PENSACOLA
A Play by David-Matthew Barnes
David-Matthew Barnes
159 London Drive
McDonough, GA 30253
678.432.2355 (H)
678.467.9135 (C)
[email protected]
Nominated for six Elly Awards, including
Best Original Script, Best Leading Actress and Best Supporting Actress
by the Sacramento Area Regional Theatre Alliance
AUDIENCES AND CRITICS ARE RAVING ABOUT PENSACOLA!
"Pensacola depicts the lives of an eclectic collection of Southerners in the tradition of Tennessee
Williams... humorous and witty dialogue...the authentic portrayal of human nature...the poignant
depiction of people reacting to crushed dreams..."
The California Aggie
"Pensacola, both touching and humorous, explores the lives of four eclectic Southern women as
they discover their personal strengths and destinies...think Steel Magnolias by way of Tennessee
Williams, with a detour through the mind of Elmore Leonard..."
Charlotte Theatre Magazine
"Local yokels who haven't stepped foot out of P'cola may not have heard the buzz surrounding
this eclectic collection of Southerners in the tradition of Tennessee Williams. Or, that the play,
written by up-and-coming phenom David-Matthew Barnes, is set in our sleepy 'lil community.
Performed in theatres across the country, Pensacola chronicles the lives of four Steel Magnoliatype women and has become one of the prolific writer's signature pieces."
Sam Baltrusis, Independent News
"It is to the playwright's credit that Pensacola doesn't become melodramatic...recent events add
poignancy to its message about the randomness of violence and the fragility of love..."
The Sacramento Bee
"The reaction of some of the women to an immigrant as a love interest gives Pensacola a social
slant that the all-white small-town characters of Steel Magnolias lacked...Barnes has engineered
some amusing dialogue...and also works in an abrupt shock at the end, which transforms all that
came before..."
The Sacramento News & Review
"Pensacola is the Steel Magnolias of the 21st Century. Robert Harling and David-Matthew Barnes
have created idyllic lives for all classes of Southern women."
Dianne Parker
"I was there for the premiere of Pensacola and have seen this show every time it makes its way to
Sacramento. This is one that gets 5 stars.”
John Stanolpolis
“Pensacola is a wonderful gift to anyone who likes to be dazzled. The most intense and clever
work that Barnes has delivered in his career. You will forget to breathe.”
Charlotte Nielsen, Cie Cie Entertainment
"David-Matthew Barnes' award-winning plays speak with emotional fervor. His characters refuse
to be ignored, driving at the heart of the human condition with their intense desire and longing."
Jackie Corley, Editor, Word Riot Press
Pensacola by David‐Matthew Barnes 1
PENSACOLA
by David-Matthew Barnes
Cast of Characters
TRUDY BAKER, early 40’s. A single mother. A cocktail waitress. A true survivor.
CHARLOTTE NORWOOD, 26. A young mother and a young wife. Harbors feelings of selfblame. Lacks self-esteem.
MARIE BAKER, 18. A young woman in search of her destiny. A dreamer. A romantic.
Irresistible.
BERNIECE COLE, early 40’s. Flamboyant and starved for attention. Has an affinity for younger
men. A gossip. A real friend.
STEVEN NORWOOD, 27. A young husband and a young father. Feels like a failure. Sexy.
Intense.
MIGUEL CASTILLO, 22. Romantic. Sensual. Poetic. Cuban. A poet.
Place
The modest living room of a ranch-style home in Pensacola, Florida.
Time
Summer. Present Year.
Music
Suggested songs for productions of Pensacola are God’s Been Good To Me as recorded by Crystal
Lewis, Rock The Casbah as recorded by Solar Twins (dance scene in Act One, Scene Three),
Deliver Me as recorded by Sarah Brightman (the end of Act Two, Scene Five), That’s What I Like
About You as recorded by Trisha Yearwood and most importantly Pensacola as recorded by Joan
Osborne. Production companies are encouraged to license the use of these songs to maintain the
playwright’s original vision.
The Story
Already hailed as "a new classic for Southern women", this touching and humorous story explores
the lives of four Southern women. Trudy has been a single mother since her husband went to
work one day and never came home. Since then, she has tried to find a cure for her loneliness
while working as a cocktail waitress at The Tide Pool. Charlotte is married and has two daughters
of her own. Recently, Charlotte suspects that her husband has been unfaithful and that their
marriage is falling apart. Marie, a recent high school graduate, has had a difficult time deciding
on the right career for herself and ponders over going to secretary school, competing for the title
of Miss Florida or becoming the U.S. Ambassador to Cuba. Always armed with the best gossip in
town, Trudy’s best friend Berniece decides to end her affair with a younger man when a lifealtering tragedy hits home. Pensacola is a powerful and heart-warming celebration of family, love
and strength.
Pensacola by David‐Matthew Barnes 2
Acknowledgements
Pensacola received a world premiere** at The Thistle Dew Theatre in Sacramento. The play
opened on May 3, 1996. The original cast was as follows:
TRUDY BAKER……………………..Debra Otto
CHARLOTTE NORWOOD….Kristine Fairfield
MARIE BAKER……………………..Michelle Leigh Thompson*
BERNIECE COLE…………………Bonnie Blakely
STEVEN NORWOOD…………..James Williams
MIGUEL CASTILLO……………..Robert Taylor
*Elly Award Nominee, Best Leading Actress
**Elly Award Nominations, Best Original Script, Best Original Production
Pensacola received a Chicago premiere at The Wing and Groove Theatre Company. The play
opened on July 7, 2000. This production was produced by Nick A. Moreno and presented by The
Dorothy Nickle Performing Arts Company. The Chicago cast was as follows:
TRUDY BAKER………………………Sondra Sellars
CHARLOTTE NORWOOD…..Robyn Paris
MARIE BAKER………………………Natalie Oravec
BERNIECE COLE………………….Marjorie Hicks
STEVEN NORWOOD………......Jamie Kelsey
MIGUEL CASTILLO……………..Alberto Laurenzana
Pensacola has received subsequent productions in Sacramento, Charlotte, and Atlanta.
An excerpt from the script appears in Audition Arsenal For Women In Their 20's: 101
Monologues by Type, 2 Minutes & Under edited by Janet Milstein and published by Smith and
Kraus.
Pensacola is dedicated to Jill McMahon and Susan Madden,
and to the wonderful people of Pensacola, Florida.
And in loving memory of Shirley Torres
whose contributions to this play were immeasurable.
Pensacola by David‐Matthew Barnes 3
PENSACOLA
by David-Matthew Barnes
ACT ONE
Scene One
(At rise, we are in the modest living room of a middle class home belonging to Trudy
Baker. In the center of the room is a tattered sofa, covered with an afghan and pillows.
Nearby is a lamp table that has a telephone, framed photographs and an address book on
it. Also in the room, there is a magazine rack that is overflowing with current
housekeeping and gossip magazines, a coffee table and a black and white television set.
On the television set is a healthy houseplant. The décor in the house is dated, but not
tacky. Trudy has taken a lot of care decorating her home. Trudy lives here with her
youngest daughter, Marie. Her other daughter, Charlotte, visits regularly.
The front door is located stage left. Stage right there are two doors. The down stage door
leads to and from the kitchen. The upstage door leads to and from the back of their
house, where the bedrooms are.
When the play begins, it is a Saturday afternoon in the middle of June. TRUDY is home
alone, sitting on the sofa and playing a game of solitaire. She is wearing her bathrobe, her
hair is in curlers and she is surrounded by a sense of newfound peace. A few moments
pass before CHARLOTTE makes her entrance from the front door. She is dressed in
shorts, a white blouse and sandals. Her hair is the color of honey and it is pulled up into
a ponytail. With her she carries a laundry basket of clothes, a bottle of liquid detergent,
her purse and car keys. As usual, Charlotte looks worn out and pensive.)
CHARLOTTE. Hi, Mama.
TRUDY. Charlotte, I didn’t know you were coming by.
CHARLOTTE. I hope you don’t mind if I do some wash. Steven still hasn’t fixed that damn
washing machine.
TRUDY. I got my towels on the line right now, but they’ll be done soon. (She puts away her
cards.)
Where are the kids?
CHARLOTTE. I took them over to Missy’s. She’s watching them for me this afternoon. Lord
knows I needed a break from those children. Probably not as much as they needed a break from
me. I don’t know what is, Mama, but lately – I have been my own worst company.
Pensacola by David‐Matthew Barnes 4
TRUDY. What about a Dr. Pepper? You want me to get you a Dr. Pepper?
CHARLOTTE. (Suddenly a little girl again:) With ice cream?
TRUDY. Of course, sugar. Anything for my eldest.
CHARLOTTE. I haven’t eaten all day.
TRUDY. Well, a lil’ bit won’t hurt us.
CHARLOTTE. A lil' bit goes a long way, Mama. Look at me. I'm a house.
TRUDY. Hush up and go put your wash in the machine. Do you want to stay for supper? I'm
teaching Marie how to cook tonight.
CHARLOTTE. I reckon that’ll make front-page news.
TRUDY. Well, would you like to stay?
CHARLOTTE. I don’t know how late Steven has to stay at the gas station.
TRUDY. Well, do you need his permission to have supper with your family?
CHARLOTTE. No, Mama, I do not need his permission.
TRUDY. Then stay for supper.
CHARLOTTE. I will discuss it with my husband when he gets off of work.
TRUDY. Since when did Steven start working on Saturdays?
CHARLOTTE. Around the same time he stopped coming home at night. (She exits to the back
of their house.)
TRUDY. Charlotte, the things you say. (She exits to the kitchen.)
(MARIE enters from the front door. In her arms she carries a manual typewriter. She
puts it down on the coffee table and then steps back to stare at it. She smiles, bursting
with pride. CHARLOTTE and TRUDY enter the room, from different doors.)
MARIE. (She clears her throat, then:) I have made a decision. (Beat.) I'm going to be a secretary.
Pensacola by David‐Matthew Barnes 5
TRUDY. A secretary?
CHARLOTTE. What for?
TRUDY. Honey, I thought you wanted to be a pilot.
MARIE. Not anymore, Mama.
CHARLOTTE. That was last week, remember?
MARIE. Monday morning I'm signing up for a summer session at that secretary school that
Katie Morgan went to.
CHARLOTTE. Katie Morgan just got arrested, Marie.
MARIE. I know. Because she dropped out. She lost hope. But not me.
TRUDY. You want to be a secretary? (Beat.) Explain to me why.
MARIE. Because I like the sound. I'm going to grow my nails out so I can make that click-clickclick noise when I type. You’ll see. I just have to learn how to type this weekend in case they
give me a typing test or something.
TRUDY. Don’t they teach you how to type at this school?
MARIE. You would think so, wouldn’t you?
CHARLOTTE. Of course they’ll teach her how to type, but what difference does it make? She’ll
just change her mind again within a week.
MARIE. Charlotte, that is not true.
CHARLOTTE. No? Well, last month you wanted to be a beautician and you fried Regina
Madison’s hair so bad, you can see her skull. And before that you cut up all of Mama’s curtains
because you wanted to be a fashion designer.
MARIE. I couldn’t speak French.
CHARLOTTE. Then we had that phase when you thought you wanted to be a firefighter. And
until the day I die, I won't forget about the morning when Mama called me up and thought you
were dead on the front lawn because you wanted to be a stuntwoman.
Pensacola by David‐Matthew Barnes 6
MARIE. But I didn’t break any bones so I don’t see what your point is. (Beat.) Why are you
over here?
CHARLOTTE. I’m doing my wash. My machine is broken.
MARIE. I thought Steven was going to fix it.
CHARLOTTE. So did I.
TRUDY. (To Marie:) Did you pick up the chicken on the way home?
MARIE. What chicken?
TRUDY. Marie, I told you this morning that I was going to teach you how to cook tonight.
MARIE. I forgot.
TRUDY. You forgot?
MARIE. I was so excited about school, Mama, that the chicken just slipped my mind. Why
doesn’t Charlotte cook since she’s over here being ugly and bothering everybody?
CHARLOTTE. Because that is why I moved out.
MARIE. You don’t cook for Steven?
CHARLOTTE. Of course I do.
MARIE. Then what’s the difference?
CHARLOTTE. Look, I’m not even staying for supper.
TRUDY. Of course you are.
CHARLOTTE. Mama, I have things to do. Besides, I don't know when Steven's getting off work.
And I'm in no mood for Marie’s cooking.
MARIE. (Reaching for the phone:) I'm going to call Papa John’s Pizza.
TRUDY. (Taking the phone away from Marie:) You are not. You're going to learn how to fry a
chicken.
Pensacola by David‐Matthew Barnes 7
MARIE. We must be the only family in the entire country that doesn't have a computer. I m
stuck in a time warp in this place.
CHARLOTTE. Marie, they have computers at school. I swear to you they do.
MARIE. Well, I hope so. If you aren’t going to stay for supper, at least help me find the pizza
coupons. I saw them around here somewhere. (She makes this sexy without realizing it:) I think I
want a pepperoni pizza with extra cheese and thick crust, with plenty of Parmesan and hot
peppers.
CHARLOTTE. Oh, merciful God. (She exits to the back of their house.)
MARIE. What’s she so miserable about?
TRUDY. It ain’t easy being married, Marie. She’s got a lot on her mind. I think her and Steven
are having some problems.
MARIE. Well, I hope they work it out. (She starts to look around the living room for typing
paper.)
Mama, do we have any typing paper?
TRUDY. Why would we, Marie? We don't even have a computer.
MARIE. Well, other people do. We live like cave women here. Might as well put a bone in my
hair.
TRUDY. Berniece is coming by in a bit. I’ll ask her if I can borrow some.
MARIE. When she gets here, I'm hiding in my room.
TRUDY. For goodness sake, why?
MARIE. Because I’ve been telling you for years, Mama, that woman is crazy.
TRUDY. That’s nonsense. She's my dearest friend.
MARIE. I know. But she's still crazy. (Beat.) And she's nasty, too.
TRUDY. Well, since you forgot the chicken, what do you suppose we should have for supper?
MARIE. (Going for the phone:) I told you. I'm ordering a pizza.
Pensacola by David‐Matthew Barnes 8
TRUDY. (Taking phone from her again:) Forget it, Marie. I'll fix supper. We are not ordering a
pizza.
MARIE. Well, why not? It’s simpler. No dishes. No mess. And it tastes good.
TRUDY. Never mind about the pizza, where did you get that typewriter?
MARIE. Vernon Taylor was having a yard sale. It was only ten dollars. I figured it was a good
investment.
TRUDY. Don’t they have typewriters to use at the library?
MARIE. I wanted my own.
TRUDY. Well, when you change your mind about secretary school, you’ll have to get rid of it.
The garage is already full of useless junk.
MARIE. I won't change my mind. I want to be a secretary.
TRUDY. I just can’t figure out why.
MARIE. What difference does it make? Do I have to have a reason for everything I do?
TRUDY. You never have, Marie.
MARIE. That’s why people like me, Mama. For my spontaneity. I'm impulsive.
TRUDY. Oh, I see. You’ve just graduated from high school and suddenly you are impulsive.
MARIE. That’s right.
TRUDY. And now you’re planning to go to secretary school to become a secretary.
MARIE. (After a thought:) I think I prefer office assistant, actually. It sounds more glamorous.
TRUDY. Marie, there ain’t nothing glamorous about answering phones all day and typing letters.
MARIE. But Mama, I have to start somewhere. I mean, if I want to own my own company one
day. (She moves towards the front door.) I think I’m going to go terrorize the neighborhood for
a bit and see who I can blackmail into giving me a ream of typing paper. If you hear about an
impulsive woman on Pensacola Boulevard - it’s only me. I’ll be back soon. (She exits.)
Pensacola by David‐Matthew Barnes 9
TRUDY. (Yelling after her:) Well, pick up a chicken while you’re out! (She turns to enter the
kitchen, mumbling.) Lord, she’ll probably steal one out of someone’s yard. (She exits to the
kitchen.)
CHARLOTTE. (She enters from the back of their house. She waits a moment to find out if she
is alone. She goes to the telephone and dials a memorized number. She cringes a little when
someone answers.) Hi, John. This is Charlotte. (Beat.) I’m fine, thank you. I haven’t seen you
in a while. Yeah, not since the Jazz Fest. Is your wife still working at The Oyster Bar? (Beat.)
Pregnant? Again? How many does that make - four hundred and eleven? (She laughs a little.)
You know I’m just teasing you. I'm happy for you both. That’s great news. (A nervous Beat.)
Listen, John, is my husband still there? (Beat.) What time did he leave? (She fights to maintain
composure.) Did he say where he was going? Because that was nearly two hours ago. (Beat.)
Well, if you hear from him, just tell him that his wife called and that she's over at her Mama’s
doing the wash. Will you tell him that for me? (Beat.) All right. Thanks, John. And tell Arlene
I said congratulations. I will talk to you soon. (She hangs up.) That son of a bitch.
MARIE. (She enters from the front door carrying a ream of typing paper.) I got some from the
neighbors! (She sits down at her typewriter and inserts a piece of paper into it.)
CHARLOTTE. Marie, are you serious about this secretary school thing?
MARIE. Of course I am. Why do you ask? You think it’s a dumb idea?
CHARLOTTE. No. I never think your ideas are dumb. You just have a lot of them. (She takes
a moment to calm down.) I'm sorry I was in such a bad mood when you first got home.
MARIE. That’s all right. Mama said you and Steven were having some problems. I understand.
CHARLOTTE. You always do.
MARIE. I'm your sister. It is my obligational duty to understand you no matter how hormonal
or pre-menstrual you get, Charlotte. My love for you is unconditional. Like a rock.
CHARLOTTE. Things with me and Steven are all right.
MARIE. Are you sure?
CHARLOTTE. Yeah.
MARIE. Are you staying for supper?
CHARLOTTE. Probably.
Pensacola by David‐Matthew Barnes 10
MARIE. Don’t tell Mama, but when I was out, I used the neighbor’s phone to call Papa John’s
Pizza. It should be here soon. (Beat.) Does Steven spend a lot of time with Julie and Ashley?
CHARLOTTE. When he can.
MARIE. He ain’t home much anymore, is he?
CHARLOTTE. Can you tell? (After a moment:) What about you? How are things with you?
MARIE. Well, I'm going to secretary school. Maybe I’ll marry some rich guy.
CHARLOTTE. You could move to Atlanta.
MARIE. New York City.
CHARLOTTE. Why would you move to New York? It’s crazy there.
MARIE. (Dreamy:) I like the lights. I think I want to be in love. I have decided.
CHARLOTTE. Oh really?
MARIE. You know, I’ve never really told you this, but I'm a bit jealous of you.
CHARLOTTE. What for?
MARIE. You have the perfect life. You have a husband and two beautiful girls. That is exactly
what I want.
CHARLOTTE. My life isn’t perfect, Marie. It never has been.
MARIE. I think it is. I mean, you have what every girl dreams of.
CHARLOTTE. This is not what I dreamed of. In a few years, you'll understand that there is so
much more to life than getting married and raising children.
MARIE. Not unless you leave.
CHARLOTTE. Well, I'm not going to New York. I love it here too much. Pensacola is where I
belong. With the ocean and the white sand. You know what it’s like, staring out at the Santa
Rosa Sound or walking down the Quietwater Beach Boardwalk. Just strolling arm in arm on a
summer night with a boy you have a crush on. Nothing can compare to that. Because it is
magic.
Pensacola by David‐Matthew Barnes 11
MARIE. When I was twelve, do you remember when Bobby Raymond took me on my first date?
CHARLOTTE. Yeah. Didn’t he take you some place just awful?
MARIE. We went to the Civil War Soldiers Museum. And then he tried to kiss me and he bit
my lip and I started bleeding everywhere. I've never been so embarrassed. To this day, I hate that
place. And Bobby Raymond.
CHARLOTTE. Whatever happened to him?
MARIE. Last I heard he was working at The Waffle House and engaged to Katie Morgan.
CHARLOTTE. Poor man.
MARIE. Charlotte, sometimes I feel like I'm going to be stuck here for the rest of my life, just me
and Mama in this house.
CHARLOTTE. Do you really want to leave?
MARIE. I think about it a lot. Maybe after I graduate from secretary school, I can join the Peace
Corps. Anything to get me out of here. I want to go far, far away.
CHARLOTTE. Don’t be silly. You have a great life. You just graduated from high school. The
whole world belongs to you.
MARIE. (After a moment:) Sometimes I'm happy for Daddy.
CHARLOTTE. (Almost a whisper:) What? (She pauses, uncertain.) Marie, he left us. How
could you be happy about that?
MARIE. Because he got out. He hopped into his pick up. He hit the highway. He went and
found a new life. (Beat.) He was impulsive.
CHARLOTTE. Yeah, and he left his children and wife behind to survive with nothing.
MARIE. I know that part, Charlotte. And I’ll never forgive him for that. But sometimes, I can
understand why he did it. You get that feeling of looking at all the same stuff for too long and
soon your eyes start to burn and you think you’ll go blind if you don’t see something new real
soon. It's like going to the beach and lying there in the white sand and looking up at the sky and
watching the birds and thinking - where are they going? Why do they want to leave? Can I go
with them?
CHARLOTTE. I didn't realize that you wanted to leave so badly.
Pensacola by David‐Matthew Barnes 12
MARIE. Neither did I until just recently.
CHARLOTTE. Well, take your time if you make any big decisions. I mean, you’re my baby sister
and you're only eighteen.
MARIE. You were sixteen when you got married just like Mama.
CHARLOTTE. That’s my point exactly.
MARIE. I'm kind of torn, Charlotte. See, if I stay here, I want a life like yours - you know,
secure. But if I go, I want it to be romantic and exciting. I'm not sure what I want to do. I can't
decide which option sounds more appealing.
CHARLOTTE. But secretary school does?
MARIE. It's a lot better than sitting in this house all day with Mama. She whines and complains
that she is miserable, just because she’s turning forty-three soon. I don't want to end up like that.
Left and abandoned by a man. Working some measly job, just to get by and pay the bills. She's
been working at The Tide Pool for over half of her life.
CHARLOTTE. Mama is the best cocktail waitress in Pensacola.
MARIE. But she’s lonely. I see it in her eyes and it makes me sad. I don't know why she never
re-married. If I were her, I would have gone on a cruise or something or moved to Miami. You
know, she is pretty. If she got out more on her nights off –
CHARLOTTE. Mama’s happy. She likes living here because she knows practically everybody in
Pensacola. She makes a point of it. And she's got Berniece just living a couple of doors down.
She has lots of friends. There’s no reason for her to get married again.
MARIE. Charlotte, you have a husband. You have a family. I bet you’re never lonely because
you know that everyday at six-fifteen, Steven will be home from work and the two of you will
have lots to talk about.
CHARLOTTE. It isn’t like that, Marie.
MARIE. What do you mean?
CHARLOTTE. (After a moment:) Let me just say, there are many nights when I don't know
where my husband is.
MARIE. Do you think he’s cheating on you?
Pensacola by David‐Matthew Barnes 13
CHARLOTTE. I don’t want to believe it.
MARIE. He doesn’t come home?
CHARLOTTE. Just like Daddy.
MARIE. Let’s not talk about this anymore, Charlotte. I don't want you to get upset. I'm sure
that Steven is staying faithful. You just need to talk to him. The two of you just need to
straighten things out. That’s all.
CHARLOTTE. I hope so.
MARIE. (Suddenly:) I have an idea! For Mama!
CHARLOTTE. What is it?
MARIE. For her birthday. You and I could send her on a cruise.
CHARLOTTE. What? Are you insane? I don’t have that kind of money.
MARIE. Well, I do. I’ve been saving since Christmas and with the check for graduation that
Granny sent me CHARLOTTE. You would do that? You’d spend all of your savings just so Mama could go on a
cruise?
MARIE. Well, why not? She needs to have a good time. Lord, let us both cross our fingers that
she meets a man and he takes a liking to her and she comes home with a glow. We both know
it’s been a while for Mama. She probably forgot how to do it.
CHARLOTTE. Oh, Marie, the things you say.
MARIE. But I’ll tell her that the present is from both of us and then you can just pay me back
later.
CHARLOTTE. What about Berniece?
MARIE. What about her?
CHARLOTTE. She’ll want to go.
Pensacola by David‐Matthew Barnes 14
MARIE. Then she can follow behind on a raft or something. I'll go see some travel agents this
week and see what I can figure out.
CHARLOTTE. Mama would love it so much. It would be the perfect gift for her.
MARIE. Oh, I hope so. (The doorbell rings. Marie lets out a squeal.) That would be supper.
CHARLOTTE. Mama is going to kill you for ordering a pizza.
MARIE. (She rushes to the door to answer it. She catches her breath when she sees MIGUEL
CASTILLO standing in front of her. Miguel is extremely good looking. He holds the pizza out
to her and she stammers a bit before regaining complete composure. Suddenly, she flashes a
warm smile at him.) Well, hello there. You brought me a pizza. And you were so fast. Come
in.
MIGUEL. (His accent is heavy:) Thank you. (He steps inside.)
CHARLOTTE. (Taking notice of Miguel:) Oh my. You’re not the usual deliveryman.
MIGUEL. No, ma’am.
MARIE. Charlotte, keep this nice man company, will you? I have to get some money from my
purse. (As she heads to her bedroom:) Wow, that pizza sure smells good. (She exits.)
CHARLOTTE. (After an awkward silence:) Hello.
MIGUEL. Hello.
CHARLOTTE. (Searching for something to say:) Busy night?
MIGUEL. Yes. It is very busy on Saturdays.
TRUDY. (She enters from the kitchen.) Charlotte, who was at the – (She stops when she sees
Miguel, then:) Marie Baker!
MARIE. (She enters from the back of their house.) I'm coming, Mama.
TRUDY. Marie, I told you that I would fix supper.
MARIE. (She moves gracefully over to Miguel.) What is your name?
MIGUEL. My name is Miguel Castillo.
Pensacola by David‐Matthew Barnes 15
MARIE. (She turns to Charlotte:) That's kind of romantic, don’t you think?
CHARLOTTE. (With a nod:) Sure.
MARIE. (She turns back to Miguel. She speaks in a loud, breathy whisper:) Keep the change.
My phone number is there, written down on a little pink piece of paper. Use it. Call me. We
should date. Thank you, Miguel Castillo, and you have yourself a wonderful evening. (She ushers
him out the door. She turns around to face her mother and sister. She can not stop smiling.)
Well, I don’t know about the rest of you, but I can't eat a thing.
TRUDY. And why not?
MARIE. Because, Mama. (She takes a step forward, ready to make an announcement.) I am in
love!
TRUDY. In love? With who? You don't even date, Marie.
MARIE. I have made a decision. (Beat.) I am going to become Mrs. Miguel Castillo. (Beat.) And
soon, there will be free pizza for everyone! (She waltzes off stage to her bedroom.)
TRUDY. I don't know what happened to her, Charlotte. It has to be a brain tumor or something
because that girl just ain't right.
CHARLOTTE. She’s just young.
TRUDY. Well, if I didn’t know better, I'd swear she was mental.
CHARLOTTE. What are we going to do about the pizza?
TRUDY. Take it home with you.
CHARLOTTE. I’ll take it into the kitchen for now.
TRUDY. Good idea.
CHARLOTTE. No telling what time Steven will be home tonight.
TRUDY. Honey, he’ll be coming by here soon. I'm sure of it.
CHARLOTTE. (She tenses up:) What, you mean like Daddy?
TRUDY. Charlotte, it's not the same thing and you know that.
Pensacola by David‐Matthew Barnes 16
CHARLOTTE. I'm not sure anymore, Mama. He’s getting that same look Daddy had right
before he left. He's anxious and nervous and a million miles away. It scares me.
TRUDY. Everything will be all right. You’ll see.
CHARLOTTE. I sure hope so. I don't know how much more of this I can take. (She exits to the
kitchen with the box of pizza.)
BERNIECE. (She enters from the front door. She is carrying a make up case with her, as usual.
She is colorful and loud, matching her flamboyant personality and wears a huge wig. She has a
thick Southern accent.) Trudy? Trudy Baker, do I smell pizza in your house?
TRUDY. It’s Marie. She ordered it. Now she's in love. It’s been a day, Berniece, I tell you.
Marie wants to go to secretary school. Charlotte and Steven are having problems. I can't find
any piece of mind and this is my only day off.
BERNIECE. (Almost melodramatic:) There is no peace in Pensacola. Have a seat. We can do
your nails.
TRUDY. I don’t think my nails are up to it. Did you get that hand cream I ordered?
BERNIECE. Of course. I have it right here. (She pats her make up case. Berniece sits on the sofa
and opens the case. Trudy sits beside her.) Did you hear about Katie Morgan?
TRUDY. I heard she was arrested.
BERNIECE. Yes, but did you hear what she was arrested for?
TRUDY. Bobby Raymond said it was shoplifting.
BERNIECE. Bobby Raymond is a birth defect. She was arrested for solicitation.
TRUDY. What?
BERNIECE. And she wasn't selling candy bars outside of the grocery store.
TRUDY. What was she doing?
BERNIECE. She was selling something else in a motel parking lot.
TRUDY. Berniece, are you sure about this? I've known Katie Morgan since she was just a baby.
She comes from a good family.
Pensacola by David‐Matthew Barnes 17
BERNIECE. They usually do. Then they get ruined. It's sad. So very sad.
TRUDY. That is sad.
BERNIECE. So, you say Charlotte and Steven are having problems? Do tell. Do tell.
TRUDY. Now, Bernie, you know that I never gossip about my own family.
BERNIECE. I don't see why not. I do it all the time. My niece Evelyn still doesn't know that I
was the one who let it slip out at church that she was pregnant. I told her that I heard it from
Rindy Sinclair. She'll never know the difference. I even played the sad bit. You know, "You are
too young to be a mother. How can you do this to yourself, Evelyn? And my poor, poor sister,
she ain’t ready to be a grandmother yet." They fall for it every time.
TRUDY. How old is Evelyn now?
BERNIECE. The little tramp is only sixteen.
TRUDY. Same age Charlotte was when she had Julie. Same age I was when I had Charlotte.
BERNIECE. Yes, but Charlotte did the right thing. She married Steven. My niece is a sinner.
Just like my sister was before she found Christ and started beating the bible to everyone. Who
knew that my sister would reform her filthy self and actually become a decent Christian woman,
just like me?
TRUDY. Maybe it was my fault that Charlotte was such a young mother. Maybe I let her go to
the drive-ins too much.
BERNIECE. You set good examples for both of your girls.
TRUDY. I wish you had children.(Berniece looks disgusted at the thought of children.) Maybe
you could understand better. I just want things to be better for Charlotte. She seems so unhappy
all of the time.
BERNIECE. That child of yours is as bitter as an old cup of coffee. You like the hand cream? It
has a nice smell, don’t you think?
TRUDY. I like it.
BERNIECE. So, what is this about Marie being in love? And she’s going to stewardess school?
TRUDY. Secretary school. It will be over in a few days. You know how she is.
Pensacola by David‐Matthew Barnes 18
BERNIECE. All I can say is thank God she ain’t mine.
TRUDY. My children are all right, I suppose. They did the best they could without a father. I
know I could have done better with them. Maybe Charlotte wouldn’t have gotten married so
young and maybe Marie wouldn’t be mental.
BERNIECE. (Devouring this tidbit of gossip:) Mental? She’s mental?
TRUDY. No, of course not. She’s just a little off, that’s all. She always has been. You know that.
BERNIECE. Honey, this is the South. We’re all a little off down here. Now, check out this
lipstick. Isn’t it sexy?
CHARLOTTE. (She tears out of the kitchen. MARIE follows closely behind her.) Mama!
TRUDY. What? What is it?
CHARLOTTE. Marie told me that I had a fat ass!
TRUDY. Marie Baker!
CHARLOTTE. I was in the kitchen eating pizza and she walked by and said, ‘Good Lord,
Charlotte. We could show a movie on your fat ass.’ That is what she said. (She turns to her
sister:) You neurotic freak of nature.
MARIE. I didn’t mean it to be insulting. It’s called ‘constructive criticism’. I read about it in
one of those self-help books that I got from Granny for graduation.
CHARLOTTE. Make her move out, Mama!
TRUDY. Marie, did you tell your sister she had a fat ass?
MARIE. I did, Mama. But I meant it in a helpful way. Charlotte, in case you haven’t noticed,
your figure just ain’t the same since you’ve had two children. You're getting a little wider and I
just wanted to point it out to you. But I love my sister and I think she's beautiful just the way
she is.
CHARLOTTE. Mama never told you this but we adopted you from circus freaks at The Salvation
Army. And I believe that the time has come to send you back! (She exits to the kitchen.)
MARIE. Mama, I'm terribly sorry that I’ve upset my sister. I know that she’s very angry and
hostile now, but soon she’ll agree with me. She’ll see my point.
Pensacola by David‐Matthew Barnes 19
TRUDY. No, I don’t think she will, Marie.
MARIE. (After a moment:) Mama, do you think she has a fat ass?
TRUDY. I won't discuss this with you. Go in the kitchen and you apologize to your sister. The
two of you are grown adults and you’re acting like a couple of three years olds.
MARIE. (To Berniece:) What are you staring at?
TRUDY. And you will not be rude to my guest.
MARIE. She’s not a guest, Mama. She’s a trailer park. (She exits to the kitchen.)
BERNIECE. (Louder than she intends:) Bitch.
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 20
Scene Two
(It is after eleven o’clock that night. When the scene opens, the lights are dim in the living
room. CHARLOTTE is sitting on the sofa. She looks pensive as she thumbs through one
of her mother’s magazines. The laundry basket and the bottle of liquid detergent are all
nearby. A few moments pass before MARIE enters from her bedroom. She is dressed for
bed.)
MARIE. (In a loud whisper:) He didn’t call yet?
CHARLOTTE. Who, Steven?
MARIE. No, Miguel.
CHARLOTTE. The phone didn’t ring.
MARIE. (She picks it up.) Maybe it’s broken.
CHARLOTTE. He’ll call, Marie. Give the boy a chance. You just met him four hours ago.
MARIE. I’m impatient, I reckon.
CHARLOTTE. Believe me. He’ll call.
MARIE. How do you know, Charlotte?
CHARLOTTE. Boys always call. They don’t lose your number until you've lost your mind.
MARIE. (With a giggle:) Or your virtue.
CHARLOTTE. Marie, the things you say.
MARIE. He's just so beautiful. I can't stop thinking about him. Hey, did you eat all the pizza?
CHARLOTTE. I wrapped up what was left. It’s in the fridge.
MARIE. I'm going to heat some up. You want a slice? And a Dr. Pepper?
CHARLOTTE. No, thank you.
Pensacola by David‐Matthew Barnes 21
MARIE. I think I'm getting my appetite back. I was in the bathtub and I was singing a little love
song for my new husband and all of a sudden I started to think about corn nuts and macaroni
salad. I don't know why. It's an odd combination.
CHARLOTTE. Well, it's been an odd day, I reckon.
MARIE. I reckon so. Are you sure you don't want to join me for a little snack?
CHARLOTTE. I’ve telephoned a seamstress, Marie, to have my mouth sewn shut because
according to you, double features will be shown on my ass.
MARIE. Are you still mad about that?
CHARLOTTE. Just go get something to eat.
MARIE. Fine. (She exits to the kitchen.)
(A moment passes before STEVEN enters through the front door.)
STEVEN. Hey.
CHARLOTTE. (She does not look up.) Hi.
STEVEN. Did you know that there's a typewriter on the front porch?
CHARLOTTE. It belongs to my sister. She almost went to secretary school.
STEVEN. Changed her mind?
CHARLOTTE. Something like that.
STEVEN. I guess you’re mad at me.
CHARLOTTE. Something like that.
STEVEN. I just lost track of time, Charlotte. I’m sorry.
CHARLOTTE. Save it, Steven.
STEVEN. No, just listen to me.
Pensacola by David‐Matthew Barnes 22
CHARLOTTE. I'm not interested. It’s after eleven o’clock at night. You were off work at 4:30
this afternoon.
STEVEN. I stayed late.
CHARLOTTE. Don’t lie. I called John at the gas station. He told me exactly when you left.
While I'm here, washing your dirty clothes, you're off doing God knows what.
STEVEN. Charlotte, it’s not what you think.
CHARLOTTE. You don't know what I think.
STEVEN. You think I’m cheating on you, don’t you?
CHARLOTTE. Well, the thought did cross my mind. You don’t even call to give me some
stupid excuse. You could at least do that. So I don’t worry about you. If you would just lie to
me, Steven, I'd feel a little better. I might not believe you, but at least I wouldn't worry.
STEVEN. I figured you were over here with your mother.
CHARLOTTE. You figured right. Missy's watching the girls for me.
STEVEN. I didn’t mean to worry you.
CHARLOTTE. I did the wash. (Angry at herself for this:) I ate pizza. I watched some television.
Meanwhile, I've been sitting here wondering what you could possibly be doing. I have a couple
of ideas and they make me sick.
STEVEN. I was with some friends. We went for a drink.
CHARLOTTE. Do these friends take off their clothes for a living?
STEVEN. Don’t be ridiculous, Charlotte. Let’s not talk about it anymore. I’m here now. (He
moves to kiss her. She pulls away.)
CHARLOTTE. You smell, Steven.
STEVEN. I had a couple of beers.
CHARLOTTE. It’s more than that.
STEVEN. What are you talking about?
Pensacola by David‐Matthew Barnes 23
CHARLOTTE. (She gets up and moves away from him.) You smell like my father used to. Like
you've been sitting in a bar all night, planning your big escape. Forget the wife and children at
home. Just bring me another beer so I can get it all figured out. When I'm going to sneak out.
When I'm going to leave them.
STEVEN. I'm not leaving you, Charlotte.
CHARLOTTE. I shouldn’t be surprised. The two of you are the same. He worked at the same
gas station for crying out loud. I'm just as stupid as my mother.
STEVEN. Will you stop this, please? You're making a big deal out of –
CHARLOTTE. (Explodes:) Am I?! Am I really?! You're a liar and I can see it all over your face!
I can smell it on your skin!
STEVEN. You don’t know what you’re talking about.
CHARLOTTE. I do know! I see it. I hear it, Steven. It's all over town!
STEVEN. I'm your husband and you're going to listen to me. I'm not cheating on you. If you
don’t believe me, then that’s your own damn fault.
CHARLOTTE. Then tell me where you go. Tell me who you spend your time with at night,
because it sure ain't me! How can you stand there and look me in the eye and lie. You’re just
full of lies. Just like my father.
STEVEN. (He grabs her and shakes her.) I’m not your father! I’m nothing like him!
CHARLOTTE. (She struggles to get away from him.) Aren’t you?!
STEVEN. No! (He pushes her away. She stumbles a little.) You don’t know what I do, Charlotte,
but I'm not cheating. I wouldn’t do that to this family.
CHARLOTTE. We don’t have a family anymore!
STEVEN. Whose fault is that?
CHARLOTTE. Are you saying it’s mine?
STEVEN. You’ve changed so much.
CHARLOTTE. Because I'm not happy.
Pensacola by David‐Matthew Barnes 24
STEVEN. I don’t make you happy anymore?
CHARLOTTE. I'm twenty-six years old. I have a husband and two children.
STEVEN. Are you complaining?
CHARLOTTE. I wanted to go to school. When I was twelve, I wanted to be a lawyer.
STEVEN. Yeah? Well, I wanted to be the President.
CHARLOTTE. I wanted to go away to college. I wanted to go far, far away. (Quick beat.) Just
like my sister does.
STEVEN. But then you met me.
CHARLOTTE. I do not want to end up like my mother, Steven. That's what you're doing to me.
STEVEN. Go ahead, Charlotte, blame me for everything.
CHARLOTTE. I'm not blaming you. Just listen.
STEVEN. So you can tell me that I ruined your life?
CHARLOTTE. Maybe you did.
STEVEN. You’re crazy. You were the one who wanted to get married.
CHARLOTTE. I couldn’t take the shame. I was pregnant with Julie.
STEVEN. But you decided to have her. I wanted to wait.
CHARLOTTE. And you decided to stop coming home at night.
STEVEN. We’re not going to talk about this anymore.
CHARLOTTE. You’re humiliating me. I hear it everywhere I go. People are whispering about
us. They know it’s gone bad. Just like when Daddy left and Mama had to raise us on her own.
STEVEN. Stop comparing me to him.
CHARLOTTE. How can I help it?
Pensacola by David‐Matthew Barnes 25
STEVEN. Charlotte, it’s late. If we keep yelling CHARLOTTE. Fine. We’ll talk about this at home. Just let me get my purse. Then we can go
pick up our kids and go back to our house and we can fight there. Sound good to you, honey?
STEVEN. Just stop it, will you? Yes, I went out. Yes, I had a few beers. And I'm sorry that I
didn’t call. I really am sorry.
CHARLOTTE. So am I, Steven. I let a man humiliate me twice in my life now. But I can
guarantee you that it will not happen again. Now, if you'll excuse me, I have to get my purse.
STEVEN. I’ll wait in the car.
CHARLOTTE. You do that. But will you at least get the wash first?
STEVEN. Fine.
CHARLOTTE. Do you expect me to carry everything?
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 26
Scene Three
(It is Sunday morning. MARIE is scurrying around, preparing for her first date with
Miguel. She places a bowl of tortilla chips and two bottles of Dr. Pepper on the coffee
table. She runs to the magazine rack and pulls out a Spanish dictionary. She paces,
thumbing through the book, mouthing Spanish phrases. When the doorbell rings, she lets
out a squeal of delight. She replaces the dictionary in the magazine rack and checks her
reflection in a hallway mirror. She takes a quick deep breath and then opens the door.)
MARIE. (Very loudly, as if he were deaf:) BONE-ASS DIE-ASS, Miguel Castillo! Come in.
MIGUEL. Hello, Marie Baker. Thank you for inviting me to your home.
MARIE. Oh, it's my pleasure. You know - my CASE-AH is your CASE-AH.
MIGUEL. You are very nice. (A nervous beat.) And you are very pretty. (Beat.) Tu eres mui
bonita.
MARIE. (Embarrassed:) Oh, well - DONKA SHAYNE! (She pulls him further into the living
room.)
Mama's at church right now. I was supposed to go with her, but I told her I was sick.
MIGUEL. You are sick?
MARIE. (With a giggle:) No, I lied.
MIGUEL. (He laughs.) You are a liar.
MARIE. (She laughs with him.) I know. Isn’t it great? Well, have a seat. (Shoves him onto the
sofa.)
Do you like Tostitos? And we have Dr. Pepper.
MIGUEL. Thank you.
MARIE. (She sits down next to him, nearly in his lap.) Tell me all about yourself, Miguel
Castillo.
MIGUEL. Marie Baker, I'm from Havana. I'm from Cuba.
MARIE. (She screams this and Miguel is frightened:) Babalu! (She laughs.) Ricky Ricardo!
MIGUEL. Is he your father?
Pensacola by David‐Matthew Barnes 27
MARIE. No, honey, he's Lucy’s husband. My sister and I used to watch the program on
television all the time. We just loved it.
MIGUEL. I have been in America for two years only. My English is not so good.
MARIE. Really? (She suddenly grabs him and pulls him towards her.) Well, how's your French?
(She kisses him passionately.)
MIGUEL. (He pulls away from her, breathless.) You are a wild American girl, yes?
MARIE. I have made a decision. (Beat.) I'm going to become Miss Florida if it kills me.
MIGUEL. (His voice cracks.) Miss Florida?
MARIE. I've been studying all night. I just never realized it until just recently that this is my
calling. Now, let me tell you what I found in my studies. I didn't care much for Miss Jamie Lynn
Bolding. She won way back in 1996 and her talent was lyrical ballet. How tacky. But I simply
died when I discovered Miss Kristin Alicia Beall Ludecke. She was Miss Florida five thousand
years ago in 1995 - and she was wonderful. Very classy and elegant. Her platform issue was selfesteem through music and the arts and then she sang opera. It was something foreign and
breathtaking. Sort of like you. And I just loved Miss Jennifer DelGallo. Now she was Miss
Pensacola in 1996 and she sang the hell out of (She actually sings this, very operatic:) Don’t Rain
On My Parade! I swear to you when I read about this, the hair on my scalp stood up when I
imagined her performing. I was beside myself. I nearly peed my pants. And her platform issue
was the value of the family. Couldn’t you just die? She was so brave in those democratic times.
I'm going to write to her, a belated letter of support. And I'll tell her about my plans. Maybe I'll
even take her to lunch. Some place healthy and Christian. Up until last night, around midnight,
I wanted to go to secretary school. But now, I have opted for a more glamorous and socially
fulfilling career choice. (She stands on the sofa and looks out at an imaginary crowd.) I'm going
to become Miss Florida and feed starving children in third world countries. It came to me in a
dream, a vision I had last night. I saw myself, in a bathing suit with cute polka dots. (She
suddenly notices that Miguel’s tie is covered with polka dots. She grabs his tie and squeals with
delight.) I was wearing a tiara and a sash and I was surrounded by hungry children. And I was
feeding them pizza and they all loved me. And the President of the United States of America was
there and he shook my hand and he said to me, “Miss Florida, Miss Marie Baker, you have
changed the world.” I smiled. (She does.) I waved. (She does.) I even cried. (She starts to and
stops.) There was a video crew there and they shot the whole thing and in my dream it was being
sold on television for only $19.95. So, as an American girl, I feel compelled to make my dreams
come true. (Beat.) I just haven’t told Mama yet.
MIGUEL. You will be Miss Florida because you are beautiful.
MARIE. Do you really think so, Miguel Castillo? I mean, I know we just met last night, but I
haven't stopped thinking about you. You're very attractive.
Pensacola by David‐Matthew Barnes 28
MIGUEL. I look much like my father.
MARIE. Is he married?
MIGUEL. For why?
MARIE. For my mother. She never re-married once Daddy ran off. Her birthday is next week.
She's going to be forty-three years old. I don’t think she has a date for the party.
MIGUEL. My father is in Havana, with my family.
MARIE. I want to meet them.
MIGUEL. You want to go to Havana?
MARIE. I want to go everywhere. I get tired of Pensacola. I need a change of scenery. Havana
must be very nice this time of year.
MIGUEL. You are a little loca, yes? Crazy, I mean.
MARIE. Everyone says so. My sister, Charlotte - well, she's the serious one. She always has been.
But not me.
MIGUEL. Not you.
MARIE. No, because I like to have fun. Do you like to have fun, Miguel Castillo?
MIGUEL. Yes, Marie Baker. Fun is good.
MARIE. (She stands up.) Dance with me.
MIGUEL. You wish to dance?
MARIE. I will have you know that I was almost a ballerina. But Mama wrote a check to pay for
classes at the Starrstep Dance Studio and it bounced.
MIGUEL. I like to dance very much.
MARIE. Well then, put your arms around me and get into the groove. We can dance all
afternoon until Mama gets home from church.
MIGUEL. You are a nice girl, Marie Baker. I like you very much.
Pensacola by David‐Matthew Barnes 29
MARIE. Isn’t that sweet? But I need you to fall in love with me. (Beat.) And not just for my
looks either. Come on, now. Let’s dance.
(Music is suddenly heard. Suggested song: "Rock The Casbah" as recorded by Solar Twins.
Marie begins to do an interpretive dance, very dramatic and outlandish. Suddenly, she
grabs Miguel firmly and forces him to dance around the living room.)
MARIE. Miguel Castillo! Oh, we are dancing. We are having fun. We are getting down. Let’s
get funky. (They dance.) Oh, can we slow down a little, please? (They dance.) I'm getting a little
dizzy. Wow. We are moving pretty fast now. You sure like to dance, I can tell. (They dance.)
Can we stop just for a second? I can’t feel my teeth.
MIGUEL. Dance, Marie Baker, dance!
MARIE. I'm dancing, Miguel Castillo. I'm dancing.
MIGUEL. Faster!
MARIE. I'm really dizzy now. Let’s have Tostitos.
MIGUEL. But we must dance for love.
MARIE. Yes, I know, but I can't see anymore. (She suddenly stops and breaks away from him. She
lowers her head behind the sofa and we can hear her vomiting. The music fades out.)
MIGUEL. Marie Baker, you are sick. You are not a liar.
MARIE. (She rises up and wipes her mouth. She begins to cry.) I'm so sorry.
MIGUEL. For what are you sorry?
MARIE. I just threw up all over your shoes. Now you’ll never love me! (She cries, à la Lucy
Ricardo as Miguel pulls away in disgust.)
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 30
Scene Four
(It is late on Tuesday night. When this scene opens, the living room is empty and dimly
lit. A few moments pass before TRUDY enters, home from work. She has just worked ten
hours at the bar. She stops in the center of the room, car keys and purse in hand. She
looks around and for a moment it seems as if she might start to cry.)
TRUDY. Sure is quiet. (She picks up a framed photograph and stares down at the face of her exhusband.) You rotten son of a bitch. I imagine you aren’t lonely. (She replaces the photograph.)
You never were. (She sits down on the sofa.)
MARIE.(Enters from her bedroom. She carries an armful of research material on beauty pageants
and the city of Pensacola.) Mama, I was getting worried about you. You haven’t worked this late
in months. I almost called up Charlotte to tell her to go down to The Tide Pool and check up
on you.
TRUDY. I stayed a little longer. It was busy.
MARIE. On a Tuesday night?
TRUDY. A bunch of tourists came in. On their way to Montgomery. Then to Atlanta, I reckon.
I made a small fortune in tips tonight. Not enough to run off to the Bahamas, I’m sorry to say.
But the electric bill will get paid on time this month.
MARIE. (She takes a closer look at her mother.) Mama, you look sad.
TRUDY. I am, a little bit.
MARIE. What’s wrong? Was Walter in a bad mood? Mama, I told you he’s just a grumpy man
and a mean boss. He works you to death. That man needs to find some happiness.
TRUDY. No, I can handle Walter. Maybe I’ve got a bad case of the birthday blues.
MARIE. But your birthday isn’t until Saturday. It’s too early to get sad.
TRUDY. Marie, I think I have been sad for a long time.
MARIE. (She sits beside her mother and puts an arm around her shoulders.) Do you miss Daddy?
TRUDY. No. I hate that lousy excuse for a man.
Pensacola by David‐Matthew Barnes 31
MARIE. It’s all right if you miss him. I miss him sometimes myself. I don’t remember much
about him though.
TRUDY. You’re lucky.
MARIE. Is that what has you down?
TRUDY. I guess it is just a little of everything. My birthday. The house.
MARIE. The house?
TRUDY. It seems so quiet to me lately.
MARIE. Mama, it’s been quiet here since Charlotte moved out.
TRUDY. I know. I just don’t notice it most of the time. Maybe that’s why I don’t mind
working late. I don't like the quiet.
MARIE. Well if you get sad you can always call up Berniece. She's always looking for a reason to
come over here and snoop around.
TRUDY. Berniece has been a good friend to me all these years, Marie.
MARIE. (Reluctantly:) I know she has.
TRUDY. I'm worried about Charlotte and Steven. Your sister is so much like me.
MARIE. She is stubborn.
TRUDY. She's so strong. She has so much fight in her.
MARIE. We all do, Mama. You raised us right. You taught us good lessons. We didn’t even
need Daddy, because we had you.
TRUDY. You are an angel, Marie.
MARIE. That’s what Miguel says. Do you know that he has called sixteen times in the last three
days? Can you believe it?
TRUDY. Is he all right?
MARIE. Of course he is, Mama. I reckon he just likes me a lot.
Pensacola by David‐Matthew Barnes 32
TRUDY. I reckon so.
MARIE. And I like him.
TRUDY. Bring him over so we can be properly introduced.
MARIE. I was thinking about inviting him over for your birthday.
TRUDY. That would be fine.
MARIE. He's so interesting. Did I tell you that he is from Cuba?
TRUDY. Cuba?
MARIE. He’s only been in America for two years.
TRUDY. Does he speak English?
MARIE. He tries to. I’ve been helping him a lot. I want him to teach me Spanish. That way, I
can be bi and single.
TRUDY. You mean bilingual, Marie.
MARIE. Is that what it’s called? I have to tell you how he came to America. See, they have this
program called the Special Cuban Migration Program.
TRUDY. Migration?
MARIE. Yes, Mama. Like birds. You mail in this envelope to the U.S. Interest Section in Havana
and four times a year they pick from this pile of envelopes.
TRUDY. Like bingo?
MARIE. No, it’s like winning the lottery, I reckon.
TRUDY. And he won?
MARIE. He sure did! But it's kind of sad also.
TRUDY. What do you mean?
Pensacola by David‐Matthew Barnes 33
MARIE. He misses his family something awful.
TRUDY. They didn’t come with him?
MARIE. They weren’t allowed to. Isn’t that crazy? But he’s trying to get them here. He had to
fill out something called a Petition for Alien Relatives.
TRUDY. An alien?
MARIE. No, Mama, it’s not like The X-Files. That's what they call immigrants. But it was so
fascinating. He showed me his passport and something called an I-94 card.
TRUDY. You really like this boy, don’t you?
MARIE. I do, Mama. But I don't want you to be sad. I get so worried about you.
TRUDY. Never mind about me, Marie.
MARIE. I can't help it. You're my mother.
TRUDY. I'll be fine. Once I get through this weekend, I'll be back to my usual self again. You’ll
see.
MARIE. I hope so. Charlotte and I have something special planned for you, so you'd better be
happy at your party.
TRUDY. I'll be there with a smile on my face.
MARIE. We have to buy some film so we can take lots of pictures. (Looking at the one of her
father:) Some of these old ones don't fit our fancy décor anymore.
TRUDY. Some of them are all right.
MARIE. I hate looking at pictures of myself. I don't look natural.
TRUDY. Buy some film when you're out tomorrow.
MARIE. I will.
TRUDY. (She gestures to all the research material Marie has brought out of her bedroom.) What
is all this mess, Marie? Is this for secretary school?
Pensacola by David‐Matthew Barnes 34
MARIE. No, Mama, this is for my new career.
TRUDY. And what might that be?
MARIE. I have decided to become Miss Florida.
TRUDY. Come again?
MARIE. Miss Florida. I have to study.
TRUDY. Since when did you decide to be in some beauty pageant?
MARIE. Last Saturday night.
TRUDY. Marie, I do not know where you get your ideas, I swear.
MARIE. My options are limited.
TRUDY. What about school?
MARIE. Mama, I'm not interested in college. It’s boring. I'm craving excitement and adventure.
TRUDY. Then join the military.
MARIE. Maybe I’ll get married.
TRUDY. No, you won’t.
MARIE. Why not?
TRUDY. Because nothing lasts forever. Take it from me, Marie. I woke up one morning, got my
children dressed, made breakfast for my family and my husband went to work and never came
home again. Now I have to serve drinks to every greasy haired truck driver that comes through
this place and they're all looking for ways to cheat and lie. Getting married ain't like winning a
prize at the fair for your peach pie, Marie. It's more like losing a bit of yourself every day.
MARIE. But Miguel says that if I win Miss Florida, he's going to take me to The Tropicana in
Havana so I can see the show. It’s called Dance of the Chandeliers.
TRUDY. Marie Baker, if you become Miss Florida, I will buy you a chandelier.
MARIE. I would rather have a rabbit.
Pensacola by David‐Matthew Barnes 35
TRUDY. You and that blasted rabbit. Do you realize that since you were five years old, you've
been asking me for one?
MARIE. Can I get one?
TRUDY. No. It took me sixteen years to get rid of your sister and it's going to take me longer
than that to get rid of you. I don’t need another mess to clean up.
MARIE. You know what, Mama? I'm going to go make you the best Dr. Pepper float that you
have ever had.
TRUDY. That’s fine, Marie. But you're not going to Cuba, I’m not buying you a rabbit and you
will not get married until you are thirty-five years old. Do you understand me?
MARIE. Just sit back, Mama. You need to relax. (She starts to exit, but suddenly stops.) I'm glad
you finally got home so I could stop worrying about you.
TRUDY. It's nice to know that someone is worrying.
MARIE. I don’t want you to be lonely.
TRUDY. I'm not lonely. I have you here to keep me entertained.
MARIE. That’s right. And I’m not going anywhere. (She exits.)
TRUDY. (Her eyes swell with tears.) Yes, you will. (She reaches over to the framed photograph of
her ex-husband. She places it face down on the table.) But, I will let you go.
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 36
Scene Five
(It is Wednesday evening. BERNIECE is sitting on the sofa, on the telephone.)
BERNIECE. (Into the phone:) Well, is she going to prison or is the judge going easy on her?
(Beat.) I see. (Beat.) Let me make a suggestion to you, Rindy, dear. It is very important to get your
facts straight before you pass them on to a reliable source of information such as myself. The
folks in my neighborhood depend on me to give them the truth and only the truth. If I pass
along a mistruth, my reputation as a concerned citizen could be destroyed. Now, this is what I
want you to do: go down to the jail and visit Katie Morgan and see if you can get her side of the
story. Then call me back with all of the filthy details as soon as you can. It’s still early, just passed
eight o’clock. I can get at least ten calls out before nine. Hurry on, now. You have work to do.
(Hangs up the phone. Yells to Trudy, off stage:) Trudy, I'm afraid to say this, but I have heard
some rather distressing news!
TRUDY. (She enters from the kitchen with two bottles of Dr. Pepper. She hands one to Berniece
and sits down on the sofa, beside her.) What is it?
BERNIECE. It’s about Marie.
TRUDY. What has she done this time?
BERNIECE. Well, my niece Evelyn said she heard it from my sister Anita who heard it from
Regina Madison’s mother who overheard a conversation that Jocelyn Farnsworth was having with
her minister.
TRUDY. What did she hear?
BERNIECE. That Marie was dating a Cuban. Folks say she's been parading all over town with
him the last couple of days.
TRUDY. Well, good for her.
BERNIECE. You know about this?
TRUDY. His name is Miguel Castillo.
BERNIECE. Have you met him?
TRUDY. We haven’t been properly introduced yet. Marie's inviting him over for my birthday
party.
BERNIECE. (She whispers:) But, he's a Cuban.
Pensacola by David‐Matthew Barnes 37
TRUDY. Berniece Cole, I am ashamed of you.
BERNIECE. Now, Trudy, you know I am not a bigot.
TRUDY. Oh, Berniece, give it up. You are The Queen of The Red Neck Riviera.
BERNIECE. (Gasps.) I am not!
TRUDY. My daughter is allowed to date whomever she chooses to. This is a free country, I
might remind you.
BERNIECE. But people are going to talk, Trudy.
TRUDY. So let them.
BERNIECE. You really aren’t concerned?
TRUDY. Folks have talked about my family for generations. It started with my mother and it
carried on with me. When Jackson left, everybody we know went nuts with gossip, just because I
decided to go back to work. So now it's my daughter’s turn. There is one thing you should
understand about this family. I might have raised my children on my own – and Lord knows
they aren’t perfect – but gossip is something that will not destroy them.
BERNIECE. I understand. I was just concerned.
TRUDY. You have been my friend for many years now.
BERNIECE. Yes, I have. Faithful and loyal for over thirty years.
TRUDY. I would like to make a suggestion to you. I think that you should worry about your
own family. There’s plenty to talk about on your side of the fence.
BERNIECE. (Slightly insulted:) Whatever do you mean, Gertrude?
TRUDY. I do not wish to discuss it.
BERNIECE. No, please do. Are you referring to the fact that my niece Evelyn is pregnant and
not married?
TRUDY. No, I'm speaking of the affair that you are having with a younger man. The bowlegged
cashier boy down at Kroger.
Pensacola by David‐Matthew Barnes 38
BERNIECE. (Mortified:) Who told you that?!
TRUDY. It doesn't matter and I don't care if it's true or not. But as for my daughter, if she's
dating a man from Cuba, then that's her business.
BERNIECE. I agree with you, Trudy. I was just letting you know what I heard.
TRUDY. Well, sometimes Berniece, I think you hear a little too much.
BERNIECE. Maybe so. But if I find out who told you I was having an affair, murder will take
place.
TRUDY. Oh, that's nonsense.
BERNIECE. I'm as serious as heart attack. They'll have to lock me up in a cell right next to
Katie Morgan.
TRUDY. Maybe she'll give you some advice.
BERNIECE. (After a moment:) Is it hot in here to you?
TRUDY. No, why?
BERNIECE. Because I'm sweating like a whore in church. (She takes a tissue from inside of her
bra and dabs her face with it.)
TRUDY. Oh, Bernie, the things you say.
BERNIECE. Perhaps, it's because I feel a little guilty.
TRUDY. Did you steal more panty hose from the Winn-Dixie?
BERNIECE. No, it's worse than that.
TRUDY. I can tell that you're hiding something from me.
BERNIECE. Well, for whatever it is worth TRUDY. Yes?
BERNIECE. (She blurts it out.) He's only fourteen years younger than me.
Pensacola by David‐Matthew Barnes 39
TRUDY. Berniece Cole, you mean to tell me that it's true?
BERNIECE. I don't want to be married anymore, Trudy.
TRUDY. Well, why not?
BERNIECE. Because I'm bored.
TRUDY. You should appreciate what you have. Really, you should.
BERNIECE. I know that. And I feel just awful about what I'm doing.
TRUDY. Do you?
BERNIECE. No. Not really. It’s actually a lot of fun. (She laughs.) He is wicked!
TRUDY. You are awful.
BERNIECE. Do you think I'll burn in Hell?
TRUDY. Yes, you probably will. Right next to your niece Evelyn.
BERNIECE. He's just so good to me. It’s different. It’s new. I just get so tired of it all. My
husband is a pig. Franklin snores and burps at the supper table and he farts whenever he’s
watching his favorite program on television.
TRUDY. He just likes to be comfortable.
BERNIECE. But so do I. (Beat.) Well, if I hear any more distressing rumors about Marie and
her immigrant boyfriend, I'll put a stop to it right away.
TRUDY. I would appreciate that. So would Marie.
BERNIECE. It's the least I can do. For some reason, Marie can't stand the sight of me, but I still
feel like I'm a part of this family.
TRUDY. You are.
BERNIECE. Just do me a favor.
TRUDY. What is it?
Pensacola by David‐Matthew Barnes 40
BERNIECE. If Franklin should ask you anything –
TRUDY. I'll take it to my grave. Don’t you worry. In truth, I’m disappointed by what you’re
doing, but you are my best friend.
BERNIECE. Thank you, Trudy. Shall we do your nails?
TRUDY. Fine. I've been needing a manicure.
BERNIECE. What do you want for your birthday?
TRUDY. (She smiles.) There's so much that I want, Berniece. I'm not talking about presents
either. I want to finish paying this house off next month, so it'll finally be mine. Then, someday,
I want to quit my job so I don't have to serve drinks for a living and then I could finally start a
garden or I could travel somewhere far, far away. I want Charlotte and Steven to remember how
in love they once were. I want Marie to find her purpose in life. I want you to remember the
good times we had when we were younger.
BERNIECE. You were a bad influence on me, Trudy Baker. If I hadn't met you, I'd probably be
the First Lady by now.
TRUDY. Berniece, they don't give makeovers at the White House.
BERNIECE. Maybe they should. I don't mean to sound unpatriotic, but have you seen some of
them ugly sons of bitches? Good Lord, they are the downfall of our nation.
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 41
Scene Six
(It is late Thursday evening. STEVEN sits alone on the sofa, sipping a beer. A few
moments later, TRUDY enters and goes to an ironing board and begins ironing her work
uniform.)
TRUDY. Are you just going to sit there all night, Steven?
STEVEN. Maybe.
TRUDY. She'll be back soon. She only went to play bingo. (Beat.) It’s not like she’s out cheating
on you.
STEVEN. Thanks, Trudy. I knew I could count on you for some support.
TRUDY. She's my daughter. She's not happy.
STEVEN. Well, neither am I.
TRUDY. (Firm:) Then fix it.
MARIE. (She enters from the front door, home from a date with Miguel. She waltzes into the
house, smiling and giggling.) Hello! I'm home!
TRUDY. Why look, Steven, it's Miss Florida.
MARIE. That was a silly idea. Childish. There are far more important things in this world than
beauty pageants.
STEVEN. Like what?
MARIE. I have made a decision. (Beat.) I'm going to be the U.S. Ambassador to Cuba.
TRUDY. Oh, no you're not.
MARIE. All right. Fine, Mama. I knew you would never agree to it. But I need a career. I need
to feel like I'm contributing to my relationship.
STEVEN. Relationship?
TRUDY. How was your date, Marie?
Pensacola by David‐Matthew Barnes 42
MARIE. It was thrilling. He is so romantic. He read me poetry. Of course it was in Spanish, so
I couldn't understand a word of it, but I loved it just the same. He has this way, Mama, of just
saying my name and I get chills.
TRUDY. It's probably a fever.
STEVEN. Who are you dating? I didn’t even know you had a boyfriend.
MARIE. Oh, he's more than that, Steven. His name is Miguel Castillo and he is my future.
Who would have ever believed that a pizza could bring me such happiness and such joy? He
took me out to dinner tonight.
TRUDY. Where'd he take you?
MARIE. (Her accent should be slightly exaggerated for:) House of Chong. And we sat there and
we held hands and we looked into each other’s eyes and then he said something that sounded
like, "You have an umbrella in your hair!" But what I think he was trying to say is, "Marie Baker,
I do not care if you never will be a secretary or Miss Florida, because I think I'm falling madly in
love with you just the way you are."
STEVEN. He said that, did he?
MARIE. Oh, it was gorgeous. It reminded me of sitting on the front porch on a summer night,
just like this one, and staring up at the moon and drinking a glass of lemonade – or sweet tea –
and the stars are shining brightly above you. It is so bright that it almost looks like morning.
And then suddenly, you realize – this feeling just creeps all over you and you know – that you’ve
got nothing left to wish for because you have everything that you could possibly ever want.
STEVEN. Marie, I’ve never seen you like this.
TRUDY. It's a bad sign.
MARIE. I'm a changed woman. I owe it all to him. When I graduated from high school, things
looked dismal, just awful. I thought to myself, 'Marie, you're going to spend the rest of your life
in this place. There'll be no magic or surprises or happy endings for you. You better just sit
back and look like you are having a good time. Maybe if you pretend hard enough, you'll believe
it.’ I think that's why I've had such a hard time deciding on the right career for myself. Because
none of it mattered without him. Without Miguel Castillo. Oh, Mama, I can't wait until this
Saturday so he can finally get to know our family.
STEVEN. Who in the hell is he?
TRUDY. He delivered a pizza to us last weekend.
Pensacola by David‐Matthew Barnes 43
MARIE. I’m going to go make us a cold pitcher of lemonade. (She exits to the kitchen.)
TRUDY. I don't know what's gotten into her.
STEVEN. Sounds like a Cuban to me.
TRUDY. Steven!
STEVEN. No, I'm happy for Marie. She needed a lil' love in her life. Maybe it'll give her some
guidance.
TRUDY. What about you? What are you going to do?
(CHARLOTTE and BERNIECE enter, laughing, home from playing bingo. Berniece is
wearing an outrageous outfit, as usual. Charlotte’s smile fades when she sees Steven, but it
returns quickly.)
STEVEN. Did you win?
CHARLOTTE. Two hundred dollars!
STEVEN. Charlotte, that’s great!
TRUDY. I knew I should have gone. I was feeling lucky.
BERNIECE. You should have seen this girl. She was the Queen of Bingo. She was sitting there
and screaming at the top of her lungs, "Bingo! Bingo!" I loved it.
TRUDY. Well, I'm glad you had a good time.
CHARLOTTE. I had so much fun.
BERNIECE. It's always fun when you win, sugar. (Suddenly, the coy vixen:) Steven, how are you?
I haven’t even said hello to you yet. Forgive me.
STEVEN. (A little frightened by Berniece’s advances.) I’m all right, Berniece. And yourself?
BERNIECE. (Very seductive.) There is no peace in Pensacola.
CHARLOTTE. Mama, were the kids all right?
Pensacola by David‐Matthew Barnes 44
TRUDY. They were fine. They're sleeping in your old room. (She turns to Berniece.) Come with
me into the kitchen. Marie is making lemonade.
BERNIECE. I hate lemonade.
TRUDY. Then I'll make you something else? Are you hungry?
BERNIECE. Got any coffee cake?
TRUDY. Will you settle for pound cake?
BERNIECE. If I must. Charlotte, don't spend that money all in one place, now, you hear?
CHARLOTTE. I won’t, Berniece. Thanks again for taking me with you.
BERNIECE. Oh, any time, sugar. (She exits with Trudy. An awkward silence settles in between
Steven and Charlotte.)
CHARLOTTE. I didn’t expect to see you here, Steven. I thought that you’d be out - somewhere.
Down at the beach playing your old guitar, maybe.
STEVEN. I was waiting for you.
CHARLOTTE. Any reason why?
STEVEN. I need to tell you something, Charlotte.
CHARLOTTE. (She sits, preparing herself.) What is it?
STEVEN. Charlotte, this ain't easy –
CHARLOTTE. Just tell me, Steven.
STEVEN. Let’s go home first. We can talk there.
CHARLOTTE. This is my home.
STEVEN. Yeah, I reckon it is.
CHARLOTTE. Whatever it is you have to say to me, just say it.
Pensacola by David‐Matthew Barnes 45
STEVEN. (He takes a moment.) I want out of this marriage. (Beat.) I want a divorce. (He turns
away from her slowly and enters the kitchen. Charlotte is alone on stage.)
CHARLOTTE. (Her voice is almost a whisper and is thick with emotion.) That's just fine,
Steven. (She takes a breath, fighting to maintain her composure.) You go on then. (She starts to
crumble, but just slightly.) I will divorce you and you can leave. (She begins to cry.) I’ve always
wondered where the cowboys go. (She buries her face in her hands and sobs.)
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 46
ACT TWO
Scene One
(It is Saturday afternoon and it is Trudy’s birthday. The living room has been decorated
and looks very festive. There is a homemade banner hanging on the back wall and
presents on the coffee table.
When this scene opens, the living room is empty. A few moments pass before MIGUEL
and MARIE make their entrance from the front door. Marie is wearing as many party
decorations as possible. She giggles as Miguel chases her around the room until he finally
catches her and kisses her. CHARLOTTE enters just in time to see this.)
CHARLOTTE. Good Lord, Marie. Keep your tongue in your mouth.
MARIE. Where's Mama?
CHARLOTTE. She’s out back with Steven and Berniece.
MARIE. Well, get her in here.
CHARLOTTE. What for? You look busy.
MARIE. So we can give her our present.
CHARLOTTE. I still can't believe you bought those tickets.
MARIE. We're shipping Mama and Berniece off on a cruise!
CHARLOTTE. (To Miguel:) This was my sister’s idea.
MARIE. And it's a good one. Mama needs to get out of here for a while.
CHARLOTTE. What are you going to do while she's gone, Marie?
MARIE. (She winks at Miguel.) I'll think of something.
CHARLOTTE. That's what I'm afraid of. Miguel, make sure my sister doesn't burn the house
down.
MIGUEL. She likes to have fun.
Pensacola by David‐Matthew Barnes 47
CHARLOTTE. Yes, she does.
MARIE. I'll get the cake. You go get Mama. I can't wait to give her those tickets. She'll be
thrilled. (She rushes over to the kitchen door and yells:) Steven! Bring the radio in with you! I
feel the need to dance!
MIGUEL. (To Charlotte:) She likes to dance.
CHARLOTTE. What do you like to do, Miguel? I don’t know much about you.
MIGUEL. Yo soy un escritor.
CHARLOTTE. (Pretending to understand what he said:) Really?
MARIE. He writes poetry, Charlotte. In Spanish.
(TRUDY enters from the kitchen with BERNIECE close behind. Both are carrying
bottles of Dr. Pepper. Berniece is dressed for a birthday party in her usual outrageous and
flamboyant style.)
BERNIECE. It’s so God awful humid in this town, my hair is knocking on Heaven’s door.
TRUDY. Marie, where did you and Miguel go for so long? We couldn't find you.
MARIE. We were on the front porch, Mama.
CHARLOTTE. She was trying to seduce him.
MARIE. I was not, Charlotte.
MIGUEL. Happy Birthday, Señora Baker.
TRUDY. Thank you, Miguel. You may call me Trudy.
BERNIECE. (Very attracted to Miguel:) Hi, there. I'm Berniece Cole.
MARIE. Stay away from him, Berniece. I like my boyfriend just the way he is. Besides (Beat.)
he's too old for you. (She exits to the kitchen.)
BERNIECE. Trudy, I mean this in the nicest way, but your daughter is the meanest little bitch on
the block. I don't know what causes her to hate me so much. What have I done to her? What
do you think it is?
Pensacola by David‐Matthew Barnes 48
CHARLOTTE. Schizophrenia.
TRUDY. Charlotte, the things you say.
CHARLOTTE. It's true, Mama. I think you left her out in the sun too long when she was a
baby.
TRUDY. Berniece, I apologize for Marie’s behavior. I'll speak to her about it. But in the
meantime, let’s all try to get along. At least for the afternoon.
MIGUEL. Thank you for inviting me to your party, Señora Baker.
TRUDY. Oh, you’re welcome, Miguel. I'm so glad you could be here with us. Marie has told me
so much about you.
MIGUEL. I like her very much.
CHARLOTTE. Where in Cuba are you from?
MIGUEL. (MARIE enters from the kitchen. She is carrying a camera.) I'm from Havana.
MARIE. You are from Heaven! (She rushes over to him and kisses his cheek.) Mama, did you try
some of that Cuban food Miguel brought over for the party?
TRUDY. Berniece and I had a bite of it. What is it called?
MARIE. It’s called Morons and Christians.
MIGUEL. (He laughs.) No, Moros y Cristianos.
MARIE. Isn’t that what I said?
MIGUEL. No –
CHARLOTTE. Don’t bother arguing with her. It's no use, Miguel.
MIGUEL. I know.
BERNIECE. Well, he learns quickly.
STEVEN. (He enters carrying a portable radio.) The hot dogs are burnt.
Pensacola by David‐Matthew Barnes 49
TRUDY. Oh, no.
CHARLOTTE. Steven, I thought you were keeping an eye on them.
STEVEN. I fell asleep out there.
MARIE. I want to take a picture of everybody. Come on. Gather around as if you like each
other. (They start to gather behind the sofa. Marie holds the camera.) Berniece, are you drunk?
Fix your hat.
BERNIECE. What’s the matter with it?
TRUDY. It’s just a little crooked. (Trudy fixes it.)
MARIE. Steven, for the love of God, can you at least look like you're married to Charlotte?
Move in closer. Put your arm around her.
CHARLOTTE. (Aggravated:) Just take the picture, Marie.
MARIE. Miguel, move away from Berniece. (He does.) There, that’s better.
CHARLOTTE. Hurry up and take the picture.
MARIE. Mama, you have lipstick on your teeth.
TRUDY. Do I?
BERNIECE. Here. I have a tissue. I’ll get it. (From her bra, Berniece pulls out a tissue. She rubs
the lipstick off of Trudy’s teeth.)
MARIE. Charlotte, fix your hair.
CHARLOTTE. (As she screams, Marie takes the photo. We see a flash from the camera at
Charlotte’s angriest moment.) Just take the damn picture now!
MARIE. (After a moment:) Well, now. I think it's time for presents. Mama, you're the birthday
girl. Have a seat on the sofa.
STEVEN. Do you want me to get the cake?
CHARLOTTE. Don’t worry about it. We'll eat in the kitchen.
Pensacola by David‐Matthew Barnes 50
TRUDY. What are we going to do about supper?
MARIE. We can order a pizza.
CHARLOTTE. What for, Marie? You're already dating the delivery man.
MARIE. Don't be evil, Charlotte. This is a party.
BERNIECE. Will the two of you just hush up and let this woman open her birthday presents?!
MARIE. (Insulted:) Charlotte, Berniece just yelled at us.
CHARLOTTE. Well, we probably deserved it.
MARIE. Miguel, for my birthday, I want a piñata (Pause; referring to Berniece:) so I can beat the
hell out of it with a huge stick.
BERNIECE. Somebody should have taken a stick to your behind a long time ago.
MARIE. (To Berniece:) When I become Miss Florida, I will destroy you.
CHARLOTTE. Mama, open your presents. Steven, stop standing so damn close to me. You're
breathing down my neck.
STEVEN. I’m sorry. I’m hungry.
MARIE. Miguel, do you like fried chicken?
TRUDY. That’s it! I'm opening these presents and then Berniece and I are going to Banana Bobs.
CHARLOTTE. What for?
TRUDY. To get drunk. It's my birthday and I want to be drunk. You people are crazy.
MARIE. (Quietly:) Fine, Mama. You and Berniece can go out just as soon as you open your gift
from Charlotte and me and after you have some birthday cake. (To everyone around her, she
yells:) I do not think that we should yell in front of Mama! It is making her nervous on her
birthday and now she wants to go to Banana Bobs to drink herself stupid! Can we all cooperate,
please?!
TRUDY. Thank you, Marie. I appreciate that. (They all circle around Trudy who is sitting on the
sofa.) I just want to thank y'all for being here to share this day with me.
Pensacola by David‐Matthew Barnes 51
CHARLOTTE. Where else would we be, Mama?
TRUDY. It's been a wonderful day. Really, it has.
MARIE. We just want you to be happy, Mama. (She hands her the present.) Here. Now, open
this. It's from Charlotte and me. (Berniece reaches for the gift; Marie slaps her hand away.)
TRUDY. What is it? A love letter?
CHARLOTTE. Just open it.
TRUDY. Well, then, all right. (She opens the gift. When she realizes what the present is, she
screams.) Berniece! We're going on a cruise!
BERNIECE. What?
TRUDY. Look! These are two tickets for a cruise! We're going to the Bahamas!
BERNIECE. Good Lord and Merry Christmas.
TRUDY. Oh, I'm so happy! Thank you. (She hugs her children.)
CHARLOTTE. It was Marie’s idea.
TRUDY. This is just what I need, a vacation.
MARIE. Mama, we want you to go and to have a good time.
BERNIECE. Marie, I can't believe that you included me in this. That was actually nice of you.
MARIE. Well, I know I give you a hard time because of your trashy ways, but you are Mama’s
best friend. Just make sure she has some fun.
BERNIECE. (Naughty:) Oh, she will.
TRUDY. Of course I will.
BERNIECE. Trudy, what in the hell are we going to wear?
TRUDY. We have to get our hair done.
Pensacola by David‐Matthew Barnes 52
BERNIECE. (Patting her wig:) Maybe I'll color mine.
TRUDY. I'll take my dresses to the dry cleaners.
BERNIECE. Imagine. A whole week away from Franklin. This is better than those tasty
bartenders at Bamboo Willies.
MARIE. Let’s put some music on.
TRUDY. I agree. This is supposed to be a party.
STEVEN. I’ll be the DJ. (He turns the radio on. Music begins to play. This should be a very
popular "rap" song.)
CHARLOTTE. (To Steven:) At least you’re good for something.
MIGUEL. Marie Baker, do you wish to dance?
MARIE. Of course I do, Miguel Castillo. (Miguel and Marie begin to dance together. Trudy and
Berniece tango around the living room. Charlotte takes a quick glance at Steven before she exits
to the kitchen.)
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 53
Scene Two
(It is later that night. The living room is empty. A few moments pass before
CHARLOTTE enters from the kitchen. She begins to clean up the debris from the party.
MARIE enters, carrying a broom.)
MARIE. Where did Steven go?
CHARLOTTE. He ain't coming back, Marie.
MARIE. What do you mean?
CHARLOTTE. (After a moment:) He wants a divorce.
MARIE. What?
CHARLOTTE. He hasn’t said much to me. I think he was just trying to keep peace for Mama’s
sake.
MARIE. Charlotte, what are you saying?
CHARLOTTE. I'm saying that my husband is leaving me.
MARIE. You can't be serious.
CHARLOTTE. Well, it's true. He told me a few nights ago. He wants out of our marriage. He
wants his freedom.
MARIE. He can't do this to you. What about Julie and Ashley?
CHARLOTTE. Why do you think I sent them off to that summer camp? I always wanted them to
have it better than we did. Marie, I don’t know what to do.
MARIE. Does Mama know?
CHARLOTTE. I couldn't ruin her birthday.
MARIE. I can't believe this. The nerve of that man.
CHARLOTTE. Is it my fault, Marie? Is it because I'm always so uptight?
MARIE. No, Charlotte, of course not.
Pensacola by David‐Matthew Barnes 54
CHARLOTTE. Is it because I'm not as pretty as I used to be? Raising children takes so much out
of you. Those girls run me ragged. Julie's almost grown and Ashley runs wild. Just like you did.
MARIE. You're a good mother.
CHARLOTTE. Am I? I can't stop thinking about my babies. How will I take care of them on
my own?
MARIE. Mama and I can help you.
CHARLOTTE. I pushed him away.
MARIE. No, you didn't, Charlotte. He walked away. There's a difference.
CHARLOTTE. I'm just like Mama. When Daddy left her. We had nothing.
MARIE. Steven won't do that to you. He's a good man.
CHARLOTTE. Then how can he leave his wife and children? Aren’t we worth fighting for?
MARIE. You can't blame yourself.
CHARLOTTE. I blame him. I blame myself. I blame Daddy.
MARIE. What do you mean?
CHARLOTTE. It was all part of it. I knew it was going to happen. I just kept waiting. He only
married me because I was pregnant.
MARIE. That's not true. Steven loves you.
CHARLOTTE. I don't even know how to love him.
MARIE. Yes, you do.
CHARLOTTE. Marie, I can't love anybody. I won't let myself. Don’t you see?
MARIE. Because of Daddy?
CHARLOTTE. Because he left me.
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MARIE. But you're not the only one he left.
CHARLOTTE. But I hated myself for it. I thought that it was my fault because I wasn't a good
daughter.
MARIE. That's crazy.
CHARLOTTE. I know it is. But now I keep thinking that Steven wants to leave me because I'm
not a good wife. I'm so messed up.
MARIE. Then fix it.
CHARLOTTE. I don’t know how. I'm going to lose everything in my life because I don’t know
how to love anybody.
MARIE. Then start.
CHARLOTTE. How?
MARIE. Forgive Steven. Forgive yourself.
CHARLOTTE. And forgive Daddy?
MARIE. If you don’t, it will eat you alive.
CHARLOTTE. But I'm scared. I don't want to get hurt again.
MARIE. I won't let that happen.
CHARLOTTE. Will you help me, Marie?
MARIE. Yes.
CHARLOTTE. Will you help me save my marriage?
MARIE. I'll help you save yourself.
CHARLOTTE. It is that easy?
MARIE. Of course not. You have to open your heart a little, Charlotte.
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CHARLOTTE. I'll try.
MARIE. And you can't be so serious all the time.
CHARLOTTE. I know. Sometimes, I'm just awful.
MARIE. You have to enjoy life.
CHARLOTTE. But is it worth living?
MARIE. You have two daughters that need you very much.
CHARLOTTE. I know.
MARIE. And a mother.
CHARLOTTE. We aren’t as close as we used to be. Me and Mama.
MARIE. And a sister.
CHARLOTTE. (She hugs Marie.) I love you.
MARIE. That’s a start.
CHARLOTTE. Do you think he'll change his mind?
MARIE. Only if you give him your heart.
(Lights fade to black.)
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Scene Three
(A week has passed. It is Saturday night. The living room is empty, but romantic music is
playing and the lights are dim. MIGUEL enters from the front door.)
MIGUEL. Marie Baker?!
MARIE. (She enters wearing yellow rubber gloves, carrying a toilet bowl brush.) Miguel, I'm so
happy to see you. I have missed you so much. (She kisses him.) How was work? I was getting
worried because it was getting so late.
MIGUEL. You are beautiful.
MARIE. I've been waiting for you. Did you bring me a pizza?
MIGUEL. Are you happy, Marie?
MARIE. Yes, Miguel.
MIGUEL. Are you lying, Marie?
MARIE. (Reluctantly:) Yes, Miguel.
MIGUEL. What is the matter?
MARIE. I'm just a little sad.
MIGUEL. For why are you sad?
MARIE. Because I have fallen in love with you.
MIGUEL. And for this you are sad?
MARIE. A little bit. I cleaned the bathroom.
MIGUEL. Why? I do not understand.
MARIE. Life is so wonderful with you. You are romantic and exciting and very beautiful. (Beat.)
I just wonder how long it'll take, before you leave me.
MIGUEL. Where do I go?
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MARIE. The same place every other man goes. (Beat.) Miguel, when I was a little girl, my Daddy
left us. He never came back. He didn't call us or write to us. My sister and Mama and me, we
had to get by without him. So I get a little nervous with boys like you. I don't want you to
leave.
MIGUEL. Marie, I love you. You have changed my life.
MARIE. I have? How?
MIGUEL. You are loca. You make me laugh and you give me surprises. When I come to this
country, I am alone. America is not home. It is different here. I miss my family very much.
MARIE. I know you do. You write letters to your Mama once a week.
MIGUEL. Marie, you make me happy. I have never met a girl like you.
MARIE. Neither have I, Miguel.
MIGUEL. So, why are you sad? We are in love.
MARIE. Yes, we are.
MIGUEL. I am very sorry that your father left you. I will not.
MARIE. Do you know what forever is, Miguel?
MIGUEL. It is a very long time.
MARIE. It's more than that. It's waking up every morning and needing someone else just to
breathe. It's looking at a man and aching inside because he is so beautiful that you just want to
cry. It's finding a place with someone where the two of you just connect and nothing in this
world can destroy that. When you look at me or you hold my hand, I feel that way. I feel like
forever. And I know Mama felt that way when she looked at Daddy. Miguel, I know that you’re
not the same type of man that Daddy was. You’re good. You’re honest. You would never turn
your back on your family. But I'm scared of what I feel. I love you very much and I have never
loved a boy like I love you. So if this is forever, I need to know that.
MIGUEL. Siempre. Por vida.
MARIE. Is that a good thing?
MIGUEL. This is forever, Marie Baker.
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MARIE. I hope so. (He kisses her.) Wow.
MIGUEL. Is Mama in the Bahamas?
MARIE. She left this morning with Berniece.
MIGUEL. I miss you very much all day.
MARIE. Isn’t that sweet? (Suddenly:) Do you think we’re a strange couple?
MIGUEL. For why do you ask?
MARIE. People say that we are.
MIGUEL. Because I am Cubano?
MARIE. And because I'm loca.
MIGUEL. For why do we need to speak the same language? For why do we need to come from
the same country?
MARIE. I don't know. It doesn't bother me. I like the way you speak and all of your stories
about Havana.
MIGUEL. I wish to take you to Havana. I wish for you to meet my mother and father and
sisters.
MARIE. I would go, Miguel. I would go to Havana with you and I would never want to come
back. I love you that much.
MIGUEL. You are very serious today, yes?
MARIE. You know what? A lot of people in this town don’t take me very seriously. I suppose
that I've never given them a reason to. It's because of who I'm. I'm impulsive. But sometimes
people talk about me. They say that I'm confused or different or strange. But I'm just me. I'm
just a girl living in Pensacola, Florida and there ain't nothing real special about my life. I'm just
here. (She stops for a moment, realizing:) Maybe that's why I can't figure out what I want to be,
because I'm too scared to be myself. It's easier to pretend. If folks didn’t know me as Crazy
Marie, then what would I be? (She thinks about it.) I'd be boring. And that is something that I
don't ever wish to be. Miguel, I know that you're very special because even if I was just me –
boring, average and ordinary – you would still love me, wouldn’t you? (She waits for a response,
but he is gazing in her eyes. She nudges him, prompting a response.) Hey, wouldn’t you?
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MIGUEL. Yes, Marie Baker. (He takes her hands.) You are my America.
MARIE. You are my Cuba.
MIGUEL. Let us go to Havana. (They kiss passionately. Suddenly, he picks her up in his arms.
She drops the toilet bowl brush.)
MARIE. (With a soft giggle:) Babalu. (They exit to her bedroom.)
(Lights fade to black, music swells.)
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Scene Four
(It is Thursday afternoon. When this scene opens, CHARLOTTE is standing in the living
room with the phone in her hand. There is a basket of laundry on the sofa.)
CHARLOTTE. (Into the phone:) Oh, hello, Miguel. This is Charlotte. Why of course she's
here. She's in the backyard, being a bad influence on my ungrateful children. Let me get her for
you. (She puts the phone down. She opens kitchen door and shrieks.) Marie! The telephone's for
you! (She returns to the phone.) She'll be with you in a second.
MARIE. (She enters from the kitchen.) Who is it, Charlotte?
CHARLOTTE. (She hands Marie the telephone.) It's your boyfriend. (Charlotte sits on the sofa
and begins to fold the basket of laundry.)
MARIE. Hello, Miguel. How are you? (Beat.) Good news? What is it? No, tell me now. (Beat.)
Oh, Miguel, are you serious? That's wonderful. You must be so happy. (Beat.) Of course I'll go
with you. This is so exciting. If we hurry, we can be back tomorrow night for the fireworks
display. (Beat.) Well, I'll bring an overnight bag, just in case. What a happy Fourth of July this is
going to be! I'll be all ready early in the morning, I promise. I just can't believe this. Will you
call me in the morning before you come get me? I get worried about you working so late. We
can go have breakfast at Shoney’s before we get on with our journey. I love you. I will see you in
the morning. Oh, Miguel? Siempre. Por vida. (She laughs a little.) Bye. (She hangs up.)
CHARLOTTE. What's all the excitement about?
MARIE. Miguel’s family has been approved.
CHARLOTTE. What?
MARIE. They'll be arriving in Miami tomorrow afternoon. We're flying down there to welcome
them to America.
CHARLOTTE. Oh, Marie, that's wonderful.
MARIE. I'm so happy. He misses his family so much. And I can't wait to meet them. I hope
they like me.
CHARLOTTE. Of course they will.
MARIE. I could just cry, Charlotte. That poor boy has been separated from his family for so
long.
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TRUDY. (She enters with suitcases, home from her vacation.) I'm home!
CHARLOTTE. Mama, you’re back! (Marie and Charlotte rush to Trudy to greet her.)
MARIE. It's so good to see you. We missed you.
TRUDY. I had the time of my life.
MARIE. I’ll get your suitcases. Then you can tell us all about your trip. We're dying to hear
every single detail. (She collects the suitcases and exits to the bedrooms.)
CHARLOTTE. Mama, I'm so glad you made it back safely. Did you have a nice time?
TRUDY. I didn’t want to come home. That was the nicest birthday present.
CHARLOTTE. It was Marie’s idea. Sit down. Do you want something to drink?
TRUDY. No, I’m fine. Well, I'm glad to see that the house is still standing.
MARIE. (She enters.) All right. I want to hear everything.
TRUDY. Well, sit down. Both of you. (They do.) I have something to tell you.
MARIE. Mama, what is it?
CHARLOTTE. Is it bad news?
TRUDY. Well, now, that depends.
MARIE. Let me guess, you finally got rid of Berniece?
TRUDY. Not quite.
CHARLOTTE. Just tell us.
TRUDY. Well, I met a man.
CHARLOTTE. You didn’t?
TRUDY. I did.
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CHARLOTTE. You little hussy.
MARIE. I told you that she would.
TRUDY. He's the perfect gentleman. His name is Charles.
MARIE. Is he single?
TRUDY. As a matter of fact, he is.
CHARLOTTE. You meet him on a cruise ship?
TRUDY. I’ll tell you the whole story later. First, I have something to say. (Beat.) I have decided
to move. I'm selling the house.
MARIE. Selling the house?
CHARLOTTE. Mama, what are you talking about?
TRUDY. I have decided to move to Atlanta.
MARIE. Atlanta?!
CHARLOTTE. Oh my Lord. Mama, have you lost your mind? You can't move to Atlanta all by
yourself.
TRUDY. I'm not going alone.
MARIE. I knew it. This was Berniece’s idea.
TRUDY. No, this is my choice. I'm moving to Atlanta. I'll be living with Charles.
MARIE. I think I might pee.
CHARLOTTE. There's no way in hell you're moving to Atlanta to live with some man that you
just met on a cruise ship.
TRUDY. And why not?
CHARLOTTE. Because that's crazy. You're talking about selling the house – our home – and
moving off somewhere with a stranger?
Pensacola by David‐Matthew Barnes 64
TRUDY. I need to make a change in my life.
MARIE. Then we should get a rabbit.
CHARLOTTE. Mama, there's nothing wrong with your life.
TRUDY. There is, Charlotte. I’ve spent my life taking care of people. First my mother and then
my husband and then my children. I want some time of my own. I want to enjoy the rest of my
life without any obligations to people. I think that I'm entitled to a little happiness.
CHARLOTTE. Of course you are.
TRUDY. It's a cure for my loneliness.
CHARLOTTE. I understand that. But why move so far away? What happiness will you find
living with a man? You'll end up taking care of him. You just wait and see.
TRUDY. Maybe things will turn out that way. But I have decided to find out for myself. (She
starts to exit.)
CHARLOTTE. Where are you going?
TRUDY. I need a Dr. Pepper. (She exits to the kitchen.)
CHARLOTTE. (To Marie.) This was all your idea. If we hadn’t sent Mama on that cruise –
MARIE. Charlotte, I didn't expect her to come home and sell the house! What am I going to do?
Where am I going to live?
CHARLOTTE. You can live with Miguel.
MARIE. But we aren’t even married.
CHARLOTTE. You love him, don’t you?
MARIE. What about you? If you and Steven get a divorce, where will you stay? You can't afford
your place by yourself.
CHARLOTTE. Let’s not talk about that. I haven’t told Mama yet.
MARIE. Well, I don't know if I want to live with a man.
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CHARLOTTE. Then you'll stay with me.
MARIE. Why doesn’t Mama just give us the house? I can get a job at Wal-Mart. Then I could
help you take care of Julie and Ashley.
CHARLOTTE. Oh my God, I forgot about them. They've probably killed each other by now.
MARIE. I'll go get them. You talk some sense into Mama.
CHARLOTTE. It's no use, Marie. You know what she's like once her mind is made up.
MARIE. She's stubborn, just like you.
CHARLOTTE. I can't help it. I'm my mother’s daughter.
MARIE. Well, at least try, Charlotte. Otherwise, Mama will be moving to Atlanta.
CHARLOTTE. I never imagined this happening. I thought we’d always stay together.
MARIE. So did I. (She exits.)
CHARLOTTE. (After a moment of contemplation, she goes to the phone and dials.) Steven?
It’s Charlotte. Listen, I think we need to talk. I'm on my way home. (Beat.) Well, where are you
going? (Beat.) What do you mean ‘out’? Who are you going with? (Beat.) Don’t you dare come
home drunk, Steven. I won't let you in. (Beat.) Damn it, why do you have to do this? I just want
to talk to you. You owe me that much. Can’t you just wait a few minutes until I get there so we
can discuss this? (Beat.) Our marriage. (Beat.) Fine. You go and have a good time. Just leave me
at home with the kids. You are a real sorry son of a bitch. Do you know that? (She slams the
phone down and storms into the kitchen.)
(Lights fade to black.)
Pensacola by David‐Matthew Barnes 66
Scene Five
(It is the morning of the Fourth of July. When this scene opens, the living room is
empty. Suddenly, MARIE enters from the kitchen. She is wearing a pair of shorts, a tshirt and sandals. On her t-shirt is the American flag in sparkling glitter. Her hair is up in
a high ponytail, fastened with a red, white and blue ribbon. In her hand she carries an
American flag, which she waves around while she hums a patriotic tune. She goes to the
telephone and she dials Miguel’s number. When he doesn’t answer, she hangs up the
phone. She looks concerned, but just slightly. She marches off to her bedroom.
TRUDY then enters with a cup of coffee. She is in her bathrobe and is still half asleep.
Suddenly, CHARLOTTE tears into the house, frantic and breathless. It is obvious that she
has been crying and has dressed quickly to get to her mother’s house. With the delivery of
her second line, she begins to cry again. Her emotional state crumples during the scene.)
TRUDY. Charlotte, what are you doing here so early?
CHARLOTTE. Mama, where’s Marie?
TRUDY. I think she’s in her bedroom. She’s packing up a bag to go to Miami.
CHARLOTTE. Go get Marie, Mama.
TRUDY. (She suddenly realizes that something is terribly wrong.) What happened? Charlotte,
what’s wrong?
CHARLOTTE. Where's my sister?
MARIE. (She enters from her bedroom. She is smiling and waving her flag.) Hi, Charlotte.
Happy Independence Day.
CHARLOTTE. (Wracked with grief, she fights back her tears. Her words are stammered.) My
baby sister MARIE. Did you and Steven have a fight?
CHARLOTTE. Marie, I need you to sit down.
MARIE. Is something wrong? (She starts to panic:) Is it the girls?
TRUDY. Oh my Lord, did something happen to Julie and Ashley?
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CHARLOTTE. No, my children are fine.
MARIE. Well, what is it, Charlotte? You need to calm down and tell me because you’re scaring
me.
CHARLOTTE. Just sit down, Marie. Please.
MARIE. (Firm:) I don't want to sit down.
CHARLOTTE. I have to tell you something right now. It’s something awful.
MARIE. Just tell me.
CHARLOTTE. It’s about Miguel.
TRUDY. (Her voice is a cracked whisper. Her eyes swell with tears.) Oh my God MARIE. What about Miguel?
CHARLOTTE. I can't do this.
MARIE. (She grabs Charlotte and shakes her.) Damn it, Charlotte. Where's Miguel?
CHARLOTTE. He isn’t coming to get you.
MARIE. Why not? (She shakes Charlotte again. She screams:) Tell me!
CHARLOTTE. He was working last night –
MARIE. I know that.
CHARLOTTE. He was on a delivery, Marie and there was a robbery –
TRUDY. Oh dear God, no.
MARIE. (She has lost all composure.) Where is he? Oh my God, where's my purse? I have to
go. I have to find him.
CHARLOTTE. Marie, he was shot. (Music should begin to play beneath the scene here. Suggested
music: "Deliver Me" as recorded by Sarah
Brightman.)
MARIE. No! No, I won't listen to you, Charlotte. I won't hear you say this to me. Miguel's
coming here right now and we're going to Miami.
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CHARLOTTE. Marie, he was shot in the head.
MARIE. Don’t say that!
CHARLOTTE. He died this morning.
MARIE. No! I'm going to marry him. Because I love him. I love him so much.
CHARLOTTE. (She tries to comfort her sister.) I know, Marie.
MARIE. (She is almost violent.) Who did this to him?!
CHARLOTTE. They don’t know. (She turns to Trudy.) Mama, help me. I don’t know what to
do.
TRUDY. (She goes to Marie, trying to stay strong despite her tears.) Oh my sweet girl. Oh my
angel, I'm so sorry.
MARIE. Mama, he's not dead. He's coming here to get me. (She looks to the front door.)
Miguel! (She turns to her mother.) I'm leaving with him.
CHARLOTTE. Marie, we love you so much. Mama and I are right here. We aren't going
anywhere.
MARIE. How can he be dead? How can this happen? (She clings to her mother and her sister as
the three of them fold into a tight embrace. The lights begin to fade.) We were going to have
forever.
(Blackout. In the dark, Marie screams Miguel’s name a final time. Music increases in
volume.
A single light then comes up slowly on Marie who is sitting alone on the sofa. She is
sobbing and still clutching the American flag. Marie stands as if Miguel were there with
her and slowly, she begins to dance.
Lights slowly fade to black.)
Pensacola by David‐Matthew Barnes 69
Scene Six
(It is later that evening. When this scene opens, CHARLOTTE is sitting on the sofa, lost
in thought. Marie is in her bedroom. Trudy is in the kitchen. A few moments pass
before STEVEN enters. The room is dimly lit, ghostly.)
CHARLOTTE. Steven?
STEVEN. Charlotte, I got over here as soon as I heard.
CHARLOTTE. (She contemplates for a moment and then rushes over to embrace him.) Thank
you.
STEVEN. How’s Marie? Is she here?
CHARLOTTE. She's been locked in her room for three hours. Mama keeps checking on her to
make sure she doesn’t do anything foolish. To tell you the truth, I don't know if my sister will
ever be the same.
STEVEN. What about you?
CHARLOTTE. What do you mean?
STEVEN. When I was driving over here, I started to think about everything.
CHARLOTTE. Like what?
STEVEN. When something like this happens, it makes you a little more grateful for what you’ve
got.
CHARLOTTE. I feel the same way. I thought about the girls. And you. What would I have
done if –
STEVEN. It scared me, I guess.
CHARLOTTE. It did?
STEVEN. Charlotte, we have a lot of problems. Our marriage. It ain’t working for either one of
us.
CHARLOTTE. I know that. I know you aren’t happy.
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STEVEN. And neither are you.
CHARLOTTE. But can you blame us? Steven, we were just kids when we got married. Now, we
have kids of our own. It all happened so fast. I get angry sometimes. Like I’ve been cheated.
STEVEN. But you haven’t.
CHARLOTTE. What are you saying?
STEVEN. I didn’t cheat on you.
CHARLOTTE. I want to believe that. With all of my heart and soul, I do.
STEVEN. It’s the God’s honest truth.
CHARLOTTE. Then why did you give up on us? Why did you stop coming home at night?
Couldn’t you see it was driving us even further apart?
STEVEN. I don’t want to upset you, but –
CHARLOTTE. Just tell me, Steven. Please.
STEVEN. I felt like I was disappointing you.
CHARLOTTE. What?
STEVEN. When we got married, I made you a whole lot of promises. That I would take care of
you and that we would never go without.
CHARLOTTE. Well, we’ve just been through some rough times. That’s all.
STEVEN. But I couldn’t make things better. No matter how hard I tried –
CHARLOTTE. Steven, you’re a hard working man. You've been a good father to our children.
STEVEN. But what kind of husband have I been?
CHARLOTTE. Well, I'm not the nicest wife in the world.
STEVEN. But do I love you enough?
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CHARLOTTE. Sometimes. But not lately.
STEVEN. I know I’ve hurt you. I just couldn’t do it anymore.
CHARLOTTE. Couldn’t do what?
STEVEN. I kept seeing that look on your face. Like everything I did wasn’t good enough. Like
you were comparing me to your father.
CHARLOTTE. That was unfair of me. I was blaming you for what he did. But I have forgiven
him.
STEVEN. But can you forgive me?
CHARLOTTE. What do you want to do, start over?
STEVEN. Can we?
CHARLOTTE. I don’t know. I've cried a lot of tears over you lately. You hurt me real bad.
STEVEN. When John told me about what happened to Miguel –
CHARLOTTE. You don’t have to say it.
STEVEN. What would I do if that happened to you?
CHARLOTTE. Well, you would have your freedom. That’s what you wanted.
STEVEN. That’s not what I want.
CHARLOTTE. What do you want?
STEVEN. I want to be the President.
CHARLOTTE. In this lifetime, Steven. What do you want in this lifetime?
STEVEN. I want to be a good husband and a good father.
CHARLOTTE. But is it that simple? What makes you think it will work this time? We've been
trying for over ten years now.
Pensacola by David‐Matthew Barnes 72
STEVEN. I was bored, Charlotte. That’s the truth. I felt like I was suffocated, like everything is
always the same.
CHARLOTTE. I can't change life, Steven. This is who we are. We're married and we have kids
and we'll probably spend the rest of our lives just trying to get by.
STEVEN. But I wanted things to be easier, for both of us.
CHARLOTTE. And so did I. But we’ve made it this far, haven’t we? So many people said it
would never last –
STEVEN. They were wrong. I don’t want to lose this family.
CHARLOTTE. Then fix it. We have to make it special and keep it that way, or it will never be
right.
STEVEN. Well, I'm willing to give it a try.
CHARLOTTE. You are?
STEVEN. I think this is worth fighting for. My wife and my daughters.
CHARLOTTE. Well, now, that's more like it. You've finally come to your senses. I'm glad to see
that you survived living in the land of stupidity.
TRUDY. (She enters from the kitchen.) Hello, Steven. I thought I heard you out here.
STEVEN. Trudy, I'm real sorry to hear about Miguel.
TRUDY. We all are.
CHARLOTTE. Mama, I'm so worried about Marie.
TRUDY. Marie's going to be fine. She's my daughter, isn’t she?
CHARLOTTE. I want to talk to you about something serious, Mama.
TRUDY. Is it more bad news?
CHARLOTTE. No, it's an idea I have.
TRUDY. What’s on your mind, Charlotte?
Pensacola by David‐Matthew Barnes 73
CHARLOTTE. Are you really moving to Atlanta?
TRUDY. Yes, I am. Well, not right away. I want to make sure Marie is all right before I go.
Probably in September. I’d like to sell the house by then.
CHARLOTTE. That's what I want to talk to you about. What if Steven and I bought the house
from you? Marie could stay and help out and maybe I can convince her to go to school.
TRUDY. That is an idea.
CHARLOTTE. Is it worth discussing, maybe over supper next week?
TRUDY. Absolutely.
CHARLOTTE. Fine then. (She gives her mother a hug and kisses her cheek.) I’ll call you a little
later to check on Marie. (She turns to her husband.) Steven, are you ready to go home?
STEVEN. (He nods.) Yeah, I am. Trudy, I'll see you soon.
TRUDY. Steven, you take good care of my daughter.
STEVEN. I always will, Trudy.
(Charlotte and Steven exit. Trudy sits down on the sofa and begins to pray. A few
moments pass before BERNIECE enters through the front door, carrying a casserole dish
covered with aluminum foil. She starts to cry.)
BERNIECE. God forgive me, Trudy Baker, but all I could do was make a casserole and I’m such
a cow, that I ate half of it sitting on your front porch. (Beat.) When you called me, I just fell to
pieces, thinking about that poor sweet boy. I looked at Franklin – (Beat.) I’ve ended my affair,
Trudy. It’s over.
TRUDY. I'm glad you’re here, Berniece.
BERNIECE. Where else would I be? (The two women embrace.) Don't worry. We're all going to
get through this. It's just a sign for all of us to slow down and start loving each other more.
(Berniece exits to the kitchen with her casserole dish.)
MARIE. (She enters from her bedroom, but she is in the dark.) Mama?
TRUDY. Yes, angel?
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MARIE. Did Charlotte go home?
TRUDY. Yes, she did.
MARIE. I wanted to say goodbye to her.
TRUDY. She’ll be back, Marie.
MARIE. (She walks further into the room, into the light. She is carrying an overnight bag and
her purse.) I was lying in my bed, Mama, and I was thinking about everything. I was trying real
hard not to cry, so I started to remember things about Miguel that made me laugh and smile.
TRUDY. Tell me.
MARIE. How he would read to me his Spanish poetry and I could never understand a word he
was saying. How he used to tell me funny stories about when he was just a little boy in Havana.
(Beat.) But then I got sad and even angry. Mama, all of his life he wanted to come here, to live
in America. He thought life would be better. And when they told him he could come here, he
did. He left his family behind and his friends and everything he had ever known. He left behind
the true meaning of his words and that little boy he used to be. His childhood and his
innocence are probably still there, in Havana. They're running down those old streets or they're
dancing and singing a song. (Beat.) So I had to ask myself about this world. This country that I
live in. (Beat.) Mama, I still want to believe in America, but how can I? What kind of a place
would allow this to happen? How can people be so brutal and unkind? I don't think that I will
ever understand what happened to Miguel Castillo, but his words and his song, they will always
be with me, here in Pensacola. He gave me magic. (Beat.) And now I will give him grace.
TRUDY. Miguel will always be in your heart, Marie.
MARIE. (After a moment:) I'm going to Miami, Mama. I'm going to meet my new family.
(Overwhelmed by her emotions:) I will sit his mother down and I will tell her that her little boy
has been killed. I will take her hands in mine and I will look into her eyes. I imagine that they
are warm and comforting. And I will hear the words fall from my lips that Miguel Castillo is
dead. I will hold his mother while she weeps. I will hold her in my arms and I will feel her pain.
Because I loved him. (Beat.) And then I will reach for his father, who has similar features, and I
will tell this man how much I loved his son. That in my life, I will never love anyone as
completely as I loved Miguel. And I will touch the faces of his sisters and wipe away their tears
as they mourn for the loss of their brother. And I will swear to them that I will never leave them
or their lives. (Beat.) Because they are Cuba and I am America. But together, Mama, we are
Miguel Castillo.
(Marie steps towards the front door. There is now a single light on Marie and Trudy as
the remainder of the stage falls into darkness. Trudy stands behind Marie, with her right
hand on Marie’s right shoulder.)
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TRUDY. Then I will wait here, Marie, until you come home.
MARIE. Will you?
TRUDY. I promise.
MARIE. (Finding her strength:) I should go now. I will call you from Miami.
TRUDY. Please do.
MARIE. (After a moment:) I love you, Mama.
TRUDY. (She pulls her hand away from Marie and steps out of the light, into the darkness. We
only hear her voice:) God go with you, Marie.
MARIE. (She starts for the door, but suddenly she stops. She glances out, finding a tiny flicker of
hope.) Mama? (She looks up to an imaginary sky.) Maybe if I'm lucky, I will see the fireworks
light up the Miami sky.
(The light on Marie slowly fades to black, as she exits.)
CURTAIN
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