SHIPMENT DAY AUDITION Scenes
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MONOLOGUE – OLIVIA ROBELLO
“I used to dream. I used to think I was special. I’m Olivia Robello. I was born twenty-one years ago, on June 6, 1916 in Kalaheo, Koloa, Kaua’i, in the Territory of Hawai’i.
Until two and a half years ago, during the first week of October, 1934, my life was ordinary and uneventful. That was when Mama and I took the bus downtown to see our family doctor. ”Why do I have to go”, I asked her.
She said it was only a routine visit, that we kids can’t stay healthy without the doctor’s help.
”But I am healthy.”
She said she knew that but everybody needs to visit their doctor at least once a year whether they like it or not.
When Doctor Wayson came in he looked at a blemish midway up my right arm and asked me to roll my sleeve up a little higher. While he was examining it he asked how long I’d had it. I told him about two weeks. Mother said we’d been coating it with red dirt from our front yard to stop the itching.
That’s when he unwrapped a brand new razor blade and said,
“I’m just going to take a little sample for the laboratory to check out.”
I asked him what for and he said it was just a precaution, that there were some things floating around right now but that it was probably nothing to worry about. That’s when he began taking scrapings from around that spot on my arm. He went deeper into the flesh than I ever thought he would. I tried really hard not to scream, and I didn’t, but I almost passed out.
The sawbones bandaged me up and told my mother that I was in excellent health for an eighteen year old. Not to worry about a thing. Probably just a mosquito bite gone bad. We returned home and reported to my father that all was well.
That night I had a scary dream. I was inside an old wooden building with a six foot fence all around it. The people inside had distorted faces with expressions of fear and loneliness I never can forget. A few were young. Most were middle-aged and old. Some were clearly sick with bumps and swelling and swollen ears. Except for that they looked just like my neighbors in Kalihi, just like me.
Something about that dream seemed so real, so depressing. It was like a premonition of a place that could only bring great sadness with it. My mother was in my dream, standing in an area where people from the outside world were visiting those trapped inside.
When my mother woke me and I told her of my dream she told me not to think about it anymore.
“Why should you be going to a place like that, Olivia? The doctor hasn’t even called us back. You’re perfectly fine.”
Soon we forgot all about it and went on with our lives.
Less than a week later a man showed up at our house.
“Is this the home of Olivia Robello?”
“Who wants to know?”, my father asked.
The man opened his briefcase and handed him a piece of paper.
“By order of the Board of Health I’m here to take her away right now.”
“Take me where?”
“To Kalihi Hospital.”
“But why do I have to go there?”
“Because you have leprosy.”
All my hopes for a normal life ended in that moment. My whole world had suddenly changed. Even if I lived another thousand years, nothing would ever be the same for me again.”
SCENE – OLIVIA’S MOTHER & OLIVIA
OLIVIA – Welcome to the dog house. So, tell me what you brought me.
MOTHER – Don’t you want to be surprised?
OLIVIA – No. I want to know right now, so I can make sure they don’t steal anything.
MOTHER – Well, I brought pao duce and malasadas.
OLIVIA – Yummy.
MOTHER – And some of your favorite cone sushi and glass noodles from Kalihi Deli.
OLIVIA – And Ginger ahi?
MOTHER – Ginger ahi, too. Oh, and half a coconut cake. Your father ate the other half last night.
OLIVIA – How is Daddy?
MOTHER – He wanted to come with me but… they wouldn’t let him off work.
OLIVIA’S mood turns dark again.
OLIVIA – You don’t need to lie for him you know.
MOTHER – Olivia!
OLIVIA turns away.
OLIVIA – And Mary and Eva?
MOTHER – Your sisters said to say hello.
OLIVIA – And Manuel, Jr.?
MOTHER – Your brother’s still in school, Olivia. He can’t just…
OLIVIA hides her face in her hands.
MOTHER – They all love you. They’re just a little scared.
OLIVIA – And you, Mama?
OLIVIA’S MOTHER checks to see if anyone is watching, puts her hand up to the chain link screen. OLIVIA looks around before clinging to her mother’s fingers.
SCENE – OLIVIA’S MOTHER (Mary Fernandez) & FATHER (Manuel Robello)
MARY – They say that we can visit Olivia on weekends if we want.
MANUEL wishes he could think of something to say but he can’t.
MARY – That’s all you have to say, nothing?
MANUEL – I’m not sure going there is a good idea right now.
MARY – When will it be, Manuel?
MANUEL – Maybe later on, when all the talk dies down.
MARY – Which may be never.
MANUEL – I say we wait and see.
MARY – That’s our girl you’re talking about.
MANUEL – You think I don’t know that? What do you want me to do?
MARY – Don’t you worry about it. I’m going over by myself.
OLIVIA’S MOTHER picks up the medium-sized box wrapped in old newspaper.
MANUEL – MARY!
SCENE – OLIVIA’S FATHER & OLIVIA
MUSIC up as OLIVIA’S FATHER sits on the porch, in the setting sun, playing “ROSINHA DOS LIMÕES”, a traditional Portuguese fado on his accordion. OLIVIA listens to this beautiful, nostalgic music of her father’s homeland before stepping out of the shadows.
OLIVIA – You play so pretty, Papa.
OLIVIA’S FATHER lowers his accordion, stunned to see her. OLIVIA moves closer.
OLIVIA – Home all alone?
FATHER – They’re at the fish market.
OLIVIA – You didn’t want to go?
FATHER – You know me and fish. OLIVIA – Eat no touch?
FATHER – Right. Come over here girl.
OLIVIA steps forward, hesitates getting too close. MANUEL’s arms open up, take hold of her.
FATHER – You’re too thin.
OLIVIA – That’s what Momma said.
FATHER – She’s right.
OLIVIA – I run faster that way.
FATHER – Who taught you how, ah? In the cane fields, back on Kauai.
OLIVIA looks up, waiting for something from him, anything. He holds her face in his rough hands.
FATHER – …I should’ve come to see you there. I was wrong not to. I’m sorry.
OLIVIA tries, like him, to keep from choking up.
OLIVIA – Well, I’m here now, and that’s what matters. How come you’re not at work?
OLIVIA’S FATHER hesitates.
FATHER – …I got laid off.
OLIVIA – Again? What for?
He doesn’t want to say but she knows why.
FATHER – So, the hospital let you go?
It’s OLIVIA’S turn not to answer.
FATHER – Let me guess. You let yourself out.
She nods. He smiles.
FATHER – They can’t keep a real Portagee locked up for long.
Their levity soon subsides.
OLIVIA – …I got a letter.
FATHER – From who?
OLIVIA – The Board of Health.
FATHER – About?
OLIVIA – They’re sending me away.
FATHER – When?
OLIVIA – Tomorrow.
FATHER – To where?
OLIVIA’S silence makes him fear the worst.
OLIVIA – …Yes, Papa. Over there.
There’s nothing OLIVIA’S FATHER can say and so he doesn’t.
OLIVIA walks around the new place.
OLIVIA – Mama gave me this address. Looks pretty nice.
FATHER – Nobody asks any questions here. I have a little garden on the side, not as big as in Kalihi but…
OLIVIA – With cabbages?
OLIVIA’S FATHER nods.
OLIVIA – Tomatoes?
FATHER – Green onions, too. Come see.
OLIVIA – They’re probably looking for me.
FATHER – They know where we live now?
OLIVIA – Trust me, the Board of Health knows everything.
FATHER – You should at least wait and see Mama and your brother and sisters. They’ll be back pretty soon.
OLIVIA – I better not. You can all come see me off in the morning.
FATHER – Where?
OLIVIA – Pier nine, at seven, the S.S. Hawaii.
FATHER – …That’s a cattle boat, Olivia.
OLIVIA – So I’ve heard.
She slowly moves away from him, turns back.
OLIVIA – You’ll be there?
OLIVIA’S FATHER nods.
SCENE – LES TEXEIRA & OLIVIA # 1 of 2
OLIVIA and her sister MARY are startled when LES TEXEIRA enters, stands behind them.
LES – Some fire, huh. Biggest I’ve seen all year.
OLIVIA looks blankly at him, unimpressed.
OLIVIA – You just watch ‘em or do you start ‘em, too?
LES busts out laughing.
LES – You’re funny. And I know funny.
LES puts out his hand.
LES – I’m Les. Les Texeira.
OLIVIA ignores him.
OLIVIA – What’s that short for, Leslie?
LES – Lester.
OLIVIA – Even worse.
LES – I’ve never had any complaints.
OLIVIA – You think a lot of yourself, don’t you?
LES – I’d like to think more about you.
OLIVIA shakes her head in disbelief.
LES – What’s your name anyway?
OLIVIA – Anyway.
LES – No, really.
OLIVIA – Agnes.
MARY digs her elbow into OLIVIA.
OLIVIA – Henrietta.
MARY digs again.
LES – Whatever your name is you look like a Kalihi girl.
OLIVIA – And what does a Kalihi girl look like, in your humble opinion?
LES – Cute, just like you.
OLIVIA joins arms with MARY and walks away.
LES – Hey! Where do you live?
OLIVIA – He never got my address. Not for a while at least.
SCENE – LES TEXEIRA & OLIVIA # 2 of 2
STREETLIGHTS UP as LES enters. He and OLIVIA walk, the lively SOUNDS of Downtown Honolulu around them.
LES – Your father doesn’t like me much.
OLIVIA – What are you kidding me? He loves you, Les.
LES – It’s you he loves. I’m just a spider come to trap his perfect Catholic girl.
OLIVIA – But you’re a Catholic spider so what’s the problem?
LES – Not very funny.
OLIVIA – Sorry. I wanted so badly to listen in on your talk with Papa but mother wouldn’t let me. Tell me what he said to you.
LES – Is that an order?
OLIVIA – Come on, I have to know.
LES – He asked a LOT of questions.
OLIVIA – Like?
LES – Like how did I plan on supporting you.
OLIVIA – You told him about the engineering scholarship you got to U.H.?
LES – I told him.
OLIVIA – And how the Army’s going to pay for the rest of your tuition and give you a stipend?
LES – All that.
OLIVIA – And?
LES – He said it didn’t sound like much of a steady paycheck to him and he sure wasn’t interested in taking on another boarder.
LES looks suspiciously at OLIVIA.
LES – Tell me you didn’t say we’d be living in his house.
OLIVIA – He knows I was just kidding about that.
LES – Olivia!
OLIVIA – What?
LES – He wasn’t kidding.
OLIVIA – So?
LES – You have to stop trying to run everything. You can get into trouble that way.
OLIVIA – Tell me about it. But sometimes that’s the only way to get things going. You have to just jump in and do them yourself.
LES – And what am I supposed to do while you’re conquering the world?
OLIVIA – I am too willful, aren’t I?
LES – I knew that when I met you.
OLIVIA – Then you’ve only yourself to blame.
LES stops walking. OLIVIA stops walking, too, looks at him.
OLIVIA – I’m only joking with you, Les. I love it when you understand me, when you talk softly to me.
LES – Like when?
OLIVIA – Like just now.
LES – I did?
OLIVIA pulls LES out of the glow of the street lights. LES puts his arms around OLIVIA.
OLIVIA – I like it when you hold me. I’ve never let a boy get a grip on me before. It’s different with you. With you it’s kind of special.
Their eyes meet, their faces moving closer together. OLIVIA holds him tight.
LES – You think this is all it takes to make me want to marry you?
OLIVIA – I’m not gonna make you do anything you don’t want to.
LES – You just want somebody to go to the movies with, right?
OLIVIA – Of course. And give me rides in your car.
SCENE – CARL, OLIVIA, HANK, LINDA, JOE
OLIVIA – A few minutes into the first movie Linda and Betty and I start hearing men talking nearby.
THREE SAILORS in uniform enter, sit in the row behind. After a few moments two of them lean forward, do their best to distract the girls from what’s taking place on screen.
CARL – Hey there pretty ladies.
OLIVIA – At first we don’t answer. This only makes him and his buddy more aggressive.
HANK – Come on, darlin’. We’re USN. We don’t bite.
CARL – Yeah, not unless you bite us first?
OLIVIA – They aren’t nasty or anything but I’m kinda worried anyway.
HANK – We’re on shore leave from Pearl Harbor. You gals wanna go out somewheres after the movie and have some ice cream or something?
OLIVIA – I try to focus on Shirley Temple but it isn’t easy. The next thing I know two of them have moved up into our row and wedged themselves between Linda and Betty, start chatting them up.
HANK (to Linda) – Pleased to meet you…
LINDA – Linda.
HANK – Name’s Hank, short for Henry, but you better never call me that.
LINDA laughs, likes HANK right away. The other sailor zeroes in on BETTY.
CARL – And what do they call you little senorita?
BETTY turns away without answering.
CARL – Oh, I get it, you’re the shy, quiet Oriental type.
OLIVIA doesn’t like the look of these two.
OLIVIA – Before I know it these sailors are touching my girlfriends in the dark, and I mean all over. Linda seems to be enjoying it. Betty, not really. I wonder what my parents would think of finding me in such a situation. I’m glad there’s just the two of them.
OLIVIA looks around for an usher, sees a third sailor still sitting in the row behind. He leans forward.
JOE – Sorry about them. You know how it is, sailors on leave and all.
OLIVIA doesn’t answer.
JOE – I’ve never been to Haywy before. It sure is a beautiful place.
OLIVIA – You’re right. It is.
JOE – You from here?
OLIVIA – Not from Honolulu. I’m from another island. You ever heard of Kaua’i?
JOE – Cow-ee-ee?
OLIVIA – Close enough.
THEATER PATRON (OFFSTAGE) – Shuussh!
JOE – Sorry.
He sits next to OLIVIA, lowers his voice.
JOE – Name’s Joe.
OLIVIA – …Olivia.
JOE – Nice to meet you.
OLIVIA – He seems more considerate than his friends, polite even. What about you? Where you from?
JOE – Arizona, the place with the battleship named after it. But that’s not the ship I’m on. I’m on a destroyer tender named the USS Dobbin.
SCENE – JOE & OLIVIA
OLIVIA – I look out to sea, towards Moloka’i. There’s no seeing it in the dark tonight but I know it’s there, not so far away.
JOE comes up behind her.
JOE – Ayeaaalohaaaa!
OLIVIA – You’re saying it wrong on purpose now.
JOE – I’m not, honest. I just can’t talk Hayawayan that’s all.
OLIVIA – I’m glad Joe isn’t like the other two. It feels like God is watching over me tonight, knowing what’s going to happen to me tomorrow.
OLIVIA shivers. JOE puts his coat over her shoulders.
JOE – Better?
OLIVIA – Yes. Mahalo.
JOE – Huh?
OLIVIA – It means thank you in Hawaiian.
JOE – Mahaylo to you, too.
OLIVIA laughs. JOE sits next to her but not too close.
OLIVIA – I think you’re a pretty nice guy, Joe, for a sailor.
JOE – And I think you’re a pretty nice girl, Olivia, for a Hayawayan.
OLIVIA – I’m not Hawaiian. I’m Portuguese.
JOE – Well, if you’re one of them Portogays you must be okay. You want a beer?
OLIVIA – No thanks.
JOE – You can have the first sip of mine if that’s all you want.
OLIVIA – I am kinda thirsty, but… that’s okay.
JOE looks a bit confused, takes a sip himself.
JOE – So, you must be what, eighteen or nineteen?
OLIVIA – Me? I just turned twenty-one.
JOE – Really? You look younger than that.
OLIVIA – I’m not sure if I should thank you or get mad.
JOE – You work or go to school or something?
OLIVIA – …Or something.
JOE – Okay, the lady has her secrets.
OLIVIA – Just a few.
SCENE – BETTY & OLIVIA
LIGHTS UP as a young local girl, BETTY, enters.
BETTY – How you?
OLIVIA sits up.
OLIVIA – My heart was pounding as this girl approached my bed.
BETTY – My name’s Betty. What’s yours?
OLIVIA – I was as scared of her as I was of all the other patients….Olivia.
BETTY – Aloha, Olivia. You like some cracked seed? My mother went send me some.
BETTY holds the package out to OLIVIA.
OLIVIA – I was afraid to touch anything that a patient had touched but I didn’t want to hurt her feelings.
OLIVIA takes one.
OLIVIA – Mahalo.
BETTY – Don’t mention it.
OLIVIA – I couldn’t believe how good it tasted. But it wasn’t just the sweetness of the candied plum. It was this small kindness Betty’d shown me. It seemed to really make her happy.
How long have you been here, Betty?
BETTY – Two years. But I’m getting paroled soon, at least that’s what the doctas tell me.
OLIVIA – Paroled?
BETTY – That’s what they call it when your tests come up clean and you can go back to society.
OLIVIA – I see.
BETTY – My symptoms are almost all cleared up so I can get my old job back down Waikiki.
OLIVIA – What did you do there?
BETTY – Show da tourists all da sights. You know, da beach, Diamond Head, da Royal Hawaiian and Moana hotels, Kapiolani Park.
OLIVIA – That sounds like fun.
BETTY – Pays good, too. Sixty cents one hour. Maybe I can get you one job after you get out.
OLIVIA – That would be great. Thanks, Betty.
BETTY leaves the package of cracked seed on the small table by Olivia’s bed.
BETTY – You can have the rest. I get plenny. Well, see you ‘round.
SCENE – LINDA & BETTY & OLIVIA # 1 of 2
LIGHTS UP on BETTY and another young patient, LINDA.
OLIVIA – I’ve made a few friends in the shop and in the wards. People try to be nice to me, like Betty and her friend Linda. They know how a newcomer feels.
LINDA – Aloha.
OLIVIA – Aloha.
LINDA – I’m Linda. I’ve seen you around.
OLIVIA – I’ve seen you, too.
BETTY – Linda’s a lotta fun, Olivia. You’ll see.
LINDA – This place isn’t so bad if you know how things work.
BETTY – And Linda knows.
OLIVIA – Is that so?
BETTY – She’s been here the longest of all of us Honolulu girls.
OLIVIA – How long is that?
LINDA – Five years.
It sounds like an eternity to OLIVIA.
OLIVIA – I thought Kalihi Hospital was only supposed to be a processing center.
BETTY – That’s just what they tell you to keep you calm.
OLIVIA looks nervous.
LINDA – No pilikia, Olivia. You stick with us. You’ll see. Being in here is not without its rewards.
LINDA hands Olivia several long sticks of red and black licorice. LINDA and BETTY exit.
SCENE – LINDA & BETTY & OLIVIA # 2 of 2
OLIVIA – Kalaupapa. The very name strikes terror throughout Hawai’i. It sounds like the end of the world, the very end.
PROJECTION of BLACK & WHITE FOOTAGE OF THE CLIFFS AND PENINSULA AT KALAUPAPA.
OLIVIA – I’m really scared. I can’t stop wondering what my life will be like over there. I’ve seen the old pictures, heard all the gossip. Soon enough I guess I’ll know for sure.
LINDA enters, approaches OLIVIA.
LINDA – The only trail topside is guarded twenty four seven by deputy sheriffs with guns.
BETTY – And they know how for use them. My cousin lives topside. She told me they shot a patient dead just last month, climbing up the pali. Never did find his body. Prob’ly fed him to the pigs.
OLIVIA – What if I stayed off the trail?
LINDA – Those cliffs are way too steep to climb.
BETTY – Over three thousand feet.
OLIVIA – How about a boat? Couldn’t I get out on one of those?
LINDA – Nobody’s gonna take you on board, the way you are. And where would you go anyway? They’d just hunt you down and bring you right back.
BETTY – And no try for swim. Even if you were built like Duke Kahanamoku, between the currents in the channel and da sharks you’d be gone.
OLIVIA – I think to myself that might be better.
LINDA – Believe it, girl. Once you get sent to Kalaupapa you stay in Kalaupapa.
SCENE – OLIVIA & LINDA & HANK
CROSSFADE to EXT. NIGHT as the girls and the sailors walk.
OLIVIA – On the way to their car Linda, a real smart ass, says…
LINDA – Hey, I know! Let’s drive out to Diamond Head Lookout. It’s really pretty there and if the moon is bright enough you can look out and see Moloka’i and maybe even Maui sometimes.
LINDA reacts when she sees their car.
LINDA – Oooo, a convertible.
LINDA and HANK and the others arrange themselves in the car. HANK turns on the car radio. The wind blows everybody’s hair as they drive.
OLIVIA – Pretty soon we pull up to the Diamond Head lookout.
LINDA – This where people come to watch the submarine races, Hank.
HANK – The what?
LINDA – You know, the submarine races.
OLIVIA – Hank has no clue what she’s talking about until he sees the dozens of parked cars with dozens of couples wrapped around each other.
HANK grins at LINDA.
HANK – I think I see one them damn submarines cruisin’ around out there right now!
LINDA – Hey, I know. Let’s walk down to the beach by the lighthouse. There’s hardly ever anybody around at night so we can drink all that Primo beer you boys got iced-up in the trunk.
HANK – Sounds like a great plan to me.
SCENE – PHOTOGRAPHER (doubled by CARL) & OLIVIA
OLIVIA – After that I was taken to a photographic studio where everyone had to have their picture taken.
A PHOTOGRAPHER enters with a bulky view camera on a tripod.
OLIVIA – The photographer was in a hurry to get out of there, I could tell.
PHOTOGRAPHER – Put your arms across your chest and hold them there.
OLIVIA doesn’t feel much like cooperating.
PHOTOGRAPHER – Come on, let’s see those hands.
OLIVIA is very slow to raise her hands to her chest.
PHOTOGRAPHER – Higher. Higher.
OLIVIA raises her hands as high as she’s willing to go.
PHOTOGRAPHER – Now spread ’em out.
OLIVIA – What’s that?
PHOTOGRAPHER – The fingers. The fingers. They wanna see the fingers.
OLIVIA – Why do I have to do that?
PHOTOGRAPHER – I don’t make the rules, Missy. All I do is what the Department of Health tells me to do. Been doing it for years. Never took a bad picture yet.
OLIVIA – I bet that’s a matter of opinion.
The PHOTOGRAPHER looks very displeased with her, checks his watch.
PHOTOGRAPHER – People are waiting.
OLIVIA slowly spreads her fingers.
PHOTOGRAPHER – Thatta girl. Smile for me now.
OLIVIA – The last thing I was about to do was smile for this fool.
PHOTOGRAPHER – I know you can do it. Let’s go, give us a nice big smile.
OLIVIA breaks her pose, moves towards him.
OLIVIA – HEY!
The PHOTOGRAPHER backs away.
OLIVIA – When you’re done snapping pictures you get to pack up your camera. You get to go home to your family. I can’t leave this place. I have to stay here. So tell me, mister, what do I have to smile about?
The PHOTOGRAPHER waits for her to resume her pose. She does, slowly and with great reluctance. He snaps the FLASH picture, exits.
SCENE – CARL & OLIVIA & JOE & LINDA & BETTY & HANK
CARL rushes in behind BETTY.
CARL (to JOE) – You know what they’ve got, don’t you?
OLIVIA – It sounds strange to Joe, the way Carl puts it, but I know exactly what that sailor means. I know what’s coming next.
CARL – These girls got fucking leprosy, man!
OLIVIA – It feels like the sand under my feet is caving in and all the devils from the underworld are laughing themselves sick.
JOE turns slowly to OLIVIA.
JOE – Is this the truth, Olivia?
OLIVIA – Yes, but you don’t have to worry. We’re not infectious.
JOE doesn’t look convinced. HANK and LINDA re-renter from upstage.
OLIVIA – When Linda and Hank show up they ask what the hell is going on. Carl tells them. And that, as they say, is that.
JOE – Please get in the back seat, the three of you.
CARL – The hell they are! Leave these fucking bitches here to rot. I don’t want them in the goddamn car with us.
OLIVIA – The thought of being stranded out here at Diamond Head, miles away from the hospital, will only add to the trouble we’re already in for being AWOL.
JOE – We can’t just leave them here. No way. We’re dropping them off where they say.
CARL – You and Hank drop ’em off if you like. I’m catching a cab back to fucking Pearl!
JOE grabs CARL by the collar, shoves him really hard.
JOE – You’ll stick with us or I’ll bash your head in for ya.
OLIVIA – By this time Hank is having nothing more to do with Linda, who looks at Betty with more hatred than I’ve ever seen one woman show another.
LINDA – You had to mess it up for all of us, didn’t you, Betty, our last little bit of fun.
OLIVIA puts her arm around BETTY, who’s really coming apart.
BETTY – He was trying for take my clothes off, Olivia. I told him no but he no listen. After a while da only way I know how for keep his hands off me was for tell him da truth about us. I sorry. I so sorry.
CARL reaches back and tries to punch BETTY in her face. JOE grabs him just in time. The three men sit in front, the girls in back. The SOUND of the CHEVY tearing up the steep lane and onto Diamond Head Road.
OLIVIA – Not a word is spoken between us on the long trip back through Waikiki. The drive seems to go on forever as we head down the Ala Wai Canal to McCully Street to Kapiolani to Dillingham Boulevard then past the Dole Pineapple Factory.
CARL pounds one beer after another.
CARL – What if my fucking pecker falls off?
HANK – Did she touch you there?
CARL – No, but she held my hand and then I, well, I touched myself.
LINDA laughs. CARL is not amused.
“SHIPMENT DAY”a play byLorenzo DeStefano
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