IolaA Stage Play by Thyme13 A historically based play on the life and times of Ida B. Wells in a One-Act format. If this is being considered for publication, I have a copy with correct formatting.
IOLA
By Zach Parker
CHARACTERS IDA Mid twenties, African American, lower class, anonymous writer against racism THOMAS Early thirties, African American, lower class, grocer, friend of IDA OFFICER Early forties, White, Middle class. MARTIN LUTHER KING Thirty five, African America, dressed in clothes from 1963 HARVEY MILK Forty eight, White,
dressed in clothes from 1978 CHORUS Group of performers acting with a single mind. In SCENE 1 a friend of THOMAS, SCENE 2 allies of OFFICER and some allies of THOMAS, SCENE 4 two separate groups: POLICE and PROTESTORS. When not in a scene, other characters can be part of the CHORUS.
SETTING
SCENE 1 THOMAS' grocery store. There is a doorway which serves as the entrance and exit of the store.
SCENE 2 Memphis police station. This area is separated into two areas by a doorway. The first area is the entrance where the OFFICER's desk is located. On the other side of the door way is a jail cell with barred doors. There should also be a prop large enough for a character to hide behind.
SCENE 3 IDA's apartment. There is a a desk
within the apartment. There is a lamp on the desk. The door in the
apartment leads to outside. Part of the apartment should be kept
dark, with its own lighting. There is also a window, opposite the
door. SCENE 4 IDA's apartment. SCENE 5 IDA's dream. The pieces of IDA's room remain though they are moved to indicate the dreamy nature of the scene. The door should be moved so that there is plenty of room for characters to enter and exit without being seen after leaving. In the second portion of the scene area is reset back to IDA's apartment. SCENE 6 IDA's apartment.
TIME
SCENE 1 Five o' clock on a weeknight, March 1892.
The following evening.
Two hours later.
SCENE 4 Same time
SCENE 5 IDA's dream in the night
SCENE 6 Late that same night
1-1 SCENE 1
AT RISE THOMAS' store. THOMAS is busy with CHORUS MEMBER, handing him a list and some money. IDA is nearby.
THOMAS Now here’s the money, you run right down the street, buy what’s on the list and you come back straight away. Don’t let no one see you on the way back neither. (CHORUS MEMBER exits)
IDA Now what was that, Thomas?
THOMAS That’s nothing for you to worry about, Miss Ida. Just a little business.
IDA
THOMAS Miss Ida, nothing to be worried about. We just need a little protection is all.
IDA
THOMAS Miss Ida-
IDA And quit calling me that! My students call me Miss, my friends call me Ida.
THOMAS I don’t know if I can do that, Miss Ida. Not very proper to call a lady by her first name and we wouldn’t want the missus to get any ideas.
IDA
THOMAS You never gonna get married with a tongue that sharp.
IDA Out with it Thomas! Why do you need
protection? THOMAS Not me, the store! The grocer down on Fifth Street, there’s rumors he wants to take this place out- (HE grabs hammer and nails and brings them over to the door) 1-2 IDA I expect he doesn’t like the idea of a colored man talking colored folks’ money, the racist-
THOMAS There you go again, Miss Ida. You are never gonna find yourself a husband if you keep talking like that.
IDA A husband’s the last thing I’m after right now. Besides, it’s the truth.
THOMAS That’s why I’m buying a gun. So I can protect the store.
IDA That’s the stupidest idea you have ever come up with.
THOMAS Lots of folks have guns-
IDA And lots of folk end up getting themselves killed with 'em.
THOMAS Miss Ida, I don’t expect you to understand, but I gotta protect this place. I gotta protect the store.
(HE begins to barricade windows near door) IDA You don’t gotta anything, Thomas! You gotta keep yourself safe. You know if they do come, those white men are not going to like you having a gun.
THOMAS And if they find out that it’s you who’s writing those stories in the newsletter, getting people all excited, they’re not gonna like you. I just heard an officer the other day talking about Iola.
IDA There's plenty of girls with the name Iola.
THOMAS What does it mean?
IDA It's just a name.
THOMAS You're a writer, you picked it for a reason. A good one I'm sure. So what does it mean?
IDA It's Greek for- Wait, who was talking? And what do you think you're doin'? 1-3 THOMAS A police officer a few days ago, he had a pamphlet. They're looking for you already.
IDA They're looking for Iola. And if they were going to find out they would have already. If they already knew I’d already be dragged off, probably wind up-
THOMAS Miss Ida! That’s enough of that. You don’t understand, I’ve gotta protect this store. It’s the only thing I got left. (Starts to board up windows)
IDA Got left? You’ve got your wife, you’ve got your friends, and you’ve got me. Ain’t that enough?
THOMAS (HE pauses) No, Miss Ida. It’s all I got left of my daddy.
IDA I-I’m sorry, Thomas. I didn’t realize-
THOMAS When I was a boy he’d talk all sorts of stories of me growin’ up to do something big. But he also talked stories of us being equal, Miss Ida. No more white men ruining black mens’ lives. He always said to me that I should grow up and be important, so I did.
IDA Thomas, I know you’re upset, but you’ve gotta think it through. You’ll wind up dead if they catch you with a gun, especially if you hurt somebody.
THOMAS My daddy wound up dead, and he didn’t have no gun. They took him out to a field, and they strung him up just the same.
IDA Thomas- I didn’t know.
THOMAS Mama thought I was safe with her friend, but I ran all the way out to the hill where they had Daddy and I watched it, Miss Ida. I hid and I watched as they killed him, Miss Ida. Then they sold him. Parts of him. Like he was a slave again.
IDA I’m sorry Thomas, but that doesn’t mean you need to die too.
THOMAS No, Miss Ida. I’m sorry, but no one makes my daddy a slave, and ain’t no one gonna make me a slave. 1-4 IDA You’re free Thomas, your daddy was free. But if you want to stay free, you have to go back to your house, take the gun and hide it away so no one ever sees it, and you’ve gotta stay there. Don’t come back to the store until the morning. Just close up.
THOMAS I can’t let them burn my daddy’s dream. I can’t go home and let them burn it to the ground. But it’s more than that, Miss Ida. You should know, you were thrown off that train to make room for a white lady. You know what I’m talkin’ about. It ain’t fair! (HE starts to board up windows again)
IDA You’re right, it isn’t. Getting thrown off of a train isn’t fair, and neither is your grocery store getting destroyed. But you don’t get to die yet, Thomas. If you want to keep your daddy’s dream alive, you’ve got to live. Let ‘em burn this place to the ground! You can always rebuild.
THOMAS Miss Ida, you’ve always been a good friend to me. One of my best friends. That’s why I need you to understand why I’ve got to do this.
IDA You think I’ve never been treated poorly? (SHE snatches hammer away from HIM) You think the train is all that happened to me in my life? White folks run our lives. But we got to survive, find some ways to break free. Like your grocery store here, now we're not paying a white man who's never spent a day in the fields for the same vegetables we helped grow. You gotta persevere, we're doin' better and better every day. You’ve got to wake up Thomas; you can’t let it control you.
THOMAS It’s getting dark and you’ve gotta go. (HE moves to the door and opens it, waiting for IDA)
IDA I’m not going without you. Don’t make me call your wife.
THOMAS She already knows what I’m planning to do. I’m sorry, Miss Ida, but you’ve got to get out of here.
IDA Then you’ll have to push me out, I’m not letting you die for this store.
THOMAS I'm not dyin' for this store!
IDA Dyin' for your daddy won't make him any less dead.
1-5 THOMAS Get out.
IDA
THOMAS I said get.
IDA
THOMAS If it’ll make you leave, I’ll swear.
IDA Swear to me on your father’s grave you'll stay safe. For him. For your wife. For me. You stay safe. Please.
THOMAS I will, Miss Ida. Good night. (SHE moves to leave)
IDA (SHE pauses by the door) And Thomas? You’re right it ain’t fair. I’m sorry about your daddy. (SHE exits. CHORUS MEMBER comes back with a package, THOMAS opens it to reveal a gun.)
And the bullets? Did you get the bullets? (CHORUS MEMBER brings out small bag)
Alright. You go get the others, it’s almost dark. And tell 'em to come through the back door. (CHORUS MEMBER exits)
This is for my daddy. I hope you understand, Miss Ida. (HE boards up door. Lights fade to black.) END SCENE
2-6 SCENE 2
AT RISE Police station/Jail. OFFICER is at desk, looking at paperwork and checks clock. IDA rushes in. THOMAS is in cell.
IDA Evening, Officer.
OFFICER Evening, Ms. Wells.
IDA What happened at Mr. Moss’ store?
OFFICER You didn't hear Miss Wells? I thought you would have known. Your friends shot three officers.
IDA Damn-
OFFICER Not very ladylike of you.
IDA Who- who shot anyone last night?
OFFICER Thomas Moss, Calvin McDowell, and Henry Stewart.
IDA No, there must be some sort of mistake. They're all good people, there's no way they would have-
OFFICER I'm not the judge Miss Wells. Just giving you the facts.
IDA And you're sure it's them? I didn't even think they owned guns.
OFFICER They shouldn't have been allowed to.
IDA Tell me. Did they shoot the officers?
OFFICER Yes we're sure.
2-7 IDA Are they...
OFFICER Dead? Thankfully not. Just injured.
IDA Thomas and them, I mean.
OFFICER Typical, only worried about your kind.
IDA My kind?
OFFICER All you colored folks look out for is yo'self. Colored rights this and desegregarian that.
IDA You mean desegregation?
OFFICER And who are you to tell me what I meant?
IDA Desegregarian isn't a word.
OFFICER It's a word if I make it one. That's how the law works.
IDA The word is desegregation.
OFFICER You wanna wind up in a cell like your friends? Show some respect to the law.
IDA Respect is given where it is earned.
OFFICER And I've never seen a negro earn a thing in their life.
(IDA starts to exit. HE interrupts HER)
Haven't I seen you somewhere before?
IDA I've lived here all my life, but I've never seen your particularly round face 'round here before. 2-8 OFFICER 'Cuz I just moved here a couple months ago. Joined the force from a department down south. I grew up here in Memphis.
IDA I never would have guessed. You're such the southern gentleman.
OFFICER When you grow up on a plantation your daddy puts it in you to be a gentleman. Teaches you the meaning of a switch, how to use it. You gotta be firm and fair.
IDA Then be fair. Let me see Thomas.
OFFICER
IDA I think it's time for me to be heading home then. I'll try again in the morning. (SHE turns to leave)
OFFICER I doubt your friends will even see tomorro' morning. (IDA stops)
IDA And what is that supposed to mean?
OFFICER Guess they don't teach ya much at colored school.
IDA What's your point?
OFFICER There's a lot of folks pretty tore up about your friend. Lot of folks who'd like to tear him up.
IDA And you're going to...
OFFICER It's the will of the people Miss Ida, it's what the founding fathers would have wanted.
IDA You might have a point there.
OFFICER I'm glad you're finally starting to listen to reason. 2-9 IDA Can I see Thomas now?
OFFICER Not without the magic word.
IDA Please.
OFFICER That's not it.
IDA Sir.
OFFICER That's a nice little girl, showing some respect to her superiors. I suppose I could let you through this one time. (OFFICER allows IDA past. SHE reaches jail scene where THOMAS is in a cell.)
THOMAS Miss Ida? How did you-
IDA -Don't worry about that now Thomas. What did you get yourself into?
THOMAS We didn't mean no trouble Miss Wells-
IDA Ida. Not Miss Wells.
THOMAS Miss Wells, I'm a dead man.
IDA Don't say that. You fought in self defense. Maybe if we could get a mixed jury.
THOMAS A jury don't matter, mixed or not. They're saying I shot an officer.
IDA Three.
THOMAS Three? Miss Ida, you need to get out of here. Forget about me. Move away from Memphis. I don't care what you do, just get out of here and far away and don't ever come back. 2-10 IDA I'm not gonna leave you! There's no way in hell I'm gonna leave you here to rot!
THOMAS You and that tongue. I'm not gonna rot here. They're gonna kill me. I already heard the guards talking about it.
IDA Thomas, they're not just gonna kill you like that, they're police-
THOMAS Did that make a lick of difference when they killed my daddy?
IDA That happened years ago, it was another time.
THOMAS It doesn't matter how you lie about it to yo'self, Miss Ida. It's still the same. Twenty three years later and back men are still being killed.
IDA I'll stay with you, get some people to protect you-
THOMAS And who you gonna get? The police? Look around, Miss Ida. This ain't the world you wish was real where things are fair.
IDA It doesn't mean you have to die.
THOMAS It doesn't mean I have to die like that. Promise me something- right now, a promise to a dead man.
IDA You're not dead!
THOMAS When I die- don't let them take me out like they did daddy. Don't let 'em make me a slave. Go home right now, get some rope or something, bring it here.
IDA So you can hang yourself?
THOMAS So I don't have to die a slave.
IDA I- I can't. I won't let you kill yourself. We can save you. 2-11 THOMAS You and the mouse in yo' pocket? It's not gonna matter Miss Ida.
IDA We can make it matter. I'll write about you, Iola will tell people your story.
THOMAS Write my wife. Tell her I loved her.
IDA Thomas- I-
THOMAS There's nothin' you can do, goodbye Miss Ida. (She exits the prison, OFFICER blocks her way)
THOMAS (yelling after her) You know Miss Ida, you're never gonna get married with a tongue like that.
OFFICER Have a good chat?
IDA Yes. Goodnight.
OFFICER You know, I hope he screams like his daddy did.
IDA You're a monster.
OFFICER How rude of me. (Sounds from CHORUS off-stage are heard)
OFFICER (cont.)
IDA Who's that?
OFFICER Friends of mine. Won’t be long now, Miss Ida. Run along now, and be a good little lady.
2-12 (IDA pauses before exiting as sounds of CHORUS grows. After SHE exits CHORUS enters as MOB. OFFICER opens the gate for MOB, then follows them offstage. More yelling is heard, accompanied by THOMAS screams. IDA enters again, and hides)
THOMAS
OFFICER Sinners always repent before they face the fire.
THOMAS No- Sir- I swear-
and gagged. Several other PROTESTORS are brought out. All of them show evidence of being beaten.)
OFFICER Tonight, my fellow citizens for a good, whole America, we will make these monsters pay for what they did.
(MOB cheers)
OFFICER (cont.) We will avenge our fallen protectors!
(MOB CHEERS)
OFFICER (cont.) We will have justice!
(MOB cheers again, start dragging PROTESTORS and THOMAS. OFFICER leads them as they exit offstage. IDA comes out of hiding)
IDA But when will we have justice? (Lights fade) END SCENE
3-13 SCENE 3
AT RISE IDA's apartment. IDA is walking around apartment, pacing.
IDA Thomas, why did you do it? Why were you so stupid Thomas?
(SHE walks to sit at desk. Pulls out pen and paper)
IDA (cont.) Dear Mrs. Moss. No- too insincere. My condolences Mrs. Moss. I’m sorry to tell you that- Still no. I’m sorry your husband died, and in a terrible way. I’m sorry that this world we live in prefers to kill a black man before- no. (SHE tears up paper and throws it away)
IDA (Cont.) It’s late, and another good man has died. (SHE gets up, turns off lamp and gets into bed. Lights are low. SHE is restless as the door creaks open. She sits up in bed.)
IDA (cont.) Hello? Anyone there? Show yourself! I’m not going quietly if that’s what you want.
(SHE gets up, slowly crosses room to door and shuts it) Must have just been the- (SHE looks around, from the area near desk THOMAS slowly walks towards her. IDA sees his figure and shouts)
IDA I don’t care who you are, you get out of my apartment right now.
(Silence) You get out, you hear? I will not go quiet or easily. I will not let you take me. (Silence, man still in the shadows, near desk, HE motions for HER to come over)
If you think I’m playing around, I’m not. You come into the light where I can see your face. (HE shakes his head, motions for her to come over to him)
As if I’m going anywhere near you. What’s a man doing sneaking into a woman’s apartment at this hour of the night? Turn on the lamp and we can talk like civilized people. (HE fumbles with lamp, not turning it on, then walks to other side of desk)
Fine. I’ll do it. (SHE turns lamp on. THOMAS is revealed.)
THOMAS Hello Miss Ida. 3-14 IDA Thomas? What are you doing here?
THOMAS Can't I come and visit an old friend?
IDA
THOMAS Did you? Sorry about that-
IDA
THOMAS What happened to me? What happened to you? You look like you was cryin'.
IDA I was not cryin'.
THOMAS I say you were cryin' and now you're lyin'. Huh. How about that?
IDA
THOMAS Well, do I look dead?
IDA I've never seen a dead man walking around before.
THOMAS Prob'ly for the best.
IDA
THOMAS Sorry 'bout that.
IDA
THOMAS Were you writin' before I interrupted you? (HE walks to writing desk) 3-15 IDA I was tryin' to-
THOMAS A letter to my wife? I didn't want you to write a letter to my wife, I wanted you to write a letter to the world.
IDA Your wife needed to know-
THOMAS The world needed to know-
IDA But now you ain't even dead-
THOMAS You said you were gonna make me matter-
IDA
THOMAS Make my daddy matter-
IDA
THOMAS You think those men would just let me walk away?
IDA If they didn't then-
THOMAS You think that you could just let them forget me?
IDA
THOMAS That's what it looks like to me-
IDA (SHE cries) Don't say that Thomas! Please!
3-16 THOMAS Then you better not let them forget. You got a long way to go Ida, or should I call you Iola? (SHE sobs) Oh now, don't start with crocodile tears. (SHE sniffs) You're already in denial. (SHE laughs weakly) I have bad news Ida.
IDA I don't think I can take no more bad news.
THOMAS Remember last year when you gave me that book for Christmas?
IDA A Christmas Carol. Dickens.
THOMAS It’s like that, you're Ebeneezer Scrooge and I’m not here for long.
IDA So you're a- a-
THOMAS Ghost? I dunno if that's the word for it. (HE points to her head) But right now, we're up there.
IDA Then what are you doing out here?
THOMAS Remember the promise you made all that time ago, Ida?
IDA To let you kill yourself? I never promised that. And it was only a few hours ago.
THOMAS You told me you were gonna make it matter. Ida, you gotta keep your word. You gotta make it matter.
IDA I promise, Thomas. I’ll keep my word. I’ll write for you, but that don’t mean nothing.
THOMAS Who do you think you are, 'cuz you ain't the Ida I know. Your words mean more than any other words in Memphis. You see what we all see, but you- you’re a lucky one, 'cuz you know how to say it. To write it out plain so folks all over know. You're not Mr. Dickens, but you still got something. 3-17 IDA I’ll write in Iola. I'll tell the story there.
THOMAS A church newsletter? Ida, think bigger than that. You gotta get the people to do something. The longer they sit and just let people walk all over 'em the more grocery stores get burned. Last time I asked you to promise me something, you told me I wasn't dead yet. Well now you got no reason to say no.
IDA Writing is dangerous work in Memphis.
THOMAS Bein’ black is dangerous work in Memphis, and I don't see you quittin' that any time soon. (Knock on door) That's for you I expect.
IDA
THOMAS I told you this was like that Christmas Carol. (Knock on door)
IDA So that's-
THOMAS A friend of mine.
IDA A friend of lynchings past? (Knock on door)
THOMAS Maybe. Maybe not. You'll have to answer the door to find out. That's how the door works.
IDA Will you stay with me?
THOMAS No, Ebeneezer, you gotta figure it out on your own.
IDA
THOMAS I'm already gone, Iola.
3-18 IDA Don't call me that. Please. Just Ida.
THOMAS Then you better call yo'self that first. (HE heads to dark part of stage and exits. IDA is left alone. Knock at door. IDA goes to the door. When she touches handle, lights go down.)
END SCENE 3
4-19 SCENE 4
AT RISE IDA is asleep at desk, knocking at door wakes her up. SHE crosses to door and opens it. No one is there. SHE turns to head back to desk and SOJOURNER steps out of the shadow. SHE has a carpet bag and an umbrella.
IDA Who are you?
SOJOURNER Who am I? I could be the sugar plum fairy for all you care. Leaving me out on the porch- the nerve. Don't you know who I am? The nerve of you kids these days. In my day-
IDA
SOJOURNER Didn't I just tell ya I'm the sugar plum fairy?
IDA I- I know you're not the sugar plum-
SOJOURNER He said you was a smart one.
IDA So who are you?
SOJOURNER Who am I? I'm here to figure out who you are.
IDA
SOJOURNER The ex-schoolteacher now hidin' behind a fake name like you got somethin' to hide?
IDA Well I-
SOJOURNER And honey?
IDA Yes?
4-20 SOJOURNER You just gonna make me hold my own bags? Not even gonna give me a place to set 'em down?
IDA (IDA takes bag from SOJOURNER and sets the bag near desk. SOJOURNER walks towards desk.) Why do you have an umbrella? It's not raining outside.
SOJOURNER It is where I came from.
IDA
SOJOURNER Somewhere else. Now then, why you using a fake name?
IDA
SOJOURNER So you using it as a safe name?
IDA
SOJOURNER Ain't that the most ridiculous thing I ever heard.
IDA What?
SOJOURNER I escaped slavery so you could use a fake name? Ain't that just rich.
IDA Wait- you escaped-
SOJOURNER That ain't the point. The point is, this is the land of the free ain't it?
IDA It isn't so free.
SOJOURNER You don't need to preach to me. I gave the sermon.
4-21 SOJOURNER (looking through papers on desk) So is this what you're writin' then?
IDA
SOJOUNRER Never learned.
IDA You never learned how to read?
SOJOURNER Nope.
IDA
SOJOURNER I was born without one. Slaves don't get voices, at least not ones anyone cares to hear. That don't mean we don't got a few things to say though.
IDA Who are you?
SOJOURNER Who are you? I escaped slavery with my baby girl in tow, and you know what the first thing I did when I got out? I got a name. A real name. And I used that name to find a voice and to tell 'em what I saw. What I knew to be true. Now you're tellin' me that you don't want yo' name.
IDA It's not that-
SOJOURNER That's right. You're ungrateful for it.
IDA
SOJOURNER If you want it, then you gotta use it.
IDA
SOJOURNER 4-22 SOJOURNER (cont.) Come after you? Girl, they always comin' after you, if you see it or not. They always got a switch in one hand and a bible in the other.
IDA They don't know who I am. That way I'm safe.
SOJOURNER You a damn coward is what you are. I got scars on my back for my name, and you're afraid anyone will know yours.
IDA At least I'm alive, at least I can do something.
SOJOUNRER Writin' in a school newsletter ain't nothing.
IDA
SOJOURNER Don't make it the word of God.
IDA
SOJOURNER Damn coward. What's the fake name you gave yourself.?
IDA Iola.
SOJOURNER Eye. Oh. Law. Don't ring a bell. And what's your real name?
IDA
SOJOURNER That's it. That's the one. I'm gonna let you in on a secret. Come closer. (IDA leans in) Closer. (IDA leans in more) I ain't the sugar plum fairy.
IDA You sure Thomas sent you?
4-23 SOJOURNER Thomas didn't send me nowhere. We sent him to you. I can say I'm the Queen of Memphis. You believe me?
IDA Why would I? I know you're not.
SOJOURNER Exactly. And I know you're not Iola. (Knock on door) Would you be a dear and get that? It is your party, after all.
IDA Ain't it time for you to leave?
SOJOURNER You're not getting rid of me that easy. (Knock on door) Ain't you supposed to be getting' that? (IDA walks to door and opens it. No one is there. MARTIN walks out from the dark area of the apartment.)
IDA I wish you'd stop doing that. You'll give me a heart attack.
MARTIN I didn't mean to frighten you, I'm sorry.
IDA It- It's alright. (SHE looks him up and down.) You didn't bring luggage?
MARTIN Luggage? We're not staying that long. (To SOJOURNER) None of us should have brought any.
IDA
MARTIN This must be a lot for you all at once.
IDA
4-24 SOJOURNER Don't coddle her. She's soft as is.
MARTIN True, but we're here to help her get ready. Not to make the poor girl cry.
SOJOURNER You're soft too.
MARTIN You're the one who told me I was gonna be a pastor. I better start working on tending to my flock now.
IDA
MARTIN Not yet. But we all have our time. And your friend, Thomas-
IDA
MARTIN He's not the only one who needs you.
IDA What do you mean?
SOJOURNER We never get the bright ones do we?
MARTIN Sojourner, there's no need to be-
IDA You're Sojourner Truth?
SOJOURNER Took you long enough.
MARTIN Ida. We don't have much time here. Black folks are dyin' every day, and Thomas is only one of those people. There are more of them out there. And it's your job to fix it.
IDA
MARTIN You better step up. If you don't people are just gonna keep on dying. 4-25 IDA
MARTIN That's how destinies work.
IDA I- I can't.
SOJOURNER Let's go. WE're wasting our time here.
IDA
SOJOURNER We don't waste time with cowards.
MARTIN Sojourner!
SOJOURNER It's the truth.
IDA I'm not a coward.
SOJOURNER You're here crying 'cuz you're friend died? Sounds like a coward to me. Get out there and do something.
IDA I don't do things, I just write.
SOJOURNER Then write!
IDA I did.
SOJOURNER What did you write? A whiny little poem?
IDA
SOJOURNER I don't have time for small thinkers. 4-26 IDA (Knock on door)
SOJOURNER Then get angry! When your friend gets murdered you get angry about it! You use that to get things done! To get change! You don't mope around here.
IDA (Knock on door)
SOJOURNER That's a start. Now do something with it!
MARTIN You gonna get that door? (IDA runs to door, throws it open. No one is there. HARVEY steps out of the dark area of the apartment.)
IDA (SHE lunges towards HARVEY. MARTIN catches her.) It's your fault!
HARVEY (To SOJOURNER) I assume this was your doing.
IDA Let go of me! His people killed Thomas!
MARTIN He killed Thomas!
IDA
MARTIN Wanting change is good. Feeling the sting of injustice is better. But pure anger? Never. This man did nothing to harm Thomas.
HARVEY You judge me on the color of me skin? Seems a bit hypocritical.
IDA But- I- 4-27 HARVEY Struggle isn't limited to the blacks. Don't kid yourself.
IDA You've never known what I've been through!
HARVEY You're cute. Wrong, but cute.
IDA Don't patronize me!
HARVEY Don't worry, honey, you're not my type.
IDA That's still racism.
HARVEY It's not that your black. But rather that you're a woman. There's always been struggle, there's always been hate. Wanna know the future? There always is.
IDA We're gonna struggle forever?
HARVEY Mmhmm. That and taxes, am I right?
IDA
HARVEY The point of...
IDA
HARVEY That's the best part. It all matters. Your writing makes it possible for him and I- (motions to MARTIN and HIM) -to be us.
IDA
HARVEY Now don't go hurting yourself. There's only one important question right now.
4-28 IDA Why are you here?
MARTIN That's the one.
SOJOURNER Guess you're not so bad after all.
HARVEY We're here to make you. (All three ghosts stand up. HARVEY takes IDA by the hand and leads her to the desk.) I'm here to show you the future-
MARTIN And the present.
SOJOURNER We're here so you can stop being a coward.
MARTIN It's your destiny.
HARVEY Now go to sleep. (IDA's head loks heavy then she falls asleep on the desk. Lights fade.)
END SCENE 4
5-29 SCENE 5
AT RISE IDA is asleep at desk. SHE gives a start and awakens. MARTIN, HARVEY, and SOJOURNER are all on stage. THEY are more distant than before.
MARTIN It would be fatal for the nation to overlook the urgency of the moment.
MARTIN We must not allow our creative protests to degenerate into physical violence.
MARTIN They have come to realize that their freedom is inextricably bound to our freedom.
HARVEY If you add up all the us-es, you'll find that we outnumber the thems.
MARTIN We cannot walk alone. We cannot turn back.
(CHORUS,as PROTESTORS and POLICE, enter. When MARTIN speaks, sign behind reads “Stonewall Inn”. When HARVEY speaks sign reads “Ferguson, MO”. When SOJOURNER speaks, sign is not visible. CHORUS moves slowly, as though at a quarter of the speed of normal time. IDA pushes away from the group to examine CHORUS. In PROTERSTORS is THOMAS, in POLICE is OFFICER)
HARVEY Who are the thems? They pay the taxes and run the corporations and have large investments in the city. But who buys the soap, the food, the towels, the shoes, the cigarettes, the beer and the cars that make the profits for their corporations?
MARTIN We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied as long as our children are stripped of their adulthood and robbed of their dignity stating “For Whites Only.”
IDA Thomas? Thomas! (SHE sees THOMAS and rushed to see HIM. HE does not react to her.)
(During SOJOURNER's monologue, OFFICER struggles with THOMAS.)
SOJOURNER 5-30 SOJOURNER (cont.) The Lady has spoken about Jesus, how he never spurned woman from him. When Lazarus died, Mary and Martha came to him with faith and love and besought him to raise their brother. And Jesus wept and Lazarus came forth. And how came Jesus into the world? Through God who created him and the Woman who bore him. Man, where was your part? But the women are coming up blessed be God and a few of the men are coming up with him.
(OFFICER pulls out gun. IDA stands between THOMAS and OFFICER to shield THOMAS. When the OFFICER fires it is as though IDA isn't there and THOMAS takes each hit.)
MARTIN You have been the veterans of creative suffering. Let us not wallow in the valley of despair. I have a dream that my four children will one day-
HARVEY -If I had been content with the back of bus, I wouldn't have- (Shot.) SOJOURNER -Man is in a tight place- (Shot.)
MARTIN -not be judged- (Shot.)
HARVEY -They were angry. Frustrated. They wanted the world- (Shot.)
SOJOURNER -The poor slave is on him, woman is coming on him- (Shot. THOMAS falls into IDA's arms. SHE lowers HIM to the ground and cradles his dead body.)
HARVEY -I'll never forget the looks on the faces of those who have lost hope- (IDA reaches into THOMAS' pocket, pulls out gun.)
MARTIN -This is our hope.
SOJOURNER He is surely between a hawk and a buzzard. (Lights fade on her. SHE exits)
HARVEY I walked among the angry and frustrated I walked among the angry and sad.
5-31 (During this exchange, IDA takes a step towards OFFICER and he steps back when noted.)
MARTIN With this faith we will be able to work together, to pray together-
HARVEY -The only thing that they have to look forward to is hope- (Step.)
MARTIN -to struggle together-
HARVEY -You have to give them hope- (Step.)
MARTIN -to go to jail together-
HARVEY -Hope for a better world- (Step.)
MARTIN -to stand up to freedom together-
HARVEY -Hope for a better tomorrow- (Step.) MARTIN -knowing that we will be free one day. (OFFICER falls to his knees.)
HARVEY You got to give them hope. (IDA shoots OFFICER. At the same time, OFFICER, MARTIN, and HARVEY all fall back, dead. Loud pounding noise begins, like a loud banging on a door. This noise continues through this scene and into the beginning of SCENE 6IDA look at the four dead bodies, sits back down with THOMAS and cries, gun in hand.)
END SCENE 5
6-32 SCENE 6
AT RISE During time between Scene 4 and Scene 5 the pounding noises continue. Lights are dim as IDA is asleep at her desk then slowly rise as she wakes up, part of the apartment remain dark. In this dark area MARTIN, SOJOURNER, HARVEY, and THOMAS all stand. Pounding noises continue through the scene. THOMAS' gun is in IDA's hand.)On the other side of the door stands OFFICER and CHORUS)
IDA (Waking up) Hmm- Wha- Thomas? Why do I- (SHE puts gun on desk) That was a dream, right? (SHE gives a start at the pounding noise) Who's gonna come through the door this time? (SHE gets up and starts towards door) I already met three of them tonight, how many more- Three. There shouldn't-
OFFICER We know you're in there, Miss Wells. You need to open the door, we have a few questions for you about the recent break in at Thomas Moss' store. (Pause. IDA moves away from door) Ida Wells! Open this door if you know what's good for you. (Pause. IDA starts rummaging through her things) We're coming for you, Iola. (IDA runs back to desk and picks gun up, returns to door) I hope you scream as much as your friend. (SHE c***s gun and points it at door. Dark part of the apartment is lit, MARTIN, HARVEY, SOJOURNER, and THOMAS are standing there. MARTIN, HARVEY, and THOMAS are all bloody from SCENE 4)
OFFICER (cont.) Are you gonna be a good little girl for me? (IDA reaches for the door. THOMAS starts to run towards the door. MARTIN grabs THOMAS' arm, shakes his head, and puts finger in front of mouth in shushing motion.) OFFICER (cont.) You gonna be a good little girl for daddy?
(IDA stops, looks down at gun, puts it down on desk, sits down at desk.)
OFFICER (cont.) I'm gonna count to three.
6-33 IDA (writing) Somebody must show that the Afro-American race is more sinned against than sinning-
(MARTIN, SOJOURNER, HARVEY, and THOMAS cross to desk, watch over IDA's shoulder)
OFFICER Three- (THOMAS stands straight and looks at door)
IDA -and it seems to have fallen upon me to do so-
OFFICER Two- (THOMAS walks closer to door, looks back at MARTIN. MARTIN is intent on watching IDA)
IDA -The city of Memphis has demonstrated that neither character-
OFFICER One. (THOMAS runs to door and braces it with his body.)
IDA -nor standing avails the Negro-
OFFICER Time's up, b***h! (Loud pounding at door as OFFICER throws himself at door. THOMAS holds door closed) IDA If he dares to protect himself against the white man or become his rival. (Loud pounding continues) I ask you to leave the city of murderers and butchers-
OFFICER You black b***h! I'm gonna rip you apart myself!
IDA Boycott the city itself. (SHE stands with gun, walks to door with gun cocked and points it at door. SHE does not react to THOMAS.) Together we are more than they believe we are. Together we are united and mighty. (SOJOURNER, HARVEY, and MARTIN head to original position for scene. MARTIN stops.)
6-34 THOMAS No- no Miss Ida. Just go- killing one man- it won't change anything-
MARTIN (walking towards THOMAS) It's time to go.
THOMAS Time to- No. I'm not leaving her to get killed.
MARTIN Time's up.
OFFICER How about I git some of my friends? We can have some fun with you-
THOMAS (to IDA) Just go- (IDA doesn't react) Go! (No reaction) Ida! Run! (No reaction. SHE looks down at the gun, turns towards the window and shoots the window) OFFICER B***h! (Pause. IDA runs back to desk picks up pen and writes, MARTIN nods and walks to join HARVEY and SOJOURNER, lights dim where they stand to original level.) You there? (Pause.) That better not have been you blowing your brains out!
IDA (writing) I beg you to leave, but if you stay stand with me. (IDA grabs page, pen, gun, and shoves all three into her pocket. SHE goes to window) Your new voice in the revolution, Ida B. Wells. (SHE exits out window.)
OFFICER When I get in there, I swear to God, if you're all over the floor I'm gonna hunt down-
(THOMAS smiles after her, then runs back to the dark spot with HARVEY, SOJOURNER, and MARTIN. As lights fade, OFFICER breaks through the door to find the apartment empty.)
END SCENE 6 © 2014 Thyme13Author's Note
|
StatsAuthor
Thyme13Wichita, KSAboutAn undergraduate writer with a life that has led me all over. more..Writing
|
Share This
Email
Facebook
Twitter
Read Request
My Library
Subscribe
Flag Writing