David-Matthew Barnes - Better Places to Go

RICARDO: A Mexican-American busboy who struggles with his identity; the object of his best friend’s desire.

ROSIE: An embittered young waitress who secretly fuels dreams of starting a new life.

CANDACE: A neurotic and somewhat self-centered bride-to-be.

DEREK: Harboring feelings of love for his best friend, he is suicidal and manic.

JUDY: Lovelorn and hopelessly romantic; she awaits the return of her Prince Charming.

LUCILLE: Bored with her mundane life, she dreams of being abducted by aliens.

NATHAN: Aggressive and controlling, he takes advantage of everyone and everything.

BRITNEY: A woman trapped in a tumultuous relationship; she lacks the courage to leave.

MAXINE: A maid of honor whose keeping a secret from her best friend — the bride.

LINDA: A pregnant teenaged girl who’s just left a man more than twice her age.

A rundown truck stop diner just west of Grand Island, Nebraska off of Interstate 80.

A Friday night. Early autumn. Present year.

A horrendous storm looms overs a rundown truck stop diner in Grand Island, Nebraska, bringing together ten people who start to reveal damaging secrets as the night goes on.

Many, many people helped Better Places to Go become the stage play and script it is. To them, I offer my deepest gratitude.

First and foremost, thank you to the award-winning original cast and production team of the world premiere.

To Tony White, for producing not one but two New York productions of the script.

And to the people of Grand Island, Nebraska, who inspired every word.

Better Places to Go received a world premiere{The world premiere was recognized by the Sacramento Area Regional Theatre Alliance. The production received two Elly Awards for Best Original Script and Best Original Production.} at The California Stage Company in Sacramento. The play opened on March 21, 2003. The show was produced by Nick A. Moreno for DNPAC Productions. The Costume Designer was Jeanne Menendez. The Lighting Designer was Ron Madonia. The original cast was as follows:

RICARDO

E. Ambriz DeColosio

ROSIE

Tara Henry

CANDACE

Vanessa Menendez

DEREK

Logan Hesse

JUDY

Therese Llanes

LUCILLE

Susan Madden

NATHAN

Richard Falcon

BRITNEY

Ioana Teora

MAXINE

Elizabeth David

LINDA

Jamie Lynn Kale

Better Places to Go received a New York premiere at The Creative Place Theatre. The play opened on January 21, 2004. The show was directed by Tony White and produced by Love Creek Productions. Costumes were designed by Tony White. Lights were designed by Mark Kinch. The Stage Manager was Alison Burke. The first New York cast was as follows:

Robin Albury, Kelly Barrett, Margaret Champagne, Ryan De Mesa, Barbara Miluski, Deva Nicole, Rebecca Nyahay, Ryan Victor Pierce*, Russell Russo and Amy Beth Sherman* (*Member of AEA)

Excerpts from this script have been featured in Young Women's Monologues from Contemporary Plays , 60 Seconds to Shine , and the Audition Arsenal monologue series.

( As the lights come up, we are inside of Della’s Diner, a rundown truck stop diner located just west of Grand Island, Nebraska off of Interstate 80.

The place seems strangely vacated, almost ghostly.

The décor is both dated and faded. There are a few tables, chairs, a main counter, a door to the kitchen, a door to a restroom, and a main entrance from a parking lot.

Two of the tables are covered with plates, silverware and coffee cups, as customers have just left.

A horrible storm looms over the area, casting a murky glow over everything. It is only six o’clock, but it feels much later.

A transistor radio sits on the main counter, playing something by a dead singer softly in the background. The music fades out.)

RADIO ANNOUNCER: It’s going to be a wicked night, Grand Island. Weather reports say we’re expecting high winds, electrical storms, and more rain than we’ll know what to do with. My advice: get somewhere safe, cuddle up with the one you love, and hold on tight.

(An older song comes on, a duet.

ROSIE, a waitress in her early twenties, enters from the kitchen. Her presence is commanding. She grabs a bottle of nail polish and a fashion magazine from the main counter. She sits in a booth, paints her fingernails, reads her magazine. She starts to sing along with the song on the radio.

RICARDO, a young and striking Mexican-American man in his early twenties, enters from the kitchen. He is carrying a bus tray. He stops to turn off the radio. He starts to clear the tables.)

RICARDO. You got any plans tonight, Rosie?

ROSIE. I heard things about you. Last night, down at Clyde’s.

RICARDO. I asked you a question.

ROSIE. I asked you first.

RICARDO. No, you didn’t. You didn’t ask me anything.

ROSIE. Are the rumors true?

RICARDO. When are you leaving?

ROSIE. When the time is right.

RICARDO. (After a moment:) The rumors aren’t true.

ROSIE. (She stands.) Bullshit. That’s what I say. Bull — shit. You’re lying, Ricardo. Like I even care. If you and Derek are—

RICARDO. You’ll never leave this place. You’re gonna die here.

ROSIE. (She moves to the table that he is clearing. Purposely, she knocks over the salt and pepper shakers.) I hate you. If everybody knew what a jerk you were—

RICARDO. If everybody knew what a compulsive liar you were—

ROSIE. Faggot.

RICARDO. Aw, come on, Rosie. You can do better than that.

ROSIE. My boyfriend didn’t want me to take this job because you’re a dumb Mexican and all Mexican’s steal money and rape women.

RICARDO. You’re not my type.

ROSIE. (With a gesture to her breasts:) Obviously.

RICARDO. You don’t even have a boyfriend.

ROSIE. No?

RICARDO. No, you don’t.

ROSIE. But you do.

RICARDO. Nothing’s worse than watching you lie to people.

ROSIE. I don’t lie.

RICARDO. You lie to every person who walks in the door. Just to sucker ‘em outta their money.

ROSIE. People like me, asshole. They give me tips.

(Rosie collects her tips from a table; a handful of loose change.)

RICARDO. People feel sorry for you because you tell ‘em that your mother is dying of cancer or that your father had a heart attack or that you have three starving babies at home and they all got scurvy.

ROSIE. It’s part of the job. I tell people what they wanna hear. I pretend to be someone I’m not just to make them happy.

RICARDO. Yeah, so do I.

ROSIE. It makes people feel better about themselves if they think they’re helping someone who is less than them. Like they’re doing some good deed for the white trash of the world. Dumb fuckers don’t realize I’m smarter than them. I get ‘em their drinks. I bring ‘em plates of food. I tell the wives they look young. I flirt with the husbands. I touch their ugly babies: pat their bald heads, kiss their sticky faces. It’s their money that I really want. They always leave me a little extra, because I’m so sweet. (She pretends that she is waiting on a customer; very convincing:) What a beautiful family you have. It’s always nice to see people so happy together. Really, it warms my heart. (The façade is gone.) I know how to get what I want.