In Man A Play By Michael Oatman, MFA, Playwright In Residence at Karamu Theater Characters Isiah Inman --- African American

sales manager at a radio station. The character is in his late 20s early 30s. The actor should be light-skinned, smallish and thin. He should have an outwardly conservative demeanor. Regina Taylor --- An accomplished attorney. The character is in his 40s. Jason Spencer --- A good-natured bicycle messenger. The character is in his early to mid 20s. The character should be tall, handsome and very fit. Lorrie Inman --- An attractive white woman in her late 20s early 30s. White Businessman/Prison Guard --- A white man in his 40s/A white man. Akil/Tyshaun --- A young black guy/A young black guy. Twon/Black Businessman --- A young black guy/A black man in his 50s. Synopsis An African American sales professional inexplicably beats a white bicycle messenger to death in broad daylight. The play examines the aftermath of this horrific event. Stage Suggesting: The stage should have three platforms. In the center platform is where the interrogation room scenes will take place. To the right of the stage will be a crate and an upturned bicycle wheel that is constantly spinning. On this platform is where the Spencer scenes will take place. On the left side of the stage is where all other scenes will take place. All fade ups and downs are to happen simultaneously between scenes. As one scene fades down the other scene should fade up immediately. Musical selections: All music used throughout these play should be culled from original recordings if possible, or replica performances from the WPA Negro work songs and spirituals recorded in the 20s and 30s.

ACT ONE/SCENE ONE (At Rise: Shut Em Down, by Public Enemy as the lights slowly fade-up. On stage is an upturned bicycle wheel that is constantly spinning in the background. In front of the spinning wheel is a young, thin white man in his late 20s. The young man is sitting on an overturned milk crate. He is wearing clothes that suggest that he is a bicycle messenger. He has a backpack that is strapped around his shoulder and chest. He is wearing khaki shorts, white socks and hiking boots. His face is covered with bruises, cuts and blood.) Spencer I was a flyer . . . what a civilian would call a bicycle messenger. I mean I was damned flyer for Christ sake. I hustle packages. Im just a dude. Why the hell am I here? I didnt know the man. One second Im street down the street, wind whipping through . . . I mean a completely normal day, a normal day. Sun shinning, my wheels grinding the concrete, feet beating the metal and then bam. [Spencer smacks his fist into his hand.] Face down . . . out of the blue, this dude . . . I mean all over me. All over me.

You would have thought with that much damage, I would have, you know, passed out or something. But I didnt. I stayed awake for all of it. I felt the bone give way, the skin split, muscle tearing away from tendons. Do you have any clue what its like to be taken apart one piece at a time? Do you know what its like to choke on your own blood. Dont be fooled by this [Spencer motions toward his face.] This is artifice, this isnt real. These bruises are meant to suggest my loss, so that you the theatergoer can reminded my deconstruction. But its not real. The reality is that my nose does not exist anymore. My orbital sockets have been crushed and my eyes have been smashed into mush. Hellava thing. [The spotlight fades down as the next scene fades up.]

ACT ONE/SCENE TWO (The lights quickly rise to reveal two people sitting at a small table with a blaring, white over-head light, beaming down. The man is an African American male wearing a bright orange jumpsuit. He is light-skinned, with a conservative appearance. He is wearing wire rimmed glasses and has a close cropped haircut and is clean shaven. He is a short, slight, wisp of a man. On the other side of the table is an African American woman in a well-tailored suit. There is a bottle of water on the table and a file folder.) Regina Did you know him? Inman Know whom? [Regina opens up the file folder in front of him and begins to read from it.] Regina [Shows a picture of Spencer.] Him. Jason Spencer. Inman No. Regina No. Inman I didnt know him. Regina What do you mean you didnt know him? Inman I didnt know him. Regina The man you are accused of . . . you didnt know him? Inman I didnt. Regina Well, then you thought you knew him?

Inman No. Regina He attacked you? Something the bystanders didnt see? Inman No. Regina Perhaps you thought that he was about to attack you? Inman You sound like Green. Regina It just doesnt make sense . . . Inman . . . Youre trying to steer the truth. Just like Green. Regina Our respective talents aside, Im not Green . . . Im just . . . Im just trying to understand. Inman Youre trying to construct something you can sell. I am not going to lie . . . I am not going to . . . Regina Mr. Inman, Im the third lawyer in. You didnt like Niebaum, you didnt like Green . . . Inman . . . Niebaum was barely conscious and Green wanted me to lie. Regina Well, right know Im not interested in that. I just want to hear your story. Inman Im not prime time entertainment, I dont have a story. Regina Im just trying to help you generate a defense. Inman

I dont want to lie . . . Regina . . .Questions. All Im doing is asking questions. Inman Finish asking your questions. Regina Okay. Inman Okay. Regina Do you have a family history of mental illness? Inman Im sane as a judge. Regina You had a fight with your wife that day . . . you were angry and . . . Inman . . . No. Regina You blacked out and . . . Inman . . . No. Regina You were fully conscious, fully aware? Inman I can even remember the blood . . . the concrete . . . the yelling . . . Regina . . . The circumstances of your case seem to strongly suggest that you were temporarily impaired when you committed . . . the act. Inman

The act. Only a lawyer could drain the blood so completely from slaughter. The act. Almost seems peaceful. Regina You were most likely temporarily impaired. Inman Temporarily impaired? Thats not what you mean. What you mean is temporarily insane. Regina Mr. Inman . . . Inman . . . Insane, say it, insane. Thats what you really mean. Regina Impairment just means . . . Inman . . . Dont dance with me. If you mean insane then say insane. Im a big boy. Ive heard worse. Regina Diminished capacity. Inman I wasnt insane. Regina Diminished capacity, not insane it just means . . . Inman . . . I know what it means, the inference is that I was not right in the head at the time. Regina Its clear that on that day you were most likely . . . compromised in some way. Inman Was I? Regina Yes.

Inman Why? Regina Its the only conclusion that fits the facts. Inman And from where did you draw that inference? Regina [Regina opens up a manila file folder and begins to read from it.]. You havent been so much as issued a speeding ticket. The sales supervisor for a radio station. College graduate, husband. Ive seen my share of cold-blooded killers. . . and . . . Inman . . . And they dont look like me? Regina No. Inman Then what do they look like? Regina I dont know . . . I just . . . Inman . . . Im black, male and young, all at the same time. Id say that makes me like most of the killers on the evening news. Regina Thats ridiculous.. Inman Is it? Regina You may be African American, but thats where the comparison ends. Men of your socioeconomic status dont usually commit cold-blooded murder. Inman Really?

Regina Thats a fact. Inman And why do you think that is? Regina A lot of reasons I suppose . . . Inman . . . Racism? Regina I suppose that plays a factor. Inman People of a lower economic class, huh? I dont know that racism cares about that. Regina We all face racism but this is not exactly the1950s is it? And were not exactly sharecroppers are we? [The lights fade down and Inman becomes encased in a pure white spotlight.] Inman No matter how much money a man makes if the society he lives in does not respect him as a human being at the end of the day an angry man is an angry man no matter what his bank account looks like. They look at me and see a suit. Some light skinned, high toned brother . . . a pair of classes and they think its safe to walk down the street. That day as they watched their caged monkey reached through the cage bars and grab hold to one of their own, then, at that moment it became real thing. This rage. It became a real thing. Thats why they stared like gawkers at a side show, pinning their noses to a store front window as that boy died in the sunlight. They wondered how he got past them. How I blended in. Theyre trying to figure out what made him snap, what was the final straw that drove him to madness? Perhaps no one knows. Perhaps when he closes his eyes and listens he can you hear the drum beat of Africa, the legacy of Harriet Tubman, the desperation of a sharecropper scrabbling out a bleak existence in the dirt. Perhaps his latent Nergroness is hidden underneath that lilt in his voice. That airiness in his tone. Or

perhaps that nigga was just crazy. [Beat] It just doesnt make sense. He has abilities. He can glide around nouns and verbs; wielding the English language like a sword. He is not a child of the 60s. He were born of the rap age. He is not born tethered to his limitations. He can verbalize and sonically blend with his white friends. He drinks from the same fountain, voids into the same toilets and swims in the same pools, Martin Luther would be proud. And he can talk the talk with the best of them. Nimble and agile in a world that shunned those who came before; his parents working class pedigree has been thoroughly drained away. He sprouted from the manicured lawns of the suburbs. Like a socially engineered experiment, he has become other.. Not quite black enough, Negro-plated. Too dark to be mainstream and not black enough to be black. He is other. African American. Minted fresh like a shiny new penny. He watches their dark faces as his suburban-accented words crash into their ears, and inevitably they turn or maybe lift an eyebrow and there just behind their pleasantries it becomes visible. That subtle shift that lets him know that he does belong to the tribe. [The lights come back up.] Regina Take me back to the beginning? Inman My childhood? You wanna know if my mother took me to the circus? Regina The beginning of your day . . . that day. Start from when you woke up. Inman I dont know what good this will do . . . Regina . . . Humor me. [The spotlight fades down as the next scene fades up.]

ACT ONE/SCENE THREE (The spotlight reveals Spencer sitting on his crate.) Spencer You know what the weird thing is? While I was down there, on the concrete . . . and I know this is like totally trippy, but I was thinking [Beat] about her. I mean is that crazy or what? I mean there I was hovering out of my own body, staring into the light, the whole bit, and all I could think about was her. [Snaps his fingers] Like a flash, I was remembering. Its been two years since she . . . two years. It gets away from you, ya know. I didnt think that I would miss her this much . . . I didnt think that I . . . two years not so much as a phone call between us. Its funny what crosses your mind . . . Theres blood on the concrete and my wheels are spinning.

I figured that one day we would bump into one another at the coffee shop or on the street and we would talk and pretend. Pretend that it didnt hurt anymore. Pretend that what happened hadnt happened. Pretend that words that were spoken, hadnt been spoken. Wed stand there, Sharing two-way smiles and then we would say, with our most civilized voices, maybe we should go get a coffee together or grab a bite to eat, and then we would talk and reminisce about everything that was good, everything that was beautiful. By this time the hurt melted away. And then we would agree to meet again, maybe this time for dinner and then that spark that led us down the path would flicker and flare up again. [Beat] But it never happened.

She left. Moved what feels like a million mile away. She withdraw . . . refused to play her part . . . two years . . . and now shell get a call maybe by some friend who will say, Hey Wendy did you hear? Hear, hear what, shell say. About Jason. Shell feel a tug on that thing that held us together . . . that frayed string . . . painful and familiar. [Beat] But like all things, it will fade away. And twenty years, maybe thirty will pass, a few kids, a husband, a life, house note and soccer match. A moment will come and underneath the mountain that is her life she will forget and she wont even know who I am. [The spotlight fades down as the next scene fades up.]

10

ACT ONE/SCENE FOUR (Two young black men are standing together and they are talking.) Akil It was the funniest shit I ever seen? Twon Yo, word you wuz there? Akil Hell, yeah, I had to dance out the way so dat white boys blood didnt fuck up my shoes. Twon What happened? Akil He fucked that white boy up. I mean daaaaamn. [Akil is very animated and gesticulates often and wildly. Akil physically acts out the scene of violence he is describing.] Fucked that white boy up. He just kept wailing on that nigga. I was like damn. Twon Did the white boy fight back? Akil Please. That he didnt want no parts of that high yella nigga. Twon He didnt even get in a punch? Akil Hell naw. That nigga got his ass whuuzuped. Bang, bang, fucked that nigga up. Then he tried to get up and Urkel gave that motherfucka some more. Twon What did the white boy do to him? Akil Shit, I dunno he must have said something to set off that Tiger Woods-looking nigga? Shit, he gave him one of dem all time, gold star ass whuppins. He must have said somethin. Twon

11

Yeah, slave days over. You call the wrong nigga out his name and you liked to get yo shit stomped. Akil Gotta let these white boys know. Twon Hell yeah. [The two men clasp hands and then snap their fingers.] Where you off to, nig? Akil [Akil reaches down and grabs a back pack.] Shit, you know I got that stats class. Twon Yeah, I need to make it up to financial aid to see when dey gon send a nigga his loan check. You know what Im saying? Then I gotta do that work thang. If Im late again Im liked to get fired. [The spotlight fades down as the next scene fades up.]

12

The spotlight fades up a woman is standing on stage in a white, well-tailored business suit.) Lorrie It was his sense of humor that first attracted me to him. I was not one of those white girls slumming with a black man to piss off my father. He caught my eye because he was funny and charming. First time I met him he told me a joke. Theres this guy and hes trapped in a room with a Bengal tiger, a cobra and a lawyer, and he has a gun with two bullets in it. What does the guy do? [Beat] Come on, [Beat] not even a little guess. [The light comes up on the opposite stage to reveal Spencer.] Spencer You shoot the lawyer twice. [Beat] I used to deliver to a bunch of law firms; heard every one in the book. [Lorrie starts to laugh. The spotlight fades down on Spencer.] Lorrie Right, you shoot the lawyer twice. When he was in college he had a light about him; I swear a light. It was never about color with us. I not going to feed you some bullshit line about me not seeing color, believe me from the start I knew he was black. And if I didnt every black bitch from here to Cucamonga was there to remind me. Every club, every restaurant theyd cut into us with their eyes. Isiah would just ignore them. I was never strong in that way. I never got used to the rude services from black waitresses. The miscellaneous comments by people who dont even know us; some of them would walk right up to you.

My father once said that if he ever saw me or my nigger husband he would kill both of us and then drive himself to the police station and happily spend the rest of his life in a cell. My father was a dentist.

Almost from the beginning I think that I loved my husband; for awhile I thought it was enough. But something happened. Something in Isiah went cold; died a slow death. [She smiles] But you know better than that dont you. No one dances alone; and marriages dont crumble in a vacuum. [Beat] The hardest thing to admit is that something went

13

cold in me two. [Beat] and that is where we are. Two icebergs drifting away from one another in a frigid sea. Strangers who pass each other on the way to the bathroom. When the reporters came, the questions, the inquires, the sad part is that I didnt have any answers. Isiah is as much a stranger to me as anybody. All I know is that the story is not the story. And this image that I am watching being constructed in front of my eyes is bullshit. I dont buy what they say. The papers are trying to paint him as some quasirevolutionary, I never met a less subversive man. We used to laugh at those groups. Isiah had nothing but contempt for their closed-mindedness and now, as far as the world is concerned he is among their lot. Its a joke. They used to despise him from his preppy dress to his white accent. From the first handshake he would be cast. Pegged as a Regina; and inevitably I would come along, his living Barbie doll and remove all doubt. Hes a good man, I know the wife always says that, but in this case its true, hes far from perfect. But hes no monster. [Beat] Ive seen the pictures and I am just as bewildered as you. I have never seen any hint of violence in the man. Thats the truth. That day . . . was like any other day. Like any other day.

When I first meet him, he told me a joke and I laughed and laughed and laughed. That was I dont how many years ago and its still makes me laugh. You shoot the lawyer twice. [She laughs.]

14

ACT ONE/SCENE FIVE (The light comes up and Regina is standing over Inman as Inman sits at the small table.) Inman Who hired you? Regina Im not being paid. Inman Pro Bono? Regina Yes, pro bono. Inman No such animal. Regina Excuse me? Inman [Said slowly and with emphasis] No such animal. Everybody gets paid one way or another. Regina Im here as a favor to your wife. Inman My wife? Regina Yes, we both sit on the board of the Juvenile Justice Program Inman Shes a smart business woman. I always knew that sitting on her boards would put her in contact with some major players. The great Regina Taylor defending a cold-blooded murderer.

15

Regina Im not here to judge you . . . Inman . . . Then what good are you? [Long beat] Regina I want to argue diminished capacity. Inman Are we back to this. I told you I not crazy . . . Regina . . . Im not saying your crazy . . . you dont want to argue temporary insanity then lets go diminished capacity . . . Inman . . . I am not crazy . . . Regina . . . diminished capacity does not mean temporary insanity. It simply means . . . Inman . . . I know what it means. The inference is that I am not right in the head. That is inaccurate. Regina [Long Beat] Okay. Tell me about the GM job. Inman What about it? Regina I hear you were passed over . . . that a man far less qualified and with much less tenor got the job. I hear you found out that day. Inman I know where youre going. Regina Is it true that the person who took the job youve been slaving away for was not only younger and less experienced, but white?

16

Inman Whos feeding you this? Regina Doesnt matter. Inman Matters to me. Regina Is it true that he was . . . Inman . . . who told you all this? Regina Mr. . . . Inman . . . Who? Regina Your wife mentioned that . . . Inman . . . My wife? Regina She was trying to aid me in preparing . . . Inman . . . My wife. [Long beat] Regina She still wants to see you by the way. Inman No. Regina She hasnt seen you since . . . Inman . . . No.

17

Regina She just wants to . . . Inman . . . NO! I do not want to see her. Regina [Beat] What happened that day? Tell me about Peterson. Tell me about the man that took your job. Inman Peterson is a pimple on my ass. Regina That pimple is now your boss, right? Inman Yes. Regina Were you angry with him? Inman Is that a question or an accusation? Regina Maybe both? You were angry with him werent you? Inman Objection your honor, counsel is leading the witness. Regina You despised him for taking your job didnt you? Inman There is a lot of presumption in your questions, I truly hope you are a better lawyer then this; a better thinker. Regina It angered you. Inman

18

Of course it angered me. But Im hardly a virgin. I been burned before. If I killed every half wit white boy who leap-frogged over me on the corporate ladder, the streets of down town would be empty. Its the way the world works. Regina Pump too much air in a balloon and eventually it pops. Maybe the promotion of Peterson was one half-wit white boy too many? Inman What happened at work had nothing to do with what happened on that side walk. Regina You have no memory so from were do draw that opinion with such certainty? Inman I dont know. I just know. Regina Oh, the, I just know defense. Yes, that will certainly impress a jury. [Beat] So, if that wasnt a contributing reason then what? Inman I told you, I dont know. Regina Exactly my point. A recent event, that you cant remember and dont know why it occurred. Black rage or not, you clearly do not have access to that memory, to that motivation . . . Inman . . . True . . . Regina . . . that seems to suggest diminished capacity. By definition diminished capacity is a lessening of responsibility due to impairment of mental faculties. Inman Lawyer words. Regina Not lawyer words.

19

Inman They are lawyer words. The gist of all that is that I am mentally incompetent. Regina Youre really trying to make me earn my money. Inman Im sure youre good at that. Regina Your not being very smart. Inman [Long beat] I hate your accent. Regina My accent? Inman Yes. You have a white accent. It bothers me. You sound like a cunt. Regina You wife is white. Inman White girls sounding like white girls doesnt bother me. But I like it when black girls sound like black girls. Regina That is perhaps the most idiotic thing I have ever heard. Inman You calling me an idiot. Regina No, Im saying that comment was idiotic. Inman [Long beat, Inman smiles an angry smile.] How nice it must be to be safe. Regina Safe? Inman

20

Yeah, safe. Regina How so? Inman Look at us. Regina Okay. Inman You on the other side of the table, me chained, the knowledge that when your done youre gonna walk away. This is all theater to you. Regina [Long pause] I not your adversary. Inman Nothing risked, nothing lost. Regina I didnt leave that kid dead on the sidewalk. You did that. Inman Yes, I did that. Regina I didnt land you in this predicament. Inman True, but your still a visitor at the zoo, arent you? Safe on the other side of the cage . . . Regina . . . What is that supposed to mean? Inman Just an observation . . . thats why people like roller coasters: the thrill of getting a good scare without really being in danger. Regina This is ridiculous . . . Inman

21

. . . But still it must lurk in the back of your mind. Regina What? Inman How safe are you? I mean really? Regina I dont think that way. Inman Everybody thinks that way. Regina I dont fear you. Inman Not even a little bit? Huh? Doesnt a little piece of you wonder . . . Could he . . . would he if not for the chains? Would he take my life? Regina [Pause] Would you? Inman [Long pause] I dont know. [Beat] I honestly dont know. Regina Like that day. Inman The murder. Regina The murder. Inman [Long pause] It wasnt planned. It grew from the ground. Sprouted like a weed. Regina I think youre a liar. Inman Were all liars. To call me a liar is to call me human.

22

Regina Yeah, but your a damned liar. [He quickly leans forward.] Thats an easy statement to make while Im chained to this desk. Regina Is that a threat? Inman Thats a fact. Regina I dont fear you. [She stares at Inman in the eyes and does not turn away.] Inman Does that make you brave or stupid? Regina I DO NOT FEAR YOU. Inman [He leans over the table and says in low tone, almost a whisper.] Said the woman to the caged animal. Regina Guard!!! [The guard enters the room.] Guard Yeah? Regina I want you to remove the chains from my client. Guard Come again? Regina The chains, remove them. [Regina continues to stare at Inman eye to eye.] Guard You know that I cant do that.

23

Regina Do it. Inman Thats not . . . Regina . . . Do it. Inman You dont have to . . . Guard . . . Removing him from the chains would place you in danger. Regina I will assume the risk. Inman You dont have to prove anything to me. Regina The risk is my own. Guard I am not sure that this is . . . Regina . . . Its legal officer, trust me. Guard You sure? Regina Penal law, subsection, 20:22, states that a prisoner has the right to meet with counsel unencumbered by shackles, chains or implements of any kind; and any violation of such standards is a direct violation of the prisoners human rights. So is your name the one that needs to go on the complaint I intend to file? [The guard ponders the words of Regina then reluctantly walks over to Inman and completely unchains him. The guard picks up the shackles.] Regina

24

Thank you officer you can leave now. [The officer stands there for a few seconds contemplating what he has just done.] You can leave now officer, thank you. [The officer exits the room with shackles in hand.] Inman [There is a beat as the two men stare at one another.] You know you probably just got that man fired. Regina Working in the tombs? I probably did em a favor. Inman You made that shit up. Regina Never trust a lawyer thats not your own. Inman [Beat] And not even then. [Holds up his hands and holds his arms as if he is still shackled.] The monster unchained. Regina I dont believe in monsters. Inman I believe enough for both of us. [The spotlight fades down as the next scene fades up.]

25

ACT ONE/SCENE SIX (The spotlight comes up and Spencer is sitting on crate.) Spencer My mother never thought that I believed in myself. To her this bike was a metaphor for how Ive sat around and spun my wheels instead of achieving. After awhile she wouldnt even say anything. She wouldnt nag me about finishing college or about pursuing those dreams me and her dreamed together. Both of my parents are achiever-types. So are my 3 older brothers, fucking pricks that they are. Every holiday, they come and talk about their fabulous jobs. They share laughs about crazy business trips and lazy employees that work under them. Its all very polite really. But I know when they talk about the lazy, clock punching sons of guns, they mean me. And I can look across the table and there in my mothers eyes I see that flicker of disappointment that reserved just for me But, Im game boys and girls, I dont flinch. I belly up to the table and weave tales of near accidents and late deliveries as if my shit job is equal to theirs and across the table I see it again that flicker of shame tinged by embarrassment. [Beat] I was my mothers child, I didnt stray too far from her hip growing up. The youngest ya know, the other two they belong to my father. They stand in his image. Suit and ties in the like. But Im hers, I think that is why I shame her so.

I wanted to be many things . . . but it never came together. Life is like that ya know. You graduate from high school and the next thing you know your flying through your life, wind whipping through your hair, and before you look up your 20s are gone . . .

I miss my mother already. I even miss the shame in her eyes. I also miss hamburgers . . . there dont seem to be hamburgers here . . . pizza, fries, nothing . . . gonna miss that . . .

26

And shitting. Im gonna miss shitting [Beat] Hey fuck you. Im not like a perv or anything, I just like shitting okay. The sensation, the tug, the pull, the release. The beautiful completion of it all. The freedom of evacuation. I like it okay? Nothing like a good shit after a hard day. Both ass cheeks firmed to the bowl; the plop and tinkle. Ill miss that. I dont think that we shit here. Shitting is too real and this place is made up of non-reality; it is artifice. [Rubs his face and pulls away three fingers full of blood. She holds it out to the audience.] Even the blood is fake here.

She used to hate when I shitted. She hated the smell. Used to drive her crazy, might have been the last straw that pushed her away. The smell, the shit, the plop. I wonder where she is now. I would have thought that from here you would be able to see all. Like God. [Beat] But we are not God. We are ants in a mayonnaise jar with holes poked in the lid. The glass is clear but the lid is screwed on tightly. Man, I could go for a good shit right now. Just to take the edge off. [The spotlight fades down as the next scene fades up.]

27

ACT ONE/SCENE SEVEN (The lights come up quickly and a white man in his 60s is standing up stage in a suit with a briefcase in his hand and a newspaper tucked under his opposite arm. After a few seconds he puts the briefcase down and places the newspaper on top of it.)

White Business Man Hey look, I know Im a piece of shit. I dont need you to tell me the obvious. [Beat] I know that I am a coward. I . . . I just didnt want any part of the whole bloody business . . . I mean . . . no pun intended. I just didnt want to get involved. I mean, Jesus, how often do you see that sort of thing in broad daylight. I was not the only one . . . I just kinda followed the crowd you know? Its not like Im superman or anything, I mean what was I gonna do? What was the sense of getting us both killed? I mean, with all those other ones hanging around . . . it could have been a full blown riot. [Beat] Dont look at me like that. Youre not better than me. [Beat] Its easy to judge isnt it, sitting from the comfort of your theater seat. [Beat] Lets see how quickly you act you are when the moment is thrust upon you. When it happens its not like you get a warning bell or anything. Its not like television violence. In real life it happens quickly, its surreal, like its not happening to you. One day youre on the way to work. Walking along a downtown street on a summer day and then out of the blue you are witness to an awful drama. I have dreamed it every night since . . . like a bad movie playing over and over again in my head [Beat] Only in the dream; Im the one on the ground being beaten to death. [Long pause. He looks at his watch.] Hell. Im late to work. [He leans down and picks up his paper and suitcase. He looks out at the audience with a guilty look on his face.] If I had it to do all over again, I dont know, maybe, it would be, you know, different. Maybe I would have helped or screamed out. Maybe I would have gotten

28

involved . . . somehow. What? You dont believe me? [He frowns and then exits the stage. The spotlight fades down as the next scene fades up.]

ACT ONE/SCENE EIGHT (Both men are sitting at the table talking.) Inman No ones gonna buy that. Regina They will. Inman They wont Regina They will. Inman Im a salesman Regina So am I. Inman They wont buy it. They wont buy me. Regina Its not the product . . . Inman . . . its the salesman I know. [Beat] Maybe I just dont trust the salesman. Regina [He laughs] Is that a joke? Inman No. I believe it was a insult. Regina Im the best.

29

Inman Because you say so? Regina Because I have lost three cases in the last six years. Inman Is that supposed to comfort me? Regina Actually yes. Inman And of the three you lost how many of your defendants were black? Regina Thats not fair. Inman As Im coming to find out, lifes not fair. How many of the three? Regina Two. Inman Sounds about right. Regina Youre an ass. Inman Coming from a lawyer I count that as a compliment. Regina [Beat] You dont know me. Inman Its not like your a mystery. Regina You dont know anything about me. Inman I know a lot about you.

30

Regina You know what I tell you. Inman I know more than that, [Beat] and I paid for the privilege. [Beat] Charter House hotel, Euclid Avenue. Usually on Mondays. Room 212, the one by the back door. [Long beat] What I know about you could fill Shay Stadium, Regina Mae Taylor; [Beat] Funny thing is I wouldnt have pegged you asmy wifes type. I would have thought she would have went younger. Regina [Long beat] How . . . how long have you . . . Inman . . . Does it matter? Regina I... Inman [Inman begins to walk over to Regina who is seated. Slowly as he talks he moves in closer and closer and leans down so that both men are face to face.] The only thing that matters is that you are in a small room with the husband of the woman youre finger banging . . . a man who just committed cold-blooded murder, a man facing the death penalty, a man with nothing to lose. [Beat] Now be honest counselor, dont you wish I was wearing those chains now? [The spotlight fades to black. A Negro work song begins to play.]

31

ACT TWO/SCENE ONE (The spotlight rises on two platforms at the same time. The one with Inman and Regina and the one with Spencer. Inman is standing up and on the floor laid out in a prone position is Regina. There is a long pause as Inman just stands there and stares down at Regina. Spencer begins to sing, Change Gon Come by Sam Cooke. Spencer is starring away from the audience. The song is to be sung out of tune.)

Spencer I as born by the river . . . [Stares at the audience.] . . . well, the suburbs. In a little tent. [Stares at the audience.] A two-story colonial. And just like the river I been running every since. Its been a long time coming, but I know oeooo, a change gon come oh, yes it will. Its been two hard living, but Im afraid to dying, cause I dont know whats up there beyond the sky . . . Tyshaun Come on now man, leave to the soul singing to the brothers and well leave to the skiing and hockey to white folks? Spencer But I dont even like hockey. [The light fades down on Spencers platform.] Inman So how long you gonna lay down there? Regina [Regina quickly sits up.] It helps me to think down here. Inman Well, youre creeping me out. Mind sitting in a chair? Regina Im sorry for . . . I dont even, I dont know . . .

32

Inman . . . Do you love her? Regina I uh . . . Inman Do you love her? Regina What do you want me to say? Inman I want you to answer the question; do you love her? Regina I . . . what do you want from me? Inman Do you know why I havent killed you? Regina I uhhh . . . Inman . . . Do you know why I have not . . . Regina . . . Look I know that . . . Inman [He leans in close so that he is an inch away from Reginas face.] Do you know? [Long pause] Regina Youre trying to scare me . . . Inman . . . No seriously . . . Im been thinking about it. Just a few days ago . . . these hands, they were covered . . . covered with blood . . . another mans blood. One quick decision. [Snaps his fingers and walks closer to Regina.] And a life washed away. Why not you?

33

Why not now? I mean if ever there was a person I would be justified in leaving dead on the ground . . . Regina . . . I think that . . . Inman . . . I have not killed you because . . . because, I have made the decision not to. I think . . . perhaps . . . maybe, thats what we are. A collection of decisions. A series of small decisions. Regina Individual decisions? I dont believe that. Inman Think about it . . . Regina . . . We are more then our egos, we are more than id. Inman We are governed by individual decisions. I mean once you toss out religion, what are we but the decisions we make. Regina We are governed by the collective, the town square. Thats what murderers really are, those few wayward souls who offend the group, the town square. Inman Town square? Regina You didnt get here by yourself. Youre a product. Packaged and labeled. The crime you committed was not just against Spencer, it was against the collective. Inman The town square didnt give a shit about that man. They stood and they watched. They watched. You wanna hear the real gag. Some of the brothers, the blacks, my brothers in arms, the ones who usually laugh as I walk by because I am not black enough; some of them, they cheered. Not because they cared, not because they knew me, they cheered

34

because of my skin color. Because as much as they hate me, as much as I am other to them, they hate you more. The brothers cheered as I beat a man to death because it confirmed something within them. Because thats what it comes down too. We are children locked in dark closet clinging to our illusions like safety blankets. I killed a man with my bare hands and the town square didnt give a goddamned, didnt raise a finger to save him. Do you know that some even averted their eye and kept walking, the white folks, like you, they kept walking. They were thankful . . . thankful that it was not them laying on the ground being beaten to death. Regina So this murder, it was a social experiment? Inman I dont know. Regina A lament about the fading morals of the collective, the metaphorical town square? Inman Thats just it, there is no town square. I murdered a man in broad-daylight and it might as well been in a dark alley somewhere at 3 oclock in the morning. [Beat] You read poetry? Regina No. Inman A pity. [Beat] Conrad said, We live as we dream, alone. Maybe this thing, this urge to hurt and kill. Maybe it is just something innate, something in man that cant be strained out by civilization. Something in man that cause his to destroy these social constructs we build to protect ourselves. Regina Or maybe youre just a sociopath? Inman Thats a possibility too. Regina

35

Maybe your a con man. Inman Or maybe the truth is too ugly to know. Regina [Long beat] Yes. I love her. [The scene fades down and the next scene fades up.]

36

ACT TWO/SCENE TWO (A business man is standing with his overcoat and briefcase facing the audience.) Black Business Man Its gotten to the point that I hate walking the streets. When I saw the disturbance up ahead of me, I crossed the street. As I passed I turned my head. I know what blood looks like, and I know what wanton hatred looks like. Some in the crowd chanted, Im ashamed to say, black men, just like me, shaming themselves, shaming all of us.

I started out in the mail room of Hannity, Terrick and Silva. Shuffling envelops back and forth and totting cups of coffee to the higher ups when they asked. I know about working hard, I know about eating shit, I know about being black in a world thats not. Had my share of anger over the years, even had fantasies of one day walking up to the big boss and raising this big wide hand of mine [He raises his hand.] And striking him down with one blow. But thats all they were fantasies. What happened on that sidewalk was nothing more than a lynching. And those young men with their Hip Hop clothing and sagging pants they were nothing more than the Klan. And now the newspapers [Holds up the newspaper.] are saying that the boy, the victim used a racial slur, some witnesses said that maybe he called the attacker a name, a racial name. And so it begins. Now the papers have their bit of entertainment for next few months. The newspaper will talk about racism, the n-word, and in the fine print it will get mentioned that a young man lost his life. His life. Not discrimination, not an off hand racial remark. A life was taken . . . or did we miss that point? All the newspaper focuses on is race; color . . . what about the color red? What about the blood?

37

Is this what the Civil Rights Movement has wrought; is this what King died for? Blacks, my people taking their oppression and wielding it like a blade? Did the young man make a racial slur, maybe, but has being human become a capital offense? I saw the body. I watched a young man die.

Nothing justifies that. [Beat] They already think were animals. And after this who could argue otherwise? [Holds up the paper. Regina crosses the stage takes the paper out of the black business mans hand as he crosses to his platform.]

38

ACT TWO/SCENE THREE (Inman is sitting at the small table and he is rocking back and forth. Regina quickly enters the room.)

Regina Why didnt you tell me? Inman I dont know what your . . . Regina . . . Why didnt you tell me? Inman I dont know what . . . Regina . . . The n-word . . . why didnt you tell me about the n-word? Inman What the hell you . . . Regina [Regina slaps a newspaper down on the table.] . . . Two college students who were on the scene said they heard Jason Spencer call you the n-word. Inman What? Regina The n-word, the n-word. My friend its Christmas in June. The n-word. Two witnesses on the scene will swear that Jason Spencer called you the n-word just before the fight. Inman [Said quietly] It wasnt a fight, it was a slaughter.

39

Regina Whatever. Inman Why does it matter? Regina Are you kidding me? A racial slur. That instantly makes you not only the assailant but the victim of racial intimidation. A 6 foot 2, kid with wide shoulders mountain bike comes bearing down on you riding a mountain bike. Your blocking the sidewalk, that he shouldnt even be riding down by the way and then in a fit of annoyance tosses out the nword. Boom!!! Like a bomb. Get out the way n-word, your in my way n-word. And then, as the victim of ethnic intimidation, you snap, you flip and slam the kid to the ground and start wailing. You were staring at a capital case. Now all the doors are flinging open my friend. Inman You seem positively giddy. Regina The DA has a call into my office. Inman Really? Regina Yes, really. He wants to deal. He knows that a big hole has just been blown into his case. Hes gonna offer murder two, I gonna say go fuck yourself and after some hemming and hawing hes gonna shit out man one. Then, Im gonna beat his balls off until he coughs up man two. Four to six. With good time your home in three. You just got your life back my friend. Inman [Long beat] And what if its a lie? Regina Come again? Inman

40

What if its a lie? Regina What if its a lie? What the hell are you talking about? Inman What if its not a true? These two witnesses, are they black? Regina [Said with an incredulous look on his face.] What does it fuckin matter if there black? Inman Are they black, these two college students, are they black? Regina [Beat] Yeah, their black, so what? Inman [He gets up and walks around.] Their black, huh? And they heard, the n-word? [Beat] And what if thats bullshit? Regina Youve said consistently that you dont remember, so how would you know? Inman But what if its not true. [Beat] For that matter what if it is? Does that make murder okay, does that make slaughter feasible, the cost of doing business? Regina No, but it gives the incident a context. Inman But, you dont give a shit either way, right? Regina Im your lawyer, not your fuckin priest. If youre looking for salvation, its down the road to the left. I am not God. Im just a lawyer. Inman Does she love you? Regina [Long beat] I dont know.

41

Inman Youre lying. I can tell. Regina I cant do this. Inman Do what? Regina This. Inman Its already been done. Regina This is just too much. Inman Then get out. Run. Like everything else in your life that didnt unravel at your feet. Regina I cant do this . . . [He haphazardly gathers his things in his briefcase and quickly exits.] Inman [Said as Regina is leaving.] For most people the world doesnt spread its legs like a whore begging to be fucked. [Beat] My wife of course being the exception. [The spotlight fades down as the next scene fades up.]

42

ACT TWO/SCENE FOUR (The spotlight comes up and Spencer is sitting on a crate.) Spencer Are you fuckin shittin me . . . I mean, oh my fuckin God, are you shitting me. Jesus fuckin Christ. The n-word, the fuckin n-word. I have never hurt anyone. I dont hurt black people . . . I dont have problems with the bruhs. That is so total bullshit. I have never used the n-word. Yeah an occasional chink here and a spic there, but never, never have I used the n-word, fuckin never. Im not a racist . . . its fuckin re-goddamneddiculous. Man I dont even fuck with Republicans for Christs sake. Im down with the whole oneness of man . . . I am a progressive. [Long pause] But in the end it didnt matter, did it? I dont exist anymore. Im a whisper, a rumor on the lips of morons. Im a freakin new story . . . a, hey did you hear about . . . a punch line at dinner parties. [Beat] Fractured orbital bone, broken nose, shattered upper vertebrae, deviated septum, fractured skull . . . I have been reduced to a list of . . . I am defined by the last five minutes of my life. Yeah, five minutes, thats all it takes to deconstruct a human body. Five minutes. I dont . . . I dont exist anymore. I live in a . . .

[A black man in his mid-twenties ambles onto the stage dressed a white shirt and jeans. The white shirt is riddled with bullet holes. He is drinking a can of grape soda. The man is very cheerful and chipper.] Tyshaun . . . Hey, you that white boy who . . . Spencer [Spencer turns around] . . . Yeah, thats me.

43

Tyshaun Thats fucked up dog. Spencer Yeah. [Points to the bullet holes in the Tyshauns shirt.] And you? Tyshaun Oh, this . . . yeah, in retrospec, that whole shooting at the police thing was fo sho a wrong call. But live and learn, right, baby boy? Spencer Right. Tyshaun Nice bike. [Tyshaun makes a toast gesture with is can of grape pop and exits the stage.] Spencer [Spencer turns back to the audience.] We dont exist. [He touches the side of his face and blood streaks his hand. Spencer rubs both his hands together and holds them out for the audience to see.] I dont even know who I am anymore . . . [The lights quickly go down.]Im hurting. I not doing well. [The spotlight fades down as the next scene fades up.]

44

ACT TWO/SCENE FIVE (The lights come up on stage and a very attractive white woman in her late twenties is standing in cream colored business suit. In front of her is Regina.)

Lorrie How is he? Regina I dont know. Lorrie What is he saying? Regina He says a lot and he says nothing. Lorrie How is he holding up? Regina I dont know him well enough to say. But thats not what I wanted to talk to you about. Lorrie What? Regina I quit his case. Lorrie You quit his case. Regina I will be filing papers for a change of attorney today. Lorrie What?

45

Regina I cant do this anymore . . . Lorrie You cant do this anymore? Regina Lorrie, this is just sick. Im sorry I cant . . . Lorrie . . . But you can fuck his wife? You cant save his life, but you can fuck his wife? We are so far past your Judeo Christian bullshit guilt. He is in trouble and he needs the best. Regina But . . . Lorrie . . . Hes going down. He needs you. Regina [Long beat] He knows. Lorrie What do you mean . . . how? Regina Does it matter? He knows? Lorrie What did he say? Regina Surprisingly nothing. After he dropped the bomb on me the fucker hasnt mentioned it. Its all very cosmopolitan. Lorrie You have to go back. Regina Dont ask me to do that. Lorrie You have to go back.

46

Regina How can you ask me to do that? Lorrie There has been a lot of wrong done here . . . so much Im not sure where we can put it all. But we have to make it right. You have to go back. Regina Dont make me go back there. You say you love me, if you love me dont ask me to go back. Lorrie [She slowly walks over to Regina and passionately kisses him on the mouth. Then she says in a whisper.] I love you . . . [Beat] and Im asking you to go back. [The spotlight fades down as the next scene fades up.]

47

ACT TWO/SCENE SIX (The scene opens and Inman is standing erect and stiff. A chubby black lawyer enters the room. The man is in his mid-40s and is wearing a poorly fitted, cheap suit. The suit is shit brown. The man is carrying a matching shit brown briefcase.)

Reginald C. Cowlings Mr. Inman. It is a true pleasure to meet you sir. My name is Reginald C. Cowlings. [The lawyer reaches into his breast pocket and produces a rumpled, dingy card. Inman just stares at him.] Ill just sit the card on the table for ya. I work for the National Association for the Achievement of African Americans. [Long beat] Weve become interested in your case. We have watched the way the media has attempted to destroy you, vilify you. A proud brother who built a life with his own two hands. We hear tell that you are in need of representation. And my organization would be honored to represent you.

We feel that your case is a seminal case in our countries history. [He sits down as Inman continues to stand.] We feel that your situation represents an opportunity for our people to really test how far weve really come. If ever there was a case of mitigation its this case. What happened to the boy is a tragedy, certainly, but this case did not begin with you. This case really began 400 hundred years ago, when we were brought here, the rage that spilled out onto that side walk is bigger than you, bigger than me. It is a hatred rooted in the soil of this country. A poison that has choked the life and soul of our people. You are symbol, a symbol of the intolerance and hatred and pain that racism causes.

48

I want to help you; I want to save your life, your honorable life. I want to show how a man of your accomplishment can be driven to the ultimate, heinous act. We want to show America what they have created . . . show them the face of the chicken that has come home to roost. Inman [Inman walks over to Cowlings.] Sir. This case is a three-ring circus and youre the lead clown. Get the fuck out. Cowlings Mr. Inman . . . Inman [Said with a flat affect.] . . . Now. [Cowlings scrambles to his feet and leaves quickly. The spotlight fades down as the next scene fades up.]

49

ACT TWO/SCENE SEVEN (When the spotlight come up the two men are at the small table.) Inman Thank you for coming Regina Look, Im going to negotiate your deal. Like I said the DA is offering man two. Thats four to six. Inman Yeah, I didnt call you . . . Regina . . . Hear me out . . . this is a done deal. We just have to work out the paperwork. 4 to 6, with good . . . Inman . . . Out in three, I know. But . . . Regina . . . They want a guarantee that you do the max on that. What Im looking to get . . . Inman Listen. I wanted you to come here so that I could ask you something. Regina Ask me what? Inman To take care of her. Regina Sorry. Inman You heard me. I want you to take care of her.

50

Regina What we had . . . I dont know that she feels for me what I feel for her. Inman Im not here to judge you. Regina What about the two of you? Inman What about the two of us? Regina I dont know. Inman Just because your having an affair with my wife and digesting those chunks of our marriage that she chooses to regurgitate dont think that you know me. Dont think that you know my marriage. Marriage has a history of its own. And if you didnt live it, you cant know it. Only Lorrie and me know the things that passed between us. Regina Maybe, but I know that she loves you. Inman What we had died a long time again. When love leaves the only thing left, if youre lucky is a respect. Regina Inman . . . Inman . . . Regina. When you leave I want you to go to her. Go to her and be there for her. Regina Youre still talking like a man whos facing a capital case. Inman I am stained. She does not need to carry that stain. Regina [Beat] Can we talk about the plea deal now?

51

Inman Promise you will go to her. Regina This is getting down right creepy. Inman Promise me. Regina Okay. Now can we talk about the best plea deal I have ever seen in my legal career. four to six, Mr. Inman, four to six. Out in three. Inman Yeah. Out in three. Out in three. Regina Okay this is what you need to know . . . Inman I dont need to know the details, Regina. Make the deal. Regina But there are some details I want to . . . Inman . . . Regina, just make the deal, whatever you decide will be fine. Go make your deal. Regina You sure. Inman Positive. Go make the deal and then go to Lorrie and tell her what has happened. Regina She knows already. Inman Yeah, just go to her. Regina Okay. Inman

52

[He stands up.] Out in three. [He laughs. The light fades out and the next scene fades up.]

ACT TWO/SCENE EIGHT (The spotlight comes up and Lorrie is standing and waiting. Regina enters the stage and is clearly upset. He is walking slowly and his eyes are cast down.)

Regina Lorrie . . . Lorrie . . . Is it done? Regina Lorrie . . . Lorrie Is the deal done? Did the DA sign off? Regina I have to tell you something. Lorrie Did he sign off on or not? Regina [Beat] Hes gone. Lorrie I mean, that deal doesnt mean anything unless he signs off . . . Regina . . . Hes gone. Lorrie What do you mean hes gone? Regina

53

They found him in his cell an hour ago. They called me at the DAs office. The DA had signed off on the deal. Lorrie They found him in his cell? Regina He tied a bed sheet around his neck and . . . Lorrie . . . Hes gone. Regina Hes gone. Lorrie [Beat] Why? Regina I dont know. I dont know anything. [The spotlight fades down as the next scene fades up.]

54

ACT TWO/SCENE NINE (The light slowly fades up and Spencer is sitting in front of the spinning wheel on his crate. The light stops just above the wheel. Spencer is staring out into the audience.) Spencer Im fading now. I can feel. I can feel that sparkle slowly fade like an echo in a large room. Is this what death is? A slow phasing into nothingness. I can feel those bounds that held me tethered to the fuckin world begin to fray. I can feel those things that seemed like everything begin to mean nothing to me. There is blood on the concrete. That blood belongs to me, and for that matter so does the concrete, so does the cheers that helped usher me into this place. I fading like an oft washed stain . . . goddamit Im fading and I cant do a thing to stop it. The winds whipping again and Im blowing away . . . [Suddenly from out of the darkness a black hand grasps the spinning wheel and it stops. The light slowly rises a bit more to reveal Inman. When the wheel stops Spencer gets up off of his milk crate and turns around to face Inman. Inman has a bed sheet tied around his neck. As he moves forward into the light Inman removes the bed sheet and tosses it to the ground.] Inman Jason Spencer? Spencer Yes? Inman My name is Isiah Inman. We need to talk. Spencer Yeah. [The light slowly fades down.]

55

FIN

56