Lyon's Den

By

TJ Young

Copyright 2020
 Cast of Characters
__________________

Q:
_ Male. Early 20's. Black

ARDELLE:
_______ Female. Late 40's. Black

MO:
__ Female. 16-19. Black

RON:
___ Male. Late 40's. Black

PHILIP:
______ Male. Mid 30s. White

CECE:
____ Female. 30s-40s. Black

MIMI:
____ Female. 30s-40s. Black

FRAN:
____ Female. 30s-40s. Black
 Lyon's Den 1.

ACT I
_____

Scene 1
_______

Lights up.

Piles of rubble are spaced

throughout the stage. Smoke, low
and rolling, covers the ground. In
the rubble are household items,
burnt and all speaking to a life
lived in the house that once stood
there. A partial fireplace stands
upstage. On the mantel is a series
of family accomplishments and
photos, all with a layer of grime
and ash resting upon them. In a
pool of light, by the fireplace,
stands Q. He's a black man, early
20's, clean cut and borders on
stoic. Regardless of his stance,
his clothes speak to his middle-
class upbringing. In contrast to
the ash, he is clean.

Q looks around the space, taking in

the destroyed house. He moves
slowly among the rubble. He stops
every now and then to sift through,
looking for things he might
recognize. He comes across a single
yellow flower, seemingly growing
from the rubble, almost giving off
a small glow. Q stops and plucks
the flower, holding it gently for a
moment, before pocketing it.

He finds a manuscript, rolled up

and bent. He flips through it, but
it seems difficult to do. He
doesn't read from it, but instead
the pages stir something in him.

Q
What's left but rubble/ In a place we were meant to build/
To start over, anew/ Remove the stains that have been
spilled/ What's left but burnt blankets/ From the bed
husband and wife lie in, cold/ Touching each other in
obligation/ And not understanding the other's hold/ What's
left but singed pictures/ Photographs that frame our smiles/
Moving still life, trampled memories/ Mistrust stacked up in
piles/ What burns still in this garbage/ What still finds
life in flame/ Between a family and a buried truth/ Of who
deserves the blame/ Was it urges perceived as vile/ Was it
 Lyon's Den 2.

words we dare not chant/ Maybe trust we didn't allow/ Or

requests we didn't grant/ We smell the pain in ashes/ We see
the hurt each night/ But all of us still struggle/ In
rightly doing right

Q walks over to a pile of rubble,

pulling out a charred envelope. He
picks it up, checks the contents,
pockets it, then turns to the
audience. Lights up on ARDELLE,
RON, and MO as they stand looking
at the destruction. They stand
apart in the space, each of them
stunned. Q looks at them, almost as
if he was been lost to them.

Q discards the manuscript. For now.

Q
We stood there, listening as sirens poured into the night
air, pressing through the darkness and crackle of what was
now nothing more than a memory of a second chance. An
attempt at escaping what has weighed on our family was now
nothing more than smoldering reminders of what we were
running from.

Mo exits.
This new home was supposed to be a step up for us Lyons. A
new den.

Ron exits.

Ardelle stands peering forward,

almost through the rubble now.
Complete with laminate floors and faux marble countertops. A
place where pain wasn't supposed to follow us through that
gated entrance. But putting pain behind bars doesn't work so
well.

Ardelle exits.
It doesn't stop at doors either.

A doorbell rings. Lights shift to

illuminate the whole set.

Q looks around to see if anyone

else is going to get it. The
doorbell rings again. He calls out
to the rest of the house.
I'll get it!

Q walks to the door and opens it.

Philip stands on the other side,
holding a brightly colored flyer in
his hand.
 Lyon's Den 3.

PHILIP
Hello.

Q
Naw, we're good. We don't want any.

PHILIP
(Amused)
Is that how you always answer the door?

Q
Uhh...

PHILIP
Look, I'm just here to drop this off.

Philip passes the flyer to Q. He

grabs it, looking it over.

PHILIP
I'm your neighbor. Well, not actually your neighbor. Just
down the street there. See the house with the red door?
That's mine.

Q
(Nonplussed)
Cool.

PHILIP
(Referring to the paper, undeterred)
This is your official welcome to the neighborhood.
(Rehearsed excitement)
Whoooo!

Q is unimpressed. Philip quickly

hides his embarrassment. Q smiles
at him, if only to lessen the
pressure on the guy.

PHILIP
It's basic information about the Home Owners Association
here. Things like when trash pick up is, how often you have
to cut your grass in the summer months --

Q
They regulate that shit?

PHILIP
Yeah. We do. I'm a voting member.

Ardelle enters from across the

house.

ARDELLE
Son, who's at the door?
 Lyon's Den 4.

Q
No one, ma.

ARDELLE
Quincy.

PHILIP
That's a nice name. Quincy.

Q
It's Q.

PHILIP
Just Q?

Ardelle crosses to the door. She

motions for Philip to come in.

ARDELLE
Come on in --

PHILIP
(To Ardelle)
Philip. Really, it's alright.

Q
He's just droppin' this off.

ARDELLE
What's it about?

Q
Some rules for when to cut the yard.

PHILIP
It's more than that.

ARDELLE
I'll read it over while you go finish unpackin' the garage,
alright Q?

Q starts for the middle of the

stage. Ardelle crosses to Philip,
shaking his hand and introducing
herself. Q turns toward the
audience as lights shift to focus
on only Ardelle and Q.

Q
My mother/ That ebony woman who smiles despite the way the
world has bruised her/ That woman over there/ You might not
know it, but she carried the wind on her back/ Or at least
she tries/ She keeps me in her nest/ Because her baby bird
isn't ready to fly/ He's crashed a few too many times/ And
 Lyon's Den 5.

I'm sure she would take to the sky herself/ If she could
muster up more than a breeze

My mother/ She traces the outline of my days with crayon/

Wanting me to stay a kid/ Safely between the lines/ But she
doesn't always see what she's keeping in/ Or the truth
behind that colored wax/ My mother/ She stands in the mirror
every morning/ Mantras flowing from her mouth like a sermon
for lost souls/ She reminds herself every day/ That she is
worth something/ Even when others may not think so/ That
woman standing there/ With hips and curves/ Loves every part
of herself the way only a mother could/ She tells me she
gave birth to herself a bit more/ With every child she
pushed into life/ But silence rests on her tongue/ Pushing
aside the piece of her/ That died

Hindsight being what it is/ I now wish I has been born with
her ability/ To carry the wind/ 'Cause I know she gave up
her wings for us/ Long ago/ While she might have still had
some soaring left to do/ And I would toss her a zephyr/ To
remind her what the sun on her spirit feels like

What makes broken wings most tragic/ Is the bird still

remembers what the sky felt like.

Lights shift again. Philip and

Ardelle still stand at the door.

ARDELLE
Good way to meet people?

PHILIP
Our meetings are great for getting accustomed to the
neighborhood. Book clubs, dinner parties. Great way to find
a babysitter if you are ever in the need.

ARDELLE
I've had all the babies I plan on having.

Ron enters.

RON
Honey!

ARDELLE
I have to get dinner finished up. How often you all have
those meetings?

PHILIP
Once a month.

ARDELLE
I'm sure we would love to be a part. Get to know people in
the community.
 Lyon's Den 6.

PHILIP
Just know that they all think they know best.

ARDELLE
That's people for you, isn't it?

RON
Ardelle!

PHILIP
I'll let you go.

ARDELLE
Give me a heads up before the next meeting?

PHILIP
Sure thing. And tell Quincy it was nice meeting him as well.

Philip smiles politely before

exiting. Ardelle shuts the door. Q
addresses the audience.

Q
Notice the following interaction.

Ron steps into the room, proud and

broad-shouldered. Q takes the tone
of a nature documentary narrator.

Q
Some Lyons can be rather territorial. Notice as he, one
Ronald Lyon, eyes his huntress.

Ron looks at Ardelle. Not with

suspicion, more with insecurity.

RON
Who was that?

ARDELLE
Guy named Philip. Nice guy. Home Owners Association.

Q
This answer doesn't appease the Lyon. Instead, he stalks.

RON
Philip, huh? Does this Philip have a last name?

Q
He is a clumsy hunter.

Ardelle looks at Ron, dead in the

eyes. She gives an "oh, okay" cock
to her stance.
 Lyon's Den 7.

ARDELLE
Of course, he does. Most people do. Do I know it? No. Do I
care to know it? Not particularly.

Q
The male Lyon has forgotten one thing. The female is the
real fighter.

RON
It's a simple question.

Q
Her claws are sharper.

ARDELLE
And I answered it.

Q
Her wit is honed in a way the male doesn't see.

RON
Why the attitude?

Q
Her traps are simple, yet effective.

ARDELLE
Really, Ron? The man came to our door to introduce himself.
Heaven forbid people be kind in this neighborhood. It's why
we moved here, isn't it? To live around nice people?

Ardelle takes a step forward.

Or was it something else?

The air is thick. They are at a

standstill.

Ron breaks his stare first.

Q
The male Lyon isn't completely without pause.

RON
(Conceding)
You're right, honey. Just neighbors being neighborly.

Ron exits the room, frustrated and

burning. Ardelle watches him leave,
her eyes following him every step
of the way.

ARDELLE
(Calling to him)
Q! Where's your sister at?
 Lyon's Den 8.

Scene 2
_______

Lights softly shift, pouring on the

space like a morning sun. It's
ethereal. Q stands at the edge of
this otherworldly light. His
sister, MO, looks at the audience
and picks at her face with tweezers
as if looking in a mirror. She
winces as she pulls hairs from her
brow. Her hair is natural, and she
carries herself with the air of a
queen in her private quarters -
stately but relaxed. She fusses
with various beauty products,
taking the time to admire herself,
shake her head and making another
choice, or primping her hair until
it is just right.

Q
Honeydew/ That's what I called her when she was born/ Three
years old and I held in my arms a small piece of the Lyon
legacy/ But she looked like she had a sweetness in her/ Like
Honeydew/ Before there were the sibling rumbles that left my
mother yelling/ Before there were the sharp names that my
father vilified for escaping my lips/ She was my Honeydew/
I'd pick Honeydew off the floor/ Before some unworthy fool
could place her to his lips/ Those boys would chase her/
Never really wanting to embrace her/ But that's the cost of
being so sweet/ And I would confide in her/ Thinkin' that
her strong woven skin/ Could hold in parts of me/ I wanted
to keep from spoiling/ And maybe I could have the same
sweetness Honeydew held/ While Honeydew is tough/ Her
sisterly touch let this brother understand love/ Compassion
that no other can really know from her/ Because we come from
the same fruit/ She blossomed from the same pit/ Grew on the
same choking vine/ Yet somehow missed the bitterness that
resides in me/ So she will always be/ Sweeter than me

Too bad she won't talk to me.

Q steps into her light, which seems

to break the purity of it. They
become less dreamlike.

MO
(Facing forward)
What?

Q
Ma wants you.

MO
I heard her. You got a point?
 Lyon's Den 9.

Q
She asked me to come get you.

MO
And you did. So tell me why you still standing here lookin'
at me?

Q
When you gonna be sweet to me again?

MO
Plan was never.

Q
Really?

MO
What did Ma want?

Q
Honeydew --

MO
Don't be callin' me that punk-ass name no more. I ain't no
baby.

Q
You used to love that name.

MO
We also used to be cool.

Beat.

Q
You headed out or somethin?

MO
What's it look like?

Q
Who you goin' with? Is it those fools from the old
neighborhood?

She doesn't answer him.

Q
Why you hang with them? You don't even like those girls.

MO
How you know?

Q
You would cry from the things they said 'bout you.
 Lyon's Den 10.

MO
You got anything worth sayin' to me?

Q
Yo, 'Dew, it ain't like --

MO
Didn't I say cut the nickname shit?

Q
Alright...Mo.

MO
Better.

Mo keeps prepping herself, ignoring

Q. A moment of silence passes
between them.

Q
So, you comin' down?

MO
Later.

Q stands there for a moment. After

being ignored, he turns and goes
back to his previous spot, as the
lights shift and become the
dreamlike setting it was before.

Q
Honeydew may be sweet/ But it don't stop it from bruisin'.

Mo slowly starts to really look at

herself. The air about her deflates
a bit. Her eyes go to where Q left,
like she is missing something from
him. She looks at her mirror as
lights fade on her.

Scene 3
_______

Lights up on the silhouette of

three women, standing like models
in a Baptist fashion show.

Q
Every Tuesday night our home was used as a transplanted
sanctuary/ A place for those simple and sacred to have
fellowship over diet coke and gossip/ Prayer group as it
were/ Was the light beer of Sunday School/ It was the boxed
wine of communion/ The knock-off version of that pulpit
plea/ And my mother, regardless of relocation/ Was the
reluctant ringleader.
 Lyon's Den 11.

Lights come up to reveal the three

women, color-coordinated as if from
a catalog.

CECE, MIMI, and FRAN are all

holding bibles, each one with
papers and post-its bursting from
the sides of them. They wear very
plastered and rehearsed smiles.
They stand behind three chairs that
form a sort of semi-circle.

Ardelle enters with a cart of

drinks - wine or wine coolers
included.

CECE
This new home of yours--

MIMI
It's divine!

FRAN
A blessing!

In Unison

FRAN MIMI
A true blessing! A true blessing!

CECE
A true blessing!

Q
The Lord is their shepherd and they are His sheep.

FRAN
These walls!

CECE
The paintings!

MIMI
And you were worried you wouldn't sell that house in that
terrible neighborhood.

FRAN
Praise Jesus!

ARDELLE
That neighborhood wasn't that bad.
 Lyon's Den 12.

MIMI
You know how I knew this place would be nice? You got one of
those "no solicitation" signs posted out front. You making
like the Jeffersons and movin' on up!

FRAN
Won't He do it!

ARDELLE
There's nothing wrong with the old place. It was just time
for something new.

CECE
Regardless, the fact that you landed in such a nice home is
a blessing.

FRAN
Praise God!

MIMI
Let me tell you though, the membership at The First Baptist
Tabernacle of the All Mighty and Living One sure does miss
having you so readily at hand to help out Wednesday nights
for the youth meetings.

Mimi takes a drink from the cart

and finds a seat.

ARDELLE
With the distance between here and the church, it's hard to
make it over there more than just on Sundays. At least right
now.

CECE
Oh! Are you working again?

ARDELLE
Well, no. Not yet.

MIMI
That's some maternity leave you've got going there.

Mimi laughs. No one else does.

CECE
She's only kiddin' Ardelle. We Understand. Really, we do.
And let me speak on behalf of all of us women at The First
Baptist Tabernacle of the All Mighty and Living One, we
understand the need to relocate for the benefit of your
family. The three of us are more than appreciative of your
offer to continue to host us for our work with the Lord's
good book.

CeCe takes a drink, finds her seat.

 Lyon's Den 13.

Fran takes a drink, downs half of

it before moving.

FRAN
Yes, Lord Jesus!

Fran takes her seat

Q
Saints and sinners are all welcome under the big top.

ARDELLE
Where did we leave off last time?

Q
And they rarely get to the main attraction.

MIMI
How are the kids holding up after the move?

FRAN
Hardly kids. Should be out on their own by now.

ARDELLE
I don't mind having them around the house.

CECE
How is Monique doing?

ARDELLE
Mo? She's a bit distant right now. We were in Esther, right?

CECE
Oh, it must be hard right now.

MIMI
So hard. So very hard.

FRAN
Yes, child.

CECE
With you uprootin' her from all her friends.

ARDELLE
Wouldn't call 'em friends.

MIMI
And at this age.

ARDELLE
She'll make new friends.

CECE
Her support system is just, poof! Gone!
 Lyon's Den 14.

MIMI
Like Jesus on the third day!

FRAN
Amen!

CECE
The tomb is empty!

FRAN
Hallelujah!

ARDELLE
She'll adjust. Always has.

In unison.

FRAN CECE
Mmm-hmm. Mmm-hmm.

MIMI
Mmm-hmm.

The three ladies all take a

synchronized drink. Fran finishes
hers. Fran raises her empty drink
to "politely" ask for another.

ARDELLE
Sure. Yeah, I'll get some more.
(Calling out)
Mo! Can you come give me a hand?

CECE
Oh, the girl is here!

MIMI
Why doesn't she join us?

CECE
It's never too early to get deep in the Lord's book.

MIMI
His Holy word.

FRAN
Preach!

ARDELLE
You know how kids are. Too busy thinkin' about themselves to
think about eternal life.

MIMI
We ain't promised tomorrow.
 Lyon's Den 15.

CECE
No one ever is.

MIMI
And the Bible says that we will never know the place or the
time that Jesus is comin' back!

CECE
Like a thief in the night.

FRAN
You ain't never lie!

ARDELLE
That's true. That's true.

MIMI
You mind if we pray for her? Just while she is on my spirit.

ARDELLE
No, not at all.

CECE
Join hands, ladies.

They lock hands and bow their

heads. They are silent, but only
for a few seconds. Speed prayer.

MIMI
Amen!

ALL (EXCEPT ARDELLE)

Amen!

Mo enters the room, dressed to

impress and ready to go out on the
town. The women fall
uncharacteristically silent as she
strolls in, her heels echoing
through the home.

Q
That sound/ the click-clack of catch'ems/ is the cause of
commotion from the choir stand to the church kitchen/
Honeydew is seen as the tempting tart of the Tabernacle/
when really she just liked torn jeans/ and Tory Burch shoes

CECE
Maybe another prayer is in order.

MO
Yeah, Ma?
 Lyon's Den 16.

ARDELLE
You still have manners? Or did you forget to pack 'em in the
move?

Mo has a quick flash of resistance

before she smiles and turns to the
ladies.

MO
Hello Mrs. CeCe, Mrs. Mimi, Mrs. Fran.

They each give her a nod of

acknowledgment in turn.

ARDELLE
You mind headin' into the kitchen and getting some more
refreshments for these ladies?

MO
Sure.

Mo exits. The ladies watch as she

leaves, listening to the click of
the heels all the way. The moment
Mo leaves the stage, the women
start up again, this time with
feverish intensity.

MIMI
Ardelle, you buy those clothes for her?

ARDELLE
She has a job. Her own money.

CECE
This rate she'll have her own baby.

FRAN
Amen.

ARDELLE
It's just the way she dresses. It's the style now.

MIMI
If I ever caught my daughter dressed like that -

ARDELLE
Now, Mimi.

MIMI
I'm just saying, spare the rod and spoil the child, is all
I'm sayin'.
 Lyon's Den 17.

ARDELLE
Like you never dressed like that. Especially you, CeCe. I
saw those pictures of you in college.

CECE
Different times. Different times altogether.

FRAN
Ain't that the truth.

Mo enters, stomping across the room

toward the front door.

MO
You really need to talk to your husband.

ARDELLE
What's wrong?

MO
Ask him!

Mo exits through the front door.

She slams it behind her.

Ron enters, huffy and upset.

RON
Where the hell is your daughter going?

ARDELLE
Didn't really have a chance to ask her, Ron.

RON
You just let her prance around like that?

ARDELLE
Like what?

RON
What do you think everyone on the street is gonna think when
they see her lookin' like a floozy?

Beat.

MIMI
Maybe we should get our own drinks. Which way to the
kitchen?

Ron takes a moment, looks around,

but doesn't back down. Ardelle
stands, walking toward the kitchen.

ARDELLE
Everything should still be on the counter.
 Lyon's Den 18.

The ladies stand, each leaving

their Bibles in their seats.

ARDELLE
It'll only be a moment.

The three ladies exit.

ARDELLE
Really? Right now? I'm trying to have Bible Study.

RON
Why do you let them get away with this kind of crap?

ARDELLE
Who?

RON
These kids.

ARDELLE
Oh, please. Mo's just being a teenager.

RON
Damn near looks thirty, the way she dresses.

ARDELLE
So? She has confidence.

RON
And guys have ideas.

ARDELLE
Your point being?

Ron stares at her in disbelief.

What did you say to her?

RON
That's between me and Mo.

ARDELLE
What did you say?

RON
I told her what I thought about the way she looks. Like
she's sellin' somethin' on the corner, and I ain't talkin'
about lemonade.

ARDELLE
Seriously?

RON
No baby girl of mine is gonna dress like some slut.
 Lyon's Den 19.

ARDELLE
She's not a baby, and she's not dressing like a slut.

RON
Are you going to go find her?

ARDELLE
I'm in the middle of Bible Study. She'll come back when
she's ready.

RON
Fine. I'll go find her.

Ron makes for the front door,

pulling car keys out of his pocket.
Rather not lose another kid.

Ron exits.

Ardelle stands there for a moment,

looking at the door. She grabs a
drink from the cart, takes a big
gulp before covering her mouth with
her hand to contain a short cry.
She quickly regains her composure
and calls out to the ladies.

ARDELLE
Hurricane Ronald has passed!

The three ladies come in, Fran is

the only one with a drink in her
hand.

CECE
Not too much better now, is it?

ARDELLE
Not yet.

MIMI
You think we should leave?

ARDELLE
No. You three drove all this way and...I think I really need
to hear what God has to say right now.

The ladies make their way back to

their seats. They grab their
Bibles, place them in their laps,
but don't open them.

FRAN
Should we pray?
 Lyon's Den 20.

The women silently grab hands and

bow their heads. There is
solidarity this time.

Q
There were moments where the frivolous gave way to faith/
Their hands like frankincense/ Pouring over their broken
sister/ With supplications so sincere the seraphim sang/
Searching for ways to sew her soul together/ My mother was
stitched to those women/ With threads I couldn't see/ Past
the planks in my eyes/ But they saw the splinters that were
left in her/ Pulling them out with patience and prayer

Scene 4
_______

Lights shift, focusing on Q. He

stares at the prayer circle

Q
Our father wasn't always cruel/ His corners seldom hardened/
And the little incidence of youth/ He used to often pardon/
But in the space from then to now/ There are times I do
forget/ That the tempest seldom raged/ And our needs were
not unmet

Q reaches into a pile of rubble and

pulls out a backpack that's full of
books.

Mo enters the space, dressed

younger and with more innocence.
Her look is reserved and she looks
comfortable and practical.

Q sets the backpack next to Mo,

then stands in the corner watching
the scene play out.

In the background, the three church

women have become teens themselves.
Snotty and judgemental. They are
every nasty thing a kid has ever
heard in the flesh.

FRAN
Oh girl! Who did your hair?

CECE
The back of your head is just nappy.

MIMI
Leave her alone. She can't help it if her head ain't never
found a comb.

The girls snicker.

 Lyon's Den 21.

FRAN
Come over here, come grab some lotion! Yo hands is chalky,
girl! Look like you been playin' in flour.

The girls laugh in a strange and

rehearsed unison.

MO
It happens when I wash my hands. Hot water dries my skin
out.

FRAN
Blame the water all you want. Just admit, you just too poor
to afford a bottle of Jergens.

CECE
She can't afford a decent outfit, either.

MO
I like my clothes.

MIMI
You the only one. Not even Michael Walker does.

The girls laugh again.

CECE
You don't think Michael Walker hasn't told us all about how
you send him those notes?

FRAN
Nappy hair like that, she couldn't catch a brotha if she
wanted to. Don't help she ugly as sin.

MO
I ain't ugly.

CECE
You sho ain't pretty!

FRAN
Maybe if she actually paid to get her hair done. Get that
weave fixed.

MO
This hair is all mine.

FRAN
Right. You hear that girls? Silly me, it's all hers!

MIMI
She can't afford any hair anyway. Not that good Indian
stuff.
 Lyon's Den 22.

CECE
That why you flirt with the white boys? They can't tell the
difference between good hair and what ain't?

MO
I don't only flirt with white boys.

FRAN
Right. The brothas just don't pay you no mind.

CECE
You ain't cool.

MIMI
You look busted.

The three girls laugh, this time

harder than before.

Ron rushes in. He's wearing a

button-down shirt with the top
button open. His shirt is dirty,
but not filthy. Obviously, he had a
long day. He crosses to Mo.

The three girls snicker as he

passes.

RON
Sorry I'm late, sweetheart.

He kisses her on the forehead. This

only gets a bigger laugh from the
girls.

MO
You were supposed to be here at 2:35.

RON
I'm still figuring stuff out at work. Won't happen again.

Mo is distracted by the girls, who

are mocking them.

Ron takes notice.

RON
I heard what they said. You okay?

Mo nods her head unconvincingly.

RON
You sure, baby girl?
 Lyon's Den 23.

FRAN
(Mocking)
Baby girl.

The girls giggle.

Q
One thing could be said about Ronald Lyon --

RON
You three got something else to say?

Q
Us cubs used to take refuge in his roar.

RON
I see you three haven't be taught how to speak when spoken
to.

MO
(Just so Ron can hear)
It's fine, dad..

RON
You want to introduce me to your friends?

MO
They aren't my friends.

RON
Introduce me anyway.

MO
(Reluctantly)
Joanna, Leslie, and Rachel.

RON
Oh! These are the young ladies you were telling us about!

MO
Dad, please...don't.

RON
(Ignoring her)
Why don't you say again how my daughter is too poor for hand
lotion, or how because her hair is the texture that God gave
her, it isn't beautiful. Because, really, I guess it's my
fault. I'm her father after all, so I'm responsible for her.
Unless...Leslie, is it?...you want to buy her some new
clothes? Or some hair from someone else's head so she can be
cool like you? No? What about you two? Got any spare change
for a family that can't afford lotion?

FRAN
We was just havin' fun.
 Lyon's Den 24.

RON
No, you weren't. There is no fun in talking trash about a
girl who actually works for everything we give her. I'm not
sayin' there's anything wrong with spending your money at
the mall, but it sure don't make my baby girl ugly for
thinking more about her lessons than what she's wearin'. And
if these so-called "brothas" at this school can't get behind
that, she don't need to be wastin' her time with 'em anyway.
Usually, I don't like to poke my nose into other folks
business, but I'll tell you three this much...if my daughter
tells me that any of you have put effort into making her
feel less-than, I'll be sittin' down with each one of your
parents and I'll be having a conversation about how their
lack of parenting is messing with my daughter.

MIMI
You don't know my mama!

RON
Who, Delores? Sure I do! See, I've known about you three for
a while now. You better believe all it takes is a phone call
and we are looking at the most awkward dinner you three
might ever experience. So, we good? Or you got something
else to say?

The three girls are shocked. The

light fades on them, as a look of
defeat comes over them.

MO
Why did you do that?

RON
Because I needed to.

MO
No, you didn't. It's not a big deal.

RON
Yeah, it is. You seem to have forgotten that your mother and
I raised you to stick up for yourself.

MO
They were just talkin', Dad.

RON
And what they're saying isn't true. You're beautiful. Always
have been. And don't let anyone tell you otherwise.

MO
If work is gonna be an issue, maybe I can get Ma to pick me
up.
 Lyon's Den 25.

RON
Baby girl, this is my favorite part of the day. I swear.
I'll make it work. Okay?

MO
You're like...half an hour late.

RON
I'll be better about it. I swear. First and last time.

MO
Whatever. Can we go now?

RON
Not 'til you tell me who Michael Walker is.

MO
Dad!

Ron smiles. He likes teasing her.

RON
You like him?

MO
We are not talking about this.

RON
You 'bout to get in my car. We sure are! He the same Michael
you had that project with?

Mo starts to exit, leaving her

backpack behind.

MO
Oh my God!

Ron follows her, teasing her the

whole way.

RON
It is! He's got that goofy smile, though. I bet that's what
you like ain't it? You should have him come over to the
house.

MO
(Offstage)
That is NOT happening!

As they leave, Q starts after them,

but stops short. His eyes are fixed
on them and whatever smile he had
drifts away.
 Lyon's Den 26.

Q
I hate that we missed/ The moment when those molehills those
girls stood on/ Became mountains that you thought/ We
wouldn't climb with you/ I'm sure you told us when it
happened/ and I'm sure we didn't listen close enough

Q grabs the backpack.

ARDELLE
Everything just about ready?

Q
Gettin' there, Ma!

Scene 5
_______

Lights shift from the memory and we

return to the home. The sounds of
early evening creep into the space.
Chairs are arranged to look like
they would surround a dining table.

From the backpack, Q pulls out

glasses.

Q
With our new home comes attempts at new traditions. We start
with family dinner. The age-old practice of sitting around a
table with equal doses of casserole and unhealthy silence.
You know... family stuff. But, this dinner is a bit...

The doorbell rings.

Ardelle enters wearing a nicer

dress than before. Still, nothing
fancy.

ARDELLE
You gonna finish setting the table?

Q
Where is Mo?

ARDELLE
I know where she should be.

Q
You think she went to --

ARDELLE
I don't know, son. Maybe.

Ardelle is saddened for a moment

before shaking it off.
 Lyon's Den 27.

ARDELLE
Let's just get ready for dinner, alright?

Q
Have you told Dad yet?

ARDELLE
No use worrying him if she didn't go down there.

Q
Not that, ma.

Doorbell rings again.

Q
That.

ARDELLE
(Calling out)
Coming!
(To Q)
I tried. He didn't answer, so I made a decision. I can make
choices without your father's input.

Q
News to me.

ARDELLE
I wanted to show the only person who has even shown an
interest in our family since we moved here some hospitality.
Been here over a month and ain't nobody else come by to say
hi. I'm just being nice. Like you will be. Unless you've
gone the way of your sister and lost your manners, too?

Beat.
Alright then. We good?

Q
I mean, I guess.

ARDELLE
Go change your shirt.

Q exits. Ardelle makes her way to

the door. Ron enters, dirty from a
day of work.

RON
Who's that?

ARDELLE
Just go get cleaned up, can you?
 Lyon's Den 28.

Ardelle opens the door. There

stands Philip, in a dress shirt and
tie, holding a bottle of wine.

PHILIP
Hey! I hope I'm not too early.

ARDELLE
Not at all.

PHILIP
Wasn't sure what you were making, so I hope red is okay.

ARDELLE
You didn't have to bring anything.

RON
Ardelle.

Ardelle shoots Ron a look,

indicating for him not to be rude.

He doesn't care.
Would've been nice to know we were having guests.

ARDELLE
Just one guest, dear.
(To Philip)
Come on in.

Ardelle takes the wine from Philip

and he steps across the threshold
and into the house.

The lights shift, focusing on

Philip as he looks around the
space. Q enters, dressed in a
cleaner looking shirt.

He follows behind Philip like a

snooty art docent.

Q
To his left is a picture of a pagan African tribe that we
have never visited nor know anything about. Right by the
stairs is a painting of a black Jesus, who still manages to
have straight hair before the days of perms. Black and white
jazz photos sit in threes to the right of the entryway, and
he says the following in a way I assumed was sarcastic--

PHILIP
This stuff is amazing. Such a display of culture.
 Lyon's Den 29.

Q laughs. As he does, the lights

shift back to normal. Everyone
stares at him. No one else found it
to be funny.

ARDELLE
Go wash up, Q.

Q
Gladly.

Q exits toward the kitchen. Ron

motions for Ardelle to join him.

ARDELLE
(To Philip)
Make yourself at home.

She crosses over to Ron.

RON
Why is he here?

ARDELLE
Maybe if you answer my calls during the day, you would know.

RON
I was busy. Working.

ARDELLE
You can't call me back?

RON
If it was important, leave a message.

ARDELLE
I shouldn't have to leave a message to get a call back.

RON
How else will I know if it's urgent or not?

ARDELLE
This wasn't "urgent". I just thought that it would be good
for the family to meet him properly.

RON
Why?

ARDELLE
To reciprocate the kindness he has shown us.

RON
But tonight?
 Lyon's Den 30.

ARDELLE
Yes, tonight, Ron. Please...

They exchange a long look. There is

a certain pleading in Ardelle's
eyes, and the corners of both of
them soften a bit.

PHILIP
I...I didn't mean to cause any issues. I mean, I can go. I
was looking forward to meeting you and your family. But, if
I'm unwelcome or this isn't a good time --

ARDELLE
You're not unwelcome.

RON
Just been a long day.

ARDELLE
He gets cranky when he forgets to eat lunch.

RON
I'm going to go change.

Ron exits. He doesn't comfort

Ardelle as he passes her. He is too
much in his head.

Q enters.

ARDELLE
Well...what do you say I crack this baby open, huh? I'll go
get the glasses. You stay and entertain Philip, yeah?

Ardelle exits toward the kitchen. Q

stands there, awkwardly staring at
Philip. Philip smiles a bit.

Q
Hey. Sorry 'bout the other day.

PHILIP
(With a smile)
Yeah, you were pretty rude.

Philip chuckles a bit.

It's okay. We don't allow any solicitors in the
neighborhood. So every knock at the door should be a good
one. Doesn't stop them from coming in, but, at least we post
the signs.

Q
Right...Something the Home Owners Association cooked up?
 Lyon's Den 31.

PHILIP
Only thing we have ever been unanimous on. You should see
them argue over block party themes. It's ruthless.

Q
Yeah. I'm sure it's a real blood bath.

An awkward moment sits between

them.

PHILIP
How do you like it so far?

Q
Not much to do. 'Least nothin' I've found yet.

Ardelle enters with wine glasses.

She hands them to Q, then starts to
unscrew the wine bottle. Ardelle
pours some in a glass.

Q
Screw top. Classy.

ARDELLE
You don't have to drink any.

Ardelle takes a big swig. Ron

enters wearing a new shirt. He
hasn't changed any of the rest of
his clothes. Philip crosses to him,
extending a hand.

PHILIP
Round three, I guess. I'm Philip.

Ron shakes his hand briefly before

letting go and heading toward his
seat.

RON
Ron. We eatin' yet?

Q
We ain't waitin' on Mo?

PHILIP
Mo?

ARDELLE
My daughter. Don't worry about her. I'm sure she'll be here
soon.
 Lyon's Den 32.

Lights fade a bit, focusing on Q as

the others take their seats at the
table. As Q speaks, the others
almost dance through what would be
a dinner. Seats taken, napkins
flapped and flattened, glasses
raised - all together.

Q
No Hamburger Helper tonight! Instead, we feast like demigods
at a harvest sacrifice. Ma laughs that laugh she does when
she truly finds somethin' funny, something she hasn't done
in a long time, at all of Philip's jokes. It only irritates
Dad more. Me, I stay silent. Watching with one part
anticipation and three parts admiration. I've never seen
anyone get under the skin of Ronald Lyon more. But Philip is
quick, and the Lyon just can't seem to sink his teeth in.

Lights up on the whole scene

RON
Where do you work?

PHILIP
From home.

Awkward beat.

RON
Doing...?

PHILIP
Oh! Of course. I'm a writer.

ARDELLE
That's fantastic! Isn't it Q?

Q
Sure.

PHILIP
What about you?

RON
Foreman for a construction company.

PHILIP
Oh! That's interesting.

ARDELLE
Got promoted about what...6...7 months ago? After years of
working his tail off.

PHILIP
Modest, I see.
 Lyon's Den 33.

RON
I just do my job, that's all. Not much to brag about. Not
nearly as interesting as being a writer. Anything we might
know you from?

PHILIP
Doubt it. I write a series of books about a girl who can
talk to different insects to solve the everyday problems of
high school life and a slew of disappearances that have
struck her sleepy little hometown.

RON
Sound like riveting literature, Phil.

PHILIP
It's Philip.

Beat.

PHILIP
Sorry, I didn't mean to offend.

RON
None taken.

PHILIP
As you can imagine, with me talking to fictional teenagers
all day, some of my people skills can be a bit lacking at
times.

RON
That why you do that association stuff?

PHILIP
Keeps me busy. You should have seen your wife at the last
meeting. She has some great ideas.

RON
You went to a meeting?

ARDELLE
Didn't think it was a big enough deal to tell you about. I
just went to check it out.

PHILIP
She has real potential to make some changes. Everyone was
really receptive to her.

RON
Don't see what the point is. Bunch of people dictating house
colors.
 Lyon's Den 34.

PHILIP
We plan projects as well. Petitioned the city and got new
sidewalks as part of the last bond initiative. Got them
poured last June.

RON
Oooh. Accomplishments.

ARDELLE
Ronald.

PHILIP
It's fine. Might not seem like a lot to some, but it's the
little things that help make this place seem like home.

RON
Huh. Guess so.

There is a thick silence at the

table. Philip eventually turns his
attention to Q.

PHILIP
What about you?

Q
What about me?

PHILIP
What do you do?

RON
Nothin' right now. Hasn't for a while.

Q
Can't find nothin' I wanna do.

PHILIP
What do you wanna do?

ARDELLE
He's a poet.

Ron scoffs

PHILIP
(Excited)
Oh?

Q
I write other stuff, too.
 Lyon's Den 35.

ARDELLE
He used to perform at this little pizza shop in this
basement back home...I mean, where we were last.

PHILIP
Any good?

RON
He's all right. Not my kind of stuff, but--

ARDELLE
He's great. Nothin' like it.

Q
Nowhere to do my stuff here.

PHILIP
Why not start something?

Q
Won't feel the same, you know? Plus, not sure if folks
around here would appreciate it. I'll figure it out. Just
not sure what to do until then.

RON
Get a job, that simple.

Q
Nothin' else I wanna do.

PHILIP
You could help me out.

RON
You ready to write about bugs, Q?

PHILIP
I just mean...I could use some help.
(Searching)
The series is actually about to take a major shift. The
readership is getting older, and my character is too. There
is this event that I've been alluding to since...I don't
know, book 3? It's going to be the perfect jumping on point
for new readers to the series as well. My editor isn't sold
on the idea I have for it, but if I can get some solid pages
in front of them -- really convince them...have you read any
of my books? Fly By Night? The Spider In The Storm Drain?
The Yellow Letter Jackets? That's the one where she joins
the varsity track team.

Q
Not a one.
 Lyon's Den 36.

PHILIP
Perfect. A set of fresh eyes to give me an honest opinion.
We could workshop it together.

Q
And you'll pay me?

PHILIP
Sure. Why not? Everyone should get paid to work, right? If
you are as talented as your mother says. Which, I would love
to read some of your stuff, if that's alright.

Q
Sure. I guess. All I've got are mostly old poems. A few
short stories.

PHILIP
That'll work.

Philip pulls out a business card,

handing it to Q.
E-mail me what you've got. I'll look it over.

ARDELLE
Sounds like a good idea to me. What do you think?

RON
Sure. Keeps him busy. Makes him some money the right way.
Sure.

Mo enters through the front door.

She is holding a single yellow
flower. She stops and looks at the
dinner, shooting a look at Philip,
then starts to exit toward her
room. She stumbles a bit,
intoxicated.

RON
Where have you been?

ARDELLE
There's still a plate in the kitchen for you.

Mo stops.

MO
So that's how we're doing it, then.

ARDELLE
Now isn't the time.

MO
I had my balloon and I waited for all of you.
 Lyon's Den 37.

RON
We never said we were going.

MO
You never said we weren't!

ARDELLE
Come on. Both of you. Not in front of company, okay?

PHILIP
No. It's fine. It's about time I get going anyway.

Philip stands.

PHILIP
I'll come by tomorrow, settle on a price and draw up some
papers. Make it official, yeah?

Q
Yeah. Cool.

PHILIP
Thanks for dinner.

Philip starts to exit.

Thanks for the hospitality, Ardelle. Ron.

Philip exits.

RON
Why didn't you tell anyone where you were?

MO
Didn't think I had to.

RON
Don't start this.

MO
It's only been four years. Today.

Q
Mo, let's go upstairs, okay?

Q goes for Mo.

MO
Don't fuckin' touch me.

ARDELLE
Sweetie...are you drunk?

MO
Q...why weren't you there?

Beat.
 Lyon's Den 38.

MO
Christ, man.

RON
We can't be expected to memorialize today forever. This move
was for a // fresh start.

MO
Fresh start. I know. But it's the day your daughter died.
How do you forget that?

Q
No one said we forgot.

MO
If I died, how quickly before you forget about me?

ARDELLE
We all remember, sweetie.

MO
Then why weren't you there?

ARDELLE
It's....it's hard, okay?

Q
We can go again in the morning, yeah?...Okay, Dew?

MO
Don't fuckin' call me that!

ARDELLE
Calm down!

MO
I shoulda' moved when I had the chance. But, I let you talk
me into stayin'.

RON
The door is right behind you. Doesn't matter to me if you
stay or go.

ARDELLE
Your father doesn't mean that.

RON
To hell I don't.

ARDELLE
Q, take your sister to her room.

MO
You should have left him.
 Lyon's Den 39.

ARDELLE
Mo! Room! Now!

Mo looks at Ardelle for a moment,

fire leaping in her eyes.

MO
Fuckin' cowards.

Mo exits.

RON
You gonna let her talk to you like that?

Ardelle puts her hand up to silence

Ron.

ARDELLE
Not now, okay?

RON
Jesus!

Ron exits through the front door,

slamming it behind him. Lights
shift. Q stands, watching Ardelle
for a moment. She doesn't move,
just works to watch her breath. She
becomes unnerved and tense. Taking
a seat, she starts to hum a sad and
simple lullaby.

Q
I've never seen her as a coward/ She was never anything less
than/ The one who tried to hold up the stars/ But got seared
by their heat/ And seeing how Honeydew took her breath away/
I could finally see burns/ How deep they buried in her skin/
Last year, we released balloons on the day she died/ Those
four latex laments floated through the sky/ As we hoped they
would strike the floorboards of heaven/ And let my sister
know we were thinking about her/ About the day she was taken
from us

Lights shift, creating a dream-like

space.

Ron comes rushing in through the

front door, panic on his face.

RON
Mo! Sweetheart! We've gotta get going.

Mo enters the room, a stuffed

diaper bag in hand.
 Lyon's Den 40.

MO
Is she alright?

RON
Your mom and Q are in the ambulance, we'll meet them there.

MO
Dad. Is she gonna be okay?

RON
Everything will be fine, sweetheart. Okay?

They pause for a moment. Ron knows

it might be a lie, but he struggles
not to show it.

MO
Okay.

Mo hurries out of the door. Ron

follows. Ardelle takes a deep drink
from her wine glass.

Q
They never did make it/ We held my sister's tiny hands/ As
she slipped away just past 6th and the Interstate/ Her soul
sailing on that ambulance siren/ Racing toward a hospital/
Simply for protocol/ That was the first time I had ever
really seen my mother cry/ And Nina was the first person I
had known to die

Mo enters the house. She reaches

into the bag and pulls out a baby
blanket. She clutches it tightly,
crying into it. Ron enters,
wrapping his arms around Mo,
enveloping her. They cry together.

Q
Her grave/ One year later/ Had not settled/ As if she was
fighting death itself to come back to us/ That mound of
soil/ Haunted our nightmares/ Like unrepented sins/ Her plot
felt/ Freshly dug and too much to revisit/ The day we moved
into this house/ Was the day that our vocal sadness/ Became
grieving whispers/ Never heard by the other/ Not spoken and
given form/ When 'Dew and I let go of those helium filled
hallelujahs/ Arms tightly wrapped around each other/ Through
tears I promised that we would come back/ Ribbon tied around
our wrists/ Ready to release a part of that pain/ And I
could blame 'Dew for not letting me know she was there/But I
knew she was/ Because I promised I would be/ To get to the
cemetery/ I would have to pass parts of me/ I wanted to bury
as well/ Places where my sins sat next to swing sets/ And my
feet wouldn't let me/ Looking back meant looking at it all/
 Lyon's Den 41.

Including the memory of that/ fresh mound of soil/ and

myself/ Maybe balloons were to be for birthdays/ Not bitter
goodbyes by gravestones

We wouldn't cry together again/ Forcing our tears to land in

our own palms/ Instead of on the shoulders of fellow/ Sorrow
soaked sinners/ Missing the same sweet soul/ We could never
forget that day/ But we had forgotten how we got through it

Lights fade on Mo and Ron.

Ardelle starts to collect the

remains of the dinner. Eventually,
she breaks down and sobs.

Q crosses to her in an effort to

help but before he can reach her,
she stands and starts to walk off.
Q watches as she leaves.

Scene 6
_______

As Ardelle leaves, CeCe, Mimi, and

Fran make the space look like Bible
study again.

They sing a rousing and

inappropriately uptempo rendition
of "I Know It Was The Blood" as
they do, all finding their seats at
the end of the chorus.

Only this time, Philip sits across

from them.

They stare at him, Bibles in their

hands but not open.

CECE
What you say your name was again?

PHILIP
Philip.

MIMI
And where you from?

PHILIP
Up the street...

FRAN
Oh! You that Philip!
 Lyon's Den 42.

The three ladies nod in

acknowledgment.

PHILIP
You know who I am?

FRAN
Just about you.

MIMI
From Ardelle.

CECE
We are so close to her. Her circle.

MIMI
She trusts us with just about everything.

FRAN
And we wanna say sorry for last night.

MIMI
When she told us what happened, Lord Jesus -

CECE
Frankly, we were embarrassed for her.

PHILIP
Oh, things happen. Families have their tiffs.

CECE
But rarely on such a special day.

MIMI
Why she had you over instead of going to see her baby--

FRAN
Tell it.

CECE
Now, don't go tryin' to say how she feel.

Philip is looking around the room.

He's pretty uncomfortable.

MIMI
I ain't doin' that.

FRAN
Would you have gone?

CECE
Of course.
 Lyon's Den 43.

MIMI
Then I rest my case.

CECE
But it ain't your baby who died.

FRAN
(To Philip)
Little Nina was only a year and a half old when she passed.

MIMI
Surely he knew that already.

CECE
Did you know that?

The three ladies look at him in

anticipation.

PHILIP
...No...

This really gets them going.

MIMI
Oh! Lord Jesus!

PHILIP
Can we like...keep it down?

CECE
You remember what it was like?

FRAN
Yes, Child.

MIMI
So sad.

CECE
So very sad.

Philip can't decide if they are

talking to him or not.

MIMI
Never did find out what happened to that child.

CECE
You act like it matter.

FRAN
Don't it?
 Lyon's Den 44.

CECE
Naw. What matters is that one of God's children was taken
from us so soon.

FRAN
You right, you right.

MIMI
And she was precious.

CECE
So precious. You should have seen her.

MIMI
Her smile?

FRAN
God Almighty.

CECE
And that laugh. She get that from her mamma.

MIMI
You don't think Ronald kept them from going?

FRAN
Giiiiiiirll.

PHILIP
You know, I think he's here, actually...so if we want to --

CECE
He wouldn't do that.

MIMI
You forget all the other stuff he already done.

PHILIP
Okay.
(Calling out)
Q!

Q
(Off stage)
One sec!

PHILIP
(To himself)
Great.

CECE
Oh, you here for Q?

PHILIP
Yeah.
 Lyon's Den 45.

The ladies exchange a look.

CECE MIMI
Hmm. Hmm.

FRAN
Hmm.

PHILIP
What?

CECE MIMI
Nothin'. Nothin'.

FRAN
Nothin'.

Q enters the room.

Q
Sorry that took me so long.
(To the ladies)
Ma said she'll be down in a minute.

CECE
Oh, it's no rush.

MIMI
The Bible advocates for patience.

FRAN
Amen.

MIMI
And your friend here has been so kind to talk to us.

CECE
He has such a sweet soul.

FRAN
Yes he does.

Q
(To Philip)
Sorry 'bout them.

PHILIP
It's fine.

MIMI
You sure you don't want to join us?
 Lyon's Den 46.

CECE
Where two or more are gathered --

Q
We're good. Thanks though.

Lights fade on the ladies.

Scene 7
_______

Philip starts to pace.

Q walks over to a pile of rubble

and pulls out a portion of a
manuscript. He flips through it
while circling with Philip.

Q
His work/ Clumsy words on printed pages/ Dense paragraphs of
lost tangents/ Plots that seemed to dead-end/ Lacked
elegance and refinement/ Had no focus or function/ But
subtext spilled through the ink/ Bleeding through those
thinly crafted metaphors/ With such bravado/ That you would
be positive he knew the song he sang/ If only the melody
wasn't familiar to you as well/ In the disguise of
characters he displayed his own fears/ The lexicon of
loneliness yelled through the syntax/ And I understood every
word

PHILIP
The first few chapters --

Q
Yeah...about those --

PHILIP
They need to set the right tone. They need to be exciting
and dangerous. Trilling.

Q
Right.

PHILIP
You know, to capture the audience right from the jump. Did I
do that?

Q
Honestly?

PHILIP
Not gonna pay you to lie to me.

Q
Then...no. I think it's pretty boring right now.
 Lyon's Den 47.

PHILIP
Wow...okay.

Q
It all reads cliche. The night is stormy. Boring. The street
lights go out, which, okay, but the power in all the houses
is still on so she's not really in the dark. Why, as a
reader, am I supposed to be scared? There's no tension.

PHILIP
The semi-darkness can be scary.

Q
Is there anything in the darkness?

PHILIP
No. It's atmospheric dread.

Q
Yeah, she is supposed to be what...17? She ain't scared of
the dark unless there is something in the dark to be scared
of.

PHILIP
She's alone out there. That can be frightening.

Q
I thought she could talk to bugs, though. Where are all her
insect friends? Does she have a thing against crickets? Did
the street get fumigated or something?

PHILIP
Well, no...

Q
Then why should I care that she's moving around at night?
Because she ain't alone, by the rules of the world you set
up. No one is watching her, and you ain't no Poe, so no one
is dying of atmospheric dread.

PHILIP
Asking for honesty might have been the wrong thing to do.

Q
What's it hurt to pull the rope tighter? Give me something
interesting to latch on to. Some tension right on page one.

PHILIP
You think it's that boring?

Q
It doesn't have to be.

PHILIP
I've got an idea.
 Lyon's Den 48.

Q
Let's hear it.

PHILIP
Maybe, and follow me on this...maybe she meets an
underground poet that performs in a pizza shop who only goes
by a singular letter for a name.

Q
Oh, you got jokes, huh?

PHILIP
A few, yeah.

Q
Too bad they aren't in the book.

PHILIP
You are a witty one.

Q
I've been known to be pretty witty, yeah.

They settle into the moment. They

are enjoying each other's company.

Q breaks the moment.

Q
Where, uhh...where did you come up with this idea anyway?
For the bug girl?

PHILIP
There was this little girl who lived next door to me and she
would catch all these bugs in jars, keep them in her
playhouse. It was like they were her only friends or
something. I couldn't stand the idea of her talking to them
every afternoon and them not saying anything back. So, I
thought...what if they did. Say something back, that is.
There was a story in that silence she had with them. Figured
I'd write until I found it.

Q
You ever tell her you wrote about her?

PHILIP
What? No. I'd might as well tell the whole block they're in
the book if I did that.

Q
Wait...your characters are all based on people here?

PHILIP
Every one of them.
 Lyon's Den 49.

Q
Even the old lady without the bra in chapter 2?

PHILIP
Yep. Ms. Philpot down the street.

Q
Jesus.

The both laugh.

PHILIP
What other notes you got for me?

Q
Can't tell you everything at once. Then I can't drag it out
longer.

PHILIP
Shouldn't have agreed to an hourly rate, huh?

Q
That's where you messed up.

They share a laugh.

PHILIP
See, this is exactly why I needed you. You should be the one
writing a book.

Q
Me? Naw.

PHILIP
Your stuff is good. What you sent me anyway.

Q
You're just sayin' that. My stuff doesn't really seem like
your vibe, ya know?

PHILIP
How do you know what my vibe is?

Q
Based on this place. You fit in here. I don't.

PHILIP
What? You think I can't "get down with the get down?"

Q laughs at him unashamedly.

Philip smiles at this.

 Lyon's Den 50.

PHILIP
You forget. We all came from somewhere. And, believe it or
not, this isn't where I plan on spending the rest of my
life.

Q
Well, let's say this new book does what you want it to, what
does your future look like?

PHILIP
I...I don't know. It doesn't look like this. Maybe a bit
more like you.

Beat.

Q
Meaning?

PHILIP
Not too sure...Where do you see yourself? Your future?

Q
You're avoiding the question.

PHILIP
I answered the question. I'm not sure what I meant. Reader's
interpretation I guess.

Q
Readers like clarity.

PHILIP
That's not what they always need.

Q
What did you mean it should look more like me?

PHILIP
I just meant...people think they know who I am, what I have
to say. It can be suffocating, but I let it happen. I keep
writing these books and voting for which mailboxes to
approve. It has all become one big lump of nothing. But
after reading your stuff, I thought working with you could
make me more...daring I guess? More like you.

Q
Oh.

PHILIP
What did you think I meant?

Q
I don't know.
 Lyon's Den 51.

PHILIP
Avoiding the question.

Q
Leaving it open for interpretation.

PHILIP
It's okay. I don't mind some ambiguity. I do have a question
for you.

Q
Only fair. Shoot.

PHILIP
What does your future look like?

Q
I dunno. I used to know. I was gonna go to school, got in a
couple places. Good ones, too. Ivy League and shit.

PHILIP
Really?

Q
Yeah.

PHILIP
What happened?

Q
Things just didn't line up is all. There was just a lot
going on and --

PHILIP
Your sister?

Q
Mo? Naw, she never stopped me from doin' anything.

PHILIP
Not that one.

Silence falls between them.

That silence means there's a story there.

Q
Did you come here to work or bring up old shit?

PHILIP
Why didn't you go visit...Nina, was it?

Q
What the fuck, man?
 Lyon's Den 52.

PHILIP
Look, I'm just asking wha--

Q
So, because you heard her name being tossed around by people
that you don't even know, you think you can come in here
and// throw it around like you know anything?

PHILIP
No, that's not it at all-

Q
Why the fuck do you care? It's none of your business.

PHILIP
You're obviously good at this. I want to know why you are
playing dumb to help me instead of, I don't know, going to
those schools you just told me about.

Q
Shut up!

PHILIP
You do this work for me, help me write this book, you would
have credentials. Something you can show people, show those
schools. Get a second chance. You help me, and I can help
you.

Q scoffs and starts to walk away.

PHILIP
Look, I get it. This place it torture for you. I know it is
because it's torture for me, too. Only you could get out.
You have the talent I wish I had.

Q
That doesn't mean a damn thing.

PHILIP
Why do you feel like you can't move forward? If it isn't
your sister, what is it?

Q
Get out.

PHILIP
Four years ago something happened.

Q
Get the hell out. Take your shit and get out.

PHILIP
Why didn't you go to school? Why move here?
 Lyon's Den 53.

Q
We're done. Keep your money.

PHILIP
What are you hiding? Maybe I can help.

Q
I don't know you. Don't you get that? I don't know you, and
you don't know me.

PHILIP
Have you told anyone what happened? How your sister died?

Lights shift. Ron appears. Anger

radiates from him. Q is pulled into
the past. He pulls the envelope
from his pocket.

Ron snatches it from him. It is

full of money.

PHILIP
What happened? Was it your dad?

RON
What did you do to get this?

Q
No. I...um.....

PHILIP
It's okay. Trust me.

Ron pulls out a cell phone. He

reads from it.

RON
"Meet me in Frazier Park. I'll be wearing a red cap."

Q
There are sins in this family.

Mo appears, uneasy and unsure of

herself.

MO
I saw the messages, Q. I'm sorry. I had to tell someone.

RON
Who is Joel? I asked you a question, son.

MO
I had to tell him.
 Lyon's Den 54.

Q
Sins that certain few can't look beyond.

PHILIP
What was in Frazier park?

MO
You didn't have to do that with that man.

RON
(Reading the phone)
"Maybe you can get off this time. I'll pay you more to watch
you --"

Q
Dad!

RON
You left your mother alone with her for...God, I can't even
say it.

Q
Since Nina was born--

RON
Really, son?

Q
There wasn't a moment when Ma wasn't sad.

PHILIP
Postpartum?

RON
Where did you meet this guy, huh?

Q
Baby blues don't start to describe that ring of melancholy
that sat on her.

RON
You were supposed to watch her!

PHILIP
Your mother...she didn't...

Q
No. She loved her.

MO
We loved her, so much.

Q
She choked.
 Lyon's Den 55.

RON
She choked because of you.

Ardelle appears on the floor, bent

over in mourning.

Q
She said she just looked away for a moment. She often
couldn't look at her. She said her cries were like the wails
of a generation coming down on one woman. They grated at
her.

ARDELLE Q
I just needed to step away. She just needed to step
Just for a bit. away. Just for a bit.

RON
You wanna be a big man? Whore yourself out in public places?

Q
I wasn't whoring myself--

RON
What else do you call sex for money? Huh?

Q
I...

PHILIP
Is that what happened at the park?

RON
You know she shouldn't have been alone.

ARDELLE
I shouldn't have been alone.

Q
(To Philip)
How do you leave?

RON
You weren't supposed to leave her!

PHILIP
That's not your fault.

Q
Whose is it then?

RON
Who the hell is Joel, goddamnit?
 Lyon's Den 56.

Ron closes the space between Q and

himself. The light focuses on them
and Ardelle.

Q
I'm sorry. I'm so sorry. She seemed okay. She...she had a
good week. Didn't you, Ma?

RON
I want you out. Out of my house!

ARDELLE
Ron, no.

Ron starts shoving Q. Mo stands at

a distance, watching nervously, but
not interfering.

RON
You're the reason she's gone. You piece of shit! You
shouldn't have left her!

Ron's shoves become more

aggressive. Q doesn't fight back.
Ron pushes Q to the floor.

PHILIP
You've kept this inside? All of this?

RON
Get out!

Q
Dad...Daddy...stop, okay? I'm sorry.

Ron climbs on top of Q, ready to

punch him.

RON
You took my baby girl from me!

Ardelle rushes to pull Ron off Q.

ARDELLE
Stop!

Ron rears back, hitting Ardelle,

throwing her to the ground. Mo
shrieks in fear. Ron stands,
shocked at his own actions. He
makes a move toward Ardelle, who
scurries back from him.

RON
Look what you did.
 Lyon's Den 57.

Ron hits Q in the stomach. Q

collapses to the floor. Ron backs
away, angry tears flowing from his
face. He storms off. Q crawls to
Ardelle, cradling her.

ARDELLE
(Through tears)
Baby. Don't go. Please?

Q
I'm not going anywhere, Ma.

Q holds Ardelle as she cries.

Q
You can't leave after something like that. You stay and you
take care of your mess. But...I don't know how to fix this.

Mo watches for a few more moments,

starts toward Q and Ardelle, but
turns and leaves instead.

Philip crosses to Q, lowering down

and putting his hand on his
shoulder.

PHILIP
It's okay. Talk to me. Tell me everything.

Lights fade.

End of Act One.

 Lyon's Den 58.

ACT II
______

Scene 1
_______

Ardelle appears, dressed in black.

Except for a yellow flower attached
to her clothing.

CeCe, Mimi, and Fran, also dressed

in black - but still matching like
they are straight from a catalog -
begin to sing "I'll Fly Away". The
women are reverent in their
singing.

As the song progresses, Q becomes

visible, dressed in his Sunday's
best with a bright yellow flower
pinned to him.

Q
Coffins shouldn't come in that size.

Ardelle starts through the space,

head down and silent. Ron and Mo
appear, also dressed for the
funeral, each with their yellow
flower. One by one, they set their
flower on the grave, paying a
moment of respect. The church women
do the same.

Ardelle stops at a pile of rubble,

takes off her flower, and places it
on top as if on top of a coffin.
She takes a moment, as the humming
from the ladies washes over her.
She kneels at the coffin, pressing
herself against it as if listening
for something to move.

Q
Ashes to ashes.

Ron and Mo follow with their

flowers. They help Ardelle to her
feet, but Ardelle shakes them off,
takes another moment, and walks
back to the coffin on her own.

The ladies, humming softly now,

follow, stopping beside Q. The
lights shift. They are in the home,
flower arrangements spread
 Lyon's Den 59.

throughout the space. The ladies

break away from their humming and
slide back into their original
manner, standing in stark contrast
to the reverence they just
demonstrated.

CECE
Did you see that pastor lookin' at me?

MIMI
Oooooooh girl! Trust me, I saw him.

FRAN
We all saw him.

Q
Why must funerals be followed by people invading your home
and eating food that they cooked anyway?

CECE
The ceremony was nice.

MIMI
Nicer than what the Martin's had for Lisa.

FRAN
Oh, that girl was a mess.

CECE
Whichever of them put her in that dress// is wrong for that.

FRAN
Oh I know! That dress was awful!// Just awful! I was just
thinking about Joe Robinson. He looked sharp!

MIMI
Mr. Robinson looked sharp during his funeral.

The ladies continue to mutter on

and on about other funerals.

Q
Comparing corpses in caskets. You go to enough funerals,
people start to score 'em.

FRAN
Remember last Spring? The funeral down on Southern?

Q
Categories range from flowers--

CECE
The one with the purple carnations everywhere?
 Lyon's Den 60.

Q
The music.

MIMI
And that awful choir.

Q
To even the message.

FRAN
Yeah. That one. THAT pastor was FINE!

CECE
If that ain't the truth!

MIMI
I wouldn't mind his anointing!

FRAN
He could be a man of my cloth!

CECE
Oh! Fran, you so bad!

FRAN
The Lord forgives! I'll hit my knees right after!

MIMI
And during!

All three women burst out in

laughter.

Q
But the category that matters the most is the family.

Ron starts to walk back toward the

ladies, keeping his distance.

CECE
Carla was a mess today, wasn't she?

MIMI
Broke down, right in the middle of the service.

FRAN
Wailing, really.

CECE
You would expect that kind of thing from Ardelle.

MIMI
Putting your child to rest. Lord knows it can't be easy.
 Lyon's Den 61.

FRAN
Especially the way the little one passed.

CECE
Oh, I know! I would feel awful!

FRAN
She never seemed like the kind of mother to neglect her own
--

RON
She didn't neglect her.

Beat.

FRAN
Like I said, she never seemed like the type to.

CECE
No one is sayin' she did anything wrong, Ron.

RON
Then what are you sayin'?

CECE
That it's unfortunate.

Q
Dad, I'm sure they didn't mean anything by it.

Ron eyes Q. He doesn't say anything

to Q, but turns back to the ladies.

RON
Guess I stand corrected.

Ron exits.

CECE
You know, Q... I think it's about time I got going anyway.
It's been a long day, hasn't it?

FRAN
Me too. Still got some errands to run.

MIMI
You tell your mother to call us if she needs anything. Okay
sweetie?

CECE
You can bring me the dishes next time you come to Sunday
School, okay?

CeCe and Fran exit.

 Lyon's Den 62.

MIMI
Make sure your father knows that we didn't mean any harm.

Q
It's my fault.

MIMI
Don't say that, child. It isn't anyone's fault when God
decides to move His hand.

Mimi grasps his hands.

MIMI
We prayin' for you. Remember that.

Mimi lets go.

MIMI
Enjoy that potato salad. Special family recipe.

Mimi exits. Q walks over, joining

Mo at the table.

Q
Help me pack this stuff up?

MO
I got it.

Mo grabs all the dishes, and exits.

Q goes over to the pile of rubble

with the other flowers on them. He
pulls his flower out, placing it on
top of the others.

Q notices Ardelle at the coffin.

Q
Processions for people so tiny/ Their final resting places
look more like doll boxes/ A small steel structure colored
with yellow/ To soften the reality/ The truth that inside is
a girl who once laughed/ Because she knew nothing else

What should she wear?/ Do we buy something new? What about

shoes?/ Whatever choice, we can't undo/ We pick the way that
we remember/ Pick the style of her hair/ Pick the fullness
of the cheek/ Make sure there's no blueness there/ Keep the
lids glued down tight/ Don't let us look into those eyes/
The ones that once danced with a child/ The ones that
glimmered with surprise/ Nina will never see the sun again/
Won't see a blood moon rise/ Won't catch the looks of some
young boy/ Won't be hurt by his lies/ She'll never know the
way the darkness calls/ Or how the sunlight spies/ She'll
 Lyon's Den 63.

never understand the loss of love/ Or the pain behind

goodbyes/ She'll never have her morals questioned/ Her life
shattered with Mother's cries/ Or see the look on Father's
face/ When your actions he does despise/ She'll never run,
or dance, or fall, or sing/ Never lows, but never highs/ She
barely got a taste of life/ Coffins shouldn't come in that
size.

Dust to dust.

"I'll Fly Away" echoes from the

sides of the space. Ardelle enters,
taking one last look at the
flowers. One by one, each flower
arrangement gets taken away by each
person except Q. Eventually,
Ardelle is left with the smallest
arrangement in front of her. She
smells the flowers, leaving them
there. The lights fade on her,
leaving only Q illuminated.

There is a knock on the door.

Lights shift back to normal.

Mo enters, going to the door. She

opens it, Philip stands there in a
suit and tie.

Scene 2
_______

MO
Q! Door!

Mo exits.

PHILIP
It's been three months and she still doesn't like me.

Q
It's not you.

PHILIP
Well, you clean up nicely.

Q
You sayin' I was ugly before?

PHILIP
Not at all, kid.

Q
Where we going?
 Lyon's Den 64.

PHILIP
You don't need to know everything.

Q
If we going somewhere where I'm gonna be the only black man
in the room, I don't know if I'm down for that.

PHILIP
What kind of place would that be?

Q
I don't know. Some snobby writers gala or whatever you
people do.

PHILIP
It's nothing like that. We're celebrating. We've had our
heads buried in those pages for a while now. I've gotten
nothing but good feedback from the publisher about the
changes we've made.

Q
You did the writing.

PHILIP
Still, it wouldn't have been nearly as good without your
help. Seriously, I can't thank you enough. But, dinner is a
good start. On me. We have a lot to celebrate.

Q
You pay me. That's enough thanks. I'm just doing what you
hired me for. We don't have to go to some fancy place for
you to say thank you.

PHILIP
What about to celebrate a new publishing deal all together.

Q
They want another book from you?

Philip pulls out his phone.

PHILIP
Before you say anything else...Here. Read this.

Philip hands Q his phone. Q quickly

scans the phone.

Q
Wha...when are they coming?

PHILIP
See? I told you your stuff was good. Obviously, I'm not the
only one to think so.
 Lyon's Den 65.

Q
How did they find out about me?

PHILIP
I passed your stuff along to the publishing house.

Q
What?

PHILIP
After reading through what you sent me...just seemed like
the right thing to do. My publisher admitted it was a bit
out of his wheelhouse, but he knew someone who knew someone
and...here we are. I told you I'd help you out.

Q
You could have asked.

PHILIP
You would have said no.

Q
You don't know that.

PHILIP
Really?

Q
I mean, I would have said no, but that's not the point.

PHILIP
This will be your chance to tell your stories. Whatever it
is you need to say, in whatever way you want to say it.
You'll get to speak for you. And people will listen.

Q
You really think so?

PHILIP
I know it without a doubt. Just don't forget me on your way
to the top of the literary world, yeah?

Mo enters, dressed provocatively.

Q
Where are you going?

MO
None-ya.

PHILIP
Your brother has some good news.

Q looks at Philip
 Lyon's Den 66.

PHILIP
Come on! It's not set in stone, but you are pretty much one
meeting away. Might as well get use to saying it.

Q
It looks like I might get my poetry published.

PHILIP
He'll have to write enough to fill a decent size book, but
you are pretty much there. They'll give him time, of course.
Then, maybe some of his short stories. Move up to novels or
whatever else he wants to do.

MO
Finally get his ass outta here.

PHILIP
Your brother has real talent. It'd be nice if you gave him
some support.

MO
Who are you, talkin' to me like that?

Q
'Dew, calm down.

MO
That's not my fuckin' name.

PHILIP
It's fine, Q. I get it.
(To Mo)
He made a mistake, okay? You can't hold that against him
forever.

Q
Drop it, okay?

PHILIP
She's not innocent, you know.

MO
What did you tell him, Q?

PHILIP
He told me what happened. Why you left your old
neighborhood.

MO
Really?

Q
Philip.
 Lyon's Den 67.

MO
No. Let him finish. I wanna hear what he thinks he knows.

Q
Mo. Just chill, okay?

PHILIP
What were you afraid of? That your brother might be gay?

MO
You think that's my problem?

PHILIP
One of them, yeah.

MO
Way to make me sound like a homophobe, Q.

Q
I never called you that.

MO
What else did he tell you, huh?

PHILIP
What does it matter?

MO
No, tell me.

Q
Drop it.

MO
Did he tell you how he made it impossible to go to school?
Cuz the kids wouldn't leave me alone.

Q
Just go, Mo.

MO
I wanna hear what else he has to say.

PHILIP
You really don't.

MO
I bet he didn't tell you what he use to do at the park, did
he?

Q
Mo!

Beat.
 Lyon's Den 68.

MO
If you'll excuse me, I have somewhere to be. Spend less time
trying to prove me wrong and more time vetting your
proteges.

PHILIP
I know what happens at Frazier Park. He told me everything.
He made a mistake. But he's trying to do something with his
life. He's making good. And you're just...what are you
doing?

Q
(To Philip)
Can we just//drop it?

MO
What's funny to me is that you think you know what the hell
you're talkin' about.

PHILIP
Where do you go every night then?

MO
Why is it that Q has talent, but you just assume I'm ruining
my life?

Q
No one said that, 'Dew.

MO
Naw, but he thinkin' it. Ain't you?

PHILIP
How close to right am I?

MO
I'm close to knockin' you the// fuck out.

Q
Philip. Please. Alright? Mo, just chill. He didn't mean
anything by it.

MO
Maybe it's best Nina never saw you actin' like a punk,
turnin' on your family 'cause someone else says jump.

Q
And Nina would wanna see you dressed like a slut, 'Dew?

Beat.
I didn't mean that.

MO
Naw. You finally speakin' truth. Like father, like son.
 Lyon's Den 69.

Q
I'm not like him!

MO
How much is he paying you? Must be enough to buy your
opinion of me.

Q
What else you been doing besides drinkin'?

MO
Nothin', Q!

Q
You promise?

MO
I learned from your mistakes.

Q
Then why won't you tell me what's going on?

MO
Because you didn't care until just now, so why should I? I'm
taking care of me. I don't need your help doing it. You got
your writing, you got your man--

Q
Is that what this is about?

MO
You hear whatever the fuck you wanna hear, don't you?

Q
You act like you ain't got a part in this.

PHILIP
Let her go, Q.

MO
How is it you get to make a mess and I'm talked into stayin'
to try to clean it up? And for what? What's in it for me?

Q
You didn't have to stay, Mo. That was your choice. Don't put
that on me.

MO
You're right. Now, if you don't mind gettin' out of my way.

Mo pushes past Philip, exiting.

Q
I should go after her.

Q starts to exit.
 Lyon's Den 70.

PHILIP
I'm sorry.

Q stops.
I didn't mean to...I just see the way she blames you for
everything and it makes me sick. That's not what you
deserve. At least I don't think so.

Q
I don't know what to do for her.

PHILIP
She's going to blame you until she finds she can't anymore.
Until she takes responsibility for her part...not much you
can do. Let her figure it out.

Q
Maybe we should do this another night.

PHILIP
Hey...don't let her ruin this for you, yeah? We are
celebrating me and you and the work we have done. The work
you will do. Let's celebrate you, yeah? Something good that
has come out of all of this. Can we do that? Because I'd
really like to do that for you.

Q nods.

PHILIP
Good. Don't let her take anything else away from you. Not
this.

Philip starts to exit.

Q
What is this?

PHILIP
Whatever you need it to be. You ready?

Q
I'll be right there.

Philip smiles then exits. Q is left

there, looking at the door.

Scene 3
_______

Lights shift.

Q starts to take off his jacket as

Ron enters the space, waiting.
 Lyon's Den 71.

Q
I want to touch you/ I want to put my tongue in your ear/ So
I can taste how sweet/ I hope my name sounds to you/ I want
to run my finger/ Up and down your spine/ So I can feel what
you stand for/ I want to gaze upon your motives/ And watch
them unfold into a tree/ So beautiful that/ The only shame I
feel/ Is in not being able to compliment it/ Because all I
have are fallen leaves

Ardelle appears. She crosses to

Ron, running her hand across his
chest.

RON
Stop.

ARDELLE
When will you love me again?

Ardelle kisses Ron's neck. On the

other side of the space, CeCe,
Mimi, and Fran appear but dressed
seductively. They begin to dance,
slowly, to an unheard music.

Q
The trees in Frazier Park hid my actions from God/ Covering
the transactions of me for green

RON
Stop, okay?

Ron pulls away from Ardelle,

leaving her alone. Ardelle pulls
into herself.

Q
After 6 pm, only denizens of lust walked under the jungle
gym/ Our carnal drives pushing us towards an exchange of/
Silent gestures/ Stiffened backs/ And simple groans that
painted my nights/ As I lay on my back wondering/ If God had
turned a blind eye/ And if that is why the nights were so
black

Ron crosses over to the three

women, who welcome him into their
circle. They paw at him, and he
reacts in turn to their touches.

Q
But with you/ You spin the stars into existence above my
head/ And I want to run for mayor of that night sky/ I'll
use the moon as my capital.
 Lyon's Den 72.

Fran reaches for Ron, gently

touching his face.

Q
I'll watch you sleep and chase your dreams across the
cosmos.

Fran kisses Ron, but he pulls away.

FRAN
Do we have to go through this every time?

Q
I want to make your deepest desires into constellations.

Ron stops hesitating, then kisses

her with full force. The other two
women pull away, leaving Ron
kissing Fran.

Q
And make the North Star always point back to me/ I want to
whisper you stardust/ And color you milky way/ I want to
catch the nebula in your eyes/ And be the meteor/ Begging to
crash into you.

Lights fade on Ron and Fran, as

they shift to show Mo.

CeCe and Mimi stand together,

school children again.

MIMI
Folks say Mo's mamma killed her baby.

CECE
Where you hear that?

MIMI
Everybody sayin' it.

CECE
Yo! Mo! Your mamma a murderer?

The two women chuckle.

MO
Leave me alone!

CECE
I'm just askin'! Your whole family's jacked up!

MIMI
Your mama kills babies, Q sweet on other dudes.
 Lyon's Den 73.

MO
Shut up.

CECE
And yo daddy been sleepin' with every hussy this side of --

Mo punches CeCe.

MO
I done told you to shut up!

MIMI
What the hell?

MO
You don't know what you talkin' about! My mamma didn't kill
Nina, and my daddy ain't cheatin' on her!

CECE
And your brother...?

Mo is silent.

MIMI
You think your daddy ain't fuckin' around, go ahead...ask
him! Everyone knows it but you.

MO
He isn't!

MIMI
Then why ain't he here to pick you up again.

MO
He's just late.

CECE
My ass.

MIMI
Guess he did only love one of his daughters.

Mo holds back tears.

Might as well walk home. Dumb bitch.

Lights out on CeCe and Mimi. Mo

stands there for a moment, looking
around.

MO
Daddy? Where are you?

Mo finally decides to walk home.

Lights fade on her Q stands there,
 Lyon's Den 74.

looking at where Philip just left.

Ron enters through the front door.
Ardelle speaks from the darkness.

ARDELLE
How much did you spend this time?

Lights up on Ardelle.

Q
Months before the move I would never see them touch.

RON
You don't know what you're talking about.

Q
Hands were never held and kisses never exchanged.

ARDELLE
Don't lie to me.

Q
They traded affection for aggression.

RON
I'm not. You're paranoid.

ARDELLE
Then why did you forget to pick up your daughter again.

RON
Shit. I'll go get her.

ARDELLE
No need. Some stranger dropped her off. Saw her walkin' home
in tears.

RON
It was an accident.

ARDELLE
Tell that to your daughter.

RON
Which one?

Q
Love becomes hard when those around you can't do it.

ARDELLE
She knows you're seeing someone else.

Q
The walls at the old house were too thin to keep a secret.
 Lyon's Den 75.

RON
You're making stuff up again.

Q
Before they kept their voices down, as not to wake the baby.
But since she passed, so did the need for whispers.

Q finds a place away from the

action. He watches. Listens.

ARDELLE
She is being harassed for what you're doing.

RON
I'm not doing anything!

ARDELLE
Just tell me the truth! Jesus Christ, everyone knows!

RON
There's nothing to know!

ARDELLE
Our son hasn't been back to that park in months! Months! So
you aren't going down there to check on him.

RON
What are you tryin' to do, huh? Haven't we been through
enough?

ARDELLE
You tell me.

Beat.

ARDELLE
You want to leave?

RON
Really don't know.

ARDELLE
What's so hard about the choice? Either you do or you don't,
no mixed feelings about it.

RON
When you act like this, yeah...I do.

ARDELLE
And other times?

Ron doesn't answer.

ARDELLE
Is it just the sex?
 Lyon's Den 76.

RON
Sure.

ARDELLE
So you admit that you're paying someone to--

RON
I admit...that there is someone else.

ARDELLE
I've tried! I've done my part.

RON
Bullshit, Ardelle.

ARDELLE
I was sick, Ron! Don't you get that? I can't help it if I
didn't want to--

RON
For over a year?

ARDELLE
I was exhausted, okay? I wasn't sleeping and I was stressed
and...I shouldn't have to explain this to you. It doesn't
justify what you did. What you are still doing! And, I've
tried, damn it. Every night, you push me away.

RON
You're part of the reason she isn't here! Sorry if I'm not
over that yet.

ARDELLE
Something terrible happened, yes, but Jesus Christ, do you
think I wanted it to?

RON
Listen --

ARDELLE
Why? This is all my fault, clearly.

RON
It's not your//fault. That's not what I meant.

ARDELLE
No. No need to take the blame. If you wanted it you would
have it. All I know is my daughter hit some girl in the
face//because she found out that her father was sleeping
with whores in the park.

RON
She hit someone?
 Lyon's Den 77.

ARDELLE
They aren't the only ones talking about this. Everyone
knows.

RON
Don't be dramatic.

Lights show CeCe, Mimi, and Fran in

random places around the space, not
completely visible.

FRAN
There isn't much I can say besides I told you.// I knew the
second that woman let that baby die that things would fall
apart for them. They've lost their center. Lost their focus.
Death either does two things: brings people together or
tears them apart. Looks like we know which one happened
here.

MIMI
Shame, shame, shame. The way that man sleepin' around on
that woman. Like she ain't been through enough.// But, you
know what they say. Once a cheater, always a cheater. So
there ain't no savin' him from this. I'd tell her to call it
quits, but divorce ain't the way. She won't get her
blessings if she does that.

CECE
He could be less obvious about it. Not even sneakin' around
at night, goin' over there in the middle of the day. Not
wholesome. Not right. Not Christian, for sure. Jesus don't
condone lyin' and he sure as hell don't condone this sorta
thing.

ALL THREE
We all know what happens at that park. Nothin' we can really
do but pray for them.

ARDELLE
I'm a laughing stock.

RON
It's just a bunch of women gossipin'. No one's going to take
them seriously.

ARDELLE
You don't see the looks I get.

RON
What do you want me to do?

ARDELLE
You could stop.
 Lyon's Den 78.

RON
That simple?

Ron starts to move toward Ardelle

and reaches for Ardelle.

Q ALL THREE
You let him touch you You let him touch you
again, you're a fool! again, you're a fool!

Ardelle pulls away.

RON
No. Guess not.

Ron starts to exit.

ARDELLE
What will they say about us?

RON
You tell me. You're the one who cares.

Ron crosses to the edge of the

space, away from

Ardelle. Lights focus on the women

and Ardelle.

CECE
If I were you I'd//leave.

MIMI
Leave. None of this is going to get//better.

FRAN
Better if you stay. Work on your family. Maybe far away
from//here.

CECE
Here. This is the name of a lawyer. Specializes in
complicated divorces. This one is going to need a lot
of//work.

MIMI
Work. Get a job again. Get on your feet. Become independent.
Just you and//your kids.

FRAN
Your kids will understand. Your daughter, she'll be mad for
a while, but maybe you can//start over.
 Lyon's Den 79.

CECE MIMI
Start over. Start over.

Lights fade on the women, focusing

on Ardelle and Ron.

ARDELLE
Start over. We start over.

RON
How?

ARDELLE
We leave.

RON
And then what?

ARDELLE
We leave, Ron. We move and leave all of this shit behind us.
The cheating, the lying, the death...we leave it all and
start over.

Ron and Ardelle stand and stare at

each other.

Q walks toward them.

Q
Search for the land of milk and honey/ Where all the things
that kill us/ Are trapped on the other side of a sea/ Only
do it in a weekend/ With moving trucks and/ Boxed up
memories/ Move away from the place your family was made/
Before Babel falls/ And your words mean nothing to each
other

RON
Okay. We'll leave.

Lights fade on Ardelle and Ron.

Scene 4
_______

Q
Listen.

Q waits. No sound.
I mistook that silence for peace/ The lack of ramparts read
as reconciliation/ A reward for keeping to ourselves/ And
paving our thresholds with eggshells/ As words felt too
heavy to speak/ I scrawled them down/ Looping language
around loss/ Logging the temperament of Lyons on loose leaf/
Pouring my heart into an alabaster box/ That he encouraged
 Lyon's Den 80.

me to build/ When I was done/ That silence greeted me/ But

Honeydew didn't

Philip enters, worry on his face. Q

turns to him.

PHILIP
Nothing?

Q shakes his head.

PHILIP
How do you know she's missing though?

Q
She hasn't answered any of my calls or texts in two days.

PHILIP
Maybe she came home when you were out.

Q
Naw. Nothin' of Mo's has been touched.

PHILIP
You tell your parents yet?

Q
No.

PHILIP
Why not?

Q
She's gone 'cause of me.

PHILIP
You don't know that.

Q
Mo don't wanna talk to me. She's been avoiding me.

PHILIP
So? You tell your parents. They can help. There is only so
much the two of us can do.

Q
No. We find her before they start asking questions. Last
thing my mom needs is to think her daughter is missing.

PHILIP
But she is missing.

Q
And I need to fix it, okay?

Beat.
 Lyon's Den 81.

Philip nods in agreement.

PHILIP
Alright. Okay...we go look then.

Q starts for the door.

Ron enters through the door,

stopping him. A manuscript, rolled
up like a newspaper, is in his hand
along with a letter.

RON
Where you rushing off to?

Q
We were just leavin', is all.

RON
I need to talk to you.

Q
Can it wait?

RON
Not really, no. Why is he here? More work?

PHILIP
Uh, no. We finished up the other day. Sent what we hope to
be the last draft off to the publisher yesterday.

RON
Then what are you doing here?

PHILIP
Just came to drop something off.

RON
Right.

Ron extends the letter to Q.

Then why you gettin' letters from publishers if it's his
name on the book?

Q takes the letter.

Q
You don't think--

PHILIP
Not sure I want to.

Philip extends his hand. Q passes

him the letter. Philip rips it
open.
 Lyon's Den 82.

RON
Son, I need to talk to you.

Q
We have to go do somethin'.

RON
What is so damn important you can't stand here and listen to
me?

PHILIP
Q. Quincy, this is...this is great! You're in!

Q
I'm what?

PHILIP
They're gonna publish you!

RON
What's this about?

PHILIP
You didn't tell him?

RON
Tell me what?

Q looks at Philip, who gives a

confirming nod.

Q
I got a book deal.

PHILIP
A good one, too.

RON
What lies you have to tell to get that done?

Q
This is a good thing. I can...I'm finally doing something.
Like you wanted me to. And Philip got my work in front of
the right people.

PHILIP
But you did the writing.

RON
What? They took this garbage?

Ron holds up the manuscript. Q

instantly recognizes it.
 Lyon's Den 83.

Q
Where did you get that?

RON
Shouldn't leave things just anywhere, son. Someone is liable
to find it.

Q
Before you say anything --

RON
"When the baby died, so did the need for whispers?" What is
this shit?

PHILIP
It's just a book.

RON
It's about us.

PHILIP
It's not about you.

RON
Did he put you up to this, Q?

Q
No, dad. It's all mine. Every word, every letter.

RON
Well, you got it all wrong. Every bullshit thing in here is
wrong.

Q
It's not wrong.

RON
You think wrapping your fucked up version of events up in
some fancy phrasing is gonna cover your tracks?

Q
I had to say it somehow.

RON
You didn't have to say shit. With this out there, all it
takes it one person at my job to hear about it. You put all
our mess out there, and I'll become a goddamn spectacle.
Your mother...did you even think about how she would feel
when she finds out about this?

PHILIP
All he did was tell the truth.

RON
How do you know what the truth is?
 Lyon's Den 84.

PHILIP
I know enough. I know what happened to Nina. I know Q wasn't
there with Ardelle when he was supposed to be. I know what
you're capable of.

RON
And what's that?

PHILIP
Battery is battery, plain and simple.

RON
So, I'm just some big bad wolf to you, ain't I? That's the
story you wanna tell the world, Q?

Q
No one said that, Dad.

RON
Tell me, what family you been trying to hold together?
Because it ain't this one. You left out how I've busted my
ass to do what's right by you and everyone else without so
much of a thank you. Like shit is just easy. When was the
last time one of the few things you loved more than yourself
was ripped away from you? Huh?

PHILIP
It's not his fault!

RON
Then whose fucking fault is it, huh? Who?

Beat.

RON
I want you out of my fucking house.

Q
Dad.

PHILIP
Tell him, Q.

RON
You got somethin' else to day?

Q
Nothin', dad.

PHILIP
(Frustrated)
Mo is missing.

Q
What are you doing?
 Lyon's Den 85.

RON
She's what?

Ron looks between the two of them.

Ron makes a move toward Q, Philip
crosses between them. Ron pushes
Philip out of the way.

RON
Boy, if I have to ask you again --

Q
--She hasn't answered any of my messages in two days. I
haven't seen her.

RON
And you're just now saying something about it?

PHILIP
You didn't notice either.

Q
Philip, chill!

RON
Your mother know?

Q
Haven't told her yet.

RON
What the hell is wrong with you?

Q
Figured we could find her and have her back here before
either of you noticed.

RON
You didn't lose a dog, Quincy. It's your sister!
Jesus...what if it's too late.

Ron gets ready to leave.

I swear, if you've let my baby girl get hurt...
(To Philip)
Don't ever step foot in my house again. Is that clear?

Ron exits.

PHILIP
We gotta go.

Q
What was that?
 Lyon's Den 86.

PHILIP
What?

Q
You didn't have to do that.

PHILIP
Yes I did. This is as much my mess as it is yours.

Q
No it's not.

PHILIP
I think what you have to say is important. I convinced you
to write about you. In my eyes, those pages you wrote bind
us. Yeah?

Q
...Yeah.

PHILIP
Okay. Good. Look, we find Mo, you stay with some people
until your advance comes, and we get you your own place.
Away from all of this.

Q
I can't.

PHILIP
Yes you can. You just get your stuff and you go.

Q
I ain't got nowhere to go.

PHILIP
No one to take you in?

Q
Naw.

PHILIP
Then...come stay with me.

Q
You just down the street. That ain't leavin'.

PHILIP
It's not staying here. It's a step. Gives you time to get
everything situated. We figure out your next move, yeah?

Q
I don't know, man. Sounds nice, but how long will that money
last?
 Lyon's Den 87.

Philip reaches into his pocket,

pulling out a white envelope filled
with money.

PHILIP
This might help. It's what I came here for anyway.

Q
What's this?

PHILIP
My book wouldn't be anything without you.

Q
I don't want your money.

PHILIP
It's not mine. It's yours. You earned it.

Q looks at Philip, locking eyes.

Philip extends the envelope. Q
reaches for the envelope, touching
Philip's hand. He notices how
Philip doesn't pull away.

Q quickly pulls Philip in for a

kiss. Q holds Philip's head,
pressing their faces together.
Philip pulls away.

PHILIP
Stop.

Q
I thought...I mean...I hoped...

PHILIP
What?

Q
I thought we had something.

PHILIP
Just stop, okay?

Q
What's wrong?

PHILIP
That's not what this is. Not at all.

Q
You told me this was whatever I needed it to be.
 Lyon's Den 88.

PHILIP
But it's not this! It's not...it was never supposed to be
this. Okay? That's not what this is.

Q
Look, can we just --

PHILIP
I'll go drive around. Try finding your sister.

Q
What about movin' in with you? Getting out of here. What was
all that?

PHILIP
Me trying to help.

Q
I just thought...

PHILIP
I'm gonna go, okay? We'll figure out a place for you to go
later.

Q
I'm sorry.

PHILIP
Yeah...I get that. Call you if I find her.

Philip exits. Q stares at the door.

Scene 5
_______

Lights shift.

Ardelle enters. She holds a moving

box. She hoofs past Q before
turning to him to say --

ARDELLE
You know, you could help.

Ardelle exits again.

Q doesn't move.

Ardelle comes back and just looks

at Q.

ARDELLE
Quincy, your mother asks you to help, you help.

Q turns to her.
 Lyon's Den 89.

Q
I don't want to go.

ARDELLE
We have to.

Q
I don't have to. I could move out on my own.

ARDELLE
I already told you no. You can move out...when I'm ready for
you to.

Q
Dad doesn't want me around.

ARDELLE
Your point? That ain't never stopped you from doing what you
want before.

Q
It's what you want.

Ardelle doesn't say anything, but

makes for another box.

ARDELLE
Grab a box.

Q
Moving isn't gonna change anything. We could get you some
help. Find you a doctor.

ARDELLE
I don't need to see a doctor. This move ain't just for me.
It's for all of us. Me, Mo, your father. Even you. We have a
chance to get away from all of this. We're taking it.

Q
I don't need to be taken away. I can move in with --

ARDELLE
Don't you dare say his name, Quincy. I don't want to hear
it.

Q
I told him we were movin' and he said that he has a place
not too far from here.

ARDELLE
You ain't supposed to be talkin' to that man anymore.

Q
You're not listening.
 Lyon's Den 90.

ARDELLE
Goddamnit, boy! What don't you get? You ain't movin' in with
no man who use to pay you to sleep with him! Christ! You're
coming with your family!

Q
I don't want to!

ARDELLE
I don't give a damn. This family has suffered and, weather
you like to think so or not, you play a part in that. I am
not gonna be stuck picking up the pieces of a life you
helped break.

Q
Ma, he love me.

ARDELLE
He doesn't love you.

Q
If you just gave him a chance// you'd see!

ARDELLE
I'm not giving him a chance. Simple as that. After all of
this, you want me to do what...welcome him in with open
arms? You tryin' to drive me crazy? You tryin' to kill me,
too?

Q
I don't have to listen to this.

ARDELLE
Lord knows I've been more proud of you and what you've
accomplished than anything I've ever done. And you gonna
stand there, when I'm tellin' you I need you, and piss that
all away? For what? For him?

Q waves the envelope that Philip

gave him.

Q
I don't need this. What happened was an accident. I still
have the money, I can get a place on my own.

ARDELLE
You use a red cent of that money, and I'll turn you in to
the police myself.

Q
For what?
 Lyon's Den 91.

ARDELLE
Prostitution. I'm not fighting anymore. You're coming with
us, you're making up for your mistakes, and that's that.
It's either that or jail.

She softens.
I hate this as much as you do. And if you think I don't know
how you feel, you're wrong. But what was going on...it
wasn't love. Hell, it wasn't right. And you gave up
everything you had going for yourself to satisfy someone who
wants nothing more from you than what he paid for.

Q
He wants what is best for me. He said the money was for
school.

ARDELLE
Then he would have told you to go to school. Instead he got
you to quit. There ain't nothin' left here for any of us,
including you. That's why we gotta leave, son. Before
anything else is taken.

Q stands, crossing to Ardelle.

Q
Can I at least tell him bye?

Ardelle takes a moment, looking at

Q. Her face flashes with anger for
just a moment before it gives way
to shared pain.

She shakes her head no.

ARDELLE
Come on. Help me finish this. Grab a box.

Ardelle leaves Q.

Lights shift. Q pulls out the white

envelope, clutching it tightly in
his hands. He looks around as if
waiting for someone.

CeCe, Mimi, and Fran enter, women

of the night.

FRAN
Long time, no see, Q.

MIMI
You workin' tonight?

Q
Have you seen him?
 Lyon's Den 92.

CECE
Your regular?

Q
He said he would meet me here.

FRAN
How long you been waitin' here?

Q doesn't respond.

CECE
You gotta know he didn't wait for you.

Q
He was here?

MIMI
Not that, honey. You been off the scene too long. He found
himself another you.

Mimi and CeCe start to exit.

Q
But he's supposed to meet me.

FRAN
It's business. Don't take it to heart.

CECE
(To Fran)
Girl, we gotta go.

CeCe and Mimi exit.

FRAN
Go home. Not much here for you tonight.

Fran exits.

Q
I wonder if this is what Adam felt like/ Being tossed from
the Garden/ After falling for the words of a woman/ He knew
was made for him/ Maybe it was nothing more/ Than a world
created/ By your sweat and sweet words/ And maybe I hope for
something/ That was never going to be/ But I hope I am
wrong/ Please prove me wrong/ Sometimes I think my name is
Abednego/ And I am burning for you/ Only I envy those three
Hebrew boys/ At least they knew their fire was real/ And I
once thought we could create a church to fit our needs/ But
instead I found sanctuary in your tithes/ Thinking I could
turn cash into communion/ And that you would pray with me/
For a future that had us speaking our names in tandem/ Like
devotion/ And our silence would be as lyrical/ As gospel
 Lyon's Den 93.

hymns/ But me, of grander faith, I have created/ You as a

false god/ And the lamb that was slaughtered/ In your name/
Was worthy of so much more/ Yet, you have forsaken me.

Q starts to cry. He takes the

money, slides it into his pocket.

Q exits.

Scene 6
_______

Lights shift.

Mo enters the space, a bottle of

liquor in her hand and a box of
photos under her arm. She starts a
trail of liquor in the middle of
the space, taking pulls from the
bottle.

Q notices her.

Q
'Dew!

MO
You insist on calling me that, don't you?

Q
Where have you been?

MO
Why do you insist on calling me Honey Dew? I've told you not
to, but you keep doing it anyway.

Q
I want us to get back there. Q and 'Dew. Yeah? Remember?
I've been stupid, okay? I don't deserve it, but, I need my
'Dew back.

Mo scoffs as she raises the bottle

to her lips.

Q
Where did you get that?

MO
Doesn't matter. It'll be gone soon.

Q
Give it to me.

MO
Did they notice? Me being gone, did they notice?

She pours more out on the floor.

 Lyon's Den 94.

Q
Stop that, 'Dew.

MO
Answer the question!

Q
I did.

MO
But did they?

Q
Give me the bottle.

MO
I'm not giving you a damn thing.

Mo motions to a picture in her

hands.

MO
You remember this? The day they brought Nina home...it seems
like yesterday. You ever really looked at the picture? I
mean like really really looked at it?

Q
Mo, let's get you upstairs before mom and dad find you drunk
again.

MO
Have you looked at Mom's face? She looks like she has never
loved anything as much as that baby. Is that the same look
she had when I was born?

Q
I was too young. I don't remember.

MO
I can tell you the answer. No. Nina was her favorite. And
before that, it was you. Never me.

Q
Come on, let's go upstairs.

MO
So you don't deny it.

Q
Come with me, 'Dew.

MO
I'm not done.
 Lyon's Den 95.

Mo takes the photo and rips it in

half.

Q
What are you doing?

MO
They want us to forget. That's why we're here, right?

Mo pours some liquor on the ripped

photo.

Q
Stop!

MO
There's a reason they didn't notice I was gone.

Q
We were lookin' for you.

MO
No. You were. Your boyfriend found me and picked me up.

Q
He's not my boyfriend.

MO
Why? Not pay you enough?

Q
That's not fair.

Mo takes another picture, ripping

it up.

Q
Dad's out there looking for you. I'll call him and tell him
you're safe.

MO
No need. He'll figure it out eventually.

Q
What's the point of this?

MO
We will never be her. Or anything better than her. She came
and went before she could disappoint them. They'll always
love her more because of that. You and me? We're just fuck-
ups to them. But hey, no better than dad, right? Wife has a
breakdown, he cheats on her. Fuck up is in our blood.

Mo holds up a picture
 Lyon's Den 96.

MO
But this little one? She got off easy.

Mo rips the picture, leading it

like breadcrumbs across the floor.

Q tries to pick them up

Q
Things will get better.

Mo knocks them out of his hand.

MO
No, they won't. I don't know what's gotten you thinking
differently, but it won't.

Q
We moved so we could start over.

MO
We moved because we're cowards.

Mo reaches over and starts to pour

her liquor on the pictures.

MO
Maybe dad was right. Best way to move on is to just try to
forget.

Q
What are you doing?

Mo pours the rest of the liquor

out, leading off stage.

Ron comes in through the front

door.

RON
Why are you still here? Didn't I tell you to look for your
sister?

Q
She's here.

RON
Where?

Ron steps into the space, looking

at the floor.
What's on the floor?
 Lyon's Den 97.

Mo enters the space. She stops to

stare at Ron.

Ron makes his way to her.

Lights shift. Intense and confused.

Q begins to chant. He is almost

possessed, like he is listening in
the distance, calling something he
isn't sure he wants to come.

Q
Smoke/Smoke/Roll/Hiss/Crackle/Pop/Roll

RON
Where the hell have you been?

Q
Hiss/Hiss/Crackle/Pop/Roll

MO
You forgot about me.

RON
Baby girl, I could never forget--

MO
I'm alive and you forgot about __
me!

RON
Are you okay? What happened to you?

Ron bridges the space between them.

A smoke alarm starts to beep.

RON
What's that? Baby girl, what's that smell?

MO
Admit it!

RON
Mo, move!

MO
Say it!

Q
Smoke rolls in/Hiss/Pop/Heat Rises

Ardelle enters.
 Lyon's Den 98.

RON
No one forgot about you!

Q
Lies/Lies/Heat/Pop/Rise/Rise

ARDELLE
Ron...

MO
Just love me like you love her.

ARDELLE
Ron!

A whoosh of flames catching is

heard from offstage. The light of
fire dances from the wing. Ardelle
joins Ron. Noticing the torn
photos.

RON
Mo! Move out of the way!

Ron starts for the exit.

MO
I burned them all!

Ron stops.

Mo turns to face the fire.

Q
Truth sinks in/Hiss/Pop/Heat/Rises

MO
You were right. We have to let her go.

Q
Flames grow bigger/Pop/Heat/Rises

RON
What did you do?

Q ARDELLE
Choose Us/Pick Nina!
Her/Pop/Heat/Rises

Ardelle makes for the fire. Ron

grabs her.
 Lyon's Den 99.

Q ARDELLE
Moving Did you burn my Nina?
swifter/Pop/Heat/Rises

Q MO
Smoke is Maybe you can love us
thicker/Pop/Heat/Rises again.

Ron makes his way off stage, but a

surge of light and heat stop him
from going forward.

Q
Building quicker/Pop/Heat/Rises

Ron starts to cough, trying to wave

away the smoke.
Air gets bitter/Pop/Heat/Rises

RON
We gotta get out of here! Q, get your sister out! Call 911!

Q goes to grab Mo's hand. She pulls

away, and, alone, walks toward the
door.

Ardelle starts to rush toward the

fire!

ARDELLE
I have to get them! The pictures! I can't just leave them!

The sound of a fire alarm begins to

blare.

RON
They're gone!

Ardelle struggles against Ron to

get to the burning pictures.

ARDELLE
Let me go! Let me go!

RON
We have to get out of here! There's nothing left of them!
Let's go!

Ron picks Ardelle up, carrying her.

Q's chant grows with intensity.

ARDELLE
NINA! NO! NOT MY BABY! NOT MY NINA! NO!
 Lyon's Den 100.

Ardelle continues to cry out for

Nina, and Ron hushes her, giving
her words of comfort as they exit.

Q becomes mesmerized by the fire

dancing on the walls.

The lights fade, except for the

fire that seems to grow. Before
long, the flames licking the walls
is all that is seen. Q stands in
the light of the flame.

Q
Pop/Heat/Rises/Rises/Rise/Crack/Heat/Rises/Rises/Rises/Ashes
fall/Heat/Rises/Rises/Burning
all/Heat/Rises/Rises/Rises/Rises/Rises/Rises/Falls

Lights go black. Silence. Then a

crash!

________
Epilogue

Lights come up on Q. He stands in

the middle of the rubble. A single
yellow flower in his hand. The fire
still burns.

Q
We listened to the fires crack/ And by the time we turned
our back/ The new home/ A place to start/ Had become a giant
spark/

Ron and Ardelle stand, watching as

the home burns.

Mo sits by herself, eyes turned

away from the flame.
It rippled with the wind and air/ And vanished all our
misplaced intentions/ The place we ran to, gone/ Vanishing
in the sky of a Tuesday evening

Ardelle turns to face Mo.

To our Lyon cub/ I offer my apologies/ We live a way you
didn't deserve/ And maybe that's why you left us/ God saw us
for what we were/ Fractured and imperfect/ And took you away
before we could ruin you

Ardelle and Ron go over to Mo,

wrapping their arms around her.
Who knew we wouldn't survive you/ And maybe we weren't meant
to/ Maybe we were to burn with those walls/ And become ashes
of ourselves/ Maybe then we would be made clean again/ Maybe
our dirt was never meant to come off/ I know you never
 Lyon's Den 101.

learned to say the word love/ But I'm sure you knew how to/
And because of that/ We stand in your shadow/ Maybe that
darkness is what we are meant for/ One day we might join
you/ In what I'm sure is heaven/ But maybe we don't deserve
to/ One day/ Now that the fire of this chapter has died/ We
might be able to move again/ Together as a Pride/ As we do/
I pray we can speak your name without/ This bitter smoke
choking back the/ Sweetness of you/ One day/ I'll have the
stardust and wind/ I need to be what I should/ But neither
of those things will be found in this/ Newly forged dust/
Together we will search for/ Those simple elements of
alchemy/ Making us holy in your eyes/ One day

Sirens are heard in the background.

Q takes the yellow flower, placing
it on top of a stack of rubble.

Lights fade on Q and the rest of

the family as he crosses to join
them.

A light shines on the yellow flower

as the fires continue to rise and
the sirens get louder. Lights fade.

End of play.