Gerry Cousins
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Gerry Cousins – Ready for Script Exchange Version 1
I have a straight play—not a screenplay—and I would like to partner-up with someone in the group. I used this class to do a completely new version of the script using the techniques incorporated in this course. The difference is remarkable. Most of you are screenwriters and I don’t know if you’d be interested in a two-act stage play, but if you are, please email me at secretknowledge@aol.com.
Also, I will be away from 10/8 through 10/15/22 and would be happy to take your work with me, if I get it by tomorrow, Friday. Otherwise, it would have to wait until I return..
Looking forward to
exchanging work with a partner or partners -
Gerry Cousins – The Chronological Edit
Well, I didn’t fly through it. But it’s done! Probably could use still another chronological edit before I send it out. I’ve already set a date for a private reading and am looking forward to hearing the voices of all seven characters. The difference between this script of my play, MARFA LIGHTS, from where I started, and where I am now is positively remarkable.
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Name: Gerry Cousins
I agree to the terms of this release form.
GROUP RELEASE FORM
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.
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A Gerry Cousins – Solved Scene Problems Lesson 27
What I learned doing this assignment: If you don’t look carefully, you won’t see the forest from the trees. Do the work. Read and reread diligently with a different goal each time.
I think of all the scenes in my stage play, MARFA LIGHTS, the one that needed the most work was the last scene, which was completely written anew for this class. What I found were two out of the four listed problems:
Basic Scene Problem
Cliché Scene
This last scene in the play which is about making a choice, incorporates two+ telephone conversations which are essential to the ending. This is a basic scene problem and usually a cliché. I thought about it and thought about it until I added an action to each conversation which went a long way solved the issues for me. The balance of that scene, past the phone calls, had to be that much more emotionally powerful to carry it through to the end of the play.
The purpose for the scene is delivered. It absolutely moves my story forward. There is conflict and a clear scene arc.
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Gerry Cousins – Solved Character Problems
What I learned doing this assignment: This was perhaps the most difficult assignment for me. I had to be perfectly honest with myself in order to move forward truthfully. Definitely this structure had a great deal to do with my dilemma. But I found out that cross skills, i.e. acting, could absolutely help me in this situations. The Lesson: Use everything at your disposal to get where you need to be.
Once again, I call your attention to the fact that this is a straight play in two acts and not a screenplay in four acts. It is also a play-within-a-play which has its own kind of structure. However, I have spent a full day thinking about my principal Antagonist. And while I hope I am not self-justifying, I think my Protagonist, JENNA and Antagonist, SID, who are also writing partners, do very well in moving the story forward. At the end, JENNA changes remarkably, and although SIID grows as a character, his change is not nearly so dramatic.
As an acting teacher, I taught my students in learning audition technique to break down their scenes into beats, figure out what they wanted in each beat and to use verbs—adjusting throughout– to achieve their goal. I have analyzed a few of the scenes that I thought may be weak insofar as the Antagonist is concerned. I find that the collegial relationship as colleagues that they enjoy, also includes a great deal of sparring between them but does not stop them from getting done what they set out to do.
Further, regarding the play-within-a-play structure, MOLLY is the clearly defined Protagonist. Everyone else is an effective Antagonist.
A.
Weak protagonist or antagonist. NO
B.
Protagonist Too Good or Antagonist Too Bad
NO.
C.
Weak character intros. NONE
D.
Characters not in action. Action ThROUGHOUT
THE PLAY
E.
Protagonist journey not strong.
VERY STRONG
F.
All the characters seem the same.
NO
G.
Lead characters not present. ALWAYS
PRESENTIn summation, there was one change I did make near the end of the play. It was a question delivered by the Protagonist to which the Antagonist does not respond.
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Gerry Cousins – Solved Structural Problems
Lesson 24 (There were no missing or misplaced scenes) and Lesson 25
What I learned doing this assignment is that following your method, with all that it entails (disregarding that this is a stage play and not a screenplay) has taken me to a new way of working on a script. All the steps took me to an ending that makes sense.
ACT I, Scene 1: Opening/ Old Ways – The scene is engaging and the Protagonist, JENNA, is clear in both her behavior and dialogue. On the surface, SHE is clear about what SHE wants but the Old Ways keep her from talking (except for sub-text) about what’s going on with her personally.
Inciting Incident: Already exists when play begins takes us right into the moment.
Scene 2 – Plan in Action – While Antagonist, SID, absolutely does not want to follow JENNA on her journey, Together THEY write a terrific first scene for their play-with-a-play. HE becomes caught up in the character, MOLLY that they’ve created.
Scene 3 -.Turning Point – Encourage Antagonist by urging further involvement–, by sharing joint ideas and writing some more. Listen and pay attention to SID for his expertise with regard to Main Character, MOLLY, in play-within-a-play. Protagonist allows disclosure of personal information on the way to New Ways.
Scene 4 – More Plan in Action – Accomplish writing another scene with MOLLY and a psychic healing in the play-within-a-play.
Scene 5 – Challenge Old Ways/Midpoint:- JENNA and SID plan a trip together as JENNA challenges herself for independence.
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ACT II, Scene 1: React/Rethink – This is MOLLY’s scene as SHE challenges herself in a place SHE doesn’t know to find two once-upon-a-time gay friends and a piece of who SHE is.. Writers write autobiographically.
Scene 2: New Plan – Protagonist must deal with her feelings and the emotion of self-discovery.
Scene 3: Turning Point: Once again JENNA lives through MOLLY’s acting-out. However, while MOLY makes a decision, is it the right one for JENNA?
Scene 4: Altogether this was the most difficult scene for me to write. I was never satisfied with it in any of the many scripts of MARFA LIGHTS that I wrote. It’s probably the reason I took this course. And it was this course that told me why it never worked. But it still didn’t come easy. I have finally accomplished the Dilemma, Climax, Resolution, and this is definitely a New JENNA in behavior and dialogue, not the one I started with at the beginning of the play.
Dilemma – JENNA must make the choice to stay with her husband of 20 years or leave him.
Climax – JENNA and SID cut their trip short in order for JENNA to stop her husband from coming to Marfa..
Resolution – JENNA decides to tell her husband, SHE is leaving. SHE also tells SID that SHE’s not going to have a dalliance with him. Whatever happens in the future happens in the future.
New Way – JENNA’s knows that her
choices define her -
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
——
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
-
Gerry Cousins – Act 4 First Scenes – Lesson 21
What I learned doing this assignment
In my stage play, this is ACT II – Scene 3. It follows the surreal placement of both the writers and their characters on the same stage at the same time–Each viewing the Marfa Mystery Lights for the first time and their impressions. Since this scene is about the SID and JENNA’s’ characters, much of what we learn has relevance on the writers themselves. This entire scene is about STAY OR GO. It prefaces JENNA’s Dilemma
1) A bubbly MOLLY offers that she is going to meet TODD in Odessa, stay overnight, and then travel the next day back to NYC for a trial reunion.
Turning Point
2) RAND and GAVYN strongly object and state why. Dilemma
3) SHE tells them that what SHE learned from the lights—even the inexplicable deserves a shot—and not dealing with TODD is just postponing the inevitable. She is running away from her age and wants TODD (familiar) to be the man in her life. SHE is resolved.
4) The guys still object but are good humored about it all.
Gerry Cousins – Act 4 Climax – Lesson 22 (Previously submitted)
What I learned doing this assignment:
As you will recall, this is a straight play, not a screenplay. In the course of doing these assignments, I learned that my last scene had to be completely rewritten. Since working in this format is completely new to me, I chose the Closing Scene (rather than the Opening Scene) because I wanted to utilize this new skill with new writing without so much as a draft. Seems easier and more organized without the hassle of just sitting down to write the Scene. Word smithing is not an issue now as this is a fleshed-out skeleton. Quite a remarkable way of working.
INT. Casita at the Marfa Inn – JENNA’s BEDRROM – LATE FRIDAY AFTERNOON
Her cell phone rings, waking her from a nap. It’s husband, MARTY in DALLAS on B his way to Marfa… Tired and annoyed by him and his questions re the layout of the E casita, SHE assures him that SID has his own separate room and bath. Phone A service is terrible and THEY both have trouble with the connection. SHE tells him to turn around and go home and that they’ll be back on L.A. on Monday for a Network meeting. They hang up.
BEAT – Annoyed
Immediately SID’s cell phone rings on the night table on the other side of the bed. As JENNA reaches over, we realize SHE is naked under the sheets. It’s the Network informing the writers that the series has been renewed.
BEAT – Welcoming
SID enters the room and appears to be naked except for a towel around his waist. HE takes the call and is thrilled with the news. Congrats are in order and naked SID gets into bed with naked JENNA to make love. SHE stops him. Turning Point
BEAT – Thrilled
JENNA tells SID, SHE never set out to have sex—that it just kind of happened. Her falling asleep saved the day.
BEAT – Relief
SHE relates the call from MARTY. Both understand her Dilemma. But “we fell in love,.” Say SID and JENNNA admits to wanting to be in love with SID for a long time SHE thinks her husband already knows this or suspects and is at a loss for knowing what to do with regard to her family. Ultimate Expression of Conflict
BEAT – Explain
JENNA suggests SID call the airlines, changing their plans going home to the next day and not wait until Monday.
BEAT – Plan
SID is about to dress to go over to the Main House in order to use their hard line phone when MARTY calls again. JENNA’s in the W.C. (BEAT) HE takes the call. They briefly talk about the play and then SID asks MARTY to rebook all 3 tickets back to LAX. He goes to his room to get the particulars of their flight and to dress…
BEAT – Expedite
With SID out of the room, JENNA, exits the W.C. dressed and with her hair and make-up fixed. SHE moves to her lap top and writes a PERSONAL NOTE.
BEAT – Examine
SID enters fully dressed to go out and reports on his call with MARTY. He her to tell him what SHE’s written. SHE does. Then HE tells JENNA that he’s told MARTY that HE wants to marry her. (BEAT) SHE tells him No, but that SHE will not go back to MARTY either (BEAT) —that SHE needs to make the choice to be her own person.
BEAT- Affirm Resolution- NEW WAY
TESTS PROTAGONIST TO CORE
SID changes the subject to CRIME STOPPERS and how he can’t wait to get back in the groove.
BEAT – Move on
THEY exit the casita to tell the Inn Keepers about their early departure, have some dinner, and see the lights for the last time.
BEAT – Leave
Brief words O.S.
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I’ve incorrectly typed Scene 4 when I should have typed Scene 2. Sorry for the confusion.
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Gerry Cousins – Completed Act 3 (These are the first two scenes of my stage play)
What I learned with this and all of the outlining lessons is how much more clear and concise everything is when it’s sketched out in this fashion. I’ve done many playwriting courses and even though I’m doing most scenes after the fact, I’ve never learned this technique before. It most certainly makes mistakes obvious.
Scene 1 –
1) Establishes the writers’ protagonist, MOLLY, in Marfa. The scene begins with her startling her two old gay friends in the middle of the night. They are not pleased to see her.
2) SHE announces to them that she both exhausted and famished. In a manic fashion as SHE eats what they’ve put in front of her, MOLLY relates her entire backstory from NYC to their home and then announces that SHE wants to see the Marfa Mystery Lights.
3) They are gracious and take her in but nothing is said about what will happen with her in their care.
Scene 4 –
1) This scene is a cross-realty in that the writers and their characters appear on the same stage at the same time without acknowledging the other.
2) The two writers arrive in Marfa to check out the lights for their character, MOLLY; they are blown away at the ineffable display of lights and are surprised and delighted. An intimacy immediately develops between them having witnessed this phenomenon together.
3) At the same time we see the “imagined” scene with MOLLY and her two male friends on the Viewing Platform to see the Lights. While MOLLY came to Marfa to see the Lights, she is afraid of being disappointed and has to be convinced that they’re real. The writers and their characters leave the stage separately, both thrilled with what they’ve witnessed.
4) Every effort must be made so that the audience feels as if they are experiencing the Lights as well
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Gerry Cousins – Act 3 Turning Point -Lessons 17-18-19
What I have learned – I never did an outline before; I’ve taken many playwriting courses and none of them suggested outlines or beat sheets. However, outlining my play script, even two years after the fact, has given me so much more insight into what was wrong with the play and how much it could be improved. I would say that even though I am following a 2-Act scenario and you are doing a 4-act, which i can’t quite match up, the course has proved very worthwhile. Also, please note that I am also doing a play-within-a-play, which is also a vastly different structure. Nevertheless, writers live with their characters, and while the lowest point in the play so far happens to the protagonist on the second tier, it very much has its effect on the main protagonist and her thinking, actions, etc.
I did not miss Lessons 17-18-19 but have incorporated them into an entirely new Act II rewrite.
I am very much looking forward to your getting to the last act of the screenplay, as it applies to my stage play. Based on what I’ve learned here, the end of the drama is very different than it once was.
So ready to continue moving forward …
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Gerry Cousins – I have completed ACT I of my 2-act stage play.
While it may still be a tiny bit overwritten, it is already vastly better. I’m now well into the second act, which has a brand new ending. Can’t wait to get to Final Draft.
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Hello, All. My name is Gerry Cousins.
I’ve written many, many scripts–I had my own acting school, IN THE MOMENT, where I taught on-camera audition technique to trained actors. (Studio City, CA) I often wrote original scenes specific to the needs of the student. The technique I taught has been captured in my book, Gerry Cousins’ IN THE MOMENT, and can be purchased from Amazon or Barnes & Noble.
With permission I brought a straight two-act play to the group. I wrote it quite a while ago, and while most all the comments were good, they were not good enough. I would love to see MARFA LIGHTS produced and thought this class might offer a different approach to this new version of the play.
ON THE ROOF, a one-act play, has enjoyed three productions in NYC and one in Los Angeles. Some years ago I was a facilitator for a Women In Film writers’ group which was run out of my actors’ studio.
I live in a retirement community, where I lead a a small acting group and just directed An Evening of Comedy Scenes. I am a very young eighty years old.
Good luck to all of us!
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Gerry Cousins – ACT I TP – Midpoint (stage play) / (screenplay – ACT 2) (This is Scene 5 in ACT I of my play, which has already been submitted.)
What I learned from this assignment: This was a subtle change, but a change nevertheless. While the journey is more or less the same, it ups the stakes for the Protagonist on a personal level (and in my case caused a change in the last scene of the play).
JENNA suggested they research the Marfa Mystery Lights for the Protagonist in their play. At this point, SHE realizes visiting the Lights is as much for herself as it is for MOLLY –and JENNA now looks forward to it.
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Gerry Cousins – Act 2 Middle Scenes
Since mine is a 2-Act play, I already submitted all of ACT I. Ergo, Lessons 13 and 14 were already covered in my submission as I did not submit the screen play version of Acts and Scenes. I am truly looking forward to working with you on my ACT II as that is the act that still needs the most work — the last scene is altogether new and I have followed your outline procedure on this, which I thought worked out amazingly well.
Getting to Word-smithing ACT I still remains a concern to me
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Gerry Cousins – Finished ACT I – MARFA LIGHTS (Playscript)
Once again, I remind you this is a stage play, not a screen play, and my ACT I is considerably longer as there are only 2-Acts in the straight play rather than the 4-Acts in your film format.
What I learned working this way: Somethings work; others don’t. Not word smithing in this ongoing fashion remains to be seen as language is so much a part of theater, but I know there’s still room for that until the Final Draft. So far, however, I’ve been able to follow your instructions and I think it’s made for an overall improvement in the quality of writing.
Here then is ACT 1:
ACT I – CIRCLE ‘ROUND THE VOID
Scene 1- Prelude
The entire set may be composed of several various level platforms and two staircases, which appear to be hanging in mid air.
Studio City, CA – Writing studio of JENNA and SID – Mid-Day.
Accessible by stairs and a doorway, the office overhangs part of the stage. Day light shines through a two-story window Center stage. Agreeably furnished with a partner’s desk, networked computers, printer, etc., there’s a comfortable sofa, matching chair and ottoman, 2-drawer file cabinets that double as end tables with lamps, and a coffee table. A closet houses a small stocked refrigerator, microwave, single-cup coffee maker, dishes, etc. Other accoutrements include framed celebrity photos, various publicity posters for their hit series, CRIME STOPPERS, and a shelf of award statues. There’s an Exercycle, weights, TV, coat tree, and the door to a toilet.
A Chopin piano selection plays in the background.
SID, mid fifties, is handsomely grey, and altogether comfortable in his skin (and Gucci loafers). HE is a transplanted NYC well-educated, successful show business Jew.
SID sits astride the bike pedaling, a white towel draped around his neck.
SID
(Already in conversation)
So she’s grieving for her youth, missed opportunities — not measuring up to her own high standards or self-aggrandizement –what?
JENNA, in her late forties, is pretty, tailored, expensively groomed, and easily described as “pleasantly” ambitious.
At her desk, SHE applies polish to a chipped fingernail.
JENNA
(Answering)
Seems to me there are a number of reason why grief can envelop a person. But dealing with it starts with self-care–giving yourself permission to grieve. Also, reaching out to connect with other people and the opportunity to laugh–always the best medicine.
SID
(Joking)
We send her to clown college?
Together SID and JENNA comprise a multi- award winning TV episodic writing team. While not married to each other, they have an easy familiar relationship that carries with it a trace of sexual tension.
THEY are working.
JENNA
A brilliant idea but not for our Molly — at least not yet. Actually, I think she sees a healer with whom she already has a relationship.
SID
Then where’s the laughter? I don’t follow.
JENNA
I…um…don’t know yet.
SID
(Shrugging her answer aside)
A healer? You mean a shrink?
JENNA
No. A clairaudient kind of psychic.
SID
A-hah! –a spiritual wacka-doodle. Love it.
(Then…)
By the way, that nail shit stinks and I’m breathing it.
JENNA
(On the verge of laughing)
Where were we? We already know she’s pretty, middle aged and zaftig or Rubenesque, if you prefer.
SID
Exactly what I prefer — Entre deux ages magnifique, sil vous plait?
(Sub-vocalizing)
Easy to say…but so not my type.
SID and JENNA laugh heartily.
SID (CONT)
Why not another series, Jenna? Something’s gotta be in the pipeline. Maybe we even go to work and come up with a new treatment? We’re an award-winning writing team for Chris sakes. Any show runner’d be tickled. Besides a new series is guaranteed to generate more money. What will a play guarantee? You’ve got Marty to rely on and I’ve got alimony payments to make.
JENNA
Pipe line rusted through, two…three years ago, and I’m bored beyond words with CRIME STOPPERS. A hit play produces more than money. It’s…it’s a…huge challenge–like nothing we’ve done.
SID
…
A quiet moment, then…JENNA holds out her hand to check her patched fingernail. Satisfied but distract-ed, SHE closes the polish and puts it in her upper right hand drawer
JENNA
Sorry…
SID
You had them done yesterday. Same thing happened last week. Find yourself another manicurist. Vietnamese, right?–a dime a dozen.
JENNA
And who gave you permission to tell me how to manage my fingernails.
SID
Only trying to be helpful, Jenna.
JENNA
Shall we continue? We were talking about the central character. And aging beauty sucks, Sid–even when you say it in French.
JENNA (CONT)
We need a tangible image: a “diva type” –or was. And the moth thing works. Flame’s seductive. Instinct brings it to the light. Too close and we’ve got toast.
SID
That’s a contradiction–
JENNA
Tennessee Williams used it for Blanche.
SID
(Laughing again)
It took a “grieving” Blanche directly to the looney bin. Do not pass GO!
JENNA
This isn’t Streetcar!
SID
Besides, isn’t instinct designed to protect us?
JENNA
Do guppies eat their young?
SID
(Pause)
So, what are you saying? That if light is a metaphor for spiritual love, then carnal knowledge is the path to spiritual suicide.
JENNA
Or perhaps enlightenment. Not a clue. Sounds like political claptrap to me.
(Then…)
She has a spiritual mentor–
SID
The clairaudient?
(Offering)
Her husband hates him?
JENNA
It’s the character’s journey. Give her some slack for self-discovery.
SID continues pedaling as JENNA types into the computer, mindful of her patched nail.
SID
As long as she doesn’t hang herself–and us–in the process.
No response from JENNA
If TV’s why they pay us the big bucks, why’s this so fucking hard?
Sweating now, SID stops the bike, uses the towel. Their eyes meet.
JENNA
The series isn’t gonna be around forever.
SID
Yeah. So they say. But I call myself a crime-story writer. Isn’t that what you are, partner?
JENNA
(Patiently)
A play’s a kind of cocoon-ish experience, Sid, a collective journey. In the light of day, it either morphs into a recognizable moth or it’s a dead caterpillar. The trick is to hold on to the whole picture so the pieces it comprises don’t cause it to fall apart.
(Pause)
No one said this would be easy.
SID
Drawing out a real live person, Jenna, the complications, relationships, subtext…all that crap in order to find the essence of a character. Shit! Gimme formula writing every time! Pretty people. Tits. Perfect hair. No grey areas, just black and white. Blood and guts. Simple episodes with A, B, and C stories. That’s our style.
SID (CONT)
Then throw in a few expletives for authenticity. What’s talent but the ability to get away with stuff?
JENNA
(Choosing to ignore him)
“Molly” then.
SID
No! Not “Molly” then. You’re pushing me, pushing me, and I haven’t signed up for the trip.
(Suddenly followed by)
Remember Coleen Dewhurst? She could’ve done her. Like we said, slightly round…no sharp edges.
JENNA
Would’ve been great. Unfortunately, DOA.
SID
Kathleen Turner? Fine actress. What happened to her?
JENNA
Slightly round? Think moth, Sid–put wings on her, she’d never get off the ground. Also, I think she’s almost seventy.
SID
Moths turn into butterflies.
JENNA
That’s caterpillars.
SID
Fuck! I knew that.
(Beat)
What’s-her-name, MOMMA MIA and something with Clint Eastwood and bridges? Wins all the Oscars?–Meryl Streep!
JENNA
Really, Sid. Lucky I am you remember my name.
SID
You sound like whatsis, the short wrinkled dwarf guy in STAR WARS.
JENNA
Streep’s more on track but approaching her mid-seventies.
SID
How did they get to be old. Where have I been–? Chasing ass.
JENNA
Think, Sid. Elegance, spirit and surprisingly unexpected crepy skin. Fiftyish. Sexy, feminine, unafraid.
Once-upon-a-time undeniably hot. Now stuck with old choices. And new ones foisted on her. Once so fortunate and suddenly thrust into a world of joylessness or maybe…idealized fantasy. I know Molly. She exists.
Uncomfortable moment.
SID
This isn’t you, Jenna. Your marriage is fine.
(Completely dismissive)
Ergo, Our Molly’s restless, disappointed, sexually frustrated and pissed. That’s a cat on the prowl.
JENNA
–Vulnerable and voracious.
SID
Ahhh! Turns me on when you talk like that! A lady writer with a great vocabulary makes me horny!
SID issues a directive at JENNA.
Type!
JENNA
No. You type. It’s your turn. I’m hungry.
THEY make the switch as JENNA meanders over to the kitchen area.
SID finds deodorant in his desk drawer, absently sniffs, and applies it. Checks himself in a hand mirror.
SID
What’s for lunch?
JENNA
Cold remains of my chicken dinner from last night.
SID
Is there enough for everyone?
JENNA
You can have what’s left of the Chinese from yesterday’s CRIME STOPPERS’ meeting with the Network.
(Long pause…then)
Furthermore, I don’t agree with what you said about talent. That’s the reason I want to do this. Not the ability to get away with “stuff.” Could be that’s you; it’s not who I am.
SID
Two days choking on the same Moo Shoo. Stick it in the microwave would you?
SHE does, then looks for a place to park herself and eat.
SID purposely changes the subject.
The husband–?
JENNA
Todd.
SID
–Whatever. We agreed we’d use me as the model.
JENNA
Yep. Except for the white hair we gave him, spitting image. Good looking. Lazy. Insensitive. Selfish.
SID
(Bowing)
What can I say? But she loves him.
JENNA
Or did–thoughts are things–
HE reaches for the dictionary.
SID
–And words matter. Hold a sec. Hmmm…Here it is…”Love: 1) A deep tender feeling for affection and solicitude toward a person, such as that arising from kinship or a sense of oneness. 2) Intense desire and attraction toward a person with whom one is disposed to make a pair; the emotion of sex and romance.”*
JENNA
The impulse of “intense desire” recognizes no such word as impossible and accepts no such reality of failure.
(Beat)
Were you making a pass at me?
SID
(Sincerely))
No.
(Finally confessing)
You’re right Jenna. It does behoove us to be the best we can be. But I’m 100% pure chicken shit. Glitzy forensics and women are my schtick, you know me. Nevertheless, I won’t be any old pull toy for you to schlep along in my Red Flexible Flyer doing something I know nothing about because you think it’s cool.
(Microwave bell rings))
Moo Shoo it is then.. Warmed up left-overs…
JENNA
I know I’ve captured your imagination, Sid. (If) We can’t make it work, and we go your way. Deal?
_____________________________________________________________
*American Heritage College Dictionary, Third Edition (c) 1993 Houghton Mifflin Company
JENNA puts down her lunch, and moves to her computer. As SHE types, SHE reads aloud.
JENNA (CONT)
CIRCLE ‘ROUND THE VOID, ACT 1, Scene 1: Posh Manhattan restaurant — Early Saturday evening. A candle-lit table downstage left occupied by MOLLY and TODD, an
especially striking well-dressed couple. In front of them half empty wine glasses and plates of partially eaten food.
The strains of live piano music are barely audible…
LIGHTS ON THE OFFICE SET SLOWLY FADE AS JENNA AND SID WORK.
END Scene 1
SIMULTANEOUSLY, LIGHTS COME UP ON SCENE 2.
ACT I
Scene 2 – Cold Start
A candle-lit table in an upscale Manhattan designer-type restaurant – Too early on a Saturday evening to be fashionable.
Live music plays in the background.
Especially striking well-dressed couple, MOLLY and TODD, are surrounded by randomly placed individual Mylar panels. At the back and sides, the reflective images are a distortion of the moment, the people, table, and candlelight.
MOLLY’S hardly eaten, while TODD’S plate is almost clean. Two half-empty wine glasses grace the meal.
TODD breaks into the uncomfortable silence between them.
TODD
–Quite delicious. I was hungry.
MOLLY
You’re leaving me for some blonde bimbo you just announced, and I’m supposed to daintily cut around the rack of lamb you so graciously ordered for us. I’d sooner make one clean stab at excising your heart!
(Beat)
Please ask the waiter to take this away and order me a double vodka martini with lots of olives.
TODD ignores her, tops off both wine glasses and moves his plate to the side. MOLLY gulps her wine and places the now empty glass in the middle of her plate.
TODD directs his attention to MOLLY’s mouth. HE indicates to it with his hand and finger.
TODD
Use you napkin, Molly, you’ve a wine mustache around your mouth.
MOLLY automaticallt opens her purse, withdraws her mirror and lipstick, and repairs her face.
MOLLY
(Mechanically)
Thank you.
TODD
(Continues talking))
You know mixing wine with liquor always makes you sick–
MOLLY
–Don’t tell me what I know! I hate when you do that.
TODD
Where was I?
MOLLY
(Referring to her face)
Better?
TODD
(Going on)
–Financially, you’ll enjoy pretty much the same quality of life, unless you remarry, then we’ll have to make another arrangement. I uh…I don’t get why this comes as such a surprise. You’ve already replaced me. I even thought of suing you for abandonment.
MOLLY
Abandonment? Replaced you? What are you–? With whom? Look around, here I am.
TODD
You have a new best friend.
MOLLY
What? Who? You can’t mean Simon? An overweight gay man, who chain smokes, and has a big grey cat that craps giant turds in a box. He’s a psychic.
TODD
But you’re in love with him. You’d go to bed with him, if you could…if he’d have you.
MOLLY
(Near tears)
–I can’t stand his smoking, I’m allergic to cats. And he has no interest in women.
TODD
All bullshit.
MOLLY
No! I love you. I never didn’t not love you.
(Going on)
I love lots of people: my parents, the children, your family, our friends…and Simon.
TODD
Which reminds me. With the children in college, there’s no point in maintaining such a large house. Consequently, I’ve put it on the market. Please arrange to find a smaller place for yourself with enough room for our daughter and son when they’re home from school. Oh, and the realtor will need your signature on the Sales Contract.
MOLLY
My signature?
(Short pause)
MOLLY (CONT)
Twenty-five years, Todd, and I never knew till this moment you were such a colossal shit.
(Beat)
You’ve told the children?
(Then)
Is there anything I can do to change your mind? Reconsider? Could we…? Would you see a marriage counsellor with me?
TODD
Shrinks are nuts. That’s why they become shrinks.
MOLLY
A visit–or two?
TODD
Heather is picking me up in about ten minutes. We have a flight to catch. She’ll meet them both tomorrow. Stay. Enjoy dessert, if you like. Here’s the valet ticket for the car. Be careful driving home.
MOLLY
Heather, huh? Just like that?
(Taking the ticket, SHE mimics TODD)
“Here’s the valet ticket for the car. Be careful driving home.” Fuck you! I don’t eat dessert! We always share the one you want.
TODD
You’ve always been gracious and genteel. I don’t expect any less of you now–
MOLLY
(Interrupting half out of her chair)
–HOW OLD IS SHE?
TODD
–Shhh! Try substituting intensity for volume. We’re in a restaurant.
MOLLY
You bastard. Of course we are. Too bad you couldn’t have arranged to do this in American Sign Language–no noise–almost poetic. We know people who did that.
TODD
(Persisting)
Nor do I anticipate an expensive divorce attorney. Nothing messy.
MOLLY
Everything according to plan. Nothing to talk about. Only that I wear a “neat” veil of propriety–any particular color suit you?
TODD
…
MOLLY
So sterile, I want to vomit for the sheer joy of making a grand chunky mess with a stink to high heaven. Make everybody look at us. What about me? You’re asking me to reinvent my life over Pinot Noir and lamb chops? I abandon you? That’s a laugh.
Holds up the bottle of wine in the air and looks around for a waiter.
Who dreamt up wine anyway. Musta been the ancient Egyptians. Brilliant of them. Pyramids, papyrus and wine.
TODD
Molly–
MOLLY
(Interrupting)
–You owe me. We were business partners. Your success was a joint venture that included both of us. It’s always gnawed at you because you needed me–you thought it made you less of a perfect man. Be honest with yourself for once. No one’s perfect till they’re dead.
(Then …)
How long have you been sleeping with her?
TODD
I envision a generous settlement.
MOLLY looks at TODD but doesn’t recognize him. SHE picks up the wine bottle momentarily, then puts it down, lost for a moment.
MOLLY
I didn’t cheat.
TODD
I never said–
MOLLY
–What?
TODD’s cell phone rings interrupting them. HE answers it as MOLLY asks again.
–WHAT?
TODD
(To MOLLY)
Excuse me, I have to take this call. It’s Heather.
(Into the phone)
Hello… I’m–I’m sorry–I don’t–I don’t get… Who is this…? Could you please speak up…? Say it again… It’s difficult to hear–
(Listening and repeating)
–The car’s totaled…
(Then …)
–Alive!
(Listens)
–NYU Downtown… Where… ? The old Beekman? Thank you. I’ll–be right there. Thank–Thank you.
(Collecting himself, then to MOLLY)
Heather’s had an accident. It’s–She’s in the hospital.
MOLLY
Are you in love with her? (Followed by) Are we done?
TODD
(A truly long beat)
Molly, our love has gone sick but it’s as deep as ever. It’s boring…problematic…and I need– Now is not the time–
MOLLY
–What the…what does any of that mean? When is the time? “Problematic?” You “need”? Who are you? Who the hell are you? Who the hell are you?
(Long loud silence)
Shall I drive you to the hospital? Or would you prefer to take a cab or Uber?
TODD
Give me the ticket. I’ll call a cab for you and take the car myself.
HE extends his hand for the valet ticket; SHE has no intention of giving it to him.
MOLLY
Absolutely, no. NO!
(Short beat)
Don’t plan on coming home either, Todd. It’s not your house now–that would be trespassing. Furthermore, it’s not for sale.
SHE gets up to leave.
TODD
But–
MOLLY stops dead in her tracks, gathering her dignity. SHE turns around to face him.
MOLLY
–But? Do you have an objection, Todd?
(Then in her most alluring sultry voice…)
MOLLY (CONT)
My darling husband, I seem to recall a very passionate repast that took place in our bed only this morning. I pleasured you in every conceivable, imaginable manner. How pleasant it must be to take and know you’re under no obligation to give back. You’ll miss that. I’m curious. Was it before or after you decided to make the reservation for this evening’s dinner?
(Turning icy)
Deliberate cruelty is unforgiveable. You and I, we had an agreement: it was called marriage.
SHE walks O.S. HE calls after her.
TODD
Wait! Molly, don’t…
Left standing alone and angry, TODD’s reflection is repeated over and over again in the Mylar panels that surround him.
Son of a bitch.
TODD looks around self-consciously, reaches into his pocket, grabs some cash, ruffles through a count, puts it on the table and exits.
THE STAGE SLOWLY GOES BLACK AS THE REFLECTED CANDLELIGHT IS LAST TO GO OUT.
END Scene 2
ACT I
Scene 3 – Premise
Lights up on the Office Space – 3:30 in the afternoon.
SID and JENNA have been busy working. Remnants of lunch are scattered about. On a break, SID is finishing in the toilet–we hear the water flush. JENNA is near the window counting out her stretches. SID enters drying his hands and jump-tosses the paper towel into a ready waste basket.
SID
Brilliant cold start. Cut to commercial.
(On reflection)
Ballsy broad, that Molly! “It’s my house now!” I like her. Woulda been cool to see the two of ‘em in bed–not just hear about it.
(Then)
Needs to be longer.
JENNA
(Broadly smiling)
Lo and behold! We have us a playwright! Applause! Applause! And you’re right, of course, it needs to be longer. We’re writing too close to TV format. We’ll get better. But NOTE TO ME: their tension has to be strong enough to hold a live audience.
SID
Yeah, but it’s still great. Finish your stretching. Break time’s over!
He paces.
SHE’s been counting stretches. Does one or two additional and stops.
JENNA
Done.
Not quite ready to sit, SHE goes about the room tidying up from lunch.
You’re up.
SID
Now more than ever, I want to get her over to Marfa.
JENNA
Hmmm. What’s “Marfa?” You’ve gotta give me more. Maybe connect the dots. Like what’re you talking about?
SID
UNSOLVED MYSTERIES–the Lights. Saw it quite a while back. I told you. You obviously don’t remember?
JENNA
Maybe. On television? No. You’ll have to tell me again. But Marfa or not–whatever–that’s ACT II. SHE needs to get from A to B. Her husband’s dumped her. She goes home and??? What?
SID
The gay guy-what’s-his-name. Where’s the list? The one her husband thinks she wants to screw?
JENNA
Simon?
SID
Yeah, him. Gays are safe. Broads dig ‘em. Intelligent! Artistic! Tremendously empathetic–they get what it’s like to be hurt by a man.
JENNA
Do they now? Not my first choice.
SID
Safe havens. Resident expert here!
JENNA finds her purse, touches her nose with powder from a mirrored compact and reapplies lip stick.
JENNA
Hmmm.
(Then)
So, okay. She goes to see Simon. Why? She’s already in the crapper with her husband over him. Why not a woman’s shoulder to cry on–her BFF.
SID
Cause’s he’s her BFF. Todd’s dead on. She’s in love with him–cat turds, cigarettes and all! She digs Simon and finds what he does alluring, beguiling, tantalizing. Even sexy.
(Then)
Jeez, a light went off in my head–flash of genius–
SID stops pacing long enough to find his yellow pad.
Need a pink Post-It stat.*
(Finds one, writes and speaks Soto voce)
Cat fight!
JENNA
(Interrupting)
–Don’t make her a fag hag, Sid.
SID
No. Definitely not. At this point she’s hurt, hungry and lonely. Which reminds me, I have a date with a lady for cocktails later.
JENNA
Only cocktails?
_____________________________________________________________*SID uses yellow pads for notes to which he affixes various color Post-Its.
SID
Not interested in dinner.
JENNA
You or her? What about the ones you took to High Tea at the Plaza? I used to be jealous.
SID
Chicks in New York. This is L.A. Different rules.
JENNA
How’d you meet? You never said anything.
SID
On the phone. Wrong number. One of us must’ve ass dialed. Don’t remember her name. She e-mailed me a picture–like an audition. Very eye-catching–
Thinking the same thought, THEY spontaneously break out laughing.
JENNA
Next seasons opening episode! We find our victim dead. On the ground, of course. Gore gushing from where she cut off his dick. The designer slacks–Zegna?–are ruined. There’s a note in a Vlassic–product placement–pickle jar reads: “Wrong number.” Blood smeared finger prints everywhere. They’re mostly for shit but one is salvageable–barely. Good thing it’s CRIME STOPPERS’ forensic team on the job! Cut to computer screen. Bing! Bing! Bang! We’ve got the name. Episode: The Deadly Circumcision.
(Laughing all over again)
Make sure you get this down on your yellow pad and circle it SAVE.
SID
Thanks, Jenna. Fun laughing with you even at my expense.
JENNA
Get back to me –with how your date turns out.
SID
(Suddenly serious)
You know, in this very moment, reality finally hit me. There may not be a next season.
JENNA
Yeah. But they’re still talking to us. If there is, we’re ready for ‘em.
(Beat)
Let’s keep going.
SID
AS in, “Don’t think about it?”
(Beat)
Where we at?
JENNA
Hungry and lonely.
(Then)
All we know about Marfa is what you saw on TV–whenever it was? Seems to me–besides the research–we ought to at least pay a visit there–sensate the experience that brings Molly before we decide to send her.
SID
I Googled it. Big trip. Almost a third across the U.S. Middle of a desert plateau–in rancher country–somewhere in the mountains of West Texas.
JENNA
Didn’t know Texas had mountains. We’ll need to book a flight.
SID
No direct flights and three hours’ drive from Odessa. Nine hours plus getting there. We could go to China.
JENNA takes her crochet bag from wherever it’s kept, and commences work on a camel colored scarf already in progress.
SID watches her a quiet moment.
SID (CONT)
Lucky guy, Marty. I don’t tell you often enough how special you are. Having you in the room makes it beautiful.
Their eyes lock briefly.
JENNA
Thanks. Oh, and save that last line for Molly.
(Referring to the scarf)
For Marty’s birthday. If he’s lucky, I won’t hang him with it.
SID
Your husband gonna be okay with us taking this trip together? –Something to think about.
JENNA
Wouldn’t be the first time. Why?
SID
Still raw. Fresh out of my third divorce. Change changes things.
JENNA
It doesn’t have to. Not everything. We’re grown-ups. When did you want to go?
SID
Soon, I guess. Next week?
JENNA
I want to stay through a weekend. Tourists–if they’re there–that’s when they’ll come
SID
Wednesday to Monday?
JENNA puts down her crocheting, gets up from the sofa, goes for a bottled water.
JENNA
If Molly goes to Marfa because she’s drawn to the light, couldn’t that just as easily be Vegas or Broadway–
SID
(Interrupting)
–Simon.
JENNA
Again? How so? Simon’s Mystery School. Sedona’s the spiritual capital of–I don’t know–the world. High energy field–vortex–or some thing along those lines. Energy equals light–it’s the same isn’t it? What is it about Marfa?
SID
A feeling. I don’t know…you tell me. Seems right.
(Beat)
But what the hell? I’m game. Studio City to Sedona…’bout 500 miles. Been there…both of us on location…where we did an early CRIME STOPPERS. What was it?–Mystical Murder or ah…don’t have a clue. We’ll go tomorrow. Check on the moth situation. Turn around and come home.
JENNA
Very funny.
SID
Why? Maybe that’s where it’s at. Molly sits atop a high vibrating mountain and satisfies herself–
JENNA
(Stops him before he goes further)
–You dirty old man!
(Then)
Talk to me about Marfa.
SID
Unexplained, unpredictable “ghost” lights–illuminations floating above the ground that kind of hover, vanish and reappear. We’ll go and probably never see them–
JENNA
–Then why–
Not allowing JENNA to interrupt, SID reads from notes on his desk.
SID
–”They pulsate. They dance and flicker. Sometimes they flash colors…or display the bright intensity of a strobe. Always, they fascinate”*
(Looking up at JENNA)
From dusk to dawn any time of year in every kind of weather. They’re a kind of…optical phenomenon.
(Then)
All kinds of folklore’s attached to ‘em too. One story has it that a guy claimed the lights talked to him when he was caught in a blizzard. ”Saved his life,” he said.
JENNA
And you want to go there, sit outside from dusk to dawn, two maybe three nights–possibly freeze to death in the mountains during some kind of extreme weather event–with no guarantee of ever seeing anything other than a good chance of a bad cold or pneumonia? Do I have that right, Sid? Not too unreasonable, I imagine.
SID
They have a viewing area.
JENNA
Good. Our shoes don’t get sand in them.
SID
You’re the one wants to visit before we send Molly.
JENNA
I don’t get how we can say she’s seen them when we don’t have a clue. This isn’t Tinker Bell dust?
SID
There’s more, Jenna…
_________________________________________________________
*The Marfa Lights – A Mystery by Rosemary Williams
JENNA
Oh-kay.
SID
In the midst of cowboys and Indians, Marfa’s artsy fartsy. Museums, artists, spiritual types. Whatever. And gays. Complete antithesis of Texas! Also, bargain priced sound stages. Amazon did I LOVE DICK with Marfa as a backdrop.
JENNA
Cancelled before I ever got to it. Heard it was an interesting show though.
SID
How’d they even know the place existed.
(Shrugs)
JENNA
Intriguing.
(Suddenly recalling)
GIANT!! It’s where they filmed GIANT!
SID
That was then–
JENNA
Don’t James Dean fans still visit the ruins of Reata? He died in what?..1955. I think only the windmill remains.
SID
Almost seventy years ago? His fans have to be the Walking Dead.
The room gets very quiet. Neither knows what comes next. Finally JENNA speaks.
JENNA
All right. Let’s say, Molly, the moth, for whatever reason, is attracted to the Marfa Lights.
SID
Please. No. Don’t call her that. She’s the only part of you I can safely get to.
Slow sexual tension builds.
JENNA
I’m not who you want, Sid We know each other too long–have our own kind of relationship. Don’t fuck with it.
SID
Twelve weeks, three days, and a shit load of money. That’s how long the marriage lasted. Can you believe it? Next time I’ll pick someone age-appropriate, like Molly–with dividend paying investments. You think she’d find me appealing?
A long reflective moment passes between them.
JENNA
This play is becoming your voyage…
SHE crosses to her desk to check the time and find where they’re at in the script.
We could probably continue another hour and/or quit and get back to the play tomorrow. What’s your day look like?
THEY check their I-Phones
I’m free after ten.
SID
Let’s put the time in now. Then we could push off coming in till eleven? I’ll book the flights and the car before we get to the office. You do the hotel.
JENNA indicates agreement.
SID scrawls something on a Post-It and places it on the back of his I-Phone.
Where we at?
JENNA situates herself at her computer, while SID makes sense of his yellow pad and various color Post-Its.
SID (CONT)
Wait! I’ve-I’ve got it: Sunday. She’s home alone.
JENNA
You want her to call Simon and tell him what’s transpired?
SID
(Indicates yes)
Only we’ll open in his apartment early Monday evening. The audience’ll get it. Simon and Molly have shared an-a Chinese take-out dinner. No. Make that finished two separate take-outs. Simon’s visible in the kitchen pass-through–
THEY interrupt each other.
JENNA
–She won’t go in there. It’s where the litter box is–
SID
–Making tea for both of them. He’s a published poet, university teacher and recovering alcoholic. No booze. No wine. Nothing for ether of them–
JENNA
–Nice touch. We’ve already established that he’s overweight…also big…tall. He’s a chain smoker and we know Molly doesn’t smoke. In fact, it bothers her–
SID
–And while he’s a…winsome man, he’s not the swishy type.
JENNA
We’re all extreme in one way or another…at times. That’s a note to us.
SID
He uses heaping amounts of sugar.
JENNA
Good! She’s at a…a glass dining room table retrieving a Splenda from her purse.
SID
How much do you want to restate?
JENNA
Nothing. This isn’t television. No three minutes of commercials to stop the action. We go from one scene to the next.
SID
One more thing. Let’s go for some diversity and make him a man of color.
JENNA
Works for me.
SID
What’s the hold-up then? Go! Go! Go!
JENNA
What if he’s a fraud?
SID
No.
JENNA
Because you say so? Does Molly ever question it? Lots of crackpots and fakes out there.
SID
He’s the real McCoy.
JENNA
You know this?
SID
Yes.
JENNA
(Laughs, shaking her head)
Women and homos, Vietnamese nail salons, now healers. Who would have thought? Always the expert!
(Pause)
Yet, at some point it’s plausible, she could question her belief in him.
(Then…)
Let’s do it.
Typing, SHE reads aloud.
Monday, early evening, SIMON’s New York City loft-style apartment. Downstairs is the eating and living area, the upstairs is for sleeping…
LIGHTS ON OFFICE SET FADE AS LIGHTS COME UP ON SCENE 4.
END Scene 3
ACT I
Scene 4 – Inciting Incident
SIMON’s New York City loft style apartment – Monday, early evening.
Two levels, a staircase separates the living space from the sleep- ing area. The tall window re-veals the early evening sky turning to night. Traffic noises are audible when open. The high ceiling lends itself to a kind of church-like spirituality. Decora-tions are simple and functional.
There’s a pass-through window from the dining area to the kitchen. The dining table is glass and seats six. There’s a sofa, books, lamps, a TV/music center, wall art and a long mirror opposite the dining area. In the background meditation-type music plays. The apartment is aglow with flickering candle light which contributes to the smoky haze visible in the air. Somewhere there’s a large fat cat we never see.
SIMON, early to mid-thirties, is a tall, overweight, dark-skinned man, memorable for his girth rather than size. His clothes: shirt, jeans and boots are all black.
While HE smiles easily, a laugh from him is hard won.
A gifted clairaudient, he is personally insecure, soft spoken, kind and concerned, and readily displays his affection for MOLLY.
SIMON is seen preparing tea through the kitchen pass-through. MOLLY stands at the table, which shows the remains of their separate “take-out” Chinese dinners. SHE removes a Splenda from her purse, places it on the table, then begins stacking the empty take-out containers.
MOLLY
Pepper steak left, Simon.
SIMON
Pass it through. Tomorrow’s lunch.
Closing the lid, SHE hands it over.
MOLLY
The plastic bag?
SIMON
(Handing her the bag the food came in)
Anything to put in the fridge for you?
MOLLY
I get the clean plate surprise. Moo Shoo was delicious. I never got to eat lunch.
SIMON
(Smiling at MOLLY)
I’m glad you’re here–that you called yesterday.
SIMON comes around from the kitchen with two steaming mugs of tea.
MOLLY
Me too.
SIMON
Careful. It’s hot.
Spooning large amounts of sugar into his mug.
You look…terrific but then you always do.
MOLLY
I’m okay.
Tearing open the package of Splenda, adds it to her tea.
Wouldn’t even consider a marriage counsellor. Did you know he had me followed here? More than once. Like we were doing something…illicit and dirty. HOW COULD I NOT HAVE SEEN WHAT WAS GOING ON?
(Beat)
I don’t get it. Poor Molly. I only want someone to want me.
SIMON lights a cigarette, making an attempt at keeping the smoke away.
Finished loading the plastic bag SHE ties a knot at the top.
What now?
SIMON
I’ll take it to the chute–
MOLLY
I know where it is. But would you mind opening the window a crack?
SHE goes out the door with the garbage.
SIMON opens the window. Street noise trickles in merging with the background music. HE puts whatever isn’t in order back in place, then take a long drag on his cigarette, crushes it in an ashtray, and drinks his tea.
MOLLY returns. Blows across her mug before taking a sip.
MOLLY
Still hot.
SIMON
How is she…? The other–?
MOLLY
Other women!? You mean Heather. Dead! Four-twelve yesterday afternoon.
SIMON
Before we spoke. You never said. Sorry.
MOLLY
Not your fault. You didn’t wish her any harm.
(Pause)
Neither did I for that matter.
SIMON
You’re sure you’re up to this? Wouldn’t you rather just hang out–maybe watch the tube…? Or go out to a movie?
MOLLY
There’ll be a group here tomorrow. I’d rather do this now.
(Then)
Answers…I’m looking for answers.
SIMON
I’m not a fortune teller.
MOLLY
I know that.
(Beat)
Will you channel or…? What are we doing?
SIMON
Maybe nothing…we’ll see.
SIMON mumbles something, as if to himself, then speaks aloud.
Plan on tomorrow as well.
(Smiles and speaks directly to MOLLY)
I would prefer your being here with the group–the collective energy.
MOLLY
In the chair over there or here at the table?
SIMON
Doesn’t matter as long as you’re comfortable.
(A moment, then…)
Close your eyes. Center on your breathing. When you feel ready, let go.
MOLLY’s done this before. SHE visibly gives up control.
SIMON takes his cues off MOLLY, and proceeds accordingly.
Good. Be with your breath. Feel it as it enters and leaves your body. Go with the rhythm your body sets. Breathe in peace. Breather out anger. Breathe in love. Breath out apathy. In. Out. In. Out. In. Out. Become your breath.
(Closely watches MOLLY)
Feel the space around you…the temperature…sounds. Smell the air. Experience the energy.
(Waits for her to catch up as SHE closes her eyes)
Go into your heart center. As you do, you may feel your heart beat a little faster or even skip a beat.
Give yourself permission to let this happen–a warmth may course through you. Relax.
SIMON (CONT)
Allow yourself to become present. Listen to your body. What’s it saying? Hear and respond. Recognize your feelings? What sensations are you experiencing,
MOLLY
Abandonment. Disappointment. Isolation.
SIMON
Be specific, Molly. How do you go through any of those as sensations?
MOLLY
I don’t–I don’t think…What?
SIMON
What’s the experience of it? Don’t intellectualize. Describe it. Like bunches of knots, hot flowing lava, stabbing icicles, skin baked raw? You know how to do this.
MOLLY
Breaking vertebrae–snapping. My back is collapsing.
(Her pain is real–vocal and visible)
I can’t hold the weight of my body.
SIMON
Where does that take you? Can you be that sensibility?
MOLLY
A black hole…I’m a broken black hole. Surrounded by a void. I don’t have to be real with anyone, no failing here. Nothing anyone says or does affects me. Comfortable.
Begins blinking as if a bright light is shining in her eyes and SHE covers them.
Wait. No light, please. When it’s dark, I disappear.
(Beat)
Damn! Slipping. Falling.
SIMON stands before Molly. The front side of his hand is open; HE places it inches from her body in the vicinity of her throat and heart chakras. It appears he is actually drawing negative energy from her body.
MOLLY
Searchlight burning my eyes. Everywhere. I’m building a pile of round red rocks. Locked out of my own escape
Torment registers on MOLLY’s face. SHE opens her eyes.
Pain! Searing, penetrating pain. Hot! Very hot! A steep hill; I need to pull against it lest I vanish. My back–I can no longer stand. I am crawling…
SHE is coughing, gagging, fighting and out of breath.
SIMON
Where are you? Describe it.
MOLLY
My–I don’t know.
(Beat)
My hair…my hair is in my face. I-I can’t see. Not round red rocks at all! Cartons! I’m lugging cartons–a tractor trailer load of cartons. Salty burning sweat is dripping in my eyes. A prison of boxes stacked around me. So dry. My mouth is…Where do I put the boxes?
SIMON
Molly, with me now. You are embraced by Light. Open to receive.
SIMON mumbles something as if to himself, speaks aloud, waits, mumbles, speaks again. HE does this two, three, four times. Mumble, speak, repeat. HE is channeling.
SIMON
Empty trash. Put in dumpster. Learn no. Do it for the one you need to love most. You. Look for real feelings. How do you do? Be everything you are–it is your obligation. Clean closets–your closets. Relinquish fear–Fear of change, Embrace what is new. Set intention. When you achieve BEING every part of you knows it. Set intention. Set intention.
MOLLY
Set intention…
SHE is back in her mind and body. MOLLY drinks down the remaining tea.
A long quiet moment…
SIMON
(To MOLLY)
How’s your back?
MOLLY
(Becomes aware of it)
Hurts.
(Then)
I feel…lighter somehow…?
SIMON
Good.
MOLLY
What happened? Simon, I’m–What happened? “Empty trash?” Cartons?…What were you channeling? Where did I go?
Instead of answering, SIMON gives himself over to his Guides again. Then…
SIMON
(As himself to MOLLY)
Cold water?
MOLLY
Cold water. Yes.
(Beat)
How do I know any of this is real?–you’re not some charlatan?
SIMON
…
HE gets up, goes to the kitchen, lights a cigarette, and rummages through the freezer.
MOLLY
How would I know? I mean…
(Long beat))
Could we talk a while? I can’t bear to think about getting in the car and driving home now.
SIMON
Stay. Sleep on the sofa. I’ll be upstairs.
MOLLY
I used to imagine what it would be like to spend the night here. No one to stop me now.
SIMON
(Calling from the kitchen)
Hungry? I have Cherry Garcia.
MOLLY
Yogurt or ice cream? Never mind. I’m ravenous and thirsty. Not too much though.
SIMON returns with napkins, two bowls of ice cream, bottled water, and a cigarette dangling from his lips. MOLLY gives him a dirty look followed by a cough. HE snubs it out.
SIMON
Napkin, m’Lady.
(Smiling broadly at his own heaping dish of ice cream)
The big one’s for me.
MOLLY
All yours.
THEY laugh, open the water and consume the ice cream. A quiet comfortable moment between friends)
Feels like I’ve been here a lifetime tonight. What time is it?
SIMON
The energy work…you lose track.
(Then)
Shall I turn on the television? Sometimes it–
MOLLY
(Interrupting)
No.
(Beat)
They–your Guides said to come back tomorrow evening. I didn’t imagine that, right?
SIMON
Could be they’re not finished. Maybe you’ll want to ask something. A lesson perhaps…
MOLLY
As my friend could you–?
SIMON
–”Clean your closets” is code for clean your closets. No mystery there. “Trash” is what you’re unnecessarily holding on to. I’m not clairvoyant, Molly. I don’t pretend to know what’s coming, but I get a sense there’s an opportunity for change. Go for it!
MOLLY
I could take Todd back.
SIMON
Too many cartons.
MOLLY
He asked.
SIMON
Of course, he asked. His play thing is…gone.
MOLLY lets out a huge sigh, then speaks. What she says is difficult for her.
MOLLY
A marriage has its own life, Simon, its own way of being. Two people commit to it–they create it and give it energy. The energy is between them; they move it, shape it, push it in different directions. Like an investment.
SIMON
And end it by fucking up–
MOLLY yearns to touch SIMON but knows better. SHE gets up and away from him.
MOLLY
–Making it something it isn’t. Almost happened with us–you and me. You’re a gay man. I’m an older woman tremendously attracted to you. But we got through it. Our own sexual identities are intact. We share a belief in each other but not in “us” as a couple.
SIMON
Thanks to you. You could have blown it.
MOLLY
Todd and I were a couple. I did love him…do love him.
SHE stares out the window at the night sky
SIMON
He cheated–broke the rules–and didn’t consider you.
MOLLY
Perhaps we could get past the pain. Just because you’ve not been able to do that with the men in your life–
SIMON
(Defensive)
–We’re not talking about me.
Turning back to the room, SHE faces SIMON through the smoky haze.
MOLLY
I apologize.
(Then waving at the air)
You know, Simon, smoking is a filthy, disgusting habit. “Healer, heal thyself…”
SIMON
Yeah, I know. Even the Guides are insisting: “To hear more clearly.”
Looking around, SHE changes the subject.
MOLLY
No Miss Tickles tonight? I don’t see the cat anywhere?
SIMON
She hides under my blanket when it’s only the two of us. La Lump! The group energy brings her out.
MOLLY
Two females vying for the same male animal, huh?
(Calling)
Here kitty, kitty, kitty. How ‘bout a cat fight?
Making a gnarly sound, MOLLY curls her fingers like cat’s claws.
SIMON
With Miss Tickles?
This strikes SIMON’s funny bone. HE laughs heartily. It’s contagious and MOLLY joins in.
MOLLY
Surprised you! I still remember how to play.
(Then abruptly introspective)
Once upon a time when I was a kid, I had this big Golden Book Bible. On the cover was a picture of God with a long white beard sitting in the middle of a cloud–
SIMON
–Michelangelo’s depiction of God–?
MOLLY
–No. Anyway, I thought He was a fairy tale character like in all the other Golden Books. But my parents said he was real. I devised a game for us–God and me. It was kind of a-a test. We’d play Marco Polo. I’d concentrate on the sky real hard to see if I could see Him and call, “Marco.” If the answer came back, “Polo,” then my parents had told the truth. I wanted Him to be real.
SIMON
Did he ever answer?
MOLLY
…
SIMON
Busy?
MOLLY
I called out different times of the day and night–in every kind of weather.
Laughs at the sudden silly realization.
He didn’t want to play.
(Then determinedly…)
MOLLY (CONT)
Simon, before what we did tonight gets mixed up with my dreams, could we discuss what happened? What it means? Please.
SIMON
Time and dreams often clarify a healing.
MOLLY
It won’t fade away in the morning?
SIMON
I promise.
SIMON begins channeling again. As before, HE mumbles as if to him-self, speaks aloud, waits a moment, mumbles, speaks, etc.
Polo. Polo. Polo.
(To MOLLY)
Someone wants to play.
(Repeating to the GUIDES)
Go to the stars in… Martha…Martha?…Not Martha?…
M-a-r-f-a.
(To MOLLY)
Go to the stars in Marfa. What does that mean?
MOLLY
…? Damned if I know
SIMON
(To the Guides)
Go to the stars in Marfa? Explain.
(Repeating information from the Guides)
Sky lights?
Another moment while SIMON takes instructions from his Guides. Finally to MOLLY
Apparently, there are lights in the sky in Marfa. They want you to go there. “Always they fascinate.”
(A short beat)
MOLLY
Marfa–as in Texas?
The Guides answer before SIMON asks and HE nods his head.
SIMON
Yes.
MOLLY
Bell ringer! How could they know what I’d forgotten?
SIMON
Forgotten?
MOLLY
Two guys from yesteryear. A sculptor and a former figure skater-turned-hair-dresser–both all around brilliant, stunning, sexy…My God! We’ve never even talked about them.
SIMON
And…?
SHE doesn’t know how to begin or where to put herself in the room.
MOLLY
And nothing. They live there. A good while back, I got a picture postcard from them…with an address.
(Beat, then…)
Before Todd, the three of us–we hung out a lot–always this on-going flirting between us. Then one night, quite spontaneously, we fell into bed for a three-way. The room, space, scented candles. For me a fantasy dream come true. Gavyn, Rand–all of us drunk–turned on. The attraction was…huge…like nothing I’d ever experienced.
SIMON
…??? Go on.
MOLLY
Nothing happened. Hot sweaty bodies twisted up in each other and Gavyn’s whispered voice: “This is wrong!” Thought about it…off and on over the years. We stayed friends but… Even Todd liked them.
SIMON
Two homos, Molly?
MOLLY
Yes.
(Beat)
Then five, six years ago, they sold their Tribeca loft and retired to Marfa. Out of sight, out of mind. Except for the name of the town, I forgot…
SIMON
You’ll see them there?
MOLLY
I thought the lights–not the faintest idea.
MOLLY is physically and emotionally spent.
Wow…!
SIMON
You’re wiped. We should think about getting you into bed.
MOLLY
(Insinuates herself into his arms)
So tired. I need Simon to hold me up or I’ll fall where I’m standing.
SIMON holds her briefly, then unwinds from the embrace. HE escorts MOLLY to a chair and busies himself finding whatever SHE will need for the night.
SIMON
Sit. I’ll make up the sofa. The right-hand drawer in the bathroom, there’s a new sample toothbrush from the dentist and toothpaste.
(Subvocalizes)
Let’s see–sheets, pillow, clean T-shirt for sleeping in-
HE makes up the sofa as SHE follows him with her eyes.
What else?–The music…
Turns it off.
MOLLY
I appreciate…everything…
SIMON extinguishes the candles and heads for the stairs. We see him turn on the loft light and make his way up the stairs. The cat meows.
Whoa! The guys in Marfa–they’ve got twenty years on me. Couple of old codgers! Life happens and then who has the time to think about anything.
SHE takes the T-shirt and heads for the bathroom.
SIMON
(Calls out from upstairs)
Pleasant dreams. Don’t let the bed bugs bite.
THE STAGE GOES DARK.
END Scene 4
ACT 1
Scene 5 – Midpoint
The Writing Studio – One day after yesterday – Almost eleven a.m.
Rain pours down on the window and roof making for a dark melancholy mood. JENNA is already there as the lights come up—a Starbucks container close at hand. Her raincoat and umbrella drip on the coat tree.
Dressed in a sweater and slacks, SHE has turned on lamps and selects background music for the day. Reading from the blurb…
JENNA
“…Perfect for a massage and a glass of wine.”
(Chuckles to herself)
We’ll see.
After a brief moment of music, we hear SID clatter up the stairs. HE enters sporting a much-wrinkled trench coat draped over his shoulders, and heads straight to the coat tree. Like JENNA, HE too wears a sweater and slacks.
SID
L.A. in the rain. Uch! Nasty! I’m making coffee. Want tea?
JENNA
(Lifts her cup to him)
Chai Latte. Thanks. There’s half a scone for you–the bag’s on the counter.
At the coffee machine, SID checks the water level and inserts a pod.
SID
Much appreciated.
(Refers to the music selection)
That a zither?
JENNA
Could be a Theremin or a synthesizer. Music From the Pleiades. Just found it on Spotify, looking for something stellar.
SID
Cute.
JENNA
You know you’ll spoil that coat hanging it on a coat tree. Why not roll it up and throw it on the floor in the corner? So wrinkled, it looks like it’s been living up somebody’s ass.
SID
To a worm in the horseradish, the horseradish is the world. In fact, Jenna, it thrives rumpled in a ball in the trunk of my tiny ten-year old SLK convertible. When the top’s down, there’s barely enough room for a lady’s skimpy black negligee and two toothbrushes.
JENNA
TMI!
SID chews on the scone, waits for the coffee to finish, adds cream and sugar, warms his hands on the cup and then extends it toward JENNA.
SID
Here’s to us and a productive day.
JENNA
(Acknowledging the toast)
You book the tickets?
SID
Expedia. Five hundred thirty-three bucks a piece, round trip. Next Wednesday morning. American out of LAX, 10:45. A stop-over in Dallas, connecting to another flight to Midland/Odessa, arriving 5:45 p.m. Whereupon, we get into a Hertz mini SUV–$400–and drive south three hours or so, getting us into Marfa in time for a late dinner burrito and our first night’s watch. Almost nine hours, if everything goes without a hitch. Returning Monday, United–
JENNA
(Interrupting)
–Send me an email.
SID
Lest you forget the day we get back, there’s still another lunch meeting with the Network.
JENNA
I did forget. Bit of a squeeze.
SID
Fifteen hundred dollars on my credit card to look at stars in the sky.
JENNA
Uh-uh. Mystery Lights!
SID
Thought we’d even out the bill with you picking up the hotel, food and gas. Then charge the whole thing off when–if the play sells.
JENNA
Not “sells”…”is produced!” And what you mean “if” Kimosabe?
SHE makes a noise with her straw.
By the way, was she pissed?
SID
Who?
JENNA
Your cocktail date. We worked really late.
SID
I called her, rescheduled for ten. And there she was! Attractive plastic. Another blonde right out of Central Casting. I swear her hair wouldn’t blow in a gale. Over-flowing boobs framed by a too tight white pant suit came in a package called “Feather O”–short for O’Malley. She ordered a frozen blini* or whatever the hell was the drink-of-the-day. I gulped down a scotch. We spoke. She said absolutely nothing that meant anything. I thanked her and took her home. Thirty-five minutes on the clock. I was in my bed by eleven. I don’t wanna do this anymore. There has to be something better.
JENNA
Sorry.
SID
I must be getting old. I-I think I’m hooked on Molly–
He makes a second coffee.
She walks, talks, thinks and believes in tomorrow. Is it transference when you fall for a character you’ve created?
JENNA
Fantasy. A-cute fantasy. Careful, Sid, could be terminal!
SID
(Takes in JENNA’s play on words)
That supposed to be funny? Hmmm.
(Then)
Where we staying?
JENNA
The Marfa Inn.
_____________________________________________________________
*SID confuses Bellini, a drink, with blini, a pancake.
SID
Original…
JENNA
It’s a two bedroom casita. Including breakfast, $250 a night. The owner and I spoke on the phone–she’s been there forever, knows all the local lore, the museum scene, told me about some famous minimalist artist who lives there, name of Donald Judd, whatever–
JENNA puts herself on the sofa near where SHE left her crochet bag.
SID
(Calculating on his yellow pad)
Let’s see…five nights at $250…puts us up at around 2750 bucks, not counting food. Shit! All in the name of research!
Now on his second cup, acknow-ledging the coffee machine.
Smartest thing we could’ve done–this little coffee maker.
JENNA
(Interrupting)
Sid, how would you view my husband joining us?
SID
(Clearly not thrilled)
Marty with us in Marfa? We’ll need another ticket.
JENNA
I already told him no. We had one of the worst rows of our marriage.
SID
Jealous?
JENNA
I guess. He didn’t say but brought up everything that’s ever gone wrong in all the years we’re together. We’re a comfortable habit. Jealousy’s exciting
SID
How long, Jenna?
JENNA
Twenty years, going on forever.
SID
I can’t imagine. You bored?
JENNA
Sometimes. Then what we do…how we…you and I work together–makes it okay.
SID
Isn’t that what Molly tells Simon?
JENNA
I wrote the lines.
(Beat)
Marty and I have inadvertently switched over to “companionship.” Good company with fucking privileges. You and I…we play…it’s fun–the days are about Jenna and Sid.
SID
What do you want to do about that?
JENNA
Nothing. Too scary! Very hooey, looey.
SID
Donald Duck’s bare-assed nephews?
JENNA
(Laughing)
That’s Huey, Dewey and Louie.
(Then)
Let’s get to the play.
SHE goes to the computer.Sid removes his sweater, replaces it with a T-shirt, grabs a towel and before mounting his Exercycle,
looks for his yellow pad and Post-Its.
SID
So, we’re back at Simon’s for the group thing. More insight–answers to questions from the night before. Nice ’n easy set-up.
JENNA
…? Or?
SID
Is there a problem? She does something stupid?
JENNA
Who knows?
SHE looks back at the previous day’s writing.
Here it is: Simon says, “Time and dreams often clarify a healing.”
(Beat)
ACT II opens…Molly’s In Marfa…what you wanted.
SID
But not necessarily to have sex with the two old gay coots?–to fulfill some kind of long-held fantasy?
JENNA
You’re green-eyed?
SID gives her a dirty look, then does a few stretches, parks himself on the bike and begins pedaling slowly.
SID
How does she find them?
JENNA
Gavyn’s a sculptor–he’ll have a website. We need to give him a last name. Also, from what I’ve gleaned, the town’s an art fest. Presumably, everyone knows everyone else.
JENNA (CONT)
Don’t forget about Rand either–probably give up hair dressing by now.
SID
It’s been years…
JENNA
Why do you think she never heard from them beyond their address?
SID
Complete change of life style. One day melted into another. They belong here–it’s become their world.
HE stops pedaling.
Is Simon with her?
JENNA
I like Simon but it works better if she’s alone.
SID
We done with him, Jenna?
JENNA
…
(Beat)
Do you expect we may all have Guides but don’t know how to tune them in?
SID
For real?
(Changing the subject)
Sorry about your fight with Marty–he’s an okay guy–a mensch.
JENNA
Yep. And a great Dad.
SID
I’m excited to get there.
JENNA
So am I.
SID
By the way, I almost forgot, inside my coat sleeve is bunch of flowers. Don’t make a big deal! They’re from Trader Joe’s.
JENNA goes to the coat tree and removes the cellophane wrapped flowers from inside the coat sleeve. SHE finds a vase, fills it with water, arranges the flowers and puts it on her desk. SHE resumes sitting at her computer.
JENNA
You shouldn’t have.
SID
Got that right.
JENNA
Need to learn to simply say, “You’re welcome.”
A resounding clap of thunder immediately followed by lightening.
Wow! Listen to it…Loud!
SID
Too close. I hate storms–why I don’t live in Texas.
JENNA
Really? The complete unvarnished truth?
SID
Shall we begin?
Another startling round of thunder and lightning.
JENNA
Dammit all. I hope we don’t lose the lights.
AND THE LIGHTS FLICKER AS THE STAGE GOES DARK.
END Scene 5
—–
INTERMISSION
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Gerry Cousins – Outline Key Scenes 1, 2 & 3 for ACT 1 (Inciting Incident, Turning Point)
Once again because this is a straight drama and is written as a play-within-a-play, I will amend this assignment to include only the main story and not the sub-play. To do this I will include the outlines for Scenes 1, 2, & 3.
Lessons 10 & 11
What I learned doing this assignment: This was one exercise that especially worked for me as a playwright. My Inciting Incident was very clear in that the entire plot depends on it. But I had never checked for a Turning Point at the end of every scene—only between the ACTS to insure that the audience would be back after the Intermission. This is a far more dramatic approach and seemingly will work in any milieu.
MARFA LIGHTS –
Scene 1: The Inciting Incident happens prior to the opening of the play. JENNA (protagonist = P) and SID (antagonist=A) have learned that their award winning long running hit, CRIME STOPPERS, a TV episodic show, has likely run its course. While they are still in negotiations, it does not look hopeful. P wants to take a crack at writing a stage play, but A doesn’t want to face the inevitable. He is also not the least bit interested in writing for the theater—he’s a known TV formula crime writer and that’s where he’s most comfortable. P is bored in her personal life and in CRIME STOPPERS; she is looking to try something new. P does manage to pique A’s interest Turning Point and they take a stab at writing the first act of their play.
Scene 3. The first act gets A excited, and in fleshing out the characters, we learn more about the personal lives of our leading characters. P needs the challenge of “new” in her life; A is getting over his recent third quickie marriage and divorce. Both writers have always enjoyed their warm, cozy, slightly flirtatious relationship, but it becomes clear that they are both living a little vicariously through their lead character, MOLLY, in their play. They discuss the next scenes. A suggests the name of Marfa, which P learns about on the spot. Together they plot MOLLY’s going there to see the Mystery Lights, Turning Point. But how can they send Molly when they’ve never been to Marfa themselves
Scene 5. JENNA (P) and SID (A) have made arrangements to go to Marfa, TX. P’s husband is not happy that the writing partners are going without him. P tells him a flat-out NO, This leads her to tell A how happy she’s been with their relationship. However, not at all in her twenty-year marriage and family at home, Turning Point. JENNA and SID are so much looking forward to Marfa.
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Gerry Cousins – ACT IV – Scene 9 (Closing Scene)
What I learned doing this assignment:
As you will recall, this is a straight play, not a screenplay. In the course of doing these assignments, I learned that my last scene had to be completely rewritten. Since working in this format is completely new to me, I chose the Closing Scene (rather than the Opening Scene) because I wanted to utilize this new skill with new writing without so much as a draft. Seems easier and more organized without the hassle of just sitting down to write the Scene. Word smithing is not an issue now as this is a fleshed-out skeleton. Quite a remarkable way of working.
INT. Casita at the Marfa Inn – JENNA’s BEDRROM – LATE FRIDAY AFTERNOON
Her cell phone rings, waking her from a nap. It’s husband, MARTY in DALLAS on his way to Marfa… Tired and annoyed by him and his questions re the layout of the casita, SHE assures him that SID has his own separate room and bath. Phone service is terrible and THEY both have trouble with the connection. SHE tells him they’ll be home Monday for a Network meeting. They hang up.
BEAT – Annoyed
SID’s cell phone rings on the night table on the other side of the bed. As JENNA reaches over, we realize SHE is naked under the sheets. It’s the Network informing the writers that the series has been renewed.
BEAT – Welcoming
SID enters the room and appears to be naked except for a towel around his waist. HE takes the call and is thrilled with the news.
BEAT – Thrilled
Off the phone, JENNA tells SID SHE never meant for them to have sex. Her falling asleep saved the day.
BEAT – Relief
SHE relates the call from MARTY. Both understand her predicament. But “we fell in love.” JENNNA admits to being in love with SID for a long time SHE thinks her husband already knows or suspects and is at a loss for knowing what to do with regard to her family.
BEAT – Explain
JENNA suggests SID call the airlines, changing their plans going home to the next day and not wait until Monday.
BEAT – Plan
SID is about to dress to go over to the Main House in order to use their hard line phone when MARTY calls again. JENNA’s in the W.C. (BEAT) HE takes the call. They briefly talk about the play and then SID asks MARTY to rebook all 3 tickets back to LAX. He goes to his room to get the particulars of their flight and to dress…
BEAT – Expedite
With SID out of the room, JENNA, exits the W.C. dressed and with her hair and make-up fixed. SHE moves to her lap top and begins her writing/speaking process.
BEAT – Examine
SID enters fully dressed to go out and reports on his call with MARTY. HE tells JENNA that he’s told MARTY that he wants to marry her. (BEAT) SHE tells him No, but that SHE will not go back to MARTY either (BEAT) —that SHE needs to make the choice to be her own person.
BEAT- Affirm
SID changes the subject to CRIME STOPPERS and how he can’t wait to get back in the groove.
BEAT – Move on
THEY exit the casita to tell the Inn Keepers about their early departure, have some dinner, and see the lights for the last time.
BEAT – Leave
Brief words O.S.
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Gerry Cousins – 4-Act Transformational Structure including Character Arcs
Lesson 7 and 8
What I learned doing this assignment: I never did an outline prior to signing up for this course and what I did now came after the play was a fact. Nevertheless, working this way (with the outline) made most issues with which I had been struggling much clearer and easier to handle. I found myself knowing the characters better and their relationships to one another. The last two scenes of ACT II have always been an issue for me and now I believe I know how to solve what has always bothered me, i.e., the end of the play with credit going entirely to the outline. But as yet, while it is more or less rectified in my mind, it is still not on paper, so work remains to be done.
Adding the character arcs and making sure the beats work back and forth has been difficult for me. I do have Final Draft 12, but I’m not yet familiar enough with the Beat Board, etc. to use it. Learning it might help. But again, while beat are certainly employed in plays and tactics change accordingly, I’m still writing a straight play in two acts and not a film in four. Also, you have not broken your beats into individual scenes between characters (sequences). All together though, the play has never been this clear to me. Thank you.
MARFA LIGHTS – Outline
ACT I – Stage play and Screenplay (19 pages)
1. Create premise of two independent almost out-of-work team writers investigating their possibility of writing a straight play. Protagonist leads the way, while antagonist is in denial and negative on the idea. In fact SID doesn’t even want to consider that the series may in fact be cancelled.. Establish personalities of each writer/character, emotional issues, their relationship, and work habits. Discuss lead character in sub play, including her name, MOLLY, appearance, state of mind, personality, issues, and what leads to the opening of the play. Writer, JENNA and SID begin sub play/play-within-a-play. Personally, JENNA pushes past any of her own issues.
a) JENNA wont’ deal with her own issue but acknowledge the possible loss of CRIME STOPERS and leads the way on the idea of writing a play. SID denies the show may be cancelled and wants to part in writing a play.
b) JENNA pushes forward in order to hide from herself. SID disregards JENNA and her ideas.
2. Establish sub play with scene already in progress between MOLLY and TODD at peak moment in the break-up of their marriage and with it revealing portraits of both characters’ outward and inward attitudes including who did what to whom. TODD is cold and calculating, despite his so-called concern for MOLLY, while she is completely surprised and shaken. Nevertheless, Molly proves herself a worthy opponent. c) JENNA creates a character thru whom SHE can live vicariously. SID sticks his toe in the water.
ACT II – Screenplay (21 pages)
3. Further involve main characters in each other and in their relationship to the sub play and their main character. Learn about SIID’s changing attitude toward women after suffering a whirlwind recent divorce and an impromptu failed date. Uncover idea of Marfa Lights. JENNA and SID discuss the how and why of MOLLY’s character going there, and investigate visiting the place themselves, in the name of research. The principals introduce the name of Molly’s psychic and BFF, SIMON, with its complicated connection and his influence on her…
4. Delve into the combined world of a gay healer/clairaudient, SIMON and MOLLY, and their incongruous platonic/love/nonsexual joining. Steeped in fascination and friendship, MOLLY seeks out SIMON for answers and spiritual healing. Both of which she receives from him and his Guides in a kind of code. In the course of their discussion afterward, Marfa trips a memory for her. She talks about two gay men with whom she was friends and a three-way sexual encounter with them that almost took place twenty+ years before. Will MOLLY go to Marfa? Will she seek out the two men? Emotions and subtext run rampant.
ACT III – Screenplay (25 pages)
5. JENNA and TODD have made their arrangements for the Marfa trip. JENNA’s husband, MARTY is not pleased that the two writers are going without him and tries to insinuate himself. JENNA tells MARTY a flat-out NO. She confesses to TODD that her marriage of twenty years is a bore and what keeps her going is the magic that happens in the creative process between the two writers. TODD is uncomfortable and maybe a little guilty about the turn of events. BUT they are going to Marfa and looking forward to it. And so is MOLLY. d) JENNA recognizes the lesser role she has willingly accepted in her personal life, and begins questioning it it. SID fully engages in the play and finally recognizes CRIME STOPPERS may well be behind them. HE is becoming more and more personally involved with MOLLY as a character substitute for JENNA
ACT II – Stage Play
6. By hook and by crook MOLLY’s finds her way to where RAND and GAVYN live. Arriving in the middle of the night. SHE is welcomed and fed by the two startled men. Both manic and exhausted, also famished, MOLLY prattles on about how it is SHE got there and includes in her ramblings the entire back story to the moment at hand. Staying with them and seeing the Marfa Lights are paramount in her mind. Both RAND and GAVYN are somewhat dismayed at her showing up on their doorstep but are gracious about the whole thing. They have a life now in which SHE has no part. GAVYN waxes on philosophically, while RAND takes on the part of settling her in for the night. While subtext is the unspoken voice, nothing is decided about what will happen with her in their care.
7. JENNA and SID have arrived in Marfa. It’s late, they look for something to eat and take it with them for their first look at the Lights which turn out to be as magical and mystical as imagined. The moment calls for congratulations and the intimacy of a kiss. SID and JENNA seat themselves facing the lights with their back to the audience. As THEY do so and for this scene only, we enter a dual reality as MOLLY, RAND and GAVYN enter to see the Mystery Lights. Each of the separate parties views the other as strangers. At first, MOLLY, petrified by both failure and her need to control, can’t see past her nose. But with the coaching and guiding support of her companions, finally opens her eyes to what was impossible for her to comprehend. JENNA and SID leave first to check into the Marfa Inn, followed a few beats later by the characters they created.
ACT IV – Screenplay (27 pages)
8. It’s late morning back at the home of RAND and GAVYN. At breakfast, a bubbly MOLLY offers that she is leaving their truly wonderful hospitality to go meet TODD in Odessa, from which THEY will travel back home to NYC together—for a trial reunion. While much remains unresolved, SHE has learned from the lights that even the inexplicable deserves a shot—to learn how to believe and to be happy right where we are and grow. The guys are not happy with what she’s doing. THEY encourage her not to go back—that stasis isn’t growing–and to call SIMON. But MOLLY’s made up her mind.
e) JENNA honors the fear and denies the choice MOLLY’s made
SID becomes the facilitator.
f) Although JENNA doesn’t accept MOLLY’s choice, SHE won’t accept change for the sake of change.
SID encourages MOLLY
g) JENNA honors herself foremost.
SID deals with the hand he’s been given
9. In the casita, JENNA naked under the sheets is awakened by husband, MARTY, on the phone, who advises her that he’s on his way to join them in Marfa, SHE no sooner hangs up when the network calls to inform the writers that their show has been renewed for one more season. As SHE speaks, SID, wrapped only in a towel enters the room and takes the phone from her. It immediately becomes apparent that they were about to have sex when SHE fell asleep and now that’s not going to work. THEY both decide to leave the following day at dawn and head off MARTY at his Dallas connection. JENNA gets up to use the bathroom when MARTY calls back, SID takes the call and tells him about the series and their change in plans. The cell service is really bad in Marfa and SID asks MARTY to book them all out of Dallas back to LAX. The mood is filled with a mixture of disappointment, melancholy and relief. SID notes the plane MOLLY took from Odessa to Dallas is the same one they’ll take tomorrow. They dress, go out for dinner, tell the Inn Keeper about their change in plans, and see the lights the last time. We cannot live a choiceless life. Every day, every moment, every second, there is a choice. That choice affects all the other choices.
NOTE: This outline is formatted for both a two-act stage play and a four-act screenplay. Larger type denotes screenplay, while smaller type denotes stage play
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Gerry Cousins – Transformational Events – MARFA LIGHTS
What I learned doing this assignment?
Actually I was never completely happy with the end of the play. And in doing these exercises, have come to a “true” satisfactory conclusion to the story. This exercise served to put into words my character’s journey from beginning to end. The more difficult step will be to write it into the script this way. Excellent way to break with a preconceived idea.
Character Arc – Old Ways to New Ways for JENNA (protagonist):
1. Deny the truth of what’s going on inside me. – ACT !
2. Push forward by hiding what’s happening from myself.
3. Create a character through whom I can live vicariously. – ACT II
4. Recognize the lesser role I willingly take in relation to my husband and family that I’ve come to accept as a “comfortable way of life, rather than challenge it. (Thus upsetting the apple cart.) – ACT III
5. Honor the fear. (Deny the choice I’ve given to my fictional character in the play-within-a play and choose myself) – ACT IV
6. Don’t accept change for the sake of change.
7. Honor myself foremost.
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Gerry Cousins – 4-Act Transformational Structure
What I learned doing this assignment: I never did an outline prior to signing up for this course and what I did now came after the play was a fact. Nevertheless, working this way (with the outline) made most issues with which I had been struggling much clearer and easier to handle. I found myself knowing the characters better and their relationships to one another. The last two scenes of ACT II have always been an issue for me and now I believe I know how to solve what has always bothered me, i.e., the end of the play with credit going entirely to the outline. But as yet, while it is more or less rectified in my mind, it is still not on paper, so work remains to be done.
MARFA LIGHTS – Outline
ACT I – Stage play and Screenplay (19 pages)
1. Create premise of two independent almost out-of-work team writers investigating their possibility of writing a straight play. Protagonist leads the way; antagonist, while intrigued by discussion of lead character, is negative on idea but tentatively agrees to the project. Establish personalities of each writer/character, emotional issues, their relationship, and work habits. Discuss lead character in sub play, including her name, MOLLY, appearance, state of mind, personality, issues, and what leads to the opening of the play. Writer, JENNA and SID begin sub play/play-within-a-play.
2. Establish sub play with scene already in progress between MOLLY and TODD at peak moment in the break-up of their marriage and with it revealing portraits of both characters’ outward and inward attitudes including who did what to whom. TODD is cold and calculating, despite his so-called concern for MOLLY, while she is completely surprised and shaken. Nevertheless, Molly proves herself a worthy opponent.
ACT II – Screenplay (21 pages)
3. Further involve main characters in each other and in their relationship to the sub play and their main character. Learn about TODD’s changing attitude toward women after suffering a whirlwind recent divorce and an impromptu failed date. Uncover idea of Marfa Lights. JENNA and SID discuss the how and why of MOLLY’s character going there, and investigate visiting the place themselves, in the name of research. The principals introduce the name of Molly’s psychic and BFF, SIMON, with its complicated connection and his influence on her…
4. Delve into the combined world of a gay healer/clairaudient, SIMON and MOLLY, and their incongruous platonic/love/nonsexual joining. Steeped in fascination and friendship, MOLLY seeks out SIMON for answers and spiritual healing. Both of which she receives from him and his Guides in a kind of code. In the course of their discussion afterward, Marfa trips a memory for her. She talks about two gay men with whom she was friends and a three-way sexual encounter with them that almost took place twenty+ years before. Will MOLLY go to Marfa? Will she seek out the two men? Emotions and subtext run rampant.
ACT III – Screenplay (25 pages)
5. JENNA and TODD have made their arrangements for the Marfa trip. JENNA’s husband, MARTY is not pleased that the two writers are going without him and tries to insinuate himself. JENNA tells MARTY a flat-out NO. She confesses to TODD that her marriage of twenty years is a bore and what keeps her going is the magic that happens in the creative process between the two writers. TODD is uncomfortable and maybe a little guilty about the turn of events. BUT they are going to Marfa and looking forward to it. And so is MOLLY.
ACT II – Stage Play
6. By hook and by crook MOLLY’s finds her way to where RAND and GAVYN live. Arriving in the middle of the night. SHE is welcomed and fed by the two startled men. Both manic and exhausted, also famished, MOLLY prattles on about how it is SHE got there and includes in her ramblings the entire back story to the moment at hand. Staying with them and seeing the Marfa Lights are paramount in her mind. Both RAND and GAVYN are somewhat dismayed at her showing up on their doorstep but are gracious about the whole thing. They have a life now in which SHE has no part. GAVYN waxes on philosophically, while RAND takes on the part of settling her in for the night. While subtext is the unspoken voice, nothing is decided about what will happen with her in their care.
7. JENNA and SID have arrived in Marfa. It’s late, they look for something to eat and take it with them for their first look at the Lights which turn out to be as magical and mystical as imagined. The moment calls for congratulations and the intimacy of a kiss. SID and JENNA seat themselves facing the lights with their back to the audience. As THEY do so and for this scene only, we enter a dual reality as MOLLY, RAND and GAVYN enter to see the Mystery Lights. Each of the separate parties views the other as strangers. At first, MOLLY, petrified by both failure and her need to control, can’t see past her nose. But with the coaching and guiding support of her companions, finally opens her eyes to what was impossible for her to comprehend. JENNA and SID leave first to check into the Marfa Inn, followed a few beats later by the characters they created.
ACT IV – Screenplay (25 pages)
8. It’s late morning back at the home of RAND and GAVYN. At breakfast, a bubbly MOLLY offers that she is leaving their truly wonderful hospitality to go meet TODD in Odessa, from which THEY will travel back home to NYC together—for a trial reunion. While much remains unresolved, SHE has learned from the lights that even the inexplicable deserves a shot—to learn how to believe and to be happy right where we are and grow. The guys are not happy with what she’s doing. THEY encourage her not to go back—that stasis isn’t growing–and to call SIMON. But MOLLY’s made up her mind.
9. In the casita, JENNA naked under the sheets is awakened by husband, MARTY, on the phone, who advises her that he’s on his way to join them in Marfa, SHE no sooner hangs up when the network calls to inform the writers that their show has been renewed for one more season. As SHE speaks, SID, wrapped only in a towel enters the room and takes the phone from her. It immediately becomes apparent that they were about to have sex when SHE fell asleep and now that’s not going to work. THEY both decide to leave the following day at dawn and head off MARTY at his Dallas connection. JENNA gets up to use the bathroom when MARTY calls back, SID takes the call and tells him about the series and their change in plans. The cell service is really bad in Marfa and SID asks MARTY to book them all out of Dallas back to LAX. The mood is filled with a mixture of disappointment, melancholy and relief. SID notes the plane MOLLY took from Odessa to Dallas is the same one they’ll take tomorrow. They dress, go out for dinner, tell the Inn Keeper about their change in plans, and see the lights the last time. We cannot live a choiceless life. Every day, every moment, every second, there is a choice. That choice affects all the other choices.
NOTE: This outline is formatted for both a two-act stage play and a four-act screenplay. Larger type denotes screenplay, while smaller type denotes stage play
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Gerry Cousins – Character Interviews – Protagonist
What I learned from this assignment?
Because so much of ourselves is written into our characters, I found this assignment extremely intrusive. I found myself being defensive and wanting to make excuses for my character. Finally, I wanted to tell you to mind your own business! Very interesting and surprising reaction…
Questions for Protagonist (JENNA)
1. Tell me about yourself -.
I’m in my late 40’s, married with two children. I’m one of those women who can handle being tops in my field and enjoy a successful home life. In fact, I look forward to my days in the office working with my co-writer, SID, on our hit TV series, CRIME STOPPERS. Unfortunately, the episodic has enjoyed its finest hour and looks like it may be cancelled. I knew the day would come and have always dreamed of one day writing a play for the Broadway stage–something to do that’s new and exciting. I’ve brought this up to SID, knowing that he would not be thrilled with the idea. But if we’re going to stay partners, which is important to me, we have to find something to do together.
2. Why do you think you were called to this journey? Why you? –
Because I was prepared for it. And because I’m bored and anxious for a change, What’s more, I’m the one with the dream.
3. You are up against? What is it about them that makes this journey even more
difficult for you? –
I’m up against my chicken-shit writing partner, SID, who want to stay with formula TV script writing. He’s at the top of his career but in his early 50’s and doesn’t know what’s out there for him at this point. Writing a play is difficult and offers no guarantees. I have a husband to fall back on but SID has alimony payments. While he’s fun, he comes with issues—including financial. Also, there’s a growing problem between my husband and me; I think he’s a little envious of my relationship with SID—and now maybe more so since SID”s just gone through his third divorce. Too much change for MARTY all at one time.
4. In order to survive or accomplish this, you are going to have to step way outside
of your box. What changes do you expect to make and which of them will be
the most difficult? –
I can piss off SID and possibly lose him as a writing partner but we’re so much more than writing partners. So, I don’t know. I think I’d like to pass on this question for now.
5. What habits or ways of thinking do you think will be the most difficult to let go
of? –
We work off of each other and have a good time doing it… Our office has
become our creative play room. I feel safe in this relationship and would find
looking for a new partner or writing on my own unsafe. I am comfortable in my
life right now –even if I find it tedious and boring at times. Dreams can come
alive, I know, but they can also become nightmares. I don’t want everything to
change and change changes things.
6. What fears, insecurities and wounds have held you back? –
I want to answer, “Oh, the usual.” But I know that’s not what you want to hear. So, I’m going to break it down:
Fear: Losing Sid as my partner, half my inspiration, and play friend.
Insecurities: This leaves me alone with my husband, MARTY, and while he’s a really good guy and Dad, he’s your basic pearls with a black dress .And what if I can’t find another partner, I haven’t worked on my own for a very long time. Nevertheless, I know I can, but I don’t want to.
Wounds: I have to be the best I can be. I don’t accept any less for myself.
7. What skills, background or expertise makes you well-suited to face this conflict
or antagonist? –
I know my partner extremely well. I know his weaknesses, his pride, and his
secrets. Also, I’ve teased him so that I feel sure his own expertise will eventually
come around to the challenge rather than just wait not knowing the outcome. As
much as I need SID, he needs me. This has been an easy, profitable writing
relationship.
8. What are you hiding from the other characters, etc.? –
Actually the question to ask is what I am hiding from myself, because that’s what
I’m hiding from them. And I’m not sure of this answer yet.
9. What do you think of? –
Success. Exciting sex and a fulfilling relationship. Living a little to close to the
Edge. Being younger. Not being like everyone else. Acceptance.
10. Tell me your side of the whole conflict/story. –
Life is about choices. The choices we make affect other choices we make. But without them, we wouldn’t be individuals.
11. What does it do for your life if you succeed here? –
Define who I am as a person: playwright, woman, sexual being, and financial entity.
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Gerry Cousins – Character Profile Part 2
1. Until doing this assignment, I never truly realized how many conflicting attributes we all have. None of us is a simple surface character and that the more I search, the more I’ll find, which complicates every person under the sun both in life and in dramatic writing. Excellent lesson.
2. JENNA – *Traits -Intelligent, creative, ambitious, vulnerable, responsible, risk
taker.
*Subtext – Hides her fear of failing. Sublimates her feelings for SID
and denies what’s going on with her husband.
*Flaw – Her wanting to please and constantly do the right thing
*Values – To be the best she can be and true to herself.
*Irony – She is as afraid of failure as SID but pushes forward. Fearful
that the outcome (choice she’s made) for lead character, MOLLLY, is
the same one she will be stuck with.
*Audience drawn to JENNA because of her initiative in getting the ball
rolling.
SID – *Traits – Charming, vane, physically fit, aging and disappointed
womanizer, a crowing cock at the top of his roost, afraid of falling off.
*Subtext – He likes running the show.
*Flaw – Fear of being seen as a loser.
*Values – Money, power, success.
*Irony –Embraces the play even though he was distinctly against it.
Falls for MOLLY, the character they created, which takes him to
JENNA..
*Audience is drawn to SID because of his self-styled charm and
vulnerability.
MOLLY – *Traits – Proud, open-hearted, honest and trusting, vulnerable and
reactive, smart but looking for easy answers to life’s challenges, sexy,
aware, bold.
*Subtext – Want me! Need me! Like me. Don’t let me fail..
*Flaw –Guiltlessness (It’s not my fault.)
*Values – Relationships, honesty.
*Irony – Her need to be free and belong at the same time.
*Audience most drawn to MOLLY because of her impetuousness,
bravado and vincibility.
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Gerry Cousins – Character Profile Part 2
1. Until doing this assignment, I never truly realized how many conflicting attributes we all have. None of us is a simple surface character and that the more I search, the more I’ll find, which complicates every person under the sun both in life and in dramatic writing. Excellent lesson.
2. JENNA – *Traits -Intelligent, creative, ambitious, vulnerable, responsible, risk
taker.
*Subtext – Hides her fear of failing. Sublimates her feelings for SID
and denies what’s going on with her husband.
*Flaw – Her wanting to please and constantly do the right thing
*Values – To be the best she can be and true to herself.
*Irony – She is as afraid of failure as SID but pushes forward. Fearful
that the outcome (choice she’s made) for lead character, MOLLLY, is
the same one she will be stuck with.
*Audience drawn to JENNA because of her initiative in getting the ball
rolling.
SID – *Traits – Charming, vane, physically fit, aging and disappointed
womanizer, a crowing cock at the top of his roost, afraid of falling off.
*Subtext – He likes running the show.
*Flaw – Fear of being seen as a loser.
*Values – Money, power, success.
*Irony –Embraces the play even though he was distinctly against it.
Falls for MOLLY, the character they created, which takes him to
JENNA..
*Audience is drawn to SID because of his self-styled charm and
vulnerability.
MOLLY – *Traits – Proud, open-hearted, honest and trusting, vulnerable and
reactive, smart but looking for easy answers to life’s challenges, sexy,
aware, bold.
*Subtext – Want me! Need me! Like me. Don’t let me fail..
*Flaw –Guiltlessness (It’s not my fault.)
*Values – Relationships, honesty.
*Irony – Her need to be free and belong at the same time.
*Audience most drawn to MOLLY because of her impetuousness,
bravado and vincibility.
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Gerry Cousins – Character Profiles Part 1
NOTE: Mine is not a screenplay but a Play-Within-A-Play written for the stage. I took the class on those terms.
I have three leads: male SID (antagonist), and female, JENNA (protagonist), in main play, and female, MOLLY (protagonist), in sub play.
1..Every character in the play (no matter how large or small) has their own emotional
arc as well as internal/external journey. Each must be thought out meticulously.
2. Protagonist: JENNA – Dreamer
Protagonist: MOLLY – Victim (sub play)
3. Antagonist: SID – Either Predator or Change Agent ???
4. Supporting characters: TODD – Antagonist: Villain (sub play)
SIMON – Antagonist: Change Agent (sub play)
RAND & GAVYN – Antagonist: Change Agents (sub play)
5. Drama
6. JENNA (Leading Lady): Late forties. Co-writer of CRIME STOPPERS. Married to
MARTY. Strikingly attractive, articulate, ambitious. Struggles with choices. Bored
with husband and playing at being in love with SID. Her wound is great
expectations of herself. She is special because while she is very serious, she is
brave enough to be foolish. STAR VEHICLE
SID (Leading Man) Early fifties. Co-writer of CRIME STOPPERS. Married and
divorced 3 times. Thinks of himself as a “professional” but is afraid of failing and/or
attempting something new, but when push comes to shove he allows the play they
are writing to totally affect his life.. Vane, frustrated with where he is in life—afraid
the world’s passing him by–a touch penurious. He is a charming bully and
tired womanizer with a secret crush of sorts on JENNA. STAR VEHICLE.
MOLLY (Leading Lady – sub play). Fiftyish. Slightly overweight aging beauty but
still sexy, aware, and sassy, looking for answers. She is her own woman, even in
an emotional crisis with hidden self-esteem and rejection issues at her core. Outwardly, she’s a likeable, ballsy broad. STAR VEHICLE
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Gerry Cousins – Transformational Journey
NOTE: Mine is not a screenplay but a Play-Within-A-Play written for the stage. I took the class on those terms.
· I have three leads: male SID (antagonist), and female, JENNA (antagonist), in main play, and female, MOLLY, in sub play. In the process of taking this course and in my pre-class homework, I have come to realize that it’s JENNA that makes things happen, and it is she is the one, I should be talking about for the purpose of this exercise. I understand that each of other two characters will also need their separate journeys.
· What I learned: Prior to this assignment, I had left the character’s choice nebulous and the audience wondering …
· JENNA is stuck in place. She can either willingly embrace her old comfortable way of life—not upsetting the apple cart–or move forward and reinvent herself—by far the most difficult journey. OR she can choose to do nothing and remain forever stuck and bored with everything.
· The old JENNA would have opted to “embrace” her old comfortable life.
· The new JENNA chooses to take responsibility for herself, to be her best personal self, while recognizing all the difficulties it entails, and break with the old way—by far the more challenging and interesting.choice for the audience