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  ANNIE: What?

  LACEY: He’s trying to get some justice.

  ANNIE: For you?

  LACEY: For everyone.

  ANNIE: Okay. So he’s a little unbalanced, then.

  LACEY: Maybe. Does that mean we should just forget about him. Look, it’s been almost two days. Something’s happened to him.

  ANNIE: That could be true. But if it’s because of who you think it is … Well those guys are good at what they do. And one of the things they do is make people disappear for good.

  JAKE comes out of the bedroom in his underwear. He puts his sling back on.

  JAKE: What’s she doing here?

  LACEY: I called her. I’m worried about Harry.

  JAKE: He’s dead.

  LACEY: Maybe.

  JAKE: No. For sure. (to LACEY) Let me know when she’s gone.

  He goes back into the bedroom.

  ANNIE: What’s with him?

  LACEY: He’s pissed that you told me what went down in the park.

  ANNIE: What, he thinks I was gossiping? Jesus … Anyway, let’s assume Harry’s dead. What’s the lesson here, Lacey?

  LACEY: The lesson? What the –

  ANNIE: The lesson is this: There are individuals out there who shouldn’t be messed with. Especially by people with limited resources like you. And –

  LACEY: He ran the light. (off her look) It came to me last night in bed. I remembered the whole thing. I was driving. I entered the intersection on a green light. I saw him coming out of the corner of my eye, but I thought he’d stop. He didn’t. He didn’t even slow down. Then it happened. It was freaky and loud. I passed out for a while and then woke up, got out, went to the passenger side, pulled Tim out, and dragged him into the field. And then …

  ANNIE: You passed out again.

  LACEY: Yeah … But he ran the light. So I want him in jail for killing my brother. But first I wanna take him for a fucking bundle. So we’ll both do our thing, okay? You make a case against him. And I’ll try to empty his bank account. Tell him. Go tell him you’re coming after him.

  ANNIE: That’s not usually how we go about it.

  LACEY: I want him to know as soon as possible that he’s not getting away with it.

  ANNIE: You mean the accident?

  LACEY: Or for doing what he’s done to my friend. He was trying to help us! Do you have any fucking idea what that means to me?! Get to work, and put the asshole away.

  ANNIE: I’ll do my best. And the money you want from him, you’ll get that how?

  LACEY: I’ll think of something.

  ANNIE looks worried as she leaves.

  Blackout.

  SCENE 13

  LACEY is asleep on the couch. MR. DAVID is in the armchair, watching her. She stirs, looks at him, focuses, and sits up.

  LACEY: I knew you’d come.

  MR. DAVID: Really? Is that why the door’s unlocked?

  LACEY: It’s always unlocked. Pretty stupid, eh?

  MR. DAVID: Where’s your husband?

  LACEY: At work. I thought we should talk without him. This whole thing is making him very upset.

  MR. DAVID: And you think we can make it better with a little talking?

  LACEY: You don’t wanna talk? You just want to torture me, then kill me?

  MR. DAVID: Speaking like that makes you seem a little crazy. Didn’t your friend give you my message?

  LACEY: No, he did. And I understood. I was ready to do all you wanted. But then he disappeared. And that kinda freaked me out. Freaked me out and shocked me so much that I remembered something.

  MR. DAVID: And what was that?

  LACEY: (near tears) It wasn’t your fault. My brother was driving, and he’d had way too much to drink. He went through that red light and you had no choice but to slam into us. I’m really sorry for all we’ve put you through.

  MR. DAVID: What the fuck is wrong with you? What are you talking about?

  LACEY: (smiling) That’s what I’ll be telling the cops. And I’ll do it … (sadly and with tears) like I just showed you … (smiling) Everything except my brother being the driver. I can’t lay any more grief on my mother. And all you have to do is tell me what you did to my friend Harry. You do that and you’ll be in the clear.

  MR. DAVID: Sounds like I’m already in the clear.

  LACEY: Well, with that version of what happened, you are. There’s another one. The real one that says you ran the light. It makes you responsible for my brother’s death. It probably puts you in prison.

  MR. DAVID: And that’s what you just remembered?

  LACEY: It’s what I’ll say I remembered if I have to. So where’s Harry?

  MR. DAVID: I don’t know. The last time I saw him was right here. I gave him a message for you. Did you get it?

  LACEY: Yeah …

  MR. DAVID: And you didn’t understand the part about leaving me alone?

  LACEY: Where’s Harry?

  MR. DAVID: I don’t fucking know!

  LACEY: I don’t believe you!

  MR. DAVID: I don’t give a shit! Anything else?

  LACEY: What?

  MR. DAVID: What else … do you … want … from me?!

  LACEY: Money.

  MR. DAVID: You mean more money.

  LACEY: Yeah. A lot more. I mean, it will still be reasonable, but I have to think for a while before I come up with a figure.

  MR. DAVID: You mean you don’t want to be greedy?

  LACEY: That’s right. I just want what’s fair. I’ll be in touch.

  MR. DAVID: (getting very close) You know, Lacey … I’ve been restraining myself because I feel sorry for you.

  LACEY: Sure you do.

  MR. DAVID: (even closer) There you go again. Don’t fucking think you know me, okay? It’s fucking annoying. I’m a very complex individual. And I have tried my best not to hurt you pathetic, ridiculous people. But this thing you’re doing … it’s very dangerous.

  She lies back down.

  LACEY: Is it?

  He stands.

  LACEY: For you or for me?

  MR. DAVID: For both of us. Okay. More money. But that’s it. It stops with that.

  LACEY: (crossing herself) Promise.

  MR. DAVID: Fuck you.

  He gives her a final look, just wondering, then leaves.

  Blackout.

  SCENE 14

  LACEY and JAKE are snuggling on the couch.

  JAKE: It was good to see you eat your supper. I’ve been pretty worried about you.

  LACEY: I’m sorry. (looking at him) I still need to get stronger though. That detective’s right. People who don’t have resources are no match for all the assholes out there. So we’re gonna take another approach from now on. Not to everything. Just to how we take care of ourselves.

  JAKE: It was good of Daryl to take the drugs back.

  LACEY: Yeah, he’s a saint.

  JAKE: I owe him, though.

  LACEY: No, you don’t.

  JAKE: Yeah, Lace, I do. That’s just the way things are.

  LACEY: Is the door locked?

  JAKE: No.

  LACEY: Good. Are you nervous?

  JAKE: Are you?

  LACEY: I’m too mad to be nervous. (hearing something in the hall) Shh …

  They listen, prepare, then: The door swings open. A MASKED MAN storms in, carrying a gun, all in black, including a balaclava. He approaches them, stops, then relaxes his neck muscles.

  LACEY moves her hand from behind JAKE. She is holding a gun.

  MASKED MAN: No!! No! Don’t!!

  He whips off the balaclava. It is HARRY.

  LACEY: Jesus!

  JAKE: What the …!?

  HARRY: Whaddya doing with a gun?!

  JAKE: What are you doing –

  LACEY: In a mask?!

  HARRY: I was just trying to show what could happen if you keep leaving that fucking door unlocked!

  LACEY: Where the hell you been, Harry?

  HARRY: I needed to keep a low profile while I made some arrangem
ents. (off gun) Where did you get that thing?

  JAKE: Marco keeps it in the garage. I didn’t like the idea but –

  LACEY: I thought we should be prepared.

  JAKE: It’s our new approach to … certain things.

  HARRY: So, you were expecting him to show up?

  LACEY: We still are.

  HARRY: That’s not going to happen.

  LACEY: We think it could.

  JAKE: She scared him.

  HARRY: I killed him. (off their looks) Well, did you think I was all talk? That was the old me. This me is much more inclined to add some action to my words.

  JAKE: (to LACEY) He killed him?

  LACEY: That’s what he just –

  HARRY: How did you scare him?

  LACEY: I told him I remembered that he caused the accident.

  HARRY: Did he? I mean, did you actually remember that?

  LACEY: No.

  JAKE: (to HARRY) How?

  HARRY: How what?

  LACEY: How did you kill him?

  HARRY: I didn’t actually do it myself. I just arranged it. It’ll look like a gang killing.

  LACEY: You’re sure of that?

  HARRY: Yes.

  JAKE: Why?

  HARRY: Because it was. He was squeezing our friend Daryl down the hall for a bigger share. Daryl didn’t like that one little bit.

  JAKE: And so he did this thing because of that?

  HARRY: Plus my promise to keep him in good standing on the premises. He likes it here. And I can help keep the law off his back. (sitting) Now, let’s talk about the future. How do we get all the people in this building to sign our petition? How do we get them to understand the power they have? How do we get them to understand how important it is to stand up for themselves and push back when their basic life circumstances are threatened? Okay, I can see how you might need some time to consider all that.

  He leaves. LACEY hands JAKE the gun.

  JAKE: Can I take that thing back to the garage?

  LACEY: You don’t think we’ll need it again?

  JAKE: You heard him. The guy’s dead.

  LACEY: Yeah, but there are lots of other guys like that out there. I think we should hold on to it for a while.

  JAKE: Okay. I guess we should start locking the door too.

  LACEY: No way.

  JAKE: So, the door will be unlocked. But we’ll have a gun. What’s that mean?

  LACEY: It means … we’re hoping for the best. But we’re prepared to blow someone away if we have to. (kissing him) That makes sense, doesn’t it? I mean, considering how things are …

  JAKE: Out there, you mean?

  LACEY: Yeah, out there. And down the hall.

  JAKE: Yeah … (kissing her neck) Do you think you’re ever gonna remember what happened with the accident?

  LACEY: I’m thinking I don’t want to. But maybe I should say I do. You know, to do what Harry and the cop said. Blame the asshole.

  JAKE: He’s dead.

  LACEY: Well, he had insurance. And he had money to leave to someone. Why not us?

  JAKE: Yeah. Because who knows how long it’ll be before you can get back to work?

  LACEY: And Marco’s never gonna give you a raise.

  JAKE: Right. What a prick, eh?

  LACEY: And I don’t see how my mum ever recovers from Tim dying.

  JAKE: Which means we gotta take care of her, put her somewhere nice. And we’ll need money for that.

  LACEY: A lot. So … I think I’m starting to remember what happened.

  JAKE: That’s good.

  LACEY: But I’ve heard insurance companies fight like hell not to pay anyone anything. And if he had a family they’re probably evil assholes like he was. So just me saying it was his fault won’t be enough. We need to find a witness.

  JAKE: You mean a real witness?

  LACEY: Or just, you know … a witness.

  They think, look at each other, then smile.

  Blackout.

  THE END

  GEORGE F. WALKER is one of Canada’s most prolific and popular playwrights. He has written more than thirty plays and created screenplays for several award-winning Canadian TV series. Part Franz Kafka, part Lewis Carroll, Walker’s distinctive, gritty, fast-paced comedies satirize the selfishness, greed, and aggression of contemporary urban culture. Among his best-known works are Gossip (1977); Zastrozzi, the Master of Discipline (1977); Criminals in Love (1984); Better Living (1986); Nothing Sacred (1988); Love and Anger (1989); Escape from Happiness (1991); Suburban Motel (1997, a series of six plays set in the same motel room); and Heaven (2000). Since the early 1980s, he has directed most of the premieres of his own plays.

  During a ten-year absence from theatre, he mainly wrote for television, including the TV series Due South, The Newsroom, This Is Wonderland, and The Line, as well as for the film Niagara Motel (based on three plays from his Suburban Motel series). Walker returned to the theatre with And So It Goes (2010). Since that time, he has published King of Thieves (2013), Dead Metaphor (2015, a series of three plays that includes Dead Metaphor, The Ravine, and The Burden of Self Awareness), and Moss Park and Tough! The Bobby and Tina Plays (2015). We the Family (2016) looks at the after-effects of a wedding between culturally divergent families, whereas After Class (2017) gathers two plays, Parents Nights and The Bigger Issue, about the failing education system.

  Walker’s awards and honours include investiture as a Member of the Order of Canada (2005); the National Theatre School of Canada’s Gascon-Thomas Award (2002); two Governor General’s Literary Awards for Drama; five Dora Mavor Moore Awards; nine Floyd S. Chalmers Canadian Play Awards; and the Governor General’s Lifetime Artistic Achievement Award.

  ALSO BY GEORGE F. WALKER

  Prince of Naples (1971)

  Ambush at Tether’s End (1971)

  Sacktown Rag (1972)

  Zastrozzi, the Master of Discipline (1977)

  Three Plays (1978)

  includes Bagdad Saloon, Beyond Mozambique, and Ramona and the White Slaves

  Rumors of Our Death (1980)

  Theatre of the Film Noir (1981)

  Science and Madness (1982)

  Nothing Sacred (1988)*

  Suburban Motel (1997)*

  includes Problem Child, Criminal Genius, Risk Everything, Adult Entertainment, Featuring Loretta, and The End of Civilization

  The East End Plays: Part 1 (1999)*

  includes Criminals in Love, Better Living, and Escape from Happiness

  The East End Plays: Part 2 (1999)*

  includes Beautiful City, Love and Anger, and Tough!

  The Power Plays (1999)*

  includes Gossip, Filthy Rich, and The Art of War

  Somewhere Else (1999)*

  Heaven (2000)*

  And So It Goes (2011)*

  King of Thieves (2013)*

  Dead Metaphor (2015)*

  includes Dead Metaphor, The Ravine, and The Burden of Self Awareness

  Moss Park and Tough! The Bobby and Tina Plays (2015)*

  We the Family (2016)*

  After Class (2017)*

  includes Parents Night and The Bigger Issue

  * Published by Talonbooks

  © 2019 George F. Walker

  All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written consent of the publisher or a licence from Access Copyright (The Canadian Copyright Licensing Agency). For a copyright licence, visit accesscopyright.ca or call toll-free 1-800-893-5777.

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  Talonbooks is located on xʷməθkʷəy̓ əm, Sḵwx̱ wú7mesh, and səl̓ ilwətaɁɬ Lands.

  Cover design by Typesmith

  Interior design by andrea bennett

  Talonbooks acknowledges the financial support of the Canada Council for the Arts, the Government of Canada through the Canada B
ook Fund, and the Province of British Columbia through the British Columbia Arts Council and the Book Publishing Tax Credit.

  Rights to produce the theatrical works contained in People Live Here: The Parkdale Trilogy, in whole or in part, in any medium by any group, amateur or professional, are retained by the author. Interested persons are requested to contact Rena Zimmerman, Great North Artists Management Inc., 350 Dupont Street, Toronto, Ontario, M5R 1V9; telephone: 416-925-2051; email: [email protected].

  LIBRARY AND ARCHIVES CANADA CATALOGUING IN PUBLICATION

  Title: People live here : the Parkdale trilogy : The chance, Her inside life, Kill the poor / by George F. Walker ; with a foreword by Wesley Berger.

  Names: Walker, George F., author. | Berger, Wesley, writer of foreword.

  Description: Plays.

  Identifiers: Canadiana 20190099712 | ISBN 9781772012392 (softcover) | ISBN 9781772013016 (ebook)

  Classification: LCC PS8595. A557 P46 2019 | DDC C812/.54—dc3