2M,aw INTIMATE APPAREL by Lynn Nottage New Yori Drama Crt es CincLe AWARDS DRAMATISTS PLAY SERVICE, INC. INTIMATE APPAREL spy LYNN NOTTAGE * DRAMATISTS PLAY SERVICE INC.INTIMATE APPAR Copyright © 2005, Lyan Al RightsReserved “were y the Intemational Copyzight gale toa th a Cont ing wehoxt sage rhe, moon picts recat, ihe erates dso und ‘tim fo profesional or nonprofesional rdvance he writen performance of the Ply may be given paying the raquisiee fermion of DRAMATISES PEAY dhe addeesed to Creative tributed tex Now York by Roundaboue Theatre Otgially produced eae ee ad Haims, Arise Dieta AUTHOR'S NOTE, For Mayme’s song on page 31, any period-appropriate piano cis acceptable. The projected tite card at the end of the play is essential to the storytelling and should be included wductions.INTIMATE APPAREL was commissioned and first pro ath Coast Repertory (David Emmes, Produ Martin Benson, Artistic Director; Paula Tomei, Manag EST | Center Stage ( Managing Director) in Cos Californ n April 18, MRS. DICKSON — 50s, Aftican-American 2003. Itwas directed by Kate Whoriskey; the set design was by Wale Spa uced. by CHARACTERS ER — 35, African-American MRS. VAN BUREN — 30s, white American MR. MARKS — 30s, Romanian Jewish immigr som Ab anneal MAYME — 30s, African-American production manager was Tom Aberger; and the produ iger was Randall K. Lum. ‘The cast was as follows: GEORGE — 30s, Barbadian immigrant ESTHER ss MRS. DICKSON .. MRS. VAN BURE PLACE MR. MARKS 6. yer Manhattan MAYME Erica Gimpel ee eee GEORGE Kevin Jackson TIME produced in New York City Todd Haims, Artic Director 1905. opening on April 8, 2004, Tt sign was by Der rine Zuber the PRODUCTION NOTEINTIMATE APPAREL ACT ONE Scene 1 Wedding Corset — White Satin with Pink Roses ance the sound of laughter and general «a rather plain Afi table diligently focus and determiESTHER. Yes, it cashmere. ‘more about a man by where he s practiced conversation. ‘Cause any man who's had can talk smooth, but nor every man has the good sense to shop at — ESTHER and MRS. DICKSON. Saperstein's. (Esther laughs. Mrs. Dickson examines the embroidery) MRS. DICKSON, Lovely. is getting ready ESTHER. I wish I could find my party face. Ie really isa lovel affair. You done a fine job. * 7 KSON. Come now, it aint over yee. Put aside your ighten yourself up. There. You!ll have a dance before rs. Dickson, I cant, really. I'l just stand there ower. KSON. Nonsense, I've danced a half a dozen times, ate just about worn out. IFT had your good looks Ii raise a bit of dust myself, Aint nobody down there interested in me. MRS. DICKSON. Esther, you're being silly. You've been moping, ind here for days, Whar’s the matter? ESTHER. If you must know, I turned thirty-five Thursday past. (A moment.) MRS. DICKSON. Oh Lord, I forgot, that, With Corinna Mae carrying on and all these peo lipped my mind. Happy birchday, my sweet Esther, (Mis. Dickson gives er 4 big hug.) ESTHER, Its fine. You had all this to prepare for. And I been in this rooming house for so long, I reck« of furnicure. MRS. DICKSON. Never. You were a godsend when you come to me at seventeen. Yes. I remember thinking how sweet and young you was with a sac Carolina orchard. ESTHER. And now?'Twenty-two gids later, you count Lerleen, ‘That’s how many of these parties I have had to go ro and play merry. should be happy for them, I know, bur each time I think 8 re, but I hate her laughter, I hate her happiness and 1 f avvful for saying so. And T'm afraid ifT go back in there, shell see it all over my face, and its her day. MRS. DICKSON. There are a number of young men open to your smile, A sour face Mr. Charles has had three servings of your br ESTHER. And he sho ‘weighs nearly as much as your horse. MRS. DICKSON. Nonsense, he weighs more then poor Jessup. Shhh. He is 2 good man, poised for success. Yes. ESTHER. But he's been coming to these parties for near ovo years and if he aint met a woman, I'd bet ‘woman he afte. T've been warned about men in refined st lucky for his attention, that's what you ¢ up so easy. MRS. DICKSON. Good for you. Buc there are many a tale bred of overconfidence. When T mec the late Mr. Dickson h ixty and I forgave his infatuation with the opiaces, for h this rooming house and look how many good years i given me. Sure I cussed that damn pipe, and I cussed him for making me a widow, but sometimes we get (0 a point where we can't be so particular ESTHER. (Snaps,) Well, | aint going down there to be paraded like some featherless bird. (A moment.) I'm sorry, would you kindly take this down to Corinna Mac? MRS. DICKSON. I'll do no such thing, You can bring it down f (Mrs. Dickson starts for the door, but abrupily stops.) Te er for a colored woman in this i ot to tell you that. You nimble with your fingers, buc all Corinna Mae gor be her honey-colored skin, And you good and smart and deserve all the actention in that room, but today’s her day and all [ask is that you come toast her as I know she'd toast you. and don say nothing about Sally's piano pl For God's sake, this a party not a wake. ESTHER. Let me fix my hair. (Mrs. Dickson suddenly remembers the letter tucked in her dress packet and extends it ro Esther.) 9MRS. DICKSON. And I thought you might want this lecter. Ie come this morning, I didn’t want to forget. ESTHER, Who'd be writing me? MRS. DICKSON, (Reading.) Mr. George Armstrong. ESTHER. Ie aint someone I know. Armstrong? ‘There was an Armstrong that attended my church, but he dead a long time now. Will you read the letter to me? (Esther takes the letter) MRS, DICKSON. 1 got a house full of people. You best remind me tomorrow, And I will see you downstairs, shortly. Plenty of punch lefe and it better than New Years, so best hurry. I made certain everybody be leaving this party happy. (Mrs. Dickson exit. Esther examines the lester, then places it on the sewing table unopened. Lights erosfade, allowing Esher to linger in half. light during Georges etter. A Panama bunk. George, a muscular, handsome African- Caribbean man, rises from his cot. He wipes mud from his face and bare arms, as he speaks with a musical Barbadian accent) GEORGE. Dear Miss Mills, My name is George Armstrong, I work in Panama alongside Carson Wynn, your deacon’s son. We digging a big hole across the land, they say one day ships is important work, we told. If importance be measured by how many men die, then this be real important work. One man drops for every owenty fect of canal dug, like so many flies. Carson say if wwe cat a can of sardines, they'll protect us against the mosquitoes and fever. say, notas long as we be digging. Lord knows our minds deserve a bit of shade. But ain’ such a thing to be had, not here at least. Dont think me too forward, ught it would be nice to have someone to think about, someone not covered from head to ‘ocin mud, someone ro ward off this awful boredom. Carson speaks so highly of his church thac I find comfort in his recollections. 1 ask if may write you? And if you so please, Td welcome your words Sincerely, George Armstrong Scene 2 Gardenia Ball Corset — Pink Silk and Crépe de Chine ‘An elegant boudoir. The silhouette of a naked woman moves gracefully behind a translucent screen. She slides her torso into the fitted lingerie. Esther sts at the dresing table exploring the carefully arranged silver grooming se. She jumps to attention «at the sound of Mrs, Van Buren: voice, which betrays the slightest hint of a Southern accent. MRS. VAN BUREN, I feel exposed. I think the straps need co be tightened, Fsther. ESTHER. No ma‘am, that’ che way it’s meanc co be, bur Plladd a litele more fabric to — MRS. VAN BUREN. No, né his is what you made for that singer, itis what I want. Allright. P'm coming out. (Mrs. Van Buren emerges from behind the dressing screen wearing a very low conet embossed with lavender flowers. Shei an attractive white woman in her early thirties and attempts to carry herself with great poise and confidence.) Oh God, Hook ridiculous, and I'm behaving absolutely foolishly, but I'm not sure what else to do. Look at me. Pve spent a fortune on feathers and every manner of accouterme: 1 tighten the lacing ofthe cor.) "They've written po: things about me in the columns this season. ESTHER. I'm sure they did. MRS. VAN BUREN. Bur does ic matcer? Has he spent an evening, at home? Or even noticed that I've painted the damn boudoir vermilion red? ESTHER. You look lovely, Mrs. Van Buren. MRS. VAN BUREN. Hat I feel like a tart from Granted I've never been, but I'm told. Are you sure made for that ESTHER, Itis identical to the stitching. (Mrs. Vin Buren examines herself in the mirror, at first with dixgust, which gradually gives way to curiosity)MRS. VAN BUREN. And you say the French women are weating believe it. Ithardly seems decent. But I suppose the French aren't known for their modesty. (She strikes a slightly self-conscious pose.) che rage. Some ladies aint even wearing corsets yourself, int known a man to court pain for a woman’ glance. MRS. VAN BUREN, You're not one of those suffragettes, are you? Buren, 7 EUR a5 soon nor tamper in men's rusiness. (Mrs. Van Buren pours a snifier of brandy, ESTHER. Talk and anickel will ieee rec worch of tou (Mrs, Van Buren gulps back the brand.) MRS. VAN BUREN. Its come to this. If Mother dear could see what las become of er peach in the big ely. (hn. Yan Buren clumsily tugs at the bodice. Esther runs her fingers, along the seam, dos he care of Ms Von Bach eas Ver Boren tenses slightly at the sensation of being touched. Distracted, she the beading along the corset, in doing so...) Do we really need all of these dangling things? ESTHER. Oh, hope you aint mind, I added a touch of beading along the trim. MRS. VAN BUR! ESTHER. Do you like MRS. VAN BUREN. I confess, I almost do. (Giggles) Yes, Umi be polite, because I'm known for that dead every last minute, every bie of forced conversation ingstons and the Babcocks. ‘They wane to know. All of ‘And dear Harry will be in a sour mood for a weeks. You p don't even know what I'm talking about, Have you children: ESTHER. No, Mrs. Van Buren, 1 ain't been marred. thac vain. . ESTHER. But, you're so beautiful MRS. VAN BUREN. You think so? ESTHER. Ye naginc hed ever lose interest. MRS. VAN BUREN. But he has turned to other interests. "Trust ime. This will stay between us? I'm told you're discreet. ESTHER. 1 just sew, missus. I don't hear anything tha supposed MRS. VAN BUREN. You understand why. 1 rather nor be a divorcée, at my age it would prove disastrous. ESTHER. Do you think theres something wrong with woman alone? MRS. VAN BUREN. What were (Whispered,) brave Ti col small clean room someplace further in fact. And 1... B Suddenly ...) ESTHER. I don't know that I'll marry MRS. VAN BUREN. Of course you wil the right gentleman, ESTHER. Maam, I donte want co speak out of turn, But, I been sworking since | was nine yeats old with barely a day’ rest In fac, the ‘other evening I was at my sewing machine and I stopped work and all ie had passed, gone. Years really. And I known righe there igs aint meant to be, And that’ all 1 ic it? And T ‘wouldrit have thought no more about it, but then I got this ... (Bxher stops mid thought and busies herself with her sewing basket.) MRS. VAN BUREN. Yes? ESTHER. Im almost ashamed to say i. At my ageit foolish, I know: MRS. VAN BUREN. What isi? le consequence. IF a possibilty, isi? (A moment. justa matter of finding 13ESTHER. A gentleman MRS. VAN BUREN. Really? How wonderful Is he ts ESTHER, I don't know, I mean, I don't know him act me this ewer from Panam, A'man in Panama, He two weeks back. [been carrying it around sinee. But cad tae —- MRS. VAN BUREN. And why noe ESTHER, Lain much ofa writer MRS. VAN BUREN, Oh — ESTHER, No, aint a weiter aa. The fact is I ean read MRS. VAN BUREN. Do you have the letter? May 1 sce (Zither esate, then pal let from her smack and nit to Ms Van tren, tho Tm sure he’s perfectly harmless. A bit lonesome perhaps, that ESTHER. Bur if have Mis Dilaon over wth ron te ray busines And he's gor a opinion BM rating and 1 ahr ot be cued or guesione or mprly, a decent woman woul MS, VAN BUREN Wank EN. We ike me t ns rice vay, Id_you like me to help you cs ESTHER. I couldn't ask. MRS. VAN BUREN. You ncedni ESTHER. I never done this before. MRS. VAN BUREN. Nor have I. ESTHER. Maybe such a good idea, Mrs. Van Buren. [ain't really got much to say. xdness, of course you do — ESTHER. (With conviction.) No, I dont [live in a rooming house apparel for ladies, ESTHER. 1 don't know. ike the company and the singing of course ... And on Tuesda take the trolley down- town to Orchard Street, and in darkness, to this tiny apartment. And, when I open the door my eyes are met (Mr. Marks, a handsome Orthodox Jewish man, enters with a bolt of gorgeous flowing fabric which he proudly displays. Lost in the sweet ‘recollection, Esther resumes speaking.) He keeps a wealth of fabri nt. He got everything you need, even things you know you need — MRS. VAN BUREN, Esther, you're jumping a bit ahead of your- self. (Lights fade around Mr. Marks.) Shall we begin with “Dear Me. ‘Armstrong —" ESTHER. Yes. That good. “Dear Me. Armstrong —” MRS. VAN BUREN. “I received your letter —” (Lights crosfude. George enters in his work clothing. The erossfade should allow time for Esther and George to dwell on the stage together, but only for ‘several moments.) GEORGE. Dear Miss Mills, isten to the sermons, the great oceans mect and the gentlemen celebrate, will we colored ‘men be given glasses to raise? Today we severed the roots ofa giant Flamboyant, and watched it tumble to the ground. I stood thigh- deep in crimson blossoms, swathed in the sweet aroma of death and wondered how a place so beautiful could become a morgue. But the days aren't ‘ake a moment to listen co the forest around us there is so much ‘men from every corner ofthe Caribbean, sharing tales heads light on ram and laughter, But now, I read your k 15George Armstrong Scene 3 Imperial Silk, Embroidered with Blue Thread Another bedroom in a cramped tenemens fla, Ie is small and ‘lated wit als offic Me Marks "handone Orthodas: Jewish man, scrambles to put on his suit jacket as a knock sounds on the door. His worn black suit is missing the top ‘busson, With baste, he folds up his bedroll and opens the door, breathless. Esther stands in the doorway. She novices the bedrolt but chooses to ignore it ESTHER, Mr. Marks? Am I too early? MARKS. Ah. Let me get. (He unrolls an extraordinary length of silt.) Feel this one. Japanese silk, your special order for che lady on. Fifth Avenue. Ic took me nearly one month to find this very piece. Thad to go everywhere. Lovely. Yes? ESTHER. Lovely. Look at how finely embroidered. Beauciful. 1 have two extra yards left give to you for next to nothing, MARKS. You'll never sce this again. 1 guat ‘Avenue lady cover the difference. How abou! you like. I promise it isthe very best ‘he has, she don't come down here to feel the fabric herself, to feel the difference, the rexture, she don't know how remarkablea weave, ESTHER. [could make a shaw. MARKS. (Fishing,) Or a smoking, jacket for your gentleman, pethaps. ESTHER. (Bashfiull,) My gentleman? Oh no. (Esther self-consciously runs she fabric across ber face, then releases it) Youve distracted me, ‘Mr. Maks. You always ger me co buy something T dont need. MARKS. When I see something of q ike to share with my favorite customers. Everybody want the ing. But you want different. Hike chat. ESTHER. Thank you. (Mr Marks warmly smiles at Exthen. She averts er gaze, allowing her eye fall on the spot where hes mising «a button, Mr. Marks self-consciously touches the spot.) MARKS, Ah, look at that. I have lost a button. (He resurns his aitention to the sil.) V buy at the docks yesterday morni FER. 'm afraid it was either learn to sew or turn back sheets for fifty cents a day. MARKS. You make ie sound too simple. My father sew, my brother sew, yes, for the finest Families. But T dont have fingers. Look at the size of these hands. Like earari, Romanian sausage. I wish for your hands. (Esther laughs and returns to examining the fabric, reveling in the tactile pleasure of the texture. There is a seniual way Esther regards the fabric. Mr. Marks can't help but notice this. She brings the fabric to her nose and sniff. Marks watches her with genuine delight.) ESTHER. Ie frui dye, Am I right? Ie smells like — MARKS. — an imperial palace, ned by the artist right there, I wouldn't be surprised if it was created for an empress 7makes me happy. Essher affectionately grasps Mr. Mark band, be abrapty pls ay. Esher is acken aback) The ‘wont rub off on you. that. Please. My religious belief ‘me to touch a woman who isnt my wife or my relative MARKS. inical law, not mine, ESTHER. Your wife must be a happy woman, MARKS. Iam not married. Not yet. My fiancée is in Romania. igement years ago. ESTHER. Oh? I bet you miss her something awful. (Marks rubs bis band where Exther touched him, He laughs, a bt selfconsciously) MARKS. I haven't ever met her, actually. (Lights erossfide.) Scone 4 Heliotrope Handkerchief Another bedroom, A canopy bed dominates. Mayme, a striking Beautiful African-American woman (30) sits at an on piano, She plays a frenzied upbeat rag. Her silk robe is torn, sand her face sembles with ousrag. Esther bangs on the door, then finally enters carrying a carpetbag. ESTHER. I been knocking for ages. Didn't you hear me? ‘What's going on? (A moment.) 2 MAYME. ‘They really do make me sick. Always stinking of booze. And look what he done. It’s the only prewy thing I own and look almighty, not another one. I'm so da do. (Mayme sts down at the upright piano and gracefully plays a slow, twel-considered rag.) ESTHER. Oh, pretey: Did you write thar, Mayme? MAYME. Yeah ... (Continuing to play.) My daddy gave me twelve lashes with a switch for playing this piece in our parlor. One for ceach year I studied the piano. He was too proper 0 colored, and a syncopated. beat was about the wor y could commit in his household. (Mayme stops playing.) 1 woke up an this black and blue (Mayme picks up a botile of moonshine and takes a belt.) ESTHER. That there the reason you tired, that ignorant oil is unforgiving, Best let i lie. MAYME. Oh bother, stop playing mother hen and come show me what you got. ESTHER. Anything else, Mistress MAYME. Hush your mouth, you're far roo sweet for sarcasm. (Ether pulls cores from her bag, its pale blue with lines of royal blue glas beads ‘omamenting the bodice, like Mrs, Van Buren. Touched) Is that for me? (Mayme leaps up from the piano and holds the corset upto her bad) ESTHER. I made one jus like i for a lady on Fifth Avenue. 'sso pretty. This is really for me? No kidding? C Of course you can, MAYME. Feel it. It feels like Fifth Avenue does. You oucdone ‘yourself this time, honey. ESTHER. Stop talking and putit on. (Mayyme gives Esther a kiss on the cheek.) And look at the flowers, ain't they sweet? Te rook me a whole day just to sew them on. (Mayme takes off her robe and puts on the cores) MAYME, For shame. This the pretties for me. Truly. ESTHER. You know that white lady I talk about sometime, hold on ... (Mayme grabs the bed post, as Esther pulls the corset tight.) She keep asking me what they be wearing up in the Tenderloin. All that money and high breeding and she want what you wearing, MAYME. No kidding? ng anybody ever made 19ESTHER. Whar she gor, you want, what you got, she wa MAYME. Onliest, Faint gor the money co pay for it. (Mayme ‘models she corset.) Whatcha think? Do I fook like a Fifth Avenue bird? ESTHER. Grand, You look grand. Mr. Marks sy, that satin foulard ‘was made forthe finest ladies in Paris MAYME. No kidding. ESTHER. I wasnt going to buy it, But, oh Lord, if he didn't talk me into it. MAYME. Mr. Marks? (A moment.) Who is this Mr. Marks? all. h no, he a Jew. (Mayme lols into Esther’ eyes) MAYME. And? I been with a Jew, with a Turk even, And let me tell ya, a gentle touch is gold in/any country. ESTHER. 1 see the bodice is bie snug — MAYME. Is h ESTHER. | MAYME. Good patient, Esther. Come, he wouldn't be yout first would he? ESTHER. Iain’ listenin’. MAYME. (Softening her tone.) You de sand hard. Esther doesn’ respond.) what it was like. Ai ing, (Mayme laughs long idding, I canit even remember MAYME. Mercy, what you must think of me. (Mayme, suddenly self-conscious, touches the beading on the coset.) ESTHER. And if you must know, Vm being courted by a gentleman. MAYME. Coutted by a gentleman. Beg my pardon. Ni ‘nant? Oh come on, dort tell me y ESTHER. He MAYME. You'd rather a man all the way across the ocean then down Broadway. Are you expecting him to arrive in the mail like some tonic from a catalogue? ust playing with you, ESTHER. (Wounded,) 1 aint expectin’ nothing. (A moment. Mayme acknotledges Esther's hurt. She careses her friend face.) MAYME. Sute you are. Sure you are, honey. Who ain? (Mayme sits on bed, beside Either) | am 2 concert pianist playing recitals for ‘audiences in Prague and I have my own means, not bad for a colored 20 See eee ee eee eee ee eee eee gil from Memphis ... (Mayme plays a few bars of classical muse, perbaps allowing it to become a rig.) And Madame always takes tea ice a week with her deat friend Miss Esther Mills, who's known Jrcles for ... for what? I forget. (Esther is reluctant to share her dream.) Come on, Miss Esther, dontt be proud. ESTHER. Town a quaint beauty parlor for colored ladies MAYME. Of course. ESTHER. ‘The smart st. Someplice cast of Amsterdam, fey, where you get pampered and treated real nice. ‘Cause no one does fore weease heads in a bucket and be treated ic, you too fancy for ik you. spcn a book of illustrations, and show you the if Let you ; “Make yourself comfortable, put your feet up, MAYME. Shucks, you don't know the half of i. ESTHER. And in no time fla for the costa ride uptown and back, y someone good money to h nwo, three days on my rouldn't that quilt be a poor lowly since I come North, It for that iobody that. Honest, for true. : 'd you get such a damn serious face? ESTHER. Why not MAYME. Because, we aIER, Bur come, is this what you want to be doing cen years from now, twenty? MAYME. You think aint red to make a go oft You thin down and opened my legs ‘cause it was easy. Ie do nothing, bur chs siloon is beer then a lot of chem anybody. Only last night one of Bere Williams’ musicians sat up front, and he stayed through the entire show. You thi thos gan he ig sews didn sta sight where Lam fou gor chis iano that you play better chan tnyone | know thew areadozen Guheasie MAYME. Let etl you so many wonderful ideas ben conjured in this room. ‘They just get left right in that bed there, of on this piano bench. They are scattered nt ee eaten ar ‘waiting for anybody to rescue me. My Panama man long time now. It sweet that he write you but, my dear, it aint real ESTHER. Yes, he here in my pocket in a eambric walking suit, he hasa heliotrope handkerchief stuffed in his pocket and a sweet way about him, He so far away, I can carry him in my pocket like a feather. (Esher laughs and produces a letter from her apron.) MAYME, Youte funny. You and your silly letter. c got so I know the (Esther holds our the letter.) MAYME:Iaintintree, Puc it away "mon Miss Mayme ... don’t be proud, you know you want 10 read it. (Ether dangles the eter threatening put acy :) ve it here. (Mayme snatches the letter and quicl peruse: it, allowing herelf a smile,) Ooo. . ESTHER. What it say? MAYME. Your man got himselfa new pair of socks. Wait... uh-oh, im chat you're about as lovely person as there is jow that ain’ so. MAYME. Of course, itis. And what does ie mateer? You think half the men that come in hee bother looking ¢ my fae, No mam. fe don’t care about this. (Mayme grabs Esther’ fice and gives ber a kiss on the forehead. She playfully shows off her physical attributes 2 which are accentuated by the formfiting lingerie.) He interested in this, my dear, This is what he’s asking about. (Mayne laughs.) ESTHER. I wouldn’e dare write about something like that. He Christian! MAYME. in his weakness that he'll find his strength, jst playing with you. ious and you got your mind in the gutter, MAYME. Oh for God’ sake, the man just asking what you look like ‘cause he want something pretty co think about come sundown, ESTHER. You reckon? Then will you help me write something? (Mayme hands back the leter to Esther) MAYME. No, what about your white lady? Why not have her do itt (A moment. Esher opens her carpetbag.) ESTHER. ‘Cause I'm asking you, my f MAYME. No, my writing ain't pe ESTHER. Dont bother about che handwriting, pricked my finger while sewing, He'll understand, Please. MAYME. Oh, (Mayme fetches a sheet of paper and a pen and sits on she bed. Exher sis next to ber) \ ain't romantic, I find this silly, really Ido. Only ‘cause its you. So, how do I begi ESTHER, “Dear George.” (Mayme concentrates, then slowly write.) MAYME. (Savoring th 1) A love letter to a gentleman, Yes, T know. “Dear George, I write you wearing a lavender silk robe with — "(Esther gigles. Lights erosfade. George enters carrying lantern, be is soaked through by the rain.) GEORGE. Dear Esther, “Thank you for your sweet words. Your pricked finger delivered the mose unexpected lift. Ir quier now. The only motion is the rain “The only sound is the rain. Ie is the white season, and the work all ad, him [ but stop. The rum shop be the onliest business that do prosper. I scen months of hard work lost in an evening and good men bet the devil overnight. And if I old you seen a decent a wom sweet-faced Indian id ‘been months since it wouldn't be Is offering u leave here with less than they come. I shan’t touch, even if only be to curn down my he evenings. Indeed, Ii like to meet you as gentlema seat, and the colors that your eyes find pleasing, | imagine your cobblestone roads and the splendid 23‘on the avenues, and a dry place to sit. think of you runnin read berween your fingers and find abit of holy rele for your letters arrive justin time co ward off remptation. Yours Affectionat George (Lights crossed to:) Scene 5, Hand-Dyed Silk Esther’s boudoir. Ether sts at the sewing machine, working on a silk camisole. Mrs, Dickson enters carrying a leter, which she hands to Baber: MRS. DICKSON. I don't en im, not one bit, He writes too ESTHER. We corresponding. That all. MRS, DICKSON. I know these kind of men. Sugared words, but Jet them stick ro the page and go no further. H [ees ihe ee a thing to come of ESTHER. And if Ta MRS. DICKSON. Our Mr. Charles has asked me twice about you this week. I told him he was most welcome to call 24 les is a fool and a glutton, And I'm sure he Tam. SON. You are a stubborn litte country girl And very jcular. And it woulda’ hurt you to be more receptive THER. To who? Mr. Charles? Remember it's me youre talking .- not Doreen or Erma, or one of those other silly open-hearted letters co a man. And it may come ’:an innocent enough fliration, and 1 had my share in my youth. And believe me when [say I was romanced by many bright and willing young men, (Mx. Dickson takes Esher’ bur [aint ashamed to admit that my pride womise. And if you're not careful, Esther — s filled with my hard work, Is my beauty ps good job and position. (Mrs. Dickson pulls the quilt off of the bed) MRS. DICKSON. ‘You think this is enough? Do you? You think this gonna make you happy when another half dozen away in camisoles of your making. When the Bellman’s Ball come around another year and you here fluffing ruffles for some gil from thing in it ro be with someone I care for, [ would. MRS. DICKSON. ‘This man in Panama, he’s paper and I'l show how easily he goes away. (Mrs. Dickson rips up the letter.) ESTHER. Mrs. Dickson! MRS. DICKSON. You'll thank me. (Mrs, Dickson exits, Ether picks up the pieces of the letter. Lights erosfade to George in Panama, ‘ashe picks up pieces of fabric.) GEORGE. Dear Esther, | opened she letter and these tiny bits of fabric tumbled out onto the ground. Imagine my surprise, gray wool, pinkssilk and the blue flannel, which 1 tucked in the back of my shirt this morning — (Lights erosfide to Marks boudoir. Marks wnrolls a lk, Fisher touches the various fubrics — muslin, taffeta, satin, tulle. Marks unfurls a vibrant roll of magenta clah.) MARKS. Icis hand-dyed silk, washed it yesterday and look. ESTHER. Yes, beautiful. MARKS. Have you ever seen anything like that? 25ESTHER. No. MARKS. It looks fragile, bt feel. (Either runs her band across the blue ‘material and smiles) } feel even better against your back. + ESTHER. ‘Th ike this indeed. You shouldn't have wn me this ... (She pulls the fabric around her shoulders. He then swnaps a strip of magenta cloth around bis shoulders.) MARKS. Look at this color. ESTHER. Ie look very good on you, Mr. Marks. MARKS. Does it? (Esther laughs. Mz Marks laughs. An awkward moment, fraught with the unspoken atenacion that les between them.) ESTHER. Your button? MARKS. 1 forget. ESTHER. Ifyou take off your jacket, Pll sew it on for you. MARKS. Dont worry Ie is fine. (Mn Marks bustons the remaining buttons on the coat.) magnifice MARKS. You ask a very comp! that is the simplest way 1 know how to ‘many ways that I show n ES Is marrying someon: MARKS. Icisa chousand yeats of histor answer to that quest ESTHER. And yet it seems a moment.) Vn sorry, 1 MARKS. You have (A moment.) know another? und struggle behind the imple as 10 upset yor a jacket. (A his a new councry. we come with our pockets stuffed, yes, We don't throw away nothing for she need ic later ... T wear my father’s suit. It is old, 1 this simple black fabric is my most favorite. Why? Beca ‘wear it it reminds me that [ live every day with a relationship to my ancestors and God, (As Marks turns to wrap the fabric, Esther ever so gently touches the back of bis collar. He doesn’ register the gesture. Or docs he? Lights fade ‘around Mr. Marks’ boudoir as they rise in Mrs. Van Buren’ boudoir, 26 Ars, Van Buren wears a lacy kimono and corset made of hand-dyed ‘magenta silk.) popular? I have to weave that tidbit into the frog and the of Germany ty. “Miracle upon never be able to give iy the way, { bled this ws to Harry, he spat at me. ‘This, 'Il be a bohemi: a husband, she's nor bound by convention. n't see why you let him do you this way, missus. IF me saying. (A moment.) MRS. VAN BUREN. Have you been to the opera? (Either, aware shat she overstepped, nervously adjusts the bodice.) ESTHER. Never. MRS. VAN BUREN. Oh God, you’ lucky. It’s one of those 'S. VAN BUREN. Like this? (Mrs, Van Buren seductively lifts eae pinching me right here. (Esther stands bebind Mrs. Vin Buren and wraps her arms around her torso. She runs ber fingers along the tp of the corset, then reaches in to adjust her breast. Esther sightens the bodice as Mrs. Van Buren continues to speak.) Uve never been to a colored show, Pm cold they're quite good. ESTHER. | suppose MRS. VAN BUREN. I should take me to one of your shows. © to see one for myself. You must 7ESTHER, And will you take me co the ope MRS. VAN BUREN. Iwo: scandalous, just the sort of thing to perk up (rs, Van Buren touches Esther’ hand with an unexpected tenderness Exther politely withdraws her fingers.) Ie is so (Wohispered,) Your visis ae j to these days. You, and our ‘write something dazzling to Esther seems hesitant.) ESTHER. But, if ESTHER. Perhaps somet affection growing. MRS. VAN BUREN. Yes, one would hope. He seems quite taken, ESTHER. I dont want him ¢o be disappointed. MRS. VAN BUREN. And he needn't be. Welll sead him warmth and hell find you irresistible. ESTHER. Do you think we could describe this si ber fngers dwn the front of Mrs, Van Bi him feel like againse your skin? How the touch, I ain't gor che words, bur I wane hi magenta red, What it make you feel right now. MRS. VAN BUREN. ‘he silk? Are you sure? ESTHER, Yes. MRS. VAN BUREN. Mete writing love letcers 10 a Manhacean. ESTHER. People doa MRS. VAN BUREN. I of women, She dared me and I done? (A moment.) ESTHER. I touched someone who I knew I wasnt supposed touch, T touched them because I wanted co, it was wrong, but I help myself. (Mix. Van Buren takes in Esther's wordk. The 2 (Esther runs if my friends knew I spend the day hey'd laugh me ou hings that they dont ever speak of \ked opium once, wich the most proper id it lights rise on George siting on his bunk illuminated by a kerosene Lantern, Enther remains onstage in half light, as if listening to George speaking directly t0 her.) GEORGE. Dearest E id ic is here in hal-light chat I imagine nce our first correspondence, and parish died, taken by fever ery and there's nothing ng about his family beh tew boy -This momn I ty to remember his sm blackened face and cannot even recall his smile, though hi sc me water each and every day since I be here. Why this boy g¢ ° : be sucked into the ‘ground wi splendid way the American gentlemen machines an laugh avay che jungle and I know id terrible things cheir sleep brings. A your i yself would world. Yes, Te come to feel for no other way Tam a good strong man, Wh: 1e described as love. [ove you. There to say it, Mose &« George (Lights erosfade to: Scene 6 ‘White Cotton Bed Linen Mayme’ boudoin. Mayme hangs a pair of wet stockings on the bedpost MAYME. Why ya smiling so big? Close your mouth “fre your weeth dry 29 eeeESTHER. He’ asked MAYME., What? No ESTHER. Iein wi MAYME. Show me. (Esther hands Mayme the ler) Out own love him? ou can love a man you ain’ seen. Pm thirty-five, Mayme, and he wants to marry me. And there ain't gonna be no more opp. aad. MAYME, Well, goddamn. I'm sure he’s r ‘Any man go thro woman must have his virtues. MAYME, I reckon, ESTHER. He write that this much tro stiving next month. 10 church since I was seventeen. It ain't le to myself years ago. 1 n't seem right to go up ‘on speaking terms, ; ited anyplace proper. ESTHER. Me too. (Mayme laughs and grabs a bottle of liquor) MAYME. Hell, we ought to celebrate. Somebody give me thi Ie look expensive. Whatcha think? Should I open it? ESTHER. Sure. Why not. (While speaking, Mayme pours them each ass of gin.) ME, We gonna toast to one less spinstet R, Oh God, I hope I ain‘t making a mistake. MAYME, You'll be fine. You'e about the most sensible gal I know, » honey. I's a splendid fee won't tell nobody. A mortician's apprentice who hated music, Need I say more me ESTHER. Do you regret no MAYME. Some days. urying him? me evenings, honey. (Mayme thrusts 30 1 glass into the air.) But here's to Esther, yo a beautifal wd may happiness follow. (They toast and drink. Mayme sits .) My dear, you're gonna go to soc become an awful gossip. And yo priate to visita place like this. 2) Tsay. (A moment.) ‘THER. We friends, aint no Panama man gonna change that. MAYME. Well, [hope he is wonderful. (Mayme stars to play piano.) GIVE ME A MAN THAT'LL COME AND BAKE ME A CAKE, PUT IN SOME SUGAR AND SPICE YES, HE CAN PUT IT IN MY OVEN ANY OL TIME AND WATCH IT RISE ON UP. GIVE ME A MAN THAT'LL COME AND MOW MY LAWN FROM THE FRONT TO. (Bxther joins in) YES, HE CAN TEND MY GARDEN ANY OL TIME AND WATCH IT RISE ON UR. A WOMAN NEEDS A HANDYMAN TO TAKE CARE OF HER HOME. AWOMAN NEEDS A CANDYMAN WHO'LL FIGHT THE BEES FOR THE COMB. (Esther stops singing, she silently contemplates ber decision, uncertain.) GIVE MEA MAN THAT'LL COME AND BAKE ME A KE, LOAD IT WITH SOME SUGAR AND SPICE YES, HE CAN PUT IT IN MY OVEN ANY OL TIME AND WATCH IT RISE ON UR. (Lights crosfde. E:ther’s boudoir. Mrs. Dickson is packing Eaaber' suitcase, Esther asses into her boudoir.) MRS. DICKSON. Who is going to ‘There is Bertha, but she has no conve closer, but she and Bertha dont speak. at the dinner table without you. That 2 shame to lecthis room ro anybody to me at the table? Tcould move Erma bbe an absolute mess na be ESTHER. You wasnt always pleased with my conversation if recall, MRS. DICKSON. Who told you that? Well, they lie. (Mrs. Dickson holds up a dres,) Oh no. Not this lite frampy thing, really Esther.EST five whole dollars for MRS. DICKSON. Youll scare off your gentleman, an five dollars of misery. You needne be a prude. Trust me, your mall have needs, and its your duty to keep his member firmly at home. Yes. ESTHER. Excuse me? MRS. DICKSON. che most refined thing I own. I paid for the best you abour some experience. And I'll tell you, give and take m: of partnerships. Never mind what the minister He will rest you and he take no shit fr SHER. Mrs. Dickson. MRS. DICKSON. Excuse me for saying, but ithe raises his hand conce, he'll do it again. 1 thought we should have this conversation before you go off I don't mean to seare it | know you come as an innocent and we're friends so I fee ESTHER. ‘Thank you, but for myself Now whatcha just say welll give i to Deacon Wynn and let the church ladies fight over it. Yes. (Mrs. Dickson sits on the bed.) you? FSTHER. You didn't expect me to be here for the rest of my life? MRS. DICKSON. 1 guess I sort of did. I'm so used to hea your sewing machine and foot tapping up here. Yes, I reckon I'm going to miss ESTHER. Another gal wi you'll be fussing about somet! ‘move into this room, and by supper (Mrs, Dickson dabs her eyes with ong time, Yes. [ dontt reckon I've be lonely. known anyone else chat long, 32 HSSTHER. You have plenty of suitors to keep you busy. ‘working man amongst them. (A MRS, DICKSON, I married him, because I was thirty-sev ‘ld, [had no profession and chere wasnt a decent colored fel Now York City that would have me. ESTHER. But you come to love each other. IN. I suppose. He give me some laughs. But you », my mother wanted me to marry up. She w: was the very married mi ss. Td watch her put wits hands, but they remained raw and chaj gloves. In the into the hor ub the cloching clean. Fold and press for hours and hours, che linen, the bedding, kings and the britches, sometimes wearing the frayed gloves 50 as nor to leave bloodstains on her precious laundry. She wouldnt even let me help her, she inds to show the markings of labor. L was going to marry up. Love was an entirely impractical thing for “Look what love done to me,” Mama used ve done to me” (A moment.) So I did what was allowed myself to be Aattered by gentler: for this marble mantle, ga indoor toilet. ESTHER. Bue Mr, Dickson was a good man. MRS. DICKSON. Bless his broken-down soul. He had fine suits and perfect diction, and was too high on opium to notice that he was married. Bur I would not be a washerwoman if it killed me. ly marvelous hands to prove it. (Mrs laugh playing her hands) Bux you have godly fingers and a away foraESTHER. ... Love. MRS. DICKSON. Dont you let a man have no part of your heart without getting a piece of his. (Light erassfade to George.) GEORGE. Dear Fsther. I held in the port of Havana, Cuba, awaiting passage to New York City. A passenger come down with cholera. So here I wai ience, We sail tomorrow — (Crossfade to Mr. Ma ‘Mr. Marks has just finished ” saw this morning, if, go into But she wants the stress tonic MARKS. Wel, yes. I didn’ have inquired about your hi ESTHER. Tim very well thank you. (A moment. Esther smiles. Mr Marks shyly looks auvay.) MARKS. | found something I think yo \ i" love. (Excited.) Do you ec it. (He fingers through the bolt of fabric, bue sudden stops himself. He struggles for a moment with em aiemaee question.) Vjust made tea, would you have a cup of tea with me? ESTHER. ‘Thank you, that would be nice. (Mr. Marks clears a chair far Esther. She sts, a bit disarmed by the invitation, Mr. Marks pours ‘her cup of tea, then one for himself He sits down on a chair across from ber. A moment. He touches the spot where the MARKS. Is the tea hot enough? Milk? Would yo course? fine, (Esther smiles.) (Esther stops smiling. Mr, Marks t me show you the fabric. ESTHER. Act got ld you? IR. Silk. (Mr. Marks pulls down sevenal bolts of fabric. Esher her excitement muted.) MARKS, Twenty-five cents. ‘The bride USTHER. I's too much. Something less exp th lace and ribbons. (Esther points to a faded sedding. This is for an older woman — so young. ;) No, no. Not at all. My congratulations. (Mr. ‘Marks pulls out his finest wedding fabric.) Please. Tim sure the tich lady who ordered this didn’t appreciate the delicacy of the fab She gave no thought to who cfafied this perfection, the labo Is too fine for me. MARKS. Come, touch it and chen refuse. Please. swatches Esther run her fingers across the fabric. He sensual, She closes her eyes. He continues to watch her, savoring the Miss Mills, many fine ladies have wor against , but ic was made for you. I know this ... (Esther bods the fabric to her face and begins to weep.) + May it gilt. (He wanss to offer comfort, but he cannot touch her.) ESTHER, I won' let you. be my pleasure. (Esther accepts the length of fabric. They gaze at each other, neither able to articulate the depth of | ‘their feelings. A moment. Esther and Marks exit the stage, as the lights rive on Mayme seated at the piano. She plays a rag. Mrs. Van Buren centers, smoking a cigarette and nursing aglas of brandy. She sudies her 35image in the vanity mirror. Marks reenter, fiddling with the bustons on his jacket. He takes out a needle and thread and contemplates twhether to sew on a new button. Mrs. Dickion enters, carrying a wedding TTWO his best. He moves dawnstage with the uncertainty of a new arrival Scene 1 Esther, dresed in a wedding gown, nervously enters. Mrs, Dickson places the veil on Esher’ head. Everyone but George and Esther exit, Esther ‘The Wedding Corset — White Satin joins George downstage, each of them in a separate pool of light. George Embroidered with Orange Blossoms «and Esther look at each other, forthe first time, then look out into the world. There is a flash — as from an old-fashioned flash camera. The sepia-tone image is capsured A projected ttle card appears above their Esther stands in a pool of light, she wears a spectacular white breads: “Unidentified Negro Couple ca. 1905.” Blackout.) wedding gown. Another pool of light engulfs George, he wears «a worn gray dress suit frayed around the sleeves, certainly his End of Act One best. Light rise. A spare studio flat, an iron bed dominates the room, George and Esther stand on either side of the bed, twhich is covered with the erazy quilt. A silence divides them. Finally Esther speaks. ferent. I guess I expected be different. Ie was a nice ceremony. Didnit you think? ly coulda witnessed it all. My mother in particular ister said man and wife I nearly fainted, I did. I bee those words, since ... they nearly took my br wife, and the truth is we barely know each ot near everything there is ¢o know about me, and hhete we is and I fear I aint got no more to say. (Note: Georges accent isa touch heavier and more distinctly Barbadian than in the first act.) GEORGE. We ain need to say nothin’ now. We got plenty of time for that It late. (George takes off his jacket and tosses it across the bed. He losens his op button. Esther picks up the jacket, quickly surveys the label, shen neatly folds it, placing it atthe bottom of the bed.) ESTHER. Do you wish co bathe? I’ the basin. (George kneels an the bed and extends his band to Exher.) GEORGE. Why dont yuh come sit by me. Lec me see yuh, (Esther sinks on the bed with her back to George. He gently strokes her check. uh afraid of me? Yuh shaking. THER. Dont really feel much ESTHER, Am 2 GEORGE. Give yuh hand ‘cre. (Esher gingerly passes her hand to Gearge. He sts next to her, kissing each of ber fingers, then places ber band 7cary at all. (Esher leaves her hand resting on ‘is crotch, uncomfortable. A moment.) expected yuh to be — ESTHER. Pret GEORGE. No, ESTHER. Iesokay, a ainttno surprises. ‘We should say what we think now and get it out of the way. GEORGE. I suppose from yuh letters — - ESTHER. I described my character. And ruthful. (George begins to unbutton Esther’ touch.) You're very hand She stiffens at bis han hough add st say mfortable. (Esther withdraws ber hand from his erorch,) And the other thing I think you must know, Lain’ been with a man before. I been kissed and done some kissing, but You know what Tm saying, And ic might be awkward on night, ev ORGE. Then we'll make ic less awhward. (George slips Esther’ hes fer shoulders and plants om er bare back. Shes wearing 4 stunning wedding corset of whi embroidered with orange blossoms.) Real (He runs his fingers across the Tmade something for quickly ferches the smoking jacket.) Here. GEORGE. ESTHER. spanese si it on, (George clumsily pulls she snaking jacket around his muscular body. He clearly int comfortable C: reonge explores the jacket (Esther stands up and (George removes the jacket sand tose it onthe bed. He put Esther into his arms) : ESTHER. Not yet. GEORGE. Yuh GEORGE, Like what! (Esther pul ay ad pics up the smoking jacket ESTHER. I come here from North Cai seventeen after my mother died of influenza, God bless her loving spirit. My father 38 was a slave you see and didnt take \. Heid lost his tongue during a nasty fight over a chick was a baby, so I never heard him speak, no c« no gentle words, no goodbye. He was... silent come to this city by myself, worked my way North picking berries in every state w rooming house teach me to sew apparel, saying pay you good money for your was ive me, It was as though God kissed my garment. I discovered “ave no quartel in (George gently pulls her onto the bed. The lights slowly fade as Esther succumbs to his embrace, Ragtime piano, Mayme and Mrs. Van Buren ‘enter, dressed in their twin corsets. They stand over the wedding bed.) MAYME. What is he like? (George climbs out of bed, he stands in a pool of light and slowly goes through the ritual of dressing. Esther kneels on herbed wrapped in the crazy quilt.) ESTHER. He handsome enough MRS. VAN BUREN. Come, what did he say when he saw you? (Esther climbs out of bed. As they speak, if necessary. Mayme and Mrs Van Buren may help Esther dress.) ESTHER. He aint say much of nothing. He just stood there fora -moment regarding me with his eyes. Yellow, cotton and cane eyes have no tongue, smell of salt and ground nuts. Ir make me sick and ie make me excited. MRS. VAN BUREN. I was tipsy on my wedding night. I recall being in love with the notion of love, and everything took on a rosy glow. Harry was foolish and confident and I was frightened to death, MAYME. Is he as we imagined? 39.ESTHER. Yes, he is sturdy enough and quite a pleasure co behold. His hands hands. But he got a melodious voice, each word a song unto itself, (Mayme and Mrs. Van Buren reluctantly retreat into the darkness Esther and George buston their sbirts,) And when he finaly fll asleep placed my head on his chest, and listened for the song of cicadas at dusk, and imagined che sweet aroma of the mango trees and the ‘giant flambo, ts crimson tears, (Esther and George stand o either side of the bed, dressed.) Scene 2 Valenciennes Lace George/Either’ boudoir. A rag plays. George smoothes down his overgrown hain pleased with himself His elothing is worn but that doesn's seem so trouble him. Esther takes in George from the corner of her eye, quickly averting her gaze when he “glances over. He smiles to himself ESTHER. Do you want me to fix you something? GEORGE. Iain‘ really hungry, you know, ESTHER. Where are you go GEORGE. That woman ask too many questi ESTHER. That's what ladies do. She's just being attentive. (George grabs his hat and toys with it for a moment. He ventures to speak, but stops himself: Finally:) GEORGE, Say Mrs. Armstrong, you got two dollars? ESTHER. What for? GEORGE. I need a proper hat if yah want me 0 look for teal work. Ie near three months now, and this a farmer’ hat I tol’. The rag man wouldn' even give mea penny for it. ESTHER, Two dollars. That's a lot of money. I tol’ you I'd make you a worsted suit, Right smart. (George genzly touches Exther’s band.) GEORGE” Cun Ms "Armstrong, Just evo dollars 40 sis the last time. Hear? (Esther, reluctant, goes im with her scisors. She digs in and E, Thacall you gow RR, Yes. Why do you need to go out? some fellas I stop off for a quick ale, be back ‘fore Sunday. I'll pucon some tea, and sit, et me mend. ha hole in your shire. (Either touches id of it from Mrs. Dickson. RGE, She a real madam. “Yuh working, George as tamarind trees, stood all day, ic cold too, w: -yeats plus five. And T got more exper Next time, "e say. Next time, George. Can you b when everyone gone, ’e pass me this damn note like it money. ionge tates a letter from bis pocket and unfolds it.) Look. (He hands he note to Esther. She exa pretending to read.) What do you ‘ink? (George watches her ever so caref ‘STHER. I don't know what to say spose he mean what he E what he say crue? ESTHER. Why ful? (Frustrated, George takes off bis shirt and tosesit to Esther He then throws himself across the bed and lights a cigarette. Ether goes about mending George shirt by hand.) Did you try over at that butcher’? Like asked. I extra man ‘cause its always croveded in there. Especially on Fi GEORGE. I don’ know. We'll sce. ESTHER. There are worse things you could do. And I thought maybe we could go to the church social before Mrs. Dickson’. 1. (Ewher stops sewing.) said —Sarre ser eae IE STnETTESE li T walked in on your arm, and suddenly crong over for tea, GEORGE. Yuh and yuh monkey chaser yuh meat ESTHER. Oh that aint so. Most of them folks FORGE. I want to build rings, nor polish ‘Them fine jobs for yuh Yankee gentlemen, vere for hhave me a boorblack ‘fo ‘hands, I say. Mine been business, otherwise ’e always be understand, ESTHER. Iam your wife, and whatever I go mind your smoking on the bed. ‘The Chinam burn up that way. (George puts out the cigaretic.) GEORGE. Listen, this ella ar the saloot a stable with a dozen strong draft horses,’ need money quick quick. A dozen horses for what I say? ESTHER. ‘That saloon atk. ‘That man'll GEORGE. Where, Mes. Armstrong? (George ge quilt.) Axo L es ESTHER. My quilt? Never mind with that money. I and it gonna stay there. GEORGE. Yuh a squirtel, for true. That’ what y rats, noz ESTHER. A squirrel ain’ a rat. That money for my Told you that. GEORGE. (Laughs) Th EORGE. You ownin’ a beauty parlor. ‘STHER. Yes. (George studies Esther. She self-consciously returns to sewing) : GEORGE. Look at yuh. How yuh know pretty from the lookin’ glass? (A moment.) ; . ESTHER. (Wounded.) | make pretty things. (George pops up off the ‘bed and takes Esther in his arms.) GEORGE. | sorry, Mrs. Armstrong, I ain’ know what I say. Yuh be real sweet, if you done up yuh hair, nice. Puta little paint on yuh (George rans his hand across Esther’s mouth, He grabs ber and 10 do a quick dance.) ESTHER. I ain’ that kind of woman, GEORGE. No, yuh ain’. (George lets go of Esther’ arm. Gently) Please, Esthei ESTHER. No. That eighteen years there. GEORGE. (Chupse.) Yuh vex me so. Where's me shirt? ESTHER. I shed. (George grabs the shirt from Esther and m.) Be careful, you'll tear — going o'er to the Empty Cup foran ale, I see yuh later. hat a nororious place. How yuh know? et I know. (George chupses dsmissively) Why are you so th me? You got your ale money and enough for God knows ESTHER. I come here with nothing. SEORGE, Don't look at meso. ESTHER. I slepr in a cold church for nine days, and picked up fae good, but five hundred days digging, “ere. It always gray, why it so gray? Work , ichard, but at least the sun shine. ESTHER. [know you here ‘cause of me, and I want you to be happy. ‘We stood in that church, and promised before God co take care of cach other. That means something, even if gray. You listenin”? GEORGE. Ilistenin’ ESTHER. You got a good arm George Armstrong, and Tid be proud 10 whether it shining shoes or picking cotton. GEORG! ‘of comin’ home to put me hand in yuh pocket. 43lt (George grabs bis hat and coat. Esther attempts to surn down his collar He brushes her hand away) Vof. ESTHER. What about Mrs. Dickson and the social? piles of fabric. Ether enters.) MARKS. Here it is. Scottish wool would think, Icis very good, ESTHER. Are you humming a rag, Mr. Marks? MARKS. No, ita Romanian song. I cante remember is driving me mad. ESTHER. (Smiles) 'm very happy to see that you button on your suit, MARKS. (Proudly) You noticed. Ie wa (Mr: Marks displays the fabri ESTHER. Scottish wool. Yes. (Escher foes the fa Would you wear a suit made of this? MARKS. Well, yes. You see how so gentleman who story abou ther caring for the s said every night shed tell them a fry tal creatures a kiss and a sprinkle of salt. The Jaugh, Watch and laugh. But cor wonderful wool they produced for feels the fabric, lovingly. Mr: Marks reve been a thief forall know, but the col as expens Dont you think? So I pay too much, but not eno, Ab! Yes. have something else 10 show yo Where are you? Here we ate. (Mr. Marks unfurlsa lec it go last week, but I was waiting for you. I ESTHER. Oh, yes MARKS. I knew youd like it. lated.) The wait was your smile again. (Marks playfully drapes the lace neck. They find themselves standing dangerously close to ‘They are so close that they can inbale each other’ words, A Miss may say — ESTHER. Armstrong. (Esther removes the lace.) the lace and places it om the cutting board) 4 ee GEORGE. I be back for supper. (George grabs his coat and exits, Esther picks up George’ work letter and erumples it up. Crosfde to Mr. Marks’ boudoir: Mn Marks bums a rag as e searches through the MARKS. L apologize. I forget. I forget. (A moment. Mr. Marks rakes Wve some other wools, gabardine, ry for them, but they are sturdy and you no problems (Ar Mr, Marks urn sah for tther bot of fabric, Esther gently runs her fingers across the lace. Mr. Ste ton hh dark ba fabrics, Mr. Marks slowly rolls the lace, his disappointment palpable.) Next time. ESTHER. Mr. Marks? fe (Esther wants to say something, but she can’ quite find here — ESTHER. No. No ... ede thought P'd be able to, but I can I cant come here anymore. 1 MARKS, Why do you say this? Did I do something to offend, ime, did 1 — ESTHER. No. MARKS. ‘Then — ESTHER. Please, [think you know why. (A moment.) MARKS. How many yards will you need for the gentleman's st ESTHER. Four yards. The Scottish wool ... and if you would, please wrap the Valenciennes lace. (Crossfade to Mrs. Van Bur boudoir. Light pours into her room.) Scene 3 Rose Chemise Mrs. Van Bures’s boudoir. Mrs. Van Buren sits on the bed cradling a snifier of brandy. Shes upbeat, almast cheerful. Fiowever, ‘ide mah consumed by her own thoughts. MRS. VAN BUREN. He's gone to Europe. 45sreerernisties — tle ith friends ia Lenox this summer. I Dont you think? You could come, o your services to several women. course, ESTHER, I thank you, but I canit. (Esther drapes the Valenciennes ace over the bed post.) Here. I found a strand of lac chemise. I know it aint exactly what you wanted, iy. MRS. VAN BUREN, Oh? Indeed. How am certain, STHER. I suppose. (A moment. Mrs. Van Bure the lace, indifferent, she tosses it onto the bed. employer’ lack of interes.) MRS. VAN BUREN, Is everything allright? ESTHER. Yes. MRS. VAN BUREN, Such a long face so early allow it. (Ether doesnt smile,) Com ESTHER. Td like to ; ‘wo months and I need the money. MRS. VAN BUREN, Ofcourse, Ihadni telized. (Mr at her drasing table. Smiling to herself) You know wi ‘our leners. [dot I've been absolutely without purp ESTHER, (Snaps.) Let’ nor talk about the lerces! MRS. VAN BUREN. (Surprised.) ; ESTHER. Tm sorry, Mrs. Van Buren. MRS. VAN BUREN. Something is wrong, ESTHER. No, Nothing. (Esther sits on the edge of Mi bed. She carefully refolds the lace, attempting to hold they come anyway.) MRS. VAN BUREN. Esther, wha ESTHER, ‘The other day George as in my hand and I lied. Ile every day. And Tim a (Mrs, Van Buren takes Ether’ hand and sis down on the. MRS. VAN BUREN. We do what we must, no? We creatures sometimes. (A moment) 6 a be good to escape the ESTHER. Do you love Mr. Van Buren? MRS. VAN BUREN. Iam a married women, such a quest romantic. ESTHER. But I fear my love belongs someplace else. MRS. VAN BUREN, And why is tha? ESTHER. I shouldnt say. No, I cant, Pethaps I'm wrong. MRS. VAN BUREN. Perhaps not. (Mrs. Van Buren pulls Esther close and plants a kiss on Esther’ lips, Esther for a moment gives in 10 the sensation of being touched, then abruptly pulls away. Shocked.) Vm sorry. I didnt mean to do that. I'm sorry. Please wanted to show ‘She tsses the money on the bed.) There. cova. (ther picks up the money. Case to Mayme fayme plays a slow, seductive rag. George enters ‘he watches Mayme gracefully regard the instrument. He places money on top ofthe piano, then straddles the piano bench behind Mayme, He Kisses her neck and cups ber breasts in bis hands, Crossfade to Esther’ boudoir. Esther sts alone, waiting. Crossfade to Mayme’ boudoir.) alta Scene 4 Gentleman's Suit Maymes boudoir. Esther enters. Mayn flowing dressing gown and bubbles over MAYME. I've saved up every penny I have. and I war ESTHER. Wedding night? What ain words got any place in your mouth. MAYME. Nothing ain't never felt so good. ESTHER. Who is he? placed his hands around my wai actual ced him to kiss me, T wanted him there, who pass through here touch, He a gentleman. Comes thi ESTHER. Whar? MAYME, Whatcha think? He got a wile. Yeah. A rich wife. But you on uneasy MAYME. Hush your mouth, you wouldn't understand. You want to see what my songbird give me? (Mayme pulls George Japanese smoking jacket from beneath her pillow, She displays it proudly.) And ‘usually take gifts f find. You see the he signed ie there. she justa sorry gal know she ain’t a good person? And he is words are a smooth tonic toESTHER, She thinks he’s pl ing cards or simply restless. Bur still down next to her, that poor stupi (Lights vise on George and Esther’ boudoir. Gi brand-new suit.) MAYME. What’ the matter with his eyes. Esther puts a rose in her hair and a touch of color on She nervously slips off her dress, revealing an elaborate corset 50 a Mamet) You can open your eyes. Esther awkwardly poses, awaiting George’ reaction, His disappointment is palpable. He clearly was expecting someshing else. George chuckles to himself with a misture of amusement and disgust.) GEORGE, What yuh do Don't you li is to your liking? Ait (Esther places Georges hands around her waist.) done do this Esther. Cmon, this ain’ yul idly.) IF | ain't mistaken, a man has certain obliga- tions. (A moment.) Why won't you touch me? (A moment.) GEORGE. You want me to touch yuh? ESTHER. Yes. (George grabs Either around ohe waist. He plants a heavy hard kiss on her mouth, She nevertheless succumbs to is touch.) GEORGE. Like so? You want me to touch you. That all you want of George? You want me to bend and please, so you can feel mighty. No. (George pushes Esther ai a a man know where e stand. "E know ' ate get? No, he aint gonna lie down no more. ESTHER. Stop it. Why you talking this way? GEORGE. I tink yuh know. (A moment. George eyes she quilt.) don ask me again. se dreamin’ a fine fine house wit ic own yaed. Te taunt 'e 50, ’c cant even show what kind of man 'e be. What 'e hands can do, ESTHER. No. ‘That half my life. Thousands of tiny stitches and yards of fabric passed through that old machine. GEORGE. And for what, huh? For ESTHER. No. 51their hatsand pay tribute. They! “The Armstrongs. Them church ladies will clear them. Ande will — ESTHER. (Wants to believe him.) He unexpected affection.) Are you t GEORGE. Yes ESTHER. Please, you're nor just saying chav. at me are you? GEORGE. No, I ain’ laughin’. (Finally, Ether b ‘She hesitates, then tears into the quilt, wrenching bbare bands. She pulls the money out and exarni in George’ outstretched hands.) ESTHER. ‘There. There. There. (Shes almost vei the money. Surprised, George smiles and gathers tl GEORGE. So much ere 7 look that fella ain’ gon hand, wipe tha ESTHER. back. I GEORGE. Woman, ESTHER. Leave it. Come. George, | said pi in the morning! ... (Esther beckons him to the bed. He pleading ouastretched hand, but instead chooses to fetch the wrinkled money. Esther, buomiliated, studies her growing horror. Aghast, she lowly lowers her band a ess) George? (George continues to take unbridled de money.) George? GEORGE. (Snaps) Whar? 52 ESTHER. (Whispered) Do you love me? GEORGE. What the matter wit’ you? You look as though you seen a duppy. ESTHER. D. SEORGE. Why yuh look at me strange? ESTHER. | asked you something. RGE. Yah my wile, aint yu ESTHER. Am I? (Whispered.) I didn GEORGE. I didn’ hear wha yuh sai. ESTHER. (Louder almost roo much so) | said (George soudies Esther with disbelief) AM this & afraid that youd find me our. This good noble man from Panama. (Esther retrieves a pile of letters tied with a satin ribbon.) here | look at them every day have one that looks as swords fade away into nothing, and igh a hard day, because there's gene and burnt them a smudge o sugar. Buc I can whether there are any truths his heart, though it covered these letters. And I ‘cause George give me to mein considers) YOU TELL MI GEORGE. An old om ten cents extra for the fancy wt ESTHER. [ ain‘t really Mrs. to that, and that woman a rong, am I? I been holding on We more strangers now than on [knew who I was back then, But Nol She's a good decent woman (Esther backs away from George.) No. They warn't my words, but that don't mean [aint feel chem tings. I go now, and I gonna bring. yuh back them horses. ESTHER. T hope they real strong horses RGE. You'll see. And, welll begin here. (Lights erosfade ‘Mayme’ boudoir. Ragtime music plays, fast and furious.) 53,Scene 5 Smoking Jacket ‘Mayme’ boudoir. Mayme is ying on the bed wrapped in the Japanese smoking jacket. She sts up, pours herself a shor of ‘moonshine and slams it back. A knock sound on the door MAYME. Hold on, hold on. (Mayme opens the door. Esther, calm, someone coming shortly. You ca robe around her bod.) | can't put him off. You ESTHER. George. MAYME. You ain serious. ESTHER. He has another woman, MAYME. How do you know? ESTHER. She MAYME, She dic ESTHER. You think so? MAYME, Yes. ESTHER. But, she aint. When I left home this m +0 do harm ro his whore. Iwas going to march into he scratch her face with my s ESTHER. Do you know what give him my beauty parlor. Half my life bent at the machine, and I chim, just like that MAYME, Oh, Esther. Why? find uncil [ had a strip a mil (A moment. Mayme runs her fingers along the fabric of the jacket.) Do ‘you know where he is, Mayine? MAYME. Why would I ESTHER. Because you're wearing the jacket I give him on our wedding night. MAYME, How come you ai rips off the jacket.) ESTHER, What am say his luck curn and he that. He was gonna buy hii and he wants big strong hi to take me out someplace s wear, And honest it mad I done something for myself a colored woman could forgiveness, nor wi treat me like a whore. Ever. (George knocks on door.) that door. (George rattles door and MAYME. He’ going to leave. GEORGE. (Knocks and rattles door more urgently, shouts.) Mayme! (He rattles door ag ESTHER. LET HIM GO! (Mayme moves toward the door, Esther 55.persicenay. Boentualy he stops. Silence. Mayne sits on her bed. Faher ‘exits with the smoking jacket. Crossfade to Mr. Marks boudoir, as Esther moves into Mr, Mark’s boudoir.) Scene 6 Japanese Silk: ‘Marks’ boudoir. Mr: Marks unfurls a roll of occan-blue fabric. As he turns, he finds bimself facing Esther. have you been? ESTHER. I seen worse days. And you? MARKS. I've seen better days. (He laughs.) ESTHER. I've been meaning to stop in. I walked ing to get up the courage to come: you sold me a rather special length of fabric some MARKS. Please, remind me. , with — remember it. into a man’s smoking jack suggestion. (She hold ie MARKS, ESTHER. | ESTHER. Yes, you wi by the gesture.) S. ‘Thank you. ESTHER, [can't stay. (Either begins to leave.) MARKS. Wait, one moment. (He removes his outer jacket, revealing the fringes of his Tallit Katan. He carefully puts on the silk jacket.) ‘What do you think? (Marks accepts the jacket, genuinely touched 56 ESTHER. It fits wonderfully. (Bsther takes a step toward Ma bresitats, then takes another step forward. She raises ber hands,) May (He nervously hold: bis breath and nads yes. Esther reaches towa ‘Marks, expecting him to move away. She smoothes she shoulders of the ‘garment, then expertly runs her hands down the jackers lapels, surtightening the wrinkled material. Marks does not move. Silence ‘Their eyes are fixed upon one another, then Esther reluctantly walks away, exiting the boudoir without a word. Marks is left alone onstage to contemplate the momens, A gentle rag plays. Lights erossfade; were in Esther’ original boudoir.) Scene 7 Patchwork Quilt Either’ boudoir, Mrs. Dickson's rooming house. Mrs. Dis ‘folds laundry, humming a ragtime tune. Esther emtert ESTHER. ‘The girl downs 1 could find you up here. MRS, DICKSON. My Lord, Mrs. Armstrong. I been telling every- fone how you forgot us ESTHER. Ie aint been tha MRS. DICKSON. Feel about company. These new girls ime so these days, but whatcha (The women Ing.) Look at you. was chen, I'm glad for the about. They trouble co hear MRS. DICKSON. Why ESTHER. T dont much yes of no would suit me fine. MRS. DICKSON. No. ESTHER. Well then, you won't mind another petson at st this evening, Its Friday and you don't know how 1 been missing ‘your carrot salad. MRS, DICKSON. Of course. Esther — 7ESTHER, Ton ie. Ether bet Mr Dich band) And Ul love MRS. DICKSON. Come you about Corinna Mac, gi (Esther, barely listening, takes in the room.) She dids't waste any time getting pregnant and already nonsense about her man. When they first was married he was good enough for her, but 60 hear it now you'd think the man didnt have no kind of sense. ESTHER. I dont care to hear about Corinna Mae. MRS. DICKSON. Oh, I just thought — ESTHER. f ere for a moment. afew more ESTHER. Of course. Mrs. Dickson, thank (Mrs, Dickson lovingly takes Exthers hand, giving 1 supportive squeeze. Mrs. Dickson picks up the laundry basket and exits. Esther lightly touches her belly. A moment. She walks over to the old sewing machine and begins to sew together pieces of fabric, the beginnings of a new quit. Lights shift: sepia tone, the quality of an old photograph. A slows, gentle rag plays in the distance. As the lights fade, projected ttle card: "Unidentified Negro Seamstress. ca. 1905.” Bla End of Play 58 PROPERTY LIST ‘Camisole with lace (ESTHER) Letter (MRS, DICKSON, ESTHER, GEORGE) Brandy, snifter (MRS. VAN BUREN) Sewing basket (ESTHER) Paper, pen (MRS, VAN BUREN, MAYME) Bolts of fabric (MR. MARKS) Carpetbag with corset (ESTHER) Bowl of water (MAYME) Bortle of moonshine (MAYME) Lantern (GEORGE) 02s of fabric (GEORGE) cockings (MAYME) Gin, glasses (MAYME) Suitcase, clothes (MRS. Handkerd Cups of te Cigarcste, glass of brandy (MRS. VAN BUREN) ‘Needle and thread (MR. MARKS, ESTHER) ‘Wedding veil (MRS. DICKSON) jacket (ESTHER, MAYME) joney (ESTHER) (GEORGE) ‘Money (ESTHER) Bag (GEORGE) Letters tied with ribbon (ESTHER) Laundry (MRS. DICI SOUND EFFECTS 59