Dramatic Texts >> Kristen Lazarian >> PUSH

PUSH by Kristen Lazarian

scene 1a
[Charlotte’s restaurant]
A table at a cozy, upscale restaurant called Charlotte’s. It’s a Thursday nightin Los Angeles.
Lights come up on BROOKE, a vibrant woman in her thirties and her husband OWEN, a uniquely attractive
man in his late 30’s. They are with another couple, ELEANOR and ADAM, both are 30’s-40’s. They have
finished eating. Their plates are on the table waiting to be cleared. They drink wine.


BROOKE
So what do you think about this place?

ELEANOR
Delicious. That was the best salmon I’ve ever had in my life.

ADAM
In your life?

ELEANOR
It was so good. How was yours?

OWEN
I’d come back for the calamari.

ADAM
Loved the calamari.

ELEANOR
How was yours, Brooke?

BROOKE
Good.

ADAM
This is a great little restaurant. A very good recommendation, Brooke.

OWEN
She knows how to pick them.

ELEANOR
We should come here again.

ADAM
Did you see the bar?

OWEN
No, how is it?

ADAM
Nice.

OWEN
Let’s try this place next Friday night.

ADAM
I’m game.

ELEANOR
How come we don’t get invited on your Friday night drinking dates?

ADAM
It’s a guy thing.

ELEANOR
Did you just say it’s a gay thing?

ADAM
No-- a guy thing.

BROOKE
You’re both idiots.

ADAM
Thank you.

ELEANOR
Brooke, you always find the best places for us.

ADAM
You’ve become like our own personal concierge.

OWEN
It’s why I married Brooke-- for her keen organizational skills.

BROOKE
Is that even a compliment?

ELEANOR
I think it is.

BROOKE
Hey, if anyone else would like to recommend a restaurant, be my guest.

OWEN
Don’t believe her.

BROOKE
Owen! It just seems to me that if I don’t plan it, it’s difficult for us to get together.

OWEN
I’m giving you a hard time-- we’re all very grateful.


ELEANOR
That’s right. We’re happy just showing up. It takes the pressure off.


ADAM
How did you hear about this place anyway?

BROOKE
Channel 9 did a segment on it about a month ago.

ELEANOR
Oh well-- it was a great restaurant.

BROOKE
I know. This place has been here for years. Suddenly it’s the spot.


ELEANOR
Owen, speaking of channel 9, someone at work was just talking about something you did.
The dog thing.


BROOKE
That was great. Did you see that?

ELEANOR
I missed it.

BROOKE
Oh God-- it was funny. It’s a dog chapel. They do actual little weddings before they
breed the dogs.


ADAM
You’ve got to be kidding me.


OWEN
It’s all true.


ADAM
You did a story on doggie weddings? You’ve come a longway since our days at Stanford,
my friend.


OWEN
I never said I intended to be a real journalist.


ELEANOR
Oh shut up, Owen. You’re the best reporter on television.

BROOKE
She’s right. You are the best. You’re the funniest and the cutest--


ELEANOR
(to Adam)
He could’ve become a cranky old attorney like you. At least he’s having fun.
Beat.


OWEN
Yes-- right! I couldn’t be happier-- with everything.

Owen kisses Brooke.

ADAM
What? What are you saying? Women crying to me about how they gave up their careers
to pop out kids just so that asshole could run off with some whore-- that’s not fun?
That’s a good time.


BROOKE
I thought you were cutting back on divorces.


ELEANOR
Unfortunately business is booming.


ADAM
Sad but true.

ELEANOR
He’s too good at comforting jilted wives.

ADAM
I’ve tried to get out. I’ve begged Eleanor to support me while I collect art.

BROOKE
You should do that, El.

ELEANOR
Right-- if I could support your lifestyle on mysalesrepsalary, I’d do it in a heartbeat.


ADAM
Isn’t she sweet?

BROOKE
Isn’t it almost fashion week?

ELEANOR
Yes-- want togotoNew York withme?

BROOKE
I do -- but I have thisshow comingup.

ELEANOR
That’s right.

BROOKE
It’sa bigone.

OWEN
You’ve done a million shows. It’ll be fine.

ELEANOR
It’sgoingtobe incredible.
OWEN
You’re the master at pullingthese things off.
BROOKE
Except that the artist-- themain artist I’m featuringisoneof the most difficult I’ve dealt
with.
ELEANOR
Maybe it’sbecause he’sEuropean.
BROOKE
I don’t know.
OWEN
Is thisthe German?
BROOKE
Yes.
ADAM
HaveI heard of him?
BROOKE
His name isAnsgar.
ADAM
Is that hiswhole name?
BROOKE
No but that’show hesigns his work.
ELEANOR
Isn’t that pretentious-- don’t you love it?

6.
ADAM
Will I like this guy? Doeshe have collection potential?
BROOKE
For you, definitely. I reallythink you’ll like hiswork.
ELEANOR
He’sgot ahuge followingin Europe. He isgorgeous.
ADAM
How do you know?
ELEANOR
I read Peoplemagazine.
BROOKE
He’shad some good press.
ADAM
I buyart for the investment and she buys it because she hasa crush on the artist.
ELEANOR
It’strue. He’ll be huge on hissexappeal alone.
OWEN
Right,who needstalent these days.
ELEANOR
You know you can sell thisguy.
BROOKE
I’mworkingon it.
ELEANOR
I mean it helps that he hassome talent, too.
BROOKE
Heis talented. His paintings are vibrant, simple--
ADAM
Abstract?

7.
ELEANOR
Not at all.
BROOKE
No, he’s veryclear, almost childlike but with mature themes.
ELEANOR
Sexual themes.
OWEN
Is thisthe guywho’s been callingyou night and day?
BROOKE
What?
OWEN
Hecallsyou constantly.
BROOKE
Because I’m planninghisL.A. show. It’sa bigdeal.
OWEN
It seemsexcessive.
BROOKE
It’sbusiness. He’s also married.
ELEANOR
Heis?
OWEN
That doesn’t matter.
BROOKE
It doesn’t?
ELEANOR
When you saymarried-- howmarried?
BROOKE
What?

8.
ADAM
You said he’sGerman. Theyhave a completelydifferent sensibility when it comesto
sex.
BROOKE
Yeah-- no kidding.
OWEN
See! I knew it-- you admit it.
BROOKE
Oh please! You just said that it doesn’t matter that he’s married.
OWEN
That’s not what Imeant.
BROOKE
What did you mean? When you say-- it doesn’t matter that he’smarried, what does that
mean?
ELEANOR
Brooke-- relax. He just means there’s a different standard.
BROOKE
For men.
ADAM
No-- for Germans.
ELEANOR
Probablyfor men, too.
BROOKE
Exactly.
ELEANOR
(to Brooke)
Please, let’s not godown this road. I will get heartburn.
BROOKE
Besides, Owen, he’s young. He’s barely24.

9.
ELEANOR
That’s too youngtobe married.
OWEN
Thisguy calls with some crisisat three in themorning. Three in the morning, he’scalling
myhouse.
ADAM
What’sthe crisis -- he can’t find hispaintbrush?
ELEANOR
He’sanartist. They don’t sleep.
BROOKE
Honestly, I’m over it. It’s aheadache.
ADAM
Sounds like myline of work-- a lucrative headache.
BROOKE
I would love a vacation when I’m done.
OWEN
We could drive upthe coast--
ELEANOR
We went toa fantastic spain Napa.
OWEN
What do you think about Napa?
BROOKE
Yeah-- I love Napa-- but I was thinkingNew York-- now that El mentioned it. We
haven’t been in awhile.
ELEANOR
Didn’t you get engaged in NewYork?
OWEN
Yes, wedid. Brooke planned that, too.

10.
ADAM
Your proposal? You got off easy.
BROOKE
I did not plan hisproposal. Veryfunny.
ELEANOR
He’skidding.
OWEN
You do need a vacation.
BROOKE
Do you think you can get sometime off?
OWEN
Probablya few days.
An attractive woman, CHARLOTTE, enters. Charlotte
has a down home, friendly quality-- warm and effusive.
She really caresabout her customers. She comes overto
the table.
BROOKE
We could go in October, after I wrap everythingupwith theshow. God, that would be
so nice. Give me your datesand I’ll book--
CHARLOTTE
Good evening, everyone. Welcome, I’m Charlotte. How was everything?
ELEANOR
It was verygood.
CHARLOTTE
I’mso glad you enjoyed it.
OWEN
Are you theCharlotte?
CHARLOTTE
I am.

11.
OWEN
The calamari wasamazing.
CHARLOTTE
You like that?
ADAM
We loved the calamari.
CHARLOTTE
Well, I’m compingthe calamari tonight-- just for you. It’s on thehouse.
ADAM
No--
CHARLOTTE
Yes, it is.
BROOKE
You don’t have to do that-- really.
CHARLOTTE
No, no-- I want to.
ELEANOR
His channel just did a great storyon your restaurant.
CHARLOTTE
I know it. So consider it a thank you.
OWEN
It wasn’t mystorybut I’ll take thecredit.
CHARLOTTE
And, of course, I recognize you.
OWEN
Oh-- that’snice.
CHARLOTTE
Not you. Your lovelywife.

12.
BROOKE
Me?
CHARLOTTE
Yes.
BROOKE
Really? Have you been to mygallery?
CHARLOTTE
No, no. I know you’re Danny’sdaughter.
BROOKE
You mean Dan Gatwick?
CHARLOTTE
Yes, DannyGatwick.
OWEN
Wow-- how do you know Dan?
CHARLOTTE
He’soneof myinvestors.
ADAM
An investor-- here?
CHARLOTTE
Yes, he is.
BROOKE
Oh-- I had no idea.
OWEN
Honey, your dad is invested in a lot of things.
ADAM
I’msure it’shard to keep track.
BROOKE
Right. I guess so.

13.
CHARLOTTE
Anyway,Danny’s an old friend. We go wayback.
ELEANOR
I am so relieved the food is so good here. Wouldn’t that have been terrible-- if it was
awful? Howembarrassing.
ADAM
(to Owen)
You can tell Dan-- he did good.
BROOKE
Whydon’t you tell him the next time you guys go golfing.
OWEN
We are due-- we are so due for another golf tripwith Dan.
(toCharlotte)
We’ll tell him you said hi.
CHARLOTTE
Oh, no need. We talk all the time.
Beat.
BROOKE
It’sfunny. I’ve never heard your name.
CHARLOTTE
No?
BROOKE
What’syour husband’s name? Maybethat would ringa bell.
CHARLOTTE
Oh no-- myhusband is longgone. I started this place after a pretty nasty divorce.
BROOKE
And mydad helped you?
CHARLOTTE
Hedid. This place wasmything-- the thingtoget me through it. That wasten years
ago. Can you believe it? Time flies.

14.
BROOKE
That was niceof him.
OWEN
Your dad’s agreat guy-- he’s helped a lot of people.
ADAM
Hehelpedme with myswing.
CHARLOTTE
Who could not love that man?
BROOKE
Yeah. He’sgreat.
CHARLOTTE
I knewit was you. Your dad showed me weddingpictures.
Charlotte reaches for Brooke’splate.
Did you want to take this?
BROOKE
No, thanks.
OWEN
Hold on-- I’ll eat it later.
BROOKE
Okay. Thenwe’ll take it togo.
OWEN
Thank you.
Charlotte takes the plates and exits.
ELEANOR
Isn’t that funny? What a small world.
BROOKE
It’snot that funny. He showed her our weddingpictures?

15.
ADAM
What? Come’on!
ELEANOR
What’swrong? You think your dad’s gettinga little on theside?
BROOKE
No.
OWEN
(taunting)
I don’t know. Your dad is in good shape for his age.
ADAM
Hedoes look good.
OWEN
And he’s rich. Women digthat.
BROOKE
And he’s also married. To mymother.
OWEN
Aahh. Right.
ADAM
There isthat.
ELEANOR
Oh stopit-- don’t listen to them, Brooke.
OWEN
She’s not smiling. Brooke-- don’t smile. Whatever you do-- don’t smile. No-- don’t--
Brooke breaks into a little smile, laughs.
BROOKE
(affectionately)
Ass hole.
ADAM
Well, if we’re luckywewon’t hit anytraffic goinghome.

16.
BROOKE
The traffic was horrible comingover here.
ELEANOR
Sorrywemade you wait.
BROOKE
I don’t mind.
ELEANOR
At least Owen was withyou.
BROOKE
No, we came separately.
ELEANOR
You did?
BROOKE
I had a meeting.
OWEN
I hit a lot of traffic, too.
BROOKE
You should have left a little earlier.
OWEN
I couldn’t leave earlier. I had things todo at work.
BROOKE
Like what?
OWEN
I was on the phone.
BROOKE
With who?
Charlotte reenters with Brooke’s food in a doggie bag
and with the bill. She setsit on the table.

17.
OWEN
My producer.
(to Charlotte)
Thank you.
CHARLOTTE
Would anyone like anythingelse?
ADAM
I think we’re good, thanks.
CHARLOTTE
Okay,I’ll get that when you’re ready.
Charlotte exits.
BROOKE
(to Owen)
Didn’t you mention you had dinner plans?
OWEN
No.
BROOKE
Why?
OWEN
It wasn’t relevant tothe conversation.
BROOKE
But you made me wait for a half hour.
ELEANOR
I think it was the traffic that held us all up.
BROOKE
(to Eleanor)
No, shealways callswhen he’swalkingout the door. It’s acontrolthing.
OWEN
She’s myproducer. It’s business. Like your artist.

18.
BROOKE
(to Eleanor)
You should hear them talk. It’s business for about two minutesand then she starts
bitchingabout her boyfriend.
ADAM
Take it fromme,you do not want toopen that can of worms.
OWEN
I don’t know what this is about. We just had a nice dinner.
ELEANOR
Mine wasdelicious. Give me the bill.
BROOKE
No, no.
OWEN
We’re gettingit. You got it last time.
Owen takesthe bill off the table. He goesforhis wallet.
OWEN
Oh crap.
BROOKE
What is it?
OWEN
I left mywallet in mydesk. I rushed out and --
BROOKE
And you were a little distracted givingcouples counselingtoyour producer?
OWEN
You’re reallyoverreacting.
Charlotte reenters.
BROOKE
It’sfine. I have mine.

19.
Brooke reachesin herpurse and pullsout a credit card.
Charlotte takes it from her.
CHARLOTTE
Thank you so much for comingin.
ADAM
We will definitelybe back.
CHARLOTTE
Thank you. I’ll be lookingfor you.
Charlotte exits.
OWEN
Since when have you had an issue with myproducer?
BROOKE
I don’t know. You have an issue withAnsgar, I get tohave one with your producer.
ELEANOR
Well, tit for tat. You’re even.
ADAM
If Eleanor got jealousabout everywoman cryingher eyesout and callingme, it would do
us in.
Charlotte reenters and setsthe bill down at the table then
exits. Brooke signs the bill. Eleanor and Adam get up to
go.
ELEANOR
Thank you so much. It was alovelyevening.
BROOKE
It was alovelyevening.
ELEANOR
I’ll call you tomorrow.
ADAM
See you guys.

20.
OWEN
Where’d you park?
ADAM
Valet.
OWEN
I’mon the street.
Adamand Eleanorexit.
BROOKE
I need to usethe rest room. I’ll see you at home, honey.
OWEN
I’ll wait for you.
BROOKE
It’sokay. I valet parked.
OWEN
Okay.
Brooke turns to go towards the rest room.
OWEN
Hey.
BROOKE
Yeah?
OWEN
I love you.
BROOKE
I love you, too.
Lightsfade to black.

21.
scene2a
[Brooke’s gallery-- her office]
Brooke issitting behind a desk with herlaptop open. A
young, good looking man of 24, ANSGAR, sits on theedge
of Brooke’sdesk. Hespeaks with a German accent. Next
to him isa wrapped art print.
BROOKE
You didn’t have to get me anything.
ANSGAR
I wanted to. You’ve done so much for me.
BROOKE
The show isn’t for a couple weeks. Maybe you should wait and see how it goes.
ANSGAR
That’s whyI’mgivingyou this now. I alreadyknow I’ll hate the show.
BROOKE
Your confidence in me isoverwhelming.
ANSGAR
I’mnever pleased. You should know that bynow.
BROOKE
Next time remind me not totryso hard -- you’ll hate it anyway.
ANSGAR
I don’t hate everythingyou do.
BROOKE
It seemslike you do.
ANSGAR
I don’t hate the wayyou walk.
BROOKE
The wayI walk?

22.
ANSGAR
Yes. It’s cute.
BROOKE
Cute?
ANSGAR
Sexy.
BROOKE
Really?
ANSGAR
Everythingabout you.
BROOKE
I think you’rea master manipulator. That’s what Ithink.
ANSGAR
You think too much.
BROOKE
Oneof us has to.
ANSGAR
Maybe you should open the gift.
Brooke getsup and goes to where Ansgar sits on her
desk. Hehands her the very large wrapped print.
Brooke opensit hesitantly.
Inside isa Vermeerprint. It isa print of the painting --
The Procuress.
ANSGAR
You like Vermeer?
BROOKE
I do.

23.
ANSGAR
You like this print?
BROOKE
I saw the real one when I wasin Germany.
ANSGAR
You were in Germanyand you didn’t call me?
BROOKE
It was 9 yearsago.
ANSGAR
I wish I’d known you 9 yearsago. Then I could’vestolen you awayfrom your husband.
BROOKE
Ansgar, 9 years agoyou were 15.
ANSGAR
I still could’ve stolen you awayfrom that talkinghead.
BROOKE
No one could have stolen me awayfrom myhusband. And please-- don’t call Owen a
talkinghead.
ANSGAR
Ahh, you’re verystrong. But you’re not really.
BROOKE
Yes, I am.
ANSGAR
No. You pretend to be strong. But women are the same.
BROOKE
(with irony)
That’s so insulting. Thank you.
ANSGAR
Onelittle push-- theyfall down like feathers.

24.
BROOKE
Not all women.
Ansgar movesin closerto Brooke.
ANSGAR
All women. Even you.
BROOKE
You’re wrong.
ANSGAR
AmI?
BROOKE
I love myhusband.
ANSGAR
I believe you.
BROOKE
Do you love your wife?
ANSGAR
Does your husband love you?
Beat.
BROOKE
Yes, he does.
ANSGAR
ThenI lovemywife.
BROOKE
But you have no problem pursuingother women.
ANSGAR
I don’t pursue other women-- just you.
BROOKE
You are such a liar.

25.
ANSGAR
I can’t helpit ifI’mattracted to you. I’m human. So are you. Reallythere are no rules.
BROOKE
Maybe in your world-- but not in mine.
Beat. Brooke sitsat her desk and goes backto her
laptop.
ANSGAR
Fine. TomorrowI’mleavingfor New York. I won’t bother you while I’m there.
Ansgar turns to leave.
BROOKE
Wait-- you can’t gotoNew York. Your show opensin less than two weeks.
ANSGAR
I can go whereever I want togo. You cannot tell me where I can and can’t go.
BROOKE
Yes, I can. Thisshow has to live uptoall the hypeyou’ve had lately.
ANSGAR
You know as well asI do that it doesn’t matter if I’m here or in NewYork. I have two
weeks before it opens.
BROOKE
It matterstome.
ANSGAR
Why?
BROOKE
Because I would like you to be participatory-- and -- and present so you don’t fall on
your face.
ANSGAR
Soyou don’t fall on your face.
BROOKE
I think of as a team, Ansgar.

26.
ANSGAR
Is that so? What did wedecide on for the color of the invitation?
BROOKE
A dark orange.
ANSGAR
I hate that.
BROOKE
Look-- that’s not what you care to concern yourself with-- those are details.
ANSGAR
Would you like to know the details of mytriptoNew York?
BROOKE
No.
ANSGAR
I got a call from a potential buyer--
BROOKE
I don’t care.
ANSGAR
Somebodyat Tribeca.
BROOKE
DeNiro’s company?
ANSGAR
Impressed?
BROOKE
Not really.
ANSGAR
Well, they like mypaintings and theywant tomeet with me.
BROOKE
It’sgreat. Have a good time.

27.
ANSGAR
You could come with me. It’s just a couple days. Maybe you meet DeNiro.
BROOKE
First of all, I doubt that. Second, are you thinkingyou could sell some of your paintings
without me?
ANSGAR
Ofcourse I can.
Beat.
BROOKE
Fine. Go ahead.
ANSGAR
I’d rather have you there to handle the -- you know-- details. I just want tomeet DeNiro.
BROOKE
I’mtoo busyhere. I can’t.
ANSGAR
Theyasked me to do some reality show.
BROOKE
What? Who? DeNiro’s company?
ANSGAR
No-- some other company.
BROOKE
Absolutelynot. No, no, no.
ANSGAR
Whynot?
BROOKE
You are dangerously close to becomingoverexposed. Do you want tobetaken seriously?
ANSGAR
I want tobe rich.

28.
Beat.
BROOKE
You know what? You’reputtinga lot on myplate right before your show.
ANSGAR
You’re verybeautiful when you’re pissed off at me.
BROOKE
God damn it-- be professional.
ANSGAR
I hate LosAngeles. I need a break.
(beat)
Come with me. You love NewYork. You said you missed it.
Beat.
BROOKE
I don’t know.
ANSGAR
I’mleavingtomorrow.
BROOKE
I can’t come tomorrow.
ANSGAR
Come later in the week.
BROOKE
You’re puttingme in a bad position. You should’ve asked me.
ANSGAR
For permission?
BROOKE
Don’t wehave a contract?
ANSGAR
Ahh yes. Back to your rules.

29.
BROOKE
Theyserve a purpose.
ANSGAR
What’sthat?
BROOKE
Protection. I need to protect myinterests.
ANSGAR
Good for you. You stayon the defensive.
Beat.
BROOKE
I have to.
ANSGAR
Orwhat? What are you afraid of?
BROOKE
I’mnot afraid of anything--
ANSGAR
Thendropyour rules and live a little.
Ansgar movesin and kisses Brooke on the mouth. She
doesn’texactly resist.
BROOKE
Ansgar-- I love myhusband. There’sa reason I met him longbefore I met you. A
reason I married him. These things happen for a reason.
ANSGAR
Sometimesthings just happen.
Lightsfade to black.

30.
scene 3a
[a bench in apark]
A couple dayslater. A parklike area. Brooke sits
upstagealone on a bench. She is pensive. Shelooks at
herphone and then at her watch. Herphone rings. She
answers quickly.
BROOKE
Finally. There you are.
Eleanorappears downstage wheeling a clothing rackfull
of clotheson stage with her. She’s on the phone with
Brooke.
ELEANOR
I’vegot ameetingin a couple minutes. What’s wrong?
BROOKE
I’mthinkingabout comingtoNew York tomorrow. Just for theweekend.
ELEANOR
With Owen?
BROOKE
No.
ELEANOR
Alone?
BROOKE
Well, no-- I mean it’sfor work.
ELEANOR
I thought you were workingon the show.
BROOKE
I am. But somethingcame upwith Ansgar.
ELEANOR
Really? I can onlyimagine what’s come up.

31.
BROOKE
Don’t imagine. It’s abusiness weekend.
ELEANOR
God, I’d love to have you here. Will I see you? Or am I supposed to cover for you--
BROOKE
Listen. I just have to get out of here for a couple days.
ELEANOR
With Ansgar?
BROOKE
It’snot what you think.
ELEANOR
Okay,fine-- I’m stayingout of it. I come home on Sunday.
BROOKE
That’s perfect. I’ll come back with you. Wait-- I have another call.
Brooke switchesover to hernew call.
BROOKE(CONT'D)
Hello?
Owen appears downstage. He talks on his cell phone.
OWEN
Hi, did you call me?
BROOKE
I did.
OWEN
I’mon in a couple minutes. What’s up?
BROOKE
It’sokay. We can talk later.
OWEN
Where are you?

32.
BROOKE
At-- at work.
OWEN
I tried to call you there and no one picked up.
BROOKE
Hey,I think I might gotoNew York withEleanor.
Beat.
OWEN
I thought she was alreadythere for fashion week.
BROOKE
She is. I’m gonnameet her there.
Beat.
OWEN
Why?
BROOKE
Well, it’s alongstorybut I actuallyhave a work situation that Ineed to deal with.
OWEN
What does that mean?
BROOKE
I got a call from a guywho works for Robert DeNiroand they’re veryinterested in
Ansgar’s paintings and would like to meet him.
OWEN
Wow. That’s incredible.
BROOKE
Yeah-- I knowit’s short notice.
OWEN
What about-- you know wewere goingtoNew York when the show was over. You
know that whole thingabout spendingsome down time together. Is that-- what? Not
somethingyou want todo anymore? Because I thought it would belike a special thing--

33.
BROOKE
I know-- I reallyneed you to understand mypredicament. I’d send Ansgar alone but left
tohis own devicesit could get -- you know he’s not a good people person. If he wants
tomake the sale, I should be there. And then, you know, I’ll make a bigchunk of money,
too.
OWEN
Sohe’sgoingwithyou?
BROOKE
What? No. Hold on.
Brooke clicks back over to Eleanor.
BROOKE
Hi. Listen, let me call you back. It’s Owen.
ELEANOR
Does he suspect anything?
BROOKE
There isnothingtosuspect.
ELEANOR
Are you sure?
BROOKE
Oh-- hold on. No, wait-- I’ll call you back.
Brooke clicks back over to Owen. Lights dimon Eleanor.
BROOKE
Hi. Okay. I better wrapit uphere.
OWEN
Brooke. You never answered me.
BROOKE
What?
OWEN
Is Ansgar goingwithyou to New York?

34.
BROOKE
No, he’s there now.
OWEN
Is that whyyou want togo?
BROOKE
Owen, I have to go because he’sgoingtoscrew upthisdeal if I’m not there and if I want
tomake some moneyit’s in mybest interest toshow up.
OWEN
And you just decided thistoday?
BROOKE
It just happened--
OWEN
Great-- have a great time without me.
Beat. Owen hangs up on her.
BROOKE
Owen-- Owen, wait--
Brooke hangs up. Lights dimon Owen. Brooke remains,
still sitting on the bench.
Lightsfade to black.

35.
scene 4a
[Brooke& Owen’s bedroom]
Brooke ispacking a suitcase on her bed. Owen enters.
OWEN
Hey.
BROOKE
Hi. Are you talkingtome now?
OWEN
When do you leave?
BROOKE
Early-- tomorrow morning. I should leave here at about 4:30, I think. My plane leavesat
six.
OWEN
I guess I’mhavinga hard time understandingwhyyou have to do this.
BROOKE
It’swork.
OWEN
Yeah-- I’m havinga hard time with that.
BROOKE
I got that.
OWEN
Whydo you have to go?
BROOKE
Because I just do.
OWEN
I don’t want you to go.
BROOKE
I know you don’t.

36.
OWEN
And you don’t care.
BROOKE
I do care, Owen.
OWEN
You know, this guy-- he’s an adult. He mayact like an infantile prick but he is an adult.
BROOKE
Okay.
OWEN
And he can take care of himself.
BROOKE
I agree.
OWEN
Sowhydo you need to go?
BROOKE
Because it’s mybusiness, Owen.
OWEN
I don’t trust him. This is his plan-- to get you alone--
BROOKE
No, it’s not.
OWEN
I know how guys think.
BROOKE
How do theythink?
OWEN
Theythink about conquest.
BROOKE
Really? Is that how you think?

37.
OWEN
Not now-- maybe before you.
BROOKE
I’mnot stupid, Owen. I knowhow to manage Ansgar.
OWEN
What if he triestoforce himself--
BROOKE
(laughs)
If that happens, I’ll call the police.
OWEN
It’snot funny. I was lookingforward to goingtoNew York with you. That was our
trip, remember?
BROOKE
Listen-- wecan go to Napa instead. I’ll take care of everything.
(beat)
Come here.
Owen goesto Brooke. She embraces him.
BROOKE
You have to relaxabout this.
OWEN
I know what will relaxme--
Brooke and Owen begin kissing.
BROOKE
Did you happen to remember to pick upthe drycleaning?
OWEN
No-- I forgot. I’m sorry.
BROOKE
It’sfine. I just needed myblack jacket.

38.
OWEN
I hate it when you’re gone.
BROOKE
Owen.
Brooke pulls away from him.
OWEN
It would kill me. If anythinghappened with that guy.
BROOKE
I’mnot even goingtodignifythat comment. Maybe I should be the one worryingabout
you.
OWEN
Good-- turn it around.
BROOKE
I have an idea-- let’s spend the whole weekend worryingabout whether you or I will
sleepwith someone else. Then we can both have a miserable weekend.
OWEN
Sounds good to me.
BROOKE
See-- we’re a healthycouple.
Owen movesto take off Brooke’s pants.
OWEN
Thisishealthy.
BROOKE
Owen.
OWEN
I love you.
BROOKE
Owen--

39.
OWEN
What?
BROOKE
I -- I just need to finish packing.
OWEN
(turningoff)
That’s it. That’s it,Brooke.
BROOKE
What?
OWEN
You have a great time in NewYork. Have a great, romantic little getawaywithyour
artist. I’m done.
BROOKE
Owen.
OWEN
I’mdone.
Owen grabs a pillow off the bed.
BROOKE
Where are you going?
OWEN
I’ll sleepon the couch.
BROOKE
Owen.
Owen exits. Lights fade to black.

40.
scene 5a
[Charlotte’s restaurant--thebar]
Friday night. Owen and Adamsit togetherat a table.
Both drinkbeers.
ADAM
Sohow did you leave it?
OWEN
She knewI was angry.
ADAM
Well, all that talk the other night. You know, about goingtoNew York after the opening--
OWEN
Exactly.
ADAM
Did you tell her you didn’t want her to go?
OWEN
It doesn’t matter.
ADAM
Maybe she wouldn’t have gone.
OWEN
Brooke does what she wants.
ADAM
Do feel uneasy?
OWEN
I don’t know. I don’t know.
ADAM
It sounds like you do.

41.
OWEN
I’vealways trusted her. I joke-- but no-- I’ve never thought she’d reallygive in to that--
you know if she was tempted.
ADAM
I don’t think you need to worry.
OWEN
She’ll be in New York for a couple days-- it’s no big deal.
ADAM
You’re right. You’re overreacting.
OWEN
I can’t helpit. I can’t stand that guy.
Charlotte enters and comes overwith some calamari.
ADAM
Look at that.
CHARLOTTE
For my favorite newcustomers.
OWEN
You keepthis upand you’ll have to get used to us.
CHARLOTTE
You enjoy.
OWEN
Thanks.
CHARLOTTE
Where are the ladiestonight?
ADAM
New York.
CHARLOTTE
Oh yeah? And they left you two handsome guys on your own?

42.
ADAM
Finally.
CHARLOTTE
Are theyoff on business or pleasure?
ADAM
Business.
OWEN
And somepleasure, too, I’msure.
CHARLOTTE
Well, nothingsaysyou boys can’t have some fun, too.
ADAM
You hear that?
CHARLOTTE
Let me knowif you need anythingelse.
Charlotte exits.
OWEN
I’mnot even hungry. I’m so pissed off.
ADAM
I have to go in a few.
OWEN
Oh yeah?
ADAM
I’vegot adinner meetingwitha client.
OWEN
A female client?
ADAM
As amatter of fact, yes.

43.
OWEN
A distraught female client?
A pretty young woman, AMY, in herearly twenties, enters
and sits down close to Owen and Adam. She isdressed
tastefully but provocative enough to catch the attention of
Owen and Adamwho give her a glance.
ADAM
Not too distraught.
OWEN
Too bad for you.
ADAM
I have to be careful with thisone. She’sdivorcingoneof the richest men in L.A. A
developer.
OWEN
Don’t forget you’re givingme a ride home.
ADAM
Another beer?
OWEN
No-- I’mgood.
Amy and Adam make eye contact.
ADAM
Hithere.
AMY
Hi.
OWEN
Hi.
AMY
Oh myGod-- are you Owen Shore?

44.
OWEN
Yes, I am.
AMY
From channel 9 news?
OWEN
Yes, hi.
AMY
Oh wow. I watch you all the time.
OWEN
Really? Thanks.
AMY
My girlfriend’s goingtodie when she gets here.
OWEN
I hope not.
AMY
You don’t understand. We were just sayinghow funnyyour storiesare.
OWEN
Oh yeah?
AMY
You come upwiththe greatest things.
OWEN
I have a lot of help.
AMY
I mean you’ve got that self-deprecatingthingthat makesyou so-- oh my God. You know
what’s thebest-- when you sit in for that sports guy. I love it-- you did that boxing
story. It was like thesensitive man’stake on boxing-- it was so sweet.
OWEN
Thanks.

45.
AMY
You’re verytalented.
(glancingat Adam)
Are you guys together?
ADAM
You mean together?
OWEN
I’m not gay. He is.
ADAM
Very funny. What’s your name?
AMY
Amy.
ADAM
Hi, Amy. It’s nicetomeet you. I’m Adam. And you know Owen.
Amy looks at her watch.
AMY
It is so nicetomeet you.
OWEN
Nice to meet you.
AMY
I hope you’re not leaving. My girlfriend hastomeet you.
Adamglances at Owen.
OWEN
Adam?
ADAM
We have to get going.
AMY
(to Owen)
Do you have to go do the news?

46.
OWEN
No-- I’moff tonight. But I need to get home.
AMY
(disappointed)
Oh-- can I have your autograph before you get going?
OWEN
Sure.
Amy moves closerto Owen. She slideshima napkin. He
signs it.
OWEN
To...
AMY
Amy’s fine.
OWEN
ToAmy.
Hegivesit to her.
AMY
You have a cool signature.
ADAM
Oh boy.
OWEN
What perfume isthat?
AMY
Paris. YSL.
OWEN
I know it well.
AMY
Yeah? Isthat what your girlfriend wears?

47.
OWEN
A longtime ago. I love it.
AMY
You love myperfume? That isamazing.
ADAM
Okay-- I gottago. Owen?
OWEN
Yeah-- I’m coming.
AMY
You know what? You can’t leave. I’ve got tobuyyou a drink. To thank you for the
autograph. Please?
Owen glances at Adamwho isputting on hiscoat.
ADAM
You stay. I gottago.
OWEN
We came together, remember?
ADAM
Take a cab.
OWEN
I better not. It’s been a longday.
AMY
Shoot. I wish you didn’t have to go. You know, when myfriend comes, it’ll be two you
youand two of us.
ADAM
Okay--
AMY
Wait-- no. I don’t mean it like that. I just thought the four of us could hangout.
ADAM
Do you mind if I ask howold you are?

48.
AMY
How old are you?
ADAM
Okay-- you kids have fun.
Adamstarts to go.
OWEN
Wait a minute.
AMY
Please stay for alittle bit. Please?
OWEN
(to Adam)
I’ll take a cab.
Adamexits.
AMY
Can I get you amartini? Theyhave the best apple martinisever.
OWEN
Ahh-- what the hell. Then I should head home.
AMY
Towho?
Beat.
OWEN
No one, as a matter of fact.
AMY
You shouldn’t have to go home to no one.
OWEN
That’s what I’mthinking.
A couple beats. Amy considers her next move. She gets
up.
49.
OWEN(CONT'D)
Where are you going?
AMY
I have to usethe ladies room. I-- I’ll be back.
OWEN
I’ll be here.
Amy exits. Owen finishes hisbeer. He checks his phone
for calls.
Charlotte enters. Owen is suddenly uncomfortable having
Amy come backto the table.
CHARLOTTE
How’s everything?
OWEN
Fine thanks.
CHARLOTTE
Where’d your friend go?
OWEN
Hehad a meeting.
CHARLOTTE
Not that friend. The other one.
OWEN
Oh-- she’s not myfriend. I just met her. She’sa -- she’slike a fan. She wantedan
autograph.
CHARLOTTE
No need to explain it tome. You haven’t touched the calamari.
OWEN
I have and it’s delicious. Thank you.
CHARLOTTE
You want me to heat it up?

50.
OWEN
No, it’s fine. I actuallyshould get the check and get going.
CHARLOTTE
No problem, honey. I’ll go get it for you. You relax.
Charlotte gives hima quickshouldersqueeze. Lights fade
to black.

51.
scene 6a
[Owen & Brooke’s livingroom]
Later-- in the early morning hours following Fridaynight.
The stage isdark. Aliving room can be made out
vaguely. SOUNDS OFSEX can be heard. A shirt flies
from behind the couch, etc... Bodies are seen in shadow.
Itshould be difficult to discern who is having sex until
voicesareheard.
The phone rings three times. No one notices. The phone
rings again.
AMY
Do you need to get that?
OWEN
God no.
AMY
Don’t stop.
The sex continues... Sounds ofa cell phone can now be
heard.
AMY(CONT’D)
What’sthat? Isthat your cell?
OWEN
Don’t worryabout it. I’mgonna--
AMY
Oh yeah-- keepgoing-
OWEN
Oh God. Oh myGod.
AMY
Come on--
OWEN
Oh God.

52.
AMY
Oh yes.
OWEN
Oh yeah-- that’s-- that’s--I’m-- I’m--
Owen finishes up and then rolls off Amy. Thecell phone
begins to ring again.
OWEN(CONT'D)
Shit.
Owen wrapped in a blanket,fumbles for his pants. He
puts them on. He turns on the lights. He checks his cell
phone and then throws it hard at the couch.
OWEN(CONT’D)
Fuck.
AMY
Wasthat--
OWEN
Yeah.
AMY
Will she be suspiciousifyou don’t answer thephone?
OWEN
It depends-- what time is it?
AMY
I don’t know. How longdid we sleepbefore round three?
OWEN
I have no idea.
Amy takes hiscell phone and looks atthe time.
AMY
It’s5:24.

53.
OWEN
Is it five in the morningalready?
AMY
Yeah-- is that aproblem?
OWEN
Yeah-- no-- that wasincredible. You were-- you weregreat.
AMY
Thanks. Do you do thismuch?
OWEN
Never.
AMY
You’ve never cheatedon her?
OWEN
No.
AMY
I’msurprised bythat.
OWEN
Why?
AMY
Because you’re Owen Shore. You must have all kindsof women comingon to you.
OWEN
I don’t know about that.
AMY
Sowhyme?
Beat.
OWEN
You know what? We need to wrap it up here.

54.
AMY
You want me to go?
OWEN
I think it’s better.
AMY
Oh.
Amy starts to lookaround for her clothes.
OWEN
I mean-- don’t take it the wrongway. I just feel-- feellike I should go back to bed. I’m --
I’mfeeling-- you know-- hungover.
AMY
Okay fine.
OWEN
I have never done this before so I don’t know how to-- how to--
AMY
Get rid of me?
OWEN
No-- just, you know-- wrapit up.
AMY
I guess you just did.
OWEN
I just-- I’mnot feelinggreat about what wejust did.
AMY
Oh, I get it. It just takesfuckingthree timesbefore the guilt sets in. You didn’t really
seem too concerned when you asked me to drive you homelast night.
OWEN
You need to go.
AMY
I’msorry. I don’t usuallydo this. I swear.

55.
OWEN
Sowhydid you?
AMY
I -- I don’t know. I just liked talkingtoyou.
OWEN
You knew I was married.
AMY
Are you blamingme for what happened here?
Beat.
OWEN
I drank too much.
AMY
Blame it on that before you blame it on me.
OWEN
Do you have your things?
AMY
I have them.
OWEN
The door is that way.
Beat.
AMY
It’snot a verynice send off.
OWEN
Look-- I made a mistake. I made a huge mistake.
AMY
I made one, too. I feel reallybad about what happened.
OWEN
Let’s just say we’ll forget it happened.

56.
AMY
I don’t want toforget.
Beat.
OWEN
You won’t goblabbingtoanyone, will you?
AMY
I can keepa secret -- when I want to.
OWEN
You better want to.
AMY
Orwhat?
OWEN
What the fuckdoes that mean-- when you want to?
AMY
I don’t reallylike beingpushed out the door after beingused.
Beat.
OWEN
I’msorry. I’m reallysorry. It’s not you. It’s me. You are incredible. I just feel like
shit. That’sall. And if Brookeever found out, it would kill me.
AMY
I hear you.
OWEN
Listen-- you are one sexy woman. You are. In a perfect world thiswouldn’t be an issue
but -- I’mmarried.
AMY
I understand.
OWEN
I need to be able to trust you.

57.
AMY
I get it.
Beat.
AMY (CONT'D)
Well. It was nice meetingyou.
Amy holds out her hand to shake Owen’s. Owen takes
herhand and pulls her in, hugging her.
OWEN
Thank you.
Owen’s cell phone beginsto ring again as the lights fade
to black.

58.
scene 7a
[Brooke’s gallery]
Monday morning. Brooke ishanging art and arranging
frames for her upcoming show. Ansgar is with her. The
framed Vermeerprint leansagainst a wall.
BROOKE
Are you insane?
ANSGAR
Probably.
BROOKE
I’vesent out the invitations. We’ve done thepublicity. I’m not changingthe date.
ANSGAR
But I want tofinish the two-
BROOKE
Too bad. We don’t need them.
ANSGAR
Who iswe? I need them. You don’t need them-- good for you. I need them.
BROOKE
You just made over $200,000 in NewYork. Do you reallyneed them in this show?
ANSGAR
No-- I made $100,000 and you made $100,000 and for doingwhat? For holdingmyhand
at a meeting. I can get a meetingand handle it myself. I give you this-- all this becauseI --
because of who you are to me. Not because Ineed you. I want toput two more in.
BROOKE
The show opensFridaynight. That’s 4 days. You’re rushingand theywon’t be good. I
won’t do it.
ANSGAR
Just think about it.
BROOKE
I’vethought about it, Ansgar.

59.
ANSGAR
Please. We sold the four in New York, I’d like to add two here. We’re four short now.
BROOKE
If everythinggoesasplanned, I will give you another show in thespring. Alright?
ANSGAR
I will dumpyou bythe fall. I’ll find a better gallery.
BROOKE
Good luck withthat.
ANSGAR
I’ll find a better muse.
BROOKE
Please don’t call me that.
ANSGAR
You’re mymuse andmypimp.
BROOKE
Thanks. That’s sweet.
ANSGAR
Didn’t wehave a good time in NewYork?
BROOKE
It was great.
ANSGAR
I spare no expense for you.
BROOKE
I appreciate all that you’ve done--
ANSGAR
And myfeelings-- what we share is completelybetween us.
Beat.
60.
BROOKE
Completely.
ANSGAR
You take good care of me. You make me feel watched over. I like that you do that for
me.
Ansgar takesherhand and kisses it tenderly.
BROOKE
For God’s sake.
ANSGAR
Please let me put twoin. Please.
Beat.
BROOKE
Listen. If you can finish even one of the paintings you’re workingon now, I’ll add it in.
But I do have other artists that evening.
ANSGAR
The others are hacks.
BROOKE
Thenthey’ll make you look good.
ANSGAR
I cannot stop myself from hatingyou.
BROOKE
I hate you too.
Lightsfade to black.

61.
scene 8a
[Brooke’s art gallery]
Friday night. Brooke’s art gallery-- the evening of the big
reception for Ansgar and a few other artists. It is late --
about 11 p.m. Things arewinding down. Owen, Adam,
and Eleanorstand together in the gallery.
ADAM
I think it was afantastic reception.
ELEANOR
Her best oneyet.
ADAM
I loved those Italian springrollswiththe basil and the proscuitto--
ELEANOR
I think you ate an entire tray.
ADAM
Where’sBrooke? Let’sthank her.
OWEN
I haven’t seenher for over an hour.
ELEANOR
She wastalkingtosomeone outside when I saw her.
OWEN
She hasa single track mind at these things.
ELEANOR
It’sher business. And what can you do-- she’s good.
ADAM
And the art’s okay, too.
ELEANOR
We should get going, Adam.

62.
ADAM
What time is it?
ELEANOR
It’salmost 11.
OWEN
Before you go-- I need to ask you-- when you werein NewYork with Brooke--
ELEANOR
What about it?
OWEN
ThisAnsgar--
ELEANOR
Owen-- don’t even go there.
OWEN
If she was with that guy,I have a right toknow.
ADAM
Come on, Owen. You don’t think she reallydid anything-- do you?
Beat. Eleanorchanges the subject.
ELEANOR
Honey, we’ll have to pick upour paintingtomorrow morning.
OWEN
Which one did you end upbuying?
ADAM
Oneof the enemy’s.
OWEN
Great.
ADAM
I have to invest in the hot newthing.

63.
ELEANOR
I think he’s brilliant.
OWEN
That good?
ELEANOR
His paintings are sensual and immediate.
ADAM
I like the colors.
ELEANOR
You have to get beyond the personality. It’snot the personality hangingon your wall.
ADAM
She’s got a point.
Spotting Ansgar and Brooke asthey enter.
ELEANOR
There theyare.
(clappingfor them)
Bravo, bravo.
Ansgar and Brooke are talking intimately about
something. They hang back, perhaps on another platform
on the stage if the stage istiered.
ADAM
El, they’re talking. How much wine have you had?
ELEANOR
Oh please, Adam. Excuseme, I want totalk to the artiste.
Eleanorgoes overto Ansgar and Brooke.
ELEANOR (CONT'D)
It’sall beautiful!
ANSGAR
Thank you so much. It meansso much to me.

64.
While they talk, Amy enters wearing a white dress. She
looks at theart. She has her backto the group. They
don’t notice her.
ELEANOR
Thank youso much. I can’t wait totake mine home with me. Your beautiful work will
grace mywallsand everytime I walk byI will think of you and your great talent.
ANSGAR
I’mflattered.
Adamand Owen begin to walkover.
ADAM
What did she just say tohim?
ANSGAR
(to Eleanor)
Can I get you anything? More wine?
ADAM
No, we’re fine here, thank you.
OWEN
She hasyou servingthe guests,too?
ANSGAR
No, no. I do it for myfavorite customers.
OWEN
Sowhat was with all the whispering?
ANSGAR
Some things are private.
Owen tries to hold in hiscontempt.
OWEN
Is that so?
BROOKE
Owen-- we had a business issue we needed to finesse.

65.
ANSGAR
Yes-- two partieswanted the same painting.
OWEN
Did you work it out?
ANSGAR
Your wife isthe expert at workingthese things out. If you’ll excuse me.
Ansgar exits. As he passes, Amy turns around. He stops
when he sees her.
ANSGAR
Hello.
AMY
Hithere.
Ansgar exits.
ELEANOR
I was thinkingwe’d pick upour paintingtomorrow morning.
BROOKE
That’s fine with me.
ELEANOR
Can I leave it in your office?
BROOKE
Ofcourse.
ELEANOR
Will you helpme get it?
BROOKE
Yeah-- come on.
Brooke and Eleanor exit, but not without Brooke noticing
Amy. At the sametime, Owen who stands with Adam,
also notices Amy.

66.
OWEN
(realizing)
Oh myGod.
ADAM
What is it?
OWEN
That woman over there.
ADAM
Who isshe?
OWEN
No one.
ADAM
Whydoes she look familiar?
OWEN
Fuck!
ADAM
Hey,isn’t she from Charlotte’s! Hey you--
OWEN
Shh-- don’t make a scene.
ADAM
What do you mean?
OWEN
I don’t want tosee that woman.
ADAM
Why?
Ansgar reenters with two glasses of wine. He givesone to
Amy.
OWEN
What the fuckis she doinghere?

67.
ADAM
She likesart?
OWEN
Bullshit.
ADAM
What do you mean? What the hell iswrongwith you?
OWEN
She’s lookingfor me.
ADAM
What for?
Beat.
ADAM
You didn’t let anythinghappen with that girl, did you?
Beat. An understanding--
ADAM
Well, consideringshe’s standingright here-- I’d sayyou’re fucked.
Brooke re-enters with Eleanor. She pauses for a moment
when she sees Amy.
They move to Adam and Owen.
BROOKE
I’malmost readytofinish up.
Brooke noticesOwen in hisdiscomfort.
Owen-- are you alright?
OWEN
What?
BROOKE
You look pale.

68.
OWEN
I do?
BROOKE
A little bit.
OWEN
It’sbeen a longnight. I’m beat.
ELEANOR
And what’s wrongwith you?
ADAM
Nothing. Nothingiswrongwith me.
OWEN
I’mfine.
ADAM
Soam I. We both are fine. Crazy women.
Brooke noticesOwen looking in the direction of Amy.
BROOKE
Who isthat? Do you know that woman?
Beat.
OWEN
What?
BROOKE
Do you know her?
Beat.
OWEN
No. I thought she looked familiar.
Brooke looks at Adam.
BROOKE
Maybe you’ve met her.

69.
OWEN
No, I don’t think so.
ADAM
Hemeets alot of people.
OWEN
We have newinterns at the station. Maybe that’s who I’m thinkingof.
ADAM
She lookslike shewould be an intern.
BROOKE
Whydon’t you go over there and ask her if that’s how you know her.
OWEN
No-- I said I don’t know her.
BROOKE
You said you might know her.
OWEN
I don’t know her. I’venever seen her before.
Beat.
Ansgar movesoverto them taking Amy by the hand and
bringing her over.
ANSGAR
Brooke, thislovelyladywas just sayinghow much shelikesmynewpainting. The one I
threw together this week.
BROOKE
I’mso glad someone does. Would you like to buyit?
AMY
If only--
BROOKE
Well, it’s nice to have admirers, anyway.

70.
AMY
You must beBrooke.
BROOKE
Yes, nice to meet you.
Brooke shakesAmy’s hand.
BROOKE (CONT'D)
And thisismyhusband, Owen.
Amy reaches out herhand.
AMY
We have definitelymet.
Beat. Owen isunsure how to answer.
OWEN
No, I don’t think so.
Beat.
AMY
Sorry. You look familiar.
OWEN
I do?
AMY
I was at Charlotte’son Santa Monica-- it was Friday night--
ADAM
Were we there that night?
AMY
I thought so.
OWEN
Wasthat the night wewere there? I don’t remember.
ANSGAR
Maybe you’ve seen him on television. He does those sillystoriesfor channel 5.

71.
OWEN
Channel 9.
ANSGAR
Like the one about little doggieshavingsex in the chapel.
BROOKE
It wasn’t inthe chapel. But--
OWEN
I’veeven been known to do stories about sillyartists.
ANSGAR
I must not be sillybecause I don’t recall you doinga storyon me.
OWEN
That would be a conflict of interest.
Beat. Uncomfortable tension.
ADAM
Well, I think it’s time for us to head out.
ELEANOR
Right now?
ADAM
You’re the one who said we should get going, remember?
ELEANOR
Yes, it’s late.
ADAM
And I’mtired.
Adambegins to pull Eleanorout with him.
ELEANOR
You’re gettingold, Adam.
ADAM
Don’t remind me.

72.
ELEANOR
You need to give Brooke a check.
BROOKE
You don’t have to do it now.
ELEANOR
We’ll leave it in your office.
Eleanorand Adam exit.
BROOKE
We’re closingupin a fewminutes.
AMY
Are you? Oh-- I was working. I came over assoon as I could.
BROOKE
I’mglad you could make it.
AMY
(to Ansgar)
I’veread about you in People. I thought it would be amazingtosee your work in person.
ANSGAR
You hear that-- she reads.
BROOKE
Excellent.
AMY
And I would like to start collecting.
BROOKE
Really?
AMY
I’d lovesome pointers.
OWEN
Excuse me. I’m goingtoget going, Brooke.

73.
BROOKE
You’re leaving?
OWEN
Yeah-- I’m tired and I need some air.
Owen walks out.
ANSGAR
(to Amy)
Come with me. I’ll give you aquick tour before Brooke locks us out.
BROOKE
Make it fast.
Amy nervously glancestoward Owen as he exits.
AMY
Actually-- I should get goingmyself.
ANSGAR
Ridiculous. You just got here.
AMY
(to Brooke)
But you want to close up. I can come back another time.
ANSGAR
Don’t worryabout her. I’ll give you the abbreviatedtour of mywork and then we’ll get
a drink.
AMY
Oh-- okay.
Amy begins to exit. Ansgar follows but is stopped by
Brooke.
BROOKE
Keepin mind it would be wise to sayyour good byestoyour payingcustomers.

74.
ANSGAR
The wonderful thingabout you, Brooke, is that you’re always thinkingof the bottom line
which affords me the luxuryof thinkingof nothingbut fucking.
BROOKE
Just be careful.
ANSGAR
Whyshould I?
(beat)
I think you’readorable when you’re jealous.
Ansgar exits. Brooke standsalone on stage.
Lightsfade to black.

75.
scene 9a
[Brooke& Owen’s livingroom]
Later. In the early morning hours, after the evening of the
show.
Owen sleepson the couch. He looks disheveled, in a
bathrobe. There is a loud knockon the door which wakes
him. He goes to the door.
OWEN
(half asleep)
Who isit?
AMY
(off stage)
Can I come in?
OWEN
Who isit?
AMY
(off)
Amy.
Beat.
AMY (CONT'D)
(off)
I have to tell you something. I’ll make it fast.
Owen opens the door. Amy looks fatigued, like she’s had
a rough night.
OWEN
What do you want?
AMY
Can I come in?

76.
OWEN
No. Just talk.
AMY
Can I please come in?
Owen retreatsand Amy followshimin.
OWEN
What time is it?
AMY
It’sfive. Did I wake you?
OWEN
Yes-- as a matter of fact-- you did.
AMY
I couldn’t sleep.
OWEN
What do you want from me, Amy?
AMY
Nothing.
OWEN
I don’t believe you. You’retryingto fuckme over--
AMY
I’mnot. I swear.
OWEN
Whyare you here? Whydo you keepshowingup? Thisisn’t goinganywhere.
AMY
I know--
OWEN
What the hell were you doingat the reception?

77.
AMY
That’s what Icame to talk to you about--
OWEN
Talk to me? Or talk to mywife--
AMY
Is shehere?
OWEN
No, as a matter of fact, she’s not here. Thanks to you.
AMY
I never talked to her, Owen.
OWEN
What?
AMY
It’snot whyI went there, I promise you.
OWEN
You didn’t tell her anything?
AMY
No.
OWEN
Bullshit! She told me she talked to you.
AMY
About us?
OWEN
Yes.
AMY
She lied.
OWEN
She said she talked to you. Shegot it out of me.

78.
AMY
Got what out of you?
OWEN
The whole thing-- she got the whole thingout of me.
AMY
Oh God, that’s awful.
OWEN
Fuckyou-- it’s your fault.
AMY
I admit I wantedtosee you last night because-- damn it, I had to tell you something--
before you opened your bigmouth! I couldn’t get amoment alone with you.
OWEN
You put me in a veryprecariousposition.
AMY
I realize that--
OWEN
No you don’t! My marriage isover.
AMY
Maybe it’snot--
OWEN
I don’t know whyI’mhavingthis conversation with you. I’ll give you whatever you
want-- you want somemoney?
AMY
No.
OWEN
I should’ve never let you come here.

AMY

It was amistake. I agree.

79.
OWEN
Amy-- you seem like a nice girl-- and that was-- that was great sex-- but I don’t want to
continue seeingyou. Brooke and I have too much historyand you-- you’re young--

AMY
It’s fine.

OWEN
Okay. Thank you.

AMY
But you don’t know everything.

OWEN
I don’t want toknow anythingelse. I don’t want torehash anything-- I just want it-- I
want you to go away.

AMY
But you should know the truth.

OWEN
About what?

AMY
I just-- I fuckedupand you should know.

OWEN
We both fuckedup. I get it. Enough withthe guilt-- it’s not your marriage fallingapart.

AMY
I didn’t just meet Brookelast night.

OWEN
What?

AMY
I met your wife a couple weeks ago.

OWEN
I don’t get it.

80.
AMY
We had a special arrangement.

OWEN
What are you talkingabout?

AMY
She hired me.

Black out.
End of Act One.


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