Wacky Writing

Conversations that run wild

2008-01-23T22:41:00.000-05:00

S: K...NOT ON PHONE NOW
S: HEATHER NEEDED ME
J: so what's up
S: Grandpa is holding his own...systems are starting to fail but he is in better spirits now that they are giving him Ritalin
J: That's good
S: just learned it is an anti-depressant for seniors
J: It's a drug for many causes, which makes me suspicious
S: all drugs have many applications...why they are called "drugs"
S: like alcohol
S: of which I am becoming most favorable towards
J: They have many applications, but usually work on one specifically. Sweety alcohol is a great friend, just be careful that it doesn't become your only one
S: never...I can NEVER give up control to anyone or anything...
J: I could but Bill Gates is ugly and too old and not nearly rich enough for me to do it
S: Where's B hanging her hat these days...
S: must have asked b4...not remembering really well these days
J: She's still in back there until at least July
S: k...until school lets out
J: Then she is planning to move down here
S: right?
J: Yeah when J.W. Graduates
S: so...u singing the get the grades out blues for 3rd quarter yet? or is it just progress report time?
J: 3rd quarter just started Tuesday
S: sorry...ahead of myself..or u...
J: It's okay. More like the FCAT blues. Let me meet Bush face to face one day and have I got a few things to say
S: so what else u up to these days
J: Not much just working cause I have no life. I did finally see a movie star who truly showed their best side to the camera see below
S: naw...don't waste your breath...the man has no ears anyway...hears no one but the little man whistling in his ears...Pied Piper...
J: http://www.queerty.com/
J: Check out the picture
J: It's funny as can be
S: JUNO was great...did you see it yet?
J: No
J: I don't go anywhere cause I'd be going alone and I hate to go by myself
S: this pulls slow
J: I ended up with a new computer a couple of weeks ago, slow no more
S: man, if blue undies make u gay...sign me up
S: not here slow...site...me have new zip
J: I don't think it's the blue undies as much as the showing of his ass in the most common position of come do me ever seen
S: utorrent happy
S: just has belt issues...kids these days
J: No in this case I think they are calling it accurately
S: not even sure I know who he is...some teen heart throb from what?? show?
S: high school musical?
J: Zac Efron, yep. You gotta check out this site it's really fantastic. http://wackywriting.blogspot.com/
S: cute butt tho
J: Yeah, but you gotta wonder where it's been
J: And didn't he make a nice recovery from having his appendix out just last week
S: this blog looks right up your alley...pardon the pun
J: It ought to I'm the creator
S: vacation without the press knowing, maybe
S: thought it looked like it would appeal to you
S: so is the whole archive yours?
J: Yep
S: I see I have some serious reading to catch up on
J: Yes you do. Also spread the word to all you know, I'm hoping to get the word out and maybe get a few million readers be discovered as a talent and change my life, then I can get all the inside shit to tell you and you can become a gossip blogger and make money off of it
S: twould be nice...right now I think that I hold up a counter in our store....I blog rarely
S: soapbox navigator
J: Yes but think of all the juicy hollywood gossip I could give you that would come from the inside
J: I just need my life to be more exciting I've become boring and it sucks
S: not really my style...more a happy medium within the world of politicos and business letharios
J: You know you'd want to hear who's doing what to whom
S: only buy People maybe 2-3 times a year....more inclined to read bio in Newsweek or Business Daily or <<>> MONEY
J: So I'll meet some politico's it's not like they ain't messed up
S: I am a semi-closet investor...I am ranked 1307 out of 20097 from the WallStreetSurvior.com game
S: woohoo Baby!!
J: Well now do it for real
S: with what??? my good looks??
S: I have a home that I rent from my bank...and a child in college
S: ohh, and the hubby with no insurance....next chapter
J: Use a dollar then make it two then it'll will grow
S: gotta love my life...
S: nope...I would rather lament my sad existence...at least for today...
J: Lament away
S: anything of a positive nature to share with me tonight?
J: Do you believe the news is like totally about heath ledger.
S: like you found lint in a pocket u thought was empty?
J: I've been very positive
S: yes, and it is very sad
S: his poor daughter
J: Yes, but Brad Renfro died a few days ago and not all this hullabaloo
S: not as well known...and he was in trouble for years
J: True
S: makes u wonder where their parents were when they were growing up...not unlike Britney S
J: Of course we always have Britney for a laugh or two.
J: The parents were there, in Heath's case, Renfro's not so much.
S: not me...I think it's just sad...like her Mom talking about the younger sister
S: pregnant at 16 and Britney is blamed in the media
J: That whole family is insane, but they've been untreated and look where it's gotten them. Rich and famous
S: where was their mom?
J: Probably in the next room
S: ohh, wait...she was busy spending their money
S: glad my kids never wanted to be famous like that
S: wouldn't let Heather in pageants...she cried for days
J: I wouldn't mind being famous, not like that more old school
S: just not infamous
S: unless you mean like Capote, LOL
J: No I mean like the folks of the 30 and 40 who had gossip about them, but still acted with style and class at all times
S: the wilsons and the like
S: Rita Wilson not Carnie
J: I guess, I was thinking more like Olivier, and Gable and those guys always classy
S: really old school...sorry
S: sir lawrence is a hard act to follow
J: I think I could do it. I'm pretty classy most of the time
J: Hell I used to be classy all the time, but I went slumming because I got tired of being told I was stuck up
S: just shared ur blog with about 50 of my closest friends...k?
J: Cool beans, maybe they'll comment on it and I'll start seeing some really good results
S: np...just hoping those depressed over Thompson don't treat u too harshly...they are depressed, after all
J: Thompson, the mayor in Mass.?
S: no....the actor from Law & Order...and Sen from TN
S: ex presidential candidate
J: Him. I can't believe that he's going to even think of running. His political views were recorded for all time on Law and Order
S: u are behind the times...he came in 3rd in S.C. and decided to drop out...GOP is spinning...
S: guess a better role came around
J: Not that behind just don't care and can't believe he'd try to run
S: now down to 8 republican candidates...I believe...hope more decide to quit...like Guiliani
S: or dem Kusinich
J: Better Guilliani than Huckabee, he scares me
S: however the man spells it
S: ur not afraid of a little man wielding a little pastoral power; r u?
J: Dems are easy it'll be Hillary and Obama, unless they split the vote then Edwards
J: No of him wielding a little pastoral power. Trying to change alter and destroy everything this country stands for. Since we are now in the just before Hitler got lucky stage of government
S: was kind of hoping that it will be Hillary running with Evan Byah from Indiana (Gov.)
J: I think if the Dems really want to messed up with everyone they should make the ticket Hillary and Obama and call it a day
J: But I think that Obama has the better chance
S: too Evangelistical for most Americans...
J: Huckabee wants to change the Constitution to biblical rules
S: not sure I agree...but I also think that most Dems will agree with you on that one
J: No I just think that US will repeat history and blacks gained voting before women so they will gain the presidency first
S: so sorry...mr huckabee...not gonna have that...
S: lotta kooks would be gunning more for him than her though....hell of a way to become president
J: That's why I think they should both be on the ticket, because either way once the first one is assassinated the other still becomes president
J: It's a win win that screws with everyone
S: plus then we could have bill as an embassador to Israel or a cabinet member
J: Bill will be first husband of the house and find a pretty secretary to molest, which will leave hillary all the time she needs to run the nation
S: and ole what's his name as head of the energy dept
S: business as usual
J: I don't care about energy. I care about no m ore assinine war for oil so people who shouldn't be getting killed don't.
S: u gonna wrap everyone up in cotton, dude?
J: I mean really if the middle east wants to blow itself up let it.
S: pple kill our soldiers all over the world
J: Hey the South will rise again
S: I have family there...so kinda care a little, plz
J: Yeah, but we don't have to send them to their deaths intentionally for idiotic reasons. I do care Stacy, If it were a war about freedom for our nation and to protect the people I'd respect it. I fully respect the soldiers over there who are dying. I don't however respect the reason they are over there dying
S: my mother might have a cow over a black president...now a jew...maybe that one first plz...just to keep the peace...'course Obama could convert, LOLOLOLOLOLOLOL.
J: Nah, Lieberdick isn't running again
S: not serious...I was against the war...for the reasons u state...and then some
J: On the other hand read the rants and raves on my blog I express my ideal candidate for president on there
S: Lieberman would not have been a good choice...too religious
S: looking more for...say...Liberace
S: a good song & dance man would be perfect
J: Nope a black, jewish, lesbian with native american, asian and muslim grandparents
S: u'de never get anyone to accept a lesbian
S: 1/2 the population would be envious...the other too speculative
J: Sure the lesbians are more accepted and as far as running the military. Hello, a bull dyke on her period who gets pissed off that nations off the map cause their nuked if their lucky
S: course if Barbara Walter's backed her...who knows???
J: Nah it'd have to be Barbara Streisand
S: just not Hanoi Jane
J: Would that be the moron who knows everything except when someone else actually talks
S: hate to do this but...shit...do you know what friggin time it is....
S: hubby is the only one
J: Yes 10pm
S: still haven't had that drink yet;
J: Well you didn't have to wait for me
S: bar is in house....
J: Just out of curiosity when we met 30 years ago did you think I would have become this warped
S: yep I did...brain needed to relax
S: yep again
J: Gee thanks
S: we share that misshapen brain pan...with the allocated warped sense of justic
S: *justice
S: nice, huh?
J: I like that
S: which...the mishapen brain thingy or the depraved indifference to "normal?"
J: Both. But see the real story is that we are right and sane and everyone else is messed uped up
S: everyone? Like to think that my hubby is at least halfway there...why we get along so famously
J: Okay I'll give you the hubby and spot you one faux lesbian relationship
S: with whom???
J: Person of your choosing
S: think I would have remembered that one
S: at least hope so
J: I said faux not real
S: naw...would want the whole experience...for comparison's sake if nothing else
S: remember to whom you directed that?
J: I did, but wanted to leave you an out just in case
S: no...committed to the idea at once...very scary; if not thought through
S: now...must think of the recipient
S: almost did once
J: I recommend someone like Jodi Foster, good looking experienced and apparently down to earth
S: and completely out of reach...good show
S: Iman
S: or Lucy Lawless
J: She's a good choice
S: which
J: What which
S: Iman or Lucy Lawless
J: Lucy Lawless, Iman is scary
S: I would kill to have skin like her though
J: Maybe, but she still looks like she'd murder you in your sleep
S: instead of insipidely white with icky spots
J: Get a tan, they have sprays for that now
S: some folks call 'em freckles
S: u know what is red and white and spotted all over?
S: Stacy in a tanning bed
J: an ass with acne
S: yeah, my ass
J: I said a spray on, tanning beds are bad for you
S: and what is in that SPRAY??? chemicals...have u ever seen me with a perm or <<>> a color dye job???
S: not pretty
S: and doesn't pay to have it done...lasts about a milisecond before it fades
S: so where are the pics with u and a tan???
J: Yes I have seen you with a perm and you're right not pretty. Seems to work in LaLa Land. I think I'm going to copy this conversation into my blog cause it's too interesting
S: I dare u
J: I don't go in the sun. I'm a teacher. I live like a vampire
S: when u suck blood; call me
S: will teach u some tricks
J: What dare me I have no problem with it, except that my name is on it and I'm trying to keep the blog anonymous because of work. I do suck blood amongst other things...
J: And I can probably teach you a few tricks
S: so u are a mosquito
S: it fits now
S: so alter it a little
J: If I can change the names I will. I will have to save it to word and play
J: Besides if your brother is one of the fifty I don't want to freak him out
S: he would have to care first...no offense; but, we aren't one of his beautiful ppl
J: Well that's his loss then isn't it.
S: righte-o
J: It's sad he became that way, cause he wasn't as a kid
S: I live too in the boonies for him to notice and you probably because of the teacher thing are not glamourous enough
J: Well if I get what I want I will be glamorous enough then I'll snub him and have you come to the oscars with me

Panopticism

2008-01-21T18:41:00.000-05:00

Panopticism
Foucault seems to be expressing a desire to push forward the ideal of panopticism. He explains panopticism as a collective group in a building with a central tower that has a three hundred and sixty degree view of the surrounding rooms of the outer building, which also have windows that can be seen into but not out of as an effect of the lighting. The central tower is supposed to contain a single observer who cannot be seen because of the lighting but who can see all that is happening in the building. The idea of this design is to create a discipline for the observed group, while maintaining a minimal power structure. The uses that Foucault gives for the need of this discipline are to improve the minds of school children, the output of workers, advance medical science, and alter the course of criminals. As I first began reading this essay I tended to agree with Foucaults’ ideas. I saw how it could be very effective for employers to be able to sit in a tower and observe the productivity of their workers, without the workers ever being sure of when they are being observed. This insecurity would then improve employee output for they would attempt to accomplish as much as they could to avoid being fired. The same would apply to schoolchildren studying, they would work consistently at their studies to avoid being reprimanded by the person in authority. Prisoners would set a model behavioral pattern that could be observed in order to receive an early parole. Doctors would and do already in many hospitals apply the theory of panopticism. They have a central workstation for themselves and the nurses while observing the surrounding patients’ rooms so that they are better able to assist and observe the progress and condition of their patients visibly instead of just with the use of electronic monitoring devices. I did however find one objection to this idea of study and discipline, none of the people involved had any other human contact while in the panoptic view.
That was only my first objection as I began to comprehend the idea of panopticism more fully I started to think of George Orwells’ story 1984, it occurred to me that this type of disciplined civilization was that of the big brother is watching variety. The idea of isolating people from each other and then using an observation area controlled by one person that instills fear in those being watched is dangerous. The idea of reducing the convoluted power structure to be more efficient is great, but then I’m left asking the questions who is left in charge in the end, what are they capable of, and how much power do they really have? The other premise of Foucault is that children in isolated learning situations will avoid picking up the bad habits of other children, but it will also prevent them from socializing and learning much needed skills in independence and thought. The observer would be force feeding them information that they would not be allowed to question. It would also prevent them from receiving extra help or understanding in a subject if they needed it. The work force to would be demoralized by this environment as they would not be allowed work freely and possibly create new advances or ideas. It would actually stagnate the business world instead of improve it. What if doctors and nurses are the ones behind the glass that are being watched. They would only be allowed to perform surgery or give care in a specifically stated manner, and find themselves unable to react in another way if the patient required it, in fear of losing their license to practice medicine. As for the prisoners I don’t think isolating people who already have social inadequacies is a good idea. I think they should be put into an environment that promotes self-help and development of social skills so that they may reintegrate within society (barring of course heinous crimes against man i.e. rape, murder).
Overall I find the concept behind panopticism can only lead to one thing. I believe it would render the control of the mass population to one person. Creating a zombie like populace that would follow the orders of the hierarchy, which is limited to just a few, who are allowed to hold positions under the supreme leader, so that his orders may be carried out. I believe the prime example of what the panoptic view would eventually create is a combination of big brother and Hitler, trying to create the perfect Aryan race. The society would be condemned to following the orders of a single person and anyone who disagreed or disturbed the community by free thought would be eliminated so that the society could continue on in peace.

copyright 09-23-2000

Franklin Roosevelt

2008-01-21T18:38:00.000-05:00

Franklin Roosevelt
Franklin Roosevelt ,also commonly referred to as FDR, is considered to have been one of the greatest Presidents the United States has had. During his four terms in office he had the support of the entire nation, but not the support of big business and the aristocracy of America. He is thought to be enigmatic by friends and foes alike, never fully explaining his actions to anyone. While many perceive this as his greatest weakness, it seems that it was his greatest asset. He proves to the world that he has a strong understanding of the American political machine and how it works, as well as how to get it to move in the direction necessary to help the country, which forever changes the office of the president from pencil pusher to world leader.
William E. Leuchtenburg supports the theory that FDR changed the office of president in his book Franklin D Roosevelt a profile. Leuchtenburg also states that Roosevelt was weak in the ability to pull the country out of the depression and that his strongest attributes only came out during World War II. The author felt that Roosevelt’s enigmatic approach to running the government caused a great deal of problems in solving the depression and left him open to severe criticism for getting the U.S. into the war. Using quotes form other books written by both friends and enemies of Roosevelt he tries to piece together an image of a man of strength, conviction and character, who also had many weaknesses such as a lack of intelligence, secretiveness, and stubbornness. The author is trying to show how all the characteristics of the man Roosevelt joined with the circumstances of the time to create a President that would forever change the political climate in the United States and abroad.
One of Leuchtenburgs’ main points is how FDR is enigmatic with friends and foes alike, which causes many problems within his administration. FDR may have been uncommunicative with government officials and employees for several reasons. The first reason quite simply is that the country was in a major financial crisis and most of America had lost faith in business and government. This being the case Roosevelt may have felt that he had to be strong and that it was not as bad as it looked, in other words he was putting a good face on a bad situation. The second reason would be that he entered office during this time of crisis to face a congress that was old guard and unchanging in its attitudes. This would have led a President who needed to try radical and unconventional ideas to keep them a secret just so that they could be put into action without disrupting the status quo. In most of his appointments to the offices of government that he created, FDR used many of the people that he was trying to stop from abusing business practices, which could have been a way to show them that their corruption was always ill conceived. A third reason for his enigmatic approach to government policy might be that he just worked from trial and error in an era that had no known cure for its ills, and wasn’t sure himself of what was going to result. There are many possible reasons why Roosevelt did not communicate his inner thoughts to people during this time, but the author seems to feel that this was a weakness, I feel that it was one of his greatest strengths. This particular attitude is a strength because it showed the country and the world a leader with the ability to keep moving forward in the face of adversity and not dwell on failures but promoting success, which made the U.S. look strong even when it wasn’t.
Another major point the author makes is that Roosevelt was not capable of understanding the principles of economics as he was not well study and perhaps not conventionally intelligent. It does not take an PHD in economics to know that if money is being hoarded or invested in hollow companies then the economy will fail. Roosevelt obviously knew that money needed to start circulating throughout the country, but his biggest question was how. People were not working, so they were not buying, which tightened the belts of the big businesses, and lowered tax income to the government. Roosevelt initiated several programs that would use federal funds to start people back to work and having some sort of income. With the small groups affected by this, purchasing would slowly increase and so would production. Roosevelt wanted to rebuild the economy quickly but also knew that a quick fix was not necessarily a permanent one, so he tried to accomplish both at the same time. The author remarks that although the economy sky rocketed from the U.S. entering the war it had already in the eight years of Roosevelt tenure made a lot of progress. Did FDR not have the faculties to understand economics, based on the statements made by the author it seems that Roosevelt understood it better than most and worked in a somewhat underhanded manner to get the country to heal itself while keeping the powers that would prevent that too busy to notice.
Leuchtenburg tries to explain the Rooseveltian era by writing about the impressions that people had of FDR. Using books, journals and personal letters of friends, family, coworkers, and detractors of President Roosevelt, the author does paint a surprising picture of the man. However, I believe that the author should have looked more closely at his own sources, and how they were all colored by personal opinion instead of historical fact. The author himself admits in several places that he was angered by or compelled to follow the ideas that Roosevelt put forth and how they changed his opinion of FDR. With the knowledge that the observations and quotations were colored by personal feelings, I tried to examine only the facts that were presented. By doing this I found that I came into agreement with the author about the fact that by using unknown tactics and constantly making himself bend through Washington’s political machinery, Franklin Roosevelt created a stronger version of the presidency than existed before. He also made the congress, supreme court and the world look to that office for guidance in times of crisis.

Copyright 09-24-1998

Critical Issues Facing Homosexual Youth Today

2008-01-21T18:26:00.000-05:00

Critical Issues Facing Homosexual Youth Today
“Picking on persons because of their ethnicity, class, religion, gender, or race is essentially taboo behavior, but adults and children alike are given license to torment and harm people because of their sexuality (Unks, 1995).” A statement taken from The Gay Teen by Gerald Unks. As we enter the new millennium it would seem that all differences in societal norms should be embraced and assimilated into one grand culture. It seems that there is one type of difference that creates a tremendous amount of controversy in society. Children and adults condemn homosexuality regardless of any other cultural differences that may exist. The subject of homosexuality becomes more heated and controversial when discussed in relation to education. However there are gay, lesbian and bisexual students that need to receive an education without being harassed or assaulted while at school. What issues are the gay youth of today experiencing in the schools? They are being ostracized, assaulted, called names. They face teachers who ignore the problem or deny that there is one. Parents who are against acknowledging or allowing for gay education in the classroom and who have been known to become violent in protesting against gays or gay subjects in schools and their curriculums. The critical issues facing the homosexual youth of today are in the forefront of the educational debates for diverse curriculums in schools.
In his article Who Gets Called Queer in School Andi O’Conor quotes a student ““But they still hate us,” he says. “ Our parents hate us, our teachers hate us, straight kids hate us, adults hate us..."(O’Conor, 1995). The gay youth of today are left feeling stranded and afloat in a society that prevents them contact from their own society. O’Conor states that (Unks, 1995) “Gay, lesbian, and bisexual youth often go through the difficult period of adolescence ostracized and isolated from family members, teachers, peer groups, and the adult gay and lesbian community.” The gay youth of today are not allowed the luxury of talking to gay teachers or other gay adults, because those adults fear the repercussions of the misconception that they are recruiting kids into the gay lifestyle. Gay youth also face a lack of peers who would rather pretend heterosexuality than be ostracized themselves. Parents of gay and lesbian youth tend to kick their children out or pretend that they are not gay rather than accept them. Often times this type of isolation leads to suicide and homelessness on the part of the gay teen. I am going to show you some overviews of studies and polls of students. Although none of these studies or polls is indicative of the whole of society they do show the dangers that exist for out students.
Teaching about homosexuality will have major impact on the classrooms of America. It will require extra training on the part of educators to present the subject of homosexuality in a neutral but sincere way. It will also require more than just a surface knowledge about homosexuality and its influence on history, literature, and art. It will also have to have an unbiased format of instruction so that, heterosexual students will be able to understand and overcome bigotry. Arthur Lipkin in a The Case for a Gay and Lesbian Curriculum expresses “Antihomophobia education can help heterosexual people to understand better their own sexualities (1995). It would allow for open dialogues between gay and straight students who can learn about each other and other differences that may affect their self-perceptions. Once a dialogue is opened it also may enhance both gay and straight students’ sense of sexuality by enabling them to identify with one or the other while no longer fearing the negative aspects of either.
There will be many problems with introducing homosexual curriculum into the general curriculums in schools. Religious groups, parents, and boards of education, and state governments will show strong opposition to a curriculum that includes positive aspects of homosexuality. A major example of this controversy would be New York’s Rainbow curriculum, which was strongly opposed by many and divided the school system. There are many concerns associated with a curriculum that educates about homosexuality. Blumenfled and Lindop in Responding to Resistance from Teachers, Administrators, Students and the Community state, “The most commonly raised misperception is that this work is about sex, that schools are going to be teaching students about same-sex acts (Blumenfeld, Lindop, 2000).” Blumenfeld and Lindop also state that another common concern is that schools will be advocating homosexuality, or promoting it. Dan Woog in his book Schools Out tells us that “Much of the research that was done on sexual orientation discrimination was hidden until 1993, when the NEA’s Gay and Lesbian Caucus passed a resolution to have that research published (Woog, 1995)”. With these primary concerns there are ways to move around what is a strongly heated national debate on whether or not schools should teach about lesbian, bisexual and gay issues.
There are several ways to assuage concerns about teaching a homosexual friendly curriculum. “…explain to people that addressing these issues is not about sex, but about student safety….Explain exactly what your school will be doing, why it is important, what you hope to accomplish (Blumenfeld, Lindop, 2000).” Giving the public a true and accurate statement about what will be taught and how it will be taught along with the context in which it will be taught can assuage many of the fears that gays are recruiting in the classroom. The use of outreach programs which involve the community can aide in sending a positive and supportive message that these issues are important and need to be addressed (Blumenfeld, Lindop, 2000). Listing rules for conduct for students and teachers and administrators will be helpful in stopping resistance to an open curriculum. Also creating a strong support system for students and teachers is helpful in getting both information and assistance when needed.
There are several groups and programs being developed to help introduce gay friendly curriculums into the secondary schools. Each of these programs attempts to help educate the future in total equity for all students. The NEA’s Gay and Lesbian Caucus is working towards educating teachers on gay and lesbian curriculums and how to introduce them into classes as well as stopping harassment (Woog, 1995). “Project 21 an informal alliance of organizations and individuals working to ensure that fair, accurate information regarding the nature and diversity of sexual orientation is available and presented to youngsters through libraries, counselors’ offices, and curricula (Woog, 1995). State legislation’s are also moving in a more positive direction extending in school harassment policies to sexual orientation which may be the predecessor for equal representation in education as it was for the African-Americans, women, and Hispanics.
Education for gay, lesbian and bisexual students has a long way to travel before it will be accepted in Americas’ classrooms. The dominating societal norms need to become more open to adding homosexuality to their number. As state legislatures and LesBiGay alliances and groups continue to educate the public at large and protect the rights of homosexuals the gay culture is becoming more prevalent in today’s society, opening new doors for educators to bring the subject of homosexuality into lessons. The strong opposition, and ignorance about homosexuality gets weaker as more knowledge is released into the community, gaining a curriculum that includes homosexuality will enable society to break one of its last dividers. There are many critical issues facing the gay youth of today, including suicide, rejection by family and friends, AIDS, and a host of other confusing ideas, which through open and positive education such obstacles can be over come.

Works Cited
Blumenfeld, Warren J. and Lindop, Laurie (2000). Responding to Resistance from Teachers, Administrators, Students and the Community. [On-line]. Available: GLSEN: Blackboard. WWW.GLSTN.ORG/PAGES/SECTIONS/LIBRARY/REFERENCE/007.

Lipkin, Arthur (1995). The Case for a Gay and Lesbian Curriculum. In G. Unks (Ed.), The Gay Teen (pp. 31-52). New York: Routledge.

O’Conor, Andi (1995). Who Gets Called Queer in School. In G. Unks (Ed.), The Gay
Teen (pp. 95-101). New York: Routledge.

Unks, Gerald (Ed.). (1995). The Gay Teen. New York, NY: Routledge.

Woog, Dan. (1995). Schools Out. Boston: Alyson.

copyright 2001 (this article has been published)

Larry's Angels

2008-01-21T18:16:00.000-05:00

Larry’s Angels

Once upon a time there were three little girls who went to the Southern Educational Academy. They each came from very different backgrounds. Opal came from New York and a large family, but considered herself and only child, as her brothers were much older. Dawn was the only child of hippies and Amanda came from a close knit family consisting of mom, dad and two sisters. They each pursued very different subjects.
Opal went to the academy for Math and singing opera. However her instructors found her acting too goofy. When her classmates found out she was from New York they made fun of her strange accent and were not the friendly southerners she was expecting. She took to writing so that she could express these outcast feelings and it became her passion.
Dawn joined the academy for English and Drama because she is a talker and a leader and she was good at it. She found herself spending time outdoors taking courses in swimming, fishing, beaches and theme parks. She also ended up riding roller coasters and watching movies, even foreign ones. Her instructors criticized her for being a loud girl because she talked in class, even though boys were allowed to talk. Her peers described her as friendly, hyper and talkative and this attracted all the wrong types of guys.
Amanda attended the academy for Yearbook because it involved writing, being creative, photography and interviewing. She was treated badly by her instructors and peers for her strong faith, but she fought them and prevailed. The traumatic experience turned her to music and singing as an outlet for her frustrations. She is a happy person who likes a good laugh, but she is extremely organized and takes life in her own way.
These three girls are strong, independent, free thinkers with multiple talents. They were each assigned to hazardous duties. They utilized their talents very differently, but they weren’t happy. I took them away from all that and now they work for me. Who am I? I am Larry and these are my Angels.

Work Cited
Spelling, Aaron and Goldberg, Leonard. Charlies Angels. ABC. 1976-1981.

Copyright 08-23-2001

Park Bench

2008-01-21T18:15:00.000-05:00

Park Bench

I sit here waiting for her to arrive. I can see her coming up the walkway, which is glazed over with broken glass and cracked with age mirroring the wrinkles on her face. She is bent down over her cane with the weight of life upon her wraith like form. She is seeking comfort and I will give her what I can.
She wasn’t always a bent, creaking, ghost of humanity filled with loneliness. Once she was a whirlwind of white, pink and gold that ran into the future like a bull into a toreador’s crimson cape. She jumps onto my wooden slats and immediately runs off to play on the grass carpet next to the glimmering lake, which I face. There are a few saplings that had just been planted behind me and ground up plots of dirt checkered across the grass field where flowers will one-day sprout. I didn’t know that I could hold her weight, but she was feathery light and lithe. My wrought iron railings, strong thick wooden slats and shiny new bolts sent her springing back to the hard ground. She threw out a high pitched, bubbly giggle as her golden hair and white dress floated on the breeze that was rippling the glass surface of the lake. The pink satin ribbon bouncing from the springy tension of her tightly wound sunlit curls. She ran further away, but I knew that I would see her again soon.
I did see her again many times through many ages. She came regularly on the weekends as a little girl and then some evenings as a budding and capricious young woman. She had come alone or with her parents till then; jumping or resting on me. Sometimes she would stretch out and stare up into the clouds. I could feel the warmth of her flowing freely into my wooden slats. Eventually she stopped coming alone. She brought a young man with her. He seemed familiar, but I could not place why. Then I heard her talking about how he used to punch her in the arm when they were little. He laughed and she bubbled out the deep, husky laugh of a woman. I remembered who the young man was. He always came to me also, clumsily and sulkily, dripping and spilling his ice cream on my railings, leaving me sticky until the caretaker came and wiped me off. She leaned over and kissed him. I didn’t think her parents would approve, but I sat there watching the lake knowing I would keep their secret.
The trees around me rustled the secret of the kiss so long gone. She was standing in front of the lake again in a white satin gown. He is standing by her side in his top hat and tails, he looks nervous, but his smile is beaming and creating a glare off the deep, dark mirror of water before them. People who are shattering the serenity of the park with their loud cheers and applause surround the couple. They come to me she sits gingerly across my sturdy wooden planks, while he kneels on the ground by her side his possessive grip upon her waist. There is a blinding flash and a loud pouf from the camera. They are taking pictures and I’m in them. I’ve become a part of the family. I feel proud that they have chosen to include me in their memories. I haven’t seen them for a while now. I miss her and her laughter. I even miss old sticky fingers. I know that they will return but it is lonely without her.
They return. She is waddling along the path, while he flutters about her solicitously. She looks like a dirigible about to take off. They come and sit upon me. I think that I will break she is so big now, but she is still light as a breeze blowing across me. He is telling her that he wants a golden haired beauty just like her. Her laughter rumbles through her distended stomach arriving on the air like the sound of a golden bell clanging the hour.
During the passing of dry, brittle, broken ice glazed winters into aromatic breeze fluttering, bee-humming springs, that turn to heat baking, cocoa butter summers, which become brilliant, rainbow flecked, chilled falls, that measure the rapid rise of the now ancient trees. The couple comes to me as they have every weekend for years. Their children have grown and left them in pursuit of their own happiness. The park is not the way it was when we were all young. The sidewalk is cracking, the flowers wilted and forgotten even in the summer, the grass drying and brown in spots; the lake is now a dark pool of mysterious, hideous smells. They sit upon my warped and bending wood slats, avoiding the copper tinged rust on my railings. He grasps her hand gently in his caressing the still smooth skin with his thumb, while she cradles her head in the hollow recess of his neck. They are still in love and they still come to me. They reminisce about the time she came here to meet him in secret before they left for the speak-easy and that first kiss which he bestowed like a flower upon her lips, the times that their children sat on me while they tended to the scraped knees and elbows. We collectively sigh at the way the park has been neglected and forgotten by all, but a select few.
The branches of the trees touch the eerily gray sky. Their roots have cracked and lifted the path into and unsightly slithering, jumping obstacle course. I haven’t seen her for a year, she has forgotten about me. My railings are rusted through, my bolts are a dull gray brown color, and my slats are warped, splintered and dry. Each day without her is painful. The flowing field of grass is nothing but a dingy, slimy, muck flowing into the gelatinous pool of ink that used to be the crystal blue water of the lake. I feel deserted and sad that she has forgotten me.
She came back, but now she was alone an ancient woman with the weight of the world bending her over her cane. She comes to me daily. Her arthritic limbs moving with unsure steps towards me. She sits on me looking for comfort. I try to give it to her, but I am a ruined heap of wood and metal that can barely support her weight. I can still feel the heat of her flowing into my splintered, cracked slats along with the tears that she sheds from her solitude.
I sit here waiting for her to arrive. I can see her wraith like form crumpled over the cane as she struggles along the treacherous path towards me. Her unsure steps ever slower. She stops to catch her rasping breath in the chill autumn air. Her head is wrapped tightly in her shawl and she is layered in coats to keep warm. Finally she reaches me and sits. I can hear the weasing of her breath through the layers of cloth and wool that enfold her. Her tears sting as they beat down upon my rough seat. She sits quietly now, but she should be leaving it is getting dark and she has a long, painful walk to get home. As the light dims in the hazy smog filled sky I notice that I can no longer feel her warmth. Her chin has been swallowed by the folds of material about her neck, the rasping of her breath has stopped and her head leans listlessly. I can not feel the heat of her body any more. I will miss her, but she is no longer lonely.

copyright 09-04-2001

Poetry of Sufferage

2008-01-21T18:10:00.000-05:00

The Poetry of Suffrage

In eighteen forty eight a convention held in Seneca Falls New York ignited the women’s suffrage movement. The suffrage movement was interrupted by the Civil War, but regained strength in the late part of the nineteenth century. While the suffrage movement has many noteworthy members such as Susan B. Anthony, Lucretia Mott and Elizabeth Cady Stanton there are others who did not receive the same notoriety. Many of the heroes of the women’s suffrage movement were not known to be suffragettes. One of these women is Emily Dickinson. Dickinson’s poetry is a call to arms for women and a message for men that they should change their ideas about women. Dickinson’s poetry is a message of feminism that is written within the confines of the cult of true womanhood.
Dickinson’s poetry, written in the late nineteenth and early twentieth centuries, is a call to feminism. Dickinson under the constraints of the patriarchal society wrote her poetry according to the cult of true womanhood, which is defined as piety, submission, purity and domesticity. Dickinson uses religious images to represent the different sexes in poem forty nine “Angels—twice descending/Reimbursed my store—(5-6).” The angels could be a representation of Lucretia Mott and Susan B. Anthony who through their work in the women’s movement replenished Dickinson’s faith that women would achieve equality. In poem two hundred sixteen Dickinson writes about “… the meek members of the Resurrection—(4).” The members of the resurrection were the group of women that witnessed it and they are meek and pious always following the strictures that are put on them by men. Dickinson in poem four hundred and forty one “This is my letter to the World (1)” seems to be apologizing for writing poetry and being a woman. “For love of Her—Sweet—countrymen-- / Judge tenderly—of Me (7,8)” is Dickinson’s way of asking the men to be nice in their critiques of her work since she is a woman writing about feminism.
Dickinson also uses images of religion and laymen to represent men in her poetry. In poem forty-nine Dickinson uses “Burglar! Banker—Father! (7)” to describe men and their control over women. The men stole women’s rights and property upon marriage, then they handle all matters of finance and women are forced to act towards their husbands as they would their fathers. Dickinson uses power images in poem two hundred sixteen, “ Diadems—drop—and Doges—surrender—(9).” Diadems and Doges are traditionally masculine titles for ruling powers and lawmakers who control women. Dickinson also uses this line to direct the men to give up their control and allow the women to be equals. Dickinson further equates men with perpetual power over women in poem seven hundred twelve where she refers to a husband or lover as death with whom the woman must spend eternity. “And I had put away / My labor and my leisure too, (6,7)” could describe the situation of a married woman whose life becomes secondary to her husbands’ life and wants.
Dickinson offers messages or words of advice to women through her poetry. In poem forty-nine “I am poor once more (8)” is a message to women that men will take all they have. In poem two hundred sixteen “Rafter of Satin—and Roof of Stone! (5) Dickinson is telling women that they will be held in place unable to reach the heights of ability that men do if the men remain in control. Poem two hundred eighty contains the idea of a woman dying from the pursuits of keeping house rather than improving her brain. “And I, and Silence, some strange Race / Wrecked, solitary, here—(15,l6)” is Dickinson’s image of a woman from mans’ point of view, the woman is different and needs to be isolated. Dickinson uses her linguistic ability to hide her message to women so that she stays true to the cult of true womanhood by seeming submissive in her writing even though she is telling women what will happen to them without change in the laws.
Dickinson’s strongest message to women on fighting for equal rights comes in poem one thousand one hundred twenty nine.
Tell all the truth but tell it slant—
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind—(2179)

Dickinson is point blank telling women that they can’t hit men in the face with the idea of equality. Women need to alter the truth that they are equal so that men can come around to the realization and change the laws. Dickinson seems to be saying that by using confusion to dull the pain of the idea that women are equal the men will respond better since they think that women are weaker and less intelligent than themselves. She is also saying that if the message is to straight forward or harsh the men will react badly so that a softer message will gain them more ground since men are childlike in their thinking. Dickinson is also saying that a kinder message will take more time to get across but it is worth the time as it will become a certain truth and have less resistance. Her final statement is that having slowly gotten the message of women’s equal rights across men will accept it as their own idea, but if equality is forced on them they will refuse to acknowledge it as if they were blind to the idea.
Dickinson’s poetry also seems to follow the struggle for women’s rights.
I felt a Funeral, in my Brain,
And Mourners to and fro
Kept treading—treading—till it seemed
That Sense was breaking through—

And when they all were seated,
A Service, like a Drum—
Kept beating—beating—till I thought
My Mind was going numb—

And then I heard them lift a Box
And creak across my Soul
With those same Boots of Lead, again,
Then Space—began to toll,

As all the Heavens were a Bell,
And Being but an Ear,
And I, and Silence, some strange Race
Wrecked, solitary, here—

And then a Plank in Reason, broke,
And I dropped down, and down—
And hit a World, at every plunge,
And Finished knowing—then—(2164)

Dickinson is stating the how women feel repressed and confined as if they are at a funeral. The women then hear the message of equal rights “breaking through (4).” The message of equality becomes a rhythm that encompasses all thought and focuses the women to one idea leaving out all others. Dickinson then follows the backlash that the initial message contains. The men use their position of power to “Box (9)” in the women. The women feel the first defeat and the heaviness of oppression from the men. Dickinson then describes the renewed efforts of the movement, which comes back stronger and with more support from women. The women start to appear as an unknown “Race (15)” to the men and the women who are involved in the movement become isolated from society. Dickinson then tells of another defeat in which the argument for equality broke down and the women involved in the fight for equality fell under control of the men again, but were left with hope knowing that they would achieve equality.
Dickinson’s poetry stays within the confines of the cult of true womanhood, while extending a feminist message to women. Dickinson makes a point of using language that seems pious and submissive to disguise a well thought out message to women. Dickinson’s poetry has a distinct message of oppression of women. She also includes in her poetry a message for women to fight for equality along with some ideas on how to achieve equality. Dickinson wrote poetry for women’s suffrage in a time when men controlled the lives of women. She is an unsung hero of the early women’s movement. She should be honored for inspiring women to fight for equality along with such women as Susan B. Anthony and Lucretia Mott.

Work Cited
Dickinson, Emily. “Because I could not stop for Death”. Anthology of American
Literature vol. One. Ed. George McMichael et al. New Jersey: Prentice Hall, 2000.
2175-2176.
Dickinson, Emily. “I felt a funeral in my brain”. Anthology of American Literature vol.
One. Ed. George McMichael et al. New Jersey: Prentice Hall, 2000. 2164.
Dickinson, Emily. “I never lost as much but twice”. Anthology of American
Literature vol. One. Ed. George McMichael et al. New Jersey: Prentice Hall, 2000.
2160.
Dickinson, Emily. “Safe in their Alabaster Chambers”. Anthology of American
Literature vol. One. Ed. George McMichael et al. New Jersey: Prentice Hall, 2000.
2162-2163.
Dickinson, Emily. “Tell all the truth but tell it slant”. Anthology of American
Literature vol. One. Ed. George McMichael et al. New Jersey: Prentice Hall, 2000.
2179.
Dickinson, Emily. “This is my letter to the world”. Anthology of American
Literature vol. One. Ed. George McMichael et al. New Jersey: Prentice Hall, 2000.
2168.

copyright 07-27-2001

Autoethnography

2008-01-21T18:07:00.000-05:00

Do you ever find yourself feeling as if you are separated from all the things around you? As if everyone you know has a secret connection that you are not a part of. I’ve spent most of my life feeling that way, but that is changing with time and knowledge. As I get older I find myself becoming more relaxed and comfortable and relaxed about who I am and who I am going to be.
When you look at the photograph of me what do you see? Do you see my heritage of Austrian, Russian, French, German, Polish, Italian, and Spanish ancestors? Would you guess that the person in the photograph is a minority? How am I a minority you ask? The answer is simple. I am and Homosexual. That has made things very interesting for me over the years as I have learned to change and accommodate to a Christian Heterosexual society. No one has to know that I am gay. It is my decision to be open about my sexuality. I feel that this is necessary simply because having entered a new millennium the world is still fighting against civil rights for gays, lesbians and bisexuals. I have experienced this type of discrimination in many ways including within my own family. The world however is changing and growing and attitudes towards the gay community are changing, I have also experienced this in my family. It is still difficult for many kids to grow up gay in the United States.
I was born at the end of the Flower Power movement of the sixties, the year of the Stonewall Riots, just prior to the disco era of the seventies. That was an interesting time in history when sex and drugs became popular and public knowledge. Most adults knew that there was a movement towards sexual freedom in the United States but the knowledge was hidden from the kids. I don’t remember seeing anything on the news that told about homosexuality, there weren’t any television shows that even acknowledged the subject, movies only showed gays as psychopaths. Bookstores didn’t carry any gay publications, and politicians ignored the subject figuring that it would go away. That was the era of sexual revolution and freedom and it was entirely heterosexual unless you were old enough to crawl into the gay underground of clubs and bathhouses, which I was not and didn’t even know existed. My first attraction strangely enough was to girls. I kissed my first girl when I was five years old. She was my next door neighbor and a good friend. I had several crushes on girls over the years, but have never been sexually attracted to them. Some of my crushes were and still are held for Valerie Bertinelli, Jacqueline Smith, and Eve (a very close family friend). I knew I was different fairly young I can remember seeing Star Wars and thinking Luke Skywalker was cute, or watching TV and thinking Scott Baio was adorable (it was the seventies after all). Then towards the end of that decade a television show called “SOAP” started with a gay story line. Billy Crystal portrayed the character of Jodi Foster well and realistically as a normal man, not a flaming queen. I used to sneak into the family room and stay up late to watch the show, almost religiously. It was the first knowledge I had of homosexuality and gave me a way to define myself. Unfortunately the television station gave in to pressure from the censors and the character in the show turned straight. I was starting to feel really different at that time because I was beginning to understand that I was attracted to boys. Unfortunately for me so did the other boys at school. They knew instinctively what I couldn’t even begin to admit to myself. As they started to call me faggot, I started to withdraw. This generated many long and frustrating arguments with my father. The general form of these arguments was “I want to get out of here. I hate this place.” My fathers response, “ Why? Because some kids were picking on you. Maybe you should try and be more like them.” This always registered as it was my fault that the kids were making me miserable and my father felt they were right. I always wanted to be able to talk to my father but he would say things like “I don’t approve of faggots, they’re not right.” For someone starting to understand what being gay was and the term faggot meant this was an extremely uncomfortable situation. I then started to close off my feelings towards my family and found comfort in candy bars.
Soon the eighties came along and so did high school. I had stopped talking to most of my friends and felt like a stranger in my family. I was constantly trying to keep this monstrous secret from them and myself. I gained a large amount of weight and began to hate myself. I tried talking to my mother about it but she was unwilling to discuss anything with me as far as sex went. During my high school years my self hate and confusion about my sexuality grew. I knew deep down that I was gay, but was unwilling or unable to admit it to myself. I was dating girls but had no desire to be with them yet constantly heard all my peers talking about their sexual conquests. I desperately wanted someone I could talk too, but my parents had already voiced or shown their disapproval. I considered speaking with my sister but she seemed to maintain the attitude of my father and constantly degraded people by calling them faggots. I became more and more isolated from my family. I was always on the outside looking in afraid to be a part of them or open myself up to them. I always made it a point to act like the person each of them expected me to be, which seemed to satisfy them, although they all knew something was wrong. As soon as I turned eighteen and graduated from high school I took off and moved to Florida. I basically ran away from the stress, fear and frustration of trying to be someone that I wasn’t. I stopped telling my family what was going on in my life, and they couldn’t understand why. I knew why. There was no longer any doubt in my mind that I was gay. I started going to gay bars and discovered alcohol, and it’s effects on me. I finally became the person I wanted to be, I was free and the more I drank the freer I became. I started drinking very heavily because it was the only way I could forget the fear of who I was and it became my new out. I no longer turned to chocolate for comfort, now I turned to alcohol. I was still arguing with my family only now the arguments were about why I was so distant and couldn’t talk to them. Through an accident of fate I ended up coming out quickly and shockingly to my family. When this took place I was absolutely dumbfounded. Up until that point my family had acted and stated that they would disown me if I were gay. When I told my parents they responded by saying that they loved me and I would always be a part of the family, but they would never understand or except my being gay. I realized that things were going to have to continue in the same way as before the only difference was now we were all sure that I was gay. I learned to switch pronouns and descriptions of places and even learned the fine art of omission, but as I was getting older I found myself needing to be honest with the world and myself. The constant lying was driving me into severe depressions because I communicating with my family was next to impossible. There was a small glimmer of an opening for communicating with my family, however, my mother started asking me questions and asking for the honest answers. I began discussing my life openly and honestly with my family after a few years. During this period my father swore that no other gay person would enter his house, but he met several of my friends and even a few of my boyfriends and liked them as people. Eventually we all started to get along again and become close. My family who swore they wouldn’t accept my being gay has learned to either accept it or live with it. So it surprised me when a year ago my father sided with my Uncle kicking me out of his house for being gay. My father told me that if “You’re going to live that kind of life you have to expect things like that.” I was incensed about this remark at first, but then realized that my father was just trying to prepare me for other equally painful experiences as a gay man. I managed to overcome my feelings of inadequacy and fear to become who I am today, but there are still times and situations even with my family that I still feel isolated.
This kind of isolation between gay people and their families is very common, but with time it can be overcome. The reason for this isolation is the inability to communicate with each other. The heterosexual family members cannot understand the reason that a gay family member is gay. The gay family member feels like they have to hide and keep their life a secret so that they can fit in or let the straight members of the family feel comfortable around them. Often during this process gay people sacrifice themselves for the greater good of the family, they go around keeping secrets and avoiding discussions about anything but the basics of how are you and the weather.
But I am one of the lucky ones I have once again become a central figure in my family. I spent many years blaming myself and being blamed by my family for being different, but as I get older I am becoming more and more comfortable with my own identity. I stopped editing out my life and decided to put it out in the open for all to see. This was taking a big chance as I was once again risking complete isolation. I started discussing what being gay was for me. There are however points of contact with the heterosexual world that I and other gay people still have to be careful about.
Most gay people go through life hiding and fearing what will happen if they come out. Many have been kicked out of their homes and cut off from their families. Gay people have lost jobs and health benefits. The point at which the gay and straight worlds cross is undefined and hazardous. My life is an example of how two worlds can collide. The word gay is now commonly used as a derogatory term for anything that is bad or out of the ordinary. I take exception to the usage of the word gay in this way. Because of the lack of literature and information that still exists, even today, many kids are still going through the process of growing up feeling isolated and removed from family, friends and the general community. Times are changing however, bookstores now carry popular gay magazines, movies include gay characters that are portrayed as normal everyday people, and Television includes programming that portrays different types of gay people. These advances in closing the gap between the gay and straight communities are making it easier for a new generation of gays, who will grow up without having to feel the isolated from the rest of the world. However there is still a long way to go before these two worlds meet on an equal footing. When the language and ideas between the heterosexual world and the homosexual world meet and merge as one.

copyright 9-18-2000

The Growth of Knowledge

2008-01-21T18:06:00.000-05:00

The Growth of Knowledge
Education has been growing and evolving since humanity first discovered fire. Initially education was given through directly showing the student how to accomplish a certain task, such as lighting the fire. Education evolved to stories of morality that are now considered the mythology of the past. Eventually education became styled in a dichotomy in which teachers have knowledge and students are receptacles for that knowledge. The dichotomy of teacher and student follows a dichotomy of power in which those with education control those without education. This dichotomy is where education presently exits, but it is starting to evolve again.
Education is evolving into a free form style of learning, called “problem-posing”(354), where the student is given problems and required to reason those problems to conclusion. The teacher is still required to assist in the process of reasoning, but no longer just imparts information to the students. The dichotomy is changing to one of equal exchange between students and teachers. The new relationship of the teachers to the students is supposed to eliminate the dichotomy of the classroom and create an open experience in learning that will encourage the students to receive information from all sources in a more critical and analytical way. This more analytical style of information processing would allow those who have been educated through the “problem-posing”(354) style to gain control of their lives and avoid oppression and governmental control. However, neither “problem-posing”(354) education nor the present day dichotomy of the “Banking Concept”(349), in which teachers just deposit information into their students, will work to overcome or generate a new power structure of equality, unless they are used in conjunction with each other.
Paulo Freire, a professor of educational philosophy at the Catholic University of Sao Paulo and author, in his essay “The “Banking” Concept of Education” states “The capability of banking education to minimize or annul the students’ creative power and to stimulate their credulity serves the interests of the oppressors, who care neither to have the world revealed nor to see it transformed”(350). Freire has presented a case in which a teacher depositing information into a student only serves to subjugate them to the power structure that wishes to remain in power. The teacher has been taught to follow a specific set of guidelines and then that teacher passes those guidelines on to his/her students. The students inability to analyze or think critically about the information that is being imparted keeps them in a stasis that benefits and perpetuates a specific way of living and doing, that allows the power structure to stay intact.
Freire brings to light a new educational style, which he believes will allow those who are being subjugated to overcome the control of the power structure through critical thinking. “Indeed, problem-posing education, which breaks with the vertical patterns characteristic of banking education, can fulfill its function as the practice of freedom only if it can overcome the above contradiction”(354). Problem-posing education is able to break free of the conventions of education in which students sit in a classroom being dictated to by the teacher. The students are now given problems and asked to create solutions. This breaks the pattern of the banking education, since the students are no longer being told what the right or wrong answer is. Problem-posing education does not have a system of right or wrong, as the answers that solve the problem, however diverse are all right and all wrong at the same time. Problem-posing education also alters the dichotomy of the classroom. The teacher is no longer the source of information and the students are no longer the receptacles of that information. The teacher becomes a student and the students become teachers of each other sharing in an equal exchange of information. This eliminates the power structure of the classroom, which is traditionally modeled on the power structure of society. Once the power structure is eliminated the teachers and students involved in the open exchange education are able to look at the power structure from outside its boundaries and overcome it.
Freire’s belief that “Those truly committed to liberation must reject the banking concept in its entirety, adopting instead a concept of women and men as conscious beings, and consciousness as consciousness intent upon the world”(354) is wrong. Although the banking concept of education is incomplete in generating critical and analytical thinking skills, problem-posing education is equally incomplete in generating knowledge of basic skills. Problem-posing education lacks the essential basics that teachers usually bank into their students such as algebraic equations or basic sentence structure. Without the basic skills being banked into a student they will not be able to solve a problem, because they won’t know the methods of attaining the solution. If a student is given the problem of solving a national food shortage they must know the means scientific means of agriculture, the math involved in order to figure out how much food needs to be grown, they must also have basic grammar skills in order to read and understand the problem itself. Students who do not have simple basic skills that are banked into them will find themselves floating in anarchy. The students will be unable to approach the problem because they will not have gained the necessary information to solve it. This lack of basic information, causing anarchy will only serve to strengthen the power structure’s control over society. But the reverse is also true if a teacher just banks information into the students, then they are not given the skills necessary to analyze critically the information imparted to them. This also feeds the power structure’s desire to maintain control, as the educational system becomes a perpetuating machine designed to produce teachers and students that just pass on the same facts and figures without ever truly analyzing them. The educational system will only consist of automatons that are unable or unwilling to act against the establishment, which maintains a rigid control over society. Therefore banking and problem-posing education work against the society when they are separate, but if they are combined they will allow society to reform itself.
If banking education creates automatons and problem-posing education creates anarchy when used separately, then when they are combined they can generate humanity. If students are taught the basic principles of specific disciplines then they will have the knowledge they need to apply it in situations. In other words because a teacher banks the ability to read into a student they can look at a newspaper and see what is happening in the world. Because a teacher has posed a problem for a student about a law that might be passed, the student being able to read, is able to look for all the information about that law. The student is then able to study and think critically about what the law might do or not do. The student is then able to make a decision about whether or not to vote for that law. Students who have basic skills and are then taught to think critically and analyze information will have more influence to change the power structure, than those lost in anarchy or formed as automatons. The student who is a recipient of the combined banking-problem-posing education will look at the power structure and how it is made up using the basic skills from banking, then figure out how to overcome it or change it using the advanced skills of problem-posing education. The power structure can then be changed through its own rules, freeing the people from its control.

Work Cited
Freire, Paulo. “The “Banking” Concept of Education”. Ways of Reading: An Anthology for Writers. 5th ed. Ed. David Bartholomae and Anthony Petrosky. New York: Bedford/St. Martins, 1999. 348-359.

copyright 12-04-2000

Two Boxes

2008-01-21T18:03:00.001-05:00

Two Boxes
Most households in the United States contain a box; sometimes several of these boxes exist in a single home. The box emits vivid color images and lifelike sounds. What is this box? It is the television. Television may seem like an innocuous way to relieve the pressures of everyday life for many people, but it is used by an establishment to assert a form of control over the mass population. How can television be used to exercise control? Through the images broadcast by the establishment, that influences people’s ideas on politics, morality, legal issues and values. Each day as millions of people turn on their television sets, they are bombarded by news briefs, commercials and shows. News briefs flash bits and pieces of world happenings, crimes and political campaigns. Commercials tell us what products to buy and where to buy them; political groups to get their message across also use them. Television shows consist of many varieties, but an abundance of them feature middle class people living in luxurious or comfortable surroundings, and consist of the characters making decisions about life, abortion, friendship, family, trust, honesty, and the ambiguity of sexuality. As people tune in to watch their favorite shows they focus on the action taking place, not on the fact that a writer wrote his script with his views, or a director created scenes that focus on his views of the writers views in the script. The hierarchy of the studios at which they are filmed as well as through government censorship also influences television programming. Examining television is a twofold process.
What is the twofold process and how can you examine it? First you have to examine the image that comes through the screen, how it is filmed through camera angles, lighting, setting, and dialogue. Second you would have to look at the way in which the hierarchy of the studios and government via censorship uses television as a whole, through its existence. One way to examine television by its images would be through John Berger, an art historian and a Marxist art critic, who introduces the concept of control through images in his essay “Ways of Seeing”. Berger expresses concern over how art is being used by an established hierarchy to control the view of art that people have. Another way to examine television would be through the eyes of Michel Foucault, a philosopher, intellectual and President of the College de France, via his essay “Panopticism”. Foucault describes the panopticon as a circular building with separated cells that have large glass windows centered on a tower from which a member of the hierarchy can view those who are enclosed in the cells. He speculates that the member or members of the hierarchy do not have to be in the tower actually watching, but through the possibility that they are in the tower, those who are in the cells will self regulate their behavior. Many people regulate the way they live their lives by the images they see on TV and by the idea that they may one day appear on television for the wrong reasons.
“Every time we look at an [image], we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights”(107). Berger is stating how we are aware of the fact that other versions of or angles of an image may present a different picture, and therefore change the view and perspective that the image might represent and the influence of that image. But we are still only influenced by the image that is presented rather than considering other options of what that image may mean. A good example of how television imagery is used for power would be the commercials for the presidential election. Images of George Bush jr. and Al Gore are flashed across the screen usually showing them in a school or with senior citizens. The voice-over tells you what they have done for the community and usually states how the opposing candidate would not support good policies for improving education or senior programs. Neither of the commercials for either candidate truly express what their past voting records are, nor do they show them in their true environment of the offices they work in while holding their present positions. The director and cameramen that create the commercials influence voters to vote for their favorite candidate and his policies by showing the candidates in the best light. What most people forget is that the policies are not only the candidates, but also the candidates partys policies and those parties are vying for control of our government. The candidate that is better looking and appears more sincere in the commercials tends to win the office in spite of what the full and true agenda of their party is. The people of the United States seem to be satisfied with this way of looking at major issues. Most people do not investigate the records of candidates for office, they assume that the people creating the commercials are the experts. Those experts however are being coerced by the power structure of studio heads who supply the directors, cameramen, and editors who create the commercial. They in turn are told what to film and how to film it, and then how to edit the clip by members of the candidates party. The members of the candidates party are told how everything should be laid out by the candidate and the controlling hierarchy of the party. Each of the members involved uses their personal judgment to create an image that best fits the candidate and hopefully gets him elected to office. However there is one problem involved in this process, each member of it is both a creator and a receiver of the rhetoric that they create and none of them investigate the facts behind the candidate fully before offering their support. Berger argues this circular form of control by his statement “By refusing to enter a conspiracy, one remains innocent of that conspiracy. But to remain innocent may also be to remain ignorant”(125). What Berger is saying is that by not fully investigating the candidates voting record on issues, and checking to see what the party role has traditionally been then the people involved remain innocent. They are not a part of the party agenda, which might be completely different from the platform they are pledging to uphold. They are thereby ignorant of the consequences of their actions and are by virtue of doing nothing, part of the conspiracy of control that the media exerts over the United States. The same control that is exerted by the view from television is exerted by television as a whole.
The power that television as a whole exerts is based in the structure of its hierarchy. The breakdown of this hierarchy is simple: Board of Directors, Network Executive, Producer, Director, Writer, Editor, Government Censor, and television viewer. Each acts as a mechanism in the television industry deciding what the public will and won’t see broadcast into their living rooms each day. Each member of this mechanism acts within its own group and the other areas of the hierarchy to create television programming. The Panopticon as described by Foucault “is the diagram of a mechanism of power reduced to its ideal form; its functioning, abstracted from any obstacle, resistance, or friction, must be represented as a pure architectural and optical system: it is in fact a figure of political technology that may and must be detached from any specific use”(325). Most people don’t realize the amount of influence that the television has over them and how they live their lives which allows television to act as a detached mechanism from the people who are controlled by it. The boards of directors of television networks look only for the best possible way to make money from the industry and maintain their power financially. The network executive looks to meet the needs of the board of directors so that he can keep his job and control those under him. The producer attempts to create shows that will fit in with the desire of the public wants and the networks' values, so that he can keep his place in the hierarchy. The director creates scenes and backdrops and decides how the message of the show will be shown through camera angles, lighting, etc. so that he may keep his prestige (of working on a top rated show) by meeting the criteria of the public, the producer, the network executive and the board of directors. The writer is told by the director and producer what the show is to be about and then creates a story that meets the criteria as he sees it, for the director to put together as he sees it in order to earn his paycheck and possible prestige from winning awards. The editor then takes the filmed version and cuts it together so that camera angles show exactly what the director and producer, etc. wish to show to the public so that he may earn his salary and possible prestige by winning awards. The show is then shown to the Censor who decides absolutely if all the scenes and the way they are shown are within the guidelines of what the government thinks should be shown to the public. The public then gets to view the show. This is the formula that opens television up as a panopticon. The people viewing the shows see different information, on how lives are lived through these shows and they base their way of living from the shows policing themselves from doing anything that might go out of the norm that they see on TV. For instance a person watches the show COPS which is a reality based show. The episode they see shows the officers arresting someone for using marijuana. The director calls for a close up of the officer putting handcuffs on the perpetrator of the crime. The person at home decides not to smoke pot, because he/she could end up on the show cops being handcuffed and their neighbors might see them. They would have broken the norm established by family shows like Leave it to Beaver that established the perfect family scenario in the nineteen fifties and is still a measuring stick for contemporary society. They therefore don’t smoke pot to avoid getting arrested and being embarrassed in public by the television.
Our society is one not of spectacle, but of surveillance; under the surface of images, one invests bodies in depth; behind the great abstraction of exchange, there continues the meticulous, concrete training of useful forces; the circuits of communication are the supports of an accumulation and a centralization of knowledge; the play of signs defines the anchorages of power; it is not that the beautiful totality of the individual is amputated, repressed, altered by our social order, it is rather that the individual is carefully fabricated in it, according to a whole technique of forces and bodies.(Foucault 333-334)
Foucault is blatantly pointing out that we as a society do not live spectacular lives, instead we observe the images that surround us. We then attach meaning to those images based on what we have learned from previous images that we have seen and societal values which are reflected in those images propagating a circle of control. The knowledge that exists is accumulated, centralized and then regurgitated back to the people establishing the hierarchy in its place of power. This does not totally eliminate individuality, people will still occasionally attempt to act outside of the social norms, however most of the individuality that is expressed is a part of the social norms. Going back to our example of the drug user on COPS he attempted to act outside of the norms but he was acting within the norms of others that use drugs and find themselves getting arrested. In a society where the majority of people expect that drug use will be punished that person has acted with in the norms. He is perpetuating the power structure of society and the power structure of the television industry by using the drugs, getting caught and generating high television ratings, while sending the message to the public not to do this or you will be in this situation too, causing the majority of people to stop themselves from smoking pot. This circular viewing of images and adding meaning as knowledge then forms the panoptic gaze, which is generated from within an individuals conscious in contemporary society.
Contemporary society perpetuates a hierarchical power structure in television by taking the images shown on the screen as factual, instead of generated in a specific way to achieve a specific message. As people are inundated more and more each day with media imagery, they are looking more at the surface of the image than the full message enclosed within it. The less people analyze the images for the truth the more innocuous they will become allowing the power structure to dictate every aspect of their lives from how they comb their hair to how they raise their children. We must look for the deeper truth hidden inside the messages on the television screen so that we as a people do not give up our knowledge to the hierarchical power structure.

Works Cited
Berger, John. “Ways of Seeing.” Ways of Reading An Anthology for Writers.5thed.
Comp. David Bartholomae and Anthony Petrosky. Boston: Bedford/St. Martin’s,
1999. 105-132.
Foucault, Michel. “Panopticism” Ways of Reading An Anthology for Writers.5th ed.
Comp. David Bartholomae and Anthony Petrosky. Boston: Bedford/St. Martin’s,
1999. 314-342.

copyright 10-18-2000

Subliminal Messages

2008-01-21T17:57:00.000-05:00

Subliminal Messages

Many different lessons are outlined by the curriculum in schools, but often times the lesson that is taught or learned never appears within the curriculum. The core curriculum of most schools consists of reading comprehension, mathematics, science, history and physical education, as well as a host of other disciplines from government to home economics. This core curriculum seems to be oriented towards all students and teacher, but often times without intention the curriculums in schools are biased. Bias can be generated from the types of texts chosen, to the expectations and backgrounds of the students and faculty using them. Although not intentionally expressed, biases are sent out in a subliminal messaging that privileges a particular type of student over another. Subliminal messages are presented through linguistics and imagery that is being used inside of today’s multi-cultural classroom.
In order to express the way in which these subliminal messages are communicated we must examine classroom operations. The typical classroom places the teacher in front of neatly lined rows of students, a percentage of whom are white, black, Hispanic or of other cultural decent, and comprising at least a fifty-fifty split of females and males. The teacher is at the front of this classroom because he/she has spent many years studying the subject. They have read countless documents and studied volumes of analysis on the subject. The teacher also forms his/her own opinions and ideas about the subject and what is most important to teach his/her own students from the research. Having completed this analysis the teacher then prepares to present the subject to the class, much like a documentary which extracts the important facts of a person, place or object for presentation to a specified group of recipients. If the information that a teacher prepares is in fact a documentary, then the teacher becomes a documentarian. However, we must define what a documentary is to understand the process by which a subliminal message may accidentally be placed in a lesson. Robert Coles, a psychologist and documentarian, in his essay “The Tradition: Fact and Fiction” states:
“All documentation, however, is put together by a particular mind whose capacities, interests, values, conjectures, suppositions and presuppositions, whose memories, and, not least, whose talents will come to bear directly or indirectly on what is, finally presented to the world in the form of words, pictures, or even music or artifacts of one kind or another”(177).
This being the case as Coles states it, teachers put together lessons based on the curriculum influencing those lessons by their own personal interests and experiences. He/she then presents their specific idea of what the lesson is or should be about, based strictly upon his/her interpretation of the research and materials. This is the point at which the subliminal messages start functioning due to a differentiation in the experiences of the teacher and the students.
The teacher may come from a white upper middle class upbringing, but his/her students may come from many different classes or cultural backgrounds. The teacher may then end up imparting the lessons and values of a specific class or upbringing in the lessons with which he/she identifies. The students, however, don’t receive the lesson that is being taught, instead they may feel they are being ignored, marginalized. These feelings of marginalization lead to teaching the student that they are of less significance than the white upper middle class person to whom the lesson holds a more significant meaning. The opposite may also hold true, a student who feels marginalized might also be inspired to go out and do their own research to refute the claims of the lesson, or to find similar lessons within their own culture that can be applied in the same way as the lesson of the teacher. In this case the subliminal message can have either effect upon the student although it is more likely that the marginalized student will end up feeling removed from the lesson taught. The marginalization of students could result in other forms of subliminal messages that the teacher may communicate through their actions as well as their lessons.
Most teachers when interacting with their students feel that they are treating all the students equally, however, studies have shown that most teachers, whether female or male, of cultural decent or race tend to focus their attention on white middle class male students. When standing in front of the class calling on students, many teachers tend to call on white males almost three to one for answering questions. The educator more often than not is unaware of this peculiarity in their behavior. A subliminal message is being passed on through these actions, however, that empowers an established white male hierarchy and disempowers the female and cultural student. However the male ethnic student is called on in class more often than female students. The female student is being relegated to a quiet corner in which she is supposed to study silently and avoid showing her intelligence, the same way she is taught to avoid eating in public, as was common in the Victorian era. Susan Bordo illustrates this in her essay “Hunger as Ideology” in which she discusses the way women’s appetites are sublimated by advertising the same way women are sublimated in the classroom by an unconscious favoritism. “As gender ideology, the ads I have been discussing are not distinctively contemporary but continue a well-worn representational tradition, arguably inaugurated in the Victorian era, in which the depiction of women eating, particularly in sensuous surrender to rich, exciting food, is taboo”(148). Bordo is saying that the advertisements for food are telling women to avoid eating to their fill or they will be seen as gluttonous, masculine, unnatural and as a threat to the masculinity of men, who will no longer be attracted to them if they act in a masculine manner, a tenant that was established in Victorian times, but continues into the twenty-first century. This same tenant applies to the education of women. In Victorian times women were allowed to be educated provided that they did not act more intelligent than their male counterparts. Females in the Victorian era were often only educated enough to run a household rather than given the full education that was offered to males at that time. The need for women to hide their intelligence from men has carried over into the twenty-first century. A woman today who is given the same education as a man finds herself still subjected to the same value judgments of the Victorian era, that of being masculine, gluttonous and a threat to men’s masculinity. Teachers tend to overlook their female students subconsciously in order to cater to the male student, who has always played a more important role in the educational environment, as they are expected to go to work and support a family in their future. The female student ends up feeling left out of the classroom participation experience and as if she is being given an inferior education, even though she is offered an equal educational opportunity.
Given this equal educational opportunity, some female students may also perceive themselves as more intelligent than the male students, who require more of the teachers’ time and attention. The teacher may also have this perception of his/her female students. The extra attention given to male students may make them feel inadequate to their female counterparts as they may feel they are being picked on by the teacher rather than elevating them to a higher standing in the classroom. In either case the students are receiving a far different message than the one the teacher intends to give them in their classroom achievements.
Teachers impart lessons through the imagery of actions and texts, but not all of those lessons are visible or outlined in the curriculum. A teacher may privilege one student or type of student over another based simply on the type of text used and his/her interpretation of the material or the interactions between the teacher and the students. Students subliminally receive messages from the teachers’ actions and interpretations of information, which may actually make them feel inferior or marginalized. This can be avoided by the teacher in the new multi-cultural world by incorporating texts that cover multiple view points and teaching themselves to acknowledge all students by keeping track of the number of times they call upon a student in the class. It is important in the multi-cultural classroom to alter the curriculum so that the lessons being taught are the ones required by the curriculum instead of the subliminal messages of the curriculum.

Works Cited
Bordo, Susan. “Hunger as Ideology.” Ways of Reading An Anthology for Writers. 5th ed.
Comp. David Bartholomae and Anthony Petrosky. Boston: Bedford/St. Martin’s,
1999. 138-174.
Coles, Robert. “The Tradition: Fact and Fiction” Ways of Reading An Anthology for
Writers.5th ed. Comp. David Bartholomae and Anthony Petrosky. Boston:
Bedford/St. Martin’s, 1999. 175-221.

copyright 11-16-2000

Rants and Raves

2008-01-19T14:22:00.000-05:00

US gets first black lesbian mayor
Gay political activists in the US praised Ms Simmons' selection by her fellow city councillors.

The city of Cambridge, Massachusetts, has made history after the city council chose Denise Simmons to serve as the first black lesbian mayor in America. The city's more famous namesake in England made history last year when its councillors chose a woman who had transitioned sex as mayor.Gay political activists in the US praised Ms Simmons' selection by her fellow city councillors. Her predecessor, Ken Reeves, was also gay and black. The Gay and Lesbian Victory Fund, which campaigns to increase the number of LGBT elected officials, said: "We are enormously proud of Mayor Simmons. "Like Mayor Ken Reeves before her, she is among our community's trailblazers. Today is a day to celebrate another broken glass ceiling."Ms Simmons has served on the city council since 2001. Cambridge, population 101,000, is the home of two of the best educational institutions in America, Harvard University and the Massachusetts Institute of Technology. It is on the outskirts of Boston.Massachusetts is the only US state with legal gay marriage. "It feels really great," Ms Simmons told the Cambridge Chronicle. "When I first came to the School Committee, one of the things I always said was that I wanted to be mayor."
Article from: http://www.pinknews.co.uk/ 17th January 2008 11:45 Tony Grew

This is a great accomplishment and one that has been long in coming. I applaud Ms. Simmons and wish her all the best. Now if only she were Jewish and had Asian, and Muslim grandparents she'd be the perfect candidate for President of the U.S. However in lieu of her we currently have the Obama, Hillary connection and if the Democrats actually want to use their heads they will make that the Democratic ticket for the election. Hillary has eight years of experience as President of the U.S. so she could be President with Obama as a strong and influential Vice President. However I'm sure that our nation will follow it's previous historical patterns and put Obama as President (good choice as he seems to actually want to improve the nation) and Hillary as Vice President. My only fear is that the Dems, will actually find a way to make either or both candidates seem as weak as possible and allow Huckabee or some other unrealistic republican who's never actually read the Constitution into the office.

Rants and Raves

2008-01-19T14:01:00.000-05:00

Raves for the day. First I'd like to compliment Perez Hiltion on his site. It is entertaining and fun. Perez reports his gossip with humor and sarcasm in a way that allows the reader to interpret what he says in their own way based on their love or hate for the blogger. I always find it amusing to view the reader comments as they get so heated and ridiculous about the things Perez says, if you are taking it seriously then folks you need to get a new view on the world, as most of what Perez says is designed to illicit the reactions and that is what makes his site entertainment.

Second Rave of the day. I support the Writers Guild members in their strike and do hope it ends soon as it is never good for people to be on strike for extended periods of time. The Writers Guild, SAG, and the Directors Union all deserve raves for supporting each other and acting in solidarity with each other. It is great to see a union or unions actually stand behind and support their members (mini rant) instead of soaking them for money and then hanging them out to dry by not standing against the management. The Writers are fighting to be paid appropriately for their work, which is only proper they wrote it, they should be paid for it. I applaud the many people who have been on strike and supported it, as well as those who have done what they felt they had to, to prevent their staffs from losing their jobs. It's a hard line to walk but you have all done it with grace and style.

Rants and Raves

2008-01-12T17:19:00.000-05:00

Okay this is a new category where I will put my thoughts on the universe. My first thought it what is up with the political process in the U.S. It seems that we are forgetting a few things, starting with it is a government for the people, of the people and by the people. Why are they doing whatever they want and saying that Americans want it when it is quite obvious we don't? For example I wonder how many people know that it is more expensive for an American company to ship their products out of the country than it is for other countries to ship their products in. Then of course with that you've got CEO'S telling us that it is necessary to outsource our jobs. Necessary to whom? Them, the ones who are already earning six figures a year and complaining that they need to make more money because the company's profits are down. Yeah they are down about the same amount as your last three raises, when did your workers last see some extra in their paychecks? They didn't you laid them off. Here's my thought on this, the people of the United States are the biggest spenders in the world, so how about making sure that they have lots of money and security in their jobs and I guarantee that the people will come through and buy the products if they need it or not, but they aren't going to if their income is continually at risk. Well I'm done ranting for now maybe later I'll have something to Rave about.

Auntie Bernie's Wedding

2008-01-05T12:20:00.001-05:00

Dream Cast:
Auntie Bernie: Harvey Fierstein
Uncle Sally: Anthony LaPaglia
Gloria: Valerie Bertinelli
Evan: Kevin Zegers
Felicia: Hugh Jackman
Jean: Julia Stiles
Little Frankie: Joe Pesci

AUNTIE BERNIE (V.O.)
Wakie, Wakie. Well would you look
at this.

FADE IN:

1 INT. 1

Evan'S BEDROOM. DAY.
Evan's bedroom is the typical teenager's room with posters on
the wall, trophies on shelves and the room is a bit
cluttered, with clothes and books. The scene opens from the
perspective of Evan waking up to his first sight of the
morning Auntie Bernie, who is kneeling on the floor, with his
elbows on the bed and supporting his head in his hands
smiling. Auntie Bernie is a man with a beard and a gravelly
but kind voice who looks like a teddy bear.

AUNTIE BERNIE
It's been so long since a beautiful
young man woke up next to me.

EVAN
Auntie Bernie, what are you doing
here?

Evan sits up in bed. We still don't see him as he talks to
Auntie Bernie.

AUNTIE BERNIE
Your mom told me that you've been
at loose ends, since you graduated
from college.

Auntie Bernie moves to the desk chair to sit down, lifting
some clothes hanging over the back of the chair up and
dropping them on the floor as if they were contaminated.

AUNTIE BERNIE (CONT'D)
You haven't been looking for a job,
you're not hanging out with your
friends and you haven't been on a
date since your last group date in
high school. So why don't you come
here (patting his lap) and tell
Auntie Bernie what's wrong.

Evan get's out of bed and walks into frame, he is a young man
in his early twenties, with brown hair and a face that can
only be a called pretty, he is well built and wearing a wife
beater and cut off sweats. He sits on Auntie Bernie's lap
like a little kid.

EVAN
Nothing's wrong. I'm just taking a
break before I have to slave away
for the rest of my life. As for
dating, I'm just not looking right
now, it's not a problem.

AUNTIE BERNIE
Well your break is over I've got a
job for you. You see in it's
infinite wisdom, the state of New
York has finally decided that gay's
can marry. So since your Uncle
Sally popped the question, and I of
course said yes. We are having a
wedding, but, I am directing a new
show and Sally's busy running the
night club. So I need some help
putting things together. That my
lovely nephew is where you come in.
I'm kidnapping you to the city You
will help me and your Uncle Sally
out, putting things together for
the wedding. Any questions?

EVAN
Nope.

Auntie Bernie stands up, unceremoniously dropping Evan to the
floor and starts to walk to the door, while Evan gets up.

AUNTIE BERNIE
Good, you have five minutes to get
dressed, packed and downstairs.

EVAN
Yes, Sir! Auntie Bernarrrd.

Auntie Bernie turns around, glaring at Evan, who is smiling
beatifically at him. Auntie Bernie takes two slow steps
towards him.

AUNTIE BERNIE
Exactly who do you think you're
talking to young man?

Evan hangs his head in shame, but continues to smile.

EVAN
You, Auntie Bernie.

Evan looks up at Auntie Bernie genuinely smiling now, knowing
that he is going to be forgiven in just a couple of seconds.

AUNTIE BERNIE
Oh, look at that smile. Bubeleh,
(squeezing Evan's face between his
thumb and fingers) I've never been
able to resist that smile. Just
don't ever call me that again. Now
get ready to go.

Evan turns around to walk away get ready and Auntie Bernie
gives him a whack on the behind then turns and leaves the
room.

CUT TO:

2 INT. LIVING ROOM OF EVAN'S HOME. DAY. 2

Auntie Bernie is standing at the foot of the stairs, looking
up and then down at his watch. His sister (Gloria), who still
looks young herself, but is in her forties and is definitely
comfortable with who she is and how her life has turned out,
is standing next to him.

AUNTIE BERNIE
That boy of yours needs to learn to
tell time.

GLORIA
Hey, he learned all about getting
ready from his favorite Uncle.

AUNTIE BERNIE
You know you're getting as bad as
mom with that.

GLORIA
Hey, no need to be insulting. I
love you like a sister and you know
it.

AUNTIE BERNIE
That's better. Oh finally, here
comes Prince Charming.

GLORIA
You better take care of my kid or
you'll have to deal with me and if
that isn't enough to keep you in
line I'll sic mom on you.

AUNTIE BERNIE
Who's getting insulting now? This
isn't the first time he's stayed
with me and Sal. Not to mention he
is twenty-two years old. But don't
worry I'll keep him out of trouble.

Evan reaches the bottom of the stairs and looks at his mother
and Uncle verbally sparring with a smile on his face. He is
dressed in baggy jeans and a T-shirt.

EVAN
Still fighting over me after all
these years.

Auntie Bernie glares at him.

AUNTIE BERNIE
It took you all this time and
that's how you dress. (turning to
his sister) What have you done to
my nephew? He's dressed like a
...a...

GLORIA
A young man, who is following the
popular culture of his age group.

Making a sour face at his sister Bernie turns back to Evan.

AUNTIE BERNIE
The first thing we do when we get
to the city is a shopping trip. Oy
Vey, dressing like that, have you
learned nothing from me all these
years?

Evan kisses his mother goodbye and heads for the front door,
turning back to Bernie.

EVAN
Let's go.

DISSOLVE TO:

A montage of Bernie and Evan going through different stores,
for clothes and shoes, bickering back and forth until they
end up at the hair salon, Evan is sitting in the chair hair
wet and ready to be cut, while Bernie explains what he wants
done to the stylist, who looks like Kyan Douglas of Queer Eye
fame.

AUNTIE BERNIE
I don't want to lose the length of
his hair, but it needs to be shaped
and have some sort of style to it.

EVAN
Do I get a say in this?

AUNTIE BERNIE
No!

STYLIST
No!

STYLIST
I think I know what you want. I
promise his hair will be as
beautiful as that face of his. So
if you will go sit down and let me
get to work?

AUNTIE BERNIE
But I...

STYLIST
Go sit! Now!

Auntie Bernie goes and sits in the waiting room. The stylist
combs Evan's hair straight back and away from his face, and
caresses his face with the back of his hand.

STYLIST (CONT'D)
Well gorgeous anything you'd like
to do different from your old
Auntie's ideas?

EVAN
No. I've learned that he's usually
right about this kind of stuff.

STYLIST
Well let's get going then. Tell me
about you, are you dating anyone?

The stylist starts cutting Evan's hair.

EVAN
No, I haven't met anyone that
sparks my interest.

STYLIST
I would think that someone as good
looking as you would have people
falling all over you.

EVAN
I do that's the problem. I want
someone who actually sees beyond
the facade and wants more than
looks out of a person.

STYLIST
True, but there's nothing wrong
with wanting someone good looking.
I mean you need to at least be
attracted to the person first.

EVAN
I guess so, but it's like Auntie
Bernie always says, "you can find
yourself getting a very pretty
package, but when you unwrap it
find nothing more than a big pile
of crap." I don't care if the
package is pretty, I want the
inside to be a diamond.

STYLIST
Sounds like good advice to me. On
the other hand sometimes you just
need to meet someone, and I know
someone who I could set you up
with, if you'd like?

EVAN
Maybe.

The stylist and Evan finish the cut in silence. Evan's hair
is only a bit shorter than it was but it has a nice finished
shape and look. The stylist whips off the cape announcing
that he is finished. Evan stands up out of the chair reveling
that he is wearing a fitted black T-shirt and beige slacks
and dress shoes. He now has the look of a metro-sexual. They
walk to the front of the salon where Auntie Bernie is
waiting, reading a magazine. Auntie Bernie looks up and
smiles broadly.

STYLIST
Pretty good, huh?

AUNTIE BERNIE
Very good. Your worth every penny.
Look at my beautiful boy (pinching
Evan's cheek). My gorgeous nephew.

Evan smiles.

EVAN
Glad you approve. But could you
stop pinching my cheek before you
take the skin off?

Auntie Bernie lets go of his cheek.

AUNTIE BERNIE
Fresh. Now let's get you home and
all settled in.

FADE TO:

EXT. OUTSIDE OF VILLAGE BROWNSTONE. DAY.
The outside of a brownstone located in Greenwich village,
near the Christopher and Bleeker Street area. Bernie and Evan
are walking up the outer stairs laden with bags, from their
shopping spree. Bernie turns to Evan and unloads all of his
bags into Evans arms, to get his keys.

INT. ENTRY HALL/UPSTAIRS BEDROOM. DAY
They enter into a main hallway, which is very nicely
decorated and well kept. Bernie heads up the stairs to the
third floor, with Evan following severely over burdened by
all of the bags.

AUNTIE BERNIE
... After all of that running
around during the day you'll work
with your Uncle at the Nightclub.
Well here we are.

Bernie flings open a door and there is a very nicely
appointed bedroom that takes up half of the third floor. Evan
squeezes by with all of the bags and immediately drops them
to the floor.

EVAN
Thanks, I appreciate all the help.
Why the third floor room?
I usually stay in the guest room on
the second floor.

AUNTIE BERNIE
Well the work out room is across
the hall and you'll have more
privacy.

EVAN
What aren't you telling me?

AUNTIE BERNIE
Nothing. I always tell you
everything. You know that.

EVAN
Aunt Bernie?

AUNTIE BERNIE
Okay your Uncle Sal's niece is here
too. She's starting at Columbia in
the fall and she wanted to get used
to the city before she started.

EVAN
Oh shit! I wish you would've told
me. I can't stand her she's a
bitch.

AUNTIE BERNIE
She's not that bad. And you two
haven't seen each other in a few
years. People change, she could be
totally different now.

EVAN
I wouldn't count on it. She's the
one who broke my arm the last time
we saw each other.

AUNTIE BERNIE
You broke your arm falling out of a
tree.

EVAN
Yeah. Cause she pushed me.

AUNTIE BERNIE
Your both adults now. Stop whining
about it. I'm sure you'll see each
other differently and become
friends.

EVAN
If you say so.

Just then Jean walks into the room, she is a beautiful young
woman with long blonde hair tied into a tight and sever pony
tail. Her general attitude is belligerent and standoffish.
She seems angry at the world and looks at Evan with an almost
evil gleam in her eye as if she is immediately thinking of
ways to torture him. Basically she acts like a major dyke and
dresses accordingly. She is the exact opposite of Evan's good
natured, outgoing personality.

JEAN
Well, look who's here. Evan how
nice to see you again. I see you've
been shopping, did you get lots of
new dresses for your coming out
party?

EVAN
Yes, I did. I was planning on
inviting you, so I need to know
would it be too much trouble for
you to rent a tux or is flannel
surgically attached to your body?

AUNTIE BERNIE
You two, how about trying to be
civilized with each other for more
than three seconds. You might be
surprised and find out that you
could be friends. Especially if you
(turning to Evan) stop acting like
a slighted queen and you (turning
to Jean) stop acting like a lesbian
with a grudge. Now play nice or
I'll ground you both until you
learn how to.

EVAN AND JEAN (SIMULTANEOUSLY)
Fine!!!!

Jean turns and storms out of the room.

AUNTIE BERNIE
Honestly! The two of you should
know better by now. Get ready for
work I told your Uncle Sally that
you'd be there by four and it's
already three thirty.

Bernie turns and leaves the room, while Evan starts unloading
the bags.

JUMP CUT TO:

INT. NIGHTCLUB. EVENING

Evan is sitting at a table talking with Uncle Sal, who is
smoking a cigar. Uncle Sal is a bit heavy set, he is good
looking and reminds you of a gangster, he's kind of a
Baldwin. The interior of the club has several small circular
tables around a stage, with a runway jutting out. The layout
also has a riser with more tables and two bars one on either
side of the room.

UNCLE SALLY
Okay kid, here's the deal. While
you're working here I expect 100
percent. No slacking or excuses
cause you're my nephew. I'm going
to put you in as a barback and
cocktailer in the showbar because
you'll make more money than in the
restaurant.

EVAN
Cool, thanks Uncle Sal.

UNCLE SALLY
Don't thank me yet. It's a lot
harder than people think and you
may have to put up with a couple of
customers hitting on you.

EVAN
I've dealt with that before. No big
deal.

UNCLE SALLY
It may be, have you seen the
uniforms my cocktailers wear?

EVAN
Yeah, but it's just an outfit. I
can handle the customers, the same
way I do when I come here to hang
out.

UNCLE SALLY
Okay. That's settled, now let's
discuss the rest of your job. While
you're working here and staying
with us, I expect you to look for a
job that uses that nice expensive
degree of yours. You're mine and
Bernie's nephew, but no free rides
at this point kiddo, it's time for
you to start taking care of
yourself. Got it?

EVAN
Got it. How long do I have?

UNCLE SALLY
You get as long as you need time
wise, as long as I see you making a
real effort. Capiche?

EVAN
Capiche. I'll start on it tomorrow.

Uncle Sally gets up from the table, pats Evan's head mussing
up his well groomed hair and starts to walk away. Evan stays
seated. Sally turns back...

UNCLE SALLY
Hey Evan, let's go you got some
work to do, first shows in an hour,
the bar needs to be stocked and
tables set up for the first round
and your not even in uniform yet.

Sally turns around and continues walking out of the room.
Evan gets up and follows him. Sally leads him to a door that
is located next to the stage, but behind the bar. He opens
the door.

UNCLE SALLY (CONT'D)
You can change in here, just don't
distract the performers.

EVAN
Okay, (walks into the room) (hint
of sarcasm) I promise to behave.

UNCLE SALLY
You're a good kid, but a bit of a
wise ass just like your Auntie. No
go I gotta business meeting I'm
late for.

Uncle Sally walks away shutting the door behind him. Evan is
in a room that looks like a large walk-in closet with dresses
and gowns hung everywhere. There are stage mirrors and
dressing tables along one wall and several drag queens in
various states of completion in getting ready for their show.

DRAG QUEEN ONE
(In Barbara Streisand
imitation)
Well, Hello Gorgeous! What brings
you into our clutches.

DRAG QUEEN TWO
Really, he does look good enough to
eat. Who wants to make a sandwich?

The Drag queens all start moving closer reaching out to touch
Evan, who stands there smiling a bit of a blush on his
cheeks. Suddenly two of the drag queens are pulled back and a
very tall drag queen who is dressed to look like Dolly Parton
moves through the crowd, to Evan and pulls him in close
mashing his face into the giant bust.

FELICIA O.
Pull your claws in bitches, this
sweet thing is Bernie's nephew and
he is strictly hands off. Evan,
sweety I haven't seen you in ages.
How are you doing? Did you finish
school or are you just in for the
summer? Have you met anyone? Well,
tell me what's going on?

Evan has been trying to answer the questions, but his answers
are muffled because his face is buried in the giant breasts.
Suddenly hearing Evans, muffled speech Felicia releases him
and pushes him back taking a good look at him.

EVAN
It has been a long time (Evan seems
unsure if he knows this person).
I'm fine, I did graduate from
college and I'm going to be working
here until I find a job. So, I
guess I'll be here for a while. I'm
not seeing anyone,(suddenly
recognizing Felicia) but if you're
single anything is possible. Other
than that not much, but helping
Auntie Bernie with the wedding. You
used to baby-sit me when I was
little, Uncle Mikey.

FELICIA O.
Yes, I did and I knew then you'd be
trouble. You were such a pretty
little boy, and now you're a pretty
man. If I were just a few years
younger, you'd regret that offer.

EVAN
I don't think I'd regret it at all.

FELICIA O.
Oh, So you're gay?

EVAN
Let's just say I'm undecided.

At that all of the drag queens make a comment about how
they'd be happy to help him decide.

FELICIA O.
Listen I brought your uniform and
set it back there behind the
dresses, you go and change and I'll
protect you from these harpies.

Evan goes behind the dresses and all the drag queens
including Felicia lean over in an attempt to take a quick
peak, but are unable to see anything, so settle back into
conversation.

DRAG QUEEN ONE
Hey does anyone know why Sally is
meeting with Little Frankie?

FELICIA O.
Little Frankie? Why would he need
to meet with that thug?

DRAG QUEEN TWO
I hear he's been making some kind
of special arrangements with him,
to make business a bit easier.

FELICIA O.
You'd hear that he was being made a
Cardinal if someone said that he
saw the pope. Please if Sally's
meeting with Little Frankie I'm
sure it's for a good reason. I
happen to know that they were
friends growing up, so maybe
they're just catching up.
No ladies we've got a show to do
and none of you are even finished
with all that construction that you
do, not that it does any good.

Evan comes out from behind the dresses. He's dressed in a
small pair of black shorts that are skin tight and look like
a bathing suit, and he has on a black tuxedo vest.

EVAN
Who's Little Frankie?

DRAG QUEEN ONE
Little Frankie is ...

FELICIA O.
Little Frankie is a friend of your
Uncles and that's all he is.
(Looking sternly at all the other
drag queens and then walking out
towards the stage) I have to do the
sound check. Evan you're late,
better get moving and set up the
room, it's gonna be packed tonight.

DRAG QUEEN ONE
(Pauses to make sure
Felicia is out of
hearing)
Little Frankie is rumored to be a
gangster.

EVAN
A gangster? Come on they don't
exist anymore.

DRAG QUEEN ONE
I'm just saying.

Evan leaves the dressing room and goes behind the bar where
he sees the bartender and introduces himself. The bartender
hands him a tray full of stuff and tells him to start wiping
down the tables and get ready for the customers. Evan goes
about getting to work. As he is cleaning he is moving closer
to the entry for the show room. He is able to overhear Uncle
Sally and Little Frankie talking through the door which is
partially propped open.

UNCLE SALLY
I'm telling you Frankie that's the
way it's going down.

LITTLE FRANKIE
I'm telling you Sal to make it go
down like that is murder. If you
want it to happen that way I'm
gonna need to hire a couple of
specialists and that's gonna take
money.

UNCLE SALLY
Who cares about money? You do what
you gotta do and don't come back
till it's taken care of. Capiche

LITTLE FRANKIE
Capiche

UNCLE SALLY
Now get outta here, I gotta get
this place open.

Evan continues cleaning the tables moving a bit faster and
thinking about the conversation he just heard.

This is a work in progress!!!!!!

Copyright September 2007

The Class

2008-01-05T12:16:00.000-05:00

Dream Cast:
Mike: Chace Crawford
Cherie: Brittany Snow
Jason: Zac Efron
Kim: Brenda Song
David: Van Hansis
Rowanda: Monique Coleman
Mr. Edison: James Marsden

Act one:
scene one:
WE open on an empty podium set at stage right. There are cheers and applause as well as cat calls. The podium is lit by a single spot light with the rest of the stage dark. Mike walks up to the podium and clears his throat. The applause fade out.
MIKE
Welcome, friends, family, esteemed faculty, and graduates. As we approach this new millennium, let us remember the things we have learned here at George Bush High. Not only the things that the teachers have taught us but what we have taught each other. But above and beyond all things remember the events that we all learned from this year.
(pauses and takes a deep breath)
It has been a year full of learning and changes. Changes that will affect us for the rest of our lives.
(the light starts to slowly dim)
I was trying to figure out when these changes started. Was it at the Winter formal, or maybe it was when Mr. Edison gave us that assignment to learn about each other.
(light should be off and the stage is completely dark)
I thought long and hard about this and realize that the changes started to take place back in October the day before the fall dance...
Mikes voice trails off into the darkness.
The lights come up on the center of the stage. The school gym. Cherie, wearing her cheerleaders uniform, is there putting a ladder up. Kim is helping her. Jason enters from stage left carrying a Christmas wreath, staring at Kim.
CHERIE
Jason, what's that?
JASON
A wreath.
CHERIE
What kind of wreath?
JASON
A Christmas wreath.
CHERIE
This is a fall dance. Take it back to the storage room.
Jason exits stage left. Mike enters from stage right. He is wearing jeans a t-shirt, tennis shoes and his letter jacket.
MIKE
Hey what's up?
KIM
Just decorating for the dance.
CHERIE
Yeah, and with Jason helping it's going to take forever. He's such a geek sometimes.
MIKE
C'mon he's not that bad. Just a little different. So Kim have you bagged a guy for the dance yet?
Jason enters stage left again. He is carrying something that resembles a May pole.
JASON
Cherie, can we use this to hang some...
CHERIE
No. Now take it back and only bring fall stuff.
Jason exits stage left once again.
KIM
I don't need some guy to take me to the dance. I'm tagging along with you and Cherie.
Enter David and Rowanda. David is wearing jeans and a polo shirt. Rowanda is dressed in extremely baggy clothes with dirty combat boots.
DAVID
Is Cherie here?
CHERIE
I'm Cherie. Can I help you?
Rowanda walks to her. Then around her checking her out.
ROWANDA
My goodness, I get to be shown around this free-range prison of intellectual oppression, by the human Barbie doll.
CHERIE
And what's your name buddy?
ROWANDA
Rowanda.
CHERIE
You're a girl?
ROWANDA
No, I'm an African-American goddess. But you can call me goddess.
KIM
What a dishonor to meet you.
DAVID
The principal said you could show us around school.
Kim and Cherie set the ladder in place. Cherie starts up the ladder with some black and orange streamers. Jason enters from stage left with a scarecrow and throws it on the floor in the middle of the stage. He then turns and exits stage left again.
ROWANDA
What's his problem?
KIM
Nothing. He's just a little strange.
MIKE
No one's strange. He's just not really in sync with things.
DAVID
That's cool. My name's David and you're?
Reaches out to shake Mikes hand.
MIKE
Mike.(returns handshake. And looks at David for the first time.) Nice to meet you.
Mike is obviously staring at David. Their eyes connect and they stay that way for just a minute. Not breaking the handshake either.
MIKE (cont'd)
I'm the captain of the football team.(realizes that he is staring and they are more or less holding hands. He pulls away abrubtly.)
Jason enters stage left carrying a small tree, that looks as if it has just been dug up from the ground. he drops it next to the scarecrow.
JASON
Is that fall enough for you Cherie?
Cherie looks down from the ladder.
CHERIE
Yes. Thanks Jason. I appreciate your help.
ROWANDA
What's all this mess for?
KIM
The fall formal.
ROWANDA
Oh the fall formal. Let me guess captain here is with Barbie and your with the strange kid.
Cherie comes down from the ladder.
CHERIE
You're right I'm with Mike. But Kim doesn't date anyone. Not since sophmore year.
KIM
Leave it alone Cherie. I told you I'm not over Robbie yet.
Kim exits stage left.
CHERIE
Great now I won't have any help setting this thing up.
MIKE
I'll help you. Don't worry about it.
CHERIE
I wish I knew why she always gets so huffy when we talk about her dating. That whole Robbie thing was two years ago. So he dumped her because she had an operation and was out of school for eight months. It happens.
DAVID
Cherie, you look familiar to me.
CHERIE
Really. I'm sure I don't know you.
ROWANDA
Listen I'd love to stay and chat all day but I'm here to supposedly try to learn something.
CHERIE
Fine let me see your schedules.
Rowanda and David hand Cherie their schedules and she looks them over.
MIKE
(to David)
You're going to come to the dance right?
DAVID
I don't know. I don't have a date or anything.
Kim enters from stage right.
MIKE
That's okay we'll set you up with Kim.
KIM
Ahhh! (runs back out stage right.)
MIKE
Oops. I didn't know she was there.
CHERIE
Mike yours and Davids' schedules are the same. So you show him around. I will take care of the ghetto queen. We're all in the same English class. So I'll see you then.
MIKE
(to David)
Mr. Edisons class is cool. He's new this year and he gives the easiest homework.
DAVID
That's cool.
They all exit stage right. A few moments later Jason enters from stage left. He stops startled to see the gym is empty.
JASON
She's gone....Naturally I have to do all the work around here.
Jason climbs the ladder and starts hanging the streamers.
End Scene One:
Scene Two:
The gym which is now fully decorated. Black and orange streamers are hanging from the center of the ceiling to the walls. They are arranged to look like a spiders web. The scarecrow is sitting up under the tree which has been potted. Hay is strewn about the floor. There is a stack of hay by the door at stage right. There are several students dancing and milling around. The girls are in cocktail length dresses and the guys are in suits. Mike, Cherie, Jason are standing against the wall to stage left. Jasons' suit is bright purple a major contrast from the browns, blacks and blues of the other guys.David and Kim enter from stage right.
KIM
There they are (reaches up and waves).
David and Kim cross to the others at stage left. Cherie and Kim greet each other with kisses and hugs as if they hadn't seen each other in years.
CHERIE
That dress is fabulous Kim. Where'd you get it?
KIM
Just something I picked up at the mall.
MIKE
(to David)
Hey.
Just as David is about to answer Rowanda enters from stage right and charges across to the group. She is dressed in the same baggy clothes as before, except her combat boots have been shined to look brand new. Cherie and Kim stare at her appalled.
ROWANDA
What? I polished my boots.
The guys laugh.
CHERIE
I can't believe you showed up dressed like that.
KIM
Really, you look like you're going to rob a store.
ROWANDA
Maybe I am. What's it to ya? (To Jason) Nice suit there boy. Who'd you get it from a color blind man?
Cherie and Kim step inbetween Mike and David. Rowanda moves next to Jason. David looks at Mike.
DAVID
You want to dance?
KIM
Sure.
MIKE
How bout it Cherie?
CHERIE
Yeah.
The four of them step out onto the dance floor. They are dancing to the upbeat music. David and Mike are dancing with the girls but it seems more like they are dancing with each other. Rowanda and Jason stay by the wall.
ROWANDA
Don't even think about asking me to dance.
JASON
No. He was just a regular blind man.
ROWANDA
Who?
JASON
The guy who sold me the suit.
ROWANDA
Who cares about the guy who sold you the suit. What are you stupid or something?
JASON
I'm smarter than you are and one day I'm gonna prove it.
ROWANDA
You do that.
JASON
Are you always so mean?
ROWANDA
I'm not mean. I'm just protecting myself from enslavement to the conventions of a neo imperialistic white society.
JASON
Well can't you be nicer?
ROWANDA
Why? So I can be a mealey mouthed little creep like you.
JASON
I'm not a creep.
ROWANDA
Sure you are. I bet you think those guys out there like you. Don't you?
JASON
They're my friends.
ROWANDA
Your friends make fun of you a lot.
JASON
They're just kidding. They don't mean it.
ROWANDA
Whatever.
Jason crosses the floor to stage right bumping into Mike who is set off balance and caught by David. Jason stops just before the entrance to the gym and looks back at the room.
JASON
(shouting)
I've got a gun you know!
Jason exits stage right. The dancers stop.
GIRL STUDENT
What a weirdo.
BOY STUDENT
Yeah. Really. He's a creep.
GIRL STUDENT 2
We should get going.
BOY STUDENT 2
Why?
GIRL STUDENT 2
Remember that high school last year?
BOY STUDENT 2
Yeah. So what?
GIRL STUDENT
I don't want that happening to me.
BOY STUDENT
We should leave. In case.
Groups start to break away and leave through the door stage right.
DAVID
Looks like the dance is over.
KIM
Wonder what set him off?
CHERIE
I'll bet it was miss black rights over there.
DAVID
Who cares? People are leaving. We should go to.
MIKE
I'm on the cleanup crew.
The other students are filing out the door stage right. Rowanda pushes her way out through the line.
MIKE (cont'd)
It doesn't look like anyone else is gonna stay to help.
DAVID
I'll stay. If the girls don't mind going home together?
CHERIE
We didn't drive though.
DAVID
You can take my car and Mike can drive me home.
KIM
But how will you get your car?
DAVID
I'll just pick it up at Cheries house tomorrow.
CHERIE
But you don't know where I live.
DAVID
Yeah, I do. I remembered where I knew you from. I'll just come up the ...
CHERIE
David! That's fine. I'm all about getting out of here now. Give me the keys please.
David hands Cherie the keys and the girls exit stage right. Mike heads off stage left. He returns moments later with a broom and dustpan in his hand.
MIKE
Want to sweep or pick up?
David reaches for the dustpan.
DAVID
Pick up.
Mike goes to stage left and starts sweeping, his back to David.
DAVID (cont'd)
So you're the captain of the football team? The one that led the school to the state championship last year?
MIKE
Yeah.
Mike stops sweaping and turns to David who is center stage.
DAVID
The play you used to win was really great. No one saw it coming.
MIKE
That's because it was such a simple play. Everyone was expecting a grandstand play instead.
DAVID
I was on the other team that day.
MIKE
You play football? Try out for our team. I could talk to coach.
DAVID
I played football. I don't anymore. But thanks for the offer.
MIKE
How could you not want to play football? It's the best game in the world.
DAVID
I think that there are other things more important. To me anyway.
MIKE
I suppose so. But I'm not sure what.
Kim very quietly enters from stage right. She sees David and Mike talking and ducks behind the stack of hay right next to the door.
DAVID
So what was the play that you used to win that night? Our team wasn't able to figure it out.
MIKE
A simple zig zag play. It was easy but noone uses it.
DAVID
A zig zag are you serious. Show me.
Mike drops the broom. He then starts showing David the set up for the play.
MIKE
Well first I set my line. I had the blockers in a normal formation. (he is moving to show the positions as he talks) Then I had all of my receivers go to the right side of the line. Your team adjusted all its coverage to get them. Then I stepped back and the center shot me the ball. (he steps back and sets himself in the stance to receive the ball from the center.)Hike.
Mike acts like he has caught the ball from the center. He runs to his left. Then back to the right. The whole time telling David what he did.
MIKE (cont'd)
Then I move left again. Your guys didn't know what I was doing. They weren't expecting me to run the ball like that. (Mike is almost to David at this point). I Cleared the blockers and made a straight run.(Mike is running straight at David at this point). Touchdown.

Mike should be standing right in front of David. He reaches over and pulls David to him. Then Mike kisses David on the mouth. It is a deep kiss. But Mike breaks away suddenly. Kim is looking from behind the haystack and covers her mouth to keep from screaming out when she sees them kiss.
MIKE (cont'd)
I shouldn't have done that. I don't know what came over me.
DAVID
That's okay. It was nice.
MIKE
You... You liked it?
DAVID
Yeah. A lot actually.
MIKE
Are you...Uhm... are you... gay?
DAVID
Yes. Aren't you?
MIKE
No. No. I couldn't be gay. I'm the... It's just not something I could do... I mean there's nothing wrong with it, but it's...it's just not right.
Kim sneaks back out of the gym through the doors stage right. She is carrying a large purse with her. Just as she steps through the door a baby rattle falls out of the purse. Kim leaves unnoticed.
DAVID
Are you sure? It seemed pretty right a few seconds ago.
MIKE
It was, but I can't. I just...
DAVID
Don't worry about it. I'll keep my mouth shut.
MIKE
(smiles)
I hope not you might bite my tongue off.
DAVID
What?
MIKE
I'm not gay or anything but I figure we could just hang out and what ever happens, happens. No commitments or designations. You know.
DAVID
Yeah, I know. It's cool. I'll give you all the time you need. And in the meantime if we happen to fool around with kissing from time to time I can live with that.
MIKE
Good.
Mike leans into David and they kiss again. Then they exit stage right. David stops just as they are about to exit. He picks up the baby rattle.
DAVID
Where'd this come from?
end Scene two
scene three:
The next day David and Cherie are sitting at a wooden pic-nic table. A sign above their heads reads "Happy Acres Trailer Park".
CHERIE
I can't believe you almost told them where I live.
DAVID
Who cares?
CHERIE
I do. Promise you won't tell anyone?
DAVID
Yeah.
CHERIE
Promise David.
DAVID
Okay. I promise. I found this at the dance.(Pulls out the rattle)Any idea who it belongs to?
CHERIE
Nope. Never saw it before.
DAVID
You serious. How many girls have kids at our school?
CHERIE
A few. But it could be a guys there are some fathers too.
DAVID
Guess I'll just have to ask around.
CHERIE
Probably, but I doubt you'll find the owner. So what're you doing tonight?
DAVID
I've got a date.
CHERIE
With Kim? I knew you two would like each other.
DAVID
What are you up to?
CHERIE
I've got a date too.
DAVID
Mike.
CHERIE
Not exactly. But it's something I can't get out of. You know family thing.
DAVID
Yeah. I hate that stuff.
CHERIE
Me too. Here're your keys.
Cherie puts Davids keys down on the table.
CHERIE (cont'd)
I've got to go. See you later. And remember you promised.
DAVID
I know. Later.
eND SCENE THREE:
SCENE four:
Night in the park. David and Mike are sitting on a bench near a fountain.
DAVID
Cool movie.
MIKE
Yeah. I liked when that dude got thrown off the building.
DAVID
It was okay. I liked it when the guy was doing the martial arts stuff.
MIKE
You like that?
DAVID
Yeah. It's cool.
MIKE
So what do ya wanna do now?
DAVID
I don't know. What do you wanna do?
MIKE
I'm not sure. I just like hanging out with you.
DAVID
I like hanging out with you too. By the way thanks.
MIKE
What for?
DAVID
Holding my hand during the movie. It made me feel like we were truly together.
MIKE
I wasn't holding your hand. I was just sharing the armrest with you. Why'd you have to get all gay?
DAVID
Maybe because I am. You know it's not easy to figure you out. You asked me out.
MIKE
I know. But you don't have to be all gay and stuff. You could just be my friend and let it go at that.
DAVID
Fine but if all we're gonna be is friends then the rules change.
MIKE
What rules?
DAVID
The rules that say you can hold my hand or kiss me if you're my boyfriend. But if you're not then that stops.
Mike stands up and faces David.
MIKE
Why is it so cut and dry with you?
DAVID
Because it has to be. I don't want to get hurt.
MIKE
And trying to make me something I'm not isn't going to hurt me. I don't want everyone going around and calling me faggot.
DAVID
Is that what you think of me?
MIKE
No of course not. I just...give me time. I'll work it out I promise. I just don't know what I want right now.
DAVID
Maybe you don't want me then.
Mike kneels down in front of David and takes his hands in his.
MIKE
I want you in my life. I just don't know how you fit into it. Okay. Just some time. That's all we need. I promise.
Jason enters stage right. He walks across to Mike and David.
JASON
Hey guys. What's up?
Mike stands up quickly and turns to Jason.
MIKE
Nothing...nothing Why?
JASON
No reason I just saw you here and thought I'd say hi.
DAVID
Hi. What're you doing out so late?
JASON
Just a... taking a walk. You know. Needed to do some midnight exploring.
MIKE
What's midnight exploring?
JASON
Uhm... Looking for a... bugs you know to add to my collection.
DAVID
Unusual hobby you have. But I need to get home. See ya later Jason. Mike you coming.
David gets up and heads off stage left.
MIKE
Jason, did you... did you see or hear anything?
JASON
No just you guys sitting here.
MIKE
But did you hear what we were talking about?
JASON
No. I Didn't hear what you guys were saying...Why?
MIKE
No reason. I gotta go. Talk to you later.
Mike turns and runs off stage left.
MIKE (cont'd)
Hey, David wait up.
Jason shrugs his shoulders.
JASON
Where was I going?... Oh yeah. That's it. I wish I could remember the address.
Jason turns and exits stage right.
eND SCENE FOUR:
sCENE FIVE:
In the gym. The dance decorations are gone. Kim is looking around nervously.
KIM
I lost it. I can't believe I lost it.
Rowanda walks in from stage right as I Kim drops down to her hands and knees. Rowanda stops abrubtly and just watches Kim.
KIM
Where is it?...What did I do with it? Let's see it was in my purse. Where was my purse? Oh yeah it was over there by the door.
Kim turns toward the door on her hands and knees and sees Rowanda standing there. She stands up and walks over to the door.
ROWANDA
Lose something?
KIM
No. No. Just thought I did.
ROWANDA
So you like crawling around on the floor then?
KIM
No.
ROWANDA
Then tell me what you lost. Maybe I'll help you look for it.
Kim acts deflated.
KIM
It's not important. Not really.
ROWANDA
Whatever you say.
Kim leaves the gym. Jason enters.
JASON
Oh it's you.
ROWANDA
Who else would it be?
JASON
I thought she was here.
ROWANDA
She who?
JASON
Nobody. I wasn't looking for anyone.
ROWANDA
You know something. You're very strange.
JASON
I am not.
ROWANDA
Yes you are.
JASON
How?
Rowanda puts her arm around Jasons shoulders and they head for the door at stage right.
ROWANDA
Where do I start? (pauses and looks at Jason) This could take awhile you know?
JASON
Really?
ROWANDA
Really.
They exit the gym.
enD SCENE FIVE:
scene six:
Mr. Edisons class room. There are doors at stage left and at stage right. Mr. Edison is sitting behind his desk which is towards stage left. Jason is sitting in a desk towards the front of the class towards center stage.
MR. EDISON
Jason what's all this about a gun?
JASON
Nothing.
MR. EDISON
It can't be nothing. You shouted out that you had it at the dance.
JASON
It's nothing. I was just angry.
MR. EDISON
That kind of anger can be trouble. Do you want to talk about it?
JASON
No.
MR. EDISON
Jason, I've spent the better part of this morning with the principle. Convincing him that he didn't need to have you arrested for threatening the school. You need to talk about it, or you need to spend some time getting counseling. It's your choice. Me or a psychiatrist.
Mr. Edison gets up and moves around the desk, sitting on the edge nearest to Jason.
MR. EDISON (cont'd)
Well, which would you like?
JASON
I was just angry. That girl was making fun of my suit.
MR. EDISON
You said that because someone made fun of your suit?
JASON
No. It wasn't because of that.
MR. EDISON
Then why?
JASON
I don't know. Do I have to have a reason for everything?
MR. EDISON
Most people do. It seems that you would too. But you don't want to talk about it yet.
JASON
I guess. Now what?
MR. EDISON
Now you'll meet with me at this time every week until you feel comfortable enough to talk about it.
JASON
If I don't?
MR. EDISON
Then you'll be sent to a psychiatrist.
JASON
If I don't do that?
MR. EDISON
Jail.
JASON
Can I go now?
MR. EDISON
If you want. But make sure you're here same time next week.
Jason gets up and leaves the room. Mr. Edison walks behind his desk and starts putting papers into his briefcase. Mike enters from the door at stage right.
MIKE
Mr. Edison?
MR. EDISON
Mike. Nice to see you.
MIKE
Can I talk to you?
Mike walks further into the room.
MR. EDISON
Sure. What about?
Mr. Edison puts his briefcase down.
MIKE
About... Uhm...college. I wasn't sure what I should do. Any ideas?
MR. EDISON
Well, you have good grades. And your an excellent football player. I don't think that you'll have any problems getting into whatever college you want. But you know all that.
MIKE
Yeah. I guess I do.
MR. EDISON
Why don't you tell me why you're really here?
MIKE
Have you...Well have you...
MR. EDISON
Go ahead. Whatever you say will stay between us.
Mike takes a deep breath.
MIKE
Have you ever been attracted to someone you shouldn't be attracted to.
MR. EDISON
You mean like a student?
MIKE
No. More like someone you should just be friends with.
MR. EDISON
Sure, I've been attracted to lots of women I should have just been friends with. Some of them are still very good friends. Why?
MIKE
I don't mean women. I mean more like...Uhm.
MR. EDISON
I understand. Mike don't worry about it. It happens to all guys at some point or another. If that's the way you are then you'll know it. If not you'll know that too. Just ride out the feelings and see what happens.
MIKE
Are you sure?
MR. EDISON
Is this the first time you've ever felt this way?
MIKE
I don't know I've never thought about it.
MR. EDISON
Maybe you should then. But don't worry about it. If you are then you are and there's nothing wrong with it. Now it's getting late and I have papers to grade. If you ever need to talk again my door is always open.
MIKE
Thanks.
Mr. Edison finishes putting the papers in his briefcase and he and Mike walk out of the room together.
end scene six:
end act one
aCT TWO:
sCENE ONE:
Mike is back at the podium. Once again in cap gown and tie. His speech continues.
MIKE
That was the start of the changes. The night that our reality would start to bend and change to what it is now. It was the night that long held secrets started to slip and come forth. But secrets are rarely meant to be kept. They are to be held by those that know them until the time for revelation is right. It was a few months later when all the secrets would explode out into the school and alter all of our lives forever. Mr. Edison decided to hand out an original and new assignment that would allow us to learn more about ourselves. We learned all that he wanted us to and then some. At first the assignment seemed innocent enough but the best laid plans...
The lights go down on Mike and up on the center stage. We are in Mr. Edisons class room. Jason, David and Kim are already there along with several other students. Rowanda enters from the back door followed by Cherie. Mr. Edison then enters from front door. David is wearing a button down oxford shirt in white with a pair of jeans and loafers.
MR. EDISON
Alright is everyone here?
Mr. Edison looks about the room and notices Mike is missing.
MR. EDISON (cont'd)
Has anyone seen Mike? Is he in school today?
DAVID
Yes, He was meeting with the guidance counselor about colleges. He should be here soon.
Mike walks in the door at stage left out of breath.
MIKE
Sorry I'm late Mr. Edison.
MR. EDISON
It's okay. Any major decisions we should know about?
MIKE
Nothing yet.
MR. EDISON
All right then. If there aren't any other things on the agenda then I'd like to start some new business.
He pauses and looks around the class.
MR. EDISON (cont'd)
Okay then. Let's discuss your homework assignment.
The class collectively groans.
MR. EDISON (cont'd)
Come on settle down. It's not as bad as you think. And I'm giving you two weeks to work on it.
CHERIE
Two weeks. That's a lot of time for homework isn't it?
MR. EDISON
Well it's going to be a big assignment. Anyone care to know what it is or would you like to guess?
MIKE
A twenty five page research paper.
ROWANDA
The complete history of the African American woman in white oppressionist society.
KIM
Rowanda give it a rest. The assignment is going to be to create an original scene in the form of a Shakespeare play to perform in class.
MR. EDISON
All good guesses and great ideas for future assignments. But I was thinking more along the lines of a news report.
DAVID
That shouldn't take two weeks.
MR. EDISON
Well it's going to have to. You see it's not going to be any news report. You guys are going to report on each others lives ten years from now.
CHERIE
That doesn't sound to bad. And it still shouldn't take two weeks to do.
Mr. Edison goes to his desk at the front of the room and leans against it. He yawns and looks distractedly about the room. Then he looks directly at Cherie.
MR. EDISON
It does seem like it would be an easy one doesn't it? But like with all homework there's a catch. You will be writing about one other person in the class, who I will assign. But you have to spend an entire day with that person to get factual information about who they are... The final catch is that you have to be able to support your story with pictures and tangible facts that support it.
ROWANDA
(angrily)
Wait a minute that's an invasion of privacy.
DAVID
Yeah, plus with all our other homework and stuff, how are we supposed to spend an entire day following someone?
MR. EDISON
David I'm surprised by you. I would think you'd enjoy this assignment.
The class is starting to get angry collectively.
KIM
I don't care what you say. No one is going to follow me around for a day.
JASON
Why do you have something to hide?
KIM
(defensively)
No. But I'm sure you do, jerk.
MIKE
I've got too much to do. With practice and student council and all. I'm not sure I could take the time.
MR. EDISON
Well, it's not a matter of taking the time. It's a matter of making the time. This assignment is to teach you something about yourselves and others. So give it a shot. If it proves to be too difficult maybe we'll alter it somewhat.
The class members slump down in their chairs and start acting distracted.
MR. EDISON (cont'd)
These are your partners. Cherie you will report on Rowanda.
Cherie jumps up.
CHERIE
Woah, wait a sec. I'm following her? So on top of rearranging my life I've gotta go to the ghetto? Noway.
MR. EDISON
Yes. Rowanda you will report on Mike. Jason you will do Kim. David you will do Cherie and Mike you will do Jason. Kim will do David and Bob will do Christine...
The bell rings and Mr. Edison leaves the classroom. The lights dim. The class files out.
End Scene one:
scene two:
The classroom a few days later. Mike and David are sitting next to each other and are dressed identically in button down oxford shirts, jeans, and sneakers, except that mike is wearing a black shirt and white jeans and David is wearing a white shirt and black jeans. Cherie, Kim, Jason, Rowanda are there also. They are sitting or leaning on the desks. A couple of the other students enter through the door at stage right.
MIKE
I still say we shouldn't do it.
DAVID
We can't just not do it. We'll all get effs.
ROWANDA
So what? Do you want someone prying in to your life?
DAVID
No, but if we're the only ones who don't do it then we'll fail.
CHERIE
So we just make sure no one else does it.
JASON
It's not that simple. I've already done mine.
KIM
That's impossible. I would've known.
JASON
I just followed you around for a day. It was easy. You never noticed me. Just like every other day.
KIM
Freak. Well just because you did it doesn't mean you have to hand it in.
JASON
Yes it does. Besides I'm not the only one who's finished.
MIKE
Yeah, who else.
JASON
Just about everyone else.
MIKE
Kim's right, you're a freak.
DAVID
Hey, just because we didn't do it, doesn't mean that we have to call Jason names.
CHERIE
David don't get on that kick again. Jason likes it. He knows we're only kidding. Don't you Jason?
JASON
Yeah, I suppose so.
CHERIE
Well, I guess we need to get started on our papers then. There's no fighting it. Especially since we have only a couple of days left.
The bell rings class starts. Mr Edison comes into the room. The lights go out.
end Scene two
scene three:
The park early morning. There is a fountain center stage. A few bushes to stage left, and a bench at stage right. There is a group of people near the fountain. They are dressed formally for a meeting of some kind. At the front of the group is Rowanda she is dressed elegantly with makeup and a business like dress. Her hair is in a twist. She looks like a young executive. Her father, mother, and brother are standing by her. A man is shaking her fathers hand. The crowd is composed of Black and White couples. Rowanda starts to wander through the crowd. One White couple who are elegantly dressed and standing near Rowanda can be heard.
MAN1
He thinks he's important just because he has money.
WOMAN1
Really, dear. Don't get upset. He's nouveau riche. Of course he does act very friendly at the club.
MAN1
He has too. He knows that we'd kick him and all his money out if he acted up. I mean he's black after all. Imagine his trying to be like us.
WOMAN1
Honestly, soon the club will be serving fried chicken and watermelon. We really shouldn't have to follow that Equal opportunity law. It just doesn't apply to us. The only blacks that should be at the club should be serving. Not members.
Rowanda moves further along in the crowd and stops by two black men who are talking and able to be heard. Man2 is somewhat older. Probably early fifties or sixties. The other is around the same age as Rowandas father.
MAN2
Joe, I tell you I can remember him as a boy. He was always tinkering with stuff. I knew he'd come to some good.
JOE
I remember him to. We went to school together... Just look at him. Talking to the mayor and all. He thinks he's special cause he's rich.
MAN2
I'm sure he doesn't see it like that. He's just trying to give back to the community.
JOE
Yeah. The white community. He doesn't come around the old neighborhood anymore. He thinks that now he's rich, he's white. He hasn't got any use for black people any more. And look at his kids. They probably don't even know what it is to be black.
MAN2
Maybe you're right. But it doesn't seem right, saying that he wants to be white. It just doesn't sound like him.
JOE
Sound like him or not. That's what's happening. He could have given that money to the black community but instead he gives it to the board of education. It'll all go to the schools in the better neighborhoods. The schools our kids don't get to. Guarantee it.
Rowanda rejoins her family and they leave the Park.
End Scene three
scene four:
The park early evening the sun is setting. It is quiet there is noone about. The bench is at extreme stage right. The fountain and bushes have moved stage right in proportion to the bench. Kim enters with a stroller that has a babies bag hanging off the handle. She sits on the bench. Jason enters from stage left. He sees Kim and ducks down behind the bushes. He then sneaks over to the fountain and hides behind it.
KIM
That's right play in the sandbox baby. Mommy is going to be right here... No don't throw the sand... that's right just put it in the bucket... Good... Mommy's watching... You keep playing nice... That's it... No throwing the sand!...
Jason pulls a notebook out of his back pocket and starts writing. He sneaks occasional peaks at Kim to make sure that she doesn't see him.
KIM (cont'd)
Robin, you're a good boy... Are you making a pie... For me... You're so smart... (Looks at her watch) It's time to go baby... I know you want to play more, but we have to go... We'll come again soon.
It is almost completely dark. Kim gets up and pushes the stroller off stage right. Jason stays crouched beneath the fountain.
Once Kim has gone Jason stands up and walks to the bench. He looks off in the direction she has taken.
JASON
Ahh. My sweet beauty. I love you. But do I love you enough... Enough to want a kid. No, a kids too much responsibility... But I want her. I need her to be mine... She won't date though. How do I make her like me... (Jason starts pacing between the fountian and the bench) She thinks I'm crazy. I'm not crazy. Am I? No, no of course not. I'm in love... With her... But the kid. I should tell her. No I can't tell her, she's probably in love with someone else. But she never dates. Is she married? No, how could she hide that? She's hidden the kid. Is it really her kid? Maybe not. But then why Mommy? What do I do... I go for it. I tell her... But what, how? I wish I were Mike. He always knows what to do. So sure of himself. Mr. Cocky. He never worries. She probably likes him. Hell the kids probably his too. I could handle that. It would be a sort of justice. Me raising Mikes kid. I should just tell her... I can't. I want to...(Jason sits back down behind the fountain hidden from view) Oh hell.
The park is completely dark. The bench is center stage facing out. The fountain is behind it towards stage right. The bushes are behind the fountain towards stage left. Mike and David enter from back center stage. They stop at the fountain.
DAVID
Jason what are you doing there?
Jason stands up.
JASON
I was looking for something.
MIKE
Can we help?
JASON
Help with what?
DAVID
With looking for whatever it is you're looking for.
JASON
I didn't lose anything. What would I be looking for?
MIKE
We don't know. You were crouched down there and we asked you what you were doing and you said looking for something. Then we asked if you needed help and you said you weren't looking for anything. What's going on?
JASON
Nothing. I was just watching someone...something.
DAVID
You're acting kind of strange. Are you okay?
JASON
I'm fine. I was working on my paper.
MIKE
You act weirder everyday.You told us you finished your paper.
DAVID
Besides Kim's not here.
JASON
She left. I wanted to add more stuff.
MIKE
Like?
JASON
Pictures. I need to get pictures to back up the story.
DAVID
But you don't have a camera.
JASON
I've gotta go now.
MIKE
Bye.
Jason exits stage right. David and Mike continue to the bench. They sit down. Mike stretches and puts his arm behind David. David slides right next to Mike.
MIKE (cont'd)
Sometimes I think he's just plain crazy.
DAVID
He's not crazy. Just a little confused...By the way I am too.
MIKE
What are you confused about?
DAVID
About us. What's going on Mike?
MIKE
Why does something have to be going on? I mean, things are good as is. We're friends right?
DAVID
Of course we're friends, but what kind of friends?... I've never done that with anyone else, Mike. I need to know where we stand.
Mike takes Davids hand in his and squeezes him with his other arm.
MIKE
We're really close friends, David. I know you want... No, need more from me, but I can't give it to you. You're gay. I'm not. It's as simple as that.
DAVID
For someone who's not gay, you do a hell of an impression of it.
MIKE
What's that supposed to mean?
DAVID
It means you asked me out. You kissed me first. You initiated our... You know. You may play the leader but you're leading with a guy. I don't care how you slice it. I'm gay yes, but I'm still male and as long as you're doing what you're doing with a male you are gay.
MIKE
(angrily)
I'm not gay. I'm just fooling around with my best friend. Who happens to be.
DAVID
What about Cherie? When was the last time you went out or had sex with her?
MIKE
What's that got to do with anything?
DAVID
A lot. Are you more attracted to her or me Mike? Do you even spend any time with her at all?
MIKE
I'm attracted to you. And no I don't really spend anytime with her outside of school... But that's how it's always been. She's too busy.
DAVID
So are you using me so you don't have to break up with her?
MIKE
No. I want our relationship. But I'm not gay. It's just not who I am. Can't you understand that?
DAVID
I guess I can on some level. But how long do you think this can go on?
MIKE
Forever. Don't you want to be together always?
DAVID
Yeah, but not like this.
MIKE
Listen I can't make any promises. But maybe one day it'll all change. For right now though... I'm straight and that's all there is to it.
Mike leans over and kisses David on the cheek. Then he nuzzles Davids neck. Three teenage boys come walking through the park. They enter from stage right.
BOY1
Hey, look at the faggots.
BOY2
Let's kick their asses.
BOY3
Nah. They'd be able to identify us and then we'd go to jail and have to be like them.
BOY1
I hate faggots. They all desearve to die.
The boys run off the stage to stage left. David and Mike get off the bench and exit stage right.
end Scene four:
scene five:
The truck stop. It is late night. There are a few tables and chairs in the restaurant. There is also a long counter with stools at it. Sitting on one of the stools is an older woman in her forties. She is obviously drunk. Her elbow is on the counter and she is leaning her head into it. Her blonde hair is disheveled and her clothes are rumpled. There are a four truckers eating their dinners. Three of them are friends and sit together. The other one sits at the counter and eats alone. David comes walking in from stage right, carrying a backpack and sits at one of the tables. He wipes his hand across it and makes a face at its greasy surface. Cherie enters from stage left. She is dressed in a waitress uniform, that looks like it has survived from the nineteen fifties. It is pink and worn, it has a low cleavage and short skirt. Cheries hair is pulled into a makeshift bun, out of which a pencil is sticking. On top of her head she has what looks like a little paper crown that is the hat for her uniform. She is wearing a name tag, but it reads Deidre. She is wearing very heavy makeup. She approaches Davids table casually and with an air of trampiness.
CHERIE
What can I get cha?
David looks up at the waitress.
DAVID
Well I could use a menu and could you wipe down the table it's kinda greasy.
CHERIE
Menu'll be right back sugar. As for the table it'll probably only get worse.
Cherie walks back to the counter and grabs a menu from behind it. She returns to the table.
CHERIE (cont'd)
What cha drinkin sugar?
DAVID
Coffee please.
CHERIE
You got it.
Cherie again walks away towards the counter. She goes behind it and pulls out a coffee mug then reaches behind her for the coffee pot. She then brings the mug back to David. David looks at her long and hard.
DAVID
Cherie?
CHERIE
Nah. Name's Diedre
DAVID
No it's Cherie.
Cherie looks down at the table and at David. She is shocked to see him.
CHERIE
David, what are you doing here?
DAVID
I came in for coffee and to do some homework. What are you doing here?
CHERIE
I work here. But I'm called Deidre. These guys don't know I'm in school... Don't tell anyone okay.
DAVID
Okay, but what difference does it make?
CHERIE
I don't know, it just does.
LADY
Hey stupid. Get over here and get me a drink.
DAVID
Who's that?
CHERIE
Just some old drunk. I've got to get her order. Are you ready?
DAVID
I need a minute. Go ahead and take care of her.
LADY
Hey blondie, hurry up. I brought you into this world and I'll take you out. I want another drink now!
Cherie runs behind the counter and reaches down for a bottle. She brings it up and pours a drink for the lady.
TRUCKER
(at table)
Hey beautiful, how bout bringin us some of that?
CHERIE
Y'all behave. You gotta drive and I ain't gonna be the one to serve ya. Now if you want anything else I might be more obligin.
The truckers snicker and laugh at her inuendo.
TRUCKER
Deidre you just answered my prayers.
CHERIE
Just make sure you aren't praying for something you can't handle.
The truckers laugh again. Cherie hands the glass to the lady.
CHERIE (cont'd)
Mom don't you think you've had enough?
LADY
I'll tell you when I've had enough. Now get away from me.
Cherie goes back to Davids table she sits down.
CHERIE
What do you need?
DAVID
A piece of apple pie.
CHERIE
Sure.
DAVID
Why do you let that lady talk to you that way?
CHERIE
Truth?
DAVID
Truth.
CHERIE
She's my mom. She's an alcoholic. She wasn't drinking for a while but then she lost her job and started again. I work here to support us. It's okay money, but I'm just barely able to get by.
DAVID
Why don't you get her into one of those programs?
CHERIE
Because someone like her has to want to get better and right now she doesn't want to. So I do what I can to survive and wait till she hits bottom.
DAVID
Sounds like you've been through this before.
CHERIE
I have a few times. I just wish she didn't treat me like garbage when she's drunk. She's okay sober but like this...She's actually being almost nice tonight. I'll get you that pie.
Cherie gets up and walks behind the counter. David reaches into his backpack and pulls out a book.
Lights fade to black:
The diner. David is finishing up his pie. The truckers have left and Cheries Mother is passed out on the counter. Cherie goes over to Davids table. She is carrying a coffee pot and a mug.
CHERIE
Ready for a refill?
DAVID
Yeah.
Cherie sits at the table. She pours coffee into Davids cup and then fills the one she was carrying.
DAVID (cont'd)
Do you like working here?
CHERIE
No. But if I want to survive I've got to.
DAVID
I wish I could help.
CHERIE
That's really sweet David, but I doubt there's anything you can do. So how's the studying?
DAVID
Alright I guess. Did you finish your report on Rowanda yet?
CHERIE
Are you kidding. She won't let me get near her outside of school. Not to mention I seem to have very little time to do it.
DAVID
Why don't you just talk to Mr. Edison? I'm sure he'd understand.
CHERIE
No. I'll work it out somehow. I usually do. Now why don't you tell me about your social life. You've been around for a few months now. Anyone I should know about?
DAVID
Well I have been seeing someone.
CHERIE
I know it's not Kim. She would have told me. So let's see. I've got it Casey. She's wild about you.
DAVID
No. Not Casey.
CHERIE
Rebecca?
DAVID
No. Cherie I'm gay.
CHERIE
Oh. I... Hmm. Then I bet it's Kevin.
DAVID
No. Not Kevin. Cherie I'd love to tell you but I've been sworn to secrecy.
CHERIE
Okay. I can live with that. Does Mike know you're gay?
DAVID
I guess. It hasn't really come up.
CHERIE
With all the time you two spend together? I'm sure he's got an idea.
David looks away from Cherie. Her mouth drops open in shock.
CHERIE (cont'd)
Mike? Are you serious?
DAVID
No, yes, I don't know. He says he isn't gay, but he keeps asking me out and we...uhm...we...the other night.
CHERIE
I don't believe it. Actually I do. But to know it's true. Man, and I've been his perfect girlfriend. We say we're dating but I'm always to busy to actually go out. I ought to tell him off.
DAVID
Cherie, you can't. He can't know that you know. He'll go crazy if he thinks that anyone besides me knows he's gay.
CHERIE
Okay. I won't say anything. But just so you know. It's not something new. The other kids have been saying he's gay since freshman year.
DAVID
Really?
CHERIE
Yeah. If we hadn't started dating he would have been outted a while ago.
DAVID
Does he know?
CHERIE
I think so, but he's so afraid to admit it. It's good to know though. Do you love him?
DAVID
I think so. Yeah.
end SCENE FIVE
SCENE six:
Kims house. Her parents and she are sitting around the table eating. Her parents are much older probably in their late fifties. Kims father does not talk to her but talks through her mother.
MOM
Kim, your father wants to know where you took the child this afternoon?
KIM
To the park. He needs to get some fresh air.
DAD
(to Mom)
Why does she try to disgrace us? Did anyone see her?
MOM
Kim, your father wants...
KIM
I know mom. I can hear him. I'm not trying to disgrace you. And no noone saw us. I made sure we were alone... The baby needs friends and fresh air. He's lonely. All you ever do is feed him and change his diapers... He's your grandson, play with him, love him.
DAD
NO! You will not take him out of this house again.If you do, don't come back.
Dad gets up and storms out of the room. Kim gets up and runs out of the room crying.
enD SCENE six
Scene seven:
The park late at night. The bench is center stage facing the audience. The fountain is lit and casts a dim glow to the surrounding area. The bush is just a shadow behind the fountain. Jason is laying on the bench asleep. His face is hidden from view. Mike staggers in from stage right he is wearing his letter jacket and carrying a bottle wrapped in a brown paper bag. He goes to the bench and looks down at it.
MIKE
Figures someone would be sleeping on my favorite bench.
Mike turns towards the audience then sits down on the ground leaning against the bench. He leans his head back and lets out a scream that sounds like a growling animal. Jason wakes up but doesn't show his face.
JASON
What?... Who's there?... What's happening?
Mike his head lays his head against Jasons legs.
MIKE
Hark! A voice. A familiar voice. The voice of strangeness and silence. The voice of idle threats and significance. The voice...
JASON
So now your Shakespeare?
MIKE
The voice of my friend Jason. Why are you sleeping on a park bench?
JASON
Cause I feel like it. Go home. You're drunk.
MIKE
And getting drunker.
Mike takes a big swig from the bottle.
MIKE (cont'd)
Want some?
JASON
Yeah.
Mike swings his arm with the bottle fast and drunkenly to Jason. Jason reaches over his shoulder for the bottle keeping his face hidden. Then takes a sip.
JASON (cont'd)
Thanks.
MIKE
So you gonna let me sit on the bench or make me stay on the cold hard ground.
Jason rolls over and keeping his face hidden by his arm.
JASON
You gotta move so I can put my feet down.
Mike stands up. He is wobbily on his feet. Jason puts his feet down and sits up. He removes his arm from his face. It is bruised and swollen. Mike flops onto the bench without looking at Jason. Jason turns his head away from Mike to hide the bruises.
MIKE
Gimme back the bottle.
Jason hands the bottle back to Mike.
MIKE (cont'd)
Thanks.
JASON
How much have you had to drink?
MIKE
Let's see. I had a fifth at home. Then swiped this from the rents liquor cabinet. How much is left in here?
Mike looks over to Jason while handing him the bottle. Jason turns and takes the bottle. He pulls it out of the back revealing that it is almost full.
JASON
Almost all of it.
MIKE
Then I've had a fifth and a couple a sips.(really looks at Jasons face) Woah, dude what happened? (reaches over to touch Jasons face)
JASON
Nothing...(winces and pulls back as Mikes hand makes contact) Owww.
MIKE
Sure looks like something.
JASON
Well it's not. Why are you drinking?
MIKE
Cause it seems to make things clearer.
JASON
What things?
MIKE
Life, sex, god. You know the universe.
JASON
I guess. Mind if I have some more.
MIKE
Help yourself. You sure you don't need a doctor or something?
Jason drinks.
JASON
Yeah, I'm sure.
MIKE
So who'd you piss off?
JASON
Noone. You won't tell anyone about this will you?
Mike takes the bottle back and takes a swig.
MIKE
I won't even remember this tomorrow. But people are gonna see your face. It's kinda hard to hide.
A girl and guy laughing is heard.
JASON
I know. What should I tell them?
MIKE
That the other guy looks worse.
Cherie and David walk into the park. Cherie has changed into jeans and a sweatshirt, her face is clean of the excess makeup and she is carrying a backpack. They see Mike and Jason on the bench and join them.
DAVID
(sitting next to Mike)
What are you guys doing here?
CHERIE
It's kind of late.
MIKE
Just chatting away the night. And getting drunk. Want some?
DAVID
Why not? I could use a drink. Cherie?
Jason hands David the bottle.
CHERIE
Yeah I guess a...
DAVID
Jeez. What happened to your face?
Cherie looks at Jason.
CHERIE
Oh my god. Do you need a doctor?
JASON
I'm fine. I got into a fight earlier. No biggie.
DAVID
You sure?
CHERIE
It looks pretty bad.
JASON
Well it feels just peachy.
CHERIE
Sorry, I didn't mean to be nice to you or anything.
Cherie sits down on the ground taking the bottle from David and taking a big swig.
MIKE
So what are you two doing out this late? You aren't trying to get my girl are you?
DAVID
No, Uhm we were just having coffee.
CHERIE
Yeah, you know I'd never go with anyone else Mike.
MIKE
That's right. I'm the best there is. Right David?
DAVID
Right.
JASON
What are you two talking about?
MIKE
Sex.
JASON
So how would David know if you're the best.
DAVID
I wouldn't.
MIKE
Sure you would. That's what you and Cherie were talking about isn't it?
DAVID
That's right Cherie told me everything.
CHERIE
Sure did.
MIKE
Who's got the bottle?
CHERIE
I do.
MIKE
Well take a drink and pass it on.
Cherie takes a drink and passes the bottle on to Jason. Who takes a drink and passes it to David. David takes a sip and then passes the bottle to Cherie.
MIKE (cont'd)
Hey you skipped me.
DAVID
Don't you think you've had enough.
MIKE
Can't have enough. I need to think about things and it helps.
CHERIE
Being sober would help.(takes a drink and passes the bottle to David)Besides what do you need to think about?
MIKE
Lots of things.
JASON
Like what?
MIKE
You wouldn't understand.
JASON
Maybe we would.
MIKE
Okay, you tell me who beat your face in and I'll tell you what I'm thinking about.
JASON
Never mind.
The sound of a joggers feet pounding on the sidewalk is heard. Rowanda enters from stage right. She is wearing an enormously baggy jogging suit. She is slightly out of breath and stops by the bench.
ROWANDA
What are you doing here?
MIKE
Just talking. How about you?
ROWANDA
Lord almighty. All brawn no brains. What's it look like I'm doing?
CHERIE
Running from some criminal activity.
DAVID
Cherie! We didn't know you jogged.
ROWANDA
Well believe it or not I like to keep in shape.
MIKE
Why? No one can see it. Here have a drink.
Mike grabs the bottle from David and takes a sip before handing it to Rowanda.
ROWANDA
What is it?
MIKE
Water.
Rowanda takes a big swig of it. She swallows and starts coughing.
ROWANDA
Are you trying to kill me?
MIKE
Fire water!
ROWANDA
How much have you had to drink?
MIKE
Enough. Now give the bottle to Jason it's his turn.
Rowanda walks over to Jason and hands him the bottle.
ROWANDA
Holy... Who redecorated?
JASON
It's nothing.
ROWANDA
Looks pretty ugly. You need a doctor or something?
JASON
No I'm fine.(takes a swig from the bottle and hands it to David) The pains almost gone.
ROWANDA
Okay, but make sure you don't bleed on me.
JASON
Promise.
CHERIE
Rowanda why don't you just sit down and join us.
ROWANDA
Gotta stretch. Then I'll join the party.
Kim runs in hands over her eyes crying. Mike calls to her.
MIKE
Kim! Kim! Stop!
Kim stops and removes her hands from her eyes.
CHERIE
Come here. (Kim joins them at the bench)What's wrong?
KIM
I've got to get out of my house.
DAVID
Why? Did you have a fight with your parents?
KIM
It's not that simple.
ROWANDA
Why don't you tell us about it?
KIM
I can't.
JASON
Why not?
KIM
(looks at Jason)
Oh my...
JASON
I'm fine. It doesn't hurt anymore. No I don't need a doctor. Thanks for asking. Now what's so bad at home?
KIM
Oh, nothing, everything. I don't know.
MIKE
(cheerfully)
Have a drink.
He takes the bottle from David. Drinks some and hands it to Kim. She takes a tentative sip. Then gulps some down.
MIKE (cont'd)
I now call this meeting of the mindless drunks to order.
CHERIE
You're the only one who's drunk.
JASON
I'm not far behind.
ROWANDA
What's going on here?
DAVID
What do you mean?
ROWANDA
I mean I came out here for some exercise. Mikes here plastered, Jasons not far behind. You and Cherie seem to be hanging out awfully late and now she comes running through the park crying. Something is really wrong here.
CHERIE
David and I were studying together and went out for coffee. We came across these two(points to Jason and Mike) on our way home.
MIKE
I came out here to get drunk and think.
JASON
I just needed to get away from...
KIM
I had a terrible argument with my father.
ROWANDA
So you're saying you've got problems. We all do but getting drunk in the park at four thirty in the morning isn't the best answer.
MIKE
Maybe not but it's the easiest one.
JASON
That's for sure.
MIKE
Hey, you've got a gun. You can blow your problem away.(Mike laughs)
JASON
I do have a gun. But it's not as easy as that. If it were I'da done you already.
MIKE
Right.
DAVID
Let's not talk about this. Did everyone get their papers for Mr. Edisons class done?
ROWANDA
Mines already typed and ready to go.
JASON
I'm finished.
CHERIE
I haven't had a chance to. Rowanda can I follow you tomorrow?
ROWANDA
No. I ain't gonna be chased around by walking, talking Barbie.
CHERIE
Well maybe I'll just follow you anyway.
ROWANDA
You do and you're gonna end up looking like the punching bag over there.
CHERIE
God you are such a...
ROWANDA
Say it. Come on say it.
KIM
Can't we ever be together without arguing?
DAVID
Apparently not.
MIKE
Look who's talking? Mr. I have the perfect life faggot.
DAVID
You're an ass.
JASON
What is going on with you two?
DAVID
Nothing.
MIKE
That's right. He wants my bod but I won't let him have it.
JASON
What are you talking about? Davids not gay.
DAVID
Yes I am.
JASON
You're queer?
MIKE
Get with the program dumbass. He's as queer as a three dollar bill.
JASON
So what?
MIKE
If you're so okay with it. Make out with him.
JASON
No way. I'm not like that.
CHERIE
Nice. Could you two be a little more stupid.
ROWANDA
Probably not.
KIM
Just a couple of assholes. Like all the other guys.
DAVID
It's okay. They're just drunk. They'll be alright tomorrow. Give me the bottle.
David takes the bottle and drinks deeply. He then passes it around. The others each drink. Then they sit silently just passing the bottle around.
end scene seven
scene eight:
The classroom. Mr. Edison is sitting behind his desk, grading papers late in the afternoon. Rowanda walks in quietly and stands in front of the desk.
MR. EDISON
Hello Rowanda, can I help you with something?
ROWANDA
I...
Rowanda turns to leave.
MR. EDISON
Are you sure you want to leave?
ROWANDA
I'm not really sure what it is I want?
MR. EDISON
I find that surprising.
ROWANDA
Why?
MR. EDISON
Because you show yourself as being confident and strong. Isn't that the case?
ROWANDA
Yes, but it's just a show. I feel like I'm being torn between two worlds.
MR. EDISON
Most people experience that.
ROWANDA
How could they?
MR. EDISON
Well it depends, each person feels that way for different reasons. How are you being torn?
ROWANDA
I don't know.
MR. EDISON
Does the idea of growing up scare you?
ROWANDA
No. It's more complicated than that.
MR. EDISON
Maybe your afraid of having a family and a career? You can have both you know.
ROWANDA
That's not it. It's more black and white than that. More of a financial issue.
MR. EDISON
I think I understand now. It's not an easy problem. But it can be overcome.
ROWANDA
How?
MR. EDISON
By not sticking to your own prejudices and avoiding extremes. There is a middle ground, but you have to look for it.
ROWANDA
Where?
MR. EDISON
As soon as you figure that out, your problem will be over.
ROWANDA
I don't understand.
MR. EDISON
You will. It will come with time. But in the meantime, you should talk with your parents. They'll understand. And probably explain this all better than I can.
ROWANDA
Okay. Thanks.
Rowanda gets up and leaves. Mr. Edison goes back to grading his papers. Kim walks into the room and sits down at a desk.
KIM
Mr. Edison?
Mr. Edison looks up.
MR. EDISON
Hello Kim. What can I do for you?
KIM
I need some advice.
Mr. Edison gets up from his desk and sits in a desk next to Kim.
MR. EDISON
I'll be glad to help if I can. What's the problem?
KIM
I have this friend. And she's the one with the problem.
MR. EDISON
Okay. So what's your friends problem?
KIM
Her parents are very strict, religious types.
MR. EDISON
That's not the problem is it?
KIM
No. She has a baby. Her parents aren't mean or anything but they are making difficult for her to do anything for the baby.
MR. EDISON
In what way?
KIM
She can't take him outside or even let anyone know that she's had a baby or they'll kick her and him out of the house. She loves her parents but she loves her baby too. She just wants to be able to go on to college and maybe find a husband and a career, without having to worry about losing it all because she's proud that she's a mom.
MR. EDISON
Sounds like a very complicated situation. I take it talking to her parents is out?
KIM
Pretty much. What can she do?
MR. EDISON
I'm not really sure. But maybe someone at Planned Parenthood or her guidance counselor could help her out. I'm sure she's not alone. She just has to seek out the help she needs.
KIM
Do you think it'll help?
MR. EDISON
It may make things worse first.
KIM
Worse?
MR. EDISON
Worse. Sometimes things get harder before they get easier. I suspect your friend is going to have some major decisions to make. I hope you'll stand by her whatever they are. She'll need alot of support.
KIM
I will.
MR. EDISON
Was there anything else?
KIM
No. Thanks I appreciate the help.
Kim gets up and leaves the room. Mr. Edison gets up and walks back to his desk. Just as he is about to sit down Cherie walks in with David following her.
CHERIE
She's impossible. I can't do the assignment. She won't let me get near her. Mr. Edison you've got to do something.
MR. EDISON
I do?... I take it Rowanda is giving you some trouble.
CHERIE
Some trouble? She's being ridiculous. I asked her if I could follow her around and she threatened me.
MR. EDISON
Seems to me that the two of you need to work out your differences.
CHERIE
There is no way we can work out our differences. She's just too much of a...
MR. EDISON
No name calling please. I think that you can work it out if you try. Why not instead of following her around you try to interview her instead?
CHERIE
I suppose I could try that. But if it doesn't work I want another assignment. I'm not going to fail just because she's not cooperating.
MR. EDISON
Give it a shot. If she still won't cooperate. I'll talk to her and see if I can help. Alright.
CHERIE
Fine.
MR. EDISON
David did you need any help?
DAVID
No. Nothing you can help me with anyway.
MR. EDISON
Why do you say that?
DAVID
You wouldn't understand. Besides it's not that big a deal. I can handle it.
MR. EDISON
If you're sure. But if you change your mind I'll be here for a while.
DAVID
Thanks, but I'll take care of it.
David and Cherie leave the room. Mr. Edison sits at his desk and starts grading the papers again. Mike walks in stopping at the doorway. He starts to cry. Mr. Edison looks up.
MR. EDISON
Mike what's wrong?
Mike starts walking to Mr. Edison. When Mike reaches him he just stands in front of him looking lost.
MR. EDISON (cont'd)
Mike?
Mike leans into Mr. Edison sobbing very hard. Mr. Edison hugs Mike briefly. Then gently pushes him back.
MR. EDISON (cont'd)
Mike calm down and take a seat.
Mike and Mr. Edison sit at the students desks.
MR. EDISON (cont'd)
Mike what's wrong?
MIKE
I know.
MR. EDISON
What do you know?
MIKE
What I really am.
MR. EDISON
Mike start from the beginning. I'm a little confused.
MIKE
We talked about this a few weeks ago.
MR. EDISON
I think I understand now. You were confused about liking boys or girls.
MIKE
Right.
MR. EDISON
And you've figured out who you like?
MIKE
Yes.
MR. EDISON
Can I take it that you're not happy about it.
MIKE
How could I be?
MR. EDISON
Why can't you be?
MIKE
Because it's wrong. I've always been told it's wrong. That my life will be ruined. That wouldn't ever be happy living like that. That I wouldn't find love or have a family. That people would call me names and maybe even attack me for it. Why should I be happy about that?
MR. EDISON
How did you figure it out in the first place?
MIKE
What do you mean?
MR. EDISON
Well you were confused, but now you're not confused. Seems something must have changed to end the confusion.
MIKE
Yeah, I guess.
MR. EDISON
Well what was it?
MIKE
I met someone.
MR. EDISON
A guy I take it.
MIKE
Yeah.
MR. EDISON
And?
MIKE
And I like him alot.
MR. EDISON
Like? Are you sure that you want to throw your life away for someone you only like.
MIKE
Okay, maybe it's more than just like.
MR. EDISON
So what happened to end the confusion?
MIKE
We...Uhm.... I should go now.
Mike starts to get up.
MR. EDISON
Mike sit down. I understand what the Uhm is. It's okay.
Mike sits back down.
MIKE
It was fantastic. I never knew that I could feel that way with someone else.
MR. EDISON
So what's so bad?
MIKE
How can I live that way? I don't want people to call me names. My parents. I don't know what they would think. I mean I'd have to keep it a secret. I don't want to live like that.
MR. EDISON
Mike those are things that can happen. It doesn't mean that they will. You're the only one who can control what's going to happen.
MIKE
Is that what you really think?
MR. EDISON
Yes that's what I think.
MIKE
I think you're wrong. I think this has got to be a mistake. This isn't supposed to happen to me. I think it's all a nightmare and I'm going to wake up soon.
MR. EDISON
Well I hope you'll think about this some more. If you want I can see about getting you some help.
MIKE
Like what?
MR. EDISON
Well there are some gay youth groups. I have a friend who's a counselor. There are I think some other options, but I'll have check into them.
MIKE
Yeah okay, whatever. I've gotta go. Thanks. Bye.
Mike leaves the room. Mr. Edison once again returns to his desk to grade papers. He glances down at his watch and looks to the doors of the classroom. He starts grading a paper, then glances at his watch once more. He stops and puts the pen down. Mr. Edison turns and watches the doors of the classroom. Jason walks in slowly. His head is hanging. He sits at one of the desks.
MR. EDISON
What happened?
JASON
I got into a fight.
MR. EDISON
Over what?
JASON
Nothing.
MR. EDISON
You're awfully bruised for nothing. Now why don't you tell me what's going on.
JASON
It's none of your business. Just leave me alone.
MR. EDISON
Not this time Jason. This time I hear the truth.
JASON
The truth is I was beat up. Now can I go.
MR. EDISON
No. Who beat you up?
JASON
Noone.
MR. EDISON
Why are you protecting them?
JASON
I'm not protecting anyone.
MR. EDISON
Then tell me who did this.
Mr. Edison stands and leans on his desk.
JASON
(hostiliy)
Noone. Just leave me alone.
MR. EDISON
Jason someone beat the crap out of you. Why?
JASON
No reason.
MR. EDISON
Jason what caused the fight.
JASON
(very angry)
Why can't you just leave me alone?
MR. EDISON
(firmly)
Because this is important. What started the fight?
JASON
Some guy called me stupid. I got angry and hit him.
MR. EDISON
You got into a fight because someone called you a name?
JASON
Yeah so.
MR. EDISON
Why? From the look of your face, you could have been in danger. Was it worth getting beat up for?
JASON
I'm tired of everyone always calling me names. Alright. I decided it was time to make them stop.
MR. EDISON
Make who stop?
JASON
Everyone.
MR. EDISON
Could you be a little more specific?
JASON
My friends, the other kids here. They're always making fun of me.
MR. EDISON
So you figure that fighting is going to make it stop. Is that it?
JASON
Yes. I'm sick of them always calling me stupid, or weird. I'm tired of him telling me how I can't do anything. Of how he always act so perfect. And he does it for no reason.
MR. EDISON
Who's he?
JASON
I said they not he.
MR. EDISON
You said he. Who is he?
JASON
Noone. Just let it go.
MR. EDISON
No not this time. I want answers. Who is he.
JASON
He's my father okay! He beat the crap out of me the other night, because I borrowed his shirt.
MR. EDISON
He what? That's no reason to hit you.
JASON
It's enough for him. No can I go.
MR. EDISON
No you're not leaving this building not until you've talked to the police.
JASON
No. I can't he'll kill me.
MR. EDISON
Jason he could kill you anyway.
JASON
He's not always like this. Just once in awhile.
MR. EDISON
How once in a while?
JASON
It's been a couple of years since the last time.
MR. EDISON
So why now? Does he drink? Do drugs?
JASON
No. He just gets crazy sometimes. I don't know why.
MR. EDISON
There's got to be a reason. What happened the last time he did it.
JASON
I'm not sure. I came home from school and he was beating up my mom. My older brother was lying on the floor his back was red and my fathers belt was next to him. (starts crying) I came in and attacked him. I caught him off guard and knocked him to the floor. I just started hitting him. My mother begged me to stop. I couldn't. He got up and ran out of the house.
MR. EDISON
Then what happened?
JASON
My mother went to clean herself up. I took my brother to bed. We spent the next couple of hours taking care of him and waiting for my dad to come back.(takes a deep breath) He did eventually after I had gone to sleep. He woke me up. It was pointed right at my face. He told me if I ever did that again he'd kill me. Then he started hitting me with it. I thought he was going to kill me. I... He made me promise never to do it again. I did. Then he made me roll over and he whipped me.
MR. EDISON
What did your father hold in your face?
JASON
A gun.
MR. EDISON
Jason he's dangerous. I have to call the police.
JASON
Please don't. The next morning he didn't even remember it. He does that sometimes.
MR. EDISON
You mean he blacks out.
JASON
Please just leave it alone. In a couple of months I'll graduate and go to college. Then I won't have to worry anymore.
MR. EDISON
What do you do till then?
JASON
(softly)
I've got a gun.
MR. EDISON
That's what the gun is for protection?
JASON
Yes. And I'm not going to take anyone treating me badly anymore either. I've had enough.
MR. EDISON
Jason I can't. You could end up killing yourself or someone else.
JASON
What do you want from me. I'm afraid. I don't know what to do. I'm afraid.(Breaks into sobbing) I'm so afraid.
Mr. Edison hugs him.
MR. EDISON
It'll be alright. Somehow it'll be alright.
JASON
He's my father. I don't want him in jail. Oh god. How can he do this? Please help.
end scene eight
End acT TWO
act three:
sCENE ONE:
The scene opens on the classroom. It is empty except for the desks. Rowanda enters from the door at stage right. She sits at one of the desks and pulls some papers from a backpack. She then starts arranging the papers in order. Cherie enters also through the door at stage right.
CHERIE
Rowanda, I'm glad I found you. Our papers are due today and you haven't let me spend any time with you. So I have a few questions.
ROWANDA
Good but I don't have any answers.
CHERIE
You've got to answer them. I'm not going to get an eff just for you.
ROWANDA
It's seems like you are Barbie. Cause I ain't answering a thing.
CHERIE
That's not very fair. You're going to make me fail just because you don't like me.
ROWANDA
Seems like it.
CHERIE
Fine then I'll just make something up. Because I'm not going to fail for some cheap excuse for a gang banger.
ROWANDA
Do what you want. I don't care about anything you've got to say. No leave me alone so I can finish my paper.
CHERIE
It's a free country I can stay if I want to.
Rowanda packs her stuff angrily and leaves the room through the door at stage left. As soon as she leaves David enters through the door at stage right.
DAVID
Hey, Cherie what's up?
CHERIE
What did you write about me?
DAVID
The truth. Why?
CHERIE
Because the truth that you know could destroy me.
DAVID
Cherie nobody would hold any of that stuff against you. Actually it gives you a whole new dimension.
CHERIE
David I don't care what you think. You are not going to put any of what you know in that paper.
DAVID
I don't know why you're so afraid of people knowing that you are strong and capable.
CHERIE
People aren't going to think I'm strong and capable they're going to think that I have an alcoholic mother, live in a trailer and work at an all night truck stop. David they'll think I'm trash. I'm the girl that everyone in school looks up to. The one they all want to be. If the truth comes out I'll go from prom queen to street trash in point oh five seconds, got it. You may be willing to take that chance, but I'm not. I've worked too hard to put that life as far away from me as possible and in a few months I'm in college and as far away from all of this as I can get. Now you better damn well change that paper, or I'll make you regret it you little faggot.
Cherie storms out of the class through the door at stage left. Kim enters through the door at stage right. David continuously stares at the door Cherie just walked through.
KIM
Hello, what's up with her?
DAVID
Nothing. Hi.
KIM
Have you done your paper yet?
DAVID
Yeah. You?
KIM
Duh? It's on you so you know I did. By the way how's Mike?
DAVID
He's great, just great.
KIM
I'll bet he is. Too bad you're the only one who's finding out. Poor Cherie. Did they have a lovers quarrel?
DAVID
No I don't think so.
KIM
That's right they're not really lovers. I almost forgot.
David turns and looks at Kim in confusion.
DAVID
What are you talking about?
KIM
Cherie and Mike. You know how they're only boyfriend and girlfriend in public. But you and I both know that in private Mike has an entirely different lover.
DAVID
Kim I don't know what game you're playing or think you're playing, but leave it alone. Someone might get hurt if you don't and I get the feeling it'll be me.
KIM
And what have you got to do with it?
DAVID
Kim just don't do whatever it is you're planning to do. Okay?
David turns and leaves the room, by the door at stage left, before Kim can answer. Jason comes in the door at stage right.
JASON
Kim, what's up?
KIM
Jason, do you need something?
JASON
Just a little confirmation.
KIM
About what?
JASON
About your son.
Kim becomes instantly edgy. She looks scared.
KIM
About my what?
JASON
Your son. You know the kid you were playing with in the park the other day.
KIM
How would you know about that?
JASON
I followed you. I wanted to see what you were really like, not who you want to be.
KIM
Freak. Why would you follow someone without their knowing?
JASON
Cause it's easier if they don't know. Now what's your sons' name?
KIM
None of your business. Besides that's my little brother not my son.
JASON
You tell your little brother to come to mommy? That's kind of strange isn't it.
KIM
The only strange thing around here is you. Now leave me alone.
JASON
I'm not leaving until you tell me about your son.
KIM
You moron don't you get it? don't you see? I can't tell you about it. I can't tell anyone about it.
JASON
Why?
Kim is completely frustrated. She is feeling scared and angry all at the same time.
KIM
Because it'll put us out on the street.
JASON
But why would telling someone you have a baby put you out on the street? It's not like it isn't common now.
KIM
My parents are Chinese. They were raised very old school traditional. I disgraced them by getting pregnant without being married. The only reason that things are okay so far is I swore that no one would ever find out. If they heard that someone knows about my baby. They'd kick us out on the street and disown us. Don't you understand?
JASON
I guess but how could your parents do something like that to you and him?
KIM
Because they are old school. That's what is done to children who disgrace their families honor. Jason you can't tell anyone about my son. You even need to forget you know about him.
JASON
Kim it's part of my paper. I'm not going to lie about it. So what if your friends know.
Kim attacks Jason pushing him up against a wall and holding him there.
KIM
Are you stupid? I just told you what would happen to us if anyone found out. You won't change your paper. We'll see about that you ass. I'll kill you if you say anything about it. Do you understand? You are putting me and my baby in danger of having to live on the streets and I won't let that happen. Not for a pathetic little nerd like you. You're worthless. You hang around us like your one of our friends and the only reason we let you is so we have something to laugh at. Your so dumb you just keep coming back for more. None of us like you we just tolerate your existence in our world. Now be real careful what you do in that paper, because if you do anything that can cause my child harm I'll end that existence. Clear?
JASON
(startled)
Yes.
Kim tears in her eyes runs out of the room through the door at stage left. Jason goes to the nearest desk and sits down. He stares down at the floor. He is breathing heavily. After a couple of minutes Mike enters through the door at stage right.
MIKE
Jason are you all right?
JASON
Like you care.
MIKE
Well I thought I did, but maybe I don't now.
JASON
You never did in the first place. It's like Kim said you just let me hang around so you can laugh at me.
MIKE
That's not true. Not entirely anyway. What do you care what Kim says? It's not like the universe revolves around her.
JASON
Mine did.
MIKE
What do you mean yours did?
JASON
I've had a crush on Kim since we were in junior high, but she never noticed me. She still doesn't not really.
MIKE
So why don't you just ask her out?
JASON
Because she hates me. She thinks I'm nothing. She just tolerates me in her world and she can destroy my existence if she wants to. Besides she said that's how all of you felt.
MIKE
Maybe sometimes Jason. But you act so weird. You stay quiet and just watch us. Then when you do say something it doesn't always fit the conversation. I know your shy and all, but it's like extreme with you... and it's funny. Except when you decide to threaten us with death. Like the night of the dance when you announced to the whole school that you had a gun.
JASON
I do have a gun.
MIKE
I'm sure you do, but why talk about it. You don't have the balls to use it. So who cares. You just end up making a fool of yourself. We all laugh and then things go back to normal until the next time.
JASON
Your right I should stop talking about doing something and just do it.
MIKE
That's the ticket. Now just stop acting like we're a personal show and things will get better I promise.
JASON
What do you mean?
MIKE
Stop staring at us all the time, when you think we're not looking. It's strange. Sometimes I think your like stalking us.
JASON
Don't worry about me any more I won't bother you. But I'm going to tell you something. I'm done being the one who gets laughed at. By this time tomorrow when class is over you are gonna be the biggest laughing stock the school has ever known.
MIKE
I thought you weren't going to threaten us anymore.
JASON
That's not a threat it's a guaranteed statement. By this time tomorrow you're gonna be the one who wishes he were popular not me.
Jason gets up and smiling contentedly leaves the room through the door at stage left. Mike stares at him till he's gone. Then he shakes his head and shrugs his shoulders not taking the threat seriously. He sits down in one of the desks and leans his head back. He starts rubbing his temples. David reenters the room from the door at stage left. He sneaks up behind Mike and starts rubbing Mikes temples.
DAVID
Hey, friend.
MIKE
Hey, buddy. What's happening?
DAVID
A lot. Everyones fighting with each other. I just wish I knew why?
MIKE
Same here. It's giving me a headache. But I do have one piece of the puzzle.
Jason reenters through the door at stage left but stops short. He watches and listens to what is being said.
DAVID
Oh yeah, what's that?
MIKE
Jasons' in love with Kim. Can you believe it. The psycho and the prude. What a sad combination that is.
DAVID
Actually, I think they might be good for each other.
MIKE
Your nuts you know that? You never see the bad in things. But it's probably the reason I like you so much. But I still think that Jason is too weird to ever be in a relationship at least with anyone normal.
Jason turns and leaves the room.
MIKE (cont'd)
It's weird though.
DAVID
Why?
MIKE
Cause he's really a nice guy under neath it all.
DAVID
Then maybe that's what you should see.
Mike sits up in the desk and turns to David.
MIKE
All I want to see is everything go back to the way it was a few weeks ago when the only problem we had was Rowanda and Cherie going head to head.
David kneels down in front of Mike and hugs him. Mike hugs him back.
DAVID
Don't worry about it. It'll all straighten itself out...Mike?
MIKE
Yeah?
DAVID
I know you don't really want to hear this, but I just really need to say it right now.
MIKE
What?
DAVID
I love you.
MIKE
David I tol...
DAVID
It's okay. I don't expect you to respond. I just had to tell you. So you'd know.
Mike breaks the hug and stands up.
MIKE
Cool. It's time for us to go.
DAVID
Yeah, I guess it is. You coming over to my house to night?
MIKE
Yep. It'll be fun since your parents are out of town. Let's go.
Mike and David walk out the door at the front of the classroom stage right.
end scene one:
scene two:
Mr. Edison is sitting at his desk in the classroom. He is looking at the clock and waiting for class to start. The students start entering through the door at the back of the classroom stage left. Cherie enters first she goes to her seat drops her bookbag on the floor and sits down in her desk. Rowanda enters she goes to her desk and sits down casually on the opposite side of the room from Cherie. A couple of the other students come into the room they are laughing at some joke. Cherie and Rowanda simultaneously glare them into silence. Jason enters the room. He is carrying an overloaded backpack. He goes to his seat at the front of the room and sits down. Kim enters the room. She is timid at first and acts like she might leave but goes to her seat. Mike and David enter together. They are dressed identically in blue jeans,polo shirts, and sneakers, except that Mikes shirt is blue and Davids shirt is white. They stop at the door and survey their friends all of whom are sitting away from each other and avoiding talking. They walk into the room and sit at two desks side by side in the middle of the class. Mr. Edison gets up from his chair and moves around to the front of his desk which he then leans on.
MR. EDISON
Well it looks like there have been a few changes in the last couple of weeks. Did everyone finish their assignment.
Cherie, Rowanda, Kim, Jason, Mike and David all look around at each other. Then turn and face the front of the class.
MR. EDISON (cont'd)
I'll take the silence as a yes... Well who would like to go first. Rowanda?
Rowanda turns her head away towards the audience and looks out the window.
MR. EDISON (cont'd)
Rowanda, would you read your paper first please.
Rowanda continues to ignore him. The rest of the class starts watching her. After a few seconds Cherie raises her hand in exasperation.
CHERIE
I'll go first.
Cherie gets up and stands in front of the teachers desk facing the class. She has her paper in her hand. She looks down at it. She is ready to start but hesitates.
MR. EDISON
Cherie, whenever you're ready.
Cherie clears her throat.
CHERIE
Rowanda Watts, who was born in a down trodden suberb of Chicago, grew up on the streets. She almost overcame her poverty stricken childhood in the beautiful midwestern town of Center City, where she attended George Bush High School her senior year. But she was unable to raise herself out of the muck of the streets. She grew into a drug user, with three kids a live in lover who beat her, and welfare recipient. Rowanda had no aspirations in school except her fantasy world...
Rowanda stands up out of her seat and interrupts.
ROWANDA
Stop it Barbie! Just stop it. You made all that stuff up and you know it. So does Mr. Edison.
CHERIE
How could he know that I made it up?
ROWANDA
Well, aside from the fact that you just told him. He does business with my father.
CHERIE
So what business does your father have? A butcher shop.
ROWANDA
God blonde girl. You are stupid. Have you ever read a newspaper in your life. My whole familys picture was on the front page last Sunday.
CHERIE
Under what headline? Local drug bust?
ROWANDA
No under the headline: Compulabs owner donates millions to local school board.
CHERIE
Wait a minute. I did see that article. But that wasn't you in the picture. You were beautiful and you were wearing a dress.
ROWANDA
My father makes me dress like that for photos. I don't like it. But it makes him happy.
Cherie returns to her seat somewhat dazed.
CHERIE
If it were me I wouldn't complain about it.
ROWANDA
That's because you wouldn't have anything to complain about.
MIKE
What are you talking about Rowanda?
ROWANDA
I'm talking about discrimination. You guys don't know how easy you have it. You're so wrapped up in your little world that the rest of it doesn't penetrate. Do you have any idea what it means to be black and rich in America?... No you couldn't could you. It's awful going to events with my family. I hear all the rich white folks that my dad says are his friends talking behind his back. Saying things like "He thinks that just because he has money he fits in, but he's just an uppity..."(Rowanda starts crying) or "He doesn't belong here. I don't care how much money he has."... No matter what my family does as far as the white world is concerned we're still just fieldhands. Then of course there's the black community.... To them we're just trying to be white. Trying to change the color of our skin. My father worked his way through school and studied as hard as he could to be sucessful. We're not supposed to get rich, because the way we live is like the white folks. We're just a bunch of white want to bes. Because we live in a house and belong to a country club according to my Uncle. So I try to forget that my father has money so I can at least be accepted for being black. What I want is to just be accepted because I'm a nice, intelligent person, with the capability of doing anything I want to. But you can't understand that.
CHERIE
Maybe we can. Everything isn't always what it seems to be.
ROWANDA
How would you know? You have everything. You're popular, pretty and rich. How could you possibly understand what it's like not to fit in?
CHERIE
I think David should read his paper next Mr. Edison. (Turning to David) The way it was originally written.
MR. EDISON
That's fine. David go ahead.
David gets out of his seat nervously. He holds his paper in his hand. He starts reading quietly without looking up from the paper. Rowanda wipes her eyes and sits listening for what David is saying.
DAVID
(quietly, almost a whisper)
Cherie has just won her first Oscar.
MR. EDISON
Louder please we can't hear you.
DAVID
(louder, clearly audible)
Cherie has just won her first Oscar. She attributes her success to the demanding life she led in high school. Cheries' school friends would say she was the head cheerleader and always very popular.The truth according to the actress herself, however, is that she learned a tremendous amount of discipline and gained inner strength during that time by taking care of her alcoholic mother, and working late nights at a highway truckstop to make enough money to support them both. She remembers all the hard work to keep up her grades and the appearances of being the most popular girl in school. The experience will continue to send her to new heights as an actress.
David sits down quickly. The class sits in stunned silence.
CHERIE
As I said not everything is what it seems to be. It's not easy to play miss popular when you know that if you go to a party instead of work you could lose your electricity. All I want is to feel safe, and right now here in school where everyone wants to be me.... I'm safe. I'm in control, I can be anything I want,... but when schools over, I go home and if I'm lucky my mother isn't passed out on the couch. I get to make dinner. Do a little homework and then go to work. That's my life, my real life. So I do understand trying to fit in. I just hope things won't change now that you all know.
MR. EDISON
Is there anything we can do to help?
CHERIE
Just don't make me resign as head cheerleader.
KIM
What is this confession day or something? I'm glad I don't have any secrets like that.
MIKE
C'mon Kim. Your life isn't picture perfect. We all know how strict your parents are. And you had to have that surgery and stuff.
JASON
She didn't have surgery she had a baby.
ROWANDA
What?
JASON
She had a baby. A boy. He's two now.
KIM
(stunned)
NO...No I didn't. I would have had to get pregnant to... I had to have surgery on my kidney...(in sudden rage) I'm going to kill you Jason. You're a pathetic moron. (Kim jumps out of her chair and attacks Jason) I told you not to say anything and you just blurt it out. Don't you understand what you've done to me. Do You!
MIKE
Kim stop!

Mike grabs Kim in an effort to stop her. Kim keeps swinging at Jason and Mike. Mr. Edison gets up and tries to assist. After a short struggle Kim gives up. Mike and Mr. Edison assist her back to her seat.
CHERIE
Kim did you?
KIM
Yes.
CHERIE
Why didn't you say anything?
KIM
Because my parents ordered me not to. They said I shamed them. They hate me. They haven't spoken to me since the day I told them I was pregnant. Except to tell me if anyone knew I had a baby I would be kicked out... baby and all.
David goes to her. He hugs her.
DAVID
It's okay. Your secret will stay in this room. But I would really like to meet your little brother sometime, if it's okay?
Kim smiles wanly
KIM
I think that would be great.
ROWANDA
I could babysit sometime. You know if you need one.
CHERIE
Yeah, and I'll keep Rowanda company.
MIKE
Just make sure you two can keep from fighting around him. So he grows up normal.
Kim giggles slightly.
KIM
Look who's talking about being normal.
MIKE
What's that supposed to mean. I'm normal in everyway.
KIM
Overall I'd say you're right except for your little secret.
MIKE
What secret? How good I am in bed maybe?
KIM
There is only one person who can answer that.
MIKE
Oh? Who?
KIM
Mr. Edison, I think I'd like to read my report next.
MR. EDISON
Go ahead, but let's try and keep from having another outburst. You kids are starting to sound like a soap opera.
Kim stands again. She grabs her report off her desk and starts to read.
KIM
Mike has become very successful in the last ten years. Conquering New Yorks financial world the way he did opposing football teams during his high school years. Having just opened his own stock brokerage. Mike attributes his success to the love and support of his family and his long time lover David.
MIKE
Ha, Ha, Kim very funny. Why would David have anything to do with it?
Kim returns to her seat.
KIM
Maybe because you two have been dating since the fall formal?
MIKE
I'm going out with Cherie.
CHERIE
Really, you are? The last time we went out was the fall formal.
MIKE
You've been busy. Working and stuff. Remember.
CHERIE
Not that busy. Besides everywhere you go David is with you.
MIKE
What are you guys trying to prove?
ROWANDA
We're not trying to prove anything. Mike we're just stating the fact that you're gay. Everyone in school knows it. People have been talking about it for months now.
Mike gets up and out of his seat slowly.
MIKE
I am not. I repeat I am not gay. I never have been. Never will be. Is that understood.
JASON
What difference does it make? So you're a fruit? Who cares?
MR. EDISON
Jason watch what you're saying.
MIKE
(snapping angrily)
I care. My father cares. It's that simple. I can't be gay. Guys like me aren't gay. They play football go to college on scholarships. Get married have kids and make successes of their lives.... They don't become decorators and florists, and fool around with other guys....David are you going to sit there and let them call us faggots.
DAVID
I can't say they're wrong and you know that. Cause I am gay. And I don't plan on becoming a decorator or a florist. I'm going to be an architect.
Mike looks stunned. Cherie crosses over to him.
CHERIE
Mike it's okay to be gay. People understand better. It doesn't have the stigma it used to.
MIKE
(getting louder)
Yes it does. If it didn't then why did those guys call us faggots in the park last week? All we were doing was sitting on a bench talking.
DAVID
We were holding hands too.
MIKE
Shut up David. It's all right for you if you want to be queer, but I'm not going to be. I'm not going to be a freak. I have a good future and I'm not going to lose it. (yelling) I'm not gay and that's, that.
JASON
Oh look the faggot's going to cry.
MR. EDISON
(sharply)
I told you to watch what you're saying Jason. I'm not going to warn you again.
ROWANDA
Jason leave it alone. You're not exactly the one who can talk about anyone else.
JASON
I can talk about anyone I want too. It's about time you all started to realize that you're the freaks the strange ones. You pick on me all the time but it's you guys who are all...
Mike goes to Jason and punches him in the face. Jason gets out of his chair and runs from the room through the door at stage right.
MIKE
(screaming after Jason)
You're the freak you always have been and always will be. (calmer) Now for the last time I'm not gay. I can't and won't be. David is just a friend and nothing more. If you people can't accept it that's your problem.
ROWANDA
Fine Mike. You're straight as they come.
KIM
Just sit down and relax. Who's next?
MR. EDISON
I think that we should end the reports for the day. I didn't realize that they would cause so much trouble.
Mr. Edison moves back to his own desk. The students start putting away their stuff waiting for the bell to ring. Jason comes back in through the door at stage right. He is holding a revolver. David looks up.
DAVID
Jason, what are you doing with that?
JASON
I'm going to show you who the freak is once and for all. I'm sick of you guys pretending to be my friends and then making fun of me.
Mike and David get out of their seats. Mr. Edison comes around from behind his desk. They slowly head towards Jason.
Jason
You're all just a bunch of selfish brats that only care about themselves. No one else matters. You can hurt anyone at any time and it's okay because you all think your so cool.
MR. EDISON
Jason don't do anything rash.
JASON
I'll do what ever I want. I'm in control now.
MIKE
Jason I'm sorry. I was upset... I didn't mean...
JASON
You never mean to, but you always do. Don't you?... Well now maybe you'll think about how you treat people.
David calls out Jasons' name. Just as he does Mike rushes Jason. The lights go out. The stage is lit with a strobe effect as the shots are fired. Six shots. The girls are screaming. Everyone is running around trying to get away from the gunshots. Pandemonium. When the shots stop the lights come back on. The students are spread around the stage. Kim is leaning against the back wall of the classroom stage left seated with her legs out in front of her. Cherie and Rowanda are on the floor hugging each other slightly forward of and down from Kim at stage left. Mike is on top of Jason struggling to get the gun at the door stage right. Mr. Edison is crouched on the floor in front of his desk stage right. The other students are lying on the floor or against walls around the room. David is lying face down on the floor front center stage, he looks as if he is asleep.
Mr. Edison stands up. He surveys the class.
MR. EDISON
Is everyone all right?
MIKE
Mr. Edison I need help.

Mr. Edison helps Mike restrain Jason. Then he takes the gun and puts it on his desk. Sirens can already be heard.

MR. EDISON
Someone go get help. Hurry!
One of the students gets up and runs out of the room through the door at stage left. Jason is being held in a chair by Mr. Edison. Mike is standing looking around the room. The rest of the students are getting up.
MIKE
David. Where's David? (Mike looks to center stage and sees him) David!

All action in the room stops. The lights go down. There is a spotlight on Mike and one on David the rest of the scene is black. Mike runs to where David is. He grabs him and turns him over so that his front is to the audience. Davids chest is covered in blood. There is a pool of blood where he was lying. Mike holds Davids limp, lifeless body in his arms. Their faces are close together.
MIKE
No! God no. David... Please be alright, please... I promise I won't hide anymore... We can go out together like a real couple... You can't be dead... You can't. I love you!
Mike pulls David tightly to him and kisses him on the mouth. Then he falls over him and cries.
End scene two
Scene three:
Mike is once again at the podium dressed for graduation. There are tears running down his cheeks.
MIKE
We've lost a lot this year. But we have gained a lot as well. It has been a year of growth for us all, as we learned to understand ourselves and each other better. To be kinder to those around us and to accept people unconditionally. The things that seemed so important just a few months ago seem so insignificant in the big picture. Fitting in doesn't seem as important as just being ourselves. You may ask who are we? Well that is simple. We are the future. We are a rich black woman, a head cheerleader who supports herself and her mother. We are a teenage mother, a scared, shy young man, a smart, intelligent, caring, deceased young man. And we are the class president, captain of the football team, and...forgive me for not saying it sooner David...A homosexual. We are the future, and if we can remember what we have learned here at George Bush High, then we are a brighter, happier tomorrow... Thank you.
Mike turns away from the podium. Applause and cheers are heard. He exits stage right.
END ACT Three

Copyright June 1999

Judgements

2008-01-05T12:14:00.005-05:00

Dream Cast:
Robert: Sam Waterson
Susan: Sally Field
Lila: Olympia Dukakis
Betty: Goldie Hawn
Diana: Drew Barrymore
Aaron: Jared Leto
Jarred: Chad Allen
Brian: Kevin Zegers
John: Benjamin Bratt
Eve: Melissa Gilbert
Mike: Bill Cambell
Jenny: Laura Linney
Sarah: Taylor Momsen
Sam: ??
Dan: Zac Efron
Kevin: ??
Billy: Shia LeBeouf

JUDGEMENTS
fADE IN:
ext. san francisco-sunset
We see the multi-colored sunset against the city of San Francisco, from the bay. We fly over the bay into the city.
We move into the cities Castro St. district. Stopping in front of a street cafe called Cafe Les Hommes.
ext. cafe les hommes-sunset
The cafe is very crowded as is the street. A section of the cafe is open to the sidewalk, patio style.
At the table nearest the sidewalk are two young men, JARRED (25), who has short dark hair and a muscular build,he is dressed in jeans and a short sleeve dress shirt and BRIAN (23) a Blonde haired clean cut preppie type, who is wearing a dark colored well tailored business suit. They are sipping coffee and sharing a piece of chocolate cake, that is smothered in whipped cream.
Every once in a while another gentleman stops on the sidewalk and leans over the rail to talk to Jarred or Brian.
We start flying over the city again in the direction of Berkley University.
ext. berkley university quadrangle-dusk
The quadrangle is almost completely empty. A few students are throwing a frisbee around, some others are sitting in the grass studying. A young couple sits away from all the other people. The young man, AARON (21) has medium length light brown hair, he is thin and of average height, he is wearing jeans and a sweater, the young woman, DIANA (20) has short blonde hair, a cherubic face, and is well proportioned, she is wearing worn out bell bottom jeans, a tied died T-shirt and has daisies stuck into her short blonde hair.
He is sitting on the ground on one knee. She is standing looking down on him. They are holding hands. He uses his free hand and reaches into his pants pocket and pulls out a small jewelry box. He hands the box to Diana and stands up.
Diana takes the box and opens it. She jumps into his arms with a huge smile on her face and hugs him tightly. She releases him, takes a step back and shakes her head yes, then jumps into his arms and hugs him again.
We start flying over the city again in the direction of Oakland.
We stop at the large house. It looks almost like a plantation house from the deep south.
As we approach the front door opens to the house.
int. susan and roberts house-night
We turn into a room on the right side of the house. It is a library. Lined with full bookshelves, a large fireplace sits in the middle of the wall across from the door. A painting hangs over the mantle. In the center of the room are two large comfortable couches, which face each other, they are separated by a coffee table. The room is lit by a large chandelier. There are four people in the room.
ROBERT, a distinguished looking gentlemen with salt and pepper hair, wearing slacks, shirt and a cardigan sweater, he looks like he is in his late 40's but he is really in his early 60's. He is combing the shelves in search of a book.
SUSAN, who has short brown hair and is petite, is wearing a stylish womans' business suit, without shoes, she looks much younger than her 59 years. She is the head of the family and used to getting her own way. She's sitting stretched out on one of the couches, drinking a cup of herbal tea.
LILA, is an older woman in her late 70's, she is wearing jeans, a T-shirt that reads "kiss my a...",and sneakers. She could still pass for her early 60's, and is distinguished looking, she is also a bit of a wildcard, she is laughing at something she is reading. She is sitting on the couch across from the one Susan is on, with another woman. She leans over to the other woman and shows her the passage she is laughing at.
BETTY, is in her early 50's, she is also wearing jeans, but she has on high heels, and a silk blouse, she has medium length blonde hair and an arresting smile, and is a girl next door type. She reads the passage and she too laughs heartily.
A phone rings.
Susan puts down her tea, and gets up off the couch to answer it. She walks to a small table by the door which has the phone on it.
SUSAN
Hello.
DIANA (VO)
Hi, Mom. I'm engaged.
Susan rolls her eyes, and looks to her husband Robert. Robert has stopped his search for the book and is watching his wife.
SUSAN
Really. Who to this time?
DIANA (VO)
Aaron of course. He asked me tonight.
Susan is trying to be enthusiastic but is failing miserably. She signals for Robert to join her.
SUSAN
Aaron of course. So did you set a date this time?
DIANA (VO)
Yes. We're getting married on my birthday next year.
Susan is shocked out of her complacency.
SUSAN
Your actually serious this time? That's only...
Susan starts counting to herself on her fingers.
SUSAN (cont'd)
nine months away. Congratulations. That's wonderful. We'll have to have the whole family for dinner to celebrate.
DIANA (VO)
That's sounds great, but uhm, are you going to invite them?
Susans' excitement is quelled and her attitude becomes defensive.
SUSAN
Of course I am. He's your brother.
ext. cafe Les Hommes-night
Jarred and Brian are walking out of the cafe. They are holding hands and talking. They turn left down the street passing by the patio they just left. As they pass the building there is a small alley way.
ext. alley way next to cafe les hommes-night
In the alley is a group of five college age BOYS. They are dressed in black and cannot be easily seen. They are standing in silence. One of the boys signals the others to follow behind Jarred and Brian.
ext. castro street-night
Jarred and Brian reach the street corner. They turn left onto a quiet street without much traffic or light.
The boys are following a short distance behind. Trying to blend in with the crowd on the street.
ext. quiet street-night
Jarred and Brian are nearing what appears to be an empty lot.
The boys are close behind Jarred and Brian. The leader signals for them to move closer. He also pulls out a black knit ski mask hat, and puts it on. The others do the same.
ext. parking lot-night
Jarred and Brian have entered the empty lot. We see that it is a parking lot full of cars. It is only lit by the street lamp on the curb.
The five boys start running into the parking lot.
Just as Jarred is about to insert the key into the lock of his car, the five boys attack grabbing Jarred by the arm and punching Brian in the face.

BOY 1
Fucking faggots!
BOY 2
We're gonna kill you queers!
Two of the boys throw Jarred to the ground and start pounding on him. Jarred is fighting to get free but he is unable to loose their grip.
The other three have Brian bent backwards over the hood of the car. Two are holding him down while the other continually beats him with his fists.
Jarred manages to get free from the two beating on him. He scrambles to get up and go to Brian, but just as he starts running around the car one of the boys kicks his legs out from under him. He trips and falls hitting his head on the car on the way down knocking him out.
The two guys that were attacking Jarred join their friends in beating on Brian. Brian is still being held on the hood of the car, he is barely conscious.
ext. parking lot-night
A group of MEN turn into the parking lot. They see the commotion. One of them screams. The others run to help Brian and Jarred.
MAN 1
Call the police!

The man who screamed goes running for the phone.
The five boys hear the men and take off at a run. The leader lags behind for a last punch.
One of the men reaches him just as he turns to leave. The man grabs him and rips off the ski mask.
The boy is Aaron, he is startled but punches the man in the stomach. The man loses his grip and hunches over. Aaron takes off running after his friends. Sirens can be heard coming in the b.g.
ext. san francisco memorial hospital-night
An ambulance with flashing sirens pulls up to the emergency room entrance.
Susan, Robert, Lila, and Betty come running up to the doors. They are stopped from entering by the PARAMEDICS unloading their PATIENT. The paramedics pass through the doors, and the four people run in right behind them.
int. san francisco memorial hospital-night
The paramedics run the stretcher through the double doors to the emergency room.
Susan, Robert, Lila, and Betty are stopped from following by a NURSE at the registration desk.
NURSE
You can't go in there!
Susan turns towards the voice and goes running for the registration desk. She is panting and out of breath.
SUSAN
Where's my son?
The nurse starts flipping through charts. Susan is clutching at the collar of her coat near her heart.
SUSAN (cont'd)
Where is my son damn it!
The nurse looks up from the chart she is holding.
NURSE
His name?
Robert comes up alongside his wife who is frantic. He appears calm. Betty and Lila join them.
ROBERT
Brian, Brian Jamison.
The nurse starts shuffling charts around again. She finds the one she is looking for and spends a few seconds scanning it.
NURSE
Your son is still in with the doctor. We don't have any information yet. If you would like there is a waiting room over there.
The nurse points to the right and Susan follows her finger.
susans pov
Through the doorway of the waiting room we see Eve,(36) a beautiful woman and her husband John (38) a handsome business man type.
back to shot
Susan takes off at a run into the waiting room tailed closely by Robert, Betty, and Lila.
int. waiting room-night
Susan comes into the room and stops right in front of Eve.
SUSAN
Is he okay? Have you heard anything? What happened? My God. What happened?
Eve reaches out for her husband. He squeezes her tightly. Tears are streaming down her face.
EVE
I don't know what's happening. We're waiting for the doctor.
Robert reaches up and squeezes Susans' shoulder to reassure her.
ROBERT
Why don't we all sit down.
They all sit in chairs facing each other as if they were foes, except for Lila. Lila continues to stand, she is smiling and in good spirits.
LILA
Who wants some coffee?
Susan looks up at her mother as if she has two heads.
SUSAN
Mom, what's wrong with you? Your grandson was attacked and your thinking about coffee.
Lila shrugs her shoulders.
LILA
What should I do sit here and mope. He's a strong boy. He'll be alright and until I hear different, everything goes on as normal.
Susan throws up her hands in frustration. John gets up and holds out his hand to Lila.
JOHN
Nana, I'll help you with the coffee. Matter of fact my treat.
Lila takes John's hand and smiles brightly.
LILA
It's been along time since a gorgeous young man bought me a drink.
Lila winks at him. John smiles back.
JOHN
For a babe like you I'd buy the moon.
Lila throws her head back in laughter, then looks to her granddaughter.
LILA
Don't worry Eve. I'll bring him back in one piece.
Eve chuckles a little while wiping tears from her eyes. Betty picks up a magazine and starts flipping through the pages. Susan turns her face into Roberts shoulder she is sobbing.
JOHN
Come on Nana, let's go.
Just as they start to walk out of the doorway, Jarred is brought into the waiting room in a wheel chair. His right arm is in a sling and his face is badly bruised and cut.
The atmosphere of the room changes. The smiles are gone. Everyone is tense. Susan senses the change and looks up. The second she sees Jarred, she jumps up from her seat and goes to him.
SUSAN
Where's Brian? How is he? What happened?
Jarred tries to get up out of the wheel chair, he is to weak from the fight and pain killers. Tears start falling from his eyes.
JARRED
He's back there.
Jarred signals the direction with his head.
Susan starts biting her well manicured nails.
JARRED (cont'd)
I heard the doctors talking about x-rays and surgery. They wouldn't tell me anything. They wouldn't even let me see him.
Jarred completely breaks down, sobbing heavily.
Lila walks to him. She reaches out her hand to his shoulder. She then bends to him and lovingly hugs him.
LILA
It'll be alright. Now stop that whaling and come with John and me to get a cup of coffee. We'll leave these saps to worry about him.
Jarred weak and exhausted from the ordeal just shakes his head yes.
Lila gets up and moves to the back of the wheel chair, signaling John to join her.
John walks to her side.
Lila turns the wheel chair around to face the door.
Susan is seething at her mothers' cavalier attitude. She is standing with her mouth agape as if she is about to start talking.
The rest of the family returns to their seats.
Just as Lila is about to pass through the doorway, she turns back to face Susan.
LILA (cont'd)
Close your mouth dear, before someone sticks something in it.
Susan closes her mouth.
Lila turns back to the wheel chair.
LILA (cont'd)
I wonder how fast this thing can go.
John gently grabs Lila by the arm.
JOHN
Don't you think he's had enough trauma for one night.
Lila just laughs him off and exits the room with Mike following.
int. wAITING ROOM-later
All are sitting around sipping on coffee. They are starting to look tired.
Jarred has fallen asleep in the wheel chair. Betty is reading another magazine. Eve is asleep against John's shoulder. Lila and Susan are having a staring contest, Susan is obviously angry, Lila is just trying to get a reaction from her. Robert has his head leaned back against the wall, he is asleep and suddenly starts snoring, loudly.
Lila hears the snore and loses the staring contest, when she bursts into laughter. The quiet of the room is broken and the others look up or wake up to see what is happening.
waiting room door
A WOMAN DOCTOR in green scrubs comes up to the waiting room doorway.
DOCTOR
Mr. and Mrs. Jamison?
Susan jumps up from her seat, shouting.
SUSAN
Yes, that's us.
DOCTOR
Your son is okay. He has three broken ribs, his right wrist is sprained, he has a broken leg, and a lot of bruises and cuts.
Susan and the rest of the room visibly relax. Susan lets out a sigh of relief.
SUSAN
Why did it take so long.
The woman looks at Susan and wipes her brow.
DOCTOR
He had a collapsed lung. We thought it might have been punctured and an operation would have been necessary, but we were able to take care of it without surgery.
Susan collapses into the chair nearest her.
Robert moves forward.
ROBERT
How soon till he can come home?
The Doctor turns her attention to Robert.
DOCTOR
He can go home tomorrow. We want to keep him overnight to make sure he's alright.
Robert reaches his hand out to the Doctor and shakes her hand.
ROBERT
Thank you, Doctor. We appreciate it.
The Doctor turns and leaves the room. Everyone returns to their respective seats. Lila grins widely.
LILA
I told you he'd be all right. He's a fighter that one.
Susan turns her head in her mothers direction and glares at her. She decides to leave things alone and turns her attention to Robert.
SUSAN
Well, now we need to make arrangements for a nurse. He can stay in his old room of course. Oh and Jarred if you need anything you can call us anytime.
Eve who is sitting quietly behind her husband, looks appalled.
EVE
Mother what are you talking about?
Susan gets up and goes to Eve.
SUSAN
Taking care of your brother.
Eve stands up.
EVE
In your house? I don't think so.
Susan backs up a step, and uses a commanding voice.
SUSAN
Yes, in my house. Why? Is there a problem with that?
Eve steps towards her mother, and uses a sarcastic tone.
EVE
Absolutely. What happens to Jarred?
Susan nonchalantly.
SUSAN
He stays in the apartment.
Eve, getting angry.
EVE
That's the problem. They're a couple mother and they are going to want to be with each other after this. So, they can both come to my house, and I'll take care of them.
Susan looking offended.
SUSAN
They are not a couple. They're two boys playing games with each other. Now your brother will come home with me.
Eve blows her stack.
EVE
(shouting)
Don't be a Bitch.(beat) They're staying at my house. I can take care of them both.

SUSAN
(shouting)
(beat) How dare you call me a bitch. You can't take care of yourself let alone them.

EVE
At least with me they'll get treated with respect. Unlike with you, where Jarred isn't even allowed to enter the house.
SUSAN
I won't respect something that's wrong. Jarred not my son, let his mother take care of him.

EVE
If you really cared about your son, you would love him for who he is.
SUSAN
I care about son, I just want him to be normal. I'm a great mother.
EVE
You're a lousy mother!

Susan slaps Eve across the face. John gets in front of his wife, he is pissed. Robert pulls Susan back.
ROBERT
Why don't we let Brian decide for himself tomorrow?
Susan stands down, Robert lets her go. John turns to his wife and kisses the cheek she was hit on. Lila gets up walks over to Eve and hugs her.
LILA
(loud)
Congratulations! You finally stood up to the bitch.
Susan's mouth drops open.
SUSAN
(loudly,shocked)
Mother!
int. hospital room-morning
The blinds on the windows are closed, and the lights are off. Brian is lying in the bed asleep. His face is badly bruised, there are bandages around his chest, and his arm is in a sling. The blanket has slid down to his waist.
In walks MIKE,(37) a muscular, but trim man with dark hair. He is dressed like a construction worker. Mike is accompanied by JENNY (35) his wife, A good looking woman with brown hair, she is dressed casually. Their kids SARAH (16) and SAM (15), Sarah is a tomboy type with brown hair, Sam is a slight nerd, dressed preppy style with brown hair.
Mike goes to the window and opens the blinds. Bright sunlight blasts into the room.
MIKE
Hey, little bro. Wakey, wakey time.
Brian opens his eyes slightly.
BRIAN
Hey, Mike. What's up?
Jenny smiles and walks to Brians' bedside.
JENNY
Did you get the license number of the truck that hit you, or were you pretending to be superman again?
Brian laughs, but grabs his ribs with his free hand.
BRIAN
Jen it hurts too much to laugh.
Jen looks somewhat abashed, but then she smiles brightly.
JENNY
The kids brought you presents. Sarah wanted to bring you a carburetor, but I talked her into a teddy bear.
Sarah walks over to Brian, she is carrying a little teddy bear that is bandaged up. She looks at her mother disgusted.
SARAH
Mom lay off would you? (beat) Hey Uncle Bri. Nice shiner.
Brian looks to Sarah.
BRIAN
Hey girl, how ya been?
Sarah hands him the teddy bear.
SARAH
Better than you apparently.
Sam walks over.
SAM
Hello Uncle Brian. I brought you some flowers.
Brian attempts a smile at Sam.
BRIAN
Thanks, Sammy, could you put them in some water.
Sam grabs a pitcher sitting on the bedside table and goes to fill it with water.
Mike sits down in a chair near the bed.
MIKE
Seriously, Brian. Did you see who did this to you?
Brian thinks for a minute.
BRIAN
No. They were wearing masks.
Sam comes back and puts the pitcher on the bed. Jenny and Mike exchange glances.
JENNY
Hey kids, why don't you go downstairs and keep a lookout for grandma and Aunt Eve.
Sam and Sarah each kiss Brian on the cheek.
SAM AND SARAH
See ya later Uncle Brian.
Sam and Sarah leave the room.
Mike looks at Brian, and sighs.
MIKE
Mom called last night after they got home from here. It seems she and Eve are fighting over custody of you.
Brian groans and looks at Jenny.
JENNY
Eve took Jarred to her house. Susan is on the warpath though. She thinks you and Jarred need to be separated.
Brian groans again.
BRIAN
She knows I want to be with Jarred. Eve took him in?
Mike nods his head yes.
MIKE
Yeah, She's planning on having you too. Seems our sister suddenly developed a backbone.
Brian laughs a little.
BRIAN
She's always been my protector. She really stood up to Mom? Wow, wish I'd have seen that.
Jenny takes Brians good hand.
JENNY
You know, you and Jarred are welcome to stay with us. Out of the line of fire.
Brian attempts another smile.
BRIAN
I know. Thanks, but I'll stay with Eve. I don't want to miss any of the action. Besides it'll drive Mom crazy.
Mike and Jenny both laugh. Mike pats Brians leg.
MIKE
You've always liked to live dangerously. Well, we just thought we'd warn you. We gotta get going. If you need anything just call.
BRIAN
Thanks, I will.
Mike and Jenny get up and leave the room.
Brian is in thought, subconsciously he hugs the teddy bear like a little boy.
Int. hospital room-morning-later
A NURSE is standing next to Brians' bed taking his temperature and checking his pulse.
Susan comes sailing into the room. She has a huge smile and is carrying a large bouquet of flowers with balloons.
SUSAN
Good morning sunshine. I'm glad to see your up. I spoke with the Doctor and she said that you'll be out in a couple of hours.
Brian nods his head in assent with the thermometer still in his mouth. The nurse releases his hand and makes a note on his chart.
Susan continues speaking at a rapid fire pace.
SUSAN (cont'd)
I bet you'll be glad to get out of here. I have your old room all ready for you. Dad and I are going to hire a nurse to help you out.(beat) Oh, Dad says hi. He would have been here but he had a meeting at the club he couldn't get out of.(beat)(beat) Jarred is fine. He's at Eves' and she'll take care of him.
Brian is looking at the nurse with a pained expression on his face. The nurse is smiling, while looking at her watch.
NURSE
Just a few more seconds. (beat)Now.
The Nurse removes the thermometer from Brians' mouth. She makes a quick note on Brians chart. Then leaves the room.
BRIAN
Mom, Mike and Jenny were here already, they told me about your plans. I appreciate what your doing, but I'm going to stay at Eves'.
Susans' smile disappears, she looks annoyed.
SUSAN
That figures. Your brother always sides with her. Why? I don't know. What can she do that I can't?
BRIAN
No, it's not that. I just want to be with Jarred.
Susan is getting angry.
SUSAN
How can you continue to act that way?
Brian is upset by his mothers' question.
BRIAN
It's not an act. I'm gay, and I love Jarred. When are you going to accept that?
Susan loses her temper.
SUSAN
Never! I can't accept sitting up at night worrying if your okay or not. Look at what happened to you. You want me to accept your getting attacked over this. I won't.
Brian turns his face to avoid looking at Susan.
BRIAN
That's why I'm staying at Eves'.
Susan is furious.
SUSAN
Fine, stay with your sister. I don't care what happens to you anymore.
Susan storms out of the room.
Brian lays in the bed tears are falling down his bruised cheek.
Int. eves' house-upstairs guestroom-night
Eve and John are helping Brian get into bed next to Jarred.
EVE
I can't believe how long it took for that Doctor to release you.
Brian is settling himself next to Jarred.
Jarred leans over and kisses Brian on the cheek.
JOHN
We won't be having any of that going on here. At least not until you've healed a little.
Jarred smiles sheepishly.
JARRED
I'm too tired anyway. I couldn't sleep last night.
Brian grabs Jarreds' good hand with his good hand.
BRIAN
I'm here now.
Brian looks at John and smiles tentatively.
BRIAN (cont'd)
We'll behave. I promise.
Eve tucks them in like she would little boys, placing the teddy bear from the hospital in between them.
EVE
If you need anything let us know. We'll check in every so often.
John looks longingly at his wife.
JOHN
I don't know about these two, but I'm starved.
Eve turns to leave the room.
EVE
I'll have dinner ready in a little while. John if you get the TV trays we can all eat in here.
JOHN
Sounds good to me.
Eve leaves the room.
John turns to follow her. He looks back.
JOHN
Are you two sure your okay?
Jarred looks at Brian then to John.
JARRED
Yeah. We're okay. (beat)Now.
John leaves the room.
Jarred looks to Brian and pulls him close.
JARRED (cont'd)
Are you sure you're okay?
Brian nods his head yes.
BRIAN
Yeah. I'm sore, but I'll live. How about you?
Jarred leans his head on Brians' chest.
JARRED
I was so scared. I wanted to protect you and I couldn't. Then in the emergency room, they wouldn't tell me...
Jarred starts crying.
Brian leans down and kisses the top of Jarreds' head.
BRIAN
It's okay. I know you would've taken care of me. We were outnumbered. That's all.
Jarred lifts his head.
JARRED
I'm sorry babe. I won't ever let you down again.
Brian smiles slightly.
BRIAN
You never let me down. Now why don't you tell me about my sister and mother fighting. That had to be something.
int. eves house-kitchen-night
Eve is standing in front of the stove. Pot couple of pots are boiling.
John is bringing TV trays in from a door to the side of the stove.
DAN (17) well built with short dark hair and Kevin (14) thin with blonde hair are getting dishes out of the cupboards.
KEVIN
How long are Uncle Brian and Uncle Jarred gonna stay?
Eve turns to face her son.
EVE
A few weeks. And it's go ing.
Dan laughs at his little brother.
DAN
Yeah squirt.
(mocking fathers voice)
Speak properly or don't speak at all.
KEVIN
Shut up Dan.
John looks over to Eve rolling his eyes.
JOHN
Hey, Kevin how bout helping me?
KEVIN
all right.
int. susan and roberts house-kitchen-night
Susan, Robert, Lila, and Betty are sitting around the kitchen table eating dinner.
SUSAN
Can you believe he wanted to be there?
Robert drops his fork.
ROBERT
Suzy if that's what he wants it's his business. He's an adult.
Susan looks at Robert angrily.
SUSAN
He's a boy pretending to have a life with another boy. Are you going to tell me that you agree with it?
Robert sighs deeply.
ROBERT
No I don't agree with it. I also know that fighting him will only make his resolve stronger.
Lila flings some mashed potatoes off her fork into Roberts face.
LILA
You two act like it's some temporary phase. He's gay, a fairy, a queen, a fag...
Susan pounds her hand on the table.
SUSAN
Mother, would you please stop that. Brian is not gay. He's just doing this to aggravate me. The same way he's staying at Eves' to aggravate me.
Betty finishing her dinner, looks up at Susan and in innocence says.
BETTY
If it bothers you so much. Why don't you go to Eves' first thing tomorrow morning and make sure he's being taken care of.
Susan contemplates Bettys' suggestion for a minute. She then smiles and laughs.
SUSAN
Betty, that's a good idea.
int. eves house-guest bedroom-night-later
Brian is sitting up in bed reading a book. Jarred is asleep next to him. There is only a soft light coming from a lamp next to the bed.
Dan enters the room, standing by the door.
Brian looks up from his book to Dan.
BRIAN
Hey, Dan. What's up?
Dan looks at his feet, then back up to Brian.
DAN
Nothing, I... I just wanted to see how you're doing.
Brian puts the book down.
BRIAN
I hurt all over, but it's getting better.
Dan stands at the door staring at Brian.
BRIAN (cont'd)
Are you sure there isn't anything else?
Dan bites his lip, again looking down at his feet.
DAN
I (beat) I was (beat) I (beat) I wanted to know how you knew you were in love.
Brian is momentarily stunned.
BRIAN
As long as it's nothing complicated. (beat)
Listen for me it was simple. When all I could think of was Jarred, and I only wanted to be with him and no one else. I knew I loved him. It may not be that easy for you.
Dan looks up at Brian.
DAN
Thanks Uncle Bri. Goodnight.
Dan leaves the room.
Int. diana's dorm room-morning
Diana is on the phone and trying to get dressed at the same time.
DIANA
Yes... Okay mom... Mom I will... Yes.
There is a knock on the door.
DIANA (cont'd)
Mom I gotta go. Aarons at the door... I will... Okay, see you at Eve's on Sunday.
Diana hangs up the phone. The she answers the door. She is still half dressed.
DIANA (cont'd)
Hey hon. I'll only be a minute.
Aaron steps into the room and grabs Diana, turning her around and giving her a deep, passionate kiss.
AARON
I like your outfit.
Diana smiles and turns toward the bed, where her shirt is laying.
DIANA
I'm sure, but Professor Morris won't.
AARON
So let's skip class.
Diana giggles. Aaron starts rubbing her shoulders.
DIANA
He'll hate that even more.
She pulls her shirt over her head blocking Aaron's kiss.
Aaron drops his arms to his sides.
AARON
All right. We'll go to class. (beat) What're we doing this weekend?
Diana drops herself onto the bed and sounding depressed.
DIANA
Saturday we can do whatever, but I promised my mother we'd have dinner with my family.
Aaron sits down beside Diana on the bed.
AARON
Okay. But why act like it's a funeral? I want to meet your folks.
Diana jumps off the bed.
DIANA
No you don't. Come on we're gonna be late.
ext. mike and Jenny's house-Morning
We see Mike and Jenny's house. The garage door is open and there is someone leaned over the exposed engine of an old Camaro.
int. mike and Jenny's garage-Morning
Sam enters the garage from a door connecting it to the house. He walks to the front of the car.
SAM
What'cha doin?
Sarah straightens up from the engine. Her face and hands are covered in grease.
SARAH
Trying to get this darn car working.
Sam leans over and looks at the engine.
SAM
Mom wants you to come in for breakfast.
Sarah wipes her hand across her brow, smearing the grease on her forehead.
SARAH
Tell her I'll be there in a minute.
Sam turns and leaves the garage.
Sarah returns to her work on the car.
int. mike and Jenny's kitchen-Morning
Mike is sitting at the kitchen table reading the newspaper.
Jenny is on the phone.
JENNY
We will I promise. Seven o'clock Sunday. Okay (beat) bye.
Jenny hangs up the phone. She acts exhausted.
JENNY (cont'd)
Your mother is a real pain.
Mike continues reading his paper.
Sam sits down at the table quietly.
MIKE
Can't argue with that.
Jenny moves to the table.
JENNY
Sam, did you tell your sister?
SAM
She said she'd be in, in a minute.
Jenny turns towards Mike and pulls down his newspaper.
JENNY
Did you know Diana's engaged again?
Mike looks at Jenny questioningly.
MIKE
Really, what's his name?
JENNY
Aaron. And get this. The family is going to meet him at dinner this Sunday at Eves' house.
Mike laughs.
MIKE
Well that's a first. She must like this one.
Jenny in an exaggerated ominous voice.
JENNY
They even set a date.
(normal voice, giggling)
This is what? Her sixth engagement.
MIKE
No. I think this is seven. But at least we get to meet this one.
JENNY
You hope. We have almost a week till then. They could break up.
Mike stops laughing.
MIKE
I just thought of something.
Jenny stops laughing.
JENNY
What?
MIKE
You think mom bothered to tell Eve that she's having us all for dinner.
Jenny reacts shocked.
JENNY
No. Your mother wouldn't do something that obnoxious. Would she?
MIKE
She might. She was pretty angry the other night.
Jenny shrugs her shoulders.
JENNY
Well I'll make sure Eve knows.
(beat)
Would you get your daughter?
Mike gets out of the chair
MIKE
Yeah, I'll get the motorhead.
JENNY
I'm beginning to worry about her.
MIKE
What are you worried about?
JENNY
All she thinks about are cars.
MIKE
So?
JENNY
She's sixteen. She should be boy crazy.
MIKE
Don't go rushing my little girl to the alter. She'll come around.
Mike goes to the garage door and opens it.
MIKE
Sarah, get your butt in here and get ready for school now.
SARAH (VO)
I'm coming. I'm coming.
The sound of a car hood slamming is heard. Moments later Sarah enters the kitchen squeezing by Mike.
SARAH (cont'd)
What is your problem? I have plenty of time.
Jenny looks at Sarah frustrated.
JENNY
Look at you. You're covered in grease.
Sarah rubs her nose, smearing grease on her upper lip.
SARAH
So what? It washes off.
JENNY
Well good. Go wash it off then.
ext. taft high school-morning-later
There are students walking in the doors of the school. Many are just milling about in front. Groups are talking, playing games, or just hanging out.
Dan is with BILLY the popular first baseman of the schools baseball team. They are sitting on the steps in front of the doors.
Sarah and Sam get off the school bus parked in front of the school.
Sarah spots Dan and Billy and starts walking towards them.
Sam follows behind.
Sarah reaches Dan and Billy. She glances at Billy quickly, then focuses on Dan.
SARAH
Hey cuz. What's up?
DAN
Nothing. Why the bus? Still can't get that heap running?
Sarahs' shoulders drop, in frustration.
SARAH
I just can't get the carburetor working right.
Billy looks surprised that Sarah is working on a car.
BILLY
You work on cars?
Sarahs' attention turns to Billy. She is defensive.
Dan is staring at Billy.
Sam is looking around ignoring them.
SARAH
Got a problem?
BILLY
No. I like to fix cars too. Maybe I can help you.
Sarah looks Billy up and down, but says nonchalantly.
SARAH
Cool.
Sarah returns her attention to Dan.
SARAH (cont'd)
Think you could give me a ride home?
Dan is startled and turns to Sarah, he is hesitant.
DAN
I have practice till four.
SARAH
That's okay. I have to do some research for a paper.
DAN
Okay. I'll meet you in the library.
SARAH
I'll just meet you by the locker room.
DAN
Okay see ya then. Oh hey, Sam you wanna ride too?
Sam turns his attention to Dan.
SAM
No, I'll take the bus.
DAN
Okay, whatever.
(beat)
See ya at four.
Sarah and Sam head into the school.
Int. taft high school-hallway-morning
Sam and Sarah are walking down the hallway.
SAM
You like Billy.
Sarah looks startled and stops walking. She grabs Sams' arm and stops him.
SARAH
Why ya say that?
SAM
Usually you talk to everybody, but you ignore him.
SARAH
Do you think he knows?
SAM
No. He only likes baseball. I gotta get to class.
Sam takes off down the hall. Sarah stares after him for a second then heads down a side corridor to her class.
ext. locker room entrance-3:45p.m.
Sarah is standing outside the Locker room door pacing.
Int. locker room-3:45p.m.
Dan and Billy are cleaning and stowing the baseball equipment. Billy is standing by the storage locker holding a bat. Dan is sitting on a bench in front of it polishing a batters helmet.
DAN
I can't believe the coach is making me do this because of a couple of bad pitches.
BILLY
You know his rule. Be at your best, or clean the mess.
DAN
I know.
(beat)
Thanks for helping.
Billy puts the bat he is holding into the storage locker. He then sits down beside Dan on the bench.
Dan puts the helmet aside.
BILLY
No sweat.
ext. locker room-later
Sarah looks at her watch and then at the locker room door.
She leans back against the wall.
SARAH
Screw it.
Sarah stands up and slowly goes into the locker room door.
int. locker room-later
Sarah comes through the locker room door. She looks around and sees that no one is there.
Sarah continues into the locker room. She hears MUFFLED VOICES towards the back of the locker room. She heads in the direction of the voices slowly and quietly.
Sarah reaches the last set of lockers. There is a mirror hanging on the wall that is angled to see the storage locker. Sarah can see Dan and Billy sitting on the bench. She stops where she is and listens to their conversation.
dan and billy
BILLY
You gotta admit, you sucked today.
DAN
Yeah, I've had some things on my mind.
Billy raises an eyebrow in question.
BILLY
Such as?
Dan with an evil grin.
DAN
Such as this.
Dan leans in and kisses Billy on the mouth. Billy kisses him back.
sarah
Sarah stares into the mirror watching them kiss. She is horrified.
She turns and leaves the locker room.
ext. mike and Jenny's house-later
Dans' car a late model Ford Escort pulls up in front of the house.
Sarah jumps out of the car and goes running into the house.
int. mike and JenNYS' HOUSE
Sarah runs up stairs to her bedroom and slams the door shut.
living room
Jenny and Betty are in the living room. Jenny is on the phone.
JENNY
Sunday at seven... I know that's why I am... I'll come early and help you... Why don't you just tell her your going to school again?... I'll be there around three... bye.
Jenny hangs up the phone at sighs.
Betty looks at here inquiringly.
BETTY
Sue didn't tell her.
JENNY
No.
BETTY
Why do you and Mike put up with all the garbage?
JENNY
Because we can give it all to you. Was that Sarah?
BETTY
Yeah, I think I'll go say hello.
Betty gets up from the couch and goes upstairs.
int. hallway in front of Sarahs' bedroom door
Betty knocks on the door. Then she just opens it and walks in.
int. sarahs' bedroom
Sarahs' room is furnished in all white with a large canopy bed. The walls are covered with posters of heavy metal bands, the floor is covered with different car magazines and clothing.
Sarah is lying on her unmade bed, face down.
Betty closes the door behind her.
BETTY
What's his name?
Sarah looks up at Betty.
SARAH
Leave me alone.
Betty goes to the bed and sits down, after moving a greasy cloth from the bed.
BETTY
Come on Sarah. Tell your old Aunt Betty what's wrong.
SARAH
Nothing. Just leave me alone.
BETTY
It's a boy. I'll bet he real cute and doesn't even know your alive. Right.
Sarah turns over and sits up on the bed.
SARAH
No. He knows I'm alive. I just saw him kissing someone else.
BETTY
Oh? Does he know your like him?
SARAH
No.
BETTY
Well then you gotta let him know. You can get his attention away from the other girl.
SARAH
I don't think so.
BETTY
Sure you can. I'll help you.
SARAH
I don't think you can help me with this.
Betty pats Sarah on the leg and gets up off the bed.
BETTY
Well, if you change your mind you know where to reach me.
Betty leaves the room.
int. living room
Betty enters the living room.
Jenny looks up at her.
JENNY
So how's she doing?
Betty has a big grin on her face.
BETTY
She's suffering her first crush.
Jenny getting excited.
JENNY
Really! I was beginning to wonder if she would ever like boys.
Sam enters the living room.
JENNY (cont'd)
Did she tell you who?
BETTY
No. Only that he was with someone else.
Jenny loses her excitement.
JENNY
Oh no. She didn't say anything else.
BETTY
No. I wish I knew who it was.
Sam looks at Jenny and Betty.
SAM
She likes Billy. But Billy's always with Dan.
Jenny and Betty both get excited.
BETTY
That's great if he's friends with Dan. Then Dan can help us get them together.
Sam shrugs his shoulders.
SAM
I don't think he'll help. Dan likes him too.
Jenny turns her head sharply to glare at Sam.
JENNY
Sam! Don't be ridiculous. Dan's not like that.
Sam shrugs his shoulders again.
SAM
If you say so.
int. eves house- den-morning
Eve is sitting in front of a computer typing. She glances at a book sitting on the desk to verify a fact.
Susan comes in the front door.
SUSAN
Hello.
Eve continues at the computer.
Susan enters the den.
SUSAN (cont'd)
(sarcastically)
Hello... Hi mom, nice to see you.
Eve looks up at her mother.
EVE
Hi mom, thanks for inviting the family to dinner at my house without telling me.
SUSAN
I figured I'd tell you when I got here.
EVE
You told all of them yesterday.
SUSAN
Don't be so knit picky. I'm telling you now.
EVE
Jenny told me yesterday. What're you doing here?
Susan moves over to the desk and starts looking over Eves' shoulder.
SUSAN
I thought you might need some help with Brian. Why are you doing Dans' homework?
EVE
It's not Dans'.
SUSAN
Well it certainly isn't Kevins'.
Susan starts walking around the room. As she passes some shelves, she swipes them with her finger. Her finger comes up dusty and she grimaces.
EVE
It's mine.
SUSAN
Yours? Why would you have homework?
EVE
I'm finishing up my degree.
SUSAN
Why do that? You have a home and family to take care of. And judging by this dust, your not doing that too well.
EVE
Mother if you don't like my house why'd you invite the family here?
SUSAN
I love your house. I just think you should clean it once in awhile.
Eve is getting angry, but trying not to show it.
EVE
If it isn't up to your standards feel free to clean it yourself.
SUSAN
It's your house if you want to live in filth that's your business. I'm just here to take care of Brian.
EVE
And Jarred.
SUSAN
I'm sure your doing enough for him. But Brian needs his mother.
EVE
Brian needs to be left alone.
SUSAN
I'll go see if he needs anything.
Susan leaves the room and heads upstairs.
int. EVES HOUSE-GUEST BEDROOM-morning
Susan enters the guest bedroom, but stops short a grimace on her face.
Brian and Jarred are asleep in bed. Jarred is lying on his back. Brians' head is resting on Jarreds' chest.
SUSAN
Time to get up.
Jarred opens his eyes. He blinks several times to get them to focus. He lifts his head to see who's in the room.
JARRED
(sleepily)
Morning Susan.
Susan walks to the bed and starts shaking Brian.
SUSAN
Brian, time to get up.
Brian groans and pulls away from Susans' shaking.
JARRED
Come on babe, wake up your mother's here.
Brian opens his eyes and shifts his position on the bed, his face shows that he is in pain.
SUSAN
Brian be careful, don't hurt yourself.
BRIAN
Mom, I'm fine. Morning.
SUSAN
Your not fine. You just got out of the hospital.
BRIAN
That was days ago. What are you doing here?
SUSAN
I came to take care of you. Eve obviously isn't.
BRIAN
Mom leave Eve alone.
Susan looks annoyed.
SUSAN
I'll leave her alone, when she learns how to take care of herself and her family.
(beat)
Did you know she's going to school again?
JARRED
Yeah, she told us when she started last year.
SUSAN
Last year? No wonder this place looks the way it does. Why didn't she tell me?
BRIAN
She didn't think you'd like the idea.
SUSAN
That's ridiculous. She's an adult she can do what she wants.
BRIAN
Right. The same way I can.
SUSAN
Your still a kid. But you do what you want anyway.
BRIAN
Mom I'm too tired to argue. What're you planning to do today?
SUSAN
Well for starters let's get you dressed.
Susan reaches down to pull the covers off of Brian.
BRIAN
Mom!
(beat)
I'll dress myself.
Susan pulls her hand back, momentarily shocked by Brians' resistance.
SUSAN
Fine I'll go make you some breakfast.
Susan leaves the bedroom.
int. eves house- den-morning
Eve is still at the computer typing.
Susan enters the room.
SUSAN
I'm going to make some breakfast for your brother.
EVE
Go ahead.
The doorbell rings.
Eve looks up angrily.
EVE
Now what?
Susan turns and heads for the door.
SUSAN
I'll get it. I wouldn't want to interrupt your work.
Eve answers under her breath while returning to work.
EVE
Gee thanks. It's not like you haven't already.
Eve slams her book closed as she hears the voice of Lila and a loud commotion in the hallway.
LILA (OS)
Where are they? Where have you stashed my grandsons.
SUSAN
Your grandson is upstairs. His friend is with him.
Eve is rubbing her temples to relieve an oncoming headache.
Lila enters the room. Susan and Betty are following.
LILA
Hello dear. How's the schoolwork coming?
Eve smiles wanly at Lila.
EVE
Great, when I'm not getting interrupted.
Lila looks apologetic.
LILA
You go on with your work. Betty and I will hang out with the boys and keep your mom out of your way.
Eve looks almost relieved.
EVE
Swear?
Lila winks and grins.
LILA
Shit yeah.
Eve laughs at her grandmothers joke.
Lila turns and heads upstairs, with Betty following.
Susan continues to the kitchen.
int. eVES HOUSE-GUEST BEDROOM-morning-later
Brian and Jarred are sitting up in the bed. There is a tray with dirty dishes sitting to the side.
Lila and Betty are sitting in chairs.
Susan comes into the room and picks up the tray.
LILA
Susan, leave it. Spend some time with your son and his lover.
SUSAN
Mother I wish you wouldn't say that.
LILA
Would you rather I said come sit with the faggots?
Betty acts falsely shocked.
BETTY
Mother that's not politically correct. I think queers is better.
Brian and Jarred start laughing
BRIAN
No Nana, you gotta use homosexual.
JARRED
Or gay.
Susan quickly loses her temper.
SUSAN
I hate all of those words. So stop.
Betty looks at her in all innocence.
BETTY
Why should we stop? You need to accept your kids for who they are.
SUSAN
I don't need to accept anything. And until you become a mother, don't go around criticizing.
The phone rings.
SUSAN (cont'd)
You and mother are worse than the kids.
EVE (OS)
Mom phone. It's Dad.
SUSAN
I'll be there in a minute... You two shouldn't encourage them.
Susan leaves to go answer the phone.
Betty, Lila, Brian and Jarred bust out laughing.
Int. eves house- den-morning
Susan walks in the den and grabs the phone out of Eves' hand.
SUSAN
Hello...what...a pipe...well did you call a plumber...call a plumber he can't fix that. I'll be home soon.
Susan hangs up the phone.
EVE
What's wrong?
SUSAN
A pipe burst. Your father calls Mike to fix it. I've gotta go.
(beat)
Do me a favor and clean this place before Sunday. We want Dianas' fiance to have a good impression.
Susan turns and leaves the room. Moments later the front door is heard closing.
Eve grabs a book from the desk and flings it as hard as she can across the room, while screaming.
ext. susan and roberts house-afternoon
As Susans' car pulls into the driveway we see a truck that has a sign reading "Jamison Contracting Corp." painted on the door.
Susan parks her car behind the truck and gets out. As she heads up the steps to the house she can see a small stream of water coming from the front door.
SUSAN
Damn it!
Susan enters the house.
int. susan and roberts house-hallway-afternoon
Susan sees that the floor is covered in water. She heads to the kitchen where voices can be heard.
int. susan and roberts house-kitchen-afternoon
The kitchen has been flooded. Water is on every surface. Susan looks appalled.
Robert is standing in the middle of the kitchen with a mop.
SUSAN
Did you call a plumber.
ROBERT
No, I called Mike.
SUSAN
Why would you call Mike. He's a construction worker, not a plumber.
ROBERT
He's a licensed contractor. Which means he can do plumbing, electrical, and construction.
Susan turns and walks to the phone.
SUSAN
That's nice dear. I'm calling a real plumber.
Mike enters the kitchen.
MIKE
Dad, I turned off the water. It's your main that burst.
ROBERT
How long to fix it?
MIKE
You guys need a place to stay?
ROBERT
That bad huh?
Mike looks around the room.
MIKE
It'll take longer to repair the damage, than the pipe.
Robert sighs.
MIKE
Who's mom calling?
ROBERT
A plumber.
Susan hangs up the phone. She turns and looks at Mike.
SUSAN
The plumber will be here tomorrow at nine.
MIKE
Why'd you call a plumber. I can take care of this.
SUSAN
What do you know about plumbing?
MIKE
I...
Susan interrupts.
SUSAN
Your good at building, but plumbing is complicated, we need someone who knows what they're doing.
Mike is getting angry.
MIKE
I'm fully capable of handling a burst pipe mother.
SUSAN
I'm sure you are. Now Dad and I have to start cleaning this mess up. You go on back to work.
Mike furious glares at his father.
MIKE
Next time you need help call a professional.
Mike storms out of the kitchen.
Robert stares angrily at Susan.
ROBERT
You didn't have to be so hard on him.
SUSAN
Hard. I wasn't hard. I was telling the truth.
ROBERT
No you were being arrogant and stupid.
Robert drops the mop and leaves the kitchen.
Susan stares after him. She then goes and picks up the mop and starts mopping the floor. She starts crying.
Int. eves HOUSE-Living room-Sunday-nIGHT
John is serving drinks to the family.
Betty, Dan, Sarah, Kevin, and Sam are playing monopoly. They are sitting on the floor around the coffee table.
Susan and Robert are sitting on opposite sides of the room there is obvious tension between them. They keep glancing at each other.
Mike is sitting next to Robert.
Susan is talking with Lila.
SUSAN
Mother please act normal in front of Aaron.
LILA
I act normal in front of everyone dear.
SUSAN
I mean none of your silliness tonight.
LILA
Relax Suzy. I'm not going to toke up a joint, drink from the finger bowl, and throw my feet up on the table.
SUSAN
That's what I'm talking about. Do you have to be so vulgar?
LILA
Yes I do. You've become quite the hypocrite, you know.
SUSAN
Mother I don't know what you're talking about.
LILA
But you do dear. You most certainly do.
The doorbell rings.
JOHN
I'll get it.
John leaves the room.
JOHN (OS)
Hey Di. Come on in.
DIANA (OS)
Hi John. This is Aaron.
JOHN
Hi, nice to meet you everyone's in the livingroom.
Diana and Aaron enter the livingroom. John is behind them.
The whole family is staring at Aaron.
Diana breaks the silence.
DIANA
Everyone this is Aaron.
Susan walks over to him.
SUSAN
How nice to finally meet you. Come in sit down. Would you like a drink?
Aaron smiles at Susan.
AARON
Yes, Please.
Diana grabs Aarons hand and leads him around the room to meet everyone starting with Robert.
DIANA
Dad this is Aaron.
ROBERT
So this is the young man who finally managed to snag you. Nice to meet you Aaron.
They move to Mike.
Mike reaches down and hugs Diana.
MIKE
Hey little sis. You finally got one to commit huh?
DIANA
Mike. Be nice. Where's Jenny
MIKE
Helping Eve in the kitchen.
They move to the group on the floor. Diana points to each one as they are introduced.
DIANA
This is my Aunt Betty. My nephews Dan, Kevin and Sam. And my niece Sarah.
BETTY
Nice to meet you.
DAN
Hey.
SARAH
Hi.
SAM
Hello.
KEVIN
How ya doin.
Diana pulls Aaron to Lila.
DIANA
This is my grandmother Lila. We all call her Nana. Watch out for her.
LILA
Hello young man. It's a pleasure to meet you.
AARON
Nice to meet you Ma'am.
Lila fakes being appalled.
LILA
Call me Nana or Lila. Never Ma'am I'm not old enough for that yet.
Aaron, Diana and Lila laugh lightly.
AARON
Alright Nana.
Diana then guides Aaron to the couch completely bypassing Brian and Jarred.
Mike looks at her annoyed.
MIKE
Aren't you forgetting a couple of people Di?
Diana looks at him innocently. Then annoyed as she realizes she has no choice. She brings Aaron to Brian.
Aaron looks at Brians' face and his expression becomes complete shock. He recognizes his victim.
DIANA
This is my brother Brian and his friend Jarred.
Brian extends his good hand.
BRIAN
Hi, nice meeting you.
Aaron is staring at Brian. A few seconds pass before he realizes that Brian has his hand extended. He extends his hand and they shake.
AARON
H...hi. Nice to meet you too.
Brian glances at Jarred questioningly.
Aaron returns to the couch and sits down quickly. He looks at the group playing monopoly, avoiding looking at either Brian or Jarred.
Diana joins Aaron.
int. evES HOUSE-KITCHEN-NIGHT
Eve is closing the oven door. Jenny is putting the finishing touches on the salad.
JENNY
So now that he's here. What do you think he looks like?
EVE
Knowing Di, black leather, tattoos all over, but he's going to be an accountant.
Eve and Jenny both laugh.
EVE
What do you think he looks like?
Jenny gives some thought to it.
JENNY
He's clean cut preppy looking, but he's into S&M, and drugs.
They both laugh again.
EVE
The only thing we can be sure of is that he's not normal. I don't know what she's thinking about half the time.
JENNY
Me either. Let's face it though... If she were a few years younger. Either of us could have been her mother.
EVE
Thanks, but no. I love my sister, but she is way too much of a wildcard.
JENNY
Come on you remember what you were like at her age.
EVE
Yeah, I was married and had a son already. She was just a baby then herself. So was Brian.
Eve looks sad.
EVE
You know it's weird sometimes.
Jenny somewhat confused.
JENNY
What is?
EVE
Having a son almost the same age as my sister.
JENNY
Why is that weird?
EVE
Because sometimes I want to be her friend, but I'm so much older than her... I used to pray for a little sister.
Jenny smiles and leans on the counter.
JENNY
So you got one. Just because she's about half your age doesn't mean anything.
Eve starts giggling. Jenny giggles with her.
JENNY (cont'd)
What's so funny?
EVE
Actually I got one when I was a teenager.
JENNY
Huh?
EVE
Brian.
JENNY
Come on, I remember when Brian was a kid. He wasn't like that.
EVE
Yes he was. He used to spend hours in my room. I was his Mom.
Jenny looks confused.
JENNY
I don't remember that.
EVE
It was before you and Mike. When he was a baby. Mom actually worked back then.
Jenny looks shocked.
JENNY
Susan worked! That had to be interesting.
EVE
It was the house was peaceful. Anyway I was sixteen he was three, Mom was pregnant. Mike had just gone to college. Dad was running his company. I took care of Brian.
Jenny shrugs her shoulders.
JENNY
So what?
EVE
I used to let him play with my dolls while I did homework. He used to watch me get ready for dates. I'd let him play with my makeup. I thought it was cute. It's my fault.
Jenny looks at Eve stunned.
JENNY
Eve you can't possibly think.
Eve has tears rolling down her cheeks.
EVE
Yes, I can. He's gay because of me.
Jenny hugs Eve.
JENNY
That's not true and you know it. Being gay is most likely genetic. He would have been gay if he'd played with soldiers.
Eve backs away from Jenny.
EVE
I know you're right, but I feel so guilty sometimes.
Jenny smiles at Eve.
JENNY
Because you want him to be happy and he is. Now let's go meet Dianas' new psycho.
Eve starts laughing. She goes to the kitchen sink and cleans the tears from her face. When she is done. They leave the kitchen.
int. eves HOUSE-Living room-NIGHT
Eve and Jenny come walking into the living room smiling and looking happy. They walk right to Aaron.
JENNY
Hi, I'm Mikes' wife Jenny and this is his sister Eve.
AARON
Hello.
Eve shakes Aarons hand. Then Jenny does.
Eve looks around the room.
EVE
Dinner's almost ready so why don't we go to the dining room.
Jenny and Eve head back to the kitchen. Eve whispers something to her and Jenny starts laughing.
The rest of the family heads for the dining room.
Mike goes to Brian.
MIKE
Need a lift little bro?
BRIAN
How about just some help?
MIKE
Come on I haven't given you a piggy back ride in years.
BRIAN
This is embarrassing.
Mike laughs but positions himself for Brian to grab on. Mike grabs hold of Brians legs. Then he lifts Brian out of the chair and heads for the dining room.
int. evES HOUSE-dining room-night
As everyone sits down Eve and Jenny start bringing the food in from the kitchen.
Susan and Robert sit themselves at either end of the table.
Everyone else arranges themselves around the table.
Mike enters with Brian on his back. He walks down the table and deposits Brian on the chair next to Aaron.
Mike then walks to the other side of the table where there are seats for him Jenny and Eve.
Jenny and Eve bring in the last of the food and sit down.
SUSAN
Robert would you say grace.
Robert bows his head. The rest of the family follows suit.
ROBERT
Thank you lord for the gifts that you have given us. For our health, love, and compassion. And bless our family with your kindness. Amen.
ALL
Amen.
All heads are raised.
Robert starts serving himself.
ROBERT
Well dig in kids.
The members of the family start serving themselves. Susan and Eve take turns serving Brian and Jarred.
BRIAN
So, Aaron what are you studying?
Aaron looks down at his plate.
AARON
I'm studying journalism.
Brian smiles.
BRIAN
Really you should let me read some of your stuff. I work for a magazine. If your any good I'll show it to my editor.
AARON
Thanks.
Susan looks pulls Brians plate to her and starts cutting the meat.
BRIAN
Mom, you don't have to do that.
SUSAN
What are you going to pick it up with the fork and just tear it apart with your teeth like a savage.
BRIAN
Sure why not?
SUSAN
Brian don't act like a little boy.
BRIAN
Then don't treat me like one.
SUSAN
I'm just helping you. When the doctor says you can use your arm, you can do for yourself okay.
Brian in defeat.
BRIAN
Fine.
JENNY
So Aaron, how did you and Diana meet?
AARON
I saw her in the quad one day talking with some friends, and just decided to ask her out.
Lila laughs.
LILA
That was pretty brave. What if she said no.
AARON
I would have kept found out everything I could about her and chased her till she said yes.
LILA
Persistence, now we know how he got this far.
Dan is just pushing the food around on his plate.
SARAH
Dan you okay?
DAN
Yeah, just not real hungry.
Kevin starts laughing.
KEVIN
Yeah, he had a fight with his girlfriend.
DAN
How would you know?
KEVIN
I heard you on the phone. I can't see you tonight. I do love you.
DAN
Shut up!
JOHN
Dan don't talk to your brother like that. And Kevin what have you been told about eaves dropping?
KEVIN
Sorry.
DAN
Sorry.
Sarah looks at Dan.
SARAH
After dinner can I talk to you about something.
DAN
Sure.
SUSAN
Diana we need to start planning the wedding.
DIANA
Mom we have time.
SUSAN
No we don't it takes a year to plan a proper wedding and we only have eight and a half months.
DIANA
Fine what would you like.
SUSAN
I'm thinking a big church wedding. With Eve and Jenny as your matrons of honor and Sarah as a bridesmaid. Kevins the youngest he can be the ring bearer. Lots of flowers. You can wear my dress and...
DIANA
Mom, I think Aaron and I want something small.
SUSAN
Don't be ridiculous. You'll get married with a proper wedding.
Robert annoyed.
ROBERT
Why don't you let the kids decide their own wedding.
SUSAN
Because I'm arrogant and stupid and have to have things my own way.
MIKE
Mom, calm down. You and Diana can discuss the wedding later during dessert.
SUSAN
Mike be quiet, we're not talking about sports, it's a wedding and we need to get started on the plans now.
Everyone quiets down.
Diana looks appalled.
DIANA
You wonder why I never introduced you to my boyfriends.
Susan looks around the table.
SUSAN
(sarcastically)
I'm sorry.
Everyone continues eating in silence.
Eve finishes quickly.
EVE
When everyone's ready we can have dessert in the living room.
Eve gets up and takes her dish into the kitchen.
The others finish up.
DIANA
I'll help Eve clear.
Diana gets up and takes hers and Aarons' dishes into the Kitchen.
Aaron looks at Brian for the first time since they met.
AARON
So which magazine do you work for?
Brian smiles at Aaron.
BRIAN
Rock N Roll weekly.
AARON
That's a cool magazine I read it all the time.
Eve and Diana continue gathering dishes and taking them into the kitchen.
int. eVES HOUSE-KITCHEN-NIGHT
Eve and Diana unload the plates they just brought in from the dining room.
EVE
So are you in love?
Diana smiling.
DIANA
Yeah.
EVE
Can I offer you some advice.
DIANA
Sure.
EVE
Mom's going to get her way no matter what. So just do what she wants overall and make the details yours.
Diana sighs and sits down on the counter.
DIANA
I know. I just hope she doesn't want Brian in the wedding.
Eve looking at her sister cautiously.
EVE
Why not? He's your brother.
DIANA
I know. But I hate what he is.
EVE
What he is, is a sweet, loving, young man, with a good future.
DIANA
He's a faggot. And I don't think that's right.
EVE
Who taught you that.
DIANA
Mom, she feels the same way.
EVE
Naturally. Mom hates everything that isn't the way she wants it.
DIANA
Why are you always picking on her?
EVE
Why is she always mean to me? I don't want to talk about Mom or fight with you.
int. evES HOUSE-dining room-night
Betty gets up and collects the few remaining plates.
The rest of the family is talking animatedly about different subjects.
Betty heads to the kitchen door.
int. eVES HOUSE-KITCHEN-NIGHT
Diana jumps down from the counter. Eve is rinsing dishes in the sink.
DIANA
I don't want to fight with you either. I also don't want Brian and his girlfriend at my wedding.
Eve puts the dish she is holding down. She is getting angry.
EVE
Brian will be at your wedding, or I won't.
The kitchen door swings open. Betty steps in, holding the door open with her butt. The talk in the dining room can be heard in the b.g.
DIANA
(yelling)
Fine. Don't come. Just keep the little faggot at home with you.
Betty drops the plates she is holding, the crash breaking the silence that has fallen over the family.
EVE
Get out of my house you miserable bitch. I don't ever want to see you again.
DIANA
Bye fag hag.
Diana leaves the kitchen and goes to Aaron.
DIANA (cont'd)
Let's go.
Aaron gets up and follows Diana out.
Moments later the front door slams shut.
ext. eves house-backyard-night
Sarah and Dan are sitting on the swings of a kids swingset.
Sam and Kevin are sitting on the back porch not too far away. They are hidden by bushes.
SARAH
Dan I saw you and Billy the other day.
DAN
Yeah, we drove you home.
SARAH
No, I mean, I saw you in the lockerroom.
DAN
So.
SARAH
Dan I saw you kissing each other.
Dan gets off the swing and grabs Sarah up off hers.
DAN
You can't tell. Please you can't tell anyone. Oh my god. Oh jeez.
Sarah pries herself loose from Dan's grip.
SARAH
Hey, it's okay. I won't tell. But it's not like there isn't a fag in the family already.
Dan looks up at Sarah sharply.
DAN
I hate that. Besides I'm not sure if I am or not. We just sort of fool around.
SARAH
Okay I won't say it again... you two fool around deeper than most married couples though.
Kevin is sitting on the porch crying. Sam is comforting him silently.
SARAH (cont'd)
You know it's okay if you're gay.
DAN
Is it?... Everyone thinks I'm this major jock and everything.
SARAH
So everyone thinks I'm this major Dyke and everything... What do you think they'd all say if I told them I wasn't a virgin and that I've been dating Jason Singer for two years.
Dan looks at Sarah shocked.
DAN
No way. They'd say you were lying.
SARAH
Of course. He's such a motorhead, that the only way I could get his pretty little face out of the engine, was to become one myself.
They both start laughing. Sarah hugs Dan.
SARAH (cont'd)
Hey maybe we can double date for the prom?
Kevin gets up and runs into the house. Sam follows looking over his shoulder at Dan and Sarah.
DAN
Oh man! I didn't know they were there.
SARAH
I don't think they'll say anything. Not for a while at least. Relax.
int. eves HOUSE-LIVING ROOM-day-three weeks later
Brian is reclining on the couch, a pair of crutches lie on the floor next to him. The bruises and cuts have started to heal. He is reading Aarons body of work.
Aaron is sitting in a chair across the room.
Brian puts down the paper he is reading adding to the stack already in front of him
BRIAN
This is good. Real good.
AARON
Really. Thanks.
BRIAN
I want to show your stuff to my editor.
AARON
Do you think I can get a job?
BRIAN
I was thinking more of an internship...A paid one.
AARON
That would be cool. Can I ask why you're doing this for someone you barely know?
BRIAN
You're going to be my brother in a few months.
AARON
You mean in-law.
Brian laughs.
BRIAN
In this family the in-laws are treated the same as the real kids. Just watch out for Mom.
AARON
You got it. So do you really think I have I'm good enough for the internship.
BRIAN
You're good enough to get my job. But it's not open.
They both laugh.
Jarred enters the room. His face is has started healing and his arm remains in a cast.
JARRED
You almost ready to go?
BRIAN
Yeah, I can't wait to get home.
AARON
You guys are leaving?
JARRED
Yeah, since we're both mobile, it's time to go.
BRIAN
Besides Eve has enough to do without us.
(beat)
I have an idea. If you follow us home then, you can drive me to my office and we can show your stuff to the editor today.
AARON
I don't want you going out of your way.
BRIAN
I have to go anyway, but I can't drive with my leg, so if you can?
AARON
All right, cool.
JARRED
Let me give you directions to our place in case we get separated.
int. bridal shop-day
Susan and Jenny are picking out dresses for the bridesmaids.
Diana is on a pedestal, in a flowing wedding gown. A SEAMSTRESS is moving around her pinning the gown.
Susan pulls a dress off the rack and turns to Diana.
SUSAN
What do you think of this one.
Diana looks towards Susan.
DIANA
That's the ugliest dress I've ever seen.
Jenny removes a dress from the rack. She looks at the one Susan is holding up.
JENNY
I agree. That thing is horrible.
Susan puts the dress back.
SUSAN
It's not that bad.
Jenny and Diana look at each other.
JENNY AND DIANA
Yes it is.
Jenny holds up the dress she has.
JENNY
I think this would be perfect. It's the right color and it's simple, so anyone can wear it.
Diana looks at the dress.
DIANA
I think you're right. Go try it on.
Jenny takes the dress and goes into the changing room.
Susan continues looking at the dresses. She sees a formal that she likes for herself.
SUSAN
Is this okay for the mother of the bride.
Diana is paying more attention to where the seamstress is sticking pins than her mother.
DIANA
If you like it try it on.
Susan takes the dress into the changing room next to Jenny.
The seamstress finishes pinning the gown.
SEAMSTRESS
All done. You'll look beautiful.
DIANA
Thanks.
Diana turns to face a mirror and steps down off the pedestal.
Jenny comes out of the dressing room in the bridesmaid gown.
JENNY
Wow. You look fantastic.
DIANA
You really think so?
JENNY
There's no thinking about it. You look gorgeous.
Susan comes out of the changing room. The dress she picked is stunningly beautiful on her, making her equal to the bride.
Susan looks at Diana.
SUSAN
Oh my. You look magnificent.
Jenny turns to look at Susan. Her eyes bulge at the sight of her mother-in-law.
JENNY
Susan, you can't wear that dress to the wedding.
Diana turns around.
DIANA
Holy shit! Mom you are not wearing that dress.
Susan looks at them confused. She moves to the mirror to look at herself.
SUSAN
Why, too much cleavage.
JENNY
Susan you look magnificent. You'd outshine Diana if you wore that.
SUSAN
Right. An old woman in an evening gown's going to outshine the bride.
DIANA
Mom that gown was made for you. You look prettier than I've ever seen.
JENNY
I would definitely buy it. But don't wear it to the wedding.
Susan turns to look back at Diana and Jenny who are staring at her in shock.
SUSAN
I'll buy it then. And I'll find something else to wear for the wedding... Diana you look gorgeous, and Jenny that dress is perfect on you.
Jenny looks at Diana.
JENNY
It'll look good on Sarah and Eve too.
Diana looks sharply at Jenny.
DIANA
I thought we agreed not too mention her.
JENNY
Di she's your sister.
DIANA
I don't care.
Susan angrily.
SUSAN
You'd better care. She's going to be in the bridal party.
Diana angrily
DIANA
Hey, she kicked me out of her house five months ago, and I haven't heard any apologies.
JENNY
Did you apologize to Brian?
Diana goes to the changing room. She shouts to be heard through the door.
DIANA
What I said was true. She just doesn't like anyone criticizing her baby.
Susan shouts back.
SUSAN
He's not her baby. He's my baby.
JENNY
He's no one's baby. He's a grown man.
DIANA
Come on. Eve treats him more like her son than she does Dan or Kevin.
Diana comes out of the dressing room in her own clothes.
SUSAN
They'll both be at the wedding. End of Discussion.
JENNY
Besides, Aaron asked Brian to be one of the ushers already.
DIANA
What?
JENNY
Didn't you know?
DIANA
No.
JENNY
They've become good friends since Brian got him the internship at the magazine.
DIANA
Aaron didn't tell me any of this.
JENNY
Well considering your feelings on the subject I wonder why.
int. taFT HIGH SCHOOL-cafeteria-day
The cafeteria is crowded with students.
Dan is at the cash register paying for his lunch.
Sarah is standing by a table waving to him.
Sitting at the table next to Sarah is JASON SINGER (18) with dark hair and eyes, he has the looks of a model. Across from them sits Billy.
Dan walks across the cafeteria to join them.
DAN
Hey guys what's up?
BILLY
Nothin, how'd you do on the chem test?
DAN
Alright, you?
BILLY
I think I blew it.
SARAH
You always say that and you always get A's.
JASON
Yeah, I wish I was as smart as you.
DAN
You are. You just need to get out from under the hood and study once in awhile.
SARAH
How come you're so late getting here?
Dan reaches out under the table to hold Billys' hand.
DAN
Mrs. DeAngelo kept me to talk about the essay I wrote.
BILLY
That good or bad.
JASON
Probably bad. That is one of the meanest ladies I ever met.
DAN
She's not that bad. She liked my essay and wanted to know if I would let her publish it in the school paper.
SARAH
(excited)
You said yes right?
DAN
I said I'd think about it.
BILLY
Why?
DAN
I'm not sure I want everyone reading it.
JASON
What's it about?
DAN
Something personal.
SARAH
Can I read it? I know everything about you.
DAN
Maybe later.
SARAH
Okay. Jason your going to be late for history.
BILLY
I gotta go to. We're in the same class.
Billy and Jason get up. Jason bends down and kisses Sarah on the top of her head. They leave.
Sarah leans over the table to Dan.
SARAH
Looks like maybe you've decided?
Dan blushes.
DAN
Yeah, I'm in love.
SARAH
What's the essay about?
DAN
My being in love.
SARAH
No wonder you don't want it published.
DAN
That's the thing I do. I'm just not sure about Billy.
SARAH
You're both graduating in June, it's not like you'd have to worry about it.
Dan reaches into his backpack. He pulls out the essay.
DAN
When you finish reading it, let me know if you still think it would be that easy.
Dan gets up and leaves. Sarah stuffs the essay into her backpack.
int. rock N roll weekly magazine-day
Brian is sitting in his office on the phone. A pair of crutches is leaning against the wall.
Aaron walks in to Brians office.
BRIAN
No way... They trashed the place... That's pathetic... They're just starting out... Thanks for the tip.
Brian hangs up the phone. He looks at Aaron.
BRIAN (cont'd)
What's up?
AARON
It's time for your doctors' appointment.
BRIAN
Hurray! Goodbye cast.
Aaron laughs.
AARON
Come on you don't want to be late.
BRIAN
You know I really appreciate all the help you've given me the last few months.
AARON
I know.
BRIAN
I just don't understand why. The night we met you looked like you had seen a ghost when you looked at me.
AARON
Really, I... I don't remember. It's been a while.
Brian pushes his chair back and reaches for his crutches. While he is getting up he says.
BRIAN
Let's not keep the doctor waiting.
Brian walks out on the crutches. Aaron holds the door for him, then follows him out.
int. MIKE AND JENNYS' HOUSE-kitchen-day-later
Jenny and Eve are sitting in the kitchen talking.
JENNY
I'm glad you decided to come over.
Eve brushes her hair back from her face.
EVE
I needed a break. This semester is killing me.
Jenny beaming.
JENNY
Yeah, but once it's over you graduate.
EVE
One week before my son does. Well at least I'll be out of college by the time he gets there.
JENNY
So do you have a job lined up?
EVE
Actually I do. I just don't want anyone to know yet.
JENNY
Why? John supports everything you do.
Eve leans back in her chair.
EVE
It's not that. I just haven't ever had to work before. I'm not sure if I can.
Jenny gets up and goes to the counter. There is a chocolate cake sitting there.
JENNY
Want a piece?
Eve shakes her head no.
JENNY (cont'd)
You can do anything you want too... Including make up with Diana.
Eve sits up straight.
EVE
I'll see that little bitch in hell before I apologize to her... You heard what she said to Brian.
Jenny looks somewhat sick as she returns to her seat at the kitchen table.
JENNY
Welcome to hell.
EVE
What'd you do?... She's coming here isn't she?
JENNY
I told her to stop by after she finished up with Susan.
Eve gets out of her chair.
EVE
Jenny you're a traitor. I can't believe you did this to me.
Eve heads for the front door.
Jenny gets up and follows her.
JENNY
Eve, wait.
int. mIKE AND JENNYS' HOUSE-hallway-day
Jenny grabs Eve's arm, turning her around.
JENNY
Your mother is determined to have you all at the wedding.
Eve tries to pull away.
JENNY (cont'd)
You don't have to apologize. Just find some way that you can end this stupidity.
Eve yanks her arm away and turns towards the door.
EVE
You end it. She treats her brother like crap and you all defend it.
Eve reaches for the front door.
JENNY
You treat him like he's a defenseless child, and expect everyone to feel the way you do.
Eve opens the door.
Diana is standing there ready to knock.
JENNY (cont'd)
It's not your fault he's gay damn it!
Eve stops.
Diana walks in the door avoiding her sister.
DIANA
I miss all the fun.
Eve turns around tears in her eyes.
JENNY
Eve come on. Let's work it out.
Eve shuts the door. The three women go back into the kitchen.
int. Doctors' office-day
Brian and Aaron are sitting in the waiting room. Brian is reading a magazine.
AARON
Brian, after this do you want to go to lunch?
BRIAN
Sure. Anywhere special?
Aaron responds under his breath.
AARON
Someplace crowded.
Brian looks up from the magazine.
BRIAN
What?
AARON
Nothing. I was just thinking out loud. What about the wharf.
BRIAN
Sounds good.
A NURSE comes out of a doorway with a chart in her hand.
NURSE
Brian Jamison.
BRIAN
Gotta go.
Brian gets up off the chair and walks with his crutches through the door.
The nurse turns and walks in front of Brian.
The door closes.
int. miKE AND JENNYS' HOUSE-kitchen-day-later
Diana, Jenny and Eve are seated around the table. They are eating cake and drinking coffee.
DIANA
Stop feeling guilty. It's not your fault.
EVE
It doesn't matter anymore. I still feel like he's my responsibility.
JENNY
Your only responsibility is to love him. Not protect him.
DIANA
Really he's a big boy.
EVE
I know, but I wish you would stop acting like he isn't a person.
DIANA
I think the way he lives is sick.
JENNY
Why? What's so different about his life?
DIANA
He sleeps with a man.
EVE
So do you. All he wants out of life is someone who loves him, and he's got that. Now you do too.
DIANA
But it's just not right.
JENNY
Who says?
DIANA
The law for one.
JENNY
San Francisco acknowledges gay relationships. Next argument.
Diana sips her coffee.
DIANA
Mom thinks it's sick.
EVE
Mom thinks my going back to school is sick. She's not exactly a good judge.
DIANA
I'm not going to change my mind about him.
JENNY
Maybe you should get to know him, before you decide. When was the last time you two spent any time together.
Diana thinks this over for a minute.
DIANA
When I was like five.
EVE
Then spend some time getting to know your brother. He deserves that. Hell Aaron did.
DIANA
I know and he hates gay people. He always makes fun of them.
ext. fisherman's wharf-day-later
Brian is walking slowly. Aaron is beside him.
BRIAN
You've been distracted since we left the doctors. What's up?
Aaron stares off in the opposite direction.
AARON
It's Uhm...The night you were attacked... I ...
Brian moves to a bench nearby.
BRIAN
I need to sit down.
Aaron joins him.
AARON
Brian. My friends and I were the ones who attacked you and Jarred.
Brian looks at Aaron as if he is crazy.
BRIAN
What? What did you say?
AARON
The night you and Jarred were...
BRIAN
I heard what you said. I can't believe this. Why?
Aaron looks down at the ground.
AARON
I was always told that gays were sick, evil people that should be killed. I guess I believed it. I never knew anyone who was gay before you.
Brian completely disgusted.
BRIAN
So it was alright to just go out and hurt people because you didn't know them. Jeez. What kind of monster raised you?
Aaron is crying.
AARON
I'm sorry. I just didn't think of you as people.
BRIAN
You just didn't think. Does anyone else in the family know?
AARON
No.
BRIAN
Why did you act like my friend all this time?
Aaron looks at Brian.
AARON
I wasn't acting. I mean at first I was. But you helped me get the internship. And as I got to know you I started to like you... and Jarred.
BRIAN
What was it at first?
AARON
Guilt. I didn't expect to have you as my brother-in-law.
Brian sighs and runs his hand through his hair in frustration.
BRIAN
(half to himself, half to Aaron)
Maybe some good came of it then. Do you realize you could have killed me or Jarred?...I need some time to think. I don't want you near me. Your making my skin crawl... I'm not going to tell anyone... You shouldn't either.
AARON
Brian please. I'm sorry man. I just didn't know.
BRIAN
I'm just supposed to excuse the fact that you beat the shit out of me, because you didn't know any better... I don't think so. I'm leaving.
Brian gets up and slowly limps away. Aaron just sits staring off into space.
int. miKE AND JENNYS' HOUSE-kitchen-day-later
Jenny, Eve and Diana are still sitting around the table. The dirty dishes are still on the table.
Jenny is pouring out more coffee.
DIANA
Eve we've been back and forth over this. Why don't we just agree to disagree?
EVE
Fine I'll agree to disagree, if you'll agree to at least treat him decently.
JENNY
Sounds like a good trade to me.
DIANA
Okay, I'll treat him decently and we'll see what happens.
Eve and Diana shake hands.
DIANA (cont'd)
Now about the dress for my matrons of honor...
int. susan and roberts house-kitchen-night
Susan and Betty are in the kitchen. Betty is sitting at the table munching out of the salad bowl.
Susan is standing at the stove stirring spaghetti.
SUSAN
The dress is beautiful. She is going to be the prettiest bride.
BETTY
I'm sure. The fact that she's pretty anyway helps.
SUSAN
She's still giving me grief about Eve and Brian... I can't understand those kids sometimes. We didn't act like that.
Betty laughs while plucking another cucumber from the bowl.
BETTY
Yes we did. Don't you remember how badly we fought. We even used to hit each other.
Susan stops stirring and goes to the table.
SUSAN
I never hit you.
BETTY
Ha! You beat the hell out of me when I flirted with Robert.
SUSAN
He was my fiance at the time.
BETTY
See you do remember. Listen, your kids are different types of people, they're bound to fight...Especially when you judge them the way you do.
SUSAN
I do not judge my kids.
BETTY
Really, describe them to me.
SUSAN
Don't be ridiculous.
BETTY
I'm not being ridiculous. Describe them to me.
SUSAN
Okay fine. Michael is strong, into sports, but not too smart... Eve is a good homemaker, but very shy... Brian is smart, good-looking and needs a good wife... Diana, is flaky, but intelligent.
BETTY
See what I mean... You decided who your kids are, but they aren't anything like that.
SUSAN
What do you know? You're not a mother.
Betty glares at Susan.
BETTY
You're right I'm not a mother. I had the career, and the good life. Until my husband ditched me for a little bitch half my age. You have everything I ever wanted and you don't even know how good you have it. You're right I'm not a mother, but you sure are.
Betty gets up slams the chair into the table, and storms out of the kitchen.
Susan is left standing there mouth agape.
int. brian and Jarreds Apartment-living room-night
Jarred is standing in front of the wall sized windows looking out at the city. His face and arm long since healed.
Brian comes in the front door. He sets down his briefcase. Then looks for Jarred. He walks up behind Jarred and grabs him around in a hug leaning his head against Jarreds' shoulder.
Jarred places his hands on top of Brians'.
JARRED
How was the doctor?
BRIAN
All healed.
JARRED
Good. You look like you had a rough day.
BRIAN
I did, but I don't want to talk about it.
JARRED
Okay you'll tell me when you're ready. Dinner's ready.
BRIAN
I'm not hungry. Let's just go to bed.
Jarred turns around and hugs Brian. He then kisses Brian on the neck, working his way up to his mouth.
JARRED
Are you up for that? It'll make you feel better.
BRIAN
I think I'd rather just cuddle, if that's okay?
JARRED
That's more than okay. Come on, I'll give you a back rub first.
They walk into their bedroom.
int. dIANA'S DORM ROOM-night
Diana is laying in bed reading a book.
She hears a knock on the door, and gets up to answer it.
When she opens it Aaron is on the other side.
Aaron walks into the room picking Diana up and hugging her tightly. He kicks the door shut behind him.
Diana giggles.
DIANA
What's this all about?
AARON
I just needed to be with you tonight.
DIANA
Cool by me. I could use some company. I made up with Eve today. We agreed to disagree.
AARON
That's good. I had an argument with Brian.
DIANA
What about? He didn't make a pass at you did he.
AARON
Don't be stupid. We argued about politics.
Aaron drops Diana on the bed and then climbs on top of her. They start making out.
DIANA
If this is what fighting with him does for you. Then fight everyday.
AARON
Do you want to fool around or talk?
DIANA
Fool around.
Diana giggles as Aaron starts tickling her.
int. sarahs' bedroom-night
Sarah is sitting on her bed finishing Dans' essay. Tears are streaming down her face. As soon as she finishes the last page she drops the paper, picks up the phone, and calls Dan.
SARAH
Hi, Aunt Eve. Could I speak to Dan please?... Hi, you've got to have it published. It's the most fantastic thing I've ever read... Honest... He's got to let you... If he loves you the way you write, he'll agree... let him read it... he'll agree I know it... Okay, bye.
Jenny comes into Sarahs' room. She sits on the bed.
Sarah is still crying.
JENNY
What's wrong?
SARAH
Nothing.
JENNY
Come on your not sitting here crying for nothing.
SARAH
Mom I can't tell you, I promised.
JENNY
Is it something bad?
SARAH
No, but I...
Sarah breaks into fresh tears. She thinks for a minute. Then she looks down to the essay.
SARAH (cont'd)
Mom you gotta swear not to say anything to anyone, not even Dad.
JENNY
I don't keep secrets from your father.
SARAH
You have to keep this one, or I can't tell you.
Jenny looks at Sarah as if she can read her mind.
JENNY
Okay, if it's that important.
Sarah hands Jenny the essay.
SARAH
Read it.
Jenny takes the essay and gets up to leave.
SARAH (cont'd)
No, now, here.
Jenny sits back down.
JENNY
Alright.
Jenny starts reading.
int. eves bedroom-night
Eve is standing by the bed taking off her bathrobe.
John is already lying in bed reading a book.
EVE
Jenny set me up today.
JOHN
I know.
EVE
How could you know?
JOHN
Easy, I told her how to do it. So did you and Diana resolve your differences.
Eve picks up her pillow and starts fluffing it.
EVE
Yes. We agreed to disagree.
JOHN
I figured that you'd eventually come to your senses. Especially if she were right there.
Eve slams the pillow down on his head.
John drops his book and grabs his own pillow from behind him.
They start having a pillow fight.
int. dans' bedroom-night
Dan is lying in bed the light is off.
A light comes across his face, then a shadow, then the room is dark again.
KEVIN
Dan are you asleep?
DAN
No, come on in.
Dan turns on a lamp by his bed.
Kevin comes to the bed and sits on the edge of it.
DAN (cont'd)
What's up?
Kevin looks at the floor.
KEVIN
Are you really gay?
Dan sits up.
DAN
Yeah.
Kevin looks at Dan.
KEVIN
Will I be gay?
DAN
I don't think so, but I guess it's possible... Do you like girls?
KEVIN
Yeah, there's this girl Kim in my class, and everyday she leaves notes in my locker.
DAN
Do you want to kiss her?
KEVIN
I think so... I'm pretty sure I do... But I don't know how.
DAN
Relax, your straight. As far as knowing how to kiss, just do it, you'll figure it out as you go.
KEVIN
It's okay that you're gay. Do you have a boyfriend?
Dan smiles.
DAN
Billy's my boyfriend.
KEVIN
Cool. You know it bothered me at first that you're gay. I thought I would be.
DAN
It's not contagious. Supposedly being gay is genetic, but not everyone comes out that way.
KEVIN
Do you want to be gay?
Dan looks confused.
DAN
What do you mean?
KEVIN
I mean if you weren't would you want to be?
DAN
I don't know. Probably not. But then I look at Uncle Brian and Jarred, and I think they found love so everything will be okay.
KEVIN
I'm glad you're happy. Is Billy going with you to the wedding?
DAN
No, I'm not ready to tell anyone yet.
KEVIN
You told Sarah and Sam and I both know. When are you going to tell Mom and Dad?
DAN
When I'm ready. You won't say anything will you?
KEVIN
No. Goodnight.
Kevin gets off the bed and starts to leave. He stops and turns back, and hugs Dan goodnight.
DAN
Night, Kev.
int. mike and jennys'-bedroom-night
Jenny is lying on her stomach on the bed. Her eyes are closed.
Mike is straddling her, giving her a back rub.
MIKE
Poor baby, you always get put in the middle.
JENNY
It wasn't that bad. Eves' not that strong tempered.
MIKE
The way she's been going lately, her bite might become worse than her bark.
JENNY
Well that's good. She needs to be a little more independant.
MIKE
The way you are?
JENNY
I'm as free as I want to be. If we needed the money or I felt like it I would go back to work.
MIKE
That would be welching.
JENNY
Not really. I agreed that I would stay home and raise the kids when the construction company became financially sound. But the kids are almost grown.
MIKE
Almost is the key word there. How does this feel.
JENNY
Like heaven. You should have been a masseuse instead of a contractor.
MIKE
Yep, then I could have a list of babes who I service once a week.
Jenny turns over and looks at Mike.
JENNY
Well lucky for me I'm your only client. Lucky for you I feel like being serviced.
int. sarahs' bedroom-night
Jenny is still sitting on Sarahs' bed. She too is crying as she finishes the last page of the essay.
Jenny puts the paper down and stares at it.
JENNY
That's the most beautiful thing I've ever read.
Jenny looks at Sarah.
JENNY (cont'd)
How long have you known?
Sarah looks at Jenny.
SARAH
A few months.
JENNY
I can't believe I didn't realize it.
SARAH
How could you?
JENNY
I don't know. I always thought there were signs. Did he tell you?
SARAH
No, I caught him kissing his boyfriend. I asked him.
JENNY
Does anyone else know?
SARAH
Sam and Kevin over heard us talking about it.
JENNY
I've gotta tell Eve.
SARAH
Mom you promised. And you can't talk to Dan either. He doesn't want anyone to know yet.
JENNY
It seems to me a lot of people already know.
Jenny looks at the essay again.
JENNY (cont'd)
He is really in love with this boy isn't he?
SARAH
Yeah, they get together as much as they can.
JENNY
You'd think with Brian it wouldn't be as hard for Dan. I guess being young and scared makes it hard no matter what.
SARAH
Dan's afraid to tell Uncle Brian.
JENNY
Why?
SARAH
He thinks Uncle Brian will get mad at him. That he may have influenced him or something.
JENNY
Oh brother, Dan's as bad as his mother.
SARAH
HUH?!
JENNY
Never mind.
SARAH
Dan's English teacher wants to publish it in the school paper. I think he should... but he's afraid Billy will get hurt if he does.
JENNY
Poor kid, he wants help, but he's afraid to ask for it. You let him know that we'd all still love him?
SARAH
Of course I did. That doesn't make it easier on him. I wish I knew what would.
JENNY
Time. It's late you need to go to sleep. Goodnight.
Jenny leans over and hugs Sarah, she then gets off the bed and leaves the room.
Sarah gets underneath the blanket and turns off her light.
Int. taft high school-morning
Sarah is walking the crowded hallway, looking for Billy.
She spies him turning a corner and starts running to catch up to him.
Turning the corner she sees that he is standing around talking to a bunch of his teammates.
She approaches him and taps him on the shoulder when she reaches him.
SARAH
Billy can I talk to you?
BILLY
Sure, What about?
SARAH
Alone please.
The guys that Billy is standing with start snickering.
BILLY
You can say whatever you want these guys are my friends.
Sarah moves close to Billy very seductively.
SARAH
But it's about last night.
Billy smiles shyly, embarrassed by what she said.
BILLY
All right let's go.
As Billy and Sarah walk away, the guys start catcalling and whistling.
int. taft high school-class room-morning
Sarah pulls Billy into an empty class room and closes the door.
SARAH
Have you read Dans' essay?
BILLY
Yeah, it was okay.
SARAH
Okay! It was fantastic. You've got to let him put it in the paper.
BILLY
Wait a minute. If he does that then the whole schools gonna find out about us.
SARAH
I know. But you guys can handle it. You're both popular. Everyone loves you.
BILLY
We'd be outcasts inside of ten minutes. Everyone would go around laughing at the faggots.
SARAH
I don't think that's going to happen. Of course some people are going to be jerks but...
BILLY
But nothing. I'm graduating in a few months and I'd like to leave high school without being labeled queer.
SARAH
You mean you're too chicken shit, to be yourself.
BILLY
I'm not sure that I feel the same way Dan does.
SARAH
I guess maybe the essay was fiction, because according to it you are just as in love with him as he is with you.
BILLY
It wasn't fiction. I'm scared. He is too. Wouldn't you be?
SARAH
Yeah, I would, but that's why it's so important for that essay to be in the paper. How many other kids are just as scared, not just to be gay, but to be themselves.
BILLY
How would you know. You're always being yourself.
SARAH
No I'm not.
BILLY
I'll think about it Okay.
SARAH
Okay.
They leave the classroom.
int. restaurnt china town San Francisco-day
Lila, Dan, Sarah, Kevin, and Sam are seated at a table eating.
LILA
So have your parents figured out that I steal you out of school once a month yet?
SAM
No.
LILA
Don't kid yourselves they know. I used to do it with them too.
SARAH
Grandma must have had a fit.
LILA
Not really. She could never figure it out. She just knew I was up to something.
KEVIN
Do hate grandma?
LILA
No. I just don't like her being a hypocrite.
DAN
How is she a hypocrite?
LILA
I'll tell you when you're older. Now young lady when do I get to meet the mysterious boyfriend?
SARAH
I don't have a boyfriend.
LILA
Don't lie to your great grandmother. You didn't become interested in cars overnight by accident.
SARAH
His name is Jason. He's cute but so into cars that he didn't notice anything else.
LILA
So you got interested in them too. So how is your car coming along?
SARAH
If I can figure out the carburetor, I'll be driving it soon.
LILA
Good. So Danny don't you have something you'd like to tell me?
DAN
No nana not really.
LILA
Okay it can wait. When you're ready.
Dan whispers to Sarah.
DAN
How could she know.
Sarah shrugs her shoulders.
LILA
I've been around a while, that's how I know. I watch, I listen, I eavesdrop, just like Sammy here. He doesn't miss much does he.
KEVIN
Nope.
LILA
We'll have to see if we can slip him up one day. What should we do after lunch.
ext. neighborhood park-two weeks later-evening
Dan and Billy are walking along a path in the park.
BILLY
Go ahead and put your essay in the paper.
DAN
Why?
BILLY
Because it's good, really good and it deserves to be read.
DAN
I thought you were scared.
BILLY
I was. Until a couple of nights ago.
DAN
What changed?
BILLY
I told my parents that I'm gay and in love with you.
Dan stops walking, Billy stops also. Dan looks at Billy.
DAN
You have a lot more guts than I do.
BILLY
Not really. I was reading the essay again and left it on my desk. My Mom found it and read it... When I got home from school my Dad was there and he'd read it too.
DAN
Wow! What'd you do?
BILLY
Answered their questions mostly.
DAN
What'd they ask?
BILLY
If it was true. Then they wanted to know why I didn't tell them. I just said that I was scared, didn't know how they'd react. They said they loved me. It's a relief to be out.
DAN
Really. How?
BILLY
Now you can come over to my house. And I can tell them I'm going on a date with you. It's kind of weird though.
DAN
I know. The way my family accepts Brian. They love him, but they always act nervous that he and Jarred are going to have sex in front of them.
BILLY
Yeah, it's like I'm just going to do something like that. I know it'll take time, but at least now I can be honest.
Billy takes Dans' hand they continue walking.
BILLY (cont'd)
This is nice. Walking holding hands I mean... You know if you ever tell your family, we could stop hiding.
DAN
I'm not ready for that yet. But I think Lila knows... They have a hard enough time with Brian. Add us to the mix, and things'll get crazy.
BILLY
It could be fun though. I could be your date at Dianas' wedding.
DAN
Are you nuts. She hates gay people. She's still pitching fits that Brian and Jarred are going to be at the wedding.
BILLY
Are you going to let Ms. DeAngelo put the essay in the paper?
DAN
Yeah. If you can handle it, I can. We're pretty good together. Besides maybe it will help other kids.
BILLY
That's what Sarah said to me a couple of weeks ago.
DAN
Why was Sarah talking to you about my essay?
BILLY
She was trying to convince me to let you put it in the paper.
Billy releases Dans' hand and puts his arm around Dans' waist.
Dan puts his arm around Billys' shoulders.
DAN
Aren't you getting kind of bold?
BILLY
Probably... But it's Frisco, every other person around here is gay.
int. tuxedo shop-day
Robert, Aaron, Mike, John, Brian, and Jarred are trying on their tuxedos for the wedding.
Robert is standing facing a mirror looking at himself.
ROBERT
Now make sure you've got all the studs, and everything fits right.
Mike comes up behind Robert.
MIKE
Dad I think we have it covered.
Brian is heading for the changing room.
BRIAN
I'm getting dressed. I've got everything.
Jarred comes out of the changing room.
JARRED
I'm missing a couple of studs.
The store CLERK who is standing behind the counter goes in the backroom to get him the missing studs.
MIKE
You don't look too bad for an old guy Dad.
ROBERT
Don't be so quick to call me old. A few more years and you'll be here.
John joins Mike and Robert.
JOHN
Yeah. Two more decades and we'll both be ready to retire.
MIKE
This thing itches. I'm going to get changed.
Mike enters the changing room.
int. tuxedo shop-changing room-day
A view of the three changing rooms can be seen.
In the first one is Brian. Who is putting on his regular clothes.
In the middle one is Aaron who is sitting on a little stool in his tuxedo.
In the third Mike is just starting to take off his tuxedo.
AARON
Brian, can you hear me?
BRIAN
Yeah, What?
AARON
Are we ever going to be friends again?
BRIAN
Maybe. It's going to take some time.
AARON
I know what I did was wrong and I'm sorry. But I don't know how to undo the past.
BRIAN
Aaron I don't want to talk about this now.
AARON
I'm getting married to your sister tomorrow, and my family is going to be there, with you and Jarred. Where do you think I learned to hate gays.
Mike stops changing, he has been ignoring the conversation, but Aarons statement has his interest.
BRIAN
You and some friends beat the shit out of me and my lover and you want me to erase that overnight. Sorry it's not going to happen that way.
AARON
Come on Brian I told you almost three months ago. Are you telling me that you can't forgive me yet?
BRIAN
That's exactly what I'm telling you. I may never forgive you. Just give it time.
Brian has finished dressing and exits the changing room.
Robert looks in the mirror and sees him.
ROBERT
You all right Brian?
BRIAN
Yeah fine Dad.
ROBERT
Okay guys lets get changed and finish this up. Suzy is cooking up a huge dinner for us.
int. susan and roberts house-AFTERNOON
Susan, Betty, Lila, Eve, Jenny, Sarah, and Diana are sitting in the den drinking wine.
LILA
Remember that marriage has three rings to it. An engagement ring, a wedding ring and suffering.
DIANA
Nana, it isn't that bad.
LILA
I never said it was bad. Just remember always end disagreements in bed.
SUSAN
That's the same advice you gave me.
LILA
I give that advice to all women who are getting married.
BETTY
Shouldn't we have some kind of a toast?
JENNY
Yes, a toast to the bride and the graduate.
EVE
Leave me out of it. This is Dianas' party.
SUSAN
No, graduating from college is a huge accomplishment.
EVE
Dear lord. My mother gave me a compliment. Are you feeling okay?
SUSAN
I'm fine. I can give you a compliment once in a while.
EVE
Once every thirty seven years at least.
SUSAN
Give it a rest for one night.
JENNY
I think we've had enough to drink. Isn't it time to check the roast?
Susan gets up and goes to the kitchen.
The front door is heard closing and the voices of the men can be heard. Moments later they join the women in the den.
ROBERT
Where are the boys? I want them to try on their tuxes for tomorrow.
BETTY
Out back playing ball.
JOHN
I'll go get them.
John leaves the room.
Jenny goes to Mike and gives him a kiss on the cheek.
JENNY
Hey, babe. Want to sneak upstairs and fool around?
Mike is distant and distracted.
MIKE
Not now.
Jenny quickly picks up on her husbands' mood.
JENNY
What's wrong?
MIKE
Nothing.
Susan comes back from the kitchen.
SUSAN
Dinner will be ready in about an hour.
John returns with the boys following.
ROBERT
Boys come with me. I want you to try on your tuxes.
SAM
Do we have to?
MIKE
Yes, you have to.
Robert and the boys leave the room.
Aaron kisses Diana.
John walks to Eve and imitating an MGM production number grabs her swings her out and brings her back before planting a deep kiss on her.
LILA
That's what marriage is about. Romance.
BETTY
And you would know about that wouldn't you mother.
LILA
I don't know what you're talking about.
SUSAN
Eve now that you have your degree, you can stay home and take care of the kids.
Eve pulls out of Johns' embrace
EVE
I'm not staying home. I've got a job with an advertising firm.
Susan sits down on the couch.
SUSAN
Why would you go to work? John makes plenty of money.
EVE
It's not about money mother. It's about me wanting a life of my own. The way you did.
SUSAN
I think your crazy. If I could've stayed home I would have.
EVE
Well it's not your decision, now is it mother?
SUSAN
No it's not, because I would make the right one.
EVE
Who the hell are you...
BRIAN
Stop. Every time we get together we fight.
DIANA
Don't be such a faggot.
BETTY
Don't call him that.
DIANA
Oh my, hiding behind a womans' skirts again.
Jarred gets in Dianas' face.
JARRED
Someone ought to slap you. You ignorant little bitch.
Aaron comes to Dianas' defense.
AARON
You do and I'll beat the shit out of you man.
MIKE
The way you and four of your friends did last time. Maybe this time you'll kill him.
Everyone is momentarily stunned.
JENNY
What are you talking about?
MIKE
I overheard Brian and Aaron at the tuxedo shop. Aaron's the one that beat the crab out of Brian and Jarred.
JARRED
(to Brian)
You knew about this?
BRIAN
He told me a couple of months ago.
Robert and the boys reenter the room.
JARRED
(to Aaron)
I'm going to kill you, you little fuck.
Brian starts crying.
BRIAN
Jarred no. It's not worth it.
DIANA
And the faggot starts crying.
EVE
Shut up you little bitch.
Eve goes to Diana and slaps her face.
EVE (cont'd)
I'm sick of you putting him down.
DIANA
Well at least I can say what I feel. You go around pretending to be some sort of martyr. Your afraid of your own shadow, except when it comes to him. I hate faggots, I hate them.
Dan steps forward.
DAN
You can't say that Diana. Aunt Di, please you can't mean that.
(Dan starts crying)
Because if you mean it, then you have to hate me too.
EVE
Oh God no. Are you sure?
DAN
Yes.
JOHN
It's okay.
Eve and John go to Dan and Hug him.
MIKE
Diana shut up. You don't know what you're talking about. All you see is what Mom taught you.
DIANA
Give it a rest Mike. You're not the family peace keeper. You're just a dumbass ex-jock who hammers nails all day.
SUSAN
Diana don't talk to your brother like that!
DIANA
Why not Mom? You're the one who said it.
BETTY
Susan look what you've done to your kids. Why can't you just accept them the way they are.
SUSAN
Betty what do you know about it?
BETTY
I know plenty. You're kids come to me when they have problems. They rely on me, because they don't trust you.
SUSAN
You don't know what you're talking about. My kids trust me.
MIKE
No Mom we don't.
SUSAN
Shut up Mike. You don't know what you're saying.
MIKE
Why? Because I'm just a dumb jock. Is that why everything I say or do is ignored by you?
SUSAN
Yes damn it! All of you kids are miserable ungrateful brats. I gave up everything for you.
Lila gets in front of Susan.
LILA
Come on kid let it out.
SUSAN
Mother shut up.
EVE
How about you shut up Susan. You caused all of this. You just couldn't accept us as we are. Could you?
Susan loses control.
SUSAN
That's it. I'm sick to death of being told how miserable I made you all. I gave up all my dreams for you. That's right Betty I had dreams too. But I got married too young and for the wrong reasons. I love Robert, but if I hadn't gotten pregnant with Mike I wouldn't have married him. I ignore you Mike because I don't know you. You never talk to me or spend any time with me. You never did. You were always out playing ball with your father. I was left out of your life. Eve, Eve, you want to know why I treat you the way I do. It's because I want you to be happy with what you have. I didn't want you to have regrets the way I do. It killed me when you came home and told me that you and John were getting married because you were pregnant. I know how hard that road is and I didn't want you to have to repeat it.
(to Brian)
You, come home one day after months of hiding in your room, and avoiding the world and announce "Mom and Dad I'm gay, my boyfriends name is Jarred. I hope you can accept it." How in the hell was I supposed to accept it. I hated it. I wasn't even given a chance to get used to the idea. Your my son I want you to be happy. Yes. I know you are. I'd like to be happy with you. We've never talked about it. You just throw being gay in my face and expect me to jump for joy. Diana. Dear God. I've made so many mistakes with you. You are a bright, intelligent, wonderful, girl with your whole life ahead of you, but all I taught you was how to hate. I'm sorry. But this is it you are my children I love you, but I will not be judged by you. You want me to accept you how you are well then accept me. Accept me for who I am. I deserve at least that.
The room is deathly silent.
LILA
Bravo, Bravo. Wonderful performance by Prissy Prim. Why don't you tell your kids about the affair you had with a woman when you were a teenager. Oh yes kids there are lots of secrets in this family. Susan you walk around like such a saint. How can your kids accept someone they don't even know?
Susan leaves the room.
JOHN
Dan have you...
DAN
Billy and I have been dating for almost a year.
Diana is crying. She walks over to Dan and hugs him.
DIANA
I don't hate you. I don't know... I...
Diana hugs him harder.
LILA
About time one of you woke up. I love you all, but it's time you took your heads out of your asses. Diana's getting married tomorrow and I don't give a damn who's mad at who you'll all be there and you'll all be happy.
Lila leaves the room to go after Susan.
The rest of the family is standing there in silence.
Betty leaves the room following in Lilas' wake.
ROBERT
I hope your all proud of yourselves.
int. church-day
The church is filled to capacity.
Aaron stands at the alter. Next to him is Brian.
The PRIEST is standing behind the alter and looking out at the crowd. He signals for the music to start.
The ORGANIST starts playing.
Jarred escorts Betty up the aisle.
They are followed by Billy and Lila.
Dan follows escorting Susan.
Aarons' MOTHER and FATHER walk down the aisle next.
Sam comes behind bearing the rings.
Kevin escorts Sarah up the aisle.
They are followed by Mike and Jenny.
Then John and Eve.
The sound of "Here comes the bride" is heard.
Robert escorts Diana down the aisle.
When they reach the top of the aisle Aaron comes to Diana and takes her from Robert.
Robert goes to his seat.
Diana and Aaron finish the walk up the aisle.
Reaching the alter, they kneel.
The priest makes the sign of the cross.
PRIEST
Let us pray.
There is a moment of silence as all bow their heads and say a silent prayer.
Once the prayer is over Diana and Aaron stand up.
PRIEST (cont'd)
Dearly beloved we are gathered here today for the joining of these two people.
fADE OUT.

Copyright June 2000