well that’s something.
ALEXIS
Thanks.
IDA
She’s a poet. That’s something.
22.
GERALDO
Oh yeah? A trainful of romantics. You know, I have poems of my owns.
ALEXIS
You do?
IDA
Do you?
GERALDO
This rough and rugged exterior is merely the mask, the eh-costume that covers an ehbleeding heart.
IDA
You can rhyme words I never thought someone could rhyme, I’ll give you that.
GERALDO
Gracias.
IDA
De nada.
(to Alexis)
Can I see one?
ALEXIS
What now?
IDA
I see your journal right there.
ALEXIS
Can I read one of yours?
Firefly laughs, a hoarse, unexpected bark.
IDA
No.
FIREFLY
Ida’s very protective.
23.
GERALDO
Not even I, her peer. Her eh-rrrrival—
FIREFLY
The point has been made. Stop acting foolish.
IDA
I just want to read one. You can pick.
FIREFLY
(warning)
Love.
Ida turns on Alexis.
ALEXIS
I will if you will.
IDA
I take this very— This is serious to me. Sharing a poem with someone who won’t get it
would be like bad sex, and I don’t have bad sex.
FIREFLY
Look at those eyes. You may as well get it over with and show her something. She’ll stop
bothering you. Or—or what, love, if you like it?
IDA
It’s a true mystery.
ALEXIS
Well, I can’t say it’s so big a deal to me. Sure. Take a look.
Alexis tosses the journal to Ida, who catches it and takes it to a corner to read.
ALEXIS
Just don’t get your hopes up.
FIREFLY
So, while the jury is deliberating— cards?
ALEXIS
I know ‘go fish’.
24.
FIREFLY
We’ll teach you. Get the cards, would you Ger?
Geraldo goes to get a pack of cards from his bag, standard Bicycle deck. Firefly
pulls an upturned crate to serve as a table.
FIREFLY
So ace is low, jokers wild, cards are worth their pip value, that’s the number, and face
cards are worth ten. You draw one or two cards at the beginning of a turn and discard one
to end the turn. Draw from the pack or from the discard pile, not both. If you have a set
of cards, that’s four of a kind, you can lay them down, removing them from the game.
When the last card is drawn from the pack, after that turn’s discard, we total up what’s in
our hands and the low score wins. Got it?
ALEXIS
No, but show me a round. I’m a quick study.
FIREFLY
It’s a fast game. It looks like luck, but it isn’t. Deal, Gerry. Oh, and it should go without
saying, but we don’t gamble with each other.
ALEXIS
Right. Of course.
Geraldo deals the cards. Ida reads in a corner, furrowed brow. She looks over
at Alexis for a moment, and then returns to the journal. Lights fade out and the
train rolls on.
Scene III
Hot sunset at its peak, and the train rattles along. The clouds ripple like fire.
Geraldo is playing the guitar, twiddling to himself, on the back edge of the car.
Ida and Alexis sit, their feet hanging out of the door, talking.
IDA
-and so I never really got to go to school.
ALEXIS
I can’t believe you were so young.