THE AGITATORS and EDEN PRAIRIE, 1971 (excerpts) by Mat Smart

COVID-19 Effected Productions – Mat Smart Excerpt from The Agitators Phoenix Theatre – Indianapolis (closed run early) Theatre Horizon – outside Philly (closed run early) Remy Bumppo – Chicago (postponed) Falcon Theatre – outside Cincinnati (postponed) Theatre at Monmouth – Maine (postponed) Pure Theatre’s high school tour – South Carolina (Postponed)

pages 56 –59

Excerpt from Eden Prairie, 1971 World Premiere Raven Theatre – Chicago (postponed)

pages 3 – 8

56

EXCERPT FROM THE AGITATORS – Act Two, Scene Two The Douglass House South Avenue Rochester, New York June 5, 1872 (The burnt remains of FREDERICK’s house.

There are the scarred black skeletons of trees.

The ground smolders.

It rains.

A flash of lightning. A low rumble of thunder in the distance.

SUSAN, now 52 years old, holds her umbrella above both her and FREDERICK, now 54 years old.

They look out over the destruction) FREDERICK When I received word that my house burnt down, my first thought was: I am surprised it did not happen sooner.

(Beat) I left D.C. in such a rush, I did not think to bring an umbrella.

Why would I bring an umbrella to a fire?

(Beat) Thank the Lord no one was hurt.

I implored Anna to stay away. This destruction is too much for her to bear. . . . Even in the North, the property of the colored man is less respected and less secure than the property of any white citizen.

SUSAN They have not yet identified the cause.

FREDERICK There is no question of who did this. And why.

SUSAN The police are not yet calling it arson.

FREDERICK They can call it whatever they please.

My time here is through.

Washington, D.C. will be my home now.

SUSAN Please do not say that.

57

FREDERICK It is the Ku Klux spirit that lit this match.

SUSAN But this is Rochester.

FREDERICK Indeed – but even though Rochester is among the most liberal of Northern cities, there is still hatred. Whether it is out in the open or boiling below.

SUSAN Please wait until the investigation is over before you – FREDERICK There does not need to be an investigation.

Can you not see what is smoldering before you?

SUSAN Yes, but – FREDERICK This is arson. This is hate. I have been enduring it my entire life and so this comes as no surprise. But what pains me more so than whoever did this – is that you, one of my oldest friends, do not immediately condemn this act as arson and hate.

(Beat) What is it that keeps driving us apart?

Is it the Fifteenth Amendment?

Is it an angry mob? An angry man at a baseball game?

Is it whoever lit this match?

It always seems to be someone else – somewhere else – but what if – What if it is right here between us?

SUSAN Frederick, I feel a pain in my chest as though my own house burnt down.

FREDERICK But your house was not burnt down.

Mine was. . . . We are standing here the two of us who love one another – we are looking at the same thing and yet, we see two different realities.

58

SUSAN . . . I do not want to believe my city is capable of this.

I do not want you to leave.

I do not want to lose my friend.

FREDERICK Do you still believe this can be a country for all?

SUSAN Yes. FREDERICK Then look at what is before you and try to see what I see.

(Beat.

SUSAN tries to look anew) SUSAN . . . I see the skeletons of trees you planted some twenty-five years ago.

I see Anna’s lilacs turned to ash.

And if I look up and down the road, I see that no other property has so much as a flower out of place.

This is the work of an incendiary of a hate-filled person who wishes to drive away Rochester’s most beloved son.

Do not let them win.

Please do not leave.

FREDERICK There is nothing left for me here.

(FREDERICK starts to leave.

He sees something.

He reaches into the burnt remains and pulls out his violin case.

He takes a deep breath and opens the case.

The violin is in perfect condition. There is not so much as a scratch on it.

He takes out the violin. He takes the bow) . . . Will you give me a moment?

(SUSAN nods.

She exits.

FREDERICK readies his violin. He closes his eyes.

For a moment, the sound of children playing.

He plays something new.

59

He plays a melody he has never heard or played before.

It is a eulogy for the house and the memories in it.

Time passes) (continued‌)

3

EXCERPT FROM BEGINNING OF EDEN PRAIRIE, 1971 The backyard of the Thompson’s house. Night. There is one light on inside the house. All of the curtains are drawn. The first quarter moon hangs in the night sky close to the horizon.

The sound of crickets comes and goes. Occasionally, a car passes out front or a dog barks in the distance.

PETE, 20 years old, enters the yard. His clothes are worn, dirty. His beard is unkempt. He wears a camping backpack. His boots are muddy. He looks like he hasn’t showered or slept. He goes up to the window. He’s about to tap on it, but loses the nerve. He paces.

He takes a deep breath and holds it. He returns to the window. He’s about to tap on it when the grandfather clock inside the house strikes midnight. There are twelve low, steady gongs.

As soon as the clock is silent, PETE taps on the window. He waits. He taps on the window a bit louder. He waits. He puts his ear to the window. The curtain opens. PETE ducks away to the side.

RACHEL, 20 years old, looks outside into the yard. She wears her work clothes – a white button-down shirt, black slacks, and a green apron. Her hair is pulled up in a bun. She cups her hands around her eyes and peers through the window.

PETE watches RACHEL for a few moments. He doesn’t move. She doesn’t see him. She turns off the light. She returns to the window and looks out of it. She opens the window.

RACHEL (quietly) Hello?

(Beat) Is someone there?

PETE Yes. RACHEL Well, who is it?

PETE It’s Pete Walcott.

(Long pause)

4

RACHEL There’s a Spotted Sandpiper that sometimes pecks on the window for no good reason. But that sounded different.

(Pause) There’s a few nests over by Purgatory Creek.

PETE I just walked by Purgatory Creek.

RACHEL You see the nests?

PETE Yes. (Pause) What is today?

(Beat) What’s the date?

RACHEL It just turned Saturday, July 31st.

PETE I tried to keep track, but I got mixed up.

Did it happen? Did they land?

RACHEL Yeah. A couple of hours ago.

PETE Did everything go alright?

RACHEL So far, yeah.

PETE Hard to believe they’re gonna drive a car on the moon this time. Can you imagine that?

I’m glad you’re here. I figured you’d be home for the summer, but I wasn’t sure.

How are you, Rachel?

RACHEL What?

PETE How are you?

5

RACHEL What are you doing here?

PETE How are you? How are your folks?

RACHEL My dad’s in Vietnam and my mom’s passed out drunk on the sofa. How are your folks?

PETE I wouldn’t know. Do you?

(Beat) Do you know how they are?

RACHEL I used to sometimes see your dad at the bank.

PETE You don’t anymore?

RACHEL There’s someone else in his office now.

PETE Did he transfer to another branch?

RACHEL I don’t know.

What are you doing here?

PETE Can you come outside?

RACHEL Why are you here?

PETE I need to tell you something.

RACHEL Then why don’t you come back in the morning when my mom and I are awake?

PETE Because I’d rather not get arrested.

6

(Beat) RACHEL Is Nathaniel with you?

PETE No. Will you come out here?

RACHEL If my mom wakes up, there’s no telling what she’ll do.

PETE I’ll be quiet.

RACHEL I– PETE Rachel Thompson, I just walked 330 miles, will you come out here for five lousy minutes?

(Beat.

RACHEL closes the window.

PETE paces. He smooths his hair and beard. He takes off his backpack.

The inside light by the back door turns on.

RACHEL opens the door and comes out onto the back step.

She is taken aback by how PETE looks, but she tries not to show it) RACHEL You walked here from Canada?

PETE From Dance. It’s in Ontario. Not far from Fort Frances and the border. I could get 19 or 20 miles a night if I hoofed it. I only walked at night. But the nights are shorter in July, so.

RACHEL How long have you been walking?

PETE Either 16 or 17 nights. I lost track which.

RACHEL . . . It’s called Dance?

7

PETE Yeah, but that makes it sound more cheery than it is. Dance has a population of fifty and no one there dances. They farm. Sun-up to sun-down. It should be called Farm.

(Beat) I apologize if I smell. I haven’t showered since I left.

Do I smell?

RACHEL Yeah.

PETE Sorry.

I was wearing my suit the last time we saw each other.

RACHEL What?

PETE At graduation.

RACHEL We didn’t talk at graduation.

PETE Yeah, but that was the last time we were in the same place at the same time.

(PETE and RACHEL look at one another for a moment) Feels like a lot longer than two years ago, doesn’t it?

RACHEL Yeah.

PETE You work at Lunds? – like at the check-out?

(RACHEL takes off her apron and rolls it up) I thought Lunds didn’t hire for the summer.

RACHEL They don’t.

PETE Then how are you – RACHEL That’s where I work. Full-time. Since I came back home.

8

PETE What about Stanford?

RACHEL Berkeley. It was Berkeley.

PETE You dropped out?

RACHEL I swear to God – if my mother sees you out here.

PETE Is she okay?

RACHEL What? – why would she be okay?

PETE I only mean – RACHEL She’s terrified. We’re all terrified. You tapping on the window almost gave me a heart attack.

PETE I tried to be quiet.

RACHEL It’s not about being quiet. It’s about being terrified of the messenger coming here in the middle of the night.

(Beat) PETE Where’s your father stationed now?

RACHEL I could get in trouble for talking to you. You’re a criminal.

PETE Is that what you think of me?

RACHEL It’s not what I think, it’s what you are.