Chambers maybe but slurred

next morning he was gone

out the open window

no trace

no tracks

of any kind

Rogers, Arkansas.

(Highway 62).

Man finally makes it to the shore of the lake with the severed head teetering above him the whole way. He can hardly wait to get rid of it. This whole ordeal. The burning pain in the back of his neck. The trembling in his shoulders and arms. Why should he have to endure this torture? For what? He stands there panting, staring out across the flat green water to the cattails on the opposite shore. A great blue heron struts then freezes on one leg; its wild yellow eye staring back, over all that space. "Right here," the head tells him. "This is perfect. Right here."

"What do you want me to do?" asks the man with a helpless whine.

"Just toss me in," says the head. "Just give me the old heave-ho!" The man lowers the head to his waist and stares into the face of it. The eyes are still shut tight; squinting with that rictus that must have been its last quick moment before the sword came down. The man has a sudden wish that he could see into the eyes of the head for just one flashing second. That he might see the person behind the voice. That he might know something, some small inkling of the nature of the head.

"Do you think you could open your eyes for me? Just once?" asks the man.

"No," says the head, without hesitation.

"Why?" asks the man.

"Because you wouldn't be able to take it," answers the head. The man quickly tosses the head straight up in the air, without knowing why. It's as though his whole body has reacted with an electric jolt and jettisoned something poisonous. The heron takes off on the far side of the lake, pumping its enormous wings in slow motion. When the tumbling head smacks down into the flat green water it immediately bobs back up and starts swirling in tight circles like a volleyball cast overboard in the open sea. The man makes a little gasp as he watches the head twist and roll through the expanding ripples, drifting farther and farther from shore. The man takes three quick steps into the water as though he might swim after it and catch hold of its black, curly hair but the man stops short and just watches the head floating away. The shadow of the great blue heron passes over the man, who can't take his eyes off the head. Then the head just sinks and never comes back up. It just sinks like that. As the man watches intensely for any sign of its reappearance, the green water slowly heals itself back to stillness. Smooth and flat. A painted turtle pops its yellow nose up on a lily pad. The man waits there a long, long time, knee deep in the water, searching for any sign of the head, but nothing comes up. Finally, the man turns his back on the lake and wades to shore. He stands there dripping for a while, afraid to turn around. He can hear the drone of the highway, far off. The chimes of the church. He can see the gray dot of the heron, sailing away. He opens his mouth but nothing comes out. No expression of any kind.

Gracias.

What little town was that where we drove for miles weaving through hills and hills of olive groves poured out like little oceans and arrived at a tall gray pension with an ancient church right across and canaries singing in every window from every balcony and old pudgy women in black ankle-length dresses hobbling along and the two of us, I remember, walking hand in hand with our children, talking of living somewhere idyllic just like this somewhere suspended in time and then all of us brought to a stop by a pianist practicing some lovely lilting waltz outside a window with iron bars in a narrow backstreet and we all just stood there entranced and applauded from the street when it ended for the unseen player and from somewhere deep inside the thick stucco walls, very faintly, came a woman's voice, very very soft, and the voice said "Gracias," and we walked on.

That was one of those days I remember.

A NOTE ABOUT THE AUTHOR.

Sam Shepard is the Pulitzer Prize-winning author of more than forty-five plays. He was a finalist for the W. H. Smith Literary Award for his story collection Great Dream of Heaven, and he has also written the story collection Cruising Paradise, two collections of prose pieces, Motel Chronicles and Hawk Moon, and Rolling Thunder Logbook, a diary of Bob Dylan's 1975 Rolling Thunder Review tour. As an actor he has appeared in more than thirty films, including Days of Heaven, Crimes of the Heart, Steel Magnolias, The Pelican Brief, Snow Falling on Cedars, All the Pretty Horses, Black Hawk Down, and The Notebook. He received an Oscar nomination in 1984 for his performance in The Right Stuff. His screenplay for Paris, Texas won the Grand Jury Prize at the 1984 Cannes Film Festival, and he wrote and directed the film Far North in 1988 and cowrote and starred in Wim Wenders's Don't Come Knocking in 2005. Shepard's plays, eleven of which have won Obie Awards, include The God of Hell, Buried Child, The Late Henry Moss, Simpatico, Curse of the Starving Class, True West, Fool for Love, and A Lie of the Mind, which won a New York Drama Desk Award. A member of the American Academy of Arts and Letters, Shepard received the Gold Medal for Drama from the Academy in 1992, and in 1994 he was inducted into the Theatre Hall of Fame. He lives in New York and Kentucky.

ALSO BY SAM SHEPARD.

Kicking a Dead Horse.

Buried Child.

Tooth of Crime (Second Dance).

The God of Hell.

Great Dream of Heaven.

The Late Henry Moss, Eyes for Consuela.

When the World Was Green

Cruising Paradise

Simpatico

States of Shock, Far North, Silent Tongue

A Lie of the Mind

The Unseen Hand and Other Plays

Fool for Love and Other Plays

Paris, Texas.

Seven Plays.

Motel Chronicles.

Rolling Thunder Logbook.

Hawk Moon.