The Cryptogram Read online

  DAVID MAMET

  THE CRYPTOGRAM

  David Mamet was born in Chicago in 1947. He studied at Goddard College in Vermont and at the Neighborhood Playhouse School of Theater in New York. He has taught at Goddard College, the Yale Drama School, and New York University, and regularly lectures to classes at the Atlantic Theater Company, of which he is a founding member. He is the author of the acclaimed plays Oleanna, Speed-the-Plow, Glengarry Glen Ross, American Buffalo, and Sexual Perversity in Chicago. He has also written screenplays for such films as Homicide, House of Games, and the Oscar-nominated The Verdict, four collections of essays, a novel, and a book of poems. His plays have won the Pulitzer Prize and the Obie Award.

  BOOKS BY DAVID MAMET

  PLAYS

  The Cryptogram

  Oleanna

  Speed-the-Plow

  Bobby Gould in Hell

  The Old Neighborhood

  The Woods

  The Shawl and Prairie du Chien

  Reunion and Dark Pony and The Sanctity of Marriage

  The Poet and the Rent

  Lakeboat

  Goldberg Street

  Glengarry Glen Ross

  The Frog Prince

  The Water Engine and Mr. Happiness

  Edmond

  American Buffalo

  A Life in the Theater

  Sexual Perversity in Chicago and The Duck Variations

  FICTION

  The Village

  NONFICTION

  The Cabin

  On Directing

  Some Freaks

  Writing in Restaurants

  SCREENPLAYS

  Oleanna

  Glengarry Glen Ross

  We’re No Angels

  Things Change

  Hoff

  The Untouchables

  The Postman Always Rings Twice (1980)

  The Verdict

  House of Games

  Homicide

  A VINTAGE ORIGINAL, MAY 1995

  Copyright © 1995 by David Mamet

  All rights reserved under International and an-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto.

  Originally published in Great Britain by Methuen, London.

  CAUTION: This play is protected in whole, in part, or in any form, under the Copyright Laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union, and is subject to royalty. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages, are strictly reserved. All inquiries concerning performance rights for the plays in this volume should be addressed to: Howard Rosenstone, Rosenstone/Wender, 3 East 48th Street, New York, NY 10017.

  Library of Congress Cataloging-in-Publication Data

  Mamet, David.

  The cryptogram / David Mamet. — 1st Vintage Books ed.

  p. cm.

  eISBN: 978-0-307-81763-1

  I. Title.

  PS3563.A4345C79 1995

  812′.54—dc20 94–46518

  Author photograph © Brigitte Lacombe

  v3.1

  This play is dedicated to Gregory Mosher

  Contents

  Cover

  About the Author

  Other Books by This Author

  Title Page

  Copyright

  Dedication

  Epigraph

  Characters

  Act One

  Act Two

  Act Three

  Last night when you were all in bed

  Mrs. O’Leary left a lantern in her shed

  Camping song

  The Cryptogram was first produced at the Ambassadors Theatre, London on June 29, 1994, by Frederick Zollo, Nicholas Paleologos, Gregory Mosher, Susan Gallin, David Richenthal, Suki Sandler, and Frank and Woji Gero, with the following cast:

  DONNY Lindsay Duncan

  DEL Eddie Izzard

  JOHN Danny Worters/Richard Claxton

  Directed by Gregory Mosher; designed by Bob Crowley; lighting by Rick Fisher.

  The American Premiere of The Cryptogram was produced on February 8, 1995, by the American Repertory Theatre, as part of their New Stages ’95 Series, by special arrangement with Frederick Zollo, Nicholas Paleologos, and Gregory Mosher, with the following cast:

  DONNY Felicity Huffman

  DEL Ed Begley, Jr.

  JOHN Shelton Dane

  Directed by David Mamet; sets by John Lee Beatty; costumes by Harriet Voyt; lighting by Dennis Parichy.

  The Cryptogram was produced at the Westside Arts Theater in New York on March 28, 1995, by Frederick Zollo, Nicholas Paleologos, Gregory Mosher, Jujamcyn Theaters, Herb Alpert, and Margo Lion, with the following cast:

  DONNY Felicity Huffman

  DEL Ed Begley, Jr.

  JOHN Shelton Dane

  Directed by David Mamet; sets by John Lee Beatty; costumes by Harriet Voyt; lighting by Dennis Parichy.

  CHARACTERS

  DONNY A woman in her late thirties

  DEL A man of the same age

  JOHN Donny’s son, around ten

  The action takes place in Donny’s living room in 1959.

  ONE One evening

  TWO The next night

  THREE Evening, one month later

  ONE

  A living room. One door leading off to the kitchen, one staircase leading up to the second floor. Evening. DEL is seated on the couch. JOHN comes downstairs dressed in his pajamas.

  JOHN: I couldn’t find ’em.

  DEL: … couldn’t find ’em.

  JOHN: No.

  DEL: What?

  JOHN: Slippers.

  DEL: Yes?

  JOHN: They’re packed.

  DEL: … slippers are packed.

  JOHN: Yes.

  DEL: Why did you pack them?

  JOHN: Take them along.

  DEL: How are you going to use your slippers in the woods.

  JOHN: To keep my feet warm.

  DEL: Mmm.

  JOHN: I shouldn’t of packed them?

  DEL: Well, put something on your feet.

  JOHN: What?

  DEL: Socks.

  JOHN: Put something on my feet now.

  DEL: Yes.

  JOHN: “As long as I’m warm.”

  DEL: That’s correct.

  JOHN: I have ’em. (Produces socks. Starts putting them on.)

  DEL: That’s good. Think ahead.

  JOHN: Why did you say “why did you pack them?”

  DEL: I wondered that you’d take them with.

  JOHN: Why?

  DEL: Out in the Woods?

  JOHN: No, but to wear in the Cabin.

  DEL: … that’s right.

  JOHN: Don’t you think?

  DEL: I do.

  JOHN: I know I couldn’t wear them in the woods.

  DEL: No. No. That’s right. Where were we?

  JOHN: Issues of sleep.

  DEL: … is …

  JOHN: Issues of sleep.

  DEL: No. I’m sorry. You were quite correct. To take your slippers. I spoke too quickly.

  JOHN: That’s alright.

  DEL: Thank you. (Pause.) Where were we? Issues of Sleep.

  JOHN: And last night either.

  DEL: Mm …?

  JOHN: … I couldn’t sleep.

  DEL: So I’m told. (Pause.)

  JOHN: Last night, either.

  DEL: Fine. What does it mean “I could not sleep”?

  JOHN: … what does it mean?

  DEL: Yes. It means nothing other than the meaning you choose to assi
gn to it.

  JOHN: I don’t get you.

  DEL: I’m going to explain myself.

  JOHN: Good.

  DEL: A “Trip,” for example, you’ve been looking forward to.

  JOHN: A trip. Yes. Oh, yes.

  DEL: … absolutely right.

  JOHN: … that I’m excited.

  DEL: … who wouldn’t be?

  JOHN: Anyone would be.

  DEL: That’s right.

  JOHN: … to go in the Woods …?

  DEL: Well. You see? You’ve answered your own question.

  JOHN: Yes. That I’m excited.

  DEL: I can’t blame you.

  JOHN: You can’t.

  DEL: No. Do you see?

  JOHN: That it’s natural.

  DEL: I think it is.

  JOHN: Is it?

  DEL: I think it absolutely is. To go with your father …?

  JOHN: Why isn’t he home?

  DEL: We don’t know.

  JOHN: … because it’s something. To go out there.

  DEL: I should say.

  JOHN: In the Woods …?

  DEL: … I hope to tell you.

  JOHN: Well, you know it is.

  DEL: That I do.

  And I will tell you: older people, too. Grown people.

  You know what they do?

  The night before a trip?

  JOHN: What do they do?

  DEL: Well, many times they cannot sleep. They will stay up that night.

  JOHN: They will?

  DEL: Oh yes.

  JOHN: Why?

  DEL: They can’t sleep. No. Why?

  Because their minds, you see, are full of thoughts.

  JOHN: What are their thoughts of?

  DEL: Their thoughts are of two things.

  JOHN: Yes?

  DEL: Of what they’re leaving.

  JOHN: … yes?

  DEL: And what they’re going toward. (Pause.) Just like you.

  JOHN: … of what they’re leaving …

  DEL: … mmm … (Pause.)

  JOHN: How do you know that?

  DEL: Well, you know, they say we live and learn.

  JOHN: They do?

  DEL: That’s what they say. And I’ll tell you another thing …

  (A crash is heard offstage.) (Pause.)

  DONNY (offstage): … I’m alright …

  DEL: … what?

  DONNY (offstage): I’m alright …

  DEL: … did …

  DONNY (offstage): What? Did I what?

  DEL: Are you …

  DONNY (offstage): What? I’ve spilt the tea.

  DEL: What?

  DONNY (offstage): I spilled the tea.

  DEL: Do you want help?

  DONNY (offstage): What?

  JOHN: Do you want help he said.

  DONNY (offstage): No.

  DEL: You don’t? (To JOHN.) Go help your mother.

  DONNY (offstage) (simultaneous with “mother”): … I’m alright. I’m alright. (To self.) Oh, hell …

  DEL: What did you do?

  DONNY (offstage): What?

  DEL: … what did you do …

  DONNY: I broke the pot, I broke the teapot. I’m alright. I broke the teapot. (Pause.)

  DEL (to JOHN): Well, there you go.… a human being …

  JOHN: … yes?

  DEL: … cannot conceal himself.

  JOHN: That’s an example?

  DEL: Well, hell, look at it: anything. When it is disordered, any, um, “Change,” do you see …?

  JOHN: What is the change?

  DEL: The trip.

  JOHN: She ain’t going.

  DEL: No of course she’s not. But you are. And your father is. It’s an upheaval.

  JOHN: It’s a minor one.

  DEL: Who is to say? (Pause.)

  JOHN: But did you feel that?

  DEL: Did I …?

  JOHN: Yes.

  DEL: Feel what?

  JOHN: Last week.

  DEL: Feel. Last week.

  JOHN: Thoughts on a trip.

  DEL: … Did I …?

  JOHN: When you took your trip.

  DONNY (offstage): It’s going to be a minute.

  JOHN: … when you took your trip.

  DONNY (offstage): … hello …?

  DEL: We’re alright.

  DONNY (offstage): The tea is going to be a minute.

  JOHN: We’re alright in here.

  DONNY (entering): I’ve put the … why aren’t you asleep.

  DEL: … did I feel “pressure”?

  DONNY: … John …?

  JOHN: Yes.

  DONNY: Why aren’t you asleep?

  DEL: Before my trip. No.

  JOHN: No. Why?

  DEL: Because, and this is important. Because people differ.

  DONNY: What are you doing down here?

  DEL: We’re talking.

  JOHN: … I came down.

  DEL (to DONNY): I’m sorry. Are you alright?

  DONNY: What? I dropped the teapot. What are you doing down …

  JOHN: We’re talking.

  DEL: He came down, and I began a conversation.

  DONNY: Alright, if you began it.

  DEL: I did.

  DONNY (sighs): We’re going to have tea, and then you go upst … Where are your slippers?

  JOHN: Packed.

  DONNY: They’re packed.

  JOHN: For the trip.

  DONNY: And then you go upstairs and you go to sleep.

  JOHN: I want to wait till my father comes home.

  DONNY: Well, yes, I’m sure you do. But you need your sleep. And if you don’t get it, you’re not going on the trip.

  JOHN: Will he be home soon?

  DONNY: Yes. He will.

  JOHN: Where is he?

  DONNY: I don’t know. Yes, I do, yes. He’s at the Office. And he’ll be home soon.

  JOHN: Why is he working late?

  DONNY: I don’t know. We’ll find out when he comes home, John. Must we do this every night?

  JOHN: I only want …

  DEL: Do you know what?

  JOHN: I didn’t want to upset you, I only …

  DEL: … could I …?

  JOHN: I only …

  DEL (simultaneous with “only”): Could I make a suggestion? (To JOHN.) Why don’t you busy yourself?

  DONNY: He has to sleep.

  DEL: … but he’s not going to sleep. He’s …

  JOHN: That’s right.

  DONNY: … one moment.

  JOHN: … If I had something to do …

  DONNY (simultaneous with “do”): No. You’re absolutely right.

  JOHN: … something to do. If I had that …

  DONNY: Alright.

  DEL: Are you packed?

  JOHN: I’m all packed.

  DEL: … well …

  JOHN: I, I My Father isn’t packed, his …

  DONNY: No …

  JOHN: … I could pack his stuff.

  DONNY: No, no, I’ll tell you what you could do.

  JOHN: What?

  DONNY: Close up the attic.

  JOHN: … close it up?

  DONNY: Neaten it up. Yes.

  JOHN: Is it disturbed?

  DONNY: Mmm.

  JOHN: Why?

  DONNY: … after my “rummaging.”

  JOHN: Alright.

  DONNY: … and …

  JOHN: … alright.

  DONNY: See if you find any things up there.

  JOHN: Things.

  DONNY: … you might need to take.

  JOHN: … things I might need to take up.

  DONNY: Mm.

  JOHN: Or that he might need.

  DONNY: That’s right.

  JOHN: … or that you forgot.

  DONNY: Yes.

  JOHN: To pack.

  DONNY: Yes. Would you do that?

  JOHN: Of course.

  DONNY: Thank you, John.

  DEL: Thank you.

  DONNY: And perhaps you’d put on some clothing.

&nb
sp; JOHN: Good.

  DONNY: Very good. Off you go then.

  JOHN: I will.

  DEL: “My blessings on your House.”

  JOHN: That’s what the Wizard said.

  DEL: That’s right.

  JOHN: “And mine on yours.”

  DEL: “Until the whale shall speak.”

  JOHN: “Until the Moon shall Weep.” Mother?

  DONNY: I don’t remember it … (Pause.)

  JOHN: You don’t remember it? (Pause.)

  DEL: Well then, John. Alright then. Off you go to work.

  JOHN (exiting): I will.

  DEL: Off you go. (Pause.)

  DONNY: No. I don’t understand it.

  DEL: Well …

  DONNY: No.

  DEL: He has trouble sleeping.

  DONNY: Mm. No.

  DEL: That’s his nature.

  DONNY: Is it?

  DEL: Children …

  DONNY: No. You see. It’s grown into this minuet. Every night …

  DEL: Well, yes. But this is special, he …

  DONNY: No, No. He always has a reason. Some … every night …

  DEL: Yes. Granted. But a Trip to the Woods …

  DONNY: … he …

  DEL: … with his Dad …? It’s an event. I think. What do I know? But, as his friend …

  DONNY: … yes …

  DEL: … as his friend …

  DONNY: Yes. Yes. He Always has a Reason.

  DEL: Yes, but I’m saying, in spite of … I don’t know. I don’t mean to intrude … but good. But Good. One sends him up to the Attic …

  DONNY: Oh.

  DEL: And that’s “it.” That’s the solution.

  DONNY: Oh. Oh …

  DEL: To, um … to, um, what is the word …?

  DONNY: Look what I found.

  DEL: To um … not “portray” … to um …

  DONNY: Look what I found.

  DEL: “Participate.” That’s the word. Is that the word? No. To, um …

  DONNY: Del. Shut up.

  DEL: To um …

  DONNY (simultaneous with “To”): Shut up. Look what I found up in the attic.

  (She goes to a side table and brings back a small framed photograph and hands it to DEL.)

  DEL: (Pause.) When was this taken …

  DONNY (simultaneous with “taken”): When I was packing for the trip.

  DEL (simultaneous with “trip”): Mmm … No. When was this taken?

  DONNY: Isn’t it funny? Though? The things you find? (Pause.)

  DEL: Huh …

  DONNY: What?

  DEL: I don’t understand this photograph. (Pause.)

  DONNY: What do you mean?

  (JOHN comes down onto the landing.)