DISGRACED wAYAD AKHTAR * DRAMATISTS PLAY SERVICE INC.DISGRACED syAYAD AKHTARDISGRAC Copyright © 2015, Copytight Convention, the. Univeral Capyright Convention, the Bere con do a cgi th ‘ith Unie Ser ba pol copytight ration. All rights, including 3 profesionallsmatar sage ght, motion picture, etation,eeuing, public adi Caeser und veordng al oer bre of chan ison and dtrbuson such a3 CD, D cos frmaton norge al ci eof tana ‘which must be secured from the Author! agent in wing. ‘he English language sack and amateur age performance sights inthe Unie Steele eetue pension and Canals br DSRACED are cmcoled cxclsively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, Nov ot Rv 10016, No pofsionl or wanpseion yay be DRAMATISTS PLAY SERVICE INC, and paying he Ingles concerning al other igh shouldbe reeds Crave Artis Age. speeches Abbe Novit NY ot? As Chit, produce DSGRACED i oid ge ci Anyone eng prison preaeD sequined ogi coin the Ahr) oe and cae Ahr) of he Py on te pg of ance of he Pay on Fistinct in which the lc ofthe Pay appeat including printed or dighl mers (Sr aderngpblg or ober explting te yal prafucton al out yourpblasion ene ona and pee quem Be advised thas there may be addon cris eequited in all programs and promotional macer. Sick guage met the “Adio Bling” Section of production license [es the all equted bling ir incided inthe eq SPECIAL NOTE ON SONGS AND RECORDINGS mentioned in sie places, pe DISGRACED had world premiere at American Theater ‘Alana Arenas Benim Foster Senior. The set design was by Dane Laffey the sound design was by Ji y Tyler Micoleaus and ‘Du Boff. The cast was as follows: EMILY AMIR, ABE . JORY ISAAC, Karen Pittman Erik Jensen DISGRACED was developed in part at the New Writers. New Plays. residency at the Vineyard Arts Project (Ashley Melone, Founder and Artistic Director),DISGRACED was originally produced on Broadway by the Araca Group, Lincoln Center Theater, Jennifer Evans, Amandla Watkins, et, Rodger Hess, Stephanie P Mccelland, Tulchin/ Beatty; the costume design was by Jennifer von lighting desiga was by Kenneth Posner the sound CHARACTERS EMILY AMIR ABE, JoRY ISAAC. SETTING AA spacious apartment on New Yorks Upper East Side. TIME 2011-2012. “The first rwo scenes take place in late summer of 2011. “The third scene takes place three months later during fall. “The fourth scene rakes place six months later during spring. ssa The play should be performed without intermision.NOTE TO DIRECTORS Although Disgraced has many “ideas” in it, playing the “ideas” leads, invariably, to a stited and stentorian quality. Od the play was wrieten as an entertainment, Something comedy that becomes an office thriller DISGRACED Scene 1 Lights come up. High ceilings, parquet floor, crown molding. The works. Upstage — a dining rable, Bebind it, « swinging door leads ‘off oa kitchen. Upstage right — an open doorway leads to a hall shat disappears from view. Upstage left — a terace and windows looking out over further buildings in the distance. Through which the seaon wil show in each scene Downstage — a living room. A couch and chairs gathered together around a coffee table, The stage left wall is covered with a large painting: A vibrant, swo-paneled image in luscious whites and blues, with parterns reminiscent of an blamic garden. The effect is lasrous and magnetic. Below, a marble fireplace. And on the mantle, a statue sue To one side, a small table on which a half. dozen bottles of aleobol st Downstage right — a vestibule and the front door. (The furnishings are spare and tasteful. Perbaps with subse flourishes of the orient.) Onstage: Emily — early 30s, white, lithe, and lovely — sits at the end of the dining table. A large pad before her and a book open toa large reproduction of Velézquezt “Pores of Juan de Pareja.”Emily etches, aseses her model ... Amir — 40, of South in an Italian suit jacket, with a crisp, collared shirt, but only boxers underneath. He speaks with a perfect “American accent. Beat(s). AMIR. You sure you don't want me to put pants on? EMILY. (Showing the Velésquez, painting.) I only need you from AMIR. I still think thi EMILY. (Sketching) Yeah AMIR. “That you want to EMILY. Juan de painter in his own nga painting ofa slave. EMILY. Until Velézquez freed him. (Beat.) has to do with what happened lastnight. looking at you. Not seeing you. Not seeing who you really are. Not until you started to deal wich him. And the skill wich EMILY. You made him sce chat gap. Between what he was assuming, about you, and what you really are. AMIR. he guy's a racist. So what? EMILY. Ic got me thinking about the Velérquez painting, And hhow people must have reacted when they frst saw it. They think they're looking at a picture of a Moor. An assistant. AMIR. Aslave. EMILY. Fine. A slave. That portrait has more nuance, complexity, life than his paintings of kings and queens. And God knows how ‘many of those Velizquez did. (Assessing her shetch,) Anyway — I dont know what you'r so worried about. I’s not like anybody's EMILY. (Coming in.) Jerry Sal didnt sel. not everything? Yc grabs the phone and toses itt him.) ‘AMIR. I have to get this EMILY. Fine. Just ... stay where you are? AMIR. (hn the phone) You enjoying your Pop Tart? believe that? (Emily calls. (Breaking away and going ta contract on the table.) Paragraph 4, Subsection 3. Last sentence. Why are those three words still in there? You missed that? No. What actually happened is tofixitand you didnt. Then behave like it. Fucking career paralegal. (Amir hangs up.) EMILY. Wow. (Pointing at the picture of the Veldzquez painting.) ‘What's his name again? (They kiss. Kiss again. The phone rings. A AMIR. That's Mort I need to get it. EMILY. Fine. You're done. You want more coffee? (Amir nods. Emily exits) ‘expect him to call you after I i cop. (Emily returns with coffe.) She's righ here ... (To Emiby) Mort . We have plans for Labor Day, Mort. Don't the weekend ... Okay, bye. EMILY. Hamprons? AMIR. Bucks County. EMILY. I know. AMIR. Jory and Isaac. EMILY. Tes gor me litle freaked out.AMIR. Ie’ taken forever to make that happen. EMILY. Isaac is a big deal. love your work. (Beat) .) How is Mort? a that meditation is going to lower AMIR. I barely see him. He hardly comes in. I mean, basically, 'm ». Nor that I mind. EMILY. He loves you. AMIR. He depends on me. EMILY. He spent I don't know how much on that birthday present for you? AMIR. Couple grand at least EMILY, Excuse me? job. EMILY. Soe ges yous book Ora boule of scotch, Or akes you ‘Why he get you that statue of Siva? (Beat.) He doesn't ire Hindu, does he? AMIR. He may have mentioned something once ... You realize Tm going to end up with my name on that firm? EMILY. Leibowil artis, and Kapoor. AMIR. My mother will roll over in her grave .. EMILY. Your mother would be proud. AMIR. It's not the family name, so she might not care, secing it alongside all those Jewish ones ... But proud, my mother would not be. (From the kitchen: The intercom buzzer. Amir looks over, surprited. EMILY, That'll be Abe. AMIR. (Surprised.) Abe? EMILY, (Disappearing into the kitchen.) Yout nephew. AMIR. Right. Abe. EMILY, (At the intercom, offitage.) Yes? Send him up. AMIR. Abe Jensen. From Hussein Malik, EMILY, Somebody AMIR. I wene to see that Imam in prison. What more do you ‘two want? 10 EMILY, Please just tal to him? (here a knocking on the door, as Amir stars pasting on bis pants. Amir’ gotten tothe dor. Opening it shows. Vibrant and endearing. Hes wearing a Kidrobot tshirt under a hoodie, skinny jeans, and high tps) ABE. Should I come back? EMILY. No, no. ABE. You sure? AMIR. Come in, Hussein, ‘ABE. Could you just call me — AMIR. (Finishing his though.) I've known you your whole life 2s Hussein, 'm not gonna start calling you Abe now. (Abe shakes his AMIR, Abe Jensen, Really? "ABE, You know how much easier things are for me since I changed led tagiyya — AMIR. (Coming in.) Pm not talking about the Quran. Just lay off ta be one thing or the other. I cant be all mixed up. EMILY (To Amir, off his reaction.) You changed your name, too. lucky. You didn't have to change ct you two gentlemen talk AMIR, No ned: Everybody knows youn on this (To Ab, So EMILY. Who started inthe public defenders — AMIR. ‘That was years ago ABE. Imam Fareed didnt do anythingAMIR. What does any of this have to do with me? EMILY, It doesnit matter to you that an innocent man isin prison? AMIR. I don: know Pasot Act lw, The gy lead gota legal ABE. They're not Muslim. AMIR. There we go. He said you were a good man. not feel the same way if he knew how I ABE. (Offthand.) That’ just a phase. AMIR. (Taken aback.) Excuse me? ABE, That’ what Mom says Grandma used to say about you. That ‘you were working something out. That you were such a good Muslim ‘when you werea kid. And that you had to go the other way for awhile. AMIR. (Dumbfounded.) The other way? ABE. Yeah. (Beat) AMIR. Sit down, Hussein. I want to tell you something. ABE. So just tell me AMIR. No, I want you to sit down first. (Abe sits.) When was the first time you had a crush? ABE. I chought you wanted to tell me something. AMIR. T'm getting to it. Your first crush .. ing at Emily.) Umm ... Fifth grade. A gisl named ‘Nasleema . AMIR. I was in sixth, Her name was Rivkah, ‘was Susan. cver kissed. Rivkah was the firs gil Tever got up in the moming thinking about. One time she went 12 away to Disney World in the middle of the school year. I was abject. Didnit even want to go to school if couldnt see her. (Remembering.) Till smagioe Co baag my mom: “No, she’s not Jewish.” But she “If Lever hear that name in this house ‘again, Amir.” she said, “I'll break your bones. You will end up with a Jew over my dead body.” Then she spat in my face. EMILY. My God. up to me in the hall with a note, “Hi, Amis,” she says. Eyes sparkling. I look at her and say: “You've got the name of a Jew.” She smiles. “Yes, her fice, er goes on to you about his idea of the phase 'm (Pause,) know. Your mother was very open with me ... ‘Imade it abundantly clear not ro mess with you. EMILY. She kissed me on her death bed. AMIR. You won her over. You were open-hearted, gracious. EMILY. You make i sound like there was some whole bate going on. AMIR. White women have no self-respect. How can someone respect themselves when they chink they have to take off their clothes to make people like them? They're whores. 13EMILY. What are you saying? AMIR. What Muslims around the world say about white women. ABE, (Over.) Not everyone says that. AMIR. Have you heard itor not? ABE. Yeah. AMIR. And more than once? ABE. Yes AMIR. And from your mother? (Abe nod.) I rest my case, (Pause) ABE. Imam Fareed is not like that. If you got to know him bette, Jol ral. Het acually your kindof goy. Once a month, wee doing 2 Friday prayer tha EMILY And hele meses i mosque and sketch every day for weeks. AMIR. He was probably hoping you'd convert. Who knows, you probably will. EMILY. Don't be dismissive. AMIR. I donit understand what you see in i. EMILY. In Islam? AMIR. Yeah, EMILY. When we were in the mosque in Cordoba ... remember that? The pillars and arches? AMIR. ‘Those were great. EMILY. Remember what you said? AMIR. I'm sure youte going to remind me. EMILY. That it actually made you feel like praying. AMIR. Thar’s kind of the point ofa mosque, honey. EMILY. And that Matisse show you loved 50 much? He got all chat from Moghul miniatures. Carpets. Moroccan man, Who so many people depend on. Treally do. ABE. So come to the hearing next Thursday. AMIR. Next Thurs ABE. An old man AMIR. (Rough.) And mney ... (Silence.) probably head out. ‘mean to snap at you ... about it? (Abe hugs bis uncle...) EMILY. Bye, sweet ABE. Bye. (Amir and Abe share a moment at the door.) AMIR. We good? ABE. Yeah. AMIR. Love you. ABE. Love you, too. (He leaves. Once he's gone... ) EMILY. His heart's in the right place, Amir. AMIR. I know. EMILY, Is yours? AMIR. What is that supposed to mean? EMILY, (Over,) mean, why would you have worked in che public defenders if you didn't care abou AMIR. Public defenders have the hot + gends. EMILY. Td like to think there’ some part of you that believed in what you were doing. AMIR. No ... Of course. EMILY. But when Like you dont think he's human. AMIR. You and Hussein wanted me to see him? So I went. I went to talk to him in prison. And the man spent an hour trying to get me to pray again. He's been in prison four months and all he can do — EMILY. (Custing bim off) You told me. So what? Soa man who has nothing left bur his dignity and his aich i sill rying co be useful in the only way he knows how? I mean, if he feels he needs one of his you donie care. AMIR. Can we stop talking a EMILY. We never talk about ly. (Silence. Amir stares «at his wife for along moment. Something stirring.) Amic. AMIR. What? EMILY. Think about it. Please? For me? (Lights out.)Scene 2 ‘The same apartment. Tivo weeks later Emily at the dining table with a cup of morning coffee, the day’ paper open before ber. Amir stands opposite her. AMIR. Thar’ because you know I'm not. EMILY. Ie because it doesn't say you are. AMIR. (Taking the paper.) The defendant, surrounded by a gauntlet defiant tone. And then quote another attorney. EMILY. But she says youre just supporting him. 1 just. There's no just supporting him. ied. reads very clearly that I was supporting his defiant ‘was supporting him being defiant. ‘fic does, why is that a bad fou're standing up for due process. nk people ae going to think ... (Beat.)I mean, the name, and if they know anything at all .. for the defendant. (More to nthe firm? 1g. Lam so proud of you. So Iman Sachs. Jamie? He took all that philan- the fact that all anybody cares about in your world is making money? AMIR. (Beat, still caught up by the paper.) * ... supported the Imam...” believe there could be a problem. EMILY. What does one thing ha intercom buszes. SudderAMIR. Don't. —I know your mind is elsewhere. (Amir exits to the bedroom. Knocking at the door. Beat. Tense stand-off Amir checks his (pocket) leFe my phone in the bedroom. (He exits again. Emily gathers herself. she heads to the door... And opens it to show ... aac — 40, white — smart, attractive. A curator at the Whitney.) up Madison. Couldn't be easier. (We hear sounds offtage of Amir slamming around in the bedroom, laoking for his phone.) FRAME An’ om i way out... (Amir renters. The tension between bina and Emily still palpable.) AMIR. Is ISAAC. H AMIR. Ge ISAAC. You, too. AMIR. Thanks again for a ISAAC, Would have been bur... AMIR, Sacrifices we make. ISAAC, Indeed, indeed. EMILY. Okay, guys. AMIR. (To Isaac.) 1 — uh you. ‘weekend in the country. h the Giants-Redskins on, in. I'm late for work, EMILY. Yeah, ISAAC. I mean — Okay. EMILY. Can I get you some coffee, ta? EMILY. Milk? Sugar? ISAAC. Blacks fine. Emily heads forthe kitchen. Leaving aac onstage Taking a look around. Perhaps sta int intrusvely Picks up a Constable ‘book off the shelf Emily resus with a mug.) Constables ithe? 18 EMILY, Love him. (Putting the book back,) One of the things litde pilgrimage to see the im going this year. looking forward. I do love London. New York, of course. (Tskng the mug.) Thanks. own way P been in love with the city since first layin from the ferry : EMILY. ‘The ferry was your first view of the city? ISAAC. I was eight. We drove in from the Midwest. Was my dad's idea ‘0 go through Staren Island and take the Frey: (Bet, I remember it 0 well. Lower Manhattan, like a fort built of skyscrapers. It was breath- taking, (Beat,) Then we got off the ferry and my dad got mugged. EMILY. Oh no. ISAAC. He was fin. (Beat) So ... I spent afar bit of time thinking about that discussion we had last weekend. he did say some interesting things ... (Turning back to the painting.) Ths is the one you wanted me to see? EMILY. Here in the apartment. There are more at my studio uptown. ISAAC. (Leaac puts the coffee down. In beat.) Mm-hmnm ... 1 have to adiction.) What? of irony. 1 ing to be accused of Orientalism. ‘even got the brown husband, EMILY. Fuck you, I think, ISAAC. Good. Good. Because that's what they're going to say. EMILY. Yeah. Well, we've all gotten way too wrapped up in the ‘The way we talk about things. We've forgotten ro look at igs for what they really ae. (Beat,) When youte in London, after ed to visit the Victoria & Albert. Room 42. Il change the way you see art. ic eling tradition. Is a doorway ro the nly comes through a kind part of who we are, too. God forbid anybody actually try to remind us of that. ISAAC. Huh. EMILY. What ISAAC. No, mug.) You have EMILY. Aloc more. (Emily takes the mug and returns it tothe kitchen.) ISAAC. Is there a place I can geab a bite on the way? i) good. This is good. (Standing, handing her the like this at the studio? 20 EMILY. (Returning,) There’ ISAAC. Change the way I EMILY. Welll see. (As they at bodega by my smo Scene 3 The same apartment. Three months later. Lights come up. On she terrace, Amir. A drink in hand, He drinks. Drinks again. Stares down into the bottom of bis ‘glass. Burning. Beat. Then all at once, be smashes the glass on the terrace flor Shards fy. Beat The burst of violence doesnt scem to have soothed him at all: He comes into the aparment. Going 10 the bar for a glass, and «another drink. When bis cell phone ring. He goes to the phone. Sees call he doesn't want to answer. Silencer i, just as... We bear — keys... The door opens and Emily enter EMILY. Hey, honey. AMIR. Hey. Where were you? EMILY. At Gourmet Garage. Getting a few things. For tonight. something from the bag)... they had La Tur! And that chorizo you love so much. AMIR. Great. EMILY. Can't be bad news, ti food and tell you you! AMIR. So youte in. EMILY. God I hope. (Emily approaches him. Feeling alive and secual) ['m coming to your house to in the shows.” Nobody does 21AMIR. Honey. EMILY. What? AMIR. Thad a meeting with a couple of the partners today, if you could call it in my office, ced-lining a contract due at six. Steven comes in. With Jack, Sits down, Asks me where my parents were born. ia. That's what I put on the form when I got hired. AMIR. Cntzen) ebay, ic was India when my dad was born, EMILY. Olay. AMIR. “But the names of the cities youve ‘When it was all one country, before the Bi tries in 1947." “And your moth dia anymore, was it? It was Pakistan?” My clock is Tm wasting time on a fucking history lesson. Turns all India, So there's a different name on it now. So ,) He knew about my name change. “Your birth name is ceven says. “It's Abdullah. Why did you change it?” ‘che already know? AMIR. 1 never told them. freer must have tuna background check. AMIR. Inga Eee EMILY. How did you...? AMIR. Honey, that big a deal. People do ic all che time ‘When they go through identity the. EMILY. But you di through — ld have gone to that hearing. EMILY. ‘The hearing? AMIR. Steven's been digging around. EMILY. ‘That was months ago. What does that have to do with EMILY. What're they doing here? I still have to get ready. AMIR. Go gec ready. I'll get it. (Amir heads for the kitchen. At the intercom, offage) Yes? Send ther up. EMILY. (As Amir reemerges.) You gonna be okay? AMIR. 1'll be fine. EMILY. (Suddenly) Can you get the appetizers? They're in the fridge. AMIR. Go get ready, honey. I got it. (Emily exit. Ami buzzes again. Amir ignores it. Keeps buczing as .... Amir goes to the door. Turning the bolt 1 prop the door. Then takes the bags into the kitchen. We hear noises outside the door. Knocking.) Kes open. (The door creeps open.) JORY. Amir? (use as Amir emerges —) 79 — mid to late 30s, African American — commanding, forthright, intelligent. Almost masculine. We've seen Isaac before. Both shed their coats as Amir gets to them.) JORY. (To Isaac.) No bread tonight. ISAAC. Maybe I'm old enough to have bread if I want to. complaining to me when your pants don’ ft. 's okay once a weck. (Amir emerges. Shaking ‘hands. Good to see you again, AMIR. Good to see you, to0. JORY. Hey, Amir. ‘AMIR. Hi, Jory. (Beat.) Didnt we say seven-thirey? ISAAC. I id seven. JORY. (Te AMIR. ErJORY. No worries. More time to drink, right? ‘AMIR. Magnolia Bakery? Thank you, JORY. (Heading off) This should go in the fridge. AMIR. Pointing.) Go ahead. ISAAC. (To Amir.) Iwas at the Knicks game last night. AMIR. You were? of pain JORY. Who's Bartman? ISAAC. Honey. AMIR, The fan who stole the ball out ofa Cubs outfielder’ hand ... ISAAC. Moisés Alou. Fighth inning AMIR. And denied the Cubs a trip to the World Series ISAAC. (To Jory.) You don't remember this? JORY. Ies ringing a bell. Beat.) Smells great in here. ‘AMIR. Em's making pork tenderloin. (To Isaac.) You eat pork, dont you? JORY. Every chance he gets... ISAAC. Gotta make up for all the lost years ... — Could T use AMIR. Down the hall on the le ISAAC. Right. Got it. (Lsaac crosses to the hal. Exits.) AMIR. What are you drinking? JORY. You have scotch? AMIR, Still have that bottle of Macallan that you gave me. JORY. I expect more from you, Amir. ‘AMIR. We'll finish it tonight. On the rocks? JORY. Neat. AMIR. You're not kidding around. (Amir begins to prepare the drink...) JORY. She got her terier back. AMIR. How? JORY. She hited a dog investigator who kidnapped it back fiom Frank. ‘AMIR. Lord. JORY. Frank's gonna sue her. ‘AMIR. On what grounds? JORY. Jost to make her life miserable. AMIR. The two of them. JORY. Tell me about it. She and I ran into Frank at the courthouse. JORY. Fine. Were just dancing around the number now. They hhave to pay and they know it. They just need a litle time to get ‘used to the idea. AMIR, Mort there? JORY. Steven took it over. He has me on it now. ‘AMIR. But Proctor’s Mort’. JORY. Was Rather be meditating ‘AMIR. Yeah, instead of taking his Lipivor. JORY. You know he took me to lunch and tried to teach me to meditate? I actually tried it a couple of times. Ended up gaining five pounds. Kept thinking about food. Ud get frustrated, give up, and pig our. AMIR. What's up with the offer from Credie Suisse? JORY. I'm not gonna do it ‘AMIR. Didn't they come back with another $200,0002 JORY. They did. AMIR. told you that move would work. JORY. You were right. AMIR. But I dont think you can get more ... (Beat,) JORY. The partners are countering, ‘AMIR. Of course they are. I doubt ics ewo hundred more. JORY. I've put down roots. Beat.) ‘AMIR. Kapoor, Brathwaite JORY. What 25AMIR. You and me. On our own. In business. Steven and Mort got ahead underpricing the competition. Back in the day, when they got started. downtown WASPS didn't want to be doing mergers AMIR. Yeah, fine. Which is why Jews were doing ic. And then ‘mergers and acquisitions became al the rage. And guys like Steven and More became the establishment. We are the new Jews. JORY. Okay .. 3 right way? We'll get to where LBH is ¢s theirs. And they're always we were just invited to the party. JORY. I dont think isa bad idea. (Beat.) Amir — (stas... Iaae returns from the bathroom, balding a book. Interrupting...) ISAAC. Who’ reading this? — Sorry, am I interrupting? alking shop. (Just ar Emily enters, ina lovely dress.) so sorry. (To Jory.) ISAAC. T'm sorry, I thought you said seven. EMILY. Look. As long as you don't mind waiting for dinner ... AMIR. Honey, they got cupcakes from Magnolia, JORY. Banana pudding actually. EMILY. Oh my God. [love thar stuff. ‘AMIR, You want something to drink, Isaac? ISAAC. Scotchid be great. On the rocks ... EMILY. I know I'm strange. started on the drinks.) ISAAC. (Ta Emily.) So who's reading Denial of Death? EMILY. Tam. Since you suggested it. AMIR. (To Lcaac.) She's been raving about it. i so much ... (Amir gets AMIR. Denial of Death, JORY. (To Izaac.) You should've given me a heads up, too. ISAAC. I wanted it to be a slow reveal, It’ an amazing book. I ally gor the ttle for my new show from here ‘AMIR. What's the — well, fist let me say — Its been generations and generations of consumerism and cynicism, JORY. (Over.) Get comfortable. ISAAC. (Continuing)... And an art matket that just feeds the frenzy. But something’ shifting. There's a movement of young artists who are not buying into it anymore. They'e asking the question — how to make art sacred again. Its an impossibly heroic task they've set for themselves. Which is why I'm calling it. (Gesturing o Jory to hold her criticism.) Impossible Heroes. (Off Jorys reaction.) She doesn't JORY. Ie sounds like a segment on Anderson Cooper 360. About paralympie athletes. i you, Em? What do you think of the tile? After all, its your show now, too... Beat.) EMILY. Youre kidding? ISAAC. ‘The work you'e doing with the Islamic tradition is important and new. Ir needs to be seen. Widely EMILY. Isaac, that's amazing. Thank you. Thank you so much. (Ensuing congratulations overlap... ) JORY. Congratulations, Emily. ISAAC. Mazel Tov, EMILY. Thank you. AMIR. That’ incredible. I'm so proud of you, honey. ISAAC. (Lifting his glas.) A toast isin order. To — AMIR, (Over. To your show. And to Emily in your show. ALL. Cheers ... (Al drink,) AMIR. So ... how many? ISAAC. What AMIR. Of her paintings? EMILY, That's my husband, Always talking numbers. ISAAC. I've got room for four ot five 7AMIR. Five. That sounds great. (Laughter.) ISAAC. (Pointing 10 the canvas above the freplace.)| definitely want that one. The couple I saw in the studio, And I've been thinking, “Study After Velézquez’s Moor.” But I'm not sue... JORY. “Moot”? Haven't heard that word in a minute. f Amir a few months ago ... After an ifs gears. g. (Emily, oe 10 the bookshelf in the corner JORY. Whi EMILY. “Portrait of Juan de Pareja” — who happened to be of ISAAC. Might be the finest painting at the Met. Those dots of the tops of his eyes (Returning wioh the book.) This isthe original portrait. JORY. (Recognizing.) Oh. Of course. EMILY. It’s study after the Velézquer, I'm using the same palette, Buc ita portrait of Amir. AMIR. Your very own personal Moor, EMILY. Muse is more like it ISAAC. I think ['d rather stick with the abstract pieces. Keep the impression of your work consolidated. Bur I'm cempred. I mean a stunning portrait. Quite tribute to you, Amin, if you ask me .. AMIR. You think? ISAAC. Standing there in your black suit. Silver cufflinks, Perfectly pressed lily-white dress shirt ily) ... which is so magnifi- ccendly rendered. You can almost smell the starch on chat shit. AMIR. Not starch, Isaac. Just ridiculous thread count. JORY. People do nor stop talking about your shirts atthe office ... h. Charvet, always. JORY. How much do those run? (Amir sems reluctant to reph) EMILY. Six hundred. JORY. Dollars? ISAAC. So there you are, in your sixchundred-dollar Charvet aque’ ipprentice-slave in his lace collar, in the splendors of the world you're now so clearly a part of... And yet... 28 AMIR. Yeah? ISAAC. The question remains. © place. For the viewer of course. Not you. It’s a (Pause) AMIR. like the stuff she was doing before. ISAAC. The landscapes? Not a huge fan. EMILY. Because they have nothing to do wich Islam. ISAAC. (Before Amir can speak.) What she's doing with the Islamic tradition has taken her to another level. A young Western painter drawing on Islamic representation? Not ironically? But in service? Jes an unusual and remarkable starement. AMIR. What's the statement? slam is rich and universal. Part ofa spiritual and artistic Right. The Renaissance is when we bigger than ourselves. It pur the individual atthe center of the universe and made a cult out of the personal ego. ISAAC. God, I love that. EMILY, That never happened in the Islamic trad to a wider, less personal perspective. using chat in the catalogue mn. Te’ still AMIR. You know, that’s the same thing Michele Bachmann says. “That the Renaissance is when it all went wrong, because ies when swe tured away from God. EMILY. Amir. 'm not Michele Bachmann. AMIR. No, of course not.ISAAC. (To Emily.) You've got a major career ahead of you. I'm just one of the first to get to the party. Emily Hughes-Kapoor. A name to be contended with. JORY. Kapoor. AMIR. What? JORY. I dont know. Ive always wondered. What kind of name that was? AMIR. Indian. Why are you asking? JORY. Did I say something wrong? AMIR. Steven came into my office today and asked me the same thing JORY. He did? (Awkward pause.) I'm headed vo Delhi day see tomorrow. Thats in Punjab, ISAAC. Jory’s being polite. Ie’ not because Ezra has school. EMILY. No? bir ofan issue when it comes to fying ISAAC. I hate flying. Its a primal thing, The thought of not being oon the ground ... opens up this door to like every fear I have — JORY. (To the others.) Panic attacks. ISAAC. T'm not at my best. And the hysteria around security only makes it worse AMIR. It's nightmare at the airports, JORY. And now there’ a whole new attraction. You get to decide bern beng ogled oe or Fc up ISAAC. Ie actually calms me down, (To Amir.) What’ chat like for you? AMIR. What ISAAC. ‘Security at airports. (Awkward beat.) 1 mean you hear 30 hase to the agents and offers they're looking at me. I figure why not make it easier for everyone involved ... JORY. Never heard of anyone doing that before id more afraid of folks who Jook like me, we end up being resented, too. EMILY. Those agents are working hard not to di Then here's this guy who comes up to them and AMIR. Pure, unmitigated passive-aggression. That's what my wife thinks. ISAAC. Maybe she’ gota point probably gonna come from some guy who more orl EMILY. 1 totally disagree. ‘The ni me. autack is coming from some ‘white guy who's gor a gun he shoul have... ISAAC. (To Amir.) If every person of Middle Eastern descent started doing what you're doing ... ‘AMIR. Yeah? ISAAC. T mean if we all got used to chat kind of ... compliance? ‘We might actually start getting a litle too comfortable about our suspicions ... ISAAC. I mean, not me, I'm just saying — Emily el ‘phone rings — on the coffe table. She goes to check it... don't blame you. EMILY. (Off her phone, to Amir.) That was Abe. 31EMILY, So he AMIR. Another port? EMILY. (To Jory and lac.) You guys hungry? JORY. Getting there. EMILY, (Getting up.) Ym starting us with a fennel salad. (To Jory.) You eat anchovies? JORY. Love them. And I love fennel. AMIR. (Pouring a drink.) Hier fennel anchovy salad is a classic. A fucking classic. JORY.- (To liaac, but indicating Amir) See, honey. An exemplary instance of spousal support. He never compliments me on my cooking, ISAAC. I do most of the cooking JORY. Because you dont show me any love when Ido. me now. You gotta work on that, honey. JORY. Ezra loves my cooking. ISAAC. Your Kraft macaroni and cheese. JORY._ And my Swiss Miss hor chocolate. ISAAC. Look. You make a good omelette. JORY. Thaven't made an omelette in ages. ISAAC. Might be the best thing about them, EMILY. (Getting up for the kitchen.) 1am not listening to any more of this. JORY. (To Emily.) Would you like some help? EMILY. Thank you, Jory. I would love some. ISAAC. Just keep her away fom the ingredients. (Emily and Jory exit. To Amir )So ... Pm sorty if T brought up something sensicive AMIR. Sensitive ISAAC. Between you and Emily, I mean. About the paintings .. AMIR. You didn't ISAAC. Oh. AMIR. Its not a secret. Em and I don't see eye to eye on Islam. I think it’s ... a backward way of thinking. And being, ISAAC. You don't think th: happens to be one of the wor AMIR. Let me guess. You! ere ISAAC. Amir ... Actually. Yes, that’s not what re been reading Rumi. And ing about. Do you know AMIR. I don't ISAAC. He's a sculptor, he's Muslim, he's devout. His work is an amazing testimony to the power of faith. He carves these ‘monolithic pillar-like forms — AMIR. (Interrupting.) Have you read the Quran, Isaac? ISAAC. Thaventt. But did juse — AMIR. (Coming in.) When it comes to Islam? Monolithic pillar-like forms donit matter. bowls. EMILY. How did y 7 ‘mean. AMIR. Honey. You're aware of what the Prophet said about them? EMILY. Tam, Amit. JORY. What did he say? ‘AMIR. He used to say angels dont enter a house where there are pictures and/or dogs. JORY, What's wrong with dogs? AMIR. Your guess is as good as mine. ISAAC. Every religion's got idiosyncrasies. My ancestors didn’ like lobster. Who doesnt like lobster? What's your poi AMIR. My point is that what a few artists are doing, however wonderful, does not reflect the Muslim psyche. ISAAC. “Muslim pyyche”? AMIR. Islam comes from the desert. From a group of tough- minded, tough-living people. Who saw life as something hard and relentless. Something to be suffered JORY. Huh. ISAAC. Not the only people to have suffered ina desert for centuries, Amit. Dorit know what it says about the “Jewish poche,” word were going to use. ier more livable .. + Cory chuckles. aacAMIR. Whatever they do, its not what Muslims do. Muslims don’t think about it. They submit. That's what “Islam” means, by the way. “Submission.” ISAAC. I know what it means. Look, che problem isnt Islam. It’ Bslamo fascism EMILY. Guys? Salad? AMIR. You got that from Martin Amis, right? ISAAC. Christopher Hitchens, too. They're not wrong about that JORY. Under.) 'm starving ‘AMIR. You havent read the Quran, but youve read a couple of sanctimonious Bricish bullies and you think you know something about Islam? (Getting to the table... ) EMILY. Amir AMIR. What? That's nor fair game? If he’s going to offer it as a fair game, . He has a point. Inced to read the Koran. AMIR. And then get back to me. EMILY. (To Isaac.) Did you want fresh pepper? JORY. Thad to read some of the Koran in college. What I remember is the anger. AMIR, Thank you, I’ like one very long hate-mail leer ro humanity EMILY, t tru! (With the pepper.) Jory? AMIR. Icis hind of rant me that at least. ggancyou tha the Quran sss humanity I cant say it’s wrong to do so — ISAAC. All I was trying to say with Islamo-fascism is chat there's a difference berween the religion and the political use of it. AMIR. Isaac. In Islam there's no difference. There's no distinction becween church and state. JORY. Dent you mean mosque and sa ISAAC, (Looking at his plate.) Fennel, peppers, celery . EMILY. ... carrots, radishes -. ISAAC, What are these? EMILY. Baby artichokes ... its che Bible. I mean trying to figure out what a re than two hundred years ago really meant? Like its going to solve our problems today? EMILY. Like all har bullshic about the right to bear arms. Ie was 1791, people. AMIR, That's my point. That's exactly what U'm saying. ISAAC. Mmm. This is delicious, Em. Really. on a Fulbright in Seville. in Pamplona. ISAAC. Iwarched people run withthe bull. Beat, Ir was thrilling AMIR. We went to Barcelona for our honeymoon. ‘The chorizo. “The paella. The wine. Spanish wines are so underrated. ISAAC. See, this is the problem I'm having ... You're saying Muslims are so different. You're not that different. Paella? Spanish fou have the same idea of the good life as I do. I mean, I ISAAC. Overlapping.) know what the word “apostate” means JORY. Isaac? AMIR. Do you also know that — according to the Quran — that ‘makes me punishable by death? EMILY. (To Amir.) Have you even read that part? Have you? Ie condemns renouncing the faith, but it doesnt specify punishment. “The tradition has interpreted it as punishable by death. JORY. Imp: EMILY. He's repeated ic enough, [actually checked. I havea vested interest after all. (Women laugh.) 35AMIR. Fine. So let’ talk abour something thar és in the beating. ISAAC. Wife beating, JORY. Great. Could you pass the bread? EMILY. Amir, really? (Beat.) AMIR. (Passing the bread.) So the angel Gabriel comes to Mu- hammad .. ISAAC. Angel Gabriel? AMIR. (Mocking.) Yeah. ‘That's how Muslims believe the Quran came to humanity. ‘The angel Gabriel supposedly dictated ic to Muhammad word for word. ISAAC. Like Joseph Smith. Mormonism. They say an angel named Marami came down in upstate New Yori: and talked to Joseph Smith — JORY. Moroni, honey. Not Marami ISAAC. You sure? JORY. It was on South Park, (Beat.) ‘AMIR. So like I was saying ... The angel Gabriel shows up and teaches Muhammad this verse. You know the one, honey. I'm paraphrasing .... Men are in charge of women EMILY. Amir AMIR. (Continuing) If they don't obey ... Talk to them. If that doesn’t work... Don’ sleep with chem. And if that doesn't work (Turning to Emily.) Honey? EMILY. I’m nor doing this. AMIR. Beat. Them. JORY. Idont remember that being in the Koran. ‘AMIR. Oh, ie there alright. EMILY. The usual translation is debatable. AMIR. Only for people who are trying to make Islam look all warm and fuzzy. EMILY. The root verb can mean “beat.” But it can also mean “ So it could be saying, if your wife docsrt listen, leave her. Not beat her. ISAAC. Sounds like a pretty big difference. AMIR. That's not how its been interpreted for hundreds of years. JORY. (Suddenly impassioned.) No. See. Sometimes you just have to say no. I don't blame the French. ISAAC. The French? JORY. For their problem with Islam, ISAAC. You're okay with them banning the veil? 36 JORY. You do have to draw the line somewhere woman who has a Kissinger quote above her desk in the den JORY. "If faced with choosing justice or order, I'l always choose order.” EMILY. Why do you have that above your desk? JORY. To remind me. Not to get lost in the feeling that I need to ull yourself out of the ghetto, you realize rel soon, JORY. You know what they say? If youlre young and not a liberal, you've gor no heart. And if you'e old and not a conservative .. AMIR and JORY. (Together)... you' i ISAAC. I happen to know a few very choose to weat the veil joy playing the contrarian, dont you? ying the contrarian JORY, (To Isaac, over.) Who do you know that wears the veil? ISAAC. You wouldn't know them. ‘making it up. JORY. I think yo ISAAC. I'm not. JORY. Khalid? ISAAC. She’ a professor of philosophy at Cornell. She wears the vel JORY. Khalid? Your trainer? in at Equinox? AMIR. I know Khalid. Balding? With che guns? ISAAC. That's him. AMIR. I didnt know you trained at Equinox. ISAAC. For years. Which one do you go to? JORY. (Coming in, o Isaac.) What's your point? ISAAC. Khalid may be a trainer, but he comes from a ridiculously educated Jordanian background. All the women in his family wear the veil. By choice. always what people think. Its source of pride for a7ming a Propher? He was adamant 1g women, And then he starts talking 've never seen the parallel with it means some you can have are okay with dogs ISAAC. Ger what? That you're full of self-loathing? (Jory shoots haa bok hl) ran is about tribal life in a seventh-century academic. Theresa result to believing that in a specific society fifteen hundred years the only one in which the Quran makes any literal sense. Thats why you have people like the Taliban, They're trying to reereate the world in the image of the one _gotten up from the table and is now pouring himself another drink.) sipping your after-dinner scotch alongside your beautiful white “American wife — and watching the news and seeing folks in Middle ‘East dying for values you were taught were purer — and stricter — and truer... you cant help but feel just litte a bie of pride. id you feel pride on Seprember 11th? (Beut.) AMI (Wi (Ta Isaac, conciliatory.) Loo ian how you feel about Israel sometimes .. ing to tell me you've never felt anything like that — an unexpected blush of pride, say ISAAC. Blush? I dont feel anything lke a blush. AMIR. When you hear about Israel throwing ies around? EMILY. (With hint of despair) Amis. Wee supposed to be celebrating, 39AMIR. (Ignoring, over.) And Ym sayin 1g And ic comes from somewhere. And that somewhere is Islam. ISAAC. No shicit’s wrong, Bucit doesn't come from Islam. Ie comes from you. Islam has no monopoly on fundamentalism, It doesnt ‘come from a text. AMIR. You don't need to patronize me ISAAC. You've been patronizing me think you can bear with being patro ; organized religion? Fine. You have a particular antipathy for the cone you were born into? Fine. Maybe you feel a little more strongly about it than most of us because ... whatever? Fine, retested in your abstrd — and frankly, more JORY. (Firm) ISAAC. What? JOR Stop EMILY. Amiz. Can I sce you for « minute? (Emily exits) AMIR. (Following her out) Naive and well-meaning, And youre on a collision course with history. Exiting) What? What? Once he} gone) ISAAC. What a fucking asshole. JORY, What’ gotten into you? ISAAC. Fucking closer jihadist. .d what you see in this guy. ight. I think maybe he knows. (Off JORY. He's mentioned Steven a few times ... I don't know? Maybe Mort told him? ISAAC. Well. JORY. I wanted to be the on: ISAAC. Then you should have told him when ic happened. JORY, I'm under confidentiality. ISAAC. Well, [ don’t know what to tell you. 40 JORY, [think I need to tell him. (The kitchen door flies open and Amir comes bounding back, heading for the coats Emily appears bebind im.) over here with good news. 'm gonna go out and ‘a look.) JORY. I'm gonna come with you. Is that okay? AMIR. Of course. (Amir puts om his coat, Jory throws on her coat.) EMILY. Champagne? AMIR. And chen were gonna have a wonderful evening, (Amir ‘pulls open the door. t. Emily turns to aac.) EMILY. You think I donic know what you're doing? ISAAC, What am I doing? EMILY. Isaac, please. big boy. He canit handle some push-back? (Exily +eads for the side table to pour herself another drink.) You guys get into an argument before we showed up? EMILY. Why would we get into an argument? ISAAC. You're married. EMILY. I don't have the marriage you do. ISAAC. No you dont. (Beat.) EMILY. You could have told me about the show over the phone. ISAAC, I wanted to tell you face-to-face. EMILY. Isaac ... London ... Was a mist ISAAC. I dont think you really believe that. (—iaae touches her. She ISAAC. Of course not. God. The whole idea for the show came from you. (Isaac makes another move toward Emily. Which she doesn't resist at frst. Until she pulls away again.) U had no idea your husband was such a mess. And a fucking alcoholic to boot. EMILY. He's not an alcoholic. He had a bad day at the office. ISAAC. Oh, So he knows. EMILY. Knows? ISAAC. They're making her partner. EMILY. Wait, what? 4a‘They offered her a partnership. Name on the firm. Their tthe offer she got from Credit Suisse. 2 the Imam? That Amir represented? EMILY. He didn't represent him, ISAAC. ‘That's not what the Times said. EMILY. He went to a heari ISAAC. The paper mentioned the firm and they mentioned Amir and cloked We he wa presenting man who was rang money for EMILY. Thats absurd ISAAC, That's not what Steven thought. He went ballistic. cared. Steven thought the comment was ant EMILY. I'm sorry, but sometimes you people have a problem. ISAAC. We people? EMILY. Jews. You see anti-Semitism everywhere ISAAC. You're married toa man who fees blush when Ahmadinejad talks about wiping Jews into the ocean. Steven isa huge fund-raiser for Netanyahu. [have no idea why Amir would go anywhere near a guy like that Imam. EMILY, (Crshed,) For me. Oh God, He did it for me. (Pause) He's looking, a you. ‘The expression on that face? Shame. Ang 42 Pride. Yeah. The pride he was talking about. The slave finally has the 's wife EMILY. You'te disgusting — ISAAC. Tes the truth, Em. And you know it. You painted it. don was a mistake, ‘Aman like that ... ISAAC. And then one day you'll leave him. Em. I'm in love with you. (Isaac leans in to kiss her. Emily doesn't move. In or out. Jus as the front door opens — Jory enters. In a huff. Returning for aac and Ready t0 leave forthe evening...) saac, we need to get out of here — (... but stepped in place Dy the moment of intimacy between her husband and Emily.) ISAAC. Honey? JORY. What the fuck is going on here? (Amir enters, inflamed.) ed ’9 Emily.) Are you having an affair with my husband? ‘AMIR. Excuse me? ISAAC. (To Jon) Nobody's having an affair. JORY. I wali EMILY. Tha JORY. I know whac I saw. EMILY, Ibaac told me about them making you partner. [ know how much longer Amir has been there than you. I was upset. I was crying. ISAAC. Twas consoling her. JORY. By kissing her? EMILY. (Incredulous) Why do you keep saying that?! JORY. (To Isaac.) Are you having an affair with her? Tell me the truth. ISAAC. Honey. I already said. Wete not having an affaie. JORY. So what the fuck were you doing when I walked in here? ISAAC. (Going to his wife) was hugging her because she was crying, 43EMILY. I was upset they made you partner. I was crying. (Amir turns to Jory. Viciows,) ‘you steal my job and now you tty to destroy my marriage? You're fucking evil. After everything I've done for you? Gory goes over to get her purse, as ifto leave.) JORY. Tknow what I saw. AMIR. (Exploding.) You have any idea how much of myself I've poured into that place? That closet at the end of the hall? Where they keep the cleaning supplics? view of the fucking park! Your frst ‘work before anyone else? Were you : ill leave the office after you do! You think you'e the nigger he JORY. Wow. ‘AMIR. T'm the nigger!! Me'! JORY. You know what — ISAAC. (Abruptly, going to his wife.) You donit need to listen to any more out of this asshole. JORY. (To Isaac.) Dorit couch me. AMIR, (To Izaac,) You're the asshole. ISAAC. You better shut your mouth, buddy! AMIR. (To Isaac.) Or what?! ISAAC. Or I'll knock you on your fucking asst AMIR. Try me! JORY. (To Isaac.) GET OFF ME! (Inflamed, bi bis wife, facing off with Amir. When suddenly ... Am _face. Isaac wipes the spt from bis face.) ISAAC. There's a reason they call you people animals. (Isaac turns t0 bis wife. Then turns to Emily. Then walks out.) AMIR. (To Jory.) Get out. JORY. (Collecting her sings.) There's something you should know. Your dear friend Mort is retiring. And guess who's taking over his case load? Not you. Me. I asked him, “Way not Amir?” He said es why you! to trust you. (Ar the door.) hasn't been taking your calls Jory walks out, Pause.) EMILY. Have you lost your fucking mind?! (Amir urns away, with- drawing into himself Pacing. The inward spiral deepening.) Amis! AMIR. She's tight. Mort hasnt been taking my calls 44 EMILY. I'm gonna get you that coffe. (Emily heads fr the kitchen Leaving Amir onstage by himself for a moment, As he watches the AMIR. Em. (Somedhing in ‘Ai stops her in place.) Ate you slepi him? (Pause. Emily puts the mug down on the table. Beat. Fi a rakes ber head.) at Frieze, We were drinking. Tesnotan excuse... Its usc... Weld juse been to the Victoria & Albert. He was ralking about my work. And ... (Emily — seeing how her words «are landing on her husband — makes her way t him. Approaching.) Ami, Tim so disgusted with myself. TFT could take ic back. (All at once— Amir ‘its Exily in the fac. A vicious blow. The fost blow unleashes a torens of rage, overtaking him. He hits ber twice more, Maybe a third. In rapid succesion. Uncontrolled violence as brutal a: it needs to be in order to convey the discharge ofa lifetime ofdscrety building resentment. Afier the Last blows Amir suddenly comes to his senses, ete chat AMIR. Oh my God ... (Just as... Theresa knocking at the door. Beat And then more knocking. Finally, she door gently opens. Ta show: Abe. ‘Abe looks over and ses — as we do — Emily emerge into ful view, on the ground, her face bloodied. Abe looks up at Amir. Lights owt.) 45Scene 4 The same apartment. Six months later. The dining table, a couple of chairs. Much ofthe furniture gone. The rest of the room covered with the detritus of moving, Boxes, et The paintings above the mantle are gone. Along one wall, a partly sorapped canvas is leaned. I is tarne!aoay from the audience. “As te lights come up, Amir is onstage. Quietly going about the ‘proce of packing. There ould be something mated about bis ‘movemenipresence, Asif man chastened by life, perhaps even crippled inwardly. ‘He has a thought and heads fr the kitchen. Just as he exits, there is a knocking at the frons door ... He reemerges. Crossing iand going to the door, He opens it to find: Emily And to one ‘ide, Abe. Abe is wearing « Muslim sulleap. And bis wardrobe is muted. Unlike the vibrant colors ofthe fist scene AMIR. Em? EMILY. Can we come in? AMIR. Of course, (They enter. Abe appears reluct “Amir's gaze.) oats going on here? Everything. ‘at Abe, but Abe doesnt respond.) Huss? (No response.) EMILY. He's been coming co me. Youre a lawyer. You can help him, (To Abe.) Tell him, 's not going to understand. stopped by the FBI. EMILY. With your friend . AMIR. Is thac the guy your mom ... 46 ABE, My parents are wrong about him ‘getting the message ... — Sh are we Muslims. And then s Americans are d ABE. You dont believe me? AMIR. I mean — ABE. (Over,) — The CIA trained the mujahideen in Afghanistan. “Those are the guys that became Al-Qaeda. ‘ le more complicated than — »py. And Tariq gor pissed, He told her this country ‘and what it was going to get. (Paws.) She goes back to work, and before we know it, the police ae there. She called them. They cuff us. Take us in. Two guys fom the FBI are at the station, waiting. (Beat,) We si through this ridiculous incerrogation. AMIR. What did they as ABE. Do we believe in jihad? Do we want to blow stuff up? How ofien did I read the Koran? AMIR. Okay ... ABE. Do we have gielfiends? Have I ever had sex? Do I pon? Do I hate America? (Beat.) They knew a loc about m Td gone to school. About Mom and Dad, where they we Like they already had a file. They brought up my immigration status. they said that... Abe hesitates, Emily completes the thought) EMILY. He laughed. AMIR. (To Abe, You laughed? «+» (Pause.) Look. I know what they're doing. AMIR. What are they doing? ABE. They're going into our community and looking for people whos immigration sass vulnerable, Then they push uso sare doing stuff for them. a7AMIR. Okay «. ‘ABE, So what? You don't believe that either? ing to leave.) I can't ... You just needed to talk to him .. ABE, Aunt Emily, Stay. Please. (She stops, Beat. Finally nods, still gonna go get some ar. (Emily erases the tenace. AMIR. Is she okay? ‘ABE, [do not want to talk about that. (Amar stars dialing on his phone.) ‘Who are you calling? You cart call Mom. She's gonna freak ou. AMIR. i'm calling Ken. ABE. Ken’ ‘AMIR. ‘The lawyer on Imam Farced!’s case. ‘ABE, Why? He screwed things up. The Imam is I have a be wh: ABE. Than wh: : AMIR. Than the one that landed you in an interrogation with the EBL. Pause.) ABE. So now what AMIR. Lee’ hear what Ken has to say. I mean, ‘AMIR. Excuse me? ‘ABE, What would you do? If the FBI asked you to work for them? Hmm? AMIR. You are not there yet "ABE, (Casting bin off) What would you do? AMIR, (Considering) Thee are ways ... 10 let the authorities wre on their side .. 48 AMIR, Idnnota ines. Tout cance card chow th jot will get deported. (Beat.) ABE. Yeah, well, maybe that would ey wanted to make a better life for themselves and -) A beer life! AMIR. (Continuing.) — and to do it honestly. Which isnt an option in Pakistan. ABE. Exploding.) You don't have a better life! AMIR. What are you talking about? ABE, [know you have to leave this apartment. [know you were fired, AMIR. I don't know what you think you know — nense.)T know what you did to her. How could ow. (Beat.) Ser ng bea Nice poopie ner et AMIR, I'm still your elder. You need to show me alittle resp ABE. Jusc because I'm telling you the truth doesn't mean I'm not showing you respect. (Beat,) You forgot who you are. AMIR. (Triggered.) Really? Abe Jensen?! ABE. I changed it back! ink running around with a kufi on your hicad, shooting off your mouth in Starbucks ... always turn on your own people. You think lid co me! (Beat,) | mean, if you can't make ic with them...? (Dawning thought.) The Prophet 491¢ of them. He didn't conquer the He made the world copy him, conquered the world, We're in che Quran. (Emily appears ir notice) For three hundred ‘years they've been taking our land, drawing new borders, replacing. ur laws, making us want to be like chem. Look like them. Marry their women. They disgraced us. They disgraced us. And then they pretend they done understand the rage we've got? (Emily emerges. ‘Abe, realiing she has heard him. Abe moves to the door. Stops. Looks back at Emily) V ABE. I'll handl Hussein ... (Abe exits. Leaving Amir and Emily onstage. Silence.) My sister's been telling me about him ...—I didnt realize .. EMILY, Your family needs you. (Silence.) EMILY. Amir ... Beat.) "AMIR. Look, I told your lawyer I wanted you to have the apartment, ave no idea if — or mine, (Beat,) I gor the pai the portrait. I didn want to throw it out. (Panse,) hhate me so much, why did you drop the charges? tt hate you, Amir, Pause.) saw the write-up in The New Yorker. Iwas 0 proud of you. Ob, (Pause.) IR. I don't knovr if you've read any of my letters ...— There's 1u were right about me. I'm finally seeing what you were Tm finally understanding your work, EMILY, My work was naive, ‘Why ate you saying thac? rue, ‘AMIR. God, Em. Ifyou had any idea how sorry I am. EMILY. I know. (Emily erases. Stopping when she gets to the door.) had a part in what happened. AMIR. Em. No. EMILY. Ies crue. (Beat) was selfish, My work ... It made me blind. 50 AMIR, jus Long pate, Amir emotional) [just want you to pro EMILY. (Emotional,) Ami, stop. AMIR. I want you to be proud you were with me. (Beat.) EMILY. Goodbye. Please. Dont write me anymore. (She exit. Long beat. Amir notices the painting. He walks over toi picks it up. Then tears the rest ofthe wrapping off He takes a searching long look. Lights out.) End of Play stPROPERTY LIST Statue of Siva Painting in progress, brushes, paint palette ‘Sketchpad, pencils Coffee mug Rocks glass that smashes Cal phone (2) Bortle of Macallan scotch, rocks glasses (3) serving plates, place sertings NEW PLAYS ‘# MOTHERS AND SONS by Tecrence McNally. At turs nny and powerful MOTHERS AND SONS portays woman who pays an unexpected visit tothe New York apartment of her late sons parnes, who is now man and has a young son. Challenged to face how sociery has cha are unraveled to gret comic effect inthe streaming ‘thyming couplets of French clasical comedy, and everyone lives happily, and rch, ‘ve after. (4M, 3W7] ISBN: 978-0-8222-2808-0 ‘% HANDLE WITH CARE by Jason Odell Williams, Circumstances both hilarious and tragic bring rogethera young Irae woman, who has litle command of English, and a young Ameticin man, who ‘ LAST GAS by John Carian. Nat Paradis i 2 Red Sotloving par-time dad who ‘manages Paradis’ Last Convenient Score, the las convenient place to get gas—or ‘nything—before the Canadian border to the noth and che North Maine Woods to the west. When an old flame returns ro town, Nat gets a chance to rekindle a romance e gave upon yeas ago. But spat fly as he's forced wo choose bermeen new love and old. “Peppered with poignant characters (and) sharp waiting” Portland Phoenis “Very fanny and suprisingly hought-provoking” Portland Press Herald. 4M, 37] ISBN: 978-0-8222-3232-2 DRAMATISTS PLAY SERVICE, INC. ‘460 Park Avenue South, New ork, NY 10016 212-683-8960 Fax 212-213-1539 [Postmaster@deamatist.com wevramatss.com