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F{ANDLING OF'.t'HI,t A(It'tN( I I{t( ; I l' l's ( )t r M tiM I}tiRs' t)r .Ay.s

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YOUNGAI.[DUNAFRAID

U"SARAHTREEM

DRAMATISTSPLAY SERVICE

\(HEN \7E \flERE YOUNG AND T,INAI;I{AII)Copyright @ 2015, Sarah'liccrrr

()riginal Song "MaryAnne" @ 2014, Sanrh'licctrr :rrrtl l)atch Darragh

All Rights l{t.scrvctl

(IAUTION: Professionals and amatcurs urc hcrcby warned that performance ofr*/HEN\fE \XT,RE YOUNG AND UNAITRAII) is sLrbjcct to payme;r of a royalry. It is firllyprotected under the copyright hws ,l'thc Unitcd states ofi\merica, and ofall countriescovered by the Inrernational (iopyrighr Union (including the Dominion of canada andthe rest of the British com,ro,wc.rlrh), and of all counrriis covered bv the Pan-AmericanCopyr-ight Convenrion, the Univcrsal Copyright Convention, the Berne Convention,and ofall counrries with which the United Stites has reciprocal copyright relations. Allrights, including without limitation professional/a-rt"..irt"g. rights,-motion picture,recitation, lecturing, public reading, radio broadcasting, television, video oi soundrecording, all other forms ofmechanital, electronic and digital reproduction, transmissionand distribution, such as CD, DVD, the Internet, private and file-sharing networks,inFormation.storage and rerieval sysrems, photocoplng, and the rights oitranslationin-to foreign languages are strictly reserved. Pirdculai emphasis is place-d upon the matterof readings, permission for which mtrst be secured From ihe Authort agent in writing.

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SPECIAL NOTEAnyone receiving permission to produce WHEN WE \flEltE YOUNG AND LTNAFRAIDis required to give cred-it to_the Author as sole and exclusive Author ofthe play on the titlepage of all prggrary distributed in connecion with performances of *re play and in allinstances in which the title o[the Play appears, including printed or digital materials foradvertising, publicizing or otherwise exploiting the Play ar-rdlor a productin thereof please

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Be advised that there may be additional credits required in all programs and promotionalmaterial. such language will be listed under the 'Additional Bi[ing' section oiproductionlicenses. [t is the licensee's responsibiliry to ensure any and all required billingis includedin the requisire places, per rhi rerms oirhe license.

SPECIAL NOTE ON SONGThe original sonS'.lt{q1Ann9," -ritten by SarahTieem and Patch Darragh, is requiredfor performance. A PDF of sheet music is available through the Play Seivice ani willbe provided to liccnsees upon receipt of complete p"y-.it of the ioyalty fee for theP1ay. A. nominal fee ro cover item handling will be charged for the pDF at the playservicet discretion. Such fees will be includid on the license invoice and must be paidin full prior to receipt of the PDF. Per copyright law, no copying or distributing oi thesong is pe_rmissible, and permission to perform the song is only granted for useln live-stage performances o[\ffHEN \7E \flERE YOUNG AND UNAFRAID.

W'HEN \KT, \[ERE YOUNG AND UNAFRAID was originallyproduced by Manhattan Theatre Club (Lynne Meadow, Artistic

bir..tor; Barry Grove, Executive Producer) in New York Ciry at

Ciry Center Siage I, on May 21, 2014.It was directed by- Pam

MatKi.rrron; the-set design was by Scott Pask; the costume design

was byJessica Pabst; the lighting design was by Russell H. Champa;

the oiiginal music and sound disign was by Broken Chord; and the

production stage managet was Roy Harris. The cast was as follows:

AGNES CherrYJones

PENNY ...... Morgan SaYlor

MARYANNE...'........'... """ ZoeKazanPAUL Patch Darragh

HANNAH . Cherise Boothe

CHARACTERS

AGNES: early fifties, proprietress of the bed and breakfast.

PENNY teenager, Agnest daughter.

MARY ANNE: mid-rwenries, runaway.

PAUL: mid-thirties, songwrirer.

HANNAH: early thirties, rraveler.

PLACE

The kitchen of a bed and breakfast on \X/hidbey Island, offthecoast of \Tashington State. Near Seattle.

TIME

r972.

"Tbere is a special place in hellfor taomen wlto don't help other

u)omen."

-Madeleine Albright

ffiis;l4- i',i5ii**ti:..-.,

srHEN \Ur/E \Ur/ERE

YOUNGAI\D UNAFRAID

ACT ONE

Scene I

A farmhouse kitchen. Spacious and cluttered. A large, rusticwooden table in the centen A wooden coantertz?, stools in

font. Behind., a refiigerator oaen, stoue-to? -

nothing is new.

All old, ?rdcticdlb uintage-looking. And hardy. Cast-iron potshangfiom the ceiling. Stacks and stacks of cookbookl A well-used, well-loued space.

A narrow staircase, aPstage, leads into the upper regions ofthe house.

A sliding door, downstage, leads t0 the dining room and

fiont entrance.

Penny sits at the kitcben table, reading by candlelight. Footsteps

down the stairs. Agnes aPPears. Sleepy. She looks at Penny,confused. Penny loohs up and smiles briefly, then goes bach toher book. Agnes turns on the lights.

PENNY. HeylAGNES. You'll ruin your eyes.

PENNY. I don't care.

AGNES. '$Vhy are you up? It's 5:30.

PENNY. I need to finish this before English.

\t ,l ll ', \,rrr'rr.sirrt.t'tr. Yor-r neccl to sleep.l'l Illl\ I.,1, 1,r.\( ,l ll'\ Nor . rr.rrrgh. You were still up when I went ro bed.l'l l.l N \ . I lr:rvc :r chemistry resr today.,\( ;N 1,..\. I lrrrvc a half-mind to call that school. I think they're givingr,( ) nruL I) lr<lmework.l'l ,N NY. 'lhat reminds me, I need my birth certificate.At iNtiS. Why?l'}UNNY. For driver's ed. To ger my license.ACNES. 'What does that have to do with your biology test?PENNY. I don't know. (Goes back to her reading.)ACNES. I thought you had decided nor to rake driver's ed.PENNY. I never said that.ACNES. You said everyone who drives a car is expediting theapocalypse by destroying rhe ozone.PENNY. I'm going ro need a car ar Yale.ACNES. Yale?PENNY. I talked ro someone who goes there and he says everyonehas a car.

AGNES. And who's going to pay for this potential car?PENNY. I'll get a job this summer.AGNES. \7ho was this person that you talked to? .Who do youknow who goes to Yale? (Penny doesn't answer.) Penny?PENNY. Agnes, I only have rwo hours to finish this and I have,like, a hundred pages, so ...AGNES. Alright, alright. (Sbe moues into the hitchen.) Coffee?PENNY. Please. (Agnes sets a cffie percolator on the stoue to boil.Sbe stops for a moment and loohs at Penny, who is completely absorbedagain in her book. Her face is full of longing.)AGNES. 'What are you reading?PENNY. (Not loobing up.) Mrs. Dalloway.AGNES. That's one of my favorites.PENNY. Yes, you've menrioned thar on occasion.AGNES. Have you gorren to my favorite part?PENNY. I don't know, Agnes. lVhat's your favorite part?AGNES. Irs that part about the taxicabs? Have you gotten there?PENNY. She talks a lot about taxis in this book.ACNES. Can I see it? (Penny looks up at Agnes, incredulously.)Q"igklyl Please? I just want to find you my favorite part. (She hildsher hand outfor the boob. Penny passes it ouer. Agnes ihumbs through

tltc pages, quickly.) Oh thankyou. Here it is. I found it. (Reading.)"She would not say of anyone in the world now that they were thisor that. She felt very young; at the same time unspeakably aged.

SIie sliced like a knife through everything; at the same time was

outside, looking on. She had a perpetual sense, as she watched thetaxicabs, of being out, out, far out to sea and alone; she always hadtl-re feeling that it was very, very dangerous to live even one day."(Agnes looks at Penny, hopefully )PENNY. It's pretty. (Agnes hands the book back to Penny and tahes

out the ingredienxfor mffins. For a moment, they both worh silently.)AGNES. I don't think Yale accepts women.PENNY. Yes they do. They went co-ed four years ago.

AGNES. It's awfully far away.PENNY. \7e live on an island. Everything is far away.AGNES. \X/hat about one of the schools in Seattle?

PENNY. Do you even know where my birth certificate is?

AGNES. Of course I do.PENNY. Really?AGNES. I think so.

PENNY. I need it by next week.AGNES. I'll find k. (Penny goes back to r€ading. Agnes tahes anotherlongmoment to look at her. Tltis time Penny looks up and catches Agnes.)

PENNY. \Vhy are you looking at me?

AGNES. I'm your mother. (She returns to her mffins.)PENNY. Are we full tonight?AGNES. \7e sure are.

PENNY. Am I sleeping with you?AGNES. Oh. No, we're not that full. (The percolator boils ouer.

She pours coffee for herself and Penry.) | ran into Mrs. Cleary at themarket. She asked me who was taking you to the prom. I told herI didn't know.PENNY. I'm not going to the prom.AGNES. Okay.PENNY. I can't think of anything more bourgeois.AGNES. You're probably ight. (Beat.) Remember that green dress

you liked so much. The one I wore to my high school graduation?PENNY. No.AGNES. Remember? It was raw silk. Cut on the bias? It used tohang in the back of my closet.PENNY. V4rere is it now?

AGNES. I p:r, li,'.I it rrway, years ago. It's up in the attic.PIiINNY. ( )li;ry.A( ;N l',S I ,.rrrltl tlke it down and hem it for you, if you'd like. Itrv,,rrl,l 1,,,,1. slrurrit.tg on you, with all your hair.l'l' N N\'. Wc'r'c supposed to wear white to graduation.r\t iN LS. I l<now. I thought you might like it for something else.

l'l NNY. Likewhat? (Beat.)A( iNlrS. Prom.l'l.N NY. I just told you

-ACNES. If nobody has asked you yet, why don't you ask somebody?PENNY. \7hy do you want me to go so badly?AGNES. I don't care if you go.PENNY. Good. Because I'm not going.AGNES. I just don't want you to miss it, that's all. I missed myown prom. I always regretted it.PENNY. That's because you grew up in a time where womenmeasured their self-worth by their desirabiliry. I am, happily, freeof that patriarchal oppression and do not need to attend some sortof bastardized summer solstice ritual, where I am paraded aroundlike a sheep, in order to absolve myself for having a vagina. Is thatokay with you, Agnes?AGNES. It's fine with me, Penny. (Beat.) But perhaps I'll hemthe dress anyway,just in case you change your mind. (She beats thebatter.) You know who I like? Of all the boys in your class?

PENNY. Ned Torrey.AGNES. Yes! How did you know?PENNY. Because you keep telling me how much you like Ned Torrey.AGNES. I just think he seems smart as a whip, that one.PENNY. Yes, well, he thinks so too.AGNES. I think he joined the paper just so he could spend moretime with you.PENNY. He joined the paper because he likes to see his namein print.AGNES. If I was going to go to your prom, that's who I wouldwant to go with.PENNY. \Why don't you ask him?AGNES. Very funny. I'm sure he's already spoken for.PENNY. I doubt it. He's an arrogant blowhard and nobody likeshim. (Agnes spoons the mffins into the tin, Silence, Penny worhs.)Doyou know Tommy Butler?

AGNES. No, who's that?

PENNY. He's in my chemistry class. He's on the football team.

AGNES. Oh.I']ENNY. He's driven me home a couple of times.

AGNES. I thought you've been riding your bike to and from school.

PENNY. I have. But sometimes he gives me a lift'AGNES. I don't see why he needs to do that. It's only a few miles

and you have a perfectly good bike.PENNY. Sometimes it's raining.AGNES. So you'll get a little wet. It's good for you. (Therei a

gentle chime sound. Subtle. You could miss it. But Penfl and Agnes

don't. Tbey feeze. And wait. And then come four sofi hnochs, Penny

looks at Agnes.)PENNY. Again? So soon?

AGNES. Go change your sheets. (Penny nods and goes. Agnes puxa "Closed" sign on the door. She sets the deadbob and shuts the blinds,

Tben she tahes out afashlight, turns offthe llghx, pulk up a ru$ oPens

a trdP dlor in the floor, and descends.)

Scene 2

Agnes and Mary Anne are seated in the kitchen, talking by

candlellght. Mary Anne is both exbausted artd wired. Sbe's

tap?ing a Penn! ouer and luer agairu against tbe tabletop.

She's got a swollen ey and a sPlit li?.

AGNES. Are you on something?MARYANNE. Ma'am?AGNES. Drugs?MARY ANNE. No ma'am.AGNES. That's just neryes then? (She indicates the penny. MaryAnne didn't know she was doing it.)MARY ANNE. Oh my God.AGNES. It's alright.MARYANNE. I didn't realize I q,'x5

-AGNES. It's alright.

10 1l

lrli\l(\' ANNl1. \Wlrlt if someone heard me?

A( ;N L,\. 'l lrcy clidn't.MAITY ANNt1. Somebody in the house, I mean.A( ;N lrS. 'l hcy can't hear. Not when the door's closed. These wallsrr(' rlricl<. (Mary Anne looks at the door, suspiciously.) So you're not()n iury clrr-rgs then?MAI{Y ANNE. No ma'am.A(lNES. \X/ould you like some Tylenol? For the -?

(She indicatesMary Anne's bruises,)

MARY ANNE. No ma'am. I want to feel this. (Agnes nods. Sheunderstands.)AGNES. How about just an ice pack then? So you don't bruisetoo bad?

MARYANNE. (Nods.) Thank you. (Agnes gett out dn icepackfomthe freezer and hands it to Mary Anne.)AGNES. Can I see? (Mary Anne reluctantly allows Agnes to examineher q,e and lip.) That needs stitches.MARYANNE. No, ma'am. I'll be fine.AGNES. No you won't. That will scar.

MARYANNE. That's alright. I don't mind.AGNES. Of course you mind. You've got such a pretty face.

MARYANNE. Yes, mdam. Thankyou, ma'am. (Tiies to smile.) Ow.AGNES. Don't smile.MARYANNE. Yes, ma'am.AGNES. \7e can't let a face like that scar.

MARYANNE. It's alright.AGNES. It's not alright by me. (Mary Anne starts to ?anic. She gets

up offher stool.)MARY ANNE. I'11 go then. Thank you for the -

(She bands tbeice pack bacb to Agnu.) Should I leave the way I came or -AGNES. The ferry has already left. \Mhat are you planning to do?

Swim back?

MARYANNE. I can't go to a hospital.AGNES. MaryAnne, look at me. Do I look like an idiot to you?MARYANNE. No.AGNES. Then why would I take you to the hospital?MARYANNE. But you said, p2'2ry1-AGNES. Call meAgnes or I will strangle yow (Beat.) I'm sorry, thatwas a poor choice of words. (Mary Anne smiles again, desphe herself)MARYANNE. Ow.

t2

-

r3

A(;NES. Put that ice back on your face' (Mary Anne does.)Now,I need to ask you a few questions, alright? (Mary Anne nods.) I betyou'd be more comfortable if you sat. (Mary Anne sits, The luen

tirner dings. Mary Anne jumps up.) It was the ouen. (Agnes tabes the

steaming hot mffins out of the ouen.)MARYANNE. Is that cardamom?AGNES. (Surprised.) Yes. Pumpkin cardamom. For tomorrowrnorning. They're usually a guest favorite, though once I had a lady

who wai expecting and she couldn't standthe sn'tellof them. \7ouldyou like something to drink? (She pulls a soda can out of her fridge.)Ginger ale? I have a straw.MARYANNE. Do you have anywhiskey?AGNES. (Sighs.) Everyone always wants whiskey. (She puts tbe soda

can bacb and pulls out a bottle of whiskey ftom insidr her cabinet. She

pours some for Mary Anne, wbo grabs it and gulps it down. Agnes takes

out a notebook and operus to a fesh page. Writing.) Okay, on to my

questions. MaryAnne -? (Looks up.)Vhat's your last name, dear?

MARYANNE. \Why are you writing it down?AGNES. It's my record book.MARYANNE. Why do you need to keep records?

AGNES. In case any'thing happens to you.MARY ANNE. 'W/hat good's that book gonna do if somethinghappens to me?

AGNES. It wont do you any good at all. It may, however, make

me feel better. (MaryAnne doesnT respond.) This is howwe do things

around here, darling. You dont like it, you don't have to stay. (Beat.)

MARYANNE. Rainer. MaryAnne Rainer.AGNES. Is that your maiden name?

MARYANNE. Yes.

AGNES. That's a very pretty name.

MARYANNE. Thankyou.AGNES. And how old are you, MaryAnne?MARYANNE. Twenry-five.AGNES. Any children? (Beat.)

MARYANNE. No. (Agnes loohs at her beenly.)

AGNES. You want to think about that some more?

MARYANNE. No, ma'am - (Agnes hold.sup herpeninfrusnation.)

Agnes. No, Agnes.AGNES. How long have you been married?MARYANNE. Sixyears.

ACNF,S. \Wlr:rt's Itis tr.urr, r' (lir',r/.)MAITY ANNI l,,lrr,A(;NLS f ,,lrrr rllr,rr'' 1i| l,tt'y.lttttr, locsn'treply)If youweretogoout1i,r .r rv.rll,. ,rrr,l ,1r.,.r1,1,,..rr, rvlr,rse house should I send the police ro?l\lr\li\ ,\l'.ll'..l I I l, ,lotsrr'r l<nowI'm herc. (Starts breathinghard.)ll, ,1,,,,.rr'r Lrr,n, rvlrt.r.c. L am. (Beat.) He probably

- (Beat.)He

l'r,,1'.rl'lr\( ,l'!l \. 1(.'lotittg the boob.) It's alright. Dear, it's alright. Look,

| 'rrr

l,rrrirrs rlrc book away, okay? \Me'll do this later. \fe can do allol tlris l:rtcr'.i\l Al{Y ANNE. He probably hasn't even noticed that I'm gone.1.\/tt is heauing.)ACINES. Probably not.MARYANNE. He was drunk. He was so drunk

-AGNES. I'm sure he was, dear.MARY ANNE. 'i7hen he gets drunk like that, he doesn't knowwhat he's doing.ACNES. He knows what he's doing, lrtrt that's alright. Breathe,sweetheart. Just breathe. (Mary Anne keeps breathing heauily, tryingto calm herself Penny creeps into tlta room. Agnes sees her and siakisher heatl. Penny disappears.) Why don't I tell you a little about whatwe do here?

MARY ANNF.. (Weahly.) W e?

AGNES. Yes, me and my daughter, Penny. You'll meet her. She'ssixteen. She helps me our quite a bit with the girls. You'll be stayingin hs1 lssrn

-MARYANNE. Oh nol I don't want ro put her oLrt -AGNES. It's fine. She's used to it. She'll stay with me.

MARY ANNE. I can just stay down there in the basement.ACNES. What are you, a dog?MARY ANNE. (Slowly.) No.AGNES. Good. Then you'll sleep in a bed like a human being. \X/e

ask that you sray up rhere during the day. \Me'll bring your mealsto you. You can read. You can sleep. You can watch television.Rest. \7hen your face heals, then you can come down, help us withthe cooking and the cleaning, if you like. Though you don't haveto. V{hen you're ready we can talk about what your next move willbe. Any questions?MARYANNE. Why do I have ro sray upstairs?

14 t5

,\( ;N F.S. Our guests are nice people, on vacation, hoping to relax.I t:rn't have someone walking around here looking like a ghoul,.,1,oiling the view. Understand? You got to stay up there until yourl,r.c looks normal again.N4AI{Y ANNE. How long do you think that will take?

A( iNES. Depends whether or not you let me stitch it.MARY ANNE. You're a doctor?A(iNES. Iwasanurse.MARYANNE. (Touches berface delicately) \X/i11it hurt?A(INES. Some. Something tells me you can take k. (Mary Annelooks at Agnes, sharply.) It will heal more quickly if it's stitched. Upto you. (Agnu stdrts tllhing the mufins out of the tins and placingthem in a basket. Pennlt enters tlte room again. She ruaues rtt MdryAnne. Mary Anne waues bacb.)I)ENNY. Penny.MARY ANNE. Mary Anne. How do you do? (Penry smiles atMary Anne's formality. She reacbes for a muffin.)AGNES. Careful. They're hoc (Penny bites into a mufin. Steam

rkes.)You going to school?I'ENNY. Thinking about it.AGNES. Did you finish your homework?PENNY. I'll finish it there.ACINES. I put the rest of the coffee in a thermos for you.PENNY. Tlanks, Agnes. (Penry looles at Mary Anne. fears are

streaming, silently, down her cheeks.) tVhy are you crying?AGNES. Are you alright? Are you in pain?MARY ANNE. (Q"irtD I miss my mama.PENNY. We don't usually get along this well. (Mary Anne smiles.)

AGNES. \,XAy don't we clean up that face of yours, while we've gotyou distracted? (Mary Anne nods. Agnes wets a clean cloth and tahes outa medical bit. As she sterilizes the needle, Penny takes Mary Anne's hand.)PENNY. \7e need to think about something happy right now.\7hat makes you happy?MARYANNE. I don't know.PENNY. A place? Aperson?MARYANNE. Um ... (Agnes cleans Mary Anne'sface with a cloth.)AGNES. Tell her about Useless Bay.PENNY. Okay, I'll tell you about a special place we have here on thisisland. It'.s down the road about two miles. Itt called Useless Bay.

MARYANNE. Why?

l'l'NN\'. Irl,rrr't li.rr,,w wlry. Agnes?,'\( ;N I

" li., .rrrst. ir's ((x) slrallow for ships to pass through. (Agnu

tl,r,,r,lt t/t,' tt,',zllt'. Alrtry Anne loohs sicb. To Mary Anne.) Close yourr 1r ,, (l l,rry ,'lttttt,.f rrtt ioohs at her.) It'll be okay."Take Penny's hand.r r rr I r lr rst' r/( )r rr ('ycs. (Mary Anne squeezes l)er hdnd so hard, Penny hasrrt rttrrf f/t'rt tct'otril.) This will numb rhe area. (Agnes a??lies lidocaineIrt Alttt.'1t Attnc's Jace.)l'l,NNY. So anyway, as I was saying, the Salish Indians believeI lr;rl unclcr Useless Bay, there is a goddess. She's called the ThoughtWonran because when the world was new, before there was anlthing,.slrc was there. In the center of a great void. (Agnes gentb, expertly,stdrts to sew the gasb in Mary Anne\ shin.) One day, the ThoughtW'oman thought about creation and then she began to sing. Andher singing brought her two sisters ro life. Then the ThoughtW'oman taught her sisters to sing. Everything you see around youcame from their singing. (Mary Anne moans quietly. Her eyes are stillclosed, Penny looks at Agnes, worried. Agnes motions for ber to keeptalhing,) Uh ... the Salish Indians think there's great magic in UselessBay. lX/hen they were troubled, or sruck, or afraid, the NativeAmericans would go out into the bay, fbr three days, with nothingbut a water jug made of seal skin. And they would lie in the waterand stare at the sun, and eventually, the Thought \foman wouldcome and take all their useless parts away

- their anger or lust or

greed -

all of it. (Mary Anne gasps uith pain.) And after three days,the people would crawl out of the bay and have to teach themselvesto walk again. They would go home and kiss their wives like theyhad never touched them before. Th.y would hold their childrenlike they had just been born. They would greet rheir enemies likegreat friends. (Lights down.)

Scene 3

Agnes is at the bitchen table, balancing her checkbook. There's

a gentle knock on the door to the main room. A rough youngwomAn stands there. Loohing warl and uncomfortable.

AGNES. May I help you?HANNAH. I'm looking for work.AGNES. How did you get in here?

HANNAH. Through the door.AGNES. Guests are supposed to wait outside the front desk andring the bell if nobody's there.HANNAH. I'm just passing through. I'm looking for work.AGNES. \7ell, I'm sorry. I haven't got any.

HANNAH. Your sign's falling down out front. I could start there.AGNES. That's very kind of you, but I like it that way. I think it'scharming. (Hannah eyes the mffins.) Are you hungry?HANNAH. (Quickly.)No.AGNES. \Would you like to take a mufEn with you? For later?

HANNAH. I'm not asking for handouts. I want to work. (She starts

to exit.)AGNES. \[hat's your name?HANNAH. (Turns bach.) Hannah.AGNES. You're not from around here, are you?

HANNAH. No.AGNES. \7hat brings you to our island?

HANNAH. I'm looking for some people.AGNES. \Yr'hO?

HANNAH. Just some people.AGNES. Tell me who they are. I've been here a while. Odds are Iknow them.HANNAH. (Smirks.) You don't.AGNES. Okay. \7ell good luck to you.I-IANNAH. You too, lady. (She goa. Agnn returns to ber paperwork.

A moment. And theru another knock on the d.oor. A man sticbs his head

into tbe room. Tall and pale. Handsome and sofi-spoken)

16 r7

t,\t rt |, ll,,'\r ,t Il ', Nlr ( ,,,r1, rlor.:rr't .ilI\/[)()dy read anymore?l'\l ll l trr',,,ttyr',\(,t'-J l \ l lr, r, is.r silirr, clcar as day, on the front door that specifically.,r.rt, :, ,rll 1irr,'.ts slrotrkl ring the bell and wait for assistance.

l'l\t)l . l'rn sorry. Narne's Paul. I checked in last night?At iNl',S. I rcrncmber.l'n t I L. Yc.s, well, I, uh - well, first of all, you have a lovely house.A( iNlrS. And?l'n t ll,. (Surprised.) Oh, uh, and - I can't figure out how to getlrtll watcr.A( ; N ES. \[hat room are you?I'AUL. 3.A(;NES. You have to turn it around twice.I)AUL. Twice?ACNES. Yes. The shower knob, it has to go around once, andthen twice, and then it finds the hot water.PAUL. Ah, so there's a trick.AGNES. Sorry about that (She goes bach to reading her paperworh.Paul lingers in the doorway.)PAUL. Iamasongwriter.AGNES. Of course you are.

PAUL. Sorry?AGNES. I mean, that's wonderful Paul. Good for you.PAUL. Thanks. I'm from San Francisco. I work as a piano teacher.Had myself a nice little practice going there, for a while. I'mclassically trained, see.

ACNES. Are you?PAUL. 'Sil'ent to music school in Indiana. That's where I grew up.AGNES. Ah.PAUL. Anyway, I had to get away from the ciry. I can't concentratethere anymore. Not with all the busloads of kids arriving daily. Itused to be such a sweet-smelling city. Quiet. Now whenever I go out,I trip over some dirty hippie. They sit on my stoop and laugh at mefor doing something normal, like buying the paper. It's horrible.(Agnes star€s lfi him blankly.) That's why I came here. To your inn. Ithought you might like to know. (Beat.)

AGNES. Mister -PAUL. Please, call me Paul.

A( ;N t'lS. Paul, this is my quiet time in my private space. I socialize

rvirlr rrry guests later in the evening. I'm sure you understand'l'A[JL. Oh. Of course I

- I'm sorry

-A(;NI'IS. Not at all -

is there anything I can help you with

l)('r'taining to your room?l'n UL. To find the hot water...?A( iNES. Turn the handle around twice.

l'n UL. Yes, that's right. \Well, itwas nice talking to you. I'm planning( )n staying here for a while. To finish some songs that I

- (Mary Anne

,' r t lus' t b e ro o m f om t h e s tai.rcas e, w earirug s unglns s es -) Hello.

MARY ANNii. I'm sorry. (Turns and disappears back uP the stairs

ltrfbre Agnes cdn sto? ber.)

f 'AUL. lWhowas that?

AGNES. Uh, that was my niece.

I)AUL. Does she live here too?

AGNES. No, shet just passing through' (Penny enters. She pushes pcut

t'aul and heads up ihe stiirs thit Mary Anne iust came from. Alarmed)

\X4ratt the matter?

I'ENNY. Nothing.AGNES. \X/hy aren't you at school?

I'}ENNY. I feel sick. (Prrry races ap tbe stairs. Agnes is bewildered'

Paul is smiling.)I'AUL. I like it here. (Lights down.)

Scene 4

Tbe midd.lr ofthe night. The kitchen is dark. Mary Anne sits at

the table, alone, staring snaight ahead. Smoking a cigarette'

Penny enters quietly, holdinga textbooh.

PENNY. You can't smoke in here. (Mary Anne jumps.)

MARY ANNE. \Why not?PENNY. Agnes hates the smell. (Mary Anne puts the cigarette out')\il/hy are you up?

MARYANNE. I can't sleeP.

IB t9

PENNY. I have to finish rny marlr honrc.rvolli sorrrcwhere. I usuallywork at this table.MARYANNIT. I'll Irtl1, y,,u

PltNNY. ) rrrr l.tr,,u' , .rlr rrlrr:rl\4Ali\ ANNI I l!,, I ,,,ul,l:,ir rvirlr yourhough, ifyoudlikesome( olnlr,lil\

l,l I lt I\ llr.rr ,, ,,1..,r1 ylir,irt. MttryAnne nods. Stands.)\l \lr\ \l ll'll t,,,o,l rright. (Starts towards the stairs. Penryt.feels bad.)I'l I ll l\ I ),, r.,)u wirr)l sorne coffbe? I was just about to make some.\l \li\ \\lNl . l'll rnakeit. Youhaveworkto do.l'l f..l l'!\ ( )li,rr,. (,Vrrsltstttthekitcbentableandopensuphernotebook.I r r t l t f.' r t r f t r t, M try Anne begins measuring cffie grinds into a perco lator,r,, t y ,1rrit't11.)You have to be really quiet though, because I don't wantrrr rvrrlir'

- (Penny looks up ancl sees Maryt Anne is alreadl, ruorhing

rt,l/lnrrt nuking a sound.) Oh. You're good.MAttY ANNE. My father was a really light sleeper.l)lfNNY. You're like Sacagawea over rhere. (Mary Anne smiles. penny

stares at her black q,e.) 'Ihatt a nasry shiner he gave you.MARYANNE. I know.PENNY. First time he's hit you in the face?MARYANNE. Yes.PENNY. 'llat's what I rhought. Most of you finally leave when hehits you in rhe face.MARYANNE. (SelJ:consc'ious.)How many girls have been throughthis place?

PENNY. Two or three a year for as long as I can remember.MARY ANNE. And where do they all go when they leave?PENNY. Depends. Some of them go on to friends and otherrelatives. Some of them go back. A few of them have gorrenthemselves killed.MARY ANNE. KilledlPENNY. Yeah, but itt been their own damn fault. They screw up.l1rey "miss him." They make a call. (Beat. Penny goes back ro her woih.Mary Anne f lk the percolator with water and sets it on the stoae.)MARYANNE. So, do you have a boyfriend?PENNY. No.MAR]'ANNE. Anyone you gor your eye on?PENNY. I'm not realiy interested in boys.MARY ANNE. Why no::. (Penny puts down her pencil and loohs atMary Anne, pointedfu.) They're not all like John. (Penryt goes back to

tt'r,tl' Alrtj\ Anna sits clown at the kitchen table and casualllt leaJi

il,t,,rrj,f t tt (loLiltg magazine.)| 'l N N Y. 'l hcre is one guy I kind of like.\ I ,\ l(\' AN NE. Tell me about him.I'l \NY. lherc's no poinr.\lAliY ANNE. \fhat's his name? (Beat.)l'l NNY. Tommy.\ lAl(Y ANNE. Tommy what?l'l.NNY. Butler.NlAl{Y ANNE. That's a very attractive name.l'l .N NY. I guess so.

N I A l{Y ANNE. Does he have a girlfriend?l'lrNNY. No.\14IiYANNE. So why aren't you with him?I'lrNNY. He's not interested in girls like me.\4AItYANNE. What kind of a girl are you?I'lINNY. I don't know. The wrong kind.\IARYANNE. How much do you like him? (Beat.)

I'l!Nh{Y. I like him a ton.N1ARY ANNE. And what kind of girls does he like?l'lrNNY. You know... the ones who wear dresses and go to hislirotlrall games.\,1ARYANNE. Do you own any dresses?

l'lINNY. Ofcourse.MARYANNE. So why don't you put one on and go to his game?

l'UNNY. (Stares at Mary Anne.)I can't do that. kisn't me.

MARYANNE. Ah. (Goa back to her magazine.)I'ENNY. I asked him to the prom this afternoon.MARYANNF.. (Surprised.) You did?l'[',NNY. Yeah. In the cafeteria.MARYANNE. \7hat did he say?

I']ENNY. He said no. And then he basically ran away from me.MARY ANNE. (Puts her magazine tlown.) Tell me exactly whathappened. Everything you remember.I'ENNY. \Mell, he was sitting with the football team. And I said,"Hey Tom, can I talk to you for a second." And he said, "Sure

Penny, what's up?"'W'e took a walk down the hall, past all the foot-ball trophies, and I was so nervous, I could barely get the words outof my mouth. I said, "\Would you like to go to the prom with me."And he looked kinda shocked. And he said, "Can I think about it?"

20 2t

\,,,1 L rr,l I 1,rr,,..,,('. i\n(l lrc said "Great. Seeyou around."Andtlr rt \\ l,ll

\l \li\ \l'll.l I \,, lrt.clidn't actuallysayno.l'l I lll\ I lt. l,,r'ir.rlly did.\l\li\ ANN[.. l}-rt what he actually said is he wants to think.r1,,,rrr i(. I tlrirrk maybe he does wanr ro go with you. I thinkhe just\v.r,rrs (() lrc the one to ask. (Penry mahes an exasper/ltedsoundandt ('t r t u.t /o her homeworb.) If youwanr to ger rhe guy, you have to actlilic the girl. Right now, you're acting like the guy.l'l1NNY. Have you ever heard of women's lib?MARYANINE. Yes, of course.I'ENNY. If they knew what you were saying right now, they'd cutor.lt your tongue.MARYANNE. Those women don't shave their legs.PENNY. So?

MARY ANNE. So I don't know what they're after exactly, but itl!! t 1man. (Picks up her magazine and resumes reading. Siience.)PENNY. \7here are you l}om?MARY ANNE. Fort Lcwis.PENNY. You lived on the base?

MARYANNE \fe say "on post." Bases are fbr the Air Force and Navy.PENNY. \What's it like ro livc "on post"?MARYANNE. \Vhy do you .asl<? (Beat.)PENNY (Self-consciou.i.)'['on.u-ny wlur rs ro cn l ist after graduation.MARY ANNE. (Knoruingly.) Ah. ('lltey l:totlt go bach to reading.Lights down.)

Scene 5

Early the next morning. In the kitchen. It's raining. MarytAnne is using tbe phone on tbe wall. She waits as it rings.Agnes appears at the base of the stairs.

4CryES: \7ho you calling? (Mary Anne jumps and hangs up the phone.)MARYANNE. My morher.ACNES. Is it long distance?

\ I \ li \' A N N Ir. I was calling collect. (Beat.)\( ,Nl S. Wcll, go ahead.\Ir\liY ANNE. Thats alright. She'll probablystill be asleep. (Agnes

t,/) t l)u.yiug it, but she doesn't slt)t dry)thing. She puts hot water on the,r,,t,t' litr t'ofJie and. talees out ingredients for the muf,ns. Outside, the

',,rrttrl o.f tfiunder.) Can I help you?/\( ,NltS. How's your eye?

N lA liY ANNE. The swelling has gone down./\( ;N IiS. Come here. Let me see. (Mary Anne sltows Agnes herface.)S,, it has. I did a fine job. Now, do you remember how I asked your() sriry upstairs until it had healed completely?MAI{Y ANNE. I just thought ... you have so much to do ...A( iNES. That's very kind of you, Mary Anne, but this is my job:rrrcl I enjoy doing it. Your job is to stay upstairs until you look like,, normal person again.MARY ANNE. Yes, ma'am. (Heads toruards the stairs as Penny,'rtrnes fl,ying clown them.)l'ENNY. (To Mary Anne.) Out of my way. I'm late.AGNES. Coffee will be ready in a minute.I'ENNY. I don't have time. I have a test first period and I want toqr'r there e,rrly ro cram.AGNES. I thought you studied last night.l'ENNY. Nor enough.AGNES. I'm going to call the school today. 'Ihey're giving you toornuch homework.PENNY. If you do that, I will never speak to you again.AGNES. The other parents must be concerned as well. lf everyoneis working as hard as you

-PENNY. Nobody else is working as hard as me! Nobody else is

trying to get into Yale.AGNES. Would you like me to bring your lunch later?PENNY. I'11eat at the caleteria.AGNES. I can pick you up after school. I'll be in town an)'way.PENNY. If you do that, I'll kill myself. (Races out the door. Silence.)AGNES. I don't knowwhat happened.'Ve used to be such friends.MARYANNE. It's just the age.

AGNES. Did you treat your mother like that when you were sixteen?

MARY ANNE. No. But rhings were di{Ierent at my house.AGNES. Mine too. (Mary Anne turns to go.) Can you make a decent

chocolate chip cookie?

22 23

I\lr\ \ll:.l l (',rrr'l tvt.r'),onc?\{, ll', Ir,,,,1 trr',,,lozr.ll.

:: I \ lr\ \ I I l..l l, \rrrr qrr it. (Moues aroundAgnes, compiling ingredients,,,1,, 1,11' f,,,11'f1,,utrl ttlt ttsils.)

\(,l II \ (( )14 111 rlu'.liidg:.) Lett see. .W4rat am I making for dinnerr,, r r r r',1 r r,' I r r w.r I r rr'stlay so that means casserole. (she remoues ingredients.'trlr trr t l/,, 'rtrutr/ of

'nin.)

\ l,\ li \ r\ N N lt. Wednesday was casserole night at our house too./\(;Nl,'\. W:rs ir?Nlr\li\' ANNIt. Mymamawas a casserole genius. Shed make up an( \\' r'( ( il)(:, cvery week, riglrt out of her own head. She was famousI . r i t . lirys From all over the base would ask me out on \Wednesday

rrililrt, jusr so I would bring them home and they could try her iatestrtcilrc. (Agnes nods but doesn't tqt drytthing. Mary Anne greases dltrl'ing sheet.) After a while, though, it was just John. Coming over.n Wednesdays. My father would answer the door and John, heUs:rlute my father and hed say, "Permission to live a life like yours,sir?" That made my father laugh. Which wasn'r an easy rhing ro do.'lhey were such friends after that.AGNES. John sounds quite charming.MARY ANNE. Oh hc was ... is.ACNES. That's one of the primary charactcristics of abusive men.Charm. (Silence. Mary Annefeels chastened. ,Sbe creams the sugar andbutter.) So how did you find out about us herc?MARYANNE. (Carefully.) I went ro see a woman. Her name wasJane. She tolcl me about this place.AGNES. You mean you had an abortion.MARYANNF,. Yes.ACNES. \When?

MARYANNE. Last week.ACNES. Did your husband know about it?MARYANNE. No.ACNES. Does he know that you were pregnanr?MARYANNE. No.ACNES. Good. That's good. You're a smart girl, Mary Anne.(Mary Anne opens the flour canister.) Use the pastry flour. Itt finer.(Hands Mrtry Anne a dffirent canister.) Have you given any rhoughrto what you'll do now?MARYANNE. What do you mean?ACNES. Where will you go after this?

i' I \li\ r\NNlr. ()h. I have a cousin in Oregon. Shet a schoolteacher.I lrrr, rr'r s..'n hcr sir-rce I was a girl. But I suppose I could call.\( , N I .\ [)o you l.rave any money?\ l/\ liY A N N tr. No.\(,Nl.,\. I l<now some people who might be able to help you.\\i,rrrt'rr rvho h:rve passed through here. Started new lives back east.( )r rrl, in (lanada.

r\ lr\ liY ANNE. Canada? Oh no. That's too far.\( , N lrS. Too fhr from whar? (Mary Anne doesn't ansruer.) One of,rl riirl.s opened up a flower shop in Toronto. Right on the lake.',lr, sr'nt rne a picture of it. I can find out if she's hiring.\ lr\ liY ANNE. Why do you do this?\(;Nt!S. What do you mean?\ lr\ I{Y ANNE. I'm a stranger to yor1.\( ;N lrs. Girls like you never had a chance. I'm not trying to work,,,r, nriracles. I just think everyone deserves a chance. (Mary Anne

'r/, rfoun at the table. She's ouerwhelmed.) You can stay here as long,,' \,,,u need. As long as it takes for you to feel able to Face the world.rri.rin. But as long as you're here, I'm going to ask you to promiserrt something.NlAI{YANNE. Anything./\( ;NES. If you are planning to go back to John -\lAt{YANNE. I'm not!,\(;NES. I know, right now, you're not. But if that changes andr',,tr find that you are, I want you to tell me first. In person and torrr.1, f.16.. I won't try to stop you. You're a grown woman and you,,rn tnake your own decisions. But I need to know what's happenedIo 1rsg. PromiSe me.N4 ARY ANNE. I promise . (A knock on the bitchen door.)l'AUL. Agnes, I'm sorry to bother you again

- (Pdul opens the

rloor and sticlzs his bead in and sees Mary Anne.) Oh hello.MARYANNE. Hello.l'AUI-. Agnes, I'm sorry to bother you but I was wondering if youIrad a map of the island.AGNES. (Annoyed.)They're on tlre side table by the door.t'AUL. Thanks. C)h and thanks for sending your girl up to fixthe shower.AGNES. My girl? You mean my daughter?I'}AUL. I mean that woman who works here. With the short hair?AGNES. What! \X/hen was she here?

24 25

PAtll,. lrrr tr,,n' \lrt',, still rrp tlrcrc, I think.n (;Nl;\ l'r, rr,., nr(', l)l('.rsL'. (,\hc races out of the room. MaryAnnetrttrlr't,t/ l',t r,l.'l,yly. )

N l,'\ l{ \ \ l! l'.1 I W,,r rltl you like some cofFee?

l':\t t1 \', s, l,rrt I'rrr not allowed to come in. This is Agnes's,.1,, , r.r I ,,;,.r, r'.l\lr\li\ ANNlr. I think's alright.l'Alll, lrr thrrt case. (Practically leaps into the r00m.) I spent therrr,r rrirrg rcading a very interesting article.i\4Al{Y ANNE. About what?I'n UL. Entropy. Do you know what that is?

MARY ANNE. No.l']AUL. It's a law That says that everything in the universe isfalling apart.MARYANNE. That's a law?PAUL. It sure is. A scientific one. The Second Law of Thermo-dynamics.MARY ANNE. Thermo-what?PAUL. I don't understand it perfectly myself, But itt gor somerhingto do with heat, see? In a closed system, when the heat is low, theenergy is low and the order maintains, but when the heat rises, all thelittle molecules start moving like crazy. Bouncing offthe walls ... It'swhat's happening right now in San Francisco.MARY ANNE. I've never been to San Francisco.PAUL. Trust me. It's chaos. (Mary Anne smiles at him, flirtatiously.It makes him neruous.) I don't know why I'm talking so much.MARY ANNE. You're smart.PAUL. No, I'm not. I mean, I am, but it doesn't marrer. I don'tusually talk to anyone about anything.MARYANNE. \[hat about your wife?PAUL. My wife? (Mary Anne pzints t0 Paul's wedding ring.) Oh.Idon't talk to her anymore.MARYANNE. \)[hy not?PAUL. She left me.MARY ANNE. Oh, L.. I'm sorry.PAUL. Me too.MARYANNE. Maybe she'll be back.PAUL. I don't think so. (Looks at Mary Anne , thoughrfully.) \What's

your name? (Now Mary Anne is neraous.)MARY ANNE. Mary Anne.

l'r\ t ll ,. I )icl you grow up here?

NlAl(Y ANNE. No.l'n t ll ,. You're not from Indiana, are you?l\'lAl{Y ANNE. No, why?|'n t JL. 'Iheret somerhing so familiar about you. (He stares at Mary.ltrttt'. ,\ltc brings her hand to her eye, self-consciousb)What happenedr() youl eye, Mary Anne? (The sound of footsteps racing down thett,t irs, rr.nd Agnes enters, carrying a pair of shoes and a coat, followed by

I l,rrtuth in bare feet and wet hair.)A( ,N lrs. It ls trespassing. You were taking a shower.I IANNAH. Butlfixedthe shower.A( ;N IlS. Itt still trespassing. Hold her Paul, I'm calling the police.(ll'louesfor the phone. Hannah regards Paul.)I IANNAH. You would call the police on a sister, but you let ther.',rl enemy sleep in your bed?

A(INES. Paul is a guest. He pays me money to stay here.

I IANNAH. There's a word for that sort of arrangement, lady. It's, rrlled prostitution. (She makes a breah for it. Paul blocks her way.)You touch me and I'll yell rape. (She tries to moue past him. Herttches her arm. Sueaming.) Rape! Rape!l'AUL. (To Agna.) I'm sorry, this is my fault. I thought she workedI rcre.

IIANNAH. Rape! Rape! Rape!I'AUL. (Ouer the screams.) Do you want me to take her outside?

AGNES. (Ouer the screams.) I don't know. I can't think straightwhen she's screaming like that.I{ANNAH. Raaaaaaaaaappppppppppe! (Paul starts to hustle Hannahtowards the door)AGNES. Paul, let go of her.PAUL. (Corfused,)\What?AGNES. Mary Anne, get him 6u1 6f hsls

-PAUL. She'll stab you with a kitchen knife!AGNES. Take him for a walk or somethine. (Mary Anne tabes

Paul\ harud. Surprised b1t ber touch, he lets go of Hanruah.)HANNAH. (To Paul.) I wouldnt touch a sistet but you better cladyour balls in iron, buddy, because I ve seen where you sleep. (MaryAnne leads Paul reluctantly out of the room. Agnes loohs at Hannaheuenfit For the frst time, the younger womltn loohs almost ashamed.)

AGNES. \7ould you like something to eat? (Lights down,)

26 )7

Scene 6

Lttt,t tlttrt uight, Mary Anne is again sittirug in the darknestrlt'ittl,irtp wltishey. Her hands are trembling. 7he glass rattlesrt,/,ot slte puts it down on the table. Penny enters from thest/tirulse. She doesn| see Mary Anne. She tries to sneah quietlyacross tlte room, but trips on Mary Annei chair.

l'}liNNY. (Whispering.) DammitlMARY ANNE. (Whispering.) I' m sorry!I'ENNY. MaqyAnne?MARY ANNE. \fait, let me.iust turn on the -I']ENNY. No!MARYANNE. No?PENNY. Just don't do anything. (She rummages through a drawerand pulk out a candle, which sbe lights, then sets zut on the table. Tbesofi glow fills the small room.) Are you going to be here every night?MARYANNE. I can't sleep.PENNY. In that case, can I have my room back?MARYANNE. Ofcourse.PENNY. I was kidding.MARY ANNE. No, you should take it back. I can sleep on thecouch. I'll talk to Agnes tomorrow.PENNY. She'll never go for it.MARY ANNE. \Why not?PENNY. Because the point is for you to get well and move on. Notset uP camp.MARYANNE. I'm trying. (Beat. Mary Anne tahes a drinh. Pennyexamines her stubbed toe.)PENNY. \7hat were you thinking abour, sitting here in the dark?MARY ANNE. (Honestly.) John.PENNY. You should rry nor to think about him.MARY ANNE. i know.PENNY. You made a mistake. You married the wrong person.Move on.

NlAl{Y ANNE. It's not that easy, Penny. (Penny stands and tests

1,, r. lrtt'.)Where are you going?l'l'NNY. Out.NlAl(Y ANNE. It's midnight.l'l N NY. I won't be out long.l\14l{Y ANNE. Are you going to meet that boy?I'I,NNY. NO.l\1Al{Y ANNE. \Vhat was his name? Tony?l'l.NNY. Tommy.l\4Al{Y ANNE. You're going to meet him now?l'l,NNY. I just said I wasn't.MAI{YANNE. Are you sure thatt a good idea? (Penny startsfor the

,ltnr.)Waitt.I have a rubber in my purse if you need it.l'lrNNY. I don't need a rubber. \7e're just going to talk.MAI{YANNE. 'Where?

l'lINNY. Down by Useless Bay.MARY ANNE. Any boy who asks you to meet him on the beach

:rr rnidnight does not want to talk to you. 'W.hy don't you stay here?

l'l|NNY. Because he's waiting for me.MARYANNE. So let him wait.l'lrNNY. i said I'd be there.MARYANNE. Stand him up.I'ENNY. I can't do that!MARYANNE. He's the captain of the football team, right?I'tlNNY. Yeah.MARYANNE. So nobody stands him up. It'll intrigue him. He'llwait for you and then, when you don't show up, he'll go home andnrasturbate thlnking about you. And I guarantee you, in a week orso, he'll ask you out again. And this time, it'll be to the movies.(Penny looks at her, shoched.)

PENNY. Tommy isn't like the guys you know.MARYANNE. Penny!W'ake up. Look, I know you think I'm some

stupid hick who gets herself beat up, and maybe I am. But I knowmen. And you clearly dont. Now, if you want, I can tell you exactlyhow to get this boy to ask you to the prom and bring you home tomeet his parents and propose marriage to you, all before graduation.But you have to stay here tonight. (Gas up and pours another glass ofwblske1,. She pushes it across the table to Penny. Penqt hesitates. Then

sits. She drinbs. Shei neuer had whiskey before. She gags.)

PENNY. That's disgusting.

292B

ANNli, Yrrrr'll gct used to it. So whatt happened betweeni,,1 rr,l l.rrrrrr\ .,ln( ( \,()u lsl<cd him to the prom?I'l I ll l\ [.],,rlrrrr1',. I lt.'s bccn ignoring me. \tre used to sit next tor, I r .r L r r r r ( | rt.rrr ist ly class, but yesterday I raised my hand to askl\ I r (,,r r r, lirrs,r (lr.rcsrion and Tommy leaned over and kept saying,'\\'lr.rr is iri I'll help you," which annoyed me because if ldidntl,rr,rr,v rlrc rulswer, it was really unlikely that he did. So I told him to,;rrit it. He got up and changed seats. And then he wouldn't evensrnilc at me today, so I figured he was really mad, which is why,when he came up to me after school and asked me to meer him onthe beach tonight, I said yes.

MARYANNE. You made rwo crucial mistakes there. The first onein class. You should learn to let men help you.PENNY. But I didn't need his help.MARYANNE. Thatt not the point. Men need to feel useful. Second,you should never have agreed to meer him down on the beach.PENNY. Butl wantto.MARYANNE. And now he knows that.PENNY. So what?MARY ANNE. So you surrendered a very racrical position. Youlost the element of surprise. If you don't show up tonight, you canreclaim it.PENNY. \Vhy do you ralk about dating like it's warfare?MARYANNE. Because it is, Penny. Men only approach a situarionone way. \What do I have to kill? \X/ho do I have to conquer?PENNY. Thar is so depressing.MARYANNF.. (Confused.) \fhy is it depressing?PENNY. I don't wlznt to fight a warl I just wanr ro spend timewith Tommy.MARYANNE. \Well, luckily the war doesn'r last very long and thepoint is to lose it anyway. You just need to keep it up long enoughto make sure he's only fighting on one front. After that, all youhave to do is surrender. (Sboots the rest of her uhishey down, poursherself some more.)PENNY. k's not supposed to be like this! ri7e're supposed to beequal. Men and women.MARYANNF.. (Reaches into ber purse, pulls out a pack of cigarutes,and lights one.) If you're looking for "gender equality," I don't knowwhat to tell you. The only thing I promised you was a date to theprom. (Silence.)

l'l NN\'. (A'lisottble.) \Who am I kidding? Tommy probably already

1,.,,, .r ,l.rt.'. I k probably already has several.

Nl\li\' ANNI'1. If you do what I say, he'll be going to the prom

', rrlr y,,rr. \)/ill you do what I say? (Beat.)

l'l'N NY. liine.\ lAl(Y ANNE,. Good. Now youre going to wear a dress to schoolr, rn r( )r'r'()w. And you're going to get up early so I can paint your nails.

l 'l ' N N Y. Have you lost your mind?NlAl{Y ANNE. \7ell, at least clearu them. And let me iron yourlr.rir ;r little. And after school you're going by his practice to watchlrirrr play.l'lrNNY. I can't do that.NlAl{Y ANNE. 'Why not?l'l,NNY. Because it'll seem ridiculous. I've never been to a singlel,,,tbirll game. Everyone will laugh at me.

NlAl{Y ANNE. And when it's over you're going to tell him what.r 1,ood job he did and how strong he looks out there and you're

1,oing to say you need him to walk you home.l'l1NNY. \X/hy do I needhim to walk me home?

MARYANNE. Because you're afraid of bears. (Penny bits ber head

tt,<ttinst the table.) Or cars. Or coyotes. Or the dark. And while het,v,rll<ing you home, you'll get to talking, about classes and summer

1,lans, ind you're going to gendy steer the conversation back aroundro the prom. Het going to ask you if youve found a date, andyor-ire going to say you're considering a couple of offers

-l'lrNNY. That's a lie!MARY ANNE. But you don't want to make any definite plans

vct. And as you're saying that, you're going to touch his arm and

look away -l'}ENNY. No. No. No.

MARY ANNE. Yes, yes, yes. And by the time you've gotten to this

cloor, he will have asked you. (An afiertho"Sht.) Dont let him kiss you.

PENNY. If Agnes knew we were even talbingllke this, she wouldthrow you out and have me quarantined.MARY ANNE. Ten bucks said Agnes never went to her prom.(Penny doesn\ answer.) Iill be our secret. If you do exactly what Itold you, it will work. I swear on my mothert grave.

PENNY. (Confused) Is she dead?

MARYANNE. (Taka the la* drag and then extinguishes her cigarette

in her wbiskey.) Practically. (Silence.)

30 31

I , ,,' I l,,,rrl,l ,,,, 1,,, L r,, 1,,.,1. ll \NNAll. No problem. (Stands.)

\( , N l'..\. Would you like a cup of coffee?I I \NNAI I. What about for the room lastnight? Howam I gonna

l,r\ \'()lr lirr that?\( , N L.S. [)on't worry about it.I l,\NNAH. I gottaworry about it. I oweyou money and I haven'tr,,r,l .urv, so ... I could fix that sign out front, or ... how well dorlr,st tetrirrets swing? (Hannab moaes into the kitchen, climbs on thet(tt/utt't' dnd starts opening and closing cabifiets.) They could use.,r )ilt( gferase, that's for sure.\( iN lis. Can I offer you some cofree? Or a muffin maybe?I IANNAH. No thankyou.A( ;NIrS. You must be hungry Hannah.IIANNAH. Sure I'm hungry, but like I said, I don't have anyr r r()nc).

-A( iNES. (Frus*dted.) I'm not selling you cofibe -

it's on the house.I IANNAH. You mean it's free?

A(lNES. Yes.

I IANNAH. (Suspicious.) Why?A(;NES. Because this is a bed and breakfast, alright? If you stay here,

\"orr get breakfast. For free. Now, will you come down from there please?

t1ANNAH. (Hops ofi-the countertop.) I could have those sliding as

( .lsy as a whore's rwar in no time.AGNF,S. I will definitely think about that. (Hdnnab sits down on

one oJ'the breakfast stook andAgnes serues her a mffin and a cup oJ'

,:ffie. Then Agnes moues into the kitchen and starts wasbing dishes.

Hannah watches her closely.)

HANNAH. This your house?

AGNES. It is.

HANNAH. You run the place with your husband?AGNFIS. I haven't got a husband.HANNAH. What happened to him?AGNES. I've never had a husband.HANNAH. (Frowns.) How'd you get a house then?AGNES. I bought it.HANNAH. 'iZith whose money?AGNES. Mine.HANNAH. Your family rich?ACNES. No.HANNAH. You rob a bank?

I I , I , ,l ,, r,,,,,,lrutilrt.il , 'l,r ,l,,rrr \,,, r\ r.q1y[111g[tosleeptoo?

I rt, \ r il i,,r r,,i,.rlr,..r,l. l jr-rstwanttofreshenupdownhere.( ,, r ,,1 ,,1 rlr, , rr,,,r(.ll( sr.tc\l. (Penny hesitates, thengoesipstairs. Maryl',,,, r,rl,t \ ,/ t)/(tt)t(.ttt trt r.'ledn the ghsses andput the ruhishey away. Sie

/,t1.,,\,ttt/',,ttt, lt,rL.iuSsodaa.ndsprinlelesitonthetable,thenwipesitoffrt'ttlt ,r,rtr'l t,rt. ,\i/tc. opens tbe window to let in thefiesh night air. Sh)s\tt//.t",'lltt.q. .\i/r sticbs her head out the window and takes a1eep breath.'\iln' r'lrst-r the window and heads towards tbe stairs

- she tirns. AnrJ

'rrrLhttly, she's across the room, the phone is in her hand antl shei clialingtt uulilber. It rings. Maryt Anne trembles. Lights down.)

Scene 7

7he next morning. Agnes is maleing mulfins. Hannalt ishneeling in fonr of tlte kitchen tabte, fxiig the wobbty legswith a screwdriuer.

AGNES. So tell me about these peoplc you're looking for.HANNAH. The Gorgons?AGNES. Is that

" b"idt

HANNAH. lJh, no.AGNES. Is it a group of female monsrers with snakes for hair whocan turn men into stone just by looking at rhem? (Hannah tbinks.)HANNAH. Kind of. (Stands and chet*s the table.) Fixed it.ACNES. Thank you.HANNAH. So, are we square now?AGNES. \7e are.HANNAH. You sure?ACNES. Yes, that table has been wobbly for years now. This will31\"__.y:y,hing so mr.rch better. (Hanna'h loois at her suspicious[t.)HANNAH. It's just a table.ACNES. I know.HANNAH.

.Ir's nor going to ger you high or laid or anything.

AGNES. Srill. I appreciate it. Thank you.

32 ))

' l',,r1,,1 \,,.r nursc. IwastrainedintheArmy.l,, l.r

,,,,,1r,r,,,I I l l','. ,,i,1.rr( l()tl?

\r ,l ll ', I lr.rr rrrr'r .r politc thing to ask, Hannah.ll \1111\ll \',,rrstill a rurse?\t,lll'', N,r.ll\l'.lNAll. Whynot?,,\( ;N L,\. I hacl my license revoked.I IANNAI I. \X/hat for?A( ;N 1,,S. Performing abortions. (Beat.)I IANNAH. Seriously?A(;NES. Seriously, (Hannah loohs at Agnes like she's seeircg her forthe frst time.)HANNAH. They're lesbian separarisrs.AGNES. \X/hO?

HANNAH. The Gorgons. The people I'm looking for.AGNES. Oh. That's interesring.HANNAH. You know what a lesbian is?

AGNES. Of course I know what a lesbian is.HANNAH. Okay, dont get your knickers in a bunch. Itt a littleremote out here. (Hannab helps herself to anotlter *"fin.) A bunchof sisters have been meeting up in Seattle for a while now, andtheyve been talking about finding some land out here, on one ofthe islands. To build a communiry.AGNES. \What kind of community?HANNAH. Just for women. (Beat. Agnes thinks about that.)AGNES. \X/hY?

HANNAH. You ever heard ofTi-Grace Atkinson?AGNES. I don't think so

-HANNAH. You support woment lib?AGNES. Of course I do.FIANNAH. \7ell, Ti-Grace says feminism is the theory and lesbianismis the practice.AGNES. \What does that mean?

HANNAH. It means if you say you're a feminist but not a lesbian,then you're really just full of smoke. (Beat.)AGNES. I don't think that's fair. Just because I'm nor personallyattracted to women

- (Hannah snons.) That doesnt seem legitimate

to you?

I lr\ N N A H. Sure lady. til/hatever' You just keep making your muffins'

r li,.,rt. I lrrrt, Agnes gis bach to the disha.) Ti-Grace is celibate. Shet a

1,,,lirit:rl lcsbia-n. Sf,. sryt we need to free ourselves from the tyranny

,,1 lil,itkr-seeking. I mean, me, I need to screw someone' But you can

,.,ll y,rurself a l.Ibl"t without it. \Ve're usingthat word now to refer

r , , t lrt' r:ssence of the sex previous known as "female'"

,\( ;N lrS. So all women are lesbians?

I IANNAH. (Excited.) Yesl RightlYou gotta get outside the system'

',, r'l Lven the most radical feminists remain oppressors if they continue

lr.rvirrg sex with men. Thatt where feminism falls^apart' Youve got all

rl'.'rc'Lrain-washed coeds thinking they can reform a system from

rvithin. Theyre like field slares *h6 move into the kitchen and think

rlrcy'r'e free. But theyve still got to get down on their knees and lick

,lr,jn.,astert balls every nighi- (Agna drops a cu? and it shatters in

rl,,'sinb.)A( iNES. Dammit!I IANNAH. I'm sorry. I talk too much.

A(;NES. No, itt noi ;hat' I cut myself. Can you get me the medicine

li.it? It's right above the stove. (Hannah jumps back on the counter

,rttd pulk"do*n o medicine kitfrom the tip shelf Agna holds a towel

t,, her hand.)I IANNAH. Let me see it.AGNES. No, it's fine.I IANNAH. You need to clean it.AGNES. Just hand me a few of the bandages'

IIANNAH. Here, let me -

(Takes the bandages, unruraPs them'

,rnd then reachesfor Agnes s hand.)

ACNES. tt's quir. "iiighr.

Thank you. If you'll iusr give Te--IIANNAH. I'm not cJntagious, Agnes. (Beat' Agnu giues Hannah

her band.) This needs stitches.

AGNES. No it doesn'r. (Tries to draw her hand away')

HANNAH. Easy there, lady' Alright, we'll do things your way'

(She wraps Agnes's band in bandages.)

ncNps. r*nu) Thank you. (The sound offoLrstePs.d0u)n the stairs.

Agnes pulls o*iy fro* Hannah, quickty, And. rurns bach towards the

tirk. irnny buisis into the room, wearing a dress')

PENNY. ?Cturf"tp Morning, Agnes. (Stops *hen slte sees Hannab')

Oh hello.HANNAH. Hello.PE,NNY. I'm PennY.

34 35

llANNAll. Ilannah.l'liNNY. ('l'o Agnes.) Did we ger anorher one last nighr? (Her backttt t/t' ntrtrn, Agnes pichs out the pieces of broken glass from the sinh.)A( ;N t1S. No, no. Hannah is just passing through.l' I f N NY. (Peerirry ouer Agneis shouldtr ) What happened to your hand?!A(;NES. Nothing. I broke a glass -

(Turning around, she sees

l)enny.) Oh my God! \fhat are you wearing?PENNY. A dress.AGNES. \/hy? (From tlte staircase, Mary Anne slips into tlte room,in her nightgown. She loobs exhausted.)MARYANNE. Please tell me there's coffee.AGNES. (To Mary Anne.) Are you alright?MARY ANNE. I'm fine.AGNES. Rough night?MARYANNE. The same.HANNAH. \7hat's the matter? (Mary Anne jumps. She hadnlnoticed Hannah.)MARYANNE. Oh my God. \Mhy is she still here?AGNES. I hired her to do some work around the house.MARYANNE. But she's crazy.HANNAH. Mind your own business.MARYANNE. Are you sure this is a good idea, Agnes?HANNAH. Oh, why don't you go back upstairs and douche orsomething. (A knoch on the door to the outside.)PAUL. (Offtage.) I'm looking for MaryAnne.MARYANNE. (Ducbs behind the hitchen island.) I'm not dressed yet!PAUL. (Offtage.) That's alright. I don't mind. (Opens tbe door andpeeks his bead in.) Can I come in?MARYANNE, AGNES, and PENNY. No!PAUL. Oh, come on. I'm sure she isn't complete[t naked.FIANNAH. (Moues infiont of him, blacbinghis way.)Remember me?PAUL. I thought you were leaving.HANNAH. Change of plans.PAUL. Isn't there a convenrion of miserable people somewherethat you should be attending right now?MARYANNE. Paull (Comes outfrom behind the hitchen island andinto Pauli sightline. He smiles.)PAUL. I just wanted ro make sure we're still on for tonight.MARYANNE. Ofcourse.PAUL. Pick you up at six?

MARYANNE. I can't wait. (Blows Paul a kiss. He puts his hand up

to catch it. Hannah puts her hand up too and grabs at the air.)HANNAH. Intercepted. (Disgusted, Paul goes. To Mary Anne.) So,

you got a thing for creeps, huh?MARYANNF.. (Ignoring her.)Penny, that dress looks perfect on you.PENNY. You think so?

MARYANNE. Absolutely. He'll be putty in your hands.AGNES. \Yr/ho?

PENNY. Nobody.AGNES. 'What's going on? 'Why are you wearing that dress?

MARYANNE. Penny has an interview today at school. For college.

Isnt that right, Penny?

PENNY. Uh, yeah. A college representative is coming to meet

with us today, so Mary Anne suggested I dress up.AGNES. \7hich college?

MARYANNE. A really fancy one. I'm so bad with names -AGNES. Yale?

MARYANNE. That's the onelPENNY. ([]ncomfortable.) Ihave to go. I'm going to be late'MARYANNE. (Tb Penny.) Do you remember what we talked about?

PENNY. Yes.

MARYANNE. Good. Don't be neryous. Remember, just let himask the questions.PENNY. Okay. Bye everyone.AGNES. Good luck, sweetheart. (Penryt leaues. Pleased, MarytAnnetakes her cffie and headsfor the stairs.) MaryAnne? (MaryAnne stops.)

Youre going out with Paul tonight?MARY ANNE. Yes.

AGNES. Are you sure that's a good idea?

MARY ANNE. He's asked me out. \7hat was I supposed to say?

HANNAH. Jesus Christ.AGNES. You could have said no, sweetheart. You can always say no.

MARY ANNE,. (Defensiue.) He seems like a nice man. (She goes.

Hannah stqr in the room, her eyes trained on Agnes.)

HANNAH. \7ho is that girl?AGNES. She's my niece.IIANNAH. No she's not. \7ho is she?

AGNES. (Cold.b ) She is my sistert daughter. That makes her my niece.

HANNAH. Fine. You need to get rid of her. She's bad news.

AGNES. Really? I should get rid of her but keep you around.

36 )/

I lA N N A I l. \X/orrrcn like her are zombies. The walking dead.A( ;N lrS. Slrc's lrcen through quite an ordeal

-I I A N NA I I. \Who among us hasnt? Living with a vagina zi an ordeal.lJtrt I'll tcll you who the least oppressed are. Girls who are pamperedby st'rcicry because they sit at the right hand of the straight man andscrvice all his needs. So he lets her enjoy the scraps of his privilege.(Crosses to Agnes, gets ueryl close.) Passiviry is the minotaur every womanrreeds to slay in order to leave the labyrinth. (h's aru inuitation.)AGNES. I'll keep that in mind.HANNAH. Listen to me, Iady. If there's one thing I know, itt women.And the one you got up there

- your "niece"

- she's gonna make you

wish you never had a sister. (She lraues. Lights dawn.)

Scene 8

Agnes is, of course, in the kitchen. Mahing dinner. Or, morespecifcally, grating ?otatoes. Iti early euening. Mary Anneenters from tbe outside. Her bead is wrapped in a scarf She's

wearing a trencbcoat and sunglasses. She 's wet.

MARY ANNE. My Lord it smells divine in here. \(/hat are youmaking?ACNES. Potato cakes with applesauce. You went out?MARYANNE. I walked down to Useless Bay, yes. I'm sorry. I justcouldnt stay cooped up in that room a moment longer. I iriei todisguise myself. I found this trenchcoar in my closet. I assumed itwould be okay?AGNES. Itt fine.MARYANNE. Itt beautifi.rl. Is ityours?AGNES. No. It belonged to another girl who stayed here. Years ago.

You look likeJackie Kennedy in that outfit.MARYANNE. Jackie never had a face like this.AGNES. I wouldnt be surprised if she did. Let me see. (Mary Annelets Agnes examine her face.)'S7'hy, you can barely see a thinglMARYANNE. I have some makeup on.AGNES. Even so. I did an excellent job. (A knock on the door.)

PAUL. (Ofitage.) Y'all better be decent at this hour. Otherwise,I'm going to think you're running a brothel in there.AGNES. Come in, Paul. (Paul enters, bolding a guitar,)PAUL. I thought maybe you'd appreciate a little musical accompa-

niment with this eveningt preparations. Do you dance, MaryAnne?MARYANNE. Oh, no.PAUL. I'll play you something if you promise to dance for me.

MARYANNE. I can't dance alone.

PAUL. Agnes will dance with you.AGNES. Agnes will do no such rhing. (Paul begins to play the guitarand sing a popular '60s song such as the Mamas (t the Papas, "I Saw

HerAgain Last Night."* He sings a uerse, then Mary Anne harmonizes.)

PAUL. HeylThat's not bad. \7e might have ourselves an act. (Mary

Anne laugbs. Paul resumes singing, and again Mary Anne ltarmonizes.

Paul keeps singing. The next bit ofaction happens ouer his song: Pennlt

a?pedrs in the doorway. Mary Anne sees her f.rst.)MARYANNE. SO?

PENNY. It worked.MARYANNE. It worked? (Penny runs and throws berself into MaryAnnei arms.)PENNY. It workedl He said yesl I mean, I said yesl

MARYANNE. I told you it wouldl I told youlAGNES. You got in? You got into Yale?

PENNY. lffhat? No,I -MARYANNE. She's going to the proml

AGNES. The prom? \X/ith who?PENNY. Tommy ButlerlAGNES. \7ho's Tommy Butler?MARYANNE. He's the captain of the football team.PAUL. The captain of the football team?

'S7ay to go, Penny! I'llplay you a prom song to celebrate. (Paul begins singing a popularperiod prom song, such as "Do You Want to Daruce."* Mary Anne andPenny dance together in the center of the room. They're joyous, both ofthem. Like sisters.)

AGNES. (To Penny.) I thought you had an interview today? (Paul

keeps singing ouer tlte next part.)MARY ANNE,. Tell me everything that happened. Start from the

beginning.PENNY. I dont remember. It's such a blur. He iust dropped me off.

* See Special Note on Songs and Recordings on copyright page.

38 39

N I r\ li \' A N N t!. Did you let him kiss you?l,l,,NNY. \'r-:s.

N.lAl{Y ANNE. I told you not to do thatlI],llNNY. I forgotlA(;NIlS. Penny, how was the interview? (Hannah appears in therloorutdy. She looks at Agnes. Something's tarong.)IJANNAH. Agnes? There's someone at the door.PENNY. Ohl It's probably Tommy. I'llbe right back.HANNAH (Sbarply )Nol (Beat.) Agnes? (Agnes hears something inHannah's tone. She wipes her hands quiclily on an dpron and fohwsHannab out of'the room. 7he girk stop dancing. Mary Ann-e drtfisuaguely toruards tbreshold but doesnl ooss it.)MARY ANNE. (To ['enny.) \X/ho do you suppose it is?

PENNY. I don't know.MARY ANNE. I didn't hear the cloorbell, did you?PENNY. No. (Pdul k still singing. 7he sound of a door slammingsbut. Mary Anne jumps. Paul stops plaling. Agnes ind Hannah reentithe room. Agnes goes to the phone, pichs it up, and dials a number.)ACNES. (Into the phonr-) Hi, yes, this is Agnes Engels. Hi Nancy, howare you? \Would you send the sherill by, if het not too busy. Yes, rightqway please. \7eie fine. Ve did. Thatt right. Thank you. (Hangs up )MARYANNE. It'sJohn, isn't it?ACNES. Yes. (Maryt Arntc turns and t:drefully starts walleing towardsthe stairs. Her legs buchlc betteatlt bar. Slte t:rashes to thef.oir.)PAUL. MaryAnne! (Mary Anna bagins to cratal towards the stairs tsif she basn't heard hin.)PENNY. \What's she doing?AGNES. MaryArne. Itt alr:ighr. It will be alright. (Tries to hold her.)MARY ANNE. (A growl.) Don't touch met (Agnes backs away.Mary Anne reacbes the stairs. Climbs slow/y up tbem. 'lhey watch bir,silentfu, ds she disdppellrs into the hotue.)PAUL. \7hat's the matter with her?ACNES. She's afraid, Paul.PENNY. Should I go after her?ACNES. No.HANNAH. What do we do now?ACNES. Vait lor the sheriff. (A moment of nothing. Then, fom upthe stdirs, comes d howl.)

ACT TSTO

Scene 1

Later that nigbt. 'lhe bitchen is ln by candlelight. Mary Anneis leaning ouer the sink. Agnes pou.rs tuater-froln d pitcher ouerher hedd. And again. And rtgain. Rinsing her hair. The room issilent, except for the sofi sound oJ'the ruater running into thedrain. When shei.fnisbed, Agnes wraps Mary Anne's head in atowel. Mary Anne moues to the table dnd stares strai,qbt ahead.

ACNES. Do you want some whiskey?MARY ANNH,. Do you still have any of that ginger ale? (Agnes

takes a can of ging* ale out of the reJiigerator and sets it down infontoJ' Mary Anne. Silence.)AGNES. So ... do you want to tell me how he found you? (MaryAnne doesn't resltond.) Did you call hirn? (IVo response.) Did you callanyone? (Nothing.) Did you think about calling hin? (Notbing.)You're in danger now. And you've pur us ali in danger. Can yousee rhar?MARYANNE. I'm sorry.AGNES. I'm sure you are. But you can't stay here now. You haveto move on.MARY ANNE. (Stunned.) Why?AGNES. I have Penny to think about. If John comes back

-MARYANNE. He won't.AGNES. You don't know that.MARY ANNE. I do know that. I know him. He was just rrying toscare me. He won't come drag me out by -y hair or anyrhing.AGNES. I can't risk it. I'm sorry. (Beat.)MARYANNE. Do I have to go tonight?AGNES. No, but soon. As soon as the sheriffthinks itt safe. (Silence.)

\X4ryd you do it? (No response.) You missed him? (lVothing.) You jusrwanted to hear his voice? (Nothing ) Do yor-r remember what he didto you?End ofAct One

40 41

Nt \tr\ \!l ll \,.,\r,lll ', \\ lr.rr ,lr,l lr, ,l,,:'lil \lr\ \l llll Il, lrt.rt rrr('tl[).\r,lll ', l,ll rrr, ,rl,otrt it. (No response.)M^ry Anne?l\l \li\ ;\NNl'. I jtrst told you. He beat me up.;\t,[.] 1,,\. IlrlwiI\ I r\ li \' A N N lr. I don't remember how.A( ;N LS. I think you do.MAI{Y ANNE. I'm going to bed. (She starts for the stairs. Agnes

ltlotLs lter way.)A(lNES. Sit down.MARY ANNE. I'm so tired. I just want to sleep. (Agnes takes

Mary Anne by the arm andforces her back iruto tbe chair.) Ow. You're

hurting me.AGNES. Listen to me. I am not the one who did this to you'MARY ANNE. I know. (Tries to wrencb herself away. Agnes holds

her tightly.)AGNES. No. You don't. I am not the one who did this to you.MARYANNE. I know. Let me go.AGNES. I am not the one who did this to you.MARYANNE. I heard you.AGNES. I am not the one who did this to youlMARYANNE. Leave me alone!AGNES. I am not the one who did this to youlMARYANNE. You can go to helll (Agna lets MaryAnne's arm go.)

AGNES. There she is. There's the fighter. (Beat.) I know a womanwho runs another house, right over the Canadian border' I'll call

tonight. Maybe she has roorn. (Hannah enters from outside')

HANNAH. Hi.AGNES. Hi.HANNAH. 'Why's everyone still up?

AGNES. 'We were dying MaryAnne's hair.HANNAH. No kidding. Can I see? (Mary Anne unwraPs her head.

Her hair is red.) I like it. You look like whatshername.AGNES. \X4ro?

HANNAH. You know ... the girl from Bye Bye Birdie.MARY ANNE. Ann-Margret?HANNAH. That's the one.MARYANNE. Youthinkso?HANNAH. Yeah. You're the spitting image.

MARYANNE. Thanks. (To Agnu.) Can I go to bed now? (Agnes

nods.) Good night. (She goes.)

HANNAH. I loved that movie.AGNES. Bye Bye Birdie?HANNAH. Yeah, I must have seen it ten times in the theater. (She

loohs up. Agnes is staring at her.)What? I like musicals.AGNES. That just doesn't seem very consistent with your principles.HANNAH. I am large, Agnes. I contain multitudes. (Agnes smiles,

despite herself)AGNES. \X4rat did the sheriffsay?HANNAH. Nobodyt seen him. But they're on alert. They're gonnamonitor the ferries.AGNES. Thank you for doing that.HANNAH. That woman who works down there?AGNES. Nancy.HANNAH. Yeah, she wanted to arrest me, I could tell. She justcouldn't figure out what for. I don't know how you stand it here.AGNES. Nancy's been very kind to us oyer the years.

FIANNAH. Awoman like you in a place like this. It dont make sense.

AGNES. \7hat kind of woman am I?

HANNAH. You tell me (A charged beat. To break the teruion, Agnes

busies berself with prEaring tbe next da1,'s mufins.) How the hell didhe find her anyway?AGNES. I think she called him.HANNAH. \fhat a stupid cunt.AGNES. Hannah.HANNAH. \7hat? \fould you call up some guy who beat the shitout of you and tell him where to find you?AGNES. She loves him.HANNAH. lVhat the fuck does that mean?AGNES. Love makes people do stupid things.HANNAH. (Drairus her cffie mug abruptly and stands,) You needany more help around here? 'Cause if not, I'[ be moving on.AGNES. You're leaving now?HANNAH. Good a time as ever.AGNES. Don't be ridiculous. At least stay the night.HANNAH. (Grabs her coat and pulls on her boots.) I've stayed tooIong already.AGNES. I dont know what you're worried about, or whot chasingyou, but yotire safe here. (Hannah stops. Look Agnes dead in the eye.)

42 43

I lr\ N N A I l. | 'rrr rror one of your broken girls Agnes. Iirr not running

Ir,,rrr .rrr.\'llrirru. I g1lt a nice a familyand I seld postcarcls. I'm jr-rsr-r',,rr slr,,rrlrlrr't telk to rne like you know rne. You've clearly never met.ur.\'()r)(' lil<c me before.A(;Nl',S. ()h that's clear to you, is it?I IANNAH. If you had, you wouldn't still be here.A(;NI1S. \Mhere would I be?

I I A N NAH. Theret sorrr,erhing hdpp ening out there. A real revolution.Wc're coming back'round the sun, and the whole world is going to becliflerent. Like new again. You should.join us.

ACINES. You mean, go with you to your cult? I don't think so.

HANNAH. \X/hy not?AGNES. I'm not a political person, Hannah! I have a life here. Ihave a daughter. I have a job. I have people dlar I protect I know itdoesn't seem worth much to you, but

-FIANNAH. Girls like MaryAnne wiil land on their feet, they always

do. But a great batde is coming. And you need to choose a side,Agnes. \7e have to know. Are you with us or against us? (Agnes rollsber eyes and concentrates on her bauer.) Fine, lady. You just keepmaking your mu{fins. (Hannah goes. Lights d.own.)

Scene 2

Early the next morning. I-ight is just beginning to creep inthrough the uindows. Mary Anne is sitting a/one at the table.She\ staring into space and tapping the penny ouer ttnd ouerdgdin 0n tbe counter. She's got the bottle of ruhkkey infontofher. Paul enters. Looks at her.

PAUL. (Srfib ) Hey Commie.MARYANNE. What?PAUL. Your hair.MARYANNE. Oh. It's awful isn't it? \7hy are you up?PAUL. I couldn't sleep. Can I join you? (Mary Anne nods.) So ...how you doing?MARYANNE. Fine.

PAUL. Who was at the door? (Mary Anne won't dnswer.) Agneswouldn't rell me anyrhing.MARYANNE. My husband. John.PAUL. You're married?MARYANNE,. Yes.

PAUL. You're not Agnes's niece, are yov? (No response.) What isthis place?

MARYANNE. You can never tell anyone what you saw here.

PAUL. Okay.MARY ANNE. You have to promise nrc.

PAUI.. I promise.MARY ANNE. You have to swear on somcthing. It's reallyimportant

-I']AUl,. I promise, MaryAnne. I swear. (Beat. Mary Anne nods. Poursherself more whiskey and some for him too. They both drinb in silence.)MARYANNE. Agnes says I have to leave.

PAUL. \7here will you go?

MARYANNE. I don't know.PAUL. Come with me.MARYANNE. You have a wife, Paul.PAUL. We're getting a divorce, I told you.MARYANNE. What's she like?PAUL. Elien? She's beautiful.MARYANNE. And...?PAUL. And, what? I don't know. Shet troubled. I met her in church.I was playing the organ. Shc was singing in the choir. She had theclearest, sweetest voice. Ihen we moved to the city. She startedgoing to these meetings with her cousin. "Consciousness-raising."

Suddenly there were all these "things" I didn't understand. She got so

sad. And she started smoking grass and inviting the strangest peopleover. They ate all our food. They borrowed my clothes. Slept in ourbed. They wouldn't leave. I couldn't take it anymore.MARYANNE. You said she left you.PAUL. That's right. She did. In the end.MARY ANNE,. WhY?PAUI.. She said I wasnt enough of a man. (Bedt.) So you know whatI did? I knew the fellow she ran offwith. He fixec{ olrr car once. Heta junkie. I was worried that he couldnt afford to feed her. C)r buy herclothes. Or that rosewater she likes from the department store. So Isent money. 'fo him. Can you believe that?

44 45

Nlr\l(\ ANNl.. You're a good person.l'Atll. No, I'nr nor. I'm an idiot. (Paul pulls his guitar out of the,,tttt,'t rtf tltt roorn. He starts to strum the chords gently.)Everyonekeepss;r.yirrg, "'lhcret something happening out there. There's somerhinglrrltlttrtirtg." Br-rt if rhere is, it can't be anything good.these kids

-tlrcy all seem ro think that once rhey break everything, it's all goingto rnagically fuse back togerher somehow. But thatt not how theruniverse works. Once things come apart, they just keep movingl:rrther away from each other. Itt entropy. (He stops playing.) Iwroteyou a song today.MARYANNE. You wrote it? For me?PAUL. Do you want to hear it?MARYANNE,. Yes.

PAUL. (Playing.)Mary Anne.I could say your ndme a thousand timesAnd neuer say it rightI could study tbe M, the R, the Y,

And still haue no insightYou haunt my dreams and come the dawnI taste you on my li1.s

Find my fngers wrapped 'round pillowsTbat might baue been l,our hips.

(Stops playing. Loohs up at Mary Anne.) It's not finished.MARYANNE. Itt beautiful. Nobody has ever wrirren me a songbefore.PAUL. It is so easy for me to talk to you. \X/hy is it so easy? (Putsdown the guitar, crosses to Mary Anne, and bisses her carefully. Sbe

doesnT react t0 it. But sbe doesn't fght him either. She just goes limp. Hepulk bacle. Looks at her concerned.) How was that?MARY ANNE. -lhat

was nice.PAUL. \[hat's wrong?MARY ANNE. Norhing.PAUL. Are you thinking about your husband? (Beat.)MARYANNE. No. (Paul bisses her again. Again, she doesn't respond.)PAUL. Are you afraid of me?MARY ANNE. No.PAUL. You can touch me, MaryAnne. Put your arms around me.(Mary Anne puts her arms around him.) Kiss me here. (Points to hischeek. Mary Anne kisses him.) Now here. (Points to his necle. Mary

45 47

Anne kisses bim there. He mdhes a high sound, like a girl.) Now here.(Points to the other side of his necle. Mary Anne kisses bim there. Hemabes the same )teb) Mary Anne. (He gathers Mary Anne in his armsagain and kisses her, hartl. She stffins and shoues him away) \X/hat's

the matterwith you?MARYANNE. I'm sorry.PAUL. You kiss like a dead fish.MARY ANNE. I . .. I didn't l<now that.PAUL. \X/ell, lt's true. I ve nevcr had ro do so rnuch work in my life.(Moues arua1t from Mary Anne, hurt. He sits dorun and pours himselfanother shot of whiskey.) You're a real rease, you know that? Youvebeen leading me on since the momenr I got here with your big eyesand your litde ... I wasn't even going to talk ro you but I feit sorry foryou because ofyour eye. You know what I think your problem is?

Nobodyt ever been nice to you, not in your whole life, so when a guylike me comes along and actually rakes an inysyg5y

-MARYANNE. Paul? (Moues to him. Sbe leneels down infont dhischair.) Kiss me again? Please. (Paul stares down at herfor a moment.Then he leans forward and bisses her. She reaches for his beh dnd remouesit. She undoes his pants. He helps her pull them down. Mary Anne getsup and locks the door to tbe kitchen. She gets back on her knees anclstltrts to giue him a blorujob. Paul puts his hands on her head to guideher. Lights down.)

Scene 3

An hour later. Pdul is gone . Maty Anne is scrubbing the ouen

clean. She s crying. Penny sneaks in from the outside.

PENNY. I'm so glad you're up -

oh my God, your hair! I love it.MARYANNE. You do?PENNY. Don't you?MARY ANNE. I hate ir.PF.NNY. \Mell it's only temporary. You can dye it back. Once youget settled somewhere. And you know he's not following you.

I\lAl(\' ANNL. I l("s n()t goirrg to firllow me. I'm never going to',t't' lr irrr :t1,,:ti lr.

l'l.NNY. I lropc n()t. lJut we gotta be sure.MAI{Y ANNIT. I arn sure. John hates redheads, He thinks they allIt,oli lil<c whores.l'llNNY. ls that why you're crying? Because John hates redheads,rnrl rrrrw you're a redhead? (Mary Anne just stares at Penry.)MAI{Y ANNE. Have you been out all night?I'ENNY. Yes.

MARYANNE. Penny! How are you going to go to school today?PENNY. That's what I wanted to talk to you about. How do youskip school? Without getting caught?MARYANNE. \fhat?PENNY. There's a Led Zeppelin concert Tommy wants to see

tonight in Portland. But if he gets caught, they'll suspend himfrom the football team so ... I told him I d ask you how to do it.MARYANNE. Me? Why?PENNY. I figured if anyone knew, it would be you. (Mary Anneloohs pale.) Don't worry. I didn't tell him who you are. I just saidyou were my cousin and you were staying with us for a while andyou knew a little something about everything.MARYANNE. That isn't true.PENNY. Yes it ls. I don't know what I would have done if younever showed up. Do you know why I asked Tommy to the promthat first day you were here? Because Agnes told me to. 'S7ell, she

didn't say ask Tommy. She wanted me to ask Ned Torrey. But thepoint is ... she doesn't know you're supposed to wait for them toask. Sbe doesn't euen know. It's so simple really. AII this time, I'vebeen thinking how difficult it must be. But it isn't at all. Calculusis hard. Boys are easy.

MARY ANNE. I never skipped school.PENNY. Oh really?'Why not?MARY ANNE. I was afraid my father would beat me. (Silence.)

PENNY. \7ell, never mind. I'[ figure it out. I'll forge a note fromAgnes or something. (Heads towards the stairs. Hesitatel Tberei some-

thing eke she ultntt to asb.) How do you know if youre pregnant?MARYANNE. You feel something kicking.PENNY. I'm serious. (Mary Anne stops. Loohs up.)MARY ANNE. Why? (Penny just loohs at her.) No. Just now?Tonight? (Penny nods. ) Where?

PENNY. In his car.MARY ANNE. And?PENNY. It was just like you said it would be, only it was better.MARYANNE. Likelsaid?PENNY. \7e did it once, and it kinda hurt, but then, we did itagain and it was incredible. And after, my whole body, it was like

Jell-O on the car seat. It was so funny. Tommy kept lifting up myarm and then hed say, "Hold it there." But I couldnt. I was so

weak, it just fell down. And then he pinned it behind my back andhe'd say, "Try to move." But I couldnt. I mean, not at all -MARYANNE. That's not funny.PENNY. I'm not telling it right. It was really, really funny, Andguess what else? He said he loved mel He said he's loved me sincehe first saw me. But he never had the guts to tell me because hethought I was so much smarter rhan him. (Silence. Mary Annescrubs.) Did you hear what I said?

MARYANNE. Hmm-hmm. I'm happy for you.PENNY. I'm going to marry him.MARYANNE. \[e'llsee.PENNY. No, I am. \7e're going to elope. As soon as he graduates.(Gus up and leans ouer the kitcben island.) He wants to join up now.He wants to get a chance to fight before the war is over -

(MaryAnne slaps Penny across the face.) OwtMARY ANNE. Calm down!PENNY. \7hat's wrong with you?MARYANNE. You're scaring me.PENNY. So you hit me?

MARYANNE. You cannot elope with this boy.PENNY. \Mhy not?MARYANNE. You're going to college.PENNY. I don't have to.MARYANNE. Don't be an idiot!PENNY. I louehim.MARYANNE. So what?PENNY. I thought you, of all people, would understand.MARY ANNE. I do understand. V&ich is why you have to dowhat I tell you. Dont see him again. Let him go offto basic training.If he writes you letters, dont open them. Give them to your motheror to me. There are plenty of girls on the base to keep him occupied.He will forget you soon enough.

48 49

l'l lll l\ I ,l,rrr I \\'.urt lrirrr to lirrgct melNl\ll\.\lll'll \,'. lorr tlo.l'l I lll\ \,,u rr r(\r(r ('v(.r) nlethim.Nl \ll\ \ltl..ll l'r.rrrry. [,istcn toyourself. This isn'tyou.l'l t.l f'l\. ll,rrv,l,, yotr l<now?I\lr\li\ /\NNl.. I l<nowyou.l'l N N \'. Yorr don't. You don't know me. I don't even know me.t l'trt' ltt't ltuil in her hands. Mary Arune reacltes out and gentb stroheslu't'lrrir.) I don't wanr ro go ro college. I'm tired of being smarr. Irjust rrrrrl<es everyone hate you.MAI{Y ANNE. Thar's nor rrue.l'tlNNY. Nobody like Tommy has ever even loohed at me before.MARYANNE. They're intimidated by you.PENNY. \Mhy? \7hat am I doing wrong? I'm nice ro people. I dontmake fun of anyone. I never try to make anyone else feel stupid. If Iknow the answer to a question in class, why cant I say it?MARYANNE. You can.PENNY. But when I say it, nobody asks me ro rhe proml (Beat.) Idid exactly what you told me ro. I sar next ro him in chemistry classand I pretended to be confused and I let him explain it to me, and Ididn't correct him, even though I knew he was explaining it wrong.And then after school, I went to his practice and I cheered my headoff. I could hear the other girls talking about me and I knew theywere making fun of me, bur I said to myself, "The only thing thatmatters is Tommy, the only thing that marrers is Tommy," and Ididn't react. And then after school, he walked me home, and I justasked him questions. He didnt ask me a single thing about myselfin return

- so I thought, he must nor be interested in me at all,6ut

I touched his arm like you told me to and he caught my hand andasked me to go ro the prom with him. So it worked, everyrhing yousaid to do worked. I don't understand. \Mhy did you tell me how roget him, if I cant have him?MARY ANNE. You're going to have your pick of men. You justneed to hold out a little bit longer. 'Wait until you're rwenry-five.Heck, wait until you're thirty.PENNY. Thirry? I might be dead by thenl (Suddenly she bangs herbead down on the table.) I hate being a girl. I hate it. I hate it.MARYANNE. Pennyl Stop itlYou'll bruise yourselflPENNY. I don't care. (Bangs herforehead again.)

MARYANNE. Stop. Stop. It's okay. Stop. (She tahes Penny's headin her hands and pulls the younger girl to her. For a moment, Pennllets herself be held.) Listen to me. lt is not worth lr. I know they seem

so special ... and when they choose you, it makes you feel ... Butit.'s a trick. They don't see you. They're just looking for reflectionsof themselves in your eyes.

PENNY. (Snaightens up and loohs at her.) But you said -MARY ANNE. Forget what I said! I am lost Penny. In a hall of

mirrors. Itt a maze and nobody ever gets out. Don't. Come. In.(Agnes enters the room, bleary-eyed.)AGNES. \7hat's going on here?

PENNY. (Qutckb.) Nothing.AGNES. Have you been up all night?PENNY. Of course nor.AGNES. \7hat are you two talking about?PENNY. I was doing my homework. She was keeping me company.AGNES. \(/here are your books?PENNY. Lay off, Agnesl (Agnes stltres at Penny. Then slte turns toMary Anne, sees her scrubbing the stoue.)

AGNES. You don't have to do that.MARYANNE. I don't mind. I was up. Coffee?AGNES. (A dig at Penny) I dont know what we're going to doaround here without you, Mary Anne. I ve gotten so used to havingthe help.PENNY. 'Why don't you invite her to stay? (Beat.)AGNES. You know I can't do that.PENNY. \Why not?AGNES. It isn't safe.

PENNY. For who?ACNES. You.PENNY. I'll be leaving soon anyway. \7.hich reminds me. 'Where'smy birth certificate?AGNES. I haven't looked for it yet.PENNY. You promised.AGNES. \7ell, I'm sorry. It's been a little busy around here, Iately.PENNY. Do you even baue it?AGNES. I don't know!PENNY. There are some mothers who know exactly where every-thing is. There are some mothers who have everything pertainingto their childrent existences catdllgued in uery organizedfiles.

5150

\r.l I ', \\ l,rr ,.rrr Irr.ll yoriPenny?Youdrewtheshortstraw.you,,,, , , ,rt ,l,,llI 'l I I I I \ I'.1,r lr irrn is organized around here! \(e live in total chaosr\t , i.l I \. llr:rt isn'r rrue.l'l NN\'. Ihe sign outside has been falling down for as long as I( .r n r('l) tclttbef .

A( ;N trs. So what?I'[1NNY. So ft loobs bad, Agnes.It makes us look bad.A(INES. \What is the matter with you this moming?PENNY. I'm late for school. Again.AGNES. And how exactly is that my fault?PENNY. It isn't. Nothing is ever your fault. You're perfect. perfectSaint Agnes. Patron Saint of Fucked Up Girls Ever)-where. (She goesstorming up the stairs.)ACNES. Good grief. (Looks at Mary Anne.) How are you?MARYANNE. I'm fine.ACNES. Good.'fonrorrow, I thlnk, ifJohn still hasn't shown up,I'll ask the sheriff ro escol'r you ro the ferry.MARYANNF,. (Hurt.) Thank you.ACNES. Let's talk about where you're going.MARY ANNE. Back to Mama and Daddy's.AGNES. But he'llfind you there.MARY ANNE. I don't have anl,r,vhcre else, Agnes.ACNES. I'll cail my friend up north.MARY AI.JNE. I don't want ro go to Canada.ACNES. \7hat about your cousin?MARY ANNE. \7hat?ACNES. You said you had a cousin. Who was a schoolteacher.MARYANNE. Oh. I made rhat up.AGNF.S. You what?MARY ANNE. You asked me if I had anl,where else to go. youclearly wanted an answer. What was I supposed to say?ACNES. You could tell me the truthlMARYANNE. I want ro stay here.ACNES. Well. thar's r)or an oprion.MARY ANNE. I'lease Agnes.ACNES. Nol (Maty Anne crouches down, puts her bead between berbnees, and breatbes heauily.) I know you'.. frightened. But you re astrong girl, Mary Anne.MARYANNE. I'm really not. (She stands up, gles to the refigerator,

and helps herself to some ginger ale.) Patl trie<l to kiss me last night.I didn't like it. A11 I could think about was John.ACNES. Cive it rime.MARY ANNE. Paul made tl-ris sor.rr.rd ... like a girl. It made mesick to my stomach. John rreve r nradc a sound like that. John ner.ermade any sounds at all. I n.rrrdc ail tl.rc sor-rncls.

AGNES. Paul and John are very clillcrcnr rnen.MARYANNE. I miss lohn.AGNES. That will pass.

MARYANNE. You dorit undcrstancl. I rrriss I'riu'r so r.nuch I fbel likemy heart is going to fhll otrt of rny c,hcst. I can't blcrrthe it hurts so

badly. I think about the way he r-rscd ro grab nry hair ancl pull myhead back to kiss me. I think about the way he usccl to rip rny stockingsand push me up against a wall. Put his tongue in rny crrr

AGNES. MaryAnnelMARYANNE. And I get so wet I think I'm bleedinglAGNES. I don't want to hear this.MARYANNE. He haunts me, Agnes. Every moment of ever:y dayI want to be with a man like Paul. But when I try to irnagine it

-in my head -

I feel like I'm already dead and buried. Like I'm sixfeet underground. John is the only person who has ever made mefeel alive. (Silence. Agnes stares at her hard.)AGNF.S. You have to give it time. (Penny reenters. tucoring a uery

sbort dress.)

PENNY. Agnes, where's the iron?AGNES. It's in my bathroom. (Penny turns t0 go back upstairs.) Isthat dress even long enough to iron? Why don't you just wear a

handkerchief to school?PENNY. lt's not for my dress. It's for my hair. And I'm not goingto school.AGNES. Where are you going?PENNY. To a concert in Portland. \X/ith Tommy. And I wouidappreciate it if you would write me a note.AGNES. Excuse me?

PENNY. Otherwise, I'm going to get an unexcused absence. (Agnes

loobs at Penny in disbelief.)AGNES. Who the hell is Tommy?PENNY. You know who he is.

AGNES. Yes and I don't like the sound of him.PENNY. \fhy not? Because he sounds normal?

52 53

.\( ,l'..1 I \ I 1rr.,r ,1,,n'r rrrr,l.'r's(rrncl why he's interested in you.I'l Illl\ l'rrr ,rr rrt( rtsrirrg 1'rcrsotrAgnesl\',1.1 I ', \\'lr.rr .rlrorrr Ncrl 'lorrey? lVhy don'tyou go on a datetrrtl, l-],,1l'l l.lN\ N,tl lirr rcy makes me rwitch. He literally makes merwrr( Ir. I lt rrir-tl to l<iss me once in the newspaperomce and I almostIt'r Irrrrr l)((irusc I l<newhowhappyitwould makelou, but I couldntl,,..rrrst rny facc had gone into fucking convulsions. Okay? So Imr)()t ll()ing to date Ned Torrey! I am neuer going to date Ned -lorrey.

A( ;N I1S. You'll be sorry you said thar, in twenty years when Ned'l'or.r'cy is a millionaire and your football player is an alcoholic. Therrrcck shall inherit the earth, Penelope.I'BNNY. You know what? Forget the iron. Forget the iron and mybirth certificate and ifyou get a call from school today and they sayI'm not there, just forget that too.MARYANNE. Pennyl (Penny startsfor the door.)AGNES. VThere are you're going?PENNY. To meet Tomm1.ACNES. Penelope. Sit down.PENNY. I am so slc* of this place.AGNES. 'What

place?PENNY This house.I am tired of living here. I wanr to be someplacewhere people sleep through the night. \Where they dont open rrapdoors in the floor and pull up srrange girls with their faces bashed in.ACNES. (Coldb ) \Who's stopping you?PENNY. You arel Because ro leave, I would need a car, which Icouldn't even drive because I can'r ger my driver's license unril youfind my fucking birth certificatelAGNES. I don't have your fucking birth certificate.PENI{Y. -Well where the fuck is it?ACNES. Probably with your fucking morher! (Silence. 7be threewomen stdre rfi eacb otber.)MARY ANNE. (To Agnes.) I'm sorry

- I thoughl

- 2psn'1 yeu

her mother? (No response.) Agnes?ACNES. No. I'm nor. Penny was left here. As a baby. By one ofthe girls.MARYANNE. 'W4rat do you mean "left here"? She never came back?AGNES. No.MARYANNE. \Xrhy not? (No response.) Wby not?PENNY. \7hy do you think? She got herself killed . (Beat.)

MARYANNE. Oh my God. (She crouches ouer again, puts her headbetween lter knees, and gdgs.)AGNES. (Coolly ) Are you alright? (Mary Anne nods.) Would youlike some tea?

MARYANNE. Yes, thirnl< you. (Agnes moues into tbe kitchen to makesome tea.)I'ENNY (Tb Maty Annr-) You understancl why I have to go, dont you?MARYANNE,. lguessldo.PENNTY. Then tell her. Make hcr unclersrancl. She won'r listen to me.MARY ANNE. (To Agnes.) lt's just a concerr, Agnes. She's notrunning offwith him. It's one day of school.AGNES. (Looks at Maryr Anne, euenly.) Alright. Thank you fordelivering the message. Now why dont you tell Penny what happenedto you. (Tb Penny) Sit down. Listen to this. Ifyou warlr ro lcave, afrershet through, I won't try to stop you. (Tb Mary Anne.) Go ahead.MARY ANNE. She doesn't need to hear about ir.ACNES. I think she does, Mary Anne. Thanks ro you. I'm notan idiot. I know what you rwo were doing down here late atnight. You filled her head with stories of boys and dates and whiteweddings. Now tell her what came next for you.MARYANNE. Please, Agnes.ACNES. Do you want her to end like you? (MarytAnne loohs likeshe's been hit.)Tellhel (Beat.)MARY ANNE. 1'To Penny.) John came home one night and beatme up.AGNE,S. WhY?MARY ANNE. I was out with an old friend. I came home a littlelate. (Beat.) He was drunk.ACNES. Did you pick a light with him?MARYANNE. No, of course not. (Beat.) I had had such a lovelynight. I didn't want him to rr-iin it. I tried to go bed.AGNES. Then what happened?MARY ANNE. He followed me into the bedroom. He turned onthe light. And he said, "You think you can just walk away from rne?\Mho do you rhink you are? Get up."PENNY. What did you do?MARYANNE. I got up. I got dressed. I said I d go to my morher's.Usually, he just lets me go. He sleeps it off, and I come bacl< in themorning. But this tirne, he blocked the door.PENNY. (Confused.) Why?

54 55

l\Ir\l(\ ANN1.. Irlorr't lirrow, I)enny. HesaidIwasachild. HesaidLrlrr.rr',, r.rrr ,,ll lr) nry l)iu'cnts. He said I'd never been through any-rlrrrrl, lr,rr,l. 1,\'ttrtr': lrtlrt ltcr tertcup.) He said the sight of me madel,rrrr .,r, 1,. I l, s,ritl lrt'should have married my sister. She's onlyyour.r11 , l', nrn,. I torrltlrr't listen to him talking about her like that. Ir,rl,l lrirrr r., slrrrt the fuck up. He called me a cunt. (Beat.) Then he

'.rr,l, " l l,rvc you." I said he didnt know what love was. That really

rrr,rtlt lrirrr rnird. \7e have this lovely bed. Four posters. It belongedt. rrry grrurdmother. He grabbed me by the hair. He smashed mylrrt e i rr to one of the posts. (Sbe stdrts t0 cryt, sur?rising herself )l'liNNY. It's alright MaryA.nne. You dont have to tell us any more.A(;NES. Yes she does.

PENNY. (To Agna ) 'Why

are you being so horrible to her?lAGNES. She needs to say it. She needs to say it, and she needs tohear herself saying it. And we need listen to her. (To Mary Anne.)Then what did he do? (Mary Anne doesn't answer.) \VHAT DIDHE DO?MARY ANNE. He put his thing in me, Agnes! He pinned medown on the bed and put his arm against my throat and held itthere while he ... I couldn't breathe. I was sure I would die. (Beat.)I must have blacked out, because the next thing I remember, I wason my stomach and he was finishing in my ... which is a sinl Andhe knows that. He doesn't care if I'm damned. (Mary Anne catches

the horrified look oru Penny\ face.) There was a time I was good. Iwas so perfectly good. Now at night I dream that I have a penis andI'm raping someone with it. (Sucldenly, Penny stands and races out ofthe fiont door. A beat. Agnes and Mary Anne loolz at eacb other. Then

Agnes gex up and runs out afier Penny. Lights down.)

Scene 4

Later tbat morning. Tbe bitchen is empry. Paul enters, canyinghis guitar and his suitcase.

PAUL. Agnes? (Mary Anne enters from the stairs. She\ also carryinga bag.) Oh. Hello.MARY ANNE. Hello.PAUL. I was just looking for Agnes. Is she around?MARYANNE. She's resting. (Beat.) Are you leaving?PAUL. Yes.

MARYANNE. Me too. (Beat.)PAUL. \(here are you going?MARYANNE. Home, I guess.PAUL. You can't do that.MARY ANNE. \(here else am I going to go, Paul?PAUL. Come with me.MARYANNE. You don't mean it.PAUL. I do.MARY ANNE. You were sneaking away. You weren'r even goingto say goodbye.PAUL. I wasnt sneaking, I ... (Hefabers. MaryAnne shabes her head.)MARY ANNE. I have to go. (She pichs up her bag and crosses theroom in fiont of Paul. As she does, he reaches out and grabs ber arm.She stops, surprised.)PAUL. Please come with me.MARYANNE. You're serious.PAUL. Yes. (Beat. Mary Anne just loohs at him,) I'm nor a veryinteresting man, I know that. I don't know any foreign languages.I've never been skinny-dipping. I've never even kissed a girl in therain. I may not be able to sweep you off your feet, but I willnever, ever hurt you. (Mary Anne just stdres at him.) I want to lovesomeone, Mary Anne. Quietly. Deeply. I want to own my house.I want children who outlive me. I wanr a dog. That's all. \7ould itbe enough for you? (Beat. Agnes enters, interru?ting tbem. Sheclocks the suitcases.)

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,\( ,t''-.ll \ ( llt A'lrrry Anne.) Are you leaving? Both of you?l';\lll . l'rrr :rlieicl so, Agnes. The time has come for me to setderr1,. I l,w rrrrr,.,lr clo I owe you? (Agnes crosses slowly to her record boob,rrttl rlrtt's rr calculation by hand.)A( iN lis. C)ne hundred and twenry. (Paul opens his wallet. CountsItit money.)l'AUL. Is Penny around? I'd like to say goodbye.AGNES. No she's not.PAUL. \X/ill she be back soon? I don't mind waiting.AGNES. (To Mary Anne.)lhave no idea when she'll be back.PAUL. Okay, tell her shet a good kid and to keep her head straight,will you? (Agnes doesn't AnstDer. To Mary Anne.) You ready to go?(Mary Anne weighs her options for d beat, and then mdkes d decisionand pichs up her bag.)MARYANNE. Goodbye, Agnes. Thank you for everphing.AGNES. (Coldb )

'Would you like a mufHn, for the road?MARYANNE. That's alright. I'm not very hungry.AGNES. I insist. (Agnes holds out a basket of mffins to Mary Anne.She reluctantfu takes one.)MARYANNE. Thank you.ACNES. Aren't you going to try it? They're pumpkin cardamom.Your favorite. (Mary Anne clearly doesn't want to eat but Agna iswditing. She mahes herself take a small bite and swallow it. She gags.

Waits a moment Tben races for the trash bin and throws up.)PAUL. Mary Anne! Are you alright! (Mary Anrue standl shahily.)MARYANNE. I'm fine. I'm fine.'i7e should go. (She picks up berbags and startsfor tbe door.)ACNES. Are you pregnant? (Mary Annefreezes.)MARYANNE. 'Sfhat?

AGNES. I was a nurse, MaryAnne. Do you think I'm stupid? Areyou pregnant? (Mary Anne doesn't ansuer.) I thought you had anabortion. (No response.) You told me you had an abortionlMARYANNE. I lied. (Silence.)

AGNES. Are you planning on keeping it?MARYANNE. I don't know.AGNES. You have no money. How will you afford it? lVhat willyou do? (Mary Anne doesn\ answer. Agnes looks at Paul.) Of course.PAUL. -Wait

a second. You're knocked up?ACNES. Does John know?MARYANNE. No.

AGNES. \7hat happens when he finds out?MARY ANNE. He won't.AGNES. You couldn't last a week here without reaching out tohim. You think once you have a baby that things are going to geteasier?! You are going to call him, you're going to tell him where topick you up, he's going to take you home and he is goirug to hill yout.

MARYANNE. You don't understand.AGNES. You had the chance to start over! You're so young.MARYANNE. You don't understand!AGNES. 'Well why dont you try to explain it to me. Tiy to explainto me what the hellyou were rhinking

-MARYANNE. It is a baby, That's what I was thinking. (Silence.)

I don't want go to Canada and arrange fowers for the rest of mylife. I don't understand why you keep trying to punish me. I haven'tdone anything wrong.AGNES. To "punish" you?MARY ANNE. "You need to stay upstairs, Mary Anne. You lookIike a ghoul, Mary Anne. \W{ho are you calling, Mary Anne? \Vhyare you smoking, Mary Anne? 'S7'hat

are you saying? 'S7hat are you

wearing? \7hat are thinking Mary Anne?" I know you rhink I'mstupid. That only stupid, weak girls get hir. But you've never lovedanyone. So what do you know?AGNES. I don't think you're stupid.MARYANNE. I have loved him since I was fifteen, \7e were childrentogether. Then he went to war and he came back differently and allI was trying to do was stand by him, understand that he's in pain,and that het scared, and when he's scared, he gets angry and whenhet angry he ... he ... (Starts breathing hard.)PAUL. MaryAnne, let's just go

-MARYANNE. Leaving him is the hardest thing I have ever had todo.l did it and I'm never going back but I still love him. I wish youcould understand that. (Paul picks up Mary Anruds bags

- ) I canget those myselfPaul. (Paul stops. Tb Agnu.) I'm going to have thisbaby and I'm going to raise him in a safe house and he's going togrow up strong and kind. He will love me and I will love him andhe will be good and I will be good and that is all I utantfom life.Idon't want to fight your fight. I dont even know what it is you'refighting for. I don't know why everything fell apart. I was trying so

hard. I always try so hard. (She is crying.)AGNES. I understand. And I wish vou luck.

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l'\t ll l\l.rrl Arrrrti' (l lc opens the door. Reaches out a hand. Maryl,ttt, f ,,,,f,, ,rt /rittt, ltit'ks up her own bags, and steps ouer tlte threshold.

',1,,. ttrt tt, tt, frtrtl, lutk at Agnes zne more time.)h l;\li\' AN N lr. She didnt leave because of me. She left because of1'ttrr. (I i,qltts rlown.)

Scene 5

A weeb later. Early morning. Iti still darh. Agnes is sitting atthe kitchen table, drinking cffie and reading a big book. She

hears a noise at the window. Someone is trying to open itfromthe outside. Agnes moues twrrtb into tlte kitchen, pulls oat agun from one of the cdbinets, and points it at the window.Tlte window rises slowly and Hannab slips into tlte room.

AGNES. Freeze!

I-IANNAH. (Jumps.) You have a gun?AGNES. '$Vhat

are you doing?HANNAH. \X/hy do you have a gun?AGNES. I run a safe house for abused women. \(/hat are you doing?HANNAH. I was just stopping by.AGNES. Through the window?FIANNAH. I'm a revolutionary. Can you put that away? Please?

(Agnes slowly lowers the gun and puts it bach in the drawer. Tbey stareat each other.) Aren't you going to offer me a muffin?AGNES. No.HANNAH. Oh come on, I'm starving.AGNES. I haven't made any mumns.HANNAH. Can I at least have a cup of coffee?

AGNES. Make it yourself Hannah. (Agnes moues bach to the table,sits down, and opens up her book. Hannah moues into the kitcben andstdrts making some cffie.)HANNAH. I guess itt safe to say you didnt miss me. (Agnes ignores

her.)\Xlhat are you reading? (Agnes holds up the book. Reading.) 7he

Settlement Coobbooh. 'Why are you reading a cookbook?AGNES. I find it soothing. It was my grandmother's. (Silence.)

HANNAH. Big news in the paper yesterday. Did you see it?AGNES. Yes.

FIANNAH. Gives you hope, doesn't it?AGNES. For what?I{ANNAH. That it might pass. That the times, they are a-changing.AGNES. They'll change back.HANNAH. Don't say that!AGNES. It's true. (More silence.)HANNAH. How's Mary Anne?AGNES. She left.HANNAH. \Where'd she go?

AGNES. I don't know. She went with Paul.I-IANNAH. \fell, thaCII last a day and ahalf. (Agnesfowns at Hannah,)AGNES. Did you 6nd your group?HANNAH. My group?AGNES. Those piopli you were looking for?HANNAH. The Gorgons? Oh yeah, I found them. They're notfar from here. They set up a whole community on one of thesmaller islands. The women are living in trailers right now, but they'replanning to build log cabins eventually, like the Salish Indians. Andeveryone has a job. Some women keep the fire going. Others tend thegarden. One woman is weaving hemp jewelry to sell in town. A fewcook. But not well. Thatt sort of deliberate. There's even childcare forthe female children.AGNES. \X4rat about the male children?HANNAH. \fle eat them. (Agnes starts.) That was a joke. They'renot allowed to come. There are no men allowed on the land. Noteven children.AGNES. Lord. \What a world. (The cffie starts to percolate. Hannahpours herself a cup.)HANNAH. They call it\Tomynland. \7ith a'y' instead of an "e," so

there are no men anywhere, not even in the name. Every Sundaymorning, instead of church, one of the older women gives a talk. Onwhat we're doing and why we're doing it. I ve already learned so much.The female is parthenogenic. The male is not. In order for their kind tosurvive, they had to conquer us. 'We are engaged in a biological warfareand weve been losing so badly, for so long, that weve forgotten it's a

fight. There will never be equality with men if we keep sleeping withthem. \7e are delivering our most vital energies to our oppressors.The only hope we have for gender parity is to live as separate species.

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A,l;,rtt'rrt, lrtrt independent. \7hat these women are doing -r lr,'ir vision firr a new world

- a place where women take care of

w()nr('r) -

it's the kind of thing I've been looking for mywhole life.A( ;N ES. So why are you back here? (Harunah doesn\ answer. Agnesftlurns to her coobbooh.)HANNAH. I thought about you a lot in \Tomynland.AGNES. Really.F{ANNAH. Yes really. (Beat.) Everyone up there is so ... I dontknow . .. dramatic. They do these rituals where they pray to Artemis,the Virgin Hunter, and they rip off their shirts and beat their barebreasts with hot stones. \7ould you ever do anphing like that?AGNES. Beat my bare breasts with hot stones? No.HANNAH. Right. And yet, when I think of all the women you'vehelped. AII the lives you've changed. (Hannah tries to hiss Agnu.)AGNES. Oh God Hannah, no.HANNAH. Agnes

-AGNES. Hannah.HANNAH. I know you're frightened.AGNES. No,I'm not.HANNAH. I can teach you what you don't know.AGNES. I'm not interested.HANNAH. 'Why not?AGNES. I'm an old woman.HANNAH. Don't you want to feel something before you die?(Tries to hiss her again.)AGNES. I feel things. (Shoues Hannah awalt and moues away iruto

the kitchen. Hannah stals 0n her hnees for a moment. Stunned. Zhen,

mortifed, sbe scrambles up and goes to the window -)

Hannah -HANNAH. Forget it. (Hannah opens the window. Swings a leg out.)

AGNES. Hannah!HANNAH. Fuck you!AGNES. Penny is gone. (Hannah stops.)

HANNAH. Gone where?AGNES. I dont know. She ran offwith that football player. I thinkthey went to a concert.HANNAH. \When?

AGNES. Aweek ago.HANNAH. A week ago?l And you haven't heard from her?

ACNES. No.HANNAH. Have you called the cops?

AGNES. No. (Hannah gas offthe windoru ledge and moues to the phone.)

HANNAH. \7ell what the hell are you waiting for?

AGNES. She wasn't kidnapped.HANNAH. So what? Shek a minor. They'll treat her like a runaway.

AGNES. She left. Of her own volition. She wanted to go.

HANNAH. She's sixteen, she doest-t't know what she wants.

AGNES. \7hen I was sixteen I lied about my age to become a nurse

for the Army. If she wants to throw her whole life away on some boy,

after everything shet seen here, after everything we've been through,then who am I to stop her?

HANNAH. Her mother.AGNES. No, her mother's name was Lia. She was my .. . she was myfriend. A girl I grew up with in Tennessee. She was something. Every-

one who met her fell in love with her. Men. \7omen. It didn't matter.

She just had fiis ... I don't know how to describe ... she made youfeel so good, )ust being around her. (Beat.) And she thought I was

funny. She's the only person who has ever thought I was funny.(Beat.) Her husband was a terror

- one of those old Southern night-

mares who beat her just to make himself cry. She showed up on mydoorstep, eight months pregnant, with all her things in the worldpacked in a basket, like she was stopping by for tea. \7e drove as far

west as we could. \7hen we got to Seatde, we heard of an island thatyou couldn't get to. Because the bay around it was too shallow forships to pass through. \7e knew if we made it there, we'd be safe.

(Beat.) She delivered Penny right here on this kitchen foor. I thoughtwe'd raise her together. Become a kind of ... family. She left eight

months later. Took my car and left her child. I didn't hear from her

for over ayear, and then I heard she was dead. So, you see, Penny is

not my child to chase. But don't tell me that I dont feel things. I feel

too much. Much too much. (Hannah crosses tlte room and attemPts t0

hug Agnes. Agnes stffins.)HANNAH. Hold still. (Agnes nies to push away fiom Hannah.Hannah grips her tightly.)AGNES. I don't want your sympathy.HANNAH. Good, because you're not getting any. (Hannah holds

Agnes fercefu as Agnes continues to struggb.)AGNES. I'm not going to sleep with you.HANNAH. I don't care.

AGNES. Then what are you doing?HANNAH. I'm trying to love you, you thick woman.

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\(,!I,, \\ lrr,,l l \l l l l \ l l li,,,ur:r' tt's.\oolJi)r lozt. Now hold-fucking-st1ll. (Agnes,,11'/,\\titt\'.\,/rt\,. lrrr/ fttt',rtltolnetit,sheletsherselfbeheLl.Asueetsilence.ll,, ,,'r,rt,lt,f rltr'f trttt/ rhtrtropening.AgnesantlHannlthsepaftfie. Penny

,tl,f,i,/ t \ r tt /l t, r/rtot ttttt-y.)

l'l I.l N \ . ( ..rrr I conre in? (Agnes just stlres at Penny.)I lr\ N N r\ I l. ( )l'course, Penny.l'l N N \'. Agnes? Can I come in?r\( iNl:S. Ycs. (Penny steps into the hitchen.)l'l.NNY. ['msorry.At iN IrS. Okay.l'lrNNY. Is it?A(lNES. I think so.

l']ENNY. Thank you. (A silence. All three womeTt looh at each other.)AGNES. \7here's Tommy?PENNY. Back at his house. I think.ACNES. \What happened?PENNY. Can i tell you tomorrow? I'm really tired. (Agnes nods.)Is there anyone in my room now?ACNES. No.PENNY. Can I go to bed? (Agnes nods.)Wrll you wake me romorrow,in time for school? (Agnes nods llgain. Penryt crosses the room.) Nice tosee you Hannah. I'm glad yor,ire here.HANNAH. (Surprised.) Me too. (Penryr hesitates for a moment,tben exits up the stairs. \Yhen she\ gone, Agnes collapses intl a chairancl chokes bacb a sob. Hanndh flls a cup oJ ruater from the faucet tmdhands it to Agnu.) She came home. (Agnes nods.) She's here now.She's safe. (Agna nods again.) Should I leave? (Agnes shabes herhead.) Do you want me to stay? (Agnes just looks at her.) You haveto ask. If you want me to sray, you have to say it. (There s a gentlecbime sound. Subtle. You could miss it. But Hannah and Agnes don't.Tbey freeze. And wait. And then come four sofi knocks.)ACNES. Will you stay? (A momeilt. Tben lights down.)

End of Play

PROPERTY LIST

CandlesBooks: Mrs. Dalloway ancT 7hc Scttlement Cookbook

Coffee and percolatorBaking ingredients: flotrr., srrgar., bakins socia eggs, butter, spices,

chocolate chips, rnuffin tins, cool<ic shccts, mixing bowlsBasket of mulllnsMugs"Closecl" signFlashlightPennyIcepackCan of ginger ale

Bottle of whiskeyNotebook and penCloth rags

Medical kit including needle, stitches, lidocaine, and bandages

CheckbookPack ofcigarettes and lighterTextbooksCooking magazine\Medding ringScrewdriverPotatoCraterAcoustic guitarPitcher of water'firwels

fba kettleRecord bookWallet with moneyCun

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