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| NIKKI ALFAR |
| Life After Beth |
| THIS IS PART OF THE LITERATURA READING SERIES | CLICK HERE TO GO BACK TO LITERATURA |
| THE AUTHOR HOLDS THE COPYRIGHT TO THIS PLAY. THIS IS POSTED WITH PERMISSION FROM THE AUTHOR. FOR INQUIRIES ON HOW TO SECURE THE PLAYWRIGHT'S PERMISSION TO STAGE THIS PLAY, PLEASE E-MAIL HER AT THIS ADDRESS. |
| An Excerpt from the One-Act Play CAST OF CHARACTERS BETH Katrice’s mother and Andrew’s lover; a Filipina in her late forties, very attractive in a polished, mature way KATRICE Beth’s daughter; a Filipina mestiza in her early twenties, slim and pretty, with short purple hair and several piercings in each ear ANDREW Beth’s lover; a white American in his mid-fifties, pleasant-looking, though not terribly handsome LITTLE KATRICE Katrice at age nine, pigtailed and precious TONY Beth’s husband; an unseen voice behind a screen a WAITER PRODUCTION NOTES A few weeks after Beth’s funeral, her daughter and her lover are still haunted by her memory—both figuratively and literally, as the two experience flashbacks and engage in dialogue with Beth as if she were alive. Until almost the end of the play, each of them is only aware of her presence when she is directly interacting with him or her. For example, when Beth is talking to Katrice, Andrew can hear Katrice's side of the conversation, but not Beth's. Whenever Beth speaks to Andrew or Katrice, the person she’s addressing can’t help glancing towards Beth for a second before quickly returning attention to the other person. This should be perceptible but not glaringly obvious. The action takes place in a tea shop-cum-restaurant, the entrance of which is visible at the rear of the stage. At center stage is a sofa, facing the audience, with a low coffee table in front of it, an ashtray and some magazines on the table. Slightly behind the sofa to either side is a pair of large folding screens, each of which has a section in the middle that opens like a door, big enough for one person to pass through. In front of each screen is an armchair, with an accompanying small table. The table at stage left has a telephone on it; another telephone, a small pile of men’s clothes, and a glass of water should also be accessible from behind the folding screen on this side of the stage. We begin with a darkened stage, a spotlight showing only BETH and ANDREW standing together at stage left, in a passionate embrace interspersed with loving murmurs to one another. BETH Whatever happens, wherever I go, I will always love you. ANDREW I will love you for the rest of my life. There will never be anyone for me but you. BETH Oh, Andrew. ANDREW Oh, Beth… Remaining in his arms, Beth pulls slightly away from Andrew, regarding him still with affection, but considerably less Harlequin-style romance. The lighting gradually shifts to show the entire stage. BETH You know this isn’t really how it happened, right? ANDREW What? BETH I don’t know… I’ve only been gone for a couple of weeks, and already you’re remembering us like some kind of Hollywood romance. God knows what you’ll be imagining a few years from now. ANDREW I’m nervous, all right? I have enough to worry about without you criticizing my memory. Andrew releases Beth and moves to the sofa at center stage. Beth watches him, amused. BETH False memory. Beth joins Andrew, perching behind him on the back of the sofa. BETH What are you so nervous about, anyway? I would think all your troubles are finally over. ANDREW What if she doesn’t like me? BETH Don’t be silly; of course she’ll like you. Why wouldn’t she like you? As the pair continue to converse, KATRICE, wearing a backpack, enters the tea shop at the rear of the stage, obviously looking around for someone in particular. ANDREW Well, let’s see, I did steal her mother from her father. How’s that for a reason? BETH Oh, please! I brainwashed her into hating her father years ago. I’m actually sorry for it now, but it’s a little late, I suppose. Musing, Beth notices Katrice just as Katrice spots Andrew. Beth waves enthusiastically; Katrice looks around self-consciously before heading over. ANDREW I doubt she really hates her own father as much as you think. BETH Here she comes now. Andrew turns to see, as Beth waves even more enthusiastically. BETH (calling out to Katrice) Katrice! (to Andrew) Doesn’t she look beautiful? I’m so glad she got my nose. Katrice arrives at the sofa, trying to appear casual despite her death grip on the strap of her backpack. KATRICE You must be Andrew. Andrew stands to greet her. He extends an arm to shake hands, but thinks better of it and gestures to the sofa instead. ANDREW Katrice, hi. I’m so glad you decided to meet with me. Sit down, please; I’ll call us a waiter. Andrew and Katrice sit, almost but not quite at opposite ends of the sofa. As Andrew turns around to signal a waiter, Katrice takes the opportunity to hiss at her mother. KATRICE Mom! What are you doing here? Will you please stop following me around?! BETH I’m happy to see you too, dear. And I’ve been here a while, you know. You’re the one who just walked in. KATRICE What are you talking about? You only exist in my mind! BETH Well! What a thing to say to your own mother. KATRICE I cannot believe that you’re fucking with my head from beyond the grave. Now I know how Hamlet felt. BETH Dear, what have we discussed about your language? KATRICE Did we say that we enjoy it? Beth makes a “don’t-be-smart” face at her daughter. Katrice makes a face back, and is caught in the act by Andrew, who is just turning back around to face her. ANDREW Are you all right? KATRICE Fine! I’m just, uh… hungry. ANDREW Well, the waiter’s on his way; you can order. Andrew glances behind him to check on the WAITER, who is approaching. Katrice takes the chance to glare meaningfully at her mother, who grimaces back. ANDREW It’s been so long; you were just a little girl the last time I saw you. KATRICE What? BETH Open mouth, insert foot. ANDREW You were still in pigtails then. Such a little cutie… KATRICE But we’ve never—You’ve seen me? I mean, not just in pictures, seen me? ANDREW Oh. Um… BETH (to Katrice) You were only eight or nine, but I’m sure you remember. The Polo Club? When I couldn’t find you? A spotlight illuminates stage right, throwing the rest of the stage into shadow. We see LITTLE KATRICE, looking past the light towards Beth, who is moving to join her as she speaks. LITTLE KATRICE Mommy, where are the ponies? You said we could see ponies! BETH We will see them, sweetheart. You just have to wait here a little longer; Mommy has something to do. Beth walks towards the screen that divides the front portion of the stage from the rest of the restaurant. LITTLE KATRICE What’s behind that door, Mommy? Is that where the ponies are? BETH No, sweetie, it’s where Mommy’s business meeting is. Just wait out here for me; then we’ll go see the ponies. As Little Katrice makes the exact same disgruntled face as her older counterpart, Beth opens the door in the middle of the dividing screen, only to find the grown-up Katrice standing behind it. KATRICE There’s no one back here. BETH Well, of course there isn’t. Andrew was there; but this is your memory, so you can’t remember what you didn’t see. Oblivious to them, Little Katrice plants her fists on her hips and tilts her chin determinedly, apparently coming to a decision. LITTLE KATRICE Well, I’m gonna see the ponies now. The little girl runs offstage. Beth and Katrice watch her go. BETH I was so scared when I didn’t find you outside the room… KATRICE Well, it serves you right, dragging me along on your—your—tryst! And keeping me in the dark! BETH You were eight; what did you want me to say? “Sweetheart, meet Mommy’s boyfriend”? As the lights gradually return to normal, Beth moves back behind the sofa, leaving Katrice standing alone at stage right, facing away from Andrew, who has risen to talk to her. ANDREW I thought you knew. KATRICE I remember now. ANDREW I’m sorry; I didn’t mean to— KATRICE Forget it. ‘S not your fault. She turns back toward him, walks to the sofa, and sits down, moody. Andrew follows suit. ANDREW So… how did you know it was me, then? Did your mother send pictures? BETH Why would I send pictures of my lover to my daughter? How crazy do you think I am? KATRICE What? Oh, no, I didn’t. It was—You were the only white guy in here. ANDREW (laughing a little too heartily) I guess I am! Katrice doesn’t laugh, smiling politely instead. In the awkward silence that follows, the waiter sidles up to their table. WAITER Good afternoon, ma’am. May I show you our menu? KATRICE No, I know what I’m having. Chai latte and your… you know, oyster thing? Oyster paté. BETH Oyster paté? Who ever heard of such a thing? WAITER So that’s one oyster paté and one chai latte for you, ma’am. Shall I serve your dim sum now, sir? ANDREW That’d be great, thanks. (to Katrice) Are you sure that’s all you’re having? I thought you were hungry. KATRICE I kind of lost my appetite. ANDREW (to the waiter) I guess that’s it, then. WAITER I’ll fetch your order, sir. As the waiter walks away, Beth waves a finger admonishingly at her daughter. BETH You shouldn’t eat oysters, Katrice. You might get food poisoning. KATRICE (under her breath, trying to hide it from Andrew) Will you please stop bossing me around?! BETH (to Andrew) Will you please tell her she might get food poisoning? A spotlight illuminates stage left, throwing the rest of the stage into shadow as the telephone there starts ringing. Andrew gets up and goes to answer it. ANDREW Hello? Oh, hi, darling! How are—What! You got what?! The door in the dividing screen opens to show Beth, also speaking into a phone receiver. BETH Food poisoning, at Tony’s company picnic. But don’t worry; I’m fine now. They pumped my stomach and I’m fine. ANDREW “Don’t worry”?! How can you tell me they pumped your stomach, and then “don’t worry”? I’m flying to Manila right now; I can catch a flight at— BETH No, don’t do that. I told you, I’m okay. Mara drove me to the hospital, and the doctor says there’s nothing to worry about. ANDREW What do you mean, “Mara took you”? What about that husband of yours; why didn’t he take you? BETH Tony had a little too much to drink at the picnic. Gripping the phone tightly, Andrew closes his eyes, too furious to speak. ANDREW (after a pause) When are you going to leave that man? BETH Andrew, we’ve discussed this— ANDREW (almost shouting) You could have died, Beth! BETH (raising her voice) I will die if I lose my daughter! (softer) And he’ll never let me take her; you know that. ANDREW We’ll fight him. I have lawyers; we’ll take him to court— BETH I don’t want to put Katrice through that. ANDREW Beth… BETH I have to go. Mara is here with Katrice. I love you. Beth hangs up, shutting the door in front of her as she does so, and heading back behind the screen to her spot at the sofa. The sound of a dial tone is heard as Andrew is left holding the phone. ANDREW I love you. The lights gradually return to normal, revealing Beth back behind the sofa. Continued... This play won Third Prize for the One-Act Play in the 2006 Palanca Awards |