| (Originally, written in short story form, in the book | | | | it seems, and the weather is cool. |
| "Stay Down, Old Abram," as a chapter story, "Black | | | | So (says the black girl) you will not follow me |
| Girl Walking," 2001; rewritten 6-1-2008 by the same | | | | anymore, right? |
| author as a one Act, three Scene Play) | | | | White Midwestern Boy |
| Based on actual events of 1970 | | | | (taking the cigarette out of his mouth) |
| Structure of the Play | | | | What, no directions to the drycleaners? |
| Black Girl Waling Dialogue | | | | Black Girl Walking |
| Note: It should be noted, the dialogue for the black | | | | No! An' I is not talking to yow: ask someone else. I |
| girl is according to the southern dialect of the 1970s, | | | | goin get killed, because of yaw-all, my uncle got hung |
| of that time, or period and place. It is not to say, the | | | | six-weeks ago, go on now, an' I'm not lying. Aren't |
| play's dialogue cannot be smoothed out, it can if the | | | | you a pest! |
| character needs to do this, but it seems to me it will | | | | (after a moment,: she looks about, doesn't say |
| go better with the setting left alone, as well as the | | | | another word, stares at the clothing store, rushes |
| date, which can be moved up or back, but again, it is | | | | into the turnaround pretending to look at the cloths, |
| fitting...I do believe, not necessary though, thus, I | | | | does not go into the store: then:) |
| leave this up to the discretion and discussion of the | | | | Scene Two |
| theater, and its actors, and their abilities in this area. | | | | Same location as in scene one, but has changed into |
| That is to say, if the dialect is counter productive for | | | | the turnaround of the cloths store, where there are |
| the playhouse, or too difficult, than resort to clear | | | | windows of cloths showing, glass windows. The time |
| English, it is not difficult to changing a few letters in | | | | has not changed much, so no lights need to be |
| the words presented in the dialogue. | | | | changed for the most part from scene one; although |
| The Plot | | | | you may no longer see the street, perhaps through |
| The plot and the action is smooth and simple, and | | | | the reflection of the glass. The black girl and the |
| can be strengthened if need be, by motivation; that | | | | white boy have not exchanged names, so they only |
| is to say, he wants directions, and he goes to further | | | | know each other as, the black girl walking, and the |
| lengths than normal to get them, but what the | | | | white Midwestern (or for her: northern) boy from the |
| character has got to show is how far will he go, this | | | | north; so this should be inferred within their faces and |
| may be done by his or her dramatic reactions. As | | | | tone of voice, especially when the black girl buries |
| you will see as you read, it is mostly the | | | | her face somewhat into the glass window, |
| advancement of the plot we are concerned with, | | | | pretending to look at the cloths, when she really is |
| more so than the development of the Character. | | | | trying to avoid the intruder. |
| Act One | | | | Black Girl Walking |
| (Of one act) | | | | Uncle Josh he right...folks like you, from the north |
| Scene One | | | | dont understand, a thing about us folks here, like to |
| On the street, in downtown, Huntsville, Alabama, | | | | ask questions, only get me into trouble, and dhen |
| 1970, | | | | you-all gone, jes like dat, and you dont know the |
| 11:30 AM. | | | | folks down her, and think they goin to have to go |
| One side of the street is empty, of the stage, it is | | | | according to the law and next thing you is hung, and |
| light up, and so all is very visible in this scene, perhaps | | | | all the laws in the world dont bring you back, an' then |
| a beam of a spotlight on the left side of the street | | | | the white folk from the north area sorry, but sorry |
| will help. The right side has a few bars on it, and | | | | dont do a thing to bring back Uncle Josh. If white |
| stores, leave it in shadows, as if mysterious. There | | | | folk down her see me talking to you it goin to be |
| are a few items here and there that carry the | | | | trouble... you jus cant see it until it happens, its too |
| symbolism of the south, the last ultimate seat if not | | | | late then... |
| the voice of the population, that says, white and | | | | White Midwestern Boy |
| black, still have not come to a full understanding or | | | | Tell me about your uncle? |
| agreement on equality, equal rights and freedom | | | | Black Girl Walking |
| amongst all, here in Alabama, 1969. | | | | (rapidly) |
| A white Midwestern boy, a Private First Class in the | | | | You is crazy. They hung him outside of town, in a |
| Army, is stationed at Redstone Arsenal, nearby, for | | | | farm pasture, from an old tree, jes old crows around |
| advance training, he has just come from boot camp | | | | to see him die, thats all it was, a tree and old crows, |
| at Fort Bragg, although this background information, is | | | | and when we goin' there to fetch him, to bury him |
| insignificant for the scene, it might be used for | | | | proper like, the old man of the farm he jus watch ya |
| clarification for the curious within the audience, should | | | | like you is going to rob his garden. Thats it, there is |
| a narrator wish to mentioned this, or have it written | | | | no more, no court, no anything, jus a hanging...one of |
| in a handout. A black girl is walking to the corner; it | | | | many! |
| would seem she intends to stop at the red light, wait | | | | (she lets out a long sigh, slowly, with a sort of |
| and cross. The white soldier, is behind her, looking | | | | despair attached to it, as the boy drops the cigarette |
| with his dress greens in his hands, his Army dress | | | | to the floor, puts it out with his shoe) |
| greens, he himself is dressed in civilian cloths, and is | | | | She is not even looking at the boy, standing four or |
| looking for a cleaners, to have his uniform pressed. | | | | five feet from her, she is looking into the glass |
| He is a Midwestern boy, 22-yeaars old. The girl is | | | | window, her fingers pressed against the glass, her |
| black and pretty, perhaps between eighteen and | | | | face leans on it for a moment, then she pulls back. |
| twenty, dressed neatly, with a white blouse, and light | | | | Black Girl Walking |
| colored skirt, a mythical look appears on her face | | | | I think there might be a drycleaners back yonder a |
| when she finds a white boy following her, saying | | | | ways, the other way, where you-all were coming |
| something but you can't here what she is saying, | | | | from, down the block... |
| which turns her face into being scared, they-for the | | | | (pointing to her right side, which would be his left, |
| moment-are the only ones on the street, she slightly | | | | when he was walking down the sidewalk trying to |
| turns her head to see him, the length between them | | | | intrude, her face half hidden) |
| has dwindled down to two-yards, or about six-feet. | | | | It now seems to dawn on the white boy, that things |
| He is symbolic also, he is the unaware young | | | | are not as he thought, they are more serious, he |
| generation, of the conservative Midwest, he could be | | | | looks out towards the street, a few cars have |
| someone's idea of an America obviously disjointed in | | | | passed, he noticed no one has looked at him from |
| the fact, the United States had just been routed out | | | | the cars, yet the black girl is blind to the road, he |
| of bed, or out of their dressing-room, to look at | | | | wants to put out his hand towards her, starts to and |
| equal rights in America, black and white issues. The | | | | dares not, she even shields her eyes form what |
| soldier boy is neatly dressed; his hair is semi short, | | | | someone might see, if this boy does something |
| nicely combed. They are now looking at one another, | | | | stupid. |
| not moving, a cloths store is right in front of them, | | | | White Midwestern Boy |
| to their left side, one you can walk around, one side | | | | Yes. Go on. I'm sorry I caused you so much grief, I |
| and come out the other-like a horseshoe. In the | | | | think I let it go too far, I should have just went |
| middle are dresses. | | | | about my way...and what you said about your uncle, I |
| White Midwestern Boy | | | | mean, being dead, hanged in Alabama, for whatever |
| Wait! Please wait! I mean, good morning, will you | | | | reasons, is for me hard to believe, but I believe |
| please wait! | | | | you...no cars are coming, no one looking, you best go! |
| (they look at one another the black girl doesn't | | | | Scene Three |
| answer: the white Midwestern boy, though still stares, | | | | The Exit |
| watching the black girl, next to the cloths store) | | | | Much like scene one in appearance; you see the boy |
| Is there something wrong...I mean all I want is | | | | looking down the street, and the black girl walking |
| directions? | | | | across the street where they originally met. The girl |
| Black Girl Walking | | | | stops, back to the boy, they are a distance away, |
| No. Cant you-all see there arent no black folk talking | | | | she starts to turn her head around, but stops, and at |
| to white boys, look across the street, you see | | | | that moment, he automatically turns his back around |
| anyone walking there black? You must be from the | | | | to her, in case she decides to follow through on the |
| north, leave me alone white boy, before you-all get | | | | compete turnabout... and the curtain comes down. |
| me hung, and you git beat up by your own kind! | | | | Curtain |
| The boy takes a cigarette from a pack in his shirt | | | | Notes: the Author was stationed at Redstone |
| pocket, he has a light jacket on, he seems to have | | | | Arsenal, in February and March, of 1970 the same |
| come prepared for such a need, he is baffled, or so | | | | location of the United States Space Center Program. |