Welcomeby Richard Stuart Dixon
© Richard Stuart Dixon, 2004
(Note: Performance of this play requires the author’s permission. Please contact Good School Plays for details.)
Production Notes:
• running time: approx. 40 minutes.
• style: fairy tale
• suitable for general audiences
• 23 characters (17 female, 5 male)
• black-box staging (no set required)
Summary of Script Content:
• “Fury” is the story of a girl whose dream shifts reality when reality tries to punish her for her unorthodox state of being.
(This play was first performed on October 4, 5, 6, 7 & 8, 2004, at Gleneagle Secondary School in Coquitlam, British Columbia, Canada.)
∗ Published Online by Good School Plays, February 22, 2018.
Go to:
Act One, Scene 1
Act One, Scene 2
Act One, Scene 3
Act One, Scene 4
Act One, Scene 5
Act One, Scene 6
Act One, Scene 7
Act One, Scene 8
Act Two, Scene 1
Act Two, Scene 2
Act Two, Scene 3
Act Two, Scene 4
Act Two, Scene 5
Act Two, Scene 6
Act Three, Scene 1
Act Three, Scene 2
Act Three, Scene 3
Act Three, Scene 4
Act Three, Scene 5
Act Four, Scene 1
Act Four, Scene 2
Act Four, Scene 3
Act Four, Scene 4
Act Four, Scene 5
Act Five, Scene 1
Act Five, Scene 2
Act Five, Scene 3
Act Five, Scene 4
Act Five, Scene 5
CHARACTERS:
The Magicians
MINERVA HAVOC, a woman of magic
DOC HAVOC, her little boy.
The Furies
ALECTO FURY, a spirit.
TISIPHONE FURY, a spirit.
MAGAERA FURY, a spirit.
The Weed Family
GRANDMOTHER STRAWBERRY WEED
SADIE WEED, her granddaughter.
The Children
JEZEBEL NANTUCKET
GINA RENATO
ANGELICA TIVOLI
NORM TUCKER
MONK TUCKER, Norm’s twin brother.
Their Parents
REEBA NANTUCKET, Jezebel’s mother.
BARCLAY NANTUCKET, Jezebel’s father.
MINA RENATO, mother of GINA RENATO.
MARIA TIVOLI, mother of Angelica.
BETTY TUCKER, mother of Norm and Monk.
MARTHA TUCKER, Norm and Monk’s grandmother
The Policeman and his Wife
CONSTABLE MICK McNAMARRA
MARY McNAMARRA, his wife.
The Physicians
Dr. ELLEN BURSTWICK
Nurse JANICE BUNYON
Nurse GINGER TULLIVER
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 1:
(GRANDMOTHER WEED is onstage, discussing the first day of school with SADIE.)
GRANDMOTHER WEED
Now, Sadie, are you ready for the first day of high school?
SADIE WEED
Don’t make me go, Grandmother Weed.
GRANDMOTHER WEED
For heaven’s sakes, child, why not?
SADIE WEED
I’m afraid, Grandmother.
GRANDMOTHER WEED
Afraid? Of what?
SADIE WEED
Everything.
GRANDMOTHER WEED
Everything?
SADIE WEED
The school building, the teachers, the kids…everything.
GRANDMOTHER WEED
Just be brave, Sadie.
SADIE WEED
How, Grandmother?
GRANDMOTHER WEED
Square your shoulders, hold you head high, and be glad you’re no longer ill.
SADIE WEED
I wish you could go with me, Granny.
GRANDMOTHER WEED
Some things we have to do by ourselves, child. High school is one of them.
SADIE WEED
Just today. Go with me today.
GRANDMOTHER WEED
Just today?
SADIE WEED
Today. Tomorrow I’ll go by myself.
GRANDMOTHER WEED
All right, Sadie. Just for today.
(SADIE gives her grandmother a hug and they exit left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 2:
(JEZEBEL, REEBA, and BARCLAY NANTUCKET enter from the right.)
REEBA NANTUCKET
Are you excited about your first day of high school, Jezabel?
JEZEBEL NANTUCKET
I’m really looking forward to it, Mom.
BARCLAY NANTUCKET
That’s my girl.
JEZEBEL NANTUCKET
Gina and Angelica are meeting me at the bus stop.
REEBA NANTUCKET
And Norm and Monk, the Tucker twins?
JEZEBEL NANTUCKET
They’re meeting us outside the school.
BARCLAY NANTUCKET
I hope you have as much fun at high school as I did, Reeba.
JEZEBEL NANTUCKET
I’ll have even more, Dad.
REEBA NANTUCKET
You’re a born leader, dear.
JEZEBEL NANTUCKET
I love being the boss.
BARCLAY NANTUCKET
Remember, we Nantuckets don’t take guff from anyone.
JEZEBEL NANTUCKET
I’ll remember. See you this evening.
(JEZEBEL gives each of her parents a hug and exits left.)
REEBA NANTUCKET
She’s very young, Barclay.
BARCLAY NANTUCKET
I know, Reeba, but she’s tough as nails.
REEBA NANTUCKET
Time for your breakfast, honey. Steak and eggs.
BARCLAY NANTUCKET
Mmmmm. Nothing better than steak and eggs to remind a man that he’s alive and kicking.
(REEBA and BARCLAY exit right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 3:
(GINA and MINA RENATO enter from the left.)
GINA RENATO
Mama, I’m getting to be all grown up.
MINA RENATO
Grade nine already.
GINA RENATO
I can’t wait to meet Jezebel and the others.
MINA RENATO
Are you scared because it’s your first day, Gina?
GINA RENATO
Oh, no, Mama. Jezebel will take care of me.
MINA RENATO
You depend on Jezebel too much.
GINA RENATO
Do I?
MINA RENATO
You must learn to stand on your own two feet.
GINA RENATO
But I have such little feet.
MINA RENATO
Just like your father’s, God rest his soul.
GINA RENATO
Poor Daddy.
MINA RENATO
He was a brave policeman with little feet.
GINA RENATO
I must hurry, Mama. The time.
MINA RENATO
Go to school, my little sparrow. Fly away into the big wide world.
GINA RENATO
I must hurry, Mama!
(GINA slips offstage right.)
MINA RENATO
(addressing her favourite deity)
Holy virgin protect her. She is so young.
(Sighing, MINA exits left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 4:
(ANGELICA and MARIA TIVOLI enter from the right.)
MARIA TIVOLI
Those new clothes cost me plenty, Angelica.
ANGELICA TIVOLI
Quit saying it like it’s such a big deal, Mom.
MARIA TIVOLI
Half your father’s alimony cheque!
ANGELICA TIVOLI
So make him give you more money.
MARIA TIVOLI
You think it’s that simple?
ANGELICA TIVOLI
It’s not my fault you’re divorced.
MARIA TIVOLI
You didn’t help.
ANGELICA TIVOLI
I can’t wait to move out of here.
MARIA TIVOLI
And then what? You’ve got sweet nothing for money and even less for brains.
ANGELICA TIVOLI
You sure know how to give me confidence, Mom.
MARIA TIVOLI
Take my advice, kid, and quit.
ANGELICA TIVOLI
Quit what?
MARIA TIVOLI
School. Go get a job in a shop.
ANGELICA TIVOLI
I’m only fourteen.
MARIA TIVOLI
I was working at thirteen.
ANGELICA TIVOLI
The Great Depression’s over, Mom, or hadn’t you noticed?
MARIA TIVOLI
It’s time you learned the value of a dollar.
ANGELICA TIVOLI
I know a buck buys you five glasses of beer at that pub you love so much.
MARIA TIVOLI
Don’t get smart or I’ll take those clothes back.
ANGELICA TIVOLI
I’ve got to go. I’m meeting Jezebel at the bus stop.
(ANGELICA exits right.)
MARIA TIVOLI
Stupid kid. She doesn’t even know I love her.
(MARIA exits left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 5:
(NORM and MONK TUCKER enter with their mother BETTY and GRANDMOTHER MARTHA, from the right.)
BETTY TUCKER
Norm, stop poking Monk.
NORM TUCKER
He started it, Mom.
MONK TUCKER
Did not.
BETTY TUCKER
I don’t care who started it. You’re messing up your clothes.
GRANDMOTHER MARTHA
My grandchildren must look nice on the first day of school.
MONK TUCKER
I hate the first day of school.
NORM TUCKER
Especially high school.
BETTY TUCKER
Don’t judge it until you’ve tried it.
GRANDMOTHER MARTHA
Perhaps you’ll have a wonderful time.
MONK TUCKER
What if we get put in different classes?
BETTY TUCKER
Just because you’re twins doesn’t mean you have to do everything together.
NORM TUCKER
Monk’s dumb, Mom. He’ll fail if I’m not there to help him.
MONK TUCKER
You’re the stupid one. You failed grade eight French.
(NORM pushes MONK.)
BETTY TUCKER
Stop it! Are you meeting Jezebel?
NORM TUCKER
Yeah, outside the school.
BETTY TUCKER
So at least you’ll be with friends.
GRANDMOTHER MARTHA
It’s wonderful to have friends.
MONK TUCKER
You need a gang at high school.
BETTY TUCKER
Not a gang. Friends.
NORM TUCKER
Whatever you say, Mom.
MONK TUCKER
Will you make burgers for supper, Mom?
BETTY TUCKER
No. We’re having frozen dinners because I have to work.
NORM TUCKER
Awwww. I hate frozen dinners.
MONK TUCKER
Will you make burgers for us, Granny?
GRANDMOTHER MARTHA
I’m too old for that sort of thing, boys.
BETTY TUCKER
Get going now, or you’ll be late.
NORM TUCKER
Au revoir, Mom. Au revoir, Granny.
(to MONK)
See, I know French!
MONK TUCKER
Two words! See you, Mom. Bye, Granny.
(MONK and TUCKER exit left.)
BETTY TUCKER
If only their father was still alive to see them!
GRANDMOTHER MARTHA
He’s watching them from heaven, dear.
(BETTY and MARTHA exit right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 6:
(CONSTABLE McNAMARRA and MARY McNAMARRA enter from the left.)
CONSTABLE McNAMARRA
The kids’ll be off the streets and back in the schools now Mary.
MARY McNAMARRA
Yes they will, Mick. And just in time.
CONSTABLE McNAMARRA
Oh?
MARY McNAMARRA
If summer vacation was any longer, you’d wind up in hospital with a nervous breakdown.
CONSTABLE McNAMARRA
The little buggers keep me busy, that’s for sure.
MARY McNAMARRA
Drinking, vandalism, fights. What’s the world coming to?
CONSTABLE McNAMARRA
We never did nothing like that when we were kids.
MARY McNAMARRA
We were too busy working.
CONSTABLE McNAMARRA
The kids today, they don’t know how good they got it.
MARY McNAMARRA
Spoiled rotten.
CONSTABLE McNAMARRA
I’ll be walking the beat past the high school.
MARY McNAMARRA
Don’t let ‘em tease you, Mick.
CONSTABLE McNAMARRA
If any of them try, they’ll feel the toe of my big black boot.
MARY McNAMARRA
There must be a few good kids out there somewhere.
CONSTABLE McNAMARRA
Oh, there are, Mary, but the bad ones rule the roost. See you tonight.
MARY McNAMARRA
If the good lord’s willing.
(CONSTABLE McNAMARRA exits right)
MARY McNAMARRA
Time for a good strong cup of tea before I iron Mick’s shirts.
(MARY exits left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 7:
(DR. BURSTWICK, NURSE BUNYON, and NURSE TULLIVER enter from the right.)
DR. BURSTWICK
So you and Nurse Tulliver will be at the high school giving diptheria shots, Nurse Bunyon?
NURSE BUNYON
That’s correct, Dr. Burstwick. It will be Nurse Tulliver’s first time.
NURSE TULLIVER
I’m a bit nervous, Dr. Burstwick.
DR. BURSTWICK
Afraid of the kiddies, are you?
NURSE BUNYON
Nurse Tulliver’s not much older than some of the students.
NURSE TULLIVER
I went to that high school myself.
DR. BURSTWICK
Well, you’re grown up now, Nurse Tulliver. Be sure to act like it.
NURSE TULLIVER
Yes, doctor.
DR. BURSTWICK
You have an ample supply of vaccine, Nurse Bunyon?
NURSE BUNYON
Oodles. The students will be a bit surprised to get shots on the first day.
DR. BURSTWICK
That’s the best way. Take ‘em by surprise before they have time to get scared.
NURSE TULLIVER
I hope there won’t be any hi-jinx.
NURSE BUNYON
Hi-jinx? Not on my watch, nurse.
DR. BURSTWICK
Nurse Bunyon won’t put up with any nonsense.
NURSE BUNYON
Right. Up, up, and away. Come along, nurse.
NURSE TULLIVER
Yes, Nurse Bunyoun.
(NURSE TULLIVER and NURSE BUNYON exit left)
DR. BUNYON
Let me see…
(consults file)
Ah yes, the Jenkins boy. Galloping pneumonia.
(DR. BUNYON exits right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act One, Scene 8:
(MINERVA HAVOC enters with DOC HAVOC from the left.)
MINERVA HAVOC
What’s wrong, Doc? You look blue.
DOC HAVOC
I wish I could go to school like other children, Mama.
MINERVA HAVOC
It’s impossible.
DOC HAVOC
Why?
MINERVA HAVOC
You’re not a real boy.
DOC HAVOC
I’m not?
MINERVA HAVOC
I made you out of old bones and horse liver, Doc.
DOC HAVOC
You’re teasing me.
MINERVA HAVOC
Am I?
DOC HAVOC
If I could go to school, I could get a friend.
MINERVA HAVOC
Are you lonely, Doc?
DOC HAVOC
I dream about girls.
MINERVA HAVOC
Uh oh.
DOC HAVOC
Is that bad?
MINERVA HAVOC
It was bound to happen sometime.
(The three FURIES enter from the right.)
MINERVA HAVOC
Doc wants a girlfriend.
ALECTO FURY
A girl for the little boy! A girl for the little boy!
TISIPHONE FURY
Put her in a cage and feed her plum pudding!
MAGAERA FURY
Fatten her and have a feast!
DOC HAVOC
No, no, I don’t want her for dinner.
ALECTO FURY
Hitch her to a treadmill.
TISIPHONE FURY
Make her turn the big stones to grind flour.
MAGAERA FURY
Work her till she drops!
DOC HAVOC
No, I want her to be healthy and strong.
ALECTO FURY
Healthy and strong? Something must be wrong.
TISIPHONE FURY
You do not hear our furious song.
MAGAERA FURY
We Furies will put you where you belong.
(The FURIES circle DOC and start to beat him, but MINERVA intervenes.)
MINERVA HAVOC
Let the lad alone, Furies!
(MINERVA waves her arm and the FURIES back away, frightened.)
ALECTO FURY
Mistress, Mistress, forgive us.
TISIPHONE FURY
We are your obedient spirits.
MAGAERA FURY
Poor, stupid, spirits that only want to please!
(The FURIES exit right.)
DOC HAVOC
Could you get me a girl, Mama?
MINERVA HAVOC
That’s an awfully big thing to ask of me, Doc.
DOC HAVOC
She could live with us here in the cave.
MINERVA HAVOC
Well…
DOC HAVOC
I’d take real good care of her!
MINERVA HAVOC
We’ll see, Doc, we’ll see. Now let’s go inspect the reptile cages.
DOC HAVOC
The reptile cages!
(They exit right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Two, Scene 1:
(JEZEBEL, GINA, and ANGELICA enter from the left.)
JEZEBEL NANTUCKET
Isn’t this exciting?
GINA RENATO
The school looks so big from the outside.
ANGELICA TIVOLI
It’s just a stupid school, Gina.
JEZEBEL NANTUCKET
Here come Norm and Monk.
(NORM and MONK enter from the right.)
NORM TUCKER
Hi, ladies.
MONK TUCKER
All ready for grade nine?
JEZEBEL NANTUCKET
I can’t wait.
GINA RENATO
I hope we’re all in the same homeroom.
ANGELICA TIVOLI
Homeroom’s a stupid waste of time.
NORM TUCKER
I’m bored already.
MONK TUCKER
He always says he’s bored when he’s scared.
NORM TUCKER
Hey.
JEZEBEL NANTUCKET
Don’t worry, Norm, I’ll protect you.
NORM TUCKER
Hold me, Jezebel.
JEZEBEL NANTUCKET
(pushing him away)
Just friends, remember?
GINA RENATO
(seeing SADIE WEED and her GRANDMOTHER off left)
Look who’s coming.
ANGELICA TIVOLI
It’s that Weed kid with some old bat.
JEZEBEL NANTUCKET
What a funny old woman.
NORM TUCKER
Sadie Weed is a nut case.
MONK TUCKER
A real lunatic.
(SADIE enters from the left with her GRANDMOTHER.)
GRANDMOTHER WEED
Look, Sadie, some children waiting for school.
SADIE WEED
I don’t like them, Grandmother.
GRANDMOTHER WEED
Oh, now, child, you must try to make friends.
SADIE WEED
No, Grandma, I don’t want to.
GRANDMOTHER WEED
Don’t cling to me, Sadie.
SADIE WEED
Sorry.
GRANDMOTHER WEED
Now, I’ll hurry inside and find a toilet. You stay here.
SADIE WEED
No.
GRANDMOTHER WEED
Maybe those kids will talk to you.
SADIE WEED
No, Grandma.
GRANDMOTHER WEED
I’ll be right back.
(GRANDMOTHER WEED exits right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Two, Scene 2:
JEZEBEL NANTUCKET
Hey, Sadie Weed.
SADIE WEED
What?
JEZEBEL NANTUCKET
Who’s that old lady with you?
SADIE WEED
Grandmother.
GINA RENATO
She came to school with her grandmother?
ANGELICA TIVOLI
Like as if she was in kindergarten.
NORM TUCKER
Why’d your grandmother come with you?
MONK TUCKER
You scared to go by yourself?
SADIE WEED
I don’t have to talk to you.
JEZEBEL NANTUCKET
Don’t be rude, Sadie. You’ll never get friends if you’re rude.
SADIE WEED
I don’t want friends.
GINA RENATO
Everyone wants friends.
ANGELICA TIVOLI
And anyone who’s not your friend is your enemy.
NORM TUCKER
That makes us your enemies.
MONK TUCKER
And enemies fight.
SADIE WEED
I don’t want any trouble.
Fury by Richard Stuart Dixon, Good School Plays.
Act Two, Scene 3:
(SADIE’s grandmother enters from the right.)
GRANDMOTHER WEED
Having a nice talk with those children, Sadie?
SADIE WEED
I’m not talking with them.
GRANDMOTHER WEED
I saw you, dear. You were talking.
SADIE WEED
You better go home, Grandma.
GRANDMOTHER WEED
But I thought you wanted me to stay with you today?
SADIE WEED
You go home and have some tea, Grandmother.
GRANDMOTHER WEED
All right, if you’re sure, dear.
SADIE WEED
I’m sure.
GRANDMOTHER WEED
See you tonight, dear.
SADIE WEED
Yes, tonight.
(She hugs her grandmother, who exits left.)
JEZEBEL NANTUCKET
Your grandma sure is old.
GINA RENATO
She must be a hundred, with all those wrinkles.
ANGELICA TIVOLI
She should be dead. Old people are useless.
NORM TUCKER
You need an old woman to protect you, Sadie?
MONK TUCKER
You’re even weaker than your old wrinkled granny, Sadie Weed.
Fury by Richard Stuart Dixon, Good School Plays.
Act Two, Scene 4:
(NURSE BUNYON and NURSE TULLIVER enter from the left and observe unnoticed from upstage.)
SADIE WEED
I don’t want any trouble.
JEZEBEL NANTUCKET
Then stop making trouble.
SADIE WEED
I’m not.
GINA RENATO
Yes you are. You brought your old wrinkled granny and its bad luck.
SADIE WEED
Bad luck?
ANGELICA TIVOLI
Bad luck for you, because I might have to beat you up.
SADIE WEED
Why?
ANGELICA TIVOLI
Because your Granny gave me the evil eye.
SADIE WEED
My granny’s eyes aren’t evil.
NORM TUCKER
Uh oh. Angelica’s going to explode.
MONK TUCKER
A fight on the first day!
JEZEBEL NANTUCKET
(mocking SADIE)
Careful, Angelica, she might be dangerous.
ANGELICA TIVOLI
I like danger.
(She moves towards SADIE, who backs away. NURSE BUNYON intervenes.)
NURSE BUNYON
(advancing towards ANGELICA and SADIE)
All right, that’s enough.
(SADIE and ANGELICA stop moving)
I’m Nurse Bunyon.
JEZEBEL NANTUCKET
It’s a good thing you got here, Nurse Bunyon.
GINA RENATO
That girl is picking a fight with our friend Angelica.
NORM TUCKER
On the first day.
MONK TUCKER
Could you report her to the office for us?
NURSE BUNYON
Stuff and nonsense, children. Stuff and nonsense!
NURSE TULLIVER
(joining NURSE BUNYON)
Is there anything I can do,Nurse Bunyon?
NURSE BUNYON
No, Nurse Tulliver. It’s perfectly clear what’s going on.
(CONSTABLE McNAMARRA enters from the right.)
CONSTABLE McNAMARRA
Nurse Bunyon! I didn’t expect to see you here.
NURSE BUNYON
That gang of young hooligans are harassing this girl, Constable McNamarra.
NURSE TULLIVER
Taunting and threatening her, Constable.
SADIE WEED
I don’t want any trouble.
CONSTABLE McNAMARRA
(To JEZEBEL and her friends)
You lot better get inside that school, right now.
(JEZEBEL, GINA, ANGELICA, NORM, and MONK exit left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Two, Scene 5:
CONSTABLE McNAMARRA
What’s up, kiddy?
SADIE WEED
Nothing.
NURSE BUNYON
For goodness sakes, child, tell the constable what’s going on.
SADIE WEED
Nothing’s going on.
CONSTABLE McNAMARRA
Then you better get inside that school, too, little miss.
SADIE WEED
Can I stay out here until the first bell?
NURSE TULLIVER
Let the girl stay here, constable, and cool off.
NURSE BUNYON
Nurse Tulliver, hold your tongue.
CONSTABLE McNAMARRA
No, no, she’s right. You stay here, little miss, until the bell.
NURSE BUNYON
But be sure to run right in those doors when you hear it ring.
SADIE WEED
I will.
CONSTABLE McNAMARRA
I’ll be on my way then.
(CONSTABLE McNAMARRA exits left.)
NURSE BUNYON
As will we. Come along, Nurse Tulliver. There are needles to be given.
NURSE TULLIVER
Yes, Nurse Bunyon. Good luck, Sadie.
(NURSE TULLIVER and NURSE BUNYON exit left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Two, Scene 6:
(SADIE stands alone for a moment. Then DOC HAVOC enters from the right.)
DOC HAVOC
Hello.
SADIE WEED
Hi.
DOC HAVOC
Shouldn’t you be inside the high school?
SADIE WEED
Shouldn’t you?
DOC HAVOC
Oh no, not me.
SADIE WEED
Why not.
DOC HAVOC
Mama won’t allow it.
SADIE WEED
Won’t allow it?
DOC HAVOC
You’re a pretty girl.
SADIE WEED
No, I’m a scared girl.
DOC HAVOC
Scared?
SADIE WEED
Scared.
DOC HAVOC
Of what?
SADIE WEED
Everything.
DOC HAVOC
I can help you.
SADIE WEED
How?
DOC HAVOC
It’s secret.
SADIE WEED
It’s not much use to me if it’s secret.
(The three FURIES enter from the right…they softly walk around SADIE, who freezes like a statue.)
ALECTO FURY
Your life is just a little play.
TISIPHONE FURY
The script unfolding day by day.
MAGAERA FURY
With words the actors all must say.
ALL THREE FURIES
You cannot really run away.
(The FURIES back away from the frozen girl. MINERVA HAVOC enters.)
MINERVA HAVOC
You mustn’t run away, Doc, you naughty boy.
DOC HAVOC
I wanted to find a girl, and I did.
MINERVA HAVOC
She’s the one, is she?
DOC HAVOC
Yes, Mama. Isn’t she perfect.
MINERVA HAVOC
I suppose she is. What do you say, Furies?
ALECTO FURY
Such a peaceful little child.
TISIPHONE FURY
Look upon her face so mild.
MAGAERA FURY
But we could make her strong and wild.
MINERVA HAVOC
Yes, no doubt you could.
DOC HAVOC
Can we take her to the cave, Mama?
MINERVA HAVOC
You promise to take care of her?
DOC HAVOC
I promise.
MINERVA HAVOC
Then let us take her now, before I change my mind!
(The FURIES immediately circle around SADIE and whisk her offstage right, with DOC following behind)
MINERVA HAVOC
Poor Doc. He thinks he’s found a friend.
(She exits right)
Fury by Richard Stuart Dixon, Good School Plays.
Act Three, Scene 1:
(GRANDMOTHER WEED enters from the left.)
GRANDMOTHER WEED
(looking out an imaginary window behind the audience)
It’s ten o’clock and pitch dark outside. Where can Sadie be? Something awful must have happened to her. I better phone the police.
(GRANDMOTHER WEED exits left)
Fury by Richard Stuart Dixon, Good School Plays.
Act Three, Scene 2:
(JEZEBEL, REEBA, and BARCLAY NANTUCKET enter from the right.)
REEBA NANTUCKET
It’s getting late, dear. Time for bed.
JEZEBEL NANTUCKET
A girl came to the school with her granny today.
BARCLAY NANTUCKET
With her granny? Aren’t high school kids a bit old for that?
JEZEBEL NANTUCKET
She’s a crazy girl.
REEBA NANTUCKET
What do you mean “crazy”?
JEZEBEL NANTUCKET
No friends. Not even one.
BARCLAY NANTUCKET
I know the type.
JEZEBEL NANTUCKET
Angelica almost had to fight her today.
REEBA NANTUCKET
Best stay away from her, Jezebel.
JEZEBEL NANTUCKET
I do, Mama.
REEBA NANTUCKET
Good.
JEZEBEL NANTUCKET
And the little liar’s always saying, “I don’t want any trouble,” over and over.
BARCLAY NANTUCKET
I don’t know why the school lets mentally unstable kids attend.
REEBA NANTUCKET
How odd that she brought her grandmother with her.
JEZEBEL NANTUCKET
I think she disappeared.
BARCLAY NANTUCKET
Who?
JEZEBEL NANTUCKET
The crazy girl.
REEBA NANTUCKET
What do you mean “disappeared”?
JEZEBEL NANTUCKET
She never showed up in homeroom.
BARCLAY NANTUCKET
Perhaps the granny took her home.
JEZEBEL NANTUCKET
No. Maybe a stranger made her get in his car.
REEBA NANTUCKET
Jezebel! What on earth could make you think of such an awful thing?
JEZEBEL NANTUCKET
I read about it in the papers.
BARCLAY NANTUCKET
Jezebel’s wise for her age, aren’t you, Jezebel?
JEZEBEL NANTUCKET
Yes, Daddy.
BARCLAY NANTUCKET
That’s my girl.
REEBA NANTUCKET
To bed now, little one. School tomorrow.
JEZEBEL NANTUCKET
I hope that girl never comes back to school. She’s no fun at all.
BARCLAY NANTUCKET
Don’t you worry about her, honey. Her kind always fall by the wayside.
(JEZEBEL gives each of her parents a hug and exits left.)
REEBA NANTUCKET
A girl disappearing! Whatever next?
BARCLAY NANTUCKET
If they’d put her in the asylum in the first place, it would never have happened.
(REEBA and BARCLAY exit right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Three, Scene 3:
(GINA and MINA RENATO enter from the left.)
MINA RENATO
Did you stand on your own two feet like I asked you, Gina?
GINA RENATO
Oh yes, Mama. On my own two little feet.
MINA RENATO
Just like your daddy’s little feet.
GINA RENATO
There was a girl.
MINA RENATO
Yes?
GINA RENATO
She was being strange.
MINA RENATO
Oh? What was she doing?
GINA RENATO
Going to school with her grandmother, like a little baby.
MINA RENATO
Perhaps she has some sort of damage.
GINA RENATO
Damage?
MINA RENATO
In her mind. Some damage in her mind?
GINA RENATO
Yes. I was afraid of her.
MINA RENATO
Was she mean to you?
GINA RENATO
She looked at me funny.
MINA RENATO
So what did you do?
GINA RENATO
I told her she was making trouble…that she was bringing bad luck.
MINA RENATO
Bad luck!
GINA RENATO
Yes, with her old wrinkled grandmother, like an evil old crow.
MINA RENATO
I don’t want you anywhere near that girl.
GINA RENATO
It’s all right, Mama. The girl is gone.
MINA RENATO
Gone where?
GINA RENATO
I don’t know. She didn’t go to homeroom, or any classes.
MINA RENATO
Her granny must have taken her home.
GINA RENATO
No, Mama. The girl is gone. I’m sure of it.
MINA RENATO
What makes you sure?
GINA RENATO
My heart tells me.
MINA RENATO
The heart does not lie.
GINA RENATO
I’m tired, Mama. I must go sleep and dream about tomorrow.
(GINA exits right.)
MINA RENATO
Sometimes it is not a bad thing when someone disappears.
(MINA exits left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Three, Scene 4:
(ANGELICA and MARIA TIVOLI enter from the right.)
ANGELICA TIVOLI
School was boring and stupid.
MARIA TIVOLI
I told you it’s a waste of time, Angelica.
ANGELICA TIVOLI
But there was this girl.
MARIA TIVOLI
Yeah?
ANGELICA TIVOLI
And she was looking at me funny.
MARIA TIVOLI
And you looked right back, asking for trouble.
ANGELICA TIVOLI
I got to defend myself, don’t I?
MARIA TIVOLI
Not if it means trouble for me.
ANGELICA TIVOLI
Don’t worry, I didn’t do nothing.
MARIA TIVOLI
I bet you tried.
ANGELICA TIVOLI
These two busybody nurses came along and told us to break it up.
MARIA TIVOLI
Break what up?
ANGELICA TIVOLI
The fight.
MARIA TIVOLI
No fighting, Angelica. They’ll kick you out of school.
ANGELICA TIVOLI
I thought you wanted me to quit?
MARIA TIVOLI
Yeah, quit, not get kicked out for fighting.
ANGELICA TIVOLI
I don’t see what difference it makes.
MARIA TIVOLI
You don’t want to get a bad reputation.
ANGELICA TIVOLI
Too late.
MARIA TIVOLI
What am I going to do with you?
ANGELICA TIVOLI
That girl…the one staring at me. She ran off someplace.
MARIA TIVOLI
You mean you scared her away.
ANGELICA TIVOLI
It’s not my fault if she’s scared of me.
MARIA TIVOLI
Where’d she run off to?
ANGELICA TIVOLI
Who knows? But she didn’t show up for classes.
MARIA TIVOLI
Good. I don’t want her around if it means trouble for you.
ANGELICA TIVOLI
Are you done talking at me?
MARIA TIVOLI
Yeah. Go to bed.
(ANGELICA exits left)
MARIA TIVOLI
Things just keep getting worse and worse.
(MARIA exits right,)
Fury by Richard Stuart Dixon, Good School Plays.
Act Three, Scene 5:
(BETTY TUCKER and GRANDMOTHER MARTHA from the left.)
BETTY TUCKER
I wonder when Monk and Norm will get home from school?
GRANDMOTHER MARTHA
Don’t worry, Betty. God will look after them.
BETTY TUCKER
They’re still just children.
GRANDMOTHER MARTHA
But soon they’ll be men, dear.
(MONK and NORM enter from the right.)
MONK TUCKER
Hi, Mom and Granny.
NORM TUCKER
Monk’s got a girlfriend, Mom.
MONK TUCKER
Shut up, Norm.
BETTY TUCKER
On the first day?
NORM TUCKER
This girl called Sadie Weed.
MONK TUCKER
He’s being stupid, Mom.
BETTY TUCKER
Nothing wrong with having a girlfriend, Monk.
MONK TUCKER
If I did, it wouldn’t be Sadie Weed.
NORM TUCKER
You too good for a crazy little girl who needs her grandma to protect her?
BETTY TUCKER
That’s enough, Norm.
GRANDMOTHER MARTHA
Poor Monk! Look at his red face.
MONK TUCKER
Sadie Weed really is crazy, Granny.
BETTY TUCKER
That’s not a nice thing to say, Monk.
NORM TUCKER
What are we supposed to say?
BETTY TUCKER
Some children are a little different.
MONK TUCKER
A little!
NORM TUCKER
She’s scary, Mom.
BETTY TUCKER
Oh, come now. How can a grade nine girl be scary?
MONK TUCKER
Well, for one thing, she knows how to disappear.
NORM TUCKER
Like a magic trick.
BETTY TUCKER
I don’t understand.
GRANDMOTHER MARTHA
Tell us what happened, boys.
MONK TUCKER
We were outside with her.
NORM TUCKER
And then we had to go in the school.
MONK TUCKER
And she just disappeared.
BETTY TUCKER
You mean she skipped school.
GRANDMOTHER MARTHA
Let them finish, Betty.
NORM TUCKER
You don’t get it, Mom.
MONK TUCKER
One minute she was there. The next she was gone.
BETTY TUCKER
That’s silly.
NORM TUCKER
Silly or not, that’s what happened.
GRANDMOTHER MARTHA
Poor boys! Can’t you see the fear in their eyes, Betty?
BETTY TUCKER
You saw her disappear?
MONK TUCKER
We walked into the school and looked out the window.
NORM TUCKER
And she was gone. No sign of her.
GRANDMOTHER MARTHA
Perhaps she’s in heaven with your father.
MONK TUCKER
Our father wasn’t crazy like her, Granny.
BETTY TUCKER
She could have slipped inside another door, or gone behind the building.
MONK TUCKER
Suit yourself, Mom.
NORM TUCKER
Suit yourself. But I’m telling you, there was something really strange about it.
GRANDMOTHER MARTHA
I believe you, boys.
MONK TUCKER
See? Granny believes us!
BETTY TUCKER
Well, if you want to over-dramatize it, go ahead. But don’t go spreading rumours.
MONK TUCKER
Who, us?
NORM TUCKER
Good night, Mom.
MONK TUCKER
Good night, Granny.
(MONK and NORM exit left.)
BETTY TUCKER
So full of imagination! They’re still children at heart.
GRANDMOTHER MARTHA
No, Betty. They’re telling the truth.
BETTY TUCKER
Sometimes I think you’re becoming a child again yourself, Grandmother Martha.
(BETTY and MARTHA exit right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Four, Scene 1:
(GRANDMOTHER WEED enters with CONSTABLE McNAMARRA from the left.)
CONSTABLE McNAMARRA
Come into my office, Mrs. Weed.
GRANDMOTHER WEED
Thank you, Constable McNamarra.
CONSTABLE McNAMARRA
You say your granddaughter never came home from school?
GRANDMOTHER WEED
Yes, three whole days ago.
CONSTABLE McNAMARRA
Why didn’t you contact us earlier?
GRANDMOTHER WEED
I did, but the desk sergeant said it was too soon to worry.
CONSTABLE McNAMARRA
Kids often take off for a day or two.
GRANDMOTHER WEED
Sadie’s never run away.
CONSTABLE McNAMARRA
No?
GRANDMOTHER WEED
I kept telling myself she’d come home any minute, but she hasn’t.
CONSTABLE McNAMARRA
Have you contacted anyone else about this?
GRANDMOTHER WEED
Yes, her doctor. Dr. Burstwick.
CONSTABLE McNAMARRA
There’s a medical issue here?
GRANDMOTHER WEED
I’m afraid so. The doctor said he’d come down here right away.
CONSTABLE McNAMARRA
Do you have a picture of her?
GRANDMOTHER WEED
A picture? Oh, yes, of course.
(GRANDMOTHER WEED fumbles in her purse and produces a photo.)
CONSTABLE McNAMARRA
(consulting the photo)
I saw this face three mornings ago, in front of the school.
GRANDMOTHER WEED
Was she all right?
CONSTABLE McNAMARRA
There’d been some trouble with some kids.
GRANDMOTHER WEED
What sort of trouble?
CONSTABLE McNAMARRA
Now don’t get alarmed.
GRANDMOTHER WEED
What? Please tell me.
CONSTABLE McNAMARRA
She was being bullied.
GRANDMOTHER WEED
That would be very bad for Sadie, I’m afraid.
CONSTABLE McNAMARRA
One girl in particular was out to fight her.
GRANDMOTHER WEED
They must have something to do with her disappearing.
CONSTABLE McNAMARRA
Maybe. I’ll contact the school principal, get the names, and arrange a meeting.
GRANDMOTHER WEED
Thank you officer.
CONSTABLE McNAMARRA
You go in that room there
(pointing right)
and wait. There’s coffee.
GRANDMOTHER WEED
Coffee? I don’t want coffee. I want my granddaughter.
CONSTABLE McNAMARRA
Of course.
(GRANDMOTHER WEED exits left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Four, Scene 2:
(MARY McNAMARRA enters right with a brown paper bag.)
MARY McNAMARRA
Here’s your supper, Mick. In a brown bag.
CONSTABLE McNAMARRA
It’s going to be a long night, Mary.
MARY McNAMARRA
That poor grandmother. Perhaps the girl just ran away.
CONSTABLE McNAMARRA
Maybe. But I don’t like the sound of this one.
MARY McNAMARRA
I’m glad we don’t have kids.
CONSTABLE McNAMARRA
Yeah?
MARY McNAMARRA
Seems like they bring nothing but heartache.
CONSTABLE McNAMARRA
Seems that way. I got to make a call.
(CONSTABLE McNAMARRA exits right.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Four, Scene 3:
(DOCTOR BURSTWICK enters left.)
MARY McNAMARRA
Doctor Burstwick! What are you doing here?
DOCTOR BURSTWICK
Your husband called me about one of my patients. A girl of fourteen. She’s gone missing.
MARY McNAMARRA
That must be the same girl my husband’s looking for.
DR. BURSTWICK
I expect so. I’ve come here to help in any way I can.
MARY McNAMARRA
Did the girl have any special medical problems?
DR. BURSTWICK
I can’t talk about that, Mrs. McNamarra.
MARY McNAMARRA
Of course. I’m sorry.
DR. BURSTWICK
Three days is a long time for a child to be missing.
MARY McNAMARRA
That’s what comes from crying wolf.
DR. BURSTWICK
I’m sorry?
MARY McNAMARRA
So many teens run away, and then turn up again as fit as fiddles.
DR. BURSTWICK
Not this girl.
MARY McNAMARRA
Oh dear.
DR. BURSTWICK
For this girl, three days is a very long time.
MARY McNAMARRA
Perhaps everything will be fine.
DR. BURSTWICK
What makes you think so?
Fury by Richard Stuart Dixon, Good School Plays.
Act Four, Scene 4:
(NURSE BUNYON and NURSE TULLIVER enter.)
DR. BURSTWICK
Ah, Nurse Bunyon and Nurse Tulliver.
NURSE BUNYON
What’s all this about, Dr. Burstwick?
DR. BURSTWICK
One of my patients has gone missing.
NURSE BUNYON
What does that have to do with me and Nurse Tulliver?
DR. BURSTWICK
You were at the school the morning she disappeared.
NURSE TULLIVER
There were so many children, Doctor. I don’t see how we could remember one.
MARY McNAMARRA
Perhaps I should get my husband.
DR. BURSTWICK
Yes, if you please.
(MARY McNAMARRA exits right. DR. BURSTWICK takes a photograph out of her briefcase and shows it to NURSE BUNYON and NURSE TULLIVER.)
DR. BURSTWICK
This is a photograph of the missing patient.
NURSE BUNYON
Oh yes, I’d recognize her anywhere, poor child.
NURSE TULLIVER
We saw her outside the school.
NURSE BUNYON
She was being tormented by a group of children. We intervened.
NURSE TULLIVER
And Constable McNamarra came along and sent the children packing.
NURSE BUNYON
You say this girl disappeared, Dr. Burstwick?
DR. BURSTWICK
Yes. The girl has a rare psychological disorder.
NURSE BUNYON
Of what nature?
DR. BURSTWICK
Under stress, she involuntarily enters a state of conscious unconsciousness.
NURSE TULLIVER
Conscious unconsciousness?
DR. BURSTWICK
Like sleepwalking, only more complete.
NURSE BUNYON
You mean she slips into some sort of waking dream?
DR. BURSTWICK
Yes. She is awake, but she is dreaming, and to her the dreams are reality.
NURSE TULLIVER
Why wasn’t she hospitalized for her own protection?
DR. BURSTWICK
We thought we had overcome the problem.
NURSE BUNYON
But obviously, you haven’t.
DR. BURSTWICK
We did our best for her, Nurse Bunyon. Do you understand?
NURSE BUNYON
Yes, Doctor.
DR. BURSTWICK
But now she’s vanished. What are you looking at, Nurse Tulliver?
NURSE TULLIVER
Nothing, Doctor.
Fury by Richard Stuart Dixon, Good School Plays.
Act Four, Scene 5:
(MARY and CONSTABLE McNAMARRA enter with GRANDMOTHER WEED from the right.)
CONSTABLE McNAMARRA
Dr. Burstwick, thanks for coming on short notice.
DR. BURSTWICK
Nurse Bunyon and Nurse Tulliver say Sadie Weed was being teased outside the school.
CONSTABLE McNAMARRA
That’s right. I sent the kids into the school, and let Sadie stay outside to calm down.
DR. BURSTWICK
And shortly afterwards she disappeared.
MARY McNAMARRA
My husband has contacted the school.
NURSE BUNYON
And?
CONSTABLE McNAMARRA
I’m to go there right away.
MARY McNAMARRA
To the school, Mick? Why?
CONSTABLE McNAMARRA
The principal has summoned the children who were teasing Sadie.
NURSE BUNYON
I suggest we be there, too, Dr. Burstwick.
DR. BURSTWICK
Yes.
GRANDMOTHER WEED
Those children frightened my Sadie, and made her run away.
MARY McNAMARRA
We don’t know that for certain, Mrs. Weed.
NURSE TULLIVER
You can help us, Mrs. Weed.
GRANDMOTHER WEED
How?
NURSE TULLIVER
You know as much as anyone about that morning.
(They all exit left.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Five, Scene 1:
(SADIE WEED enters from the right.)
SADIE WEED
This dark place is so quiet.
(The FURIES enter from the left, and stand behind SADIE.)
ALECTO FURY
You have come to the darkest place.
TISIPHONE FURY
Look into the blackness.
MAGAERA FURY
There is no beginning and no end.
(The FURIES back away as DOC HAVOC enters from the right.)
DOC HAVOC
Are you frightened, Sadie?
SADIE WEED
No.
DOC HAVOC
Why not?
SADIE WEED
The darkness muffles fear.
DOC HAVOC
I have promised to take care of you.
SADIE WEED
Why?
DOC HAVOC
I am of an age to keep a girl.
SADIE WEED
Am I to be your slave?
DOC HAVOC
I don’t know what that is.
SADIE WEED
Are you lonely, Doc?
DOC HAVOC
Not any more.
ALECTO FURY
The cruelest fate is to be alone.
TISIPHONE FURY
And all humans are alone.
MAGAERA FURY
All of them sulk in the shadows, alone, alone, alone.
(MINERVA HAVOC enters from the left.)
MINERVA HAVOC
She is peaceful, Doc.
DOC HAVOC
Thank you, thank you, Mama.
MINERVA HAVOC
Have you granted her anything?
DOC HAVOC
Not yet.
ALECTO FURY
Give to her a single wish.
TISIPHONE FURY
A simple wish, just one.
MAGAERA FURY
A simple gift to prove your love.
DOC HAVOC
Must I, Mama?
MINERVA HAVOC
You are not worthy of having if you cannot give.
DOC HAVOC
My mind will ache and ache if I give her anything.
MINERVA HAVOC
You have no mind, Doc.
DOC HAVOC
Then how do I think?
MINERVA HAVOC
With your heart.
DOC HAVOC
I didn’t know I had one of those.
MINERVA HAVOC
Did you just learn something new, Doc?
DOC HAVOC
I have no mind.
MINERVA HAVOC
And?
DOC HAVOC
I have a heart.
MINERVA HAVOC
Give with your heart. It doesn’t hurt.
SADIE WEED
Are you going to give me a wish, Doc?
ALECTO FURY
A wish, a wish. Something to be granted.
TISIPHONE FURY
A wish, a wish. Something to come true.
MAGAERA FURY
A wish, a wish. Something to be feared.
DOC HAVOC
Sadie, I give you a wish.
SADIE WEED
Thank you, Doc.
MINERVA HAVOC
So, Doc, you have given with your heart.
DOC HAVOC
Something inside me is moving like the wings of a sparrow.
ALECTO FURY
The heart flutters with excitement.
TISIPHONE FURY
The heart races with joy.
MAGAERA FURY
The joyous heart jumps over the moon.
MINERVA HAVOC
Look at Sadie.
(SADIE is standing very still, with eyes closed.)
MINERVA HAVOC
She is making her wish.
DOC HAVOC
I have never given anything before.
MINERVA HAVOC
A wish once made will always come true.
ALECTO FURY
She is sending us on a journey.
TISIPHONE FURY
We will do as she asks.
MAGAERA FURY
A wish once made must always come true.
(The FURIES exit left. SADIE opens her eyes.)
DOC HAVOC
Are you happy now, Sadie?
SADIE WEED
Happy?
MINERVA HAVOC
She doesn’t know yet that she has happiness inside her, Doc.
DOC HAVOC
Just like I didn’t know I had a heart.
MINERVA HAVOC
Yes, just like that.
SADIE WEED
Could I rest now? I want to sink into all this darkness.
DOC HAVOC
Yes, you can rest. I want you to rest.
(DOC leads SADIE off right)
MINERVA HAVOC
You will become more and more attached to her, Doc, and that will be the end of you.
(MINERVA exits left,)
Fury by Richard Stuart Dixon, Good School Plays.
Act Five, Scene 2:
(The CHILDREN, their PARENTS, and GRANDMOTHER MARTHA enter, as if assembling in a special room in the school. The DOCTOR and NURSES enter, along with the CONSTABLE and MARY and poor old GRANDMOTHER WEED.)
CONSTABLE McNAMARRA
Sadie Weed has disappeared.
DR. BURSTWICK
She may need medical attention.
CONSTABLE McNAMARRA
Anything you can tell us about her disappearance will be a great help.
NURSE BUNYON
Be sure to speak up, and don’t keep secrets.
NURSE TULLIVER
It’s late and you must be tired. Tell what you know and then we can go home.
(There is nothing but silence.)
BARCLAY NANTUCKET
These children have nothing to say.
REEBA NANTUCKET
Let us take them home.
MINA RENATO
It is a mistake to blame them.
MARIA TIVOLI
Don’t waste our time with this nonsense.
GRANDMOTHER MARTHA
Look at their eyes.
BETTY TUCKER
You can see they’re frightened.
JEZEBEL NANTUCKET
I’m not frightened.
REEBA NANTUCKET
Jezebel, there’s nothing to say.
JEZEBEL NANTUCKET
That girl Sadie. She wasn’t like us, so she ran away.
MINA RENATO
Maybe she went to find others who are like her.
ANGELICA TIVOLI
She wasn’t welcome here, and she knew it.
MARIA TIVOLI
Don’t, Angelica. They’ll accuse you.
DR. BURSTWICK
Nobody’s accusing anyone. We just want to find Sadie.
JEZEBEL NANTUCKET
Those nurses were the last ones with her. Maybe they did something to her.
REEBA NANTUCKET
Is that true, Nurse?
NURSE BUNYON
We were the last to walk away from Sadie.
BARCLAY NANTUCKET
Then why are we here if our children weren’t even with Sadie Weed when she disappeared?
NURSE TULLIVER
Because your children were cruel to a very unhappy child, and now she’s gone.
NURSE BUNYON
Nurse Tulliver, your words are falling on ears that refuse to listen.
MINA RENATO
My little Gina is good and kind. She would have told me if she knew anything.
MARIA TIVOLI
Not one of these children knows what happened. Why pick on them?
GRANDMOTHER MARTHA
They didn’t kidnap Sadie Weed.
BETTY TUCKER
The girl ran away. It happens all the time.
GRANDMOTHER WEED
None of you children has said a kind word about Sadie, and neither have your parents.
JEZEBEL NANTUCKET
Kind words? Kind words won’t help you find your granddaughter.
GRANDMOTHER WEED
It’s no wonder poor Sadie is lost.
Fury by Richard Stuart Dixon, Good School Plays.
Act Five, Scene 3:
(The three FURIES enter the room. No one can see them. Everyone freezes. The FURIES move amongst the crowd.)
ALECTO FURY
They are all so blind.
TISIPHONE FURY
And full of anger and fear.
MAGAERA FURY
Poor things.
ALECTO FURY
We will take the children.
TISIPHONE FURY
Perhaps then they will understand.
MAGAERA FURY
Suffering leads to knowledge.
(The FURIES stand still, close their eyes, and raise their arms. The children exit.)
ALECTO FURY
How still and peaceful is this moment.
TISIPHONE FURY
Just before the storm.
MAGAERA FURY
Let her come in now.
(The FURIES close their eyes and raise their arms. SADIE WEED enters and stands still.)
ALECTO FURY
The wish has been granted.
TISIPHONE FURY
A wish once made must always come true.
MAGAERA FURY
A wish once made must always come true.
(The FURIES exit.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Five, Scene 4:
(All the characters now come back to life. They speak and act as though the children all disappeared three days ago.)
CONSTABLE McNAMARRA
Tell them where it happened, Sadie.
SADIE WEED
Yes, constable. Out there, on the sidewalk.
(All look left.)
DR. BURSTWICK
On the sidewalk?
SADIE WEED
They were teasing me.
NURSE BUNYON
Yes. Nurse Tulliver and I intervened.
NURSE TULLIVER
And Constable McNamarra came along and sent Sadie into the school.
CONSTABLE McNAMARRA
I told the children to go into the school, too, but they begged to stay outside.
NURSE TULLIVER
We thought it best that they not go in right away, so close behind poor Sadie.
CONSTABLE McNAMARRA
I left the children with Nurse Bunyon and Nurse Tulliver.
NURSE BUNYON
We left them too, after warning them not to tease.
NURSE TULLIVER
And no one has seen them since.
BARCLAY NANTUCKET
Coming here to the school has not helped us find them.
REEBA NANTUCKET
There are no clues here, no evidence.
MINA RENATO
How could all of them disappear?
MARIA TIVOLI
Five kids, all gone, and no one knows where?
BETTY TUCKER
Both my sons. And no word or sign from either of them for three days.
GRANDMOTHER MARTHA
How I wish their dead father could tell us where they are.
MARY McNAMARRA
The search parties will keep working through the night. Don’t give up hope.
GRANDMOTHER WEED
My Sadie was afraid that morning.
SADIE WEED
I asked granny to go with me, and she did. But then I told her to go home.
GRANDMOTHER WEED
If only I’d stayed.
MARY McNAMARRA
We all wish we could change the past to save us from heartache, but we can’t.
SADIE WEED
Yes we can.
DR. BURSTWICK
What do you mean, Sadie?
SADIE WEED
We can tell ourselves a different story about the past, so that we feel better.
CONSTABLE McNAMARRA
There’s nothing more to be done here. Go home now. We’ll keep you informed.
(All exit except SADIE and GRANDMOTHER WEED.)
GRANDMOTHER WEED
Sadie, do you know more than you’ve told us?
SADIE WEED
Everyone knows more than they say, Grandmother.
(They exit.)
Fury by Richard Stuart Dixon, Good School Plays.
Act Five, Scene 5:
(DOC and MINERVA HAVOC enter, along with the FURIES who stay upstage, and the five missing children, who stand in various positions, frozen.)
DOC HAVOC
Sadie’s gone, Mama.
MINERVA HAVOC
Yes, Doc.
DOC HAVOC
I let her have a wish.
MINERVA HAVOC
And she used it.
THE THREE FURIES
A wish once made must always come true.
DOC HAVOC
And these five, are they to be frozen forever?
MINERVA HAVOC
A frozen heart deserves a frozen body.
DOC HAVOC
I loved Sadie.
MINERVA HAVOC
Yes, Doc.
DOC HAVOC
Now she’s gone, I don’t want to be anything anymore.
MINERVA HAVOC
A wish once made must always come true.
(DOC goes and stands amongst the frozen CHILDREN, and becomes frozen himself. MINERVA looks at
the FURIES, who nod and exit. MINERVA walks amongst the frozen children briefly, then exits. The lights fade slowly.)
END OF PLAY