Heart of Clouds – SCREENPLAY adaptation DEVLIN/Gulls/Plastic

HEART OF CLOUDS

by Adrienne D. Wilson

copyright 2009 by Adrienne D. Wilson, all rights reserved

Screenplay by Adrienne D. Wilson

copyright 2020 WordPress.com all rights reserved

for Walter Halsey Davis

of the Santa Barbara Writers Conference

CONT.

from a little trailer I made as Valentine Bonnaire in 2012 in youtube…..

EXT. DRIFTWOOD HUT. Bright SUN, MORNING

DEVLIN is squatting on a sand due (Padaro Lane location) DUNES watching as TEENIE leaves the HUT.

DEVLIN

(whispers)

I wonder what she did in there

Devlin walks casually toward the hut, playing the harmonica Grandpa Jess gave him. A gull, flying. Devlin spots a dead gull on the beach, plastic wrapped around it’s neck. It’s dead. He begins to bury it.

DEVLIN

(tears)

Too much plastic in the sea, it’s not good for you

A gull perches on top of the driftwood hut, flapping its wings. Devlin enters the hut and sees what Teenie left for him, under three stacked stones.

INT. GRANPDA JESS HOUSE. AFTERNOON, golden light. DEVLIN (at bathroom mirror)

HEART OF CLOUDS – novel to screenplay adaptation Mr. Honeygarten/Teenie apples

red apples

HEART OF CLOUDS

by Adrienne D. Wilson

copyright 2009 by Adrienne D. Wilson, all rights reserved

Screenplay by Adrienne D. Wilson

copyright 2020 WordPress.com all rights reserved

for Walter Halsey Davis

of the Santa Barbara Writers Conference

CONT.

EXT. DRIFTWOOD HUT. BEACH MORNING PEARLED LIGHT

Teenie leaves Devlin a note, under three beach stones, she has walked beach, dreamlike, to gather them. Close in on her drawing him a heart surrounded by clouds, with “Who are you?” then a seal’s head pops up from the waves as she walks away, smiling.

EXT. MR. HONEYGARTEN’S HOUSE. BRIGHT SUN, DAY

Teenie parks her bike by the old fence. MELLOMAN his dog is so happy to see her, clowns at fence, wagging and jumping. Birdsounds, Bluejay with peanut, landing.

TEENIE

Mr. Honeygarten are you there?

HONEYGARTEN

Just a minute, dear, let me get my staff. Well, hello Teenie dear how very nice to see you again

TEENIE

Mr. Honeygarten, I was wondering if I might be able to have some of those apples on your trees. I want to make a pie

Mr. Honeygarten smiles dearly at Teenie and begins to pick some flowers for her. Close in on his aged face, smiling eyes and warm smile, as Teenie pets Melloman.

HONEYGARTEN

You do? I see. Well suppose you help me pick them, and of course you can. I seem to have plenty to spare this year.

TEENIE

I want to share it with you Mr. Honeygarten

HONEYGARTEN

Oh my, I haven’t had an apple pie for a very long time

TEENIE

Neither have I, not since Dad left

HONEYGARTEN

You must miss him very much Teenie

TEENIE

I do. Every single day.

HONEYGARTEN

(old hips aching, puzzles)

Well let me see, we’ll need a basket and the ladder. How about if you go around to the garden shed and collect those for us and I’ll meet you by the trees.

Melloman and Teenie meander through English garden style flowers to the old shed, Honeygarten limps with staff toward the trees- lilting music, uplift close in on her hands picking apples, while he watches, Mellowman by his side

MONTAGE FLASHBACK – ESTABLISHING

Close in on a FOR SALE sign, Teenie’s parents working for a newspaper, bustling business – The Village Crier. Teenie’s parents at work, secretary and reporter. Out of business signs along streets. Teenie’s old house FOR SALE SIGN. Teenie in beautiful bedroom, packing, overhears her parents

INT. NIGHT, TEENIE’S BEDROOM

JAX

They closed it, everything. Lock, stock and barrel.

CHRISTINA

What are we going to do?

EXT. BEACH – DRIFTWOOD HUT – SUNNY, BRIGHT DAY

Heart of Clouds – novel adaptation to screenplay MR. HONEYGARTEN

Walter Halsey Davis taught me about sound in film. Let me play this one for you.

HEART OF CLOUDS

by Adrienne D. Wilson

copyright 2009 by Adrienne D. Wilson, all rights reserved

Screenplay by Adrienne D. Wilson

copyright 2020 WordPress.com all rights reserved

for Walter Halsey Davis

of the Santa Barbara Writers Conference

INT. BATHROOM. MORNING

Teenie stands in the bathroom in pajamas, brushing her teeth. It’s as if it is the first time she has really seen herself. Focus on her hair, trying a bun, a ponytail. Lipgloss.

CHRISTINA

(walks by catches her daughter at mirror, being girlish, sternly)

Pretty is as pretty does, Teenie. Don’t be vain.

TEENIE

(in silence looks at her mother’s face)

Close in on Teenie’s hands at her closet, choosing her favorite jeans and sweater, slipping her journal and pen into the pocket. At door, leaving, close in on her face

TEENIE

Bye, Mom. I’ll be back with the apples and then we can do the pie.

EXT. DRIFTWOOD HUT. TEENIE MORNING BEACH, PEARLED LIGHT

Teenie rides her bike through the village on the way down to the beach to get back to the driftwood hut.

INT. DRIFTWOOD HUT. BEACH, PEARLED LIGHT

Teenie falls to knees at the sight of her origami bird in the shell, looks around quizzically to see if someone else is there, suddenly she sees Devlin standing on the top of the dunes. Wind ruffles in his sandy blond hair. He bolts, she realizes he left the shell for her.

TEENIE

(softly)

He must have done this. He must have left this here for me.

Heart of Clouds – adaptation – novel to screenplay Grandpa Jess

HEART OF CLOUDS

novel copyright 2009 Adrienne D. Wilson all rights reserved

Screenplay copyright 2020 WordPress by Adrienne D. Wilson all rights reserved

INT. GRANDPA AND GRANDMA JESS KITCHEN. EARLY EVENING, GOLDEN LIGHT

The kitchen, in the old brown shingled Craftsman exudes a glow. The warmth and beauty of GRANDPA JESS (70’s) and GRANDMA JESS (70’s) beams like light rays. They are an old fashioned California couple who grew up together and married early, in the 1960’s. The kitchen walls are hung with old cast iron pans and copper cooking pots, there is whimsy, and homey charm, houseplants. Dinnertime, and Grandma is cooking, Devlin’s favorite meal, in simple style. Though they are both worried for the boy, they don’t show it. He is enfolded in their loving arms. They are his father’s parents.

GRANDPA JESS

(lounging on a comfy overstuffed sofa, inhaling the scents of the dinner, as his wife cooks, he watches her, smiling eyes)

What did you do today son?

DEVLIN

Worked on the hut

GRANDPA JESS

How’s it coming along?

DEVLIN

Almost done

GRANDPA JESS

Your father called, he wondered how you were getting along

DEVLIN

Tell him I’m fine

GRANDPA JESS

Are you Devlin?

Devlin busies himself helping his grandmother set the table, and tasting the baked beans and cornbread.

DEVLIN

I miss my mom

GRANDPA JESS

I know you do, son

Grandpa Jess reaches behind the sofa and pulls out an old ukulele he had hidden, starts to strum, then hands it to Devlin

DEVLIN

You played this?

GRANDPA JESS

(eyes twinkling)

I think that’s how I won your grandmother’s heart. That or my old harmonica.

GRANDMA JESS

(rich sounds of her warm laughter fill the room)

I really don’t think you need to give that boy any ideas, Jess

DEVLIN

(practices playing both instruments, smiles)

GRANDMA JESS

(pulls out a special cake made just for Devlin)

Practice makes perfect, and we all know that – the two of you ought to come have supper now.

DEVLIN

Sighs, smiling as he looks at the cake

GRANDMA JESS

No reason every day can’t be a celebration, Devlin

Thinking about Vanilla Suede, and SBWC 2019 a few notes…

First I am so incredibly lucky to have Matt and Anne, because, well Matt and his Phantastic fiction class, and now Anne who is an actress, and has so much depth.  So on the whole Method Acting thing.  These are like my fave actors, this style.  So I recently have been watching some things on that.  For me acting is like magic?  To watch actors in films and in plays.  I have no idea how this is pulled off by them, to inhabit a character.  As a writer, it is very easy for me to understand and know my characters?  But the idea of setting a stage, or an emotional stage for them.  This is the making of a work of art for me.

Anyway that Talent Show, and seeing Matt and all the others up on that stage, the last night of the Conf.  I haven’t always stayed because sometimes so exhausted, but the times I have, it’s just this really beautiful thing that comes together.  I know Vanilla Suede is very poignant, because of the music I wrote it to.  So this is a total rewrite in a sense because edited from the shorty that was just dialogue.  So, music for me is the way I write everything?  My ideas on the songs I have chosen to illustrate the feelings.

4cd5e6baa19633c17e31ff18988d0b94--s-shoes-vintage-shoes

So I printed out the play, but we can make notes to that – this is the cover.  So what the play is about for me – character MARINA, and the longing for love, the sort that was 1929, except that she is in the here and now, of this generation.  It’s not like that for TRENT character.  Let’s assume that TRENT is so broken (backstory) a few pages back, but he has this brave face in the face of this generation, he is a cheerful character, all surface smiles and no one can see the pain?  MARINA is flip, as in the song I played, and yet, in these poems they will chose by themselves, hers, and then the ee?  Well this will be totally improv as an insert.  It isn’t that she is flip, as very wounded and non-trusting.  She lets TRENT lead, but heart is shattered glass, she does not show.  This whole method style is that you pull something up out of your own depths in order to become a CHARACTER.   The characters then, are part of HUMANITY in a kind of transcendence?  I think this is how the audience is moved, and it is so magic to me.  I am the luckiest person on earth right now, and I am smiling as I say it.  I mean the TALENT SHOW!  So this is proving I have some.  Am I ever lucky.

I’m just so lucky because for me I am going to see the words come to LIFE?  I can’t explan how much that means for me to see that.  It’s everything, so anyway this is what I am watching this morning and I am really glad Carmen and Walter can be like the directors because they both come from that tradition, as does Anne, so Matt has nothing to worry about.  So anyway, I am watching this today Method Acting a little – so excited!  Just know that, there are not RULES, just words on a page for the actors.  So, the theme:  Love conquers all, even death.  My image for this is that, we have to keep going, in life.  We keep going, and so MARINA and TRENT are doing this.  Yesterday I walked down by the harbor and spent some time talking to a man about Odin my dog.  He was walking and we started to talk about the country at this time, and he said he was a quadriplegic.  He has walked himself out of that. It was very moving to me, and so think of it like that.  Two characters with the woundings that this generation has lived, in the soul.  And then, when they dance, and she says: “I’m afraid” this is where TRENT takes the lead.  I know it will be so beautiful.  Sigh.  Yeah. No way to be able to thank the two of you but the Rose Peeps?  I think I can give you the prettiest gift.  Actually those.  But you two are the gift to me.

 

Finished Play Vanilla Suede

4cd5e6baa19633c17e31ff18988d0b94--s-shoes-vintage-shoes

VANILLA SUEDE

a play by Adrienne D. Wilson

for

Walter Dallenbach

copywright SBWC 2019

based on her short story Vanilla Suede first published at ERWA c. 2013

 

CAST OF CHARACTERS

THE MOURNERS                       an assorted group of people at a funeral

TRENT                                         a man in his 50’s, divorced

MARINA                                      a woman in her 50’s, divorced

CORE THEME:  Love conquers all, even death

SCENE

A temporal space on a black stage

An apartment, a balcony, moonlight

TIME

The present

STYLE OF ACTING FOR VANILLA SUEDE = METHOD ACTING

 

VANILLA SUEDE

SCENE ONE, ACT ONE

SETTING: We are at a funeral attended by several mourners. They are all friends who have known the deceased. The stage is PITCH DARK BLACK. These are the MOURNERS and all of them form a circle around a capstone laid flat on the floor. ONE WHITE CANDLE sits near the capstone on the grave. Each MOURNER carries a FLOWER to represent taking flowers to a grave. EACH MOURNER PRESENTS THE EMOTION OF SADNESS IN DEAD SILENCE almost as a PANTOMIME.

AT RISE: We see the lights slowly come on to illuminate a group of people. In silence and slowly one by one while doing a pantomime style set of grief actions similar to Marcel Marceau audience watches them each in turn place a flower near the candle. They will show grief as EXPRESSION on faces and BODY. At the LAST MOURNER we hear the words, “TAKEN TOO SOON.” THE MOURNERS HAVE WALKED SLOWLY UPSTAGE INTO COMPLETE DARKNESS TO EXIT IN TURN STAGE RIGHT AND LEFT. Characters TRENT and MARINA are the only two left on stage. The LIGHTS move to their faces and TRENT is the first to speak, after a long audible sigh.

TRENT

(letting out long and deep sad sigh)

Sometimes you just need to be held.

(he looks at MARINA, as he says this – lights illuminate their faces only)

MARINA

(looking sadly up at him)

What do you mean?

TRENT

It helps, especially when life throws you curve balls

MARINA

Maybe you’re right

TRENT

I am

MARINA

What about the ghosts of the past

(she moves away from him, looks off into space as if she is remembering all the ghosts of people and her marriage, that ended very sadly)

TRENT

Forget ’em

MARINA

What if I can’t?

(she looks back at him across a great void on the black dark stage, light illuminates her expression, which is of a lost thing)

TRENT

You have to

MARINA

I can’t

TRENT

You have to

(he looks off into distance, across the great black void of space and we see him turn back to face her)

TRENT

Going to that Halloween Party tomorrow?

MARINA

I might

TRENT

Let’s go together

(he puts his arm around her, as a friend would, after the sadness of the funeral – not romantically, as a friend.  They begin to walk a little, lights are on the two of them, as full bodies now)

TRENT

What are you going to wear?

MARINA

I thought I might go like the 1920’s. I saw some shoes.

(says this wistfully)

TRENT

What kind?

(he perks up out of sadness, gives a little smile at her)

MARINA

Vanilla suede with a tiny strap,.  My grandmother would have worn shoes like that, while the moon shimmered off the surface of the lake.  My grandfather would have taken her in his arms.

TRENT

A different time I guess

MARINA

It was

TRENT

People fell in love

MARINA

I guess they did

 

END SCENE – STAGE FADES TO DARKNESS AGAIN

 

VANILLA SUEDE

ACT ONE,  SCENE TWO

“Moonlight Serenade”

SETTING:  TRENT APARTMENT

Look:  EMPTY STAGE, only a table with a portable record player.  There is an opened wine bottle and two empty glasses.  Trent has invited MARINA over before they are both about to go to Halloween Party together, for a drink.  This will be liquid courage for Trent.  He has invited her in friendship.

AT RISE:

TRENT paces around his empty apartment nervously awaiting MARINA’S arrival.  This is shown in PANTOMIME perhaps with “Sugar Mountain” playing. For instance he could MIME himself as brushing his hair, he keeps checking his looks in the mirror.  Both TRENT and MARINA live in a small town, and so some of the MOURNERS will also be at the PARTY they plan to go to.  They have been friends in the way that they have known each other across many years and even in their marriages at parties and social events.  They had not seen each other in many years, until the funeral.  Now they are both divorced.

I love the imagery in this one for TRENT inner state.

WE HEAR A KNOCK AT THE DOOR (sound of knocking)

MARINA

Trent I’m here

TRENT

Just a second, I’ll be right there Marina

MARINA

(entering from stage left)

TRENT

(warmly)

You look beautiful

MARINA

(smiles softly, turning to show him a tilt of her new shoes)

TRENT

(smiling)

Let’s have a glass of wine, shall we?

MARINA

(glances around apartment and heads over to bookshelf – this can be pantomime and she says)

I can’t believe you have read e.e. cummings, he is one of my favorites

TRENT

I have a favorite one

MARINA

(smiles softly at Trent)

So do I

TRENT

Another glass?

MARINA

(nods, smiling, hands her glass to him so he can refill it)

TRENT

(Pantomimes looking through records til he finds it)

Moonlight Serenade have you ever heard that?

MARINA

I don’t think I have

TRENT

I’ve got it around here somewhere

MARINA

(to opening of the song)

It’s beautiful

TRENT

Want to dance?

MARINA

I’m not sure I know how

TRENT

You just relax and let me lead

MARINA

What if I trip you?

TRENT

You won’t

TRENT

(very gently and softly, with great male confidence, places her hands into a position for a slow dance to Moonlight Serenade, they begin to move every slowly)

My hand goes here and yours goes there, now we’ll just sway a little in place before we start moving

MARINA

(slowly starting to relax, in a slow whisper)

That’s nice, like this

TRENT

(nodding softly against her)

Your hair smells so wonderful

MARINA

Does it?

TRENT

You’ve always smelled like that

MARINA

I’m afraid

TRENT

Of what?

MARINA

The past and the future

TRENT

Don’t be.

MARINA

I can’t take any more death

TRENT

This is the worst decade isn’t it?

MARINA

I think it is

TRENT

You know what we have to do?

MARINA

(spoken very softly, against him, she almost exhales at the word and the feeling of relief as she says)

No

TRENT

Try and love

MARINA

What if that’s not possible?

TRENT

It is.  Put your head on my shoulder

MARINA

You’re so warm

TRENT

Am I?

MARINA

Strong.  You feel so strong.  Stronger than me.

TRENT

Maybe

MARINA

What did you do after Janine?

TRENT

Rambled

TRENT

(pauses for some time, softly says)

What did you do after Evan?

MARINA

Folded up

TRENT

You don’t seem folded to me

MARINA

I don’t?

TRENT

No

MARINA

Our grandparents, they lived in such a different time

TRENT

1929

MARINA

All those years they were together

TRENT

Yes, mine too

MARINA

They knew about love

TRENT

(nods, slowly, pressing her more tightly)

They did.  I’ve made so many mistakes

MARINA

I feel like that too at times.  Maybe it’s this era we have lived

TRENT

Shhhhhhhhh

MARINA

That feels good Trent.  Having your arms around me.

TRENT

Good

MARINA

You’re warm.  It’s like you are solid

TRENT

(rubs his stomach)

I’m solid, as solid as can be.  Feel

MARINA

You big silly.  I wasn’t expecting a washboard

TRENT

Yes you were

MARINA

No, I wasn’t

TRENT

Let me hold you?

MARINA

What do you mean?

TRENT

It’s been years since I’ve touched anyone

MARINA

Trent?

TRENT

It would feel good Marina

MARINA

I haven’t since Evan

TRENT

Janine cut me off at the end

MARINA

She did?

TRENT

The last ten years.  It’s been so long

MARINA

I can barely remember Evan, Trent.  I never thought I could go fifteen years without sex, you know?

TRENT

Me neither

MARINA

How did we do it?

TRENT

I don’t know.  Love’s a funny thing

MARINA

After marriage?

TRENT

Yeah.  Let me put that song back on.

MARINA

Okay

END SCENE FADE TO BLACK

VANILLA SUEDE

ACT ONE, SCENE THREE

SETTING:  TRENT’S Apartment, BALCONY SCENE

AT RISE:  In soft light, we see MARINA and TRENT a little giddy from the wine, having danced away the sadness of the funeral of their old friend.

TRENT

Which one of the poems is your favorite, can you read it to me?

MARINA

It’s somewhere I have never traveled, gladly beyond.

TRENT

I don’t think I know that one

MARINA

(clearing her throat a little)

begins to read https://poets.org/poem/somewhere-i-have-never-travelledgladly-beyond

TRENT

Did you see the moon tonight?

MARINA

No

TRENT

Take my hand, let’s go see

MARINA

(puts her hand in his, he leads her to the balcony)

Funny old moon

TRENT

Ever see the face, I did once

MARINA

Really?

TRENT

I’ll never forget it

MARINA

I don’t want to say anything

TRENT

Me either

MARINA

What if our lips

TRENT

Met?

MARINA

I don’t know

TRENT

Let me make love to you

MARINA

Must be the moon or that song or?

TRENT

It’s you

MARINA

We’ve always been friends

TRENT

(kisses her on her neck)

MARINA

If you keep that up I might melt

TRENT

You look so beautiful in this moonlight

MARINA

So do you

TRENT

I think we should lie down

MARINA

On this balcony?

TRENT

We can use my jacket and make our bed out of moonlight.  I just want to hold you.  It’s been so long since I felt a woman underneath me.

MARINA

Starts to cry a little

TRENT

It’s okay if you cry Marina, I understand

MARINA

It’s been so long

TRENT

Do you know how I want this to be Marina?  Like the Moonlight Serenade neither of us ever had in our marriages.

MARINA

I thought I’d be rusty

TRENT

I guess it’s the kind of thing you never forget

MARINA

You’re crying

TRENT

Must be the magic

MARINA

Must be the moonlight

TRENT

Must be you

MARINA

Must be you Trent

TRENT

Put your head on my shoulder

MARINA

But Janine was

TRENT

Forget it.  Life can be Heaven or Hell here on earth.

MARINA

Your eyes are twinkling

TRENT

Stars, I saw them for the first time

MARINA

I did, too.

 

END FADE TO BLACK

 

 

 

 

 

Vanilla Suede PLAY SBWC 2019

So more backstory on character interiority MARINA and TRENT before we move into DANCE SCENE.

For MARINA

(wise, wounded by love)

ARCHETYPE = The Wounded Feminine

(wary)

For character interiority MARINA listen here

TRENT

Trent has been very wounded by women.  He is willing to take another chance but his heart is set up for disappointment.  Nevertheless – he remains the STRONGER of the two.  Willing to take the lead and take a chance.

For TRENT many of his girlfriends did not want him to father their children.  In his marriage, his ex-wife cheated on him, under his nose, and so he was humiliated.

ARCHETYPE = The Wounded Masculine

Character Interiority TRENT listen here

Character interiority for BOTH listen here

 

PLAY VANILLA SUEDE

ACT ONE,  SCENE TWO

“Moonlight Serenade”

SETTING:  TRENT APARTMENT

Look:  EMPTY STAGE, only a table with a portable record player.  There is a opened wine bottle and two empty glasses.  Trent has invited MARINA over before they are both about to go to Halloween Party together, for a drink.  This will be liquid courage for Trent.  He has invited her in friendship.

AT RISE:

TRENT paces around his empty apartment nervously awaiting MARINA’S arrival.  This is shown in PANTOMIME perhaps with “Sugar Mountain” playing. For instance he could MIME himself as brushing his hair, he keeps checking his looks in the mirror.  Both TRENT and MARINA live in a small town, and so some of the MOURNERS will also be at the PARTY they plan to go to.  They have been friends in the way that they have known each other across many years and even in their marriages at parties and social events.  They had not seen each other in many years, until the funeral.

I love the imagery in this one for TRENT inner state.

WE HEAR A KNOCK AT THE DOOR (sound of knocking)

MARINA

Trent I’m here

TRENT

Just a second, I’ll be right there Marina

MARINA

(entering from stage left)

TRENT

(warmly)

You look beautiful

MARINA

(smiles softly, turning to show him a tilt of her new shoes)

TRENT

(smiling)

Let’s have a glass of wine, shall we?

MARINA

(glances around apartment and heads over to bookshelf – this can be pantomime and she says)

I can’t believe you have read e.e. cummings, he is one of my favorites

TRENT

I have a favorite one

MARINA

(smiles softly at Trent)

So do I

TRENT

Another glass?

MARINA

(nods, smiling, hands her glass to him so he can refill it)

TRENT

(Pantomimes looking through records til he finds it)

Moonlight Serenade have you ever heard that?

MARINA

I don’t think I have

TRENT

I’ve got it around here somewhere

MARINA

(to opening of the song)

It’s beautiful

TRENT

Want to dance?

MARINA

I’m not sure I know how

TRENT

You just relax and let me lead

MARINA

What if I trip you?

TRENT

You won’t

TRENT

(very gently and softly, with great male confidence, places her hands into a position for a slow dance to Moonlight Serenade, they begin to move every slowly)

My hand goes here and yours goes there, now we’ll just sway a little in place before we start moving

MARINA

(slowly starting to relax, in a slow whisper)

That’s nice, like this

TRENT

(nodding softly against her)

Your hair smells so wonderful

MARINA

Does it?

TRENT

You’ve always smelled like that

MARINA

I’m afraid

TRENT

Of what?

MARINA

The past and the future

TRENT

Don’t be.

MARINA

I can’t take any more death

TRENT

This is the worst decade isn’t it?

MARINA

I think it is

TRENT

You know what we have to do?

MARINA

(spoken very softly, against him, she almost exhales at the word and the feeling of relief as she says)

No

TRENT

Try and love

MARINA

What if that’s not possible?

TRENT

It is.  Put your head on my shoulder

MARINA

You’re so warm

TRENT

Am I?

MARINA

Strong.  You feel so strong.  Stronger than me.

TRENT

Maybe

MARINA

What did you do after Janine?

TRENT

Rambled

TRENT

(pauses for some time, softly says)

What did you do after Evan?

MARINA

Folded up

TRENT

You don’t seem folded to me

MARINA

I don’t?

TRENT

No

MARINA

Our grandparents, they lived in such a different time

TRENT

1929

MARINA

All those years they were together

TRENT

Yes, mine too

MARINA

They knew about love

TRENT

(nods, slowly, pressing her more tightly)

They did.  I’ve made so many mistakes

MARINA

I feel like that too at times.  Maybe it’s this era we have lived

TRENT

Shhhhhhhhh

MARINA

That feels good Trent.  Having your arms around me.

TRENT

Good

MARINA

You’re warm.  It’s like you are solid

TRENT

(rubs his stomach)

I’m solid, as solid as can be.  Feel

MARINA

You big silly.  I wasn’t expecting a washboard

TRENT

Yes you were

MARINA

No, I wasn’t

TRENT

Let me hold you?

MARINA

What do you mean?

TRENT

It’s been years since I’ve touched anyone

MARINA

Trent?

TRENT

It would feel good Marina

MARINA

I haven’t since Evan

TRENT

Janine cut me off at the end

MARINA

She did?

TRENT

The last ten years.  It’s been so long

MARINA

I can barely remember Evan, Trent.  I never thought I could go fifteen years without sex, you know?

TRENT

Me neither

MARINA

How did we do it?

TRENT

I don’t know.  Love’s a funny thing

MARINA

After marriage?

TRENT

Yeah.  Let me put that song back on.

MARINA

Okay

END SCENE FADE TO BLACK

Next scene will be Balcony Scene (edited from Original to be more PG)

Next scene will have them reading EE to each other – the fave poems.

On METHOD ACTING – handy tuck in. https://www.youtube.com/watch?v=5_MhhxXSGmo

On Method and Realism https://www.youtube.com/watch?v=tE0prIjgmMY

 

 

 

 

 

 

 

 

 

 

 

 

MARINA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Yes