Yay! “Imaginary Life” (the newest draft) is finally complete - all 35 pages of it! I am very relieved, and more pleased with this direction than the previous, hopefully the critique I get on it agrees. :)
Scene 3
Morning, the next day. A loud crash (silverware crashing to the ground) is heard offstage. JORDAN rushes into the dining room, turning on the lights as he enters. A few pieces of silverware splash onto the stage in front of him.
Jordan:
I’ll call 9 - 1 - 1.
Breaking and entering is a federal offense after all.
(Beat. Aside to himself)
Breaking and entering is a federal offense after all? Good one Calhoun, citing the obvious is sure to scare a burglar away.
A loud crash is heard once more, and more silverware is seen being thrown onto the stage. NATALIE can be heard muttering under her breath (off stage).
Natalie:
Where is it? Where is it? Where is it? Where is it?
Jordan:
Natalie?
He rushes offstage. A loud scream is heard, almost primordial. JORDAN and NATALIE enter the space, NATALIE is holding out a butter knife to JORDAN with both hands, while he backs away from her.
Natalie:
GET OUT.
Jordan:
Nat. Calm down.
Natalie:
Get. Out. Or I will call the cops.
Jordan
Natalie, do you know who I am?
Natalie
A stranger. An intruder. A thief.
Jordan:
Please put the knife down.
Natalie:
You took it. Didn’t you?
(She lunges at him)
Jordan:
Jesus! I didn’t take anything. Natalie-
Natalie:
(lunges at him once more, taking a few swipes at him)
Give.It.Back.
Jordan:
I haven’t got anything.
Natalie:
Who are you?
Jordan:
A friend.
Natalie:
Of Ben’s?
Jordan:
A-and of yours.
Natalie:
Ben has all the friends. I have no one, just Ben. When Ben’s here. But he’s always away. Gone, off, and away. Up, up, and away with the clouds. But he’ll be back. He always comes back. To me. To us. To this. Which is why I need it back. I need him to know. He needs to be reminded constantly. He thinks I don’t anymore, but I do. I always have. I always will. I need to find it. I need it back.
As NATALIE descends into her rant/ramble, it gives JORDAN enough time to maneuver the knife from her hands, although it proves a formidable task seeing as she starts to pace. On the last lines he finally manages to get the knife from her hands, and gently sit her down. All done with her taking very little notice of what he’s doing.
Jordan:
It’s alright. Mrs. Cohen. It’s alright.
Natalie:
I need to find it. I need it. We need it.
Jordan:
What do you need?
Natalie:
My wedding ring.
NATALIE crumples into more hysterics and some tears, throwing an almost childlike fit, which leaves JORDAN baffled. All of a sudden BEN appears behind JORDAN, and solemnly flips the ring to JORDAN - as if it were a coin being tossed. JORDAN looks down at the ring and back at BEN, who merely smiles and nods. JORDAN drops the ring, only to pick it up as if he’s just found it, before turning to NATALIE again.
Jordan:
What’s this?
Natalie:
What’s what?
JORDAN produces the ring.
Natalie:
Oh my word! You found it! Thank you. Thank you.
(She hugs him, returning back to “Mary Sunshine” Natalie)
Thank you so much Jordan.
Jordan:
No problem Natalie. Say, why don’t I make you some nice warm tea to calm down?
Natalie:
That would be lovely.
Jordan:
Right away.
Natalie:
What would I do without you Mr. Calhoun?
JORDAN exits, leaving NATALIE alone at the table, cherishing her ring as the lights shift to a section downstage presumably “the kitchen”. JORDAN starts making tea for a few beats, but then takes out his cell phone.
Jordan:
Detective. It didn’t take very long. Well she flipped out over her wedding ring, and when I got home it was as if he had just left. She’s definitely slipping in and out of episodes, and the delusions are getting stronger, but I’m not sure if it’s enough to build a case, or even get a confession from. I’ll keep trying, but I’m really not sure how long it’ll take before she starts piecing it together again, and I don’t really fancy being a part of the fallout when it happens, although you haven’t given me much choice. Anyway, I’m just calling to give an update. She’s calming down right now, and I’ve giving her a mild sedative to soothe her nerves; hopefully put her to sleep. Other than that I’ll see you next week, and call if anything else happens.
JORDAN hangs up the phone, reaches into his pocket and taking out a small vile, opening it and crushing the contents into the drink.
Jordan:
This goes against all my moral practices.
BEN appears.
Ben:
For her own good.
Jordan:
And mine.
BEN disappears again, and JORDAN re-enters the dining room and hands NATALIE the cup the two “cheers” each other and take a sip, JORDAN watching her actions moderately close, as the lights go down.
A metronome is heard and “Ode to Joy” is heard being played, by a live piano, however every few seconds the piano player messes up, a tap on the piano is heard. The lights slowly fade up on an upright piano, with has a picture frame on it, facing upstage and a pianist, who continues to play (and fumble at the same point every time). On the last fumble before lights are at full VOICE is heard.
VOICE: From the beginning.
PIANIST: The very beginning?
PIANIST sighs turns back to page one, and starts playing again, only to fumble at the same place again.
VOICE: From the beginning.
PIANIST: The very beginning?
Once again the PIANIST plays and fumbles at the same place.
VOICE: From the - from the - from the - from the -
As VOICE is repeating itself over and over again PIANIST gets up, exits stage, and a record scratch is heard, and after a moment the PIANIST returns to their place and patiently waits. Nothing happens for a few beats, a WOMAN enters.
WOMAN: It’s time.
PIANIST: From the beginning?
WOMAN: (shaking her head) To finish what you’ve begun.
VOICE: From the beginning.
PIANIST: The very beginning.
WOMAN: To the finish.
PIANIST: No, just the beginning.
WOMAN: It’s time.
PIANIST: I’m not ready.
WOMAN: No one ever is.
PIANIST: From the beginning then?
WOMAN: From the middle.
VOICE: From the beginning.
PIANIST looks offstage and then the WOMAN, and then offstage again towards VOICE.
WOMAN: If you must. From the beginning, then.
PIANIST: To the finish?
VOICE fills the room with WOMAN.
VOICE & WOMAN: It is time.
PIANIST nods and with a big inhalation of air turns back to the beginning, plays until the fumble, yet does not fumble, instead plays the piece with perfect precision. When finished WOMAN exits and VOICE fades away in the middle of “From the beginning”.
PIANIST: End.
PIANIST closes book in solemn accomplishment, flips a picture frame downward, turns to the audience, bows their head, smiles, and leaves. PIANIST #2 (much younger than the first) enters sits down at the piano opens the book, as the voice of PIANIST fills the room.
PIANIST: From the beginning.
PIANIST #2: The very beginning?
PIANIST #2 plays “Ode to Joy” as lights slowly fade down, and fumbles much like the first PIANIST whose now become VOICE (on the record player). Lights fade to black until all that’s heard is the sound of the metronome and the new VOICE saying “From the beginning.”
Todd: It’s weird when I kissed her it was…nevermind.
Isabelle: Like what?
Todd: Like something was missing, like I was only kissing a part of her, like she wasn’t fully there with me in the kiss.
Isabelle: A disconnect or…?
Todd: More like a defense mechanism. Like she was afraid that if she put her all into it, and actually kissed me back she’d be admitting to herself that she felt something too, that liking a person - for more than just sex - wasn’t just some bizarre concept contrived from fairytales of old. Like, if she actually felt it too it’d be accepting a part of herself that she thought she reconciled a long time ago. Like she’s afraid that love, or even liking a person more than herself, is actually real than she’ll have to let go of control and fall into something that isn’t exactly tangible 24/7, something that isn’t mathematical or purely scientific; something that isn’t fully realized one hundred percent of the time, but is just…there. So she only puts out about forty-five percent at any given time, so as to assure herself that those feelings don’t accidentally bubble to the surface, so she doesn’t risk the moment - with whomever- is strictly sexual.
Isabelle: You’re reading too far into this.
Todd: I thought so too, until she moved her face away and started rubbing my crotch like a cat in heat.
Isabelle: So you’re saying, because she was trying to get in your pants that she’s incapable of liking you the way you like her?
Todd: By rejecting the kiss-only giving that forty five percent-and automatically going below the belt pretty much indicates exactly that. In fact, I bet if I tried to hold her hand, it’d produce very similar results. She can’t handle that type of intimacy.
Isabelle: Todd, a girl was actively trying to bed you, and you rejected her!
Todd: And?
Isabelle: What’s wrong with you? I thought that’s what you wanted.
Todd: Wants and needs change constantly. Plus I find her vastly intriguing.
Isabelle: Meaning?
Todd: She’d make for a very interesting case study.
Isabelle: She’s a human girl, not a lab rat, and I doubt she’d even see you again.
Todd: Why’s that?
Isabelle: Rejection’s a cruel mistress, not many people want to test the waters with the same person after being tossed aside.
Todd: She gave me her number.
Isabelle: Wow.
Todd: Yup.
Isabelle:Before or after.
Todd: Does it matter?
Isabelle: I guess not.What exactly are you gonna test?
Todd: The varying reactions based on varied - increased and decreased - levels of intimacy in an effort to attain a greater understanding of emotionally distant human psyche.
Isabelle: Are you at least going to buy her dinner first?
Todd: I’ll do her one better.
Isabelle: I’m listening.
Todd: We’re going to date
Isabelle: Boyfriend/girlfriend status?
Todd: Flowers, chocolates, the whole shabang.
Isabelle: You’re going to break the poor girl.
Todd: I’d like to consider this, conditioning a human into normal human behavior patterns.
Isabelle: You’re going to Stepfordize her.
Todd: Humanize.
Isabelle: She is a human.
Todd: She will be once we’re done.
Isabelle: You’re a sick bastard.
Todd: All in the name of human psychology!
Isabelle: Just don’t come crying to me when she sues your sick and twisted ass.
Todd: We can rebuild her.
Isabelle: Oh god.
Todd: Make her stronger, faster, better.
Isabelle: There is no we, I’m leaving.
Todd: We will rebuild her!
JANA’S Apartment. Michael is sleeping on the doormat, Jana opens the door and nearly trips on him.
Jana: What the hell?
Michael: (groggily) Wha-is it morning?
Jana: Yes, dumb ass, it is.
Michael: Good morning.
Jana: You’re on my morning paper.
Michael: (stands up and hands it to her) Here you go.
Jana: Thank you. (takes the paper and slams the door)
Michael: You could at least invite me in for coffee.
Jana: You could at least not sleep at my door step like a lost puppy.
He starts whimpering and begging like a dog.
Jana: You can’t be serious.
He continues to do so, as Jana exits to the kitchen, coming with a cup of coffee, opens the door and sets it down in front of him.
Jana: Here you go boy. (patting him on the head) Good boy.
He gets up and starts to follow her inside before she slams the door in his face again, spilling some of his coffee on himself.
Michael: Hey! You didn’t scream.
Jana: Common courtesy.It’s nine in the morning.
Michael: And yet I’m still here.
Jana: Go home.
Michael: This is home. You’re my master.
Jana: That’s a whole lot of kinky shit that I’m not willing to get into right now.
Michael: Can you please let me in?
Jana: Why?
Michael: I need to piss.
Jana: There’s a public restroom in the lobby.
Michael: Will you still be here when I get back?
Jana: I make no promises.
He pretends to leave, she looks out through the peephole.
Jana: I see you idiot.
Michael: Shit.
Jana: (laughs) Go pee!
Michael: Don’t go anywhere.
He leaves, she comes out and sits on the next to the door with her book. He’s gone a few minutes and comes back.
Michael: You came out.
Jana: Sure did.
He sits next to her, and puts his head on her shoulder as she reads.
Michael: Can we-
Jana: No talking.
Michael: Not even about the book?
Jana: Only about the book.
Michael: Deal. Does she love Buddy?
Jana: No.
Michael: Are you sure?
Jana: He’s just a phase from her past.
Michael: That’s all?
Jana: No one can ever be really certain that past will remain there.
Michael: Do you think he’ll come back to her?
Jana: I’m pretty sure that’s not what this story is about. It’s only a part of the story.
Michael: But what if it’s everything?
Jana: No one can be everything. Just a lot of somethings.
Michael: So, he’s something?
Jana: He’s mentioned isn’t he?
Michael: But only briefly.
Jana: That’s still something.
Michael: I guess so.
Jana: Now shut up and let me read.
Michael: Buddy’s sorry.
Jana: She knows he is.
He kisses the side of her head, she gets up and goes back inside.
Michael: I’m really sorry.
Jana: I know.
Michael: Can I fix it?
Jana: Go home.
Michael: Tomorrow?
Jana: No, not tomorrow.
Michael: When.
Jana: Just go home, please.
Michael: But I want to know what happens next.
Jana: It’s over.
Michael: You’re nowhere close to finishing the book.
Jana: Go home.
They both seem to inhale and exhale in unison, yet on seemingly different thoughts before exiting.
JANA’S Apartment. Consistent knocking is heard on the door. Jana is sitting on the couch reading a book.
Jana: Leave me alone. Leave me alone. Leave me alone. Leave me alone.
Michael: I know you’re in there.
Jana: That’s wonderfully creepy.
Michael: Open up.
Jana: Leave me alone.
Michael: I know you’re not busy.
Jana: There is no possible way you could know that.
Michael: You’re never busy.
She goes to the door and opens it a crack.
Jana: You know the saying: “Assuming just makes an ass out of you and me”? You’re making quite the ass of yourself right now.
Michael: I don’t care.
Jana: Neither do I.
Michael: So let me in.
Jana: I meant I don’t care about you, or your need to talk, or the fact that you’ve been at my apartment door every day for the past two weeks doing just this. I don’t care Michael.
Michael: So why did you open the door this time?
Jana: To gently tell you that if you don’t leave within the next five minutes I’m going to call the police.
Michael: I don’t believe you, you don’t own a cell phone.
Jana: And you would know that because if I did you’d certainly be calling me every hour on the hour wouldn’t you? I have a cop that lives at the end of my hall, and a superintendent.
Michael: Bull.
Jana: You underestimate the power of a feminine scream of anguish, or in this case annoyance.
Michael: Jana…don’t slam…
Jana: You have five minutes.
She slams the door in his face and goes back to reading on the couch.
Michael: I’m not leaving.
Jana: Four minutes.
Michael: You can test me all you want. We will talk, and it will be tonight.
Jana: Four minutes and thirty seconds.
Michael: I will stand right here until you open this door.
They both stay in their respective positions, Jana reading on the couch, periodically checking her watch, and Michael standing outside of the door for exactly a minute.
Jana: Three minutes.
Michael: You’re still counting down?
Jana: Are you still standing there?
Michael: Obviously.
Jana: Then I’m still counting down.
Michael: Why are you doing this?
She doesn’t respond, instead she continues to read her book as if she didn’t hear the last question.
Michael: What page are you on?
Jana: Of what?
Michael: The Bell Jar. What page are you on now?
Jana: Sixty (thumbs through the pages) five.
Michael: Seriously? You were on fifty six last time I was here.
Jana: I’m a slow reader. I like to savor my books.
Michael: What’s happened so far?
Jana: She’s just recounted the story of her first love affair with Buddy Willard.
Michael: Was it swooping and magical?
Jana: Not exactly. He made assumptions about her sexual experience, and to be fair she did the same, only to find out that he was a complete and total hypocrite about the whole thing - which made her dislike him immensely.
Michael: I guess she must hate him now.
Jana: She wants to.
Michael: Why doesn’t she?
Jana: Because he got TB and is in braces.
Michael: She won’t tell her what she thinks of him out of pity?
Jana: Common courtesy. She’s pretty sure he’s going to die.
Michael: That’s still pretty fucked though.
Jana: How so?
Michael: Well if I was going to die then I’d rather people tell me what they think of how I treated them, and what they thought of me, outright instead of coddling my feelings because of circumstance.
Jana: Are you sure about that?
Michael: Absolutely.
Jana: You’re really going to tell me that you’d rather people condemn you for your horrible actions on your deathbed instead of telling you how much they care about you?
Michael: If it’s the truth - how they honestly feel - then absolutely.
Jana: But what if she tells him her honest to God feelings about him - her most horrible thoughts and feelings - and then something happens?
Michael: Then at least he’d know, and he wouldn’t go to the other side believing something that wasn’t true in the slightest.
Jana: But what if she feels awful about it?
Michael: Then there’s probably something she left out - she wasn’t telling the whole truth.
Jana: How can she be sure?
Michael: You never know until you say it.
Jana: Somethings are better left unsaid.
Michael: Tomorrow then?
Jana: Tomorrow.
Michael: Maybe you’ll actually open the door.
Jana: And maybe I’ll scream.
Michael: We’ll see tomorrow.
He walks away, as she runs to the door, she looks out the peephole.
Jana: Tomorrow then.
Michael: Jana. (knocks on the door) Jana. JANA.
Jana: (through the door) What?
Michael: Open the door.
Jana: (through the door) Can’t.
Michael: Why not?
Jana: (through the door) I’m kind of busy.
Michael: Doing what?
Jana: (through the door) Nothing.
Michael: Exactly, so let me in.
Jana: (through the door) I can’t do that.
Michael: I know where the key is you know.
Jana: (through the door) No you don’t. I moved it.
Michael: I know where all your hiding places are.
Jana: (through the door) Not this one.
Michael: How so?
Jana: (through the door) I…uh…ate it?
Michael: Get the fuck out. You did not.
Jana: (through the door) Sure did. Now, bye.
Michael: Fucking fibber.
Jana: (through the door) Did you just call me a fibber?
Michael: A spade is a spade my love, especially when it’s a liar.
(A few beats and she bursts through the door and starts slapping on the arms, chest, etc.)
Jana: How dare you call me a liar! I don’t lie! I’ve never lied to you, why would I start now?
Michael: Ouch. Jana stop it! (grabs her wrists)
Jana: Take it back.
Michael: I take it back.
Jana: Thank you.
Michael: Got you out, didn’t I?
Jana: Cheat.
Michael: A man’s gotta do, what a man’s gotta do.
Jana: For a quick lay.
Michael: It’s not like that.
Jana: Whatever. You need to leave.
Michael: Why got another lover in there?
Jana: As a matter of fact.
(Opens door further and reveals to him that she does in fact have someone else.)
Michael: The fuck?
Jana: Yeah, so bye.
(Starts to walk back inside before he grabs her back)
Michael: I’ll kick his ass.
Jana: You’ll do no such thing. In fact, you’re going to march your ass back home right now.
Michael: I will do no such thing. I’m going to kick his ass.
(She shuts the door)
Michael: Jana.
Jana: Go home.
Michael: Did you fuck him?
Jana: Obviously.
Michael: I’m leaving.
Jana: Good.
Michael: Bye.
Jana: Bye.
(He leaves only to come back.)
Michael: Did you really?
Jana: Yes.
(He leaves only to come back again)
Michael: Why?
Jana: Felt like it.
Michael: Seriously?
Jana: Yeah.
Michael: But not me?
Jana: I told you that I don’t want to fuck you.
Michael: But you’ll fuck him?
Jana: I told you exactly what I want with you.
Michael: But you’ll fuck him?
Jana: I don’t want to fuck you Michael, what part of that is so hard to understand.
Michael: The not wanting to fuck me part.
Jana: You are such an asshole.
Michael: And you’re a little cocktease.
Jana: No I’m not. Take it back.
Michael: Can’t handle the truth?
Jana: I can’t handle it, because it’s not true.
Michael: I just want to fuck. What’s so hard to understand about that?
Jana: The part where I don’t want to fuck you.
Michael: Why is this such a big deal?
Jana: Because I’m not a slut.
Michael: (reaches behind her and opens the door) Obviously, you are.
Jana: Is that what you really think?
Michael: Yes.
Jana: I think you know the way out.
Michael: No.
Jana: Then I know my way back in. Have a nice life.
Michael: (reaches behind her, closes the door, and holds it closed) No.
Jana: Why won’t you just leave me alone?
Michael: Did you fuck him?
Jana: No, okay? He just passed out. Are you satisfied?
Michael: How can I know you’re telling the truth?
Jana: Because you know his boyfriend.
Michael: Boyfriend?
Jana: He’s gay. His name is Nico.
Michael: George’s boy?
Jana: Yes, can I go now?
Michael: You’re not a slut.
Jana: No, I’m not. But I’m starting to think you might be.
(Catching him off guard she quickly opens and enters through the door, leaving him alone.)
Michael: What are you?
Jana: A human.
Michael: I mean sexually.
Jana: Very….horny?
Michael: I’m serious.
Jana: I don’t understand the question.
Michael: What are you?
Jana: A girl who likes sex.
Michael: With whom or with what?
Jana: Anyone.
Michael: So you’ll just do it with anyone?
Jana: Well not anyone, I guess.
Michael: What are the qualifications then?
Jana: My level of willingness and availability.
Michael: For instance…
Jana: If I’m in the mood and available to fuck, I will.
Michael: Are you available?
Jana: I guess, why?
Michael: Alright then. (unzips pants) How about now?
Jana: With you?
Michael: With me.
Jana: Right now?
Michael: All the way.
Jana: You’re serious.
Michael: Completely.
Jana: No.
Michael Why not?
Jana: There’s a level of interest involved as well.
Michael: Are you not interested?
Jana: Oh, I am. Completely interested.
Michael: Then let’s go.
Jana: I don’t want to fuck you.
Michael: Why not? You’re available, horny, and interested. I don’t see the hold up.
Jana: I don’t want to fuck you.
Michael: Come on!
Jana: Listen to the words that are coming out of my mouth. I don’t want to fuck you. Fucking is something two strangers do who have no real interest in anything more than the physical act of sexual experience. Fucking is what you do, down and dirty, nasty and naughty, with the lights off, shutters closed, doors locked, and music up real loud. Fucking is what happens when we have no regard for the other person’s feelings, and don’t plan on seeing them the next morning or even in the next century. I do not want to fuck you.
Michael: Then what do you want to do with me?
Jana: I want to have my way with you. Lights on or lights off, which ever is more comfortable for you. I want to ease into the act - making sure it’s something we both want in that moment. I want to explore you, and give you the opportunity to do the same. I want to spend hours just in the act without any pretense. I want to get lost in the act with you, so lost in fact that it will be the single most memorable thing either of us could ever do with each other, or with anyone else - for that matter. I want you to come so hard you see the stars of other universes and are able to name them by shape and distance, and I want you to do the same for me. What’s more, I want to wake up next to you the next morning. I want to see your stupid morning face in my stupid morning face, and I want us to remember what we did, and possibly do it all again. I want it to be something, instead of nothing.
(Silence over takes the room, all that’s heard is the sound of both party’s labored breathing)
Now what do you want to do with me, Michael? Do you want to fuck me?
Michael: God, yes.
(He goes to grab her by the hips, and possibly kiss her, but she stops the advance with a single palm to his chest, reaches down and zips his pants up.)
Jana: Goodbye Michael.
Exit Jana.
Nora:
Two kids, HARVEY GRIM and JULIE JUNE, no more than six, enter playing tag, with the girl chasing after the boy.
Harvey: Try and catch me!
Julie: (giggling) HARVEY!
HARVEY darts back and forth about the stage with JULIE hot in pursuit. He pretends to hide behind imaginary things, barrel rolls, jumps over and dodges all of her attempts to catch him, she’s always just out of his reach.
Julie: (out of breath) This isn’t fun anymore.
Harvey: Says who?
Julie: Says me!
JULIE sits down deflated, and slightly pouting, while HARVEY still darts about the stage.
Harvey: Oh don’t get all girly on me now!
Julie: I am a girl, and you’re….you’re a….
Harvey: A boy?
Julie: No! Well…yes, but you’re also a meanie.
Harvey: A super fast meanie, like Flash! (superhero pose)
Julie: (stares at him blankly) What does that even mean?
Harvey: He’s a super hero. He runs and fights crimes at super speeds. Like this! (demonstrates his “super speed”)
Julie: Sounds pretty lame to me.
Harvey: You wouldn’t understand you’re just a stupid girl.
Julie: I am not stupid!
Harvey: Are too.
Julie: Am not!
Harvey: Prove it.
Julie: I learned the alphabet before you and I can count to ten…no TWENTY. I’m cooler than any of your stupid “super heroes”.
Harvey: You can count to twenty?!
Julie: Uh-huh! I did it yesterday!
Harvey: No way.
Julie: Yes way. I even have my mommy as prove. She was there, she sawed me!
Harvey: (stifling laughter) Ohhhhh did your mommy help you then?
Julie: (embarrassed) Maybe a little, but I mostly did it by myself.
Harvey: Oh I’m so sure.
Julie: I did! I’ll prove it! (braces herself and then starts counting super fast) One, two, three, four, five, six, seven, eight, nine, ten.
Harvey: Uh-huh.
Julie: Ten…oneteen, twoteen, threeteen, fiveteen, eighteen, twenty!
Harvey: (in awe) Wow.
Julie: Told you so!
Harvey: Okay you’re right, geesh!
Julie: Thank you. Girls are the more super-er!
Harvey: That’s not even a word.
Julie: Well it is now!
Harvey: Come on let’s play tag again.
Julie: Nah, that’s boring.
Harvey: Please?
Julie: No.
Harvey (sitting down next to her): Pretty please?
Julie: No you’re a meanie face.
Harvey: What if let you catch me?
Julie: What’s the fun in that?
Harvey: Come on please?
Julie: Harvey why do you always wanna play with me and not your other friends?
Harvey: Because….
Julie: I thought I was just a stupid girl.
Harvey: Well not entirely.
Julie: Huh?
Harvey: You’re not okay? Can we please play tag, now?
Julie: (nods) Okay.
They start playing tag again, only this time JULIE seems to have gotten an extra burst of speed, or HARVEY has slowed down considerably, and she “tags” him with a peck on the lips.
Julie: Tag! You’re it.
JULIE runs offstage giggling, leaving him dumbfounded for a beat.
Harvey: Hey! No fair!
He runs offstage in pursuit, but possibly with new motivation.
