by Gayl Jones
COLIENE: I’m a very colorful person.
JO JO: I just seen Mada’s rickety car, that old convertible, drive out of the driveway.
COLIENE: She won’t use Paul’s car.
JO JO: She been bad-mouthing me again? I know her type of meddlesome woman. I think her ex-husband musta looked like me ’cause I ain’t done a thing to that woman. [Pause] Now with all your money you can help her get a new one.
COLIENE: A new husband?
JO JO: A new car. [mimicking Mada] Honey child, some people sure have done come up in the world. Yes, they sho have. [sitting down on the couch] No wonder you all need help. I better give you three days, honey, ’ceptin two. You got more house than I thought. What you gonna do with it, honey?
COLIENE: [playing herself] Well, when Jo Jo and I get married, we can have children and we need all of the space that we can get.
JO JO: That’s right, honey. But I sure wish that it was Paul you was setting your cap for. You know he’s always taken a liking to you.
COLIENE: I know. Paul’s a good friend. I’m very fond of Paul. But Jo Jo saw me first.
JO JO: Yes, honey. I sure wish that he hadn’t. You and my Paul is just like my son and daughter. Why I could always have a family if you all was to hitch up.
COLIENE: I’m going to marry Jo Jo and that’s that. [Pause; to Jo Jo.] How about a beer?
JO JO: Sure, child, always. That artist’s studio you added onto the house is a waste of money. [Pause.] You sure must love your friends.
COLIENE: It’s not Paul’s. It’s mine. I like it myself. I can write in that studio. Or sew.
JO JO: Sure. [Pause, looking around.] You’re too much for me now.
COLIENE: NO, JO JO. It’s for us. Whatever I have become, it’s for us.
JO JO: Are you sure, or is it for Konder?
COLIENE: Why, Jo Jo. Of all the mean things to say about me and Paul.
JO JO: Sorry. I used to like the guy. But not anymore.
COLIENE: Come on in the kitchen.
[They exit, COLIENE returns and picks up the telephone, JO JO returns to the Greenwich Village cafe to drink a beer and flirt with FRANCIE. In his studio, PAUL picks up the telephone.]
PAUL: Mada says it’s a beautiful home.
COLIENE: I told her she could stay here and make it hers, but she won’t leave you. Did Mada tell you I want you to come to supper?
PAUL: I’d be delighted. Any time that I can be around you, I want to.
COLIENE: [laughing] Mada thinks we’re meant for each other. [Pause] You know who’s coming too?
PAUL: I don’t care. I’ll still be with my girl. Mada’s crazy about your house.
COLIENE: Jo Jo in it will make it a home. [Pause] Paul, you know you shouldn’t joke like that around Mada. She overhears you telling me I’m your girl and thinks you really mean it. And that picture you painted of me and called My Girl. I tell her that’s just art. That’s the way artists are, that if we had as many lovers as in our love songs and paintings we wouldn’t know what to do with them, but she thinks you mean it. She thinks that painting is a special message for me—that you’re in love with me. I tell her My Girl is no specific woman.
PAUL: Maybe I do mean it? Maybe I am in love with you?
COLIENE: I know you, Paul. You paint Love, but you’ve no specific woman in mind. You play us all. Jo Jo still doesn’t like the idea of me going around with you, but I tell him we’re friends, that’s all. He knows we’re just good friends. And he’s a flirty guy himself and likes to have his women friends, so why shouldn’t I have you for a friend?
PAUL: You remember how I stared at you when I first saw you? In Greenwich Village. I like beauty, and so I stared. You looked up at me and smiled. You weren’t being fresh with me. I knew you weren’t a pickup. It’s just your way. You’re a nice girl, Coliene. I smiled back and the rest is history.
[In the Greenwich Village café, JO JO kisses FRANCIE and exits the cafe. COLIENE enters the cafe and sits down at the table and is waiting for JO JO to arrive. She’s dressed cheaply, but in good taste. This should he played as a flashback scene]
FRANCIE: What’ll you have to drink?
COLIENE: Nothing now, thanks. I’m waiting for someone. He’s supposed to meet me here.
[PAUL enters, sits up at the bar and orders a drink, then spots COLIENE and stares at her as if she’s a “true beauty.” She notices him and smiles. He smiles back, then he walks over to her and stands at her table]
PAUL: Would you like a drink?
COLIENE: Not now, thank you. I’m waiting for a friend.
PAUL: Oh, I’m sorry. I’d like to know you. My name’s Paul Konder. You have such a beautiful face. I’m not trying to be fresh, but I’m an artist and I’d like to paint your picture.
COLIENE: Oh. My name’s Coliene.
PAUL: Coliene. What a beautiful name.
COLIENE: I’m interested, that is, concerning your painting me. I mean, if you’re for real.
PAUL: Good.
COLIENE: How much do you pay?
PAUL: It depends.
COLIENE: I need the money. I’ll be glad to pose for you. At your house?
PAUL: Of course, I need lots of light and I have it there.
[JO JO walks in and spots them together, looks suspiciously at PAUL, and comes over to the table.]
COLIENE: Jo Jo, meet Paul Konder. Paul Konder, meet Jo Jo Spain.
PAUL: Glad to know you, Spain.
JO JO: Likewise.
COLIENE: Paul’s a painter. He’s going to paint my picture.
PAUL: Sure thing.
JO JO: Yeah? Nice fellow, eh?
COLIENE: Yes, he is nice.
JO JO: How long have you known him?
COLIENE: Not long.
JO JO: Just some new man you’ve met? [To PAUL.] Sit down, man.
PAUL: No thanks, anyway. Three’s a crowd.
COLIENE: It’s all right, Paul. We’re sort of used to crowds.
[PAUL laughs and sits down. They order rum and Coca-Colas.]
PAUL: I didn’t want you to think I was trying to pick her up, man.
JO JO: I think what I think. Coliene’s a pretty girl. No wonder you want to paint her. I’d paint her myself, if I could paint.
[COLIENE hugs JO JO.]
COLIENE: I’ve been trying to talk Jo Jo into going to night school.
JO JO: Heck, Coliene, I’m beat when night comes, and what energy I have left, that’s for me and you.
PAUL: What kind of work do you do?
JO JO: Garage mechanic.
PAUL: Honest work.
JO JO: I know it’s honest work. Coliene’s a writer. Composes songs. Theme’s her aspirations. Thinks I ain’t got no ambition, the kind of man that’ll get ahead, get to the top of the ladder, amount to anything. So she pushes me.
COLIENE: Jo Jo, you know that’s not true.
JO JO: I’m good-looking, sure enough, but I’ve got no ambition. Are you a man of ambition?
[PAUL says nothing.]
JO JO: I love Coliene. I believe she loves me.
COLIENE: You know I do. I’m enchanted with you.
JO JO: Put that in a song. [Pause] Pose for him. It’ll help you with your savings. [Pause; to PAUL.] I know you ain’t jiving her, ’cause I know who you are.
PAUL: What do you mean?
JO JO: I just know who you are, man.
[JO JO exits, COLIENE and PAUL leave the café and go into the studio. She stands posing for him as he paints]
COLIENE: This is such a little studio, but there’s plenty of light. I bet you’d like something more roomy and spacious. Did you do all those paintings on the wall?
PAUL: Yes.
COLIENE: They’re nice. [Pause] You must love this room. It’s not how I imagine an artist’s studio. But I bet in your dream house your studio is roomy and spacious, isn’t it?
PAUL: You compose songs, Spain said?
COLIENE: Yes.
PAUL: Does Spain like your songs?
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nbsp; COLIENE: I don’t know what Jo Jo likes. He’s not really creative. With Jo Jo it’s, This crate can do a hundred, that buggy I overhauled, now it’s really a ready buggy. I cleaned and sparked about ten cars today. Forgot to put oil in Maxie’s can. Honey, look at them sidewall tires, I painted them for Poby.
PAUL: But you love him?
COLIENE: Yes. Sometimes I wonder why the heck I do. I don’t really share my work with him, though. He’s not really interested in my music. [Pause] You’re real handsome. You should do a self-portrait. Thick beautiful hair. You don’t wear a mustache like Jo Jo, though.
PAUL: Sometimes I do. I’m glad you came to let me paint you. Come back again Saturday. We’ll get started early. I can’t bear to wait until Monday to continue this painting. I’d like to finish it as soon as possible. I know that you’re tired.
COLIENE: Yes. I’ve never had to sit this long posing before. It’s quite an experience.
[MADA enters the studio and looks at COLIENE.]
COLIENE: Hi. I’m Coliene Cross. Mr. Konder’s painting me.
MADA: Yes, ma’am. I thought I heard a lady in here.
COLIENE: You don’t have to ma’am me.
MADA: Yes, ma’am.
PAUL: This is Mada, Coliene. She keeps house for me.
MADA: How you, ma’am?
COLIENE: Fine. But please, just call me Coliene.
MADA: And me, I’m just plain Mada.
COLIENE: I used to work as a domestic myself. I went to school at night and studied music and journalism. I first came to New York with Mr. and Mrs. Mix who were moving to the city and wanted me to help with their two children. I stayed with them a couple of years, still studying nights. Mr. Mix was a building contractor and went wherever there was work. They moved to Nashville and wanted me to move to Nashville with them, Mrs. Mix practically begged me to leave with them, but you know I prefer New York to Tennessee. Mrs. Mix knew I wrote songs and thought I might try to sell my songs in Nashville, but you know they wouldn’t be buying my songs. I had to find lodging. Jo Jo, that’s my boyfriend, wanted me to move in with him, but I moved into Mrs. Murphy’s apartment for girls. She only had one apartment left, a basement apartment, three rooms and one bath, and this was not at all private. I share the kitchen and bathroom with two other girls, Anistine and Claudia. Anistine’s an African American and from the South. Arkansas, I think. Claudia claims she’s Italian. But if she’s Italian, so is Jo Jo. I’ve been saving money so I can get a real apartment of my own. A full bath of my own would be great, my own kitchen. That’s what you need to be yourself. I’ve been crowded up all my life.
MADA: Maybe Paul’ll bring you luck. [Pause.] She’s a pretty girl, Paul.
PAUL: Sure, she is.
[PAUL covers the canvas and washes his paint-stained hands in the washbasin.]
MADA: Paul needs a pretty young lady around. Mr. Tyrone’ll probably like that picture, what I seen of it. He sold one of Paul’s paintings over there in Europe. I got a pretty piece of money from that myself. Whenever Paul sells a painting, he gives me something to show his appreciation when it’s me to show my appreciation to him.
PAUL: She just spends it back on me.
MADA: I buy little necessities. I like to go to the beach, though. Sometimes I go to Coney Island. I like to swim. So do Paul. We oughta take you to Coney Island with us.
COLIENE: Every time I think of Coney Island I think of Francie Ware.
MADA: Say who?
COLIENE: That’s my boyfriend’s other girlfriend. He likes to take her to Coney Island. He’s got another girlfriend. Lea Bowman. He says we’ll be seeing enough of each other after we’re married, so he likes to take other girls out. And I’m to be a sport, you know. A good sport. Let him have his free time now. He’s still sorta wild. We’ll get married, I know he loves me, but I want to wait till we get some money, you know. He’s proposed to me and everything. But I’ve had such a mean and poor childhood, you know. Jo Jo says I’m afraid of being poor, and I am. I’ve been engaged to him for two years. He’s given me a ring. Well, I had to buy it myself. He’s always moody and on nettles. I love him, though. It’s just one of those things.
MADA: You can’t calm down wild men. You don’t love him. You’re stuck on him. Women don’t know the difference between love and being stuck on a man. What about Francie? Then let him be jealous of Paul. You and Paul can be good friends, and Jo Jo can be a good sport. Let you have your free time now. Paul’s my very best friend. He got me out of that rooming house in Virginia.
PAUL: Oh, you’d have gotten yourself out of Virginia all right.
MADA: Paul got me a job modeling for different artists around New York and got me a job advertising some soap, and I even sing a little jingle about that soap, but mostly I works here for him. He’s my dearest friend. What did Francie ever do for your lover boy? What’s his name?
COLIENE: Jo Jo.
MADA: He sounds like a Jo Jo. I don’t even know him, and you don’t know yourself, but I know you deserve better. I know they say a woman’s supposed to make herself happy, and I don’t mean to meddle, but he just don’t seem to be the right guy for you.
PAUL: If he knows how to play Keno, she’ll like him.
MADA: We might play Keno together, but I’ll still know his kind. Always at a bar, going from one bar to another, drinking, fooling around with a lot of no good supposed to be friends that don’t mean theyselves any good or anyone else. Poker and card games. ’Cept Keno. You know this ain’t no good and you think after you’s married, he’ll settle down, but you know he won’t. Then he start to change your personality and even your purpose in life, till you don’t even know who you are. And they just don’t care. He’ll lead you a dog’s life. But when I was your age, I was like that myself. If some young women could see farther than her nose they’d see the better men, the men who really love them.
[COLIENE and MADA leave the studio and return to the living room. COLIENE sits down at the piano]
COLIENE: [rising] I’d better call Jo Jo again. I’m not sure he’s coming over tonight.
MADA: I hope he don’t.
COLIENE: Ah, Mada.
MADA: Well, I don’t, honey child. He just ain’t right for a sweet little thing like you. [Pause] I was a sweet little thing like you myself. I wasn’t as pretty as you is, but I was sho as sweet. [Pause] You told me ’bout how when you and Paul went for a drive and stopped at that café, and seen Jo Jo with his Francie, hugging and kissing.
COLIENE: I never told you that.
MADA: Paul’s sorry you seen that, but I’m glad you seen Jo Jo with his Francie. When y’all started to leave, Jo Jo shoved Francie and headed for you, half high with liquor. He coulda been my own. He coulda been my own. “Mada, Baby, I didn’t know you was coming.” Come on, baby. And Francie high as Jo Jo. They make a great pair. Two of a kind. How could Jo Jo be so common? Now take it easy, sweetheart. Jo Jo Spain ain’t worth it. Paul’s your friend. Jo Jo’s the foolmaker. Share your dreams with Paul. Jo Jo just wants you where he can show you off. When you get old and he can’t show you off, he’ll. . . . Men is all alike. They’ll turn you into a fool if you’ll let them. Except Paul. . . .
COLIENE: I know. I know it’s Paul. I know it’s Paul I love, not Jo Jo. It’s just. . . .
MADA: Good. It’s just good, that’s what it is. I’m glad you can see further than your nose.
COLIENE: I’ll have to tell Jo Jo. I don’t want to hurt him.
MADA: You won’t. Just tell him, and good riddance. Talking about good.
[MADA exits and PAUL enters.]
PAUL: How’s my girl?
COLIENE: Fine, Paul. I’m so glad you came.
PAUL: So am I.
COLIENE: Dinner’s ready. We worked hard to fix this meal.
PAUL: Sure am hungry.
[PAUL kisses COLIENE on the cheek, then he takes her in his arms and kisses her on the lips.]
PAUL: I’m sorry, Coliene. I know you’re Spain’s girl. Has Spain come?
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[JO JO comes in to see them in each others arms. He clears his throat.]
JO JO: Well, I guess I know when to bow out. So long, Coliene. I always thought Konder was your man. Or you was his woman.
COLIENE: Oh, Jo Jo, I’m sorry, I. . . .
JO JO: Don’t be. Good luck. Y’all women is all alike, though. Play a man for a fool.
[JO JO exits.]
PAUL: Now you won’t have to tell him. He knows.
COLIENE: Oh, Paul, my sweet love. I do love you. But I don’t like what Jo Jo thinks I am. I didn’t play him.
PAUL: I know.
COLIENE: Come and see your studio.
Like I said I were Mada in that movie. The things that were beyond our capabilities we had to imagine we was doing. But that’s why I says that when I read about them imaginary people in that newsletter that’s when I thought it were a confabulatory newsletter. Of course Monkey Bread might have put a confabulatory announcement in a real newsletter, so that it could be a real newsletter from the Daughters of Nzingha, but with a confabulatory announcement that Monkey Bread herself put into that newsletter, ’cause she know I would remember playing Mada in that play and would even remember the play itself. Then they could be a real Mada and Coliene and Paul Condor—or Paul Konder, as his name is in the play—in New York.
But they’s a lot in that newsletter I don’t believe. I don’t believe that star of hers owns no yacht, and wouldn’t let Monkey Bread’s womanfriends be partying on it even if she did own one. They also includes some of Monkey Bread’s stories in that newsletter, but y’all’s already read the stories they includes. And all that talk about not printing people’s names for security purposes, I just think that’s Monkey Bread ’cause she ain’t come up with the names for some of them characters, so she just says she ain’t print they names for security purposes. Anybody can start they own newsletter. I think she just oughta call it Monkey Bread’s Newsletter and ain’t pretend she sending out no unofficial official newsletter of the Daughters of Nzingha organization.
But I’m talking about Delgadina sweeping. I tells her they ought to hire somebody to sweep up in the evenings, but she say that the bartender’s job. They should oughta hire them another bartender, though, and ain’t just Delgadina. Like in that movie, they had theyselves a coupla bartenders. It ain’t one of them factory-made brooms but one of them handmade brooms she got at this craft festival. Delgadina, like I said, is one of them artsy people, and she like to go to these craft festivals the same way I likes them trade shows, where they got them people that makes pottery and stain glass and metalwork. And she even reads some magazine that tells you where all the art and craft festivals is. At them trade shows they got them newfangled inventions and technologies. I guess that the difference between the craft festival and the trade show, one got the technological inventions and the other got the artsy inventions, but sometimes there’s artists that be combining that technology in they art. Some of them is just craft festivals and others is art and craft festivals, but artists from all over the country and I suppose all over the world come to them art and craft festivals, though some of them might just restrict theyselves to American art and craft people, but Delgadina say they got international art and craft festivals. The art and craft festivals they also got them regular artists that paints pictures and sculpts and shit, and even got cartoonists and caricaturists that can caricature anybody ’cause them caricaturists they be having they booths like the regular artists and displaying they caricatures and invites people to be caricatured ’cause Delgadina she got her a caricature of herself, in fact she got a couple of caricatures of herself, but I watched that caricaturist caricature some other African Americans on his sketch pad and they all looks like Sambo, so I didn’t want me none of them caricatures, but sometimes I’ve seen me some African-American artists at them festivals with they art and craft, and even African-American caricaturists, though a lot of they caricatures look like Sambo too, though a lot of times I ain’t sure what the difference between a art and a craft (is a caricature a art or a craft?), ’cause sometimes them craft people looks pretty artsy and a lot of times them artists looks pretty crafty. Delgadina ain’t told me why she got them two caricatures of herself, but I know the reason. ’Cause the first caricaturist thought she were African American and so they’s a Sambo look to that caricature, and the second caricaturist knew that she’s Chicana so they’s a different look to that caricature, though I don’t know what the Chicana equivalent to that Sambo. I know them Chicanos gots they Sambo, though.