~

III PHILIP KAN GOTANDA

i THIlWASH III

~
rupture in the way things are." In addition to exploring one woman's
break from an unfulfilUng marriage, this play serves as a commentary
on gender dynamics and sexuality in nisei culture.
Note carefully the playwright's descriptions of and directions for
the props, lighting, gestures, and setting, for they tell a great deal
about the characters and the themes of the play. Stage directions are
THE WASH given from the vieWPOint of the performers. Therefore, stage right is
on the audience's left, stage left is on the audience's right, Upstage is
Philip J(an Gotanda at the back of the stage and downstage is at the front of the set. U.I.)

Philip Kan Gotanda, a sansei (third-generation Japanese

American), was born in 1949 in Stockton, California. He originally
planned to be a psychiatrist, but his interests in music and perfor­
•
mance led him to playwriting. His first play, entitled The Avocado
Kid or Zen in the Art of Guacamole, combines elements of a classic CHARACTERS
Japanese children's tale, music, dance, American popular culture, NOBU MATSUMOTO, Nisei (second-generation Japanese
and colloquial language in an attempt to capture a "uniquely Asian American), 68 years old, retired produce man. Separated from
American cultural aesthetic.'" East West Players, an Asian American Wife, Masi. Lives alone in the family house.
theater company based in los Angeles, staged The Avocado Kid in MAsI MATSUMOTO, Nisei, 67 years old. Left Nobu. Does
1978, and this successful initial foray into the world of drama housework for a living, Lives in a small apartment by herself.
encouraged Gotanda to pursue a career as a playwright. Other major KIYOKO HAsEGAWA, 55-ish, Originally from Japan. Previously
works include The Dream of Kitamura (1982), Song for a Nis(·j married to an American soldier. Widow. Seeing Nobu. Owns and
Fisherman (1980), Yankee Dawg You Die (1988), Fish Head SOli" runs a small Japanese restaurant.
(1991), and this anthology's selection, The Wash (1985). SADAO NAKAsoTO, Nisei, 65 years old, widower. Seeing Masi.
Since his emergence as a playwright, Gotanda has also workt>d Retired pharmacist.
extensively with the Asian American Theatre Company, Northwp'il MARSHA MATSUMOTO, Sansei (third-generation Japanese
Asian American Theater, Pan Asian Repertory, Berkeley Repertory American), 33 years old, single. Older daughter of Nobu and
Theatre, and the Manhattan Theatre Club. He also holds a I,lw Masi. Works as a dental hygienist in nearby big city.
degree. JUDY ADAMS, Sansei, 29 years old, married to James with a
In The Wash, a nisei (second-generation) woman leaves her hll'
band, takes a lover, and attempts to make a new life for herself. A~ ing. Younger daughter, fifth-grade teacher. Presently not work­
baby.

Michael Omi has noted, such behavior from a second-generation CHIYO FROELICH, originally from Japan, but has lived most of
Japanese American woman is "unthinkable," for many wives Wt>H' her adult life in the U.S. Late 40s, divorced, friend of Kiyoko.
expected to sacrifice their own desires for the sake of husband .11111 OWns and runs a small beauty salon next door to Kiyoko's restau­
family. Gotanda says that in the play he wanted to demonstral(' Ih.11 rant.
"traditions which worked before are subject to the winds of ch.\II~tf' BLAC.KlE, Hawaiian NiSei, 55-ish. Speaks with a thick pidgin
J wanted to depict people struggling to live their lives after a 5('1 iO\l\ accent. Works as the cook at Kiyoko's restaurant.

I Michael Omi, introduction to Fish Head Soup a",/ Other Plays, Philip Kan Gotaml.l. SrJIII. t I lot
SETTING
Washington P., 1995, p"ge xv.
I Ibid, p.ge .ix. Stage center is Nobu's place, fhe "old family home." Stage
Ma.~i·s small hetlroollJ
righl is Kiyoko's rCSf;lIIranl. SLlgC lefl is

1: i
 THEWASH IfI
III PHILlP}(AN GOTANDA

refrigerator and pulls out a bowl of cold rice covered over in cello­
apartment. A clothesline runs across the upstage area. The down­ phane and a small bottle ofFrench's mustard. He uncovers the rice,
stage area is used to play several scenes that take place elsewhere. scoops some of it into a rice bowl usine his chopsticks, pours hot tea
The set should be realistic but elemental, allowing for an over it. It starts to spill; he quickly bends down and slurps up the
underlying abstract feeling. Nobu's place is the most complete, excess. He opens the mustard and, using his chopsticks again, shovels
with Masi's and Kiyoko's places more minimal, and Marsha's and a healthy portion ofmustard onto his hot dogs. He licks the mustard
judy's places being represented by only a table and chairs. offhis chopsticks. Then he carefully makes his way back to the couch
The set as a whole must be constructed so that entrances, exits with the plate of hot dogs and a bowl of rice. He sets the food down
and crossovers may be easily viewed by the audience. This is on the coffee table and begins to eat while working on the kite and
because actors' movements from one area to another, both as watching television.
focuS action and as half-light action, are an integral part of the Masi enters through the side door with two lat;ge brown paper
bags. She's struggling to open and close the door with both handsfull.
storytelling.
The play takes place in the present over a period of six Nobu turns around and notices her butgives nogreeting and makes
months-July to January.
no effort to help her. She is not upset by his actions. She appears to
have no expectation for him to assist her. Masi sets both bags on the
kitchen table and catches her breath.
ACT ONE
SCENE t MAsI: (Putting tomatoes and Japanese eggplant from one ofthe bags into
refrigerator) If you have any more dirty clothes I can take them
Nobu's place, the old family home. The kitchen is upstage. A sink, now. Nobu? Is this everything?
refrigerator, stlJ1le. There is a kitehen table with a pile of dirty clothes NOBu: (Not turning, eating) Want some hot dog?
on it. On the stove, a pot ofwater is boiling. In the washrack there is a MAsI: No, I ate before. Got these from Mr. Rossi. The tomatoes are
teapot, some dishes, chopsticks, etc. Stage left is a door that leads to the soft so eat them right away. (She gets up, folds paper bag and puts
outside, the proverbial side-door entrance into the kitchen that every­ it into drawer. She knows this place welt. Walks oper and checks his
one uses. Upstage right is a door leading to the hallway and bedrooms. shirt collar from behind) No more clothes?
Down right, a Tv. A long couch is angled facing it. On a long NORu: (Brushing her hand away) No, already.
coffee table in front of the couch sits the yet undeveloped skeleton ofa
large kite Nobu is building. During the play, the kite becomes more (Masi goes over to the other bag and begins unpacking the freshly washed
and more pronounced in its construction. clothes in neat piles on the kitchen table.)
The pile of dirty clothes is in a shaft of light. Lights come up to
halfrevealing Nobu asleep lengthwise on the couch,facing the TV, a MASI: I just finished cleaning Dr. Harrison's place. You should see the
newspaper sprawled lJ1Ier his chest. Mouth open, snoring loudly. TV bathrooms. If you see the family walk down the street, they look
lights come up. Nobu can be seen in the flickering light of the televi­ so clean and neat. But the toilets, kitanai [dirty].
sion screen. Lights come up full. Nobu awakens with a start, news­
paper falling to the floor. He pulls himself upright and just sits and (Finished unpacking, Masi takes a cup out of the rack and pours herself a
stares into space for a moment, trying to awaken. Then he picks up cup of tea. She walks oper to the couch and sits down next to Nobu and
the newspaper, tosses it in a heap on the couch. He checks to examine "'atches Tv. She takes a sip oftea and makes a face.)
the progress he's making on the kite. He carefully sets the kite back on
the table and shuffles over to the stove to shut the boiling water off. NORu: Hot-dog water.
He gets a plate and a pair ofehopsticks from the washrack, takes the
twO hot dogs that were cooking out of the pot and puts them on the (Mas; decides not to drink it. She looks at the unfinished kite frame.)
plate. Then he gets some tea out and puts it into the teapot which he
has taken from the rack. He moves to throw out til" hot-dog water to MASI: You gonna fly this one? (Picks up the kite) Nobu, why don't you
boil some nell' water, then stops. 'nJillh l'r(l((rds tIt pllt the hot-dltlf at least try a ditlcrcnt design this­
Il'lIifl' itlll! the ua/,ot /Jlld II.!( it tit makf il·lI. No/III I'(//fl1rJ intll thl:
III PHILIP KAN GOTANDA

THE WASH IIiI

Nonu: (Taking kite) MyoId man did it this way.
KIYOKO:
(Taking bottle away) You're always thirsty, you're always hungry.
(Masi gets up and starts to pick up the old clothes on the floor, fold them and You're the cook. You're supposed to cook the food, not eat it aU
put them in the second bag.) up. Now go wipe the tables.
MASI: Have you talked to the kids? (No response) Marsha said she (She hands him a towel and scoots him out the swinging door.)
stopped by. (Beat) You know if you don't see Judy's baby soon
he's going to be all grown up. Nobu? BI"ACKlE:
NonD: No.
It makes my cooking get mo' better. If! feel better, my cooking
get mo' better. No bull lie, yo.
KrYOKO:
(Masi gives up trying to talk to him at all. Finishes putting old clothes into Your face gets red like a tomato and everything tastes like shoyu
[soy sauce].
the bag.)

MAsI: No more dirty clothes, Nobu? (Nobu shakes his head without (Blackie stops and scratches his butt. Kioyko knocks his hand away.)
turning away from the TV) All right, then I'm going.
Don't scratch your oshiri. You're the cook, 'member?
(Masi leaves with the bag ofold clothes. Nobu continues to watch TVfor a Jew (Nobu enters.)
moments, then turns and stares at the door. Dim to halfwith the TV light illu­
minating Nobu. Marsha appears in a pool oflight looking towards Nobu.) NOBD:
Kiyoko, do desu ka [how are you]?
KrroKO:
MARsHA: Dad? (Grabbing towel away from Blackie) Give me that. (Walks past
Nobu, ignoring him)
(Nobu turns to look at Marsha momentarily then back to the televisio11. BUCKlE: Hey, brudda, you in the doghouse!
NOBD: What?
Judy appears in a pool oflight, holding Timothy. Marsha fades out.)

JUDY: Mom? (Kiyoko finishes taking a Jew swipes at a tabletop.)

(Masi, moving away, turns to look at Judy momentarily, then exits. ]tldy
Kiyoko, tempura special, onegai [please J...
fades out. Lights fade on Nobu and Masi. We hear Japanese restaurtlm
Muzak.)
(Kiyoko ignores him again, moving behind the counter, wiping.)

ScENE 2 Bl..ACKlE: (To Nobu) You in the doghouse. But it going pass. (He exits into
kitchen area)
Kiyoko's restaurant, afternoon, next day, upstage right. On upstage NOBU:
(Moving to counter and seatintJ himself) What? What?
side wall there is a service window. Left ofit is a swinging door that
leads into kitchen. There is a small counter space with three or four
small stools. Downstage there are one or two small tables with chairs. (Kiyoko tosses a small plateoftsukemono [pickles] in front ofhim and con­
tinues to wipe around him. Nobu looks at the plate.)
Lights come up. Blackie can be seen in the service window. He is
taking a big swig of Budweiser. Kiyoko appears and gives him a
You know I don't like this kind of pickle.
dirty look. Blackie's been caught in the act. KIYOKO:
(Looks at him hard, tossing towel on the counter) I'll get your tea.
(She exits into kitchen)
KrYOKO: Blackie. 81.ACKfE:
BUCKlE: It make my cooking get mo' better. (ICiyoko stares, no responsr) It (Pokes head out of service window holding Nobu s plate in one
make me get mo' better. (ICiyoko continues to stare) I'm thirsty. I hand) We drop food on the floor, We pick it up. If we like you
wanted a beer. ... (Mimes throwing the food away) But, ifyoLl in the doghouse
. .. (Mimes dropp inl1./ood back (}n plate, then barks at it)
III PHILIP RAN GOTANDA

(Blackie withdraws as Kiyoko enters with NobuJs tea.)

, THE WASH

meeting people, not being able to start a new life-how come

l1li
you still wear your ring?" I began to cry. Like a little boy. I
remember thinking, "How strange I am crying in front of all
(To Kiyoko) J like eggplant. You know that. You always give me
NOBu: these people that I don't know. And yet I feel no shame." The
eggplant pickle. room was so still. All you could hear was my crying. Then J
KIYOKO: (Pouring tea) Out of season. heard a tapping sound. I looked up and noticed a woman sitting
Masi brought some by yesterday with the wash.
NORu: across from me, slapping the sandals she was wearing against the
Nobu-chan, J said I'd do the wash for you. You gotta washing
KIYOKO: bottom of her feet. Tap, tap, tap .... I said I didn't know why.
machine at your place. J can just come over and-
No, no, too much trouble. I can do it myself. I don't like cucum- It just never crossed my mind to take it off. "Why should I take
NORu: the ring oill" Then one of the widows, the one who formed the
ber pickle. group, said, "Because you're not married anymore."
KIYOKO: Nobu, how could you forget?
NORu: I didn't. You did. (Lights come up on the rest ofthe apartment area. Masi wasnJt quite pre­
K!YOKO: I kept dropping hints ... pared for SadaoJs sharing such personal details and is a bit unsure how to
NOBu: I like eggplant. You know that. respond. Sadao in turn fears he may have gotten a bit carried away.)
KIYOKO: All last week.
NOBU: Eggplant! Eggplant! MASI: (Bringing coffee over) Cream? It's nondairy creamer. (Sadao
K!VOKO:
(Pause,glaring at him) WE RAN OUT! shakes head) If you want tea?
SADAO: No, this is fine. I ran on a bit, didn't I?
(Kiyoko stomps into the kitchen. Nobu sits there stunned and very puzzled.
MAsI: No, no, it's all right. (Pause) It's just Sanka.
Blackie enters carrying a plate offood and sets it down in front of Nobu.) Good. Otherwise the caffeine keeps me up all night. Have you
SAnAO:
tried decaffeinated coffee?
BUCKlE: Tempura special.
(Mas;' motions to the SankaJ unsure ofwhat he means.)
(Blackie watches while sipping on a beer. Nobu is about to put a fork-load
into his mouth, then stops. Looks at food, then at Blackie. Blackie makes a
No, the bean. They actually make a decaffeinated bean.
barking sound and grins. Suddenly something dawns on Nobu.) MASI: No, we never did anything like that. Just instant. Yuban makes a
good instant coffee. That's what I usually drink. But I don't have
NOBU:
Her birthday, I forgot her birthday... any since I moved over here.
SADAO: No, I've never tried it.
(Cross{ade to Masi's apartment.) MASI: I'll have to get some next time I go shopping.
SADAO: They have this process they use. On the bean. I mean they don't
SCENE 3 grow a decaffeinated bean. I don't know what's worse. The caf­
feine in it or the chemicals they use to get the caffeine out.
Masi's place, three weeks later. Small apartment, with bedroom
(Laughs at his own joke, gathering momentum) I have a little
downstage from main room. Sadao, seated on sofa, in a pool oflight.
grinder. A Braun? You know a Braun?
Mas; is in half-light at counter fixing two cups of Sanka.

We were all sitting around in somebody's living room, when (Masi doesn)t know what it is. Awkward pause.)
SADAO:
someone said, "How come you still wear your wedding ring?"
MASI: We never did anything like that. We just drink instant.
They weren't being mean. That's why we were there. To ask
SADAO: I like Sanka. I have to drink it all the time. Doctor's orders.
those kinds of things. 1 didn't know what to say. Speechless.
(Imitating) "If you drink coffee, Sadao, drink Sanka!" (He
Then someone else said, "Sadao, YOll ,\Iways complain about not
III PHILlP.!<AN GOTANDA

THE WASH III

laughs valiantly at his attempt at humor. Masi stares at her cup. He SADAO:
notices and offers a feeble explanation) Blood pressure ... Well, this time you're going and it's lots offlm. Economical, too.
You get to eat what you catch.
MAs I: But you have to do aU that walking.
(They both drink in silence. Suddenly Sadao remembers something.)
SADAO:
No, who said that? We sit on the bank and fish from there. We'll
Oh. Excuse me. I'll be right back. I left something in the car ... pack a good lunch-I'U make it-you bring the cards so we can
(Sadao)s voice trails offas he exits. Masi sits there uncomfortably. This isn)t play blackjack. We have to practice.
MAsI: r don't play.
working out. Sadao returns with a fishing pole and reel wrapped up like
SADAO:
presents. Nobu appears in half-light at his place watching TV; his face illu­ That's why we have to practice so we can go to Tahoe. If there's
minated by the flickering screen)sglow.) a good game on we'll have to watch it. I'll bring my portable IV.
I love the Giants.
MASI: What about fishing?
MASI: (Surprised) Sadao, what's this?
SADAO:
Only if we have time. See, this is how you cast out.
(Sadao holds out pole.) (Demonstrating) You hook your index finger around the line
here. Turn the bail and ... (He casts)
I can't.
SADAO:
MAsI:
SADAO:
MAsr:
SADAO:
No, no, it's for you.
But Sadao ...
No, no, it's for you.
(One hand on it) Sadao, you shouldn't have.
Go 'head. Open it up.
,
~ MASI:
NOBU:
(Nobu, still in half-light, gets up to phone Man. Phone rings. Masi goes Over
and answers it. It} Nobu. Slowly lights dim on Sat/ao and rest ofapartment
so that just Man and Nobu are lit.}

Hello.
MASI: (Takes it and begins unwrapping it) No, I can't accept this. I You coming to pick up the clothes?
MAsI:
don't have anything for you. Nobu r was just there. You mean next week? Don't worry, I'll be
there. r do it every week, don't I? Nobu?
NOBU:
(Mast unwraps pole) which is broken down into pieces. Sadao sets reel on I'm not worried. You all right?
MAsI:
table and takes pole from Masi.) Yes, I'm all right. Did you want something? (No response) r got
more vegetables. Do you need some more?
NOBU:
SADAO: Here, let me show you. (Puts it together) There. (Hands it: back. No. (Pause) Can you bring more eggplant?
MAsI: I don't have any more.
Remembers reel, hands it to her) Oh, and here's this.
NOBU: All right, then.
MAsI:
(Masi now has a reel and pole in her hands. Sadao realizes she can't I'll ask Mr. Rossi. He can always get lots more. (Pause) Was there
unwrap the reel with both hands foil and takes pole away. She unwraps the something else? Did you want something?
NOBU: No.
reel. Sadao promptly takes it away from her and puts the pole and reel
together.)
(Pause)
See, it goes like this. And then you're all set to catch fish. (Hands
MASI: Nobu, I have to go now.
it back to Masi) I told you I was going to take you. Now you
NOBU:
can't refuse. I went fishing so I got a lot of dirty clothes.
MASI: All right. Don't worry, I'll be by.
MASI: Yeah, but ... NOBU:
SADAO: Thought I was kidding, huh? I'm not worried.
MAS!: Bye.
MAsr: But this is so expensive. I know how Illllch these things cost, NOBU: Bye.
'cause of Noou. I don't know anything abollt fishing. He's the
fisherman. I just p,Kk the IUllch ami 011' he p,oes.
(/Jim t(J darkness.)
III PHILIP KAN GOTANDA

THIlWASH III
SCENE 4 KIYOKO; Nobu is an honest man. Not like that guy you've been seeing.
Check.
Kiyoko's restaurant, three weeks later, night. Kiyoko, Chiyo, BllSckie
CHIYO: Ray, his name is Ray. Blackie.
are playing five-card stud. When the scene starts they each have one
BUCKlE: (Carefully examining his cards) Yeah, I know.
card down and two up. Chiyo is in the process of dealing the next
KIYOKO:
card, Kiyoko to her left, Blackie to her right. Chiyo wears a poker That time Blackie gave Nobu too much change. Remember? He
l,isor. Five empty beer bottles sit in front of Blackie, who is working walked all the way back from his house to return it-twenty-five
on a sixth. He is not drunk, though. Hawaiian music is playing on cents.
CHIYO;
his lat;ge portable tape player. Good investment. He gets a .$4.50 combo plate free now. (To
Blackie) Your bet.
BUCKlE: Don't rush me, don't rush me.
CHIYO: (Examining her hand) He's got a wife. You said so yourself.
CHIYO:
KIYOKO: They're separated. (To Blackie) You're queen high, working on a Possible nothing.
CHIYO: He wants to get back together. I know his kind. She left him. (Motioning to her own cards) Possible club flush here and . . .
They can't get over that. He only wants you for one thing­ (POinting to Kiyoko's hand) A pair of saxes there, Possible three­
your "tempura." Yeah. He's over your restaurant everyday, of-a-kind. (To Kiyoko) I just think you can do beuer, that's all
desho [isn't that so J? You feeding him. He's eating up all your I'm saying. Besides, he's so old.
KIYOKO: I don't want to talk about it.
profits.

(Chiyo and Kiyoko notice Blackie chugging down the rest of his beer, mak­ (Blackie finally decides to bet but Chiyo ignores him andgoes right ahead.)
ing strange gU'lyling sounds. They stare.) CHIYO: Dealer bets a nickel.
KIYOKO: He's not old.
BLACKIE: You gotta drink beer when you're playing poker or you aren't CHIYO; Is he good in bed?
playing poker. You're just playing cards. I don't like cards, hate KIYOKO:
cards. (Holds up another beer) I love poker. He's sixty-eight years old, Chiyo. I raise you a dime.
CHIYO: So he really is old. See you and I bump you a quarter.
KIYOKO: Nobu is a good man. BUCKlE:
CHIYO: You like to mother him, you like that kind of thing. But you I love it when the wahines talk dirt. (They stare at hi",) Jeez, just
don't know about men. joking. Don't lose your coconut.
KIYOKO: And you do, heh?
CHIYO: You don't get out of this restaurant of yours, I tell you, "Go out, (As Blackie begins putting in the bets he missed Kiyoko ISnd Chiyo continue
on.)
go out." "No, I gotta work, work ..." (Noticing something)
Wait, wait, someone didn't ante. We only bet once, a nickel,
KIYOKO: (Tossing quarter in) I call.
right? (Counting) See. Someone didn't ante.
CHIYO:
KIYOKO: I did. (Starting to dealj to Kiyoko) Nine of spades. No help there. (To
CHIVO: So did I. Blackie) A trois. Oh, a pair of threes. (To self) And for the dealer
... another club. Read 'em and weep. Four puppy toes looking
(They turn to Blackie, who's guzzling a beer.) mighty pretty. Hush, very possible. (To Kiyoko) Pair of saxes still
high.
KIYOKO: Chiyo, you don't know him like I do. Check.
BUCKlE: Huh? Oh, yeah. (Innocently tosses money in)
CHIYO: (Begins to deal, to Kiyoko) Two sixes-a pair of saxophones. (To
(She notices Blackie sucking on his beer.)
Blackie) A three of diamonds gives you . . . nothing. (To self)
Eight of puppy toes to the dealer, working on a possible club
He checks, too.
flush. (To Kiyoko) Pair of saxes high. I just c;tn't see myself going elflYO:
alIt with him. I'm just saying YOll could find someone else. Somcone YOllngcr,
more flln.
II1II PHILIP KAN GOTANDA
THE WASH III
(Irritated) You watch too many soap operas, Chiyo. Life's not MARSHA: Hi Mom, come on in. (Taking bag) Here let me help you. Dad's
KlYOKO: already here.
like that. Men don't fall into your lap.
(Upset at being lectured to) Fifty cents ... MAsI: (To Nobu) Just some leftover fruit that was in the icebox.
CHIYO: Starting to rot so eat it right away.
BLACKlE: (Impressed) Fifty cents ...
KlYOKO: I like Nobu. One dollar.
(In disbelief) One dollar ... (Masi and Nobu acknowledge each other awkwardly.)
BLACKlE:
CHIYO:
All right, all right, white hair doesn't bother me. It's no hair I
can't stand. (Tosses in dollar) Call you. You got the three-of-kind? MARSHA: Judy and the baby couldn't make it.
Pair of sixes, that's all. You got the flush? MASI: She called me.
KlYOKO:
CHIYO: Pair of eights! Hah!
(NobuYs expression re'Peats he didnYt know they were coming.)
(Kiyoko)s disgusted. Chiyo)s about to grab the pot when Blackie puts down
his cards. Kiyoko and Chiyo stare in disbelief) MARSHA: (Offering explanation to Nobu) Jimmy wasn't going to come.
(Pause) Sit down, sit down. Dinner's almost ready in a minute.
(Puffing up like a rooster) Excusez-moi's but I got three trois's. Roast beef. Dad, coffee? Tea for you, Mom?
BLACKIB:
CHIYO: Blackie ...
(Marsha goes to kitchen. Silence.)
(Blackie shovels the pot in. Kiyoko pushes the cards to Chiyo) who examines
NOBU: I told her we can eat at her place. (Beat) She wanted to cook din­
them skeptically.) ner here.
KlYOKO: (To Chiyo) Your wash. (To Blackie) Blackie, cut.
(Pause)
(Blackie cuts the shuffled deck and Kiyoko begins to deal.)
MAsI: Her place is cozy, neh?
(Holding up beer) Hate cards. Lope poker. (He starts toguzzle) NOBU: Marsha's? Looks like the rooms back in Camp.
BLACKlE:
(Dealing) Today is the fifteenth, neh [isn't it]? (Stops) reflecting) MAsI: Nobu, the Camps were over forty years ago. At least she's clean.
KlYOKO:
Harry would have been fifty-nine this week. Not like the younger one.

(Chiyo and Blackie exchangeg/ances. Cross fade to Nobu)s place.) (Pause)

NOBU: How you been?

ScENE 5 MAsI: All right.

I
NOBU: Isogashi no [Busy]?
Nobu)s place, same day as previous scene. Nobu's seated and MAsI: No. The usual.
Marsha's working in the kitchen. NOBU: I called the other night, no one answered. (Masi doesn't offer an
explanation) How you been?
NOBU: What do you mean, "Be nice to Mama"? {I MARSHA: (Interrupts, carrying in an ashtray) Dad, Mom's taking a ceram­
MARsHA:
All I'm saying is, just try to be nice to her when she gets here. ics class. Judy got her to go. (Hands him the ashtray) She made
Say something nice about the way she looks or about her- this. (Nobu stares at it)
NOBU:
I'm always nice to Mama. I'm always good to her. (Pause) Why MASI: It's an ashtray.
the hell she has to live over there? Huh? How come Mama's got NORlJ: You don't smoke.
to live way over there? MASI: I'll get Daddy's coffee. (She exits with cup)
MARSHA: Dad, just say yOll like it. That's all you have to say. Just say it's nice.
(Masi enters, carryinll a lmatl paper Im/T.)
 l1li KAN
III
PHILIP GOTANDA
1'HEWASH

NOBu: Yeah, but she doesn't smoke. Why make an ashtray if you don't
(Man starts to raise cup, but Nohu reaches for it.)
smoke?
NOBu:
(Masi returns with a cup ofcOffee for Nobu and tea for herself Marshagives It's no good for you, Mama. Your blood pressure. Remember
what Doc Takei-
Nobu an encouraging nudge and exits into kitchen.) MASI:
(Clinging to cup) Who gives a damn. You make such a fuss about
(Holding ashtray) It's a nice ashtray. Is this where you go all the it. Monku, monku, monku [Kvetch, kvetch, kvetch]. I'll drink it.
NOBu:
time? I call in the evening. I guess that's where you must be. (Struggling with Masi) It's no good for you, Mama.
(Pause) Remember those dances they used to have in the
Camps? You were a good dancer. You were. Best in the Camps. (Coffee spills onto table. Marsha appears with a towel.)
MASI: You couldn't dance at all. You were awful. NOBu: (To Masi) Clean it up.
NOBu: Remember that fellow Chester Yoshikawa? That friend of yours? MAsI:
MASt He could dance so good. I'm not going to clean it up.
MARsHA: rJl clean it up.
NOBU; Remember that dance you were supposed to meet me out front
of the canteen? We were all going to meet there and then go to
the dance together. Shig, Chester, and a couple others. (While Marsha starts to wipe the table, Man grabs Nobu's coffee cup and
exits into the kitchen.)
Everybody else, they went on ahead. I waited and waited ...
MASI: Nobu, that was forty years ago. MAsI: I'll get him more coffee.
NOBu: Yeah, I know, but remember you were supposed to meet­ MARsHA: Dad.
MAsI: That's over forty years ago. How can I remember something like
that?
(Masi returns with Nobu's coffee and Sets it down in front of him, turns
NOBu: You didn't show up. Chester didn't show up either. and quickly exits.)

(Masi puts cream and sugar into Nobu's coffee.)

(Chasing after Masi) Mom ...

MAsI: Nobu, didn't we talk about this? I'm sure we did. Probably
(Nobu is left alone with his cup ofCoffee. He slowly puts in the cream and
something came up and I had to help Mama and Papa.
NOBu: Where were you, huh? sugar himself. Raises the cup to his lips hut cannot drink. Sets it back down
MASI: How am I supposed to remember that far back? Chester died in and stares at it. Marsha returns and sadly watches her father. Dim to dark­
ness.)
Italy with the rest of the 442 boys.
NOBu: Where the hell were you?
MAsI: How in the hell am I supposed to remember that far back? SCENE 6
NOBu: (Noticing his coffee) You put the cream and sugar in. That's not
mine. (Pushes coffee away) Mans place, three weeks later, afternoon. Masi's at the clothesline.
Judy's visiting with Timothy.
MASI: That's right. You like to put the cream and sugar in yourself.
NOBU: I like to put it in myself. JUDY:
MAsI: (Pushing the cup towards him) It's the way you like it, the same I don't see how you had two of liS, Mom. I need sleep. Large
thing. doses of it. Jimmy's so lazy sometimes. I even kick him "acci­
NOBu: (Pushes it back) No, it's not the same thing. dentally" when Timothy starts crying. Think he gets up to feed
the baby?
MASI: All right, all right, I'll drink it myself. Here, you can drink mine. MAS!: Daddy used to.
(She shol'es her tea to Nobu and.qrabs the c(~(foe Cl4p) JUDY: Used to what?
NOI\u: What arc you doillg~wait, wait. MASI:
Get lip at night and feed you kids.
MASI: I don't mind. JUDY: Dad? You're kidding.
L
 THE WASH III
II1II PHILIP KAN GOTANIJA

(They continue in silence, both enjoying the activity.)

He used to sing to you. No wonder you kids would cry.
MASl: KIYOKO: Enough?
NORU: Noo ...
(They laugh.)
KIYOKO: (Her arms are just too tired, stopping) Ahh ...
I saw your new phone-answering machine. Nonu: (Stretching) Oisho [AhhJ! Masi used to do it. Sometimes Marsha
JUDY:
(Proud) Yeah. For messages. does it now.
MASI:
(Kidding) What? You got a new boyfriend? KIYOKO: (Pouring tea) You're lucky you have children, Nobu. EspeciaJIy
JUDY:
Judy. daughters. Harry and I wanted children. They're good, neh?
MASI: Well, why not Mom? You moved out. It's about time you start
JUDY: meeting new people. Once you get a divorce you're going to (Nobu wants to give her something but canJt bring himself to do it. Makes
have to do that anyway. small talk instead.)
MASI:
I'm not getting a divorce.
What are you going to do? You live here, Dad's over there ... NORu: How come you take the bus? (Kiyoko doem't understand his com­
JUDY: (No response) You can't do that forever. ment) You have that Honda. At your place, desho?
I just do his wash. That's aU I do. Just his wash. (Pause, she hangs KIYoKO; Ahh. Datsun. Just to work. Just to work I take the bus. Got into
MAsl: the habit after Harry died.
clothes) I think you should call Dad.
Mom, what can I say to him? I can't talk about my husband, I
JUDY: can't talk about my baby. All he can talk about is how he can't (Awkward silence. Nobu abruptly pulls out a small gift-wrapped box and
show his face at Tak's barber shop because I married a kurochan holds it out to Kiyoko.)
{black).
Judy, he's not going to call you. NORU: Here.
MAS!: That's because he might get Jimmy. (Beat) Can you imagine
JUDY:
Dad trying to talk to Jimmy? (Kiyoko is too surprised to take it.)

(They laugh, settle down.) Anato no tanjobi no puresento. Hayo akanesai. [Your birthday
present. Hurry, open it.1
Judy. He needs you. KIYoKO: (Taking it) Ara! Nobu ... (Opens it and holds up the earrings)
MAS!: Why can't he accept it? Why can't he just say, "It's okay, it's okay, Nobu-chan.
JUDY:
Judy"? I just need him to say that much. NOJm: Earrings. Inamasu Jewelry Store no neki 0 tiJtara me ni tsuitanda
MAsl: He can't. ne. [1 was walking by Inamasu's store when I spotted them.J
KIYOKO: Mah, kirei, Nobu-chan. Tsukete mitu. [They're pretty, Nobu.
(Dim to darkness.) Let me try them on.]

(Kiyoko exits. Nobu in pool oflight. Memory sequence. Masi appears in pool
SCENE 7 oflight.)

Kiyoko's restaurant, that same evening. We hear the rhythmic MAsI: Why don't you want me anymore? (No response) We don't sleep
pounding of fistS on flesh. A pool of light comes up on Nobu and .... You know what I mean and don't give me that kind oflook.
Kiyoko. Kiyoko is standing in back of Nobu pounding his back with Is it me? The way my body . . . I've seen those magazines you
her fists. She is massaging Nobu, This is a supreme joy for him. keep in the back closet with your fishing gear. I mean, it's all
Kiyoko likes doin.i] it for him. right, I'm just trying to know about us. What happened?
K1YOKO: (Not stopping) Enough? NORl1: Nothing. Nothing happencd, What's gottcn into you?
NOllU: (VI,ice vibratitlg Fom the steady lIloll's) Noon ...

~
III PHILIP KAN GOTANDA
r THEWASH III
MAsl: Then why don't yOU ... sleep with me? MASI: (Momentarily caught offguard) Oh, hi, Marsha. Come in.
NOBu: By the time I get home from work I'm tired. I work all day long, MARsHA: (Entering hesitantly) Hello, Mom.
I'm standing the whole time. I told you never to touch my fish­ MAsI: This is Sadao Nakasato. (To Sadao) My eldest one, Marsha.
ing equipment. SADAO: Hello Marsha.
MASI: What about those magazines? MARSHA: Hello.
NOBu: I'll throw 'em out, okay? First thing tomorrow I'll throw 'em in
the trash and burn 'em. That make you feel better? (Mas;' is hurt (Awkward pause. Marsha remembers her package.)
by his angry response) Masi? (No response) Masi. You're pretty.
You are. Oh, I just thought I'd bring some manju by. (Hands it to Masi)
MAs!: Don't lie to me. I hate it when you lie to me. I didn't think it was that early. Next time I guess I'll call first.
NOBU: I'm not lying. (Masi refuses to believe him) What the hell do you
expect? We got old. Not just you. Me. Me. Look. Look at me. (Masi gives the package to Sadao, who sets it on the counter.)
You call this a catch? You still want this?
MASI: (Quietly) Yes. (Nobu doesn)t know what to say) Why don't you SADAO: Hmmm, love manju. One of my favorites. Especially the ones
want me? with the kinako on top. The brown powdery stuff?
MARSHA: I meant to drop it offlast night but I called and no one was here.
(Memory ends. Masi withdraws into shadows. Kiyoko returns to Nobu with

I
MASI: Oh, we got in late from fishing.
the earrings on. Lights come up.) SADAO: We caught the limit.
MASl: (Looking at phone-answering machine) I have to remember to
KIYOKO: (Posing) Nobu-chan? turn this machine on.
NORu: Suteki da-nah lLooks beautiful]. SADAO: In fact, Masi caught more than me.
~
~ MASl: Teamwork. I catch them and Sadao takes them off the hook. Sit
(Kiyoko attempts to embrace Nobu. It)s too uncomfortable for Nobu and he down and have breakfast with us. Sit, sit.
gently pushes her away. Kiyoko is quite embarrassed.) MARSHA: That's okay, Mom.
MAsI: I t was so late last night, I told Sadao to sleep on the couch. So
KIYOKO: How come you do that to me? (No response) Don't you like it? he did. He said he would cook breakfast for me in the morning.
NOBu: I like it. But I don't like it, too. Right over there on the couch.

(Dim to darkness.) (Mad and Sadao are nodding to each other in agreement. Marsha doesn)t
move.)
SCENE 8
SADAO: Waffles.
MasiJs apartment, three l'lJceks later. Couch has a rumpled blanket on MAsI: You sure you know how?
it. MorninlJ. Sadao is standinlJ holdinlJ the door open for a surprised SADAO: I can make them, good ones. From scratch. And they're low cho­
Marsha. Sadao is dressed only in pants and an undershirt. Marsha is lesterol.
holdinlJ a box ofmanju [Japanese pastry}. They have never met. MAsf: Sit down, sit down.
SADAO: Good morning. MARSHA: No, no, Mom. I really should be going. I'm going to stop over
MARSHA: Is my mother ... Is Mrs. Matsumoto here? at the house. To see Dad, too.
MAsI: (Off) Who is it? MASI: Wait, wait . . . (Wrapping up two packages offish in newspaper)
SADAO: Come on in, please come in. MARSHA: Mom, I don't want any fish.
MASf: (Handing her a package) Then give some to Brad. Here.
(Masi enters in a bathrobe with her hair tird up itt a towel, as if just MAR.'>HA: Mom, remember? I'm not seeing him anymore.
washed.) MASI: Then give them to Dad.
 III PHILIP KAN GOTANDA
THE WASH III
MARSHA: What do I tell him? (Silence.)
MASI: (Momentary pause) Just give it to him. No use wasting it. He can
eat fish morning, noon, and night. MAsI: (Quietly) I'm sorry. I'm wrong. You said size eight hooks.
(Masi huules Marsha towards the door.)
(Nobu withdraws. Lights up. Sadao gets up with the MSG.)
SADAO: No waffles? They're low cholesterol.
MARSHA: Dh, no thanks. Nice to meet you, Mr. Nakasato. SADAO: You don't mind, do you? Masi? The ajinomoto [MSGj. Is it okay
with you?
MASI: Yes, yes, it's fine.
(Marsha pauses at the door. She and Man exchange glances.)
SADAO: (Aware of MasiJs pensiveness) Sometimes I add prune juice but
Bye, Mom. (She exits) then you have to go easy on the MSG. The flavor doesn't mix.
MASI: (Calling after) Tell Daddy I'll bring his clothes, that I've been It's mostly for medicinal reasons, though. The prune juice. But
busy. And tell him to put his old clothes in a pile where I can see it really does add a nice hint of flavor to the waffles, but you
it. Last time I couldn't find one ofhis underwear and he got mad really can't overdo it. Everything in moderation. I think these
at me. (Closes door) It was under the icebox. people got a little carried away with the MSG thing. Of course,
I'm not running a Chinese restaurant, either, I'm just talking
about a tiny pinch of the stuff ...
(As Sadao rambles on, Masi seems lou in her thoughts.)
(During this speech, Nobu is seen lit in half-light looking at his unfinished
SADAO: (Caught up in his cooking) Everything's low cholesterol. Except
kite frame. As lights go to halfon Sadao and Masi, Nobu is fully lit in a
for the Cool Whip. But that doesn't count because that's
pool of light. He lifts the kite above his head and be.gins to move it as if it
optional. Where's the MSG? That's my secret. My daughter gets
wereflying. For a moment Nobu appears like a child making believe his kite
so mad at me, "Dad, you're a pharmacist, you should know bet­
is soaring high above in the clouds. As Nobu goes to half-light, Iudy is lit
ter than to use MSG." She's a health-food nut ...
carrying Timothy in front ofher with a papoose carrier.)
(Sadao is bending down to look in a lower cabinet for the MSG. As he dis­
appears, Masi moves into a pool oflight. Memory sequence: Nobu appears in SCENE 9
a pool oflight.)
Kiyoko and Chiyo approach Judy as she passes by carrying Timothy.
NORU: No, Masi, I said size eight, size eight hooks. KrYOKO: You are Judy, neh.
MASI: You told me to buy size six, not size eight. That's not what you JUDY: (Cautious) Yes?
told me. KIYOKO:
NOBU: I get home from the store I expect you to . . . Jesus Christ . . . I am a friend of your father. My name is Kiyoko Hasegawa.
CHIYO: Chiyo Froelich.
(Starting to pace) Shig, all day long ordering me around, "Do this, KrYOKO: I run this restaurant. Hasegawa's.
do that." I even gotta get up five o'clock this morning to pick up CHIYO: Chiyo's Hair Salon, right next door.
the produce 'cause his own damn son-in-Iaw's a lazy son-of-a-bitch. JUDY: (Stitt unsure) Hi.
And he yells at me if it don't look good in the cases. (Mimicking) KIYOKO:
"No, that's wrong, Nobu, that's all wrong-do it this way." We are having a small get-together at my place for your father.
CHfYO: A birthday party.
MAsI: Nobu. Nobu, you didn't tell me to get size eight hooks. You told
me size ... (They notice the baby.)
NORu: I said size eight. I said size eight hooks. (Pause) This is my hOllse.
Masi! After J come home from that damn store-here .... This KIYOf(O: Oh, hello, Timothy.
is my hOllse. ClllYO: Nobu should see him.

L
III PHILIP KAN GOTANDA
I THEWASH III
ACT TWO
(Awh'ard pause)
SCENE 11
(Starting to leave) It's nice meeting you. Excuse me ...
JUDY: Kiyoko's restaurant, four weeks later. Surprise birthday party for Nobu.
(To Kiyoko) Show Judy your earrings. Kiyoko, show her.
CHIYO: Judy stands by herselfout front, picking at the food. Blackie and Marsha are
KIYOKO: Chiyo. in the kitchen and Kiyoko and Chiyo scurry about with last-minute prepa­
He gave them to her. Your father. For her birthday.
CHIYO:
KIYOKO: For my birthday. He comes to my restaurant almost every day. rations. Over the restaurant speakers we hear the forties tune «String of
He likes my cooking. That's how come I know him so good. Pearls. "
(Kidding) He's so mendokusai [troublesome l I don't like
CHIYO: cucumber pickle, I like eggplant. Monku, monku all the time. KrrOKO: (Calling) Blackie! Hurry up with the chicken ten! (Checking the
food items) Ara! I forgot the dip. Chiyo, go talk, go talk.

(Lights start to fade.) (Kiyoko pushes Chiyo towards Judy, then hurries back into the kitchen as
Blackie and Marsha enter, carrying more food. Marsha is holding her nose.)
KIYOKO: Oh, it is no trouble at all. I like to do things like that. I like to
cook for Nobu ... CHIYO: (To Judy in passing) Nobu's favorite song. (Stops momentarily,
touching Judy's hair) You come see me, I know what to do
(Dim to darkness. Crossfade to Nobu with kite. Masi in halflight moves
with it.
away from Sadao with the fishing pole. She begins to practice her cast.)
(Chiyo heads back to the kitchen as Marsha and Blackie are setting their
dishes down.)
SCENE 10
BUCKlE: If you think that stink, wait till you try my famous hom-yu.
Nobu puts down the kite frame. Thinks. Picks up the phone and dials
MARsHA: (Attempting to be polite) No, really, it wasn't that bad.
Masi. In half-light at Masi's place, Sadao is at the counter making
BUCKlE: All Orientals gotta have stink food. It's part ofour culture. Chinese,
waffles. He hears the phone machine click on but does not answer it.
Japanese, Koreans, Filipinos-we all got one dish that is so stink.
Masi is offto the side, in a pool oflight, engrossed in her casting.
Chinese got this thing they call ham-ha, shrimp paste. My mudda
Masi? You got any ... (From his surprised expression we know that used to cook with it. Whew! Stink like something went die.
NORU: he has gotten Masi's answering machine. He doesn't know how to
deal with it) Masi? (Listening to the message which finally ends) I (Chiyo enters.)
am Nobu Matsumoto. My telephone number is 751-8263. (Not
Filipinos got tlsh-gut paste, bagaoong. Koreans, kimchee. Whew!
sure ifhe said his name) I am Nobu Matsumoto.
CHIYO: (Admonishing) Blackie.
(He hangs up. Picks up his kite and stares at it. Masi is working on per­ BUCKlE: (Ignoring Chiyo) And us Buddhaheads eat takuan, the pickled
fecting her casting technique, putting together all the little things that horseradish. When you open up the bottle, the neighbors call to
Sadao has taught her. She goes through one complete cycle without a hitch. see if your toilet went explode!
Very smooth. Having done the whole thing without a mistake gives her CWYO: (Poking her head into the kitchen) Kiyoko! He's at it again!
BIACKlE: Next time you come I make you my hom-yu.
tremendous satisfaction. She smiles to herself. It feels good. She begins again.
MARSHA: Hom-yu? (To Judy) You know hom-yu?
Lights fade.) HIACKIE: Whatsa matter? You kids live on Mars? You never heard of hom­
yu? Hom-yu. Steamed pork hash. It's my specialty. Gotta have the
stinky tish on top. That's the secret. Lottsa Pake [Chinese] places
END OF ACT ONE don't lISC that fish anymore. Know why? Too stink. Chase all the
 ~

THEWASH III
l1l1I PHILlP.KAN GOTANDA

KIYOKO: Blackie called-Nobu's not home, so he's coming. (To Marsha,

haole (white] customers away. Take pork butt, chop it into small feigning enthusiasm) I'm so glad you could make it. Judy said
pieces. Four water chestnuts, chopped. Teaspoon of corn­ you weren't sure whether you could all come or not.
starch­ MAItsHA:. Oh no, no. We wouldn't have missed it.
KIYOKO: Nobu-chan will be so happy you are here.
(Kiyoko enters with dip, CJJiyo trailing.) MAItsHA:It was very kind of you to invite us.
KIYOKO: Oh no, no, no. I wanted all of you here. (To Judy) Where is the
KIYoKO: Blackie! Blackie! Go do the cake! baby?
MARSHA: (1'0 Blackie) I'll help you. JUDY: Jimmy's home babysitting him.
CHIYO: Kiyoko, when is he coming? CHIYO: Next time you bring him. We got plenty of room here.
KIYOKO: (1'0 Marsha) No, no ... (To Chiyo) He should be on his way ... KrYOKO; Yes, please, please. Next time you bring the baby and 1immy, too.
(1'0 Marsha) You shouldn't help anymore. Eat, eat. Talk to Cruyo. I want to get to know all of Nobu-chan's family.
MARSHA: (Overlapping) We met already ... BUCKlE: (Rushing in with his ukulele) HATO [Hurry]! HATO! THE
KIYOKO: (To Blackie) Go, go, put the candles on the cake. No beer, either. BUGGA'S COMING! THE BUGGA'S COMING!
BLACKlE: (Exiting, calling back to Marsha while scratching his butt) Stinky KIYOKO: I'll get the cake. Hide! Hide!
fish. Don't forget the stinky fish ... BUCKlE: I got the lights.
KIYOKO: (Following him out) Don't scratch your ... (She remembers her CHIYO: (To Marsha and Judy) Over here, over here ...
guests)
(Darkness. Nobu enters cautiously. The lights come up abruptly, then begin
(Chiyo approaches judy and Marsha.) a slow fade through the rest ofthe scene.)
CHIYO: I've never seen her like this. She's acting like a kid back there. ALL: SURPRISE!
(Catching her breath and looking the two daughters over) You're
Judy, neh, the fifth-grade teacher? And you're the dental ... (Nobu sees Judy and Marsha. He is in shock. Chiyo and Btackie lead every­
MARSHA: (Overlapping) ... hygienist, I told you earlier ... one in a rousing version of t.rHappy Birthday» as Kiyoko enters with a birth­
CHIYO: ... hygienist-yeah, yeah you told me before. (Q1fietly laughs day cake decorated with burning candles. He is attempting to appear happy,
about her mistake, calms down) So. What do you think of the two but is becoming more and more upset that his daughters are there. Lights
of them? Nobu and Kiyoko? continue their slow fade through the song, which is beginning to fall apart.
Kiyoko is now standing next to Nobu holding the cake out in front ofhim.
(Awkward pause) She senses something is wrong. The song ends with Blackie and Kiyoko mum­
bling the last few lyrics. Silence. Nobu's face is illuminated by the glowing
MARSHA: I think it's ... good. 1 think it's good. candles. Nobu makes no move to blowout the candles. The moment is now
uncomfortable. Kiyoko is very upset.)
(Chiyo looks to judy, who is silent.)
KIYOKO: Nobu-chan, please.
(Touching judy's hair gently) You come see me. I know what to
CHIYO: do 'with it. (She turns and walks back towards the kitchen)
(Pause)
MARSHA: Judy.
This is stupid. What am I doing herd JOllY: (Irritated) Dad.
JUDY:
MARSHA: We're doing this for Dad.
You really think he's going to want us here? Do you?
JUDY:
(Nobu still refuses to bloR' out the candles. The moment is now extremely
(nvk!vard. No one knows what to do.)
(Kiyoko enters tentatil el.v, followed by Chiyo.)
1
III PHILIP KAN GOTANDA
THEWASH III
That you really wanted it to happen and so it did? I don't think
MARSHA: (Gently) Daddy. I ever really cared for Nobu. Not the way he cared for me. There
was someone else who liked me in Camp. I liked him, too. I mar­
(Slowly Nobu leans forward and with a forceful breath extinguishes the ried Nobu. Something's wrong with me, huh? Now you make
candles. Blackout.) me feel too happy. I don't like it. It makes me ... unhappy.

ScENE 12 (They both laugh. Sadao reaches out and places his hand on top ofhers. They
exchange warm smites.)
Mad's place, same night. Sadao and Masi in bed. Both are propped
up, Sadao intently watching TV and Mad peering at the TV over
Was she in a lot of pain? (Sadao doesn't follow her comment) Your
the magazine she holds in front of her. Sadao keeps switching the
wife. Towards the end. In the hospital.
channels with his remote control. Each time Masi starts to settle into
a program, Sadao switches the channe~ causing her to jerk her head
SADAO: She just slept all the time. No, not too much. After about two
weeks she went into a coma and that was it. You can't tell.
from the shock. Cancer's like that. Mary was pretty lucky, I guess. (Pause) think­
ing) There's nothing wrong with you. Really, there isn't. (Pausej
Sadao! (He's busy switching channels) Sadao? trying to decide whether to say something or not) You scare me. You
MAsl:
SADAO: Hmmm? know that? Sometimes you scare me half to death. I don't want
Could you please keep it on one? to go through that again. I told myself, "Never, ever again."
MAsI: (Realizing what he's been doing) Oh. I'm sorry. (Starts switching
SADAO: Dead is better than feeling that kind of pain. But this ... this is
channels again) Which one? This one? How's this? ... I don't know ... to get a second chance ... (Pause) There's
Fine, fine. That's fine. (They settle into watching TV) Sadao? nothing good about growing old. You spend most of your time
MASI:
SADAO: Hmm? taking medicine and going to the doctor so you won't die. The
I don't feel good. (Pause) I think something's wrong with me.
MAsl: rest of the time you spend going to the funerals of your friends
What, what? Want me to call Doc Takei? who did die, and they were taking the same medicine and seeing
SADAO:
MAsl: No, no ... the same doctors so what's the use, anyway? Huh? (Sarcastically)
You have a feved Headache? What's wrong? The golden years .... Look at us. Here we are. At our age. In
SADAO:
No, no, nothing like that. (Pause, thinking) I'm too happy. bed together. Not even married. Can you imagine what the kids
MASI:
SADAO: What? are thinking?
I feel . . . toO happy. (Sadao stares at her uncomprehending) I
MAsI: MASl: We're not doing anything wrong.
used to feel like this as a kid, I think. But it was ... different.
SADAO: Of course, I know, I know.
You feel too happy? MASI: We're not doing anything wrong, Sadao. We're not.
SADAO:
When you're a kid you get ice cream and 'member how you used ,
MAST: SADAO: I know. But when I really think about what we're doing ... it
to feel? Happy, right? But then you eat it all up and it's gone, or,
you eat toO much of it and you throw up. But this just goes on
i embarrasses the hell out of me!

SADAO:
and on.
You mean us? (Masi nods) Yeah, but this is a little different than
j
7'
(Tbey look at each other, then sttddenly burst out laughing. They gradttalty
calm dorvn.)
ice cream, don't you-
MASI: Of course, of course, Sadao. MASt: I scare you half to death. And you ... you make me fed so good
What about with Nobu? didn't you go through this with him?
SADAO: I feel awful.
(Masi shakes her head) I mean in the beginning when you first
met? When you got married? (They look at each other for a moment, then slowly reach out and embrace.
No, it wasn't like that. (Pause) I think something's wrong wilh Dim to darkness.)
MASl: me. You know how they say there's no such thing as an accident?
1111 PHILIP KAN GOTANDA
THE WASH l1li
SCENE 13 (Btackie sips on beer while Nobu glares at him. Blackie leans forward
Kiyoko's restattrant, one week later. Nobtt is sitting at the cotmter
towards Nobu and burps loudly.)
sipping sake and eating eggplant pickles. Blackie is watching him
from the service window. He comes out sipping on a beer. BLACKlE: Feels good, huh?

BLACKIE: (Takes a biggulp) Know why I like to drink beer? Know why? (Dim to darkness)
(As Nobu looks up, he answers his own question with a loud sat­
isf.'Ving burp) Ahh. I like to let things out. Makes me feel
SCENE 14
good. Don't like to keep things bottled up inside. Not good
for you. Give you an ulcer. Cancer. Maybe you just blow up Nobtt's place one week later. Evening. Masi enters carrying the wash
and disappear altogether, huh. (Laughs at his own joke. in a brown paper bag. She unpiles the clothes and stacks them neatly
Notices Nobu isn)t laughing) That's the problem with you on the kitchen table. She picks up the old clothes off the floor, folds
katonks. You buggas from the mainland all the time too seri­ them} and puts them in the bag. As she looks ttp, one gets the sense
ous. (Nobu glances back towards the door) No worry, no that she is trying to decide whether to say hello to Nobu or just leave.
worry. Kiyoko going be back soon. Chiyo's place-yak, yak, She looks for a moment towards the hallway, then decides otherwise.
yak. Hey, you had lots of girlfriends when you was small-kid Just as she turns and starts to make her way towards the door with
time? (Nobu shrugs) Strong silent type, huh. Me? Lottsa the bag, Nobu enters from the hallway.
NOBu: Masi, is that you?
wahines. All the time like to play with Blackie. (Mimicking
the girls) "Blackie, darling, you're so cute . . . you're so
funny ... But I not all the time cute. I not all the time funny. (Nobu realizes that she)s leaving without bothering to say hello. Masi senses
this and feels guilty.)
How come you all the time come around here and you still
got one wife?
NOBu: We're separated. MAsr: I was going. I'm a little late. 1 was just going to leave the clothes
BLACKlE: So when you gonna get the divorce? and go. (As she speaks, she notices the dirty dishes on the coffee table.
NOBu: No. (Blackie doesn)t understand) No. She puts down the bag and proceeds to clean up the mess as she con­
BLACKlE: What about Kiyoko? (No response. Nobu keeps drinking) I don't tinues to talk) I didn't know you were in the back ... (She takes
like you. I like you. I don't like you 'cause you make Kiyoko feci the dishes to the sink. Nobu just watches) Nobu, why don't you
lousy. I like you 'cause you make her happy. Hey, she's my boss­ wash the dishes once in a while? Clean up.
who you think catch hell if she not feeling good? Hey, I don't NOBu: Place is a dump anyway. (Masi stops and looks at him. He presses
like catching hell for what you do- point) Place is a dump, Mama. Neighborhood's no good. Full of
NOBu: It's none of your business-Kiyoko and me. colored people, Mexicans . . .
BLACKlE: None of my business? Hey, brudda, Kiyoko may be feeding your MAst: (Putting dishes in sink) Well, move then. Move to the north side
face but I'm the guy who's cooking your meals. (Nobu stares like me. I kept saying that all along. For the kids-better schools,
dOlvn at his pickles) Nobu? better neighborhood .... Think you listen to me? (Mimicking
NOBu: What? Nobu) "1 don't like Hakujin-white people make me nervous."
BLACKlE: You like Kiyoko? (No response) Well, do you? So you don't like white people, you don't like black people, you
NOBu: (Under his breath) Yeah, I guess so. don't like Mexicans. . . . 50 who do you like? Huh? Monku,
BLACKlE: "Yeah, I guess so" what? monku, monku ...
NOBu: (Mumbling) I like Kiyoko. NOBU: (Muttering) I don't mind Mexicans. (Pause) I told 5hig, "You
BLACKlE: Jesus. Talking to you katonks is like pulling teeth. can't keep stocking all that Japanese things when the Nihonjins
NOBu: I LIKE KIYOKO! I like Kiyoko. (Japanese] are moving out of the neighborhood. You gotta sell
to the Mexicans and not all that cheap crap, too, 'cause they can
II1II PHILIP KAN GOTANDA

THEWASH II
tell." Think: Shig listens to me? He's the big store owner. The big NOBu:
man. If! was running the store it woulda been different. (Pause) When I started work at your papa's farm, he wanted to put me
And your old man said he'd get me that store. in the packing shed. I said, "No, I want to work in the fields." It
MASI: It wasn't his fault. He didn't plan on the war, Nobu. was so hot, 110 degrees out there. He thOUght I was nuts. But
NORu: He promised he could set me ... I knew every day at eight in the morning and twelve noon, you
MASI: (Overlapping) It wasn't his fault. and your sister would bring the water out to us.
MAsl:
NORU: . . . up in business or anything else I wanted to do. (Laughing as she recalls) Nobu.
NOBU:
MAs!: IT WASN'T HIS FAULT! I wanted to watch you.
MAsI:
NOBu: You would just stand there with your cup, staring at me.
(Silence) Hell, I didn't know what to say.
MAsI:
You drank so much water, Lila and I thOUght maybe you had
Who wanted to be in the relocation camps? Did you? Do you rabies. We used to call you "Nobu, the Mad Dog. "
think he wanted to be in there? It broke Papa's heart. He spent
(They laugh.)
his entire life building up that farm. Papa was a proud man. A
very proud man. It broke his heart when he lost it.
NORU: I'm just saying I'd run the business different. Shig is a baka Papa liked you.
NORu:
[fool]. That's all I'm saying. Boy, he was a tough son-of.a-bitch.
MAsI:
MAs!: You're retired. Shig passed away eight years ago. The store's not I didn't think anyone could keep up with Papa. But you could
even ... work like a horse. You and Papa. Proud. Stubborn.
NOBU: (Overlapping) If all the Japanese move out you can't keep selling
all that Japanese things, you can't. That's aUI'm saying. (Masi massages Nobu in silence.)
MASl: ... there anymore. It's a cleaners. NORD:
MAsl; Mama? Why don't you cook me breakfast?
What?
(Silence. Masi picks up the paper bag of old clothes and starts to move NORD;
towards the door. She's had enough.) MAsI: Cook me breakfust. I miss my hot rice and raw egg in the morning.
It's late Nobu. You have your wash. I'm not going to come all
NORU: Masi? NOBu: the way back over here just to cook you-
MASI: (Stops) What? lust breakfast. Then in the morning when we get up you can go
NORu; Mr. Rossi give you any more fish? back to your place.
MASI: (Uncomfortable, lying) No. Not lately.
(Masi stop~
realizing he is asking her to spend the night. Silence. Masi docs
(Pause) not move. Nobu stares ahead. More silence. Then, tentatively, she moves her
handsforward and begins to massage him. A faint smile appears on Nobu's
NOBU: Mama? face. Dim to darkness.)

,
MASI: Is your back bothering you, Nobu? (No response) Want me to
momo [massage] it for you?
SCENE 15
(Nobu nods. As Masi moves to put the bag down, Nobu removes his undo'­ Kiyoko>s restaurant, one week later. Blackie, after hours, is seated in
shirt. He seats himself Masi begins to massage his shoulders from behind. semidarkness, ftet up on table, accompany himself on the ukulele
Thc.y continue in silence. Nobu is enjoying the moment. He begins to laugh and singing a sad Hawaiian folk song, "Manuela Boy. »
quietZy to himself) fJ,.A( ;Km: (Singittlf)
What? Manuela Hoy, my dear boy
no III 0 ' hi/a, hi/a.
YOII
II1II PHILIP KAN GOTANDA

THE WASH II
No mo' five cent, no mo' house
NORU: Damn kurochan ...
You go Aala Paka hia moe.
JUDY:
He's black, not kurochan-it's black. (Pause) Everybody marries
Mama work at the big hotel, out, okay? Sanseis don't like Sanseis.
NOBU:
Brudda go to schooL Tak's son married a Nihonjin, Shig's daughter did, your cousin
Sister go with the haole boy, Patsy ...
JUDY:
Papa make his living shooting pool. (Overlapping) Okay, okay, I didn't, I didn't, all right?
NOBu: ... did, Marsha's going to.
The tourist like filet mignon
And caviar it's true, (Pause. Nobu looks back to Timothy.)
But they never lived till they went taste
JUDY:
Papa's Friday ole Hawaiian stew ... But happa [multiracial] kids are the next generation, too.
NOBu:
No. Japanese marry other Japanese, their kids are Tonsei [fourth­
(As Blackie sings, litJhts up on Masi's place. Sadao stands before the door generation Japanese American]-not these damn ainoko [mul­
Masi has just opened. In Sadao's ritJht hand he holds a suitcase and in his tiracial]!
left, several fishing poles. On his head sits a fishing hat. Sadao has come to
(Silence)
move in with Masi. For a moment they look at each other in silence. Then
Masi invites him in. Sadao enters. Dim to darkness.)
JUDY;
You're gonna die out, you know that. You're gonna be extinct
and nobody's gonna give a goddamn.
SCENE 16 (Timothy has begun to cry softly. Judy goes over and picks the baby up, try­
(Nobu's place, three days late~ late afternoon. judy has stopped by ing to soothe him. Composing herself, Judy decides to try one last time to say
with Timothy. judy sets the baby down on the kitchen table upstage what she came to tell her father. She walks back to Nobu, this time carrying
of Nobu. Nobu turns to look at judy, then returns to working on the
Timothy with her.)
kite and watching Tv. This is the first time judy has visited Nobu
since their breakup over her marriage. He has never seen Timothy.) Dad? (No response) Dad, YOll know, Mom's moving out of the
JUDY: (Moving down towards Nobu) I was just driving by and I thought house? I didn't put her up to it. Honest. (Silence. Nobu stares
I'd stop in. (No response) You doing okay, Dad? (Silence) You straight ahead. She begins to cry) If! did ... I'm sorry.
know, Mom? I just wanted to say-
NOBU: Did he come? (More silence from Nobu. Judy gives up trying to talk to this man. As she
JUDY: (Exasperated) No, he did not. turns to leave, she notices Nobu. He is looking towards her, at Timothy.
NORU: He can come to the house now. Something in his expression makes Judy bring the baby over to Nobu. She
JUDY: "He can come to the house now"? Jesus Christ. Dad, he holds the baby out to him.)
isn't one of your children. He doesn't need your permission.
He's ... Timothy. Your grandson.
NORU: (Overlapping) This is my house. He needs my permission.
JUDY: ... a grown man. I don't want to fight. I didn't come here 10 (For a moment there is hesitation. m are not sure whether Nobu isgoing to
fight with you, Dad. take the baby. Then, Nobu reaches out and takes Timothy. Judy watches as
NORU: I said he can come-­ Nobu awkwardly holds his grandson for the first time. As Judy begins to
JUDY: He won't come, he doesn't like you! withdraw from the scene upstage into a pool oflight, Marsha also appears
upstage in her own separate litJht. Nobu remains lit holding Timothy. He
(Silence) bf;,lfins to hum the traditional Japanese lullaby ItDonguri." Marsha and
ludy watch Nobu and Timothy as they speak.
III PHILIP KAN GOTANDA

MARSHA: You didn't tell Dad, did you?

THEWASH III
JUDY:
JUDY: No, I just brought the baby by. (Trying to suppress her laughter) I'm sorry, I'm sorry ... (Masi
MARSHA: It's going to kill him when he finds out. begins to laugh) God, what a mess.
MAsI:
JUDY: He's got that other woman. (To Marsha) Let it go, don't bother. I'll take care of it later.
JUDY:
MAR.'mA: Judy. (Pause) Maybe he already knows about Mom and Mr.
(Finds a man's sockj teasing) What's this? This belong to Mr.
Nakasato?
Nakasato.
JUDY: I don't think so. I really don't think so. MAsI: (Grabbing it) judy.
MARSHA:
Why didn't you just leave Sooner? You didn't have to stick
(They continue to watch as Nobu begins to sing the ITDonguri:» song to around for us.
Timothy.) MAs1:
I didn't. (Pause) I was ... I was scared.
MARSHA: Of Dad?
NOBU: (Singing) MAsI:
I don't know. Everything.
JUDY:
Donguri kor koro, koro gatte
Was it 'cause I kept harping on you to move out on him all those
o ike tu hamatte, saa taihen MARSHA:
years? Is that why you left?
Dojo 0 ga dette kite, kon-nichiwa What's the difference?
JUDY: Marsha.
Botchanffimothy isshoni, asobimasho ...
(Pause.)
(Marsha and Judy fade out first. Nobu is left alone in pool oflight singing
to Timothy. As he fades out we hear the whir ofa coffte grinder.)
MAS1:
Dad was always trying to beat me down, every little thing. "How
come you can't do this, how come you can't do that"-nothing
SCENE 17 was ever right. Every time 1 opened my mouth I was always
wrong-he was always right. He always had to be right. (Pause)
Masi's place, two days later. Masi has asked Judy and Marsha over There are things you kids don't knOw. 1 didn't want to talk about
for a talk. She has just told them that she isgoing over to see Nobu. them to you, but ... Daddy and I, we didn't sleep .. .
JUDY:
She isgoing to tell him that she wants a divorce and to marry again. (Overlapping) That's okay, Mom. Really, it's okay .. .
MAsI:
The two daughters sit uneasily while Masi is at the counter prepar­ ... together. Every time I wanted to, he would push me away.
ing coffie. Mas; is trying toget the Braungrinder to N.ork. She'sget­ Ten, fifteen years he didn't want me. (Pause) We were having
ting the feel of it by pushing the button. We hear the whir ofthe spin­ one of Our arguments, just like always. And he was going on
ning rotor blade. She's ready. Takes the plastic top offand pours the
and on about how it was my fault this and my fault that. And I
beans in, then presses the start button. Just as the grinder picks up was trying to explain my side of it, when he turned on me,
top-speed Masi accidentally pulls the plastic top off. Beans go flying
"Shut up, Mama. You don't know anything. You're stupid."
every which ll.ay pelting her face, bouncing off the cabinets. Quiet.
Stupid. Mter forty-two years of letting him be right he caHed
Masi peeks from behind her hands. A couple of beans embedded in
me that. And I understood. He didn't even need me to make
her hairfall to the counter. Masi is upset. The daughters are embar­
him be right anymore. He just needed me to be stupid. I was
rassed. Normally, this would be a funny situation for them. tired. I couldn't fight him anymore. He won. He finaHy made
me feel like garbage. (Judy and Marsha are shocked by her strong
MARSHA: (Getting up) I'll clean it up. language) That was the night I left him and came over to your
place. (Nodding towards Judy) I like Sadao. I like Sadao very
much.
(Marsha sta,'ts to pick up the beans scattered on the floor. Judy starts to gig­
gle--it's all too ridiculous.)
(Dim to darkness)
II PHlLll' leAN GOTANDA

THEWASH II
SCENE 18 MASI:
NOBD: It's the same thing as being divorced isn't it?
(Nobu's place, same day. «String of Pearls" can be heard playing
It doesn't seem that long. You moved out of this house. It wasn't
faintly in the background. He's fixing himself in front of a small my idea. It was your idea. I never liked it.
wall mirror. He adjusts the collar ofhis shirt and tugs at his sweater MAsI:
NORU: It doesn't matter whose idea it Was. It's been over a year since we­
until it looks right. Nobu checks his watch. As he begins to pick up
You want to get married? Yeah, I know it's been Over a year, but
some of the scatter.ed clothes on the floor, Masi enters. Music ends. I always thought ... you know, that we'd-
Nobu quickly moves to the sofa. Mas; goes OJJer to the kitchen ar.ea MAsI:
It's been over a year, Nobu.
and takes clothes out ofthe bag, setting them neatly on the table. She NOBU: I know! I said I know.
picks up the dirty clothes offthe floor, folds them, and puts them into MAsI:
I've been seeing someone. It wasn't planned or anything. It just
happened.
the bag. As she's doing this, Nobu gets up, shuJj1es OJJer to the stove,
and turns on the flame to heat some water. He stands there and NORu;
MASI: What do you mean, "seeing someone"? What do you mean?
watches the water heat up.)
He's very nice. A widower. He takes me fishing. He has a nice
vegetable garden that he-
MASI: (Sits down on sofa) I want to talk, Nobu. NORu:
MASI: Who is he? Do I know him? Is it someone I know?
His name is Sadao Nakasato. His wife died about two years ago.
(No response. Nobu gets tea out and pours some into pot.) He's related
both of us. to Dorothy and Henry. Nobu, it's the best thing for
NOBD:
I have something to tell you. You keep saying it's the best thing, the best thing. (Pause) Masi,
NOBD: (Moving back to couch) Want some tea? why did you sleep with me that night?

(As Nobu sits, Masi gets up and moves towards the sink area. She gets a (Silence.)
sponge and wipes offthe tea leaves he has spilled on the counter. Nobu turns
MASI:
the TV on and stares at it.) Aren't you seeing somebody?
NOBD: No. Not like that.
MAsI:
MASI: You know Dorothy and Henry's son, George? But the kids said she's very nice. That she invited-
NORu:
NOBD: The pharmacist or something? It's totally different! I'm not seeing anyone! (Pause) How long
MAsI: No, the lawyer one. He's the lawyer one. I went to see him. have you been seeing this guy? How long?
MASI:
(Turns off the stove flame) I went to see about a divorce. About
Please, Nobu. You always get what you want. I always let you
getting one. (No response) I want to get married again. So I went have your way. For once just let-
to George to see about a divorce. I wanted to tell you first so NOBD: HOW LONG?
MASI:
you'd know. I didn't want you to hear from someone else. I About five months.
know how you hate that kind of thing. Thinking something's NORu:
FIVE MONTHS! How come you never told me? Do the girls
going on behind your back.
know too? The girls know! Everybody knows? Five months. FIVE
NORD: Wait, wait, wait a second .... You want a divorce? You want to
get.... What? What's all this? MAsr: DAMN MONTHS AND I DON'T KNOW!! (He breaks the kite)
I asked them not to tell you.
MASI: It's the best thing, Nobu. We've been separated how long now? NORD:
MAsr: Why? Why the hell not? Don't I have a right to know??
How long have we been living different places?
Because I knew you'd react this way. Just like this. Yelling and
NORD: I don't know. I never thought about it. Not too long. screaming just like you always do.
NOllu:
MASI: Thirteen months. Everybody in this Whole damn town knows except me! How
NORD: Thirteen months, who cares? I never thought about it. I don't could you do this to me! Masi! HOW COULD YOU DO THIS
understand, Masi. TO MEn (He has her by the shoulders and is shaking her violently)
MAs/:
(QJJietly) Are YOll going to hit me?
III PHILIP KAN GOTANDA

T'HEWASH II
(Pause. Nobu slowly composes himself and lets her go.)
(It stinks to holy helt. Chiyo can~t stand it. Kiyoko is quite moved by Blackie~s
Because I want to be happy, Nobu. I have the right to be happy. gesture, though she too is having a difficult time with its odor. Blackiegrins
proudly. Dim to darkness.)
(Masi exits. Nobu is left standing alone. Dim to darkness.)
SCENE 20
SCENE 19 Nobu's place, two days later. Knock at the door and Marsha enters
Kiyoko's restaurant, same day, ej,ening. C.Jnyo and Kiyoko seated at carrying a brown paper bag. Nobu watching Tv.
table in pool oflight.
MARsHA:
Mom asked me to drop these by and to pick up the dirty clothes.
KIYOKO: Nine years. That is how long it has been. Nine years since Harry (No response. She unpacks the newly washed clothes) Kiyoko's been
passed away. He never treated me like this. I call, I go over there. calling me. She's worried about you. She says you won't see any­
Harry never treated me like this. NOBu:
body. Why don't you just talk to her, Dad?
CHIYO: Kiyoko. Maybe you have to stop thinking about Nobu. Hmm? How come you didn't tell me? All the time you COme here and
Maybe ... maybe you should give him up. (Silence) Kiyoko. Lots you never mention it once. You. I feel so damned ashamed. How
more fish in the ocean. Lots more. Go out with us. Come on. can I even show my face? All the time right under my nose.
KIYOKO: I don't do those kinds of things. Everyone laughing at me behind my-
MARSHA:
CHIYO: I'll introduce you to some new guys. Remember Ray-you met Dad, Dad, it's not like that at alL I just didn't think it was all that
important to telJ-
him? I've been telling him about- NOBu:
KIYOKO: I don't do those kinds of things. (Pause) It's not easy for me, Oh, come on! Mom told you not to tell me so she could go
Chiyo. (Silence) when Harry died, right after? I started taking the sneaking 'round with that son-of-a-bitch!
MARSHA:
bus to work. I had a car, I could drive. It was easier to drive. I took All right, all right, but it's not like that at all. No one's trying to
the bus. For twenty-five years you go to sleep with him, wake up NOBU; hide anything from you and no one's laughing at you.
next to him. He shaves while you shower, comes in from the yard (Moving her towards the couch and pushing her down) Sit down,
all sweaty. Then he's gone. No more Harry in bed. No more the sit down over here. Tell me about it. Who is he? What does he
do? Tell me 'bout him! TeH me!
smell of aftershave in the towel you're drying off with. No more MARSHA:
SWeaty Harry coming up and hugging me. I had a car. I took the (Seated) What do you want me to say? Huh, Dad? They're
happy. He's a nice man.
bus. I missed men's smells. I missed the smell of men. Every morn­ NOBu:
ing I would get up and walk to the corner to take the bus. It would MARSHA:
"He's a nice man." What the hell's that supposed to mean?
He treats her like a very special person.
be full of all these men going to work. And it would be full of all NOBu:
these men coming home from work. I would sit there pretending Well, everyone does that in the beginning. In the beginning it's
so easy to be-
to read my magazine ... (Inhales, discovering the different smells) MARsHA:
Soap ... just-washed skin ... aftershave lotion ... sweat ... She laughs. All the time she's laughing. They're like two little
kids. They hold hands. Did you ever do t11at? I'm embarrassed to
be around them. He takes her fishing. He has a little camper and
(Lights come up to halfin the restaurant. Blackie bursts through the kitchen they drive up to .. .
doors holding a place ofhisfamous hom-yu. Brings it over and sets it down NOBU: All right, all right .. .
on the table which is now in a full pool oflight.) MARSHA:
... Lake Berryessa and camp overnight. He teaches her how to
bait the hook, cast it out, and even to tie the hook. I mean you
BUCKlE: Hom-yu! Hom-yu! never even took her fishing . . .
Nonu:
CHIYO: Kusai yo [Stinky]! She doesn't like fishing. I tried to take her lots of times, she
KIYOKO: Rlackie! wouldn't go.
MARSHA:
RIACKJE: I know stink. nut stink J!;oooood! They even dig up worms in his garden at his house. I saw them.
Side by side ...
 III
a PHILIP KAN GOTANDA
THEWASH

You come home. You come home now, Mama. You come home.
NOBU: All right, I said. It's no good ...
. . . sitting on the ground digging up worms and putting them JUDY: (Overlapping, trying to calm Nobu down) Dad? Dad, take it
MARsHA:
in a coffee can! easy ... take it easy ... (Trying to get him seated) Sit down, sit
(Overlapping) ALL RIGHT! ALL RIGHT! down .. .
NOBU: ... I MEAN DID yOU EVER DO THAT FOR MOM!! (Pause)
MARsHA: NOBU: (Yanking arm away from Iudy) I DON'T WANT TO SIT! I
Did you? (Getting worked up again) You're so ... so stupid. You
WANT MAMA TO COME HOME!
are. You're stupid. All you had to say was, "Come back. Please
come back." You didn't even have to say, "I'm sorry." (Shocked silence.)
(Overlapping) I'm your father ...
NOBU: Mom would've come back. She would've. That's all you had to
MARSHA: JUDY: (Upset, quietly) I'll get some coffee for you, Dad.
say. Three lousy words. "Please come back."
(Overlapping) I'm your father ... (Judy does not exit. Masi doesn't know what to do. She's never seen Nobu like
NOBU: You ruined everything. It's too late! YOU WRECKED EVERY­
MARSHA: this.)
THING!! (Pause. Composing herself) I'm so mixed up. When I
look at Mom I'm happy for her. When I think about you ... I NORU: You come home, Mama. Just like always. You don't need to
don't know. You have Kiyoko. live over here. You come home. Just like always. That's the way
That's not the same. I'm talking about your mama. it is ...
NOBU: Dad, Kiyoko cares a great deal about you. She's been calling
MARSHA:
MASI: (Overlapping) Nobu, Nobu .... You don't understand, Nobu.
Judy and me day and night. I can't come home. I can't come home anymore-
She knocks on the door but I don't let her in. She's not Mama. NOBU: I DON'T CARE! I DON'T CARE ABOUT ANY OF THAT
NOBU: Dad. What do you want me to say? That's the way it is. I used to
MARsHA:
STUFF, MAMA! (Pause. Breaking down, he brgins to plead) I won't
keep thinking you two would get back together. I couldn't imag­ yell at you, anymore. I won't yell, I promise, Mama. I won't monku
ine life any other way. But slowly I just got used to it. Mom over about the store or about your papa ... I'm sorry ... I'm sorry. Masi,
there and you here. Then all this happened. I mean, sometimes it's no good. Please come home. Please come home ... Please ...
I can't recognize Mom anymore.... What do you want me to
say? You'll get used to it. (Neither Masi nor Iudy knows how to cope with this situation. Nobu con­
tinues to plead. Dim to darkness.)
(Nohu pauses, upset.)

(Stubbornly) No.
ScENE 22
NOBU:
(Looks at her father sadly) You'll get used to it. Lights up to Kiyoko's restaurant, one day later. Chiyo is dialing
MARSHA:
Nobu's number. A concerned Blackie stands guard next to her.
(Dim to darkness.) Kiyoko has told them not to bother with him anymore. Kiyoko
appears and watches them from the service window. She makes no
SCENE 21 attempt to stop them. In half-light, Nobu composes himselfand leaves
Judy's place. We follow him as he begins to make his way back home.
(Judy's place, two days later. Masi is at the clothesline hanging
However, he stops in front ofMan's place and stares at it. Chiyo lets
clothes. Judy, holding Timothy, is with Masi. Nobu suddenly rushes the phone ring and ring. Finally she and Blackie exchange disap­
in. Masi and Judy are Sflrprised. Nobu appears very upset.) pointed looks. At that point Kiyoko burm in on them.

MASI: Nobu ... KIYOKO: How come you keep doing that? Huh? Don't phone him any­
~ood, M.un.\. It's no ~(lod at all
JUDY:
Hello, Dad ... more. I told YOII, didn't l?
Cft} Masi, (wwrin.11 Judy) It's no
NOHlJ:
III PHILIP KAN GOTANDA

THEWASH II
(Blackie and Chiyo look sheepishly at Kiyoko. Kiyoko's ftigned anger is pery NOBU:
transparent to all three parties and only adds to the discomfort ofthe situ­ MAs1: What is he? An old man or something?
ation. As the scene darkens, Nobu arripes at his house. Nobu appears in a He just likes to take naps. You do too.
NORu:
pool oflight. He stands there for a moment in silence) still carrying some of In front of the lV. But I don't go into the bedroom and lie
the emotional turmoilfrom his previous scene with Masi. He reaches behind
the sofa and pulls up a long, narrow object wrapped in cloth. As he unwraps him? Well, where is he? Bring him out. Don't I get to meet
down.
MAS1:
it, we see what it is: a shotgun. Nobu sits down in the chair with the gun You sure? (She looks at him for a long while. She believes him. She
across his lap, staring into the darkness. As the lights do a slow fade on Nobu, turns to go wake Sadao up, then stops) Chester Yoshikawa? lbat
the mournful wail ofa shakuhachi (bamboo flute J is heard.) night in the Camps when I didn't show up for the dance?
Chester Yoshikawa? We just talked. That's ail.
SCENE 23
(Masi leapes for the bedroom. Nobu looks slowly around the apartment. It's
Masi's place, one week tater. Nobu stands inside with the shotgun. In Masi and yet # isn)t. Nobu suddenly has no desire to meet Sadao. He
half-litlht, Sadao is asleep in the bedroom. doesn't want to see them together in this apartment. Nobu exits abruptly.
Masi appears cautiously leading out a yawning Sadao. They look around.
NOBu: Where is he? (Masi stares at the gun) No Nobu. Att they see is his shotgun leaning against the watt.)
MAsI: He went to buy the newspaper.
NOBu: (Notices Masi watching him cautiously) It's not loaded. (Pause) At
SCENE 24
first I said, "No, no, no, I can't believe it. I can't believe it." I got
so pissed off, I got my gun and drove over here. I drove around Same day. Marsha and Judy appear in a pool oflight far upstage.
the block twenty or thirty times thinking "I'm gonna shoot this Marsha is holding a small kite and slowly moves it above Timothy,
son-of-a-bitch, I'm gonna shoot him." I drove right up, rang the who is held by judy. They sit in silence for a time.
doorbell. No one answered. I kept ringing, ringing. . . . I went JUDY:
back to the car and waited. You cheated on me. How could I can't believe he gave the kite to Timothy. He gets so mad ifyou
you do that to me? I'm a good husband! I'm a good husband, even touch them. And he never flies them.
Masi .... I kept seeing you two . The two ofyou together. I kept (Pause)
seeing that. It made me sick. I kept thinking, "I'm gonna shoot
that son-of-a-bitch. I'm gonna shoot him." I waited in the car. It
was three o'clock in the morning when I woke up. It was so cold MARSHA: (Moving the kite) No. He never flies them.
in the car. You weren't back. I got worried I might catch a cold,
and my back-you know how my back gets. I drove home, took (The lights dim to half. They turn to watch the action taking place center
stage.)
a hot bath, and went to sleep. I've been sick in bed ail week. I just
wanted to show you. Both of you. That's why I brought it. Don't
worry. It's not loaded. (He cracks the shotgun and shows her that it
is not loaded) I just wanted to show both of you how it was, how
SCENE 25
I was feeling. But it's all right. You two. It's all right now. TWo days later, darkness. The TV light comes on, Iitlhting Nobu's face.
A pool oflight comes up on Nobu, seated on sofa, uJatching Tv. No kite
(Nobu sets the gun against the wall. Masi watches him, trying to decide if' on the coffee table. Mad appears in another pool oflight. She stands,
it is indeed saft.) staring pensively dOWnstage into space. In her arms she is holding the
brown paper bag ofnewly washed clothes. She turns and moves towards
MASI: Nobu. Nobu ~ place. As she enters the lights come up full on the house.
NORU: Yeah? Masi goes ol'er to the kitchen table and takes out the newly
MAsr: He's taking a nap. III the bedroom. I Ie likes to do that after dinm'f washr:d clothes, stacking them in neat piles on the table. She then pro­
cceds t(1 pick lip thr: old dO/hI'S scattered lin th, floor and puts thon
II 1'1111.11' K.~N UOMNI'"

in the bag. She picks up the bag and moves towards the door, then
stops. She makes up her mind about something she has been strug­
gling with for a while. Masi returns to the kitchen and leapes the bag
ofold clothes on the table. As she opens the door togo, Masi looks back
at Nobu and watches him for a brief moment. During this whole
time, Nobu has never turned around to look at Masi) though he is
peryaware of what is going on. Masi sadly turns and exits.
Lights dim with Nobu silently watching Tv. Briefly, Nobu's face
is lit by the dancing light of the telepision screen. At this same
instant, the brown paper bag of wash on the table is illuminated by
a shaft of light. NobuJs phone begins to ring. He turns to look at it.
Blackout on Nobu. The wash fades into darkness. The phone contin­
ues to ring for a few moments. Then, silence.}

END OF PLAY