On the stoop of a Brooklyn home.
Scene 1
MILO waits on the steps for his twin sister, MARIE, to come home. It is late, as told by how dark the street is, but not cold, cuz its only July. MILO only has a tshirt and jean shorts on. A few streetlamps have gone out. Through sound, can hear only a few cars drive by. MARIE enters stage left. MILO stands up and walks towards her.
MILO: There you are!
MARIE: Hello, to you too.
MILO: Where have you been?
MARIE: What’s it to ya?
MILO: Excuse me?
MARIE: I’m sorry. What I meant to say is, “Why do you care?”
MILO holds out his hand to stop MARIE from going up the stairs
MILO: What has been with you lately?
MARIE: Are we just gonna play the question game all night or can I go inside?
MILO: No, you can’t go inside.
MARIE: And why not?
MILO: Well, firstly because I still want to talk to you…
MARIE continues up a couple steps
MARIE: and “firstly” implies a “secondly”
MILO backpedals so he is once again blocking MARIE from entering the house.
MILO: …and secondly, Dad’s pissed. It might be dangerous if you go in there.
MARIE: (sighs) fine (sits on step)
MILO: So back to my first inquiry. Where were you?
MARIE: Nowhere special. With my boyfriend again. Just hanging out at his place.
MILO: You sure that was it? You’ve never been gone this long.
MARIE: (pulls a flask out of her purse and takes a swig) Yea, mostly… why do you ask?
MILO: Uh… that’s why! Again I ask, what is with you lately?
MARIE: What’s the big deal? Everyone does it!
MILO: Are you really pulling the oldest excuse in the book on me?
MARIE: Oh, shove off.
MILO: No, I won’t. You know I love you and I hate seeing you acting stupid like this.
MARIE: Don’t worry about me. I can take care of myself.
MILO and MARIE hug. Their father, RICHARD, turns on the porch light and opens the front door.
RICHARD: Young lady! Inside, NOW!
Scene 2
Transition: Girl rides past house on her tricycle, throwing fall colored leaves, representing months passing. Passers-by scatter pumpkins and a few jack o’ lanterns down the street are seen. MARIE now has on a sweater as she exits the front door and walks down the steps. She paces in front of the stoop tapping her cell phone on her thigh a few times before finally sitting on the last step and pressing a speed dial.
MARIE: Hi, Charlie?
CHARLIE: (over phone, through PA) Hey, Babe. What’s up?
MARIE: I need to talk to you about something.
CHARLIE: Well, I’m here. My attention’s all yours.
MARIE: Actually, it’s not really a phone conversation.
CHARLIE: What are you breaking up with me?
MARIE: No, Honey. Of course not! I just need you to come over ok?
CHARLIE: You know, your dad doesn’t really like me. Sure you don’t want to come here?
MARIE: I’m positive. Please just come.
CHARLIE: Ok. Give me 5 minutes.
MARIE hangs up phone and sticks it in her pocket. She watches the children playing in the leaves and smiles at them. MILO opens front door and walks down to sit next to MARIE.
MILO: Hey, What’cha doin’ out here?
MARIE: Oh, nothing. Waiting for Charlie.
MILO: Ok. Don’t be long, dinner’s almost ready.
MARIE: No, we’re not going anywhere. We’re just talking.
MILO: What about?
MARIE: Nothing you need to know. Please just go back inside.
MILO: Mmk. Whatever. Just remember. Dinner. Inside. 15 minutes.
MARIE: Sure.
MILO goes back inside and persists in sitting next to the window, barely pulling the curtain aside, but watching MARIE as CHARLIE enters stage left. MARIE stands up, hugs and kisses him.
CHARLIE: Baby, What’s this all about? You’ve been acting so strange lately.
MARIE: I know, and I’m so sorry, but now I’m ready to tell you.
CHARLIE: Tell me what? The suspense is killing me.
MARIE and CHARLIE have their arms around each other as they walk over to sit on the steps.
MARIE: Well, you remember that night a couple months ago, I stayed at your house a little longer than normal.
CHARLIE: Babe, which one?
MARIE: Don’t play, you begged me to do something with you for the first time.
CHARLIE: (smile fades from his face) Of course. How could I forget? (phew) You’re great.
MARIE: (sarcastically) thanks. So are you.
CHARLIE: So what did I just come over so we could congratulate each other on a job well done?
MARIE: No, Charlie. I waited a long time to tell you because I really wanted to be sure…
CHARLIE: Of what? Did I give you something?
MARIE: (Disgusted) (ugh!) No! God, I hope not!
CHARLIE: Then what is it? Spit it out, Geez!
MARIE: I’m pregnant!
CHARLIE: (long pause) No. (hesitated) You’re aren’t. You’re playing a trick.
MARIE: I wish I was.
CHARLIE: (angry) You have some sick sense of humor, Marie!
CHARLIE storms off stage left. MARIE buries her head in her hands and sobs. MILO having watched it all, opens the front door, trying to be calm to not attract RICHARD’s attention, and sits next to MARIE, putting an arm around her shoulder and pulling her close.
Scene 3
Transition: Woman walks by walking her dog, throwing “snow” around her, to show more months passing. Passers-by remove pumpkins and hang Christmas lights and mailman plops pile of envelopes on middle step. MILO opens the front door. He now has on a trench coat and gloves. He walks down the steps and picks up the mail, shuffling through it, as if looking for something. Finding the envelopes he is looking for, he drops the others on the floor to open one.
MILO: Marie! Come out here quick!
MARIE proceeds to open the door a wool lined jacket halfway on.
MARIE: Hold your pants on. It’s getting harder every day to zip up over this mountain.
MILO: Yea, you’re huge! You’re probably gonna have twins.
MARIE: Don’t even tease.
MILO: Really! One could be shy and hide behind the other during the ultrasounds.
MARIE: They say it skips a generation.
MILO: Oh, so they say. But you know it’s not 100%.
MARIE: Don’t you know better than to upset a pregnant woman?
MILO: Sorry. You know it’s only a joke.
MARIE: Yea, well, it’s not very funny. So what’s so urgent?
MILO: I just got accepted to NYU Poly! And here, (hands her the other envelope)here’s your letter from Long Island University.
MARIE: But I didn’t really apply, and you know dad cant afford to pay for both of us.
MILO: Well I took the liberty of applying to not only the university for you but a few scholarships too, some for teenage moms.
MARIE: I don’t care anymore. (Throws envelope on ground with rest of mail)
MILO: What? I thought this is what you always wanted.
MARIE: No. Its what you always wanted.
MILO: When did this change?
MARIE: It never changed. I don’t feel like the college type, especially in my “condition”.
MILO: Well after you have the baby, what do you plan on doing? I wont let you flip burgers all your life.
MARIE: Honestly, I plan on marrying Charlie; he has a good job at his dad’s garage.
MILO: …and you?
MARIE: I’m fine with being a stay at home mom. I’ve taken time and accepted it.
MILO: (sarcastically) That sounds so satisfying, Marie.
MARIE: His job can support us and if we need it we can live at his parent’s place.
MILO: Get real, sis. It’ll never work out. Why are you even still with that jerk?
MARIE: What do you mean?
MILO: Admit it, he’s never been a great influence on you…
MARIE: Stop right there.
MILO: …and from when he found out he didn’t even want to be a father. He’s not ready.
MARIE: I said shut up! You’re not ready for me to leave this family!
MILO: You and I both know that’s not it.
MARIE: I’m done with this conversation. I’m going to Charlie’s.
MARIE exits stage left. MILO rolls his neck, frustrated. He picks up the mail from the ground and shakes it off before going inside.
Scene 4
Transition: Street sweeper uses broom and brushes away leaves and snow. Passers-by take down Christmas lights and are wearing red jackets, walking hand-in-hand or arm-in-arm with their lover. MILO exits house on the phone and paces in front of the steps.
MILO: Yea, I know we’ve only been dating for 2 months but it’s Valentine’s Day and I really want to take you out tonight. Do you mind? (pause) ok cool. I’ll pick you up around 8 then? (pause) cool. See you then. Have in mind where you want to go. (hangs up)
MARIE enters stage left, escorted by police officer.
OFFICER: This where you live, sweetie? (MARIE nods head. OFFICER turns to MILO.) Make sure she stays in tonight; she’s had a rough afternoon.
OFFICER exits stage right.
MILO: Marie, what happened? You look like you’ve been through Hell and back.
MARIE: (weakly) Charlie. (Starts crying as she buries her face in MILO’s chest.)
MILO: Marie, I can’t help you unless you tell me what happened.
MARIE: Milo, you were right!
MILO: I was?
MARIE: Yes. About everything!
MILO: How so?
MARIE: Charlie wasn’t ready to be a dad. He was scared. I told him about all the gifts from the baby shower and – (sobs)
MILO: Shhh. Breathe. (wipes tears from her eyes and hair from her face)
MARIE: (exhales) - I guess it hit him how close its coming and he freaked.
MILO: What’d he do?
MARIE: That’s something else you were right about. He’s a horrible influence on me and would’ve been for the baby too.
MILO: (chuckles) Yea, and?
MARIE: Apparently he’s been on ecstasy behind my back during the whole pregnancy. How did I not see it?
MILO: Because you were in love with him.
MARIE: Well, that’s when he freaked and he started using in front of me tonight and just kept going and going –
MILO: Oh, my God.
MARIE: (sobs) He passed out and I thought it was normal so I didn’t call emergency for an hour. (screams) He’s dead and it’s all my fault!
MILO: (cradles her in a hug) No it’s not your fault. This was his stupid decision and this was bound to happen sooner or later.
MARIE: But what do I do now? This baby will have no father and I will have no future!
MILO: We’ll find a way. You ditched your university enrollment deadline, so we’ll get you into a community college and I’ll help you take care of the little one.
MARIE: No, you can’t. This isn’t your responsibility.
MILO: You’re right, but I also can’t let you give up. I’m going to help you by whatever means possible. That’s what brothers are for. (Smiles and kisses her forehead)
MARIE: (smiles back) Love you.
MILO: Ditto.
MILO keeps his arm around MARIE as they walk up the stairs into the house.
Curtain
Scene 1
MILO waits on the steps for his twin sister, MARIE, to come home. It is late, as told by how dark the street is, but not cold, cuz its only July. MILO only has a tshirt and jean shorts on. A few streetlamps have gone out. Through sound, can hear only a few cars drive by. MARIE enters stage left. MILO stands up and walks towards her.
MILO: There you are!
MARIE: Hello, to you too.
MILO: Where have you been?
MARIE: What’s it to ya?
MILO: Excuse me?
MARIE: I’m sorry. What I meant to say is, “Why do you care?”
MILO holds out his hand to stop MARIE from going up the stairs
MILO: What has been with you lately?
MARIE: Are we just gonna play the question game all night or can I go inside?
MILO: No, you can’t go inside.
MARIE: And why not?
MILO: Well, firstly because I still want to talk to you…
MARIE continues up a couple steps
MARIE: and “firstly” implies a “secondly”
MILO backpedals so he is once again blocking MARIE from entering the house.
MILO: …and secondly, Dad’s pissed. It might be dangerous if you go in there.
MARIE: (sighs) fine (sits on step)
MILO: So back to my first inquiry. Where were you?
MARIE: Nowhere special. With my boyfriend again. Just hanging out at his place.
MILO: You sure that was it? You’ve never been gone this long.
MARIE: (pulls a flask out of her purse and takes a swig) Yea, mostly… why do you ask?
MILO: Uh… that’s why! Again I ask, what is with you lately?
MARIE: What’s the big deal? Everyone does it!
MILO: Are you really pulling the oldest excuse in the book on me?
MARIE: Oh, shove off.
MILO: No, I won’t. You know I love you and I hate seeing you acting stupid like this.
MARIE: Don’t worry about me. I can take care of myself.
MILO and MARIE hug. Their father, RICHARD, turns on the porch light and opens the front door.
RICHARD: Young lady! Inside, NOW!
Scene 2
Transition: Girl rides past house on her tricycle, throwing fall colored leaves, representing months passing. Passers-by scatter pumpkins and a few jack o’ lanterns down the street are seen. MARIE now has on a sweater as she exits the front door and walks down the steps. She paces in front of the stoop tapping her cell phone on her thigh a few times before finally sitting on the last step and pressing a speed dial.
MARIE: Hi, Charlie?
CHARLIE: (over phone, through PA) Hey, Babe. What’s up?
MARIE: I need to talk to you about something.
CHARLIE: Well, I’m here. My attention’s all yours.
MARIE: Actually, it’s not really a phone conversation.
CHARLIE: What are you breaking up with me?
MARIE: No, Honey. Of course not! I just need you to come over ok?
CHARLIE: You know, your dad doesn’t really like me. Sure you don’t want to come here?
MARIE: I’m positive. Please just come.
CHARLIE: Ok. Give me 5 minutes.
MARIE hangs up phone and sticks it in her pocket. She watches the children playing in the leaves and smiles at them. MILO opens front door and walks down to sit next to MARIE.
MILO: Hey, What’cha doin’ out here?
MARIE: Oh, nothing. Waiting for Charlie.
MILO: Ok. Don’t be long, dinner’s almost ready.
MARIE: No, we’re not going anywhere. We’re just talking.
MILO: What about?
MARIE: Nothing you need to know. Please just go back inside.
MILO: Mmk. Whatever. Just remember. Dinner. Inside. 15 minutes.
MARIE: Sure.
MILO goes back inside and persists in sitting next to the window, barely pulling the curtain aside, but watching MARIE as CHARLIE enters stage left. MARIE stands up, hugs and kisses him.
CHARLIE: Baby, What’s this all about? You’ve been acting so strange lately.
MARIE: I know, and I’m so sorry, but now I’m ready to tell you.
CHARLIE: Tell me what? The suspense is killing me.
MARIE and CHARLIE have their arms around each other as they walk over to sit on the steps.
MARIE: Well, you remember that night a couple months ago, I stayed at your house a little longer than normal.
CHARLIE: Babe, which one?
MARIE: Don’t play, you begged me to do something with you for the first time.
CHARLIE: (smile fades from his face) Of course. How could I forget? (phew) You’re great.
MARIE: (sarcastically) thanks. So are you.
CHARLIE: So what did I just come over so we could congratulate each other on a job well done?
MARIE: No, Charlie. I waited a long time to tell you because I really wanted to be sure…
CHARLIE: Of what? Did I give you something?
MARIE: (Disgusted) (ugh!) No! God, I hope not!
CHARLIE: Then what is it? Spit it out, Geez!
MARIE: I’m pregnant!
CHARLIE: (long pause) No. (hesitated) You’re aren’t. You’re playing a trick.
MARIE: I wish I was.
CHARLIE: (angry) You have some sick sense of humor, Marie!
CHARLIE storms off stage left. MARIE buries her head in her hands and sobs. MILO having watched it all, opens the front door, trying to be calm to not attract RICHARD’s attention, and sits next to MARIE, putting an arm around her shoulder and pulling her close.
Scene 3
Transition: Woman walks by walking her dog, throwing “snow” around her, to show more months passing. Passers-by remove pumpkins and hang Christmas lights and mailman plops pile of envelopes on middle step. MILO opens the front door. He now has on a trench coat and gloves. He walks down the steps and picks up the mail, shuffling through it, as if looking for something. Finding the envelopes he is looking for, he drops the others on the floor to open one.
MILO: Marie! Come out here quick!
MARIE proceeds to open the door a wool lined jacket halfway on.
MARIE: Hold your pants on. It’s getting harder every day to zip up over this mountain.
MILO: Yea, you’re huge! You’re probably gonna have twins.
MARIE: Don’t even tease.
MILO: Really! One could be shy and hide behind the other during the ultrasounds.
MARIE: They say it skips a generation.
MILO: Oh, so they say. But you know it’s not 100%.
MARIE: Don’t you know better than to upset a pregnant woman?
MILO: Sorry. You know it’s only a joke.
MARIE: Yea, well, it’s not very funny. So what’s so urgent?
MILO: I just got accepted to NYU Poly! And here, (hands her the other envelope)here’s your letter from Long Island University.
MARIE: But I didn’t really apply, and you know dad cant afford to pay for both of us.
MILO: Well I took the liberty of applying to not only the university for you but a few scholarships too, some for teenage moms.
MARIE: I don’t care anymore. (Throws envelope on ground with rest of mail)
MILO: What? I thought this is what you always wanted.
MARIE: No. Its what you always wanted.
MILO: When did this change?
MARIE: It never changed. I don’t feel like the college type, especially in my “condition”.
MILO: Well after you have the baby, what do you plan on doing? I wont let you flip burgers all your life.
MARIE: Honestly, I plan on marrying Charlie; he has a good job at his dad’s garage.
MILO: …and you?
MARIE: I’m fine with being a stay at home mom. I’ve taken time and accepted it.
MILO: (sarcastically) That sounds so satisfying, Marie.
MARIE: His job can support us and if we need it we can live at his parent’s place.
MILO: Get real, sis. It’ll never work out. Why are you even still with that jerk?
MARIE: What do you mean?
MILO: Admit it, he’s never been a great influence on you…
MARIE: Stop right there.
MILO: …and from when he found out he didn’t even want to be a father. He’s not ready.
MARIE: I said shut up! You’re not ready for me to leave this family!
MILO: You and I both know that’s not it.
MARIE: I’m done with this conversation. I’m going to Charlie’s.
MARIE exits stage left. MILO rolls his neck, frustrated. He picks up the mail from the ground and shakes it off before going inside.
Scene 4
Transition: Street sweeper uses broom and brushes away leaves and snow. Passers-by take down Christmas lights and are wearing red jackets, walking hand-in-hand or arm-in-arm with their lover. MILO exits house on the phone and paces in front of the steps.
MILO: Yea, I know we’ve only been dating for 2 months but it’s Valentine’s Day and I really want to take you out tonight. Do you mind? (pause) ok cool. I’ll pick you up around 8 then? (pause) cool. See you then. Have in mind where you want to go. (hangs up)
MARIE enters stage left, escorted by police officer.
OFFICER: This where you live, sweetie? (MARIE nods head. OFFICER turns to MILO.) Make sure she stays in tonight; she’s had a rough afternoon.
OFFICER exits stage right.
MILO: Marie, what happened? You look like you’ve been through Hell and back.
MARIE: (weakly) Charlie. (Starts crying as she buries her face in MILO’s chest.)
MILO: Marie, I can’t help you unless you tell me what happened.
MARIE: Milo, you were right!
MILO: I was?
MARIE: Yes. About everything!
MILO: How so?
MARIE: Charlie wasn’t ready to be a dad. He was scared. I told him about all the gifts from the baby shower and – (sobs)
MILO: Shhh. Breathe. (wipes tears from her eyes and hair from her face)
MARIE: (exhales) - I guess it hit him how close its coming and he freaked.
MILO: What’d he do?
MARIE: That’s something else you were right about. He’s a horrible influence on me and would’ve been for the baby too.
MILO: (chuckles) Yea, and?
MARIE: Apparently he’s been on ecstasy behind my back during the whole pregnancy. How did I not see it?
MILO: Because you were in love with him.
MARIE: Well, that’s when he freaked and he started using in front of me tonight and just kept going and going –
MILO: Oh, my God.
MARIE: (sobs) He passed out and I thought it was normal so I didn’t call emergency for an hour. (screams) He’s dead and it’s all my fault!
MILO: (cradles her in a hug) No it’s not your fault. This was his stupid decision and this was bound to happen sooner or later.
MARIE: But what do I do now? This baby will have no father and I will have no future!
MILO: We’ll find a way. You ditched your university enrollment deadline, so we’ll get you into a community college and I’ll help you take care of the little one.
MARIE: No, you can’t. This isn’t your responsibility.
MILO: You’re right, but I also can’t let you give up. I’m going to help you by whatever means possible. That’s what brothers are for. (Smiles and kisses her forehead)
MARIE: (smiles back) Love you.
MILO: Ditto.
MILO keeps his arm around MARIE as they walk up the stairs into the house.
Curtain
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