Jessie Cates

Jessie Cates is a woman in her late thirties to early forties, characterized by her pallor and physical frailty. Struggling with epilepsy, Jessie finds herself unable to maintain employment and has been left by her husband. Her son, Ricky, is a troubled teenager involved in petty theft and drug issues, contributing to Jessie's deep sense of helplessness. She lives with her aging mother, Thelma, and is surrounded by a life filled with trivial gifts from her brother and sister-in-law. Jessie experiences life as a series of losses: the death of her father, the dissolution of her marriage, and the absence of her son. Her epilepsy, though controlled by medication, has long kept her isolated from the world, fostering a profound fear of external interactions.

Finding herself in a life she perceives as devoid of purpose or control, Jessie decides to end her own life, an act she views not as despair, but as a final assertion of autonomy. Her decision is methodical; she prepares by explaining household management to Thelma, delineating post-suicide conduct, and ultimately retreating to her room to end her life. This choice is her way of seizing agency over a life that felt scripted by external forces, with her mother orchestrating even her marriage to Cecil, whom she attempted to please but ultimately chose to leave over quitting smoking. Jessie still harbors unresolved feelings for Cecil, but her life events, compounded by her father's death and her dog's passing, culminate in this drastic, self-determined act.

Thelma Cates

Thelma Cates, Jessie’s mother, is in her late fifties or early sixties and is characterized by a mental resilience that allows her to dismiss unpleasant realities. She refers to Jessie’s epilepsy merely as "fits," underscoring her tendency to reshape facts to fit her narrative. Thelma is a widow who relies on Jessie for everyday tasks, although she is capable of managing them herself. Her living space is adorned with her needlework, and she derives joy from the sweets that fill her kitchen.

As Jessie reveals her plan to commit suicide, Thelma cycles through disbelief, anger, fear, and desperation, before settling into a reluctant acceptance. Despite her attempts to dissuade Jessie through conversation, scolding, and reminiscence, Thelma is ultimately powerless to prevent her daughter's decision. Her love for Jessie is evident, yet her maternal behavior may have inadvertently contributed to Jessie's plight, as she often imposed her own will on Jessie’s life choices. After Jessie's death, Thelma follows Jessie's instructions, calling her daughter-in-law, a testament to her stoic acceptance and coping mechanism.

Dawson

Dawson is Jessie’s brother, who remains offstage throughout the play. Jessie's decision to exclude him from her final moments stems from her belief that his presence would have made her feel foolish for not having taken such decisive action a decade earlier.

Loretta

Loretta is Jessie’s sister-in-law, who, like Dawson, does not appear onstage. Her interactions with Jessie are limited to giving thoughtless holiday gifts, indicative of a superficial relationship.

Cecil

Cecil is Jessie’s estranged husband, chosen for her by Thelma when he was hired to build an unnecessary porch. Jessie’s attempts to please Cecil were futile, as he left her with an ultimatum: quit smoking or quit him. She chose her autonomy symbolized by smoking over the marriage. Despite loving Cecil, their relationship disintegrated, contributing to Jessie’s sense of loss and isolation.

Ricky

Ricky is the son of Jessie and Cecil, a teenager who is "gone bad," with no clear whereabouts. He is embroiled in petty criminality and drug use, factors that exacerbate Jessie's sense of failure and despair. Though he does not appear in the play, his troubled existence is a poignant reminder of Jessie's perceived shortcomings as a mother.