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By Burton Bumgarner

© Copyright 2017, Pioneer Drama Service, Inc.

Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged. All inquiries regarding rights should be addressed to Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155.

All rights to this play—including but not limited to amateur, professional, radio broadcast, television, motion picture, public reading and translation into foreign languages—are controlled by Pioneer Drama Service, Inc., without whose permission no performance, reading or presentation of any kind in whole or in part may be given.

These rights are fully protected under the copyright laws of the United States of America and of all countries covered by the Universal Copyright Convention or with which the United States has reciprocal copyright relations, including Canada, Mexico, Australia and all nations of the United Kingdom.

ONE SCRIPT PER CAST MEMBER MUST BE PURCHASED FOR PRODUCTION RIGHTS.

COPYING OR DISTRIBUTING ALL OR ANY PART OF THIS BOOK WITHOUT PERMISSION IS STRICTLY FORBIDDEN BY LAW.

On all programs, printing and advertising, the following information must appear:

1. The full name of the play2. The full name of the playwright3. The following notice: “Produced by special arrangement with

Pioneer Drama Service, Inc., Denver, Colorado”

Scene Thirteen:Notepad, pencil (PETE)

Scene Fourteen:Single crutch (TOM)

Scene Fifteen:Wheelchair (HANNAH)Crutches (TOM)

COSTUMINGHANNAH wears ill-fitting, shabby clothes, including a winter coat and hat until Ella makes her new dresses, at which time she changes to a gingham dress. In ACT TWO, she either wears a school uniform or nicer school clothes.

ELLA wears a drab housedress and briefly dons a nightgown or an apron for various scenes.

MARGARET, GINNY, JUDD, and PETE wear winter coats, scarves, hats, and gloves. Later in ACT TWO, they wear regular clothing fit for warmer weather.

DORA RAYE wears shabby clothes with no winter coat until she is given one of Hannah’s gingham dresses and hair ribbons, which she will then wear for the remainder of the show.

BETSY, DEANNA, and ZACHARY wear either matching school uniforms or very nice school clothing.

SOUND EFFECTSWind, school bell, wind with thunder, wind with heavy rain.

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RIGHTS MUST BE PURCHASED BEFORE REPRODUCING THIS SCRIPT

HANNAH OF THE HILLS

By BURTON BUMGARNER

CAST OF CHARACTERS(In Order of Appearance)

# of lines

HANNAH HILL ......................young orphaned girl 142MISS MOTLEY .....................heartless social worker 34JUDGE ................................handles Hannah’s case 17ELLA CARTER ......................Hannah’s great aunt 97PETE ..................................Ella’s neighbor; Hannah’s age 66MARGARET .........................classmate and friend of Pete 14GINNY ................................another 12JUDD ..................................another 10DORA RAYE .........................classmate and friend of Hannah; 15

very poorMRS. SMITH .......................merchant 10LYDIA HILL ..........................distant cousin of Hannah 65BETSY HILL .........................Lydia’s daughter; same age as 48

HannahTOM HILL............................Betsy’s brother; uses a 57

wheelchairDEANNA .............................classmate of Betsy 17ZACHARY ............................another 13

Scene Eight:File folder (MOTLEY)

Scene Nine:Books (HANNAH, DORA RAYE)Plate with biscuit, dress, Dora Raye’s tattered clothes (HANNAH)Books (PETE)

Scene Ten: Book bags (MARGARET, GINNY, JUDD, PETE)

Scene Eleven:Letter, pen, notepad, envelope (LYDIA)

Scene Twelve: Writing tablets, pencils (PETE, JUDD, MARGARET, GINNY, DORA

RAYE, HANNAH)Book (HANNAH)Two sacks of supplies (ELLA)Piece of paper (MOTLEY)

ACT TWOScene One:

Suitcase (HANNAH)Ticket (MOTLEY)

Scene Two:Gavel (JUDGE)

Scene Three: Wheelchair (TOM)

Scene Six:Small box containing gold necklace (BETSY)

Scene Seven:Book bags (PETE, MARGARET, JUDD, GINNY)

Scene Eight:Wheelchair, crutches (TOM)

Scene Nine:Golden necklace (DEANNA)

Scene Ten:Golden necklace (HANNAH)Wheelchair (TOM)

Scene Twelve:Suitcase (HANNAH)

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SETTINGTime: The winter, spring, and fall of 1945 at the close of World War II.Place: The mountains of eastern Tennessee and an island just off the

coast in the Florida gulf.

SET DESCRIPTIONThe stage is divided into three areas so that scenes can flow between the various locales without pause. The largest area is STAGE RIGHT and represents the mountain cabin. There is a rough kitchen table with four chairs RIGHT. A door UP RIGHT is the front door of the cabin; another entrance RIGHT leads to the rest of the cabin. The CENTER part of the stage has a bench and is used for the courthouse, the train station, and the schools in both Tennessee and Florida. STAGE LEFT is a table and chair for the courthouse judge. The table will also become a counter at the mercantile store and the island beach house. There is a trashcan next to the table. An entrance UP LEFT leads out of the island beach house; another entrance LEFT leads to the rest of the house. Scenes at the Tennessee bus stop and the Florida beach are played DOWN CENTER with no stage props required.

With many short scenes, sets need only be representational. However, additional simple props for clarification, such as a potted palm and wicker chairs for the Florida island beach house, might help the audience follow the story.

PRODUCTION NOTES

PROPERTIES ONSTAGE Kitchen table with four chairs, bench, table, chair, trashcan.

ADDITIONAL PROPERTIES ONSTAGE

ACT ONEScene One: pot with serving spoonScene Five: jars, canned goods, bottles, hair ribbonsScene Eleven: (optional) potted palm and wicker chair

ACT TWOScene Five: checker board and piecesScene Twelve: torn up letter in trashcan

PROPERTIES BROUGHT ON

ACT ONEPrologue:

Tattered suitcase, book (HANNAH)Folder (MOTLEY)

Scene One:Letter (ELLA)Milk pail, basket of eggs, handful of mail, plate, fork (PETE)

Scene Two:Book bags (MARGARET, GINNY, JUDD)

Scene Three:File folder containing two documents, pen, Hannah’s suitcase

containing book (MOTLEY)Blanket, pillow (ELLA)

Scene Four: Book bags (MARGARET, GINNY, JUDD, PETE)

Scene Five: Purse, money (ELLA)Bolt of gingham material (SMITH)

Scene Six:Lunch pail containing cornbread (HANNAH)

Scene Seven:Homework (HANNAH)Book, two dresses, ribbons (ELLA)Milk pail (PETE)

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SYNOPSIS OF SCENESPrologue: A Tennessee courthouse, one February morning.

ACT ONE: TennesseeScene One: Ella’s cabin, early that same morning.Scene Two: A bus stop, immediately following.Scene Three: The cabin, late that afternoon.Scene Four: The bus stop, the following day.Scene Five: The mercantile store, the same day. Scene Six: The mountain school, the same day.Scene Seven: The cabin, a week later.Scene Eight: The courthouse, the same day.Scene Nine: The cabin, several days later.Scene Ten: The bus stop, the next day.Scene Eleven: Lydia’s island beach house, a week later.Scene Twelve: The cabin, six weeks later.

ACT TWO: FloridaScene One: The train station, that same day.Scene Two: The courthouse, the next day.Scene Three: The island beach house, that evening.Scene Four: The island school, a week later.Scene Five: The island beach house and the beach, two months later.Scene Six: The island school, a week later.Scene Seven: The Tennessee bus stop, the next day.Scene Eight: The beach, the next day.Scene Nine: The island school, the same day.Scene Ten: The island beach house, later that day.Scene Eleven: The island school, the next day.Scene Twelve: The island beach house, the next day.Scene Thirteen: The cabin.Scene Fourteen: The island beach house, later the same day.Scene Fifteen: The cabin, three months later.

mountains and you and her friends. It kept her going. And it kept us going. Our house was severely damaged in the storm. Most of the possessions we had here were lost. I had managed to get some jewelry out of France, but it’s all lost.

ELLA: I guess jewelry would be important to somebody like you.LYDIA: Not really. Not anymore. Hannah will always have a place in

our family. We would love to have her with us in France. But I think we should let her decide where she lives. It would be one of the first decisions she’s been allowed to make in her life.

ELLA: You’re saying she might want to stay here… with me?LYDIA: I know how much she loves you. She’s a lucky girl, having

family and friends with both you and with us. ELLA: I think she makes her own luck. (Smiles and stands.) Guess

I’d better get to the kitchen. We’re going to have a big dinner. LYDIA: (Stands.) Please, Miss Carter. We’ve heard a lot about chores

from Hannah. Are there any chores I can do?ELLA: How would you like to clean a couple of chickens?LYDIA: I don’t know anything about cleaning chickens. But I’ll try.ELLA: This is going to be fun. (They EXIT RIGHT. BLACKOUT.)

END OF PLAY

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HANNAH OF THE HILLIS

PROLOGUEAT RISE: A Tennessee courthouse one February morning. HANNAH sits on a bench CENTER, wearing a coat and hat. A tattered suitcase is by her side. She has a book opened in her lap. JUDGE sits at the desk LEFT, talking with MISS MOTLEY, who holds a folder. MOTLEY: (Reads from the folder.) Her father is in a veteran’s

hospital having suffered extreme injuries in the war. Her mother is now deceased.

JUDGE: Does the child have any living relatives?MOTLEY: A great aunt who lives in the mountains.JUDGE: Any other relatives?MOTLEY: A distant cousin who we have not been able to locate.JUDGE: Why can’t the child live with her aunt?MOTLEY: We’ve received no reply to the inquiries we sent.JUDGE: Find the great aunt. See if she’ll take care of… (Looks at the

paper on his desk.) …Hannah.MOTLEY: Very well. (MOTLEY crosses to HANNAH.) We’re going to

make a trip. (LIGHTS DIM.)End of PROLOGUE

ACT ONEScene One

LIGHTS UP STAGE RIGHT: Ella Carter’s cabin in the mountains of eastern Tennessee early that same morning. There’s an old pot on the table. SOUND EFFECT: WIND. ELLA sits at the table, holding a letter, when the door opens. PETE ENTERS UP RIGHT, carrying a milk pail, a basket of eggs, and a handful of mail.ELLA: (Cranky.) Shut the door! You want me to freeze to death?PETE: No, ma’am. (Crosses to the table.) You gonna let me have

something to eat?ELLA: Why should I?PETE: I just milked your cow, fed your mare, and made sure your

chickens ain’t froze to death. And I brung you your mail. (Places the items on the table.)

ELLA: No one asked you to do me any favors!PETE: No, ma’am. No one asked me. My mama ordered me.ELLA: You can go on to school, and when you see your mama, you

can tell her to mind her own business.

ELLA: Well, you made it.HANNAH: (To LYDIA, BETSY, and TOM.) These are my friends, and

that’s my Aunt Ella. And this is Tom and Betsy. They’re… uh…BETSY: We’re Hannah’s cousins. (They ALL look at each other,

unsure of what to say.)HANNAH: I want to show Betsy and Tom the barn, and the orchard,

and that place above the river.LYDIA: I’m not sure you and Tom should get into rugged terrain.HANNAH: We made our way through a hurricane and got hit by a

flying gazebo. I think we can handle the terrain around here.PETE: Come on! (The CHILDREN start to EXIT UP RIGHT. PETE

pushes the wheelchair.)TOM: (As he EXITS, to LYDIA.) Ask her!LYDIA: Tom, we just arrived!BETSY: Ask her, Mother! (They EXIT, leaving LYDIA and ELLA alone.)ELLA: (As she sits at the table and gestures for LYDIA to sit.) Ask

me what?LYDIA: Well, with the war over, we’ll be moving back to France. My

husband’s an engineer, and he’ll be helping with the reconstruction. We’re going to join him and my older daughter in a month. My children want to know if they can stay here with Hannah until we leave for France. If it’s too much trouble, I’ll understand.

ELLA: They’ll have to sleep on the floor. And they’ll have chores. And Hannah’ll be going to school. It won’t be as comfortable as they’re used to, but they won’t have to worry about hurricanes and flying… (Mispronounces.) …gazaboos.

LYDIA: I can see they’ll be quite safe here. I can pay for their food and—

ELLA: (Offended.) Don’t insult me! I was starting to not dislike you as much.

LYDIA: I’m sorry. My children have never had chores before. Tom is doing very well with his crutches, but I’m not sure what he can actually do.

ELLA: We’ll figure that out.LYDIA: And poor Hannah. She’s such a brave child.ELLA: She doesn’t need people feeling sorry for her.LYDIA: With time, her legs should improve. But it may not be like before.ELLA: I suppose you’ll want to take her to France.LYDIA: In the hospital, when she was going through surgeries, Hannah

had some very difficult days. My children got her to talk about the

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PETE: Can’t I warm up a little bit first? It’s plenty cold out there. Temperature’s hovering around ten degrees. (ELLA shrugs.) You got some soup?

ELLA: I got some beans and cornbread. PETE: (EXITS RIGHT with the basket of eggs and milk pail and RE-

ENTERS with a plate and fork. He sits at the table with ELLA and begins to serve himself.) Thanks.

ELLA: (Holds up the envelope.) Why would a judge go sending me letters? Second one I got.

PETE: What’s it say?ELLA: I don’t know. I ain’t opened it.PETE: Why don’t you open it?ELLA: ’Cause it’ll just make me mad.PETE: Everything makes you mad.ELLA: Watch your mouth!PETE: I didn’t mean no disrespect.ELLA: Yes, you did! You’re just like your mama!PETE: If I was like my mama, I wouldn’t speak to you. Instead I’m up

here at the crack of dawn making sure you ain’t froze or nothing. (Takes a bite.) These beans is burned. You kept them on the stove too long.

ELLA: Don’t tell me how to cook beans!PETE: And the cornbread’s all dried out. How many days ago’d you

make it?ELLA: (Belligerent.) I made it fresh this morning!PETE: Or maybe it was yesterday… or last week. (Stands.) I gotta go,

or I’ll miss the school bus. I’ll check back in a couple of days. You need anything else?

ELLA: My privacy! (PETE EXITS UP RIGHT. ELLA looks at the letter, tosses it on the table, stands, starts to EXIT, returns, and picks up the letter. She tosses it back on the table, sighs, and EXITS RIGHT. LIGHTS DIM.)

End of Scene One

ACT ONEScene Two

LIGHTS UP CENTER: A bus stop immediately following. MARGARET, GINNY, and JUDD ENTER DOWN LEFT and cross DOWN CENTER. They wear coats, scarves, hats, and gloves, and carry book bags. They shiver in the cold. PETE ENTERS DOWN RIGHT, running.GINNY: We thought you wasn’t going to make it.

BETSY: I was afraid something bad happened to you.TOM: Something bad did happen! Hannah’s my only friend in the

world, and she’s going away, all because of you! LYDIA: (RE-ENTERS.) She’s trapped under a roof beam! (To

BETSY.) I think we can lift it, but… her legs… well, she has to get to a hospital!

TOM: I want to go!LYDIA: No! You stay here! (TOM takes the two halves of the letter

from his pocket and holds it up.) What’s that?TOM: It’s a letter her friend Pete wrote to her. You tore it up before she

could see it. I bet you threw away all her letters from home! And you probably threw away the letters she wrote to her friends and to her aunt! She’s been so sad wondering why nobody was writing to her, and it ends up they were! You’re the liar here! You’ve been lying to her all along!

LYDIA: Tom! I was just trying to… for her own good…TOM: I would never do that! I’m her friend!BETSY: The storm’s getting worse!TOM: (Stands up with the help of his crutch, resolute.) I’m going

with you to rescue her! You can either help me walk, or I’ll crawl. (BETSY helps him to the door, and they EXIT UP LEFT. LYDIA follows them OUT. LIGHTS DIM. SOUND EFFECTS FADE OUT.)

End of Scene Fourteen

ACT TWO Scene Fifteen

LIGHTS UP STAGE RIGHT: The cabin three months later. MARGARET, JUDD, GINNY, and DORA RAYE sit at the table. PETE stands by the door. ELLA ENTERS RIGHT, wearing an apron.PETE: Shouldn’t they be here by now?MARGARET: They had to get a ride from the train station in Jess

Harper’s truck. That thing won’t go more than ten miles an hour.PETE: (Looks out the door.) They’re here!JUDD: Aren’t you going out to greet them?PETE: Uh… I don’t know. You think she remembers me?GINNY: You read her letters. Of course she remembers you.ELLA: What are they doing?PETE: Helping Hannah on the porch. (HANNAH ENTERS UP RIGHT

in a wheelchair pushed by LYDIA. ALL rush to greet her, talking at once and making a wall of noise. TOM and BETSY ENTER UP RIGHT. TOM struggles with his crutches while leaning on BETSY. The chattering stops.)

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PETE: I was helping Miss Carter.MARGARET: Why do you help out that mean old woman?PETE: She’s not so mean.JUDD: She tried to hit my brother with a shovel.GINNY: Why’d she do that?JUDD: He was trying to get… uh… I mean, borrow a melon from her

melon patch. And she took offense.PETE: Your brother’s lucky she didn’t have a pitchfork nearby.MARGARET: Why’s she so hateful?PETE: She don’t like people on her property.JUDD: She don’t like people anywhere.GINNY: (To PETE.) Why do you help her out so much?PETE: She reminds me of my grandma. Except my grandma wasn’t

that mean. (DORA RAYE ENTERS DOWN RIGHT and stands apart from the others. She is shabbily dressed. They glare at her for a moment, then look away.)

MARGARET: (Looks OFF LEFT.) Bus is here. (They EXIT DOWN LEFT. DORA RAYE follows at a distance. LIGHTS DIM.)

End of Scene Two

ACT ONEScene Three

LIGHTS UP STAGE RIGHT: The cabin late that afternoon. There is a KNOCK at the door. ELLA: (ENTERS RIGHT. Shouts.) Who is it? (Another KNOCK. She

crosses to the door and opens it. MOTLEY and HANNAH are in the doorway UP RIGHT.)

MOTLEY: (Holds a file folder.) Are you Ella Carter?ELLA: What are you doing on my property?MOTLEY: Let me come inside! It’s freezing out here! (Forces her way

ON past ELLA. HANNAH follows.) Miss Carter, you’re a difficult woman to reach.

ELLA: Maybe I don’t want to be reached.MOTLEY: You don’t seem to have a telephone.ELLA: I don’t want a telephone.MOTLEY: You have not responded to two inquiries sent by U.S. mail

from the Child Welfare Division.ELLA: I don’t know what you’re talking about. MOTLEY: (Crosses to the table and holds up the unopened envelope.)

I’m talking about this. Why haven’t you opened it?

BETSY: I said I took the necklace. I don’t know how it ended up in Hannah’s pocket, but I took it.

LYDIA: (Shocked.) Why?BETSY: To show my friends at school that we’re just as rich as they

are… even though we’re not. I wanted to be like them. But I found out they were laughing at me behind my back. They don’t even like me. (Sobs.) I’d give anything to… to know Tom’s safe.

LYDIA: So Hannah…?BETSY: She had nothing to do with the necklace.LYDIA: Oh, Betsy! You will apologize to her! (BETSY turns to EXIT UP

LEFT.) Where are you going?BETSY: To help Hannah find my brother. (EXITS UP LEFT. SOUND

EFFECT: WIND, HEAVY RAIN.) LYDIA: (Paces nervously. To herself.) I wish I could call for

help, but the phone lines are down. (With resolve, turns toward the doorway.)

BETSY: (Quickly RE-ENTERS, running into her. Frantic.) There’s someone in the middle of the boardwalk! I can’t tell who it is! It’s starting to rain really hard, but—

LYDIA: (Runs OUT UP LEFT then immediately RETURNS.) It looks like Tom!

BETSY: But he’s standing! (Runs OUT UP LEFT with LYDIA. SOUND EFFECT: STORM SOUNDS CONTINUE. After a moment, they ENTER with TOM between them. He has a single crutch under one arm, and they lead him to sit in the chair.)

TOM: You’ve got to help Hannah!LYDIA: Where is she?TOM: At the end of the boardwalk. I was in the gazebo, and she found

me and was going to wheel me back, but the gazebo blew down on top of her!

LYDIA: (To BETSY.) Stay here! Don’t you dare leave! I’m going to get Hannah! Then we have to go to the shelter. (Quickly EXITS UP LEFT.)

BETSY: What were you doing in that old gazebo?TOM: I like to go there and watch the storms. It’s also where I practice.BETSY: Practice what?TOM: Walking with my crutches.BETSY: You were walking, weren’t you?TOM: Not very well. I fell out of my wheelchair, and it ended up in the

sand. I couldn’t crawl fast enough, so I had to walk. (BETSY hugs TOM.) Hey! What are you doing? Knock it off!

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ELLA: Didn’t feel like opening it. Who’s that kid?MOTLEY: (Indicates HANNAH.) This is Hannah Hill. You are her

closest living relative.ELLA: (Shocked.) What?MOTLEY: Her mother was the daughter of your late sister. Both mother

and grandmother are deceased. The child’s father is incapacitated. You are her closest living relative. (Looks around.) Well, this residence seems to be quite primitive but moderately clean.

ELLA: (Insulted.) Moderately clean?MOTLEY: I’m not sure about your mental faculties. You seem a

bit agitated.ELLA: I’ll say I’m agitated! (MOTLEY hands ELLA the folder.)

What’s this?MOTLEY: There are two legal documents in that folder. One states

that you will assume custody of the child. The other states that you will allow the state to assume custody and offer no opposition to the decisions that are made regarding the child. Now, either take custody or sign over custody to me.

HANNAH: (To ELLA.) I wish you’d take me. She’s not very nice.MOTLEY: Be quiet!HANNAH: She wouldn’t talk to me the whole way here. The heat in

her car didn’t work good, and she wouldn’t get me anything to eat.ELLA: What’ll happen if I don’t take her?HANNAH: I’ll go back to the orphanage farm.ELLA: This is… a surprise.MOTLEY: What’s your decision? I need to get out of this godforsaken

place before dark. (ELLA is speechless. MOTLEY grabs HANNAH by the arm.) I told the judge this would be a waste of my time.

ELLA: Leave her here!MOTLEY: I’m warning you, she may be a bit much to handle. ELLA: (Laughs.) Her?MOTLEY: Yes. A child as high-strung as this can be a lot for an old

woman to handle.ELLA: Who are you calling an old woman?MOTLEY: You know what I mean.ELLA: I know exactly what you mean! Show me where to sign, and get

off of my property! (Sits at the table. MOTLEY hands her a pen, opens the folder, and points. ELLA signs.)

MOTLEY: I’ll be doing a follow-up study. I suggest you get yourself a telephone and start reading your mail.

ACT TWOScene Fourteen

LIGHTS UP LEFT: The island beach house later the same day. LYDIA and HANNAH ENTER UP LEFT. HANNAH sits in a chair with her head down. BETSY ENTERS LEFT. SOUND EFFECT: WIND and THUNDER.BETSY: I thought you were going to the mainland.LYDIA: The ferry isn’t running. The pilot said the water’s too rough.

There’s a hurricane south of here, and it’s headed this way. We need to go to the storm shelter at the school. (To HANNAH.) Stand up! You’re getting that chair wet! (HANNAH stands. To BETSY.) Where’s Tom?

BETSY: I don’t know. I thought he was out here.LYDIA: Find him! We’ve got to leave! (BETSY EXITS LEFT. HANNAH

and LYDIA look away from each other, uncomfortable.)BETSY: (RE-ENTERS, frantic.) He’s not here!LYDIA: What do you mean he’s not here? He has to be here!BETSY: He’s not in his room!LYDIA: He has to be! (EXIT LEFT. BETSY and HANNAH look away

from each other, their discomfort palpable. LYDIA RE-ENTERS, panicked.) Betsy, where is your brother?

BETSY: (Cries.) I don’t know! He was here when you left!LYDIA: What did you say to him?BETSY: Nothing! I never said anything to him!HANNAH: That’s the problem. You never say anything to him.LYDIA: What are you talking about?HANNAH: He thinks you hate him.LYDIA: He thinks no such thing!BETSY: Do you know where he is?HANNAH: I think so. I’ll go see. (Starts to EXIT UP LEFT. LYDIA

and BETSY start to follow her.) You stay here. (To BETSY with slight sarcasm.) You don’t want to get your shoes wet. (EXITS UP LEFT.)

LYDIA: Why couldn’t you look after him just this one time?BETSY: I don’t know.LYDIA: I know he can be difficult—BETSY: You have no idea how difficult!LYDIA: (Calmer.) I guess you’re right. I know how difficult it is to be

his mother, but I have no idea how difficult it is to be his sister.BETSY: (Mumbles.) I took the necklace.LYDIA: What?

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ELLA: I suggest you get off of this mountain before I throw you off!MOTLEY: (To HANNAH.) Get your suitcase out of my car.ELLA: You get her suitcase out of your car! You’re the one who

gets paid!MOTLEY: I’m not paid to be a bellhop! (ELLA moves toward MOTLEY,

who backs down.) But if it will help expedite this business, then I suppose I can do it this once. (EXITS UP RIGHT. HANNAH and ELLA stare at each other.)

HANNAH: So, you’re my aunt. I never heard of you.ELLA: I never heard of you either.HANNAH: How come?ELLA: My sister… your grandmother… and I… hadn’t spoke to each

other in about thirty years. I never knew she had a daughter. What happened to her?

HANNAH: She and my mother got influenza. I got it too, but I got well.ELLA: Well now, I’m sorry to hear that.HANNAH: You’re sorry it didn’t kill me?ELLA: You are a smarty-pants, aren’t you?HANNAH: Yes, ma’am.ELLA: What happened to your father?HANNAH: He got hurt in the war. He’s in a hospital and… well… he

doesn’t know who I am anymore.ELLA: Don’t you have aunts and uncles?HANNAH: No, ma’am. Both my mother and father were only children.

That’s why I was staying at the orphanage farm. I really don’t want to go back.

MOTLEY: (ENTERS UP RIGHT with Hannah’s suitcase, which she drops.) What is the fastest way off of this mountain?

ELLA: Drive to the top of the nearest cliff… and keep going.MOTLEY: (Snorts.) I’m putting all of this in my report, and I’ll be back

in two months for a follow-up. (EXITS UP RIGHT. ELLA sits at the table. HANNAH sits opposite ELLA. They stare at each other.)

ELLA: I suppose you want something to eat.HANNAH: Yes, please. (ELLA hands HANNAH the plate from which

Pete was eating. HANNAH eagerly eats.) This is delicious!ELLA: The cornbread’s stale and the beans are burned. And it’s been

sitting there all day.HANNAH: I don’t care. I’m starving. ELLA: (Sits at the table.) I can’t take care of you. HANNAH: (Stops eating.) Then why did you say I could stay?

coat. BETSY stands UPSTAGE. LYDIA ENTERS UP LEFT wearing a raincoat. She pauses a moment and looks at the children.LYDIA: I’m sorry it came to this, Hannah, but this is your own fault.HANNAH: Can I please go back to the mountains?LYDIA: I am not going to pay for a train trip all the way to

Tennessee! You can go to the orphanage here in Florida. I’m sure it will be adequate.

HANNAH: Please! I want to see my Aunt Ella!LYDIA: You’re a thief, young lady! You’re lucky you’re not going to the

juvenile detention home! Let’s go before the storm hits. Betsy, watch Tom while I’m away.

TOM: Hannah didn’t take your stupid necklace! It was Betsy!LYDIA: Tom, we’ve been over and over this! I know you think she’s

your friend, but she doesn’t belong here!TOM: Yes, she does! Take Betsy to the orphanage! Leave Hannah here!LYDIA: Tom! That’s enough! (To HANNAH.) Come on! (EXITS UP LEFT.) HANNAH: (Looks at BETSY, who looks away. To TOM.) Keep

practicing with the crutches. You’re getting better and better. (EXITS UP LEFT. TOM glares at BETSY, who EXITS LEFT. TOM is about to EXIT when he notices something in the trashcan. He reaches in and takes out a letter, which has been torn in half. He holds the pieces together, reads and gasps. He throws it on the floor and wheels himself OFF UP LEFT as the LIGHTS DIM.)

End of Scene Twelve

ACT TWOScene Thirteen

LIGHTS UP RIGHT: The mountain cabin. PETE sits at the kitchen table with a notepad and pencil.PETE: (As he writes on the notepad.) “Dear Hannah, I wish you were

here today. Most of the snow melted, and it feels like spring is coming. I’m at Miss Carter’s house. She got real sick and won’t let anybody help her. She got real mad when I brought the doctor over. He says she’s going to be all right. Dora Raye stopped going to school, but me and Judd and Margaret and Ginny went to her house and talked her into coming back. We keep hearing the war is winding down. That’s real good. I wish you could be here to see the springtime. You never got to see how nice it is here. I wish you’d write back sometimes. I miss you.” (Pauses a moment, then uses his eraser. Writes.) “We miss you. Love, Pete.” (Looks at the paper, then erases again.) “Your friend, Pete.” (LIGHTS DIM.)

End of Scene Thirteen

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ELLA: That woman made me mad. Forcing her way into my house. Looking down her nose at me!

HANNAH: I guess I’d better not unpack anything.ELLA: I guess not.HANNAH: (Sad.) I don’t understand what I’ve done.ELLA: You haven’t done nothing, except get born into a mean,

cruel world.HANNAH: How long do I get to stay here?ELLA: I don’t know. It’s getting late. I’ve got to go to bed. You can

sleep over by the wood stove. I’ll get you a blanket.HANNAH: But it’s not even dark outside!ELLA: You must be tired after traveling all day.HANNAH: I’m bored from traveling all day. ELLA: (EXITS RIGHT and RETURNS with a blanket and pillow.)

Here. (Drops the blanket and pillow on the floor. Turns to go.) HANNAH: Wait. Do you have a radio?ELLA: No.HANNAH: Do you have any books I can read?ELLA: No.HANNAH: They have books and a radio at the orphanage farm.ELLA: They didn’t when I lived there. (EXITS. HANNAH walks around

the cabin looking at things. She takes the book from her suitcase, wraps up in the blanket, sits in a chair and reads. She nods off to sleep. ELLA ENTERS in her nightgown. She looks at HANNAH for a long time, then sighs.) So, Louise had a little girl.

HANNAH: (Opens her eyes and sits up.) Yep.ELLA: (Startled.) I thought you were asleep!HANNAH: It’s five o’clock in the afternoon. Who goes to sleep at five

o’clock in the afternoon?ELLA: There’s a corn shuck mattress in the attic. Maybe we can drag

it down and put it near the stove. It’ll be better than sleeping in a chair. And maybe I can make up some more cornbread. (Starts to EXIT RIGHT.) Well? Are you going to help me or sit there like a knot on a log? (HANNAH follows her OFF RIGHT. LIGHTS DIM.)

End of Scene Three

ACT ONEScene Four

LIGHTS UP CENTER: The bus stop the following day. PETE, MARGARET, GINNY, and JUDD ENTER DOWN LEFT and cross DOWN CENTER, waiting for the school bus.

HANNAH: (Offended.) I don’t have your necklace! (LYDIA crosses to HANNAH, who reaches into her pocket and removes the necklace. A look of surprise crosses her face.)

LYDIA: So, I take you in, and you steal from me!HANNAH: I don’t know how this got there! Betsy had it at school!LYDIA: Do not tell lies!HANNAH: I’m not telling lies! LYDIA: (Grabs the necklace from HANNAH.) This is going to have

serious consequences! Go to your room!TOM: But we’re going to the beach!LYDIA: I’m going to search the house and see what else is missing,

then I’m calling the police! I can’t have thieves staying in my house!HANNAH: I didn’t steal anything.LYDIA: Go! (HANNAH EXITS LEFT, followed by LYDIA. BETSY and

TOM glare at each other.)TOM: Hannah didn’t steal anything! You took it because you don’t like

her! I’m telling Mother!BETSY: Go ahead, she won’t believe you. (TOM wheels himself OFF

LEFT. BETSY sighs, looking uncomfortable. LIGHTS DIM.)End of Scene Ten

ACT TWOScene Eleven

LIGHTS UP CENTER: The island school the next day. DEANNA and ZACHARY ENTER RIGHT and join BETSY CENTER.DEANNA: (Sarcastic.) So, your little cousin’s in trouble. Too bad.BETSY: I can’t figure out how she got the necklace. I had it with me

the whole time.ZACHARY: She’s a thief like you. I guess it runs in the family.BETSY: (Offended.) I am not a thief! I borrowed it to show Deanna,

and somehow it ended up in Hannah’s pocket. Maybe one of you took it! Maybe this is your fault!

DEANNA: (Snarky.) You’d better go back to France, mademoiselle! You don’t belong here! (ZACHARY looks from DEANNA to BETSY several times. DEANNA EXITS RIGHT. ZACHARY follows her OUT. BETSY slowly EXITS LEFT. LIGHTS DIM.)

End of Scene Eleven

ACT TWOScene Twelve

LIGHTS UP LEFT: The island beach house the next day. HANNAH stands next to TOM. Her suitcase is packed, and she’s wearing her

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MARGARET: I wish that war would get over with.GINNY: Me, too. Both my brothers are in France. We ain’t heard from

either one of ’em in a while. Mama’s worried sick.PETE: I wish I could be in the war.JUDD: Me, too.MARGARET: Are you crazy? You’re just a bunch of kids.PETE: (Offended.) We ain’t kids!GINNY: You are, too! HANNAH: (ENTERS DOWN RIGHT, bundled up.) Hey. Is this the

bus stop? (OTHERS glare at her.)PETE: Yeah.HANNAH: I’m Hannah. I never rode a school bus before. I just

moved here.PETE: (Sarcastic.) We can tell. (OTHERS snicker.)HANNAH: Is it always this cold around here? I can hardly feel my toes.PETE: Sometimes it’s colder.HANNAH: So… do you have names?PETE: Yep. HANNAH: (Long pause.) You think you might share them with me?

We’re going to be going to school together.MARGARET: I’m Margaret. She’s Ginny. Those two are Judd and Pete.HANNAH: Nice to meet you. I’m Hannah.PETE: We know.HANNAH: (After a long pause.) So, how far away’s this school?JUDD: About ten miles.HANNAH: My old school was only two blocks from our house.PETE: If you ain’t from here, why’d you move here?HANNAH: My papa’s in a hospital, and my mama and granny got sick

and I got sick…PETE: Look who’s coming to school today. (ALL look as DORA RAYE

ENTERS DOWN RIGHT and stands apart from the others. Her head is bowed. She wears ratty clothes and is not bundled up enough for the cold. She shivers.) That makes two days in a row. Must not be enough heat in her shack to stay warm.

JUDD: (Looks OFF LEFT.) There’s the bus. (They EXIT DOWN LEFT. DORA RAYE and HANNAH wait until the OTHERS EXIT.)

HANNAH: Come on. I never rode a school bus before. My name’s Hannah. I just moved here. What’s your name? (DORA RAYE mumbles something unintelligible.) I didn’t get that.

ZACHARY: There’s no one I can go with.DEANNA: (Sarcastic.) You can ask Betsy’s cousin. I’m sure

she’s available.ZACHARY: Is that supposed to be funny?DEANNA: Of course. No one’s going to go with that creepy girl.ZACHARY: This is Betsy’s fault! She thinks she’s better than

everyone else ’cause she lived in France! Everyone feels sorry for her ’cause the Germans arrested her father and sister, and we have to do everything to please her! I can’t stand her sometimes!

DEANNA: Hey, Zach, look what I got. (Takes Lydia’s necklace from her pocket.)

ZACHARY: That’s the necklace Betsy showed us that was her grandma’s! Where’d you get it?

DEANNA: I took it when she wasn’t looking.ZACHARY: You stole it?DEANNA: Borrowed it, not stole it.ZACHARY: What are you going to do with it?DEANNA: Keep it out of sight and see how much trouble it causes.

Maybe blame it on that cousin of hers. It’ll be fun, won’t it?ZACHARY: (Smiles.) It sure will! (They EXIT RIGHT. LIGHTS DIM.)

End of Scene Nine

ACT TWOScene Ten

LIGHTS UP LEFT: The island beach house later that day. BETSY and LYDIA are arguing.LYDIA: Betsy, where is my gold necklace? It was in my jewelry box,

and now it’s missing! I’ve told you not to play with it!BETSY: (Nervous.) You said I could wear it to the party at the

Island Club.LYDIA: I didn’t say you could borrow it before the party! Betsy, where

is my necklace? HANNAH: (ENTERS LEFT, pushing TOM in his wheelchair.) We’re

back from school. Tom wants to go to the beach after I help him with his homework.

LYDIA: Hannah, do you know anything about a gold necklace?HANNAH: Betsy had a… (Looks at BETSY, who shakes her head

and glares.) …uh… no, ma’am.BETSY: Maybe she took it. Maybe it’s in her pocket.LYDIA: Hannah, empty your pockets!

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DORA RAYE: I said Dora Raye Kendell.HANNAH: That’s a pretty nice name. Dora Raye Kendell. Come on,

Dora Raye Kendell. We’re going to miss the school bus. (Takes DORA RAYE’S sleeve, and they EXIT DOWN LEFT. LIGHTS DIM.)

End of Scene Four

ACT ONEScene Five

LIGHTS UP STAGE LEFT: A mercantile store that same day. The desk is now the store counter with various items such as jars, canned goods, bottles, and hair ribbons. MRS. SMITH, the shopkeeper, stands behind the counter. ELLA ENTERS LEFT and crosses to SMITH.SMITH: (Cool.) Can I help you, Miss Carter?ELLA: I need some salt pork, some cornmeal, some buckwheat flour.SMITH: Pull your car around back. Jimmy’ll load you up.ELLA: And I need five yards of fabric. You got any gingham patterns?SMITH: I do. (EXITS UP LEFT and RETURNS with a bolt of gingham

fabric.) This is at least five yards. I’ll just charge you for five.ELLA: Where can I get a radio?SMITH: The appliance store next door.ELLA: What about some books?SMITH: The public library. It’s across from the courthouse—ELLA: I know where it is! (Picks up a ribbon.) What’s this?SMITH: Hair ribbons.ELLA: I’ll take two. No, four.SMITH: (Surprised.) Okay.ELLA: (Takes money from her purse.) This should take care of my

account. (Turns to leave.)SMITH: It’s none of my business, but why are you buying hair ribbons?ELLA: It is none of your business. They’re for my niece. She’s staying

with me. And I don’t want her running around looking like a ragamuffin. Any more questions?

SMITH: (Turns away, surprised.) Someone’s staying with you?ELLA: Is that a surprise?SMITH: (Under her breath.) Pretty much. (To ELLA.) Don’t suppose

you’d be interested in making a donation to the food pantry at the courthouse? It’s for people who don’t have enough food to feed their families. (ELLA glares at SMITH, who looks away.) Just thought I’d ask. Plenty of hungry people in the county. (ELLA EXITS LEFT with the cloth and ribbons.) Crabby old woman. (LIGHTS DIM.)

End of Scene Five

MARGARET: In case you might get lost or scared. (They EXIT DOWN LEFT, GINNY and MARGARET leading the way. LIGHTS DIM.)

End of Scene Seven

ACT TWOScene Eight

LIGHTS UP CENTER: The beach the next day. HANNAH wheels IN TOM DOWN LEFT and crosses DOWN CENTER. The crutches are in his lap. HANNAH: Okay, Tom. Today’s the day you’re going to do it! You almost

did it yesterday.TOM: I fell down a dozen times.HANNAH: But you got a little further each time. (Hands him the

crutches.) Think how pleased your mother will be.TOM: She doesn’t care about me.HANNAH: Of course she cares about you! Don’t be silly! Let’s

practice with the crutches. It looks like it’s going to rain. Come on. I’ll help you to your feet the first time. (Puts his hands on the crutches, crosses behind him and tries to lift him up. He doesn’t help.) Come on, Tom! I can’t do it by myself!

TOM: You’ve been doing it by yourself the whole time. (Struggles to stand, takes the crutches and falls back into the wheelchair.) I can’t do it!

HANNAH: Try it one more time. Then we can go out to the gazebo and watch for the storm. (Helps him to his feet. He leans on the crutches for a moment without moving.) Try to move your leg. (Nothing happens. She leans down and pulls up his ankle. He falls back into the chair.) You’re not trying. (Steps behind the wheelchair.) We’ll go to the gazebo if you promise to try again tomorrow.

TOM: I suppose. (She wheels him OFF DOWN RIGHT. LIGHTS DIM.)End of Scene Eight

ACT TWOScene Nine

LIGHTS UP CENTER: The island school the same day. ZACHARY ENTERS LEFT and storms CENTER, followed by DEANNA.DEANNA: So what are you so mad about?ZACHARY: I asked Betsy to be my escort to the dance, and she said

she would, then she backed out when Jimmy Richardson asked her. Do you have an escort?

DEANNA: I’m afraid so. It’s Bobby Starnes, and I can’t back out because his dad is my dad’s boss.

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ACT ONEScene Six

LIGHTS UP CENTER: The mountain school that same day. SOUND EFFECT: SCHOOL BELL RINGS. DORA RAYE ENTERS RIGHT, crosses to the bench and sits. HANNAH ENTERS RIGHT and crosses to the bench. She carries a lunch pail.HANNAH: Hey. Mind if I sit down and eat my lunch? Those other

kids aren’t very friendly. Don’t you have any lunch? (DORA RAYE shakes her head.) Well, here. You can have some of mine. It’s not very good. Just crumbly cornbread and burned beans. (Tries to hand DORA RAYE a piece of cornbread, but she shakes her head.) You sure? I mean it’s not that bad. (DORA RAYE takes the cornbread and eagerly eats it.) You know all that arithmetic we’re doing? I had it all last year in my old school. I can help you with it, if you want. I’m real good at numbers.

DORA RAYE: Why?HANNAH: I don’t know. I guess it just comes easy for me. I thought

you could use some help. You weren’t working any of the problems the teacher put on the board.

DORA RAYE: (Defensive.) I don’t need no help!HANNAH: Suit yourself. I just thought you’d enjoy school a little more

if you could raise your hand and answer some of the questions the teacher asks.

DORA RAYE: You answered them all this morning.HANNAH: Nobody else raised their hands. I guess they think I’m

some kind of goody two-shoes or something.DORA RAYE: I don’t care what they think!HANNAH: Why do you come to school?DORA RAYE: My mama makes me. She thinks if I come to school,

I’ll end up better off than she did. It’s people like you that end up better off. People who can raise their hands and answer all the questions! People with mamas that can take care of the kids!

HANNAH: (Sad.) My mama can’t take care of me anymore. She’s dead.DORA RAYE: Oh. I’m sorry. (SOUND EFFECT: SCHOOL

BELL RINGS.)HANNAH: We’d better go back to class. (Stands.) Well? You coming

or not? (DORA RAYE follows. They EXIT RIGHT. LIGHTS DIM.)End of Scene Six

BETSY: (Opens the box and shows DEANNA and ZACHARY inside.) Here it is. What do you think? I’m going to wear it to the party at the Island Club.

DEANNA: Is that real gold?BETSY: Yeah, it’s real. (Looks around to see if anyone is looking,

then takes a necklace from the box and hands it to DEANNA.) It was my grandmother’s. I’m not supposed to take it out of the house. (DEANNA holds it up. BETSY pulls DEANNA’S arm down.) Someone might see it! (ZACHARY takes it and swings it around on this finger. BETSY grabs it. To ZACHARY.) Are you crazy?

ZACHARY: Is it worth a lot of money?BETSY: Yes! If my mother knew I had it she’d kill me!DEANNA: Let me see it again. (Takes the necklace and looks closely

at it.)ZACHARY: (Looks OFF RIGHT.) Uh-oh. It’s your cousin who isn’t

your cousin.BETSY: (Angry.) She’s not my cousin! (HANNAH ENTERS RIGHT.)DEANNA: (Sarcastic.) Hey, Hannah. You want to see something?

(Holds out the necklace.) It’s worth more than anything you’ve ever seen before! (HANNAH reaches for the necklace. DEANNA snatches it back.) Don’t touch it! (HANNAH sighs, shakes her head, and EXITS LEFT.) Think I impressed her?

BETSY: Who cares? (DEANNA pretends to put the necklace back in the box, but palms it instead, then hands the empty box back to BETSY. LIGHTS DIM.)

End of Scene Six

ACT TWOScene Seven

LIGHTS UP CENTER: The Tennessee bus stop the next day. PETE, MARGARET, JUDD, and GINNY ENTER DOWN LEFT wearing winter coats and carrying book bags. They cross DOWN CENTER.PETE: I guess she’s real busy down there going to school and having

new friends.GINNY: She should at least write to us! We were her friends!MARGARET: Guess we weren’t good enough friends.GINNY: We haven’t seen Dora Raye in a couple of days. Should I

check on her?MARGARET: Do you know where she lives?PETE: I’ve got a general idea. It’s a pretty rough area. Me and Judd’ll

go after school.GINNY: We’ll go with you.

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ACT ONEScene Seven

LIGHTS UP STAGE RIGHT: The cabin a week later. HANNAH sits at the table doing homework. ELLA ENTERS RIGHT with a book, two dresses she’s made, and the ribbons she bought at the mercantile. HANNAH: (Looks up.) What’s that?ELLA: “Oliver Twist.” I got it at the library. I read it when I was young.

It’s about an orphan. And these are dresses. You need some new clothes. You look like a hobo.

HANNAH: (Surprised.) For me? They’re beautiful! Thank you, Aunt Ella! (Jumps up and hugs ELLA.)

ELLA: (Shoves her away.) Hey! Enough of that!HANNAH: My mom couldn’t sew worth a hoot. My clothes never

fit right.ELLA: Her mother couldn’t sew worth a hoot either.HANNAH: Why don’t you like to talk about my grandmother?ELLA: Just don’t. And that’s all there is to it.HANNAH: Something must have happened to make you so angry.ELLA: (Angry.) I’m not angry!HANNAH: Sorry, but I’d like to know more. She was my grandmother

and your sister. ELLA: (Glares at her.) She wasn’t much of a sister. And that’s all I

intend to say about it! So shut your yap! PETE: (KNOCKS, then immediately ENTERS UP RIGHT with a

milk pail.) I got the milking done, Miss Carter. (Sees HANNAH, surprised.) What are you doing here?

HANNAH: I’m doing my arithmetic homework.PETE: I mean, why are you here?ELLA: Because she lives here.PETE: I don’t understand. Who are you?HANNAH: The teacher introduced me the first day I was in class.

Guess you were too busy passing notes to that girl in front of you to hear her.

ELLA: She’s my niece.PETE: I thought you didn’t have no kin.ELLA: Guess you thought wrong.HANNAH: Why are you here?PETE: My mama makes me come up here and make sure Miss

Carter’s all right.

I like to go out there and watch the storms. We can go out there, but we have to be careful.

HANNAH: Tom, what happened to your legs?TOM: (Sad.) I got polio. They thought I might be able to walk eventually

if I got therapy, but with the war, we had to leave France.HANNAH: Have you had any therapy here?TOM: I went to a clinic, and they tried to teach me to walk with

crutches. But we couldn’t afford to keep going.HANNAH: (Sits on the ground.) This sand feels amazing. Do you

want to sit down here?TOM: I can’t sit on the ground!HANNAH: Of course you can. I’ll help you.TOM: No!HANNAH: You’re being a brat again. Come on. I’ll help you. (Gets

behind him and struggles to help him sit on the ground. He feels the “sand” and smiles. She mimes scooping up a handful of sand and dropping it in his hair.)

TOM: Hey! You put sand in my hair!HANNAH: Then I guess you’ll have to put sand in my hair. TOM: (Scoops up sand but can’t reach HANNAH.) I can’t reach you!HANNAH: Then you’ll have to crawl over to where I am. (TOM

struggles and pushes with his arms. He ends up next to HANNAH and mimes pouring sand in her hair.) Hey! You put sand in my hair! Tom, I bet you could walk. With your crutches. When I helped you out of your wheelchair, I wasn’t lifting all your weight. Your legs were doing some of the work.

TOM: They were?HANNAH: They were. I’d really like to see your gazebo. Can we go

out there?TOM: Sure. But we can’t tell anybody.HANNAH: Come on. Help me get you back in your chair. (Struggles

to lift him into the chair.)TOM: I’m glad I’m your friend. But I’m sorry your aunt and friends never

write to you. (HANNAH pushes him OFF RIGHT. LIGHTS DIM.)End of Scene Five

ACT TWOScene Six

LIGHTS UP CENTER: The island school a week later. BETSY, DEANNA, and ZACHARY ENTER RIGHT. BETSY holds a small box.

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ELLA: She’s afraid to come up here herself. (Takes the milk pail from PETE.) Give me that. I’ll take it to the icehouse. (EXITS RIGHT.)

HANNAH: You and your friends are not very nice to me, and you’re really not nice to that poor Dora Raye.

PETE: She’s kind of…HANNAH: She’s kind of poor. And so are a whole bunch of other people.PETE: She’s always dirty.HANNAH: Then maybe she needs fixing up. (PETE stares at her.)

Why are you staring at me?PETE: You don’t belong here. (EXITS UP RIGHT. HANNAH

ponders this for a moment, wipes her eyes, and EXITS RIGHT. LIGHTS DIM.)

End of Scene Seven

ACT ONEScene Eight

LIGHTS UP STAGE LEFT: The courthouse the same day. JUDGE sits at his desk. MOTLEY ENTERS, hands him a file folder, then stands nearby.JUDGE: What’s this?MOTLEY: Hannah Hill. The child you insisted I place in the home

of her great aunt. Anyway, she has a distant cousin that lives in Florida. I had a bad feeling leaving the child with that old woman. The cousin is much younger, and she has other children.

JUDGE: You want to remove her from her aunt’s custody and place her with this cousin?

MOTLEY: It would be in the best interest of the child, if the cousin is willing.

JUDGE: (Stands.) Very well. Contact the cousin and see what she says.MOTLEY: With pleasure. (LIGHTS DIM.)

End of Scene Eight

ACT ONEScene Nine

LIGHTS UP STAGE RIGHT: The cabin several days later. HANNAH and DORA RAYE ENTER UP RIGHT, place their books on the table, and remove their coats. HANNAH is wearing one of the new dresses Ella made. DORA RAYE looks around in awe.HANNAH: My aunt’s in town. She made some scrapple and biscuits

this morning. I’ll get you some, in case you’re hungry.DORA RAYE: This is about the nicest place I’ve ever seen.HANNAH: It’s not bad, except I have to sleep on a corn shuck

mattress by the wood stove. (EXITS RIGHT and RETURNS with

HANNAH: Well, my friend Dora Raye really is poor. I guess compared to you, we’re all poor.

TOM: Oh, but we’re not rich. All of Betsy’s friends have a lot more money than we do.

HANNAH: Well, my friends and I don’t care about stuff like that anyway. We go to school together and do homework together and help Aunt Ella with her farm. And my friend Pete taught me how to milk cows and clean chickens.

TOM: Why do you clean chickens?HANNAH: ’Cause most people don’t like eating feathers. TOM: (Makes a sour face.) You mean you have to kill them?HANNAH: Unless you’d rather eat them while they’re alive. First you

have to wring their necks. Want to see how that’s done?TOM: I guess so. HANNAH: (Crosses behind TOM.) First, you grab their little heads

like this. (She puts her hands on either side of TOM’S head.) Then you pick them up and swing them around until their neck snaps! (She pretends to pull on TOM’S head.)

TOM: No! Stop it! (He’s a little apprehensive, then he starts laughing and giggling, and HANNAH laughs. She flops down beside him.) That was funny.

HANNAH: (Sarcastic.) It would have been funnier if I’d really wrung your neck and pulled out your feathers.

TOM: Except that I don’t have feathers. (Beat.) Would you like to go down to the beach?

HANNAH: I thought you didn’t like the beach.TOM: I don’t. I have to stay on the boardwalk. But you’re wrong about

it being ugly here. The beach is really nice. I wish I could swim in the ocean.

HANNAH: Well, I can’t swim. So there’s no way I’m getting in the ocean. But we can play in the sand. Let’s go. (LIGHTS UP CENTER as HANNAH pushes TOM DOWN CENTER. They look out at the AUDIENCE as if looking at the ocean.) Wow! It’s really amazing!

TOM: It’s the Gulf of Mexico. If you could walk across the water, you’d end up in Texas.

HANNAH: I’ve seen lots of mountains, but I never saw the ocean before.TOM: I saw mountains when we lived in France. HANNAH: (Points OFF RIGHT.) What’s that? At the end of the boardwalk?TOM: It’s called a gazebo. I’m not supposed to go out there, because

it’s about to fall down, but sometimes I do anyway. It’s got a roof.

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a biscuit on a plate. She hands it to DORA RAYE, who sits at the table and eats. HANNAH EXITS RIGHT again and RETURNS with a dress.) Why don’t you go back there and clean up a little bit, then try on this dress. I think it’ll look real good on you.

DORA RAYE: I can’t do that!HANNAH: Of course you can. It’ll make you feel good. You can’t learn

anything if you’re hungry and you don’t feel good about yourself. (DORA RAYE hesitates.) Well, go on. Be sure and scrub with soap and water. (DORA RAYE takes the dress and EXITS RIGHT. PETE KNOCKS and ENTERS UP RIGHT, wearing his coat and carrying his books. He looks contrite.) What’d you want?

PETE: I was… well… I wanted to say…HANNAH: Come on. Spit it out.PETE: I didn’t mean to be rude to you.HANNAH: That’s good to hear.PETE: We don’t get new folks around here. But that’s not the

reason. (Hesitates.)HANNAH: Well? Why are you rude to me?PETE: It’s Miss Carter. See, after my grandma died, Miss Carter kind

of became like my grandma. And I wasn’t too keen on sharing her with anybody.

HANNAH: She’s not like my grandma at all.PETE: You don’t know anything at all about Miss Carter, do you?HANNAH: Just that she’s usually in a bad mood. And she’s nice to

me anyway.PETE: She and her sister lived at the orphanage farm when they were

kids. Her sister was older. She left and promised to come back for Miss Carter. Instead, she got married and moved away and didn’t take Miss Carter with her. That’s what my mama told me. She doesn’t know anything else about it, except Miss Carter worked in town and saved enough money to buy this place. And she lived out here all by herself—until now.

HANNAH: I lived at the orphanage farm for a couple of months. It wasn’t too bad. But I like living here a whole lot better. Even though you and your friends aren’t very nice to me.

PETE: I was wondering… well… you’re real good in school and all and… well… could you maybe show me how you do that arithmetic?

HANNAH: You want me to help you with arithmetic? (PETE nods.) Hmmm. I’ll help you with your homework if you teach me how to milk the cow and do the other things that need doing around here. I want to help Aunt Ella with the chores when you aren’t around.

HANNAH: (Sarcastic.) You’re the best, Tom.TOM: You’re letting me win, aren’t you?HANNAH: Pretty much.TOM: Why?HANNAH: Because you get mad when you lose.TOM: (Angry.) I do not! (Meek.) Do I?HANNAH: You do. You’re like a little baby.TOM: I’m not a baby!HANNAH: Okay. You’re not a baby.TOM: No one likes me.HANNAH: They might start to like you if you weren’t such a brat.TOM: I’m not a brat! (Meek.) Am I?HANNAH: You’re a brat, Tom.TOM: What about you? Nobody likes you!HANNAH: Nobody here likes me. That’s for sure. They liked me

back home.TOM: This is your home! Not that other place!HANNAH: The other place is called Tennessee.TOM: Have you heard from anyone from Tennessee?HANNAH: (Sighs.) No. Not yet. I’ve written letters to my Aunt Ella, but

she hasn’t written back.TOM: Maybe she doesn’t like you anymore. Maybe she never liked

you. (HANNAH holds her hands up to her face, covering her eyes.) Are you crying?

HANNAH: No! (Pause.) Yes.TOM: Why?HANNAH: I have friends in Tennessee. They like me. I felt like I

belonged there. I never wanted to come here!TOM: My mother says everyone wants to live here! It’s a topical paradise!HANNAH: The word is tropical, not topical, and I’ve already been here

for two months. I haven’t seen anything that looks like paradise! It’s flat, it’s hot and humid, and it’s ugly!

TOM: My mother says you’re an orphan and nobody wants you. Even your so-called friends never write to you.

HANNAH: My Aunt Ella wants me. And I thought we were friends, Tom. I thought at least I had one friend here. But I guess I don’t. (Starts to EXIT LEFT.)

TOM: Wait! I’m your friend! Tell me about your other friends in Tennessee.

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PETE: (Laughs.) You don’t know how to milk a cow? You said you lived on the orphanage farm. They have cows there, don’t they?

HANNAH: I wasn’t there very long, and the boys did most of the farm work. I got stuck in the laundry.

PETE: There’s nothing to milking a cow. Cleaning the chickens can get a little messy.

HANNAH: Why do you clean chickens?PETE: ’Cause most people don’t like eating feathers. HANNAH: (Makes a sour face.) You mean you have to kill them?PETE: Unless you’d rather eat them while they’re alive.HANNAH: I might have to work up to that one. Okay. Sit down.

(PETE takes off his coat, sits, and opens his book. DORA RAYE ENTERS RIGHT, wearing Hannah’s dress and hair ribbons. Her face is clean and her hair brushed. She stops when she sees PETE, who stares at her.)

PETE: Who’s that?HANNAH: Who’d you think it is?PETE: How should I know? Wait a minute. (Crosses to DORA RAYE.)

Is that…?HANNAH: It’s Dora Raye, you dummy. Doesn’t she look nice?

(Crosses to DORA RAYE and leads her to the table.) Come on. We’re going to work on long division. (DORA RAYE keeps her head down. PETE can’t stop looking at her.) Are you going to work on these problems or stare at Dora Raye?

PETE: Oh. I just… well… you… you look nice, Dora Raye. ELLA: (ENTERS UP RIGHT but stops in her tracks when she sees

PETE and DORA RAYE.) What’s all this?HANNAH: We’re working on arithmetic.PETE: I’m helping Dora Raye here.DORA RAYE: No, you’re not!ELLA: (Indicates DORA RAYE.) That dress looks familiar. Are you

giving away the clothes I made you?DORA RAYE: (Stands.) I’ll go change back.HANNAH: Wait! (EXITS RIGHT and RETURNS with Dora Raye’s old

clothes, which she shows to ELLA.) This is what she was wearing. You want her to put it back on?

ELLA: (Studies the ratty clothes. To DORA RAYE.) Keep the dress. I can make more. (To PETE.) I’m gonna cook chicken stew. If you’d go get me a chicken, I’ll get started on some hominy and biscuits. (To DORA RAYE.) You’ll be staying for dinner. Whether you like it or not. (EXITS RIGHT.)

ACT TWOScene Four

LIGHTS UP CENTER: The island school a week later. BETSY, DEANNA, and ZACHARY ENTER RIGHT and cross DOWN CENTER. They’re wearing school uniforms or expensive-looking school clothes.DEANNA: That new girl looks a little rough around the edges.ZACHARY: Is she really your cousin? Miss Barringer said she was.BETSY: She’s a distant cousin. A very distant cousin. So distant it

doesn’t count.DEANNA: Why is she staying at your house?BETSY: My mother feels sorry for her. She was living in an orphanage.

I wish she had stayed in the orphanage and left us alone.DEANNA: Is she supposed to be like your sister?BETSY: (Angry.) She is not like my sister! My sister’s in France, and

as soon as the stupid war is over, we’ll go back to France, and we’ll all be together!

DEANNA: Sorry. My brother’s in Europe. We haven’t heard from him in a couple of weeks.

BETSY: That’s not the same! My father and sister were pulled out of the line while we were waiting to get on the boat for North Africa! There’s a big difference! They wanted my father because he’s an engineer, and they took Vicky to make sure he went along. They let us go because… because… they didn’t want my brother.

ZACHARY: Your cousin’s really good in arithmetic. She raised her hand, went to the board, and worked all of the problems the teacher gave her.

BETSY: Don’t call her my cousin! HANNAH: (ENTERS RIGHT, wearing a school uniform or nicer

clothes.) Hey, Betsy. (BETSY turns and stomps OFF LEFT. The OTHERS follow, leaving HANNAH ONSTAGE alone. She sighs and follows them OFF LEFT. LIGHTS DIM.)

End of Scene Four

ACT TWOScene Five

LIGHTS UP STAGE LEFT: The island beach house two months later. HANNAH wheels TOM ON LEFT. The desk is now set for checkers, and they play for a few moments.TOM: (Triumphant.) Hah! (Jumps all of Hannah’s checkers.) I win again!HANNAH: That’s right, Tom. You win again.TOM: I’m the checkers master! You’ve been here two months, and

I’ve beaten you practically every time.

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PETE: Maybe Hannah would like to help me pick out the chicken.HANNAH: Uh… well…PETE: (Playful.) Come on, Hannah. You said you wanted to help out

Aunt Ella. (HANNAH slowly stands, puts on her coat, and begins to EXIT UP RIGHT. To DORA RAYE.) Come on, Dora Raye! This is gonna be fun! (Puts on his coat and EXITS UP RIGHT. DORA RAYE puts on her coat and follows them OUT. LIGHTS DIM.)

End of Scene Nine

ACT ONEScene Ten

LIGHTS UP CENTER: The bus stop the next day. PETE, MARGARET, GINNY, and JUDD ENTER DOWN LEFT, cross DOWN CENTER, and wait for the bus as before. PETE is in the midst of telling them about Hannah.PETE: (Laughs.) First, she wouldn’t touch the cow. Then, she closed

her eyes, held her breath, and tried to milk it, but she wasn’t doing it right. Then, I showed her how, and she squirted milk all over her face! So I milked the cow, and she kicked the pail over and spilled it all! (HANNAH ENTERS DOWN RIGHT and joins the OTHERS.)

MARGARET: (To HANNAH.) I hear you’re not much of a dairy farmer.HANNAH: Nope. Not much. (To PETE.) I guess you told them about

the chicken.PETE: Not yet. (To the OTHERS.) She got sick when I wrung the

chicken’s neck.JUDD: We raise pigs. Come over and we’ll show you how to butcher

a hog.HANNAH: Maybe later.MARGARET: I wish I could answer all the questions in school like

you do.PETE: Hannah’s helped me with arithmetic. Maybe she’d help you… if

you were nice to her. (DORA RAYE ENTERS DOWN RIGHT and stands apart from the others. She is wearing the dress Hannah gave her, and the OTHERS don’t recognize her.)

GINNY: Is that another new girl?HANNAH: Nope. It’s Dora Raye. (Looks OFF LEFT.) Bus is here!

(Crosses to DORA RAYE and takes her arm.) Come on. (She and DORA RAYE EXIT DOWN LEFT.)

JUDD/GINNY/MARGARET: Dora Raye?PETE: Cleans up nice, don’t she? (They EXIT DOWN LEFT.

LIGHTS DIM.)End of Scene Ten

HANNAH: She’s not crazy, and she doesn’t live in squalor… whatever that means. When do I start school?

LYDIA: The school year is half over. Maybe you can start school next fall.

HANNAH: (Upset.) I can’t go to school?!LYDIA: Of course you’ll go to school. I’m just not sure where. Betsy’s

school is quite advanced. I don’t know if you’d be able to keep up.HANNAH: I made all As at my old school.LYDIA: I’m sure you’re a very good student. But your other school…

well, it may not have prepared you for the demands of Betsy’s school. But if you want to start this late in the year, I’m sure they’ll find a place for you. Anyway, I’m hoping you’ll be a good companion to the children. Especially to Tom. Would you like to meet them?

HANNAH: Could I please have something to eat?LYDIA: Dinner is served at six o’clock. I’ll get the children. (EXITS

LEFT. HANNAH plops down in a chair, exhausted. LYDIA RE-ENTERS.) Come on, children. (BETSY ENTERS LEFT, a scowl on her face. She crosses her arms and turns away from HANNAH.) Come on, Tom! Come meet Hannah! (TOM, in a wheelchair, wheels himself ON LEFT. He pauses and glares at HANNAH.) This is Hannah. She’ll be like a sister. (HANNAH stands and smiles.)

BETSY: I have a sister! That is not my sister!LYDIA: Now, Betsy. We talked about this.BETSY: I said I didn’t want her here, and you brought her here anyway!

(Storms OFF LEFT.)LYDIA: (To HANNAH.) I’m sure she’ll warm up to you in time. (To

TOM.) Tom, will you say hello to Hannah? She’s going to be spending a lot of time with you.

HANNAH: Hello, Tom. Want to show me the beach? I’ve never seen the ocean before.

TOM: No! I want to play checkers!LYDIA: Let’s show Hannah her room. You’ll have plenty of time to play

checkers before dinner. (EXITS LEFT. HANNAH starts to follow, but TOM stops her.)

TOM: Hey!HANNAH: What?TOM: Push me! (HANNAH pushes TOM OFF LEFT. LIGHTS DIM.)

End of Scene Three

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ACT ONEScene Eleven

LIGHTS UP STAGE LEFT: Lydia’s island beach house a week later. The desk and chair now represent a room in the island beach house. (NOTE: Perhaps add a potted palm or change the chair to a wicker one to suggest the Florida setting.) LYDIA sits at the desk, reading the letter Motley wrote. She picks up a pen and writes on the notepad.LYDIA: (As she writes.) “My dear Miss Motley, I received your letter

regarding my distant cousin Hannah Hill and have pondered in my heart what action I should take. I was unaware of her existence, as I was unaware of the existence of her grandmother. It is truly unfortunate that the child has no one to live with except an elderly aunt with a sour disposition and no financial resources. I knew that a branch of my husband’s family came from the Appalachian mountains, but we have never had contact with any of them. I am hesitant to accept the child, as I have three children. Until four years ago, we lived in France. As we were leaving, my husband and eldest daughter were detained by the Germans, and my two younger children and I escaped to North Africa and eventually returned to my family home in Florida. I have heard no news about my husband and elder daughter. Needless to say, our lives have been difficult.”

BETSY: (ENTERS LEFT and crosses to LYDIA.) I want to go shopping for new clothes. I don’t have anything nice to wear.

LYDIA: You have a closet full of clothes.BETSY: They’re out of style. I need a new dress for the party at the

Island Club.LYDIA: Where’s Tom?BETSY: The last time I saw him he was in the yard trying to fly a kite.LYDIA: Did you offer to help him?BETSY: He didn’t want any help.LYDIA: He can’t fly a kite.BETSY: You’re telling me.LYDIA: Why can’t you be nice to him?BETSY: Because he’s mean, and he’s whiny, and he drives me crazy!

I wish he’d go live somewhere else!LYDIA: Betsy! Do not say things like that!BETSY: I miss Vicky.LYDIA: I do, too. But we’ve been over and over this. We’ve got to stay

strong for your father and for Vicky. Now, go outside and play with your brother.

JUDGE: The report says Miss Motley sustained injury when she was tackled and thrown to the ground.

ELLA: She kidnapped my niece!JUDGE: She didn’t kidnap anyone. The child is a ward of the state.ELLA: Where is she?JUDGE: She’s on her way to Florida to live with relatives.ELLA: She don’t have any relatives but me!JUDGE: Actually, she does. And they’re better suited to care for her

than you are.ELLA: What kind of lowlife are you?JUDGE: That’s enough, Miss Carter! (Pauses for a moment.) That

leaves us with these charges. (To DORA RAYE.) How do you plead to disturbing the peace and assault? (No reaction.) Well? (DORA RAYE mumbles something.) What did you say?

DORA RAYE: I said guilty!JUDGE: Have you learned anything from this experience?DORA RAYE: Yes, sir!JUDGE: And what did you learn?DORA RAYE: (Loud.) Don’t trust judges!JUDGE: (Taken aback. To DORA RAYE.) Young lady, I could

sentence you to two months in jail and a fine of a hundred dollars for that comment.

ELLA/DORA RAYE/PETE: (Incensed.) What?!JUDGE: Suspended. All of you. Now go back home. I don’t want to

see you here again. (Pounds the gavel. Calmer. To ELLA.) You could file an appeal. For now, go back home. (ELLA, DORA RAYE, and PETE EXIT, followed by the JUDGE. LIGHTS DIM.)

End of Scene Two

ACT TWOScene Three

LIGHTS UP STAGE LEFT: The island beach house that evening. LYDIA ENTERS UP LEFT with HANNAH, who still wears her coat.LYDIA: You won’t need that coat, dear. (HANNAH removes it.) You’ll

have the little room next to the kitchen. It used to be a maid’s quarters, but our maid doesn’t stay with us.

HANNAH: I get my own room?LYDIA: Yes, dear. You get your own room. It’ll take some getting used

to. Goodness knows what kind of squalor you were living in with that crazy old aunt.

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BETSY: Can’t you find someone else to take care of him?LYDIA: (Sudden realization.) As a matter of fact, I might. (BETSY

EXITS LEFT. LYDIA returns to her writing.) “I do, however, feel a particular loyalty to children in need. We would gladly welcome Hannah into our home on a trial basis. Sincerely, Lydia Hill.” (Folds the letter, places it in an envelope, and seals it. EXITS LEFT. LIGHTS DIM.)

End of Scene Eleven

ACT ONEScene Twelve

LIGHTS UP STAGE RIGHT: The mountain cabin six weeks later. PETE, JUDD, MARGARET, GINNY, and DORA RAYE sit around the table. They each have writing tablets. MARGARET and GINNY share a chair. HANNAH helps JUDD work a math problem.HANNAH: Okay, Judd. What’s nineteen divided by four? (No response.)

Remember your multiplication tables?JUDD: Kind of. Well, no. Not really. HANNAH: (Hands him a book.) Here are the multiplication tables.

Memorize the fours, and I’ll get back to you. ELLA: (ENTERS UP RIGHT with two sacks of supplies.) What are

all these people doing in my house? (ALL but HANNAH and PETE cringe.)

PETE: Long division. (To JUDD.) And the answer is four and three-quarters.

ELLA: I can’t believe it! I go to town, and my house fills up with bratty children!

MARGARET: I guess we’d better go home. Thanks, Hannah.ELLA: You’re not going anywhere! Not until you finish your homework

and… and have some peach cobbler.GINNY: You made peach cobbler?ELLA: Of course I made peach cobbler! You’re gonna have peach

cobbler, listen to some music on our new radio, and then go home and do your chores!

OTHERS: Yes, ma’am. (There’s a KNOCK at the door. PETE crosses and opens it. MOTLEY ENTERS UP RIGHT. She’s surprised to see the room full of children.)

ELLA: You again?! What do you want?MOTLEY: I’m here to collect Hannah Hill. She’s going to a new home.ELLA: Are you crazy? Get off of my property!

MOTLEY: I thought you might be difficult. (Holds up a paper.) I have an order from the courts and a law enforcement officer waiting in the car. If the child is not turned over willingly, you’ll be arrested. (To HANNAH.) Get your things! (BLACKOUT.)

End of ACT ONE

ACT TWOScene One

LIGHTS UP CENTER: The train station that same day. HANNAH and MOTLEY ENTER LEFT and cross CENTER. HANNAH carries her suitcase and wears her coat.MOTLEY: Here’s your ticket. (Hands HANNAH a ticket.) You’re taking

the train to Tampa, Florida. Once there, you’ll be met by a driver who will take you to your new home on an island near St. Petersburg.

HANNAH: I don’t want to go to Florida. I want to stay with my Aunt Ella.MOTLEY: I will not entertain any further discussion of that subject.HANNAH: You never entertained any discussion. You just showed up

at my aunt’s house and took me away!MOTLEY: (Stern.) Now, listen to me. You are to get on that train, find

a seat, and stay there until the conductor calls out Tampa. You will then exit the train and look for someone holding a piece of paper with your name on it. You will then travel to a good home with two other children, and you will be grateful for the opportunity that I have given you. Do you understand?

HANNAH: I’ll get hungry. And I don’t have any money.MOTLEY: I’m sure your guardian will provide you with food when you

arrive at your new home.HANNAH: That won’t be till tomorrow! They sell food on the train,

don’t they?MOTLEY: I don’t want to hear another word out of you. There’s your

train! Go! (Points RIGHT and EXITS LEFT. HANNAH slowly crosses RIGHT and EXITS. LIGHTS DIM.)

End of Scene One

ACT TWOScene Two

LIGHTS UP STAGE LEFT: The courthouse the next day. JUDGE sits at the desk. ELLA, PETE, and DORA RAYE stand in front of the JUDGE.JUDGE: You’re charged with disturbing the peace and assault. What

do you have to say for yourself? (PETE, DORA RAYE, and ELLA look at each other.) Well?

PETE: Miss Carter didn’t assault nobody!

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