www.headingeast.com

HEADING EAST

The term "Asian American" did not come into existence until the 1960s. Previously, Americans of "Oriental" descent identified primarily with their respective countries of origin; China and Japan, for instance, have long endured a rocky history, and their American descendants felt no particular kinship. One Chinese American woman born in the 1950s remembers her parents telling her that even worse than marrying a Caucasian, would be marrying a Japanese. In the light of the Black power movements of the 1960s, however, the notion that Asians in America shared common interests, perspectives, and even a culture, began to gain currency. Still, as we enter the new millennium, fundamental questions remain: is this new identity an artificial and arbitrary designation, merely interest-group politics masquerading as culture?

Heading East tackles this question with beauty, humor, and a defiantly Pan-Asian point of view. In its embrace of history, it displays an ambition few American musicals are willing to claim. By unapologetically weaving together Chinese, Japanese, Korean, Filipino and Vietnamese experiences, differences as well as commonalities, this show makes a passionate case for the inter-relatedness of Asian joys and struggles. Within the framework of an assimilated Chinese American boy complaining about his F.O.B. (Fresh Off the Boat) roommate, Heading East draws a compelling line from the Chinese American pioneers of the 1840s Gold Rush through today’s computer-literate youth.

Heading East also boldly exemplifies an exciting new chapter in the development of musical theatre. The American musical works which have addressed Asian/Pacific subjects --- notably, South Pacific, The King & I, The Flower Drum Song, Pacific Overtures, and Miss Saigon – have all been the work of non-Asian authors. As Asian Americans have made enormous strides in the arts over the past four decades, our composers and authors have also sought to create a major mainstream musical which would encompass our unique point of view, in much the same way that African American works, such as Bring in Da Noise/Bring in Da Funk, have infused the traditional Broadway musical with new depths and insights.

With this recording of Heading East, an innovative work has been preserved for entertainment, wider exposure, and history. Owning and/or listening to this work, you too make history, by participating in the growth of both Asian American culture and the American musical theatre itself. Appropriately, a stunning range of talent has gathered to realize this dream, award-winning performers with resumes from Broadway and to the regional theatres, exemplifying the recent flowering of Asian acting.

So listen, laugh, learn, be moved. The voices you will hear in this extraordinary work dig to the heart of the American experience, the quest to making something new from the pieces of the past, and even to reinvent one’s own self. By revisiting the past, Heading East achieves something rare in art and life: a vision of the future.

---David Henry Hwang

HEADING EAST

The Story

As home lights dim, a Chinese lute player in traditional garb enters and begins to play a plaintive folk song. The music accelerates until it is reminiscent of a bluegrass banjo, finishing with a flourish. The curtain rises on the kitchen of a modern-day home.

ACT ONE

Timothy (Paolo Montalban), a 19-year-old Chinese-American home from college, complains bitterly to his parents Leonard (Ken Leung) and Diana (Ching Valdes/Aran) about his Chinese roommate ("Really Chinese from China"). They chastise him for his insensitivity, leaving him alone with his seemingly addled Yeh-Yeh (grandfather – Ming lee), who springs to sudden life, agreeing heartily about those "damned foreigners" who "always get in my way." Shocked but amused, Timothy (Paolo Montalban) points out Yeh-Yeh (Ming Lee) is himself a foreigner, at which Yeh-Yeh (Ming Lee) sniffs and proceeds to relate the story of his life-long quest to become an American, beginning with his departure from China during the California Gold Rush. When an incredulous Timothy (Paolo Montalban) points out that would make him over 150 years old, the old man explains "Chinese always look younger than their age." He describes the circumstances of his leaving, drawing Timothy (Paolo Montalban) into his tale. ("Try To See Me As I Was") Yeh-Yeh (Ming Lee) places his jacket upon Timothy"s (Paolo Montalban’s) shoulders, transforming the youth into his younger self, Tong Siu-Yee (Paolo Montalban).

And they are in 1848 China, although physically they have never left the kitchen. Yeh-Yeh (Ming Lee) rearranges the furniture to suggest his impoverished childhood home. His Mother (Ching Valdes/Aran) enters as Timothy (Paolo Montalban) goes "into character" as Siu Yee.

Siu Yee (Paolo Montalban) confronts Mother (Ching Valdes/Aran) with the revelation his future lies not in the Imperial examinations he has always been expected to take, but in a faraway place called California, where the streets are paved with gold. Although she at first reacts tragically ("I don’t want to live anymore! Kill me, then kill your father. He has no reason to live either!"). Mother (Ching Valdes/Aran) realizes Siu Yee’s (Paolo Montalban’s) chance for success may indeed be greater across the sea. As he tells of the wonders awaiting him in the West, assuring her he will return, she recalls the conflicting prophecy foretold by a Fortune Teller shortly after Siu Yee’s (Paolo Montalban’s) birth. ("There’s A Ship…")

Once in San Francisco, Siu Yee (Paolo Montalban) realizes the stories of a "Gold Mountain" have been greatly exaggerated. His mining efforts meet with little success, despite the advice of a fellow Chinese named Ma (Jason Ma). Mother’s (Ching Valdes/Aran’s) special good luck talismans, and some not-so-gentle prodding from Yeh-Yeh (Ming Lee), who coaches Timothy (Paolo Montalban) in portraying him as a youth. Taking his cue from a traveling medicine show, the resourceful Siu Yee (Paolo Montalban) discovers his own formula for success, exploiting myths of Chinese exoticism as well as the desperation of the homesick Chinese. A thriving business selling "Chinese lucky charms" quickly grows into "Shop Suey No.l Chinatown Emporium and Curio Shop." ("Gold")

It is now 1869, his livelihood established, Siu Yee (Paolo Montalban) faces the problem of obtaining suitable female companionship, as does Ma (Jason Ma), whose lack of funds separates him a whining wife whose piteous letters to America lament, "Is there anyone who knows the suffering of the wife of a Gold Mountain man. With a 20:1 male-to-female ratio in the immigrant population, their chances look grim. It’s no wonder when a young bride named Lee Fung (Fay Ann Lee) arrives to meet her intended husband How Ming Haw only to discover he was recently hit by a train after helping to complete work on the Transcontinental Railroad, Siu Yee (Paolo Montalban) begins to woo her before she has collected the urn containing Ming Haw’s ashes. Although her duty is to return the ashes to China and serve Ming Haw’s family, Siu Yee (Paolo Montalban) convinces her to set aside her honor and remain in the United States. ("A Long, Long Way Back Home") Time passes, and she soon realizes a life with Siu Yee (Paolo Montalban) is as much a life of servitude.

Timothy (Paolo Montalban) is taken aback when Yeh-Yeh (Ming Lee) mentions he and Lee Fung (Fay Ann Lee) didn’t get married right away. "You have to get married for the right reasons," says Yeh-Yeh (Ming Lee), and we are in a San Francisco park in 1890.

While Siu Yee (Paolo Montalban) speaks with a bank manager about a loan for his shop, a pregnant Lee Fung (Fay Ann Lee) meets Michiko (Christine Toy Johnson), a pragmatic Japanese picture bride who instructs her on the "proper" way to assimilate. With the old-fashioned attitudes and customs of the Chinese, Michiko (Christine Toy Johnson) maintains, it’s no wonder the government has passed the Chinese Exclusion Act, limiting Chinese immigration to relatives of American-born citizens and prohibiting Chinese immigrants from becoming naturalized citizens. The trick is to blend in with the Americans and adopt their modern ways, she says, holding up her own marriage of convenience as a model of such progress. ("This Is How He Says I Love You")

Meanwhile, Siu Yee (Paolo Montalban) is furious when the bank manager rejects his loan application, telling him the bank does not lend money to foreigners. Not even the fact the shop once made it into the "American newspapers" changes this decision. "I like the Chinese," says the manager. "It’s those damned Japanese – heathens with their picture brides and such!" Siu Yee (Paolo Montalban) rejoins Lee Fung (Fay Ann Lee) in the park, the latter elated at having made a new Japanese friend. Alarmed and determined to embrace the "all-American" institution of marriage, Siu Yee (Paolo Montalban) proposes on the spot.

All things considered, circumstances look pretty grim for the Chinese, until a miracle arrives in the form of the Great San Francisco Earthquake of 1906. With the destruction of the office containing city birth records, large numbers of Chinese emerge to claim their American birthright and bring their spouses and families into the U.S. Distributing small handheld flats to these "Native Sons," Yeh-Yeh (Ming Lee) relates how this sudden flood of citizenship led the ever-vigilant government to establish the Angel Island Immigration Station, whose countless real and "paper" sons and wives endured grueling interrogations to determine the veracity of their familial claims. ("Good OP Uncle Sam") Ma (Jason Ma) succeeds in bringing his wife over while Siu Yee’s (Paolo Montalban’s) chances for citizenship – and a get-rich-quick scheme selling his American "blood rights" to desperate emigrants in China – are thwarted when he is recognized as a foreigner who made good, thanks to a certain article in a prominent "American newspaper."

Yeh-Yeh (Ming Lee) and Timothy (Paolo Montalban) take solace in the fact Siu Yee’s (Paolo Montalban’s) son would be born an American citizen, in a country increasingly overrun by "Chinese, Japanese, now more Chinese." "Hey, you think that’s bad?" Yeh-Yeh (Ming Lee) confides to the boy, "Obviously you have never met a Korean!"

And we are in "Shop Suey Oriental Bazaar! In 1923. Siu Yee (Paolo Montalban) and Lee Fung (Fay Ann Lee) – now very pregnant – watch skeptically as Kim Hyung-Soon (?), a Korean businessman, shows them his latest invention: the nectarine, "the first fruit made for an American by an Oriental." When they belittle this accomplishment, Kim exits in a huff, leading SiuYee (Paolo Montalban) to spout his contempt for Koreans ("All they think about is money. They will do anything -- lie, cheat, steal…"), despite Lee Fung’s (Fay Ann Lee’s) chastising words. He is hardly more polite to Michiko (Christine Toy Johnson) when she arrives with a gift for his wife.

Tensions run higher when Siu Yee (Paolo Montalban) catches Ma (Jason Ma) – how his clerk – leaving work to participate in a Korean National Association rally against Japan’s recent annexation of the country). "Japan has no right to invade their country." Ma (Jason Ma) spits at Michiko (Christine Toy Johnson) as we hear shouting outside. Siu Yee (Paolo Montalban) moves to the window and finds a mob of angry Koreans on his doorstep, calling for a boycott of his "Jap-loving" business and hurling – what else? – nectarines. The excitement is too much for Lee Fung (Fay Ann Lee), who goes into labor to the dismay of all.

As all panic, Pak, a Korean gentleman, enters with an official statement. Siu Yee (Paolo Montalban) leaps at him and the two spew invective before Lee Fung’s screams overtake them. Pak (Joey Mendoza), a physician, takes control of the situation; Siu Yee (Paolo Montalban) protests, then comes to his senses and allows Pak (Joey Mendoza) to help his wife. The truce is short-lived, however; as Pak (Joey Mendoza) works, the two resume their bickering. Siu Yee (Paolo Montalban) calling Pak (Joey Mendoza) a "money-grabbing Korean troublemaker" and Pak (Joey Mendoza) criticizing the Chinese for their "old base ways" ("It’s no wonder the Americans hate you!") and condemning Siu Yee (Paolo Montalban) for supporting the barbarism of the Japanese. The confrontation escalates despite Lee Fung’s (Fay Ann Lee’s) predicament. Michiko (Christine Toy Johnson) finally puts a stop to it, making them realize for the time being that while they may see themselves as Korean or Chinese, they are all treated as "orientals" in America, and gain nothing from tearing each other down. "You go back to Korea, I to Japan," she says, "we can fight all you want. Here, we stand together."

Pak (Joey Mendoza) delivers Siu Yee (Paolo Montalban) and Lee Fung’s (Fay Ann Lee’s) beautiful baby boy. Moved, Pak (Joey Mendoza) leaves the shop, taking the mob with him. Siu Yee (Paolo Montalban) threatens to fire Ma (Jason Ma) the next time he finds him fraternizing with Koreans. In a private moment, Siu Yee (Paolo Montalban) celebrates his son’s birth and his joyous dreams for the boy’s future. He vows to raise his son an American, keeping him away from dangerous "foreign" influences and men like Pak. ("Yankee Boy")

Segue to the new restaurant Ma runs with his beleaguered wife. Siu Yee introduces his family, Michiko, Ma and Ma’s Wife to the delight of Thanksgiving. In a series of Thanksgiving dinners at the restaurant, we see the Americanization of Siu Yee’s son Leonard as he grows up. Meanwhile, the dutiful Lee Fung writes letters to the mother of her deceased first husband, painting an idealized portrait – for herself as much as her mother-in-law – of her life in America with How Ming Haw. As the years pass, we see the increasing gap between her actual and idealized lives, the strain it places on her marriage with Siu Yee as the two differ over Leonard’s upbringing, and her longing to return to China while Siu Yee is determined to "find a way to stay for good." ("Thanksgiving/Family Traditions") As the Thanksgiving of 1936 winds down, Siu Yee gives Ma’s new waiter Carlos – a young Filipino man with literary aspirations – some unseemly advice ("write a Filipino love story!"), and receives a letter from his Mother, thanking him for the money he sends home, but wishing he would visit: "Perhaps family is not so important to America, but please remember: you are Chinese."

But as Yeh-Yeh points out, the next year the Japanese army swarmed into China, "plunging the world into war." It’a 1942, and Siu Yee, Lee Fung, Ma and Ma’s Wife are watching Leonard’s debut as a pianist at a San Francisco nightclub. As the "all-Chinese" floor show begins, Leonard accompanies "the enchanting Jazmine Ho" as she launches into a specialty number urging Mr. Tojo and company to "Stay Out Of San Francisco." As the lights come up, a proud Siu Yee claps noisily, and it is clear to Lee Fung does not approve of Leonard’s activities. Leonard introduces his family and friends to Jazmine and lets it slip she is actually Japanese. Blood runs cold all around, and when Leonard tries to help matters by mentioning "Auntie Michiko is coming later," Siu Yee decides his evening out has come to an end. The four guests scurry out into the street. Jazmine, furious at Leonard’s indiscretion, launches into her next number ("All We Can Do Is Remember")

Siu Yee and Lee Fung return home, arguing about Leonard’s future. Siu Yee dreams of a life as a world-famous musician; Lee Fung advocates a more practical approach. When she expresses regret they have not spoken with Michiko in some time, Siu Yee urges her to put such dangerous thoughts out of mind. Because China is now a U.S. ally, the government is considering repealing the Exclusion Act. They will be citizens!

As they approach the shop, Siu Yee and Lee Fung notice the Japanese stores across the street selling off their goods in the middle of the night. They come across Ma and Ma’s Wife, who inform them the Japanese are being evacuated by the government for reasons of "military necessity". Jazmine’s torch song is heard in counterpoint to the proceedings.

Leonard arrives home with the news he has been asked to go on tour with the nightclub’s performers, to replace the act’s Japanese pianist. Lee Fung pleads with him to stay at home and learn the family business, but Siu Yee, thrilled and determined his son will be a success, orders Leonard to go upstairs and pack his bags. Michiko’s unexpected arrival exacerbates the situation. She bids Lee Fung goodbye, as she and her husband are going far away to avoid internment. Lee Fung empties the cash register and gives Michiko the money, over Siu Yee’s cries of treason. Michiko accepts the money humbly and departs as Siu Yee berates Lee Fung for her actions. This is the final straw. Lee Fung collects How Ming Haw’s urn, telling Siu Yee, "I’m going home. If this is what it means to be an American, I want no part of it." Siu Yee responds by grabbing a book of American history and reading aloud from it, to "study for my American citizenship." Lee Fung walks out the door as Siu Yee continues reading.

Timothy looks up from the book with wild expectation. Yeh-Yeh rises. "I have to go to the bathroom." He leaves Timothy alone in the kitchen as home lights come back up.

ACT TWO

Yeh-Yeh rejoins Timothy in the kitchen to continue the "lesson".

It’s 1954, and Siu Yee is now a man with time on his hands. His wife left him twelve years ago, which is about the last time he heard from his son, although, no doubt Leonard’s busy touring schedule makes it difficult for him to call home. Ma suggests now Siu Yee is a citizen, he might try his hand at politics, although he would have to start small. Siu Yee leaps at the suggestion, agreeing to run for president of the local Chinese American Association --- only to find that all his future constituents care about is whether Chiang Kai-Shek and his Nationalists will retake China from Mao and the Communists. Frustrated no one seems to want to tackle "real issues," Siu Yee realizes that despite his citizenship, even the Chinatown Chinese don’t see him as an American – a revelation hammered home by a nightmare in which he is tried as a Communist by the House Committee on UnAmerican Activities, with Dr. Pak, Carlos, Jazmine, Michiko and Mao himself star witnesses for the prosecution. ("Shame") Cowed, Siu Yee bows out of the race.

"Well, you still have a successful business," comforts Timothy, "and let’s not forget, a famous soul "Yeh-Yeh snorts at this and we are back in his shop in 1966.

Leonard returns home at last, bags in hand. It seems he never "made it" at all, and has stopped playing piano altogether, a fact his wounded father relishes. Yet, Siu Yee is indeed glad to have his son home, though he notices a major change has occurred in Leonard, who is unusually at peace with his failure. "The wheeling-and-dealing, clawing your way to the top," says Leonard, "…it’s not very Chinese." And shortly thereafter, Siu Yee realizes who has been teaching him such things, as Lee Fung appears at the door. Leonard takes his bags up as husband and wife confront each other once more. Lee Fung didn’t return to China after all, but decided to look after Leonard. In reflecting on their son’s journey, Siu Yee and Lee Fung reconcile in their own quiet, indirect way. ("Much Like You")

With his son and wife back, Siu Yee, concerned about falling back into "the old ways," moves his family to Los Angeles, where he opens a successful toy store. It is now 1978, and with his business thriving and the recent re-opening of China to the West, Siu Yee decides to travel there to bring his parents to the United States. Lee Fung is surprisingly reluctant about the trip, despite her obligation to return How Ming Haw to his family. At the last minute, she breaks her leg and is unable to travel. She nevertheless urges Siu Yee on.

Siu Yee returns home and, after a tearful reunion with his Mother, asks her to leave the dilapidated childhood home and live in comfort with him in the U.S. But in taking stock of her surroundings and the life she has built for herself, she refuses his offer. ("Only Home") Shocked, Siu Yee offers to remain with her, but she sends him back, telling him just as this is her home, America is his. As the number ends, we see Lee Fung in the backyard of their American home, scattering How Ming Haw’s ashes to the earth.

Yeh-Yeh reveals not long thereafter, Lee Fung died of cancer, never having returned to China. Timothy is speechless. "I said all Chinese look younger than their age," says the old man wistfully. "I never said they live forever."

As Timothy recovers from the blow, Ma and Ma’s Wife enter and we are in Siu Yee’s home in 1981. Visiting from San Francisco, they were leaving Disneyland when a black car began to follow them. Ma’s Wife suspects it’s the I.R.S., since Ma has been evading his taxes. They hightail it upstairs.

The occupant of the car is Michiko, who recognized them and now appears at Siu Yee’s front door. After an awkward silence, Siu Yee invites her in. She inquires about Lee Fung, and is shocked to hear of her death. They find some connection in their common sorrow. With difficulty, Siu Yee apologizes for his behavior so many years ago, only to discover Michiko and her husband never escaped internment. Michiko tells him how much she wanted to thank Lee Fung for the money and how it helped her in the camp, but an uncomfortable Siu Yee pleads with her to stop. She responds we must all remember the struggles of our past, in order to protect our future. ("All We Can Do Is Remember")

Anxious to break the tension, Siu Yee asks Michiko about the foundation she now heads. She gets as far as telling him, "We find foster homes…" when he asks her to speak to Leonard and his wife, who are having trouble conceiving a child. When Michiko reveals her foundation "finds foster homes for children from war-ravaged countries like Vietnam, Laos and Cambodia," the young couple and Siu Yee are aghast. Siu Yee lashes out at Michiko for suggesting his son adopt a Vietnamese child, and accuses Michiko of playing a "Japanese trick". Michiko is trying to "ruin" his son, he says, just as she did Lee Fung. Michiko turns on Siu Yee in fury; unlike Siu Yee, Lee Fung understood all immigrants come from the same place – "not from here" – and as such was willing to help everyone. "You remember your pilgrims who started Thanksgiving!" Michiko asks. "What do you think they were thankful for? That is American. She was more American than you will ever be." She leaves her business card on a table and exists as Siu Yee shouts after her that he built his life on his own, with no help from anyone.

When Yeh-Yeh tells Timothy to pick up the card, that anger transfers to the boy, who does not like what Yeh-Yeh is suggesting at all. He refuses to pick it up, railing at the pointlessness of Yeh-Yeh’s story – but in the end, sensing the truth of it. He is reduced to tears as Yeh-Yeh places his hand on his shoulders. "I was such a fool. No one does it alone. No one. Not you, not me. What would my life have been without my wife? My mother? My son? My friends? My grandson? My American grandson…" The figures in Siu Yee’s life appear to Timothy one by one, telling him the value of our lives --- and history – lies not in fame, fortune or victory, but in "the little ways we all connect." In the end, Timothy joins their song – and picks up the card. ("This Is How A World Is Made")

Yeh-Yeh wraps up the details of his tale and, his story said, sinks back into addled silence. Timothy tries to engage him in further conversation, to no avail. He removes the jacket, places it back upon Yeh-Yeh’s shoulders and leaves the stage, his world a little larger.

1. Try To See Me As I Was (Yeh-Yeh,

Timothy/Siu Yee, Mother) (3:13)

Mother Ching Valdes/Aran

China, 1848.

2. Scene: Siu Yee, Mother (0:53)

Fortune Teller Jason Ma

3. There’s A Ship… (Fortune Teller,

Siu Yee) (2:24)

Storekeeper Robert Lee

San Francisco, 1849.

4. Gold (Siu Yee, Storekeeper, Ma,

Yeh-Yeh, Salesman, Mother, Miner,

Spectators) (7:25)

Ma Jason Ma

Shop Suey No.1 Chinatown Emporium and Curio Shop, 1869

5. Scene: Lee Fung, Siu Yee;

A Long, Long Way Back Home (Lee Fung, Siu Yee) (5:03)

Salesman Nicky Paraiso

A park in San Francisco, 1890.

6. This Is How He Says "I Love You"

(Michiko) (2:42)

Miner Joey Mendoza

San Francisco Angel Island Immigration

Station, 1906

7. Scene: Siu Yee, Ma (0.11)

Lee Fung Fay Ann Lee

8. Good OP Uncle Sam (Native Sons,

Yeh-Yeh. Ma, Siu Yee, Lee Fung, Immi-

gration Official, Ma’s Wife) (5:34)

Michiko Christine Toy Johnson

Shop Suey Oriental Bazaar, 1923

9. Yankee Boy (Siu Yee) (1:55)

Native Son 1 Nicky Paraiso

Ma’s restaurant, 1924-1936

10. Thanksgiving/Family Traditions

(Siu Yee, Ma, Ma’s Wife, Lee Fung,

Mochiko) (8:02)

Native Son 2 Robert Lee

11. Scene: Siu Yee, Carlos (1:40)

A nightclub in Chinatown; a street in San

Francisco; Shop Suey, 1942

12. Stay Out Of San Francisco!

(Charlie, Ma’s Wife, Ma, Jazmine);

Scene: Siu Yee

, Ma, Ma’s Wife, Lee Fung, Leonard, Jazmine) (2:20)

Immigration Official Leon Ko

13. All We Can Do Is Remember (Jazmine);

Scene: Lee Fung, Siu Yee, Ma, Jazmine, Ma’s Wife, Leonard, Michiko (7:02)

Ma’s Wife Mimosa

 

 

ACT TWO

Ma’s restaurant; a political rally; a nightmare,

1952

14. Scene: Ma, Siu Yee (0:21)

Pak Joey Mendoza

15. Scene: Ma, Rallygoers, Siu Yee (1:25)

Carlos Ralph Pena

16. Shame (Prosecutor, Siu Yee, Pak, Carlos, Jazmine, Michiko, Chairman Mao Tsetung, House Committee On UnAmerican Activities) (5:33)

Chairman Mao Tse-tung Leon Ko

Siu Yee’s Shop, 1966

17. Scene: Leonard, Siu Yee (0:18)

Charlie Ralph Pena

18. Scene: Lee Fung, Siu Yee;

Much Like You (Lee Fung, Siu Yee) (4:13)

Jazmine Cindy Cheung

Siu Yee’s home, Los Angeles; a shopping center

In Chinatown; China, 1978

Scene: Siu Yee, Lee Fung, Dr. Lai,

Mrs. Lai

19. Scene: Mother, Siu Yee;

Only Home (Mother, Siu Yee) (5:06)

Leonard Ken Leung

Siu Yee’s home, Los Angeles, 1981

20. Scene: Siu Yee;

All We Can Do Is Remember (Michiko)

(3:20)

Rally Goer 1 Ralph Pena

The kitchen of a Los Angeles home, the present

21. This Is How A World Is Made