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American Playwrights Series

SIX
ONE-ACT PLAYS

The Hand of the Prophet—Children of Granada—The Turtle Dove—This Youth-Gentlemen—The Striker—Murdering Selina

MARGARET SCOTT OLIVER

BOSTON: RICHARD G. BADGER
TORONTO: THE COPP CLARK CO., LIMITED

[2]

Copyright, 1916, by Margaret Scott Oliver

All Rights Reserved

These plays in their printed form are meant for the reading audience only. All rights to perform are fully protected by copyright, and any performance—whether professional or not—can only take place with the written permission of the author.

Made in the USA

The Gorham Press, Boston, USA.

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To

L. S. O.

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[5]

TABLE OF CONTENTS

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THE PROPHET'S HAND

An Arabian Story

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Cast

Scene—Halima's living room.

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The Prophet's Hand

From between the open curtains, two desert men in white outfits, with red sashes and turbans, appear. They have scimitars tucked into their sashes and are smoking very long cigarettes. They bow to each other and walk to opposite sides of the stage, where they stay until the first curtain, then go behind. This happens before and after each segment of the play.

Scene—A room in Halima's home. Music and laughter fill the air, and as the curtain opens, a young slave girl is finishing an energetic dance. Exhausted, she collapses to the floor as applause and cheers erupt, led by the merchant Kodama, who is seated next to his bride, Halima, on a raised platform. The room is filled with slaves, attendants, and family members from both sides. The wedding celebration is in full swing, with everyone dressed in festive attire. Rose petals are scattered on the floor, platters brimming with fruit are positioned at the front and sides of the stage, and two braziers are sending fragrant incense into the air.

Kodama—Your slave dances with the grace of a startled gazelle. Order her again before night falls. I am impressed with her!

Halima—I'm glad you find her attractive, my husband. She knows many enchanting dances that will please you.... But the wedding feast has gone on for four days, my lord, and your relative[12] from the desert has not shown up.

Kodama—The celebration will continue for four more days. There's still time.

Halima—I’m excited for the jewels and the gold fabrics he was supposed to bring. You promised my father—

Kodama—Enough, enough! Are you a child that you have no patience? Before the feast is over, he will arrive. I'm tired of these complaints.

Halima—(Claps hands.) Music for my lord.

(A slave sings. As the song finishes, a slave appears in front of Kodama.)

Slave to Kodama—The young Sheykh Sindibad is present.

(Sindibad enters with some men from his caravan, along with a young slave who is carrying three bundles wrapped in silk cloths. He walks gracefully to the platform.)

Kodama—Sinbad!

(Sindibad and Kodama embrace. Halima playfully covers her face with her veil.)

Sinbad—Please forgive my lateness, cousin, when you see what I've brought. I have found many treasures for your lady, before whom I bow in respect.

(Sindibad kneels and kisses Halima's hand and then his own. His slave boy quickly opens the bundles, and the contents are eagerly examined.)

Kodama—I expected to see you sooner; it’s been four days since the wedding.

Sindbad—I had planned to arrive earlier, but there was this girl.... I've never seen eyes that sparkled like hers, and her lips, the color of pomegranate juice.[13]

Kodama—You were always easily guided by starry eyes.

Halima—(Holding out scarf.) Look, it’s an amazing fabric, with threads of gold and silver.

Sindbad—Your beauty will make its charms a thousand times greater.

Halima—My beauty didn’t make you rush.

Sindbad—I've never seen your face, and there was a girl....

Kodama—There was a young woman. Stop your ranting! (To Halima.) Let your servant dance!

Halima—Dance!

(As the dancer performs, everyone watches intently except for Sindibad, who is focused on Halima.)

Sindbad—Your voice is as calming as the sound of water in the middle of the desert. Let me see your face.

Halima—Check out these fabrics instead.

Sindbad—No, just a moment, while they watch the dancer, reveal yourself, and let me see your face.

Halima—I might not.

Sinbad—It's not forbidden. I am your husband's relative. Let me see your face!

(Halima takes off her veil. Sindibad bows down.)

Sindbad—I will be your slave forever, oh more beautiful than the day at sunrise.

Halima—Get up! They will see you!

Sinbad—And you have married the merchant Kodama! Oh no! Oh no!

Halima—Get up! Get up!

[14]Kodama—Why are you crying out loud? This isn’t the time for that. Are you mourning for the girl from the desert?

Sinbad—Her image has shifted ... like sand on the surface of the desert.

(CURTAIN)

Scene—The same. Kodama and Halima are sitting on the platform as before. Two slave girls are in the room. Kodama's slave enters from the center and stands in front of Kodama.

Slave to Kodama—The merchant from Baghdad is waiting. Should I bring him in to meet you?

Kodama—I'll talk to him in the myrtle court. Keep an eye on my wife and the women. (Exit C.)

(Sindibad enters from the left as a slave comes in from the right. The slave is carrying coffee and reaches Halima just as Sindibad gets closer.)

Sinbad—I toast to your amber eyes.

Halima—You must not.

Sindibad—Send your women away.

Halima—I can't.

Sindbad—Send your women away! I have things to say that they must not hear.

Halima—(To attendants.) Let's go!

Kodama's slave stands still.

Sindbad—(To Slave.) I'm your master's cousin. Go with the women.

(The slave walks slowly out of the room. Halima has gotten up from the dais and sat down on a[15] rug in the center of the room. She is humming playfully and admiring herself in a mirror. Sindibad watches her eagerly for a moment.)

Sindbad—My blood has turned into a raging fire.

Halima—If you come any closer, I’ll call my women back.

Sindbad—Let down your amazing hair. It's a flowing stream of living gold.

Halima—you shouldn't sit so close.

Sinbad—I love you, and I’ll stay until you say, "I love you."

Halima—(Stopping her song.) I am your relative's wife.

Sindbad—By God! You are no one's wife but mine!

Halima—I am just a dream. Stay awake, or the Prophet will strike you!

Sindbad—Oh, beautiful dream, I am crazy for you. Tonight, you will fly with me into the desert.

(Kodama enters C. unnoticed and listens.)

Halima—I am your relative's wife. My father gave me to him.

Sinbad—The fire of youth has faded from his veins. He’s old. You cannot love him.

Kodama—God!

Halima—(Slowly.) I’m his wife. (Exit R.)

(Sindibad begins to follow her, but is stopped by the sound of Kodama entering.)

Kodama—By yourself?

Sindbad—With a dream.

Kodama—The beautiful girl who held up your[16] journey here?

Sindbad—I've totally forgotten her.

Kodama—Your heart is fickle, surely.

Sinbad—I've seen someone even more beautiful.

Kodama—The dancing slave?

Sindbad—Yeah ... even the dancing slave.

Kodama—You shall have her. She is like the little moon when it first rises above the date palms. You shall have her.

Sindbad—Your wife is young... I won't have the dancing slave.

Kodama—What's up!

Sinbad—Your wife is young. Her skin is like pearl, her eyes are like two amber pools where men may—oh fool, oh blind, your wife is young and beautiful. Can't you see?

Kodama—It says: The blind person steers clear of the ditch that the sighted person falls into.

Sinbad—Your heart is a dried grape. Your wife is—

Kodama—My wife! Are you a truthful Arab that she should occupy your mind so? Take the dancing slave and leave.

Sindbad—Your words are like crystal dewdrops trembling on a leaf.

Kodama—You are young—don't tempt me too much.

(Slave enters right away from stage left with a tray holding wine.)

Sindbad—By the Prophet's beard, wine! The Quran prohibits it.

Kodama—It will turn into milk in the throat of the true believer.

Sindibad—You said it.

(Kodama and Sindibad drink and gaze at each other intently.)

Kodama—Your dark angel is always at your left side in the city. It will tempt you into serious trouble. Young cousin, it’s smart for you to go back to your people. Hurry, before misfortune strikes. I will give you valuable gifts for your father. As for you, pick one of the slave girls—

Sindbad—I won't take anything with me—just a dream. (Exit L.)

Kodama—may Allah take him far away.... There will be no coming back.

(CURTAIN)

Scene—The same. A slave is singing. Kodama is sitting on the dais, while Halima walks in slowly and looks at him with concern. It is the next day.

Halima—Your brows are still furrowed. How have I upset you, my husband?

Kodama—Amber pools where men may—what do men see in your eyes?

Halima—I don't know, unless you tell me.

Kodama—And your skin is like pearl, right?

Halima—Should I send the women away, my lord?

Kodama—I don't love you. Let the women and the lights stay.

Halima—I was hoping—

Kodama—You had hoped! Am I so inexperienced that I would faint from your beauty?

Halima—You married me.

[18]Kodama—It was a smart deal with your father, whose hands will help carry my goods into the desert and beyond.

Halima—I thought your relative Sindibad would do that. He’s a child of the desert.

Kodama—I don’t like my relative. He’s a fool and a chatterbox.

Halima—He’s young and attractive, brimming with passion and creativity.

Kodama—Full of lies and betrayal, with sweet words that carry no meaning. But yesterday he was going on about a girl he met in the desert. Today he is obsessed with you—

Halima—For me—?

Kodama—For your dancing slave. Tomorrow he will head to the desert with another nightingale singing beside him. He doesn't know loyalty, but flits from one deceived girl to another.

Halima—You're definitely wronging him.

Kodama—I don't wrong him. We won't talk about him.... Your shimmering hair has covered your ear. Let me tuck it back.

Halima—Oh, Kodama, you’ve never complimented my hair before. Look, it’s like a fountain of living gold!

Kodama—(Quickly.) Who told you that?

Halima—My ... women.

Kodama—What other nice things do they say to boost your ego?

Halima—they say—you don’t love me.

Kodama—Because you are a woman, and beautiful, I love you ... no more ... no less. You are a woman. I've said it!

(Kodama pushes Halima away and walks off[19] quickly. Halima reaches out her hands in a desperate plea towards Kodama's fading figure, and then with a defeated motion, rests her head on the cushions. One of the women grabs her lute and starts singing a sorrowful tune. Sindibad's young slave boy comes in from the left.)

Enslaved Boy—The young Sheykh Sindibad heads out to his father's tent in the desert, and wants to say goodbye to his relative's wife.

Halima—Let him come. (To attendants.) I want to be alone! (Exeunt attendants C.)

(Sindibad enters from the left and looks at Halima's despairing figure for a moment.)

Sindbad—Tonight I return to my people.

Halima—God, the compassionate, the merciful, guide your steps.

Sinbad—And you, white rose, would you like to be free?

Halima—Free!

Sindbad—A sturdy camel is down below, and my crew is waiting.

Halima—I’m scared.

Sindbad—By the hand of the Prophet, it was written that you should love me, and I you.

Halima—His anger—

Sinbad—You are not obligated to him by any law.

Halima—He doesn’t love me, though—

Sindbad—Come to the golden desert, and you will discover the many ways of love.

Halima—He took me to finalize a deal with my father. But you, you will soon grow tired of me. He said you love every woman.

[20]Sindbad—I won’t let you down, as long as I’m alive.

Halima—Oh, eager listeners, don't be so quick for these words of love.

Sindbad—Your body is amazing like a hidden river where the moonlight dances. Rest on my beating heart, oh beloved.

Halima—All of heaven's here.

Sindbad—I drink your lips like wine. (Kisses her. Exit. The stage is empty for a brief moment.)

(The Slave and Kodama rush in from the right.)

Slave to Kodama—This way, my master, they just passed a moment ago, and you can catch them before they reach the court.

Kodama—(Drawing scimitar.) Wait! (Exit C.)

(The slave stands still on stage, and it’s silent. Then Kodama comes back, cleaning his blade. He spits on the floor.)

Kodama—Oh my God!

(Halima enters C. She runs over to Kodama.)

Halima—You killed him!

Kodama—The foolish chatterer, to believe he could take you away from me.

Halima—(Whispering.) You’ve killed him.

Kodama—Go to your women.

Halima—Get him back.

Kodama—Calm.

Halima—Get him back.

Kodama—Peace, peace, I say.

Halima—Oh, Sindibad, my love.

Kodama—Love!

[21]Halima—You snarling camel, have you lost your ears? Age has dried your bones and turned your blood to dust. I want nothing to do with you.

Kodama—(Claps hands. A slave appears on the left.) Bring him here. Go!

(A slave brings in the body of Sindibad and places it on the platform. Halima collapses beside it with a small cry of distress.)

Halima—He was Allah's shadow on earth. You can buy a woman, but you can't keep her. Let me go with him.

Kodama—Oh, amber pools where people might find forgetfulness, near ... near (chokes her.)

(The body falls next to Sindibad's.)

Kodama—God has left no disaster more damaging to man than woman. It was written in the stars. (To Slave.) Bring the women. Let the music play, and let there be dancing.

(Servants and helpers come in, and there's music playing.)

Kodama—(To the body of Sindibad.) Do you hear the music for your wedding feast? You're dead, sweet talker, and gone to the desert of forgotten dreams. You're dead!

(Slave dances. As the dance concludes, Kodama's slave kneels in front of him.)

Slave—Master, you have killed a true believer.

Kodama—I’ve killed—

Slave—By accident, oh master.

Kodama—Are you truly a believer?

Slave—Even as you say.

Kodama—Then I set you free so that the blood compensation is paid! Go on, you're free! (Suddenly and roughly to the musicians.) Smash your lutes!

[22](Music stops.) Let there be mourning! This is a place of grief!

(CURTAIN)

[23]

KIDS OF GRANADA

A Spanish Drama

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[25]

Time—Spain during the rule of Philip III, around 1609.

Location—Alhambra Courtyard in Granada.

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Children of Granada

Scene—The backdrop features mountains in the distance. Along the entire back of the stage is a stone bench against a low wall that overlooks the Valley of the Darro River. The tops of a couple of trees peek above it. At the back right, there’s a small turret with the entrance facing the audience. Entrance at the front right is through a Moorish gateway. Entrance at the left front is from the garden.

Don Rodriguez and Lagrimas are seen sitting together on the bench. The gentle sound of guitars can be heard. Don Rodriguez is staring directly at the audience with his hands together. Lagrimas is gazing over the wall.

Rodriguez—I’m telling you, it would be the easiest thing in the world to capture Hafiz the Moor. I could sneak through the Darro, since the scorching sun drinks up the little river in one go during summer, leaving it as dry as the road to Cordova. No one would notice me until I reached the Mosque, where Hafiz will be busy with his infidel prayers. Hafiz the Moor! The greatest threat to our King in all of Spain, and I’ve figured out a way to capture him with just a handful of men. I think my father will finally see me as a soldier, and you’ll smile at my love, Lagrimas. No girl can resist a victorious soldier.

Tears—Check out the swallows building their nest in the little turret. It must be nesting season.

Rodriguez—Tears!

[28]Tears—Don Rodriguez!

Rodriguez—I've been sharing my plans to take Hafiz the Moor and my love for you, and you respond with some nonsense about swallows and nesting season.

Tears—I can be really wise at times.

Rodriguez—Is it really foolish to listen to my stories of love and courage?

Crying—I've heard you talk a lot about both, Don Rodriguez.

Rodriguez—I'm a fool to think I could ever win you over. You play with my feelings, one minute you're distant, the next minute you're warm. I never know how to handle you.

Tears—Don't take me at all, Don Rodriguez.

(They sit quietly for a moment, Rodriguez feeling hopeless. Finally, Lagrimas glances at him teasingly.)

Tears—There's a gentleman serenading his sweetheart. Listen to the guitar. The music is so calming in the cool evening air. His voice is so rich and smooth! I would find it difficult to reject such a charming suitor. Can't you hear him?

Rodriguez—No way!

Tears—I can hear him clearly. What has blocked your ears?

Rodriguez—My heart is racing.

Tears—A soldier's heart shouldn't beat so loudly.

Rodriguez—Mine does.

Tears—Poor soldier!

Rodriguez—I won't accept your disdain.... When the Moriscoes kill me, you might[29] regret your indifference.

Tears—Little soldier, you were meant to conquer the Moriscoes; and capture Hafiz, the enemy of King Philip.

Rodriguez—I won't conquer anything. Acts of bravery are only possible because a woman smiled.

Tears—I always smile when I'm with you.

Rodriguez—Go ahead and joke. Broken lives don’t matter to a flirt.

Tears—Timid lovers matter less.... Why fight against destiny?

Pedro and Feliciana walked in.

Feliciana—Dance! Dance! I will dance whenever I want.

Pedro—And have just some random guy in the crowd compliment your attractive ankles and sparkling feet. Don't you have any shame?

Feliciana—If my ankles were thick and my feet awkward, I'd be as modest as a nun, keeping them purely for your eyes. Why should I hide them when they're beautiful?

Pedro—They lead men to folly.

Feliciana—Being silly is great.

Pedro—Well, they aren’t as charming as I claimed. I’ve praised them during weak moments, but they’re just mediocre.

Feliciana—Don Rodriguez, I plead with you! You give me plenty of admiring looks when I dance the zambra in the orange grove. Your eyes give you away, now tell me, are they just okay? (Raises skirt.)

Rodriguez—I—well—that is—

Tears—Why aren't you responding? Feliciana's feet are small, but not hidden. Look at[30] them and give your verdict.

Rodriguez—I’m sorry for you, Pedro. I worry that they will often trample your heart, but honestly, they’re not that bad.

Feliciana—Brave Don Rodriguez! I will dance for you to thank you for your bold approval.

(Feliciana dances with castanets, while the others clap their hands to keep time. Before the dance ends, General Don Fernando arrives and looks at the scene with great disapproval.)

General—Is this really how Philip's soldiers defend their country?

Pedro—Everyone needs to chill, General.

Feliciana—Wow! Am I a joke? I thought you took love more seriously, Lieutenant Pedro. Find new ways to entertain yourself during your free time.

(Exit Feliciana—Pedro chases her.)

Pedro—Feliciana, I promise by the stars—

Exit. Wait.

General—Is my son bringing shame upon himself when I'm not around?

Rodriguez—I love Lagrimas, and I've asked her to marry me.

General—Did you ask her?

Rodriguez—I extend my hand, which is where I've placed my heart.

General—Don't you owe me the courtesy of sharing your knowledge? Am I supposed to find out your secret like any outsider?

Rodriguez—I would have told you today.

General—Today is too late. You don't have my permission to get married.

Rodriguez—I’m old enough to know when,[31] and who I’m going to marry.

General—What if the door to my home is shut to you?

Rodriguez—If Lagrimas agrees to marry me, I'll create a home of my own.

General—Fool! Do you really think she would let you slip through her fingers if she wants to marry you?

Tears—I will not marry any son of yours, General Don Fernando de Lerma.

(Exit Tears.)

Rodriguez—Tears!

General—The daughter of a matador!

Rodriguez—My grandfather fought bulls.

General—Your grandfather! The most courageous gentleman of the Spanish court, who rode into the arena on his own horse and challenged the bull in the name of his lady love. Today, her father pushes a miserable horse to its end and fights ... for a handful of silver!

Rodriguez—She may be poor, I'll admit, but nothing scandalous has ever stained her reputation. Why do you oppose?

General—Can you erase your life and the traditions of your ancestry? Will you not grow tired of this girl's family?

Rodriguez—I'm marrying Lagrimas, not her family.

General—Oh, youth's blindness!

Rodriguez—I have heard you say Spain needs to rely on the people for her salvation.

General—Spain needs to focus on her soldiers. Enemies are within the kingdom. Help the King defeat them. Fight, fight, and put love aside.

Rodriguez—I might fight, but I won’t back down[32] Lagrimas.

General—You must decide.

Rodriguez—I’ve made my decision.

General—If you leave me today, you leave forever.

Rodriguez—I'm a man.

General—When you get tired of her, don’t come knocking on my door. Keep your bitterness to yourself, because I want nothing to do with it. (Exit.)

Rodriguez paces back and forth.

Rodriguez—He is tough, he is unfair. But I have stood up to him ... I have stood up to him.

(Lagrimas enters and goes to the bench by the wall.)

Tears—I forgot my fan.

Rodriguez—Are you a fan?

Tears—That's enough, Don Rodriguez. (Starts to leave.)

Rodriguez—Have you found it?

Tears—It doesn't matter. Don't let me stop you from seeing your father.

Rodriguez—Oh, he wounded you with his harsh words.

Crying—No, he was right. I can give you nothing.

Rodriguez—You can give me what I need most, confidence in myself. I’m just pretending to be a soldier, a boy dressed up with a sword at my side and a feather in my hat. Until now, I never questioned his orders, and now I’ve gone against him, I’ve gone against my father.

Tears—Will he forgive you?

Rodriguez—I don't know. Pride in birth, pride in status, pride in power, these are his idols. I've dared to challenge his authority.

Tears—Make him proud of you. Capture Hafiz. He will forgive you then.

Rodriguez—Capture Hafiz? That might be more challenging than it seems.

Tears—Your plan will succeed because it's so bold. I know you can do it. (Slowly.) I believe you are a brave man.

Rodriguez—And you?

Lagrimas—I will be proud too.

Rodriguez—I need your promise. What else can motivate me?

Crying—Your name as a soldier of Spain, your devotion to your father, your loyalty to the holy church.

Rodriguez—Church, country, my father, none of that matters if I don't have you.

Tears—I stand between you and your father.

Rodriguez—Between me and life.

Tears—I won't be the one to blame for separating you. Make amends with your father, battle like a soldier, and move on—

Rodriguez—You?

Lagrimas—Make peace with your father.

Rodriguez—Now I know you do not love me.

Crying—(Slowly.) I do not love you!

(Rodriguez glances at her for a moment, then hurries off.)

Tears—I came for something. (Takes fan from bosom.) My fan? No, no! I don’t love you? Maria, forgive me for the lie!

(CURTAIN)

[34]

The Next Morning

(A group of Moorish prisoners, five men and two women, stands on stage. The men and women are standing a little apart, with the women veiled, and everyone is still. Two Spanish soldiers are stationed at either end of the stage. The call to prayer from the muezzin echoes through the valley. The Moors bow down with their faces to the East and then return to their original positions. There’s a moment of silence, and birds can be heard singing.)

(Pedro walks in and joins the group to check them out.)

Pedro—Hafiz! They caught you! Well, you’re a prize worth capturing, and if I can gauge our General’s mood, your nonbelieving body and soul might be separated before the sun goes down tonight.

(Moors stay quiet. Pedro exits laughing.)

Hafez—What kind of savages are these Christians!

Hassan—What kind of fools are we to be stuck as prisoners.

Hafez—No one could have predicted the deceit of the Spanish Rodriguez, may his forehead be covered in mud!

(Cafour rocks back and forth, moaning.)

Hafez—Soldiers are everywhere. There's no way out, unless we climb over the wall.

Hassan—(Looking over the wall.) We would die.

Carrefour—(To Hafiz.) What have they done to my son?

The boy has died.

Cafour—Death! And you, his father, stand there calmly, knowing he's dead!

Hafez—Don't I have other sons to get revenge for him?

Carrefour—The sons of others, but not my own!

Hassan—The Spanish General—

(The Moors are silent again. The General enters with Pedro.)

General—When were they taken?

Pedro—Last night, General. We tried to reach you, but your house was closed and dark.

General—They said there were eight prisoners. I only see seven.

Pedro—There was a guy who jumped over the wall into the Darro.

General—A courageous guy!

Pedro—We haven't searched for the body.

Cafour—Oh, my kid!

General—Why are these women present?

Pedro—They followed the prisoners. The Lieutenant wouldn’t let them get hurt.

General—Your victorious lieutenant has a soft heart.

Pedro—Tender? He has shown that there is no braver soldier in Spain. Don Rodriguez will be a hero now.

General—(Amazed.) Don Rodriguez!

Pedro—The guys who went with him say he did everything as—(To Cafour.) Back to your place.

General—My kid!

Cafour—I'm speaking!

Pedro—Speak only when addressed. Return to your[36] spot.

Café—I need to talk to him. (Pointing to the General.)

General—Take off your veil.

(Cafour pauses for a moment, then pulls back her veil. The Moors turn away so they won’t see her face.)

General—You are not a Moorish woman.

Cafour—I am Cafour, the Abyssinian, the third wife of Hafiz the Moor.

General—What do you want from me?

Carrefour—I want to know about my son.

General—Your son?

Cafour—He was the one who jumped over there. (Points over the wall.)

Pedro—The boy who refused to be a prisoner.

Kraft—You said "brave." Go down and check if he's alive.

General—He couldn't survive.

Carrefour—He couldn't die. He's young, strong, happy—he couldn't die.

General—If he survives, I will have him shot for attempting to escape.

Cafour—You said "brave," you wouldn’t kill him?

General—As I would eliminate all nonbelievers who oppose Spain and our sacred faith.

Café—I’m not fighting against your country or your God. I’m asking for my son's life. He’s not dead. I know he’s not dead. Maybe he fell into a tree and is just hurt. Send the soldiers down to check.

General—(To Cafour.) Let's go!

[37]Carrefour—Send in the soldiers and watch, Allah will bless your home. He will grant your son his wishes. He will make his children leaders among others.

General—Infidel! I don’t care about your blessing. (To Pedro.) Take her.

Carrefour—Oh, heart that feels no compassion! Just as I have lost my child, you too will lose yours! Allah will ensure it.

General—Take her!

(Cafour is taken out by a soldier.)

General—(To Hafiz.) A boy to win you over! Surely God was snoozing while you prayed in the Mosque, Hafiz!

Hafiz—He won’t sleep forever.

General—You serve a God who deceives. Give up your false Mohammed, your pointless faith—

Hafiz—Is faith so easily changed?

General—Have faith in the church.

Hafez—Is there only one path to Paradise, only one God who shows the way?

General—There is the one true God of the Christians.

Hafez—(Bitterly.) Should I judge the extent of his mercy by yours?

General—Be careful that your words don't bring you harm.

Hafez—I will give it a fair chance.

General—You are too smart to waste your life. A man with your cleverness could be valuable to the King.

Hafez—The King! A weakling whose mind is clouded by the ignorance and prejudice of women[38] and priests. Hafiz hasn't stooped so low as to serve someone like that.

General—The King will give you freedom and safe passage to Africa if you will just hand over the plans of those Moriscos who are leading this uprising.

Hafez—Yeah, sell out to help a sellout, and after I betray my people, be treacherously killed.

General—Philip doesn't forget those who contribute to the well-being of the crown.

Hafez—Am I such a miserable being that I haven’t learned how quickly Kings forget? Haven’t I heard about that Italian who discovered land beyond the furthest oceans and brought Spain more glory than it had ever experienced? Poor traveler, he met a fate of being forgotten and ignored! Your Kings are destroyers, and we who create are afraid of the jackals who tear everything apart.

General—I'm warning you, Hafiz, my patience is running thin.

Hafez—Tolerance! Spain doesn’t know the word. You've expelled the Jews, you've tortured the Christian heretics, and you plan to kill and exile the Moors. But be careful, we are the ones who grow rice and sugar, cotton and silk; how will Spain survive without these?

General—Enough! Calm down your Moorish anger in the dungeon. When you’re fasting and being more careful, you can speak more seriously.

Hafez—Satisfy your righteous anger as the priests and fanatical kings demand. Spain's existence is the cost! Her greatness will leave with the departure of the Moor.

[39]General—Get rid of him.

(The guards march the Moors off the stage.)

Pedro—He has a mean tongue.

General—The honor of Spain is not to be challenged. (To Pedro.) He should not eat until I say so.

(Pedro exits. Rodriguez enters.)

Rodriguez—Father, I tried to see you last night, and your door was closed to me. I only wanted your blessing.

General—I know about your bravery. All of Spain will commend you.

Rodriguez—I want no recognition.

General—You have chosen your path. Is it already painful?

Rodriguez—Can it be anything but bitter when you've turned against me? Am I not one of your own, flesh of your flesh?

General—Why do you come back to me?

Rodriguez—Last night when I faced the Moor, Death was grinning right next to me, and I was scared. Suddenly, I thought of you and my childhood. I forgot everything that success or failure might mean; I fought only to earn your love. My arm became strong, and the grim figure beside me faded, because Love was stronger than Death!

General—Have you given up on this girl?

Rodriguez—(Slowly.) No!

General—(Coldly.) It will be my responsibility to report to the King and request your promotion. You are a brave soldier, and Spain will not hesitate to honor you.

Rodriguez—I don't seek any honor from my fellow countrymen.[40] I only ask for your love.

General—(Sneering.) Are you a soldier or a bard that love is always on your lips?

Rodriguez—I am your son.

General—I'm talking to Lieutenant don Rodriguez de Lerma.

Rodriguez—Your son.

General—(Slowly.) I don't have a son!

(Curtain)

Later the Same Day

(Lagrimas is found leaning way over the wall.)

Tears—Courageous little boy, courageous little boy, the branch of the tree will support you, and then my hand. Come on, steady now, steady....

Tarik—My arm!

Tears—Did I hurt? Easy, little guy. (Tarik climbs over the wall.) Brave little guy—

Lagrimas and Tarik—(Together.) You are an unbeliever!

Tears—I thought you were a Spanish boy.

Tarik—I thought you were my mother. The blood was in my eyes, I couldn't see. Now, I have to throw myself down again.

Tears—Little fool, isn't one encounter with death enough?

Tarik—I'm Tarik, son of Hafiz the Moor and Cafour his wife. I refuse to live as a slave to a Christian.

Tears—I won't eat you, filthy unbeliever! (Shakes Tarik and he nearly faints in her hands.[41] She is overwhelmed with guilt and stops the bleeding from his head.)

Tears—If you don't want to be a slave, why did you come back?

Tarik—There are troops in the valley.

Tears—There are soldiers here, hundreds of them.

Tarik—(Half crying.) I—I wanted my mom.

Tears—(Tenderly.) Little lamb, little lamb.

(General and Pedro walk in, with Feliciana right behind them. Lagrimas tries to sneak away with Tarik, whom she protects with her dress. They make it to the turret.)

Feliciana—Pedro, you are revealed!

Pedro—Quiet!

Feliciana—Revealed, and not even an hour ago you swore—

Pedro—I promised only to make you happy.

General—Is the dancer always by your side?

Pedro—She doesn't dance anymore, General.

Feliciana—I'm not so sure, Pedro. You had your part of the deal. If you mess up, I can't be responsible for my actions.

Pedro—please, Feliciana,—

Feli—Don’t try to silence me, a deal is a deal. I promised to cover my feet, only if you would cover your face. Where is the veil I gave you?

Pedro—Why do you have to embarrass me in front of the General?

Feliciana—(Searching through Pedro's coat and[42] pulling out a veil.) Here, put this on.

General—Why are you veiled, Pedro?

Pedro—I never intended to wear it. It's just a thing of hers because I criticized her dancing.

Feliciana—You must learn not to break hearts. Handsome men are dangerous to be wandering through the land these days. It would be better to cover them all up than to let young women's hopes get shattered.

General—Who will give in to Pedro?

Feliciana—There are women among the Moorish prisoners. Pedro will show off his charming looks to them every day. It would be wrong if they fell for a Christian, and suffered from unrequited love.

Pedro—(Contemptuously.) Muslims!

Feliciana—In the city, Señora Jacinta is already missing him, and Lagrimas, the bullfighter's daughter, will burn her wings at the altar of his beauty.

Lagrimas!

Pedro—Damn my attractive face!

Feliciana—No, Pedro, you can show it to me occasionally, and I'll let you sneak a little peek at my ankles. It will refresh our modesty.

(General steps back to the side of the stage.)

Pedro—Tsh! It's all your invention to make me pay for scolding you. Those stories about helpless maidens are untrue. You know Señora Jacinta is only ten years old, and Lagrimas has given her heart ... to someone else.

Feli—Jacinta will grow up, and Lagrimas is free. She needs to be kept safe from your subtle charms.

[43]Pedro—Lagrimas isn't free. She has a boyfriend who is crazy about her.

Feliciana—The lover has been rejected, Lagrimas wants nothing to do with him.

General—(Aside.) Holy Mary, my son!

Feliciana—Now, I won't let you cause chaos. You need to hide your beauty behind a veil, or you’ll end up discarded, and the city will mock you too.

(General stands up in quiet anger and paces back and forth.)

Pedro—(To Feliciana.) Lagrimas' partner is—

Feliciana—I get it!

Pedro—This conversation! The General's ego!

Feliciana—It’s time he realized that people don’t lay in the road just to keep his arrogant feet clean.

(Rodriguez enters. Lagrimas tries to sneak away with Tarik again—but the General catches them.)

General—Who's there?

Pedro—(Stops them.) Santa Maria, what a miracle!

General—Who is this guy?

Pedro—It's the boy who was killed!

Rodriguez—Dead?

Pedro—The woman's son who jumped over the wall. He must have died. It's a miracle.

General—Hold him! (To Lagrimas.) You, what are you doing here?

Tears—I came to help the boy. I saw him[44] struggling up the face of the wall. He's hurt; let me take care of him.

General—(Sternly.) He’s a prisoner.

Tears—Surely you don’t fight against children, as well as women? Let me take care of him.

General—Lieutenant Don Rodriguez, will you explain that our King considers it a crime against the holy church to help or protect the infidels?

Rodriguez—My word won't matter much.

General—Love should make your tongue expressive.

Rodriguez—(To Lagrimas.) Don’t worry about the kid, let Pedro handle him.

Tears—(Bitterly.) Has success drained your brave heart, soldier?

Rodriguez—Won't you understand? Interference could mean death.

Tears—It's better for my body to perish than my soul. (To General.) Is there no compassion in you? Does your desire for power reach even infants?

General—He is pleading for your safety.

Tears—I don’t need his pleas.

General—Is this how you show your love for Don Rodriguez?

Tears—I haven’t said that I love Don Rodriguez.

General—Have you not promised to marry him?

Tears—No, no, no!

Rodriguez—I can't force her to love or marry me.

General—No power! The man who captured Hafiz the Moor, having no power with a woman!

A woman is complicated.

General—Don't you know, people in the streets are saying she disrespects you and makes fun of you for being a pathetic lover?

Rodriguez—They'll talk anyway.

General—Where is your pride? Are you going to let them make fun of you?

Rodriguez—What do I have to do with pride?

General—If you want to be my son, marry her right away. Marry her, I say! Ignore Don Rodriguez, that schemer! It’s unacceptable.

(Log out.)

Feliciana—Your father must be a huge burden, Don Rodriguez.

Rodriguez—He's not always easy to get.

Feliciana—You’re not handling him properly. Bring his Castilian nose closer to the ground. There are good smells he’s missing.

Pedro—(Shocked.) Feliciana!

Feliciana—Pedro, I'm going to dance, I feel it in me. Toss your veil aside. Beauty should never be concealed.

(Pedro throws the veil over the wall.)

Pedro—Feliciana!

Pedro and Feliciana exit laughing.

Tears—(Shyly.) The little guy is hurt.

Rodriguez—He's faint. Let me grab some wine.

Tarik—(Sobbing.) I won't drink wine. It's not allowed.... I miss my mom.... She'll make me feel better.... I want my mom.

(Lagrimas and Rodriguez catch him as he[46] faints.)

Tears—Look, his eyes are open again.

Tarik—I’m doing fine. Let me be by myself.

Rodriguez—You are a brave guy despite your brown skin.

(Soldier enters.)

Trooper—The General says the boy prisoner can go with his mother.

(Tarik looks at Lagrimas, then bends down and kisses the hem of her dress.)

Tarik—God will bless you and your little kids. It's been written. (Exit with soldier.)

(Lagrimas and Don Rodriguez sit just like they did in the opening scene.)

Tears—It's just like it was last night.

Rodriguez—(Quietly.) But I’ve got Hafiz.

Tears—And you mention neither your bravery nor your—

Rodriguez—I am gaining wisdom.

Tears—Having too much wisdom will turn you into a monk.

Rodriguez—(After a pause.) I believe the stars will shine tonight.

Lagrimas—(Piqued.) Oh, do you?

Rodriguez—The air feels a bit chilly.

Tears—Maria, beloved, the weather is always a factor.

Rodriguez—What else should I talk about?

Tears—Of you and—oh anything!

(Silence. Guitars play softly in the valley.)

Lagrimas—Do you hear the guitars?

Rodriguez—Nope.

[47]Crying—I can hear them clearly. The man is a constant suitor; she will give in to him soon.... What has blocked your ears?

Rodriguez—My heart is racing.

Tears—A soldier's heart—(stops suddenly.)

Rodriguez—Have you lost something?

Tears—It doesn't matter. I don't want it back.

(Stares at his coat until he starts to fidget.)

Rodriguez—Why are you staring? Is my coat—?

Tears—What I lost is now deep in your heart. I saw it.

Rodriguez—(Confused.) I—oh—what’s going on?

Tears—My heart, so beautifully foolish, my heart!

Rodriguez—(Holding her close.) Tears!

(CURTAIN)

[48]

[49]

THE TURTLE DOVE

A Chinese Drama

[50]

[51]

Cast

[52]

[53]

The Turtle Dove

The play is performed in a Chinese style, without any elaborate stage settings. The backdrop is painted to look like a willow plate. A chorus is positioned on the left side of the stage throughout the performance to narrate the story, introduce the characters as they appear, and thank the audience for their support. The Property Man, dressed in black, stays at the back of the stage. At designated times, he hands the necessary props to the characters from a small box next to him. When he’s not busy with stage duties, he passes the time reading a Chinese newspaper or smoking a pipe or cigarette.

Everyone in the play is wearing blue and white costumes to create a striking visual. The Gong-Bearer can wear royal yellow, and the Chorus is in emerald green.

The curtain is slightly open, and the gong player steps out, striking the gong three times slowly and then ten times quickly. He then walks to the right side of the stage and remains there for the rest of the play. The chorus appears between the parted curtains, raises his left hand while the gong player strikes once, and then speaks to the audience in a very smooth manner.

Chorus—Most honored friends, I present three bows to Heaven, Earth, and Humanity, (bows ceremoniously to right, left, and center) and make myself known to your esteemed presence so you can understand the meaning of our humble play. The story explores[54] the timeless love of youth for a maiden, the sudden shift from a father's anger to forgiveness, and the unchanging nature of Fate.

Our hero, Chang-sut-yen, (Chang-sut-yen steps out from behind the curtains, bows to the right, left, and center, then disappears behind the curtains) will present himself as a servant, but in reality, he is the son of Chang-won-yin, the Great, the ruler of this province of Canton. (Gong-bearer strikes the gong.) The God of Fate decided that he should be recognized as a turtle dove, and that his image would forever be displayed on the shiny surface of a Willow plate. To avoid this disastrous fate in his noble life, Chang-sut-yen has run away from his father's home and taken up service with a wealthy and powerful Mandarin, hoping that his lowly position will help him escape the God’s gaze. However, as we mentioned, Fate is unchangeable; what the God intends will always come to pass, no matter how hard a mere mortal tries.

You will see the Mandarin, (Mandarin appears, bows, and disappears) rich, proud, and majestic, with eyes for everything that could increase his power, but completely blind to virtue and worth in the humble.

Kwen-lin, his daughter (Kwen-lin appears, bows, and retires) is driven solely by love; this is often a risky approach, but in this tale, it’s one that seeks your understanding. Don’t be too hard on her, as she is guided by her heart. Keep in mind that she is a woman. Women can be forgiven for much.

(The Property Man appears, bows, and looks questioningly at the Chorus, who hesitates for a moment, and[55] then, as if completing a rather unpleasant task, continues.) I wish I could overlook the Property Man. He created a version of this poetic story, including all the harsh realities, while completely ignoring any of the more beautiful moments. As artists, we can't take that into account. (Property Man shrugs slightly and leaves the stage.) The Property Man isn’t open-minded enough to accept our well-rounded and fair perspective. He is completely indifferent to the brilliant work of his successful competitor and will likely pout through his responsibilities. To spare you from being bothered by his presence, we have cloaked him invisibly in black, so you won't have to see him at all.

I’m afraid I’ve kept you all too long from the feast that’s been prepared for your enjoyment. If my brothers behind the curtain don’t deliver the dramatic talent you rightfully expect, I ask that you be understanding and listen with open minds and watch with forgiving eyes. I’ll take you now to the moonlit garden of the wealthy Mandarin, where Chang-sut-yen is hanging around, hoping to meet the Mandarin’s beautiful daughter, Kwen-lin, who smiles at him. Isn’t it true that women often tend to fall for the one they can’t have?

I bow to you for your attentive and honorable ears. I bow. I bow. (Gong-bearer strikes the gong. The chorus walks to the left of the stage, and the curtains are pulled apart, revealing Chang-sut-yen standing before the backdrop.)

Chang-sut-yen—(Singing.) Bor lo un doy, bor lo un doy, chin lo, chin lo, bor lo un doy. Kwen-lin will know that song. It means nothing, so it’s full of meaning, and my Bright Water-lily will understand. (Singing.) Bor lo un doy, bor lo un doy, chin lo, chin lo, bor lo un doy. She will come, dancing like sun rays on the flowers in my mind, and I will press my honorable lips to hers, and our solemn breaths will mix. Though I seem just a servant, I am Chang-sut-yen, son of Chang-won-yin, the Great, ruler of this province. (Gong-bearer strikes gong.) I am also the most glorious lover the Gods have ever made. My soul was shaped from the wind of Heaven and the purple fire of the mountain peak. My remarkable body is the sturdy tree to which maidens will always sigh their shy love.

Chorus—It’s the Mandarin walking this way.

Chang-sut-yen—(Singing.) Bor lo un doy, bor lo un doy, chin lo, chin lo, bor lo un doy,—who's coming? Oh no, not Kwen-lin the fragrant, but my master. He's going to be furious that I'm hanging out in the garden. I need to use my clever words to confuse him, so he doesn’t realize I’m waiting for her. I’ll put aside my better judgment and just speak without thinking. I’ll be completely carefree and silly. (Singing.) Bor lo un doy, bor lo un doy, chin lo, chin lo, bor lo un doy.

Enter Mandarin.

Mandarin Chinese—The night is really cold. If the God of Frost sinks his sharp teeth into my fruit trees, they will die. Brr, it's freezing!

Chang-sut-yen—(Holding Mandarin in his arms.) On August first, the white moon lady sleeps in the chamber of Heaven, while I wait for you to[57] illuminate the path of my dreams.

Mandarin—Ancestors, help me!

Chang-sut-yen—We will offer heartfelt prayers to the tablets of our impressively worthy ancestors after we embrace. Let me gather you close and keep you near my heart, before your beautiful bloom starts to fade.

Mandarin Chinese—(Recognizing him.) Poor three-legged dog, which girl did you think to welcome?

Chang-sut-yen—I hold only your delicate feet close to my heart, dear Cherry Blossom.

Mandarin—I am not a Cherry Blossom.

Chang-sut-yen—You are all the Cherry Blossoms in the Garden of Earth, releasing fragrance and petals with every gentle breeze.

Mandarin Chinese—I reveal only the light of Truth and Justice.

Chang-sut-yen—My heart breaks with love for you and your work. At night, when sleep takes over the minds of other servants, I go out to admire your beautiful possessions again. Your peach trees bow before me, and I can hardly see. I ask to serve you until Death stitches a dark seam in my mind and I join my ancestors.

Mandarin Chinese—You’ve lost your mind. I give you until tomorrow to offer gifts to the gods. Go get some sleep, and don’t think about my things, but instead focus on your respected poverty. Your esteemed mind isn’t big enough for Death to bother with. Thread is valuable. Get out of here, and take a break.

Chang-sut-yen—May your golden fingernails grow, and grow, and grow, until they hold all the wealth and honor. (Singing.) Bor lo un doy, bor[58] lo un doy, chin lo, chin lo, bor lo un doy.

(Chang exits, singing.)

Mandarin Chinese—He’s a loyal dog, who only needs a little nudge to lick my hand. I’ve given him too many jobs. He’s lost his toad-like mindset. I don’t like a person who sings while they work. Life doesn’t set it up that way.

Chorus—Kwen-lin, Bright Water-Lily, arrives to meet her partner.

(Enter Kwen-lin, singing. The Property Man hands her a branch of blossoms.)

Kwen-lin—(Singing.) Give me a day, give me a day, take this, take this, give me a day.

Mandarin Chinese—The crazy one said that. (Turns back and sings.) Bor lo un doy, bor lo un doy, chin lo,—

Kwen-lin—(Clasping him.) Best lover! The joyful winds dance when your voice plays like a lute.

Mandarin Chinese—My ears are being attacked! The world around me is falling apart and spinning all around.

Kwen-lin—Noble father! I thought it was my—

Mandarin—Your Name?

Kwen-lin—My songbird.

Mandarin Chinese—A Cherry Blossom and a singing bird! A prestigious choice for a man of importance.

Kwen-lin—You sound just like a singing bird.

Mandarin Chinese—Something has snapped in their minds. Spring has tangled up their thoughts. It has to be Spring!

[59]Kwen-lin—It's Spring, and before long it will be amazing Summer, then Fall, then Winter. The year has passed so quickly! Just like that, and a miserable life has withered away.

Mandarin Chinese—Before this respected year slips away like that, you will be a distinguished wife.

Kwen-lin—A wife! Me, a wife?

Mandarin Chinese—For seventeen years, your caregivers and teachers have refined you into a decent version of excellence. You are quite impressive for a silly little girl. You’re somewhat of a big deal.

Kwan Lin—But to which remarkable man will I be showcasing my charms?

Mandarin Chinese—(Looking at an invisible garden.) This late frost will definitely take away the treasures in my garden. The servant Chang needs to cover the iris. I can rely on Chang.

Kwen-lin—Are you marrying me to Chang-sut-yen?

Mandarin Chinese—Do I hand my five-year-old, who has so many delightful qualities, over to a servant? I was talking about my garden.

Kwen-lin—If I'm going to get married, let's talk about husbands.

Mandarin Chinese—Ah, many men have tried to win your hand, but I have redirected their attention, until the extraordinary one should ask.

Kwen-lin—Who do I ask?

Mandarin Chinese—To the greatest of all! To be amazed, to be adored, to be surrounded by every high-end luxury.

Kwen-lin—(Impatiently.) Who should I talk to?

Mandarin Chinese—The alliance will bring me respect and status, along with adding to my already substantial wealth. We won’t, as a matter of principle, show that we are impressed. We will be confident, we will be arrogant, and we will negotiate wisely when the rich Ta-yin of Canton wants to marry you.

Kwenlin—The Ta-yin of Canton! I refuse to marry the Ta-yin of Canton!

Mandarin Chinese—What strange words are coming from your lips? Is my daughter putting her bug-like thoughts against mine?

Kwen-lin—I will not marry the Ta-yin of Canton. He's ugly, he's confident, he's as yellow as—

Mandarin—Gold!

Kwen-lin—He trembles when he walks—

Mandarin—He’s a—

Kwen-lin—A hundred years old! My heart would break with sadness if I were to marry him.

Mandarin Chinese—I've never heard of a woman dying from heartbreak over the idea of becoming a bride.

Kwen-lin—Brrr!

Mandarin—(Jumping.) What was that about?

Kwen-lin—My heart is breaking. Death is reaching for me.

Mandarin Chinese—(Tiredly.) Leave us, Death. Take her if you have to, but only after she’s married. The rich Ta-yin can handle the sad costs better.

Kwen-lin—I'm dying now, dying, dying. It’s really great! (Lies down. Property Man places a blue cushion under her head.) I’m nearly dead!

Mandarin Chinese—You can't die like this. It's utterly ridiculous, not to mention unattractive.

Kwen-lin—Don't worry, my death will be[61] beautifully magnificent. I’ve rehearsed it many times, and I know.

Mandarin—Wake up, fox spirit!

Kwen-lin—(Sitting up.) Respect my solemn departure from life. My heart will no longer beat. (Lies down.) I am dead!

Mandarin Chinese—(Prodding her with foot.) Get up, come on, get up! I need to carry her! (Stoops, and puts arms under Kwen-lin.) Oh, I wish I had the strong muscles of my youthful arms. We've fed her too well. She weighs a lot. (Stands up, and claps hands. Chang-sut-yen enters.)

Chang-sut-yen—My calm mind comes to you, great master.

Mandarin Chinese—Sleep should be collecting the pieces of your calm mind, but it is what it is. My daughter's noble body has chosen to search for its distinguished ancestors—

Chang-sut-yen—(Kneeling beside Kwen-lin.) Kwen-lin is dead, dead! Then let the lady moon drop from the high skies of Heaven and turn my life into ashes of wistaria!

Mandarin Chinese—Your deep sorrow for my loss makes you a servant, but don’t let your eyes fill with tears. Carry her to the house. She will be punished severely! (Kwen-lin shudders.) The majestic wasp is shaken by that?

Chang-sut-yen—(Bending over Kwen-lin, and looking into her wide open eyes.) It was a final gasp, exalted one.

Mandarin—Can you lift her up?

Chang-sut-yen—I lift a Cherry Blossom with greater effort.

[62]Mandarin—Don't talk about Cherry Blossoms. Just pick her up. (Chang begins to lift Kwen-lin.) No, wait, that's not a good idea. How should we do this?

Chang-sut-yen—(Smartly.) I can protect the crystal vase of her departed soul while you go get help.

Mandarin—It hadn't sunk in yet. I went to get some help.

(Log out of Mandarin.)

Kwen-lin—(Sitting up.) Amazing partner!

Chang-sut-yen—(Hurriedly.) Gracefully step back into the world of the respected dead, beloved one, your esteemed father is looking this way.

Kwen-lin—(Lying down.) Are your eyes producing pearls because I’m with my ancestors?

Chang-sut-yen—The love butterflies are fluttering in the joyful corners of my heart. My breath will drown me in happiness.

Kwinlin—(Sitting up.) Joy, when is my father planning to marry me off to the Ta-yin of Canton?

Chang-sut-yen—Great joy, because before that can happen, my father will have the Ta-yin executed.

Kwen-lin—An orphan lacks a father.

Chang-sut-yen—I have a heavenly father who takes care of the necessary yet unpleasant tasks now and then. I believe he will get rid of the wealthy Ta-yin if I ask him.

Kwen-lin—It must be a great convenience. We'll make a list of all those incredibly annoying people we can't stand, and have your heavenly father take care of them.

Chang-sut-yen—We’ll think about it, Bright[63] Water-lily, when we’re not feeling peacefully happy.

Kwen-lin—I really hate the thought of being whipped alive! My teeth chatter when I think about it, and I just can't feel happy.

Chang-sut-yen—A simple whip to get your attention! No, my lips will bring you to life. (Kisses her.) I am incredibly skilled in the magic of kissing. (Kisses her again.)

Kwenlin—Let’s soar on our amazing legs and get married with the six ceremonies before my dad comes back. I love that magic in your lips. It makes me want to sing here.

(Kwen-lin touches her heart. She and Chang-sut-yen exit. The Property Man looks around the stage slowly, checks the property box, then casually walks off.)

(CURTAIN)

Chorus—I submit.

(Chorus exits the stage, followed by the Gong-bearer.)

Scene 2

(The Chorus appears again in front of the closed curtains and raises his left hand, while the Gong-bearer, who has returned to his original position on the right side of the stage, strikes the Gong once.)

Chorus—Many fragrant months have gone by since Chang-sut-yen married Kwen-lin, and each one has added a white hibiscus blossom to the garland of life. But now bitter winter has arrived, snow covers the paeony hill, and evil forces are at work. The Mandarin, filled with endless rage, has spent the months searching throughout the Empire to discover[64] their hideout. Now that he knows where it is, he is chasing Chang-sut-yen with a deadly whip, which he will use with terrible consequences. It is the will of the esteemed author that the villain behaves in a thoroughly unpleasant way, to highlight the tenderness of the play. Our lovers, unaware that this is a comedy (and thus must end with smiles and celebration), are consumed with fear. I ask you not to share this fear, except to the extent that it may make the enjoyment of the happy ending even more delightful and satisfying.

I bow to you and take you to the home of Chang-sut-yen and his wife, Kwen-lin.

(The gong-bearer hits the gong. The chorus moves to their spot on the left side of the stage. The curtains pull back, revealing Chang-sut-yen and Kwen-lin. The Property Man stands at the back of the stage, just like before.)

Kwen-lin—Is my esteemed father still making his way down the road? Take a quick look out the door, brave one, and just let one eye show so that the brightness of both doesn’t shine out like stars and attract his attention.

Chang-sut-yen—(Looking out of an imagined doorway.) I don’t see his angry form.

Kwen-lin—I won't confront him here. Let's step outside and sit under the eaves of the pagoda. He might not notice we're gone and leave without ruining this temple of our romantic dreams.

(Property Man opens an invisible door, they go down two steps and sit down, and Property Man shuts the door.)

Chang-sut-yen—Little hummingbird, your[65] heart wings beat wildly against my serious chest.

Kwenlin—His fiery breath will drain our life. Feel how it burns through the dark night. He is coming to destroy us, he is coming to destroy us! I am afraid of his terrifying wrath.

Chang-sut-yen—No, don't be afraid, for I, your lover, hold you close in my heart.

Chorus—The Mandarin is here.

Kwen-lin—(Sadly.) The wine cup is empty, and the love songs have all stopped.

(Enter Mandarin.)

Mandarin Chinese—Thief and destroyer at your core, I've finally discovered the place where you’re hiding!

Chang-sut-yen—A lover only cares about what feeds his love. If he takes or ruins anything, what does it matter? Love comes first.

Mandarin Chinese—My words ignite a fire in your venomous soul. Return to your ancestors; they’re calling you.

Kwen-lin—Let’s get away across the bridge!

(Property Man holds a bamboo stick horizontally for the bridge.)

Chang-sut-yen—Why should we run?

Kwen-lin—Why should we die? To the bridge! We’ll get away from him.

They rush onto the bridge.

Chang-sut-yen—(Grasping bamboo.) The bridge shakes. Its beams are decayed. We are going to fall into the water.

Kwen-lin—(Off stage.) I'm falling, I'm drowning!

Chang-sut-yen—Bright Water-lily, resting on the surface of the water.

Mandarin Chinese—I bring your star down from the sky.

[66]Chang-sut-yen—My star fell to Earth when her light went out.

(Property Man hands the whip to the Mandarin.)

Mandarin Chinese—I strike with my powerful whip. By the God of Fate, you will die!

(Strikes Chang with a whip. Chang collapses. The gong-bearer hits the gong. The God of Fate, wearing a bizarre mask, enters.)

Destiny—Who is calling me to the world of humans?

Mandarin—What hidden fear are you?

Destiny—I am the God of Fate.

Mandarin Chinese—I've sent a dog to its death. (Bends down and takes a small red bag from Chang's chest.)

Destiny—Chang-sut-yen is mine! He can't die.

Mandarin Chinese—My excited mind can't grasp your meaning.

Destiny—(Leaning over Chang and placing the red bag down.) Chang-sut-yen, son of Chang-won-yin, the Great, I return your heart! (Gong-bearer hits the gong.)

Mandarin Chinese—Chang-sut-yen, son of Heaven! I bow down to the ground three times. (Bows deeply.)

Destiny—(To Chang.) Get up, and carry on with your remarkable life.

Chang-sut-yen—(Rising.) I'm lost in confusion until I find her. Just let me go.

Destiny—The gods haven't finished writing your life story yet. You need to live, to exist on a Willow plate.

Chang-sut-yen—And be crushed by the relentless force of Time and the harshness of Chance. (Property Man hands knife to Chang.) With this cold blade, I sever the circle of life, and press my lips to[67] the jade cup of emptiness. I am a lover lost without my partner.

Destiny—You have to live! (Touches Chang's arm with the staff. The knife drops to the ground. Property Man picks it up and puts it back in the property box.)

Chang-sut-yen—Kwen-lin, I'm jumping across the Heavenly river to be with you!

Destiny—She is not dead. She dreams and smiles on the surface of the water.

(To Kwen-lin.) Wake up! Wake up!

(Kwen-lin walks in and approaches Chang.)

Destiny—Your esteemed father, Chang-won-yin, has passed away. You are Chang-sut-yen, the Great, leader of this province.

Gong-bearer hits the gong.

Chang-sut-yen—I give up my reign. I’m a lover, not a leader.

Destiny—You are a turtle dove. (To Mandarin.) Go back to your home and prepare a grand feast. Chang-sut-yen will honor your house. He is in charge.

Chang-sut-yen—I don’t rule. I’m a lover.

Kwen-lin—Exalted one, a lover is a turtle dove.

Destiny—Sometimes, women are granted the insight to see the truth. In this way, Fate is realized, and Chang-sut-yen, the turtle dove, will thrive on a Willow plate.

Gong-bearer hits the gong twice.

(CURTAIN)

Chorus—For your attentive ears, for your bright eyes, for your happy faces, I bow, I bow, I bow.

(Chorus followed by the Gong-bearer goes behind the curtains.)

[68]

[69]

THIS KID—GENTLEMEN!

A Fantasy

[70]

[71]

Cast

[72]

[73]

This Youth—Gentlemen!

Scene I—A narrow lane steeply rising up the hillside. In the distance, a lake sparkles in the sunlight. As the curtain rises, the BOY is seen sitting on a large boulder. He curiously observes the approaching MAN.

Man—The road is slim.

Boy—(Curtly.) I like it that way.

Man—I have followed you from the valley.

Boy—(Stepping aside.) I'll go with you up the hill.

Man—(Smiling.) I can wait here.

Boy—I might have some fun. (He throws a stone across the water and laughs as it hits the surface.)

Person—(Sharply.) Now! You've disturbed the frogs and the hidden green things!

Kid—A ripple on the water! It's the smile that quickly lights up my lady's face when I tell.... A little ripple—it hints at spring and youth to the hidden green things. I'm glad I threw the stone!

Man—Youth! A boastful term used by fools and poets who haven't experienced life.

Guy—Young person! A powerful word, the charm for those who are in search of the promised land!

Man—(Slowly.) I long for the world of the past!

Kid—We left it ... yesterday. Your path is back in the valley.

[74]Man—I have a map in my heart, showing the spot where yesterday is. This path takes me there.

Dude—It takes you to the land of opportunity.

Guy—I have a map in my heart....

Guy—Your map is wrong! I'm leaving; you can come if you want.

Guy—What will you, who haven't lived, do when we arrive in the world of yesterday?

Dude—Let me show you my promised land.

Man—Then hurry!

Guy—Don't worry. I'm quick on my feet.

Scene II—A ledge between a deep canyon and the mountain. Night.

Person—Hey, buddy, let’s take a break here.

Kid—(Laughing.) This is the end of the world.

Man—Please don't sit too close, I ask you.

Kid—I'll swing my legs over the edge of the cliff and watch the devil's shadow fade away.

Man—(Lying wearily on the ground.) To drift like a feather from the wing of a soaring eagle—to lie unnoticed and forgotten among the dead leaves of the forest.

Boy—Come see the shadow.

Man—I can feel it deep in my heart.

Kid—The devil created that chart you brag about!

Person—And kept it hidden in my heart.

Dude—It has stolen your peace.

Person—Peace! To hear that name on everyone's lips, to look and look and never find where it resides.

[75]Kid—They say: Whoever chases, will never catch up!

Guy—(To himself.) Desires fade, ideals are overlooked, love fades away. The blanket of eternal snow covers everyone; what can escape?

Boy—Kid!

Man—Who knows not life.

Dude—Do you have to go through something to understand it?... Can't I just feel?

Guy—During all the time we've spent together, what have you felt for me?

Boy—You planted wisely, but didn’t know how to reap. You talk about lost ideals—

Man—I’m not sure I ever really had them.

Dude—Is it work or fun, love or living, your dream from yesterday?

Man—Yesterday! Did it even exist?

Dude—It died the night it was born and disappeared into rose smoke, creating incense for the gods who once ruled.

Man—Who told you this?

Boy—My lady—in the evening.

Man—Is she your girl?

Guy—She sent me to find the promised land. She will come when I’m there. My heart is strong, and I can wait for her.

Man—My heart was once strong and full of passion; it no longer beats like a man's, but instead marks the thoughtless ticking of the dull days.

Boy—Then sit with me, be a kid, and laugh at the shadow. That way, faith can come back.

Man—The day is dawning.

Boy—(Playfully.) Oh no, the shadow's gone,[76] and you haven’t noticed! Look over there at the little stream, it jumps like a white flame down the grey old rocks.

They look over the edge of the cliff together.

Man—I'm sensing the earth.

Kid—I want to climb the mountain. Who knows what treasures might be up there?

Man—(Slowly.) I recognize the place— the one above.

Dude—Have you been there?

Man—No... I dreamed about reaching it once, but I lost my way.

They’re climbing together.

Dude—Why are you laughing?

Man—My blood has turned to fire. I can feel it burning inside me.

Dude—The morning sun is in your veins. I know.... What do you see?

Man—(Whispering.) Your dream destination!

Boy—That's not true! My promised land is more beautiful than anything anyone can imagine!

Man—This is more beautiful.

Boy—I would recognize it if this were the one.

Man—This is the land I’m talking about. Laugh with me and shout. The devil’s shadow is gone. I’ve found this place and found myself.

Boy—Not at all! The location is farther away and higher up. I'm not satisfied with this!

Man—Come with me, young one, to the top!

Dude—(Eagerly.) I’ll climb with you.... I’ll climb ... to the top!

(CURTAIN)

[77]

THE STRIKER

[78]

[79]

Cast

[80]

[81]

The Striker

Scene—A dining room in a working-class home. Simple but very tidy and clean. Door L leads to the kitchen. Door R leads to the front door. Mrs. Quinn is sitting at the center table mending socks and chatting with her neighbor, Mrs. Martin.

Mrs. Martin—(Dropping a few coins into a purse and snapping it shut.) Seven weeks, and not a single cent has come in. I don’t know how we’ll make ends meet if this keeps up much longer.

Ms. Quinn—A strike is a harsh thing, Mrs. Martin, and no one knows how it will turn out.

Ms. Martin—Why can’t they just talk it out? It looks to me like if the motormen and conductors sent a committee to the company, they could reach an agreement.

Ms. Quinn—But the company doesn't support the Union, and a group of men would either be a Union committee or nothing.

Mrs. Martin—I say, let them settle it themselves, let them settle it themselves.

Ms. Quinn—It's a nice-sounding word, "arbitrate," but no one wants to do it, except for those who aren't really interested. A guy throws a punch first and negotiates later—in the police court.

Mrs. Martin—Men are strange beings. There's my Bill, a more devoted man never existed, if I do say so myself, and yet he's as resentful as can be towards the group.

Ms. Quinn—Religion doesn't always eliminate bitterness—[82]

Ms. Martin—This morning I woke up before five o'clock, and he wasn't in bed. I went downstairs to see what had happened and found him sneaking in the back gate like a burglar. God knows what he was doing outside at that hour. Probably up to no good, I bet.

Ms. Quinn—Yeah, it was trouble, and my husband was involved too. I found out from John when he came back. They had gone out before dawn, prying up trolley tracks with a crowbar.

Ms. Martin—What a disaster it would have been if they had been caught.

Mrs. Quinn—That’s what would have happened, they would have ended up locked up, such a nice pair of old fools!

Mrs. Martin—It must be really frustrating to have strikebreakers come in and operate the cars while the workers are standing firm for what they believe in.

Ms. Quinn—A principle is a good excuse every now and then for a group of guys to fight behind.

Ms. Martin—But this is a principle worth standing up for.

Mrs. Quinn—Maybe it is.

Mrs. Martin—I really wish you would come to the lectures at the Lyceum with me. You’d get a better grasp of things. I really miss your Molly. We heard so many amazing speakers, and she picked up their ideas so quickly; it was just fantastic to be around her.

Mrs. Quinn—Well, you know, she'd tell me all about them when she got home. I remember that first guy who talked about the importance of humility and self-sacrifice. Molly was so full of selflessness after hearing him that she almost gave her job to[83] Jennie Tubbs, thinking she needed the money more than we did.

Ms. Martin—That was Professor William Mason. He had a great character.

Ms. Quinn—Yeah, but he didn't stick around. Then we had the one who was all about morals. We were really on edge back then! After him, we took a class on sanitation, healthy food, and how to feed a family of six on $4.00 a week. Oh, those last ones were amazing stories. The meals that woman could whip up from an old ham bone! It was hard to believe.

Mrs. Martin—I tried a few of her recipes, but Bill wouldn’t eat what I made. He said he wasn’t a horse yet.

Ms. Quinn—Oh, she was a real jokester, I think, added to the group to lighten everyone’s mood a bit. Lectures are an easy way to pick up bits of knowledge, but I don't think they've done either of you any lasting harm that I can see.

Ms. Martin—I heard the union representative speak this afternoon. The guys really got fired up listening to him. He informed them of their rights, and I’ll be surprised if they don't cause some serious damage to the Company’s property before this is over.

Ms. Quinn—The union rep's a clever guy, from what I hear.

Mrs. Martin—He's clever enough to get paid for his work.

Ms. Quinn—So, he gets paid for starting strikes, right?

Ms. Martin—He travels all over the country[84] telling guys when to go on strike and what they should be striking for. He gets paid for it.

Ms. Quinn—But the men don’t get paid for striking.

Mrs. Martin—That's a ridiculous idea, Mrs. Quinn.

Mrs. Quinn—You can take it for what it’s worth. Molly used to say I had more ideas than a dog has fleas, but I think she was just buttering me up with nonsense.

Mrs. Martin—Well, I think the walking delegate is right. The men need to settle this once and for all.

Ms. Quinn—It’s probably going to be the end for us, right, right.

Ms. Martin—(Unconsciously mimicking the delegate.) The war needs to be fought not just for us, but for our kids as well.

Ms. Quinn—Our kids! This trolley thing shouldn’t feel like a task to be passed down.

Ms. Martin—He says our kids will avoid a struggle for their rights if we win now.

Ms. Quinn—Well, darling, our kids will have their own ideas about rights and conflicts by the time they’re grown. They can handle their own problems when things get too heated.

Mrs. Martin—But the honorable choice is to think about those who will come after us.

Mrs. Quinn—Maybe that's true, dear Mrs. Martin, but I'm focused on the man of today. The better we do, the better our kids will be.

Ms. Martin—The union representative says that's a really selfish way to see it.

[85]Ms. Quinn—The delegate who gives speeches has the right words ready.

Silence.

Mrs. Martin—Have you heard from Molly recently?

Ms. Quinn—Poor dear, I got a letter from her this morning. She's coming home.

Mrs. Martin—Does Mr. Quinn know?

Mrs. Quinn—I’ll talk to him tonight.

Ms. Martin—He's quite a stubborn guy.

Mrs. Quinn—I'll take him over, don't worry.

Ms. Martin—I think you're an amazing woman, the way you handle him, Mrs. Quinn.

Ms. Quinn—Sure it's just my knowledge of that, keeps me going. When I lose my self-esteem, I'll be fit for no place but—Heaven.

Ms. Martin—(Listens, with finger raised.) Shh! That's Bill slamming the back gate. I'm going to put the kettle on. A hot cup of tea always helps to smooth out his rough edges.

Ms. Quinn—Tea is such an uplifting drink. It works wonders for my husband when he's in a bad mood.

Mrs. Martin—(Going to the door on the left, then hesitating.) I'm not really a religious person, Mrs. Quinn, and I haven't heard you talk much about it, but I think now that everything else has failed and the strike seems no closer to ending, we might as well take it to God in prayer. Like Bill says, we've tried every other option.

Ms. Quinn—(Slowly.) Well, I guess God’s used to being last on the list, so I’ll join you in your prayers, Mrs. Martin. Good night to you.

[86](Exit through Mrs. Martin's door L.)

(Mrs. Quinn lowers the blind and tidies up the room. There's a loud knock on the front door. She exits room R. and comes back with the evening paper. She glances out the window again, lifting the blind just a bit, then sits at the table and opens the paper.)

Ms. Quinn—(Reads—then.) Nothing but strike, strike, strike, wherever you look. A few cents an hour more, a few hours a week less, what a small thing to fight for, and yet they won't get it, they won't get it.

(Quinn walks in the left door. Hangs their hat and coat on the rack by the kitchen door. Sits in a chair beside the table, looking noticeably anxious.)

Quinn—(After a pause, during which they both sneak quick looks at each other.) So?

Ms. Quinn—I see you're back home again. What's going on?

Quinn—Nothing.

Ms. Quinn—(Sarcastically.) Well, that's a great way for a guy to support his wife, quitting his decent job as a motorman and just wandering around the streets.

Quinn—(Moodily.) Nice work,—damn!

Ms. Quinn—I don't see how you'll pay for shoes if you don't get some money soon.

Quinn—We'll be fine. The Union won't let us fail over a dollar or two.

Ms. Quinn—I don't like living on the Union.

Quinn—We aren't beggars yet.

Ms. Quinn—We're almost there, God knows.

[87](Grabs the paper and reads it again. A pause.)

Quinn—(Annoyed.) Can you stop crinkling that paper?

(Mrs. Quinn takes a casual look at him and continues reading calmly. It's the kind of calm that can irritate someone who's already on edge.)

Quinn—(Springing up.) Stop that ridiculous noise! You’d think a guy could have some peace in his own home. I've been walking the streets all day, my legs and head so tired I feel like I could collapse, and when I finally get home at night, there's a racket loud enough to wake the dead ringing in my ears.

Ms. Quinn—Your blood might be Irish, John Quinn, but your nerves are American.... I've never seen such a changed man in my life. It's bad enough to have you walk out on strike—

Quinn—Look, I didn't walk out on strike, and you know it. I would still be working if the Union hadn’t told us to stop until we got our rights.

Mrs. Quinn—You’ll be stuck forever before you get what you deserve, I think.

Quinn—Maybe, maybe not.

Silence again.

Ms. Quinn—(Putting down paper.) I heard the walking delegate talked about the strike at a fancy dinner at the Hotel Hoffman last night. You know, he doesn’t seem to be missing out on anything. Mrs. Martin says he makes a huge salary for organizing strikes all over the country. No wonder he's serious about his job.

Quinn—Someone has to lead the guys.

Ms. Quinn—I doubt he would get very far if[88] his pay stopped.

Quinn—(Shortly.) Aw, don't be dumb.

(Silence again. Quinn shifts uncomfortably in his chair.)

Ms. Quinn—What’s on your mind? Can’t you sit still?

Quinn—What should I be thinking about?

Ms. Quinn—I haven't lived with you for twenty-five years without knowing when you've done something you're ashamed of.

Quinn—I haven't done anything I'm ashamed of.

Mrs. Quinn—Spill it.

Quinn—(After a brief pause.) I walked downtown tonight to check out the sights. Bill Martin came with me.

Mrs. Quinn—(Happy to learn through Quinn's indirect way of sharing information.) Were the streets busy?

Quinn—There's nothing like what we have up here.... Do you know they have the State Police on the Avenue now?

Ms. Quinn—I saw them this morning. They're big, hulking brutes, charging into groups of women and children as if they were breaking the law.

Quinn—It's making the guys really angry.

Ms. Quinn—If the guys are smart, they'll keep their distance and avoid causing any trouble, or they'll end up with smashed heads for their efforts.

Quinn—Well, we can throw down, too.

Ms. Quinn—And get thrown in jail for it.

Quinn—Am I in jail?

Ms. Quinn—(Quickly.) Whose head have[89] you smashed, John?

Quinn—Tonight, while we were at the corner of Fourth and Marion, a trolley passed by with passengers on board, a woman and two men.

Mrs. Quinn—John, you didn't—

Quinn—The filthy scab who drove the car must have come from New York with that last group of strike breakers.

Mrs. Quinn—What did you do?

Quinn—(Defiantly.) I grabbed a brick and threw it through the window. Maybe the company can starve us, but we'll show the public that it's really unsafe to ride in those cars while we're being starved.

Mrs. Quinn—Did you get injured?

Quinn—Well, I guess I hurt the woman's arm, if you want to know. She screamed so loud you could hear it from a mile away and fell over. Then I took off running.

Ms. Quinn—(In a rage.) You fool, have you completely lost your mind? You'll get caught and locked up for this.

Quinn—(Relieved that he has shared the story.) Not much.

Ms. Quinn—Your temper is going to get you in trouble one of these days, my man. I guess that's what you call seeing red? Losing your cool! God will grab you by the collar when you're not paying attention and shake that nasty temper right out of you. You'll have to face the consequences for it, sooner or later.

Quinn—Aw, stop talking nonsense and get me a cup of tea.

Ms. Quinn—Tea! I'm thinking about putting a pink[90] bean in it, and making you choke before the gallows get you, you rogue.

(There's a knock at the front door. Mrs. Quinn exits to the right and comes back with the Martins.)

Quinn—Hey Martin, what's up?

Martin—Have you seen the papers?

Quinn—Nah.

Martin—They already have it in them.

Quinn—What's inside them?

Martin—Listen, (reads) "Just at dusk this evening, a group of strikers attacked a westbound car at Fourth and Marion Streets, causing significant damage to the car and its passengers. The only female passenger was seriously injured in her right hand and arm and was taken to Lester Hospital, where"—

Quinn—(Interrupting.) Do they know who did it?

Martin—(Reads.) "No information about the man has been discovered, but the Chief of Police"—

Quinn—(Briefly.) Come on, Martin. They’ll never catch the guy who did it, unless you spill the beans. I’d like to break the arms of everyone who runs or rides in the cars until we win our battle.

Martin—(Somberly.) Maybe the only way is to cause a bit of trouble, break a few bones, show them we've got some fight in us ... and yet it is written if someone strikes you on the right cheek—

Mrs. Quinn—Didn’t we plan this time to maintain the trust of the people?

Quinn—We've been at this for seven weeks, and it hasn't gotten us anywhere.

[91]Mrs. Martin—I think we've tried just about everything except for prayer. Maybe we should put more effort into praying about it.

Quinn—(Slowly.) Do you say a prayer over it?

Martin—(Shyly.) If we could all come together on this. I know it’s tough to discuss religion with the guys; they all have different views. It takes some guts for a guy to openly say he's a Christian, but I'm ready to do it. Just think—if all the men, women, and kids prayed for a resolution, it would make a difference to the Lord.

Ms. Martin—(Eagerly.) He'd definitely respond, I know it. I once heard a minister say that if we ask for anything with all our hearts and souls, the Lord wouldn’t turn us down.

Mrs. Quinn—What a mess that would be!

Quinn—Well, I don't have much use for prayers when there's a fight happening—but if you—

Ms. Quinn—You know, I had a crazy kind of dream the other night.

Quinn—(Impatiently.) Listen, lady, with your dreams!

Ms. Quinn—(Unfazed.) I dreamed I was having a nice, easy conversation with God, and he said to me, "Mary Ann Quinn, I want you to sit up here with me in Heaven at my right hand. For sure," he said, kindly, "you've never bothered me with requests since you became an adult." "Well, God," I replied, "I've been so busy taking care of my husband John and my daughter Molly that my mind has been quite occupied, and I’m sorry for not coming to you[92] more often." "Oh, Mary Ann," he said, "can’t you see I like it? I'm really tired of having to take responsibility for all the mistakes of my countless Christian children. They go along in their stubborn ways doing what they want to do, right or wrong, and when they get into trouble, they come running to me with their prayers and pleas for help, when a little use of their own wits, decency, and common sense would have kept them out of trouble in the first place."

"Oh, God," I start, but he smiles at me and says, "Get up on my right side, and keep that smile on your face, Mary Ann Quinn, while I take care of my regular customers."

Quinn—(Shocked.) I can't change the fact that you have such unrefined views, but I won't let you speak them out loud.

Martin—(Puzzled.) That was a really strange dream to have.

Mrs. Martin—It definitely was.

Ms. Quinn—The meaning is pretty clear, I think. But, that’s not getting to the point, is it?

(Exit to kitchen left.)

Quinn—Martin, I can't speak for your prayers, but for me, I'm in this fight until the end, and no man or devil will make me give up an inch.

Martin—Then I’m with you, Quinn. (To Mrs. Martin, who approaches him with concern.) No, Bessie, it’s no use. We can pray after we’ve won.

(Molly walks in through the right door. She’s wearing a hat and coat, and she has a muff.)

Mrs. Martin—Molly!

(Molly doesn't respond, but stands and looks[93] at Quinn.)

Martin—(Taking Mrs. Martin by the arm and heading to the door on the right.) I assume you'd prefer to be alone with her.

(Martins exits through door R.)

Molly—Dad.

Quinn gets up and looks at her, but doesn't say anything.

Molly—Dad.

Quinn—(Slowly.) Two years ago when you married that damn fiddler, I told you never to come back here again.

Molly—Dad.

Quinn—(Firmly.) I meant it before, and I mean it now. Leave!

Molly—Will you let me talk to you?

Quinn—There's nothing you can say to me. I gave you your choice of us long ago, and you chose him. Stick with him now; I don't want you.

Ms. Quinn—(Enters door L with tea items.) Molly, my sweet little Molly.

Molly—Mom!

Ms. Quinn—(Ignoring Quinn.) Sit down now, and I'll make you a cup of tea.

Quinn—She won't sit down in this house.

Ms. Quinn—(She easily does it, though her heart is racing.) Will she? Here, take off your hat and coat, and drink this while it's hot. I'll get another cup for your dad.

(Exit to kitchen. Molly stays standing and faces her father. She doesn’t try to take off her wraps.)

Molly—Will you let me come back to you and[94] mom? Will you forgive me?

Quinn—(Slowly.) Why are you so eager to be back?

Molly—I need you and Mom, I'm all alone right now.

Quinn—(Quickly.) Alone? He's left you, hasn't he?

(Molly, unable to explain her tears, nods her head.)

Quinn—So what I told you about him was true? He wasn't a decent guy to marry a good girl!

Molly—Dad, please don't say that!

(Mrs. Quinn enters.)

Quinn—(Getting angrier.) The nice guy has dumped Molly. All his grand romantic gestures ended after two years, though God knows I didn't think it would last that long. (To Molly.) Why didn't you have the sense not to be fooled by him? Didn't I tell you he was a jerk and a fraud? Cast aside for another woman, I bet! Left you, left you—

Ms. Quinn—You clumsy idiot, the boy died last Tuesday.

Quinn—(Desperately.) She died? I—I thought—(to Molly.) Sit down—drink the tea.... Is—is there an egg for her?

Ms. Quinn—There are no eggs here. The hens are on strike with the trolley workers. Let me help you take off your coat, Molly. What’s happened to your arm? What’s that bandage on your arm for?

Molly—You remember, I mentioned it in my last letter, Mom—

[95]Quinn—(Sourly.) So you've been writing, have you?

Ms. Quinn—Do you think a mother will just let her only child fade away from her heart and life?

Molly—(Pleading.) Mom, Dad!

Quinn—(Not very kindly.) Aw, just forget it.

Molly—(Sitting at the back of the table, Quinn and Mrs. Quinn on either side.) After I sorted everything out following his death, I intended to return to my old job. I went to the office and spoke with Mr. Bowen, and he said the position was still available for me.

Ms. Quinn—(Admiringly.) I can see why he's happy to have you back. There aren't many stenographers as smart as you are, Molly.

Quinn—Quiet down, Mom, and let the girl speak.

Molly—I knew that if I could work and bring in a decent paycheck, dad could manage to stay out on strike until the men had won.

Quinn—Molly!

Molly—I actually planned for that father, I really did plan for that, and now—

Ms. Quinn—Well, keep going, keep going.

Molly—Tonight at the Lester Hospital when they treated my arm, the doctor said I couldn't use it for a month.

Ms. Quinn—What happened to it? How did you hurt it?

Molly—I messed up, and I think I deserve what happened to me, but I was exhausted and the walk here feels like it goes on forever. I took a car from the ferry, everything was fine until we reached Fourth and [96] Marion Streets—

Quinn—(Startled.) Fourth and Marion!

Molly—There was a group of strikers there, and one of them threw a brick at the car, hitting my arm at the elbow. It really hurt, I think.

Quinn—Oh my God!

Molly—(Misunderstanding his emotion.) I'm not going to rely on you, dad. I know you and mom are already struggling as it is.

Mrs. Quinn—What's ours is yours now. You’ll stay here with us.

Quinn—(Dazed.) I wonder if I can get a job at Newton's? They were looking for workers last week.

Molly—Dad, he ... left insurance, and we can use that until you start again, or until I can go back to the office.

Quinn—I think going on strike is a mistake. Tomorrow, I'll head to the barn and take my car out, even if the guys get mad at me for it.

Ms. Quinn—(Quickly, and unconsciously copying Mrs. Martin's impression of the walking delegate.) You won't do that. The strike continues until it’s resolved. You're fighting for a principle, and you won’t give in until you succeed. This isn't just a battle for us; it's for our children. They'll be spared a struggle for their rights if we succeed now. We'll take on the company the way that walking delegate suggests. (As she realizes she's repeating the quoted delegate.) The walking delegate? Well, he's fine, we'll follow his lead, and we’ll win.