STEPH Nah, that’s ok. I’m just gonna … I need a minute alone. ’Kay?

GREG Sure.

GREG slowly gets to his feet. Grabs his jacket and looks at STEPH. He touches her face. She responds.

STEPH You’re gonna miss this. (Beat.) I don’t mean this place … or town or anything like that. (Beat.) You’re gonna miss me.

GREG I know what you meant … and yes, you’re right. No question.

They start to move together for a last kiss. Just as it starts the buzzer blasts again. STEPH laughs and stops.

STEPH Ok, fine! Fuck! I can take a hint …

They both smile at this and hug again. GREG picks up his bag and moves toward the door. Opens it. Turns to STEPH.

GREG Hey. (Reaches into his bag and rummages around.) I wanna give you something …

STEPH What is it?/ Better not be a goddamn book …

GREG Just …/ Hold on …

GREG pulls a rumpled volume out of his bag. Hands it over to STEPH.

STEPH turns it over a few times, studying the title. It is a Fodor’s Guide to New York City.

GREG It’s not a book. It’s a guide.

STEPH Thanks … (Turning a page.) If it says “To Carly” inside I’m gonna fucking smack you one …

GREG No! (Pats his bag.) I’ve got hers in here … (Off her look.) Kidding! It’s mine.

STEPH indicates she wants a look in his bag—GREG shakes his head then opens the bag and shows her. No more books inside.

GREG It’s got a whole section on “Hair Salons” in it, so …/ You should really take a look sometime.

STEPH Good./ Yeah, maybe.

GREG I’m serious.

STEPH Ok … well, we’ll see.

GREG God, you’re a tough one!

STEPH Yep. I am. (Smiles.) But you like that … right? I mean, secretly.

GREG Yeah, I do. (Smiles.) And I don’t even think it’s a secret …

STEPH looks over at GREG. Her eyes are moist but she is fighting it. Same thing for GREG. A long silence. She breaks the tension:

STEPH … so … you feel any happier yet?

GREG Not yet. (Smiles.) But I’m working on it.

STEPH simply nods. GREG almost speaks again but instead he nods in return, waves and exits.

STEPH sits for a moment. Takes several deep breaths and just manages to keep it together. She looks around.

After a moment, STEPH cracks open the book and begins to read. Turning the pages. Slowly she loses herself to the pleasure of the pictures and the places within.

The lights pop off. Bam. Just like that.

ALSO BY NEIL LABUTE AND AVAILABLE FROM THE OVERLOOK PRESS

The title play, which had its American premiere at La MaMa in 2012, rivetingly explores the relationship between a nervous older man and a glib young prostitute, as their evening together drives toward a startling conclusion.

Also included is the one-act play The Great War, which looks at a divorcing couple and the ground they need to cross to reach their own end of hostilities; In the Beginning, which was written as a response to the Occupy movement and produced around the world in 2012-13 as part of Theatre Uncut; The Wager, the stage version of the film Double or Nothing starring Adam Brody; the two-handers A Guy Walks Into a Bar, Over the River and Through the Woods, and Strange Fruit; and two powerful new monologues, Bad Girl and The Pony of Love.