PENSACOLA. JAC Publishing & Promotions. Preparing, Publishing & Promoting the quality works of today s playwrights. by David-Matthew Barnes

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1 JAC Publishing PENSACOLA & Promotions Preparing, Publishing & Promoting the quality works of today s playwrights. by David-Matthew Barnes ISBN Main Headquarters P.O. Box 88 Burlington, MA Phone: joe@jacneed.com 76 Satellite Office 34 Groton-Harvard Road Ayer, MA Phone: julieann@jacneed.com JAC Publishing & Promotions

2 PENSACOLA Synopsis This touching and humorous play explores the lives of four Southern women. Trudy has been a single mother since her husband went to work one day and never came home. Since then, she has tried to find a cure for her loneliness while working as a cocktail waitress at The Tide Pool. Charlotte is married and has two daughters of her own. Recently, Charlotte suspects that her husband has been unfaithful and that their marriage is falling apart. Marie, a recent high school graduate, has had a difficult time deciding on the right career for herself and ponders over going to secretary school, competing for the title of Miss Florida or becoming the U.S. Ambassador to Cuba. Always armed with the best gossip in town, Trudy s best friend Berniece decides to end her affair with a younger man when a life-altering tragedy hits home. Pensacola is a powerful and heart-warming celebration of family, love and strength. Pensacola received a world premiere at The Thistle Dew Theatre in Sacramento, California. The play opened on May 3, The original cast was as follows: TRUDY BAKER: Debra Otto CHARLOTTE NORWOOD: Kristine Fairfield MARIE BAKER: Michelle Leigh Thompson BERNIECE COLE: Bonnie Blakely STEVEN NORWOOD: James Williams MIGUEL CASTILLO: Robert Taylor Pensacola received a Chicago premiere at The Wing and Groove Theatre Company. The play opened on July 7, This production was produced by Nick A. Moreno and presented by The Dorothy Nickle Performing Arts Company. The Chicago cast was as follows: TRUDY BAKER: Sondra Sellars MARIE BAKER: Natalie Oravec STEVEN NORWOOD: Jamie Kelsey CHARLOTTE NORWOOD: Robyn Paris BERNIECE COLE: Marjorie Hicks MIGUEL CASTILLO: Alberto Laurenzana Pensacola has received subsequent productions in Sacramento, Charlotte, and Atlanta. An excerpt from the script appears in Audition Arsenal For Women In Their 20's: 101 Monologues by Type, 2 Minutes & Under edited by Janet Milstein and published by Smith and Kraus. Special Thanks So many people have helped bring Pensacola to the stage, including: Thomas Kelly, Eleanor Lediard, Nick A. Moreno, Jill McMahon, Susan Madden, Michelle Leigh Thompson, James Vita, Dr. Elizabeth Peterson-Vita, Phillip Taylor, Nancy Keita, and Selena Ambush. And, in loving memory, a special thank you to Shirley Torres, whose contributions to this play were immeasurable. And, finally, to the women of Pensacola, Florida. For my mother, because of her strength. Also available thru JAC Publishing & Promotions The Back Road to Pocatello by Charles F. D. Egbert Reverend Peters lives a quiet life as a Presbyterian minister in a small town in eastern Pennsylvania. He works hard on his sermons despite his family s constant interruptions and endless caterwauling. His daughter, Lizzie, thinks she s in love with a new, older man. His daughter, Phoebe, reads and asks questions about everything. Also in their family is Grandma, Peters wife's mother, who hasn t done very well in the love and happiness department. Into this more-or-less conventional family there comes a great wind from the West, a voice from the past. Cornelius is an old friend from Grandma s school days. He is a big presence; generous, warm, open and charming... and he thinks Grandma is absolutely wonderful. He sweeps them all off their feet. But with him come some forgotten facts about Grandma s past. Cornelius proposes to take Grandma out to his ranch on the Snake River and give her a wonderful new life, but can she leave her family? The girls think Cornelius is wonderful, and so does Joan. Is Grandma going to accept his proposal to put the top down on his convertible and take the back road to Pocatello? 3 Men/3 Women/1 Young Girl Single Set ISBN # # For information, call (781) or visit ISBN Printed 2 in the U.S.A

3 Costumes TRUDY BAKER: I.1: A bathrobe, slippers, curlers; I.2: Same as I.1; I.4: Cocktail waitress uniform, heels, purse; I.5: Bathrobe, slippers; I.6: Same as I.5; II.1: Dress, heels; II.4: Pants, blouse, sandals, sun hat, sunglasses; II.5; II.6: A formal dress, heels CHARLOTTE NORWOOD: I.1: Shorts, a white blouse, sandals, purse; I.6: Jeans, blouse, sandals, purse; II.1; II.2: Dress, heels; II.4: Same as I.1; II.5; II.6: Maid-of-Honor dress, heels MARIE BAKER: I.1: Sundress, sandals; I.2: Pajamas; I.3: A polka-dotted dress, heels; I.4: Same as I.2; I.6; II.1, II.2: Dress, heels; II.3 II.4: Sundress, sandals; II.5: Cut-off jean shorts, white t-shirt w/ American flag in sparkling glitter, sandals; wedding gown, heels, bouquet; II.6: Back to II.5 cut-off jean shorts, white t-shirt w/american flag in sparkling glitter, sandals BERNIECE COLE: I.1: A colorful, tacky, flamboyant ensemble including high heels, a wig; I.5: Another tacky ensemble; I.6: Another tacky ensemble, possibly Bingo themed; II.1: Another tacky ensemble, possibly Birthday themed; II.5; II.6: Her version of upscale look (dressed to attend the wedding) STEVEN NORWOOD: I.2: Mechanic/gas station attendance coveralls, work boots; I.6: Jeans, t-shirt, cowboy boots; II.1: Same as I.6, but with a blazer/sports coat; II.5; II.6: Suit, tie, cowboy boots MIGUEL CASTILLO: I.1: Jeans, t-shirt or polo shirt; I.3: A suit, polka-dotted tie, dress shoes; II.1: Same as I.3, but with a different tie; II.3: Same as I.I; II.5: Tuxedo, dress shoes Author s Note: It is important to note that for her curtain call, Marie should be dressed in an evening gown and tiara and draped in a Miss Florida sash. Props Scissors Coupons Laundry basket (w/clothes) Liquid laundry detergent Car keys Typewriter Ironing board/iron Typing paper Cocktail waitress uniform Pizza box Cash (for pizza) Pink paper Oversized make-up case Hand cream Fashion/Housekeeping Magazines Tortilla chips Dr. Pepper Spanish dictionary Framed photograph Beer bottle Beauty pageant research/clippings Acoustic guitar Camera Birthday party decorations Kleenex Cruise Tickets Portland radio/cd player Engagement ring/box Dustpan/Broom Dishwashing gloves Garbage bag Toilet brush Hand-held American flag Suitcases Casserole dish Garment bag (w/wedding gown) Bouquets of red, white and blue flowers The Cast TRUDY BAKER: Mid 40s. A single mother, cocktail waitress and true survivor. She appears to be a simple woman, and is unaware of her natural beauty; her sex appeal. CHARLOTTE NORWOOD: 26. Trudy s eldest daughter, who visits regularly. A young mother and a wife, she has honey-colored hair which she wears in a ponytail. Charlotte harbors feelings of self-blame. Lacks self-esteem. MARIE BAKER: 18. Trudy s youngest daughter. Still lives with her mother. A young woman in search of her destiny. A dreamer. A romantic. Irresistible. She radiates with youthful energy, eternal optimism. She is the epitome of an all-american girl, the personification of a ray of sunshine. BERNIECE COLE: Early 40s. She is colorful and loud, flamboyant and starved for attention. Has an affinity for younger men. She wears a huge wig. She has a thick Southern accent. A gossip, but a real friend. STEVEN NORWOOD: 27. A young husband and a young father. He is a dark-haired man with a baby face, a sense of permanent lust in his eyes; a young Elvis Presley. Feels like a failure. Sexy. Intense. MIGUEL CASTILLO: 22. He is very extremely handsome, romantic, sensual, poetic and Cuban. Setting Summer. Present year. The modest living room of a ranch-style home in Pensacola, Florida. See page 74 for Costume Plot and Props List 74 PUBLISHER S NOTICES - No one shall commit or authorize any act or omission by which the copyright of, or the right to copyright, this play may be impaired. - No one shall make any changes in this play for the purpose of production. - Publication of this play does not imply availability for performance. Both amateurs and professionals considering a production are strongly advised in their own interests to apply to JAC Publishing & Promotions for written permission before starting rehearsals, advertising or booking of a theatre space. - No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, now known or yet to be invented, including mechanical, electronic, photocopying, recording, videotaping, or otherwise, without the prior written permission of the publisher. 3

4 Copyright 2009 by David-Matthew Barnes ALL RIGHTS RESERVED Professionals and amateurs are hereby warned that Pensacola is subject to a royalty. It is fully protected under the copyright laws of the United States of America, the British Commonwealth, including Canada, and all other countries of the copyright union. All rights, including professional, amateur, motion pictures, recitation, lecturing, public reading, radio broadcasting, television, and the rights of translation into foreign languages are strictly reserved. In its present form, the play is dedicated to the reading public only. The amateur live stage performance rights to Pensacola are controlled exclusively by JAC Publishing & Promotions, and royalty arrangements and licenses must be secured well in advance of presentation. Royalty fees are set upon application in accordance with your producing circumstances. When applying for a royalty quotation and license, please give the number of performances intended, dates of production, seating capacity and admission fee. Royalties are payable no later than one week prior to the opening performance to JAC Publishing & Promotions, P.O. Box 88, Burlington, MA Royalty of the required amount must be paid whether the play is presented for charity or gain and whether or not admission is charged. PLEASE NOTE: Proof of amateur or non-profit status may be requested when applying for royalty license. Copying from this book in whole or in part is strictly forbidden by law, and the right of performance is not transferable. Due authorship credit must be given on all programs, printing and advertising of this play, as well as the following notice: Produced by special arrangement with JAC Publishing & Promotions. Suggested Music Production companies are strongly encouraged to license the use of the following songs for all productions of Pensacola to maintain the playwright s original vision: Pre-Show God s Been Good to Me as recorded by Crystal Lewis Redneck Woman as recorded by Gretchen Wilson Don t Tell Me What to Do as recorded by Pam Tillis That s What I Like About You as recorded by Trisha Yearwood Pensacola as recorded by Joan Osborne (Final Song) Act One Tide Is High (Radio Edit) as recorded by Atomic Kitten (between Scene 1 and 2) Breathe (2 AM) as recorded by Anna Nalick (between Scene 2 and 3) Rock the Casbah as recorded by Solar Twins (dance in Scene 3; into Scene 4) Am I the Only One (Who s Ever ) as recorded by Maria McKee (between Scene 4 and 5) Tim McGraw as recorded by Taylor Swift (between Scene 5 and 6) Breathe (2 AM) as recorded by Anna Nalick (end of Scene 6; into intermission) Intermission Rock the Casbah as recorded by Solar Twins Am I the Only One (Who s Ever ) as recorded by Maria McKee Tim McGraw as recorded by Taylor Swift (Final Song) Act Two Tiempo De Vals as recorded by Chayanne (dance at the end of Scene 1 into Scene 2) When the Stars Go Blue as recorded by Tim McGraw (between Scene 2 and 3, beneath 3 into 4) Independence Day as recorded by Martina McBride (between Scene 4 and 5) Deliver Me as recorded by Sarah Brightman (the end of Scene 5 into 6) Deliver Me as recorded by David Crowder Band (beneath the end of Scene 6; into black) When the Stars Go Blue (Disclab Remix) as recorded 4 by The Corrs featuring Bono (Curtain Call) 73

5 MARIE: <Finding her strength.> I should go now. TRUDY: Please do. MARIE: <After a moment.> I love you, Mama. TRUDY: <Pulls her hand away from Marie and steps out of the light, into the darkness. We only hear her voice.> God go with you, Marie. MARIE: <Starts for the door, but suddenly she stops. She glances out, finding a tiny flicker of hope.> Mama? <Looks up to an imaginary sky Marie slowly places a hand across her heart.> Maybe if I'm lucky, I ll be able to show them. And they will see they will see fireworks light up the American sky. <The light on Marie slowly fades to black, as she exits.> END OF PLAY Act I Scene 1 <At rise, we are in the modest living room of a middle class home belonging to Trudy Baker. In the center of the room is a tattered sofa, covered with an afghan and pillows. There is an ironing board near the sofa that is covered with clothes. The steam iron is unplugged. Nearby is a lamp table that has a telephone, framed photographs and an address book on it. Also in the room, there is a magazine rack that is overflowing with current housekeeping and gossip magazines, a coffee table and a television set. On the television set is a healthy houseplant. The décor in the house is dated, but not tacky. Trudy has taken a lot of care decorating her home. Off the main room, there are three doors one is the front door, one a door to the kitchen, and one a door leads to and from the back of their house, where the bedrooms are. When the play begins, it is a Saturday afternoon in the middle of June. Trudy is home, sitting on the sofa clipping coupons. She is surrounded by a sense of newfound peace. A few moments pass before Charlotte makes her entrance through the front door. With her she carries a laundry basket of clothes, a bottle of liquid detergent, her purse and car keys. As usual, Charlotte looks worn out and pensive.> CHARLOTTE: Hi, Mama. TRUDY: Charlotte, I didn t know you were coming by. CHARLOTTE: I hope you don t mind if I do some wash. Steven still hasn t fixed that damn washing machine. TRUDY: I got my towels on the line right now, but they ll be done soon. <Puts down her coupons.> Where are the kids? CHARLOTTE: I took them over to Missy s. She said my girls needed a break from me. I don t know what is, Mama, but lately I ve been my own worst company. TRUDY: <Rises.> You want me to get you a Dr. Pepper? CHARLOTTE: <Suddenly a little girl again.> With ice cream? TRUDY: Of course, Sugar. Anything for my eldest. CHARLOTTE: I ve been eating all day. TRUDY: A lil bit won t hurt us. CHARLOTTE: A lil' bit goes a long way, Mama. Look at me. I'm a house. TRUDY: Hush up and go put your wash in the machine. Do you want to stay for supper? I'm teaching Marie how to cook tonight. 72 5

6 CHARLOTTE: I reckon that ll make front-page news. TRUDY: Well, would you like to stay? CHARLOTTE: I don t know how late Steven has to stay at the gas station. TRUDY: Do you need his permission to have supper with your family? CHARLOTTE: No, Mama, I don t need his permission. TRUDY: Then stay. CHARLOTTE: I will discuss it with my husband when he gets off of work. TRUDY: Since when did Steven start working on Saturdays? CHARLOTTE: Around the same time he stopped coming home at night. <Exits to the back of their house.> TRUDY: Charlotte, the things you say. <Exits to the kitchen.> <Marie enters through the front door. In her arms she carries a manual typewriter. She puts it down on the coffee table and then steps back to stare at it. She smiles, bursting with pride. Charlotte and Trudy re-enter from their respective doors.> MARIE: <Clears her throat, then.> I have made a decision. <With infectious enthusiasm.> I'm going to be a secretary! TRUDY: A secretary? CHARLOTTE: What for? TRUDY: Honey, I thought you wanted to be a pilot. MARIE: Not anymore, Mama. CHARLOTTE: That was last week, remember? MARIE: Monday morning I'm signing up for a summer session at that secretary school that Katie Morgan went to. CHARLOTTE: Katie Morgan just got arrested, Marie. MARIE: I know. Because she dropped out. She lost hope. But not me. TRUDY: You want to be a secretary? <Beat.> Explain to me why. MARIE: I was lying in my bed, Mama, and I was thinking about everything. I was trying real hard not to cry, so I started to remember things about Miguel that made me laugh and smile. TRUDY: <Moves away from the front door and closer to Marie.> Tell me. MARIE: How he would read to me his Spanish poetry and I could never understand a word he was saying. How he used to tell me funny stories about when he was just a little boy in Havana. <Beat.> But then I got sad and even angry. Mama, all of his life he wanted to come here, to live in America. He thought everything would be better. That s why he left his family behind and his friends and everything he had ever known. He left behind the true meaning of his words and that little boy he used to be. He s probably there now, in Havana - running down those old streets or dancing and singing a song. <Beat.> So I had to ask myself about this world. This country that I live in. <Beat.> Mama, I still want to believe in America, but how can I? What kind of a place would allow this to happen? How can people be so brutal and unkind? I don't think that I will ever understand what happened to Miguel Castillo, but his words and his song, they will always be with me, here in Pensacola. He gave me magic. <Beat.> And now I will give him grace. TRUDY: Miguel will always be in your heart, Marie. MARIE: <After a moment, she takes the car keys from her mother s hand.> I'm going to the airport, Mama. I'm going to meet my new family. <Overwhelmed by her emotions.> I will sit his mother down and I will tell her that her little boy has been killed. I will take her hands in mine and I will look into her eyes. I imagine that they are warm and comforting. And I will hear the words fall from my lips that Miguel Castillo is dead. I will hold his mother while she weeps. I will hold her in my arms and I will feel her pain. Because I loved him. <Beat.> And then I will reach for his father, who has similar features, and I will tell this man how much I loved his son. That in my life, I will never love anyone as completely as I loved Miguel. And I will touch the faces of his sisters and wipe away their tears as they mourn for the loss of their brother. And I will swear to them that I will never leave them or their lives. <Beat.> Because they are Cuba and I am America. But together, Mama we are Miguel Castillo. <Marie steps towards the front door. There is now a single light on Marie and Trudy as the remainder of the stage falls into darkness. Trudy stands behind Marie, with her right hand on Marie s right shoulder.> TRUDY: Then I will wait here, Marie, until you come home. MARIE: Will you? TRUDY: I promise. 6 71

7 STEVEN: <He nods.> Yeah, I am. Trudy, I'll see you soon. TRUDY: Steven, you take good care of my daughter. STEVEN: I always will, Trudy. <Beat.> Miguel s family TRUDY: Where are they? STEVEN: I never made it to the airport to get them. TRUDY: I ll take care of it. <Charlotte and Steven exit. Trudy grabs her purse and car keys off of the ironing board, heads to the front door, and almost collides with Berniece, who is entering with a casserole dish covered with aluminum foil.> BERNIECE: <Starting to cry.> God forgive me, Trudy Baker, but all I could do was make a casserole and I m such a cow, that I ate half of it sitting on your front porch. <Beat.> I just fell to pieces, thinking about that poor sweet boy. I looked at Franklin <Beat.> I ve ended my affair, Trudy. It s over. TRUDY: I'm glad you re here, Berniece. BERNIECE: Where else would I be? <The two embrace.> Don't worry. We're all going to get through this. It's just a sign for all of us to slow down and start loving each other more. <Exits to the kitchen with her casserole dish.> MARIE: <Enters from her bedroom, but she is in the dark.> Mama? TRUDY: Yes, angel? MARIE: Did Charlotte go home? TRUDY: Yes, she did. MARIE: I wanted to say goodbye to her. TRUDY: She ll be back, Marie. MARIE: Where is Miguel s family? TRUDY: They re still at the airport. I was just about to <Music begins to play beneath the scene as Marie walks further into the room, into the light. She is carrying her purse. She is wearing the same patriotic outfit she wore prior to trying on her wedding dress.> MARIE: Because I like the sound. I'm going to grow my nails out so I can make that click-click-click noise when I type. You ll see. I just have to learn how to type this weekend in case they give me a typing test or something. TRUDY: Don t they teach you how to type at this school? MARIE: You would think so, wouldn t you? CHARLOTTE: Of course they ll teach her how to type, but what difference does it make? She ll just change her mind again within a week. MARIE: Charlotte, that is simply not true. CHARLOTTE: No? Well, last month you wanted to be a beautician and you fried Regina Madison s hair so bad, you can see her skull. And before that you cut up all of Mama s curtains because you wanted to be a fashion designer. MARIE: I couldn t speak French. CHARLOTTE: Then we had that phase when you thought you wanted to be a firefighter. And until the day I die, I won't forget about the morning when Mama called me up and thought you were dead on the front lawn because you wanted to be a stuntwoman. MARIE: I didn t break any bones so I don t see what your point is. <Beat.> Why are you over here? CHARLOTTE: I m doing my wash. My machine is broken. MARIE: I thought Steven was going to fix it. CHARLOTTE: So did I. TRUDY: <To Marie.> Did you pick up the chicken on the way home? MARIE: I forgot. TRUDY: Marie, I told you this morning that I was going to teach you how to cook tonight. MARIE: I was so excited about school, Mama, that the chicken just slipped my mind. Why doesn t Charlotte cook since she s over here being ugly and bothering everybody? CHARLOTTE: Because that is why I moved out. MARIE: You don t cook for Steven? 70 7

8 CHARLOTTE: Of course I do. MARIE: Then what s the difference? CHARLOTTE: Look, I m not even staying for supper. TRUDY: Of course you are. CHARLOTTE: Mama, I have things to do. Besides, I don't know when Steven's getting off work. And I'm in no mood for Marie s cooking. MARIE: <Reaching for the phone.> I'm going to call Papa John s Pizza. TRUDY: <Taking the phone away from Marie.> You are not. You're going to learn how to fry a chicken. MARIE: We must be the only family in the entire country that doesn't have a computer. I m stuck in a time warp in this place. CHARLOTTE: Marie, they have computers at school. I swear to you they do. MARIE: Well, I hope so. If you aren t going to stay for supper, at least help me find the pizza coupons. I saw them around here somewhere. <Makes this sexy without realizing it.> I think I want a pepperoni pizza with extra cheese and thick crust, with plenty of Parmesan and hot peppers. CHARLOTTE: Oh, merciful God. <Exits to the back of their house.> MARIE: What s she so miserable about? TRUDY: It ain t easy being married, Marie. She s got a lot on her mind. I think her and Steven are having some problems. MARIE: Well, I hope they work it out. <Starts to search the living room for something.> Mama, do we have any typing paper? TRUDY: Why would we, Marie? We don't even have a computer. MARIE: We live like cavewomen here. Might as well put a chicken bone in my hair. TRUDY: Berniece is coming by in a bit. I ll ask her if I can borrow some. MARIE: When she gets here, I'm hiding in my room. TRUDY: For goodness sake, why? MARIE: Because I ve been telling you for years, Mama, that woman is crazy. 8 CHARLOTTE: Then fix it. We have to make it special and keep it that way, or it will never be right. STEVEN: I'm willing to give it a try. CHARLOTTE: Are you? STEVEN: I think this is worth fighting for. My wife and my daughters. CHARLOTTE: Well, now, that's more like it. You've finally come to your senses. I'm glad to see that you survived living in the land of stupid. TRUDY: <Enters from the kitchen.> Hello, Steven. I thought I heard you. STEVEN: Trudy, I'm real sorry to hear about Miguel. TRUDY: We all are. CHARLOTTE: Mama, I'm so worried about Marie. TRUDY: Marie's going to be fine. She's my daughter, isn t she? CHARLOTTE: I want to talk to you about something serious, Mama. TRUDY: Is it more bad news? CHARLOTTE: No, it's an idea I have. TRUDY: What s on your mind, Charlotte? CHARLOTTE: Are you really moving to Atlanta? TRUDY: Yes, I am. Well, not right away. I want to make sure Marie is all right before I go. Probably in September. I d like to sell the house by then. CHARLOTTE: That's what I want to talk to you about. What if Steven and I bought the house from you? Marie could stay and help out and maybe I can convince her to go to school. TRUDY: That is an idea. CHARLOTTE: Is it worth discussing, maybe over supper next week? TRUDY: Absolutely. CHARLOTTE: Fine, then. <Gives her mother a hug and kisses her cheek.> I ll call you a lil later to check on Marie. <Turns to her husband.> Steven, are you ready to go home? 69

9 STEVEN: I kept seeing that look on your face. Like everything I did wasn t good enough. Like you were comparing me to your father. CHARLOTTE: I was blaming you for what he did. But I ve forgiven him. STEVEN: But can you forgive me? CHARLOTTE: What do you want to do, start over? STEVEN: Can we? CHARLOTTE: I don t know. I've cried a lot of tears over you lately. You hurt me real bad. STEVEN: When John called me and told me about what happened to Miguel CHARLOTTE: You don t have to say it. STEVEN: What would I do if that happened to you? CHARLOTTE: You would have your freedom. STEVEN: That s not what I want. CHARLOTTE: What do you want? STEVEN: I want to be Tim McGraw. CHARLOTTE: In this lifetime, Steven. What do you want in this lifetime? STEVEN: I want to be a good husband and a good father. CHARLOTTE: But is it that simple? What makes you think it will work this time? We've been trying for over ten years now. STEVEN: I was bored, Charlotte. That s the truth. Everything is always the same. CHARLOTTE: I can't change life, Steven. This is who we are. We're married and we have kids and we'll probably spend the rest of our lives just trying to get by. STEVEN: But I wanted things to be easier, for both of us. CHARLOTTE: And so did I. But we ve made it this far, haven t we? So many people said it would never last STEVEN: They were wrong. I don t want to lose this family. 68 TRUDY: That s nonsense. She's my dearest friend. MARIE: I know. But she's still crazy. <Beat.> And she's nasty, too. TRUDY: Well, since you forgot the chicken, what do you suppose we should have for supper? MARIE: <Going for the phone.> I told you. I'm ordering a pizza. TRUDY: <Taking phone from her again.> Forget it, Marie. I'll fix supper. We are not ordering a pizza. MARIE: Well, why not? It s simpler. No dishes. No mess. And it tastes good. TRUDY: I ve got exactly $5.25 to live on until tomorrow night. <Marie moves to the ironing board and picks up Trudy s waitress uniform.> MARIE: Mama, I told you just shorten the hem on your skirt a lil bit and you ll get more tips. Make em think: here it is, but you can t have it. TRUDY: <Takes the uniform from Marie.> Never mind about that, where did you get that typewriter? MARIE: Vernon Taylor was having a yard sale. It was only ten dollars. I figured it was a good investment. TRUDY: Don t they have typewriters to use at the library? MARIE: I wanted my own. TRUDY: Well, when you change your mind about secretary school, you ll have to get rid of it. The garage is already full of useless junk. MARIE: I won't change my mind. I want to be a secretary. TRUDY: I just can t figure out why. MARIE: What difference does it make? Do I have to have a reason for everything I do? TRUDY: You never have, Marie. MARIE: That s why people like me, Mama. For my spontaneity. I'm impulsive. TRUDY: Marie, there ain t nothing impulsive about answering phones all day and typing letters. 9

10 MARIE: But Mama, I have to start somewhere. I mean, if I want to own my own company one day. <Moves towards the front door.> I think I m going to go terrorize the neighborhood for a bit and see who I can blackmail into giving me a ream of typing paper. If you hear about an impulsive woman on Palafox Street - it s only me. I ll be back soon. <Exits.> TRUDY: <Yelling after her.> Well, pick up a chicken while you re out! <Turns to enter the kitchen, mumbling.> Lord, she ll probably steal one out of someone s yard. <Exits.> CHARLOTTE: <Enters from the back of their house, pauses a moment to make sure she is alone, then goes to the telephone and dials. She cringes a little when someone answers.> Hi, John. This is Charlotte. <Beat.> I m fine, thank you. I haven t seen you in a while. Yeah, not since the Jazz Fest. Is your wife still working at The Oyster Bar? <Beat.> Pregnant? Again? How many does that make - four hundred and eleven? <Laughs a bit.> You know I m just teasing you. I'm happy for you both. That s great news. <A nervous pause.> Listen, John, is my husband still there? <Beat.> What time did he leave? <Fights to maintain composure.> Did he say where he was going? Because that was nearly two hours ago. <Beat.> Well, if you hear from him, just tell him that his wife called and that she's over at her Mama s doing the wash. Will you tell him that for me? <Beat.> All right. Thanks, John. And tell Arlene I said congratulations. I ll talk to you soon. <Hangs up.> That son of a bitch. MARIE: <Enters through the front door carrying a ream of paper.> I got some from the neighbors! <Sits and inserts paper into the typewriter.> CHARLOTTE: Marie, are you serious about this secretary school thing? MARIE: <Certain.> Of course I am. <Less certain.> Why? You think it s a dumb idea? CHARLOTTE: No. I never think your ideas are dumb. You just have a lot of them. <Takes a moment to calm down.> I'm sorry I was in such a bad mood when you first got home. MARIE: That s all right. Mama said you and Steven were having some problems. I understand. CHARLOTTE: You always do. MARIE: I'm your sister. It is my obligational duty to understand you no matter how hormonal or pre-menstrual you get. My love for you is unconditional like a rock. <Beat.> Don t tell Mama, but when I was out, I used the neighbor s phone to call Papa John s Pizza. It should be here soon. <Beat.> Maybe I ll meet a millionaire at secretary school.; move to New York City. CHARLOTTE: But can you blame us? Steven, we were just kids when we got married. Now, we have kids of our own. It all happened so fast. I get angry sometimes. Like I ve been cheated. STEVEN: But you haven t. CHARLOTTE: What are you saying? STEVEN: I didn t cheat on you. CHARLOTTE: I want to believe that. With all of my heart and soul, I do. STEVEN: It s the God s honest truth. CHARLOTTE: Then why did you give up on us? Why did you stop coming home at night? Couldn t you see it was driving us even further apart? STEVEN: I don t want to upset you, but CHARLOTTE: Just tell me, Steven. Please. STEVEN: I felt like I was disappointing you. CHARLOTTE: What? STEVEN: When we got married, I made you a whole lot of promises. That I would take care of you and that we would never go without. CHARLOTTE: Well, we ve just been through some rough times. That s all. STEVEN: But I couldn t make things better. No matter how hard I tried CHARLOTTE: Steven, you re a hard working man. You've been a good father to our children. STEVEN: But what kind of husband have I been? CHARLOTTE: Well, I'm not the nicest wife in the world. STEVEN: But do I love you enough? CHARLOTTE: Sometimes. But not lately. STEVEN: I know I ve hurt you. I just couldn t do it anymore. CHARLOTTE: Couldn t do what? CHARLOTTE: Why would you move to New York? It s crazy there

11 Act II Scene 6 <It is later that evening. When this scene opens, Charlotte is sitting on the sofa, in deep thought. She is still dressed for the wedding. Marie is in her bedroom. Trudy is in the kitchen. A few moments pass before Steven enters. The room is dimly lit, ghostly.> CHARLOTTE: Steven? STEVEN: Charlotte, I got over here as soon as I heard. I was on my way to the airport and I turned around. I didn t know what to do. Miguel s family they re still there. They re waiting. CHARLOTTE: <Contemplates for a moment and then rushes over to embrace him.> Thank you. STEVEN: How s Marie? Is she here? CHARLOTTE: She's in her room. Mama keeps checking on her to make sure she doesn t do anything foolish. To tell you the truth, I don't know if my sister will ever be the same. STEVEN: What about you? CHARLOTTE: What do you mean? STEVEN: When I was driving over here, I started to think about everything. CHARLOTTE: Like what? STEVEN: When something like this happens, it makes you a little more grateful for what you ve got. CHARLOTTE: I feel the same way. I thought about the girls. And you. What would I have done if STEVEN: It scared me, I guess. CHARLOTTE: It did? STEVEN: Charlotte, we have a lot of problems. Our marriage. It ain t working for either one of us. CHARLOTTE: I know that. I know you aren t happy. STEVEN: And neither are you. MARIE: <Dreamy.> I like the lights. <Quick beat.> I ve decided I need to fall in love. CHARLOTTE: Oh really? MARIE: You know, I ve never really told you this, but I'm a bit jealous of you. CHARLOTTE: What for? MARIE: You have the perfect life. You have a sexy husband and two beautiful girls. That is exactly what I want. CHARLOTTE: My life isn t perfect, Marie. It never has been. MARIE: I think it is. I mean, you have what every girl dreams of. CHARLOTTE: This is not what I dreamed of. In a few years, you'll understand that there is so much more to life than getting married and raising children. MARIE: Maybe you should have left before CHARLOTTE: Well, I'm not going to New York. I love it here too much. Pensacola is where I belong. With the ocean and the white sand. You know what it s like, staring out at the Santa Rosa Sound or walking down the Quietwater Beach Boardwalk. Just strolling arm in arm on a summer night with a boy you have a crush on. Nothing can compare to that. Because it is magic. MARIE: When I was twelve, do you remember when Bobby Raymond took me on my first date? CHARLOTTE: Yeah. Didn t he take you some place just awful? MARIE: We went to the Civil War Soldiers Museum. And then he tried to kiss me and he bit my lip and I started bleeding everywhere. I've never been so embarrassed. To this day, I hate that place. And Bobby Raymond. CHARLOTTE: Whatever happened to him? MARIE: Last I heard he was working at The Waffle House and engaged to Katie Morgan. CHARLOTTE: Poor man. MARIE: Charlotte, sometimes I feel like I'm going to be stuck here for the rest of my life, just me and Mama in this house. Maybe after I graduate from secretary school, I can join the Peace Corps or the circus. Anything to get me out of here. I want to go far, far away

12 CHARLOTTE: Don t be silly. You have a great life. MARIE: <After a moment.> Sometimes I'm happy for Daddy. CHARLOTTE: <Almost a whisper.> What? <She pauses, uncertain.> Marie, he left us. How could you be happy about that? MARIE: Because he got out. He hopped into his pick up. He hit the highway. He went and found a new life. <Beat.> He was impulsive. CHARLOTTE: Yeah, and he left his children and wife behind with nothing. MARIE: I know that part, Charlotte. And I ll never forgive him for that. But sometimes, I can understand why he did it. You get that feeling of looking at all the same stuff for too long and soon your eyes start to burn and you think you ll go blind if you don t see something new real soon. It's like going to the beach and lying there in the white sand and looking up at the sky and watching the birds and thinking - where are they going? Why do they want to leave? Can I go with them? CHARLOTTE: I didn't realize that you wanted to leave so badly. MARIE: I'm kind of torn, Charlotte. See, if I stay here, I want a life like yours - you know, secure. But if I go, I want it to be romantic and exciting. I'm not sure what I want to do. I can't decide which option sounds more appealing. CHARLOTTE: But secretary school does? MARIE: It's a lot better than sitting in this house all day with Mama. She whines and complains that she s miserable, just because she s turning forty-three soon. I don't want to end up like that. Left and abandoned by a man. Working some measly job, just to get by and pay the bills. She's been working at The Tide Pool for over half of her life. She s lonely. I see it in her eyes and it makes me sad. I don't know why she never re-married. If I were her, I would have gone on a cruise or something or moved to Miami. You know, she is pretty. If she got out more on her nights off MARIE: Mama, he's not dead. He's waiting for me at the church <She turns to her mother.> He s waiting for me. <Clings to her mother, her sister and Berniece as the four of them fold into a tight embrace. The lights begin to fade.> We were going to have forever. <Blackout. The music increases in volume. A single light comes up and the stage is empty. We are now guests at Marie and Miguel s imagined wedding. First, Charlotte and Steven enter arm in arm. Charlotte is holding red, white and blue flowers in her hands. Steven and Charlotte move to stage right. Next, Trudy and Berniece enter, also arm in arm and also holding red, white and blue flowers. Trudy and Berniece move to stage left. Marie enters next, carrying a beautiful bouquet of red, white and blue flowers. She moves to center stage and waits From the dark, Miguel emerges, dressed for the wedding. He extends a hand to Marie and their fingers meet. If the producing theatre company has the technical capabilities to do so, Marie and Miguel should be lifted off of the ground together, as the music swells. They should float above the living room, hand in hand, afraid to let go of one another, as if this were the last time they will ever touch. Their movements should be choreographed and sensual. Marie should then be lowered to the ground. She reaches for Miguel above her, but he slips away. Marie begins to cry. Slowly, Miguel starts to disappear, back into the darkness. Before the light fades out on his face, he blows Marie a final kiss. An alternative to this is: Marie and Miguel embrace on stage and begin to dance together, knowing that this is their good bye. Miguel finally pulls away from Marie. Slowly, Miguel starts to disappear, back into the darkness. Before the light fades out on his face, he blows Marie a final kiss. Marie falls to her knees as the moment is unbearable for her. She clings tightly to her bouquet as her tear streaked gaze drifts out to the empty world in front of her. Charlotte, Trudy and Berniece tear petals off of their flowers and toss them in Marie s direction. Marie is showered in a rain of red, white and blue flower petals as lights slowly fade to black.> CHARLOTTE: Mama s happy. She likes living here because she knows practically everybody in Pensacola. She makes a point of it. And she's got Berniece just living a couple of doors down. There s no reason for her to get married again. MARIE: Charlotte, I bet you re never lonely because you know that everyday at six-fifteen, Steven will be home from work and the two of you will have lots to talk about. CHARLOTTE: It isn t like that, Marie. <After a moment.> Let me just say, there are many nights when I don't know where my husband is

13 CHARLOTTE: I can't do this. MARIE: <Grabs Charlotte and shakes her.> Damn it, Charlotte! Where's Miguel? CHARLOTTE: He can t marry you today. MARIE: Why not? <Shakes Charlotte again. She screams.> Tell me! CHARLOTTE: He was working last night MARIE: I know that. CHARLOTTE: He was on a delivery, Marie and there was a robbery BERNIECE: Oh, dear God, no. MARIE: <Losing all composure.> Where is he? Oh my God, where's my purse? I have to go. I have to find him. CHARLOTTE: Marie, he was shot. <Music should begin to play beneath the scene here. Suggested music: "Deliver Me" as recorded by Sarah Brightman.> MARIE: No! No, I won't listen to you, Charlotte. I won't hear you say this to me. Miguel's meeting me at the church and we re going to get married. CHARLOTTE: Marie, he was shot in the head. MARIE: Don t say that! CHARLOTTE: He died this morning. <Berniece begins to sob. She clings to Trudy.> MARIE: No! I'm going to marry him. Because I love him. I love him so much. CHARLOTTE: <Tries to comfort her sister.> I know, Marie. MARIE: <Almost violent.> Who did this to him?! CHARLOTTE: They don t know. <Turns to Trudy.> Mama, help me. I don t know what to do. TRUDY: <Goes to Marie, trying to stay strong despite her tears.> Oh, my sweet girl. Oh, my angel, I'm so sorry. 64 MARIE: Do you think he s cheating on you? CHARLOTTE: I hope he s not that stupid. MARIE: He doesn t come home? CHARLOTTE: Just like Daddy. MARIE: Let s not talk about this anymore, Charlotte. I don't want you to get upset. I'm sure that Steven is staying faithful. You just need to talk to him. The two of you just need to sort things out. That s all. CHARLOTTE: I hope so. MARIE: <Suddenly.> I have an idea! For Mama! For her birthday. You and I could send her on a cruise. CHARLOTTE: What? Are you insane? I don t have that kind of money. MARIE: Well, I do. I ve been saving since Christmas and with the check for graduation that Granny sent me - CHARLOTTE: You would do that? You d spend all of your savings just so Mama could go on a cruise? MARIE: Well, why not? She needs to have a good time. Lord, let us both cross our fingers that she meets a man and he takes a liking to her and she comes home with a glow. We both know it s been a while for Mama. She probably forgot how to do it. CHARLOTTE: Oh, Marie, the things you say. MARIE: But I ll tell her that the present is from both of us and then you can just pay me back later. CHARLOTTE: What about Berniece? MARIE: What about her? CHARLOTTE: She ll want to go. MARIE: Then she can follow behind on a raft or something. I'll go see some travel agents this week and see what I can figure out. CHARLOTTE: Mama would love it so much. It would be the perfect gift. MARIE: Oh, I hope so. <The doorbell rings. She lets out a squeal.> That would be supper. 13

14 CHARLOTTE: Mama is going to kill you for ordering a pizza. <Marie rushes to the door to answer it. She catches her breath when she sees Miguel Castillo standing in front of her. He holds the pizza out to her and she fidgets a bit before regaining complete composure. Suddenly, she flashes a warm smile at him.> MARIE: Well hello there. You brought me a pizza. And you were so fast. Come in. MIGUEL: <In a heavy Cuban accent.> Thank you. <Steps inside.> CHARLOTTE: <Taking notice of Miguel.> Oh my. You re not the usual deliveryman. MIGUEL: No, ma am. MARIE: Charlotte, keep my new fiancé company, will you? I have to get some money from my purse. <As she heads to her bedroom.> Wow, that pizza sure smells good. <Exits.> CHARLOTTE: <After an awkward silence.> Hello. MIGUEL: Hello. CHARLOTTE: <Searching for something to say.> Busy night? MIGUEL: Yes. It is very busy on Saturdays. TRUDY: <Enters from the kitchen.> Charlotte, who was at the <Stops when she sees Miguel.> Marie Baker! MARIE: <Enters from the back of their house.> I'm coming, Mama. TRUDY: Marie, I told you that I would fix supper. MARIE: <Moves gracefully over to Miguel.> What is your name? MIGUEL: My name is Miguel Castillo. MARIE: <Turns to Charlotte.> That's kind of romantic, don t you think? CHARLOTTE: <With a nod.> Sure. MARIE: <Turns back to Miguel and speaks in a loud, breathy whisper.> Keep the change. My phone number is there, written down on a little pink piece of paper. Use it. Call me. We should date. Thank you, Miguel Castillo, and you have yourself a wonderful evening. 14 TRUDY: Charlotte, what are you doing here? You re supposed to be at the church. CHARLOTTE: Mama, where s Marie? TRUDY: She s in her bedroom. She s putting on her wedding dress. CHARLOTTE: Go get Marie, Mama. TRUDY: <Suddenly realizes something is terribly wrong.> What happened? Charlotte, what s wrong? CHARLOTTE: <Starting to cry again.> Where's my sister? MARIE: <Enters from her bedroom. She is wearing her wedding dress. At the sight of her, everyone in the room is breathless.> Hi, Charlotte. Happy Independence Day. CHARLOTTE: <Wracked with grief, she fights back her tears. Her words are broken.> My baby sister MARIE: Aren t you supposed to be at the church? CHARLOTTE: Marie, I need you to sit down. MARIE: Is something wrong? <Starts to panic.> Is it the girls? TRUDY: Oh my Lord, did something happen to Julie and Ashley? CHARLOTTE: No, my children are fine. MARIE: Well, what is it, Charlotte? You need to calm down and tell me because you re scaring me. CHARLOTTE: Just sit down, Marie. Please. MARIE: <Firm.> I don't want to sit down. CHARLOTTE: I have to tell you something and it s something awful. MARIE: Just tell me. CHARLOTTE: It s about Miguel. TRUDY: <Knowing.> Oh my Lord MARIE: What about Miguel? 63

15 MARIE: This is my wedding day, Berniece. You re not touching my face or the groom. <Marie goes to the telephone and she dials Miguel s number. When he doesn t answer, she hangs up the phone. She looks concerned, but just slightly.> TRUDY: Still no word from Miguel? MARIE: No. TRUDY: Maybe he left his cell phone somewhere. MARIE: Maybe TRUDY: <Checks her watch again.> Steven should be on his way to the airport now. BERNIECE: Is he skipping town? TRUDY: No. He s picking up the in-laws. Miguel s family has arrived. MARIE: I just hope they like me. TRUDY: You stop worrying about that and go try on that wedding dress. We ve got to get you to the church on time. MARIE: Okay, Mama. <Starts to exit to her bedroom but suddenly stops. To her mother:> Maybe I m not scared because I know I m not making a mistake. In my heart, Mama. I know it. <Locks eyes with Trudy for a moment before she exits.> TRUDY: My baby s leaving me, Berniece. BERNIECE: It s about time, if you ask me. TRUDY: As usual, nobody did. BERNIECE: Maybe that s why I never had children. Because I wouldn t know how to say good bye to them. TRUDY: You have no idea what it does to a woman. BERNIECE: You re right. I don t have a clue. But what I do know is you ve been one hell of a good mother to your girls. <Suddenly, Charlotte tears into the house, frantic and breathless. She is dressed for the wedding. It is obvious that she has been crying. Her emotional state crumples during the scene.> 62 <Marie ushers Miguel out the doorm then turns around to face her mother and sister, unable to stop smiling.> MARIE (Continued): I don t know about the rest of you, but I can't eat a thing. TRUDY: And why not? MARIE: Because, Mama. <Takes a step forward to make an announcement.> I am in love! TRUDY: In love? With who? You don't even date, Marie. MARIE: I have made a decision. <Beat.> I am going to become Mrs. Miguel Castillo. <Beat.> And soon there will be free pizza for everyone! <Waltzes off stage to her bedroom.> TRUDY: I don't know what happened to her, Charlotte. It has to be a brain tumor or something because that girl just ain't right. CHARLOTTE: She s just young. TRUDY: Well, if I didn t know better, I'd swear she was mental. CHARLOTTE: What are we going to do about the pizza? TRUDY: Take it home with you. CHARLOTTE: I ll take it into the kitchen for now. No telling what time Steven will be home tonight. TRUDY: Honey, he ll be coming by here soon. I'm sure of it. CHARLOTTE: <Tenses up.> What, you mean like Daddy? TRUDY: Charlotte, it's not the same thing and you know that. CHARLOTTE: I'm not sure anymore, Mama. He s getting that same look Daddy had right before he left. He's anxious and nervous and a million miles away. It scares me. I don't know how much more of this I can take. <Exits to the kitchen with the box of pizza.> BERNIECE: <Enters from the front door. She is carrying a make up case with her, as usual.> Trudy? Trudy Baker, do I smell pizza in your house? TRUDY: It s Marie. She ordered it. Now she's in love. It s been a day, Berniece, I tell you. Marie wants to go to secretary school. Charlotte and Steven are having problems. I can't find any piece of mind and this is my only day off. 15

16 BERNIECE: <Almost melodramatic.> There is no peace in Pensacola. Have a seat. We can do your nails. TRUDY: I don t think my nails are up to it. Did you get that hand cream I ordered? BERNIECE: Of course. I have it right here. <Pats her make up case. Berniece sits on the sofa and opens the case. Trudy sits beside her.> Did you hear about Katie Morgan? TRUDY: I heard she was arrested. BERNIECE: Yes, but did you hear what she was arrested for? TRUDY: Bobby Raymond said it was shoplifting. BERNIECE: Bobby Raymond is a birth defect. She was arrested for solicitation. And she wasn't selling candy bars outside of the grocery store. She was selling something else in a motel parking lot. TRUDY: Berniece, are you sure about this? I've known Katie Morgan since she was just a baby. She comes from a good family. BERNIECE: They usually do. Then they get ruined. It's sad. So very sad. TRUDY: That is sad. BERNIECE: You say Charlotte and Steven are having problems? Do tell. TRUDY: Now, Bernie, you know that I never gossip about my own family. BERNIECE: I don't see why not. I do it all the time. My niece Evelyn still doesn't know that I let it slip out at church that she was pregnant. I told her that I heard it from Rindy Sinclair. I even played the sad bit. You know, "You are too young to be a mother. How can you do this to yourself, Evelyn? And my poor, poor sister, she ain t ready to be a grandmother yet." They fall for it every time. TRUDY: How old is Evelyn now? BERNIECE: The little tramp is only sixteen. TRUDY: Same age Charlotte was when she had Julie. Same age I was when I had Charlotte. BERNIECE: Yes, but Charlotte did the right thing. She married Steven. My niece is a sinner. Just like my sister was before she found Christ and started beating the bible to everyone. Who knew that my sister would reform her filthy self and actually become a decent Christian woman, just like me? 16 Act II Scene 5 <It is the morning of the Fourth of July. When this scene opens, the living room is empty. Suddenly, Marie enters from the kitchen with Trudy close behind. Marie is wearing a pair of shorts, a t-shirt and sandals. On her t-shirt is the American flag in sparkling glitter. Her hair is up in a high ponytail, fastened with a red, white and blue ribbon. In her hand she carries an American flag that she waves around while she hums a patriotic tune. Trudy is dressed for the wedding that is just a few hours away.> MARIE: Mama, will you just calm down? Everything is taken care of. TRUDY: I m a nervous wreck. This wedding of yours is going to be the death of me. <Checks her watch.> Where is Berniece? She was supposed to be back from the church by now. MARIE: I m sure Charlotte has everything under control. TRUDY: I can t believe how calm you are. MARIE: Were you scared, Mama? When you married Daddy? TRUDY: I was terrified. MARIE: Because you were in love? TRUDY: Because I was worried I was making the biggest mistake of my life. <Berniece suddenly enters from the front door. She is dressed for the wedding in her usual outrageous style. She is carrying a garment bag.> BERNIECE: I have found Jesus Christ on Earth and his name is Howard! TRUDY: Dear God, Berniece. BERNIECE: That man is de-licious. MARIE: Are you talking about the boy at the bridal boutique? The tailor? BERNIECE: I know it s a holiday but I was tempted to rip off my clothes and let that man alter me right there on the counter. TRUDY: Well, thank God you remembered the dress. <Takes the garment bag from Berniece and hands it to Marie.> Go try this on, sugar. Make sure it fits just right. BERNIECE: I can run next door and get my case if you want me to give you a makeover. 61