FLUKE

A Tliesis

Presented to

The Faculty of Graduate Studies

of

The University of Guelph

by

EMILY E. SANFORD

[n partial fulfilment of requirements

for the degree of

Master of Arts

August, 200 1

O Ernily E. Sanford, 2001 National Library Bibliothèque nationale du Canada

Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KI A ON4 Ottawa ON KI A ON4 Canada Canada

The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/^, de reproduction sur papier ou sur format électronique.

The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT

FLUKE

Eniil). E. Sanford Advisor: University of Guelph. 200 1 Professor Judith Tliornpson

This thesis is a creative work in the form of a full-length dramatic play script.

Aft'tcr PX'S l~~isbandLionel leaves her and moves in with another uroman, Pat and her daiigliter Tainara return "honie" to tlie place of Pat's childhood on the shores of northern

Nova Scotia. along the Bay of Fundy. There. Pat encounters the trials of tàmily life and rediscovers her sense of self as the geography of Nova Scotia dictates a necessary respect for a regionally specific way of life. The play studies the strength of the family unit as it encounters the emotional and physical crises of its memliers. Commenting ripon the original intentions. choices. and developinent of the play. the Aftenvord addresses soine of the compromises and problems of tlie creative artistic process from within the space of an academic setting. Caution: Copyright Emily E. Sanford. This script is fully protected under the copyright Ian-s of Canada and al1 other countries of the Copyright Union. Changes to the script are espressl>-forbidden without the written consent of the author. Rights to produce. film, or record in any n~ediiini.in any language. by any group, are retained by the author. The nloral right of the author has been asserted. For copyriglit information contact: Emill. E. Sanford. 4 Melrose Street, Amherst, Nova Scotia, BLCH 3M9. ACKNO WLEDGMENT

1 gratef~illyacknowledge the patience and support of Judith Thompson and Alan Filewod in their encouragement of this project.

For Ben. TABLE OF CONTENTS

Ackno~vled,(~ments

Table of Contents

Fl~ike

A Aenvord

Works Cited and Consulted

Appendis FLUKE

by Emily Sanfoïd

LOIS ...... a cartograpliic historian. thirty nine

PAT ...... a nurse. forty three

TAMARA . . Pat's daughter. turning sistèen

MYRIVA . . . . Lois and Pat's mother. a retired teacher

EDGAR . . . . Lois and Pat's father. a fisherman

Selfiifg: The pr-esent. Action rcikes plcice in lïve /slcinds, ci mrnl comwirinity on the eusrem o~zhriyttwntofthe Bciy of'Fro7ci'y. in the Miners Bcisin of :Vur-thernNova Scofia. The horise is itwotlen, it is sinal1 hrrt well-kep. The interior and itsfirrnishirtgs am not offne qzndiry, hrrt cire servicecible.

Notes: SOIWscenec; cilso toke place on the shor+e.ivhich cnn be CIS sprrrely represented as n sin~pieputch qf'i-edscrrîcl. Ther-eshorrld be cr projection screen visible to ihe crzdience. ~~pon~rhich LI mip ofthe cireci ofecich location sholrlri he pro&cted. The m~psof Fivc /.slcrnds. the shor-eiine. crnd Ccipe Split shozdci be eithei ontiqrre or honcl-ch-cwn. Ecrch of the chcriïicter-.Yhcrs CI p~~rtic~rlci~.I-egioncil occent, 1L.[vt-nnund Eclsr spenk wilh thick rio-cd Novcr Scoriein lilrs. Tumeria hccs ci choppy Dorvntoiiw Tur-onto cuxnt. and Pm hmcr light O~?tm-ieiniili ro hrold Nova Scoticrn. Lois tcikes parriczhr cnre ro annrmciate her rr.uds. nt lecisi rlntii her M.S. forces cr sltrr. Also, the "yuh S " arc the "emphazcrnic yecih '.Y " of'mwirime speech. n sorlnd crecited by brenthing in a short qzrick brenth white .s~i~~ir~~yy~~il~--~tndivhen pronouncing ctrrnt, it 's 'ont, ' not 'mi. ' Sccne One (Lois on 1l7e SI~OI-~.proje~[ion of shor-dine mqj

LOIS: Glooscap's angn face lies at the foot of tlîe jut. Legend says that GIooscap shot arro\vs into the ash trees and out stepped ta11 gracefiil men and wornen. called the Wabanaki. or -those cvho live where the day breaks.' He chosé a grandrnother lie called Nooguinee. There \vas a trickster in the land narned Los who took the form ofa beaver or badger or a wolverine. Once. Lox liad caused some trouble for the Wabanaki. and GLooçcap chased him away, throwing geat handhts of clay afier him. These still remain in tlie Minas Basin and are the Five Islands.

MYRNA: (1xc.r.ir.rgozlr the-fi-ont rvindulv} Cormorants. Look. over near Egg Island.

LOIS: Moose. Diamond, Long, Egg, and Pinnacle. Wliere.

MYRNA: On the side of Pinnacle. Beautif~il.Look at that. Donqtget that in the city.

LOIS: 1'111 not leaving Halifàs..

MYRNA: I cm-t keep coming to pick yo~iup. (Pciuscj Suit yourseif. I don't want to fïght about it.

LOIS: Neither do 1. W~atcan I help with.

MYRNA: Can you tear bread?

LOIS: OF course 1 cmtear tlie bread. Here. What are you stuffing?

MYRNA: Me got a duck this niorning. He'll be home a little late tonight.

LOIS: Late tide. MYRNA: No. he's up the Community Store to settle tlie accounts.

LOIS: Before dinner.

MYRNA: 1-ie says we're getting a storm. doesn't want 10 leave it roo late.

LOIS: Slieesh. Dinner at SIX-THIRTY?

MYRNA: You stop.

LOIS: Wl-iat kind ofa storm are we expecting'?

MYRNA: I doubt we'll grt snow tliis late. He says it'll just be rain. but tlie wind is some strong orit there. 011 look. there's a coyote. 1-11 gct the binoculars.

LOIS: 1 got 'eni. Still under here?

MYRNA: Yeuh. by the almanac, there.

LOIS: t-lcre. How nimy more seasons -ou tliink he has in liini?

MYRNA: Looks pretty ranisliackle to me. Look at Iiis dirty old coat. /ic~zrghs)He knows the storm's comin'.

LOIS: Not the coyote. Mom, 1 mean Dad.

MYRNA: Your father? You know better'n tliat. He'll be out there every year till he dies.

LOIS: Stubborn old mule.

MYRNA: Tliere's the celery. I've got sonw orange to put in too. Listen. 1 want you to corne and live with us.

LOIS: Mom.

MYRNA: 1 nlean it. LOIS: No. End of story. Xo.

MYRNA: 1 mean it Lois. We've a little put by, and we'll get the place fixed up for you. Either that. or you should go live with your sister.

LOIS: In Toronto! Christ Mom. are you nuts? No way. You know how 1 feel about -Upper Canada.' Jesus. Pat doesn't want any extra people around. Especially now that Lionel..,

MYRNA: Oh. do >-oukno~v what that bastard's gone and done?

LOIS: ih401-i-i. What now.

MYRNA: Moved in with that Barb DiAngeIo.

LOIS: Barb. Barb. Her fiiend Barb? Iier best friend Barb?

MYRNA: WelI she's not her bsst friend any more.

LOIS: Tliat BASTARD.

MYRNA: Now don't tell your father. No need to upset him. I've told Pat 1 thought she and Tamara should con-ie home for a bit. A tèw weeks or so. i was thinking you niigl-it want to see them. and tlien you could decide whether or not y011 want to go back with tlieni. You i-i-iigl-itjust cvant to. you know.

LOIS: Yoii didn't tell Iier. did you?

MYMA: Not yet. I didn't Lois.

LOIS: Mom. I'm not leaving the province. This is who 1 am. Don't ask again. (Pcruse) Did she say whetlier or not she was coming?

MYRNA: She didn't know. She's applying for Stress Leave at the hospital, so she won't l-iave to worry about other people al1 summer. Always taking care of others first. LOIS: Tliat's lier job. She's a nurse.

MYRNA: You have to be a healthy nurse if you wanna take care of other people.

LOIS: So if slie gets the Stress Leave. you tliink slie'll corne?

MYRNA: Don't know. Don't know. 1 haven't seen Tarnara since she was eight. Slie keeps sa>-ingshe's coming down one of these summers. Slie's getting too old now-she'll \.vanna stay with her friends. not her old Grammie.

LOIS: Do her good.

MYRNA: H~nrn.Now listen. You gonna teII Pat about the. You gonna let her know. or are >.oujust going to leave lier in the dark?

LOIS: She'll tind out wl-ien she gets liere.

MYRNA: You think that's kir?

LOIS: I'\.e waited tliis long.

MYRNA: Lois.

LOIS: ih4oi11, leave it. 1-11 tel1 her when sl-ie gets here. 1 don't \vant her to wony. She's got enough to tvorry about. How's slie getting here.

MYRNA: I don't know if she can afford to fly. He's taken everything. Besides. she'll want a car when slie gets out here. Drive Tamara around. You know what teenagers are like.

LOIS: She'Il liate it.

MYRNA: Nocv listen, I'd like for you to be around. LOIS: Mom. No.

MYRNA: Lois. For PETE'S sake. We want to be near you. al1 right? You know your fatlier n-on't leave here to do the day trip to Halifax more than twice a year. and 1 don? like driving that highway al1 by myself. ['m getting too old for that-

LOIS: JESUS. MOM. 1 DON'T-

MYRNA: Lois I'm not ASKING-just LISTEN. we want you to be with us, at the house. Nobody knows how long ... No one knows how you'll do. We just want to spend time with \-ou. while ... You cm have the downstairs bedroom. Dad cm set up a desk for you tliere too. if you like. It's just. Jesus Mary and Joseph. Lois. What do 1 have to do?

LOIS: I'm on Ginger. just aAer niy seventh birthday. taking riding lessons over at Aunt Edie's in Sliubenacadie. We've just gonr al1 around tlie pasture on the lunge line. Next week ive trot. Slie unclicks tlie Iialter and-hey ! Hey ! STOP! Stop this HORSE! Hang on! Hang on. don't look down! My riding hat is bobbing around on my Iiead and I can feel tlie Iiorse's big hot ribs and her feet galloping below me. I know I'm going to faIl and 1-11 he trampled. She's raçinç dong the ditch that runs the length of the pasture. heading for the barn and al1 tlie sweet feed. Pat and 1 were playing in that ditch just an liour ago-slie made me toucli the frog's eggs. Slimy. jelly wet frog babies. Tliey were right there and 1 know 1 am going to fa11 into tlie frog's eggs and get tliem al1 over nie and in my mouth and tl-ien I hear Mom clearly-DON'T LOOK DOm! DONT-LOOK-DOWN! Tliere weren't even any reins and so I held ont0 the saddle, stood iip in the stirrups and 1 klt tlie liorse r~ckinglike Uncle Nornian's boat in the waves. The horse was tlie ocean and 1 looked up and felt the breakers. Stayed on top like the first time 1 learned 1 could backtloat. The barn stopped jerking. the flashes of green became trees. and the hooves were waves. 1 didn't look down. and 1 didn't fa11 into the tiog's eggs. The unbreakable tliread inside me rode the waves and the rocking rocking rocking brouglit ine home. TAMARA: DEAR ANDREA for your eyes only. 1 miss you so much. My mom drove me crazy the wliole ride down. she's still cling a lot but everything else is okay. I'm here now. but 1 miss you soooo much and you have to tell me everything that is çoing on at Iiome. There's nothing to do here. so make sure you write lots. They don't even have a VCR so I'm gonna be playing cards every night. 1 bet. It's really weird but 1 think 1 miss Steve a lot more than 1 thought 1 would. Maybe yoii should tell hirn that. 1 don't how ifhe lias another girlfriend yet. but 1 think Elizabeth was starting to get really kiendly witli liini. She's just horny. How's Jared? Did he Iike your new purple bra? Are you studying hard to get your license? I wish 1 could be there to lielp you celebrate. I don't think it'H be that liard. 1just find the signs are hard to remember. 1 really miss shopping and al1 that there aren't even stores here. not even a convenience store. Steve said he'd write but he hasn't and 1 don't think he will. Tell hirn he should. I still Iike Iiim. 1 think we liad to break up but only because a summer is a long time and 1 don't want him to be al1 tied down. It was getting pretty weird though because we weren't reall>r going anywhere. we were just sort of waiting for each other to niake the first move in THAT direction if you know what 1 mean. Of course we've seen each other and stuff like at the cottage but nothing really major. like no real action escept making out. We were close at Christine's party but there were too many people around and 1 had curfew. ['ln going to get Mom or my Aunt Lois to'take me to some of the Universities here just to Set an idea what they're like. 1 don't even know what 1 want to do yet. Definitely NOT niirsing. 1 got a blue bikini before 1 came here but 1 can't even Wear it it's so cold and besides the mud will stain it so I guess 1'11 have to wait until 1 get Iiome to wear it. But it actually fits my stupid boobs if you can believe it. Promise me you'll go shopping with me n-hcn 1 get back-I really need some new clothes ror grade twelve. If 1 don't go crazy here first. Well it's really late here. and I'd better go to bed. Please write soon and tell me everytl-iing. Say hi to Jared and Steve. Punch Elizabeth in the nose. ha ha, 1 miss you. write soon. Luv. Tamara.

MYRNA: Lois. ~c'ouIdyou like some rhubarb on that? Millie Bowden brought that.

LOIS: Sure. Thanks Mom. You need any help? Easy on the sugar, Dad.

(Tcrmrrr-cr e171ët-.Y)

MYRNA: No rio. You sit. There she is!

TAMARA: Morning!

LOIS: Mi Tarnara! C'mere.

TAMARA: Hi aunt Lois! How are you'?

LOIS: Good. good.

TAMARA: Hi Grampie!

EDGAR: Hey there, peaches. How was your sleep?

TAMARA: Mmmm. Good. 1 can taste the salt!

EDGAR: Htta girl. Do you good. Was the drive down al1 right?

TAMARA: Yeah. Mom's tired. 1 don't drive yet.

EDGAR: Why not? MYRNA: Drive! You don't have a license.

TAMARA: 1'11 get it when 1 turn sisteen. Few wesks.

MYRNA: You wear a seat belt.

TAMARA: (Imghit@ 1 do. Gram. How are you. Grampie. You okay'?

EDGAR: Right as min. Never better. You çot tea on. Mother?

MYRNA: It's aimost ready. dear. Mom still sleeping. sweetheart?

TAMARA: Think so.

EDGAR: Do 'er good. It's the fresh air. Tliat'll be a change for ya. None a that Toronto smog.

TAMARA: You çuys get mail every day? What time?

MYRNA: Before noon. You expecting something already?

TAMARA: Mail. Letters. Just friends and stuff-

MYRNA: 011. Before noon.

TAiMARA: Will you go out today, Grampie?

EDGAR: Tide's at one forty.

TAMARA: Mmmm. Grammie. TI-ianks.

MYRNA: Here. Buttered toast. 1-11 get you some bacon.

TAMARA: No thanks. Mmmm. Oh rny god!

MYRNA: What. TAPVIARA: Oh my. Brown bread!

EDGAR: Your Grandmother made that-

TAMARA: You can't let this in Ontario. Anything th at-s not 7 own bread" there. Is it Maple syrup?

MYRNA: Goodness no. dear. Molasses.

LOIS: So your esams went w!l. Tamara'?

T;lMARA: Eug11. Yeah.

LOIS: What went \vrongb?

TAMARA: Chemistry. I got eighties escept for Chem.

LOIS: 011. 1 never liked Chemistry eitl-ier. Have you taken Physics yet?

TAMARA: Yeah. that was my best. 1 had a really good teacher.

(Pc1t e!ztc!-.s)

QAT: bls. Forrester?

TAMARA: Morning. Waffles.

PAT: Morning. How is everybody? How are you Dad?

EDGAR: Riglit as min. Never better. And yourselt'? You're looking thir,.

PAT: Most effective diet in the world-an ex-husband.

EDGAR: Ohhhh. now. Nothin' the fresh air won't fix. C'mere. (Pzdls her onto his kme) PAT: Hi Dad. 1 missed you.

EDGAR: There's a girl. I'm glad you're home. Both rny girls. (Looks cri Tnrnarct) AH three 'a mjr girls!

MYRNA: Look at you. 1 didn't notice how skimy you got. You were wearing that big jacket last night. Here. Some wames. That rhubarb is from Millie Bowden.

LOIS: Sliit.

MYRNA: Lois. honey. Here. (helps Lois back into hcir chair)

PAT: (krrrghiyg) Geez Lois. you drunk? It's only ten a-m.

MYRNA: Pat.

PAT: You spikc your juice or what'? Wbat a klritz. Thank goodness you don't take afier jrorir aunt. Tamara. yo~i'dnever get over your awkward stage.

LOIS: No. Pat. I'm not drunk. (Pcurse) 1 have M.S.

PAT: Uht?

LOIS: 1 have M.S.

PAT: Jesus.

LOIS: (mdding Yeuh.

PAT: WIien. LOIS: Four years ago.

PAT: Four y- What?

LOIS: Pat.

TAMARA: What's M.S. What is it.

LOIS: Multiple Sclerosis.

PAT: Stand up.

LOIS: It means my nerves are damaged.

PAT: Lois.

MYRNA: Pat. Some tea.

PAT: You didn't tell me.

LOIS: I'm telling you.

PAT: Four years later?

LOIS: [t's never been an issue. I was fine. I am fine. It's just started again. I'm secondary progressive.

PAT: Wl~ydidn't you tel1 me? Why didn't somebody tell me?

MYRNA: Yeu-ve been through enough. honey. Just relax.

PAT: mon^. W11y didn't you tell me. I would have corne.

LOIS: You're here. Look, you're just in time. I just bought rny cane. See 're just in time to help me get up the stairs to brus11 my teeth while Dad finishes the ramp and puts a batluoom off the back. You're here now. Okay? Everytliing wilI be fine now. (Sluncis up. zising cr cw74 Corne on. Why don? you help me. Help me brush my goddamned TEETH.

PAT: You don3 need help to brush your teeth.

LOIS: Exactly. I'm fine. See.

(Tci~rzcimhcrs hecome IZC)IÏ'I#~C'LI~itd I'Z~IZS mir)

PAT: Shit.

EDGAR: Look here, now.

PAT: Sorry. God. Lois. I'm your sister.

LOIS: And I'rn yours.

PAT: I'm a nurse.

LOIS: You're rny sister.

PAT: What is going on with you people?

MYRNA: Settle down Pat.

EDGAR: Listen Patrick, you set down and have tea with your sister.

MYRNA: It's al1 in the open now. Just everybody drink your tea.

Sccne Sevcn /Pcif on the shore. Projection oj'rnnp of 0.rfol-d)

PAT: 1 did not want to take you on the Sizzler. 1 was there to see the Bluebeny Harvest Festival Pageant and 1 didn't want to mess up my hair on that thing. 1 hate it. it makes you spin too fast. You can't even see anything, and you get shoved to the side. 1 didn't want to be at the pageant a11 messed up. But you couldn't go by yourself. 1 even offered to take you in to look at the pigs some more if you wanted. Jcez. Lois. why were you such a baby. I was gonna be in it tlie nest year. ya know. I kvas gonna sing an Anne Murray Song. and wear a green dress, and 1 was going ro be the Bluebcrry Harvest Festival Queen and ride in a convertible at the Santa Claus Parade in Oxford. But 1 had to go on the Sizzler with you and I remember it was spinning so hard my eyes went soft and 1 had to shut them and just hang on. 1 got al1 prickly and my mouth started watering and 1 was so rnad because 1just wanted it to STOP berore it \vas too LATE and 1 was so nervous that this tvould be it. and it kvouldn't let us off. and OH MY GOD I can't 1 cm3and then - 1 threw up - and EVERYBODY saw. Everybody saw me throw up and i couldn't believe it but 1 actually threw up on the Sizzler at the Osford Exhibition and I had to sit at the pageant ~vitha dirty blanket fi-om the car wrapped a11 around me to cover up tlie vomit stains. And CharIie Beasley saw the whole tl'iing happen. He told everybody at schooI and they called me Miss Pukebeny Queen for ages. I hated you for making me do it. and 1 never even entered the Pageant the next year. never got to wear a beautifid green dress. And nocv evew tirne 1 hear Anne Murrajr sing 'You needed me' 1 want to VOMIT.

LOIS: Tamara.

TAMARA: Did someone help you get up the stairs?

LOIS: No. 1 don't need help. 1 may later.

TAMARA: Are you scared.

LOIS: At first they thought it was a brain tumour or something with my spine, which is a lot more serious. Immediate. 1 thouglit they were going to tell me I was going to die. Two days. One week. But instead they toid me 1 was going to live. I'd rather live \vit11 M.S. than die with no warning. Here. LOIS: Do you talk to your Dad niuch?

TAMARA: No. 1 don't really want to talk ABOUT him either. I'm just glad we're here.

LOIS: Me too. I'm glad you're here too.

TAMARA: Do you stiIl ~o in the water'?

LOIS: Oh. swimming. 1 really want to. 1 went out last summer before the exacerbation. I could wade. biit 1 think I'd have to have a strong swiminer along. Mon1 won't go in tlie water. and Dad can't swim. You çoing to go out to the weir with him?

TAMARA: Fishing. 1 doubt it.

LOIS: YOLLshould go. I-Ie'd really like it.

TAMARA: Ki11 tlie fish? Couldn't do it.

LOIS: It's a harvest. like apples. it's his living. Your history.

TAMARA: It-s cruelty.

LOIS: He works hard and lie lias always supported his family with an honest living. If tic didn't tisli. tlie tisli would be over-abundant like the coyotes and throw the ecosystem out of whack. They're paying hunters to kill the coyotes now. There are other people who sat fîsli. somebody's gotta catch them. Just go down with him for the experience. He'd realIy like it. You're his only grandchild.

TAMARA: 1 don't even like fish. Aunt Lois. You went to Dal. right? Matdo you tliink of Acadia or Mount A?

LOIS: Well. have you kigured out what you want to do'?

TAMAFM: Not really. WiIl you be able to take me to some of the Universities down here?

LOIS: I'd love to. Tamara. So you want to go to University.

TAPL4ARA: 1 don? want to be a nurse like mom. Slie likes it just fine. but I wouldn't.

LOIS: lt w-asn't for me, eitlier. 1 was lucky to get some pretty big scholarships. and a job that he1ped my pay rny own way. I never lefi the university after that.

TAMARA: Yeah. 1 just want to have things. 1 know 1 cvant to be able to have nice clotlies and a nice house and a good job where 1 never have to cvork nights.

LOIS: Yo~i'llhave to work hard in school. But you'll love it.

TAMARA: You gonna talk to Mom?

LOIS: Yeah. once she calms dotvn. 1 imagine she's down on the shore.

TAMARA: Yeah, 1 watched her go down there from the front window. How'd you kno~v?

LOIS: She's scared of bears so she doesn't go np in the cvoods. and ifshe's upset she n.ocildn't walk on the road where people could see lier. She's probably going to see if lier big sitting rock is still down by tlie breakwater.

TAMARA: It-s been a while since we've seen the ocean. Lake Ontario isn't the same.

LOIS: You can say that again. Look the Corrnorants are still over by Pinnacle.

MYRNA: (Iookii7g out thefi.ont ivinc/otv) 1s that a tourist. (picks rip binoctdctrs) Must be. Bare feet. What is lie doing. Jeez. tide's on it's way in, now- Don't they give 'em a tide table at the office? Al1 tlie people that drown at Five Islands, don't they tell people? We Iost three tourists last year on account a stupidity. It's not worth the bucket a clams tliey're after. And when they're out there at night. it's just. Why don't they just tliink about it. About al1 the peopie get lost and drowned at sea. They see that tliere are tlats al1 the way out to Moose Island at low tide. and they don't figure how dangerous it is as that tide's coming in. That niuck will just suck you, and there you go. You'd have to be a mighty strong swinuner to beat that tide. Don't know anyone who could do it. What possesses a little boy to go out to Moose IsIand. Just a bunch of Gliost stories and a dare. Ten years old. Bashed on Glooscap's angry face.

P.4T: He's just going through something right now. He'll regret this so much. I know hm. You can't spend eighteen years of your life with someone and not know them. 1 know he won-t be happy. I know this isn't what he really wants.

LOIS: You really didn't suspect.

PAT: Wr've been fighting for years. Tamara's a teenager. these are supposed to be rough years.

LOIS: The affair?

PAT: Swears it didn't happen until the separation.

LOIS: Wliat about Barb.

PAT: What about lier.

LOIS: What does she Say.

PAT: Not much. she's an idiot. She's goddamned delusional. At tirst she tried to do the 'let's al1 be fiiends' thing. I'm just so embarrassed. I want to cut lier in the face and scream riglit into her ears and break her eardrums. Even the people at work know now. My life has been one big toy to these people. 1 just want to scream and scream and scream. LOIS: Feel this water.

PAT: i tried to make it 'vork. He kept saying that it wasn't working, tliat it was long gone. but he wouIdn-t even corne to counseling to try and figure things out-it wasn't even worth a shot to him. Not worth the effort. Notv he's accusing me of taking Tamara auray from him.

LOIS: Ooooh. Beautihl rnuck. Oozes between the toes.

PAT: She ~von'tekyen talk about hirn. i'm so worried she'll grow up without a father.

LOIS: Cool on the ankles. I want to get right in. Lots of people don't have fathers. How long are you here?

PAT: I've got stress leave until mid September. Don't go any tùrther. I'rn not cominç in tliere after yorr.

LOIS: Are ~OLLsure you want to go back?

PAT: What do you mean.

LOIS: To Mount Sinai. You could Cet a job in another hospital.

PAT: In Toronto.

LOIS: Or you could move. Start fresli.

P AT: Wliere?

LOIS: Wherever you want. Big city, small town. B.C., Winnipeg, Newîoundland. Stay in Canada. Or don't. Nurses are needed everywhere. Wherever you want.

PAT: Tamara's got to finish high school. It's a touçh time.

LOIS: It might be good to move. Consider it an option. PAT: How are you handling everything. Your legs.

LOIS: The water feels like music. They thought I had a brain tumour you know.

PAT: Jesus.

LOIS: Listen. Just gimme an answer. okay. no bu11 shit. These tests have gone on for months. (Silence. Beat) M.S.? Heh heh! You're kidding. (lmghing) Christ, 1 have forever to live! M.S.! My God. Multiple Sclerosis. right? ReaIly. (J-till /crughing) i thouglit you wre going to tell me I have two weeks. or a month to live! But Multiple Sclerosis. Jesus. This is çreat! This is ... Well. thank you. Multiple Sclerosis. (Parlse) Yes. i do know what MS is. I've known people who have lived long lives ... You don't understand. I'm not ready to DIE. no1 yet, anyway. and this buys me TIME. There are books I want to read, you know? Hell. 1 can WRITE a book if1 want. (Icrr(gi.tsmore) 1 cm still ... Oh my God this is one of the happiest days of my life. This is ... Thank God. Thank God. Thank ...

(Lois I-ctrwr7.sto the shore wirh Pcrt. Pt-ojectiotz of ci 'nerverncrp ' of [he hzrrnrrn body)

LOIS: Pat. Conle in the water.

Sccne Elcven (PLI!is huving CI nighlmnre. No projectioi7)

PAT:There's the beating. It starts when I'm falIing asleep and the blood in my veins is rushing around in my ears and it's a big scary death drum and there's this giant bear and I have to hide from hirn or he'll crush me. He's coming afer us. and we have to hide and I'm so scared I can't even take it and we're iri this meadow and it's morning and thereqsal1 this mist and dew and pastel colours like a hotel room painting and Lois is passed out and 1 have to Save her and then there's the bear and 1 want to run, but 1 can't carry her and 1 can't leave l-ier and OH MY GOD he's coming closer and 1 can feel his hot breath. and he's going to get Tamara, and it's too hot, and I'm screaming and the only sound that comes out is bubbling water and I can't wake up and this is the part wliere 1 remember it's a dream, and then the water carries a screarn right out of me and it's like a roar and I 'm atvake but the bear is there. The bear is under the bed, behind the wall. outside my window. he's pacing and waiting and I know he's after me. fie's after me-

Song: Come in with the waves. karless heart rise up and reach dawn beat on the shore corne cvitli strength and love never never leave

Scene Twelve (Tcannm is in ihc kitchcn, rcading in u rocking chair.. She gets rpmici gels n ylass of nzilk. Phone rings, pr-ojccr CI nmp of the Beachc..~nrca uf Toronto)

TAMAM: L4nsri:eringj Speight house. 011. Hi. No. No. 1 don't care. Don-t cal1 me that. I'm not. Of course I passed. Yes. I'm going to get my license. 1 don't want a car fiom you- iMom needs one. 1 don't want one. No we won't. I don? want one, that's dl. Yes. They' re fine. Fine. They probably hate you. Because you're a bastard. It's a figure of speech. Leave my mother out of it. DON'T. DON'T bring that goddamned woman into it either. She is a slut. everybody knows you're screwing a dut. Lionel. 1 don't ever want you to say her name to me. I'm not. You're the child. 1 don't care! YOU hurt MY feelings first. I said slie's not here. And she doesii't want to talk to you. (Plu comcs ru the hwk scrcen cioor. .src~ps) No. You're not allowed to call here anymore. Don3 call here. That's really mature. Swear some more. Lionel. I'm going to hang up. Lionel. 1 don't want to call you Dad. you're not my Dad anymore. you're Lionel. (Par /nrïke.s solne noise crnci cornes prupose$tlly into the kirchen. Projecrion of Five Lslcï~7d.sHmp) Well I gotta go. See ya. (Ncings rp)

PAT: (knoiiling) Who \vas that. sweetie?

TAMARA: Nobody. A î'riend.

PAT: You okay. honey?

TAMARA: Yeah. Fine. I'm going upstairs. (Tcikm her book llnd exils)

MYRNA: How \vas it dear?

PAT: Hmm?

MYRNA: The drive.

PAT: Oh. 1 just went to Parrsboro. MYRNA: Yes. How was the drive-

PAT: 011. good. 1 actually went as far as Diligent River. Parrsboro's cleaned up a bit. They still havsn't replaced that scary-looking Glooscap statue.

MYRIVA: 011 it's not that bad. They've been pushing for tourists. Ship-s Company. the Wasson Bluff. Ottawa liouse an that. What.

P.4T: 1 just came in and Tamara was on the phone with her father. He must have caIIed. I just want lier to have a relatior,sliip with him. She only has one fàther.

MYRNA: She's a big girl. and if she-s anytliing like you and Lois. she won't be told what to do.

P.4T: She told liim not to cal1 here anymore.

MYRNA: That saves me doing it. 1 say good for her.

PAT: He's lier fatlier.

MYRNA: Whicli was nice wliile it lasted.

PAT: iMom.

MYRNA: He's taken leave of his obligatioris. And Iiis senses. What do you expect lier to do'? (!t[L'rt?uis hzrsying hcrseif'rnuking srrndcviches)

PAT: Give liini a chance. He's just going through something. He doesnotwant this. 1 can tell. 1 know him. i know him better than anybody. That man is going tlirough soinething terrible. Tamara and 1 used to be the worId to him, and 1 mean THE WORLD. He would never do this stuff. There is sornething wrong, he's crying out for IieIp and nobody but me can hear him.

MYRNA: He's a grown man and he knows what he's doing. You don't just leave your wife and sixteen-year-old daughter because you're crying for help, honey. Hmm. Listen to that wind. Better take the clothes in. End up over in the campground. PAT: Are you saying he left because he didntt love me? He LOVED me. How was it worth ruining everything just to go to her. Hotv can she compare to his WFE and his OWN DAUGHTER.

MYRNA: Pat. people change. it's about him- He's being selhh. He's not being considerate of the right thing to do. Unfortunately it's you and Tamara who have to uffer his selfish decisions.

PAT: It's such a big mistake. Itts al1 a big mistake. How will he ever [ive with himsel t?

MYRNA: It's not our job to worry about that. it's our job to see that that daughter of yours knows she can count on us. Bring her this sandwich. Go on. Chin up. We'll talk about this later.

PAT: What kind of sandwich.

MYRNA: Cream cheese and cucumber. You want one?

PAT: No. I'm not lîungry. She won't eat meat. That's why 1 was asking.

MYRNA: Right. Right. No rneat.

Scene Thirteen (~IZTCII~CII-CI '.Y roorn. No projection)

PAT: Here's some lunch honey.

TAMARA: What is it.

PAT: Cream cheese and cucun~ber.

TAMAXIA: What are you crying about.

PAT: 1 just am having a hard day. 1 think he- TAMARA: Don? start. Just get over it.

PAT: Tamara. I'm allowed to be hurt.

TAMARA: NO. it has been HALF A YEAR. He is NOT coming back he does not care about you. He doesn't care about you one little bit. you are INSIGNIFICANT to him. a11 he cares about is himseif DON'T even bother THINKING about him he doesn't DESERVE IT. HE'S A JERK and he messed it up and now he's ruined it for liim self. He's probably happy with that awful woman. and the two of them can just go on being JERKS together. THEY DESERVE EACH OTHER. Just FORGET him. okay? Pick yourself up and STOP CRYING you're supposed to be a STRONG WOMAN and you DON'T need a man to make your life better DONIT have to be so HURT he's just a MAN. I mean look at you. you're a mess. You married him. now you have to pay the consequences and face up. (Sorrnds of 'lhc Sider 'flonl dwve the t-csl ofhet-speech, cis lightsfixie to ci single spot on Put, rvho is swccying, nauseaied) You married a JERK and it was all a big mistake, but look. now tliat it's done with we al1 have to move on. don't we. What, did you think life was a fairy tale? 1 don't believe tliat you're just standing there and letting someone else write your life, aren't you supposed to be setting a good example? 1 bet y~uNEVER had to deal with this kind of shit when you were my age. and your mother just made you dinners I bet she never cried al1 day for montlis on end EVERY time I talk to you it ends up witli yori sobbing. i hate to be around you and so does everybody else when you just cry al1 the time. Everybody is tired of your crying and you don't listen. We'ie trying to tell yori to look at yourself and stop being such a PATHETIC SPINELESS WIMP!

Sccnc Fourteen (Plu is 017 the shore. Pt-ujection of'rhc shor-eline rnq)

PAT: I'm going to GET you Barb! I'm the undertow, and 1'11 come for you as soon as your feet leave the ground. 1'11 take you and pull at the ankles and whoosh you're off your feet and tlip and tug and you don't know where is up, and 1'11 let the waves bash you down and VIOLATE you then you'll scream water and you'll reach out and you'll just set black watery sandy fear. you'll be tuming. tloating, spinning, bashing, vonliting salt like a nightmare, a shipwreck. like a MONSTER at the bottom of the ocean. I will hoId you down Barb 1-11 hold you under and watch your eyes bulge like a tish and 1-11 stand on your chest and hold you under. And 1-11 stick a big flag right tlirough pur middk so everybody can corne and look at the ugly monster under the \vaves.

Song: Oh darkest night The Sa~byGale. The boatswain cries Boys. bring lier home! We're riding Satan's baneful beast Wagering certain peril.

Tack home. Bend sail toward the wind. 1f liope forsakes. Lash men to mast Before Poseidon's vengeful wrath Praying. bring LIS home.

Scene Fiftecn (117 rhe liviug 1-oorn. Tmxtra is sirring wctrchiny Lois, rvho is witing ir? cr Icirge nolebook. Projection of Five Islunds mup)

LOIS: 1 want to go round to Cape Split. 1 don't think you've ever been there. My legs are getting pretty bad and 1 don't know how many more times 1'11 be abIe to make the trip, You wanna come? I'm going to ask your mother to come too.

TAMARA: Is it fa? LOIS: Few hours by car, then it's about a three and a half hour hike. More now for me. We'd have to pack a lunch. I've taken some pictures. but it's always better to actually see the place. Places are always more than just borders and lines on a map. ifs nice to go and feel the area. sound it out. you know, get a sense of what the atmosphere tells you. Smell. sounds. taste in the air. The anticipation or fear of a place. Have you ever been in a place you thought was somehow more than just a piece of land'?

TAMARA: I tl~ink1 know what you mean.

LOIS: It has a personality. It's sad or solemn or impatient or sometimes really sterile. You cm teIl.

TAMARA: Yeah. There's a place along the Saint John river as we were coming down. 1 remembered it from when I was eight. I made Mom stop the car and I got out jiist to breatl-ie it.

LOIS: Yes. There's a spot on the old road tlirougli Wentworth that does it for me. Near Folly lake.

TAMARA: So what about Cape Split.

LOIS: I know a lot of people die there. and I've always been a little scared of it. maybe tlint influences nie. There's a strange ... majesty about the place. Even on a hot day. you get this chill. and no matter how m~ichyou know about the area or the water, the tide is always in control. The land knows it's bigger. but it's still intimidated by the water at its feet.

EDGAR: How are my girls today.

TAMARA: Good Grampie.

LOIS: Hou. are you.

EDGAR: Right as min. TAMARA: You coming with us to Cape Split?

EDGAR: Cape Split. When you going.

LOIS: Now.

EDGAR: Hmm. High tide'lI be about ten thirty. Better not. You gonna stay and listen to the voice of the moon?

LOIS: You bet. It'll be about four pm'?

EDGAR: 'Bout that. Lois I'm starting the bathroom today. The rmp's a11 done.

LOIS: Wow. tl-iat's great Dad. Thanks. Good day to start. Not expecting rain for a week.

EDGAR: 1 wanna sit down and just go over it with you one more tirne.

LOIS: Okay. I'm just going to get a sip of mater from the kitchen.

EDGAR: III get that.

TAMARA: I can.

LOIS: No. I'm going to have a look in the fridge.

TAMARA: Sure?

LOIS: Yup. (Gers ztp, goes to kitchet7)

EDGAR: Let's have a look here (sprecrds or([some plans fur the Dathroom on the cofjci~ctable) Look at this. There's one a them nice showers with a bench an tiIes ail over. We got this si& with room under it for a wheelchair to go. an al1 kindsa handholds. Some exciting, eh. Be real nice. What coIour. We haven't talked about colour.

LOIS: @-on1 the kitchen) Blue! TAMARA: I like blue.

EDGAR: Blue it is.

LOIS: (From qff) Shit.

EDGAR: World's closing in. Thinss used to be tide predictable. TWObroken daugliters and a grown up girl. ACT TWO

Scene One (CqxSplit. Projeclion of Ctpë Split rnup)

LOIS: Cape Split. Feel it.

PAT: Here. 1-11 set up a chair.

LOIS: I'm eshausted. I'm glad we came when we did. I'rn surprised there's nobody I-iere.

TAMARA: Why is it called Cape Split.

LOIS: The spIit between the mainIand and those cliffs. See Blomidon over there? Look how red it is! That \vas where Glooscap lived. Look at the shape of the cape. It goes out around Scot's Bay like a hook and takes the tide like a clacv. The water on that side goes into the Minas Basin. the rest rushes around like a Storm. Witl-i Cape D'or over across the bay, it makes an -Smshape entrance into the Minas Basin. Just wait, when the tide turns you'll hear it.

TAMARA: Hear what. Are we staying that Long.

PAT: The voice of the rnoon. lt's in the water.

LOIS: This is Iikely the last time 1-11 hear it.

TAMARA: What does it sound like?

LOIS: A Song. You'll see. This is the only place you hear it.

TAMARA: Can 1 climb down there.

PAT: No. Not by yourself.

TAMARA: I'm going to. LOIS: Tarnara. It's not a good idea. Just go to the edge. 200 foot drop. And the tide comes in fast. You don't want to be caught tling to find your way back up in a rush.

TAMAIW: But the tide is still going out. I could stay on that rock.

PAT: No. Okay'?

LOIS: Tliere are gulls roosting there. They wouldn-t let you up. And it becomes an Island when the tide comes up. A wet dangerous slippery island baslied by waves.

TAMARA: Wtiy are the tides so high here.

PAT: The highest in the world. Kind of Iike the 401 afier the colIectors end-like bottlenecking. A lot of tvater coming in a narrom- bay.

LOIS: Resonance: the increase in amplitude ofosciliation of an electric or mechanical system esposed to a periodic force whose frequency is equal or very close to the naturat undamped frequency of the system.

PAT: What does that mean.

LOIS: 1 had IO memorize it for one of the projects 1 did in Grad school. 1 was working ~vithsome geologists on tlie tidal patterns of Nova Scotia. when 1 was researcliing tlie Saxby Gale. That's tlie big one that happened in October 1869. You know that Parrsboro used to be Partridge Island. well it was during the Saxby Gale that the highest tide was ever recorded. The water came up so high and brought so much land with it that Partridge Island was no longer an island, it's now part of the mainland. Almost made Nova Scotia itself an island. Almost is anyway.

PAT: But you said sometl-iinç about resonance.

LOIS: Yes. This is so neat. The Bay of Fundy has created for itself the perfect venue. The erosion of the tides has made the perfect shape. some people cal1 it a 'batl~tub'and the motion of the waves on tlieir own pull the water out until it wants to go back in, and when the water's in, the rnomentum, the cohesion of the water pulls it back out. ft just so happens that this is almost exactly the sarne rhythm as the phase of the moon, which draws the tides out and forces them in again. The fact that they are the same, means the Bay of Fundy has near perfèct resonance.

EDGAR: Just give 'em a twist like this. and there. see'? Gets the blood out. Nice an clean. (Slices the spim nrd losses it in the hrrcket) Oh. watch this. (He specrrs u .sr~tooih'strii~mer*.flocincier ' ivirh /lis pitchfoi-k) Those ones there are no good. cal1 'em Fluke. Also called Old Maid. type a tlounder. Bad luck. If I brought those in I'd never have customers again. No. look for the Sliad like this one. eh. Yuh. There ya go. Git tiiat. Oooli Jeez look at her. good size eh? Bute. Yup. throw -er over. (He cuis I~L'hecd qff: grris if UIZ~siices LIUIVII fhe spirte. then tosses ir inro cr brrckei) Right 'na bucket. Dump that bag a salt in there. would ya? You're a natural. (Sees her cqrb~zctcii~gri[ fhefish) Don't like it much tho. do yuh.

TAMARA: Hmm.

EDGAR: Nothin better. Some folks tell y011 to eat tliat soy stuff. Tow-foo! Don't get me started. Jeez. Yer aunt Lois brouglit tliat stiiff home once from Halifax. Taste just likr sponge rubber. it did. Sponge RUBBER. Now how can TMAT be good for ya?

TAMARA: Grampie.

EDGAR: You're your motlier-s girl. a11 right. How old were you the last time you were out liere now.

TAMARA: Not since I was nine.

EDGAR: Remember the Five Islands'?

TAMARA: Moose Diamond Long Egg and Pinnacle.

EDGAR: Good girl. You get your Mom to take you into Truro. Go shopping or something. Not much to do out here in the day.

TAMARA: S'al1 riglit so Wr. We gonna play cards again tonight?

3 1 EDGAR: You bet. You watch your Grammie though. she's a card shark.

TAMARA: Hocv do you knocv when the tide's turninç.

EDGAR: I can hear it. Bit of a rush sound. We're aImost done.

TAblARA: You ever get caught?

EDGAR: 1 ciit it close a couple times. Nothing serious tho. Trick is to stay up out a the muck when the tide's con~ingin fast. Thatk the rea1 dangerous part.

TAMARA: 1t.s harder than it looks. I mean the mud is soft. but itts hard to walk around in it.

EDGAR: You get used to it. C'mon. We're just about done. Can you lift that? Over to the truck.

PAT: I Iield that body sacred. I loved you every inch. You and me, we were a song, and we hardly even made it through the pregnancy, we wanted each other so much. We weren't like other couples, we loved to do it al1 the time, al1 the time, and you Loved my body. you used to say I had the best legs, the strongest legs. Why did you stop. why did you stop wanting it with me, Lionel. When you always wanted to watc1.i the necvs in bed and I would lie there wanting you. what was going on with yo~i?What happened. tvhat does she do for you, she's so. CeIIulite. And that hair, i mean how. What do you want, Lionel, a goddess? 1 tvas always it for you. what ...is she? Men like me, you know. They like me. I always get the whistles and comments in the Street. At forty ttiree, I'm still hot shit and you go, you, it's iiot enough for YOU. What do you want me to be? Just tvho do you want me to be? PAT: You figure the asparagus will still be around next week?

LOIS: Yeuh. iMost likely.

PAT: It's long been gone in Ontario ...

LOIS: Things are about a mont11 later here. We 11ad lilacs untiI Iast week!

PAT: 1 was thinking of having a nicr dimer for Taman's birthday. You know. we could malie it a big thing, get al1 dressed up. light the candles.

LOIS: Wl-iat are we going to do? Maybe we should take her to Halifa~or Moncton for shopping or something.

PAT: Yeah. 1 \vas thinking of that. Halifax is better. Mic Mac Mal1 in Dartmouth. Still any good?

LOIS: Sure. How about the market-she'd really like that. Get some brioche. some nice asparagus. and they have soyanaise-dips and spreads made with tofu. She might 1 ike that.

PAT: You \vanna come?

LOIS: 1 better not.

PAT: Why. you two would have a great time. we could go to The Bistro for lunch.

LOIS: 1 don't know.

PAT: That's silly.

LOIS: No. you twvo need to spend time together. I'd çet too tired.

PAT: We could get you a wheelchair for the day.

LOIS: A ~vheelchair?1 don't need a wheelchair. And I couldn't use one. Not at the market. Markets aren't 'wheelchair friendly. ' PAT: We'll go there first. you can use the wheelchair afier. Malls are wheelchair access-

LOIS: Listen. I don't want to okay. It sounds like hn. but no thanks.

PAT: What is wrong with you?

LOIS: Why do you want me in a wheelchair so bad? 1.111 not an invalid. I'm not that sick I'm just a Iittle tired. You. you, you love it. You love it that I can't do things that you're the one tvho's always needed. People need you they always need you.

PAT: Lois. what are y011 talking about.

LOIS: You are SO SMUG. You're so SMUG you make me sick. 1 don9 care about the tiredness and the messed up vision and the pee but your SMUG little attitude is what makes me sick.

PAT: Lois. are you okay. What cm1 do?

LOIS: 1 want you to stop. Take pur dauglîter out and have a good time. 1'11 have dinner ready for you wlien you get back from your shopping trip. Pick me up a souvenir colostomy bag wliiIe you're there.

PAT: Lois 1 am not going to feeI sorry for you.

LOIS: I don-t want pity.

PAT: Good thing. You.

LOIS: Wliat.

PAT: It is al1 about you. This just gives you another excuse to be the centre of attention.

LOIS: SMUG!

PAT: You aIways were the centre-everyone wanted to see Lois to be with Lois, to be

34 proud of Little Lois' curly hair and her cute little dances. Everybody was so impressed \dien she got strait A-s and when she went to Dal. And al1 tlie men. al1 the men were al\vays '~vhowas THAT' and 'she's YOUR sister?' and -Pst. can you get me her number'? God. even 1 was proud of you. But who did al1 the work? You had it easy-I paved the way for you. broke al1 the rules. made sure you knew how to do everytl-iinç and 1 had to waste al1 my tiine figuring things out on rny own, but you were the favourite and you liad al1 the Aunts and Gramma loving you so much and adoring you and giving you al1 the attention and I'm the one who curled your hair and taught you to read and al1 tliose dances and now. 1 had to leave because of you. Now 1 finally have the centre. 1 have tlie spotligl-it for one moment. and 1 wish none of it liad ever happened in the fhst place. but it did and I have the attention because 1 have a tragedy, rny mariage is gone and iny grief is al1 1 have but it's mine and 1 EAENED it and the moment 1 close my eyes and let go knowing that just for even one day, 1 can COME HOME and be taken care of, I can be CODDLED and 1 don? have to be the one in charge. the one in command. the one with al1 her shit together and here you come with this BOMB with this SECRET that you've been waiting and waiting to UNLEASH. just like .ou were waiting for my moment. and then you'd step in and it would be the Lois show again and I'd be the one to 's~ickit LIP. buttercup' just like it's aIways been since you were eveii BORN and if this is what it takes to humble you ...

PAT: The voice of the moon isn't a Song at dl. It's a goddamned roar.

Sccne Fivc (Et/..m- und Tcrtwi-u ut-e rvot-king on fhe MW buthrot-pi it blrre. Projection of Fivc) I.sI~[nti.stncip)

EDGAR: The shad are good on a warrn tide. They come in with the tide, swim right over the weir and then as the tide goes out, the sun has warmed up the water and they swim nice and Iow, riglit into the weir. They swim dong the inside of it, tryin to find a way out, and the weir doubles back in that heart shape to send 'em riglit back to the centre of it. Good catch today. Get a lot of amethysts too. had a harbour porpoise once. See al1 sortsa things out here. It's like farining. but it's just the harvest. and it's a limited tiine kind of tliing. 1 can only do rny job if the sea permits. The wliole Minas Basin might end up in my weir one day, and if I'm not there to get it, it'll al1 go away with the next tide. so 1 have to stay on it. you know.

TAMARA: Does Grarnmie ever come out with you?

EDGAR: Nah. she's never been one for the water. That's why you never see her swirn. She might wade in a bit if it's a hot day. but uh. She lost a brother. eh. She lost a brother out Iiere. Wanted to get to Moose Island on a camping trip wirh some friends. Just a little fella. ten or eleve~i.Guess they scared him somethinç awful with gliost stories the woman wlio carries her head around underneath of lier arrn. you know. Woman used to live out here. the. say lier Iiusband killed lier. cut right through lier neck with an ase. then tied lier head back on with a scarfan buried her. Well she Iiaunts Moose Island with lier liead tucked right in the crook of her am. eh. She only cornes out at the full moon. Tides are a little funny then. an I guess he thought the tide was goin out or lie tliought he \vas gonna make it back to the mainland across the flats in time. but tliey never saw him again. Tliey say a body turned up down near Windsor Mudtlat. but your great grandfather wouldn't say much about it when he went down for the identitication. Never did say whether it was Iiim or not. Wouldn't talk about it. I guess it takes everybody by surprise. you tliink you teach them well enough about the tides. but then something happens and ...

MYRNA: Tamara. honey, there's mail.

TAMARA: Oh my god! Grampie I'm going to take a break.

EDGAR: S~iretfiing. peanut.

EDGAR: Pat. C'niere. Look at that. See liim?

PAT: IS THAT A DOG?

EDGAR: He11 heh. no, that's a black bear. You're not still scared of bears. EDGAR: Don't worrv. Patty' he won3 come this close to the house. The door's right there. and it's unlocked so we're safe. Don't move. He sees us.

PAT: NO.

EDGAR: He's just watching. Don't worry. he doesn't eat people. He's out for the berries up Bowden's fields. Sees us al1 right.

PAT: Go AWAY. No, No. (Stctrf.~hyper-ventilaring)

EDGAR: Watch. He's sniftïng.

PAT: He's coming. Pacing. Stop. Stop.

EDGAR: Listen Patty. you can Iiear him. Talking to us. Telling us sometliing.

PAT: He hows me. He knows. He's telling me. What do 1 do. WHAT DO 1 DO!

EDGAR: He says he's after the berries. Heh heh. Pat, honey, it's- Pat. Go inside. Go inside and have yourself a drink.

PAT: He's coming, he's seen me he knows me he's coming. He'll take n-iy own heartbeat he'll take it away and make i t roar. (Shc goes)

EDGAR: Easy. old fella. You've come down too far. She's gone, you chased her away. That fear smell is gone. Those old coyotes botherin you? 1'11 git them. Heh heh. So you the one been stealing Myrna's wild strawberries. She thinks it's the rabbits or raccoons. Gettin hungry, are yeh?. Not too many fish out tliere. You take them flukes. eh. 1-11 leave the flukes for you. Heh heh. Bony ikh. You take al1 a them yori can eat. Bad luck they are. Maybe not bad luck for bears, You can handle em. He11 1-iel-i. Now go on. Git.

Scene Six (Iiîside kitchen. No projection)

PAT: He was gone. He was gone. He left me years ago, but now he's back and he

37 knows me and he's back for more. When I iefi here. went into Nursing I didn't think i'd ever see him again. The FEAR was gone. but now it's back and the bear is back the BEAR ...and the roar is there. i can hear it Iike a rush. like a I-ieart attack. Oh my god where do I go, ~vi-ieredo I go to get AWAY, I have to leave. so lie can't find me. so he can't îïnd. Oh my GOD çet my tliings get my raincoat get my purse, 1 have to GO 1 I-iave to leave.

Scene Seven

(Ttrnzai-ci is iiz ho-t-oom. t-ecicl'ing the letter. Pt-oject nzcrp of'the Annex area of Tor-onto)

OHI-IHH!

That bitch.

Shc S 1-cc[/- getting on t77y ner-ves, slze S dl into chncing now. just beccrztse yorr do if I ber.

1 bet she doesn't know a plié from lier ass hole.

011, I'm so jeaious!

What! No way! You'd better wait!

I'm kinci of rvishing ive hndn 't said thlit bt~rstill. I wonder horv nmny people ivill still hc Ks ivhen rvc strrr-t g-acfe trvelve. Oh yozr 'il neveu helieve Mom snid I have to gel a jo h. Not jz~sthcrlysitting nigmorr cr REAL job yozr 'mso lucky to be pluying carcis and srr!#.:' I'rn working nt ci strrpid Bmkin Rohhim in the Eaton Centre.

No way. That's a lie.

... brrr slîe ivorrlciiz 't be in school ifshe tvcis cining tlzcit, making thcrt kind ofmon- crnci she definitcly ri~orrldn't be on yccn-book zrnless she 's sleeping rvith the principal.

Eeew gross.

Carley Riszwyck NO WAY.

She ciicin 'r e \?en knorv it und she Sfozrr- morzths prcgnant.

She S no[ even szri-e who thefirther is becarrse it ivus right when she hroke up with Tuclcl kucics ancl started going ivith thri[ gziy who goes ro Riverdale. I bet it was him they've been screwing in the Don Valley since March Break.

She ivas br-cigging cibozrt it at Trnck Practicc I'rn szn-priscd she tlidn 't have a nziscot-ringe in the hïgh jrmp. Il's probably why she sz~krdso bnd rhis yeur. .4yii-ci-vs. Thfil S di ~henervs. I miss yozr so mztch crnd hope y0rr'r.e havingfim. Love cr li r:c+~.s, .-l nthci,

TAMARA: Everybody's doing stuffwithout me and having a great time they're al1 gonna cl-iange and it's not fair. Virginity is the stupidest thing anyway. A guilt curse. It's a shininç glowing zit on the front of your face that everybody notices and that you just can't stop thinking about. 1 wish I could just get it over with. And my stupid boobs. Stupid pot belly. I wish there was just somebody 1 could meet. With long bro~vncurly hair and he'd wear hiking boots and anything but sweatpants and he would adore my glamourous side and even wear a suit sometimes and we would never tight. and he cvould have a ciog and we could go for walks at OId Mill and he would NEVER give me carnations and he wouldn't ever ask if he could honk a hooter. he would serenade me. But you know he'll never exist. I need to date someone at university. Someone who reads because he's interested and even writes poetry. At this point, I'd settle for the hiking boots and Iimerick. Just the feeling to be wanted. and not because you've çot the biggest tits in the school. but because of my Iaugh or my handcvriting or something 1 don't even know I do.

TAMARA: Yeali?

PAT: Tamara.

TAMARA: (opcns cloot.) What.

PAT: Tamara listen 1 have to go 1 don't know where but I'm going. 1 don't how how long. but you're okay here. Lois and Grammie will take care of you they'll do anything you cvant but I'm going and that's it and when I corne back 1'11 bs better. I'm going. 1-m going.

(Put ieaves with oniy a pzrrse, ct srnall bug, and u raincocrt) TAiLIARA: Bye.

TAMARA: Do you have any idea where she might be? It's been alrnost a week.

LOIS: I don't know honey. You were the last one slie talked to before sl-ie lefi. 1 don't even know if she's in the province. I'm sure she's al1 right. She's just doing something for herself br a while.

TAMARA: A mother doesn't just Ieave.

LOIS: 1 know. But she'll be back. You rnean the world to her. You didn't do this. [t's nothing you did.

TAMARA: 1 know tliat. 1 was kind of mean. 1 just wish 1 knew she was okay.

LOIS: We'd have lieard if slie wasn't.

TAMARA: Did you ever run away?

LOIS: She's not running away.

TAMARA: i know but did you ever.

LOIS: 1 took ot't'to Halifax a couple of tin-ies. but I'd always cal1 Mom and Dad to tell the111 where 1 \vas for the nigllt.

TAMARA: 1 wonder when she'll corne back.

LOIS: It may be al1 summer. EDGAR: Lois. You want an Alpine.

LOIS: Thanks. Dad. but no I can't.

EDGAR: Why not.

LOIS: I can't drink anymore. O111y on very rare occasions.

EDGAR: Hmmp. Tamara. You \vant one.

LOIS: She-s not old enough. Dad.

TAMARA: I doit like beer anyway. Grampie.

EDGAR: Ginger ale in the fridge. Myrna's on the horn with Millie Bowden. Millie wants sornebody corne in shoot that bear.

LOIS: What bear. 1s there a bear around.

EDGAR: Yeah, been stealin a11 fier berries.

LOIS: Just a bear. What did the bear do to her'? He doesn't know they're her berries. there have probably been berries there for hundreds ofyears. That bear's mother and grandmother probabiy al1 went tl-iere, taught him that's where the berries are. He hasn't done any harm.

TAMARA: 1s Grammie going to stop her'?

EDGAR: Not natural to have a bear so near the house. Getting too farniliar, if y'ask me.

LOIS: Dad, you can't just kill him.

EDGAR: That's the way it is, Lois. LOIS: It's not fair. No need to kiI1 the old bear if he's not hurting anything. 1'11 go down to Lower Economy myself and pick her some tiigging strawberries at the U- pick. We've got berries al1 around here. There's no need to kill an innocent animai.

EDGAR: Lois, jfou listen- That bear is getting too hmiliar and he's gonna start to think that he's running the show. He's gonna hurt somebody. and then ittll be too late.

LOIS: (stun~lr'rzgon the cicck) 1 never reaily liked them at all. Even the ones I dated al1 through University. Bunch of idiots. Breaking their spirit was my duty. As a good- looking educated woman it was my duty to treat them like brainless pieces of crap and get back at al1 the arrogant jerks who still get away with so much. Like a grime. But now. NOLVits al1 those men. they have that power again. to command rny worth by their objectiGing value Judgements. Well I'm a broken old maid now. a tired and dried rip bitch and that's the end of it. 1-11 probably never sleep witli a man again. WeIl good riddance. You're al1 rotten anyway.

LOIS: Dad.

EDGAR: Hnlmp.

LOIS: I'm not feeling weH.

EDGAR: No? What kind. Stomach. Or.

LOIS: 1 think I'm getting sick.

EDGAR: (Parrsc.) Another episode.

LOIS: 1 can't see straight. It's blurrv, and I'm getting tremors.

EDGAR: What sliould 1 do. LOIS: Stay. Stay with me.

EDGAR: I'm here. 1-11 be right here.

LOIS: Dad. Don't kill the bear.

EDGAR: He's not gonna do us any good.

LOIS: He's not hurting you. He can't help it.

EDGAR: Forget the bear. Lois.

LOIS: 1 can't feel my leg. I'm too di-. Daddy.

EDGAR: Shlih. I got ya. (He luis hw- mclccrr-ries hcr- ii7to the horise)

PAT: 1 can kel you. tide tuming. atmosphere. Pound against the cliffs. rush the bluff. wave upon wave.

MYRNA: When you were IittIe, you used to take such good care of your sister Lois. You used to insist that she do everything you did, Wear the same clothes. You used to dress her up and get her to do dances for us. You ran the show. There cvas a time 1 co~ildn'tget you to leave her with me. that was when 1 \vas glad for the schooI. You two were Far enough apart in age to go in separate roorns. and that was a blessing. or you would have been too close. As it was 1 alcvays worried that you'd get addicted to one another and bonds like tliat form vices.

PAT: Resound. Carry the moon, propel the waves. Perfect harmony. clear resonance. .

MYRNA: When you were twelve 1 took you girIs to see the Christmas parade in Amherst. You were awe-struck. Lois was happy with the candy cane that Mr. People gave Iier. She was covered in it, and you asked me. you said. '-Momma were tl-iere ever TWO Hanlest Festival Queens at once? Could there be sisters?"

PAT: This is it. You know I'm here. Well? I'm waiting for you.

MYRNA: Lois said she never wanted to be the Queen she wanted to be one of the guys that drives the float. She Iiked the Shriners guys and 1 guess she thought they were in charge of the whole thing in their little cars and kz hats. She swore up and dotm they made that whole parade go. From the Little cars.

PAT: It's just us out here. bear. I've corne for you. I'rn here.

MYRNA: 1 never did understand why you were so captivated by that pageant. 1 told -ou that it \vas just pretend tliat it was just a ceremony. but you insisted on singing. on cvearing my hi& heels, putting your hair up, on doing al1 kinds of beauty treatments al1 the time. And Lois, you did lier up all nice too. like you cvere her coach or something. You were cut out to be a mother. we al1 thought.

PAT: i smell 'ou. you're here. 1 kel your hot breath. I cm hear the roar beginning in n~ythroat.

MYRNA: Afier 1 had you. your dad and 1 cvere thinking we only wanted one child. we loved you just so much, and cve wanted to give you everytliing, but you begged and beggcd for a baby sister you could pIay with. Well. when 1 told you there was going to be a baby. you went nuts. telling everybody who'd Iisten that you were poing to have a baby. You were convinced she was yours and nobody else's. You had her out in the back one day. you were such a good baby-sitter. yoii were always so careful. you had Iier out in the back and I \vas watching from the cvindow. You ran in to show me the picture Lois had dratvn al1 by herself. and wliile you were in showing me tliis picture, a big bear came out back. I Iooked orit the window and I guess Lois must have thought it was a dog. she started going over to it jiist like that. and 1 grabbed the dimer ran out and picked lier up and threw a big piece of fish at the bear. Made you play inside for a tveek.

(Lighs corne ~rpon Cupe Splir. Par smnds andstvnys ivith the wczves, and a huge rour cr-up.sfrom the \iwtci*, and the smnd of rzrshing wuter crnd .nvirling wrvesfollows. Put hrir-ls c/o& of ciirr out into the wciter-. Tlze vocnlist entcrs behind her.) Song: Upon the shore. A beacon rising To greet the moon. She is fearless, tall. and true. She stands there shining. She pulls the tide to lier breast.

Scene Eleven (112 ih~kitchen. Projecrion ofthe Fivc IS[CIIZL?Sn~c~p)

LOIS: When's Dad coming in'?

MYRNA: 1 don't know if he will. Lois.

LOIS: What do you mean.

MYRNA: 1-Ie didn't catch a thing last night. Two shad and a sculpin. And al1 those goddanmed tlukes. That's not enough for dinner. 1 toId her we'd have grampie's fresh fis11 for her birthday. You take her down to get some clams for the rest of us, wodd

VOll.

LOIS: Are the fish that low?

MYRNA: Yes. Tliey are. It's been cold. [ told hirn not to corne home empty handed. He's bringing tluke if nothing else. Slie won't know the difkrence.

LOIS: 1.11 eat tluke. I'm not afraid ofan old maid.

MYRNA: You'll be the only one. Bad luck. Lois. They Say they're sweet, but they're darnned hard to skin. Ten times harder to skin a fluke.

LOIS: He won't do it.

MYRNA: He does it for you, Lois. He'll do anything for you. You know that. LOIS: I'li take Tamara down.

Scene Twelve (Tcrtnnm is pzrshing Lois tlp ilte hill in her it:hec.lchrtir. Tamal-cr ltcrs been digging cl~lrns.rhe brrckër siis in Lois' krp. Projecrion of rhc shoreline mcp)

LOIS: The hills al1 around are burnt black tbr the blueberries. See them as you stood out there on the tloor of the Bay? Yeah it makes it easier for raking-every year they burn them so they don? grow into bushes. And the bIueberrïes like the carbon. How was the clamming today? Your hands get cold? Tt sucks and squirts. eh. as you're digging. the muck. Could you hear the tide tuming? You cm. eh. then you'd better get off' those tlats quick. or you'll be stuck swimrning to shore with the bag of clams and bent spade. 11's like the sand floods itself. and you're in a pool of tidetvater. but can't niove too quick or you'll lose your boots in the m~id.Dinner's usually at five sharp. but low tide was 420 so they may have to wait while you walk up the hiIl and hose off. She'll boil tl-iem-she doesn't fiy them much anymore since he had his cholesterol checked and it was through the roof. We still dip 'em in butter though. 1 just thought. the last time 1 remember you clamming was when you were. oh, about eight or nine. That sumrner you brought that friend down. Andrea. You two were a mess. 1 remen-iber h4on1 sat you two in the trunk of the car on top of a bunch of newspapers, legs hanging out. and you two scared cause Lucy. that funny old dog of Gerald's chased you right the way up the hill. You stiII go around with her. Andrea? She couldn't get over the red mud. 1 renlember you two. you had forty-ttvo clams, or something. counted 'em a1I. right proud of yourselves. How'd you do today? Looks like you did al1 ripht.

MYRNA: There's the asparagus. Some early canots. Lois. your fish. Tamara do you want tish too. or just the clams.

TAMARA: Just clams, Grammie. MYWA: You sure'?

TAMARA: I'm not that Iiungry.

EDGAR: You enjoy those clams. sweetie. That's your hard work.

MYRNA: Tamara. A littIe wine. Just because it's your birthday.

TAMARA: Do you think she's okay.

MYRNA: Yes. honey. she's okay. Slie'll be back.

LOIS: A toast.

EDGAR: A toast.

LOIS: To the most intellegent, talented, soon-to-be licensed to drive a car sixteen-year- old woman. Tamara.

EDGAR: Here here.

MYRNA: Cheers.

EDGAR: Let's eat.

MYRNA: I'm starving. But Save room for cake, euerybody.

LOIS: Mmrnrn. Oh the asparagus is perfect.

MYRNA: Oh. the lemon. 1'11 get the lernon.

TAMARA: Lois, the fish smells good. That shad?

LOIS: Nope. Flounder.

TAMARA: Flounder.

PAT: [t's pouring down rain.

IThew is tr pazise. Pu[ sfccrts ru cltrrckie sloii~ly,then hegins ru lozigh. Loisjoins in ncst, I~?CI~ewiyhoc(v krrighs crs the l~imhegin r~jde.) CURTAIN Aftenvord

Tl-ie original idea of the play \vas to CO-ordinatethe idea of Nova Scotia in its pliysical and social removal from the rest of Canada in terms ofa physical impairment or disease. This physical removal can be said to be true of any part of Canada not Iocated tvithin its nucleus of South Central Ontario. This condition of -dis-eased extrernities' was to be represented by one of the cliaracters of the play. who has been diagnosed with

VI ultiple Sclerosis. The reasons for choosing this particular disease were many-i have known several people who have been diagnosed with the disease, so it has some persona1 immediacy for me. But more importantly. the nature of the disease is largely unclear: "As many times as the uniformity of the disease is asserted. the variety of the sickness and illness seems to transform it into many different diseases." (Swiderski 5) Also, "a diagnosis of -certain MS' is reserved for tliose patients wit1-1pathoIogica1 proof of the diagnosis. Therefore, this category is rareIy appIicable" (6) because symptoms and maniféstations of the disease are so varied and unpredictable. 1 felt the condition of

~incertaintyand lack of agency in controlling and understanding the disease aligned weIl n-itli the uncertain future ofa physically removed (and therefore largely dis-abled) portion of Canada. I worked on using this rnetapl-ior to esplain a tlieory on the situation of Nova

Scotia. but as I shall outline in this essay. the removal offocus upon Multiple Sclerosis

\vas instrumental in creating a piece that worked as a play, rather than working as an informational exposé on a disease. or a University seminar on cartographie and topograpliic positioning. I also wish to discuss the overall movement away from the prcscriptixeeoutline that was produced before the play was witten. and the reasons for such a niove.

The location of the play. the area of Five Islands. Nova Scotia, has been a familiar site to me. as I have spect a good dea1 of tirne staying with fi-iends of the famiIy there. It is an intriguing space in ternis of population and local activity. It is more a single road thnn an assembled community. inhabitants are largely divided by geography. There are fields and forests between each house. and it is not unusual to go days without seeing anybody but tliose living within the same house. For this reason I chose to create only cliaracters within tlie same family-there are no relationships represented by a physical body on stage escept those within the Speight family. The references to those outside the trirnily are usually negative ones. liighlighting tlie ties of the family unit. which, in the crise of Pat and Lionel. are marital. not materna1 or paternai. and have been broken. In the case of Lois and lier relationships with others. she lias never in fact had a lasting intimate rclationsliip. and considers it unlikely that she will ever have a partner now that she has been diagnosed with MS. The formation of 'down home' as a place to return in a crisis conies out of tlie proximal closeness within the family that often occurs when living in a remote area. The family unit as an exclusive sphere represents a desire for the known. the familiar. in a time of uncertainty and loss. Pat clairns in her monologue at the end of Act

II. scene 4 that she lef? Nova Scotia to get away from her fmily (Lois in particular). and for lier there is the automatic equation of province and îàmily. Pat7sreturn to the family space in a time of crisis is also coincident with the uneartliing of a set of fears based upon self-situatedness within the fainily construct. This association is realized with the presence of the bear (a reference to the natural which will be discussed in further detail

niomentarily) in Pat's nightmares and manifested fears as she returns home. The scenes

in wliich tlie bear is mentioned tend to depart from a naturalism that is fairly consistent

throughout tlie play. I found it much more usehl in forming the character relationships to

utilize tlie landscape (in terms ofatmosphere and content) as the driving force. as opposed to using topography as the engine for action.

As work on the play progressed 1 moved away from the focus on geography in tcrms of positionality. and instead explored the idea of physical presence and reliance upon natural surroundings. as tends to be the necessity in rural or remote settings. In a riiral comniunity. for instance. it is necessary to have some knowledge and preparatior, in place for estrerne weather conditions. more than is necessary in a greater populated, more temperate area-a snow Storm in Nova Scotia often rneans many roads (and therefore resources) are completely inaccessible for days. even weeks. Also. the reliance upon the tide to dictatc a daily routine is the condition for al1 those who have any occupation involving the ocean. A focus on the rneteorological seemed more natural to tlie tlow of the play, and the (relatively) naturalist setting. and I found that the more 1 drew fi-om nature. tlie more individual and robust each character became.

The theme of the sea life and Edgar's profession as a weir fisherman brought about the inclusion of a study of sea life native to the Bay of Fundy. 1 had remembered meeting a weir fisherman named Gerald Lewis during one of my stays in Five Islands.

Gerald often brings interested tourists and visitors out to his weir as he brings in his catch each day. Hany Thurston, a friend of my farnily's, has witten an informative book entitled Tidd Llfi: A I\~CIIIII.CIIHisfu~y of lhe Bqoj'Fzrndy in which there is a wealth of information about the natural phenomena in and around the Bay. Thurston has included in Iiis book an entire chapter on weir fishing. in which Gerald Lewis is featured. The landscape and sea-Iife became the prime vehicle both for my inspiration and for the action within the play itself. As Tliurston says:

In Fundy. the great tidal range dominates al1 living thinps-large and small-for

good and for ill. Surviva! here depends on an ability to adapt to the range and

rhythm of the tides. I have found that this principle can hold as true fur

people as it does for the animals and plants that live by and under Fundy's

waters. (Thurston 33)

Wlien I was in Nova Scotia doing research for the play. I was overwhelmed by a sense of the very atmospliere of Five Islands and Lower Economy where the play was to take place. and then decided that it was far more appropriate to compose a play based upon the distinct physical characteristics of the area rather than upon any theoretical hypotheses of cartographic positionality. It became apparent that my work wouid have to deviate

Iargely. if not completely. from the work 1 had set out to do. In coming to the decision to focus upon the landscape [ had also been considering the type of audience I expected ivould attend such a play.

The play was initially intended for an audience who would be interested in the theory of cartographic and geographical situatedness This type of audience would most likely be found in the smaller Toronto independent theatres. or in spaces where relatively forward-thinking shows could be put on. At no point in time had I considered it a play for mass audience. As 1 moved away fi-om a focus in actuaIIy including portions of accidemic exegesis within the dialogue. and toward a practice of allowing any critical analysis to happen organically as a result of the emotive action upon the stage. 1 discovered that the characters became more realistic. and lent tlîernselves to a brand of

naturalism which would have been impossible had 1 maintained strict adherence to the thesis proposal.

1 had remernbered often hearing about the smooth flounder native to the Bay of

Fundy. otherwise known as Old Maid or Fluke. Because these fish are very difficult to gut and bone. or "skin." tlîey are thus considered a burden. and relatively useless. These

pejorative nick-names illustrate wliat was. and to a large extent still is thought of women

wlio do not rriarry (old inaid) or something surprising or unexpected that happens by accident (tluke).' These insults are indicative of a detestation or fear of anything that

might deviate from the normal, predictable course of action. Lois' disease could be considered a fluke, as ivlS seems to happen at random, and is rarely predictable; and some

people ~vouldalso consider her an 'old maid' as she is a woman approaching middle age

who has not. and likely will never be married. As the play developed. so did the associations (negative and positive) between Lois and the summer flounder, so when

Lois. in the final scene of the play. eats the fluke, she is attempting to illustrate that

despite the stigmas associated with the old maid or fluke. it is still vaIuable as a resource.

1 AltlîougIî the snîooth flounder in question is named 'fluke' because of its similarity in shape to the flat -kluke1 tale of a whale, or the triangular 'fluke' plate on an anchor which buries itself securely into the ground. 1 have decided to play on the more widely accepted meaning of the term. Rather than discuss or oversimpli@ issues of prejudice against unrnarried women with disabilities within the space of the play. 1 decided it would be best to bring fonvard the issues of fernale independence and unsupported value judgements against unrnarried women or persons with a disability in a more subtle fashion and refrain from arguing for one particular side. Also. I felt it best to leave the other major issues of the play unresolved. The emotional and social difficulties of dealing with divorce. dependence and independence. as well as the socio-political status of persons with disabilities are al1 major issues that Pat and Lois. and to a lesser degree Tamara. Edgar. and Myrna have to deal witli. At the end of the play. none of tliese issues have been wrapped up tidily. as 1 believe issues of these sons rarely are. However. there is a sense of redemption at the end of tlie play with the coming together of the entire family. There are only two scenes in the entire play in which al1 five characters are simultaneously upon the stage: in Act 1. scene 6 and Act II. scene 13 tlie entire farnily surrounds the kitchen table to eat special n-ieals together. In the first of the ttvo gatherings the news of Lois' MS surfaces, beginning a series of confroniations between the sisters in the name of their individual issues. ending with the moment of Pat's return in the fina1 scene, as she announces with hrr entrance the move to reconcile, the desire to cany on as part of a family unit in the face of adversity .

One of the major hurdles 1 encountered in rvriting the play and creating the characters. was finding a differentiation in the characters of Lois and Pat. 1 had difficulty in supporting a cause for having these two characters separate instead of amalgamating the two into one economic catch-al1 character. Upon exploring character motivations 1 found them similar in voice. but not perspective. 1 discovered that if 1 were to increase

the gap between the two sisters in terrns of socio-economic class. language and therefore voice rnight develop in differentiation. Lois' University education had brought her a certain level of independence and is likely one of the reasons for her patient confidence. whereas Pat had been in a position of relative economic dependence upon lier former husband. Lionel. As Lois' confidence increased with the economic stability afforded her by an education and a job at Dalhousie. Pat's stability dwindled. higlilighting the difficulty of panicipating within a gendered economy without the agency of independent wealth.

A turning point in the creation of the play occurred when 1 discovered that I had not set out with a -main character' in mind. I had not clearly indicated from whose perspective the storyline was being toId. 1 decided to take into account the structure of tlie play. and found that although i had originally tried to equalize the test distribution in order to avoid having an unevenly weighted script and character presence, the major action of the play seems to take place arouiid Lois. but from Tarnara's viewpoint. Once 1

Iiad establ ished these perspectives. 1 reconsidered the existing structure of the play. The scenes did not seern to follow one another with any Iogic, so 1 once again drew upon a thread of nature irnagery to string the scenes together.

When atteinpting to bring an observance of the naturd environment to the forefront. it became necessary to take a step toward making the surroundings more crucial. more present, and 1 wanted to make more of an indication of place, so rather than adjust the dialogue unduly. 1 considered that even afier abandoning the idea of çartography in the name of crearion of character and action. it might be appropriate to reinstate that theme as a counterpoint to the organic action upon the stage. I decided to insert into each scene stage directions for projections of maps of the places being represented by tlie action upon the stage. Positioning Lois as a cartographic historian brought to the forefront an awareness of the landscape from a scientific and professional perspective. in contrast to the approach of the other cl~aracters.which is one ofobserving the provincial meteorological phenomena as a necessary condition of survival.

The issues which occupied my reasoning and drove my interest in cvriting FZzrke. issues such as the decline in the natural reproduction of sea life. and the problematic of a space consiclered in terrns of -home' seemed to surtàce witkout any contrived progran~n~ing-andthe more 1 wrote. the more 1 discovered links that did not have to be literally stated within the dialogue in order to correspond to the action and issues upon the stage. Also, tliere were many scenes 1 could remove, while retaining in the play the resonances of my intentions. There were many motivational explications I had used in scenes now estracted that were simply in the play as a source of information. of character

Iiistory wliich might indicate current n~otivations(see appendix 1). In particular. I decided to leave out almost al1 tlie discussions about MS I had included in rny first fecv drafis. and by doing so refrain from making the disease the major issue and driving force of the play, but instead make the disease a fairly minor consideration in other issues.

1 am not entirely certain that formulating a rigid thesis proposa1 intended to meet fairly strict requirenlents kvas particularly Iielpful in the creation of the play itself, except, perhaps. in the discovery of how very dif'ficult it is to have any advance conceptuaIization of wliat course the creation process wiil takete.or to predict what simply -works' upon the stage and ~vhatdoes not. Indeed. the play thdid emerge from the work that was initiated by the proposai is not the anticipated play at dl. In witing FZzrke. it was necessary to abandon much of the critical work 1 had begun in order to proçress with a creative strategy. However. I do not feel tliat the departure from the original proposa1 has resdted in a failure to communicate the themes 1 had wished to address. In fact. it has resulted in an organic work that deais with the proposed issues in a much more subtle and potentially evocative manner. Works Cited and Consulted

Bennett. Susan. Theatre Audiences: A Theorv of Production and Reception. London: Ro~itledge.1997.

Basourakos. John. -'Moral Voices and Moral Choices: Canadian Drama and Moral Pedagogy ."Journal of Moral Education 28.4 ( 1999): 473-89.

Field. E. J. -5pecial difficulties of the multiple sclerosis problern." Multiple Sclerosis: A Critical Cons~ectus.Ed. E. J. Field. Baltimore: University Park Prcss. 1977.

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literal. too expositional of character feeling. In order to avoid turning the play into a

sl.io\v cihocil MS or crhuzri feelings. 1 left these prescriptive character histories out to open the interpretation ofcharacter motivation to the audience.

PAT: So don3 mention about jobs in front of your aunt Lois. She didn't tell me why she quit. so.

TAMAM: But she's living with Grammie and Grampie Speight now?

PAT: Yes. it probably has something to do with it, but she didn't tell me.

TAMARA: Mom. Was this ramp here last time?

PAT: No. No it wasn't. Kitchen light's on. 1 thiiik Grammie's been waiting up.

MYRNA: There's ln). girl!

PAT: mon^. Don't come out l~ere,it's too cold. Just wait. we'll be right in.

MYRVA: Look at you. Just look at this young lady. It's so good to see you. Corne in, come in. how \vas the drive?

PAT: mon^. what's this ramp'? 1s Dad okay? W1-iatts happened?

MYRNA: Everybody's fine. Pat. I've put you in the blue room. and Tarnara you're in the room wit1.i the spool bed.

TAiMARA: Okay.

PAT: But why is there/

MYRNA: Lois is already asleep in the downstairs bedroom, so be quiet. 1'11 see you in

62 the morning. Tamara, stiII like cvaffles?

TALMARA: iLIrnm. That's great. Gram.

MYRNA: Okay. you two have sweet dreams. We'll catch up in the morning.

TAIVARA:Night!

PAT: Nigl-it ... Okay Little duck?

TAMARA: Yeah. Tired. Sweet dreams Mom.

PAT: Sweet dreams. See you in the morning. Love my girl.

TAMARA: Love you too.

LOIS: knew 1 would fkd you dowl here.

PAT: t'm stilI inad at yo~i.

LOIS: People don't get rnad. they get angl. And you're not angry you're hurt.

PAT: You're danined right. You should L-iave told me. You sliould've toId me.

LOIS: I'm sorry. (Pause) Can we malce up now?

PAT: Jcist say it once more.

LOIS: (Lclrrghs) I'ni sorry.

PAT: (Laz&s) Okay. C'mere. ['m sorn too. How are pu.

LOIS: My legs suck.

PAT: 1-Ias it been quick so far?

LOIS: Not at dl. 1 was the same for four years. then just after New Year's i took a turn downhill. It's mainly my legs riglit now, but otlier stufftoo. My throat constricts, so 1 have to chew rny food really weli. 1 go to Truro for needles every two montlis to control that. and ['in going to have to get a wlieelchair if my legs get any worse.

PAT: Did they make you quit your job?

LOIS: No- They would have sooner or later. 1 think they were glad I resigned so they wouldn't have to be the ones to bnng it up. Tlxy cveren't sending me to do the on location jobs any more. 1 can't blarne them. It takes me so much longer to get around now.

PAT: You miss the city?

LOIS: Like crazy.

PAT: Well. It's nice of Mom and Dad to ot-fer.

LOIS: Offer? 1 \vas brotvbeaten into it. But. It's not so bad. I'rn glad you and Tamara decided to corne. We've been Iooking fonvard to seeing you

PAT: 1 am distanced from my own life like it's not happening to me. but to sorne stupid puppet and everybody says 'aw? how sad' when tliis puppet's story is toId but nobody cares cause it's j ust a puppet and not a real person with feelings or anything, like it's just a representation of what MIGHT happen if things got really bad and it really is too bad but you go home and you make your dinner and you forget about that puppet, but it's me and I'rn not made of felt and wood I'rn real and 1 have things to do and people to care for 1 have RESPONSIBILITIES and it feels Iike my life was just somebody's science esperiment and it went wong so it's sitting in the GARBAGE. l'm in the GARBAGE because I'ni past rny espiry date as a wik and lover. But I'rn not I'm not I'm not I'rn not I'tn not. Why am 1 the grown up when he's gone and got himself a new best friend a new tolr he's just taken ot'fliit the road and i'm the one who needs the break why can't I just take off and leave everything. just waik away. Just. LEAVE. No strings no responsibilities no.