The Story Behind "Dead by Midnight"

I wrote this version of this story for my Playwriting class in 2012, but the seeds for the story existed long, long, long before that.

Around 2002 I really started to get into Quentin Tarantino films. The character of Demetrius was designed as the son of Marcellus Wallace. I didn’t make it explicit, and since it was set in the Midwest that wouldn’t hold up. That’s okay, though; the story had more cathartic needs for my writing. Although concepts like dialogue, style, method, etc. were inspired by Quentin Tarantino’s films at the time (Reservoir Dogs, True Romance, Pulp Fiction, Natural Born Killers, Four Rooms, and From Dusk Till Dawn).

The actual content of the story was inspired by my roommate. I don’t want to mention names, but he was a moocher to the extreme. He was a bartender at a bar I frequented when I was 19 and 20 when I was in a band called Tenfold. I didn’t come to the bar with the band often, but that’s how people in the area new me. This guy was also a singer, a huge Jim Morrison revivalist. He was a decent musician, but he was so much of an anti-materialist that he wouldn’t pay a dime for rent.

We’re still quasi-friends but he was the meaning behind Chad. I’ve become much more forgiving since then, but at the time I was pissed off that he lived with me but claimed he never had the money to pay the rent. I really wanted to reenact retribution, but I knew I couldn’t do it in the physical sense (although I did know several biker clubs in the area who did not like him as well and would have been happy to do something about it, and as a singer in a metal band I was friends with them all; hence the bikers in the play).

I originally planned the concept as a film shot in real time, similar to High Noon. I wanted to come up with a cheap concept that I could shoot on little to no money. It was also meant to tie into two other films that I was scripting: Wisconsin Death Trap and The World Revolves Around Me. Being a huge fan of Quentin Tarantino and Kevin Smith, I wanted to do the same kind of cinematic world building that they engaged in. I wouldn’t say that I’ve completely abandoned the idea, but it’s not foremost in my mind like it once was. (The three film concept was actually going to form the name of a production company I was considering: Dead World Trap Productions. I still like the name!)

The original concept took place over two hours. Originally, it was going to be Dead by Noon, but that would be too expensive. Then I figured changing it to Dead by Midnight would work better for cost. Wisconsin Death Trap was the film I was most interested in making, and would help me in making Dead by Midnight. My avenues for making Wisconsin Death Trap kind of dried up though, so I was just left with several ideas and nowhere to go and no way to make them.

When taking my Playwriting class, I was having a hard time coming up with a one-act play. I decided to take the concept of Dead by Midnight and use it for my one-act. When I was working on the screenplay the part that was the hardest was coming up with the material that happened between the first and final acts. By using the play ideal I could imply what happened in the first and final act and just show those two acts.

I really like how this idea turned out, but I do feel at least one revision is needed. 

Dead by Midnight, Part 2

Scene Two

Chad sits on the sofa with a beer between his legs. He is sleeping. On the coffee table there are assorted beer bottles and a half empty bottle of whiskey. On the floor of the stage are broken pieces of a smashed cell phone strewn around. Demetrius, followed by the two bikers, enter the room. Demetrius smiles. He prepares to take his former seat on the recliner.

Demetrius – (To one of the bikers) Wake ‘em up.

The biker walks over to Chad and slaps him. Chad jumps and stares wildly around the room before his eyes land on Demetrius. He looks back at the clock and then to Demetrius.

Chad – I still have some time.

Demetrius – If you still need time then you too late son. You ain’t left the house since I been here, so’s I think you ain’t takin’ this serious-like.

Chad – What the fuck was I supposed to do? I had nowhere to go, nothing I could have done! I was fucked from the start!

Demetrius – I knew you wasn’t the enterprisin’ type, but I thought you might still got self-preservation somewhere in there.

Chad – I guess not.

Demetrius – (Looks around) Where your butterfly at? She done left you too, huh.

Chad – That was you.

Demetrius – How you figure?

Chad – You called me out about the brakes!

Demetrius – So the brakes was fine! Son of a bitch, I knew it from the moment you ran that stop sign! So you ain’t tell her the truth neither?

Chad – I couldn’t, she would have left me before now.

Demetrius – So you blamin’ me for you fibbin’ to your old lady?

Chad – You could have just taken me to court or something, you didn’t need to show up here.

Demetrius – I ain’t from ‘round here. My pops figured the best way for me to get my teeth cut was to go off on my own, take responsibility, and grow the family business. Family business bein’ scratchin’ someone else’s back so they gots to scratch yours. For my shit to work, everyone’s got to take responsibility for theyselves though. Sounds to me like you someone who don’t know much about that.

Chad – Listen, it was an accident, I can try …

Demetrius – That was no accident. Accident implies that there is no fault. You was at fault, pure and simple. What was you doin’ anyway?

Chad – Smokin’ a joint.

Demetrius – You dropped that shit didn’t you?

Chad nods.

Demetrius – (Laughs) Damn! Wish you would have saved that shit now, huh!

Chad – I guess. Look, I’ll do whatever I can to pay you back, I just can’t take care of it right this second.

Demetrius – You had two months to reach out to me nigga! I ain’t heard boo from you for two months! Now you want to work out somethin’. Naw, it don’t work like that. See, I know you, I know your type. Unless someone backs you into a corner there ain’t nothin’ you gonna do to rectify the problem. You know Greg Stevenson?

Chad – Yeah, but how …

Demetrius – Used to be your best friend, right? Cat told me you owe him fifteen hundred he lent you to buy your car. What about your ex, Chelsie Barnard?

Chad – Where the fuck …

Demetrius – That broad couldn’t didn’t know how many times she bailed your ass out on rent, electric, or cable before she dropped you like an Acme anvil. Then there’s your old roomy, Andrew Peer. Dude covered the rent for both of you for six months straight before he realized you ain’t gonna pay shit. Your landlord Michael Mosley had to let you stay in that apartment for four months to get a court order when you refused to leave ‘cause you was evicted for not payin’ rent. Those just the ones I remember off the top of my head.

Chad – How the fuck do you know all of that?

Demetrius – I study people, it’s what I do. I gots money, I gots means, and I gots to know who needs my help so eventually they reciprocate. I also need to who the worthless fucks is. When you smashed up my Lexus, I started asking ‘round ‘bout you. Not a single damn good word could be heard. You, dog, are a worthless fuck.

Chad – Fuck you!

Demetrius – Fuck me, huh? This ain’t ‘bout you and me no more, holmes. I ain’t got no need for your money. I call my pops and tell him some jackass totaled my car, he’ll ship me a car or transfer the cash. Naw, this is ‘bout a favor for the peeps you done fucked, I’m settling their score. Fiddy grand is what you owe them, after interest. I ain’t even countin’ whatever burden you put on your butterfly. If you had the money or the car right now, your accounts with them and me would be settled. If you put in some effort, I might have worked with you on the rest. You ain’t done nothin’ to make this better but sit here and drink your life away. You want to say fuck me cause I called you a worthless fuck, but that’s all on you nigga.

Chad – We can still work something out!

Demetrius – (Ignoring Chad’s plea) I’m surprised you haven’t mentioned my boys that been with me. You should recognize them, they bar is one of your digs.

Chad – I don’t …

Demetrius – Rocket and Rattlesnake, they club owns Outlaw Saloon. A lot of the people you fucked are regulars at their establishment. You got a tab a mile long there. Shit, I usually gotta pay these hard hitting motherfuckers for they services, but not tonight. Tonight, they said it’s they pleasure. Tonight, I ain’t even gotta do nothin’, I just planned this shit, and what happens after. They doin’ the heavy liftin’ though.

Chad – (To the bikers, on the verge of tears) Please, I will do whatever you want me to do to make this right, I swear to God!

Demetrius – You be trippin’ if you think they’s gonna talk to you right now. Naw, they’s in character. You already a corpse to them boy.

Chad – Demetrius, please, is there anything I can do? I swear, I can change I can …

Demetrius – Short of handin’ me fiddy grand, there ain’t shit you can do.

Demetrius looks at the clock and stands up.

Demetrius – (To the bikers) It’s ‘bout that time boys. You figured out who’s gonna do it?

The bikers nod.

Demetrius – (To Chad) I’m sure you heard this before, but this ain’t personal, it business. You ain’t gonna take care of your debts, you ain’t nothin’ but a burden. All there is to it. (To bikers) Try not to make too much of a mess. I got Mace comin’ by to clean up, but he’ll be pissed if he got too much work to do. When you done I’ll meet you down by Walt’s, he’ll take care of the rest.

Demetrius takes one last look at Chad and shakes his head, and exits stage right. The two bikers move into position facing Chad in front of the coffee table. One of them pulls a gun as the stage goes dark or the curtains come down. A gun shot goes off.

The End

Dead By Midnight, Part 1

Setting: Living room. A coffee table in the middle of the room, sofa behind it, recliner to the right. Decorations can be as sparse or as lush as the director and stage designer feel necessary. Stage left near the entrance to the stage is a fridge and a dining room table.

Clock on wall above the sofa should depict time of scene. Scene One starts a little before 10:00 PM, rehearsals should determine the time so that Demetrius’ arrival is right at 10:00 PM Scene Two should be timed out in rehearsals to set the clock at the beginning of the scene so that it ends just before the clock strikes midnight.

Characters

Chad: Young white man, mid to late twenties, type of guy to throw on the first thing he picks out of his closet. Average slacker type, nothing special.

Demetrius: Young black man, mid to late twenties, dresses like he’s in control. Speaks in slang that hides a deeper intelligence and cunning.

Alicia: Young white girl, mid to late twenties, lives with Chad, but looks like she’s way out of his league.

Bikers: Two bikers that follow Demetrius, dressed in leather vests with the patches of a biker club. The club is unimportant, and could be picked by the director or costume designer.

Scene One

Sounds of slight moans heard off stage left, that of a Chad and Alicia. As the moans heat up the sound of a cell phone ring tone cuts them off.

Chad – Fuck!

Alicia – Well, don’t answer it!

Chad – What if it’s important?

Alicia – I don’t know what could be so important right now. You keep sayin’ one of these days you’re gonna get me off, but I’m still not feelin’ it.

Chad – Who the fuck is this?! Hello … Who is this? … Oh, what’s up? … Yeah right! Do you want that in cash or check … Well, I know I fucked up but … Now! … What’s that going to help, can’t you just take me to court or some shit … Well, no matter what, it’s going to take time … Right now isn’t a good time … Hello? Hello? Fuck!

The sound of rustling clothes and the opening and closing of dresser drawers is heard off stage left.

Alicia – What’s going on?

Chad – Demetrius is on his way over here.

Chad enters stage left while putting on a shirt, Alicia follows shortly behind him. Chad stops by the fridge, pulls out a beer, and walks over to the couch and plops down while taking a gulp of the beer.

Alicia – Who the fuck is Demetrius?

Chad – Remember that car accident I got into a couple months back?

Alicia – (With a sense of resentment) How can I forget? I’ve been late for work how many times over the last couple months because you were using my car for god knows what.

Chad – (Ignoring Alicia’s comment) Demetrius was the owner of the other car.

Alicia – Oh. (Beat) What’d he want?

Chad – The money for his totaled Lexus.

Alicia – Wait a minute, you totaled his Lexus?

Chad – Yeah, I told you that.

Alicia – The hell you did! How did you get into that accident again? Your breaks went out, right?

Chad – Something like that,it doesn’t matter anyway. (Beat) I don’t even have the money to replace my Geo Metro let alone a Lexus. I told him that, but he said he’s on his way here, now.

Alicia – What for?

Chad – I don’t know, he just asked if I had his money, and when I said no he said he was on his way over.

Alicia – How does he know where you live?

Chad – I don’t know, police report, maybe. I wouldn’t put anything past him though, this dude freaks me the fuck out.

Alicia – How?

Chad – I don’t know, there’s just something about him.

Chad downs the last of his beer then goes to the fridge to grab another one.

Alicia – What do you think he’s going to do?

Chad – No clue, I’ll be freaked out if he walks in and starts quoting Ezekiel 25:17 though.

Alicia – Maybe he just wants to freak you out a little bit, some pressure on you. He could even have court papers and just wants to give them to you in person.

Chad – I guess it’s possible, but I think there’s got to be more to it than …

A knock can be heard coming from stage right. Chad and Alicia look at each other for a minute in shock before Chad goes just off stage right to answer the door.

Chad – Umm, hi Demetrius …

Demetrius enters the living room followed by the two bikers. He stops just inside the door and looks at Alicia.

Demetrius – God damn, Chad, this your old lady?

Chad – (Unsure how to respond) Yeah, that’s my girlfriend Alicia.

Demetrius – Whew boy, ain’t seen that shit comin’, that’s some fine piece of work you got there.

Demetrius takes a seat in the recliner, while Chad sits back down on the sofa.

Demetrius – You gonna offer your guests somethin’ to drink, or should we get it ourselves? If so, I’ll take a beer. (Looking at the bikers) You cats want somethin’?

The bikers shake their heads no.

Demetrius – One beer then.

Chad – (Looks to Alicia) Do you mind getting Demetrius a beer?

Alicia rolls her eyes and goes to the kitchen and gets a beer and slams it on the coffee table in front of Demetrius. Demetrius smiles at her as he opens the beer.

Demetrius – Such hospitality from the lady of the house!

Chad – How did you get into the apartment complex? I thought I was going to have to buzz you in?

Demetrius – (Beat) I get it, you think I’m some hard hittin’ nigga bustin’ my way in here like a coked up bitch lookin’ for money for my next score.

Chad – That’s not …

Demetrius – Oh, so you think these cats is some mindless Hell’s Angels thugs who be breakin’ down doors and shit.

Chad – No, I didn’t mean …

Demetrius – You had to be thinkin’ somethin’, and I sure as hell don’t like whatever you implyin’ …

Alicia – Can you just get on with whatever you came here for?

Demetrius stares at her long and hard.

Demetrius – Chad, I recommend you shut up your caged butterfly before I do it for you, it would be a shame to fuck up somethin’ so beautiful.

Alicia – What do you mean: caged butterfly?

Demetrius – What do a caged butterfly do? Nothin’. It sits in a cage and looks pretty, but it ain’t goin’ nowhere. Like you, which is obvious by the company you keep. Now, shut your mouth, the men is talkin’. (Beat) How long it been since you fucked my shit up, man?

Chad – About two months.

Demetrius – I ain’t heard shit from you neither. Where you been?

Chad – I’m sorry, I’ve just been really busy.

Demetrius – I ain’t ask you if you been busy. I ask you where you been. My pops always taught me to square my shit away right away. Your parents ain’t teach you that shit?

Chad – They did, but …

Demetrius – I don’t think they did. Or you didn’t listen. You let this kind of shit lie, eventually you gonna mess with the wrong nigga.

Chad – I know, and I’ve been meaning to call you but …

Demetrius – I don’t wanna hear no buts man. You gots to take responsibility for this shit man. I been patient wit you, but fuck man. I ain’t even mentioned that bullshit about your brakes yet.

Chad – What?

Demetrius – You said your brakes gave out, but there ain’t no problem with your brakes man.

Chad – My brakes gave out, that’s the truth.

Demetrius – Dog, I know where your car was towed, I got one of my peeps to check it out. Ain’t shit wrong with your car besides the fact that it’s a pile.

Chad – I don’t know who checked it out for you, but maybe they just told you what you wanted to hear.

Demetrius – Don’t you be accusin’ my boys of lyin’ to me, I’ll add that to the shit list against you. Don’t matter none anyway, you got work son. I’m sick of waitin’ for your ass, so here’s the deal: you got to midnight tonight to get me fiddy grand or a brand new Lexus GX 460.

Chad – That’s less than two hours, how am I supposed to pull this off?

Demetrius – Do I look like a give a fuck? If you gots to rob a bank, steal a car, or whatever man. This ain’t my problem, and you ain’t the only problem I gotta deal with tonight. You just be wastin’ time fightin’ me on this, and I ain’t backin’ down and I don’t got time to waste.

Demetrius stands up and walks to the stage right entrance.

Demetrius – (To the bikers) Let’s get outta here and let this chump get to work. (Turns to Chad) And don’t get no stupid ideas neither, ‘cause no matter where you think you’ll end up by fuckin’ me, you’ll just end up worm shit six feet under.

Demetrius and the bikers exit stage right.

(Beat)

Chad – What the fuck? How am I going to come up with that kind of money by midnight?

Alicia – How did you get into that accident?

Chad – What?

Alicia – He said your breaks were fine, so how did you get into that accident?

Chad – Demetrius was just trying to get in my head! I’m sure he was just trying to rattle both of us.

Alicia – He seems like a lot of things, but a liar isn’t one of them. You on the other hand.

Chad – What’s that supposed to mean?

Alicia – That means this wouldn’t be the first time that you’ve lied to me.

Chad – So a stranger comes into our home accuses me of lying and you’re automatically going to believe him?

Alicia – What does he have to lie about? You owe him, he has no reason to lie to you! The truth, Chad!

Chad huffs and puffs before finally looking at the ground in defeat.

Chad – I had been at Stephen’s, we had been smokin’ out. He gave me a joint when I left and I was tokin’ in the car. I dropped my roach and when I bent down to pick it up I didn’t see the stop sign.

(Beat)

Alicia – You are un-fucking-believable, you know that!

Alicia exits stage left and re-enters with an overnight bag. As she speaks she exits and re-enters with clothes and other things needed when staying away from home.

Alicia – When we first started dating you said that you were going to quit that shit. Here we are, you lost your car for it, you’ve almost cost me my job, and now it might just cost you your life. Was it worth it, Chad? Was it fucking worth it? Fuck, he could have just killed us both because you’re a selfish fucking prick! I’m done, you can clean up your own mess.

Chad – But I need you.

Alicia – Of course, you do. You needed me when you lost your apartment. You needed me when you wrecked your car. You need me when you want food or beer or to go out and party it up. But what about when I need you? You barely pay any of your fair share around here, and you brought this bullshit in here.

Alicia grabs her overnight bag and walks stage right.

Alicia – What I don’t need is you. Your name isn’t on the lease for this apartment, so if you survive tonight I want you gone by tomorrow afternoon.

Chad – But …

Alicia – You seem to be full of buts tonight, but they aren’t gonna fly anymore. Part of me loves you, but part of me knows you’re the worst person I could have ever chosen to be with. Good luck, Chad. And lock the door when you leave.

Alicia gives Chad one last long look and exits stage right. Chad sits in contemplation for a few minutes, beer in hand. After a few minutes he drains it, sets the bottle on the coffee table, and goes to the fridge for another. As he goes back to the sofa he opens the bottle and takes a long gulp of beer. After a few more minutes of contemplation, Chad pulls a cell phone from his pocket and begins going through the contacts. After picking the right number he puts the phone to his ear.

Chad - Hey Mom … I’m doing okay … Well, I’m actually in a little bit of trouble … I know Mom … I got into a car accident a couple months ago … Aren’t you even going to ask me if I’m okay? … I don’t care if I’m calling you, but I haven’t spoken to you in months I could have been in a coma for all you know … No I don’t need you to help with hospital bills, I’m okay … Yeah, I know that’s what you just said … I’m calling because the guy I got into an accident with came by here asking for the money to replace his car by midnight tonight … Can’t you wire me some money? … No I didn’t try to set up a payment plan before now … How many times have I ever asked you to help me out in the past? … I know I haven’t called and I’m sorry, but you haven’t called me either … Please don’t do this right now I don’t have time for this … I know it’s late, but I didn’t know it was going to come to this now … I’m sorry, okay … Yeah, I’ll figure something else out … Whatever … bye.

Chad pushes the button to end the call on his phone and throws the phone down on the coffee table. He shows signs of frustration, anger, and sorrow before picking up the beer and draining it and going to get another one.

End of Scene One

The Story Behind "Future Conversations Past"

Much like Wretches and Kings, Future Conversations Past started out as a 10 minute play for a Playwriting class in fall of 2012 at University of Wisconsin – Milwaukee. I haven’t revised this play yet, although I do have some small changes I would like to eventually make to this play. I am still extremely pleased with this play though. When it was critiqued in class, it was favorably compared to The Twilight Zone and was referred to as Hitchcockian. Another friend considered it to be trippy and thought it would be funny if I were to get someone on acid to try reading it.

The seeds for this play started with a class reading: Coulda, Woulda, Shoulda by Glenn Alterman. In the play, parents Cy and Yvette get into an argument that intersects with a play their son, Marty, is writing. As he writes his play and tries to set up the scene, he illuminates the future of his family to his parents. I found this kind of metaphysical playwriting intriguing because it allows you to write philosophically without having to be too explicit in your message.

The result was that I decided to write a play about writing a play that the viewer could either take as being reality or a play. In other words, are you watching the play being written, or are you watching the play that’s based on what was written? I found the concept of a self-referential play that could work on something of a circular logic to be funny and metaphorical. I based the characters on the philosophical idea of free will vs. predestination.

In the play, Glenn represents predestination. He sees life as something that can be predicted. You have no real choice over your actions; your actions can be dictated before you make them. Theresa represents free will. She remains skeptical that Glenn is capable of writing what has already happened, and over the course of the play she becomes frustrated as Glenn continues to predict what she’s about to say before she says it.

Interesting Fact: The title Future Conversations Past, was inspired by the X-Men film X-Men: Days of Future Past. 

Future Conversations Past

Setting: Stage looks like an office. A desk with an old fashioned typewriter sits on one side of the stage, there’s a door on the other side.

Characters

Glenn

Theresa

Glenn sits at the desk, looking at a yellow legal pad and typing away furiously at the typewriter. As he reads and types he says what he’s reading out loud.

Glenn – Theresa, whatcha up to? Glenn, working on an idea for a play. Theresa, since when? Glenn, I don’t know, maybe four…five years now. Theresa, how have I never heard anything about this? Glenn, ‘cause it ain’t finished yet. Theresa, what’s it gonna be about? Glenn, well, this ain’t the play, this the build-up. Theresa, you been working on a play for four or five years and you haven’t actually started the play?

Theresa walks in through the door at the side of the stage.

Glenn – Glenn, yup…

Theresa – Whatcha up to?

Glenn – Working on an idea for a play?

Theresa – Since when?

Glenn – I don’t know, maybe four…five years now.

Theresa – How have I never heard anything about this?

Glenn – ‘Cause it ain’t finished yet.

Theresa – What’s it gonna be about?

Glenn – Well, this ain’t the play, this the build-up.

Theresa – You been working on a play for four or five years, and you haven’t actually started the play?

Glenn – Yup. (Turns his attention back to the yellow legal pad and starts typing away again.) Theresa, wait, are you writing about us? Glenn, yup. Theresa, what about us? Was it something we done before? Glenn, this ain’t about what was or what is, but what it will be soon. Theresa, I don’t get it. Glenn, see, I found a way to kinda see what…

Theresa – Wait, are you writing about us?

Glenn – Yup.

Theresa – What about us? Was it something we done before?

Glenn – This ain’t about what was or what is, but what it will be soon.

Theresa – I don’t get it.

Glenn – See, I found a way to kinda see (starts typing again as he speaks) what’s gonna happen.

Continues typing as Theresa talks.

Theresa – So you think you writin’ ‘bout the future?

Glenn – I don’t think it, I know it. (Looks down at legal pad.) Theresa, but that’s impossible. Glenn, no it’s not, I been doin’ it.

Theresa – But that’s impossible.

Glenn – No it’s not, I been doin’ it. (Looks down at legal pad.) Theresa, wait, are you writin’ this conversation? Glenn, yup. Theresa, but that ain’t the future, that’s the now. Glenn, it was the future when I wrote it.

Theresa – Wait, are you writin’ this conversation?

Glenn – Yup.

Theresa – But that ain’t the future, that’s the now!

Glenn – It was the future when I wrote it. (Types while he’s talking.) I already done wrote this part, (stops typing and holds up legal pad for Theresa to see) on this pad. (Places pad back on desk and continues typing.) I’m just typin’ it up now, this conversation just happens to take place while I’m typin’. (Looks down at legal pad.) Theresa, you got to be out yo damn mind.

Theresa – You got to be out yo damn mind.

Glenn – (Typing away) Naw, I just figured shit out, that’s all. (Looking at legal pad.) Theresa, how’d you figure this…dammit will you stop that.

Theresa – How’d you figure this…dammit will you stop that!

Glenn – I can’t tell you that, if everyone knew how to do this then I ain’t gonna be able to sell my play. And I can’t stop, this has already been written. (Looks down at legal pad.) Theresa, if you ain’t gonna stop then I’mma just stop talkin’. Whatcha gonna do then?

Theresa – If you ain’t gonna stop then I’mma just stop talkin’. Whatcha gonna do then?

Glenn – Either, that would prove that I ain’t seein’ shit into the future, or I already wrote it with you walkin’ out. (Looks down at legal pad) Theresa…

Glenn and Theresa – So which is it?

Glenn – I ain’t gonna tell you that! If I told you, it might change how you act and what I done seen goes to shit. If I don’t, you act natural. Natural’s what I need. (Looks down at legal pad) Theresa…

Glenn and Theresa – I don’t wanna act natural if that means you know my every move before I make it. Goddammit, cut that shit out! I’m serious! You make me so damn mad sometimes! Why can’t you just live in the now like every other normal person?

Glenn – I am living in the now, and I already lived in the now. I lived in the now when I wrote this in the past when it was the future. Now I’m living it in the present while I type my notes up from the past when I saw it in the future. I ain’t just livin’ the present, I’m livin’ the past, present and the future. (Looks down at the legal pad) Glenn as Theresa, that ain’t right though. Glenn, why not? Glenn as Theresa, it just ain’t. Glenn, but the past informs the present which leads to the future. I can see all three clearly, so why not live them all? Glenn as Theresa, you’re not living any of them though, you just write the future down in the past, type it up in the present, and you don’t live any of it. Glenn, if I ain’t livin’ the present, then how am I present in this conversation? Theresa…

Theresa – You’re not present in the conversation…

Glenn and Theresa - …if you were, you wouldn’t have just had a conversation with yourself…

Theresa - …as me. You don’t really know what the conversation is about, you just know…

Glenn – Glenn as Theresa, …that it happens because you saw the conversation happen before. Theresa…

Theresa – But that doesn’t mean that you actually live any of it.

Glenn and Theresa – Your mind ain’t right.

Theresa – Are you gettin’ any of this?

Glenn – Glenn as Theresa, or do you think you got it because you already wrote it down? Glenn, of course, I got it. I wrote it didn’t I? Theresa…

Theresa – Boy, I’m about to come over there and slap you upside your damn head.

Glenn – (Describing and typing the actions as they happen) Theresa walks over to Glenn and raises her hand as if she’s about to bitchslap him from here to eternity. Glenn continues typing, seemingly unaware of what is about to occur, and unconcerned with his surroundings. As Theresa looks at him, hearing the descriptions of what is happening as they are happening, she puts down her hand and shakes her head. Theresa…

Theresa – I would try to knock some sense into ya, if I thought I could.

Glenn and Theresa – But you too far gone.

Theresa – I gotta get outta here…

Glenn – Glenn as Theresa, …before I do something you’re gonna regret. (Describing and typing the actions as they happen) Theresa walks out of the office shaking her head as she goes. Before she leaves the room she gives Glenn one last look, and shakes her head in pity as she walks out the door. Glenn sits at his desk typing away at his typewriter. Not only has Theresa left him, but so has the past. The present tries to keep him company, but Glenn really wants to make friends with the future. But in waiting for the future, he waits…alone.

Glenn stops typing and looks around the office, then at the audience.

End