Trying to Find Chinatown: The Selected Plays of David Henry Hwang (17 page)

BOOK: Trying to Find Chinatown: The Selected Plays of David Henry Hwang
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WILBUR: Aaaah!
(Balls are being shot out much faster now, pummeling Wilbur and Di-gou. Ama and Popo continue to sit in the sunroom, staring away from the tennis court, peaceful and oblivious
.
)
 
DI-GOU: Aaah!
WILBUR: I don’t—! This never happened—!
DI-GOU: Watch out!
WILBUR: I’ll turn off the machine.
DI-GOU: Good luck! Persevere! Overcome! Oh! Watch—!
(A volley of balls drives Wilbur back. Ama and Popo hear the commotion, look over to the tennis court. The balls stop shooting out
.
)
 
POPO: Tennis.
AMA: A fancy machine.
(Ama and Popo return to looking downstage. The balls begin again
.
)
 
WILBUR: Oh, no!
AMA: Wilbur—he is such a bad loser.
POPO: Good exercise, huh? His age—good for here.
(She pinches her belly)
DI-GOU: I will persevere!
(He tries to get to the machine, is driven back)
WILBUR: No! Di-gow!
DI-GOU: I am overcome!
WILBUR: Joanne!
(He begins walking like a guerrilla toward the machine and finally makes it offstage. The balls stop, presumably because Wilbur reached the machine. Di-gou runs off the court.)
 
DI-GOU
(Breathless)
: Is it time yet . . . that we may cease to have... such enjoyment?
(Wilbur crosses back onto the tennis court and into the lanai
.
)
 
WILBUR
(To offstage)
: Joanne! This machine’s too fast. I don’t pay good money to be attacked by my possessions!
(Exits)
(Ama and Popo get up, exit into the house, applauding Di-gou as they go, for his exercise
.
)
 
AMA AND POPO
(Clapping)
: Good, good, very good!
(Di-gou is left alone on the tennis court. He is hit by a lone tennis ball. Then Chester enters, carrying a violin case. He has thrown that last ball
.
)
 
CHESTER: Quite a workout, there.
DI-GOU: America is full of surprises—why do all these products function so poorly?
CHESTER: Looks like “Made in the U.S.” is gonna become synonymous with defective workmanship.
(Pause)
You wanna see my violin?
DI-GOU: I would love to.
CHESTER: I thought you might. Here.
(He removes the violin from its case)
See? No “Made in U.S.” label.
DI-GOU: It is beautiful.
CHESTER: Careful! The back has a lacquer which never dries—so don’t touch it, or you’ll leave your fingerprints in it forever.
DI-GOU: Imagine that. After I die, someone could be playing a violin with my fingerprint.
CHESTER: Funny, isn’t it?
DI-GOU: You know, I used to play violin.
CHESTER: Really?
DI-GOU: Though I never had as fine an instrument as this.
CHESTER: Try it. Go ahead.
DI-GOU: No. Please. I get more pleasure looking at it than I would playing it. But I would get the most pleasure hearing you play.
CHESTER: No.
DI-GOU: Please?
CHESTER: All right. Later. How long did you play?
DI-GOU: Some years. During the Cultural Revolution, I put it down.
CHESTER: Must’ve been tough, huh?
(He directs Di-gou’s attention to the back of his violin)
Look—the back’s my favorite part.
DI-GOU: China is my home, my work. I had to stay there.
(He looks at the back of the violin)
Oh—the way the light reflects—look. And I can see myself in it.
CHESTER: Yeah. Nice, huh?
DI-GOU: So you will take this violin and make music around the world.
CHESTER: Around the world? Oh, you probably got a misleading press clipping. See, my dad . . .
DI-GOU: Very funny.
CHESTER
(Smiling)
: Yeah. See, I’m just playing in the Boston Symphony. I’m leaving tomorrow.
DI-GOU: I am fortunate, then, to come today, or perhaps I would never meet you.
CHESTER: You know, I wasn’t even planning to come here.
DI-GOU: That would be terrible. You know, in China, my wife and I had no children—for the good of the state.
(He moves to where he left the Chinese toys earlier in the act. He picks them up and studies them)
All these years, I try to imagine—what does Hannah look like? What does her baby look like? Now, I finally visit and what do I find? A young man. A violinist. The baby has long since disappeared. And I learn I’ll never know the answer to my question.
(Silence
.
)
 
CHESTER: Di-gou, why did you come here?
DI-GOU: My wife has died, I’m old. I’ve come for my sisters.
CHESTER: Well, I hope you’re not disappointed to come here and see your sisters, your family, carry on like this.
DI-GOU: They are still my sisters.
CHESTER: I’m leaving here. Like you did.
DI-GOU: But, Chester, I’ve found that I cannot leave the family. Today—look!—I follow them across an ocean.
CHESTER: You know, they’re gonna start bringing you to church.
DI-GOU: No. My sisters and their religion are two different things.
CHESTER: No, they’re not. You’ve been away. You’ve forgotten. This family breathes for God. Ever since your aunt, See-goh-poh.
DI-GOU: See-goh-poh is not the first member of this family.
CHESTER: She’s the first Christian.
DI-GOU: There are faces back further than you can see. Faces long before the white missionaries arrived in China. Here.
(He holds Chester’s violin so that its back is facing Chester, and uses it like a mirror)
Look here. At your face. Study your face and you will see—the shape of your face is the shape of faces back many generations—across an ocean, in another soil. You must become one with your family before you can hope to live away from it.
CHESTER: Oh, sure, there’re faces. But they don’t matter here. See-goh-poh’s face is the only one that has any meaning here.
DI-GOU: No. The stories written on your face are the ones you must believe.
CHESTER: Stories? I see stories, Di-gou. All around me. This house tells a story. The days of the week tell a story—Sunday is a service, Wednesday and Friday are fellowship, Thursday is visitation. Even the furniture tells stories. Look around. See-goh-poh is sitting in every chair. There’s nothing for me here.
DI-GOU: I am here.
CHESTER: You? All right. Here.
(He turns the back of the violin toward Di-gou, again using it like a mirror)
You look. You wanna know what I see? I see the shape of your face changing. And with it, a mind, a will, as different as the face. If you stay with them, your old self will go, and in its place will come a new man, an old man, a man who’ll pray.
DI-GOU: Chester, you are in America. If you deny those who share your blood, what do you have in this country?
AMA
(From offstage)
: All right? Ready?
CHESTER: Your face is changing, Di-gou. Before you know it, you’ll be praying and speaking in tongues.
AMA
(Still offstage)
: One, two, three, four!
(The sounds of a choir singing the “Hallelujah Chorus.” Then, the choir, consisting of Wilbur, Joanne, Robert, Hannah and Popo, enters. They are led by Ama, who stands on the base of a movable podium which is being pushed into the room by Robert and Wilbur. The choir heads for the center of the room, where the podium comes to rest, with Ama still on it, and the “Hallelujah Chorus” ends. Robert begins singing the tenor aria “Every Valley Shall Be Exalted” from Handel’s
Messiah
.)
 
ROBERT: “Every valley, every valley . . .”
HANNAH: Quiet, Robert!
ROBERT: But I want my solo!
JOANNE
(To Robert)
: Ssssh! We already decided this.
ROBERT
(Continuing to sing)
: “. . . shall be exalted . . .”
JOANNE
(Yelling offstage)
: Jenny!
AMA
(To Robert)
: Time for Family Devotions! Set up room!
(Everyone, except Di-gou, begins to arrange the room like a congregation hall, with the pulpit up front
.
)
 
ROBERT: But it’s a chance to hear my beautiful voice.
JENNY
(From offstage)
: Yeah! What?
POPO
(To Robert)
: Hear at home, hear in car. Now set up room.
JOANNE
(Yelling offstage)
: Jenny! Devotions!
JENNY
(From offstage)
: Aw, Mom.
JOANNE
(Yelling offstage)
: Devotions!
JENNY
(Entering)
: All right.
ROBERT
(To Hannah)
: You know what this is? This is the breakdown of family authority.
HANNAH
(To Robert)
: You have all the authority, dear. Now shut up.
(Jenny goes over to Chester.)
 
JENNY: Hey, you still here? I thought for sure you’d have split by now.
CHESTER: I will.
JENNY: You gotta take it easier. Do like me. I act all lotus blossom for them. I say, “Hi, uncle this and auntie that.” It’s easy.
ROBERT: Look—all this free time.
(Sings)
“Every valley . . .”
POPO: Shoot him!
(The room is set up
.
)
 
AMA: We begin! Family Devotions!
(Ama flips a switch. A neon cross lights up
.
)
 
JENNY
(To Chester)
: Looks like a disco.
(Everyone sits down except Di-gou. The rest of the family waits for him. He walks over and sits down. Ama bows down to pray. Everyone bows except Chester and Di-gou, but since all other eyes are closed, no one notices their noncompliance. Ama begins to pray.)
 
AMA: Dear Father, when we think of your great mercy to this family, we can only feel so grateful, privilege to be family chose for your work. You claim us to be yours, put your mark on our heart.
(Chester gets up, picks up his violin, gets Di-gou’s attention
.
)
 
 
Your blessing begin many year ago in China.
 
(Chester begins playing; his music serves as underscoring to Ama’s prayer.)
 
 
See-goh-poh, she hear your word—from missionary. Your spirit, it touch her heart, she accept you, she speak in tongue of fire.
 
(Chester begins to move out of the room as he plays
.
)
 
You continue, bless See-goh-poh. She become agent of God, bring light to whole family, until we are convert, we become shining light for you all through Amoy.
 
(Chester stops playing, looks at Di-gou, waves good-bye and exits. Di-gou gets up, walks to where Chester was standing before he left and waves good-bye.)
 
Let us praise your victory over Satan. Praise your power over demon. Praise miracle over our own sinful will. Praise your victory over even our very hearts. Amen.
 
(Ama conducts the choir in the ending of the “Hallelujah Chorus.” As they sing, she notices Di-gou’s chair is empty. She turns and sees him waving. Ama and Di-gou look at each other as the “Hallelujah Chorus” continues
.
)
BOOK: Trying to Find Chinatown: The Selected Plays of David Henry Hwang
7.83Mb size Format: txt, pdf, ePub
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