Serial Black Face 9780300216509

Citation preview

T H E YA L E D R A M A S E R I E S

David Charles Horn Foundation The Yale Drama Series is funded by the generous support of the David Charles Horn Foundation, established in 2003 by Francine Horn to honor the memory of her husband, David. In keeping with David Horn’s lifetime commitment to the written word, the David Charles Horn Foundation commemorates his aspirations and achievements by supporting new initiatives in the literary and dramatic arts.

Serial Black Face

JANINE NABERS Foreword by Marsha Norman

NEW HAVEN & LONDON

Published with assistance from the foundation established in memory of James Wesley Cooper of the Class of 1865, Yale College. Copyright © 2015 by Janine Nabers. Foreword © 2015 by Marsha Norman. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.

Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail sales.press@yale. edu (U.S. office) or [email protected] (U.K. office).

Set in ITC Galliard and Sabon types by Integrated Publishing Solutions. Printed in the United States of America. Library of Congress Control Number: 2014959874 ISBN 978-0-300-21137-5 (paperback : alk. paper) A catalogue record for this book is available from the British Library.

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 All inquiries concerning stock and amateur rights should be addressed to Scott Chaloff, WME, 1325 Avenue of the Americas, New York, NY 10019. No stock or amateur performances of the play may be given without obtaining in advance the written permission of Scott Chaloff, WME, and paying the requisite fee.

Contents

Foreword, by Marsha Norman vii

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1

Acknowledgments 113

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Foreword

T

he Yale Drama Series Prize is given to one play from among two or three thousand submitted every year. The competition is unique in that it does not require the playwrights to have come from famous writing programs or be recognized by important festivals. Plays are not nominated by theaters or by committees but are simply put in the mail by the writers themselves. Most significant, there is no entry fee, a practice all writing competitions should adopt. The series requires only that the play be written in English, and the winner, who receives a $10,000 stipend, must attend the prize ceremony if possible. In recent years a reading of the play has been held at Lincoln Center Theater’s Claire Tow Theater, but the series does not exact any future participation from the writer, though it does what it can to attract an audience that may have the power to advance the playwright and the play. This generosity of intent and practice comes from the wise Francine Horn, who gives the prize in honor of her late husband, David C. Horn. She went to great lengths to discover what would make a playwriting prize distinctive and valuable, and she found the precise formula. Let anyone enter, hire knowledgeable judges who can prevail upon panels of friends to help read all the entries and discuss them,

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and then give the money free of condition, along with publication by Yale University Press. Consequently, the plays awarded the Yale Drama Series Prize have come from very distinct voices, but all have asked very big questions. I have no doubt that this play will join the other winners and take its place in the canon of dramatic literature. It has been my pleasure to follow Edward Albee, Sir David Hare, and John Guare as a judge of this prize. I salute the board of directors of the David Charles Horn Foundation and all its supporters at Yale University. And I happily retire as a judge and take up my new position as family member and cheerleader in the great undertaking. This year’s winning play, Serial Black Face, by Janine Nabers, is the gripping story of a woman whose young son has gone missing. As the play opens, eighteen other Atlanta children are also missing from the projects where Vivian lives. Officials don’t seem to be looking very hard for these children, or for the person who took them. But every few days all the mothers with missing children are called in so that one of them can identify the body of her dead child found in a culvert, under a bridge, or otherwise tossed away along the side of the road. As expected, the mothers all long for the certainty of knowing where their children are, but each in turn, upon recognizing her child’s face under the white sheet, collapses from the weight of the unimaginable loss. This is not a story Janine invented to scare us or her characters. It is based on events that began in Atlanta in the summer of 1979 and lasted until the spring of 1981. The murders stopped then, though the murderer was never charged in the deaths of the children, only in the deaths of two adults he also killed. The children, it seems even now, do not matter enough to continue the inquiry. Perhaps he wasn’t even asked about them. I don’t know. But twenty-nine children were killed, all black, and their cases have still not been solved. In life, I hope the whole police force was looking for the

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person who murdered these boys. But in the play, Vivian is alone with her terror. The girls at the diner where she works talk behind her back about how losing her son has made her look “old.” Her daughter, whose boarding school tuition takes every penny that Vivian makes, is annoyed by her mother’s sadness and seeks release in inappropriate sexual activity. And then, into Vivian’s life walks Hugh, the handsome Man with the Face, as he is called by the girls at the diner. When he collapses at her feet, Vivian cannot resist him, but we fear he may very well be the man who has killed all these boys. Then again, he may simply be another nameless black man, one of the series suggested by the title. The play does not have a tragic ending, though you will be certain that it must. But it is a tragic story. It is the tragedy of lives lived without hope of deliverance. Vivian cannot escape her lot. She can’t go back to school, she can’t get public assistance, she can’t even find a friend. Her daughter is her tormentor, her every attempt to escape is closed in her face, and her one avenue of release is the appearance of the stranger, a man who says his name is Hugh. But she will pay dearly for every second of relief he gives her. I will leave you to read the play and determine how on earth we get to a satisfying ending to this tragic tale of a woman without a chance. But that ending is the genius of Nabers’s work, her faith in the ability of people with no chance, to find one. She understands this bleak world of life in the projects, life as a waitress, life as the mother of one missing child and one delinquent one. She feels the walls close in around Vivian, and yet she knows that if she watches long enough, Vivian will find a way to survive. She will do what she must. She will live. She will even love, though it is the most costly thing of all. And this is the miracle of the play. It is the proof of Janine’s courage and power that she can wait for the miracle to come. Only writers working straight from their gut can do this. Only writers with exceptional

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faith can believe in their characters and not feel they have to arrange a happy ending in order to get more productions. Janine is willing to sit and wait until the right ending unfolds in front of her at the computer. It is this combination of courage and power that made Serial Black Face the winner by a unanimous decision of all the readers, including me. It stood alone then, and it stands now as a story even more compelling two years later, when a seemingly endless parade of young black men’s faces trails across our television screens. Every night there are new ones, victims of senseless killings, perpetrators of senseless violence, marchers in an endless protest whose posters read “Black Lives Matter.” Janine knew this when she wrote this play. Black faces are distinct and knowable, they all have mothers and fathers and families and jobs. And their lives matter. They cannot be tossed away, they cannot be ignored, and they cannot be grouped together in a photo or a mass grave. Clearly, America is finally waking up to this truth. But it was Janine Nabers who named it first; it is the tragedy called Serial Black Face. Marsha Norman

Serial Black Face

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Characters [4 W, 2 M] VIVIAN

(late thirties to early forties) African American. A once pretty woman with an unkempt and tired face . . . A defeated disposition.

LATOYA

(age fourteen to sixteen) Biracial. Vivian’s daughter. A nymph with a pretty face and a terrible temper. A womanly body for her age.

HUGH

(similar age to Vivian) African American. Incredibly handsome.

GLADYS

(twenties to thirties) African American. (doubles as BLACK MOTHER, BLACK GIRL)

DAMITA

(twenties to thirties) African American. (doubles as BLACK MOTHER 2, STRIPPER, PRETTY MOTHER)

JIMMY

/ MICKY / OFFSTAGE MALE VOICE (various ages) White. (doubles for the all other young men on stage)

Place: Atlanta Time: Part One November 1979 Part Two December 1980 Part Three July 1981 Set: A housing project that can on occasion represent other outside places.

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Notes on the Play: The “projects” in this play are not stereotypical looking in any way. They represent a place where characters are half-lit and sometimes unseen. A place where a character can randomly appear in a scene and then fade away into the darkness. I prefer to think of this particular housing project as a ghost town. A slash (/) between words indicates when the next actor starts speaking in passages of overlapping dialogue.

Serial Black Face is inspired by real events surrounding the Atlanta child murders of 1979–1981.

Part One November 1979 A dark stage. A male voice booms from off. MALE OFFSTAGE VOICE

Next!

Silence. MALE OFFSTAGE VOICE VIVIAN

Jesus. Hello. NEXT.

hesitantly makes her way onto the dark stage.

MALE OFFSTAGE VOICE Sweetheart? VIVIAN

What’s your name,

My name is—

OFFSTAGE VOICE More light, Sonny. I can’t see her face. A spotlight appears on stage. MALE OFFSTAGE VOICE light for me, will yah?

That’s better. Step into the

VIVIAN steps into the light. She wears an unremarkable dress with wrinkles in it.

MALE OFFSTAGE VOICE

What’s your name?

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VIVIAN

Serial Black Face

Vivian. Cooper.

MALE OFFSTAGE VOICE Use the mic, honey. Or speak up. I can’t hear you. And don’t cover up your face. VIVIAN

VIVIAN. COOPER.

MALE OFFSTAGE VOICE have to show us, Vivian? VIVIAN it first?

Nice name . . . Whattya

I typed up a résumé. Would you like to look at

MALE OFFSTAGE VOICE need it.

Thanks a ton but I don’t

A moment. MALE OFFSTAGE VOICE

Okay, then. You got an act?

VIVIAN I came to sing. I can sing “Why Was I Born?” I sing real nice. I can play it on the piano, too. MALE OFFSTAGE VOICE That’s, uh . . . that’s cute. Sorry but, uh, we don’t have a piano. VIVIAN

That’s fine. I can sing it straight—

MALE OFFSTAGE VOICE hear about Micky’s?

Hey, Vivian. How’d you

VIVIAN The ad in the paper? It said you’re lookin’ for female performers? MALE OFFSTAGE VOICE Performers. Right. Listen, uh, I’m sorry about the confusion, but we’re not

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7

lookin’ for, uh . . . singers. We’re lookin’ for girls who can sell tickets. Hold a man’s attention in between movies. VIVIAN

Movies . . . ?

MALE OFFSTAGE VOICE

Movies, yeah. The fun kind.

A moment. VIVIAN I— I think I’m in the wrong . . . The ad I read said— MALE OFFSTAGE VOICE Yeah we got these restrictions . . . The ad’s a little wishy washy . . . The point is, Vivian, we’re lookin’ for showgirls. Women with physical . . . you know. Charisma. Sexy. Do you dance? She remains still. MALE OFFSTAGE VOICE Yes? No? From what I can see . . . I don’t know if you have the, uh, you know . . . the bang. I’m sorry. She just stands there. What am I? Mute? VIVIAN

Go to hell.

She goes to walk away but stops herself. MALE OFFSTAGE VOICE I’m not your husband, sweetheart. Go home to someone who cares.

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Serial Black Face

VIVIAN

I don’t have—

MALE OFFSTAGE VOICE

Speak up.

VIVIAN I don’t have a . . . man. At home. I’ve never been married. MALE OFFSTAGE VOICE that is.

Oh yeah? Wonder why

VIVIAN Just give me one more chance. Please. I . . . look good . . . underneath. MALE OFFSTAGE VOICE show me? VIVIAN

Oh yeah? You wanna

The ad . . . the pay. Is it really that much?

MALE OFFSTAGE VOICE You get 40 percent of the box office, and the tips are yours. All under the table . . . That sound interesting to you? VIVIAN

I need the money. I’ve had a hard year.

MALE OFFSTAGE VOICE Hard year, huh? Show me how hard it’s been . . . take off your clothes. VIVIAN

just stands there.

MALE OFFSTAGE VOICE music.

Sonny. Give her some

Ohio Players “Skin Tight” blares loudly. It startles VIVIAN. MALE OFFSTAGE VOICE

Just move for me.

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9

She starts to unbutton her dress. She closes her eyes. MALE OFFSTAGE VOICE out. Captivate us.

Don’t close your eyes. Look

She tries to move. She can’t get into it. MALE OFFSTAGE VOICE MUSIC.

All right. CUT THE

A moment. MALE OFFSTAGE VOICE keep a man’s attention. VIVIAN

You’re not sexy. You can’t

Please. Just give me one . . . more—

MALE OFFSTAGE VOICE

You’re wasting my time.

VIVIAN I can. Be the woman you want. I can. I just— MALE OFFSTAGE VOICE VIVIAN

Next!

fades away into the darkness.

* * * A school. Somewhere else. LATOYA lies on the floor and does her homework. She wears a nicely ironed school uniform. She is not only beautiful but also immaculate. A WHITE BOY (JIMMY) enters. He too wears a school uniform. The boy watches LATOYA.

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LATOYA JIMMY

You’re not supposed to be in here. Says who?

LATOYA JIMMY

Headmistress Campbell. It’s noon.

LATOYA

So.

JIMMY So it’s school hours. I have permission to be in here. That’s so. opens a book and reads it . . . sort of. LATOYA finishes up her homework and turns to walk past the boy when: He drops his book on the floor in front of her. She stops.

JIMMY

LATOYA JIMMY

What? Is it true?

LATOYA JIMMY

Is what true? I can . . . watch.

A stare-off. JIMMY LATOYA JIMMY LATOYA JIMMY

Pick it up. (sucks her teeth) So it’s not true . . . Maybe. Maybe it is or maybe—?

Part One

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LATOYA

Nunya business.

A moment. JIMMY here. LATOYA

I hear you do it all the time for the older boys

smiles.

JIMMY

You know what else people say about you?

LATOYA

That I hate it here? That’s nothing new.

She goes to open the door. He steps in front of it. JIMMY

People say your mom’s poor. Like real poor . . .

LATOYA JIMMY

Shut up. How’d you end up at a school like this anyway?

LATOYA JIMMY girl.

Shut up. “La-toy-a”—that’s a funny name for a pretty

LATOYA JIMMY

Move. I have money.

A moment. JIMMY LATOYA

So. Can I watch? Let me see it.

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He pulls out a five-dollar bill. LATOYA You really think you’re dynamite? Cus you carry money around like it’s nothin’? JIMMY

I have more.

She snatches it out of his hands. Are the other rumors true? LATOYA JIMMY

What? You’re a halfie? Your daddy’s white?

She nods her head proudly. JIMMY You don’t look like the black folks I’ve seen. Look like one of those tan girls in the magazines. LATOYA JIMMY

I know. Is your hair nappy underneath?

LATOYA

See for yourself.

He hesitates but touches her hair. JIMMY

I’ve never touched hair like yours before.

LATOYA real silky. JIMMY

It’s no different from the white girls here. It’s

It’s a little different.

A moment.

Part One

13

JIMMY

Is it true you dance?

LATOYA Yes. But if you want to watch you have to call me by my name first. JIMMY

What? Latoya?

LATOYA No, stupid. Lottie. That’s the name I like to be called. JIMMY LATOYA

Lottie.

starts to dance. She moves like a woman.

JIMMY LATOYA JIMMY

Take off your clothes. Say it. My name. Lottie.

She unbuttons her uniform. Lottie. She starts to take it off. Lights begin to fade. Lottie. Blackout. * * * The changing room of a drive-in diner. Marvin Gaye’s “Mercy Mercy Me” plays off in the distance. DAMITA and

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Serial Black Face

are half-naked and changing out of their drive-in uniforms and into their street clothes.

GLADYS

DAMITA flicks.

We went to the movies. One of those scary

GLADYS

Which one?

DAMITA The new one. ’Bout that family on Long Island. Amity somethin’. GLADYS You’d have to knock me out and drag my ass. That’s the crazy one right? Where the white people get sliced up and they guts is hangin’ out all over the place? DAMITA That’s that other flick. This be the one with white folks being chased by ghosts. GLADYS

makes a dismissive grunt.

DAMITA sweet.

He held me during the scary parts. It was

GLADYS

Must be out of your damn mind.

DAMITA Don’t get smart, heffa. He took me to dinner too. The Hilton Hotel. A moment. GLADYS

You fucked him, didn’t you?

DAMITA

Bitch, please. Like I’d tell you.

VIVIAN

enters wearing the same clothes we last saw her in.

Part One

GLADYS

15

Mmmhmmm. You fucked him real good.

DAMITA/GLADYS

(giggle fit . . . they are home girls)

The girls finally notice VIV. A cold silence. VIVIAN starts to change and sees the girls looking at her. VIVIAN takes her work clothes and exits. GLADYS She’s always so shy. We all got titties. Who the fuck cares? DAMITA

I feel sorry for her.

GLADYS

Why? Cus she’s ugly?

DAMITA

GLADYS.

GLADYS

WHAT, BITCH?

DAMITA

STOP BEING MEAN.

GLADYS

FINE. SHIT.

A moment. They continue to dress. DAMITA

Poor thing. You know her son’s still missing.

GLADYS

They ain’t found that boy yet?

DAMITA

Been damn near four months.

GLADYS

Whaaaaaaaaat?

DAMITA

Girl YES.

They stop and watch the room where VIVIAN disappeared.

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Serial Black Face

GLADYS

Where the fuck have the police been?

DAMITA Heads up their ASSES. I heard last week she showed up drunk at the police station. Just crying. Just screaming at them all. GLADYS

You lyin’!

DAMITA Something strange is going on around here. You know they found a little black girl in a ditch a couple days ago? GLADYS

freezes.

GLADYS

What girl?

DAMITA From Mechanicsville. Hello. She went missing last week. Heard her neck was . . . She makes a cutting gesture with her lipstick, then puts it on. GLADYS A black girl? In a ditch? Her neck was like what? Like she was murdered? DAMITA

Gladys, turn on a TV. Shit.

GLADYS

You watch too many slasher movies.

DAMITA Bitch they’re informative. Anyone in their right mind knows some crazy person killed that girl. GLADYS

You stupid.

DAMITA Okay, okay. Keep talkin’ your shit. Best believe you won’t find my ass in any ditch.

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GLADYS GIRL, those movies are not geared toward sistas and brothas, okay? Michael Myers don’t give a fuck about my jheri-curled ass. The people that get killed in slasher films are always skinny little Barbie bitches with jellybean titties. A moment. You better stop dating that white boy. DAMITA Hilton Hotel? WHY? He treats me real good. Better than those triflin’ niggas you be foolin’ with. GLADYS

Whatever you say, Princess.

They continue with their makeup. One thing I do know? The killers in slasher movies are always someone you know but least suspect and they are always always white. VIVIAN

reenters, wearing work attire. She sits to put on roller

skates. DAMITA

Hey, girl.

GLADYS

Good to see you, girl.

VIVIAN

Hey. It slow tonight?

DAMITA

It ain’t that slow. You’ll make a few dollars.

GLADYS

Negro, please. It’s slow as hell.

A moment.

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Serial Black Face

DAMITA Say, Viv. You wanna take my shift? I got this thing on Saturday night. GLADYS DAMITA

What thing you got??

gives GLADYS the stank-eye.

GLADYS Don’t tell me you’re goin’ out with Mr. Hilton Hotel again? You already fucked him on the first date. Be lucky if he takes your ass to Kentucky Fried Chicken. DAMITA

For your information, I got a callback.

GLADYS

A what?

DAMITA New joint in town called Mickey’s. Pays real big, too. If the owner likes you, you start right on the spot. He’s lookin’ for pretty women who can strut. Showgirls. GLADYS Sounds like you gotta show cootch . . . How much it pay? DAMITA

Bitch. Find out for your damn self.

Turns to VIVIAN: Say, Viv. You audition? DAMITA

smirks. GLADYS snorts.

VIVIAN Never heard of the place . . . You need somebody to pick up your shift on Saturday? DAMITA

Be my guest.

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GLADYS Keep working as much as you do you’re gonna give yourself a heart attack. Don’t you ever take a vacation? VIVIAN

No time for one. I’ll just sleep when I’m dead.

spies on the drive-in as “Betcha by Golly, Wow” by the Stylistics plays. GLADYS

GLADYS

Ooooo weee. Look out now.

DAMITA

What?

GLADYS

The Man with the Face is back.

DAMITA

Where?

GLADYS

Talkin’ to a pretty little white thing, too.

DAMITA

Let me see.

appears under a ghostlike ray. He is so handsome it’s startling.

THE MAN WITH THE FACE

DAMITA

That girl is not white.

GLADYS Shit. She white enough . . . too bad my shift is over. I sure would roller-skate over there and hop on his dick. He wouldn’t know WHAT to do with me. DAMITA

Go talk to him.

GLADYS

YOU go talk to him.

DAMITA Never seen anyone with a face like that in a place like this . . . and then he shows up twice in one week.

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Like he’s an apparition. Like he’s a man made out of air and dust. VIVIAN

sits by herself . . . lost in her own world. She stares into

space. DAMITA

What do you think his name is?

GLADYS biblical.

Somethin’ sweet on the lips. Somethin’

nudges DAMITA and they both look at the somber

GLADYS VIVIAN.

DAMITA VIVIAN

Say, Viv. Your shift just got easy on the eyes.

wakes up.

VIVIAN GLADYS VIVIAN DAMITA waiting. DAMITA

What’s that? Lucky, girl. Your night just got lucky as hell. That’s nice. I could use some luck. He’s sitting in your section. Don’t keep him

pulls VIVIAN up.

DAMITA

Smile. And push up your tits.

GLADYS old.

Don’t wear your hair up. It makes you look

DAMITA

And fix your face.

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21

takes VIVIAN’S hair down. DAMITA puts lipstick on VIVIAN’S lips. GLADYS pushes VIVIAN’S boobs up. DAMITA pinches VIVIAN’S cheeks. They both stand back and examine VIVIAN. It’s clear that despite their help, VIVIAN is still very homely. GLADYS

VIVIAN I know I need it bad, but I hate the way makeup feels against my skin. Feels like I’m covered in wax or something. GLADYS VIVIAN

It’s good for you. It brings out your glow. My glow. I didn’t know I had one.

GLADYS Don’t you ever get dressed up? Make yourself feel pretty? VIVIAN I did when I had . . . someone. Not anymore. DAMITA Girl, please. Don’t need a man to treat yourself. Here. DAMITA

hands out her lipstick.

The color don’t look right on me anyway. VIVIAN

takes it.

VIVIAN

I should clock in . . . but thanks . . . I mean.

GLADYS and DAMITA exit. After a moment VIVIAN puts her hair back up and wipes the lipstick off her face. Lights shift and the drive-in is illuminated. VIVIAN skates awkwardly around the stage and carries a tray of food. As she skates she sees a newspaper being held that says:

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BLACK GIRL FOUND DEAD. VIVIAN

drops her tray of food on the

floor. VIVIAN

Shit.

is behind the newspaper. He puts it down and stares at the mess at his feet.

THE MAN WITH THE FACE

VIVIAN VIVIAN

I’m sorry. I didn’t—

notices THE MAN’S beautiful face.

VIVIAN HUGH VIVIAN HUGH VIVIAN

See. Um. That’s not my order. Excuse me? The stuff. On the floor. I didn’t order that. Oh.

HUGH And I’m thirsty. I’ve been waiting for almost twenty minutes. VIVIAN

I’m sorry.

She picks up the food with her hands and puts it back on the tray. VIVIAN If you give me your order I can have it to you real quick. HUGH VIVIAN

Last time I was here I ordered with Becky. Who?

Part One

HUGH VIVIAN HUGH

23

Light-skinned. Legs. Oh. Her shift hasn’t started yet. I guess I’ll wait for her then.

goes back to reading . . . VIVIAN snatches the newspaper out of his hands. HUGH

VIVIAN Some nerve you got. Reading something so disgusting in front of people with food in their mouths. You wanna read about sick things then take it with you. But you can’t read it here. Now you either order with me or leave. She realizes she’s made a scene. THE MAN rises from the table. VIVIAN Wait. I. I don’t know what just came . . . THE MAN

clears his throat. He rubs his face.

Let me feed you. Please. Sit. He takes off his hat. He is covered in sweat. HUGH I can’t. I can’t feel my— VIVIAN

What?

HUGH Face. I can’t. Feel. My—

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Serial Black Face

He collapses at VIVIAN’S feet. * * * VIVIAN’S

bedroom. Light rays shine onto the sleeping body of HUGH. He’s in his underwear. The sound of kids giggling from off can be heard. OFFSTAGE KID 1

I DID TOO! I SAW HIS JUNK!

OFFSTAGE KID 2, OFFSTAGE KID 3 MOVE!! EWWW. YA’LL NASTY! LET ME SEE! IMMA TELL YOUR MAMA! OFFSTAGE KID 1 SHUT UP! SHUT UP! LOOK! A tiny rock is thrown onto the sleeping body of HUGH. HUGH turns over onto his bare stomach. An insane roar of laughter and disgust from the OFFSTAGE KIDS. VIVIAN runs into the room. VIVIAN PUT YOUR EYES BACK IN YOUR ASHY HEADS AND GET OUTTA MY WINDOW! BOBBY JENKINS I SEE YOU! We hear the kids scurry off like roaches. HUGH sleepily rolls over. He moans. VIVIAN

Shit.

She realizes she’s still in her work clothes and starts to take them off as she rushes out of the room. HUGH moans and opens his eyes. He shoots up, startled by where he is. He tries to stand. He clutches his head. VIVIAN reenters wearing the same dress she wore for her

Part One

25

audition, only now it’s nicely pressed and somehow looks better on her. He is disoriented. VIVIAN HUGH

You woke . . . up. My head.

VIVIAN I put a cold towel on it. I think the swelling went . . . down. HUGH

Where am . . . I?

VIVIAN

My home. Mechanicsville.

He has no idea. VIVIAN

The projects.

A moment. HUGH

How did I . . . ?

VIVIAN I heard your head hit the ground . . . like a hammer to stone. HUGH VIVIAN HUGH

(still disoriented) The projects . . . How do you . . . feel? Who are you?

VIVIAN I’m— Don’t you remember? You fell at my feet. I yelled at you and you fell. I held you in my arms.

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They called for an ambulance but it never showed. They don’t really come around these parts often. I had one of the busboys help me put you in my car. I steered toward the hospital, but my hands brought you here. He stands. He realizes he’s in his underwear. VIVIAN They’re in the wash. You were covered in food and sweat. Just sit. Please. I feel terrible enough as it is. Let me get you your clothes. She exits. He sits there alone for a moment. She returns with wet clothes. VIVIAN HUGH

The pants are still dripping. I can wear them as is.

She turns around so he can get dressed. VIVIAN HUGH

You’re still dizzy. A little.

VIVIAN It was stupid bringing you here. Let me take you to the hospital— HUGH

Hospitals give me the creeps.

We can see that he has several hideous scars on his body . . . he has covered them up well. He turns to see whether VIVIAN is watching him. Her back is still turned. He searches for something.

Part One

27

HUGH

My pockets.

VIVIAN

I’m sorry?

HUGH

I carry . . .

VIVIAN

You mean this?

She holds up a little black journal. VIVIAN

It’s the only thing you had on you.

He takes his journal and puts it away. He is overcome with dizziness. VIVIAN

You need air. Come on.

VIVIAN exits. HUGH follows her. The kitchen is illuminated. A TV is now seen. It is playing the news.

HUGH

Feels like I’ve been asleep for a hundred years.

VIVIAN

A few hours or so . . .

She pulls out a seat for him. She goes to the oven and pulls out a hot plate of food. HUGH

My shoes?

VIVIAN

Pardon?

A moment. HUGH VIVIAN

I should get going. Oh.

28

Serial Black Face

He eyes the food in her hand. HUGH

I hope you didn’t go out of your way to make—

VIVIAN No. This is . . . It’s for me. So. HUGH VIVIAN

Thank you. For taking care of me. Of course. It’s my pleasure.

She continues to stare at him. HUGH VIVIAN HUGH

Shoes? On the, uh. Patio. Thanks.

He exits. She realizes the plate is burning her hands and puts it down. VIVIAN

Shit.

She runs water over her burn. She spots her reflection in a pan. She fixes her hair. HUGH reenters with his shoes. He is standing right next to the TV. HUGH

Hey you mind if I turn this off? My head is still—

He goes to turn the TV off. VIVIAN

Don’t touch it. Please.

Part One

29

He’s startled by her behavior. He freezes. VIVIAN I— I watch the local news. I like to keep the TV on if you don’t mind. looks around. He starts to notice that VIVIAN’S kitchen is covered with newspaper articles. HUGH

HUGH

You have kids?

She pauses, looks at him. The G.I. Joe figures. They’re everywhere. VIVIAN HUGH

I . . . I have a son. Oh yeah? How old is he?

VIVIAN You want some coffee? I need a little pick-me-up. HUGH

Thanks, but I’m okay.

He checks out her butt while her back is turned. HUGH So, uh. Can I repay you . . . sometime? Cus I will. If you want me to. Silence. VIVIAN HUGH VIVIAN

You always do this? What? Look at people’s faces. So . . . closely?

30

HUGH VIVIAN It’s nice.

Serial Black Face

I’ll stop if it bothers you. No, it’s . . .

They continue to examine each other. VIVIAN You’re just . . . I’ve just never seen someone with a face so . . . HUGH

Your hair.

VIVIAN

Pardon?

HUGH

You did something different to it. Just now.

She self-consciously goes to touch it but stops when: HUGH

No. Leave it.

He takes a step closer to her. HUGH VIVIAN HUGH VIVIAN

I like it. You. You do? Yeah. Not many people like, my. I mean, me.

HUGH Why not? You’re not bad. The hair . . . the curves . . . He takes another step closer to her. VIVIAN

What are you . . . ?

Part One

31

He touches the bottom of her dress. She stiffens up. HUGH know?

Do you always dress up for men you don’t

She shakes her head no. HUGH

So you’re trying to impress me?

She nods. He puts his hand up her dress even farther. She slowly starts to relax. HUGH

Well. It worked.

A moment. HUGH

You got a man?

She shakes her head no. VIVIAN

I’m . . .

He kisses her on the neck. HUGH VIVIAN

What? . . . lonely.

He kisses her on her lips. Suddenly: Outside a group of kids can be heard singing the opening lines of “Rockin’ Robin.” VIVIAN pushes HUGH away. The offstage children continue their song, and VIVIAN closes the window, interrupting them mid-“tweet.” Silence.

32

HUGH

Serial Black Face

They’re just kids. I don’t mind.

VIVIAN I think you should go. I’m not really used to company these days. I’m sorry. HUGH VIVIAN

Oh. All right. I’ll show you out.

walks toward the door when a black girl appears in the doorway: She wears swim trunks and is wet. Her feet are covered in mud.

VIVIAN

BLACK GIRL

Say, Miss.

VIVIAN Child can’t you knock. Don’t you know your manners? BLACK GIRL My Mama done told me to come get you. A black boy’s body . . . it’s been dug up. Blackout. * * * The sound of intense police sirens swells in the darkness as blue and red lights flash onto VIVIAN, who frantically runs onstage. A small body bag lies onstage. A white POLICE OFFICER stands in front of it. POLICE OFFICER VIVIAN

Behind the tape, Ma’am.

That BOY could be my—

POLICE OFFICER

Behind the tape.

Part One

33

A moment. VIVIAN Please. Let me see him. I need to know if that’s my baby! POLICE OFFICER VIVIAN

Yes, sir.

POLICE OFFICER VIVIAN

You from these projects?

And your boy? What’s his name?

Sammy Cooper.

POLICE OFFICER

He’s been missing since when?

VIVIAN Four months. I need to see him. Please, Lord. Let me see him. POLICE OFFICER

All right. Come on.

The POLICE OFFICER brings VIVIAN to the body bag. He uncovers the body. We see the corpse of a young black boy. POLICE OFFICER This him? stares at the body for a long time. The lights make her face blue and red. VIVIAN

POLICE OFFICER

Ma’am. Is that your boy?

lets out a gasp of air and shakes her head no. A BLACK MOTHER appears onstage behind her.

VIVIAN

BLACK MOTHER

Milton.

34

Serial Black Face

Everyone on stage looks at BLACK MOTHER. BLACK MOTHER That’s my— That’s my— That’s / my—

That’s my—

POLICE OFFICER the tape.

Ma’am. I need you to stay behind

BLACK MOTHER

MILTON.

POLICE OFFICER Hold her back.

(to other person in uniform)

Another person in uniform obeys. BLACK MOTHER LORD. Let me hold him. Let me HOLD—

Oh, Lord.

POLICE OFFICER

Ma’am. You need to come with me.

BLACK MOTHER

This my BABY.

The MOTHER breaks away and embraces the corpse. The flashes of red and blue engulf the stage. All is still. VIVIAN and everyone on stage watch BLACK MOTHER. BLACK MOTHER This my baby This my baby This my baby This my baby This my baby

This my baby

Part One

35

This my baby This my baby One by one, people on stage fade away into the darkness. BLACK MOTHER This my baby This my baby The POLICE OFFICER and his helper take the dead boy’s body offstage. VIVIAN helps the BLACK MOTHER up. Another BLACK MOTHER (2) emerges onto stage. She helps VIVIAN with the grieving mother. VIVIAN (To BLACK MOTHER 2) Let me know if she needs anything. BLACK MOTHER 2 I will. BLACK MOTHER My baby . . . BLACK MOTHERS 1 AND 2 exit. VIVIAN stands onstage and looks off into the now dark sky. HUGH appears under a streetlight that is illuminated.

HUGH VIVIAN

You okay? I thought you left.

HUGH I wanted to make sure you’re all right. Let me walk you home. VIVIAN

I can see it from here.

HUGH

Let me walk you. Please.

36

Serial Black Face

A moment. VIVIAN His body was crushed. Someone put him under a floorboard and left him to die . . . They think someone’s snatchin’ up our babies. They think someone out there is killin’ our kind on purpose. Three dead children and mine still . . . somewhere. I keep telling myself my baby’s okay, my baby’s okay, my baby’s okay, he’s okay. He goes to comfort her. VIVIAN Please, don’t— Every night I get in my baby’s bed and smell his sheets. Hoping. But I’m tired. I’m too tired to hope tonight. All I want is to lie next to a body that breathes. Will you do that for me? He approaches her. VIVIAN is hesitant, but HUGH hugs her anyway. She starts to cry. He holds her even tighter. They begin to kiss. It’s sweet and then passionate. The kiss gets heavier. They stumble into VIVIAN’S house, which is not illuminated. She strips down to her tattered underwear. Hugh opens his mouth to speak when: VIVIAN I want you to see me. Before you decide if you want to go through with it. HUGH

I want to.

A moment. VIVIAN

The scars on your body—Are they from—?

Part One

37

HUGH Vietnam. Hand grenade. I was flung onto barbed wire. My face was saved but the rest of my skin . . . Look. I don’t like talking about the war. VIVIAN It’s okay . . . I think we’re all wounded. But you’re beautiful. I’ve never been with a man as beautiful as you . . . She touches his torn-up body. VIVIAN I wish I could bury myself in your arms. Heal your torn up skin with my bones. He starts to kiss her. HUGH VIVIAN HUGH

You’re tense. It’s been a long time. Relax.

He takes her hands away from his scars and kisses her. They fall onto the bed. Suddenly LATOYA appears under a ghostlike ray. She sits on her travel bag. She eats from a container of Idaho potato chips. Maybe she just got there. Maybe she’s been watching for a while. She stares at the bodies moving on the bed in front of her. HUGH sees LATOYA and stops touching VIVIAN. VIVIAN HUGH

keeps his eyes on LATOYA. VIVIAN finally sees the girl.

LATOYA VIVIAN

What is it?

Who’s he?

pushes HUGH off of her.

38

VIVIAN LATOYA VIVIAN LATOYA

Serial Black Face

Latoya. What are you doing here? HELLO to you too. Geez. Why aren’t you at school? I tried calling.

VIVIAN Stop lying. Why aren’t you in Tallulah Falls? Answer my question. Latoya. LATOYA VIVIAN

You know I HATE that name. Who drove you here?

LATOYA

He was perfectly nice. He was a gentleman.

VIVIAN

You hitched? You got in a car with a stranger?

LATOYA/VIVIAN What’s the big deal? I needed a ride/Have you lost your MIND?/ Otherwise I’d be starving and on the STREET/Do you know what’s/ YOU’RE OVERREACTING!/happening to kids out there?/ STOP YELLING AT ME/YOU COULD HAVE BEEN KILLED! A moment. VIVIAN LATOYA

Latoya. What happened at school? NOTHING. God. Relax.

Part One

39

A moment. LATOYA So. You gonna introduce me to the random guy or what? VIVIAN VIVIAN

THAT’S IT.

grabs her daughter’s arm.

LATOYA/VIVIAN OW/I’m taking you back to that place tonight/ WHAT?/Get your things/ LET ME GO/Now. pulls LATOYA out of the room and we hear intense screams from the two of them offstage.

VIVIAN

VIVIAN (offstage) I’m calling that school! I hear one more peep from you and I’m washing your mouth out with soap you hear me?! Stay in your room! VIVIAN

reenters.

HUGH VIVIAN HUGH

Is everything all right? No. But it will be. You have a daughter?

VIVIAN I have a headache. All she does is make a mess of things. HUGH

You need a hand . . . with—?

40

Serial Black Face

VIVIAN You want a drink? I need a drink? Can you make me one? HUGH

. . . Uh.

VIVIAN There’s a cabinet above the fridge. Just pour something into a glass and put ice in it. HUGH HUGH

Okay.

searches the cabinet as VIVIAN dials.

VIVIAN Headmistress Campbell, please. I know what time it is. It is an emergency. This is Vivian Cooper. Latoya Cooper’s mother. Yes I’ll hold. Miss Campbell— I’m sorry to wake you but— Yes, Latoya’s here and I want to apologize and let you know I’ll have her back— (A moment) Kicked out? But— (A moment) I paid you for an entire year and you took her. You know my financial situation and you took her. You’re responsible for her and now she’s— She did what? (A moment) With how many boys . . . ? (She is startled by the answer) And? Did you expel the boys too? What you mean that’s beside the— No, wait— Don’t hang up, don’t hang up—

Part One

41

I paid you. You’ve only had her for two months. I paid you for a year. I signed a contract. She is your responsibility for— Is it more money you need? Is that it? Look— Look— Look— Don’t hang up. Please. You know my situation— But I CAN’T STAND HER. I can’t stand her and I . . . (Silence) I’m sorry. I’m sorry. Refund check? Wait, don’t send my money back yet just— Just give me a little time. Please. I’m begging . . . (A moment) Thank you. I— Thank you. She hangs up, exhausted. HUGH

Everything okay?

VIVIAN I have to meet with her school on Monday . . . this night just keeps getting longer . . . you got that drink for me? HUGH

All the bottles you have are empty.

A moment.

42

Serial Black Face

VIVIAN

Fine.

She gets dressed quickly. We’ll go out. I could use some air anyway. She throws him her car keys. VIVIAN

You drive?

Blackout. * * * Very early the next morning. HUGH enters the dark home holding up a drunk VIVIAN as the TV screen illuminates their faces. We see a lot of static and then figures dancing in a Soul Train line to the O’Jays. The static gets louder and then the Soul Train line cuts into a different station: VOICE FROM THE TV We know two things. One: the kids being killed are between the ages of seven and fifteen, and two: they are all black. VIVIAN

fumbles as she hears the TV:

VIVIAN What they saying? What they saying? They talkin’ about my baby? HUGH VIVIAN

It’s nothing. Come on. Get some sleep.

tries to pull HUGH onto her and kiss him.

HUGH You smell like gin. Not like this. Get some sleep . . . Go to bed.

Part One

43

slaps HUGH in the face. She laughs and laughs and laughs. He covers VIVIAN up in bed. The static cuts to Don Cornelius on Soul Train: VIVIAN

DON CORNELIUS WE WISH YOU LOVE. PEACE. AND SOOOUUUUL! Wild cheers and music. The noise triggers something . . . HUGH is overcome by another dizzy spell. He stumbles slightly but catches himself. It’s hard for him to breathe. He unbuttons his shirt down to his chest until finally: air. He breathes in and out until the panic settles. He tries to compose himself. LATOYA appears in the darkness. She wears a very short night slip. LATOYA

What’s wrong with you?

They examine each other. HUGH LATOYA HUGH

I get. These spells. Why? I was in a very loud place for a long time.

She notices the scars on his chest. He buttons up his shirt. HUGH LATOYA HUGH LATOYA

Aren’t you supposed to be in your room? Do me a solid. Promise you won’t tell her? Okay. Is she passed out?

44

HUGH LATOYA

Serial Black Face

She’s pretty drunk. Radical.

sits in the kitchen, which is now illuminated. She eats peanut butter from a jar with her finger. LATOYA

Want some? HUGH

No.

She burps and then tosses the peanut butter in the trash can. She goes to the radio and turns it on. The Ramones’ “I Wanna Be Sedated” blares. She dances around, looking for more food to eat. HUGH LATOYA HUGH LATOYA OKAY.

It’s loud. HUH? Your Mom. The music. OH.

She ignores him and finds a box of cereal. HUGH turns the music off. LATOYA turns the music back on. HUGH turns it off again. A stare-off: LATOYA HUGH LATOYA

You Viv’s boyfriend or something? You call your mom by her first name? What you got against the Ramones?

Part One

45

HUGH You should keep the music down. Your mom’s had a hard day. LATOYA HUGH LATOYA HUGH LATOYA cow.

Viv takes sad people pills. So I’ve learned. If she drinks they make her act crazy. I’ve learned that too. When she finally crashes she sleeps like a dead

The Ramones, Jackson 5, Sex Pistols. I can blare it ’til my ears bleed. I get away with tons of stuff in this house. So. You Vivian’s guy or not? HUGH

I’m a friend.

LATOYA I’m not SPECIAL ED. I know what I’m a friend really means. HUGH LATOYA

How old are you anyway? Guess.

He examines her from head to toe. HUGH LATOYA

Fourteen. DING.

She puts her feet up on the table.

46

Serial Black Face

LATOYA HUGH

Red or Purple? Huh?

LATOYA HUGH

Nail polish, lame-o. RED or PURPLE? I dunno . . . pink?

She smirks. LATOYA HUGH

You ever paint a woman’s toenails before? You’re not a woman. And yes. I have.

LATOYA

Shut. Up.

A moment. HUGH

Want me to paint yours?

LATOYA No. God. GROSS. You’re old. HUGH LATOYA

I’m not that old. OLD.

She puts her foot on his knee. LATOYA

Keep. Still. Or you’ll get red all over you.

She paints her toes. He watches her. LATOYA HUGH

What’s your name anyway? Dillard.

Part One

LATOYA HUGH

47

DILL-ARD? Yeah.

LATOYA Your mom ACTUALLY named you DILL-ARD? HUGH LATOYA HUGH LATOYA Texas. HUGH

Dillard, yeah. Where you from DILL-ARD? Houston. Texas? You’re not fat enough to be from

Oh yeah? They’re fat down there?

She nods. HUGH LATOYA HUGH

I’m from Indiana. (makes a snoring sound) Lame. Michigan. I’m from Michigan.

She smiles. HUGH LATOYA

Your name’s Latoya, right? (makes a buzzer sound)

HUGH You don’t like that name. You like to be called something else? LATOYA

Ding.

48

HUGH LATOYA HUGH LATOYA HUGH LATOYA HUGH

Serial Black Face

Something that starts with an “L”? Ding. Lola? (buzzer noise) Lucille? (buzzer noise) Lottie?

LATOYA DINGDINGDINGDING The winner is Dill-ard! Johnny! Tell him what he’s won! She finds a box of Twinkies and throws one at him. He catches it. LATOYA HUGH

You won. Eat it. I don’t eat that stuff. Messes up your insides.

LATOYA But you’re the winner. You have to eat something. He throws the Twinkies away. LATOYA So what happened to your chest? You get lit on fire or something like that? HUGH

Something like that.

She moves closer to him.

Part One

49

LATOYA

Radical. Can I see it again?

He’s still. LATOYA HUGH

I don’t like you. Why?

LATOYA Cus. You’re a liar. What you want with Viv? HUGH

I like her.

LATOYA Gross. Guys don’t like Viv. HUGH Someone must have liked her before. If not, you wouldn’t be here. LATOYA

glares at him.

LATOYA HUGH LATOYA

My dad’s white. Has she told you that? No, but I can tell. Yeah?

HUGH You don’t resemble . . . her. Your face. Your hair. It’s just— LATOYA

Better looking?

She snorts. She stops painting her nails and gets up to leave. LATOYA

I’m going to bed.

50

HUGH

Serial Black Face

You really don’t want to stay and talk to me?

LATOYA It’s the dragon I don’t want to deal with. She’ll be up soon. Have a nice life, lame-o. You’re leaving today right? HUGH

I am, yeah.

She goes to exit. HUGH

Hey.

She stops. HUGH Who knows when I’ll be in this part of town again . . . you’re not gonna give me something to remember you by? LATOYA HUGH

Like. What? Like. Something.

A moment. Latoya walks over to him. They are close. LATOYA

Give me your hand.

He does. She caresses his palm with her finger. She then drops a long wad of spit onto it. LATOYA

May the force be with you!

She exits. The sun starts to break through the darkness outside as VIVIAN appears. She looks very hung over. VIVIAN My head feels like it slammed against a machine. Is Latoya still in her room?

Part One

HUGH

51

Haven’t seen her.

VIVIAN HUGH

Good.

rubs LATOYA’S spit into his hands.

HUGH

That little girl really works your nerves, huh?

VIVIAN Mmhmm. When I was pregnant with her she used to slide around my insides. It was like she was tryin’ to snap my lungs in half. Tear herself outta my skin. A moment. You want a cig? He shakes his head no. She lights a cig. But Sammy, my baby? He was a real smooth pregnancy. Real smooth. HUGH VIVIAN HUGH

Where’s their dad? He got sick. Passed away four years ago. I’m sorry to hear that.

VIVIAN It’s hard . . . watching death take people you love. He was a real good man. A nice man. HUGH VIVIAN work. HUGH

I’m sure. He was my boss. He owned the place where I

What was his name?

52

Serial Black Face

VIVIAN Bill. Billy. We started off as friends. For a long time I would just stay there after work and we’d sit down and talk and talk ’til the morning. I was a young pretty thing back then . . . We were friends for a long time, years . . . and then one night . . . HUGH

What?

VIVIAN He kissed me . . . He kissed me and I saw all those crazy lights everybody say they see with love. You ever see those lights? HUGH VIVIAN

No.

continues to smoke.

VIVIAN Bill was married but I didn’t really care at first. He really did right by me. HUGH

Was he a good father?

VIVIAN I’d bring the kids to the drive-in on my days off. Bill would make them burgers and they’d just laugh . . . We kept it from the kids as long as we could . . . Latoya figured it out eventually. HUGH

Did people at work know?

VIVIAN Bill’s brother did, but we never talked about it. Not ’til Bill was buried. After the funeral his brother called me into the office . . . told me Bill had left me something . . . HUGH

What?

Part One

53

VIVIAN A nest egg. But I had to keep the affair quiet . . . pretend as if nothing had happened. So I kept my job. Kept working. That’s what Bill wanted. HUGH

How much he give you?

VIVIAN

None of your business.

HUGH

Oh, come on. I won’t tell anybody.

A moment. VIVIAN HUGH

Eight thousand dollars.

whistles.

HUGH

How’d you spend it?

VIVIAN I missed Bill so much I couldn’t even look at it for a long time . . . I put it away. I knew when the time was right I’d know what to do with it. HUGH All that cash and you’re just sittin’ on it? Why don’t you use that money to move up out of here? VIVIAN I was thinking about doing that. Moving to another part of the city. Starting over. HUGH VIVIAN LATOYA

What stopped you? Latoya.

appears in the shadows. Neither of them sees her.

VIVIAN

She was watching Sammy the day he . . .

54

Serial Black Face

HUGH

She lost him?

A moment. VIVIAN Before I knew it the first week he was gone turned into a month and then two . . . By the end of summer I couldn’t look at Latoya anymore. I found a boarding school in Tallulah Falls. Six thousand dollars for the year. I told them my story and they took her. I gave them every penny. HUGH

All that money spent on her?

VIVIAN I don’t want that child back in this house until my baby’s found. I’ll work until my fingers bleed. I’m gonna find a way to keep paying that tuition if I have to. VIVIAN HUGH HUGH

You hungry? A little.

sees LATOYA in the shadows. She runs off.

HUGH back?

And the school? What if they don’t take her

VIVIAN Then we’d be stuck together I guess. What a pitiful day that would be. A moment. VIVIAN work. HUGH

I can drop you at the bus station before I go to

What if I stayed?

Part One VIVIAN

55

looks up at him.

VIVIAN

Another night?

He goes over to VIVIAN and wraps his arms around her. HUGH

Longer.

VIVIAN Longer? I, uh. I don’t know if that’s a good . . . He kisses her. HUGH

You sure?

He kisses her again. It gets more passionate. VIVIAN

Okay.

HUGH

Okay?

VIVIAN

Just a little bit longer.

They continue to kiss as lights fade to blackout. END OF PART ONE

This page intentionally left blank

Part Two December 1980 A little more than a year later. The glow from the TV glares in the darkness. The news is playing. VOICE FROM THE TV A woman from Miami is now telling authorities about a man she links to some of the crimes. She said the killer, who is black, is a former boyfriend who is obsessed with children . . . We see outside car lights through a window as a car drives up and stops. The car lights then go out. VOICE FROM THE TV A mother of one of the slain black children says she’s been shown a photograph of the man the Miami woman claims is the murder— HUGH (offstage) VIVIAN (offstage) movies.

How we gonna do this, huh? You know how. Like they do in the

We see a black mother on TV: MOTHER ON TV He been in this neighborhood walkin’. And because of this here thang I done seen him more than one time. He here. I done seen him.

58

Serial Black Face

HUGH (offstage)

Okay, okay. Hold on tight!

VOICE FROM THE TV leads.

Police are still investigating the

enters carrying VIVIAN over the threshold as the TV cuts to commercial. HUGH wears a polyester suit. VIVIAN wears a long plain white dress with the veil in her hair. She is giggling up a storm. HUGH

VIVIAN HUGH

Don’t drop me now. Oh I got you baby. Don’t worry.

He puts VIVIAN on the couch and starts to take off her white heels. They look very much in love. VIVIAN HUGH

Let me hear you say it one more time. Please? Mrs. Vivian Montgomery.

She giggles. VIVIAN HUGH

What was your favorite part? Of what?

She hits him playfully: VIVIAN

Of the ceremony, nut head.

He thinks: HUGH Squeezing your ass when the justice of the peace said I could kiss you.

Part Two

59

VIVIAN HUGH

Did you feel my tears on your face? Yeah. Yeah, I felt them.

VIVIAN I told myself not to cry. I ruined my makeup . . . made myself ugly. HUGH

Tears are good. They keep you honest.

A moment. VIVIAN HUGH cool. VIVIAN

So you . . . had a good time? Getting hitched? Yeah. It was groovy. It was

becomes self-conscious for a moment.

VIVIAN HUGH VIVIAN HUGH

You really like my dress? I do. But you really like it? Come here.

He kisses her. She giggles more. VIVAN Oh! I’m over the moon! I just want to dance! Come on! Get up and dance with me! She puts on a record. “Funkytown” plays. She starts to sing along to it and dance. VIVIAN

Dance with me!

60

HUGH

Serial Black Face

Aren’t your feet tired?

VIVIAN They are, baby, but I’m too happy to stop moving! Get up! Show me what you got! She dances like mad. HUGH

You really want me to show you?

VIVIAN

YEAH!

HUGH

You sure?

VIVIAN

YEAH!

He gets up and dances. He’s really good. VIVIAN screams. VIVIAN THAT’S RIGHT! MR. AND MRS. MONTGOMERY! HUGH

ALRIGHT NOW!

They dance into each other and start to kiss. It gets heavy. He tries to take off her dress. VIVIAN Wait, wait wait. Not yet. I wanna keep it on just a little bit longer. HUGH point.

Come on, baby. You gotta take it off at some

VIVIAN If I take it off I’m scared it’s gonna disappear. Like today was just a dream. HUGH

Want me to pinch you?

Part Two

VIVIAN

61

Yeah.

He does. The TV cuts from commercial to the news. HUGH

See? I’m still here.

VIVIAN I think I’m gonna have someone make it into a blanket. That way every night I can feel it on my skin. Wake up next to you. He remembers: HUGH VIVIAN HUGH HUGH

Close your eyes. Why? Close your eyes.

puts the TV on mute and walks offstage for a moment.

VIVIAN

Dillard?

Silence. VIVIAN

Dillard. What happened to the TV?

HUGH (offstage) VIVIAN

I want your undivided attention.

Hurry up. You know I don’t like games.

He comes back onstage with a gift bag. HUGH VIVIAN

It’s not a game. It’s a surprise.

opens her eyes. She stares at the gift bag.

62

Serial Black Face

VIVIAN HUGH

You bought me something? Happy one year and then some, baby.

She opens it, pulling out hot pink lingerie. It is very young hot trash looking. HUGH

You like it?

Silence. HUGH I got it on sale from one of those tinted window stores downtown. She looks at the price tag. VIVIAN HUGH

It looks cheap for all the money you spent. I thought you’d like it.

VIVIAN

Where’d you get the cash for this?

He’s silent. VIVIAN I gave you that money so you could buy a nice button-down for job interviews. HUGH

I thought you’d like it. I’m sorry.

VIVIAN I’m not saying I don’t— It’s pretty. It’s just money is getting tight. My table count has gone down. The roller skates are making my feet swell up. HUGH

I really am trying.

Part Two

63

VIVIAN

I know you are.

HUGH My spells make me shaky. My head turns to mush. Nobody wants to hire me. VIVIAN

Let me take you to see a doctor.

HUGH Just give me some time, okay? I’ll figure something out. A moment. HUGH VIVIAN

You all right? I told you I’m happy. It’s my wedding day.

She examines the lingerie in her hand. VIVIAN

Just. Just give me a minute to freshen up.

She exits. The phone rings. Hugh answers. HUGH

Yeah?

LATOYA appears under a white light on another part of the stage. She wears a school uniform. Her hair is very ’80s. She eats an O Henry! chocolate bar.

LATOYA HUGH

Somebody doesn’t know his manners.

is frozen.

LATOYA Here on planet Earth people answer the phone by saying Hello.

64

Serial Black Face

HUGH LATOYA HUGH LATOYA HUGH HUGH

Latoya. (buzzer noise) I meant Lottie . . . How was the wedding? It was nice.

is still.

LATOYA Were there flowers? Did you take pictures? I bet Vivian slobbered all over you. I bet she cried for hours she was sooo sooo happy. He’s still. LATOYA HUGH LATOYA HUGH LATOYA

Hello? Say something. It was a nice ceremony. Is there cake left? Not for you.

finishes her candy bar and burps.

LATOYA HUGH LATOYA HUGH

Put the beast on the phone. Don’t call your mother that. Put her on. We’re on our honeymoon. She’s busy.

Part Two

LATOYA

65

I only have a minute until lights out.

HUGH I told you she’s busy. If you have something you want to say to her then you can say it to— LATOYA hangs up abruptly. The light on her goes out, and she disappears.

HUGH

Hello?

VIVIAN (offstage) HUGH

Who called?

A, uh. Telemarketer.

emerges from the shadows wearing the pink lingerie.

VIVIAN

VIVIAN

Do you like it?

He stares at her. VIVIAN

Be honest . . . am I too old for it?

appears under a ghostlike ray. She wears the same pink lingerie. LATOYA

VIVIAN HUGH

Dillard. Say something.

looks at Latoya.

HUGH VIVIAN HUGH VIVIAN

You’re here. Where else would I be? You look beautiful. I do?

66

Serial Black Face

HUGH

I can’t believe you’re here.

LATOYA HUGH VIVIAN

I never left. Touch me. Now?

LATOYA HUGH

Are you sure? Touch me. Please.

touches HUGH. LATOYA stays under her light.

VIVIAN

LATOYA / VIVIAN HUGH LATOYA

Yeah.

giggles.

HUGH VIVIAN

Put your body on me.

does.

LATOYA / VIVIAN HUGH LATOYA HUGH HUGH

Like this?

Like this?

Yeah. How do I feel? Good. You feel so good.

kisses VIVIAN. They fall onto the couch.

VIVIAN

Baby. Let’s wait until the news goes off.

Part Two

LATOYA HUGH VIVIAN HUGH

67

Am I doing it right? Yeah. Baby, come on. I’m not— Harder.

VIVIAN

Wait. Dillard.

LATOYA

How’s that?

HUGH VIVIAN LATOYA

Harder. Dillard, get off of me. Pull my hair.

He pulls VIVIAN’S hair. VIVIAN VIVIAN

pushes HUGH off of her.

VIVIAN HUGH HUGH

Ow. STOP. That hurts.

I told you to get off—! Didn’t you hear me? I’m—

sees LATOYA is no longer there.

I’m sorry. He starts to crumble. He puts his head on VIVIAN’S legs. He clings to her. VIVIAN

Baby?

68

Serial Black Face

HUGH

I won’t do it again. I’m sorry.

VIVIAN

It’s okay.

HUGH

I’m sorry.

Blackout. * * * Days later. VIVIAN enters the dark apartment. She’s limping. She carries a bag of groceries. VIVIAN

BABY?

The TV is playing The Jeffersons. She turns the station to the news. VIVIAN notices a travel bag in the middle of the kitchen. VIVIAN

What the hell?

She walks into her bedroom, which is now illuminated. She sees the lump under the covers. She pulls the covers away. It’s LATOYA. She wears her school uniform and is asleep. VIVIAN

Latoya.

She stirs. LATOYA VIVIAN LATOYA

Hmm? Why aren’t you at school?

falls back asleep.

VIVIAN

Latoya. I asked you a question.

Part Two

LATOYA VIVIAN

69

What? I’m up. What are you doing here?

She falls back asleep again. Latoya. LATOYA VIVIAN

It’s winter break. God. I thought that was next week.

LATOYA It’s on the schedule. Don’t you read anything the school sends you? VIVIAN What happened to your friend? The one you were supposed to spend break with? LATOYA VIVIAN LATOYA VIVIAN

Her grandmother croaked. Don’t say that word. Why? They say it on TV.

strips the bed of its sheets.

VIVIAN You know I hate outside clothes on my sheets. Now you’ve made them dirty. LATOYA

But I’m cold.

VIVIAN Come on. Get up. You can sleep in your own room. LATOYA gone.

My room smells like old people. All my stuff is

70

Serial Black Face

VIVIAN

That’s because you took it with you to school.

LATOYA I meant the stuff on my wall. My AC/DC poster . . . Talking Heads . . . There’s newspaper everywhere . . . what’s with the newspaper anyway? VIVIAN

ignores her.

LATOYA VIVIAN LATOYA VIVIAN work.

I hate my room. All you have to do is put the boxes on the floor. What happened to your foot? I’m fine. Now hurry up. I can’t be late for

LATOYA

I think I’m getting sick.

VIVIAN

Child. Get out of my bed.

She does. VIVIAN

You could have called.

LATOYA

I did.

VIVIAN

When?

LATOYA

The other day.

VIVIAN Your stepfather and I are still on our honeymoon. LATOYA

So?

Part Two

VIVIAN

71

So we don’t want to be bothered. That’s so.

LATOYA movies.

Fine. Give me money and I’ll go to the

VIVIAN waste.

I don’t have any more money for you to

LATOYA

Where is Dill pickle anyway?

VIVIAN Call him by his name please. He’s out looking for a job. LATOYA VIVIAN LATOYA

Why hasn’t he found a job yet? Don’t test me, Latoya. What? I just asked you a question.

VIVIAN I’m calling your Aunt Jean in Charleston tomorrow. You can stay with her for a couple of weeks. LATOYA/VIVIAN Aunt Jean?/Latoya. WHY would I want to go to Charleston?/I’ve already made up my mind. VIVIAN You need to spend time with black kids your own age. See your cousins. LATOYA VIVIAN LATOYA

I hate my cousins. They’re your family— And you’re my mom. Why can’t I just stay—!?

72

Serial Black Face

coughs a lot. VIVIAN pauses, something instinctual kicks in:

LATOYA

VIVIAN

What’s wrong with you?

LATOYA

I told you. I’m sick.

VIVIAN

Let me feel your head.

She does. VIVIAN LATOYA VIVIAN VIVIAN LATOYA

You’re burning up. My head feels like a balloon. Come on. I gotta get this fever out of you.

walks into the kitchen, which is now illuminated. follows her.

VIVIAN weather? LATOYA VIVIAN

How long have you been feeling under the

I don’t know. Two days. Maybe three. You should have told me sooner.

LATOYA Why? It’s not like you would have made me soup and driven it ninety miles. Some of the other moms do. Make soup, I mean. VIVIAN

Sit down, okay?

does. VIVIAN fills up a big bowl with water. She then sets it next to LATOYA along with a cloth.

LATOYA

Part Two

73

VIVIAN When the water gets warm, just put more ice in the bowl. You can watch whatever you want on TV. Just keep the wet cloth on your head. LATOYA VIVIAN

Will you do it?

is still.

Please? My arms are achy . . . It always feels better when you do it. appears in the shadows. Neither VIVIAN nor LATOYA sees him.

HUGH

VIVIAN LATOYA

I really should— Please.

holds the wet cloth to LATOYA’S head . . . She suddenly gets choked up. She steps away from LATOYA.

VIVIAN

LATOYA

What?

VIVIAN I . . . I’m late. I gotta get to work. LATOYA

But.

VIVIAN I said I’m late, Latoya. Just do what I told you to. I’ll check on you when I get home. Okay? VIVIAN

gathers her things and goes to exit when:

74

Serial Black Face

LATOYA I hate that school. Just let me come home. Please. A moment. VIVIAN I don’t know how. I’m. I’m sorry . . . I’ll call the school. I’ll make sure those kids leave you alone. Okay? exits, still not seeing HUGH in the darkness. LATOYA cries. After a moment HUGH enters.

VIVIAN

HUGH LATOYA HUGH

You okay? God. What are you, some kind of spy? I asked if you’re okay.

LATOYA Your wife’s not home, lame-o. HUGH Okay. You have dinner yet? LATOYA

Why do you care?

HUGH You’re always hungry. You should eat something. How long you home for? LATOYA (lets out a dramatic sigh) Three weeks. HUGH LATOYA

That’s good. No, it’s not. I hate it here.

Part Two

75

HUGH This place could use some youth. It’s gotten really quiet around here the past few months. LATOYA What planet are you from? No one says the word “youth” anymore. HUGH

Okay.

LATOYA HUGH

You’re weird. You sick or something?

LATOYA HUGH

Ding.

moves into the kitchen.

LATOYA HUGH

What are you doing? I’m making you some soup.

LATOYA

Can you take me to McDonald’s?

HUGH You need to stop eating junk. What they feed you at that school of yours? LATOYA basically.

Grassy looking shit. White-people food,

A moment. LATOYA HUGH LATOYA

You gonna adopt me or something? That’s not really my thing. Good. Cus I’m never going to call you Dad.

76

HUGH

Serial Black Face

Okay.

He heats Campbell’s soup on the stove. LATOYA HUGH

Tomato makes me gag. Too bad. It’s the only kind we have left.

She watches him. LATOYA HUGH

When did you learn how to cook? I didn’t. It’s soup.

A moment. HUGH

My grandma. She taught me.

LATOYA HUGH

She raised you? A little. Yeah.

LATOYA HUGH

What were your parents like? Why you wanna know?

LATOYA

I don’t know.

A moment. HUGH LATOYA HUGH

They were . . . complicated. How? What’s with all the questions?

Part Two

77

LATOYA

I don’t know. We’re kinda family now right?

A moment. HUGH

My dad wasn’t around.

LATOYA HUGH

And your mom? She. Had issues.

A moment. LATOYA Oh. What about kids? Do you have any? HUGH LATOYA HUGH LATOYA HUGH LATOYA HUGH LATOYA HUGH guess. LATOYA

No. No kids. Do you want some? I used to think I did. Why’d you change your mind? I wouldn’t be a good parent. Why not? It’s hard for me . . . being around kids. Why? I don’t know. I just don’t have the right stuff, I

You seem pretty okay to me.

78

Serial Black Face

He pours the soup into a bowl. LATOYA HUGH

Is my soup ready? It looks like it is.

goes to take the soup over to her when his hand begins to spasm. He drops the bowl of food on the floor.

HUGH

HUGH I’m. Shit.

Shit.

He goes to clean it up, but LATOYA’S quicker. LATOYA It’s okay . . . I really wanted bread and jam anyway. She makes herself a sandwich. HUGH continues to massage his hand. Silence. LATOYA HUGH LATOYA HUGH LATOYA HUGH Okay? LATOYA

Do you get spells every day? Almost. Why did you go off to war to begin with? I thought it would make me a better person. Maybe. Maybe you should go and see a doctor— I really don’t want to talk about me anymore.

Okay.

Part Two LATOYA

79

eats. HUGH watches her.

HUGH

How’s it taste?

LATOYA HUGH

Ding. I can go out and get you some soup if you want.

LATOYA HUGH

I’m okay. You cook dinner for yourself a lot?

LATOYA Sometimes. I cooked for my brother. HUGH

Oh yeah?

LATOYA He used to have these nightmares. Sometimes he’d wake up really early and drag me out of bed . . . I’d bring him into the kitchen and make him spam and eggs . . . HUGH

Sounds gross.

LATOYA him.

It is. But Sammy liked it. So . . . I ate it with

A moment. LATOYA It wasn’t really my fault. I mean it was, but . . . We were at the park and he was right there and then he . . . Then he . . . She stops. LATOYA

I think I need to lie down.

80

HUGH LATOYA HUGH LATOYA

Serial Black Face

You should finish your food. You’ll feel better. Will you buy more soup? Chicken noodle? Yeah. Get some rest, okay? Okay.

She exits. After a moment LATOYA reenters. She kisses HUGH on the cheek. LATOYA

I’m still not calling you Dad.

She exits. HUGH touches his cheek. Lights fade on HUGH and come up on VIVIAN as a POLICE OFFICER stands over another covered-up corpse. POLICE OFFICER

This your boy?

shakes her head no as lights fade to darkness and the only light / sound comes from the TV screen.

VIVIAN

VOICE FROM THE TV With my theory the children are not abducted, not kidnapped, not snatched off the street at that particular time, but are willingly going with somebody . . . my theory? We are unlikely to catch the killer unless he keeps on killing. sits on the couch, watching. On a dark part of the stage we see VIVIAN and HUGH in bed. LATOYA

VIVIAN

Baby?

HUGH

Hmm?

VIVIAN

You’re so quiet.

Part Two

HUGH

81

I’m sorry.

Silence. VIVIAN HUGH

Is it me? What?

VIVIAN HUGH

You haven’t touched me in days. I’m just tired. I can’t get my body to wake up.

Silence. VIVIAN HUGH

Is it Latoya? What?

VIVIAN I’m sorry I couldn’t find a way to get rid of her. This place is small enough as it is. It’s hard living on top of each other. HUGH

I don’t mind it.

A moment. VIVIAN HUGH

You hear the news? I hear it.

VIVIAN They think he’s black. They found another kid’s body today. Number seventeen. HUGH VIVIAN

I know. A serial killer with a black face.

82

Serial Black Face

HUGH VIVIAN

Baby.

begins to breathe heavier.

VIVIAN HUGH VIVIAN

I miss my Sammy. Breathe. Why can’t they just find my baby?

hears her mother from the living room and looks toward her. LATOYA

HUGH VIVIAN HUGH

Come here. Just find him. Find him. Sssh. It’s gonna be alright. I’m right here.

Silence. VIVIAN I don’t know what I’d do without you. I really don’t. I keep having this nightmare . . . That I wake up and you’re gone. HUGH

Just breathe.

VIVIAN You’re gone and I’m just empty . . . just this empty shell made of nothing. HUGH

Breathe, baby.

VIVIAN Promise me you won’t ever leave me. Promise me.

Part Two

HUGH

83

Get some sleep, okay?

A moment. Baby? VIVIAN

Okay.

Blackout. * * * The next day: HUGH enters a dimly lit lounge. We are bombarded by images of John Lennon and the Beatles on TV. MICKY reads a paper. HUGH

You guys open?

MICKY

You see a closed sign on the door?

HUGH

No.

MICKY Then zip-a-dee-doo-dah . . . welcome to Disneyland . . . What’s your name? A moment. HUGH

Frankie.

MICKY

You been here before?

HUGH

No.

MICKY

What’s your poison?

84

Serial Black Face

HUGH

Someone pretty. Young.

MICKY school.

We have one girl who just graduated high

HUGH

I mean . . . younger.

A moment. MICKY

That’s, uh. Not really my thing.

A moment. MICKY You picked a real crap day to get your rocks off. A lot of the girls aren’t in tonight. HUGH

Why not?

MICKY Whattya mean why not? You’ve been livin’ under a rock or something? HUGH

eyes the images of John Lennon on the TV.

HUGH

People die every day you know.

MICKY

Not like that they don’t.

HUGH

scratches his head.

MICKY

You got something against Lennon?

HUGH

Yeah. He doesn’t make my dick hard.

MICKY

smirks and then changes the channel. It’s the news.

MICKY

That better?

Part Two HUGH

85

shrugs.

MICKY Each dance is a dollar a minute. Minimum twenty minutes. You tip them well. HUGH

Yeah, yeah.

MICKY No kissing. No grabbing. No licking. No biting. No slapping. No nothing unless she says so. That clear? HUGH MICKY

Can we speed this up?

sticks out his hand. HUGH pays him.

MICKY

Wait here.

exits. VIVIAN appears under a spotlight on the opposite side of the stage. She wears a name tag. She’s attending a support group. MICKY

VIVIAN

Hi. My name is Vivian.

OFFSTAGE MOTHERS

HI, VIVIAN.

VIVIAN This is my first time at a meeting like this . . . I heard about the mothers’ group Stop Children Murders . . . I don’t know why it’s taken me so long to . . . show my face. A moment. OFFSTAGE MOTHER

Speak up, honey. It’s okay.

VIVIAN It’s been 515 days since I last saw my baby boy. Five hundred fifteen long days.

86

Serial Black Face

Moans from the other mothers. I go to the police station. I go at least once a week . . . maybe twice. My baby’s been gone so long these men down here don’t even give me a second thought anymore . . . They just show me more dead bodies and go about they business. Like what’s happenin’ don’t matter. Like my boy doesn’t matter. Moans from the other mothers. I keep watching the news . . . every day. Every second. I keep seeing coverage of that six-year-old white boy that went missing in Manhattan. Etan Patz his name. And I see his mama on the news . . . and she’s crying. And I see all the search parties the police have been leading for him and I see his face on my carton of milk . . . and I’m angry as hell because seventeen black kids have turned up with their necks broke . . . and our police ain’t doin’ shit. And my baby is still nowhere to be found. And I want answers. OFFSTAGE MOTHERS

clap.

OFFSTAGE MOTHERS I know that’s right.

Yes, girl. Yes.

On the other side of the stage MICKY reenters with DAMITA. MICKY DAMITA

is taken aback by HUGH.

MICKY HUGH

This is Phoenix.

This young enough for you?

goes over to DAMITA and examines her more closely.

Part Two

MICKY MICKY

87

I’ll let you two get down to business.

exits.

VIVIAN There are times when I miss my Sammy so much I think I’m holding my breath for death. HUGH (to DAMITA) Can I touch you? nods. HUGH caresses DAMITA’S face. He then gently pulls back DAMITA’S hair, raising her head. DAMITA

VIVIAN DAMITA VIVIAN HUGH

Like I’m underwater in darkness. (a gasp of pleasure) And then I remember my husband’s face . . .

kisses DAMITA. It gets heavy but then he pulls away.

VIVIAN DAMITA

. . . a man who loves me. Why’d you stop?

HUGH I . . . Fuck. I can’t. I’m sorry. VIVIAN And I realize I still have a purpose on this earth. Somehow. The OFFSTAGE MOTHERS clap. HUGH

This is a mistake. I’m—

88

Serial Black Face

DAMITA

slaps him.

DAMITA HUGH

Jerk.

exits.

VIVIAN I’m alive because of him. Because of him I still have a purpose on this earth. OFFSTAGE MOTHER AMEN. God delivers. He is the TRUTH and the LIGHT. VIVIAN

Yes he IS!

OFFSTAGE MOTHERS VIVIAN never.

AMEN!

God never gives us more than we can bear . . .

The mothers continue to clap as lights fade on VIVIAN to blackout. * * * The changing room. A tired VIVIAN skates on and counts her money. GLADYS skates on. GLADYS VIVIAN GLADYS VIVIAN

There she is. Miss America. Hey, Gladys. Mrs. Vivian Montgomery. That’s me.

Part Two

89

GLADYS Been wonderin’ where your happily married ass has been today. VIVIAN GLADYS place. VIVIAN

Just busy. Look at you. Just glowin’ from all over the

How you doing?

GLADYS Same ol’ same ol’. Dating one triflin’ nigga after another. Tired as hell. Thinkin’ about becoming a nun. Or a dyke. counts her money. The song in the diner changes to Prince: “I Wanna Be Your Lover.” VIVIAN

GLADYS Girrrrl. This my song. They always play the black music when I’m about to leave. How you do out there today? VIVIAN Shitty. But that’s Mechanicsville for you. What else is new? skates on. She starts to change. VIVIAN and GLADYS talk to themselves. DAMITA

VIVIAN I thought Damita worked at Micky’s? She’s back here? GLADYS You ain’t heard? She was living with Hilton Hotel until she found out he was seeing someone on the side. She went crazy on him and he dumped her ass. She came back here because she needed a second job. VIVIAN

That’s so sad.

90

Serial Black Face

GLADYS back too.

She’s been in a nasty-ass mood since she’s been

DAMITA

What are you two whispering about?

GLADYS Bitch, not everything’s about you. I’ll see y’all later. Keep your head up, Miss America. skates off. DAMITA changes in silence.

GLADYS

VIVIAN DAMITA

Hey, Damita . . . long time no see.

is silent.

VIVIAN DAMITA

How was your shift? Usual shit.

VIVIAN My feet have been swelling up lately. I think I need to take the weekend off. You can take a couple of my shifts . . . if you need the money. DAMITA VIVIAN DAMITA VIVIAN

I look like a charity case to you? What? Thanks, but I don’t need your pity. I’m okay.

finishes getting changed and goes to exit.

DAMITA VIVIAN

So. I take it the rumors are true. What?

Part Two DAMITA

91

points to VIVIAN’S ring.

DAMITA

The Man with the Face.

VIVIAN

Yeah. Earlier this month.

DAMITA VIVIAN DAMITA DAMITA

He make you happy? He does. Well . . . aren’t you lucky.

puts on her makeup.

VIVIAN I’ll introduce you to him next time he comes into the joint. He’s a real sweet man. A good man . . . DAMITA VIVIAN DAMITA VIVIAN

You don’t have to do that. I’m sorry? I’ve met him. . . . You . . . ?

DAMITA He’s kinky, too. I mean . . . if you’re into that kind of thing . . . DAMITA

continues to put on her makeup.

DAMITA Girl, please. Don’t look at me like that . . . So your man strays. So what? At least he’s still comes home. Just spice things up a bit. Trust me. You’ll be doing yourself a favor . . . Shit. Every woman on this planet knows keepin’ a man is just another fuckin’ j-o-b.

92

Serial Black Face

Blackout. * * * enters the dark house. He goes to the freezer and puts an icepack on his face.

HUGH

Offstage he hears the shower running. LATOYA hums the melody to Blondie’s “Call Me.” picks up LATOYA’S shirt from the floor . . . he brings it close to his face. LATOYA reenters in a towel, wet. She sees the shirt in HUGH’S hand. HUGH

LATOYA HUGH

What are you doing? You should pick up after yourself.

LATOYA Why? This place is a dump . . . it’s not my fault Viv can’t throw a newspaper away. She goes to the fridge. She pulls out a carton of milk. She drinks it. LATOYA HUGH HUGH

What happened to your face? I fell.

sees a boy’s Nike sock on the floor. He picks it up.

HUGH LATOYA HUGH

Was there a boy in this house? No. That’s totally mine. Was there a boy in this . . . house?

Part Two

93

She yanks it out of his hand. HUGH No boys are allowed in this house without supervision . . . is that clear? LATOYA OKAY. GOD. What died and crawled up your ass today? HUGH

Watch your mouth.

A moment. LATOYA HUGH

So I mess around with men. So what. You mess around with boys.

LATOYA

That’s for me to know and you to find out.

A moment. LATOYA HUGH

So. What really happened to your face? I fell.

LATOYA HUGH

You fell? That’s what I said.

LATOYA You always going to lie like this? Cus you kinda stink at it. A moment. LATOYA HUGH

Sit down. What?

94

LATOYA

Serial Black Face

Sit down.

He does. She exits and comes back with a first-aid kit. She is also holding HUGH’S black journal. LATOYA HUGH

Hey. Is this yours? Where’d you get that?

LATOYA I was looking for a pair of pajamas. All of mine are at school. I found it in a drawer. HUGH

You shouldn’t go through people’s stuff.

LATOYA I didn’t say I read it. I just wanted to see who it belonged too. HUGH

Hand it here.

She throws it. He catches. LATOYA

Now be still.

She sits on him. HUGH LATOYA

Shouldn’t you put some clothes on? Ssh. Your face is really swollen.

She puts ointment on his face. LATOYA HUGH LATOYA

So who is this Hugh guy? So you did read it? Ding.

Part Two

95

A moment. LATOYA Who’s the guy? You keep writing about a guy named Hugh. HUGH head.

He’s just a guy. Just stories I make up in my

LATOYA

They seem real to me.

A moment. Your stories are kinda dark sometimes. HUGH LATOYA HUGH LATOYA HUGH LATOYA HUGH LATOYA HUGH LATOYA HUGH

That’s all they are . . . just stories. So he’s in love? Who? Hugh. He’s in love with the girl in his story. I guess he is. And the girl? What about her? Does she love him back? I don’t know. I think she does. Yeah?

96

Serial Black Face

LATOYA

Maybe . . .

A moment. Why’d your story stop? HUGH yet. LATOYA HUGH LATOYA HUGH

I don’t know. I guess it doesn’t have an ending

All done . . . Did it hurt? No. So you feel better? Yeah.

They are close. They about to kiss when VIVIAN enters. She sees them. They separate quickly. A very long silence passes. VIVIAN walks into the kitchen. LATOYA can’t look at her. HUGH VIVIAN

Baby, it’s— How about Piggly Wiggly for dinner? Huh?

Silence. VIVIAN LATOYA

Latoya? I’m not hungry.

VIVIAN Well I am. I’m very hungry, so. I’m going to go pick up dinner. Latoya, get dressed. I want you to join me in the car.

Part Two

LATOYA VIVIAN

97

But— Now.

exits. LATOYA and HUGH stand there looking at each other for a moment. LATOYA then runs after her mother. Blackout.

VIVIAN

* * * and LATOYA sit in chairs. LATOYA holds a Popeye’s bag while VIVIAN drives. Silence. VIVIAN

LATOYA VIVIAN

I know you saw us— I’m not sending you back to school.

LATOYA What? VIVIAN

I’ll call the headmistress in the morning.

LATOYA But. VIVIAN If you want to be home, you can stay in Mechanicsville. A moment. LATOYA I know you saw . . . it wasn’t what it looked . . . like— VIVIAN I think Sammy’s dead. I think he’s dead and he’s never coming back. LATOYA Mom.

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VIVIAN Being mad at you is useless. I forgive you. And I hope you can do the same with me. We used to be so good. The three of us. We were a good team. I know we can’t ever get that back, but at least . . . at least we can try and start something else . . . LATOYA

Mom.

VIVIAN If you go back to school he’ll leave me. I know he will. If you stay here we both get what we need. A moment. LATOYA

You want me to be with him?

VIVIAN If I don’t give you my consent, the two of you are just gonna find a way to carry on behind my back. VIVIAN

stops driving the car.

VIVIAN I’m not forcing you to do anything you don’t want to. I’m just saying if you live here with us, I’ll turn my head. LATOYA

Where are you going?

VIVIAN Take the food into the house. I’ll drive around for a while. If nothing happens then . . . then we’ll just pretend this conversation never— VIVIAN

starts to cry.

LATOYA VIVIAN Please.

Mom. Go in the house. Latoya. Go. Please.

Part Two

99

gets up and exits into the apartment. We see HUGH stand and look at her. He and LATOYA examine each other for a long time. VIVIAN continues to cry as lights fade: LATOYA

END OF PART TWO

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Part Three July 1981 Seven months later. Lights rise on the drive-in. GLADYS and DAMITA are changing into their work clothes. Queen’s “Another One Bites the Dust” plays. DAMITA is showing GLADYS a ring. GLADYS

Oh no he didn’t!

DAMITA

BITCH, I’M GETTIN’ MARRIED!

GLADYS

Let me get a closer look.

DAMITA

Ain’t it sparkly?

GLADYS

That diamond is not real.

DAMITA

Gladys!

GLADYS

What?

DAMITA We got back together. We got back together AND he proposed. Be happy for me. GLADYS I never said I wasn’t happy for you I’m just saying the motherfucka is cheap. DAMITA

You’re just jealous.

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GLADYS Cus you snagged yourself a bowlegged white boy? PSSH. A moment. How’d he do it? DAMITA He took me out to dinner at one of those fancy five-star places and then he— skates onto the stage. She’s slower. She looks even more tired and worn. She quickly disappears into another part of the changing room.

VIVIAN

GLADYS You got a shotgun? Someone needs to just come up in here and shoot that cow out of her misery. DAMITA

No one told you?

GLADYS

What?

DAMITA

Today’s her last day.

GLADYS

It is?!?

DAMITA Girl, yeah. The manager finally fired her ass. Said she’s getting too old. GLADYS TOO OLD? THAT BITCH HAS BEEN OLDER THAN MOSES SINCE WE GOT HERE. DAMITA

GLADYS.

GLADYS

WHAT, BITCH?

DAMITA

KEEP YOUR VOICE DOWN. SHIT.

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103

A moment. DAMITA

You know what else I heard?

GLADYS

Girl. Spill it.

DAMITA The Man with a Face? I heard he done ran away with her kid. GLADYS

What kid?

DAMITA

The teenage girl. And she pretty, too.

GLADYS

What girl?

DAMITA I heard she just came home and they was gone. Right up under her nose. GLADYS

WHAT GIRL? I thought she had a son.

DAMITA She did have a son but she has a daughter too. DON’T YOU PAY ATTENTION? GLADYS Wait. They ran off? Like HOW? Like twisted shit? Like they was lovers? DAMITA VIVIAN

Bitch. Don’t make me spell it out for you.

enters. She is wearing her outside clothes.

VIVIAN

Hey, Damita. Hey, Gladys.

A very bubbly: DAMITA/GLADYS Hey, girl!/Good to see you, girl!

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Serial Black Face

VIVIAN I don’t know if you’ve heard, but . . . today’s my last day. DAMITA/GLADYS You’re lying. VIVIAN

Whaaaaaaaat?/No way./Stop it./

Yeah. I’m finished here . . . so . . .

An awkward silence: DAMITA

What are you gonna do with all your free time?

VIVIAN Oh I don’t know. I’ll find another job eventually . . . one where I don’t have to move around as much. GLADYS VIVIAN

That’s good. I might move out of Mechanicsville.

DAMITA

Oh yeah? You leaving?

VIVIAN I think all my ties here are pretty much broken now . . . so . . . A moment. GLADYS/DAMITA If you ever need a hot plate it’s on me./Please! Love to see you soon. VIVIAN VIVIAN

Take care.

exits.

DAMITA

Poor thing.

GLADYS

I know, girl. Just pitiful.

Part Three

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Lights dim on the drive-in and come up on VIVIAN as the outside of her house is illuminated. She is searching for her keys. After a moment LATOYA enters. She looks older than sixteen. Her hair is messy. He clothes barely fit. She is very pregnant. LATOYA

Mom.

A moment. LATOYA

I didn’t know where else to go.

Silence. VIVIAN LATOYA

Are you hungry?

nods.

VIVIAN

Come on.

They walk into the house, which is now illuminated. VIVIAN LATOYA

Sit down.

does. VIVIAN pours her some cereal.

VIVIAN This will tide you over. I’ll make you something warm in a minute. LATOYA devours the bowl of cereal. After a moment:

LATOYA

I don’t have to stay here if you don’t—

VIVIAN Don’t be silly. I’m not gonna throw you out on the street.

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Serial Black Face

A moment. VIVIAN

Where did he take you?

LATOYA Everywhere. And nowhere. We just took your car and drove . . . when we ran out of gas, I’d pretend the car was mine and ask men to fill the tank. They always would. I guess I got lucky. A moment. LATOYA

Do you hate—?

VIVIAN No. I don’t hate you. I spent so much time trying to push you away. I pushed you away and when you were gone I died. I did. I couldn’t bear the thought of you never coming back to me again. LATOYA VIVIAN

You missed me? I missed you, Latoya. More than you know.

A moment. VIVIAN LATOYA VIVIAN

How far along are you? I don’t know. I haven’t been to a doctor— Well. I’ll take you to one tomorrow.

LATOYA At first he didn’t care . . . that I started to get bigger. He said he loved me. He said he’d keep me safe . . . then . . . I don’t know. Then one day I woke up and he was . . . LATOYA

starts to cry.

Part Three

VIVIAN LATOYA VIVIAN

107

I’m sorry, baby. I really thought he loved me.

puts her hands on LATOYA’S belly.

VIVIAN I love you. And this baby? He or she . . . they’re gonna love you too. continues to cry. She falls into her mother’s arms as VIVIAN rocks her back and forth. LATOYA

VIVIAN here.

Just let it out . . . I’m right here . . . I’m right

Lights stay on VIVIAN and LATOYA and come up on a park in another part of Atlanta. A PRETTY BLACK WOMAN sits on a bench. She calls offstage: PRETTY WOMAN MONKEY BARS!

MEGAN! EASY ON THE

approaches. He sits next to her. He reads a paper. THE PRETTY WOMAN eventually notices him. Silence. HUGH

PRETTY WOMAN HUGH

You must be new.

Pardon?

PRETTY WOMAN To this area . . . you must be new. There’s not many people with movie-star faces like you around here.

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Serial Black Face

He smiles. HUGH

You got me. I am new.

A moment. How old is she? PRETTY WOMAN HUGH

Your daughter? How old is she?

PRETTY WOMAN HUGH

I’m sorry?

Oh. Seven.

Great age.

PRETTY WOMAN THE WOMAN

Yeah. She’s pretty curious.

can’t help but look at his face.

PRETTY WOMAN

What brings you to the area?

HUGH I have a stepdaughter that went to boarding school out here. I fell in love with this town. PRETTY WOMAN

Lovely . . . is she still at the school?

HUGH No. No, her mother and I split up. The marriage . . . you know. So it’s just me again. Back to square one. PRETTY WOMAN HUGH

Thank you.

A moment.

I’m so sorry for your loss.

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PRETTY WOMAN I’m a single mother myself. It takes a lot of courage being alone . . . that’s why I had her . . . HUGH

Yeah, it was hard. I miss my kid.

PRETTY WOMAN father nowadays. HUGH

Oh yeah?

PRETTY WOMAN our men. HUGH

It’s refreshing. Meeting a good

Had me scared for a while . . . about

Hmm.

A moment. PRETTY WOMAN Did you see the news? Wayne Williams? They think they caught the guy who killed those twenty-eight black kids. HUGH

Oh yeah?

PRETTY WOMAN They’ve only accused him of two of the murders so far, but people are calling him a serial killer. Ain’t that something? HUGH

Damn.

PRETTY WOMAN Just filthy.

He molested kids and everything.

A moment. HUGH At least they locked him up. That’s good. He can’t hurt any more people.

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Serial Black Face

PRETTY WOMAN But still . . . all those families he ruined . . . it’s a shame. HUGH

It is.

A moment. PRETTY WOMAN HUGH

It’s sad. What people are capable of.

I know that’s right.

PRETTY WOMAN A serial killer with a black face . . . just scary . . . I never thought I’d see that in all my years. A moment. OFFSTAGE GIRL PRETTY WOMAN

Mama! I’m ready to go inside! Okay, baby.

She stands. She’s about to go when: PRETTY WOMAN My house isn’t too far from here . . . if you want a cup of coffee . . . I mean. If you need a friend. To show you around town. A moment. HUGH

Are you sure?

PRETTY WOMAN HUGH

Of course.

Your kid won’t mind?

PRETTY WOMAN

No, she’s sweet. She likes everyone.

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A moment. I’m Julia, by the way. They shake hands. HUGH It’s nice to meet you, Julia . . . It’s really nice to meet you . . . I’m Teddy. Blackout. END OF PLAY

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Acknowledgments

Serial Black Face was commissioned by Playwrights Horizons Theater in New York City, with funds provided by Kate and Seymour Weingarten. I am forever grateful to Adam Greenfield for his help with the play and to Tim Sanford for giving me the time and financial support to write this story. This play was written in many rooms and shepherded by a number of wonderful people in my life. To Mom, Dad, Marsha Norman, Christopher Durang, the Juilliard School, Page 73, Leah C. Gardiner, Carolyn Cantor, Celise Kalke, Michelle Bossy, Ben Kamine, Scott Chaloff, and Robin Budd . . . thank you for giving me your constant support. I am honored to know you all. And finally to Mike Lew—this play is published because of you. I dedicate Serial Black Face to my husband, Victor Lesniewski.