AND THE BRONX GOT BOMBED, Act 1, Scenes 3-7

Hugh Jackman was named 2008’s Sexiest Man Alive. Sara has a subconscious crush on him and if she’s into the Sexiest Man Alive that at least make’s me second sexiest…right…? Maybe…? Anyway, it’s official for all those keeping count of all the sexy people in the world.

I have to give a heartfelt congratulation to Chiara who, as I just heard through the grape vine, was nominated for the 2008 Goldberg Playwriting Award at our alum department of Dramatic Writing in TSOA at NYU (if I heard wrong and you actually won, Chiara, then even more kudos). She probably does not believe this, but I thought her thesis play was one of the best I had seen during my four years of college and now she’s getting recognition for her work—awesome!

I, on the other hand, am trying to keep my work in line and get it to the best that it can be. I received a letter today regarding Our Mother, Staten Island and it was quite a devastating blow. The person who reviewed it said that, in his opinion, “the dramatic arch of the play could not sustain an entire first act” and that if I “put it down and came back to clean up some of the dead spots [I] could have a pretty tight one act play.” This was the softest of the criticism. Like I’ve said before I’m good with rejection letters and even though this letter was not from a theater, it was the hardest blow I’ve received for this play and it hurt because I could tell that this man really did not like my work. But, if you believe the good reviews then you have to believe the bad ones too and since you should never fully invest yourself or ignore constructive feedback, I’m going to take his advice. Until 2009, I’m putting down Staten Island and focusing on Bronx.

By popular demand of Theresa and Kevin, here’s the rest of Act 1:


SCENE 3 - BRONX CORNER, MORNING

Gabe stands against a lamp, on guard from night watch. He yawns, stretches for a moment, and starts running in place to wake himself up. Gabe pulls out a lighter. He watches the flame and then closes the top. He does it again and several more times, each time entranced by the flames.

Tonio enters, dressed in nice clothes, carrying a plastic bag. He watches from a far, unbeknownst to Gabe.

GABE
(rapping to himself)
I punch in and I never punch out! I punch in and I never punch out! Y’all be hearin’ me, bitches? This man is killin’ all y’all jive turkeys with his one, two, three, four -- to the stomach, to the head, and he’s on the floor.
(beat, smirks)
Attention! Attention ladies and gentlemen: it’s five twenty-eight in the A.M. Do y’all know where ya children be at?
(“do you know where your children are?”)
Donde esta tus ninos? Well, if they in the barrio, they’s watchin’ the flash master of South Bronx pound pavement and if they’s his mama, then she’s so proud. So...so proud of her son: the champion! Fuck ya, Mama...she’s so proud. I am champion! Yes, me! Gabrielle Esteban Diaz -- I am the champion, cabron. Bronx stand up. This is ya man right here! Know what I’m sayin’? Champion, ladies and gentlemen...he don’t fall down...
(sniffs, wipes his nose)
...heh...yo, it’s Gabe...I keep runnin’...runnin’...never stop runnin’. Never stop fightin’. Pow, bam, boom! Whoo -- !
(stops, takes a breath)
Goddamnit, where the fuck is everybody? I need some the neighborhood to wake up. Where the fuck are my people -- ya scare ‘em off, street light? Huh? Ya tell ‘em all my shit ain’t cuttin’ muster no more? That be it? Ya spreadin’ lies, puta? I’m gonna have to fuck ya ugly ass face up for that.
(he throws a few shadow punches at the lamp post)
The hell are ya doin’ here anyway, stupid piece of shit? Street light, I always see ya dumb ass out on this here corner and ain’t doin’ jackshit. Why, huh? Leave! Go see a movie or eat somethin’, but do somethin’! A’ight? Tired of starin’ at ya dumb ass...

Tonio hesitates, not sure if he should disturb Gabe. He risks it.

TONIO
(“yo, what’s up with ?”)
Hey...que pasa contigo?

GABE
(embarrassed, “nothing”)
Nada.

The two guys bob their heads for a moment not knowing what to say.

TONIO
I brought my lucky piece of gear. ‘Cause...y’know...supposed to be bombin’ today. And Rico...he said dress nice...but still...brought the one piece I always use.

GABE
Rico likes ya shit.

TONIO
He does?

GABE
Yeah.

TONIO
‘Fore all this, I didn’t really think he’d heard of me at all.

GABE
He hadn’t.

TONIO
So who told him?

GABE
I did.

TONIO
You?

GABE
(My sister -- Gloria Diaz -- she’s in your art class at school. She liked your pictures, with all the different colors. So pretty, yeah?”)
Mi hermana -- Gloria Diaz -- esta en tu clase a la escuela. Le gusta tus pictura, con todos los colores diferente. Que linda, si?

TONIO
(“yeah. Thanks.”)
Si. Gracias.

GABE
Hey, didn’t say I liked them. Said Gloria thought they was great, but Gloria sells her pussy like it goin’ outta style what the fuck she know?

TONIO
Oh...

GABE
(beat)
Anyways, she told me ‘bout ya. I told it to Rico when he was lookin’ for someone to mark our turf.

TONIO
That’s tight, bro. Really ‘ppreciate that.

Tonio goes in to slap hands with Gabe, but Gabe just stares him down.

GABE
My sister...she like her mom’s...

TONIO
A’ight...at least tell ya sister thanks from me.

GABE
Fuckin’ tell her yourself if ya ever head back to that shit hole of a school. I ain’t spoken to that bitch since I smacked her up side the face and ripped out her nose ring...
(beat, laughs)
...nah, I’m just messin’ with ya, homes.

TONIO
Yeah...yeah...

GABE
Don’t worry. She’s fifteen now. She can take it.
(pause)
Ya got hermanos?

TONIO
Me? Nah, man...barely had my parents around. Both of them were Dominicano, but my mom’s...her daddy was Dominicano and her mother was Scottish...so...guess I gotta big extended family out there.

GABE
Good luck findin’ them.

Gabe spits on the ground.

TONIO
I did meet one of my aunts...or great aunt from over there. She gave my mom’s a bunch of ol’ shit she had since, like, World War Two. That’s where I got this.

Tonio pulls out a Mickey Mouse gas mask from the plastic bag.

GABE
Get the fuck out.

TONIO
(“It’s the truth.”)
Es la verdad.

GABE
Oh...SHIT!

TONIO
Guess they handed this out to the poor folks and they kids in case Hitler was bombin’ their ass with chemicals and shit. So I show it to my mom’s and y’know what she do? Puts the mask on. Now I’m lookin’ at my mom’s with a big ol’ Mickey Mouse grin plastered on her face and she says... “Look at me, Tonio. I’m ya evil step sister. I’ll kill ya in ya sleep.”

GABE
(cracks up with laughter)
I hate my mom’s...

TONIO
...she was so high when she said it that --

GABE
-- even if she is proud of me.

TONIO
Yeah...
(notices something on the ground)
...damn, yo. These things following me everywhere.

GABE
What?

Tonio bends down over the curb and picks up a large bobby pin.

TONIO
Bobby pins. My girlfriend had a bunch in her kitchen but she say she ain’t wear them.

GABE
Maybe she fuckin’ on the side.

TONIO
(“what you say, bastard?”)
Que hables, cabron?

GABE
(“With another chick!”)
Con una otra chica.

TONIO
Oh...that’d be sweet.

GABE
Shit. Here he comes. Look alive.

Rico enters with one of his right hand men carrying a large duffle bag.

RICO
Buenas dias.

GABE
Que pasa?

RICO
Nada mucho.
(“Today si the day we see if Tonio has the balls to work these streets.”)
Hoy es la dia cuando vemos si Tonio tiene cojones trabajar esas calles.

TONIO
What’s in the bag?

RICO
Y’know the Cuerpo territory?

TONIO
Yeah. Think so.

GABE
Down three blocks that way. Five blocks that way. Four blocks that way. And ‘nother five blocks down the way over there.

The Cuerpo drops the bag on the ground and opens it. Tonio leans over, pulling out numerous cans of spray paint and a small step ladder.

TONIO
Jesus, man...

RICO
‘bout two-hundred dollars worth of spray right here.

TONIO
I ain’t never worked with this much before.

RICO
That gonna be a problem?

TONIO
Nah, man. We just bombin’, right?

RICO
Actually, Tonio, I’m makin’ an investment. Buildin’ those walls that I told ya ‘bout. How two-hundred in ya pocket work for ya?

TONIO
(pause)
Wait...ya sayin’ ya want me to bomb the ‘hood? Our hood?

GABE
What would be the point of that?

TONIO
I dunno. Ya tell me to buy some new threads, drop some spray at my feet -- I dunno what the hell to think.

RICO
I don’t care what ya think. I wanna see if ya willin’ to get dirty. Everyone has to know when they cross into our turf. When they try to fuck us...that we gonna fuck them back...feel me? I want hombres who step across the street to shit themselves ‘cause there’s a Cuerpo sign on each corner.

TONIO
Of what?

RICO
Don’t matter, Tonio. Just as long as it makes outsiders think twice about puttin’ their noses where they don’t belong.

GABE
What ‘bout me?

RICO
What about ya, cabron?

GABE
Do a paintin’ of me. Then he can do a couple other of the crew. Save the last one for ya, Rico.

RICO
I like it.
(“You able to do that, Tonio?”)
Haces lo poder, Tonio?

TONIO
Most definitely.

RICO
A’ight then.
(beat)
What, ya ain’t happy ‘about the job I’ve given ya?

TONIO
Nah, it ain’t that. It’s just...this is only four corners. A week or two worth of work. After that, what happens?

RICO
Well, if ya do this shit we’ll talk ‘bout a promotion.

GABE
Everybody’s gotta earn they stripes.

RICO
Are ya not appreciative of what I’ve given ya? Gabe said ya was the next Picasso and shit.

GABE
Picasso...

RICO
So...are ya truth?

TONIO
Yeah...yeah, I be truth.

RICO
(“Good to hear.”)
Bien oir. So get to work. Word comin’ back to us all the time that a couple other crews are lookin’ to expand their franchises. We gotta make sure they don’t think our real estate is for sale.

TONIO
A’ight.

RICO
We outta here. Let the artist get to work.

Rico and the other Cuerpo exit. Gabe tries out a series of poses, trying to decide on one.

GABE
Ya better make me look gangsta.

TONIO
I will.

GABE
A’ight...how ‘bout this then?

Gabe leans against the light pole again and puts up one of his middle fingers.

TONIO
That’s good...but -- hey take out that lighter.

GABE
Ah yeah!

Gabe clicks on the lighter and reposes with it.

TONIO
That’s the shit right there.

GABE
Ya think?

TONIO
Most definitely. Chill for a sec, though.

Tonio reaches into duffle bag and pulls out a pair of gloves. As he’s putting them on, Tonio reaches in, only to retract his hand.

GABE
What’s the hold up!?

Slowly, Tonio extracts a bobby pin from the glove.

GABE (CONT’D)
Yeah...? So...?

Tonio shakes his head and throws the bobby pin over his shoulder. He opens the plastic bag to remove a Mickey Mouse gas mask.

GABE (CONT’D)
Oh SHIT! Here come the real deal...

TONIO
Yeah...the real deal...

Tonio pulls the mask over his face. He shakes up one of the cans of paint. Gabe strikes his pose and Tonio sprays the wall with color.

Lights fade.

SCENE 4 - DINER, LATE AT NIGHT

Lights up. A few weeks later. Tonio and Rico sit at a booth. Rico picks at his ham and eggs while Tonio shuffles a burger in his hands, trying to simultaneous show his drawings to Rico, pointing at them with a pencil in his hand.

TONIO
See, I’m gonna how it looks a little layered in back with the fire and shit all back there? This shit is gonna be all technique. Ya face is gonna look like el diablo --

RICO
(“I hate the food here. Why do we still come here?”)
-- odio la comida aqui. Por que venemos aqui entonces?

Tonio goes silent, looking at the picture in front of him. Rico stabs the piece of ham on his plate with a fork and holds it in front of Tonio’s face.

RICO
Look at this.

TONIO
Okay...

RICO
What’s wrong with it?

TONIO
Dunno...

RICO
It’s too fuckin’ pink. That’s what.

TONIO
It’s ham, dog. Ya gotta know ham is gonna be pink if ya order it.

RICO
Well it’s too fuckin’ pink for me.

Rico throws the ham on the floor. He pulls out a pack of cigarettes and lights one up. Cautiously, Tonio slides the picture to the tables edge and cross his hands in front of him.

RICO (CONT’D)
(“What are ya doin’?)
Que haces?

TONIO
("Talk to me.")
Digame.

RICO
Get the fuck outta here with that shit, man, ya ain’t no shrink and ya sure as hell ain’t my shrink.

TONIO
I just wanna talk. Help my fellow Cuerpo out. To show my support and loyalty...through whatever...

RICO
Ya don’t got no answers for the problems I got.

TONIO
Try me.

Rico ashes his cigarette into his eggs. He then puts the whole butt out on the eggs and pushes the plate across the table to Tonio.

RICO
Eat that and I’ll tell ya.

TONIO
Fuck that.

RICO
Then fuck you.
(beat)
Wanna show loyalty? Huh? Support? Comerlo.

Tonio shakes his head, begrudgingly picks up his fork, and scoops up a section of rubbery egg peppered with cigarette ash.

RICO (CONT’D)
Comelo ahora!

Tonio looks at the fork, then to Rico, and finally sticks it in his mouth. He chews as fast as he can.

RICO (CONT’D)
(“More eggs. Clean your plate.”)
Mas huevos. Lava tu plato.

Tonio furiously plows into his eggs, trying to swallow them as fast as he can. Rico watches, eyes ablaze. Tonio scrapes the fork and plucks the last morsel in his mouth.

TONIO
There...
(dry heaves, catches himself)
...there...

Rico smiles, lights another cigarette, and watches Tonio chug his soda.

RICO
Ya know the building that got burned down last night? The one over on one and forty-four?

TONIO
Yeah...what ‘bout it?

RICO
Manuel Perez lived there...his family...well, they ain’t got themselves a home no more. His two little sisters got stuck in their apartment and woosh...
(beat)
..ain’t like he lived there no more, but he put down for those girls. And his mom’s.

TONIO
That sucks, man. Los Manos stackin’ some to help him out?

RICO
Nah...they’s startin’ to pack some. On Manny’s orders.

TONIO
Why?

RICO
Cops told ‘em it looked like arson, but they weren’t sure. Later they found out it was made from a bottle rocket that went loco. Landed on the roof...whole thing went up in flames.

TONIO
Shit...

RICO
Know where they think it came from?
(Tonio shakes his head)
My block. The one where I live on...some neighborhood watch bitch said that someone was launchin’ ‘em from the roof a while ago...she didn’t say who, but I know who it was...

TONIO
Ya think it’s Gabe, don’t ya.

RICO
Yeah. I do.

TONIO
How do ya know though?

RICO
Same reason ya do, homes. He’s my boy, but the dude lost his mind while back.

TONIO
Don’t mean it was him.

RICO
Right...’cause Los Manos are takin’ that into consideration while they weighin’ all the possibilities. Nah, man. Manny and his crew gonna be all instinct on this. They gonna make it civil war, just watch. Watch it happen.

TONIO
They wouldn’t do that. They ain’t muscle --

RICO
-- don’t matter in situations like this --

TONIO
-- they dope slingers. We the ones who protect them --

RICO
-- which just means they shoot wrecklessly and hate chancin’ on any target. Ya ain’t blind. Ya seen this type of thing go down. Don’t sugar coat it.

Rico reaches into his pocket and pulls out a huge wad of bills. Tonio’s jaw drops.

RICO (CONT’D)
Don’t stare, cabron. It belongs to ya ass now. Take it and put it in ya pocket.
Tonio does as he’s told.

RICO (CONT’D)
I want ya to finish the murals tomorrow. So there ain’t gonna be confusion over real estate when shit drops.

TONIO
A’ight.

RICO
(re: the money)
Give it to ya girl. Make her proud.
(pause)
How she doin’ with teh baby anyways...?

TONIO
Dunno. I ain’t seen her in ‘bout two weeks.

RICO
And so it begins.
(beat)
Get it done by tomorrow night.

TONIO
Por supuesto.

Rico nods, taking another drag. Tonio reaches down for his burger, takes a bite, and chews until he suddenly stops. Digging through the sloppy food in his mouth, he removes a bobby pin.

TONIO (CONT’D)
No fuckin’ way.

RICO
Have ‘em take it back. That’s shitty service.
(hollers)
Waitress! Venga aqui!

TONIO
Don’t -- no, no, no...this is just fuckin’ trippy, that’s all. For weeks I been findin’ them shits all around. Like I’m cursed or somethin’. All these signs, man. These things, Gabe fuckin’ our shit up, who knows now --

RICO
-- the hell did ya say, Tonio -- ?

TONIO
-- first the bobby pins, then Gabe --

RICO
-- I heard what ya said and I --

TONIO
-- so now ya down my throat like some goddamn cop or --

RICO
-- don’t every say one goddamn word against Gabe again! Less ya want ya tongue cut out so I can have some assurance on that order.

Tonio puts his head in his hands and shakes his skull. He throws up his hands in defeat.

TONIO
Sorry...sorry, Rico...meant no disrespect.

RICO
It was disrespectful, a’ight? It was, but...
(long beat)
...shit, man. He’s my son. I gotta look out for him.

TONIO
(stunned)
WHAT?!?

RICO
Es la verdad.

TONIO
Get outta here.

RICO
Ain’t, like, sayin’ I concieved the motherfucker or nothin’...but...

TONIO
But what?

RICO
Shacked up with his mom’s.

TONIO
No way...no fuckin’ way...

RICO
Makin’ me dig up some ancient history, homes. Best not let it be slippin’ on the street...
(takes a drag)
...Gabe and I been homboys since sixth grade...and, well...shit. Our dicks were diamond hard twenty-four-seven. We’d fuck anythin’ with a hole.

TONIO
And what...? Ya couldn’t just whack it like the rest of us?

RICO
Big words for a man who impregnated a girl when he popped his cherry. Ya know it ain’t the same if ya gotta woman willin’ to give it to ya...Gabe’s mom...she took care of business, know what I’m sayin’?

TONIO
What did Gabe think ‘bout this? Y’all hookin’ up?

RICO
He didn’t know shit. Made sure ‘bout that. Nah, he didn’t know ‘til the day he got his ass kicked outta school. I’d gotten outta there week ‘fore that and Gabe was doin’ right by me. Poor bastard walked in on us fuckin’. I was sixteen then. Moved into their house ‘cause I didn’t have any other place to go. We was homeboys up ‘til that moment when he walked in. From then on...I was his pops -- the man of the house.

TONIO
Did he do anythin’ when he saw ya...y’know...

RICO
Fuckin’ his mom’s? Hell yeah! He turned the house upside down. Stormed out on to hundred forty-first street and started pounded his head ‘gainst the wall.

TONIO
Whoa...

RICO
The first hit was the worst. We all heard this crack, even from the other side of the block. Then he just kept slammin’ it into the wall over and over...I finally went out and pulled him off. Gabe got one good last face of brick ‘fore fallin’ back on the sidewalk. That stupid motherfucker laid up in the hospital for a week ‘til his mom’s couldn’t afford it no more.

TONIO
That...explains a lot.

RICO
All ‘cept why he’s in love with fire now. Sometimes I catch him just starin’ at a goddamn lighter for the longest time, y’know? I didn’t pay no mind to it ‘cept when Jose Garcia show him how to set off fireworks -- Jose’s the one Manny should be gunnin’ for. Weren’t for him we wouldn’t be here with our dicks up our asses.

TONIO
Least Gabe got you and his mom’s lookin’ out for him.

RICO
Nah, that bitch is on her own. I don’t hit her up ‘less I want some thunder thigh action, know what I’m sayin’?
(beat)
What? I gotta whole buffet of snatch -- I ain’t pussy whipped enough to settle for one. No offense to those who do stay with one.

TONIO
No...yeah...

RICO
Such is life, right?

Rico cannot keep it in any more. He starts laughing uncontrollably to himself.

TONIO
Yeah...guess so...

Rico gradually calms himself down, the laughter and joy weening from his voice.

RICO
Plus, I mean, once his mom’s had Luiz, I knew I had to bounce. I wasn’t takin’ care of no woman and her two boys, even if Luiz was mine.

TONIO
Ya see him a lot.

RICO
Depends on what ya call a lot.
(beat)
Such is life.

Rico finishes his cigarette and stubs it out on the table.

RICO
Pay the bill.

TONIO
Hey...Rico...

RICO
...yeah?

TONIO
Ya sure it was Gabe? I mean, how will ya know for sure?

RICO
I’ll ask him one time and if he lies to me...

He aims his fingers like a gun and makes a shooting noise.

TONIO
Get the fuck outta here with that. We good ‘cause I say we good.

Rico stares Tonio down and ends up with his hand on his shoulder. He pretends to shoot Tonio in the face.

RICO
Boom...

TONIO
A’ight.

RICO
Yeah. Pay for the shit.

Rico slides out of the booth. Tonio tosses some of the money on the table. Rico exits. Tonio grabs his sketch, looks it over, and makes a quick adjustment. He smiles, inspired.

Lights fade.

SCENE 5 - SANDRA’S APARTMENT, LATER THAT NIGHT

Lights up with a pounding on the door. Elika opens her door, rubbing her eyes and mumbles something Russian. Sandra quickly catches her. They argue in their native tongue before Sandra screams at her mother. Elika shows her daughter the back of her hand and exits back into her room.

The knocking continues. Sandra smooths out her hair, tightens her bathrobe, and opens the door for Tonio.

SANDRA
I should known it was you.

TONIO
Guess what...?

Tonio enters, pushing past Sandra, and into the living room.

SANDRA
Last time you here it was guessing game too. Now, you want replay...?

Tonio pulls out the roll of money and throws it on the coffee table.

TONIO
That’s what.

SANDRA
For decent job or bang-ganging...?

TONIO
...it’s gang-bangin’ --

SANDRA
-- yes, yes -- I know, I screw up second it come out my mouth. Not point.

TONIO
Ya lookin’ at the dopest graffiti artist in the Bronx, baby...I’ve already done four murals and Rico told me tonight that more green’ll start followin’ if I finish a fifth one by the tomorrow. And I just finished the sketch...

Tonio brings out the sketch and holds it up in Sandra’s face.

SANDRA
Tonio, I see nothing.

TONIO
Let me get the light then.

SANDRA
No, my eyes --

Tonio clicks on the lights. He can now see that his girlfriend is very pregnant, about to burst at the belly.

TONIO
Oh my god...

SANDRA
(looks down at herself)
What? I got fat since you last here?

TONIO
Yeah...sort’a...

SANDRA
Thank you, Tonio.

TONIO
Not fat. That ain’t what I meant. Y’know...

SANDRA
...my mother is trying to sleep! I try to sleep...

TONIO
...I just ain’t seen ya in a while. Forgot how good ya look. Now ya got an ass.
Tonio smiles and laughs at his own joke. He goes to hug Sandra only to have her push him away.

TONIO (CONT’D)
What? No love? No hug...or no besas? From Russia with love...?

SANDRA
Where have you been for three weeks?

TONIO
Out. Makin’ money. Lookin’ after ya best interests.

SANDRA
This is not my best interests.

TONIO
What...?

SANDRA
Your blood money! You knocking late on door wanting to give me more! You not being here for nearly one month!

TONIO
Hey, hey, hey...who’s idea was that now? Ya told me not to be comin’ round ‘less I had somethin’ to show for myself.

SANDRA
And I thought you understand that mean get job!

TONIO
I gotta job.

SANDRA
No! IT NO JOB! IT NO JOB! This...this Rico...he want a few murals...after that? Huh? What will there be? Take this gun, shoot this person, rob their pocket!

TONIO
Ya don’t know ‘bout nothin’...that ain’t...we ain’t roll like that...I ain’t roll like that...

SANDRA
You really think that I wanted you gone for that long? With baby due any day -- any second -- and you not here with me?

TONIO
I ain’t out yet.

SANDRA
It almost was. We had false alarm last week. You not here. We didn’t know where you were.
(beat)
I want you here when baby is born. But until that happen, do not come back here with your money.

Tonio goes over to the coffee table, picks up the roll of cash, and holds it out for Sandra to see.

TONIO
This right here...it ain’t just money...a’ight? This is a way out. I can get in with these people and we can be set for life.

SANDRA
Tonio, you don’t even listen to yourself. “I get in so I can have way out...” What kind of...I mean, you do not understand what --

TONIO
-- nah, I understand perfectly. Wish people would stop askin’ me if I understand. I get it, okay? I do. Month ago I would’ve lied, but now...I made it. And seein’ pay from it...nada es mas buena. I made it in and I’m not quittin’ just ‘cause ya think it’s somethin’ it ain’t.

SANDRA
I want you out of my house.

TONIO
Rico’s number two guy...this fucked up dude named Gabe...he was the one who burned down that building on one forty-four. He’s on his way out. Either he gonna have to run for the hills and stay with some cousins or the cops is gotta put him away. Rico gonna have to have another sidearm by him. That’s me.

SANDRA
Is this boy one who start fire tonight?

TONIO
What are ya talkin’ ‘bout?

SANDRA
Look outside! My mother and I watch all night as it get bigger and bigger...

Tonio goes over to the window. In the distance, a low-rise building is inflamed with thick smoke pillars drifting out of it.

TONIO
Shit...if it was him, then he definitely not rollin’ with Rico for much longer. Too much of a liability.

SANDRA
If you are friends with people who burn down buildings --

TONIO
-- don’t start with another lecture --

SANDRA
-- then you need to leave or I call police --

TONIO
-- Listen! Rico’s openin’ up to me! Okay? Listen to my point here, girl. He’s tellin’ me shit that I don’t think no one knows. Rico trusts me...I’m keeper of his secrets and all. I know who the dude really is...
(opens up his sketch even though Sandra does not look)
...I got his back. And he’s got mine -- our’s. Feel me? I’m by his side, ya by mine, and we gotta beautiful thing goin’ on.

SANDRA
(softly, sincerely)
I want you to read my lips with your ears: I call police if you are not out of my house in one minute...I don’t care what I said before...you are dangerous to have around me...

TONIO
Sandra...ya ain’t listenin’ to me...

SANDRA
...one minute, Tonio...it has already started...

TONIO
Fuck, man...

Tonio folds up the sketch and puts it back in his pocket. He gets up and walks towards the door. Tonio stops, turns around, tosses the roll of money to Sandra. Surprised, she catches it.

SANDRA
Thirty seconds...

TONIO
That ain’t for ya. That’s for my baby. Set up a savings account or somethin’ for college...I dunno. Maybe get a phone plugged in or a TV up in this joint with what’s left over. Ya gonna need shit like that now. But whatever ya do, ya make sure he gets most of it and ya make sure he knows that it was from his papi makin’ the neighborhood beautiful for him to grow up in.

SANDRA
(not flinching)
Ten seconds...

They stand in silence, looking at each other. Five...four...three...two...one.

SANDRA (CONT’D)
Time is out.

TONIO
(blows her a kiss)
Hasta then.

Tonio opens the door and exits. Sandra follows him and locks to door as he departs. She then takes the roll of cash, gazes at it in her palm, and finally takes it with her back to her room.

Lights fade.

SCENE 6 - BRONX CORNER, NEXT AFTERNOON

Lights up on Tonio, wearing his paint gear, putting the finishing touches on a beautiful mural of Rico. It’s black and white for the most part, with only hints of gray for shadowing. In the background, something like shots echo. Each time one of them rings out, Tonio checks his surroundings. Once the coast is clear he goes back to spraying the wall.

Gabe enters, looking strung out and tired, carrying a small box of firework snappers. He throws some on the ground and they rattle out into the street. Tonio jumps back and hits the ground. He freezes when he sees it’s Gabe.

TONIO
Fuckin’-A, Gabe!

Gabe grins and throws a few more on the ground. They all pop at once. He laughs. Tonio gets up and removes his mask.

TONIO (CONT’D)
Goddamn it, man, that scared the shit outta me.

GABE
I’m on watch, homes. Gotta keep Los Manos on they toes, y’know.

TONIO
Yeah...

GABE
Now he gots his face all around the barrio. Maybe he won’t need me to be on lookout all the time. His paintin’ can do it for him.

TONIO
Yo...Gabe, I don’t mean no offense of nothin’...but are ya straight, dog?

GABE
Yeah, I’m straight!

TONIO
Okay...

GABE
...what, ya think I like to suck dick or somethin’?

TONIO
What? Nah! Get outta here -- that ain’t what I meant --

GABE
-- ‘cause ain’t no dick sucker, Tonio --

TONIO
-- c’mon now, that ain’t what I meant and ya know it --

GABE
-- but I’ll suck ya’s if ya want me to.

Pause.

TONIO
Fuck off, man. Ya need to get some sleep and --

GABE
-- ‘cause it ain’t like I never sucked one ‘fore. Y’know? I like me some pussy, but Rico said in this life, ya more than likely to end up puttin’ time in at Rikers so ya best learn to blow a dude so ya don’t have to take it up the ass...

Another pause.

TONIO
Go home, Gabe.

Gabe removes a handful of poppers from the box and gently drops them on the concert so they don’t explode.

GABE
He’s real mad, Tonio. He’s like -- fuckin’ pissed outta his mind.

TONIO
Who? Rico?

GABE
Who’s Rico?

TONIO
Answer my question.

GABE
I ain’t recall the question, professora...

TONIO
...who’s fuckin’ pissed at you?

Gabe starts wildly jumping up and down on the poppers. They start ringing out.

GABE
(screaming, “God in the sky!”)
LOS DIOS EN LA CIELO! LOS DIOS EN LA CIELO! Shit -- shit, shit, shit, shit -- God, man...God’s so fuckin’ pissed at me. He’s fuckin’ pissed at me! Los Dios en la cielo! LOS! DIOS! EN! LA! CIELO!

TONIO
Gabe -- yo dog -- DOG! Why -- por que? Por que?

GABE
-- Los DIOS en la CIELO! Fuckin’ shit...he’s so mad at me --

TONIO
-- Escuchame: why is Rico so angry with ya?

GABE
(in tears now)
...’cause I started makin’ friends with the devil.

TONIO
Cut that shit, man.

GABE
Tonio...Tonio...I’m serious, man...he ain’t like it ‘cause I do things that the devil like to do. Yeah...

TONIO
Like what?

GABE
He do things the devil do too. He says he’s God, but means the devil. And he started to make me do the bad shit that I didn’t wanna do. But God said do it so I did. Now I don’t know if that was the devil or...or...fuck, man! He’s so pissed off. And it ain’t good. It ain’t good at all.

TONIO
Did ya start another fire, Gabe?

GABE
I’m no good at all, man, no good at all --

TONIO
-- does Rico think you burned down that building last night?

Gabe moans and throws a few poppers at the mural.

TONIO
Gabe, shut the fuck up for one second --

GABE
(to the mural of Rico)
-- Maybe it’s time ya sucked ya own dick, Papi!

Gabe starts digging around in Tonio’s bag and pulls out a bright red can of spray paint.

TONIO
Hey -- HEY! Gabe! Ya fuck with my shit and I’ll --
(Gabe starts spraying)
-- YO! SHIT! Put that shit down right now --

Tonio pulls Gabe away from the wall. Gabe punch him right in the face. Tonio falls to the ground with his nose bleeding. Rico enters. Gabe goes back to the mural and draws a crude, bright red penis going into Rico’s mouth.

GABE
(turns to Tonio, cackling)
Yeah -- oh, yeah, baby-boy --
(“Who is my good girl?”)
-- quien es mi chica buena? Huh? Ya like suckin’ my dick, Rico?! Yeah, suck it, homes.
(“Yeah, ya like it a lot.”)
Te gusta mucho, Papi. Yeah! How’s that? Huh? A face full’a my big ol’ cock in ya mouth -- let the whole neighborhood see that. Let them see what ya like to do -- ‘cause God ain’t here and devil ain’t here...no, nothin’ ‘cept Rico with a cock in his mouth!
(“Ah, yeah! Who is God now?”)
Ay, si! Quien es El Dio ahora? Quien es --

RICO
Hey, Tonio...

Gabe stops, turns to look at Rico, who ignores him in return.

TONIO
Rico...?

RICO
Los Manos declarin’ full out war...seems that somebody on they crew lost their cousin in a fire last night and...yeah...guns are drawn.

TONIO
Shit...

RICO
...gotta happen sooner or later. Business expenses. We get all the bad blood out and then go back to work. Unfortunately, means I’ve gotta jet outta here for a little bit --

TONIO
-- wait...what -- ?

RICO
-- to lay low while the shit blows over. Y’know...call teh shots from afar.

TONIO
I guess...so...

RICO
...ya don’t guess, ya do what I say.
(beat)
I’m gonna make ya lieutenant, but first I need that cash I gave ya at the diner.

TONIO
But...I thought that was mine.

RICO
No, it’s mine and I need it back. Travelin’ ain’t cheap, y’know...

TONIO
Rico...I gave it to my girl...there’s no way I could ask for it back.

RICO
Well then ya best replace it...

TONIO
Hold up a sec, man, I’m so lost here. Ya gettin’ outta town. War’s breakin’ out. And ya leavin’ me in charge of the whole operation? I mean -- thanks and all -- but what about Gabe here? Where the fuck does that leave him in all this?

RICO
(finally acknowledging Gabe)
Hey Gabe...

GABE
(turns around to face Rico)
Yeah...?

Rico holds up a gun he’s been hiding behind his leg. He shoots Gabe in the head. Gabe’s body falls to the ground.

TONIO
HOLY SHIT, RICO! The fuck did ya go and do that for!?!

RICO
I didn’t. Los Manos hit us first. Now we got grounds to strike back. Oh, and ya ass just became second in command.

TONIO
Fuck, man! Fuck!!!

Rico throws the gun at Tonio. It lands on the ground, next to Tonio.

RICO
I want that money in my hands tonight. Don’t matter how or where from...just get it. And fix that fuckin’ paintin’ ‘fore I get back into town.

Tonio, shaken, nods. Rico exits.

Tonio grabs the gun and shoves it in his pocket. He gets up and takes one last look at Gabes body.

TONIO
Shit...!

He exits. Lights fade.

SCENE 7 - SANDRA’S APARTMENT, NIGHT

Behind the door to Elika’s bedroom are the screams of two women arguing in Russian. The door flies open with Sandra charging the way and her mother hot on her heels. Elika brandishes the roll of Tonio’s money at Sandra.

ELIKA
“You think I am stupid? You think your mother is an imbecile just because I am old or...or leave the house...or something! You think that --”

SANDRA
“ -- No, of course not, and if you were listening to what I was saying before --”

ELIKA
“ -- listen to those lies! Oh, wait fabrications escape your mouth --”

SANDRA
“ -- I told you that that is money which is being saved --”

ELIKA
“ -- one right after another...and another...to...to your own mother --”

SANDRA
“ -- it is for your grandchild!”

ELIKA
(beat)
“I will provide for my grandchild if need be.”

SANDRA
“You?”

ELIKA
“Yes.”
(Sandra snickers at this)
“What? You think because I do screw job on you that I will mess up my grandchild? Now it as if you believe the very lies that spout from your lips.”

SANDRA
“Or maybe it’s you who’s the one lying to herself.”

ELIKA
“My grandson or granddaughter will be seen to. By ways of goodness...ways of honor and respect...not by some two-bit hoodlum running the streets with guns and drugs.”

SANDRA
“So...?”

ELIKA
“So? So what?”

SANDRA
“How do you plan to provide for my child...”

ELIKA
“...don’t start with me on that...”

SANDRA
“...it’s a valid question. I ask it sincerely, mother!”

ELIKA
“...to try and make me angry. I know you do that on purpose!”

SANDRA
Or maybe it’s you who bitch and I just had good teacher.

ELIKA
“What did you say to me?”

SANDRA
“I think you understood pretty well.”

ELIKA
“Say that one more time to me and make me understand. Sandra! Make me understand! Tell me what you said or I swear --”

SANDRA
“-- to hit me? To kick me out? How will you ever see the child then? Those are all idle threats, mother, all empty promises...I don’t know how you got to be so hollow...”

Elika raises the back of her hand to her daughters face, but resists the urge to strike her.

ELIKA
(beat)
“Were it not for that belly of your’s, I’d strike you through the wall.”

SANDRA
“But I do have that belly. And I do have that money. And Tonio is going to make a good --”

ELIKA
“You...you have this money?”

SANDRA
“Yes.”

ELIKA
“This money...right here...in my hands? Because I think at the moment, you do not have this money that you claim to.”

SANDRA
“Give it to me.”

ELIKA
“I think I should keep it safe.”

SANDRA
“No! Mother! I need that money!”

ELIKA
“Safe and sound and as far away from the child as possible.”

Elika goes over to the kitchen sink, turns on the garbage disposal, and puts one of the twenty-dollar bills down. Green shards of money fly out. Sandra’s mouth drops.
Elika drops another bill down the hole.

ELIKA (CONT’D)
For deposit! “That’s the right saying?” Deposit?

SANDRA
“Don’t you dare put another bill down the drain...!”

Sandra charges at her mother, but finally stops. She sways slightly and falls to her knees. Elika is about to put another bill down the drain, but realizes something is wrong with her daughter.

ELIKA
“What is wrong with you all of a sudden?”

SANDRA
“The baby...”

ELIKA
“...what? Oh my god! Is it now coming?!”

SANDRA
“No...something is wrong...yes, something hurts...”

ELIKA
“Did your water break?”

SANDRA
“I told you no! Something is --”

Sandra cannot finish her sentence before she breaks into a scream. Elika turns the disposal off and tries to pick her daughter up.

ELIKA
“Stand up...”

SANDRA
“No! No...it -- my god -- it hurts to stand up.”

ELIKA
“Then what should I do?”

SANDRA
“Go...”

ELIKA
“Go where?”

SANDRA
“Go. Get help. Please, hurray. Mother...something is...”

ELIKA
“Where will I get -- I don’t know where to --”

SANDRA
(points to the refrigerator)
“ -- call for a taxi. Hold up the money you have --”

ELIKA
“ -- okay...okay...yes --”

SANDRA
“ -- take the picture Tonio drew of me. Hold it out and say: ‘BABY’ Can you do that?”

ELIKA
Baby...

SANDRA
Baby...and...
(cries out in pain)
“Shit! Oh my god...it hurts. It hurts. It hurts. It hurts. It hurts...uhhhhhhh -- and -- say ‘BABY’ and ‘HOSPITAL’, all right? Try saying it.”

ELIKA
BABY. HOSPITAL.

SANDRA
“Okay. Now go. Go, go, go. You have to hurray!”

Elika runs to the fridge, snaps the picture from the magnet, and throws it in her purse.

ELIKA
“Are you sure you want me to leave you?”

SANDRA
“For Christsake, Mother, get out of here or I will die.”

ELIKA
BA...BABY. HOSPITAL. BABY. HOSPITAL.

SANDRA
“Please go right now! Go! Go! Go! Go! Please, right now!”

Elika grabs the rest of her things, opens the door, and looks back at Sandra writhing on the floor. She exits. Sandra lies stretches out on the floor, biting down hard to stop the pain.

Lights fade.

SCENE 8 - BRONX CORNER, NIGHT

In the darkness Elika screams out “BABY” and “HOSPITAL”. She enters and looks around for someone to assist her, but their is no one.

ELIKA
HOSPITAL...HOSPITAL...BABY! BABY! BABY!

From the other side, Tonio enters wearing the Mickey Mouse gas mask and holding the gun out.

TONIO
(through the gas mask)
Give all the fuckin’ cash ya got on ya and I won’t hurt ya.
(Elika screams)
Don’t -- don’t fuckin’ scream, just empty your pockets!

ELIKA
BABY! BABY!

TONIO
Yeah, I heard ya ‘bout the baby. Now give me the money.

ELIKA
BABY...! BABY...! BABY...!

TONIO
Goddamnit, lady, just give me your money!

Tonio pushes Elika up against the wall.

ELIKA
(top of her lungs)
BABY -- ! HOSPITAL -- ! BABY -- ! BABY -- !

Tonio clicks the trigger and points it right at Elika’s forehead.

TONIO
And I told ya ass to shut the fuck up about the baby!

ELIKA
BABY -- ! BABY -- !

TONIO
Fuckin’ shit...man...ain’t gonna tell ya again to shut up!

Tonio whips the butt of the gun across Elika’s face. She cries out and falls to the ground. Tonio kicks her over and tries to snatch the purse from around her arm. Elika fights back as best she can, scratching Tonio’s arms.

TONIO
Ow! That fuckin’ hurt.

He takes the gun and again, whips her with it. Elika’s nose and mouth begin to bleed -- she’s slowly fading.

ELIKA
(sobbing)
“Oh my god, why is this happening?” BABY -- ! “Why is this happening...”

TONIO
No more talk ‘bout the babies.

Tonio sifts through her purse and finds the a wad of cash. He pockets it and rifles through the rest of her purse until he discovers a folded piece of paper.

ELIKA
(trying to scream, but losing consciousness)
...BABY...HOSPITAL...BA...BABY SANDRA...BABY...

Tonio unfolds the piece of paper to see his sketch of Sandra. Instantly, he freezes.

TONIO
Oh shit...

ELIKA (CONT’D)
...SANDRA...BABY...BABY...SANDRA...HOSPITAL...BABY...

TONIO
Nah...nah...this can’t -- aw, SHIT! Fuck me...fuck me...fuck me...! NO -- ! NO -- !

In the distance, sirens blare. Red and blue lights flash against the wall. Tonio shoves the gun down a sewer well.

ELIKA (CONT’D)
...BABY...SANDRA...BABY...

Police cars pull up just as Tonio’s about to exit. A voice of the loud speaker orders Tonio to drop his weapon and get on the ground.

TONIO
...can’t believe...this...no, no, no, no, this can’t be happening!
Tonio obeys the orders, putting his hands behind his head. Elika’s eyes close as car doors open and shadows of NYPD officers approach Tonio.

Lights out.

End of Act 1.