Tether

PART ONE: MEETINGS

Scene 1

The set is completely bare, spare a very large window at the back of the stage, where we
can see the night sky. The set is always bare unless a bed is wheeled on.
There are no beaks in-between scenes other than the quick sounds and characters
entering, exiting, or bringing on props. No blackouts. There are no breaks in between the
“parts” either, which serve more so as ideological sections.
NOAH and CONSTANCE are meeting. They stand a few feet apart, facing out towards
the audience, but still speaking as if facing each other. They face the audience unless noted
otherwise. This kind of staging is repeated in every scene unless noted otherwise.

NOAH: What I'm saying is I don't think I can... we can't... we have to break up. I'm
sorry, Constance. Don't get me wrong, we were... this was wonderful, but I don't think it's...
sustainable. We're both going off to university next year; we're going to be meeting new people.
CONSTANCE: But we're going to the same university!
NOAH: Different programs.
CONSTANCE: The same campus. What is this really about, Noah?
NOAH: I... I just don't think I want to have anything bleeding into my life from
high school. I don't know. I need something fresh. I want to have... no roots when I go to
university. I want no obligations to my past.
CONSTANCE: And high school relationships are "roots"? Am I just an obligation to you?
NOAH: Yes. No, I mean, relationships are roots. Everything is a root. I don't want
any of it. Look, I really am sorry, Constance. This has nothing to do with you. I really do think
you're wonderful.
CONSTANCE: Whatever, Noah. Well, this is quite the coincidence, because I came here
to break up with you too.
NOAH: What? Why?
CONSTANCE: I- (Hesitates) It doesn't matter. Obviously, you want to cut me out of your
life, so why bother explaining myself? (No response) You want to cut me out of your life?

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NOAH: Not cut you out! Not phrased like that, at least. Just... get away from each
other for a while. Get away from everything.
CONSTANCE: So, what about your friends? Are they roots? Your family? You want to
get away from everything, how far will you go? Noah, roots are important. Okay? Trust me, I
know. You need to know where you're coming from to know where you're going. If there's no
roots, how do you know who you are?

NOAH has walked backwards, his attention drawn towards the window. He looks out,
piqued by the subtle growing sound of beating birds wings.

CONSTANCE: Noah.
NOAH: (Still facing the window) Do you hear that?
CONSTANCE: What?
NOAH: Like... wings... flapping. From the window.
CONSTANCE: Wings flapping?
NOAH: Yeah, it's... getting loud...

Suddenly, the enormous BIRD flies up to the window, accompanied by a shocking brass
fanfare. It resembles a Shoebill Heron, only this monster is ten feet tall. It has glowing yellow
eyes, and looks through the window at NOAH, who staggers back in fear.

NOAH: (Eyes fixed on the BIRD) SHIT.

CONSTANCE: What? What is it?
NOAH: That thing! That bird! Jesus Christ, that can't be fucking real.
CONSTANCE: What bird? Where?
NOAH: Right up there, can't you-

NOAH looks back. The BIRD has vanished.

NOAH: (Eyes fixed on the window) There was... It was this enormous...

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CONSTANCE: I'm going to give you some air to breathe, Noah. I hope you find some
new roots in university.
NOAH: You don't know why I need this- Why I don't need you.
CONSTANCE Say hi to your dad for me.

A tense pause. This has cut deep.

NOAH: Fuck you.

CONSTANCE: (Looks to NOAH) Noah, wait, I'm sorry-

Loud rhythmic electronic noise cuts off the action.

Scene 2

MARIA and CONSTANCE are hanging out. Through the window, we can see the bright
spring sky. MARIA carries a plate of cookies.

CONSTANCE: I broke up with him. And then- then- this moron goes on and on about
how this is the right time because he doesn't want any roots. Roots! I mean, get a load of that.
MARIA: Cookie?
CONSTANCE: No, thank you. But I mean, come on, this guy is so full of shit. So, I broke
up with him, but I could not bring myself to tell him why. I… I need to tell you why, though. I
need your help with it.
MARIA: Well, tell me.
CONSTANCE I... Well, you'll think I'm crazy.
MARIA Crazy? I doubt that. You can trust me with anything, Constance.
CONSTANCE: Well, aw shucks, Maria, but this is like... even I don't believe myself- but I
know it's true. I can feel it.
MARIA: Well, what is it? Also, here, have a cookie. I made them!
CONSTANCE: I'm pregnant.
MARIA: Oh gosh.

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CONSTANCE: But it is not Noah's.
MARIA: Oh, Constance.
CONSTANCE: I've had an immaculate conception.
MARIA: (Pause) Pardon?

CONSTANCE: I have had an immaculate conception. I'm certain of it. I never did
anything like that... never went that far with Noah. And there was nobody else.
MARIA: How do you know you're...
CONSTANCE: It's been almost six weeks since I got my period. And... well... I've had a
vision, Maria. Really.
MARIA: Constance-
CONSTANCE: No, really, I have. I had a vision three nights ago. It was... It was from
Mary. Mother Mary.

Off to the side, MOTHER MARY appears, played by NOAH. She is surrounded by a dim,
beautiful light.

MARIA: What on earth are you talking about, Constance. You're not even religious.
CONSTANCE: I know, I know! That's why I need your help. In my vision, it was Mary,
and she was sitting at the foot of my bed- halo and everything- and she sort of held her arms out
to me and she... she was like:
MARY: "You carry the second coming."
CONSTANCE: (Continuing, building intensity) - Which I assumed meant the second
coming of, you know, Him.
MARIA: (Overlapping) Constance, this is ridiculous.
CONSTANCE: And I said "no, no, that's absolutely impossible. I can't do that." And
then... and then, Mary sort of started... glowing, and her whole body was practically radiating
light-
MARIA: (Overlapping) Constance, stop this. Let's just have a cookie and please,
stop talking about this.

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CONSTANCE: (Continuing) - And my whole room was getting brighter and brighter, and
this electronic music started playing, and she said:
MARY: "You have to. Not for you, but for the child."
CONSTANCE: And somehow, somehow Maria, I felt so calm in that moment. So calm.
Because it felt like I finally had direction. I finally had something that was going to stick with me
and grow with me and... and define me, Maria.
MARIA: (Overlapping) Well, to me, it sounds like you're mocking it all. Don't talk
like this around me.
CONSTANCE: (Continuing) And I am being serious, Maria. And then Mary took me in
her arms, and everything was so bright, and I felt so good. I felt like everything was going my
way, my way. This child is grounding me! And- Maria, can you listen to me, Jesus Christ!
MARIA: (Angry, finally cutting her off) Please do not take His name in vain around
me. Please, Constance, please.
CONSTANCE: (Pause) Right. Right, sorry, Maria.
MARIA: I'm sorry, I mean, I don't really... Just, it's something that I really believe
in. Mother Mary, and everything.
CONSTANCE: I'm not lying, though! This really happened!
MARIA: And I don't doubt you, Constance. But this all just feels so... It feels like
you're making fun of me, or...
CONSTANCE: No, no, that's not my intention. I-
MARIA: (Cheerier) Whatever! Really, Constance. I want to be here for you. But I
just... not right now, please. I have my own problems and things I've been dealing with recently,
and I don't think I can take on the emotional baggage here. I really do want to support you, though.
Let me just comfort you about Noah, like you asked me to.
CONSTANCE: Right. Right, sorry Maria.
MARIA: (Facing CONSTANCE) Here, let's just have a cookie and relax.
CONSTANCE: Sure, sure.

CONSTANCE turns to MARIA, takes a cookie, turns back, and eats it. When she's done,
MARIA turns back.

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MARIA: You and Noah will sort things out. Friends will always stay friends, that's
what I believe. Time heals everything. Sometime in the future you and Noah will be fine, and the
three of us will all be friends again. The trio.
CONSTANCE: He hasn't talked to you about this yet, right?
MARIA: No, no. He hasn't mentioned anything. But don't worry about that. I am not
picking sides. Everyone will stick together in the end, I'm sure of it. I'm sure of it. People need
each other.
CONSTANCE: I don't think so.

MARIA puts the rest of her cookies in a Ziplock bag. A loud Bach chorale cuts off the
action.

Scene 3

MARIA and NOAH talk. The window reveals a beautiful pink sky, the sun setting.

MARIA: Cookie?
NOAH: No, thank you. But I don't know. She's been weird. Constance is just... I don't
know. Something is wrong with her, not in a "what's wrong with you" way, but, like, in a
“genuinely concerned for her” way.
MARIA: I think she's just going through a lot right now. You never know what's on
someone's plate.
NOAH: I don't care, honestly. I wouldn’t care if she didn’t… it’s just that she... she
brought up my dad.
MARIA: Oh, Noah.
NOAH: I mean, what right does she have...? She doesn't know what it's like with him…
(Emotional) She has no idea...
MARIA: (Consoling) Oh, Noah, it's alright.
NOAH: Well, whatever. She's gone. Whatever. What've you been doing with your life,
Maria?
MARIA: Me? Alchemy.

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NOAH: Alchemy?
MARIA: Alchemy, yeah. Picking it up as a hobby. Making little potions and stuff. I think
I'm close to brewing an elixir that can convert human flesh into plant life.
NOAH: (Pause) Ha. Funny.
MARIA: Yes, well. It is fun. I really am sorry to hear about you and Constance, Noah.
NOAH: Agh, it is what it is. I broke up with her, and she is out of my life. Cut those ties.
MARIA: (Pause) You broke up with her?
NOAH: Yes. It was the right thing to do. I don't really want to talk about this anymore-
MARIA: (Turns to him, hastily putting a cookie towards him) Eat this cookie, please. I
made it. Have it.
NOAH: (Turns to her) Okay, alright.

NOAH takes the cookie and eats it. They both turn back.

MARIA: (Colder) Everyone is going through a lot. I mean, university is right around the
bed. It is a very stressful time. I think what everybody needs to do is stick together, whatever
means necessary. You and Constance should forgive each other and make up.
NOAH: No, I can't do that. I want next year to be, just... a blank slate. That's what I told
Constance. I want no roots whatsoever. No obligations to my past. No obligations to what
anyone thinks I should be.
MARIA: If you have no obligations to what you are, then you aren't anything.
NOAH: You sound just like Constance.
MARIA: So, I guess you're cutting me off too?
NOAH: Look, I didn't come here to be chastised. You have no idea what I'm going
through right now.
MARIA: What are you going through, Noah?
NOAH: Visions. I've been having visions, if you have to know.
MARIA: Great, everybody's having visions.
NOAH: You’re going to think I’m a nutjob, but I’m not. This bird has been appearing to
me. This enormous, ten-foot-tall bird with glowing yellow eyes, and... and it...

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 The sound of beating wings grows.

NOAH: And... can't you hear it? I'm the only one who can hear it. I'm going crazy.

The BIRD appears suddenly in the window, with brass fanfare. NOAH turns back to look.
When the fanfare is over, the BIRD opens its enormous beak to speak in a terrible, otherworldly
voice.
BIRD: Your past is a scar.
It cannot be healed.
Reflect in the mirror,
Your future is sealed.
NOAH: No, no-

The BIRD disappears. NOAH falls to his knees, turning back towards the audience.

MARIA: Noah-
NOAH: I don't know what to do... I don't know what's happening to me... I need
everything to change. I need everything to just get the fuck out of my life and let me be alone
and go off in a new direction. Everyone just fucking leave me alone. I don't owe any of you
anything. I don't have to answer to any of you!

Loud atonal music cuts off the action.

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 PART TWO: VISIONS
Scene 4
MARIA is kneeling at the foot of the bed, facing to the side. She is praying. The window
reveals the night sky, raining softly.

MARIA: God, I know that I'm not anywhere near how omnipresent and all-knowing you
are, duh. But if you'll indulge me for one moment, I'd like to compare myself to you- for
metaphor's sake.
I'd like to reference to you the Book of Job. You have this complete understanding of the
universe, this unlimited scope- more than any human could ever imagine. So, when Job ponders
why you've let such terrible, terrible things happen to him, you explain that your view is so vast
and all-encompassing that we could never understand how your actions all work together to
balance the universe out.
I am completely the same way. On a much smaller scale. I can see all of the troubles with
my friends- I can see how out of balance they all are. And I know exactly how to fix it- exactly
how. And I have done it. But, God, I am flooded with guilt. I have done a terrible thing. But I
have the perspective, God. I know how everything fits together in this situation. I know I’m
doing the right thing, even if it’s a bad thing to do.
I hope you don't think I'm naive. I can only ask for forgiveness for my actions, with the
knowledge that I've done it for good... for balance. For stability. For stability. We need to stay
together. When the universe is so vast and uncontrollable- when we humans have no perception
or scope- we have to stay together. People need people, God, I believe that. Please forgive me for
what I've done.
Briefly, I'd also like to put a good word in for my mother, thanking her for putting me in
science camps since I was a kid. The knowledge has come in handy in all this alchemy.

She reaches down and picks up a cookie. She eats it.

MARIA: In the name of the Father, the Son, and the Holy Spirit. Amen.

Driving percussion music and the sound of a thunderstorm sounds cut off the action.

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 Scene 5
CONSTANCE is lying in her bed, trying to sleep. But she's restless. The window reveals
the rainy sky.
The kind and matronly MOTHER MARY appears at the foot of her bed, played by NOAH,
again. The sound of an angelic choir mixed with electronics accompanies her entrance. The
space around her is illuminated, and a quiet, ethereal electronic hum is heard. MARY and
CONSTANCE look at each other throughout this scene.
CONSTANCE jumps up.

CONSTANCE: Mary. Mother Mary.

MARY: Hello, my sweet child. Fear not.
CONSTANCE: How are you?
MARY: Oh, positively peachy, my dear Constance.
CONSTANCE: Mary, I have changed my decision from the last time we spoke. I’ve
decided that I am going to care for Him, and raise Him, and help Him.
MARY: Oh, great, child! That's just great. One little problem, though. It’s about
what you told your dear friend Maria.
CONSTANCE: You heard that? I lost my temper at her, I shouldn't have, and-
MARY: No, I don't give a flying hoot how you treat your friends. It's about what
you told her. Let me not misquote you. You said- and let me not misquote you-

When MARY quotes her, it is CONSTANCE's voice.

MARY "It felt like I finally had direction. I finally had something that was going
to stick with me and grow with me and... and define me... I felt like everything was going my
way, my way. This child is grounding me!" (Normal voice) You said this, no?
CONSTANCE: I... yes. I said that. And I mean it. This child... He is a blessing for me, and
I am so thankful. I have been feeling so lost as high school is coming to an end, like I'm
floundering, and this is giving me direction-
MARY: SILENCE!

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 MARY points towards CONSTANCE, and a pillow on the bed explodes into a puff of
feathers.

CONSTANCE: Th- thou shalt not kill! That's a commandment.

MARY: If I wanted to kill you, you’d be dead. Constance, you must hear this: the
immaculate conception is not for you. It is for Him. Understand?
CONSTANCE: If I'm going to carry this child anyways, do my intentions matter?
MARY: Yes! You say you want this child to ground you and give you direction.
Ground you it will, but only if you give yourself up. You must lose control of yourself and on
that which you are grounded in. Only then will you truly be grounded. You must rely on this
child because humanity relies on this child. Do you understand?
CONSTANCE: I... I don't know...
MARY: (With the sound of a discordant choir) DO YOU UNDERSTAND?
CONSTANCE: Yes! Yes. I understand. I will rely on this child. Whatever. I'll rely on
Him.
MARY: Oh, joy! Aren't you a dear? Thank you, Constance. You have been chosen
for a reason. Your duty is a heavenly one, and an important one.

The room gets brighter as MARY leans in close to CONSTANCE. An electronic mush of
beautiful sound is heard. MARY vanishes. Her voice is heard like an angel's singing out:

MARY: Your place in history has been sealed. And your place in the universe is
protected. You have roots.
CONSTANCE: Roots... roots? What do you mean by roots?

With a flash and a flourish of a heavenly choir, the action is cut off. The sound dissolves
into rain and thunder.

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 Scene 6

NOAH is sitting on his bed, looking into a handheld mirror. The night sky in the window
is still rainy.

NOAH: (Terrified) No, no, no, no. This can't be possible. Oh god, of course it's possible.
It's genetics. The fucking bird was right.

The BIRD appears in the window. Brass fanfare. NOAH looks out to the audience,
speaking to the bird.

NOAH: You! You... I look just like my father. How did you know that?

The BIRD caws loudly.

NOAH "My past is a scar," you said. The scar is... my genetics. No matter how hard I try,
I can never get rid of these roots. These roots are inside of me. In my skin. In my wrinkles. Oh,
God, I feel sick.

The BIRD caws.

NOAH: Why don't you talk again, Huh? COME IN HERE AND SPEAK TO ME, HOW
ABOUT THAT?

The BIRD vanishes from the window. NOAH sits for a moment, holding his
breath. Then, the BIRD flies full speed through the window, shattering glass everywhere. It
stands at the foot of the bed.

BIRD: Your past is disease.

It cannot be cured.
You reconcile now,

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 You'll find you've matured.
NOAH: I can't... I don't want to. I need a fresh start... I need to uproot myself... I don’t
want this to be where I’m coming from. I cannot be like my father.
BIRD: Your past is not law.
Your past is not you.
But to know how to change,
The past holds the clue.
NOAH: I don't want to be anything... I don't want to belong to any family... I just want to
start again. I want to leave everything behind. I cannot be like my father!

The BIRD caws.

NOAH: I WANT EVERYTHING TO GO AWAY. I WANT TO BE IN A VOID.

The BIRD flies up out the window into the sky.

BIRD: (As it flies off) Your past is not law.

Your past is not you.
But to know how to change,
The past holds the clue.

An old Vaudeville tune mixed with electronic synths cuts the action off. The sound
dissolves into thunderstorms.

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 PART THREE: RECONCILIATION
Scene 7

The sound quiets into the peaceful hum of a cool spring morning in a field. MARIA sits on
the ground, with another bag of cookies. A few beautiful cherry blossom leaves fall from the sky
onto her. The window reveals the bright sky.
CONSTANCE enters, looking out at the audience, talking to MARIA.

CONSTANCE: Is it windy today, or what? Nice spot you've got here, anyways. Where did
you find this field? It's so out of the way.
MARIA: It's just a place I like to come to relax.

NOAH enters from the opposite side. He and CONSTANCE share a look.

CONSTANCE: You didn't tell me he would be here.

NOAH: Why did you bring us here, Maria. You have five seconds before I fuck
off.
MARIA: Don't leave! Either of you. We have to work things out.
CONSTANCE: You don't have to sort anything out. This has nothing to do with you.
MARIA: It does have something to do with me, because you guys are my friends,
okay. We need to fix the friend group- our trio!
NOAH: Well, sorry, but I guess we're all just going to have to find new trios.
CONSTANCE: You'd love that, wouldn't you?
MARIA: No, we can't just find new trios, okay? Because... well, okay, full
disclosure- I don't have many other friends than you guys. You're the only two at school who
ever talked to me. The first people to ever talk to me. Back in grade nine.
In middle school, God, I mean, I had nobody. Sunday school classmates aren't exactly my
chums. And I was starting to get scared before high school. I was worried that I was just going to
be the freak who prays, and worships and people would keep calling me the cult girl... and, I
mean, justifiably so; I really leaned into the church back then. I had nothing else. And it totally

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left me unfulfilled... but then you guys liked me. It was okay to be me. It was okay to do things
and have a life alongside the church.
But now I... I'm not saying I won't meet new people in university, but I just want to keep
you guys around to make it all a bit easier. So, please. Can we work this out?

CONSTANCE and NOAH look at each other and reluctantly sit down. The three are now
sitting in a line, facing the audience. Only MARIA looks at the other two.

MARIA: Thank you. Thank you, guys, really. I want to start by all of us eating
some cookies.
CONSTANCE: Cookies aren't going to solve everything, Maria.
MARIA: No, I know, but I was hoping we could at least make this fun.

She hands out one cookie to each person. They all eat. MARIA is unnaturally on edge.

MARIA: Okay, now can we all just sit back with our palms down on the ground,
like this?
CONSTANCE: (Does so) Zen.
NOAH: What are you doing, Maria?
MARIA: Just do it, Noah, trust me. This is important.
CONSTANCE: Whatever will get us out of here faster.
MARIA: Just do it, quickly, please.
NOAH: Why?
MARIA: Noah.
NOAH: Well, I'm comfortable like this.

MARIA jumps up and forces NOAH's hands down, palms to the ground. She then goes
back to her spot and does the same thing.

MARIA: Now sit. Still.

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 A low electronic hum begins to sound.

MARIA: It's going to happen any second now.

CONSTANCE: What's going to-

The hum grows louder and louder, and then stops completely.

MARIA: There. There, it's done!

NOAH: Why do I feel-

NOAH lifts his hands up, and large tangles of vines are sprouting from his palms and
connecting to the ground.

NOAH: SHIT.
MARIA: I'm so sorry.

CONSTANCE's are the same. So are MARIA's.

CONSTANCE: Fucking goddamit, Maria, what is this?

MARIA: I'd prefer if you didn't take-
NOAH: CAN'T GET MY HANDS LOOSE. I'M FUCKING STUCK.
MARIA: I'm so sorry. I'm so, so sorry, guys. I had to. We need to be together. I'm
so fucking terrified we won't be together.
CONSTANCE: How did you fucking do this?
MARIA: Alchemy. I told you I was doing alchemy. It's against the church but it's
for what's right. It's for balance! It was in the cookies I gave you. The seeds were in the first
ones, the fertilizer in this one. It doesn't matter how I did it, but what matters is that we're all
together now. All part of one plant, together. I'm so sorry.
NOAH: We're all one plant? What does that mean?
MARIA: Right now, our vines are connecting underground. In a few moments, we'll
all share each other’s feelings, emotions, memories. Well, I hope so. I've never done this before.

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CONSTANCE: Roots.
NOAH: You don't know? What do you mean? What do you mean we're going to
share memories?
CONSTANCE: I don't want to look at the memories- I-

An enormous organ chord cuts through the scene, and the whole stage turns bright green.

Scene 8

The slow, chordal organ music subtly underscores the following flashback.
CONSTANCE is at NOAH are together, looking out at the audience, talking to each
other.
CONSTANCE: Noah, wait-
NOAH: I told you I didn't want you coming into my house. We've only been dating
for two weeks.
CONSTANCE: I know, and I'm so sorry-
NOAH: But lo and behold, you show up at my door and don't even wait for me to
let you in. Do you even understand how invasive that is?
CONSTANCE: Is he- Is your father the reason you didn't want me to come over?
NOAH: Don't talk about him.
CONSTANCE: Noah, it's okay. I don't... I don't think any differently of you.
NOAH: I’m just a stupid kid with a fucked up dad.
CONSTANCE: Is he okay? Your father?

A pause, then NOAH gets very emotional.

NOAH: He's a fucking nutjob. All he does is sit in that fucking chair and say
nothing.
CONSTANCE: Why is he like that? (Pause) I'm sorry, I shouldn’t-
NOAH He was a stockbroker when he, my mother and I lived at our old house. He
was constantly a fucking kettle about to go off. I was five years old when our house somehow

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caught on fire. My mom and I were asleep, but he of course was awake. I heard him scream, and
that's the only reason I woke up. When I waddled out of bed and saw the smoke, I got myself out
of the house as fast as I could. I was five, I had no idea.
And on the street, I saw him. My dad, with his laptop and all his stockbroker shit, looking
at the house burn. He didn't even call the fucking cops. And my mom died inside. Not much else
to the story. I have no fucking idea what was going through his head when he thought to save his
work and leave me and mom inside, but... He stopped being a stockbroker the next year, and he
never said a word. He never said a word after he had to visit mom in the hospital. Apparently,
she died five minutes before he showed up.
Anyways. He's a fucking nutjob. It is what it is. And I'm stuck with him as my fucking
dad. And I... (Pause) One day I'm going to grow up to be just like that. Let someone die and then
shut the fuck up for the rest of my life. I don't want to be like that.
CONSTANCE: You are a good person, Noah.

A moment passes, and NOAH turns to CONSTANCE and cries into her arms. She holds
him. The organ music swells as the action cuts off.

Scene 9

MARIA is at the foot of her bed, praying.

MARIA: God, I don't know what to ask for. Forgiveness, I guess? From you... from them.
From them.
The vines wilted away after a few hours. Our minds were completely together for those
few hours. Complete togetherness. People with each other. It was everything I wanted, God.
And it was so painful. There was no connection because there was never any chance for
distance. There was no need to connect to each other- to share information. We had everything of
each other completely inside each of us already. We knew everything about each other's pasts. It
was horrible. I have never felt so unnecessary.
When you completely know someone's past... someone's roots... there's no need to
connect- you're as connected as you can be. But it's impossible to know someone's past

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completely. So... so we're constantly trying to connect, knowing we never will. We’re all
Sisyphus pushing the boulder up the mountain.
And God, it's so worth it. It's worth every agonizing minute. You can never no someone's
roots, you can never connect to them completely. There is no togetherness. And yet, it's still the
most beautiful thing in the universe. It's worth it. Every time, God, it's worth it.
And, God, I want it again. If I had to ask for something, I'd want the chance to do it
again. I'd want new chances with new people. I want it for the rest of my life. I want to connect,
God, I want to connect. Please. I need to connect.
In the name of the Father, the Son, and the Holy Spirit. Amen.

The sound of crowds of uncontrollable weeping cuts the action off.

Scene 10

CONSTANCE is in her bed, restless.

MARY appears, with the same fanfare as before. It is played by NOAH, again.

MARY: Constance.
CONSTANCE: Mary, hello.
MARY: My dear child, how are you?
CONSTANCE: Why do you care? Don't you have some other heavenly business to attend
to?
MARY: You are feeling uneasy.
CONSTANCE: Of course I fucking am.
MARY: You're having doubts about the immaculate conception.
CONSTANCE: Of course I fucking am.
MARY: Why, my child? I thought we cleared things up before.
CONSTANCE: Well, sure, yeah... it's just... I don't know if this is how I... I don't think this
is what I want my life to be.
MARY WHAT?

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CONSTANCE: Well, I mean, it’s like you said. My place in history has been sealed. My
place in the universe is protected. I mean, shit, dude. That's a lot. And don't get me wrong, it is
an honour to be considered for this huge undertaking... but I just don't want to.
MARY: When the angel Gabriel came down to tell me I would have my
immaculate conception, do you think I said I "didn't want to?!"
CONSTANCE: I don't care how it happened with you! This is how it's happening with me.
This child will become my roots. But I don’t want that. I don't want to give myself up to history
like this. I want to make my own, different life. I want to ground myself in other ways. I want to
choose how to ground myself. It's not every day that a person gets to choose their roots so
clearly. I'll make my own place in history.
MARY (Fuming) Jesus H. Christ, OH MY GOD.

On the words OH MY GOD, enormous flames shoot up around MARY.

MARY: Just shut up. I get it. Whatever you want, my child, is fine. You don't have
to write the whole fucking bible to explain yourself.

MARY points at CONSTANCE's stomach, and a choir sings. CONSTANCE clutches

herself in pain.

MARY: There. The red river shalt floweth in the morning.

CONSTANCE: Thank you, Mother Mary.
MARY: Yeah, yeah, whatever, you're welcome. (Pause, then kinder) I do hope
your life turns out alright, Constance. God has given us the power of free will. The most human
thing to do is to use it.
CONSTANCE: Stellar.
MARY: Goodbye, Constance. I hope everything turns out peachy for you, my
child! Just positively peachy!

MARY ascends to the heavens, accompanied by a choral and electronic soundscape.

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CONSTANCE: Now what? (Pause)
Now... now I feel even calmer. (Pause)
I'm still going to ground myself. With my friends. With other people. I
want to do that. I want to ground myself. (Pause)
I want to connect with people.

The choir and electronic sound comes back, which cuts off the action.

Scene 11

NOAH sits on the edge of his bed. The bird sits in front of him.

NOAH: I am not my father. (Pause)

I remembered everything. When I was with Constance and Maria... (Pause)
I am not my father. (Pause
I am a good person.

The BIRD caws.

NOAH: I am. I am a good person. I am a good person. I am a good person. I am a good

person. I am a good person. I am a good person.

The BIRD caws.

NOAH: (Pause) You broke my window the other day.

BIRD: Sorry.
NOAH: It’s alright. (Pause)
To connect with someone you must try to learn their roots. (Pause)
But to learn someone else's roots, you need to know your own. If not, you're
going to constantly be too busy learning your own roots. (Pause)

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 I need to know my own roots. (Pause)
I want to know my own roots. (Pause)
I am not my father. (Pause)
I am my father’s son. (Pause)
I am my own person.

The BIRD caws softly. NOAH embraces the bird in a big hug.

NOAH: I want to connect to people.

The BIRD flies out of his arms and out the window.
MARIA and CONSTANCE are revealed on either side of the stage.

MARIA: I want to connect to people.

CONSTANCE: I want to ground myself.
NOAH: I want to know my own roots.
MARIA: I need to connect to people.
CONSTANCE: I want to know my own roots
NOAH: I want to ground myself
MARIA: I need to connect to people.
CONSTANCE: I want to connect to people.
NOAH: I want to connect to people.

They continue ad libbing those three lines, slowly overlapping each other. A loud
electronic noise grows alongside the dialogue, until it's so loud you can't hear them anymore.

End.

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