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Day 23 Assignment
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6 Replies
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Key Scene 3: Climax – the Ultimate Expression of the Conflict
What I learned writing this lesson: I’m struggling now. I’m not nearly happy enough with this response for my assignment. I’m kind of stuck, though. I can see that I’m not really putting my protagonist up against the wall, and it’s mushy as to whether his motivations are clear based on the story so far. I think this will call for major rewrites.
One bit of “post-doc” work I intend to do is to use the outlines of these lessons and do a “critical viewing” of the four movies involved in examples during the course. It’s been a while since I’ve seen any of them, and what I hope to do is to see the movies with the outlines in my hand so I can identify the turning points, the growth of my protagonist, the Old Ways and the New Ways, in THOSE movies. Then I’m going to get busy with a rewrite of this. I still think there’s a great story in here, but it hasn’t emerged yet. But I’m pretty confident that now I have a foundation for rewriting it to make it a lot better.
INT – COMMANDER’S OFFICE – DAY
HART: stand at attention, Mr. Cuccinelli”.
CUCCINELLI; sir, I……………
HART: (cutting off CUCCINELLI) Mister Cuccinelli, I have had three heart-to-heart talks with you about your recklessness, your ignoring protocols, your wild and adventurous spirit. I’m sure it’s charming when you’re chasing women, but I’ve told you – repeatedly – that it has no place here, in combat. You must be a warrior. You can’t take giant risks. You have to do things by the book”.
CUCCINELLI sir, I promise you I have learned my lesson. I am not the young ensign that showed up here months ago. I have grown, I am, today, a warrior. I take my time, I do things by the book……………..
HART: is that so, CUCCINELLI? Is that why you have a bunch of bodies going home to their mothers and fathers? What is it about you that you are so careless with other peoples’ lives? Do you not care about your own? Now, let me tell you – I’m going to get you drummed out of this man’s Navy if it’s the last thing I do. You are a danger to other GIs, you are a danger to this squadron, you are a danger to me. You are confined to quarters until I can get your ass flown out of here on a PBY. There’s likely to be one in the next few days. In the meantime, you are not to go near the 129. Do you understand me?
CUCCINELLI yes, sir.
HART: dismissed.
CUCCINELLI does a smart about face, and leaves the Commander’s office.
INT-QUONSET HUT – DAY
CUCCINELLI aw, man, now I’ve done it. The old man is going to kick me out of the squadron and probably out of the Navy. And it’s ironic because…………..
HOFFMAN you had started to do things by the book?
CUCCINELLI yeah, that’s irony all right. I have sunk a destroyer and a dozen barges in less than a year. I understand why the old man had a hard on for me in the early days. I really was dangerous. But now? Now I’m a do-it-by-the-book sailor, still sinking barges. What does the old man want?
HOFFMAN; maybe, uh, he just doesn’t see the change in you?
CUCCINELLI: and now there’s no way to show it to him.
HOFFMAN: sorry to hear it, Cooch. You and I have had our differences, but I have come to respect you as a skipper, even if you still kind of have your ass hanging out all the time.
CUCCINELLI walks out of the Quonset hut.
INT – QUONSET HUT – NIGHT
CUCCINELLI is pacing the floor in the officer’s quarters. There’s a radio in the corner with occasional chatter. CUCCINELLI is hardly paying attention. Then, there’s a lot of shouting and noise, and HOFFMAN is looking for help.
CUCCINELLI can’t help himself. He assembles his crew, gets on the 129 in a matter of minutes, casts off and heads off into the night. He races out to Hoffman’s location (HOW DOES HE KNOW THIS?) and adds his firepower to HOFFMAN’s, saving the 159 and sinking two more barges.
EXT- DOCK – DAWN
HOFFMAN and CUCCINELLI come into the dock with brooms attached to their masts. Once HOFFMAN reports CUCCINELLI’S exploits, HART has a change of heart and stops the transfer out of the squadron.
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Gerry Cousins – Act 4 Resolution (This is ACT II all scenes of my straight play)
What I learned doing this assignment:
This is now the complete second act to my stage play, MARFA LIGHTS. This is a play that was good but never good enough with a complete face life. Just as my characters had an old way and found a new way in the course of their journey, I have learned a new way to writing this script–also a journey and a complete departure from my playwriting courses. Outlines made errors stand-out and new choices became easier to make because I didn’t have to worry about throwing out all my beautiful writing! Now onto wordsmithing, polishing and perhaps a Final Draft–we’ll see
ACT II – CELESTIAL TWINE
SCENE 1 – Crisis
Marfa, Texas – GAVYN and RAND’s Great Room at their All-Purpose Bar – Very late Tuesday night (actually 3:18 a.m. Wednesday).
The single level adobe house is ablaze with light. An impressive vaulted ceiling give the room a feeling os stature and space. Comfortable eclectic furnishings include a smattering of antiques nestled among contemporary sculpture and paintings. There’s an unlit fireplace. The large square bar is prominent in the room. Through an open window the barely audible sound of the desert night.
RAND and GAVYN have been abruptly awakened. THEY are rumpled and in night clothes. RAND is the taller and leaner of the two, while GAVYN, in rimless glasses, white/grey hair and beard looks older.
The two men and a tired disheveled MOLLY, in street clothes, are at the bar.
GAVYN stands drinking something from a brandy glass over ice from behind the bar. RAND, on a stool next to MOLLY, works on a piece of fruit. Both watch MOLLY eat voraciously from a plate of reheated leftovers as SHE delivers a manic recount of what brought her.
MOLLY
…Todd left me and his girlfriend, Heather, died. Whereupon, I told him not to even think about coming back. And then the Guides–
RAND
(Interrupting)
–The Guides…?
MOLLY
They’re like angels, Rand. My friend, Simon, channels them. Anyway, they told me about lights in the sky in Marfa. That’s when I remembered you guys live here. I went directly to the airport–do not pass GO–and booked a flight. But there are no flights to Marfa. You have to go to midland or Odessa–whatever it is–hours and hours from here. And while I had my passport, I never took my license. I didn’t know your phone number–did you know neither of you is listed? So, I hitched a ride with some locals. We made a wrong turn and almost drove across the border. Can you imagine? I’d never seen the Rio Grande before–only a muddy gulch–unbelievable. Cowboys, artists, drug runners–the whole world…And then I found this sanity…kind of a second to second sanity. Anything could happen. Like nothing I’d ever felt before.
GAVYN
You could have been robbed–had your head chopped off. Drug cartels are–
MOLLY
Then the broken down truck fiasco and a series of simpatico Mexican hombres, “Hable un pocissimo Ingles.” each of whom had a go at getting me here. Aye, aye, aye. How much trouble they had keeping their hands to themselves. Then, of course, I had to find out where you lived–
MOLLY stops long enough to lick her fingers.
MOLLY (CONT)
This sauce is unbelievable. Is there more?
GAVYN RAND
Good Lord! Finish it. Help yourself. Whatever’s on
the platter–
MOLLY
(Going on non-stop)
–I mean, what could I do? Todd got pissed when I wouldn’t let him back in the house and he froze my accounts. Here I am. I have no money. I didn’t want to spend the night on the street, and…
RAND
…And?
SHE stops to finish her wine and take a breath.
GAVYN
How ‘bout some water?
MOLLY doesn’t answer. HE puts water and ice into her wine glass.
MOLLY
Pretty crazy, huh? Oh, my God, I’m on this pilgrimage, right? To–
GAVYN
(Interrupting)
–You just left?
MOLLY
And like BAM!
GAVYN
Molly!
RAND
No one knows where you are?
MOLLY
Cosmic synchronicity, Rand. The universe came through for me!
RAND
Wait! Slow down–
MOLLY
–Aren’t you listening, guys?
GAVYN
Molly Stuart?!?!?!?!
MOLLY
(Suddenly startled)
Yes, what… What did I do?
RAND
Nothing. You–
MOLLY
(Interrupting)
–I’m sorry.
GAVYN
That’s okay.
MOLLY
Can’t stop talking.
RAND
Take a moment. Catch your breath.
MOLLY
It’s not my fault. I had all these cartons of junk. They kept multiplying and I had to get rid of them. I was being buried. I never meant to hurt anybody. I wasn’t-I couldn’t-I couldn’t spend the rest of my life locked inside a multitude of-of-of stuff.
(Beat)
MOLLY (CONT)
Did I mention I’ve been seeing a healer?
RAND GAVYN
No…? Yes. They guy who channels?
MOLLY
That’s where it gets a little fuzzy?
GAVYN
Fuzzy?!
MOLLY
Yesterday, at Simon’s, everything turned on its side. Like a kind of vertigo…
SHE attempts to recall it.
…A succession of images in a dream. I was supposed to go back there tonight. About…I don’t know. Maybe I shouldn’t be here. But here I am. And it’s right now. I-I can’t remember!
RAND
Molly…listen to yourself. You’re like some-some…
MOLLY
That’ what I’m trying to tell you. I don’t know. I was unconscious. No, not true. I was fully conscious–more conscious than I’ve ever been. What are you asking me? I’m not like that now!
GAVYN
Like what?
MOLLY
Not like that. I’m all grown up. I want something else, all right?!?
RAND
She picked up and left, Gavin!
MOLLY
Didn’t you?
GAVYN
Didn’t we? Didn’t we what?
MOLLY
Pick up and leave–for good.
GAVYN
All of a sudden? No. We made an orderly plan and moved here from New York. We told people…mailed our forwarding address…made a decision.
MOLLY
I dropped everything and made my escape.
(SHE looks at both of them for a long moment)
Why did you leave? I didn’t know how much I’d missed you until I got here.
(Then…)
This is wrong.
GAVYN
Excuse me.
MOLLY
Over five years…you Never called once. A part of my life…gone. I though there was some kind of…love–
Immediately SHE begins to leave. They stop her.
I shouldn’t be here. I have to go.
RAND
Go? You–you’re joking, right? You just got here. This is all a big…Who put you up to this?
MOLLY
(Lost by the question)
Huh?
(Then)
I’ll send a check for the food. I have your address now.
GAVYN
Molly–
MOLLY
Thanks for everything, Gavyn, Rand. Been terrific seeing you. Food couldn’t have been better. Let’s do this again soon.
RAND
Oh, this is great! Great! You barge in here in the middle of the night. Pound on the sliding glass bedroom doors looking like a Goddamn apparition. Nearly scare the shit out of us! You’re starving! You tell us these…these things. You have no money–no place to stay. You can’t leave!
MOLLY
Get a life!
GAVYN
(Calmly)
Exactly. Why we moved here.
MOLLY
Well, good for you. I’m looking for mine.
GAVYN
I retired from teaching. We traveled some–saw the country…Grand Canyon, Big Sur, caverns in New Mexico, everywhere. Then we chose to come to Marfa. We went back to New York, packed as little as we could get away with, and separated ourselves from the financial and social crap we’d gotten caught up in…the bull shit obligations that filled our days. We arrived like two babes–here to begin again.
RAND
A new life.
MOLLY
Whatever that means.
GAVYN
Could have been the Donald Judd effect…I don’t know. I took my work off the market. Sculpt for my own pleasure. Teach when I consider someone worthy of teaching. Donate my time…a kind of philanthropic pursuit of…existence.
MOLLY
(Turning on RAND)
And you, Rand–you stopped doing women’s hair? Your mother’ll be thrilled. What’s your fancy? Too old for ice skates?
RAND
(Quietly)
Upholstery. I find great satisfaction in making something worn, new again.
(Attempting to draw her back)
We’re all of us older. There’s some virtue in that.
MOLLY
Not me! That’s your problem. I’m going home.
GAVYN
How?
MOLLY
I am. For good! Done. Finished! Bye bye boys! I shouldn’t have come.
RAND
You’re going home? You just “escaped.”
MOLLY stands in place, trying to sort this out in her head.
MOLLY
…I never stopped thinking about you and…
GAVYN
What?
MOLLY
I don’t know. I don’t know.
GAVYN
You came to see the lights and out of the blue recalled were we were…and what?
MOLLY
Yes. I’d forgotten. And then at Simon’s last night, I remembered
(Hysterical laughter breaking through)
I wanted… was suddenly desperate…to see you–
RAND GAVYN
Here we are. Wish granted. (Interrupting)
–Why Molly?
MOLLY
You disappeared.
GAVYN
(Losing his patience)
You knew where–
MOLLY
(Interrupts with a shrug)
…
RAND
(Sensing that GAVYN is about to blow, HE stops him)
–Gavin…!
GAVYN
(Relenting)
All right. Granted. There…was…I don’t know what to call it… a kind of bond between the three of us. Eons ago. Then seeing you again after so much time–it’s quite startling.
(Beat)
Anyway, you’re here. Stay the night. And tomorrow…well, we’ll see tomorrow.
GAVYN stares at MOLLY, RAND stares at them both.
MOLLY
(Wistful, like a little girl)
May we see the lights?
RAND GAVYN
It’s the middle of the night. Sure.
MOLLY
Who’s Donald Judd?
GAVYN
An artist friend of mine–a minimalist. You and Todd undoubtedly met him at a party. He was kind of mentor to me. Then when he left Tribeca for here, he brought with him a kind of vision. The lady at the Chamber of Commerce says if not for Judd, “Marfa would have dried up and blown away.”
MOLLY
Oh…
Beat.
RAND
There’s a guest room up the hall from ours. We’ll get you settled in.
MOLLY
Senor Luis left my bags on the front porch.
RAND opens the front door to get them. MOLLY, her energy zapped, wordlessly watches RAND retrieve her things. Dutifully, SHE follow him out of the room GAVIN’s eyes trail both of them.
RAND
(From O.S. calling)
Gavin, you coming?
GAVYN
(Lifts his glass for a toast. Smiles)
The thrilling terror of having nothing and everything to lose! You go, Molly, girl!
(Drains his glass)
I’ll get the lights.
As HE does…
STAGE LIGHTS DIM
END Scene 1
ACT II
Scene 2 – Turning Point
Marfa, Texas – 10:30 Wednesday evening – a three-quarter moon hangs in the sky.
With the dimly lit Viewing Deck as a backdrop, the unobscured brilliant starlit dessert night sky, facing in the direction of the Chinati Mountains, is visible to the AUDIENCE. Despite the nocturnal sounds of the living desert, the overall effect is a density of silence*
The Mystery Lights are observable on the horizon. JENNA and SID, traveling all day, are exhausted and hungry, but have determinedly made this stop a priority.
A car door opens and closes. After a moment the headlights go dark. Sound of feet crunching on gravel. JENNA and SID enter from O.S. We hear them before we see them.
JENNA
Give me the flash light, Sid. I want to read the plaque.
SID
Brrr. Colder than a witch’s tit!
_____________________________________________________________
*AUTHOR’S NOTE: As much as possible, a recreation of the experience of witnessing the Marfa Mystery Lights as well as the desert night should be attempted for the AUDIENCE.
JENNA
Zipper up. Oops. Careful, don’t drop our dinner.
SID
(Handing her the flashlight)
Here.
JENNA
Much obliged.
SID
Couldn’t believe we had to do everything but fart the Star Spangled Banner for two lousy burritos. What’s bedtime in Marfa?–Everything’s closed. Entire town’s smaller ‘n my dick.
JENNA
Shhh. I’m trying to read.
SID
Out loud, please. Gonna take a look.
HE steps in front of the flashlight and onto the platform of the viewing area.
No one here. Not even a friggin’ bench.
JENNA (O.S)
It’s from the Historical Commission.
SID scans the night sky, abruptly stops in his tracks. Transfixed, HE watches the lights “pop” slightly above the horizon.
We hear JENNA read the plaque inscription:
“…MYSTERIOUS AND UNEXPLAINED LIGHTS THAT HAVE BEEN
REPORTED IN THE AREA FOR OVER ONE HUNDRED YEARS, HAVE
BEEN THE SUBJECT OF MANY THEORIES. THE FIRST RECORDED
SIGHTING OF THE LIGHTS WAS BY RANCHER ROBERT ELLISON
IN 1883…”
Blah, blah, blah. Nothing new here–
SID
(Shouting excitedly)
–Get out here, Jenna. Quick! You’re missing it.
HE stands at the railing which marks the outer perimeter of the viewing area. The dessert floor is five or six feet below. SHE’s at his side in a flash.
JENNA
You’re sure?
SID
To the left of that pole. Look at that white light over there split into three lights–orbs–side by side. One’s up…now down.
(THEY are quiet for a time watching)
Did you leave the binoculars in the car?
JENNA
We haven’t unpacked…
SHE looks around to find three View Finders–including one of a child’s height or to accommodate a person in a wheel chair. JENNA chooses the one closest to SID and presses her eyes to the lenses. SID is too caught up in the lights to speak.
Over there…Trailing tails–like comets. Two baby red ones. And they’re gone. That one’s crashing to the ground..oops not quite. Now bright light…dim…beaming…chasing. One, two–now four. What happened? They’re all–No, wait! There’s another one.
A long moment…neither speaks.
SID
I guess…we’ll wait a bit.
JENNA moves to Sid and spontaneous-ly kisses him full on the mouth. Neither is surprised by this.
In the background car lights approach. Sound of doors opening and closing, feet crunching on gravel. Other people here to visit.
JENNA
Goddammit, Sid, they exist. We did it!
SID
Unquestionable.
(Hunger brings them back from their reverie)
I just remembered I’m starving.
JENNA
FAmished. Let’s eat.
SID
Jenna, see here, the ledge on the other side of the rail. I’ll help you climb over and sit. Then you can help me.
JENNA
Not exactly where I planned to break my neck.
SID and JENNA situate themselves on the ledge in full view of the stars with their backs to the AUDIENCE.
At this point in the play, and for this scene only, we enter a dual reality. Both writers and their characters are on the stage at the same time. None recognizes the other.
GAVYN, MOLLY and RAND enter from O.S. All at once MOLLY is buttoning, zipping and wrapping a scarf around her neck.
MOLLY
(Enters already speaking)
Chilly? Surely you jest. Freezing my ass off is mor like it.
RAND
Ahhh. The desert at night.
GAVYN
(Addresses the backs of two strangers, we know to be JENNA and SID))
Evening folks. Anything going on?
SID
A moment ago, it was spectacular.
JENNA
Absolutely spectacular.
GAVYN
Quiet at the moment.
SID
They we sure popping when we got here.
GAVYN
Thanks.
MOLLY
(To RAND and GAVYN)
Never mind the lights. Today was…I’ll never forget it. The Foundation you’re working with, Gavyn–the whole concept– it’s…remarkable. I never heard of half the things we saw. Imagine leaning against the bar in the Officer’s Quarters where General Patton stood…and German POWs painting murals. I don’t want to spoil the day now by ending it with a disappointment. There’s nothing here.
RAND
Molly, your…your friend sent you here to see the Lights.
MOLLY
…Simon’s Guides. How do I know this whole thing–that they aren’t a crock?
RAND
Because the Lights are real. We’re here with you. We’ll hang around. They’ll be back.
(Pointing)
The top of the tower glowing red over there, Molly, use that as a marker. Any light to the left of it that appears and disappears–
MOLLY
(Interrupts)
I’d rather go.
Both men walk away closer to the railing and shrug.
I read somewhere–No!–I heard it on the trip here. Seems the Great Spirit made the distant mountains in the area and filled them with life. Then he threw all the jumbled rocks remaining from the creation into a huge pile in the middle of the leftover wasteland. The Devil claimed the rock pile and the desolation, and turned it into hell. Then he added things that bite, sting or prick. When anyone died in that hell, the lights became the spirits of the dead who wander–
RAND
(Interrupting her)
–Hell of a place the Devil has for hell–
MOLLY
(Interrupts him)
–It’s make believe. Fantasy. All of it illusion. I hate it. I keep doing the same thing over and over, hoping for something different. Marco Polo. The definition of insanity. Could we leave now? Please.
GAVYN
Use the View Finder.
MOLLY
I don’t want to.
GAVYN
(Then)
There! There they are. Look at the sky. Point–
MOLLY
Point where? I–
GAVYN
(Interrupts)
–Look, confound it! You have to want to see them.
Insisting, RAND moves to MOLLY and points the View Finder. SHE finally allows herself to see.
MOLLY
Oh-my-God. The Lights. Look! I see them. I do. They’re really real.
GAVYN
That green one split into six lights–see how they’re chasing each other.
MOLLY
They’re playing in circles. One, three, four, five, seven.
EVERYONE is quietly absorbed watching the lights.
MOLLY, her eyes on the sky, finally speaks, Her voice filled with emotion.
I get why the Guides sent me here. Magic exists after all.
While MOLLY, GAVYN, and RAND continue to watch the Lights, SID stands, helps JENNA to her feet and, laughing together, THEY carefully get themselves back on the viewing side of the deck.
SID
(JENNA almost loses her balance)
Careful.
JENNA
I-I’m good, I’m good.
SID
Give me your hand, Jenna. I’ll help you down. Hold on to that empty burrito bag.
JENNA
Mustn’t litter the desert.
Now safe, a wordless communication passes between them. THEY hug.
Hope someone’s at the Inn to check us in. What time is it? My phone’s in the car. Do we even have any bars out here?
SID
I presume some time after eight–um, not accounting for the time change.
(Then)
Damn! It’s past ten here. That burrito guy–I owe him an apology. What an asshole I can be!
JENNA
Right now, I need a shower and a bed. Tomorrow?
SID
Every night we’re here.
JENNA
(Turns once again in the direction the lights)
Life lives between the poles of possible and impossible. Hasta la vista lights.
SID and JENNA leave. GAVYN follows them with his eyes.
MOLLY, GAVYN and RAND remain in place. MOLLY, almost giddy with joy, begins calling the lights as they appear.
MOLLY
There…there…there. Two little green ones followed close behind by a red. Now bright white…no, blue…
RAND
Hear that verve! You can always get a job announcing plays for the Dallas Cowboys!
MOLLY
Carpe diem!
GAVYN
It’s late. WE should think about getting home. Molly? None of us had much sleep last night.
MOLLY
But–
RAND
(Interrupting)
–Gavyn’s right. More of the same and getting colder.
MOLLY
I stopped noticing. Another minute then, please…alone.
RAND and GAVYN indicate their agreement and walk together in the direction of the car.
MOLLY stands unaccompanied under the canopy of desert night sky and light.
(To no one in particular)
“When you achieve being every part of you knows it.”
(Then questioning…))
But how does this inform my life?
RAND (O.S)
Molly, c’mon. Let’s go.
Taking her leave of the site, SHE (like JENNA) turns back for another look, then catches up with RAND and GAVYN
MOLLY
(Calling out)
I owe you–both of you.
RAND (O.S)
We enjoyed it too. You only had to let it happen…
GAVYN (O.S)
Truly a splendid day…
Their voices fade and THEY are gone from the stage. Crunching on gravel. The sound of car doors. Car lights, motor, etc.
The Mystery Lights continue their magic. A quiet moment in the desert.
The stage lights come up blindingly full, obliterating the night sky.
INSTANTLY THE STAGE GOES DARK.
END Scene 2
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A MOMENTARY PAUSE
ACT II
SCENE 3 – Quotidian (Belonging to the Day)
RAND and GAVYN’s great room – Late morning – Thursday, the next day.
Sunlight streams in.
RAND, seated behind the bar read-ing the local newspaper while enjoying a bowl of cereal and coffee, looks quite fit and trim. HE wears jeans, a T-shirt and cowboy boots.
Various cereal boxes sit on the bar-top together with a single-cup coffee maker, cups, bowls, napkins, etc. An out-of-sight refrigerator is below. The hum of a local news station plays unintelligibly in the background.
Scene is played in real time.
MOLLY enters wearing a long dressing gown. SHE is radiant–a lovely site to behold.
MOLLY
Morning, Rand
RAND
(Looks up and smiles)
Been awake a while…?
MOLLY
On the phone.
(Beat)
Up early on this spectacular day. Gratitude, it turns out, is an indispensable part of bliss.
RAND
Okay…
MOLLY
I was actually listening for voices–thought you might be sleeping in. Then I heard the news station.
RAND
Gavyn’s gone to the grocery store for coffee pods–we’re addicted to them.
(Then)
Help yourself. Sugar’s right there.
(We hear a car door O.S.)
I think that’s him in the driveway.
MOLLY
Is there tea? And would you happen to have a Splenda?
RAND
Chamomile or Lipton.
MOLLY
Chamomile…
GAVYN entering with grocery bags, heads to the kitchen.
GAVYN
Bloody great weather.
THEY both call out to him.
RAND MOLLY
Put some hot water in the tea Morning…
pot while you’re at it.
GAVYN mumbles something back.
MOLLY turns her attention back to RAND.
MOLLY
(Smiling, hesitant)
I’m going to need a car. Todd’s meeting me in Odessa. We’ll spend the night there and fly home together.
RAND
This is certainly news! What time’s his flight?
GAVYN wears a short sleeve off-white guayabera to hide his paunch, chinos and brown leather huaraches–the look is older college professor on sabbatical in Mexico.
Enters with package of coffee pods and a steaming tea pot of water. GAVYN puts the tea bag in the pot to steep.
RAND brews coffee for GAVYN.
MOLLY
(Continuing on…)
Boarded about an hour ago–gets to Midland at 4:05. Presumably he’ll make the Dallas connection. Same trip I took.
GAVYN
Seems I’ve missed a moment. What are we talking about?
RAND
Our Molly appears to be fleeing back to–I don’t get it.
MOLLY
Not exactly fleeing.
GAVYN
Am I to understand Todd’s coming here?
MOLLY
We’re spending the night in Odessa.
GAVYN
Together? Astonishing! Almost more trouble than you’re worth.
Clearly neither GAVYN nor RAND is happy about this.
RAND
(To GAVYN sarcastically)
Dissatisfaction, the great spur to progress–
GAVYN
(Cutting him off)
–We’ll drive you then. Rand and I might find having dinner with the two of you of interest. Perhaps gain a bit of insight into what’s going on before we release you back to Todd.
RAND
Besides your driver’s license is back in New York.
MOLLY
Fortunately, I was able to finesse that with Hertz–said I lost it here in Marfa, that we have insurance, etc. Todd sent them a copy, then had our agent call them. What’s more, it would be three hours each way for you to make the trip there and back.
GAVYN
(Ignoring her)
It’s settled then. We’ll finish doing breakfast. Then we need to think about hauling a bit of ass. Also, I’d like to get over to the Foundation, and Rand needs to make a quick stop in Alpine–
RAND
–I’ll call the fabric shop and check on that special order for the wing back. It was promised for yesterday..
GAVYN pours MOLLY tea, RAND serves GAVYN his coffee nd makes another cup for himself.
GAVYN
Gives us only about four and a half hours–
MOLLY
–NO! It’s not settled! Is Alpine on the way?
GAVYN
Not far out of the way. Delightfully charming hamlet.
RAND
“We’re the arts, they’re the crafts.”
MOLLY
LISTEN TO ME! PLEASE! Hertz will give me a map and the car comes with GPS. What’s more, I’m not your property to “release.”
GAVYN RAND
…Love this Java. They do …
single-cup teas now too.
GAVYN
(Prolonged beat)
Molly, ah…your friend, the healer…what’s his name… Did you…?
MOLLY
Simon.
GAVYN
Have you spoken with him? You never did go back that second night. You think he might be worried?
MOLLY
I’m almost ready to go.
Except for MOLLY, RAND and GAVYN remain in place sipping their coffee.
GAVYN
Wouldn’t it be cool to touch base with him? There’s an opportunity for change here.
MOLLY
(Quite startled)
Simon’s exact words.
GAVYN looks to RAND, then to MOLLY.
GAVYN
“Simon says–?”
MOLLY
(A dirty look)
Not a time for fun and games.
GAVYN
Okay. What does Simon say then?
MOLLY
…
RAND
Molly, think back to when you first told us Todd was “Mr. Marriage” Long time ago. You insisted Gavyn and I give him our seal of approval. Well, neither of us is ready to see you leave with him. One hysterical nutcase walked in here night before last. How can we let you fly back to the arms of the man who caused that?
MOLLY
(Arguing)
That was late Tuesday. Today’s already…?
RAND
Only Thursday.
MOLLY
Just two days ago? Seems longer.
(Then defensive)
I don’t belong here.
GAVYN
Stop!
MOLLY
It’s what you said when I got here. “–A ghost from another lifetime.”
(Beat)
You wouldn’t understand.
GAVYN
Try me.
MOLLY
You guys have been great and I love you. But I want more.
GAVYN
What more?
MOLLY
I need a man to cherish me–make me feel safe–to find me beautiful and exciting–to want me. Time is passing and age is creeping up on all of us.
(Then from nowhere, SHE remembers))
The Guides said, “Clean your closets.”–that we hide things–push them to the back…out of sight.
(A sudden realization)
My God! Issues we couldn’t deal with–what Todd meant when he said, “our love has gone sick.” Kids were away in school…the business no longer needed me…and I was stuporous with boredom. Without realizing it, I reached out and chose someone I couldn’t have. And while I wasn’t exactly cheating, neither was it honest. The best of it is that Simon’s one of the dearest people in the world, and in him I found a whole new world and a best friend, which only served to make Todd jealous. So-o-o, make room for the recently deceased Heather.
(Directing her thought to GAVYN and RAND.)
Ergo, there I was, in the middle of the night banging at your door when you least expected it, weighted down with all this stuff. The two of you birthed a renaissance for yourselves in Marfa. But everything you thought
MOLLY (CONT)
you left in Tribeca came tagging along with me–an “apparition” you said. Like leaking oil from an oil can…
GAVYN
You’re right! Sooner or later we would have slipped in it.
(Then)
We’re a gay couple. It never mattered here. Then there you were.
MOLLY
That’s ridiculous. You’re a couple longer than Todd and I know each other. Who cares?
GAVYN
(Carefully considering his words)
Issues tied to another time–I was sure I’d finally let go of.
(Chuckling)
Happiest when happiness is not the goal.
(Beat)
We had to learn you again, Molly, and I know we’ve been remiss in saying this, but you are a very dear and cherished friend, welcome in our home any time for as long as you like.
GAVIN extends his hand across the bar to RAND, they touch. RAND reaches out for MOLLY’s hand.
After a brief moment, MOLLY breaks the connection.
MOLLY
(Firmly)
I get that I’m slightly looney toons. And I’m complimented by your concern. Nevertheless, I would prefer–no-no, I insist–that you allow me to make the drive myself. There’s lots I need to work out.
(Then)
Thanks for the welcome.
SHE begins pulling things together at the bar.
GAVYN
Hang it all. Stop your fussing.
RAND
I get everything you’re saying, but why the rush back to Todd? He was an arrogant bumptious asshole. Don’t you both have sorting through to do?
MOLLY
I was drawn to the lights here in Marfa. I experienced what was…incomprehensible as an everyday occurrence. I don’t have a clue about what will happen with my husband and me and it’s finally all right. There doesn’t need to be a grand plan–a reason for every little thing.
GAVYN
Careful, Molly. A rationalization is often a lie we like to tell ourselves.
MOLLY
Self-deception. Till recently, I didn’t realize how good I’d become at it.
GAVYN
He made you a doormat.
MOLLY
No. No. He didn’t. Todd and I…we need to make informed choices…to come together on who we are…who we’ve become. Yes, he was an asshole. But I won’t be hurt like that again. I…if it’s not to be, it’s not to be. Staying here is…postponing the inevitable. I need to face that. This is my chance for change.
(Beat)
Last night I stepped from the known into the unknown. You were with me–I almost chickened out. Fuck being a grown-up! I was a child–there was a big surprise in store for me–and I allowed it. Scary.
(A moment)
I’m okay and I’m afraid. Healing accomplished.
MOLLY (CONT)
(Then)
I should call Simon.
(Finally)
You might even find me back here banging on your bedroom door.
GAVYN
Front door comes equipped with a doorbell.
MOLLY
Yes.
RAND
Be careful.
MOLLY
Will you take me to pick up the car? Or do I need to find me another couple of caballeros to ride with?
RAND
You’re positive you don’t want us to–
MOLLY
…
RAND
We’d feel better
MOLLY
Not about you.
RAND
(Relenting)
I’ll Google back-up directions to the airport for you.
GAVYN
(Referring to the background news show)
Shut that damned noise while you’re at it, Rand.
RAND stops abruptly
RAND
There’s no Hertz in Marfa, Molly.
MOLLY
Oh! I guess I meant ah…Oops! Alpine Auto Rental and Sales in Alpine.
Three old friends laugh together.
RAND
(To MOLLY)
May as well check on the fabric then. We’ll be right there. You’ll like it–it’s a particularly pretty petite paisley.
(Exits)
We hear the news station goes off.
GAVYN
Praise the Lord and bless the quiet.
MOLLY
(Bursting)
I adore you both.
GAVYN
We’ll go as soon as I’m done cleaning-up here.
(Appreciating MOLLY, HE smiles, displaying his old charm and sex appeal)
Why don’t you change out of that…that smashing whatever-it-is you’re wearing?
MOLLY, blatantly flirting, swirls around.
MOLLY
Why, Gavyn, you couldn’t possibly mean this old thing?
GAVYN
Are you in love with Todd?
MOLLY
(Ignores his question)
You’re still a very sexy man.
SHE gives him a lingering kiss on the mouth which is returned.
Never too late for fantasy, even if you’re a geezer.
MOLLY floats out of the room.
GAVYN
(Calling after her)
Same beautiful shameless hussy!
GAVIN hums tunelessly. HE checks the clock, gathers cereal boxes accordion style, and carries them off to the kitchen, muttering the time under his breath.
High noon.
The stage is empty.
LIGHTS DIM MOMENTARILY, THEN GO OUT.
END Scene 3
ACT II
SCENE 4 – Resolution
Marfa Inn – JENNA’s bedroom – Late Friday afternoon.
The larger of the two bedrooms is visible to the AUDIENCE. French doors with heavily gathered sheer curtains over the glass, make it difficult to see through into the sitting room. Door is slightly ajar. Window shades are down
Décor is Tex-Mex–the walls are a burnt orange. A grey and blue serape hung horizontally serves as a headboard. The bathroom’s at the far end of the room. Two lap tops sit atop night stands on either side of the bed–the one farthest from JENNA is open, a yellow pad and Smart phone are next to it.
Chopin piano music from ACT I, Scene 1, plays softly.
JENNA, her hair disheveled from an interrupted nap, is in bed covered by a sheet. Already speaking on her cell phone, SHE reaches out her arm to turn on the bedside lamp.
JENNA
–Monday, Marty–I told you we’ll be home Monday. A mid-day meeting with the network. It’s already late Friday. Don’t–
MARTY interrupts at the other end. While we don’t hear him, we clearly see JENNA’s frustration.
JENNA (CONT)
Sid has the one with twin beds. I’m in the queen by myself.
(Listens)
A kitchen and sitting room are in the middle–where the TV is –and, yes, we don’t share the same bathroom either. It’s the Casita. Look it up on-line.
(Listens)
If it bothered you so much, you should have flown out with us. All of a sudden you’ve become the Grand Inquisitor.
(Listening again)
The Lights?…haven’t missed a night. For me especially, emotionally difficult to write about…ineffable.
(Listens)
First draft’s almost done–still minor unresolved issues …You just woke me up, I was snoozing.
(Listens)
No, of course I didn’t take any pictures–I never take pictures. You could Google Marfa Lights and see for yourself?
(Listens, straining to hear)
Sorry, the cell service is terrible. There’s no land line in the Casita, you have to go to the front desk.
(Then)
Marty, please. Turn around. We’re three grueling hours drive from Odessa. Get back on the plane and go home. Also, I don’t like that you left the children alone on a weekend.
(Listening)
God, you keep breaking up. Yes, I promise, Marty, straight from the meeting, then any place you like for dinner. And if you want, I’d love to have you read it–you read everything else we write.
(Listens)
Probably several rewrites and a couple of readings. The Steak Playce is your favorite.
(Still listening)
Nothing like STREET CAR…I’ll see you Monday then. Bye.
(Lastly)
Me too.
(As SHE disconnects)
Shit! Shit! Shitty shit! Shit!
Immediately SID’s cell phone rings.
Reaching across to the other night table, her naked back is visible.
JENNA (CONT)
Some nap…!
SHE answers.
SID Bernstein’s phone…
(Listens)
Yes, this is Jenna… He’s in the–
(Interrupted, SHE listens)
Yes, the cell service is lousy. Hi, Stacy…I was on my phone.
SID enters the room through the French doors naked except for a towel around his waist.
He’s just walked in.
(Listens)
CRIME STOPPERS is confirmed. A done deal? You’ve been in touch with our agent? Thanks for that–for taking the time, I mean. We both appreciate it. So, the episodic lives on. Well, okay then. Congratulations all around.
(Listens.)
Tell him yourself, he’s right here.
Hands phone to SID, identifying the caller.
Stacy at the Network.
SID
(On the phone)
Done deal, huh? I heard. To you too, darlin” Twelve weeks or the whole enchilada?
Likes what HE hears.
(Then)
The Lights? Nothing I ever expected…profound. Uniquely profound.
(Listens again and repeats for JENNA’S benefit)
SID (CONT)
No meeting on Monday. First script due in four weeks. Cinch. Logline?
(A breath)
Already have one, THE DEADLY CIRCUMCISION. You’ll love it. Contracts Thursday or Friday. Amen.
(Listens)
I will. Take care.
Ends the call.
With a big smile on his face, SID gets into bed with JENNA. His towel falls to the floor.
Calls for champagne. Says to tell you she’s thrilled for us.
(Snorts a dirty little laugh)
Doesn’t know how thrilled I am.
Confused and not sure what to do, SHE makes herself as unavailable as possible.
You fell asleep before we–
JENNA
(Interrupts)
–I’m tired. We’ve been going non-stop. Put your towel back around you–even better, put your pants on. I can’t. I’m-I don’t know what I’m doing.
SID
Bad dream?
(Reconsidering)
I can wait. No problem. Look, if you’re not ready–how long have we known each other…?
JENNA
Sid, I may never be ready…or more ready. I never meant for this to happen.
SID
…Nor I. But we fell in love.
JENNA
While you were in the shower, Marty called–woke me up. Either he’s gonna turn around in Dallas or show up at the door. How did I let us get this far? If I cheat on Marty and it doesn’t happen for us, I can’t work with you. And as it is now, I don’t know if we can continue as-as writing partners…
(Beat)
We almost made it to the edge of infinity. Where do we go from here?
Not knowing how to respond, both hurt and sympathetic, HE covers the best HE knows how.
SID
Great line, Jenna, “edge of infinity.” Where’s a Goddamn Post-It when you need one.
JENNA
Molly goes to Marfa because she’s drawn to the light and my wings got singed.
SID
Can I help?
JENNA
I don’t know how.
(Shrugs)
I have to come clean with Marty. Too many years with the man. It’ll break his heart . Worse, I think he already knows. And what do I say to my two kids?
SID
Nothing for him to know…nothing’s happened.
JENNA
I’m completely infatuated with you–have been for a long time. I wanted to be in love.
SID
Seems to me you’ve got a bad case of guilt without sex.
For a brief moment they laugh that shared intimate laugh of lovers.
SID, having placed the towel back around his waist, moves to embrace JENNA. SHE stops him.
SID (CONT)
What do you wanna do?
JENNA
I…Go home. Move our flight from Monday to tomorrow. Today’s already too late. We’ll see the lights tonight, get to bed early and leave at dawn. Same everything as before only a couple of days earlier. Would you call the airline?
SID
Sure.
(Sarcastic)
Thrilled to be of help.
HE checks both cell phones.
No bars. Fuck!
JENNA
Hand me my robe please, Sid. I need to use the john.
SID
(Busy with phones, HE hands her the robe)
Here.
JENNA slips it on, heads for the bathroom, stops herself on the way.
JENNA
I…I should have been the responsible one. I lead you on.
SID
(Trying for humor)
Yeah. Cock tease!
JENNA gives him a killer look.
SID (CONT)
It’ll all work out.
Closing the bathroom door, JENNA turns the light on, runs the water.
(SID calls out to her)
I’m gonna get dressed and walk over to the main house. I’ll use their phone and tell ‘em not to expect us for breakfast. While I’m at it, I’ll see what I can do about the extra two nights we guaranteed–it’s 500 bucks after all.
On his way out of the room, JENNA’s phone rings, SID backtracks and checks the caller ID.
Damn. Jenna, your phone. Guess who?
JENNA
(From behind the door)
Answer it, would you please?
SID
Sid here. Hi Marty…
(Listens)
Yeah, caller ID. Jenna’s ah…having a personal moment…hollered for me to grab the phone.
(Listens)
In Dallas? Boarding now? Hold on.
(Shouting out to JENNA))
Marty’s boarding for Odessa as we speak. Says he’s on his way to see the Lights. You wanna take this
SID walks closer to the bathroom. Holds up the phone for MARTY to hear.
JENNA
I can’t. Tell him we’re leaving at dawn. We’ll either meet him in Dallas or I’ll see him at home. Whatever?
SID
You heard?
(HE listens then)
SID (CONT)
Well, what you don’t know…CRIME STOPPERS lives on–another full season.
(Listens)
Right after Jenna talked to you. I was showering.
(Listens)
Yup. Out every night with the lights, up early for breakfast–it’s included in the package–write, take a nap, dinner and repeat. Exhausting. Series is easy.
(Listening)
No. Play’s in the first draft stage. Needs editing and a couple-a-readings…I want more Molly. She’s thinking we could do with more Simon.
(Listening)
There’s room for you in her bed. We traded–she got the queen, I got the view.
(Still listening)
Sure I know who Donald Judd is–part of our research–we mention him in the play. Had to see his work–he’s a centerpiece here in Marfa. Minimalist’s not for me–too utilitarian and cold for my taste.
(Changing the subject, annoyed)
Actually, Marty, it makes no fuckin’ sense for you to come here–and you can do us all a big favor. The cell service here sucks–not a single bar– but then your call came right through. So, if you wouldn’t mind walking over to the United counter, and give them our confirmation number, you could change our flight for us.
(Listens)
–Not Dallas. I-I think it’s Denver. Hold a sec…lemme get my book, I’ll give you everything…in my room on the other side of the Casita–
His voice fades on the way to his room as HE crosses past the kitchen and sitting room.
–still into writing everything down–
(Listens as MARTY interrupts)
Definitely a rewrite. Of course, we’ll continue to work on the play? Why not? It’s a-an investment.
SID (CONT)
By the way, if there’s a penalty, I’m good for it.
(Then)
Thanks. I owe you, Marty.
With the coast clear, JENNA comes out of the bathroom dressed, her hair and make-up repaired.
JENNA
(Whispers)
Thanks. I owe you, Sid.
Looking for her boots, JENNA takes a moment to find them, sits on the bed and puts one on.
(A moment of introspection )
Am I my character?
JENNA is drawn to her laptop. Mind-lessly caressing the case, SHE opens it and begins typing
(Two words in, her voice drifts off…)
PERSONAL NOTE…
JENNA looks up to see SID at the door. HE’s dressed to go out, a down vest over his arm. SHE hits SAVE.
What’s up?
SID
You’re writing…?
JENNA
A personal note to myself to-to talk about later.
(Hits SAVE))
SID
How ’bout now?
JENNA
Now?
(Visibly takes a deep breath, hesitates, then…)
Okay. Why not now? “PERSONAL NOTE TO SELF: Our lives are never choiceless–always choices to make. And the choices we make define who we are.”
(Looks up)
I-I know this. So, why am I still sitting on a fence, Sid, with the picket points crawling up my ass? I’m hurting Marty, my family, but me most of all. Marty will live–he’ll learn to be grateful for what he has and move on.
SID
I supposed you’d choose to stay. Molly went back to Todd.
JENNA
(Her voice cracks)
No.
(Pause)
I’m not Molly.
SHE closes the computer and pulls on her other boot.
SID
Then you’re leaving Marty? Right now, he’s trying to get the three of us on the same flight from Dallas to LAX. That’ll be fun and games.
(Beat)
That leaves Odessa to Dallas with just the two of us. Same one Molly’s on with Todd.
JENNA
Molly’s not real.
(Turns the music off leaving the room strangely quiet)
SID
The line between work and play can sometimes get…Never mind.
JENNA
…Blurred?
SID
Yeah.
JENNA
(Finally noticing)
I didn’t realize…You’re dressed to go out. Sorry.
SID
Need to let the In-Keeps know about our change in plans. Grab some food. See the lights. Come back early. Pack.
Get whatever sleep we can.
(Deep sigh)
What you said…
JENNA
Sounds like a plan.
SID
What about you and me?
JENNA
Questions you can easily answer usually aren’t as tough as the ones you can’t.
(Short beat. Then…)
There is no us, Sid. Molly took you to me. Maybe one day…
SID
You’re wrong, Jenna. I love you. Only minutes ago, I told Marty I wanted to marry you. We don’t have to have it all figured out, only the moments.
JENNA gets her vest, scarf, gloves and purse.
JENNA
Complications. Relationships. All that crap. Exactly what you said you didn’t want to deal with–a whole lot messier than writing TV format. And three prior marriages! “But how does that inform my life.”
SID
ACT II, Scene 2…Molly’s line.
JENNA
Impressive.
(Beat)
“Only the moments…” ?
(SHE smiles, then)
JENNA (CONT)
She’s right, you know. We’re all of us afraid of getting older, Sid–we think we’ll miss out on something (like kids who don’t want to go to sleep).
SID
We’re supposed to be “grown-ups”…
JENNA
My line…I’m not so sure now.
THEY make their way to the door
SID
(Changing the subject)
Four weeks to a new CRIME STOPPERS–can’t wait to get back in the groove. You?
JENNA
I suppose.
SID
When will you tell him?
JENNA
At the Steak Playce tonight.
Exiting the Casita, WE hear SID and JENNA talking past the closed door.
SID
The Marfa Lights’ll always be here. Forever a mystery.
JENNA
Yep. Well worth the trip.
SID
Where will you live…?
The stage is empty as SID and JENNA walk O.S.
THE SKY IS ALREADY DARKENING AS WE WATCH THE LIGHTS DANCE ON.
END Scene 4
END OF PLAY
-
Carol Dougherty’s Act 4 Resolution
What I learned doing this assignment: All along one of my concerns is that this wouldn’t be big enough or matter enough to people. As I worked my way through the resolution scene, I felt something build in me as I wrote it. This is just a draft, but I hope that I’m able to bring the bigness of what I felt to life as I continue writing.
Outline:
Key Scene 4: Resolution
BEGINNING: Kate comes to Pen’s dressing room after the opening night performance to talk.
MIDDLE: Kate is angry and wants to know why Pen needed to make her declaration of love so publicly. She feels she’s being used to make Pen look good to company. They argue.
END: Pen somehow finds the words to convince Kate that she does love her.
Key Scene 4: Resolution
INT. PEN’S DRESSING ROOM – NIGHT – IMMEDIATELY AFTER CURTAIN
Pen is in her dressing room in her opening night party dress. Her only jewelry is the silver pear necklace Danni gave her on the chain Kate gave her. She stands at her makeup table and inhales the fragrance of the deep peach roses in the vase. The card simply says, Kate.
Pen goes to the door, nervous about the opening night party and what Kate will say to her. She squares her shoulders and opens the door to find about to knock on the other side. Kate’s flushed face tells Pen she remembers this is exactly how they met for the first time.
PEN
(steps back)
Katie, do come in.
KATE
Just for a second.
Kate enters and moves to the center of the room, more than an arm’s length from Pen.
KATE
It was a wonderful performance tonight, Pen. Terry would have been proud.
PEN
Thank you.
KATE
I wanted to tell you myself – I’ve accepted the job in Chicago.
Pen struggles not to show any feeling other than polite interest on her face.
PEN
You have? When will you go?
KATE
Soon. Sebastian said whenever I’m ready. Sometime next week, I guess.
PEN
You must be very happy.
KATE
Must I?
PEN
Well, aren’t you? I thought this was what you wanted.
They stare at each other, Pen confused, Kate composed on the surface. Only the tense set of her shoulders shows there is something powerful being held back.
PEN
Don’t go, Katie?
KATE
Why not?
PEN
You said it yourself before, you could spend years with Sebastian and never stop learning.
KATE
That’s true.
PEN
Then why go?
KATE
We both know the answer to that.
PEN
I don’t. You love the company. You know Sebastian wants you to direct. Why do you have to go?
KATE
Why did you do it, Pen? Why did it have to be so public? Did you need a stage?
PEN
Is that what you think?
KATE
What else can I think? How many times have we been alone since you got back – not one word. Were you just using me to get everyone’s sympathy?
PEN
(shocked)
How can you think that? I wanted you to know that I meant it, that I wanted to tell the whole world that I love you.
Kate listens, her face stony.
PEN
And I wanted to tell you as soon as I got back. But you were so angry with me you never gave me a chance. When I had time to think about it, I thought maybe I should do what you would have done.
KATE
You think I’d have left you hanging like that after what we shared before you left? You don’t know me at all if you think that.
PEN
Katie, what I’m trying to say is that it seemed as if you had made a decision for yourself. And that I had to honor that decision, as you would have. I just wanted to give you the same kind of respect you tried to give me.
Kate stares at her, incredulous.
KATE
I’m trying to understand, Pen. But if you loved me, why didn’t you respond at all to my letter? Do you have any idea at all how much that hurt me?
PEN
Would you sit down and let me try to explain? I know the last time I tried it didn’t make much sense.
Kate sits on the gilt chair and Pen sits across from her on the edge of the chaise lounge.
PEN
I told you about my dad leaving and about Danni’s suicide. What I didn’t tell you was that I felt responsible for both.
KATE
You couldn’t have been.
PEN
No, but for a long time I believed I was, and I couldn’t even tell Terry, especially about Danni, because I was sure I’d lose him, too. When your letter came, I was in the midst of sorting all of that out. I’d no idea what to say to you because all I wanted right then was for you to come and be with me through all of it.
KATE
I would have come, Pen.
PEN
(smiles)
I know you would. And that’s why I couldn’t talk to you. I needed to do it on my own.
KATE
Thank you for telling me.
Pen’s shoulders sag a little as she can see Kate is not completely convinced. She takes one of Kate’s hands in hers and looks down at it as she speaks.
PEN
There’s a line in Much Ado About Nothing, “Taming my wild heart to thy loving hand.” I always thought it sounded like a prison sentence and I never wanted to offer anyone a tamed, watered-down heart to keep on a leash.
She lifts Kate’s hand to her cheek for a moment and closes her eyes. Kate’s eyes are riveted to her, and she is barely breathing as she waits.
PEN
Before Danni died my heart was wild, passionate, fierce. And I thought that heart died with Danni. Until I met you.
Pen opens her eyes to meet Kate’s.
PEN
What you awoke in me wasn’t just that young girl’s heart, it was the heart of the woman I’d become, with all of my shame and regret, my grief and loss, and a depth of love I never even imagined. Katie, from the day we went out in the rowboat there has been no one else, not Sam or anyone.
KATE
Why not?
PEN
Because I love you and only you.
KATE
And I love you.
Kate brings her other hand up to cradle Pen’s face in her hands and they come together in a kiss of fierce tenderness.
A knock on the door interrupts them.
PEN
(her voice hoarse)
Yes?
MICHAEL (V.O.)
Pen, people are asking for you at the party. Will you be coming soon?
Pen and Kate laugh quietly.
PEN
Thanks, Michael. Be there shortly.
They sit and look at each other for a moment with radiant smiles. Pen stands and pulls Kate up with her.
PEN
Would you like to be my date for the opening night party?
KATE
I’d love to.
Pen holds out her hand and Kate takes it. They walk to the door together.
FADE TO BLACK
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What I learned doing this assignment is thinking of ways my protagonist can now be victorious with her new normal:
Scene 4 – Resolution
Tina becomes a mentor.
Beginning: Tina, with newfound strength and growth, decides to help other women who are going through what she’s gone through.
Middle: Tina gives counseling to single women at her church.
End: Tina becomes a mentor by helping women let go of emotional pain, refrain from picking mates that are abusive, and she encourages women to bond with their children in the process.
INT. CHURCH – DAY
Montages of Tina sitting behind a desk in an office at her church counseling various women who are discouraged. The women become enlightened and uplifted as they converse with Tina.
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M.M.’s Act 4 Resolution
What I learned doing this assignment is how to wrap up the story with a “bang” (literally and figuratively). I also added a cliffhanger at the end because this is a trilogy – this is the second of three novels, with a plan to also have the screenplay ready as I do for book 1.
EXT. STADIUM FIELD – NIGHT
FANS are still screaming and pushing to get out of the stands.
A shot rings out and Emilio drops to the ground.
A pair of EMT’s rush to the scene and pronounce him dead. They put him in a body bag.
Another pair run to the dugout.
EXT. DUGOUT – NIGHT
Bella stares at Emilio on the ground. Then at the gun in her hand, which she drops to the ground. She slumps onto the bench.
The EMT’s carry Luke out on a stretcher then place it on a gurney. He tries to argue that the bullet just grazed him but they won’t have it. He’s going to the hospital whether he likes it or not.
COPS arrive and take statements from Bella and Luke.
They continue interviewing the other players and coaches in the dugout.
Bella walks alongside Luke toward the ambulance as the EMT’s wheel him out quickly.
INT. AMBULANCE – BACK DOORS – NIGHT
The EMT’s slide the gurney into the back and are about to close the doors.
BELLA: Luke, mind if I go with you?
LUKE: I wouldn’t have it any other way.
INT. AMBULANCE, MOVING – NIGHT
As the siren blasts away, Luke and Bella are in their own little world, though one EMT monitors Luke’s vital signs.
Luke grabs Bella’s hand and turns to her.
She leans down as he lifts his head.
They kiss for a long beat.
Suddenly she jumps. Her water breaks all over the ambulance floor. The EMT comes to her aid but she brushes him off.
BELLA: Way to end a romantic moment.
Luke moves her face to hers again.
LUKE: Just the first of many.
They kiss again. For a longer beat.
FADE OUT.
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Angelina Fluehler – Finish Act 4 – Resolution
“What I learned doing this assignment is…?” Four main components are implemented: the story conflict comes to an end; the characters are now in their “new normal” , the “New Ways” are showing up as part of their regular live; both Genre and Theme are represented in this scene!
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