CHILDREN OFA LESSER GOD a play in two acts Mark Medoff James T. White & Company Clifton, New Jersey | |© 1980 by Matk Modo ‘AI Rights Reosrved agent, William Moris , Ine., Attention: Gilbert Parker, 1350 Avenue of the Americas, New York, NY 16019. ‘The amatenr acting rights to Children of a Lasser God are controlled ‘York, N-Y. 10016. No amateur performance of the play may be given ‘obtaining in advance the written permission of the Dramatists Play i 1d paying the requisite fe. be reprinted in theatre programs of the author, ‘other publication without pesmi Photographs by Martha Swope ‘Manufactured in the United States of America Cover Designed by Lynn C. Occhiuzzo For why is all around us here As if some leer god had made the world, But hatd not force to shape it ax he would? “dps of the King” Tennyson For PHYLLIS FRELICH and BOB STEINBERG who gave everything to itNOT SO RANDOM NOTES FROM THE PLAYWRIGHT It soms, fly, tobe about family. Jancary, 1977, I am in Rhode Island doing a workshop of a ‘The Conversion of Aaron Weis. I have knows the soeni designer Bob Steinberg fo year before and is doing th Bity of Rhode Island, where he know they have two sons; they say, i busy being a mother and homemaker but, boy, I should have seen her when am speaking lovdly—as gt the deste lee up high enough Taleo mou ing the deat all toget actor) a5 Helen Keller in The Miracle Worker. me to talk, T immediately stake: I speak stead of her, as if {in another country and he were some telephonic cond the cowboy and Indian movies of my childhood: Tell Red Cloud me want be ‘him friend. By the end of the second “conversation,” by wh hhow to sign How are you? T am fine—not exactly “communication” feel very frisky ‘Why? Because she's a ‘deaf lady? Because 1 decaf and ex the untying patitode of one of fe lat rae miners viito of fascination, pleasant ‘companionship, petition, T have never the shating, the collaboration, fe hangs up. Gets up. We head for the door. The ‘check out Theatre World 78-79, se how many ‘experience a moment of desperate desire for the suc to work together. Yet, we're these phone calls. He hangs Jodi. The tide could be tura- sight, the commencement of vows ‘working sround the Davidson pool, ‘men Forks o ‘the pool, ‘The cement sinks and spreads through the ‘water; the automatic pool cleaner goes after the viscid, lumpy glob. Good eter any longer. He is playing James Leeds iving. He has an honesty that comes off the will come to ad- ime, the play is more about James, ‘the reason; it won't happen until T0 ove more unhappy sout it than the workman hinsel So why bot Sosdon Danton doce E here the phone singing. He aor. I sect «set toda sonst he menor of the men ae Her votes wnt ‘A great deal could be written about the ra and their ditector. Sufice it to say that ultimately sand will succeed or fail by virtue of their com- ate well that frst dey. Yet, when Gordon assres me Children doesn't depend on his dir notion what thé’ new play process is yhat part a director ean—and should—play always appreciate his methods, For wed not a kind word about my work this, doesn’t think that works, the last weeks in August, we mect in New York, Phyllis and Bob have ‘been wandeting around the country wondering if the play will be done this iif $0, where. They anditon for Gordan, do very nice work for ‘houigh, that a! more experienced actor than Bob will ply i a likelihood that is dificult to adjust to. ‘Only Bob (on stage) ny head) have been James for as long as there has been a James, and though not a schooled actor, Bob has brought the part an unimpencha Die trathflness. And beyond that, there is the bond among the two of them, gically excised from the body fone which he will occupy with more dig- agine posible, x nity over the next months th fe. in LA, where we read the play-beginning to i developing ability to speak a common langiage young actor nemed John (es, there are small hotel fore rehearsals ate to begin and to write a ‘Though it has been Gordon's encouragement anew at the serit Ttely neces spend the fist weck of rehearals locked in the prodvtion stage man- ‘aged’s ofice at the rear of the Taper while the company rehearses ot discusses oF chews up the pages coming off my borrowed typewnter. (1 Se tage te Sac a ht ed ta ya op Bei ata? Nat 1 eek ead ee mente ot ny pod mero nee ey aoe xi‘As with any new pl rehearsal, there-is 2 lot of advice coming my way. of the company works nd plague myself a¢ follows: He hes to weep at the end or it's not even close yet. When 1 return to the office, I find him weeping. ‘We read the new second act in rehearsal that afternoon. Everyone is pleased. (And relieved. We open in two weeks. Be nice to have a few days to rehearse the second act. Be even nice to give John Rubinstein, the fastest sign language leamer anyone has ever seen, time to leam to sign James’ abun- dance of lines.) feel differently than Ihave bef first time in. my waiting career 1 Some part of me has heretofore hi Aoubt) and conveyed t ‘ence, now you ls these people inspite of the fact you don’t want oF Til write even nastier pe in L.A. Audiences laugh and ery. They like these peo- ‘moved by their lives. They are also conscious, I think, of being the bith of a historical undertaking. Though I never sat around at hadn't been done before, certainly 1 am mindful of the “newness” of this play's concept, and Gordon has all along urged me to find xii ‘the essentis] moments, scenes, ideas that make the relationship of James and Sarah unique, Dante, we select you. To move us to New 1's not kid sround: Thought a deat bead and herog guy on Bro {rom nmased a Job's ay, ene most ator, fo tly matin an ove xiiiview ofthe entire play rather than to see the whole entirely from his charse- te’s point of view.) in our optimism. way. In fact, am T not fierely confer Gordo: he ‘greatly by virtue of our move to New York. The apie within the company fa Aefont. We look dove ron the fry whee we shih, ssh, he says. Relax. Let people discover us. Trust me, he says. The fanny do. (Months later T find out why when I play my one and only the company sof the Broadway Show League: He's a damn good outfielder, together we spend several happy hours roaming the ‘utficld pasture of Central Park, gamboling like two colts. Its a good thing wwe didn’t know back in early March when we were rehearsing that the teant 7. Stephanie and the girls pay phone backstage atthe ‘The Daily News reviewer, 2 per work, jabbers or ‘my wotk—vitrolic prose sbout m the one we think we performed. (Of course, you xiv fone before from righteous playwrights.) Walter Kerr of The Times writes what many insist i a “good” revi to my eye—however “good"— pretty bad. No one is going to rush out to see the play he reviewed. The tele. ts 08 ink T would Vie awake and agonize all night. But tired. The morning and the days to come will be time enough for and fecriminations. ining the next moming. Perfect: to run. T 601 buses in the park. At ‘have a heat attack or tional morning: agent, the producers, the ad agency people yw —how stupid that with me and rans She is equally ‘unviling, the exb to the building undet Gordo loom, I find calm determination. ‘The producers prom- mn through the Tony Awards, even if they have to ind into it. T am'moved by these peo} ing faith that this play wi lose to one hundred performances aidy Jacques LeSourd in the Gannett chain. Radio re. Of the Newsweek review. The AP and UPI. And they are, at ters, at worst, damin good. xv8 $22.50 advance sale and a “good” review in The Times. Tam a touch miffed when that night, at midnight, the transit workers walk ‘out. Ts the upswing to be that short? ‘The next day the future begins to divulge its shape: Get to see Children of « Lesser God. We almost break even do the second week. We continue upward until we are, at ing to capacity. So, we're a big hit. What to worry about now? Why, the Pulitzer Prize, of ‘course. ‘The New York Drama Crites Cirele Award, The Outer Critics Circle Award. The Drama Desk Award. ‘And, oh yeah, the Tony. ‘And naw the obligatory disclaimer concerning avards in the ats: I of Talleys Folly) and Gordon (who ex rector of the revival of Mornings at ‘The word on the, Stiet when Stephanie and I arrive in New. York is that it's a toss-up between Lanford and me, that Ann Twomey it pushing Phyllis, at flu and Cordon ne oat of he nang, en? Pon PH GBR i en AB eR BIA EAE John asrures me we are going to lose hopes down, Protzct, ourselves! Keep ou four, that we must all keep our fenses upl I know he's offering rho longer prepared to ose. Ev- suffer what T supp wil smout to the eat ip ‘As on opening night in pletely sober Tony night. Tough guy? No ‘with my own mind's eye what happens to me tonight and how T behave in the fae of it ‘Stephanie and I come to the Mark Hellinger Theatre with Phyllis and Bob it other, a5 if proximity alone is not ‘enough. When we vaload of thinking we should bury inside so that our car can pull away and the eat fof someone the throngs will recognize can pull up and unload. Tam nervous until we enter the theatre, Then, there among so many ig to one aisle, 8 fe from us, Gordon further down ford is ditectly across from me. 1g cle, we get on camera in some shot or other so We clamp our hands to gether and try to pay attention to the behavior of winners. (How "bout some pointers on how to lose?) ‘When Vivian Matalon gets the Tony for Best Director I want so badly for eto the Strest word (and to the "Then James Earl Jones announces the award for Best Play. And T am in Aight from my wifes embrace to that stage sil xviii i ie ie Children of « Lesser God was fst performed on Aptil 25, 1979 in a work Shop produetion at New Meco State Univesity. ted by the play- by Prot, Costume Design by Jody was Cliford Young. ‘The cast was as follows: Jooans Lexps Robert Steinberg Saran Noman Phyllis Frelich Ma. Fepen Victor M. Bravo Ma. Feaneun David Edwards Coronet, Lesns Peter Davis Karmenive Leens ‘Arline Belkin Onms Tarer William Blake Potter Cuan Toots Judy Ewing ‘Mas. Noman Robin Hayner Ruri Noracaxe Suzanne Heaton Da. Nevins Trorrer David Long Tanne Joseph Mailander Aun Gregory Pake (Understudies: Juli Snow, Tim Nichols) n of « Lesser God was presented by the Center Theatre Group at the Mark Taper Forum in Los Angeles from October 25, 1979 t0 December 9, designed by Thomas the costumes by Lilly Fenichel and the lighting by Tom Ruzika, ‘The cast was as follows: Sanam Norman Janees Leeps John Rubinstei Onw Danas Lewis Merki‘Mr. Fraseun William Frankfather Mas, Nokasaw Jo de Witter Lea, : Julianne Gola Eowa Kusm Valerie Curtin Children of a Lesser God opened in New York on March 30, 1980 at the Longacre Theatre. It was produced by Emanuel Azenberg, The Shubert Or ganization, Dasha Epstein and Ron Dante, disected by Gordon Davidson, ‘The Set was designed by Thomas A. Walsh, Costumes by Nancy Potts Lighting by Tharon Musser. Associate Producers were William P. Wingate and Kenneth Brecher, "The cast was as follows: Sanam Noman Phyllis Frelich Jasons Lenns John Rubinstein Onn Dixons Lewis Merkin Me. Frarezaw ‘William Frankfather Mas. Nonstax Scotty Bloch Leow Jolianne Gold Eoxa Kuzaw Lucy Mi THE CHARACTERS Joneis Luxns: — thirtyish. A specch teacher at a State School for the Deaf. twenties. Deof from bi (Oni Danas: fn his twenties. Has some residual hearing; « lip reader. Sanat Nomnean ‘Mas. Nomscar: Sarah's mothor. (Mn, Franxtin: anywhere from his early thirties to. his midfortice, The ‘Supervising Teacher at the Deaf School Lamu: inher let tens. Has some residual horing; ip reader. owe Kuen: thiy to forty. A lewer. ‘The play takes pl in the mind of J is memory for a ‘The stage is bare, holding only a few benches and a blackboard and per mitting characters to appear and disappear easly. ech where the is eoncemed me Fete jign Language (ASI kets] indicate portions of a line which are signed but not spoken,: ACT ONE the climax of an argument James and Sarah alone, m they'll replay at the end of the play. She “speaks were we to translate it into standard ‘be saying: I have nothi lligence, no language. I have only you. I don’t need you. Thave me alone, Join, unjoined. she fe have nothing. Me deafy. Speech inept. Intelligence— Dlockhead. English—blow away. Left one you, Depend —no. Think myself enough, Join, unjoined— (Sarah runs off) yastss: (Not signing) She went away from me: Or did I drive her away? I don't know. IfT di to be having trouble . In the beginning there was silence lence there could come only one thing: Speech. That's right. Human speech. So, speak! (Orin has entered the classroom area—looks at the blackboard on ‘which is written the following:) oun: “Speech is not a specious but a sacred sanctiona, secured by solemn sacrifice.” 1yavns: (A together, energetic James) Very good, Orin. conn: No, it wasn't, Jaws: It was better. A couple of things, though— ontn: Mr. Leeds, remember you have to look at me when you'ze talking, Janmms: Sorry. A couple of things though. Specious. Specious. It’s softer, like sshhh. ‘ony: Specious, Jantrs: All right, good. And the final ‘ons: Sanctiona, ” in sanction, janes: Wait, please. Watch, Sanction. Un. Un. ‘onry: Sanctiona. That was wrong, damn itt ames: That's okay, Orin... Watch my tion. Look up in here. Sanction. “Un, movement of the tongue to the roof of the mou oman: Sanction, antes: Yes! Good for you. How did that feel? ‘on: How did it sound? antes: Tt sounded beautiful. ‘ons: Then it felt all right. yantrs: Speech. ‘ons Speech. (Franklin and Sarah enter) FRANKLIN: Mr, Leeds... james: (Indicating that Franklin should wait; keeping his focus ‘on Orin) Specious. owns: Specious. on ia yakees: Sanction. fonm: Sanctiona, yamtzs: No... own: Sanction, janes: Yes. Hello, Mr. Franklin, How are you, sit? ynawnuin: Just dandy, Mr. Leeds. That was very impressive, own: Thank you, Mr. Fran aanrun: You never worked that hard for me, igning for Sarah's benefit) 1 [Asshole.] nanan: Ah, No garlic then for Mr. Leeds—or is two weeks too soon to decide the ga ion? oni: You want to smell? raanxuin: No thanks, I just had an ice cream cone, yams: (Smoothing things) Jink that'll be all for today. ‘oun: Could I see you tomorrow maybe? janes: Sure, you want to have lunch with me? on: Okay. Thank you. sanan: (As Orin greets her yantrs: (To Franklin as Orin ‘moves away) Garlic? onm: (Signing only) [Think rranxuin: Sometimes they like so? Bend over and find out] the speech therapist. (She does; Orin smiles and passes her) saran: Chicken, conn: (Signing only) [Later](Orin leaves) ning the following dialogue) Mr. Leeds, this is james: Hello, Sarah. FRANKLIN: Say hello to Mr. Leeds, Sarah, saran: You deaf? games: Am I deaf? No. Why? (She Looks as if she may exit) (She tayl ates a dog “staying”) Cute, yaves; Well, you did say that to her as if— eanxiin: (No longer signing) Pardon me, Mr. Leeds, but save the lectures for staff meeting, okay? Sarah has a certain aver- sion to learning speech, but she worked so hard for your predecessor that I can't imagine she won't do the same for you. So, I'd like you to take Sarah on in your spare time. games: (A Bi lated by her) Well, I wouldn't go so far as to say I have any spare— (Franklin thrusts Sarah's fle toward James, ending the discussion, Jarmes takes it) Fine. FRANKLIN: Good. Do you play bridge? yams: Yes, Ido. wnanxti: Good. Eight o'clock tonight, my place. (To Sarah) Deaf power. Thumb up. (Franklin goes. James speaks to Sarah as if he assumes she can lip read) 4 james: Well, Sarah. Would you like to sit down? Right here. (He sits. She remains standing) ° Okay, why don’t we both stand then? (He stands. She sits) T see, Very good. You got me there. (He sits. She is inattentive) Could you look at me, please: Excuse me, if you don't look at me, Tean't. .. (She looks at him) So. You are one of the dorm assistants, is that correct? Or aan apprentice instructor? (She stares curiously at his mouth) Ah—no, I see it says tight here you're a maid. A maid? (She stares at his mouth) T can't help i 4 certain reluctance to communicate with me, Is that because you're afraid you'll be embarrassed by the sounds you make? (She stares at his mouth Are you reading my lips? I don’t think you're reading my lips. (Signing) Gee, that was quick of me. Okay . . . (He loosens his fingers and wrists and begins to sign) Why don’t we start by signing with each other and maybe for next week we can. shoot for an oral interpretation of Fi Finnegan's Wake? Forget it, bad joke. Want to play stand lown again? (He's bombing)Gee, . I get the feeling Mr. Franklin is trying to phy a ke on the new teacher—putting his . (Speaking it only) . . . delusions of grandeur—( how do you sign delusions—elus. ing) You know, the joke would be ‘came in here and got you to speak for ook good? y— n-s—"dream”? (Noth- Frankl just . Wanna make me sanatt: Faster, huh? ames: (Thinking she's agreed to cooperate) Okay. Thank you. sara: Faster. Move it. Fly. Speed. gases: I didn’t understand that. saran: (In slow Signed Eng- antes: Oh, ift If. I. Do. Not lish) If you do not sign Sign. Fast. Ex. The hour faster, the hour will be be over before I over before you finish finish my opening speech. ‘yout opening speech, (It takes him a moment to comprehend “If"—she's doing it very slowly. As she goes on, her signing becomes faster, ending in a Blur, James’ voice trailing be yams: Ate you di is because I'm not deaf? I used to pre- tend to be deaf, if that counts. Look—you can't do this to me. I was in the Peace Corps for three years—I saved Ecuador. (Ii takes him a while to finger spell Ecuador) —s0 I'm scheduled for a lot of success here, if you know what I mean, (ope) ‘Well—-good—okay. Why don’t you come back and see me sometime and we'll have the same fun again, saras: You give up easier than most. yamess: I give up easier than most? 6 Ae it le as nee ganas: (She goes. After she's gone) Right—you can go. ° ‘was, Nowwaw: (Entering) If you don’t mind, Mr. Leeds, I really don't feel like going through another interrogation about Sarah, I've come to feel like a mandatory stop in some train- ing program for new teachers at the scl yamus: Mrs. Norman, your daughter's file ‘been home here since she was eighteen, cates she hasn't ans, NORMAN: That's correct. janes: May I ask why? Dans. nortan: We sent Sarah away to the sd eds. When she decided not to 't consult me, yams: But you went out there to visit her. ‘ms, Noaaay: I tried. Then I stopped. sanars: T see. ers. NoRwAN: Then you're unique among the teachers who've come calling here the past twenty-one years. Janes: Mrs. Norman, Sarah’s twenty-six years old. ‘The only reason they let her stay at the school at her age is because she works and goes through the motions of attending lasses. Did you know she’s a the dorms? as No. I didn’t, I'm sure you have an altemative in ough. James: Well, her test scores indicate except ‘as, Noma: Come on, now say: ‘There's hope. 7yancns: There's ¢, there's still hope. ans. NoRMAN: For what? James: For her to achieve the communi 3¢ oF at least a good trade school ans. NonMAN: Communication skills? In other words, you're s trying to force her to speak aid lip read so she can pass hearing. f yantes: No, what I'm trying to force on her is the ability to fune- tion in the same world you and I do. if that were something to aspire to. Now, will that be all, Mr. Leeds? antes: Nomis Mr. Norman here? If you won't— hans. NonMan: Mr, Norman went away shortly after we sent Satah to the schi over twenty year door. (Mrs, Norman exits as Sarah enters) games: (To Sarah) I didn't think you were going to come back. (She holds out a note to him. He takes it) “Dear Sarah, Please see me tomorrow, I'll have some new routines. James Leeds.” I wonder who wrote that, Want to play stand-up, sitdown again? (She smiles a small smile) Careful—you're s (She frowns) Sony, Are you coming in or not? 8 (She comes in. He writes“Sarah” on the blackboard syllabically, with accent and vowel markings) ‘ “Sarah.” (She stamps her foot to get his attention) sanatz: You barn your draft card? 'm sorry, di sanant: Draft. Card. James: Army, Card. Oh—my draft card. sanan: I heard you were a radical in college. Jans ‘my what? James: You heard I was a. . in college, I'm sony, I didn't get. (He indicates “radical.” She writes “RADICAL” on the black- board opposite her name) Ab—you heard I was a radical in college. No. I bumed my Blue Cross card. sanan: Why? yaness: I was afraid to burn my draft card. And the Blue Cross card wasn’t going to be that useful in the Peace Corps. saat: I don’t understand, Jantns: That's a joke, sanatt: I don't see the humor, Jamis: You don’t see the humor? Now that we're tal don’t seem to be understanding each other any better. Why should wer Why should we?, Because I have learned all these tech- niques that are supposed to work. I wasn’t exactly a radical, was sort of left of liberal and right of radical. ‘sanan: Where's that?James: Where's that? I still got my hair cut short before going hhome for major holidays, sana: Why? James: Why? Well, my father scared me. He was a colonel in the army, fight in the war? id he fight in the war—he had billing above he United States presents Col. Walter J. Leeds in The Vietnam War.” (He makes war noises) sanatt: Another joke? santss; Another joke, ri You're a terrific audience. le and my signing is boring, If you ink I was a scream, “scream.” That's a hearing idiom, saran: But I'm deaf, Jase: You're deaf. Ill try to remember that, ut you'll keep forgetting. I keep forgetting, But you'll keep reminding me, Bat you'll still forget. I still forget. But you'll still remind me, sarau: No. I'l give up. JAMES: Maybe you won’t have to give up. saran: Why? Janes: Maybe I'l remember, saran: I doubt it. yauans: Well see, Sanazt: Right. Orin won't be so impressed when he finds out you weren't a radical (He heads for the blackboard) Oh, yesterday I had a really lousy visit with your mother. saan: (A burst of ASL) I'm a big girl now. Why do you have to ask my mother for information? James: What's the matter? Wait a secon: mean to do whatever I... Look, what sara: What! What Jamtss: That's my best sign, What! Look, could we stop please? Why don’t we. . . sarau: What? + sneak over the wall and go into town to this Italian restaurant I discovered last weekend, Saran: You're crazy. Janus: Just say yes or no. (A beat) Yes. yams: Good. T trees behind All right, I'l mect you iu une hour in the duck pond. I'l whisper your name, sanaut: You're not funny, Jans: T think you do think I'm funny but you're afaid if you you'll lose something. You know what I'm talking a(Lydia has entered several lines earlier and seen the last of this from behind a comer of the blackboard. She laughs) (Oh Christ. Are you Lydia? (Lydia stares at him. Nods) How do you do. I'm Mr. Leeds, Lydia. (He shows her his sign—an “L” to his heart. Sarah and Lydia laugh) T'm getting some laughs here finally. Why dre you sana: You signed “lazy.” yanuns: I signed “lazy.” (Comparing the two signs) Mr. Lazy— right. Another great start. saran: If you can’t handle her alone, whisper my name. t handle her alone, whisper your name. You're than you and I would bé a better teacher. Janus: You're funnier than I am and you'd make a better teacher. If you want to be a teacher, let me help you learn to speak and lip read. sana: Screw you. (She goes, looking back) typia: Bye, Sarah, yams: Excuse me, I know that sign! That's one of the first things I leamed—how to talk dirty, (A beat. To Lydia) ‘Are you afraid of me? zxota: No. Sarah. james: We're in the same boat. Fry xpi: In a boat? James: No, we're the same. She scares me too. yom: But you're the teacher, yanes: Teachers can’t be scared? xxp1a: Oh no, They have to teach, games: This one also has a lot to lean xpi: TI teach yo James: TIL bet you there, “Lydia (He writes her name on the Blackboard syllabically, with the ac- cent and vowel markings) Il. Why don’t you sit down right over Lypra: Can we have our lesson in the same boat? Jantzs: What same boat? Lxpra: On the duck pond, yanens it) Doesn't know quite what she's talking about but wings Yeah. Maybe one of our lesson: warm up for each session. Slide a is is how we'll (He brushes her hair from her cheeks, revealing two large hear aids running from her ears into her shirt pockets; obviously she uses her hair to try to camouflage the amplifiers) T want you to listen, and watch my mouth, and then repeat exactly What I say. (Sarah enters, her and/or attire tly altered. She comes into the “restaurant,” signifies “two,” sits, looks at @ menu ab James arid Lydia continue) Aaaayyyy. ypma: Aaaayyy,yates: Eecees, wor: Beoees, yanens: Eeeeyyyyece, xia: Eeceyyyyece. yamees: Yooouuuuun, rypra: Yooonuunnu, Janens anp txpia: (Together) Aaaayyyy. games: (Ic wah) What york: (Continuing by her- would you like? self) © Eee, Eeyyee, ohhh, Yoouu, (Lydia leaves) (Sarah deliberates a moment, then points at something) Dessert? You're sure you want to start with dessert? (Embarrassed, she quickly tries to decipher the menu again) Okay—wait—sure, I like the idea. Well both start with des- sett. sarant: Wait. (A beat) Help me, janes: I'd be pleased t6 help you. Should I suggest sonnething? sanam: Yes, yawes: (Not signing, to himself) Well, the veal piccata is nice, (James mouthing, as for a lip reader) Veal piccata, 4 (Sarah looks away, James to finger spell) Tm sony. V-cal [piceatal. See, by the time I finish spelling it, they may be out of it. sanan: What is it? cting that form of communication, forcing ances: That's veal sauteed in lemon and butter. saxan: What's veal? anus: What's veal? Well—what the hell is veal? How do you sign calf? al, sanant: Cow baby. games: Cow baby. Makes sense. Would you like some of that? sanant: No. baby sauteed in lemon and butter pasta. sarin: .. herbs... yams: Herbs. SARAH: . . . meat. Stuffed James: And meat, Stuffed in—Ah! You've itl take me another hour to spell. Ca saram: Try. Janes: Okay. What to drink? 45 described a dish oni,SARAH: Milkshake. “jerking off’) t janes: What's that? ) Mibkshake, Li-k—That’s the sign for milkshake? * Ya know, in the hearing world . . . Forget it. ‘You don't want that with Italian food anyway. Help me, T'm dying! swan: What do I want? Jamtes: You want wine. I mean, do you want wine? saran: Can we? JAMES: Of course we can, Should have wi sarait: Good, with Italian food, Jans: Okay. How "bout a nap? sanant: Why are you trying to be different from the other hearing teachers? Janmns: Why am I trying to be diferent from the other hearing teachers? Why did I have to bring you to an Ttalian restau ant to get you to talk to a hearing person? sanant: [ need what you want to give me. I have a language just as good as yours! Jantxs: You don't need what I want to give you. Your language is just as good as mine~among the deaf, Sarah, sanaxt: Where's the garlic bread? 's the garlic bread? Over there by the salad. Come how you. (They rise and move to the ‘salad bar.” She seems confused) You take a plate and help yourself. (She does. He watches her) we world? 't you like to be able to function in the hearing saran: No, yams: No, I mean to be able to speak and lip read like Orin? SARAH: O: James: Yeah, (She draws a grotesque picture of Orin speaking—spitting, his mouth contorted) ‘Oh no, Orin doesn't look like that, yamss: Lydia doesn’t look deaf look like that som« sanau: Aluays, that either. People who are born 8. Janes: Always? I know: Lesson number one in grad school: Very difficult to teach someone born deaf like you to speak and lip read, because you've never heard the sound of a human voice—okay? But it can be done. (Sarah looks avway. James gets her attention) I mean it. What’s more ex- citing than something truly difficult? Sure, it’s easier for Orin and Lydia because they can hear a little bit. All right, look, you and I can start with lip reading, whudduya say? (She closes him off, returns to the table, He follows) You like being a maid? ywork alone and saan: Not with toilet bowl cleaner. James: Not with toilet bow! cléaner. You should have to that was the attraction, You clearly have the int to (She concentrates on her food, closing him out again) Okay, I give up. What do you want to talk about? sanant: I want to eat so we won't have our hands. James: You want to eat so we won’t have our hands. Well, I may just bury my face in the plate and keep talking. (A beat) sanatt: Talk about you. Jamtes: Talk about me. Okay. What do you want to know? sanant: You said before that you used to pretend to be deaf. Janus: I said before that I used to pretend to be deaf. So you ‘were paying attention. sazan: How did you do that? Janus: How did I do that? That's easy. I just... (He puts his hands aver his ears) saran: Why? antes: Why? Forget it. sanast: Come on, come on. James: Al who ‘My mother was Jewish; she married a Catholic cout to be an athei 't matter because my 8 mother tumed out to be of a faith heretofore unknown to man. She designated me her confessor, complete with semi- innmaculate bieth and healing powers. sanant: How? yanees: How? Well, T used to... Demon . . . come out! You know—hands over the ears... (He starts to put his hands over her ears, She pulls away. He demonstrates on himself—snapping his hands away from his ears) «+ «like this. sanant: Where's the deaf part? yancus: Where's the deaf part? The time finally came when I had to stop hearing her, so 1... « (He indicates shutting his mother out. A beat—he disturbed) Did you ever pretend to hear? saran: No. . . Yes. I used to pretend . . . yamtas: No. Yeah? Come on, tell me. sanatt: Dance? yawes: You wanna dance? sanant: I can hear the music. games: How do you hear the music? saran: Vibrations. games: Vibrations? saran: (Deadpan) Thro yanuss: Through your nose? (Sarah breaks into a smile. They move toward the dance floor) ‘There's nobody else dancing. (They dance—managing to come together physically. Perhaps out of fear, unease, whatever, she pulls back and talks to him ‘while they continue to dance) h my nose. a9saan: Why did you become a speech therapist? yannis: Why did I_get into speech therapy? I don’t Know. L dance. sarast: Dance and talk, yams: Dance and talk. No, that’s too hard i (He pulls her to him. They dance. She pulls back) Saran: Tell me, (They dance and talk after all) Janus: In the sixties it seemed important to do things that 4 ‘weren't simply self serving. SARA is self-serving? James: This is self-serving? I guess it is; in that it feels good to help people. saan: But y t helping anyone. ing anyone? That's your opinion. janes: I'm not sanant: You're lucky. yantes: Why am [ lucky? sanant: Because you believe in something you're doing, even ugh you're not doing it. Jantas: Because I believe in something I'm doing, even though T'm not doing it. (She looks at her watch. table; he follows) ime to go. She moves back to the You know, you too could believe in something you're not doing. sanaut: (Me Blah, blah, blah, yantzs: Speech—right. Can I help you? (He helps her with her sweater. They walk in silence “outdoors”) 20 sanat: So your mother told you you were God... yantes: So my mother told me I was God. Yes, that’s correct. sanant: And that's why you want to make me over in your image. yamtes: And that’s why T wan Okay. saratt: Only one problem. to make you over in my image. janes: Only one problem—I thought there'd be at Ieast two. saraut: I don’t believe in God. yantrs: You don't believe in. .... Now, wait a minute. T thought deaf people were required to believe in God. Sure! ‘The damned of God who must perform a lifetime of penance. sara: (Putting her hands to her ears) Demon, come out! Why always over the ears? yanes: Demon come out! Yeah. Why always over the ears? I don’t know. he puts her hand to his head, his bel ) hy not over the head, over the bell SARAH AND JAMES: saraut: . . . over the mouth, (A beat, her hand ‘Time? mouth; removed) james: Curfew. saran: Bye. James: (Stopping her) Ive really enjoyed this evening wi sanan: Me too. (Sarah thinks he'll kiss her but after a moment he offers his hand. They shake and part. Orin, with an Ojo de Dios, a diamond shaped piece made of multi-colored yam strung to a wooden frame)yaseis: May T come in? onm: Hello, Mr. Leeds. anes: You missed our session, Orin. Are you sick? : ‘on: Iam busy making these to sell on Parents’ Day to a lot of { ity parents who will hide them in the coset. I'm not , Mr. Leeds, so if that’s what you came to find out... . janes: Wait a minute, is there something wrong? Between us? (Orin focuses on his Ojo. James gets his attention) Ori speak. conn: Is that what you want? I need some advice on how to get Sarah Norman to janars: Excuse me? onr ‘Why did you go out to dinner with Sarah? yams: How did you— es, we know: You want to help her. Sante: Yes, I fool us. You think learning to sign means you cate with us, that because you want to change tus we want to be changed, James: Oh Orin, for Christ's— ‘oun: One of these days, Mr. Leeds, I'm going to change this sys- tem that sticks us with teachers who pretend to help but re- ally want to glorify themselves! Jamus: Ido want to help, u have to believe that. ‘own: No, Mr. Leeds, I don’t have to. You have to. I thought you were different. janes: Listen, don’t lump me together with a bunch of jncom- petent— ‘own: Now, if you don't mind, please leave my room, 2 jyaams: Orin, can’t we sit down and talk this over? conn: No thank you. And, oh, by the way, I have had veal pic- ‘cata, Yes. Aud I have had other “hearing” food. yams: “Hearing food”? conn: Raw fish. Japanese, Zugee, anes: No, sushi. (Orin goes angrily) Ym sorry, Orin, I'm sorry . « yoia: (Entering) Hello, Mr, Leeds. janes: Oh, Lydia, I'm sorry I'm late. zyora: Iam reading your book, janes: (Blocking it as if it might attack him) My old Child Psy- chology book! zxoma: Pay yamers: Psychology. There's a good word for you. Ssss. . . (He writes the “P” on the chalk board) Sssssychology. (He writes the rest of the word) Lybta: What does it mean? yates: Cracking open people's heads. Why people do what they do. xxoia: Why do they? jyanms: If I ever figure that one out, I'll let you know. yoia: I’m having trouble with the first sentence. james: Ah, one of the greats. How could I forget. “Ontogeny re- capitulates phylogeny.” Psychology students all over the ‘world have read those words and moved into other fields. uyoia: What does it mean? 23Janes: Tt means that . , that we make ourselves over in oup uxmxa: Ob, good. James: Want to sit down? (Lydia sits) tanta: Mr. Leeds . . . that other night, you ate by yourself, hu Jn a restaurant in town. Boy, that’s lonesome, hub, cating alone? I ate by myself in the cafeteria, T read two books, read what you told me to practice. yanns: Oh really? Let me hear a culating) Thank you, ‘Tom Turkey, for iksgiving. 1 cafeteria on Thanks- yates: Maybe I Evia: I could eat with you. I won't read a book, Janes: We could just read this for tomorrow. (She takes the book and starts to leave. We hear a whistl Jastes: What was that noise? (Lydia goes. We're at. the “duck pond” after touches James, hands him a note) yantes: Well, at last pond after dinner. (A beat) se meet me at the duck le bread. James Leeds,” How many people did you tell about our going over the wall? sanast: Not many. avers: Not many. Orin was very upset. saxart: Orin thinks he’s the guardian of all us deaf children be- cause he's an apprentice teacher and speaks. Jans: Orin thinks he’s the guardian of all you deaf children be- ‘an apprentice teacher and speaks. sina: And he wants to lead a revolution against the heating world and thinks we can hardly wait to follow him. Jamis: And he wants to lead a. revolution a world and he thinks you all can hardly wait to follow him, ‘When his revolution begins, he can have all my old Indian headbands and wire rim glasses, st the hearing sanan: You think it’s funny to want to do something for your people? Janes: Do T think it's funny to want to do something for my people? sanan: How would you like to spend your life in an institution, in a world run by people who don’t understand you? James: How would I like to spend my life in an institution, in a world run by people who don’t understand me? Why don’t you go on the warpath with Orin? sanant: This isn’t stale bread. Janers: Right, the bread is not stale, I feel good so I thought Td bring some fresh breed. sanan: Why do you feel good? Janus; Because I missed you. sarau: Don’t say that,James: I haven't seen you for days. You've been avoiding me, 1 even ate lunch in the cafet inking I'd see you, sanan: I've been eating in the kitchen so you woulda’t see ie, James: You've been cating in’ the kitchen so I wouldn't sée’joiy, Wall, I didn't see you. You know, I hate to say tl you're the most mysterious, attractive, angry person P met. saan: Why did you miss me? Janes: Why did I miss you? Why do people miss each other? (Sarah becomes conscious of Lydia who has moved in to feed the* ducks too) sanan: Go! Get out of here! ss: (Calling after her) Wait! Oh that’s all right, Lydiat a... Come back... (She's gone) ‘That was a bit rough, wasn’t it? sanan: Should I tréat her like she's handicapped? JAMES: ink the only altemative to treating someone like they're handicapped is to treat them like that? sara: Yest Janrs: You should get out of the toilet cle give some seminars on interpersonal reat ing business and ips. ‘sanant: She's going to become dependent on you. yaness: Wouk me? that be so terrible if she became dependent on saan: She'll fall in love with you, Jamis: She's gonna fall in love with me. You know, all students don’t automatically—Jesus Christ, that’s quite a little you made there; from helping someone to learn some 26 love as-a result of happens to, be to dependency because the dependency. Thal bullshit. You have a sign for b- shxant: Bullshit. (A bull's horns with one haiid; at the other end, a closed fist with the other hand; the closed fist springs open. in James’ face) You're trying to con everyone. jaws: Excuse me, I'm trying to what everybody? sanaz: C-on everybody. janes: Con, No, not everybody—only you. Wait a second, I'm going to invent a little sign here. Deaf-bullshit. (The same sign as above with one horn stuck in his ear) sanan: I have to go. yates: You have to go? Fine, take your deat-bullshit and go. (Sarah starts to leave but James blocks her way, She forces his arms to his side and holds them there, stopping the “deaf- | bullshit” sign. He kisses her. She breaks free) kiss the giel and make everything better. (She goes) h, come on, Sarah! (He chases her) Sarah. 1 ynanxuin: (Entering from opposite side) Yelling at the back of a deat person. ‘That's very good, Mr. Leeds. Problems? Jans: No, Just trying out a new technique. FRANKLIN: What's it called—rape? . . . Mr. Leeds. ganas: Yes. oe bedioai es FRANKLIN: What are you doing here with Sarah? a7yams: Feeding the ducks, raaneun: Ah. Why? ovens: Because they're hungry... rnamy: Bécause theyre” hungry. FnankuN: Mr. Leeds—James—Jimbo, we don’t fornicate with the students, We just screw them over. If you ever get the ‘two confused . . . you're gone. (Franklin goes) Janus: I wasn't trying to screw her over, you damned . ... I was just trying to~ ) T usually don't get the second visit, Mr. Leeds. ames: I promise if I don’t strike gold this time, Il give up like ie others. ans. Nonscaw: I'm not sure you wil people, I understand, who rev yams: The guy who taught the Ecuadorians to grow and love brussels sprouts isn’t gonna be scared off by the insults of a guiltridden mother. 2MnS. NORMAN: T want you to leave my home. yamtzs: Look, Mrs. Norman, I know this is dificult ‘Mis. NoRMAN: You don't know what toa retarded child deaf from birth is James: Wait a minute. Sarah is not retarded! ‘They just thought she was until she was twelve. 1 ams, Noman: First they said she was, then they said she wasn’t! ‘What are they saying now? amass: ‘That she’s only deaf. ‘as. NonacaN: Only deaf. up, that is. There are ture. yams: She is not retarded! She's capable of learning anything. aes. Wonca: Then you teach her. yauees: That’s what I'm trying to do! Help me. Please. Tell me, did Sarabi ever try to speak? 3ms. NoRMAN: She stopped trying when it became important to het how she looked to my friends and most of all to her sister's friends. yantss: How she looked? es. She looked grotesque. She was afraid people think she was retarded. ‘anaes: Like you did. amis, Norman: I don’t know what I thought! I have stopped about what I thought! Janes: I'm sory. When Sarah came home on weekends, did she and her sisters friends go out together? What did they do? . . . Come on, Mrs. Norman, please. (A beat) bans, NoRMAN: There came a time when I could no longer tolér- ate the two of us in this house trying frantically to discover things we might do together—read, cook, sew—Here; look, see, we're having a nice, normal visit. So I asked—no, T demanded that her sister Ruth ask her boyfriend’s friends to become companions for Sarah and we would owe them dearly in another life. Well, it worked. I mean, you should have seen her, These boys really liked Sarah, treated her the same way they treated Ruth, with respect and . . . and if you didn’t know there was a problem, you'd have thought she was a perfectly normal . . . (A beat) ‘Well, you just can’t understand. (A beat) 29‘You're making me pity myself now, Mr. Leeds. Its been a | sanant:’ How--by showing me the joys of sex with a hearing man? Jong time. I would appreciate it if you wouldn't come back a third time, Please. yams: How—by showing you the joys of sex ‘with a hearing ‘man? You mean you and me? I don't see you making your- (Ske goes) : 4 self available for that kind of therapy. I think that’s one lan- janes: (To Sarah, who is pushing a maid's cleaning cart. She be. guage you don’t speak, gins cleaning the blackboard with a wet rag) FL sana: You don't know what you're talking about! Hello. I left you a note, It said: “Please see me this after 44 Il right, you tell it to me right so I will know what I'm noon, I'll bring the boxing gloves.” You didn't come so I ate y all the gloves myself. 'm sorry to interrupt your work, | sanant: You're so. « sara: What do you want now? 4 janes: Yim so what? What am I? Nosy? Stupid? Misguided? janes: What do I want now? Okay, I want to know if you think ‘Come on—whatever it is, I cam take it. ‘you can’t lear to speak, that you're not capable? ~ TY (ste tts him have it) sana: (Pushing the blackboard upstage out of the way) Not sinait: I have more than enough communication skills. You speech talk again. don't. They never did. yawns: (Helping her with the blackboard) Yeah, speech talk 5 ion. skills. Ye 7 » janes: I have more than enough communication skills. You ‘You're not retarded—you know that? don’t. They never did. They? Who's they? re ee ean sanat aND janes: (James translates now in the first person) (She begins to sweep) Hearing boys. They could never be bothered learning my “ 5 . : Tanguage. No—that was too difficult. I was always expected onus: Since you were twelve—right. But do you really believe to leamn to speak. Well, I don't speaki I don’t do things I i E can't do well, The boys who did try to communicate with sanam: What are you talking about? : ‘me got about as far as: How are you, I am fine. yams: What am I talking about? I want to know if your hatred (A beat) of hearing people has as much to do with us as it does with c At first I let them have me because they would. Sex was your hatred of you. pe something I could do as well as hearing girls. Better! It got came straight from a texthook to be that when I went home, the boys would be lined up sanast: That sounds a Uy on a waiting list my sister kept for me. Most of theur didu’t James: Well it did come right out of a textbook, but I think it’s ‘eyen take me for a Coke first. No introductions. No conver- ‘true anyway. Did not going home anymore after you were : sations. We just went straight to a dark place and [screwed]. eighteen—did that have anything to do with your sisters But I liked that communication. I loved it. It made me feel friends? The boys you were going out with? 2 a lot better than this bullshit talk you make. (She's silent) ‘i (She finishes her sweep up) ‘Let me help you, damn itt 4 sanant: Now, does that explain everything? p 5 RJamars: No, it doesn't explain everything, but it explains a little. 4 I you're going to find out. (She begins to rub furniture polish into a bench) Jaates: No, that's not hy lace you can’t enter. It's out of reach, Jantes: You live in a place I can't enter. Out of reach? ‘That sounds romantic, ‘sanatt: Deafness isn't the opposite of hearing, as you think, It’s a silence full of sound. yawns: Deafness isn’t the opposite of hearing, as I think, It's a si- Tence full of sound, Really? A silence full of sound? sara: The sound of spring breaking up through the death of winter (He doesn't understand the juxtaposition of: “winter” “earth”... . “broken? rowth” which is how she begins Tine; yet, he is moved by Jans: The sound of . . . What docs that mean? (Suddenly there isa softness, a closeness between them) sanam: My secret. No heating person has ever gotten re to find out. . . No person, period. Jaws: Your secret. No hearing person has ever gotten in there to find out . . . No person, period. (She runs from him. A beat. Night. He “climbs” a “tree.” He tries to get Sarah's attention at her “window” as she reenters) Hey! Open the window! (She spots him in the “tree,” but doesn’t open the “window.” He hangs onto the “tree”) Usually, 1 kiss the girl and make everything better, remem- ber? You didn’t like that one, so I climbed this tree. Tough to resist a guy who climbs trees for you, isn’t it? 3B 4 SHS sara: What if you get caught? yanes: What if I get caught? ‘The hero— (He almost falls) ‘Aauught (He clutches the “tree”) ‘The hero never gets caught on an important mission, Oh, I have another note for you. It says: “By the way, I'm terrified of heights. James Leeds.” Please let me in. (She throws the “window” open. He jumps into the room. Shy with each other but wanting to touch) I don’t want to be like those other guys. I want to take you for a Coke first. And I want to learn to communicate with you in whatever language we both can learn to speak. I like you. I really like you. saran: Why? I'm terrible to you. Jantes: Why? You'e terrible to me? No, you're delightful to me affectionate and sympathetic to a fault, (A beat) sanant: I thought you'd give up in the beginning. yas: You thought I'd give up in the beginning, Nope. sanast: I knew after what I told you yesterday, I wouldn't see you again. J4sms: You knew after what you told me yesterday, you'd never see me again, (He indicates: Here I am)saran: You're the nicest person I've ever known. 2 Janes: I'm the nicest person you've ever known. Do you mean > j that? s sanant: But you scare me. anes: But I scare you? I don’t mean to. saran: Idon’t think I trust you. antes: You don’t think you trust me? Take a chance. sana: T can't. You better go. antes: (A beat; disappointed) Okay . . . Goodnight. (He dives for window. She stops him. They embrace and move to the “bed.” He starts to “turn the light out”) sanast: Leave the light on. Jams: Leave the light on? sanast: So we can talk, James: So we can talk? During or afterward? sarant: Hard to talk during. ‘ans: Hard to talk during. sinat: Need my hands, yaaas: You need your hands. I need my mouth. SARAH: Silence, (They come together) ‘onun: (Entering) 1 know what is going on between you and Sarah. For weeks now half the girl’ dormitory has seen you climbing in and out of her window. Of course, you might have been going in there to coach het in speech. xp: (Entering opposite) Mr. Leeds, hi. ames: Shhh 4 zypid: What are you doing in my tree? anaes: I'm not in your tree, Lydia. zyo1a: You're not looking for Sarah, yastes: Sarah who? For Chrissake, shut your damn window! yp1a: (To Sarah) He's eating at my table on ‘Thanksgiving, you ‘now! (Lydia and Sarah slam their windows at each other. Lydia'goce) own: It would not be hard for Mr, Franklin to find out what's going on. ames: Look, Orin, if u're in love with Sarah, I'm sorry. ‘on: I am not in love with anyone, Mr. Leeds. ames: That's something to bé proud of. on: But I need her and you don't. ‘amass: She's not going to stop being your friend just because— ‘on: I need her for what we're going to do for deaf people. ‘antes: What you and Sarah are going to do? ‘on: Believe me, I'm not some joker who burns his Blue Cross Card! (Orin goes as Franklin crosses upstage) FRANKLIN: Sit down, please, Mr. Leeds. yamtes: (Freezing in the “tree”) Orin FRANKLIN: Mr. Leeds, I've heard a rumor I'd like to share with ‘yu to give you an idea of the fights of fancy that deaf peo- pile are capable of, : janars: (To Sarah) Franklin knows, saw low? yanazs: I don't know how. Someone must have told him. 5sara: Who? Jans: Orin maybe . . . ? sazan: No, (Franklin crosses over again. James and Sarah take cover) T'm told that if I were to station myself in the elm ide the girls’ dormitory just after curfew Jans: T can’t come here anymore, Franklin would fire me if he found out, sara: Who would have told him? Janes: Any number of people could have told him. tora: (Entering: speaking and not signing, in effect closing Sarah out) Hi, guys. What's new? "yamtes: How ate you, Lydia? Lyn: Oh, I'm fine, yastes: Good, good. ‘sanan: Is it time for her lesson? Jantes: No, she doesn't have a lesson with me today, saxan: Did you tell Franklin something about Mr, Leeds and me? yams: Yeah, Tapia: [have to go to handicrafts now, Mr. Leeds. I'll see you to- ‘morrow. Janars: Just a minute, answer Sarah's’ question, Did you tell Franklin anything— zxp1A: I'll see you tomorrow, (Lydia runs off) Sinast: I told you she'd fall in love with yoi, yams: Oh, she's not in love with me, ‘sanan: Maybe you should climb in her window one night, Janes: Maybe I should climb im her window some night? You're lustrating) She's dumb. Big breasts. Just what men Fondle her butt. Fondle her breasts, Jao: Is that really what men want? I'll tell you something, I happen to despise large breasts. You couldn't even give me 2 pair; if you had large breasts I wouldn't be sitting here hav- ing sulous— sanamt: Pimplest James: Those are not pimples. Those are perfectly charming, more than adequate . . . Jesus Christ, you're a human being. (As Franklin crosses this time, James slips innocently into step with him, asf they were strolling along having a conversation) tell you something that I might seem out of to you. You remember the day I brought Sarah to you told you she'd worked so hard for the speech guy here before you . . (Franklin leaves. Sarah looking out her “window.” James sli up behind Sarah carrying a gift behind his back; he startles her) yanens: Sorry I'm late. I got held up. saran: Robbed? yastes: No, not robbed. Held up. Delayed. saan, How did you get in? Janes: How did I get in? Through the cellar window, up the back steps, and down the hall on tip-toe, sanan: You're crazy. Janes: T had to see you,(They kiss, He hands her the gift box. She opens it. A shawl) T knitted it in handicrafts, (She puts on the shaw, is delighted with it: A beat) (Can T ask you something? sanant! Yes, Jamas: Franklin was kind enough to tell me you had a rela- tionship with the speech therapist before me. sanant: (A beat) True, yas: Franklin fired him when he found out . . . ? saran: Yes. Jannes: Was he a hearing person? sarau: No, hard of hearing, ‘Janes: Hard of heating, You didn’t want to leave with him? sanan: He didn't ask me. yanrs: He didn’t ask you, Sanam: Hard of hearing people think they're better than deaf people. James: Hard of hearing people think they're better than deaf People. Do you still carry a torch for him? sanant (She doesn't get James’ sign for “torch””) What? Janes: I made that up, Do you still... hurt? sana: No, I never butt from other people. Joners: No? You never hurt from other people. What if you ad- mitted that you do hurt? sanan: (A beat) I would shrivel up and blow away. 38 a Janexs: You would shrivel up and blow away. (A beat) Sarah, what if you and I left here together? sara: Whai? yasces: What if you and I went to live in the city somewhere? sanast: T couldn’t. Janes: Why couldn't you? You're scared? You'd get unscared. sana: What would I do? Jams: You could do whatever you want to do. What do you want to do? sarau: I want to teach in a deaf school. James: You want to teach in a deaf school. That's possible, ‘What else do you want? sanan: I want you. Janes: You've got me, What else do you want? saan: House. antes: A house—uh-oh, sanast: And ear, Plant a garden and... Janes: A car. Yeah, plant a garden. . . saran: So much! (Drawing a picture with her hands) Microwave oven! yams: So much. (Guessing Sarah's sign after a moment of Puzzlément) A microwave oven! How about a blender? sara: Yes, yaa sana: What? Inventing a new sign) How about a food processor! 39yams: That's a blender that's smarter than a blender. sarant: I want one! Jamrs: You'll have two of them! What else? Come on, Too late to stop now. sarant: Children, sanant: Deaf children. yas: Deaf children. {A beat) ‘What do you want me to say—that I want deaf children? 1 don't. But if they were, that would be all right. sanau: My father left us because I'm deaf. Jas: Your father Teft you because you weresdeaf. I am not going to do what your father did. sanan: What would you do if I went on with my schooling? Got a teaching certificate? Janes: What would I do if you went on with your schooling, got your teaching certificate? You mean here? sana: Yes. yates: I could still teach here, I guess, or I could finish my doc- torate—What am I saying? We don’t have to decide every- thing tonight. sarax: I want to, yams: I know you want possible. And you kn (A beat) sanant: T know it's possible on: (Ent ng) Tt won't work! It can’t workl 4 See si ‘: xxpia: (Entering opposite side) Mr. Leeds, you're leaving. anaes: We haven't decided yet, Lydia. Sarah) So you can attract a hearing man. Is that so much? zxp1a: I want to come live with you. antes: What? ons: Stay here and help me. zyota: You have to keep teaching me, ‘onwx: Do something for someone besides yourself for a changel ypu: I could sleep on your floor in a sleeping bag. sanaut: (Indicating Lydia) What? yamees: Lydia wants to come li sara: (To Lydi yances: Oh, Sarah, (Lydia runs off) ‘ons: Hey, I want to tell you something. with us, yantes: Oh, Lydia, come back. ‘ons: You have no right to tum her away from us. games: I have no intention— ‘on: You go with him and you'll still be a maid. His maidt yams: (Yelling after Orin as he goes) Heyl (Franklin with a clipboard in his hand, on which his attention is focused) FRANKLIN: So, will you be resigning at the end of the year? janes: Resigning? aynanxiavi: Not that I want you to leave. The bridge game needs you. And frankly, you're a promising teacher. But whether yon intend it or not, you're about to uprovl Sarah from the only home she's ever known, Jams: We're just moving across the street to faculty housing. Franxzin: Not to be terribly metaphorio, Mr. Leeds, but that’s a long distance. You're asking Sarah to step away from the ‘community of the deaf. saras: What's he saying? Janes: He's not saying anything important. sanart: You can't decide what I hear and don’t heat, right, Mr. Leeds. You can't decide what she hears and doesn’t hear. sara: You can't edit the conversation. yams: I was not editing the conversation, FRAN Pardon me, Mr. Leeds, it would seem you didn’t like implications I was making, so you chose not to tall saraut: Now what? Jantes: (To Sarah) He should be signing. (To Franklin) Mr, Franklin, would you mind— weanetin: Why don’t you sign my part of the conversation for me. antes: Why don’t you sign your own conversation? annum: T've got to fi what I'm doing here, and it'll give you a little practi anaes: Practice at what? sanau: What is he saying? vraniin: (Not signing, forcing James to sign it) Ym saying 1 think James should get a taste of being a translator as that’s ge ‘one of the problems facing him'each and every time the two of you venture into the hearing world. (Franklin keeps his head to his clipboard) saran: One of our problems! And what are the rest? Aren't you going to tell us the rest? FRANKLIN: I’m sorry, Jimbo, what did she say? Jans: Oh, for Chri—She wants to know if you aren’t going to forewarn us of the rest of our problems as well. FRANKLIN: (Forcing James to continue translating) I suspect nei- ther of you wants to hear that, Well, I'm sure you've both given this a great deal of thought. I've got to run. Thank you for telling me about your plans. I hope you'll invite me to the wedding (By the time James finishes interpreting, Franklin is long gone. James very frustrated) sanant: He's right—you will be’a translator. ? Oh, that Il be a translator. The trick is to do job than I just did. sanax.: Don’t hate me for not learning to speak. Janens: He's ri a bett yanzs: Hate you for not leaning to speak? No, 1 having the strength to be yourself. (Mrs. Norman enters. She hasn't seen her daughter in eight years. She struggles to communicate with Sarah, more through ‘gesture than sign) "l love you for ans, Noman: Congratulations, Sarah, I'm very happy to see you. You're so grownup. You're . . . Eight years. My, a person can't digest that in... (Sarah does not understand Mrs. Norman's sign) I don’t know how to say that. (A beat. To James) ‘She didn’t want to come, did she? You made her. BJanens: You don't make Sarah do anything, Mrs. Norman, sananr: Tell me, dams. Nonacan: (Managing to communicate, if haltingly) 1 said, you didn’t want to come. I don’t know why you've come, surat: I don’t either. To hurt you maybe, (To James) I'm sory, I'm rusty—what did she (Sarah insists on her mother's attention) sanaut: (Very slowly) Tohurrt ms, norman: H. U. R. To you. Maybe. hurt me, Maybe. saran: To show you I've done fine without you. James: To show you she’s done fine without you. (Silence: mother and daughter. Then Sarah breaks, begins to look around the “house”) ans, Nonwian: Do your parents know? yates: No, my mother’s dead and my father and I haven't spoken for several years, Saran: Can we spend the night in my old room? James: Sarah would like to know if we can spend the night in hier old room, (A beat) bas, NonwAN: If she'll promise to make conversation with me at breakfast in the morning. Jammss: [If you promise to make conversation with her at break- fast in the morning] (A beat) saran: Try, antes: Shell ty, sans. wonatan: Yes, Lremember that sign. [Try.] (Mrs. Norman recedes as the scene shifts) sara: My room. Janes: Your old room? Bit spare, sanast: I threw everything out the last time T came, yams: You threw everything out the last time you came. You can't destroy that time by throwing things away. sanan: I did. (James picks her up and carries her into the room) yaMrs: Small bed. sanatt: That's why I want to sleep in it with you. yas: That’s why you want to spend the night in it with me, sana: No man has been the night before yantzs:' No man has been ‘was the night before this room since I was five. That was sent me to school. this room since you were five. That yy sent you away to the school tayed with me that night. He cried. T never yams: Your father stayed with you that night. He cried. You never saw him again. Samant: After he hearing aid in her ear. My mother cried. yautrs: After he left, your mother put a picture of the Virgin Mary on the wall; one weekend when you came to visit, you drew a hearing aid in her ear. Your mother cried. Yes, I can imagine. sanan: The next visit there was a picture of Ricky Nelson. 4%yanurs: The next visit there was. a picture of Ricky Nelson, ‘Makes sense. Why Ricky Nelson? saran: I don't know, I never asked, she never explained, antes: You never asked, she never explained, saran: Nothing else on my antes: Nothing else on the walls, saran: Just that picture: “To Sarah, Good Luck, From Ricky.” In my mother’s handwriting, ‘anaes: Just that picture: “To Sarah, Good Luck, From Ricky.” In your mother’s handwriting. (A beat) Your mother wanted very much to touch you tonight. But you. . . Maybe you wanted to touch her. saraxt: I can’t give more than I gave. james: You can’t give more than you gave? I wonder. Maybe you could. You hardly ever get a second chance to. . (James turns away) sanant: What are you talking about? yates: Nothing, Forget it. None of my business, ral me, SARAH: Janes: Just the way your mother was standing there, staring into space. sarau: You're youees: Vm hiding? No, Yur uot . . . Yes, Tam, You remember 1 told you my mother died two years ago... sanaut: Yes. James: She killed herself. My father had left her after twenty- ight years, Just strolled away. Left me to take caie of her. 6 She lived with me for almost three yeats. When’ I raised the rent, she... (A beat) Look, I really don't think we're gonna fit on that little bed, whudduya say? saran: Tell me the rest. James: Tell you what rest? (She lifts his hands up, encouraging him to go on) stead of sitting on her bed pre- ing to listen to that day’s outpouring of grievances against the world, I tried a variation on the ritual. can’t take care of you with you one more day ‘one of our heads.” She was very good. She picked a cracker crumb off her blanket. Help- fully, I took it from her, put it in my mouth. And she just sat there staring into space, until finally she smiled—not at me, but at some absent third party—and she said, “James, can't save me; he never could. Amen.” And then she turned the cracker; she swallowed [the n't blame yourself. When I see give you a great big Jesus hug.” He breaks) Tm fine, I'm sony. any more. ‘The thought of makes me want to put a gun sana: We're not so different. We were both bor to parents who would have been better off without us. yanens: We're not co different, huh? We were both born ty par- ents who would have been better off without us. sanant: I love you. antes: Oh, Sarah, I love you too. (They cling to each other. He breaks gently, moves downstage) 47