CROSSING
THE THRESHOLD
Based on the autobiographical manuscript,
Crossing The Threshold, by
Sarah Skarrow
233 Crescent Road
Burlington, Vermont 05401
802/660-7906
e-mail ibsen3000@yahoo.com
Narrator
Sarah Skarrow,
ages five to fifty, a dynamic woman with cerebral palsy.
Ringo, Sarah’s horse, funny, loving,
protective, Sarah’s spiritual companion.
Richard, Sarah’s boyfriend and husband,
an Italian American boy.
Mrs. Howell, Sarah’s mother, upper
class, snobby, dictatorial, has difficulty feeling empathy for her children.
Mr. Howell, Sarah’s father, workaholic.
Dindy, Sarah’s older sister.
Murray, Sarah’s older brother.
Nanny/Lucy, a nanny and nurse who takes
care of Sarah.
Miss Johndroe,
not seen on stage, only a voice over.
The headmistress of Sarah’s school, sadistic and controlling.
Various characters, animal and human,
who help and hinder Sarah during the journey described in this play.
NOTE TO READER:
I was asked to write a play based on
the life story of Sarah Skarrow who was born with
cerebral palsy and grew up during a time when it was barely understood. I have done my best to dramatize the
incredible relationship that Sarah had with her horse, Ringo,
who lived for more than thirty years.
The producers requested that the play
be easy to produce and suitable for actors between the ages of 10 and 20. Other than the license I took that gives
human voices to the animals in this play, it is faithful to the events that
Sarah describes in her memoir.
The play should move along without
blackouts except where indicated.
Absolutely no intermission.
Feel free to laugh- and to cry. This story is about Sarah and Ringo; their journey is a gift and an example to us all.
A high
stool and four folding chairs face the audience. The NARRATOR occupies the high stool. Characters come on and off as the scenes
demand. All characters wear black, but
costumes and props should be added to enhance or illustrate a character. For example, the actor who plays NANNY, LUCY,
and BARRIE might have a red heart attached somewhere visible since these
characters have a connection in SARAH'S mind.
The director can be extremely playful in these scenes. Two partitions can be placed on-stage behind
and to the far sides of the row of chairs for the various chorus scenes. Use of
spotlighting is effective throughout.
SCENE 1
NARRATOR
Hi.
I'm Sarah Skarrow. Actually, I'm not Sarah Skarrow,
I'm only pretending to be Sarah Skarrow, my real name
is--
MOTHER(Sharply)
Sarah!
NARRATOR
That's Sarah's mother, Mrs. Howell. You know the Howell's from Gilligan's
island? The multi-trillionaires? Well, they weren't quite that rich, but--
MOTHER
It's
time for school. We'll have no nonsense
this morning.
NARRATOR
Let's just say they, that is, we were
in the economic upper class. Social life
was important to my parents, especially my mother.
DINDY
She's
doing it again this morning, Mother!
NARRATOR
That's
my sister Dindy, short for Delinda.
These next characters speak over one
another; they are trying to get ready to catch the school bus.
DINDY
She
makes us late to the bus every morning!
MURRAY
Shut up, Dindy,
just shut up! I can't find my jacket!
SARAH
I'm
not going!
MOTHER
Nanny? Where is she--?
NANNY
Right
here, Mrs. Howell--
MOTHER
Can you handle her? Can you please handle her? I've got the garden club coming over in an hour--
MURRAY(To SARAH)
Get out of the way, would you? She
plants herself right on the stairs where no one can even get by--
NARRATOR
That's
my brother, Murray.
DINDY
Your jacket is right where you threw it
last night!
FATHER
I'll
be home late tonight, dear.
SARAH
Daddy! Daddy, don't let them make me go!
FATHER
That's fine, Sarah, tell your
kindergarten teacher I said hello.
NANNY
Come on, Sarie,
honey, your mother's getting one of her headaches. Let me tie your shoes!
SARAH
No!
She
begins to have a tantrum and starts screaming and kicking.
DINDY(Over SARAH)
She can't tie her shoes and everyone picks on her. So
what?
MOTHER
Deal
with her, Nanny, I can't.
MURRAY
I'm
going out that door. I'm not waiting.
DINDY
Good
bye!
NANNY
Come
on, honey, Nanny will rock you.
NANNY
begins to rock; SARAH is still struggling but begins to quiet a little.
That's my little lamb. Nanny's not
going to let anyone hurt you, don't you know that by now? Let's tie those shoes. Land sake, you'll be home before you know
it. You'll be home in time to help me
take a chocolate cake out of the oven.
SARAH
This
boy trips me every morning on the bus! He sticks his foot out!
NANNY
There, I put a big knot in your
laces. They won't come undone
today. Nanny fixed them.
NARRATOR
Nanny fixed everything. At night when muscle spasms kept me awake,
she would rock me and sing to me until I could go back to sleep. Music has always soothed me.
NANNY
God made you this way, Sarah. Not your mother, not your father. God.
Land sake, He didn't bring you this far to let you go now, did He?
SARAH
Would
you have made me this way, Nanny?
NARRATOR
She explained things to me. Things no one else could explain. Or would explain.
NANNY
Now, do I look as smart as God? He always has a purpose. He'll let you know in good time.
NARRATOR
We moved from Cleveland, Ohio when I
was six to Stamford, Connecticut. Let's
see, that would have been in 1954. Nanny
came with us for awhile but then she moved back.
SARAH
Nanny!
NANNY
God
has a plan for you, Sarah.
SARAH
NANNY!
NARRATOR
My mother told me I screamed and cried
and kicked and begged...
SARAH
Nanny...
Mommy!
NARRATOR
But
I don't remember any of it.
NANNY
Good-bye,
little lamb.
SCENE 2
NARRATOR
I never saw her again. (Pause, then with excitement.) Oh, I forgot to tell you about Peanuts! He
was my sister's pony and I learned to ride on him.
PEANUTS
I
was awfully cute!
NARRATOR
Riding was easier for me than
walking. Both sides of my body have to
work equally to keep me on the horse.
PEANUTS
Hey! I'm a pony and proud of it!
NARRATOR
You see, my left side doesn't work
quite as well as my right. When I was
little, before the operations, just crossing a threshold into a room might send
me sprawling. Of course, I didn't walk
as early as other children.
DOCTOR
Mr.
and Mrs. Howell, we've arrived at a diagnosis.
NARRATOR
That was always the problem. I didn't do things like other children.
DOCTOR
Sarah
has a condition. A permanent condition.
NARRATOR
My mother couldn't stand the fact that
one of her children was less than perfect.
Of course, I know none of you has a mother like that.
DOCTOR
It's called cerebral palsy. We think there may have been oxygen
deprivation during labor.
NARRATOR
Today the doctors admit they don't know
what causes it. That's progress!
DOCTOR
There's a specialist in New York we can
refer you to.
MOTHER
But...
but what am I supposed to do?
DOCTOR
Do,
Mrs. Howell?
MOTHER
She has to walk, Doctor! I can't have a child that doesn't walk.
DOCTOR
We don't have much experience with this
sort of thing, Mrs. Howell. Sometimes leg braces help the process.
MOTHER
John,
I don't think the doctor quite understands.
FATHER
Um,
see here, um, Doctor...
MOTHER
She's going to walk, do you
understand? I don't mean with crutches
or those horrible braces. She's going to
stand up straight and walk. Why... the
Howell's have been walking for... generations!
DOCTOR
Mrs.
Howell, there's no need to get upset...
MOTHER
I'm not getting upset. I don't get upset. I just want to be
perfectly clear.
NARRATOR
There was no arguing with Mother. She made up her mind that I was going to be
normal. And nothing, not God, not
science, was going to stand in her way.
MOTHER
She's just going to have to develop
some self discipline.
FATHER
Maybe
we should see about that specialist, Jane.
MOTHER
I've
got a bridge game at 2:00. Take me home.
SCENE 3
NARRATOR
(Gets up and walks to center)
All right, here's the deal with
cerebral palsy. The brain gets damaged -
somehow. It affects your muscles, in my
case my left side. That's common, to
have one side affected and the other not. But it can be worse. My left eye is blind and my left side is
partially paralyzed without much feeling. Just recently in fact, I was cutting
vegetables--
TAYO
Mom! You're about to cut off your finger!
NARRATOR
I
am?
TAYO
And
you tell me to be careful!
NARRATOR
We won't talk about Tayo
too much. You know how teenagers
are.
TAYO
Mom! Enough!
NARRATOR(Sits back down)
Now, where was I? Peanuts died a few
years after we moved to Connecticut.
PEANUTS
Remember
me?
NARRATOR
I
really missed him a lot.
PEANUTS
I was the cutest pony anyone had ever
seen. Bright, intelligent...
NARRATOR
The riding exercise really helped
develop my left side.
PEANUTS
Don't
thank me.
NARRATOR
You
were cute.
PEANUTS
Thank
you.
NARRATOR
Now
shut up.
SCENE 4
NARRATOR
I finally talked me parents into
getting me a burro for my eighth birthday.
He came home in the back of my parent's station wagon.
JOE-JOE has a Mexican accent.
JOE-JOE
Que pasa? Anything to eat?
NARRATOR
Joe-Joe liked to eat everything. Especially the hats we put on his head.
JOE-JOE
Nice
sombrero. Any salsa?
NARRATOR
He
wasn't much to ride.
JOE-JOE
Ave
Maria! I was born to be free!
NARRATOR
But
he loved television!
JOE-JOE(Knocks on chair)
Mira! Sarita!
SARAH
Si?
JOE-JOE
Open
up. Pronto!
SARAH
It's
not locked. Come on in.
NARRATOR
He just kind of strolled into the
television room from the yard when he heard the TV going. He loved westerns.
JOE-JOE
Cowboys
and banditos! My favorite!
SARAH
Quiet!
The Cisco Kid's about to walk into a trap!
JOE-JOE
He's
a mean looking gringo!
He
takes off his hat and takes a bite.
NARRATOR
My parents gave him away, finally. He was just too stubborn about being ridden.
JOE-JOE
Carumba, I hope the food's better there.
NARRATOR
My mother said he was just a source of
frustration for me.
JOE-JOE
Hasta luego, Sarita.
SARAH
But
he's my friend!
SCENE 5
NARRATOR
Now, I don't want to suggest that my
mother was mean or anything.
EVERYONE
How
mean was she?
NARRATOR
One
summer I had four teeth pulled.
EVERYONE
Ouch!
NARRATOR
And
I needed braces.
EVERYONE
Upper
and lower?
NARRATOR
Of
course.
ORTHODONTIST
Mrs. Howell, it'll be some weeks before
her mouth is healed.
MOTHER
Just as long as you put the braces on
before next Saturday.
ORTHODONTIST
You don't seem to understand. The braces would be extremely painful just
now. Because of her mouth.
MOTHER
She's going to summer camp in Arizona,
Doctor. It's all arranged. She's getting
on a plane on Saturday and the braces will be on her teeth.
ORTHODONTIST
Mrs. Howell, her mouth will be full of
sores. She won't be able to eat.
MOTHER
She'll
be too busy to eat.
ORTHODONTIST
I'm
sorry, Mrs. Howell, I just can't do it.
MOTHER
I
beg your pardon?
ORTHODONTIST
I'd
like to have a talk with your husband.
MOTHER
My husband
is away on business. Perhaps I haven't
made myself clear...
NARRATOR
Of course, I got the braces and the
sores and all that went with it.
ORTHODONTIST
What
you're suggesting is downright cruel!
SCENE 6
NARRATOR
Did I mention I was having trouble at
school, too? Just before this last episode the private school I was attending
invited me NOT to come back.
PRINCIPAL
Mrs. Howell, your daughter just is not
college material. Surely you know that
by now. Here at Pendleton Heights we
have a standard to uphold. I'm sure that
there are plenty of other private schools that could better accommodate someone
like Sarah.
NARRATOR
Want
to make a bet?
MOTHER
My
daughter Delinda graduated from this school!
PRINCIPAL
And we are very glad to have her as an
alumni. I'm sure you understand, Mrs.
Howell. Perhaps a public school?
MOTHER
I would not allow a child of mine to go
to public school!
NARRATOR
Truth is public schools wouldn't take
me because of my handicap.
PRINCIPAL
Good
day, Mrs. Howell.
MOTHER
Good day! I can't believe I have to put up with
this. Come along, Sarah.
SARAH
Mother? Will I always be this stupid?
EVERYONE
You're
not stupid, Sarah!
NARRATOR
My Mother looked long and hard for
another school. Finally she found one in Norton, Massachusetts called House in
the Pines.
SARAH
I won't go! I won't!
Daddy, tell her! I don't want to
live in Massachusetts! I don't want to
leave home! I can't! I'm scared. Daddy! Daddy?
She
looks around; FATHER is, of course, not
there.
MOTHER
You think I enjoy spending all my time
begging boarding schools to take you?
I've seen your school records.
Try having your face rubbed in that!
SARAH
I'll
try harder!
MOTHER
I'm going to lie down for an hour. Can I have some peace for an hour,
anyway?
SCENE 7
NARRATOR
The first night at the school was the
worst in my life. I was so homesick I
spent most of the night crying, along with my room mate, Lynn.
SARAH and Lynn begin to wail. MISS
JOHNDROE’S disembodied voice, a mixture of benevolence and sadism, is heard from offstage.
MISS
JOHNDROE(VOICE OVER)
Now, girls, that's enough of that. You'll be all right. You can call home (pause) in a month.
NARRATOR
The
headmistress, Miss Johndroe.
The girls renew their wails with
greater vigor.
LYNN
I
want to go home!
SARAH
Me,
too!
MISS
JOHNDROE(V.O.)
This is your home now. You'll forget all about your troubles in a
few days. Time to grow up. You're big girls now.
NARRATOR
Maybe we were big, but not as big as
Miss Johndroe.
MISS
JOHNDROE(V.O.)
I'm
going to take good care of all of you.
NARRATOR
She was the biggest woman I ever saw in
my life. I don't want to say she was fat
or anything...
EVERYONE
How
fat was she?
NARRATOR
Now, I was made fun of for years
because I was different.
EVERYONE
How
fat was she?
NARRATOR
Well,
I can tell you.
SARAH
Mom! Can you hear me? The connection's not very good.
MOTHER
I
can hear you, Sarah.
SARAH
Mom, I want to come home! It's Mrs. Johndroe. She scares me.
MOTHER
I
can't hear you, Sarah.
SARAH
She's moved my room next to hers. I'm away from all the other girls!
FATHER
Is that you, Sarah? I'm upstairs on the extension.
SARAH
I have to go through her room to get to
the hallway every morning and I don't like it.
FATHER
Can
you speak a little louder, honey?
SARAH
She tells me every morning to come in
and when I do...
MISS
JOHNDROE(V.O.)
The
door's open, Sarah. Come on in.
SARAH
She's
naked!
MISS
JOHNDROE(V.O.)
See
you at breakfast, dear.
EVERYONE
So
how fat was she?
NARRATOR
She
looked like a Jello mold. With breasts.
EVERYONE
Ewwwwwwwwwwwwwwwwwwwwwww!
SCENE 8
NARRATOR
I made it through the first year thanks
to my roommate Lynn and the indoor riding ring at the school. But I had to have an operation that summer in
New York. There was still very little
known about CP. My doctor's specialty
was polio victims.
DOCTOR
#2
How
are you, Sarah?
SARAH
Fine?
DOCTOR
#2
That's good. I want you to know there's nothing to be
afraid of. You're in good hands.
NARRATOR
He
was just buttering me up.
DOCTOR
#2
Sarah, let me explain what we're going
to do for you. We're going to rebuild your ankle to keep it from rolling when you
walk. We'll need to insert a nail in
your heel--
SARAH
A
nail!
DOCTOR
#2
Oh,
don't worry. It's only temporary.
SCENE 9
NARRATOR
When I woke up the spasms in my leg
started. Inside the cast. The pain was excruciating. I was on morphine for ten days. One night was especially bad.
LUCY
There,
there, child, you're going to be all right.
SARAH
Nanny?
LUCY
You've just had a bad dream and tried
to get out of bed.
SARAH
I
don't... remember. You remind me of
someone.
LUCY
Lucy's going to stay right here while
you sleep. Did anyone ever tell you how
pretty you are? Just about the prettiest
girl I ever did see.
SARAH
What
did I do?
LUCY
Oh, you were thrashing around something
fierce. Like the devil had hold of
you. But you're all right now. Lucy's here.
SCENE 10
NARRATOR
Have you ever seen an epileptic
fit? It's like the devil has hold of
you, just like Lucy said. Except no one
knew for quite a while what was the
matter. Anyway, I went back to school after the summer with my leg in a
cast. Miss Johndroe
continued to shower me with her "special attention", driving me
around, escorting me to class. You can guess how that went over with the other
kids.
FIRST
GIRL
Hey,
Sarah! Hey you, little weirdo!
SECOND
GIRL
How about a hankie to wipe the brown
off your nose?
SARAH(Halfheartedly)
Why don't you guys just shut up!
The three girls laugh.
THIRD
GIRL
Nice cast. That'll keep you out of the riding ring,
anyway!
FIRST
GIRL
What does she need a horse for when she
has Miss Johndroe?
SARAH(Spunkier)
I said to shut up!
SECOND
GIRL
Wanna make me?
THIRD
GIRL
How
about this?
She
stomps her foot down hard on the floor next to SARAH'S foot. All the girls freeze and the lights go down
on them.
SCENE 11
NARRATOR
Ooh!
Stomped right down on my freshly operated foot! Let's see, my leg was in a cast, I wasn't
allowed to ride, I kept having epileptic seizures... Somehow that school year
passed.
MISS
JOHNDROE(V.O.)
Welcome back, Sarah. Did you have a good summer? How does it feel
to be a ninth grader? I've had a nice,
long talk with your mother. You're going
to ride twice a week this year. We'll
want to take it easy, though with your condition. We thought Daisy would be the right horse for
you.
DAISY
And
to think I was headed for the glue factory!
MISS
JOHNDROE(V.O.)
She's
gentle. We think she'll be perfect for
you.
DAISY
Of course, I have a bit of a back
problem. Nothing serious, of
course. Not a sway, exactly, just a bit
of a dip. Quite attractive, really.
MISS
JOHNDROE(V.O.)
She was quite something in her youth,
they tell me.
DAISY
Now I don't like to trot. All that bouncing about. A nice, leisurely
walk. After my nap, of course. (Yawns.)
SCENE 12
NARRATOR
I remember the phone ringing in the
dorm one day. It was my mother saying they had bought me a horse. Our vet, Dr.
Barrett, met us at the farm where I saw him for the first time.
DR.
BARRETT
Before we go in the barn, Jane, I want
to talk to you about this stallion.
MOTHER
We've
been all over this already.
DR.
BARRETT
He's underfed. Under grown.
Hell, with the start he's had I can't guarantee he's even going to live.
RINGO
enters and walks downstage left.
SARAH
I'm going to take him back to school in
the fall, Dr. Barrett!
DR.
BARRETT
Back
to that snobby girls place?
MOTHER
Now,
see here, Doctor...
DR.
BARRETT
It's
full of air heads, wouldn't you say, Sarah?
SARAH giggles.
DR.
BARRETT
All right. If you're determined. I'll do everything I
can to help. Sarah, come in and meet
your new horse. Right over the threshold, watch your step.
SCENE 13
NARRATOR
I
didn't miss a step. Not that day.
SARAH and RINGO sit next to each other.
They look at each other with a kind of wonder.
SARAH
Hi.
RINGO
Hi.
NARRATOR
He was skinny. His hips were sticking out. There was a look of desperation in his face
along with gentleness.
SARAH
You
look like you need somebody to look after you.
RINGO
So
do you.
NARRATOR
There
was manure caked to his stomach.
RINGO scratches his stomach with a
smile. SARAH reaches out and touches his face.
SARAH
You're
beautiful. I need a name!
NARRATOR
It
was 1963, the year of John F. Kennedy...
SARAH
Something
special to both of us.
NARRATOR
There was a new British rock group that
I was crazy about.
EVERYONE
She loves you, yeah, yeah, yeah, yeaaaaaaaaaaaah!
SARAH
Oh,
the Beatles! I just love the Beatles!
NARRATOR
You know, the day I first met my horse,
all I could think of was...
EVERYONE
I want
to hold your hand, I want to hold your hand!
SARAH
I just love Paul! He is the cutest thing! But you don't look like a Paul.
RINGO
Thank
you!
SARAH
Of course, John is so intelligent. But John, hmm. I don't know. It's so confusing!
EVERYONE
We all
live in a yellow submarine, a yellow submarine, a yellow--
NARRATOR
That
song didn't come out till later.
EVERYONE(VARIOUSLY)
Oh. Really? Oh, yeah. That's right, etc.
SARAH
George.
I like George. It's not a bad
name for a horse, but...
A triumphant look comes over SARAH'S
face. RINGO begins to look worried.
EVERYONE
RINGO!
RINGO
Ringo.
Ringo!
I like it! It has a certain...
ring to it.
EVERYONE
Awwwwwwwwwwwwwwwwwwwww!
SCENE 14
NARRATOR
We didn't bring Ringo
home right away. He stayed on that farm
and it was right across the river from my parent's home. I was trying to scrape manure off Ringo's stomach--
RINGO
I
feel goooooooooooood!
NARRATOR
When
something caught my eye. Or rather,
someone.
SARAH
Psst! Leslie! Do you see what I see?
LESLIE
What
a hunk!
SARAH
Look
at that chest!
Carter begins to "puff up" .
LESLIE
He's
like a god!
SARAH
That
blond hair...
LESLIE
That
tan...
SARAH
and LESLIE
The
bronze god!
CARTER
Hi, ladies. The name's Carter. (To
SARAH.) You the one that bought the stallion? He don't look like much, does
he?
RINGO(To CARTER)
Yeah,
but I'll still have my hair when I'm thirty.
CARTER
Sarah, is it? A bunch of us are going
on a hay ride later. Want to come?
SARAH
Do
I!
SARAH looks at CARTER a moment and then
faints with a sigh in her chair. RINGO rolls his eyes. LESLIE looks on with ecstasy.
SCENE 15
NARRATOR
That was the best summer of my
life. Every day Ringo
and I walked on the beach. The vet said
it would help his legs get strong and it was great physical therapy for me,
too. And I finally had a friend. Someone special just for me. I would jump on
him bareback with just a halter and lead rope and off we'd go; the wind in our
faces and not a care in the world.
RINGO
Want
to go for a swim?
SARAH
Yes!
NARRATOR
And we went in the water together, that
day and every day that glorious summer.
RINGO
I have been waiting all of my life for
you. I was afraid that all you'd see was
how skinny I was.
SARAH
I
thought you'd notice how I limped.
RINGO
I
was alone. Dying, I think.
SARAH
I
had run out of hope.
RINGO
But
you looked at me and saw...
TOGETHER
Perfection.
SCENE 16
NARRATOR
Speaking
of perfection, there was still Carter.
RINGO
Oh,
him. He won't last.
NARRATOR
And
he didn't.
LESLIE
What
the matter, Sarah?
SARAH(Crying)
Oh, Leslie! Carter asked for his ID bracelet back!
LESLIE
He
didn't!
SARAH
Last night. He walked me to the door and just like that!
LESLIE
That
pig!
SARAH
How
could he do this?
LESLIE
Men, they're all alike! Build you up
and then let you down! You don't, uh, happen to know where he is? Right now?
SCENE 17
NARRATOR
So much for the bronze god. I still had Ringo.
While he was at Carter's farm, people were always trying to tell me what to do
with him. I knew what to do with
him. We understood each other. Always. From the very first moment.
WOMAN
Sarah, I don't think you're quite
exercising that horse properly. He's
looking a little peaked, don't you see?
SARAH
He
looks great.
WOMAN
Now
about his feed...
RINGO
Lay
off her, lady.
WOMAN
Let me see how you mix it. I think you might be giving him too much
oats. Too much of a good thing, you
know...
RINGO
I
don't usually warn people twice.
SARAH
I know what's good for my horse. Now if you'll excuse me...
WOMAN
I don't think you're quite getting my
point, Sarah.
RINGO
Read
my lips, lady.
RINGO
lunges at her and the lights go to black.
NARRATOR
Well, she read his lips; unfortunately,
they took off a small part of her chest.
SARAH
Ringo!
RINGO
She
had it coming.
SCENE 18
NARRATOR
Nobody bothered us after that. We had to get ready to get back to
school. It was almost September. There was one thing remaining to be done.
SARAH
Ringo, I have to talk to you.
RINGO
What
is it?
SARAH
I've
told you about my operations.
RINGO
Yeah,
they were terrible.
SARAH
Not
all operations are terrible.
RINGO
That's
good to hear.
SARAH
And no operation should be performed
unless it's absolutely necessary.
RINGO
I
agree.
SARAH
What
I'm trying to say...
RINGO
I know what you're trying to say. Don't worry.
I'll be all right.
SARAH
You
will?
RINGO
Yeah.
How long will you be gone. A
week, two weeks, tops?
SARAH
I'm
not going anywhere, Ringo.
RINGO
You
mean... you're not going to have an operation?
SARAH
No.
I'm not. Ringo, listen.
She
whispers something in his ear.
RINGO
What
are you crazy?
SARAH
Ringo, we have to do it! It's the only way they'll let me take you to
school!
RINGO
I was born with all these body parts
and I'm going out with them!
SARAH
Be reasonable! If you don't have the operation, I mean, even
if I could take you with me to school...
RINGO
What? What?
SARAH
We would grow apart. You'd be too aggressive. Ringo, they've
explained things to me.
RINGO
So
glad you're feeling good about everything!
SARAH
Ringo. It's
because... I love you.
RINGO(Pause)
I
love you, too.
NARRATOR
Ringo survived.
RINGO
Easy
for you to say!
SCENE 19
NARRATOR
And we arrived at House In The Pines
together. A small crowd gathered to see
the newcomer.
ONE
OF THE CROWD
Oh,
he's cute!
They
are all gathered around RINGO, patting and petting him.
RINGO
You
should have seen me before the operation!
NARRATOR
Things went well for me that year. Ringo made the
drill team. My classmates were amazed to see how well I could ride. Ringo was
developing into a beautiful Morgan horse.
RINGO
Thank
you.
NARRATOR
He was possessive of me. When other people were around him he put his
ears back. It was kind of a bad habit of
his, really, when you think of it.
RINGO shrugs off the girls' attentions.
RINGO
So
I have high standards, so sue me.
SCENE 20
NARRATOR(Confidingly)
He really was beautiful. (Pause.) I had to see the doctor
again. My toes began curling under when
I walked. It couldn't wait until the end of the school year.
RINGO
Your
turn to have an operation.
NARRATOR
I cried all the way to the hospital
from Connecticut. The pain I had ahead
of me! I had to share a room with three
other girls.
The three girls come out one by one.
KATHY(Very friendly)
Hi! I'm Kathy!
NARRATOR
They either had polio or curvature of
the spine. I was the only one with CP.
KATHY
What's
your name?
NARRATOR
One girl's back was twisted to the
point where standing up straight was impossible.
ELIZABETH
I'm
Elizabeth. Do you like the Beatles?
SARAH
Do
I!
BERNICE(Fluffing her hair)
Hey, do you think while they're working
on my legs, they might do something about my hair?
ELIZABETH
Oh, Bernice, you and your hair. I put in for a nose job!
SARAH
Your nose is all right. Why, you have a beautiful nose!
KATHY
I'd like to look like you. Where did you ever get that dark skin and
straight black hair? Are you Italian?
SARAH
Italian? Please, my mother would die!
NARRATOR
Kathy was lying in bed. Her legs were completely without muscle and
were covered with several angry scars.
KATHY
So,
what are we going to do for fun tonight?
BERNICE
Want to see a movie? I think it one of those Elvis pictures.
KATHY
Oh,
please, Elvis!
ELIZABETH
And
what's wrong with Elvis?
KATHY
I
thought you liked the Beatles?
ELIZABETH
I
like to keep them all on a string.
SARAH
You
guys are too much!
The girls all laugh.
SARAH
I don't know if I can go tonight. I'm being operated on in the morning.
KATHY
So
am I! I hoping to walk again soon.
SARAH
Oh. How long... has it been?
KATHY
I
got polio when I was six. Ten years.
BERNICE
You're
only fifteen, it's been nine years!
KATHY
I
decided to become sweet sixteen a year early.
ELIZABETH
Let's
put on a record!
BERNICE
No rock and roll on the floor, we got
in trouble last time.
ELIZABETH
Something
even better.
The chorus hum a few bars of a Strauss
waltz. The girls smile and close their
eyes to the music.
ELIZABETH(To KATHY)
Madame, may I have this dance?
KATHY
Charmed,
I'm sure.
The music continues softly over the
NARRATOR'S next speech and then ends.
NARRATOR
Kathy was there when I woke up the next
day after surgery, holding my hand and playing that music.
KATHY
The
music helps the pain go away.
NARRATOR
Of course, she would never walk
again. We all knew. Kathy - and all of the girls - gave me
something bigger and better than any pair of legs or eyes or hands I might have
wished for. They gave me hope and self
respect. For the first time I was with
kids that were like me. For a short time
I was not alone.
SCENE 21
Pause and then.
RINGO
It's
about time you got back.
SARAH
Sorry,
Ringo. I had
that operation. Remember?
RINGO
How
did it go?
SARAH
I'm in another cast. I won't be able to ride for awhile.
RINGO
I
asked you how it went. You okay, kid?
SARAH
Oh,
Ringo.
RINGO
Just put your head on my shoulder. I'm always here.
SCENE 22
NARRATOR
Miss Johndroe
insisted on driving me around in her car because of the cast. Once again, it didn't help me win any
popularity contests.
FIRST
GIRL
Grab
her! Hold her down!
SARAH
Hey! Stop it! You're going to really hurt me! Stop it!
SECOND
GIRL
Let's see how many pencils we can get
inside her cast!
SARAH
Why are you doing this! What did I ever do to you!
FIRST
GIRL
Hey,
she bit me! The little snot bit me!
THIRD
GIRL
Oh,
yeah, how does that feel Miss Goody Two-Shoes?
NARRATOR
I've
had about enough of this.
SECOND
GIRL
We
could knock her teeth out. Give me that shoe!
NARRATOR(Stands up)
That's it. ALL RIGHT, LISTEN YOU MORONS! THAT'S RIGHT, I'M TALKING TO YOU! YOU EVER, EVER COME NEAR HER AGAIN I'LL HANG
YOU BY YOUR OWN INTESTINES! DO I MAKE
MYSELF CLEAR?
THE
THREE GIRLS
Um,
yes, etc.
NARRATOR
I
can't hear you!
THE
THREE GIRLS
YES!
NARRATOR
Now, was that so hard? Couldn't somebody have done that for me just
once?
MOTHER
Sarah,
your father and I have been talking.
SARAH starts to answer but is cut off
by the NARRATOR.
NARRATOR(Still angry)
What
do you want, a medal?
MOTHER
We thought when we got the horse you
might be happier.
NARRATOR
Oh, yeah, well, try living someplace
where the kids torture you every day.
Try having to deal with Jabba the Hut morning,
noon and night!
SARAH
Sarah...
NARRATOR
Is
there a sign on my back that says abuse me?
MOTHER
Sarah,
there are some people we want you to meet.
NARRATOR(Out of control)
I don't want to meet any people! I've had enough of people! Ringo, where's Ringo!
RINGO
I'm
here, kid.
SARAH
Let
me take over now, Sarah.
NARRATOR
I
can't see him! Where is he?
SARAH(Standing over the NARRATOR)
You're going to be all right. We'll get through this together.
NARRATOR
I thought I could do this. I really thought I could do this. All right,
I'm all right.
SARAH
You don't have to do this alone.
NARRATOR
The
worst is yet to come. Isn't it?
SARAH
I'm
right here.
RINGO
So
am I.
KATHY
Music makes the pain go away,
Sarah. It always worked for me.
JOE-JOE
Hey,
Sarita. Remember
this?
He
takes his hat off and takes a bite.
NANNY
God has a purpose for you, Sarah. Land sake, how many times did I tell you
that? Do you think He brought you this
far to let you go now?
NARRATOR
Why
are you all ganging up on me?
EVERYONE
Because
we love you.
MOTHER
I
love you, too, Sarah.
NARRATOR
Mother never said that, did she? (Looking at RINGO.) Did she?
RINGO
She
brought us together, kid, don't forget that.
NARRATOR
(EVERYONE
is looking anxiously at the NARRATOR.)
I'm all right. All right?
Can we get on with this now?
SARAH
If
you're sure.
NARRATOR
You
want to be the Narrator?
SARAH
No.
NARRATOR
I'm entitled to a little temper after
all this, don't you think?
MOTHER
Your
father and I have been talking.
SARAH and NARRATOR exchange a
look. The NARRATOR shrugs.
SCENE 23
SARAH
Yes,
Mother.
MOTHER
We're going to Vermont. That is, we're taking you to Vermont.
EVERYONE
Where's
Vermont?
SARAH
What?
MOTHER
There's a boarding school there in
Woodstock. I've talked to them. They
might be willing to take you.
SARAH
You're
kidding.
MOTHER
We'll
be there in three hours.
SARAH
I
thought we were going home. I thought--
MOTHER
It's
all arranged.
SARAH
I
don't want to go to Vermont! I want to
go home! Please, Mother.(Panicked.)
What about Ringo?
MOTHER
They
have a stable.
SARAH
I've been away from home for five
years! Can't I at least--
MOTHER
You
know I like it quiet when I'm driving.
MOTHER reaches over and awkwardly pats
SARAH on the arm.
NARRATOR
Woodstock Country School. 1965.
The first thing I saw was some boy with shoulder length hair wearing
jeans with gaping holes in the knees.
BOY
(Takes
a drag on an imaginary joint and offering it)
Hey man, want a toke?
NARRATOR
This
was not House In The Pines.
BAILEY
(To SARAH, extending his hand)
Hi, I'm David Bailey. I'm the headmaster. Welcome to Vermont.
SARAH(Looking for her MOTHER)
Mother?
BAILEY
This is the main building. Do you like it? It used to be a stable. Your mother tells me you have a horse.
NARRATOR
I
thought everybody had lost their minds!
MOTHER
We
do have one little problem, Mr. Bailey.
BAILEY
Please,
call me David.
MOTHER
Mr.
Bailey, it seems as
though Miss Johndroe has burned Sarah's school records.
BAILEY
She
what?
MOTHER
Will that affect you accepting Sarah? (She speaks hurriedly and with pain and
embarrassment.) I've tried to do the
right thing, you must understand that, Mr. Bailey. Sarah was, well, there were things we just
didn't know, her father and I. We've
always done the best for her, haven't we, Sarah? That... Mrs. Johndroe,
I..., well..., it was the best school available, the only school. There were just some things that...
well. You understand, Mr. Bailey.
BAILEY looks at MOTHER for a moment,
then at SARAH. He gets up and kneels
down in front of SARAH.
BAILEY(SARAH does not look at him)
Sarah, your mother has already told me
about House In The Pines.
MOTHER
We've
always done the best for her.
BAILEY
Miss Johndroe
is sick but what she has done is unforgivable.
None of this is your fault. You need to know that.
SARAH looks at him for the first time.
BAILEY
I hear your horse is named Ringo. He's a
Morgan? Then he's a Vermont horse, isn't he?
We're going to give him the best stall in the barn.
RINGO
I
think I'm going to like it here!
SCENE 24
NARRATOR
I spent the next two years at the
Woodstock Country School and they were the best years of my life so far. The teachers and administration were mostly
concerned about repairing the emotional damage that had been done to me. One teacher, John Pierce, took it upon
himself to get me to talk.
PIERCE
What distinguishes human beings from
lesser life forms is the size of their brains.
For example (he looks furtively at
SARAH) horses are one of the stupider mammals on the planet. (SARAH looks at him sharply; he continues as
if he doesn't notice.) In fact they're
so stupid...
EVERYONE
How
stupid are they?
SARAH(Blurts out)
Horses are smarter than some people I
know! I have a horse like that!
PIERCE
(Comes
over and puts his arm around SARAH)
I knew you were in there somewhere. Don't
be afraid - you are safe here.
RINGO
Hey,
Sarah! Look at that!
SARAH
What? What do you see?
RINGO
I see... (both are looking out above the audience) the most beautiful
mountains in the whole world!
SARAH nods softly; the moment lasts a
little longer and then done.
SCENE 25
NARRATOR
We moved back to Rhode Island after
that. I realize now I was sheltered by
being away from home. My brother tried to kill himself one day. My one regret is that I didn't know him
better.
DINDY
Mother! There's something wrong with Murray.
MOTHER
Dindy, I've got a million things to do right now.
DINDY
But Mother! He's in the bathroom! I think... he might have done something. Mother!
Are you listening! There's blood...
and he's... I think he's dead!
MOTHER(Long pause)
Your
father will be home in an hour.
DINDY
Mother!
MOTHER
One
does what one can, Dindy.
DINDY
He's...
he's up there! Mother! Please!
DINDY looks around wildly a moment and
then exits.
NARRATOR
Murray and Dindy
were always close. Later, they moved to
Vermont where Murray and Dindy's husband founded
Vermont Castings.
MOTHER
Call an ambulance. The phone's there in the study. There are some things... I must lie down, I
get so tired.
NARRATOR
Murray lived. But he died of a brain tumor at the age of
thirty-seven. Dindy
and I talk about him. It helps.
MOTHER
You
see about it, dear. I need a little nap.
She reaches
out her hand to touch DINDY and her hand falls on empty space.
SCENE 26
NARRATOR
I came home the summer before my senior
year in high school. That's when I met
Richard!
RICHARD
Hi.
SARAH
Hi!
NARRATOR
Was
he cute!
RICHARD
So, what do you say, want to come
cruising with me and my friends?
SARAH
Cruising?
RICHARD
Maybe listen to a little music on the
radio... in the moonlight?
SARAH
Moonlight?
RICHARD
There's going to be a full moon tonight.
Bella luna. That's what I see when I look
in your eyes. Bella luna.
NARRATOR
Of
course, he was Italian.
RICHARD
So, where do you live?
NARRATOR
And
his mother was a hairdresser.
RICHARD
Watch Hill, huh? (Whistles.) Nice houses up
there. So what do you think, moon eyes?
Want to go for a ride?
SARAH’S MOTHER enters.
SARAH
Mother!
I'm going to go out with him and that's that!
MOTHER
You will not bring that grease monkey
in this house!
SARAH
He's
a mechanic!
MOTHER
I
will not have him dirtying the carpet!
SARAH
Fine!
We'll sit out on the rock in the yard. Then when all your fancy friends
come over we can spray them with oil cans!
NARRATOR
Mother did end up liking him before she
died. Who could resist Richard?
RINGO(To RICHARD)
Touch her and you die.
NARRATOR
Tackling Mother was a piece of cake
compared to Ringo.
SARAH
Richard,
this is Ringo, Ringo meet
Richard!
RINGO
Are
you getting my drift?
RICHARD
Nice
horse.
NARRATOR
I think the reason I liked Richard was
that he was so much like Ringo.
RINGO
Oh,
please!
SARAH(To RICHARD)
Ringo's the best friend I've ever had.
RICHARD
Oh,
yeah? Well, now you've got me.
RINGO
I can see this bozo doesn't learn very
fast. Read my lips--
SARAH
Would you like to ride him,
Richard? I'm sure Ringo
would love it!
RINGO(Rubbing hands together)
Boy, would I!
SARAH
You'll
be nice, won't you Ringo?
RINGO
Climb on, old Richie
boy. Let's you and me go for a ride!
RICHARD
I don't know, Sarah. I'm not much of a horseback rider.
SARAH
But
Richard, Ringo's so important to me!
RINGO
Say
yes!
RICHARD
Maybe
another time. Okay, Moon Eyes?
SARAH
Oh,
Richard.
RINGO
Rats!
NARRATOR
I
won't say Ringo ever accepted Richard...
RINGO
I tolerated him, okay? What do you want, I'm a horse. I've got
feelings.
SCENE 27
NARRATOR
I went back to the Woodstock Country
School for my final year in high school.
Richard came up every weekend to see me.
MOTHER
Sarah, I want to talk to you about this
Richard person!
NARRATOR
My
mother won almost every battle we ever had.
MOTHER
I will not allow this infatuation to
continue any longer!
NARRATOR
But she didn't win this one. Not that she didn't have more tricks up her
sleeve.
MOTHER
Sarah, now that you've graduated from
high school - thank heaven - we've got a have a little talk.
SARAH
Yes,
Mother.
MOTHER
You're pretty, no one can deny that.
You have a certain... something. Of course, it comes from my side of the
family. All the Williams' women were
beauties.
SARAH
Yes,
Mother.
MOTHER
I've decided you're going to modeling
school. In London.
SARAH
What?
MOTHER
You leave in a week. We have some friends you'll be staying with
while your in classes. It's all
arranged.
SARAH
You must be nuts! I'm not leaving Richard and Ringo.
MOTHER
It's a one-way ticket. When you've proved yourself, you can come
home.
SARAH
I don't care what you say. I'm not going and you can't make me!
MOTHER
What part of this conversation is
difficult for you to understand? Girls
don't finish prep school and settle down with mechanics. You have an obligation to us, Sarah. There will be no more discussion.
SARAH
Mother, how am I going to walk down a
runway, I can't even enter a room without tripping over a threshold!
MOTHER
You can be a photographer's model. At least you've got looks.
SARAH
I
don't want to be a model!
MOTHER