Showing posts with label drama. Show all posts
Showing posts with label drama. Show all posts

Sunday, September 7, 2014

Dark and Stormy Night


(Image from "The Big Combo" 1955)

 

Dark and Stormy Night 

by William Seward


Grimaldi knew when the phone rings at three in the morning it doesn't mean good news. Being on call means you can't turn the pesky thing off. He answered with a gruff "Grimaldi!" The dispatcher told him the address, he slapped some water on his face, dressed  himself again and was out the door. Great, the crappy weather fit his mood.
The address was a duplex. He didn't know the uniform in the driveway. He flashed his badge, grunted "Grimaldi" and was told the way to the scene where he finally saw a familiar face.
Detective Bob Patrick handed Grimaldi a cup of Starbucks best, strictly black, no frou-frou, just the thing to make him verbal again. He got out something that sounded like "thanks" and grabbed a quick swallow of the brew before being shown into the apartment.
Bob introduced him to the victim. "Case MacTavish. Bass player for the house band at the Hot Spot down the street. A few priors, nothing major. His girlfriend found him when she got in from her shift. She works at the Pik n Pay all night grocery, also in the neighborhood. She's Marge Griswold. She said he had a gig tonight, hasn't seen him since this morning. Nobody heard anything. Unit next door is vacant now."
"Stabbed?"
"A lot!" The tech looked up. Another face he knew, Ned Olson. "We'll know when we autopsy for sure, but looks like a dozen times at least."
Grimaldi looked at the bloody knife Bob showed him a in a tagged evidence bag. "Murder weapon?"
"Could be. Hard to say right now. Victim was holding it in his hand."
"Think he got a few licks in?"
The tech looked around, "lot of blood. Could be. We'll run it, see if it's all his."
Bob motioned to the bedroom. "The lady is in there. Ready to get her story?"
Grimaldi took a mental inventory. It seemed like his brain cells and his mouth were firing on as many cylinders as they usually did, good or bad.
"Okay. First, though, think it's her?"
"I'm not sure. I'll let you decide for yourself."

It had been at least an hour since Marge was told to wait in the bedroom with a policewoman. There was a knock on the door, both women sat up a bit. A man entered. Marge had never met him but she knew his face from pictures in the newspaper. Having him in her bedroom didn't increase her desire to know him. The policewoman stayed. Grimaldi sat. Even sitting he was a couple of inches taller than Marge.
"Ms. Griswold, I'm Detective Grimaldi. I'm sorry for your loss."
"Thank you. Case had his faults, but no one deserves this!"
"How long have you known each other?"
"We met at the Hot Spot just after I got back. About a year ago."
"Got back?"
"Afghanistan. Two tours."
"Then you've probably seen some bad stuff too."
"Pretty bad. Worse when it's one you know, like Case."
Bob called Grimaldi to the  next room. He showed him his notebook. "The victim was playing sets at the Hot Spot till midnight. Said he was going home. Ms. Griswold was working checkout at the grocery till two a.m. Called in the 911 at 2:15. Just about enough time to walk home. Tech says best guess now on time of death was around one. Gives her an alibi."
"Maybe. Remember, it's a murder case, everybody lies."
"You're a cynical bastard."
Grimaldi grunted, went back into the bedroom.
"Ms. Griswold. Was MacTavish fighting with anyone recently? Anybody threaten him? Was he worried about anything?"
"Nothing I knew of. I mean, he worked in a bar in a bad part of town. Not a lady's club. But I never saw any trouble."
"Detective Patrick has the rest of your statement. We'll go over it again tomorrow at the station. Do you have anywhere to go tonight?"
"A friend from work. I'll call her."
"It will be a couple of days before you can get back in here. I'll want you to come into the station tomorrow and sign your statement. Officer Maddox here will help you pack."
A voice came from the front room. "Detective, you need to see this!" Grimaldi and both women went to the door.
A long-haired black and white cat strolled in the door carrying a trophy between his teeth. Obviously pleased with himself, he passed the assembled officers and techs and made a chattering noise as he approached Marge. He neatly dropped the prize at her feet, licked himself, and sailed to the top of the nearby refrigerator where he sat like a sphinx.
At Marge's feet was a large, hairy knuckled finger bearing a bulky gold ring.
Grimaldi looked at Marge. "Your cat?"
"Case's, sort of. I think he came with the duplex. We've been calling him Moki."
Grimaldi picked up the finger with a reversed bag and looked at it before zipping it inside. "MacTavish wasn't missing any digits, I guess this answers the question about whether he fought back. Recognize anything?"
Marge was looking thoughtful. She hesitated. "No."
Grimaldi noticed. "I'm not sure I believe you."
"No, it's nothing."
He let it pass for the present. The two detectives finally left. Only part of Marge's attention was on the rest of it; packing her things with Rose's assistance, the trip to Patsy's apartment.
That ring! She knew it!

 Chapter 2
Mort Gomez was in pain. His left pinky was gone and it hurt like nothing he'd ever felt. And his ring! The ring he had taken off the body of his own uncle Carlo after he'd knifed him to death. A family heirloom, that's what it was!
But the pain! The boss had taken him to a veterinarian he used sometimes. The man owed too much to talk to anyone. He'd given Mort some kind of painkillers, for horses, probably, but they didn't work on HIM! The bandaged hand throbbed, forget that he kept bumping it into things when he moved. It was agony!
Who'd a thought that damn bass player, MacTavish had the spunk to grab the knife and put up a fight?
Mort looked out the window. Night was falling in the miserable weather, but it made little difference. The rain hadn't stopped in three days. The damp made his hand hurt even worse, if that was possible.
He heard a car door slam, he stepped behind the front door as it opened. Joey Marbles stepped into the room. The boss bumped the door back abruptly, it bumped Mort's hand. He screamed and fell back into a chair blubbering.
The boss looked at Mort, shaking his head. "I can't believe it. My best enforcer, Mort Gomez. Killer extreme. Crying in a flop house on the ass end of town!"
Mort just shook his head, still moaning.
"C'mon, man up. I have to ask you something."
Mort tried to sit up straight. The boss was the boss.
"The cops are everywhere asking questions. Mostly that detective Grimaldi, I think we've got a handle on him, though. There's someone else, though."
"Who?"
"Do you know this woman?" Joey handed over his cell phone. There was a picture on the screen. "She's asking all around about you."
"No, I don't.... wait. She works at the grocery. The one where I buy my cigarettes. She checked me out a few times."
"Well, she's looking for you now and they say is she's MacTavish's squeeze."
Mort stifled another groan. "What can she know? And what is she planning to do about it?"
"You tell me. Mort. She's your buddy!"
"She's got nothing on me."
"Maybe we need to make sure. We'll do it together."
"I don't know."
"C'mon, you can do it, if you can stop crying long enough."

Mort ate another half bottle of aspirin and got into the car. Joey drove them back to the neighborhood near the grocery. They parked in an alley. It wasn't long, but it seemed forever to the suffering Mort. Finally he recognized Marge passing the alley and he called out to her, stifling a groan.
The two men stood with guns behind their back as she approached, rain cap on her head and hands in her raincoat pockets. Joey thought the woman seemed too relaxed for a dark alley. Finally she was close enough to see their faces in the gloom. To Mort she said, "show me your hands."
Mort raised the bandage. Marge nodded when she saw the white bandage. The men made their move. Three shots rang out, echoing along the walls of the pitch black alley. Joey went down immediately, Mort stumbled forward, grasping at Marge.
When Grimaldi arrived at the scene, he found two victims, one gripping the end of a torn belt in his bandaged hand. A belt only a woman would wear, perhaps on her raincoat.
Three blocks away, Marge tossed her torn coat into a dumpster and entered a thrift shop.
The little red coat in the window was just the thing. The rain is stopping. Tomorrow promised to be a better day.
 



------------------------
An exercise from writing class to incorporate furnished random sentences into a short story.


Printed: 07-Sep-2014, 14:30
Report generated with yWriter5 © 2014 Spacejock Software

Thursday, April 15, 2010

Parting - One Act Play















PARTING

A Play in One Act
by William C. Seward

           













                                                                                                                                      April 15, 2010






Copyright   © 1999 by Bill Seward
Characters:
RAY – a man.
JEN – a woman
OLD JEFF – eccentric beach bum.


(SETTING: The beach, a seascape *backdrop. 1975. Sounds of gulls, waves, wind.)

            Scene 1
                        AT RISE:
(‘70’s radio music comes up with lights. Morning light. JEN  is lying on beach towel face down, sunning her back. She is wearing an appropriate swim suit for the young, attractive girl that she is. The music is coming from a small radio near her. Something light is finishing, maybe Barry Manilow. The next song is Elvis. JEFF enters in his shades, his towel is around his neck like Elvis’s scarf. JEFF wears the same Hawaiian shirt, cut-offs and sandals throughout. He is holding a short stick he uses like a microphone, mimes Elvis gestures, crouch. JEN is oblivious to him but abruptly turns the radio off mid song, stopping him mid-crouch. RAY enters, catches this scene. JEFF straightens, exits. RAY moves closer to JEN, a bit shyly. Ray wears swim trunks.)

                        JEN
            (not looking up)
You’re blocking my sun.

                        RAY
Oh, sorry.
            (starts to turn away, stops)
Don’t burn.

                        JEN
It’s still early. Who was that over there?

                        RAY
            (relieved to change the subject)
Old Jeff. He’s sort of a beach bum. He’s harmless. Walks around doing impressions.

                        JEN
Let’s see, judging by the song . . .

                        RAY
Elvis. In Vegas.

                        JEN
Of course. And you?

                        RAY
I don’t do Elvis.

                        JEN
Not even in the shower?

                        RAY
Well . . . sometimes.

                        JEN
            (Rolls over and looks at RAY for the first time)
You’re honest. Hi, I’m Jennifer.

                        RAY
            (quotes old commercial)
Raymond, “You can call me . .

                        RAY and JEN
            (together)
Ray!”

                        JEN
            (continues)
I hate that commercial. Good to meet you Ray.

                        RAY
Do your friends call you . . .

                        JEN
Anything but Jenny. My mom calls me Jennifer. . .  Jen?

                        RAY
Jen. Will you be around awhile?

                        JEN
Sure.



                        RAY
            (Awkwardly)
They show Elvis movies down the beach. “Clambake” is tonight, I think. Have you seen it?

                        JEN
I don’t think so.

                        RAY
Well . . . would you like to . . . you know . . . go with me? I mean . . . it’s okay if you don’t.

                        JEN
Sure.

                        RAY
Oh well, I understand. Maybe some other . . . . did you say yes?

                        JEN
Yes.

                        RAY
Really? You’ll go with me?

                        JEN
Who else? Elvis has left the building.

                        RAY
That’s great. Meet me here, about sundown?

                        JEN
Okay.
(she lies back down, RAY stands there a moment, awkwardly, JEFF enters again, arm outstretched, cap in hand, stiff vaudeville walk as Jimmy Durante. Walks across, then exits.)

                        JEN
            (Not looking up)
Who?

                        RAY
Jimmy Durante, I think . . . later.



                        JEN
Later.
            (lights fade to blackout.)


            Scene 2
(Time: 1975, six months later than Scene 1.
Setting: Same as Scene 1. Added party music, limbo? )

                        AT RISE:
(It is noon. RAY and JEN are sitting on blanket/towel with picnic basket. They are finishing glasses of champagne. Used picnic dishes are stacked nearby. Both are dressed like before, but with t-shirts or other cover-ups on. They are watching JEFF who has just found a coconut and is miming a bowler making a strike. JEFF exits.)

                        JEN
            (putting down glass and flopping back onto blanket.)
Oh, God!

                        RAY
How do you feel, Mrs. Allen?

                        JEN
Why don’t you feel me and see, Mr. Allen?

                        RAY
Don’t mind if I do.
(he grabs her and starts to tickle her. It escalates to both tickling each other, then evolves into a long kiss. JEN finally breaks it.)

                        JEN
I beg your pardon sir, do you often do this to women you meet on the beach?

                        RAY
Only the ones I marry.

                        JEN
Are all your weddings as nice as this one was?

                        RAY
Every single one!

(JEN tickles him again, then more kisses. They both break and lie back.)

                        RAY
Are you happy?

                        JEN
Oh yes! . . . I love you.

                        RAY
Me too!

                        JEN
You love you?

                        RAY
I love you too!

                        JEN
Oh! Are you happy?

                        RAY
Pretty happy.

                        JEN
Only pretty happy?

                        RAY
We could try for ecstatic.

                        JEN
And how do you plan to do that?

                        RAY
Well, . . . our dune is just over there.

                        JEN
How do you know it’s the same one?

                        RAY
See, it has the two . .

                        JEN
Ray!



                        RAY
It reminds me of you, you remind me of it. How could I forget? Remember how we christened it?

                        JEN
You’re impossible. It’s the middle of the day.

                        RAY
So?

                        JEN
So, didn’t your mother ever tell you to wait half an hour after eating?

                        RAY
            (a bit pouty)
That was for swimming and it was an hour.

                        JEN
So who wants to wait an hour?

(they kiss again, are quiet, lost in each other. JEFF crawls across the beach like a dying man in the desert. They ignore him. He sees a conch shell, examines it and replaces it, then exits, still crawling.)

                        RAY
(Lies back on the blanket.)
Why can’t we just stay here?

                        JEN
We still have another day.

                        RAY
It’s not enough.

                        JEN
We have jobs now.

                        RAY
At least you like yours.

                        JEN
You have a good job!



                        RAY
It’s not what I want to do.

                        JEN
It’s a good job. Uncle Ted says you’re doing great.

                        RAY
I wanted to be a writer.

                        JEN
There’s nothing wrong with selling insurance. It pays good!

                        RAY
I wrote good poetry in college!

                        JEN
You can still write.

                        RAY
It’s not the same.

                        JEN
You’ll write if you need to write.
            (she kisses him)

                        RAY
You think so?

                        JEN
            (snuggling closer)
Write me a poem . . . for our honeymoon.

                        RAY
I can’t just . . . write a poem . . . right now!

                        JEN
            (teasingly)
Why not? Don’t I inspire you?

                        RAY
Well, yes, but . . .

                        JEN
Remember the dunes?

                        RAY
Ah, the dunes.

                        JEN
Does that inspire you?

(JEFF re-enters with coconut, he’s added seaweed hair to it, and mimes much of the poem as RAY says it, treating the coconut as his lover. Neither of them notice him. He exits on the last line.)

                        RAY
Come my love and take my hand.
You’ll walk with me across the sand.
I’ll stroke your hair and kiss your lips.
I’ll mold you with my fingertips.

I’ll be the sun, you’ll be my moon.
I’ll be the sand, you’ll be my dune.
You are the music, I am your tune.
You are the lake, I am your loon.

                        JEN
            (after a beat)
My loon?
            (they kiss as lights fade to blackout)

            Scene 3
(Time: 1985, ten years later than Scene 1.
Place: On the beach, mid afternoon.
Setting: Same as Scene 1. Perhaps some pop music and sound of kids playing rises as JEFF finishes his bit.)

                        AT RISE:  
(JEFF finds an old umbrella and goes into a dance ala Gene Kelly “Singing in the Rain.” He is alone on stage. As he strolls off JEN comes on. She drops blanket and beach toys. She is dressed more conservatively now and has a covering with hat.)

                        JEN
            (calling, off)
Mark . . . Amy we’ll be over here. Ray, is this okay?



                        RAY
(enters. He still has his swimsuit but wears an open sport shirt on top. A cloth hat on his head, avoiding sunburn. He puts down his beach items.)
Sure. Looks like the usual spot.
            (he calls, off)
Watch your sister, Mark. Not too deep!

                        JEN
I’m glad Uncle Ted gave us this weekend for our anniversary.

                        RAY
I threatened to quit if he didn’t.

                        JEN
You did not!

                        RAY
Yes, I did.

                        JEN
He knows you wouldn’t.

                        RAY
Maybe, maybe not.

                        JEN
Well, that would be just about the stupidest thing you ever did.

                        RAY
Maybe.

                        JEN
Just stupid.

                        RAY
That’s me.

                        JEN
            (unpacking picnic basket, handing RAY plates and sandwiches)
Here, help me set out the food.

(JEFF enters with metal detector and earphones, crosses behind RAY. )

                        RAY
            (not looking behind him)
Is that Jeff?

                        JEN
Yes.

(without looking, RAY tosses a sandwich, in bag, over his shoulder, then glances back. JEFF hardly looks up or breaks stride, but catches the sandwich and continues off.)

                        RAY
He’s better than a seagull!

                        JEN
He’s just a bum, you shouldn’t feed him.

                        RAY
He’s part of the beach. Always has been. Remember?

                        JEN
Life goes on, he’s still here, just like always. He hasn’t changed. I think he’s still wearing the same clothes.

                        RAY
Some things shouldn’t change. I think he’s happy, anyway.

                        JEN
            (accusingly)
I think you envy him. You’d be just like him if you could.

                        RAY
In a way I do envy him. People should be happy.

                        JEN
Does that mean you’re not happy?

                        RAY
Not lately, no.

                        JEN
What does it take to make you happy? . . Is it me? . . . Are you tired of me?

                        RAY
I’m tired of me,  of the person I am now. I don’t like this person.

                        JEN
I don’t understand you. You have a family that loves you. You have a job that pays good money. You get up every morning at five to do your precious writing that nobody wants to . . .

                        RAY
I made a sale.

                        JEN
You made a sale?

                        RAY
“Landscape Magazine” bought three articles and a poem.

                        JEN
            (bitingly)
Well, that’s just great. When were you going to tell me?

                        RAY
Today, I thought we could celebrate.

                        JEN
Celebrate!
            (grudgingly)
Well, okay, I’m proud of you.

                        RAY
There’s more. They want to put me under contract. I’ll be on the staff.

                        JEN
You’re not considering it are you?

                        RAY
Yes, I am. It’s what I’ve always wanted to do.

                        JEN
What about us? Me and the kids?

                        RAY
I don’t understand, it’s a good job. The pay’s a little lower but . . .

                        JEN
You have a good job. The pay is great. You’re a good salesman. Uncle Ted says . . .

                        RAY
Uncle Ted’s a petty tyrant.

                        JEN
He’s my mother’s brother. He’s always been good to us.
            (she makes an effort to calm herself)
We’re not going to talk about this any more. I know you’ll do the right thing. You have responsibilities. You’re not the same footloose boy I met here. When you think it over . . .

                        RAY
I have thought it over.

                        JEN
            (continuing)
. . . when you think it over, you’ll see I’m right. Call the kids now.

                        RAY
Jen, I . . .

                        JEN
Call the kids. That’s enough for now.

            (RAY looks at her for a moment, then turns to call off)

                        RAY
Lunch time! Mark, where’s . . . okay. Come on and eat.

(as lights fade, JEFF steps into view at edge of scene. He and RAY look directly into each other’s eyes until blackout.)

            Scene 4
            (Time: Sometime between Scenes 3 and 5.
            Place: Same beach afternoon.
            Setting: Same as before. Only beach sounds.
           
                        AT RISE:
Beach is empty. JEFF enters doing Marcel Marceau, tug of war on both ends of long rope. ( In other words, he pulls one end of long rope onto stage, strains back and forth, then succeeds to pull offstage, re-enters on other end of rope, same pull back and forth.) As he is finally pulled off. Lights fade again.

            Scene 5
(Time: 1990, five years later than Scene 3.
Place: On the beach, near sundown.
Setting: Same as Scene 1. No music. Beach sounds.)


                        AT RISE:
(RAY is sitting on the beach, reading a magazine. JEFF walks aimlessly by muttering to himself; he pauses, sees RAY, shakes his head and walks off. RAY takes no notice, reads on, JEFF returns, stops, sees a conch shell, picks it up, and listens. Disappointed, he replaces it exactly where it was, then moves off again. JEN enters, carrying a beach bag and a book. She sees RAY, looks doubtfully around, makes a decision and sits as far as possible from him.)

                        RAY
            (without looking up, brusque.)
Well?

                        JEN
Well what?

                        RAY
What do you want?

                        JEN
A tan, a few shells, finish reading my book.

                        RAY
Why here?

                        JEN
I like it here. It’s my favorite beach.

                        RAY
I don’t remember you getting custody of it too.

                        JEN
It’s big, we can share it.

                        RAY
            (getting up to go.)
I think we’re through sharing things. I’ll leave.

                        JEN
Don’t be a jerk.

                        RAY
So now I’m a jerk. Was I always?

                        JEN
Hardly ever. Only now. Sit down.

                        RAY
We’re not married now, I can walk away.

                        JEN
It never stopped you before.

                        RAY
            (looks at her, makes a decision, sits again deliberately.)
So?

                        JEN
Tan . . . shells . . . all that.

            (long pause, both try to read.)

                        RAY
Why did you come here . . . now?

                        JEN
It’s a free country. I like it here.

                        RAY
But you had to pick now of all times.

                        JEN
I didn’t know, okay?  I didn’t know you were coming here for the honeymoon. It’s a big beach, we can share it.

(JEFF marches through with military posture, sunglasses, nods to them, inspects the beach.)

                        JEN

I see Old Jeff is still around. Who is he being now?

                        RAY
I think. . . MacArthur. Yes, definitely MacArthur.

            (JEFF salutes, exits)

                        JEN
See, it’s okay with him if I stay.

                        RAY
Old Jeff’s nuttier than a fruitcake. Not exactly Miss Manners.

                        JEN
He’s sweet.

                        RAY
Are you . . . with anyone?

                        JEN
No.

                        RAY
The kids?

                        JEN
My mom.

                        RAY
Oh.

                        JEN
            (sweetly)
Where’s Pam?

                        RAY
Back in the room. She was burning.

                        JEN
Good!

                        RAY
Good?

                        JEN
Well, good that she’s taking care. Can’t have her aging prematurely.

                        RAY
Meow!

                        JEN
Sorry.
            (Pause)

                        RAY

None of it was about her!

                        JEN
I know.

                        RAY
She didn’t break us up!

                        JEN
I know, I said I was sorry.

                        RAY
It doesn’t help, you know. The things you say.  The kids tell me.

                        JEN
Really? I am sorry, I didn’t know that.

                        RAY
Just because she’s younger.

                        JEN
A lot younger.

                        RAY
See there?

                        JEN
You do it to yourself, you know. You show up places with this sweet young thing. You know what people say.

                        RAY
Middle aged crazy, is that what you mean?

                        JEN
Well, yeah.
            (short pause)
Does she know about this place?

                        RAY
What?

                        JEN
That we met here?

                        RAY
No.



                        JEN
Got drunk . . . made love . . . got married . . . here?

                        RAY
No, no, no!

                        JEN
Interesting!

                        RAY
I’m going to go now.
(Starts to gather his things. JEFF enters, beach towel around his head Arabian style. He walks across, picks up same conch shell, listens, nods, replaces it. Wanders back off.)

                        JEN
Who?

                        RAY
Lawrence of Arabia, I think.
            (he pauses, looks after JEFF thoughtfully.)

                        JEN
Wasn’t it that dune just over there?

                        RAY
            (Looks, almost smiles)
I think . . . probably not. Dunes move you know. They’re never the same.

                        JEN
Looks the same. There’s that hollow to the side, and the two peaks beyond. Remember? You even compared them to . . .

                        RAY
            (Interrupting)
No, no. It’s different.
            (A bit sadly)
We’re different.

                        JEN
What happened?

                        RAY
You changed, I changed, the world changed, just like the dunes.

                        JEN
            (Looking down ruefully)
My sand sure shifted!

                        RAY
Mine too! 

                        JEN
I’m sorry I couldn’t stay young for you.

                        RAY
That never mattered to me. You’re still an attractive woman.

                        JEN
It wasn’t age, huh? Then . . . Pam?

                        RAY
I know how it looks, okay? We’ve been through all this, the tears, the talks, the counseling.

                        JEN
I know. I’ve just never understood. Help me understand. We were so good. You said it wasn’t my looks, I don’t think it was sex, was it?

                        RAY
No, that was fine.

                        JEN
It wasn’t another woman, it wasn’t my age . . .

                        RAY
Maybe it was my age.

                        JEN
What?

                        RAY
I hate the term “middle age crazy”. It’s too pat, and I don’t think it’s crazy, not really. It’s just that, you reach a point when you realize the person you married isn’t the one you live with now. Heck, the person she married isn’t around either. Neither of those kids exists anymore. Our personalities, our needs changed. It’s hard to explain.

                        JEN
Oh, I understand.

                        RAY
Really?

                        JEN
Sure.  Your needs changed, yours, not mine. I still needed you. God,  how I needed you!

                        RAY

You hear what you just said? “I”, that’s what I mean. It was both of us. We separated, while we were still together. We stopped thinking “what do you need” and started on “what do I need.” We stopped supporting each other and started cutting each other down. All of a sudden it was all wrong.

                        JEN
Wrong? All those years? How can they be wrong?

                        RAY
They weren’t wrong. We made two wonderful children, had great times. It wasn’t wrong . . . then.

                        JEN
Then what?

                        RAY
I don’t know for sure. It wasn’t any one thing I can think of.  I think it was a lot of things. Just finally it all went from “it’s wonderful in spite of . . .” to  “it’s all wrong because of . . .” Somewhere a dividing line was reached and nothing was ever the same, at least for me.
(JEFF leaps onto stage, poses, hands on hips, the super hero. Neither of them notice him, he leaps off again)

                        JEN
That’s crazy!

                        RAY
Maybe you’re right. Maybe I’m crazy. Maybe some of us just have a time limit on our relationships. I don’t know. I just know none of it worked anymore. I had to get out.

                        JEN
And it’ll be different with Pam?

                        RAY
I don’t know. I hope so. Maybe the counseling helped, finally.

                        JEN
Too late for me.

                        RAY
Yeah.

                        JEN
Lucky for Pam.

                        RAY
Is that another . . .?

                        JEN
No, I  mean it, she’s a lucky girl. You really are a good man.

                        RAY
Thanks.

                        JEN
I’m glad our marriage wasn’t a mistake. I wish we could have saved it, for all of us.

(JEFF enters, towel held like a cape over his lower face. He sneaks furtively around, moves as if stalking JEN, is distracted by conch shell, picks it up, chuckles silently, replaces it, suddenly notices sun, cowers, runs off)

                        JEN
Dracula?

                        RAY
Or Bela Lugosi.
            (a long pause)

                        JEN
You really are a good writer, you know. The kids say you’re much happier, too. They’ve noticed. Maybe there’s something in what you said.

                        RAY
You think so?

                        JEN
It wasn’t all a mistake.

                        RAY
I never said that.
                       
            JEN
One thing we learned, got better at.

                        RAY
What?

                        JEN
Hurting each other.

                        RAY
            (a bit ruefully)
Yes.

                        JEN
Do you think we can stop? For the kids’ sake?

                        RAY
I think we have to, for our sake. Neither of us can move on until we do.

                        JEN
Truce?

                        RAY
Truce.

                        JEN
We really were friends once. . . before everything else, I mean.

                        RAY
Yes we were. I think I miss that more than anything.

                        JEN
Is it possible for us to be friends, . . . now? Buy me a drink?

                        RAY
What will people say? We’re divorced. I think there’s some law against friendship.

                        JEN
Would you autograph my book?

(RAY and JEN walk off, talking, JEFF walks on just in time to see them leave. He is striding with a long stick. Towel over his shoulder ala Moses. He looks after them, picks up the shell, listens, nods, puts it in his bag. He turns majestically toward the sea, raps his stick on the sand. The sea parts in the center, JEFF passes through and off. Ocean sounds rise, fade to black.)
           
            End of play

*A critical piece of scenery is a pair of overlapping flats with the waves painted on them, probably at center rear. These flats should be able to be rolled apart or separated enough for someone to pass, exposing ocean bed with water and sky visible beyond.