PLAYSCRIPT

Pipeline
BY D O M I N I Q U E M O R I SS E AU

JEREMY DANIEL

Namir Smallwood as Omari and Karen Pittman as Nya in the world premiere of
Pipeline at Lincoln Center Theater, directed by Lileana Blain-Cruz.

DECEMBER17 AMERICANTHEATRE 43
 PLAYSCRIPT Dominique Morisseau Pipeline

Pipeline environment. In touch with the poetry of

her own language.
XAVIER: Black man, mid-late 30s. Nya’s
the quick pace of the language is New York
City–inspired and should be maintained in
any setting. Present day.
By Dominique Morisseau
ex-husband. Omari’s father. Single Also, we have undefined space. This is a
CHARACTER DESCRIPTION father. Struggling to connect to his own place where location doesn’t matter. It is
NYA: Black woman, mid-late 30s. Single son. Marketing executive. Wounded sometimes an alternate reality bleeding
mother. Public high school teacher. relationship with his ex-wife. Financially into reality. It is sometimes just isolated
Trying to raise her teenage son on her stable. Emotionally impoverished. reality that doesn’t require a setting. Only
own with much difficulty. A good teacher LAURIE: White woman, 50s. Pistol of a words.
inspiring her students in a stressed woman. Teaches in public high school
environment. A struggling parent doing and can hold her own against the tough NOTE ABOUT THE TEXT
her damnedest. Strong but burning out. students and the stressed environment. A “/” indicates where the next line of
Smoker. Sometimes drinker. Holding Doesn’t bite her tongue. A don’t-fuck- dialogue begins.
together by a thread. with-me chick.
OMARI: Black man, late teens. Nya’s son. DUN: Black man, early-mid 30s. Public DEDICATION
Smart and astute. Rage without release. high school security guard. Fit and This play is for my mother, a master-
Tender and honest at his core. Something optimistic. Charismatic with women. educator and proud public school teacher
profoundly sensitive amidst the anger. Genuine and thoughtful and trying to be for 40 years in Highland Park, Michigan.
Wrestling with his identity between a gentleman in a stressed environment. It’s This isn’t her story. It’s just a similar world
private school education and being from a not easy. in which she was a fiercely committed
so-called urban community. educator, and worked very hard to help
JASMINE: Black or Latina woman, late NOTE ABOUT THE SETTING her students transcend.
teens. Sensitive and tough. A sharp bite, Not necessarily New York City, but I salute you, Mama.
a soft smile. Profoundly aware of herself definitely modeled after it. Can be any Love, Dominique
and her environment. Attends upstate inner city environment where the public
private school but from a so-called urban school system is under duress. However,

1. (Quick pause) device in class, this is an automatic suspen-

Lights up on Nya. She is on the phone, though we I um…I also miss you. sion. No exceptions. I repeat (Loudly) NO
don’t have to really see her holding anything. She (Beat) EXCEPTIONS! Please do not have your
is living the call. Fuck. I shouldn’t have said that. I’m gonna… mamas coming up here demanding to get
As she speaks, images flow behind her. Camera- I should delete that. I’m gonna delete that. your smart phones back. We have the city
phone video clips of school fights. Disjointed and She pushes a button. We hear the prompt that says government behind us. You cannot win. I
perhaps emerging less into video and more into “To erase and rerecord, press 3.” She presses 3. repeat (Loudly) YOU CANNOT WIN! Also,
large overwhelming shadows. Then, very professionally: there is a pep rally today after school. Be sure
NYA: Hey it’s…it’s me. I know I shouldn’t… NYA: Hey Xavier, it’s Nya. Calling to talk to to attend and show your school pride. And
but I don’t know what else to…we need to you about our son. Give me a call back when finally, have a glorious day, Students. (Loudly)
talk. It’s about our son. He got in a fight. On you get this. Thanks. Bye. A GLORIOUS DAY!
school grounds. They’re going to… … … Nya stands in silence for a moment. Then lights a Nya puts her cigarette out on her shoe. Waves the
they’re talking about…they’re talking kicking cigarette. She leans her head to the side. smoke out the window. Then she moves toward a
him out. They’re talking pressing charges. Puffs. We hear a school bell ring. door and opens it.
They’re going to… … …I don’t know what The distant sound of a school day starting. Hall- NYA: Morning, Class. Pull out your pens.
they’re going to… … …I’m just… (Beat beat ways filled with lockers closing and gossip and Pop quiz today.
beat) I’m exhausted. You know that? Like trampling feet. Groans and sucking teeth are heard. The shad-
there is no more helium. I’m sinking. Like A public address announcement comes through. ows become harsh fluorescent lights. They bleach
there is all this…weight…I can’t fight grav- It is fast and static: us into blindness.
ity. You know? Like I just can’t even fight PA (Offstage): Good morning students, wel-
this pulling down…taking all of my—I don’t come to another glorious day at Chadsey 2.
know. I don’t know. I don’t even know. (Beat High. Please remember to take off your A girl’s dormitory. Bedroom.
beat beat beat beat) hats. No sagging allowed. New policy in Jasmine and Omari.
(Then randomly enthusiastic) So anyway! Give effect today—homeroom teachers are now JASMINE: Tell me you wasn’t lookin’ at her.
me a call back when you get a moment. So we going to lock your cell phones and other OMARI: I wasn’t lookin’ at her.
can talk. Talk about. Your son. Our son. Us… non-school-issued devices in their drawers. JASMINE: Oughta cut her face.
… You will retrieve them at the end of the day. OMARI: I wasn’t lookin’ at her.
… If you have any objections to this, then you JASMINE: Thinkin’ she’s so cute.
(Long awkward pause) are free to leave your devices at home. If you OMARI: I wasn’t lookin’ at her.
Yep. Okay. Bye. are caught with any nonapproved electronic JASMINE: She ain’t that cute.

46 AMERICANTHEATRE DECEMBER1 7
 moms knows?
OMARI: She probably already planning her
speech. Threatening to send me to my pops.
But dude wouldn’t go for that in a million years.
JASMINE: You ain’t supposed to even be here
right now. If anybody finds us—
OMARI: Where else can we meet? They won’t
let me talk to you anywhere on the campus.
Supposed to be packing my stuff to go home.
Ain’t like I could visit you back at your folks’
crib. They won’t let me nowhere near you.
JASMINE: Teen pregnancy stats got ’em
spooked. They have no idea who or what I am.
OMARI: I know what you are.
JASMINE: You don’t even know yourself.
JEREMY DANIEL

How you know me?

OMARI: I know you.

Namir Smallwood (Omari) and Heather Velazquez (Jasmine) in the Lincoln Center production. JASMINE: What you know?
OMARI: You’re a metamorphic rock.
OMARI: I was kinda lookin’ at her. Omari, you gonna make my heart explode JASMINE: Here you go.
JASMINE: What? with all yo’ back-and-forthness. One min- OMARI: What?
OMARI: Just like a little bit. ute you tellin’ me I’m the cure. Next minute, JASMINE: Science references from Mr. Peter-
JASMINE: What’s a little bit? I’m the cause. Maybe you your own stress son’s class ain’t gonna save you from my wrath.
OMARI: Like modestly. With no intention. problem and I ain’t got nothin’ to do with it. OMARI: Not trying to get saved. Just makin’
Just observing. OMARI: Maybe I am. an observation.
JASMINE: What you got to be observing for? JASMINE (Pssshhh): Fuck you. JASMINE: Explain.
OMARI: To take in my surroundings. Learn OMARI: Maybe I’m confused. OMARI: Metamorphic rocks. They change in
the world. Not be just tied up in my own JASMINE: That’s the realest shit you ever said. form. Made from heat and pressure. That’s
existence and nothin’ else. He tugs at her needfully. what makes ’em so rare and interesting.
JASMINE: Everything’s more important to OMARI: Yo, this could be our last time. JASMINE: And that’s me?
you than me. She snatches away. OMARI: That’s you.
OMARI: You important to me. JASMINE: You kiddin’ me right now? Jasmine considers this.
JASMINE: Not hardly. You just biding your OMARI: I’m just seeking intimacy. JASMINE: I think I’m in love with you.
time. Til’ you figure out what to do next. JASMINE: You seeking to get socked in the OMARI: I think I’m leaving.
Ain’t that it? eye. I don’t turn on and off like no stove. JASMINE: Where you goin’?
OMARI: Why would you say that? OMARI: You mean a faucet. OMARI: Somewhere else. I got some money
JASMINE: Cuz I don’t like to talk at nothin’. JASMINE: I mean a stove. One minute you saved. Child support stash from the ol’ man.
I like to say exactly what’s what. got me hot. Next minute fire’s out. Quit Shit adds up when you don’t spend it.
OMARI: You wanna know what’s what? gassin’ me up and killing my fucking spark. JASMINE: You gonna just run from your
JASMINE: Yeah. I wanna know. OMARI: Can’t nothing kill your spark. You problems?
OMARI: I don’t know where I’m gonna be two always gon’ be fire. OMARI: What else I’m gonna do? Stay and
days from now. Or two hours. And I can’t JASMINE: And you always gon’ be crazy. let ’em take away my life? My future?
be pretending we in some fairy tale fantasy Beat. JASMINE: Maybe not.
where all I need to do is chill with you in a OMARI (Truth): I’m scared. OMARI: They recorded it.
castle with our horses or whatever. Jasmine looks at him and wants to say some- JASMINE: So threaten anybody who put it up.
JASMINE: Horses? thing. Then decides against it. She just looks at OMARI: I’ll never be able to trace it. If it goes
OMARI: Or whatever. I ’ono. Whatever they him with concern. viral, I’m a wrap. And it’s gonna go viral.
got in castles. Truth is I got too many wor- JASMINE: Why you fight him, O? JASMINE: Fuck it then. You’ll be a celebrity.
ries and bein’ with you don’t make ’em go OMARI: Why you say you gonna cut Keely’s OMARI: I’ll be public enemy number one.
nowhere. You feel me? face? JASMINE: You won’t.
JASMINE: You sayin’ I’m addin’ to your JASMINE: She thinks she’s cute. OMARI: I’ll be a monster.
stress level? OMARI: So you wanna mess that up? JASMINE: You’ll be that motherfucker
OMARI: I’m sayin’ I got stresses. Real ones. JASMINE: Maybe it would make things nobody’ll fuck with.
And hiding out in your dorm ain’t doin’ balanced. OMARI: That ain’t the legacy I was trying
nothin’ but prolonging the inevitable. OMARI: Like what? to leave.
JASMINE: This some wack version of a JASMINE: Like she wear on the outside what JASMINE: What legacy you gonna leave
breakup? I feel on the inside. now? Runnin’ away?
OMARI: It’s just me bein’ honest. OMARI: That’s messed up. OMARI: I just gotta go Jasmine.
JASMINE: Well fuck your honesty. Seriously, JASMINE: So I’m messed up. (Beat) Your Pause.

DECEMBER17 AMERICANTHEATRE 47
 PLAYSCRIPT Dominique Morisseau Pipeline

They look at each other. them over there? The last sub they sent me ommend a drug to Jesus if she couldn’t get
Jasmine’s eyes well up. showed ’em Dangerous Minds. Do they really him to sit still for five minutes. Never figured
JASMINE: I know what you are. believe public school is Michelle Pfeiffer and maybe it was her tactics and not the kid—
OMARI: What am I? Hilary Swank and corny fucking music and but whatever. His folks would never get him
JASMINE: A lunar eclipse. close-ups? I’m a white chick who has never tested for his mental health. Couldn’t afford
OMARI: How’s that? had the luxury of winning over a class full of the medical bills. Half these damn kids are
JASMINE: Rare and hiding in the shadows of black and Latino kids. This is war. Got my suffering from mental illness. That’s what
the earth. Always ready for an escape. fucking face cut by the family of a failing stu- the real problem is. A classroom can’t fix
OMARI: Mr. Peterson’s science class is the best. dent. Fuck them and their lies and the sub- that shit. And neither can Ritalin. But what
JASMINE: Don’t leave. stitutes that show them these dumb-ass god- do they know? Nothing, that’s what. I know
OMARI: I think I gotta. forsaken setting-us-back-300-educational- what these kids need, but who listens to me?
JASMINE: I can’t survive this prep shit with- years bullshit flicks. TEACH, you assholes! Anyway—what the hell was I talking about?
out you. I left you lesson plans for fuck’s sake! NYA: Louie Gaspacho?
OMARI: You can survive anything. NYA: They should’ve gotten you Smith. She’s LAURIE: Exactly. He could be a terror if
JASMINE: Don’t leave. a substitute teacher from the gods. When I he was really having a day. So one time he
OMARI: Can I kiss you one last time? was gone that week for Omari’s pneumonia, threw a book at me. Nearly knocked out the
JASMINE: Make it last forever. I came back and my kids had already moved smart little West Indian girl that sat right in
He kisses her. It lasts an eternity. onto the next chapter of Invisible Man. Had front of him—
their papers graded and everything. Impressive. NYA: Ummm, maybe you shouldn’t call
3. LAURIE: An enigma in this place. her / that.
Teachers’ lounge. Afternoon. NYA: You gonna retire or what? LAURIE: I grabbed his little scrawny ass
Laurie enters. Goes to refrigerator. Pulls out her LAURIE: Fuck them and their retirement. in the middle of class and gave him three
container. Puts it in microwave. Sits and waits. They’re not gonna force my hand. Try to licks to his backside. Never a book thrown
Nya enters and goes to the fridge. Pulls out a salad. move me from 9th grade, to 10th grade, to again. That kid got almost straight A’s that
LAURIE: Fucking fifth period. 12th. I’ll outlast ’em all—bastards. year. They don’t give me my credit for that
NYA: You turn in your reports? NYA: You’re a pistol, woman. because he got institutionalized a couple
LAURIE: Not yet. Humphries is on my ass. LAURIE: I’m a goddamn machine gun. years later and pulled out of school, so it’s
English Department head or not—I told him They pause. Eat for a second. like he never existed. But I had him function-
to give me a damn break I only just had my LAURIE: How’s your son? ing high—you know? A good old ass whip-
face reconstructed. Asshole. NYA: Troubled. Next question. ping can teach a lot.
NYA: You look good Laurie. I can’t even tell. LAURIE: You figured out what you’re gonna NYA: That’s not O’s problem, Laurie.
LAURIE: My husband can. And my daughter. do about— LAURIE: I wasn’t saying that. I just—
I freak her out, she says. Everything freaks NYA: No. I haven’t figured out a thing. I’m NYA: It’s too many things. It’s me. I’m the
her out that isn’t painted with at least a gazil- slipping off the edge of the earth and there is source and I know it and I just can’t talk about
lion ounces of mascara. Or liters. Or however no answer in the dark dark universe. this anymore if I’m going to get through the
the fuck you measure mascara. She’s fuck- LAURIE: The world isn’t flat Nya. rest of the day, okay? Gotta drive upstate to
ing obsessed with it, that’s all I know. I mean, NYA: Mine is Laurie. It’s flat and coming pick him up after work and I’ll finish stress-
what the hell happened to teenagehood? I to a quick and fast end. And I can’t stop it. ing then.
remember dyeing my hair orange and pierc- LAURIE: You can. Just got to grab it by the LAURIE: Don’t panic, honey. We’re all a
ing my nose to rage against the status quo. balls and turn it around. That son of yours bunch of screw-ups trying to figure out our
That was a sort of cause, y’know? But now, needs a swift kick in the ass. mess. You’ll figure it out.
it’s just all mascara and fashion and next top NYA: That’s not what he needs. NYA: Screw-ups?
supermodel housewife of bla bla bla—what LAURIE: I remember when parents would LAURIE: Figure of speech. Don’t take that
the hell are we doing, you know? Are they give permission for you to spank their kids literal. It’s not literal.
growing down? in class. You old enough to remember that? NYA: Right.
NYA: Probably. NYA: We teach teenagers. The door to the lounge swings open. Dun enters.
LAURIE: And the substitute was an idiot. I LAURIE: Especially the teenagers. DUN: Ladies, what it do?
asked my kids what’d they do while I was NYA: I don’t think I remember that. LAURIE: What it do back to ya, you sexy
gone. Three weeks while I was gone. You LAURIE: That was the best. I’m telling you. I bastard.
know nobody could give me a straight answer? had this one kid, Louie Gaspacho. I remem- DUN: You trying to get me in trouble on
Then Alejandro finally cracks. Watched The ber him real good. You know how some of school grounds again, Laurie?
Wire, Season Four—he tells me. ’em stay with you for a lifetime. He had kind LAURIE: Just a little flirtation between a
NYA: The Wire? of a schizophrenia thing going on. Undiag- young, hot security guard and a very agile
LAURIE: Said the sub was trying to show them nosed, but I knew. They should let us pre- old teacher. Harmless.
what not to do. You fucking kidding me? scribe the drugs instead of these bogus doc- DUN: Face lookin’ good, girl. Got you all
NYA: Which sub was this? tors. I know these kids inside and out. I knew brand-new.
LAURIE: The cute young blond straight Louie. Another kid I think Ritalin ruined. LAURIE: They can’t keep a white chick down.
outta Teachers College. Patricia or Patrice But his folks listened to that sorry excuse of DUN: Glad to have you back. (Shift. Looks at
or some shit. What the hell are they teaching a counselor, Ms. Esselman—who would rec- Nya with concern) Afternoon, Nya.

48 AMERICANTHEATRE DECEMBER1 7
NYA (Dryly): Hey, Dun. Pause. Nya tries to go back to her papers. She’s 4.
DUN: How you doin’ today? too distracted. Nya in class. On the board: the lyrics to the Gwen-
NYA: Survivin’. Like every day. NYA: You got a smoke? dolyn Brooks poem “We Real Cool.”
DUN: Good for you. DUN: Can’t do that in here. Omari in undefined space—he and Nya are not
NYA: Yep. NYA: I’m going to take it outside. visible to each other but are somehow strangely
Dun goes to the freezer. Pulls out a frozen meal DUN: Don’t wanna have to bust you. connected. As he embodies the words of the poem,
and sticks it in the microwave. NYA: You being funny? the words are magically/profoundly written on
Nya sits at the table and pulls out a stack of papers. DUN: Will it make you smile? Nya’s chalkboard.
She begins to sort through and check them. NYA: I’m out of smiles for today. NYA: Class, today we’re going to look at one
DUN: Careful in the lot today after work. DUN: That’s too bad. What’s left for your of my favorite poems by Gwendolyn Brooks.
They been jackin’ cars again. students? “We Real Cool. The Pool Players. Seven at
LAURIE: Still haven’t deterred those bastards? NYA: Gwendolyn Brooks. the Golden Shovel.”
DUN: Not yet. Principal Colden says we’re DUN: The poet. OMARI: We real cool.
working on getting more surveillance. NYA: You know her? NYA: I want you to look at this poem in both
LAURIE: What the hell’s the point of the DUN: You think I spend all day guarding a versions that I’m sharing with you. Notice
security cameras they put in if it’s not going school and some of the knowledge don’t its layout.
to scare off these hoodlums? rub off on me? OMARI: We left school.
DUN: I’m gonna be stationed out there from NYA: Lots of folk spend all day in a school NYA: These are from two publishers. One—
12 to 3 p.m. Don’t worry. I won’t let ’em lay and don’t learn diddly. It’s very possible. HarperCollins, a known white American
a hand on your Benz baby. DUN: True dat. But I’m not one of ’em. company. The other—Broadside Press, one
LAURIE: Fuck you, funny man. My shit NYA: Well that’s good. of the first major publishers of black revolu-
Oldsmobile hasn’t failed me yet. Like hav- DUN: So you all right? tionary writers.
ing an ugly faithful husband. Nobody wants NYA: Why do you keep asking me that??? OMARI: We lurk late.
him but me and that’s good for us. DUN: I want to hear an answer that makes NYA: Revolutionary. (To student) Come on,
DUN: Nothin’ wrong with your car, baby. me satisfied. Tiffany, you know what that means. Think
Got character. Just like you. NYA: I’m not here to satisfy you. about it. Yes, change. Thank you for the
Laurie stands up and discards her lunch scraps. DUN: Didn’t say you were. assist, Tomika.
LAURIE: Well that’s enough socializing for NYA: Then let it go. OMARI: We strike straight.
me. I’ve got to get my room in tact ’fore the DUN: I never hear from you anymore. NYA: In the HarperCollins version, the lay-
next set of hooligans comes in. NYA: Don’t do this here. out is pretty common. Large title. Words at
DUN: You need me to come up there for any DUN: That never happens to me. the beginning of each stanza are capitalized.
reason, you know how to buzz me. I got you NYA: First time for everything. There is almost an attempt to erase the idea
on priority. DUN: I do something you don’t like? You can that the piece is written in “broken English.”
LAURIE: Don’t worry about me. Take care of just tell me. Don’t gotta do the cold shoulder. OMARI: We sing sin.
these young gals who don’t know shit about NYA: This isn’t a cold shoulder. NYA: But in the Broadside Press version,
how to fend for themselves. Me? I’m an old DUN: What is it then? the font looks like graffiti writing, not what
dame. A little reconstructive surgery and I’m NYA: Sanity. Coming back to senses. Profes- we normally see in our textbooks. (To stu-
back in the game. sionalism. Intelligence. Appropriate behav- dent) That’s right, DeShawn. Because graf-
DUN: Got it, mama. ior. That’s what this is. fiti writing reps the hood. I would agree that
Laurie walks to the door. Takes a strange and DUN: You gonna play by the books on me? it doesn’t get the same respect.
revealing inhale. NYA: I’m not playing anything. Jesus. I can’t OMARI: We thin gin.
LAURIE: This is my den, you know? This is do this right now. NYA: So why do you think this independent
always my den. DUN: All right. Don’t do anything. black press decided to lay out the poem in
She exits into the hallway. NYA: Okay. this broken graffiti style? What do you think
Dun looks at Nya, who has been buried in papers. Dun eats. Nya heads to the door. they’re saying about structure and rules?
He eats silently. She ignores him. Then finally: NYA: Got ten minutes before my next class. What do you think they’re saying about the
DUN: You been all right? You sure you don’t have a smoke? I really education of the young men in this poem?
Nya looks up, faking surprise. need it. Today. I need it today. OMARI: We jazz June.
NYA: You talking to me? Dun reaches in his pocket and tosses her a pack. She NYA: The pool players in this poem are teen-
DUN: Nobody else here. takes out a cigarette and places the pack on the table. agers. And what if I told you it was the mid-
NYA: You don’t need to do this. NYA: Thanks. dle of the day on a school day? What are they
DUN: What’s that? DUN: That’s something we do well together doing in a pool hall on a school day?
NYA: Make small talk. Check on me. Pre- ain’t it? OMARI (As if getting stuck): We di—di—di—
tend to give a damn. Really. I’ve got lots on NYA: What’s that? NYA: Ms. Brooks is talking about something
my mind and lots to do and I don’t need to DUN: Vices. here. She is saying they are skipping school.
fill the space. I’m cool with the emptiness. NYA: I don’t…I guess…maybe… Hanging around bars and thinning gin. Jazz-
DUN: Guess you are. Nya takes an inhale that is revealing, and then ing June. (To student) Yes, June is a girl’s name,
NYA: What? exits in the hallway. Darnell. So “Jazzing June” means what? (A
DUN: Nothin’. Dun stays in the room. Eats an apple. And sighs. response) Okay, Paul, I think you can find a

DECEMBER17 AMERICANTHEATRE 49
 PLAYSCRIPT Dominique Morisseau Pipeline

better phrase, but “laying that pimp game” NYA: No, I’m fine, Shawna. Thank you, I—I rather figure that out through sex or what-
will do for now. think that’s enough of that for the day, so… ever. It’s tragic. And I cannot keep myself
OMARI: We real cool. … in this wasteland of talent. Stuck-up girls in
NYA: Some people might look at the Broad- … my dorm acting like I’m gonna steal their
side Press version and think it’s invalid because I’m sorry. I’ve got to step out for a sec but… fabric softener or grab their granny pant-
it doesn’t follow the rules of English gram- you can work silently, okay? Work on your ies out the laundry cuz I don’t have my own
matical structure. own response to this poem. I’m going to step or whatever. Like are you serious? Bitch, I
OMARI: We left school. out. Please, don’t get out of your seats. Dar- may not have your money, but I have BOTH
NYA: It looks like street writing. nell. Paul. I’m serious. Thank you. my mother and father at home workin’ their
OMARI: We lurk late. Nya immediately walks out of the class. asses off at two jobs just to have me study up
NYA: But sometimes, rules are meant to be A light sharply disappears on Omari and the class- here with the rest of you cuz they think your
broken. room and reveals Nya outside of the door. privilege will rub off on me by association
OMARI: We strike straight. She slumps down and begins to weep uncontrolla- or some shit. Or maybe they believe in the
NYA: Sometimes the street has valuable les- bly. Suppressing the sound of her own cry. Cling- false god of this freakin’ Fernbrook Acad-
sons too. ing to her composure. emy, that somehow it produces better peo-
OMARI: We sing sin. A moment. ple and I keep trying to explain to them that
NYA: Ms. Brooks has her own rules. Dun appears up the hallway. He notices her and someone like me would actually survive bet-
OMARI: We thin gin. rushes over. ter in an environment in which I am COM-
NYA: She breaks up the “We’s” on each line DUN: Yo, hey hey you all right? FORTABLE instead of being the token poor
because she wants us to pause. Nya immediately stands erect and straightens girl of color that everyone thinks is trying
OMARI: We… … …jazz June. her clothes. to sleep with their pussy-ass boyfriend or
NYA: She wants us to think about that “We” NYA: Shit. Yes. I’m fine. take their gotdamn cocaine or crystal meth
before the next line. DUN: You sure? or whatever, meanwhile the worst shit my
OMARI: We… … …di—di—di— NYA: No. Yes. I’m perfectly— friends from the block are smokin’ is weed.
NYA: Each “We” questions their existence DUN: Cuz if one of those little suckas is in If it wasn’t for Mr. Peterson’s science class
and worth. there causing problems, you know you just and Omari, I would slit my wrists. That’s why
OMARI: We… … …di—di—di— gotta hit me up, right? I’m goin’ after O. He’s not leaving me here
NYA: Because who are they? At pool halls. NYA: I’m fine. I can handle my son just fine. to rot with these bougie brainwashed brats.
Skipping school. Drinking. Having sex. Hang- I don’t need your help. I’m followin’ my man. You gonna read about
ing late. What will they become??? DUN: Your son??? this in one of them urban romance novels.
OMARI: We NYA: My what? I said my students. Why It’s called ghetto love.
NYA: Gwendolyn Brooks gives us the answer are you— A knock on the door.
in her last line. DUN: Cuz you just… JASMINE: Yo, I got company—lemme call
OMARI: We NYA: I have work to do. you back. I got more bitchin’ to do. That
NYA: A line that haunts us all. DUN: You… … …okay? was only half.
OMARI: We NYA: I’m gotdamn amazing. She hangs up the phone. Goes to the door.
NYA: A line that will be their epithet. Nya disappears into the classroom. An abyss of Fuck. It’s Nya. She looks distressed.
OMARI: We darkness. Dun stares after her. Questioning… NYA: Jasmine.
OMARI AND NYA: We die soon. JASMINE: Hi… … …
Pause. 5. NYA: Can we talk?
Nya hears herself. And possibly Omari. It is dis- Jasmine at a dorm. She paints her nails. Puts JASMINE: Okay… … …
turbing. makeup on. Packs a bag of clothes. An earpiece Jasmine steps aside. Nya enters.
NYA (To Omari): What? in her ear. NYA: I came up to get Omari.
OMARI: I said— We die soon. JASMINE: Our school is fuckin’ fucked. Bitches JASMINE: I figured that.
Uncomfortable moment. Nya looks around her- can’t never mind their own damn business. NYA: He was supposed to be here. With his
self. A little hot. Gossip whores at every level. It’s like—private things. Meet him downstairs. But he’s not
NYA: I…um… school for what? For who? Ain’t nothin’ you here. Not in his room. Nowhere.
Nya looks at Omari. But also through him. It do here private! My parents are stupid crazy JASMINE: Really?
isn’t literal, but his presence has definitely inter- paying all this money to keep me away from NYA: You know where he might be?
cepted this lesson. all the kids in my neighborhood cuz they’re JASMINE: Sorry, Ms. Joseph. I don’t know.
Nya looks back out at the audience. At her class. so damn spooked I’ll get pregnant or shot NYA: Are you sure?
NYA: I, um…I seem to have forgotten…can’t or some shit if I go to public, but I’m like— JASMINE: I’m sure.
find my place in my… they must not’ve ever been in the staircase NYA: Did you see him at all today?
… here at freakin’ Fernbrook cuz for reals…it’s JASMINE: Earlier. I…I saw him earlier.
… all types of teen fuckery going on and these NYA: And did he seem—upset? Was he him-
Nya stops. Looks out into the class again. rich bitches are the nastiest—straight up. It’s self or…
A small and audible gasp. A little admission of like they privilege bought them some extra JASMINE: I know what happened. I mean,
failure. freak or somethin’, or maybe they ain’t never I wasn’t there. Didn’t see him actually put
Stillness. known what it’s like to be desperate so they his hands on… … …But I was informed. I
50 AMERICANTHEATRE DECEMBER1 7
 JASMINE: You look real stressed, Miss.
NYA: I’m very stressed. He’s my son.
JASMINE: I understand. I know what it feels
like to love him hard. Believe me.
NYA: Do you.
JASMINE: I mean his unpredictability is
manic. It’s excruciating sometimes. Like
nails going straight through the heart mus-
cle. But inside you know he’s like an infant
needing some kinda nurture. And there’s a
sweetness to him that make you wanna give
it. Make you wanna give up everything to
hold him tight.
NYA: Jasmine, this is not helping.
JASMINE: Did you ever like me, Miss?
JEREMY DANIEL

NYA: What?
JASMINE: When I’d come over. You hardly

Namir Smallwood (Omari) and Karen Pittman (Nya) in the Lincoln Center production. ever really…it’s like you was polite but not
nice. I know the difference.
was in class at the time. He was having a bad unreasonable. NYA: I don’t see what this has to do with—
day, I think. NYA: Okay. What does that mean? JASMINE: I’m not trying to grill you or nothin’.
NYA: A bad day? JASMINE: He’s not a criminal. I was always just curious. Like if I did some-
JASMINE: Sometimes somebody mess with NYA: I know that, Jasmine. I don’t think thing wrong I didn’t know about. Sat in your
you on the wrong day…it’s like THEY don’t he’s a criminal either. I just want to know favorite chair once or drank the last of some
know it’s your last straw. But they ain’t seen where he is. juice I didn’t know was near empty. Like if
how many times you been sucked of every- JASMINE: Sometimes people push you too it was some action of mine or just my pres-
thing you got. They go pickin’ at you like far. Make you feel like an animal from another ence alone. I would understand either way.
lent, and be lookin’ surprised when you knock jungle. Like you don’t belong even when I just always wondered.
’em flat the hell out. you’re here. Cuz they got expectations that NYA: Jasmine, I don’t dislike you.
NYA: Jasmine. you of the wild. So you become the expecta- JASMINE: Yeah, but you don’t like me either,
JASMINE: Yes. tion. But it ain’t born in you, know what I’m right? I mean, “I don’t dislike you”…that’s
NYA: He’s my only son. You know? sayin’. It ain’t what you want to be. It’s what like passive-aggressive sorta. It’s not commit-
JASMINE: I know. you become. That’s the crazy of Fernbrook. ting to loving or hating. It’s almost worse.
NYA: I don’t…I’m not here to hurt him. I’m NYA: Jasmine. Like indifferent.
here because I love him and I want to help JASMINE: He’s my heart, Miss J. I love him. NYA: I…don’t know you well enough to…
make things all right. You understand that? NYA: Then tell me where he went. It’s hard to like someone you don’t know
JASMINE: ’Course I do. JASMINE: I ain’t no snitch. beyond a few hellos.
NYA: So I need your help. NYA: Snitch? JASMINE: Someone smart and cute—most
JASMINE: Miss, I don’t know. JASMINE: I still come from what I come days.
NYA: Okay. I hear that. It’s just…you’re the from. This place don’t change that. NYA: Still someone you don’t really know.
one he talks to the most. Did you know that? NYA: Jasmine, you know where he went. JASMINE: Someone with a heart so big the
JASMINE: Am I? JASMINE: Not exactly anyway. sky couldn’t hold it.
NYA: Absolutely. The most. And if anybody… NYA: What…what does that even…what NYA: Someone I’m sure is great in her own way.
if he would tell anyone his plans…more than does that mean? JASMINE: Someone definitely great in every
anyone in the world. It’d be… JASMINE: I got ideas. If I’m in his head right. way.
JASMINE: Me? But I don’t know nothin’ for sure. NYA: Okay, sure.
NYA: Exactly. NYA: Give me some ideas. JASMINE: But someone also dating your son.
JASMINE (Almost proudly): Wow. That’s real. JASMINE: I can’t do that. Don’t ask me. NYA: My only son.
NYA: Jasmine, I don’t want to make a big Please, Miss. I’m not his betrayer. JASMINE: Exactly. Like the way you just said
deal of this to the school right now. He was NYA: His betrayer?!? that. That was kinda like…I mean that was
supposed to get his things and be waiting Nya breathes. Composes herself. almost a threat.
for me downstairs. This is our normal rou- NYA: I’m…trying here Jasmine. To be calm. NYA: A—what do you mean?
tine. His counselor left him to go and pack I’m trying not to unravel. Unleash. JASMINE: Like, and excuse my language
his bags. And now, no Omari. If I ask the JASMINE: I don’t wanna see you unleash. please—but it was like—Yeah, bitch, that’s
school, they’re going to sound the alarm. NYA: I know you think you’re being…This my only son and you trying to take him from
Make more of a problem. And then what- isn’t an act of loyalty. Not for real. In your me or whatever.
ever trouble Omari is in, he’ll be faced with head, maybe. But not in reality. In reality, NYA: …
more. You understand? you’re sentencing him to… … …I need to …
JASMINE: God, Miss Joseph. They are find him. …
DECEMBER17 AMERICANTHEATRE 51
 PLAYSCRIPT Dominique Morisseau Pipeline

JASMINE: I said excuse my language please. NYA: I don’t think you’re worth— Betrayal all day.
I hope you heard that part. JASMINE: Nah, you do. You don’t want to, but NYA: Think for a minute. I need to know
NYA: I heard that part. you do. I can smell when I don’t make sense before I leave. I need to know if he men-
JASMINE: Okay. to somebody. I make you afraid. Just like O tioned any other place.
Pause. makes my parents afraid. It’s like you send JASMINE: I told you what I know for sure.
NYA: Jasmine, do you have any brothers or us here to become these different people. Nya eyes Jasmine’s bags of clothes. Registers them
sisters? You want us to have so much and you want for the first time.
JASMINE: This like a bonding question? Or to protect us from ourselves. You love us NYA: You planning to go home early for the
an interrogation question? and we know that. But you hate us too. You weekend?
NYA: Whatever kind comes with an answer. hate us having a mind of our own. You hate JASMINE: Hunh? Um…
JASMINE: I’m only child. Like O. We con- that we can’t be exactly what you imagined …
nect that way. in your head. And that scares you. That we …
NYA: I see. don’t belong to you. That someone can come NYA: Jasmine. Do not bullshit me. You plan-
JASMINE: But I have one older cousin and along and we might love them more than we ning to meet him somewhere?
one younger. Both boys. They like brothers love you. You hate us for that. We can feel JASMINE: I was plannin’ on…searching.
to me sometimes. it inside and it will make us leave and never NYA: Searching where?
NYA: You ever know what it’s like to care for come back. JASMINE: The train station. The buses. I
them? As a woman? Worrying about what A moment. swear that’s it. I don’t have nothin’ else. He
can happen to them when they leave out into Nya moves closer to Jasmine. Almost threaten- kept sayin’ he had to do this on his own. Had
the world every day? ingly close. money from his father. Child support stash.
JASMINE: Um…they just my cousins, so… NYA (A chilling tone): Where. Is. My. Son. Said he would be okay.
NYA: It’s a gamble, Jasmine. All the time. JASMINE: … NYA: Has he called or text you?
You send your young man out into the world … JASMINE: No. I wish, but no.
every day, or away for a weekend. A semes- … Nya walks close to Jasmine again.
ter. A school year. But you don’t know…you Jasmine and Nya have both nearly stopped breath- NYA: Listen to me. Listen. If he calls, texts,
have no idea if they’re safe. You have no idea ing. They stare into each other. gets online, or does anything to reach you,
if one day someone will try to expire them JASMINE: … you call me immediately. You understand me?
because they are too young. Or too black. Or … JASMINE: He won’t, Miss. You’re cut out
too threatening. Or too loud. Or too unin- … and so am I.
formed. Or too angry. Or too quiet. Or too NYA (Threateningly): Jasmine. NYA: Just do what I say.
everyday. Or too cool. Or too uncomposed. JASMINE: Maybe the train station. Nya storms out.
Or too mysterious. Or just too TOO. You …
don’t know, Jasmine. And it’s frightening. … 6.
It leaves a tremble in your heart on a daily. Or the bus. Nya’s living room. Darkness except for one lamp.
And if someone could ease that tremble by NYA: To go where. Nya smokes a cigarette. Pours herself a drink.
unveiling just a little piece of the puzzle… JASMINE: Didn’t say. But he said it was She is sleepless.
It would mean everything. You know what goodbye. Donny Hathaway plays on some speakers. Nya
I’m— You get me? NYA: Someone come to pick him up? sips and smokes, interchangeably.
JASMINE: Men are a puzzle, straight up. I JASMINE: Caught a ride with Brian. He told The door rattles. She sits erect. It takes a minute
get you. the counselor he was coming up to pack his to open. Finally it does.
NYA: I know you want to protect Omari. I clothes. They let him go and he… In walks Omari.
know you care about him deeply. … NYA: …
JASMINE: So deep I got indigestion over him. … …
NYA: But keeping his whereabouts a secret. Snuck out with Brian. …
That is not helping him. You hear me? Not Nya gasps. OMARI: I’m back, Ma.
even a little bit. Another audible failure. NYA: ...
JASMINE: What you gonna do if you know? JASMINE: I tried to convince him not to go. …
Go follow him? Convince him not to do To stick out his fate like a man. But he… I see.
something he set his mind to? You really didn’t want to be a burden no more. To you. OMARI: I um…
think that’s possible? Nya’s breathing accelerates. …
NYA: I wouldn’t be worth my salt as a mother NYA: Why would he— …
if I didn’t. JASMINE: They videoed him, Miss. It’s gonna NYA: Where’ve you been?
JASMINE: Miss Joseph, I know you think go viral. Somebody already sent me a text. OMARI: With some friends.
maybe I’m not good enough for your son. NYA: Jesus. NYA: Friends.
My parents think nobody’s good enough JASMINE: He thought he’d bring so much OMARI: Was tryin’ to catch a bus over to Philly.
for me. I get it. Nobody’s good enough for shame. He thought he’d ruin you. NYA: Philly? What were you gonna…Philly???
nobody. But me and Omari, we got some- NYA: And he didn’t mention a place? I need OMARI: My boy Rashad. Got a small crib
thing real and even if you think I’m worth- to know now. I need to know. there. From when his father passed. Said he
less, I’m still gonna love him. JASMINE: I’m telling you everything I know. had a couch… … …
52 AMERICANTHEATRE DECEMBER1 7
NYA: So that’s the plan, hunh? Run off and What made the animal in him explode? And NYA: Still not seeing.
not face any of this. Leave me here to deal who he lookin’ at when he askin’ all these OMARI: You threaten my grades. You threaten
with the mess. That’s the plan? questions, Ma. Who he lookin’ at? to punish me in front of the class because
OMARI: It was somethin’. Don’t know ’bout NYA: Omari. I don’t want to be your token responder.
a plan. OMARI: Like I’m the spokesperson. Like That’s bullshit.
NYA: Well what happened? Plan go awry? I’m Bigger Thomas. Like I’m pre-disposed NYA: Did you also cuss like that? Or are you
OMARI: Naw I just… or some shit to knowing what it’s like to be reserving that disrespect for me personally?
… an animal. OMARI: I’m sorry. I’m just amped. Mak-
… NYA: Omari, watch your mouth. ing a point.
Omari fights the urge to cry. OMARI: You hear me though? You hear what NYA: You haven’t made a point yet. You haven’t
OMARI: I don’t know, Ma. I just came back. he doin’? He start picking me out. Askin’ me given any indication for how your behavior
NYA: I see. to answer. What did I discover when read- was warranted. You haven’t done anything
A moment of silence. ing the text. but speak as if you’re above reproach. And
OMARI: You been smokin’. NYA: He’s your teacher. He’s supposed to ask you’re NOT.
NYA: You’ve been fighting. you about the text, Omari! OMARI: Forget it, Ma.
OMARI: I— OMARI: Nah, he ain’t. He ain’t just ques- NYA: No, let’s not forget it.
… tionin’ me about Native Son. He ain’t just OMARI: No, LET’S. I knew you wouldn’t…
… talkin’ text. He sayin’ somethin’ else. Some- … …I knew this was futile.
You wanna hear? Or you even care. thing beneath the question and it’s like I’m NYA: This is your third strike, Omari. The
NYA: Don’t do that, Omari. the only one who can hear it. worst one. You put your hands on your
OMARI: Do what? NYA: That doesn’t give you the right to lose teacher! You attacked your teacher.
NYA: Ask if I care. Put this on me. Deflect. your cool, Omari. That doesn’t give you the OMARI: I pushed him! I didn’t attack.
That is not going to float right now. right to be the animal. NYA: You think they care about your
OMARI: I’m not trying to deflect, Ma. I’m OMARI: But it’s all he seein’. Won’t leave me semantics?!
askin’ if you care to hear or if you prefer not alone. I said, Mr. don’t pick on me today. I OMARI: I pushed him and he fell against
to hear cuz maybe the details won’t make it ain’t got nothin’ to offer. But he won’t leave the board.
better right now. me alone. NYA: You slammed your teacher against
NYA: I always care. NYA: A teacher is supposed to engage you. the board.
OMARI: I’m not saying you don’t. Even when you don’t feel like it. That’s the OMARI: Now THAT’S some semantics.
NYA: Then yes. Tell me the gory details. I teacher’s job. I’ve told you that repeatedly. NYA: And it’s been recorded by students. No
want to know what devil got into your hands OMARI: We not talking a teacher doin’ their one is going to see anything different. Do
and made you attack your teacher. job. We talkin’ provoking. We talkin’ agitat- you understand that?
OMARI: You don’t understand, Ma. ing. We talkin’ singling me out. You know OMARI: I tried to get up and leave. He wouldn’t
NYA: Make me. that, Ma? On a day where…Where I don’t let me leave. That’s unreasonable. I told him
OMARI: I wanna start by sayin’ I’m not jus- FEEL like being singled out. We talkin’ I wasn’t in the mood. I told him!
tifying. There is no way to—I’m not justi- respecting my space. NYA: They don’t care about your mood!
fying. But everything I say now is just the NYA: You’re in SCHOOL. You’re not in OMARI: Exactly! They don’t care, Ma. They
how. You know? The how and why. But not your personal space. You’re in a collective don’t care what space and place I’m in. I know
the excuse. I’m not making none of those no space. A space to engage and be questioned me. I know how to learn. I know when I’m
more. I’m done. and be stimulated and be provoked. That is good and when I’m not. And I said it. I’m
NYA: So give me the how. education, Omari. not good. I said that.
OMARI: I couldn’t see straight. That’s what OMARI: I’m talkin’ biased education, Ma. I’m NYA: Then you ask for permission to be
I know for sure. It’s like I went blind for a talkin’ disrespect. He knows. He knows he excused. You say you need to speak to your
second. No insight and no outer. I was just wasn’t… … …he was sayin’ somethin’. Ask- counselor, immediately. You don’t just walk
trying to get through the week. ing me. In that room. In that way. In front of out in the middle of a lesson as if you are some
NYA: What blinded you, Omari? all those students. On THAT issue. He was sort of king or god that no one can tame.
OMARI: He kept questioning me. In class. sayin’ somethin’ directly to me. I know he was. OMARI: Tame?
NYA: Questioning you how? NYA: Even IF he was, even if…what are you NYA: Damnit, Omari.
OMARI: Didn’t feel like being bothered. I telling me? You telling me that makes you OMARI: Tame.
said that to him, Ma. I told him I wasn’t in attack him? You’re trying to draw some per- NYA: Do not do that. Do not twist and remodel
the mood for being questioned. pendicular line here? I’m not seeing where this convo and change the meaning.
NYA: Omari, he’s your teacher. He has the these things cross. OMARI: I’m not changing anything. I’m
right— OMARI: I told him to back off. repeating. Verbatim.
OMARI: Nah…he don’t. Not how he was doin’ NYA: You said that already. Pause. Nya takes a breath.
it. Been doin’ it a lot and I was sick of it. We OMARI: I told him, Ma. And he kept digging. NYA: So why are you here?
get to discussing the reading. Native Son— NYA: And then??? OMARI: Hunh?
Richard Wright. And he start asking ques- OMARI: And then he says, Mr. Joseph, your NYA: What’d you come back here for? Had
tions. What made Bigger Thomas kill that perspective is mandatory here. Tell the class nowhere else to go?
woman? What were his social limitations? your perspective, or take a zero for the day. OMARI: I just…

DECEMBER17 AMERICANTHEATRE 53
 PLAYSCRIPT Dominique Morisseau Pipeline

… … …I don’t have the answer. She is in a classroom, checking papers. It is lunch

… OMARI (Shaky): What you want me to say? period. Over the PA system:
Ain’t wanna leave that way. NYA: They could press charges. PA: Ms. Joseph, please call the main office.
NYA: So what is this? This is our goodbye? OMARI: What you want me to say? You have a visitor. Thank you.
You coming to tell me goodbye? NYA: They could take you from me and I Nya rises from her desk and goes to a wall phone.
OMARI: Ma… wouldn’t be able to stop them. She dials and listens.
NYA: You dropping out? Leaving school? A OMARI: I don’t know what you want me to NYA: Hey Hasselhoff, it’s Joseph. Yes. He is?
school your father and I vetted for you. A say. I just… … …I don’t know what. Really? (Pause) Um, shit. Shoot. Yes, send
school that was supposed to— NYA: I want instructions. him up. Thanks.
OMARI: Give me all these opportunities. OMARI: … Nya takes a breath. She fixes her hair. Puts on
Make me a better man than I’d be if I just NYA: I will take a bullet for you. I will suffo- some blush. Goes for a cigarette. Bad idea. Puts
went to your school. If I just stayed here. In cate the sun for you. I will steal the sky for pack away and sprays air freshener.
our neighborhood. (Pause) Don’t give me his you. I will blind Moses for you. I will strip A knock on the classroom door.
speech, Ma. Those is his words, not yours. the wind and the rain and the forests for you. Nya takes another revealing breath.
NYA: Your father thought it’d be best— Before I let you die or rot or lose your free- NYA: Okay. Now. Go.
OMARI: Better than staying with him. “Omari dom, I will surrender my own. You know Come in!
just ain’t survivin’ in this neighborhood. He’s that? I would die if you could be born again Xavier enters. He is handsome and well groomed.
too smart and could be something, Nya. But without this oppressive rage. I just…I don’t XAVIER: Hi, Nya.
not in this hood. Let’s send him upstate and know what to do. I need you to tell me. Tell NYA: Hi, Xavier.
out of both of our hair.” That’s what my father me how to save you. Tell me how to give you XAVIER: Sorry to stop by during school
thought. That’s where his money is going. another life. Tell me what will take this fail- hours. They said this was your free period.
NYA: Don’t DO that. Don’t speak for him ure away. Because I have listened to every- I didn’t get your message until this morn-
or me or us. Don’t interpret. You’re lost in one else. I’m ready to listen to you. Guide ing. Lost my phone yesterday. Had a million
translation. me. Give me the answer. Just give it to me clients to track down. Marketing accounts
OMARI: I’m not lost. and I’ll do it. I swear. went crazy—
NYA: You are. Shit. You are. OMARI (With heartbreak): Ma… NYA: It’s fine.
Beat. Omari walks over to his mother for the … XAVIER: I just took a half day. Left the firm
first time. He takes the cigarette out of her hands. … and came straight down here.
OMARI: Gonna kill yourself with these. I don’t… NYA: Okay.
For a moment, Nya doesn’t move. She allows her … XAVIER: Can we talk about what’s going on?
son to dictate the space. He cleans up her drink. Puts Omari falls silent. NYA: Yeah. Sure. Okay.
the lid on a half-finished bottle of wine. Nya stares into his face. Touching him gently. It is XAVIER: He hit a teacher?
OMARI: You celebrating my disappearance? too much for him. He pushes her away. NYA: Pushed him. Into the smartboard.
NYA: Omari— OMARI: I’m hungry. Gonna cook us some- XAVIER: Jesus. Why?
OMARI: Not funny. I know. But it’s like… thin’. You gonna eat? NYA: I’m not sure. He was upset. Said he was
like a homegoing or somethin’ up in here. He walks toward the kitchen. having a bad day.
I ain’t die, Ma. NYA: I’m going to sit here. And wait for XAVIER: A bad day?
A gasp. Nya exhales against her will. Talk of his instructions. NYA: Said he felt harassed by the teacher.
death can do that to her. He notices. Omari turns away, and goes to the kitchen. More than the other students. He felt tar-
OMARI: Sorry. Nya clings to sanity. geted and wasn’t in the mood for any of it.
Pause. XAVIER: That’s no excuse.
OMARI: We should, um…get food or some- 7. NYA: I told him that.
thin’, right? I’m starved and… … … Images of school-day disruption: Kids walking XAVIER: Where is he now?
… through metal detectors, teenagers smoking weed NYA: Home. I think—home.
… on the steps of school or somewhere nearby, teen XAVIER: You think?
I’ll cook us some pasta. couples up against a wall kissing, in a stairwell NYA: I—yes. I left him at home. He’s sus-
Nya walks over to Omari. She grabs his face. getting intimate, etc. pended. They’re going to deliberate and
NYA: What did I do? Tell me. Omari’s voice as the images run. He is in unde- decide whether to expel him. And also press
OMARI: Ma, don’t do this. fined space. charges. That’s where we are. Letting it cool
NYA: I need to know. If I hurt you…if I mis- OMARI: We real cool. We over the weekend. I’m hoping some of the
stepped. If I forgot too much or didn’t know Left school. We steam will blow off and they’ll be more lenient.
enough… Lurk late. We XAVIER: This is his third strike.
OMARI: Ma, this ain’t you. Strike straight… NYA: Yes it is.
NYA: I have tried…like religiously…like an We…We…We…We… XAVIER: They’re not going to be lenient
ongoing prayer…to protect you. I have tried Strike with a third strike.
to buffer you from it all. Tried to flee you Strike NYA: I’m just hoping. He says he didn’t
and free you. Follow instructions from your Strike slam the teacher. But on the video, I think
father. From other mothers. From my own Strike it looks like—
mother. From whomever. And I still don’t… Lights cross-fade from Omari to Nya. XAVIER: Video?

54 AMERICANTHEATRE DECEMBER1 7
NYA: Yes. XAVIER: I meant THE son. we have to—and I try but you… … …it’s like
XAVIER: There’s video? NYA: Okay. we’re running two different governments.
NYA: The kids. Phones. Pause. NYA: I thought it was co-parenting.
XAVIER: How did they… … …I thought XAVIER: I’m thinking… … …I’m thinking XAVIER: Sometimes it’s time—and I’m not
phones weren’t even allowed… he needs a change. A big one. saying you don’t do your part—but I’m the
NYA: They’re not. NYA: Yes. man. Not you. And he needs a firmer hand.
XAVIER: Then how in the hell… … …They’re XAVIER: Maybe he should come stay with me. NYA: That isn’t / blame?
gonna use that against him. NYA: You and Sheila. XAVIER: Maybe not always have a choice in
NYA: He wanted to run away. He tried to XAVIER: Sheila still has her own place. That’s… the matter. Maybe he’s had too many damn
run away. that’s not what it’ll be like. choices and he doesn’t know how to fol-
XAVIER: This all happen yesterday??? NYA: I don’t know about that. low a leader. He thinks it’s him. But where
NYA: I tried to call. XAVIER: It’s important. Maybe they won’t is he going?
XAVIER: My phone. Shit. press charges if we…if we tell them that we NYA: And you don’t think a firm hand will
NYA: Yeah. are changing his circumstances. I’ll pull him make him suffocate? You think I’m too loose
XAVIER: I give you Sheila’s number? out of Fernbrook. He’ll get enrolled in the so he’s slipping down the pipe? Which grip
NYA: I don’t recall… school in my neighborhood. is best? Please show me. Please. Show. Me.
XAVIER: I’ll give you her number. Next time NYA: Or he can go here. XAVIER: You always have to do this.
you can’t reach me, call her. She’ll reach me. XAVIER: Here? NYA: Do what?
NYA (Not a pleasant thought): Yeah. Okay. NYA: Yes here. Where I teach. And have been XAVIER: Make this personal. Make parenting
XAVIER: Damn, O. How did it get to this? doing so for over a decade. our son a personal battle between you and I.
How did he get this far over the line? XAVIER: Not here. NYA: It IS between you and ME. (She inten-
NYA: I don’t know. NYA: There are some good teachers here. tionally corrects him) We made him.
XAVIER: He say anything to you? Give you XAVIER: The school is failing, Nya. XAVIER: It’s not you and I. (Defying her cor-
any answers? NYA: Was failing. Not anymore. They divided rection) It’s you and him. Me and him. Us
Nya laughs to herself. Incredulous at this line of us into four different sections. We’ve been and him. That’s the deal. You and I without
questioning. doing much better. And that’s about student him does not exist.
XAVIER: Something funny? accountability and the school board. That’s NYA: Ouch.
NYA: You think he gives me answers? not the staff here. Not all of us. There’re XAVIER: No. Not ouch. You don’t get to
XAVIER: I’m just asking. He ought to. He’s some good teachers here. He knows them. say ouch.
supposed to answer to you. He’s your son. He’ll be comfortable. He’ll be here and NYA: I don’t get to be hurt? I can’t feel pain?
NYA: He’s your son too. under my watch. XAVIER: No. You don’t get to do that.
XAVIER: I know that, I— (Taken aback) What… XAVIER: You can’t watch him all day. NYA: Okay. That’s fair. It was partly my fault—
what is that? NYA: Neither can you. XAVIER: I’m not looking backwards.
NYA: What’s what? XAVIER: But I can give him a better NYA: I’m not asking you to.
XAVIER: That just felt like…a little bit of… surrounding. XAVIER: You broke this. Not me. YOU.
accusation… NYA: Better. (Pause. Catches breath) I’m moving on and
NYA: I didn’t do that. XAVIER: Don’t do that. I’m not making judg- that doesn’t make me a bad father.
XAVIER: No??? ments. Let’s not make it about that. Let’s NYA: I didn’t say it did.
NYA: No. keep it about O. XAVIER: You also didn’t tell our son who the
XAVIER: Okay. NYA: It is about O. real villain is. And he thinks it’s me.
NYA: Okay. XAVIER: You do what you can. I know that. I’m NYA: I never let him think you’re the enemy.
XAVIER: Because we said we wouldn’t do that. not suggesting you’ve done anything wrong. XAVIER: He thinks it anyway. And now he
NYA: We’re not. But you resist…you and him…the offers I won’t hardly listen to me…won’t respect
XAVIER: Co-parenting. make. I’m not— You can be proud. You can me anymore.
NYA: Yes exactly. ride or die for this hood all you want. That’s NYA: That’s not on me. I never…I never bad-
XAVIER: Not a blame game. good for you. But that’s not good for our son. talk you. If you’re upset with me because of…
NYA: No one’s blaming. NYA: And you know? You know what’s best? That’s fine. That’s fair. But you and him and
XAVIER: Okay. Sending him away to Fernbrook…it didn’t whatever is broken—that is not me.
NYA: It just sounded like… stop the rage. You can’t solve him from the XAVIER: Then let him come. Let him live
XAVIER: Yeah? outside in. Don’t you see that? with me. Give me that authority.
NYA: You said, “He’s your son.” XAVIER: What does that mean? Outside in? NYA: I haven’t any to give you. You think
XAVIER: Yeah but mine wasn’t— I’m working with the parts I get, Nya. That’s forcing him is going to save him, then do it.
NYA: It just sounded like. all I get access to. He doesn’t let me in. That You want to dictate, try it. You’ll have a great
XAVIER: I’m talking about him. You’re his doesn’t mean I’m not still active. I work from rebellion on your hands.
mother. I’m saying he’s the son. He should whatever way he dictates. He always dictates. XAVIER: I can handle rebellion. It’s you.
be giving answers when he’s questioned. But he’s the son. You’re the barricade. When you resist, he
He’s the son. NYA: Our son. can sniff it. And then I become the enemy.
NYA: Yes. Right okay. But you said he’s my XAVIER: And he can’t always be the dictator. A moment of surrender.
son. Not THE son. It can’t always be a democracy. Sometimes NYA: I won’t resist.

DECEMBER17 AMERICANTHEATRE 55
 PLAYSCRIPT Dominique Morisseau Pipeline

XAVIER: I’ll talk to the school. On Monday. She’ll tell you. It’s bullshit. DUN: We were on the phone with Bekim.
First thing. That’s what I’ll do. Pull him out NYA: You two all right? He was complaining about a kid who was
of school and ask them not to press charges. LAURIE: Do I look all right? high in his room.
NYA: Maybe they’ll listen. DUN: Laurie’s fifth period. DeShawn and LAURIE: And so what the hell is the protocol
XAVIER: And then he comes with me. That’s Hakeem got in a fight. for busy signal? What am I supposed to do?
the deal. That’s how we fix this. You agree? NYA: No, again? DUN: Stand aside til’ we get there.
Nya falls silent. Takes a breath. Deep and painful. LAURIE: You hear that? NYA: That doesn’t always work.
NYA: How did we get here? DUN: What do you want me to do about that? LAURIE: Of course it doesn’t work. It’s stu-
XAVIER: Ask yourself. LAURIE: She said “again.” That means these pid. I’ve got a room full of kids to protect.
NYA (A painful admission): I miss you. two have an ongoing beef. It’s like the fuck- And myself. I mean what kind of adult just
Xavier feels her words, but he is effective in his ing Crips and the Bloods in my classroom. stands there and watches her students fight?
masking. These kids are at war. You want me to watch What am I supposed to—he was pounding
XAVIER: I can’t— them drop grenades and pretend that shit his head into the floor like this. (She demon-
NYA: I know. isn’t lethal??? strates) Like he would’ve killed him. Hakeem’s
Pause. DUN: I didn’t make up the policy. head was seconds away from splitting open.
XAVIER: Do we have a deal? LAURIE: Not protect the civilians??? And DeShawn was seeing red. I screamed
NYA: He will hate us both. NYA: Did Colden give you shit about it? for him to stop but you think he could hear
XAVIER: Or maybe just you this time. LAURIE: Did Colden give me shit about it? me? He couldn’t hear the voice of God in
NYA: If it saves his life, I’ll be the devil. Understatement of the year. that moment!
XAVIER: Okay. NYA: I can speak to him. Those two have DUN: I’m just saying what the protocol is.
NYA: But we wait. Until Monday. Until I been at it in my room too. I’m not saying you were wrong.
can tell him myself. Until I can effectively DUN: That’s not going to help. LAURIE: Fuck right and fuck wrong. There
release him. NYA: Why’s it not going to help? is only necessary.
XAVIER: You call me before you do. I want to LAURIE: Because they’re throwing me to the NYA: What’d Colden say?
be on my way. I want him to have nowhere fucking wolves / that’s why. LAURIE: He’s talking to the parents. The
to disappear to. You understand? DUN: Because you broke protocol. superintendent. Now all of a sudden every-
NYA: This is a deal. LAURIE: There is no protocol in war. There body who doesn’t know shit about what it’s
She holds out her hands. Xavier looks at them. is: Stop Two People From Killing Each like to teach in a classroom is going to be my
Hesitates. Other. That is all. judge and jury.
He finally takes them. It is not really a handshake. DUN: The broom? NYA: Is there something I can do to help?
It is the closest thing to holding each other. LAURIE: What is it I should’ve chosen instead? You need me to talk to DeShawn’s mother?
An elongated moment. Time disappears. Please tell me how an over-the-hill chick is LAURIE: She’s the least of my problems.
Then finally…a school bell sounds. supposed to stop two tall teenage boys with Fucking kids and their camera phones. Is
Xavier pulls away from Nya. weightlifting muscles and zero body fat from everything a gotdamn YouTube sensation
He walks out of the classroom. pounding each other into oblivion without with them?!
Nya gasps audibly. some type of force? Please tell me! NYA: They didn’t.
The fluorescent lights dance wickedly. NYA: What happened with the broom? LAURIE: How the hell do they get past secu-
Shift. LAURIE: I hit DeShawn! rity with those phones? Tell me that.
DUN: She hit DeShawn with a broom. DUN: It’s back to me again?
8. LAURIE: To save his fucking life. I mean—is LAURIE: It’s a simple fucking question.
Laurie and Dun in the teachers’ lounge. that even a factor? Does that even matter? DUN: Some stuff gets past. It ain’t the airport.
LAURIE: Don’t tell me that shit. That’s bullshit. DUN: I’m not saying it do or it don’t. I’m just LAURIE: Could’ve fooled me. What’s a metal
DUN: You think it’s my fault? telling her what went down. detector for if it doesn’t catch all the metal?
LAURIE: Don’t tell me you came as fast as NYA: Shit Laurie. DUN: Cell phones ain’t the metal we’re most
you could. LAURIE: Shit Laurie? interested in. What can I say.
DUN: Laurie, that wasn’t me. Okay? I did NYA: Colden knows? LAURIE: Don’t say shit. To me. Ever again.
what I could. DUN: DeShawn ran out of the room and NYA: Laurie.
LAURIE: I CALLED. I fucking called and straight to the office. DUN: You keep thinking this is me? You act
you didn’t answer. What do you want me NYA: Gotdamn. like I did something wrong. What did I do
to wait forever? Let them bust their heads DUN: It’s gonna be a tough one. That broom— wrong? Was I not able to answer your call
wide open? On my watch? I’m supposed to LAURIE: Was all I had. fast enough? When it’s only eight of us work-
stand back and watch? NYA: What happened to security? ing four different schools in one building,
DUN: You didn’t call right away. DUN: We came— did I not reach you fast enough? Did I not
LAURIE: Fuck you. LAURIE: —Late run from one hallway to another at a speed
DUN: You didn’t. That’s what the kids are DUN: —As fast as we could. that makes you satisfied? I’m so sorry. I’m so
saying. LAURIE: He had him on the floor. Banging sorry that while I’m sitting up here, barely
LAURIE: Fuck what the kids are saying! his head into the floor. Desks were scatter- breaking minimum wage and dealing with
Nya enters the teachers’ lounge. ing all over the place. Kids were screaming. the attitudes of a hundred teens and teach-
LAURIE: Ask any teacher over here. Ask Nya. I called security and the damn line was busy. ers per minute, that I’m not a suitable ser-
56 AMERICANTHEATRE DECEMBER1 7
vant to your beck and call. I do what I fuck- OMARI: We… … … …have we met?
ing can. I’m not Cox—sitting up here stealing NYA: Sacri— DUN: I’m Dun. Work with her over at the
computers from the school lab or Bender— OMARI: We… school. Security.
flirting with teenage girls. I’m Dun. I’m the NYA: Sac— Xavier looks at Dun. A flash of dawning compre-
last of the good guys wearing a uniform and A moment. hension. Recognition. This is him.
greeting kids with a smile when they enter DUN: Nya? XAVIER: Ah. I see.
the building. I try to make a sunny day out OMARI: Weeee… DUN: You with the family?
of shit. And I answer every call I get at the LAURIE: Nya, you okay? XAVIER: Omari’s my son, yes. I’m…family.
security desk. I do my job, damnit. And this Nya’s breathing becomes rapid and short. DUN: Oh okay.
time, Laurie, maybe the job got the better of She is the only one who sees Omari. XAVIER: I’m Nya’s husband. Ex.
you. That shit happens. But don’t go taking NYA: I… Dun’s dawning comprehension. Tension.
me down with you. You get in trouble, you OMARI: Di—di—di— DUN: Ohhhh.
get early retirement. You wanna know what NYA: No. …
I’d get????—I do my damn job. OMARI: Di—di—di— …
LAURIE: Fuck this job! I gave my life to this NYA: Don’t. Okay.
place. My entire fucking life! LAURIE: You okay? XAVIER: Okay.
Laurie falls into a chair from exhaustion and NYA: I… (She gasps audibly) I… DUN: …
defeat. A beat. DUN: Nya??? …
DUN: Look, I’m sorry— LAURIE: She’s not breathing. …
NYA: It’s not just Laurie. Those boys fight. DUN: Nya??? XAVIER: …
All the time. I’ve tried everything. Talking NYA: I can’t—breathe— …
to their parents. Splitting them up on oppo- OMARI: We die soon. …
site sides of the room. I’ve tried to stop it, GASP. Nya looks at Omari in terror. She is the DUN: I should let ya’ll…
myself. We’ve all tried. only one who can see him. Clutches her heart. …
DUN: You can’t stop it. LAURIE: Get the nurse. Now. I’ll go down to the cafeteria. You want any-
NYA: Don’t tell me that. Dun rushes out of the lounge. thing, O?
DUN: How you gonna stop it if you don’t Nya collapses. OMARI: I’m / good.
know the source? XAVIER: I got him.
NYA: I’m supposed to know a million and 9. DUN: …
one sources? A hospital. Omari and Dun sit. …
DUN: Gotta know what they carry in them. The PA system in this space sounds strangely like Okay. Cool.
The resentment and the rage…there’s a leg- the school PA. The tension remains as Dun exits.
acy in that. Source of those fights is older PA: Paging Dr. Roberts at extension 278. Pag- Omari and Xavier. Defiance and silence.
than the bricks of this building but nobody’s ing Dr. Roberts at extension 278. Thank you. XAVIER: You all right?
doing they research. You got a bunch of par- Dun looks at Omari, who taps his foot nervously. OMARI: I’m not the one in the hospital.
ents. Teachers. Politicians. Whoever. Try- DUN: You want something? XAVIER: I know that. I just meant…with
ing to understand these kids. But how you OMARI: I’m good. all this.
gonna understand a book you only skimming? DUN: Sorry about…this. OMARI: Stupid question.
NYA: I’ve got to understand! My son’s life OMARI: Yeah. XAVIER: All right. (Pause) A panic disorder.
depends on it. I’ve fucking tried everything! DUN: She’ll be okay though. They said. OMARI: That’s the hypothesis. Runnin’ tests
LAURIE: Nya, you’re doing what you can. OMARI: Yeah. now and shit. Make sure it ain’t deeper.
You put him in a good school. DUN: She’s tough. That’s what I always dig XAVIER: Thank God she’s okay.
NYA: It doesn’t matter where I send him to about her. OMARI: Thank God.
school, nothing’s working! He’s being sucked OMARI: Yeah. XAVIER: Might be a long wait. The tests.
into this void and I keep trying to hold onto Pause. OMARI: I’ll wait. You don’t have to.
him, but the force is so strong…so magnif- Xavier enters. He stops when he sees Omari and XAVIER: That’s not what I meant. I just
icent …that I have…to… Dun. Omari looks at him, suddenly tense. wanted to prepare you for…these tests take
Lights up on Omari in undefined space. OMARI (Under his breath): Pssssh. This nigga. time and…
OMARI: Strike strike strike Xavier approaches Omari cautiously. OMARI: She’ll be straight. I got her.
NYA: Hold on firm or I’ll lose my grip XAVIER: Hey. How’s she holding up? Any XAVIER: I know you do.
OMARI: Sing sin sin sin word? Pause.
NYA: Hang on tight or he’ll start to slip OMARI (Defiant): Psssssh. XAVIER: She and I wanted to talk with you.
OMARI: Thin gin gin gin DUN: Just holding her for observation. OMARI: Words ain’t the medicine right now.
NYA: Sacrifice something mightier than Xavier looks at Dun with surprise. Who is this guy? XAVIER: Still. I wanted to talk with you. Find
my soul XAVIER: I’m sorry? out about this acting-out at school.
OMARI: Jazz Juuuuuuuuuune… DUN: Overnight. They thought it was a heart OMARI: I already plead my case. Gave her
NYA: Sacrifice something mighty attack but now they say it looks like a panic the whole one-two. I’m sure she told you.
OMARI: Weeeee… disorder. Just gonna monitor her overnight. XAVIER: I want to hear it from you.
NYA: Sacrifice XAVIER: I’m sorry. I didn’t realize you were… OMARI: For what?

DECEMBER17 AMERICANTHEATRE 57
 PLAYSCRIPT Dominique Morisseau Pipeline

XAVIER: Because I deserve to know. you’re the kid and that’s the law of the land. mated. Like the bank sends it to me. And I
OMARI: Deserve? Why’s that? Cuz you pay Like it or hate it. Screw it. I’m here. wanted to know if you even mail it. Like is
for the education? Am I wasting your money? OMARI: You ain’t here. You there. I’m here. it even personal. Or it is just robotic routine
You want me to pay you back? We miles apart. responsibility. And I’m thinking—who does
XAVIER: Yeah maybe. Smart-ass. Maybe. XAVIER: You’re gonna respect me. Don’t have that??? What kinda nigga just sends checks
OMARI: I’ll write you a check. You can cash to like me. Don’t have to enjoy my company. and calls that fatherhood? And we talkin’
it when hell freezes over. But the respect is nonnegotiable. Bigger Thomas this and single mother that
Xavier grabs Omari by the collar. OMARI: Or what? and limitations and animals exploding and I
XAVIER: Don’t talk to me like that! I’m your XAVIER: You really wanna ask me that? say DO NOT FUCKING CALL ON ME
father, / asshole. OMARI: I want to know what if I say no. I DO NOT HAVE THE ANSWER. And
OMARI: Fuck off me! Xavier looks at Omari like the Devil. He moves he keep pushing me and pushing me. And I
Omari flinches and jerks out of Xavier’s grasp. in close to him. Threateningly. stand up to walk out cuz I feel the room get-
A moment. They look around the hallway. Peo- XAVIER: Sometimes I want to grab you by tin’ smaller and I’m becoming Bigger Thomas
ple are everywhere. the throat and choke the shit out of you. even when I hate this part of the story. And
Xavier is a little ashamed. How does it get this Omari stares at his father. Somewhat afraid. teacher get in my way. Tells me to sit down.
far so fast? Somewhat heartbroken. Tears threaten his eyes. Grabs me. Like you grab my arm when you
Omari fumes. Hurt and angry. They sit in silence. OMARI: What’s stopping you? try to play Daddy all of a sudden. When it’s
XAVIER: Shit. XAVIER: Witnesses. convenient for you. And I pushed that bitch.
Pause. Pause. The men are still. Again, people are every- Threw his ass offa me and into the fuckin’
XAVIER: We gotta work this out. where. smartboard. Threw him like he was the mon-
OMARI: I’m working my stuff out. OMARI: I was sittin’ in class, listenin’ to the key hanging on my back. Like he was YOU.
XAVIER: Nah. With me. We gotta work this lesson. Was gonna be a silent observer. Was And I’m wishing it was you. I’m wishing I
out together. talkin’ about Native Son. I had woke up that could throw him again. Pound his fuckin’
OMARI: You quit together a long time ago. day thinkin’ ’bout you. Hadn’t seen or talked face into the ground. Rip that check up and
XAVIER: I never quit you. to you in weeks but the check came on time. say VOID. But it wasn’t you. It wasn’t you
OMARI: You quit her. You quit me. I woke up with that check in my hands and I I pushed. It was my teacher. But I wished
XAVIER: I didn’t… … …You don’t know what had a feeling about that. Like I didn’t know it was you. I wished it was you so bad I had
you’re talking about. There’s adult business what to say but I wanted to say somethin’ to to pee. Almost fuckin’ peed on myself right
you aren’t privy to. You need to keep the issues you. I called you but you didn’t answer. So there in front of the class. And I don’t know
separate. You’re my son. I never quit you. I went to class. Sittin’ there listening to the if that is hate or love or somethin’ else I was
OMARI: She was creepin’. That’s the adult class talk about Native Son. About the charac- feelin’. But I know why Bigger Thomas did
business. That’s the grown-up stuff I can’t ter Bigger Thomas and who he was and what what he did and I hate that I know. But you
handle? led him to his act of rage. Teacher kept saying I hate more. You I hate most of all.
XAVIER: Never mind. Let this go. he was “unleashed.” I kept thinking—animal. Xavier is silent as Omari glares at him. Xavier
OMARI: And you were mean. Cold. Making And we discussin’ this Bigger Thomas. Dis- tries to breathe. Can’t. He tries to speak.
her feel like shit every day. You was never cussin’ his circumstances and what he comes XAVIER: You know, Son, I…
happy living over here and that wasn’t her from and this and that. Single mother. That But the words fail him. He tries to breathe again.
fault. Mine neither. got brought up. One of the students said he Like someone is stepping on his chest.
XAVIER: I took good care of you. Never only had his mother. And I’m sittin’ there Mountains and walls and miles between them.
missed a payment. Never missed a birthday listening to this. On a day where I woke up Xavier is defeated.
or first day of school. You never went hungry. with you on my mind and tried to call you. XAVIER: When the doctor comes out…
Always had a shirt on your back. Money in Tell you I had this feelin’ about getting these …
your pocket. Didn’t I do that? Is that my sin? checks. Tell you I hadn’t seen you in a min- …
OMARI: You know most of these dudes want ute. Wonder where you been. But you didn’t Text me.
their ol’ man in their life so bad. They think answer your phone. So I sat there. Listenin’ …
it’s the missing link to the equation. The last to single mother poor angry animal Bigger …
ingredient to understanding their manhood. Thomas. And when the teacher come askin’ I’m stepping out. Need air.
But what’s having you in flesh? Flesh ain’t me what I thought…I felt like he was sayin’ …
shit. It ain’t no different than sperm. It’s clin- somethin’ to me. Like he knew I was sitting …
ical. It does the biology. It don’t do the soul. there, thinkin’ about you, feelin’ single mother And off.
XAVIER: The hell you want me to do? You poor angry animal Bigger Thomas–like. And I’m going to step off. Need air from all of this.
want me to cry and hold you in my arms and he start sayin’ Mr. Joseph—what made Big- You don’t want me in your life. And I don’t…
rock you to sleep? That’s not my gig. I’m still ger Thomas do that to that girl? What were …
your father. I’m still here. his social limitations? What made the ani- …
OMARI: Titles is overrated. mal in him explode? And he lookin’ at me. I don’t know what to do about that. I wish I…
XAVIER: You know what? I don’t give a shit But also through me. And I say, I don’t want …
if you like me or want to go to the gotdamn to talk about it. Cuz all I’m thinking about is But I don’t even know what else to do.
basketball court with me or pin a fuckin’ you. And how I haven’t talked to you in weeks Xavier walks away. Dumbfounded.
tail on my ass—I’m here. I’m the father and but I get this check on time. Like it’s auto- Omari sits in the hospital chair. And waits.

58 AMERICANTHEATRE DECEMBER1 7
 10. carve out enough space. He doesn’t belong NYA: And I am here before you to say that I
Jasmine in undefined space. Maybe her dorm. anywhere. There is no block. No school. No take the blame. It is me. Send me away. Pun-
JASMINE: I was gonna leave you this long- land he can travel without being under sus- ish me. But my son???… … …Not my son.
ass message, but I’m not sure you’ll even get picion and doubt. No emotion he can carry PA (Student’s voice): We die soon.
it. And if you do, I’m not sure you’ll even without being silenced or disciplined. He NYA: Not my son.
respond back. I think we’re over and it kills needed more space to be. Lights isolate Omari and Nya. They are now look-
me in a thousand ways. Not because I’ll never Student’s voice continues underneath. Slow and ing at each other.
find love again. I know we’re young. I know not necessarily spoken where marked. Just trail- OMARI: I been thinkin’, Ma. About instruc-
I’m cute and I’ll find somebody else. It’s a ing as background music. tions. About what you said.
lot of fish in the swimming pool or what- PA (Student voice): We real cool. We NYA: Yes.
ever. But I’m just sad that this is the end of OMARI: I messed up, Ma. I think there’s OMARI: I wrote ’em down.
an era and it’s over before it really began. I something wrong with me and I ain’t sure NYA: Instructions.
don’t think I got enough chances to fuck up what it is… OMARI: Yeah.
and get mad at you and yell and then make PA (Student voice): We left school. We NYA: For me?
up. I hate that. Every relationship deserves NYA: I want my son to belong. OMARI: For everybody.
to go through all the colors of the rainbow. OMARI: I want to turn myself in, Ma. NYA: Like a list?
That’s how you know you had something. PA (Student voice): We lurk late. We OMARI: Like a scripture.
Deep. Ugly. Beautiful. Whatever. We didn’t OMARI: I wanna take responsibility. I wanna NYA: Oh. Wow. I see.
get to give all our shit a try. But for the little make you stop smoking and drinking and OMARI: You wanna hear?
parts we did have…For the parts that made crying. NYA: I’m dying to hear.
me want to cut a chick’s face for you turnin’ NYA (To Omari): No. That’s not your— (To the As Omari speaks, images of young men in hand-
your head in her direction, I want to thank board) I want my son to have another chance. cuffs, walking to school with book bags, school
you. For giving me that space. For making Be born again with a slate clean of the bag- fights begin to blend into a wash of colors. Gwen-
me feel room enough to be jealous and mad gage. Our baggage. MY baggage. dolen Brook’s poem overwrites the images. It is a
and whatever. Because I also got to smack PA (Student voice): We strike straight. We collage of chaos.
you and get it out and then that made me OMARI: I want to be better. Omari’s words overwrite them all.
free enough to tell you that I love you. I just NYA: Sometimes I look into his face and I OMARI: 1—Hear me out.
really really love you. And I hate you for leav- get stuck staring. As if I can see what he will 1—Let me chill sometimes.
ing me and breaking it off and not knowing become and the longer I look, the longer 3—Know when to back off.
yourself. I really hate you for being so beau- his life will be. I want him to find space for 4—Know when to keep pushing.
tiful and confused. But I’m really glad you his anger. Where it isn’t quelled, but put to 5—Let me have some space.
aren’t coming back here anymore. Because good use. Where he isn’t a product of bias 6—Don’t assume me for the worst.
this place can’t hold you. This place can’t or low expectation. I want him to know love. 7—Show up. In person.
hold none of us. For reals. (Beat) And I guess OMARI: They see me as a monster. 8—Be fair.
I kinda did leave you a long-ass message any- NYA: To feel love from all places. 9—Forgive that I’m not perfect.
way. But fuck. You know? OMARI: Online, I’m a monster. The peo- 10—
Lights cross-fade to images of school fights. Kids ple made comments. Say I should be kicked NYA: …
going through metal detectors. Police handcuffing out. Locked up. What’s 10?
teenage boys. Stopping and frisking. NYA: He is a man. Young. Still growing. Not OMARI: …
PA: Today, Students, we have a special poem fully anything. I don’t have a 10 yet. I’m still working on it.
being read by our Oratory Speech Winner— OMARI: Like I’m an animal. …
Carolina Valdez. Go ahead, Carolina. PA (Student’s voice): We sing sin. We …
A voice clears its throat. NYA: He’s not an animal. …
PA (Student): “We Real Cool,” by Gwendo- OMARI: Like they expect I would be. These good so far?
lyn Brooks. NYA: You’re not an animal. No more than the NYA: …
Lights up on Nya in undefined space. rest of us are. And if so, we built the jungle. …
NYA: I almost lost it. I almost broke down OMARI: I disappoint you. …
and stayed somewhere in the between. Ner- NYA: I disappoint you. Yeah.
vous breakdown is what most folks call it. PA (Student’s voice): We thin gin. We …
Doctors call it panic disorder. I call it my OMARI: I can do better, Ma. …
moment of revelation. NYA: So if you please, let me take him from …
Omari in Undefined Space. here. Let me find him a different school. So far…
OMARI: I’m sorry, Ma. Reset and try again. But please don’t…don’t Nya touches Omari. She grabs his face and looks
NYA: All my son’s life, I thought there was press charges. Don’t lock away what hopes into it deeply. Studies him for all the answers.
space for him. A little opportunity and edu- he can become. This rage is not his sin. It The moment lasts a lifetime.
cation and he’d be complete. But, members was never his sin.
of the board, I’m here to tell you that I mis- PA (Student’s voice): We jazz June. We END OF PLAY
calculated. Omari’s actions aren’t his bag NYA: It is his inheritance.
alone. They’re mine. All of ours. We didn’t OMARI: I know I can do better.

DECEMBER17 AMERICANTHEATRE 59
Karen Pittman and Namir Smallwood in Pipeline at Lincoln Center Theater, 2017 (Jeremy Daniel).
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