How I See You

(Lights come up on MABEL outisde the cabin, alone, sketching. It is the next day, mid-morning, the weak sun below the horizon casts a frozen, silver glow on the snowscape outside…  MABEL works busily at her sketches. The CHILD sneaks up silently behind her, curious. When MABEL turns to see her, the CHILD begins to run off, but halts when MABELS calls to her.)

MABEL: Wait! Please… Thank you — for coming back.

(The CHILD keeps her distance…)

Do you want to see?

(MABEL holds one of the sketches out for the CHILD. The CHILD approaches, reaches out and grabs the sketch, then sits on the ground and examines it. The CHILD’s movements are sudden and swift, like an animal’s.)

That’s you.

(The CHILD is stunned. SHE studies the drawing, touches her face.)

MUSIC #8: “HOW I SEE YOU”

WHAT I LOVE ABOUT DRAWING IS
YOU TAKE WHAT YOU SEE
AND FILL IT WITH WHAT YOU FEEL.
DOESN’T HAVE TO BE EXACTLY REAL.
HOW CAN YOU GRASP THE SCOPE OF ALL YOU SEE?
YOU DRAW A LINE.
YOU DRAW TWO.
YOU DRAW THREE.

AND SOON–
YOU’VE CAPTURED IT.
WELL, ENOUGH THAT YOU REMEMBER.
YOU’VE CAPTURED IT
JUST ENOUGH TO SHOW YOU WHAT IT WAS.
HOW IT SEEMED…
HOW IT MOVED…
HOW IT RAN…
YOU DRAW THE WAY THE STORY BEGAN.

I’ll sketch you. Take off your hat. 

(The CHILD sits and removes her hat, and MABEL begins to sketch…)

Will you tell me your name?

(Silence. The CHILD keeps studying the drawing of her.)

MABEL (CONT):
YOU DON’T SEEM TO BE TALKING, BUT
I GUESS IT’S ALL RIGHT.
SILENCE MAKES YOU AWARE.
STILL, YOU COULD BRUSH YOUR HAIR.
HOW SHOULD I DRAW THE FOREST OF YOUR SKIN?
I DRAW A LINE.
I DRAW TWO.
I BEGIN.

AND SOON–
I’VE CAPTURED IT
JUST ENOUGH TO MAKE A PICTURE.
I’VE CAPTURED IT
JUST ENOUGH TO REPRESENT YOUR SOUL.
HOW IT FEELS…
WHAT IT WANTS…
WHAT IT KNOWS…?
I FOLLOW WHERE THE DRAWING GOES.

(In response to a questioning look from the CHILD, MABEL demonstrates. Each lyric represents another drawing gesture.)

THIS IS HOW I BRUSH YOUR HAIR.
THIS IS HOW I STROKE YOUR CHEEK.
THIS IS HOW I TOUCH YOUR LIPS.
THIS IS HOW I SEE YOU.

(With a tentative echo, the CHILD joins.)

THIS IS HOW I BRUSH YOUR HAIR.

CHILD:
HAIR.

MABEL:
THIS IS HOW I STROKE YOUR CHEEK.

CHILD:
CHEEK.

MABEL:
THIS IS HOW I TOUCH YOUR LIPS.

CHILD:
LIPS.

MABEL:
THIS IS HOW I SEE YOU!
YOU’RE WILD AND SCARY.

CHILD:
SCARY?

MABEL:
LIKE YOU DON’T KNOW THE RULES.
YOU KNOW THINGS THAT
THEY DON’T TEACH IN SCHOOLS!
BRAVE.

CHILD:
BRAVE.

MABEL:
MYSTERIOUS,
LIKE MY DAUGHTER WOULD BE.

CHILD:
DAUGHTER?

MABEL:
YES. I’M DRAWING WHAT I SEE!

(Gaining confidence, MABEL moves closer to the CHILD.)

THIS IS HOW I BRUSH YOUR HAIR.

CHILD:
HAIR!

MABEL:
THIS IS HOW I STROKE YOUR CHEEK.

CHILD:
CHEEK!

MABEL:
THIS IS HOW I TOUCH YOUR LIPS…

(MABEL touches the CHILD’s lips, but the CHILD recoils.)

MABEL: You’re as cold as ice.

(The CHILD abruptly prepares to flee.)

Where do you go when you leave here? You’re alone, aren’t you.

(With a gesture, the CHILD asks for the sketch. MABEL hands it to her.)

I wish you would stay with us!

(The CHILD dashed into the forest and is gone.)

MABEL (CONT.):
AND SOON
I’VE CAPTURED IT!
NOT “IT,” BUT ENOUGH THAT I REMEMBER.
I’VE CAPTURED IT.
JUST ENOUGH TO TELL MYSELF I CAN.
WHY I DRAW…
WHAT I SEE…
WHAT I KNOW…
I DRAW SO YOU WILL NEVER GO.