FOR
LOVE OF FANTASY
By Michele Kaplan
“Just as one has the power to dream of better times…”
INT. THE COMPUTER
/ TV ROOM IN CARMA D. MCKINLEY'S HOUSE. DAY.
CARMA D. MCKINLEY (mid-late twenties, female, in pajamas, writer.) is singing rather blankly "What I Did For Love" - from the Broadway show, The Chorus Line. The music and lyrics are coming from her computer karaoke program. She uses a pen as a microphone, and is staring at the monitor. Carma is very ill, though it’s not fatal, she has been housebound with illness for over a month, and thus has a severe case of “cabin fever”.
Fades into a fantasy, where Carma is singing on stage and to an audience. The many colored stage lights are shining down on her. She doesn’t necessary sing well, but she can hold a tune. The song ends and she snaps out of it.
Back to the room where she is sitting at her computer. She stares blankly at her computer monitor and ponders.
Opening credits appear and movie begins.
Carma is sitting at her computer attempting to write a story. She wants nothing more then intellectual / creative stimulation and amusement.
CARMA:
Enough with the fantasies already! Crying out loud. Alright, that's it. I… I… I am going to channel my energy and write… something… okay… good… idea. So what exactly do I want to do with this. I need a name. I need a purpose.
In an all blue room, there is a line up of woman, that are potential characters in Carma’s mind. From right to left, there is: TOLA-SVETLANA (mid 40’s, female, appears to be quiet and introverted, but in reality, she has more power then people would ever expect.), EXOTICA (mid 40’s, female, not necessarily drop dead gorgeous but has a certain dynamic quality about her that makes her incredibly sexy, real name Sydney. She delights in playing mind games, and studying human behavior and motivation, and is a bit of a genius at it, but all the same uses it as an excuse to over-intellectualize attraction and really fears true intimacy.) ANTOINETTE & BERNADETTE (female, early 40's, cynical, but inseparable lesbian couple. Both woman are very much into style, and seem to have a lot of confidence in themselves. They love each other but have a hard time tolerating the rest of the world.) ABSINTHE (early 40’s, female , She is a drug addict, though you can tell that if she wasn't on drugs, she would look very attractive. It is very few that get to see her true nature and vulnerability.) ABORIGINIE (late 40's- early 50's, female. A woman who is tired of thankless philanthropy and longs to follow her own dreams, but is afraid to.) JOSEPHINE BUOY (female, mid-late 40's, a writer.) As the main character dismisses each name/character, that character walks off, disgruntled in her own way.
CARMA
(V.O)
Hmmm… something… nothing outrageous like Tola-Svetlana or ..uh… Exotica, Latex Vixen of the night! … or something as such, but nothing terribly plain like Antoinette or Bernadette…
Carma scratches her neck, sighs, and thinks for a bit. She looks at all four corners of the room. She coughs up into a tissue and scratches her arm. Carma looks at an old color advertisement that is hanging on the wall that reads "L’Absinthe Terminus".
Absinthe. But Abby for short? Abby… Aborigine! Aborigine? Hmmm… nah. Ooh N… N… Neh… Beh… Buoy… Hmmm.. Buoy? Buoy. Ok, I can work with that… now, a first name … hmmm…
CARMA:
Josephina… Josephine? Josephine… Buoy. Now that works. Wait. Does it work? Does it REALLY work? Do I really care? Yes! Now… ooh look at that.
Carma takes a look outside the window and is distracted by the people frolicking outside. The sun is slowly setting it is near dinner time. She coughs and snaps out of her daze.
What was I doing again?
(A BEAT)
Oh, this can’t be good if I am already bored of this story, and it hasn’t even started!
Restless and discontent, Carma slowly drifts off into a fantasy. She coughs , yawns and then smiles.
At the Folleywood Awards: A black-tie award show. Carma imagines herself amongst all the famous and latest actors, directors and such. There is a multitude of camera flashes, as the famous people make their way along the long red carpet, fans cheer along the side. MARY-MARY CALUMNY (female, mid 50's, a fashion/gossip reporter.) stops Carma to interview her. Mary-Mary Calumny turns to the camera and flashes a smile.
MARY-MARY
CALUMNY:
This is Mary-Mary Calumny, queen of all things gossip, and let me tell you, the stars are out tonight! We are here with none other then the famous, or shall I say infamous, har har har, Carma D. McKinley! Carma! Your dress! I love it! Who are we wearing?
Carma is nominated for Best Movie of The Year. Her category comes up. Camera goes to podium as ACTRESS #1 (female, late 40’s, dressed in an elaborate evening-gown ) reads the nominees.
ACTRESS
#1:
And the nominees for Best Movie of The Year are : Carma D. McKinley for… The Art of Pews.
There is a stir in the audience.
The Art of Pews? What the hell is that?!
Carma is sitting at her computer, contemplating her daydream.
CARMA:
Okay … okay… not The Art of Pews… but… The Art of…
Carma scratches her arm and rubs her eyes.
The Art of Itch… The Big Itch… The One Itch… The only itch… the sole itch… The Soul’s Itch! Ha ha ha! Woo… YEAH!
Carma takes a deep breath collects her thoughts.
Okay…
Back to the fantasy. Actress #1 puts on her glasses.
ACTRESS
#1:
Carma D. McKinley, for The Soul’s Itch.
Applause. A clip of the movie is shown on a big film screen behind the actress.
Clip of Carma D. McKinley’s film: The Soul’s Itch. BILLOWS (male , 40's. Has a habit of not hearing things he does not wish to hear.) & STELLA (40'S, female, strong, is not afraid to take risks in life.) are in a field talking to each other. Stella has her bags packed, in the near distance there is a train station, which is where she is headed. She is leaving town, and Billows is upset about it, for she is also leaving Billows. Stella and Billows are lovers.
BILLOWS:
Stella! Wait! Stop! Just… just… stop for one second. This is… this is … is.. insanity! Look at me.
(A BEAT)
Stella, you can’t just get up and go like this!
STELLA:
No, Billows. YOU can’t get up and go like this. But I can.
BILLOWS:
Oh! Right. How could I forget, it’s all about you. To hell with anyone else’s feelings or… or… responsibility! How foolish of me to assume it a necessary element in life!
(A BEAT)
What about your job, your house? What about me, Stella? Were you just going to leave without telling me? Did I mean nothing to you? Was our relationship nothing?!
STELLA:
Jesus, Billows. I quit my job days ago! The house? You know I sold it last week. And as far as me ‘leaving without telling you’, I told you, I’ve been telling you for months now. You just didn’t want to listen.
(A BEAT)
Goodbye Billows.
Stella leaves for the train.
BILLOWS:
STELLA!
The film clip ends. The audience applauds. Camera goes to Carma, she smiles.
ACTRESS
#1:
Iggy Katsune, for I Am The Roof Top, I am The Chimney.
Clip of Iggy Katsune’s film: I am the roof top, I am the chimney. The main character in the movie, POVERTY (male, 40’s, an artist who feels that in order to create art, one must suffer.) is dressed in all black and is on the rooftop of a very run-down looking house. It is raining heavily. He is drenched. The other character is RABBIT (female, 40’s, also an artist who feels that in order to create art, one must suffer.) Both Poverty and Rabbit are openly polygamous lovers, and have been together for a good 10 years now. They are not necessarily happy together, but the despair fuels their art, so they stay together. Poverty raises his hands up to the sky, as he shouts at the top of his lungs.
POVERTY:
I am the roof top! I am the chimney!
Rabbit comes out and looks up to see Poverty on the roof.
RABBIT:
Well koo-koo-ca-choo! Now get your ass down here before you get struck by lightning.
INT. FOLLEYWOOD
AWARDS. NIGHT.
The clip ends. The audience applauds. Some are laughing at the joke. Some don't get it, and think it’s the most idiotic thing they've ever heard, while others nod knowingly as if it made some deep and profound statement. We see IGGY KATSUNE (male, 50's, very hip and somewhat pretentious, involved in that ultra hip elitist scene of writers.)
ACTRESS
#1:
Eva Wielder, for Café dans
Clip of Eva Wielder’s film: Café
dans
He died, 3 years ago. He got hit, by a bus…
(A BEAT)
but you
know that,
Yes. Yes, I do. I just enjoy watching your lips say it.
Oh
Oui. Errrrrow!
Everyone applauds. We see EVA WIELDER (female, 40's, follows tradition not because she agrees with the beliefs, but is afraid to go against the grain, for fear of what others might say. Her films are the one time where she is able to let loose) smiling.
ACTRESS
#1:
And finally, Don-Yaro Berger, for Veril’s Triumph.
EXT. BATTLE
FIELD. DAY.
A clip of Don-Yaro Berger’s film: Veril’s Triumph. DON-YARO BERGER.(male, late 40's. a writer that writes for the masses, that spits out these hit-formula action/war movies, that are receive more praise then they really deserve. His characters are often 2 dimensional and his plots are VERY predictable. He is also the kind of man that hits on everyone woman with a heartbeat, and thinks he is so just suave and desirable, but he really isn’t.) The scene is in the middle of a battle. There are lots of grays, gun shots and dead bodies laying in the field. The remaining soldiers continue to fight. VERIL (male, mid 40’s, big, strong, muscular yet sensitive.) and AMADEUS (male , 40's, small frame, incredibly intelligent, cultured.) are best friends. They are fighting side by side in the trenches. The movie is a typical overly dramatic action/war story.
AMADEUS:
VERIL!
VERIL:
What?!
AMADEUS:
There is something I must tell you, before it's too late!
VERIL:
Can it wait? I’m a little busy here?!
AMADEUS:
Veril, I’m your brother!
VERIL:
What?
AMADEUS:
Your blood…
Amadeus is suddenly shot.
brother…
He collapses , very much near death and is taken away on a stretcher.
VERIL:
NO!!!!
Veril raises his hands to the sky and sobs.
Son of a bitch!
Veril goes charging out of the trenches and into the field.
INT. FOLLEYWOOD
AWARDS. NIGHT.
Clip ends. We see Don-Yaro Berger. Audience applauds. Actress #1 waits for the applause to die down, and opens the envelope.
ACTRESS
#1:
And the winner for Best Movie of The Year goes to … The Soul’s …
CARMA:
Wait. Best movie of the year? I don’t know. That’s kinda pompous, really. Best… Best Independent Film of The Year… yes yes… now that sounds better. Accomplished, but not over the top.
INT. FOLLEYWOOD
AWARDS. NIGHT.
Actress #1 opens the envelope.
ACTRESS
#1:
The winner for this years, Best Independent Film, goes to, Carma D. McKinley for The Soul’s Itch!
Carma D. McKinley gets up from her seat, gleaming. Everyone cheers and as she is about to walk towards the stage to accept her award.
End of daydream. Carma itches her nose and sighs.
CARMA:
What am I doing? Crying out loud! I mean… all right, all right. I understand that I’ve been housebound for over a month now, and there has been a … well, somewhat lack of social human contact. So maybe that’s its. Maybe the mind compensates for social human contact … when there is a severe lack of … with fantasy? Its like… like… these little mini-movies of the mind, that fill the spaces that interactions with society, would normally fill. Ooh, that was deep. Okay, so having established that, I suppose, as long as they don’t hurt anyone, and I am fully aware, that I know that there is a difference between these fantasies and reality, then there is no real harm in them. I mean essentially, I am just fantasizing about success. Is that sooooooooo bad?
(A BEAT)
Christ! But I won’t achieve success by just fantasizing about it!
Carma yawns.
I’m just tired I guess…
Carma itches her arms, coughs, and looks at the dim lamp on her desk. The sun has set further. She yawns.
Maybe it’s the lighting in this room. There needs to be more light and… and color. Too much beige and creams and safe colors. Boldness! That’s what I need! I… I need a lot of things.
Carma gets up from her seat. She goes to turn on TV, only to find that the cable is out.
Dag nammit! I need visual
stimulation! I’m hungry! What do I have to eat?
Carma is sitting on the chair watching a movie from the VCR, the cable is still out and the movie is closing towards the end. She finishes her snack and goes back to the computer.
CARMA:
Ack… itchy itchy itchy.
(A BEAT)
Alright. I watched the movie. I came! I conquered! I kicked ass. No, serious… focus… concentrate.
(A BEAT)
I studied the dialogue, the color
psychology factors, and now I am ready to write.
Carma clicks on the icon on her computer desktop to start up her word processor.
Bring it on baby! Bring it on!
Carma gets a sudden urge to go to the bathroom.
Dag nammit!
Carma gets up and starts walking towards the bathroom.
How am I supposed to be creative, when my bladder
Carma leaps into the air like a ballerina, dramatically and for her own amusement.
is running wild… wild I tell you! like the wind! Whoosh!
(A BEAT)
Okay, probably shouldn’t do that on a full bladder.
Carma chuckles to herself.
I need to get out.
Carma is on the toilet, though technically we only see her from the stomach up. She looks at her face in the mirror. Despite swollen glands, and a face that is pale and has slight blotchy rashes on the cheek area, she is keeping a good sense of humor, about her looks.
Hey… not too shabby. Alright.
Carma chuckles and lifts her chin up.
Ew? Is that cellulite? Who put that there? Dear mother of god! Either I am swollen, or that is one double chin in the making! Awe man, I should have quit while I was ahead.
Carma chuckles. She starts to daydream / philosophize while on the toilet.
Fades into fantasy. There is one chair where Carma is sitting, facing the interviewer. THE INTERVIEWER (female, 40's) is interviewing / making a documentary about Carma’s new story, Josephina!
INTERVIEWER:
We are talking with Carma D. McKinley, writer and director of ‘The Soul’s Itch’, new story, ‘Josephina!’. A story about a woman named Josephine Buoy, who spends her days in excess of fantasy. Carma, when you wrote this, was this a statement against fantasizing?
CARMA:
Oh, quite the contrary. I believe fantasy can be a wonderful and healthy part of the human existence. But, like many things in life, it is best in moderation, otherwise it becomes a … danger , for lack of a better term, and that’s where Josephine Buoy, the main character, really went wrong, at least in my opinion.
INTERVIEWER:
Lets delve a bit deeper into Josephine’s psyche. What was the main problem, in your opinion , that really led to Josephine’s eventual, well, not to be melodramatic, but… destruction.
CARMA:
Well, I think one problem that Josephine had , she was not able to … distinguish between reality and fantasy? Hmmm, is that it? Actually, that’s a rather strong statement. Maybe its the more the fact, that she could distinguish, but she just didn't want to. Yes, I think that's more it. I mean, lets take her relationship with Edward for an example. Edward, was a person who she saw every day for five years. But in reality, they maybe exchanged a couple polite sentences. There was no real love affair going on. They were barely even acquaintances. ‘Good morning, Josephine’, ‘Good morning, Edward’, nothing deep or anything that would really hint of a mutual real life attraction. Yet, she would daydream and fantasize about him… as if they were lovers!?
INTERVIEWER:
Well, it was clear in the movie that she was attracted to him. Is it all so wrong to daydream about the people we are attracted to?
CARMA:
Oh, no. Not at all.
INTERVIEWER:
So, what was the problem?
CARMA:
Well, it's one thing to daydream, about a person we find attractive, from time to time, but it's another thing, when you place that person in a fantasy, on this grand, larger then life pedestal. When you make them something that they are not, something that they could never possibly live up to in real life, it becomes dangerous. Josephine started to use the fantasies as… an escape from the despair of her life, almost like putting her head in the sand… she… she buried her head from what she did not want to see or hear or feel. To the point where, she really began to believe that Edward was all she had imagined him to be.
(A BEAT)
Ooh! Or maybe, she just really needed to believe that Edward was like that in real life. She was just looking for someone or something to believe in? It could be many things really.
(A BEAT)
But of course, he could never be as glorious she had made him to be in her mind, because she was dreaming of perfection… of the unattainable… and that’s why, when she got to know him a bit better, she was crushed with disappointment.
INTERVIEWER:
That’s an interesting perspective on the character. You mentioned earlier that she needed to believe that Edward was as she had imagined him to be. Why do you think that is?
CARMA:
It’s not so much about Edward, or even Josephine… perhaps, its about human behavior in general. I think a lot of people go throughout their lives, with this feeling that something is missing, there is this… this void… this hole in themselves… they don’t feel complete. And at some point in our lives, we are taught that if you find a mate, that you will feel complete, and that this is love, this is what it’s all about. And I… I think Josephine had that hole. That empty feeling… that… that incessant voice that kept on asking… Christ, is this it? There has to be more then… then this? But what? Where does one begin?
(A BEAT)
Like many people, she turned to this perfect idea of love, that our society seems to be so obsessed with. Surely, if she had love, if someone loved her? Really really loved her? Things would be okay. She wouldn’t feel this emptiness in her life.
(A BEAT)
But, maybe at the same time, it scared her to get so close, to want something, to need something so badly, and so… she made this grand subconscious compromise between the side of her that longed for this perfect love, and the side of her that shunned away love, because it feared intimacy or even possibly reality. And the outcome? This glorious fantasy, dripping with romantic perfection! There, she could feel the emotions, the fairytale and in a way feel loved, just enough to make her giddy and secure, just enough where she could take that little vacation from her life, like a drug, but at the same time, never having to get too close to another human being. It was all without risk, at least it was in the blueprint. In theory it’s all very “safe”.
INTERVIEWER:
Hmmm. But the reality of it , it is not safe. At least that’s the message that the movie gave off.
CARMA:
Exactly. And we can really see this towards the end of the story. I mean, everything that she was relying on to keep her going in her life, not only is it gone, but she is faced with the realization that it never was real.
(A BEAT)
Really, in the end of the movie, I think what she learns is that , you can spend your days, hiding from your reality, with all these fantasies and daydreams, but in the end, reality is going to catch up with you. And all the problems and responsibilities you ignored, all the consequences of your actions, its all going to avalanche as this one big overwhelming blob of mess and chaos.
Carma snaps out of her fantasy and shakes her head yes.
Wow … that was deep. I should record my thoughts while on the toilet. Oh my god! That’s disgusting, crying out loud!
Carma chuckles.
I need to get out of this house.
Carma exits the bathroom and goes over to turn on the TV. The cable is back on. She lays down on the couch. CHANNEL 45 ANNOUNCER (male, 30-40’s) is heard.
CHANNEL
45 ANNOUNCER: (V.O.)
Thank you for watching Channel 45’s Cinema Hour. We now return to Witness to An Affair, staring Jonathan Gabert and Hedda Jones…
The movie comes on, and Carma hears it only as background music. She stares at the artwork on the wall and chuckles to herself. Carma yawns and curls up on the couch.
CARMA:
Exotica, Latex Vixen on the Night…
HA! That was funny.
Scene fades into fantasy. It’s right at the end of the Folleywood Awards and Actress #1 is announcing the winner for Best Independent Film of The Year.
ACTRESS
#1:
And the winner is… I am the
rooftop! I am the kidney, uh… chimney … Iggy Katsune!
Everyone applauds.
Fantasy fades back to reality. Carma snaps out it, gets up from the couch, stretches and turns off the TV. She goes back to the computer to type. She speaks out loud as she types. She is inspired.
CARMA:
Ha! I got it!
Carma starts to type.
Josephine Buoy,
entered the room in her gown. No.
Josephine made her entrance in her renaissance inspired gown, beautiful with
shades of dark
Carma laughs.
but she was thrilled to be nominated in the first place. She never thought that in a million years she would, that she could, come this far.
Carma pauses and stops typing.
Okay. Ignoring literary gag reflex. I will continue to write.
Carma starts typing again.
Josephine Buoy is in her gown as described and is schmoozing with other people. A variety of people are coming up and congratulating her on being nominated and making small talk. There are a group of characters waiting near Josephine, to see if they will be used in the story or not. As each character is dismissed, they exit in their own way, that is typical of their character. JETHRO (male, mid 40’s, the nice guy who often falls for the wrong girl and gets his heart broken, has a lot of female friends.) Tola-Svetlana, and CECILA (female, mid 40’s - early 50's, in love with Josephine.)
CARMA:
(V.O.)
By Josephine’s side, was her dear friend and companion… Jethro. Hmm… Josephine and Jethro? No… Josephine and … Ha! Exotica, The Latex Vixen of The Night. Why not? No , my humor is not the world’s humor. But why not a woman? Josephine and Cecilia, her dearest and true love for 8 glorious years … hmmmm… ohhh… ooh hmmm.. I don’t know… should I? Eeesh. Hmmm. Oh, oooh ah… Oh forget it! Josephine goes by herself. Yes, so there she was , looking beautiful and… autonomous… and… and…
INT. COMPUTER /
TV ROOM. NIGHT.
CARMA:
Oh that’s just not it… at all! Ugh! That was horrible!
INT. COMPUTER /
TV ROOM. DAY.
A week has passed. Carma returns to
the computer, and writes in her diary, which she has on her computer.
CARMA:
September 19th, A Sunday. I know its been a week since I’ve last worked on my writing, but the last idea I came up with, just didn’t strike me as wow.. and exciting… or ha! even good. And you have to at least like what you are writing, or its just bullshit. But, fear not! I’ve come up with a new idea for a story. I am going to write a
Carma’s eyes light up.
musical!
Times passes. Carma is sitting at the computer trying to write the libretto for the musical.
Scene 1. Josephine Buoy … Josephine Buoy … Um… Hmmm… oh crap… Oh… Josephine Buoy is … Um… Ah! Ha! Okay.
Carma starts to type.
Scene 1. Josephine Buoy is sitting in the park reading her book, and feeding bread to the birds, as she does every Sunday afternoon.
Carma stops typing and thinks out loud.
Ha good. Okay. Enter … Albert… Alberto… no… enter… um… hmmm… Raaalph! Ew. No okay.. I am not feeling Ralph, but maybe a …. Uh…. Um…. Toby. Toby is a nice name. I can dig Toby. Or Tobias. I like Tobias. Okay well Dracos is kinda nice too, but no.. no.. let’s go with Tobias.
Carma starts to type.
EXT. THE
Hello Lady, the musical. Josephine & TOBIAS (male 40's. In love with love.)are in a park. RAAALPH (male, mid 40’s, artistic, tries to come off as this wild person on the edge, but it’s just a façade.), DRACOS (male, early 40's. He is Alberto's brother and is always looking after his brother’s well-being.) and ALBERTO (male, mid 40's, a very distinguished upper-class snooty alcoholic.) are sitting by a nearby bench looking depressed since they were not chosen for the role. "Hello Lady", is the name of the duet that Josephine and Tobias sing.
CARMA:
(V.O.)
Enter Tobias, who sits next to Josephine on the park bench, tips his hat and starts to sing!
Carma stops typing and speaks.
This should be interesting…
Tobias sings his heart out, typical Broadway.
TOBIAS:
(singing)
Hello Lady!
I say, Hello Lady!
How are you doing today?
I could not help
but to notice
you are giving bread away!
I like bread!
I like birds!
What I am trying to say (is)
Hello Lady,
I say hello lady,
Could we have lunch today?
Carma pauses and chuckles - stops typing.
CARMA:
(V.O)
and then she replies…
JOSEPHINE:
(singing)
Hello lady!
Hello lady!
Every Sunday!
Its hello lady!
Can I buy you
Pretty flowers?
Won’t you be all mine?
I've said “No!”
A thousand hours!
Why would I say yes this time?
TOBIAS:
(singing)
But I love you…
JOSEPHINE:
(singing)
You don’t even know me!
TOBIAS:
(singing)
I love you…
JOSEPHINE:
(singing)
Hello lady!
I say, hello lady!
Enough! Enough! With the hello lady!
I just wish
To feed the birds
And read my book
Without a word!
And without you
Singing
Hello lady!
Hello lady!
Hello lady!
Now, goodbye!
Josephine collects her bread and books and leaves for another bench.
TOBIAS:
(singing)
Yes… one day she shall be mine!!!!
Carma laughs, sighs and then yawns.
CARMA:
Oh, that was funny. Well, at least to me. Well, at least in the moment. Oh, the moment is over. Damn! I just feel like I could write more or write better. I should be writing something … Ooh I don't know… Artsy… experimental… avant-garde… Or should I?
( A BEAT)
Tobias and Josephine … Why should it be a romantic story about a man and a woman, anyway?
In an all blue room, Tabatha and Joe are lined up against the wall. TABATHA (female, 40's, extremely shy and quiet until she feels comfortable, then she is quite humorous, odd, but friendly.) JOE (male, late 40's. Is constantly trying to be more impressive then he actually is, and always making up stories about how wonderful his life is, but in reality he is a very unhappy man. He also has a drinking problem) As each character is rejected, they exit in a manner that fits their disposition.
CARMA:
(V.O)
Why not between two males or two females? I… I … I could change Tobias into Tobiatha… er uh … Tabatha or … or change Josephine into Joe.
(A BEAT)
There are just so many opposite sex love stories, maybe I should write a same sex one. Ooh should I? I just feel that I should. I mean really if you think about it, as a writer, its my responsibility to help fight ignorance and help things that are wrongly labeled taboo and help them become more expectable… isn’t? It’s not even like I would have to make something up. I like woman… I like men. Hmmm.
(A BEAT)
CARMA:
Christ! Sometimes I am way too aware of all the political… sociological … hell even psychological connotations that the writing is going to suggest! How it could possibly be interpreted or… or… misinterpreted! It makes me all to self-conscious! I completely do this to myself. I can not write like this, it's nuts!
(A BEAT)
Ooh! Okay… I know! I will take this bunched up energy and use it in a story… oh brilliant! Okay…
Carma starts typing.
THE CRITIC (female, late 40's, negative and very critical of others.) and Josephine are sitting in a red court room.
CARMA:
(V.O)
Josephine is sitting in a red courtroom. The antagonistic - is that a word? Doesn’t matter. The antagonistic character is named… The Critic. Yes, that’s abstract yet has depth. Well, not abstract… more vague or… well it’s a philosophical abstract. No, the character represents a philosophical concept? Oh, I don’t know! It’s a freakin' character and they are in the freakin’ courtroom and the critic is the judge. Where was I? Oh yes… yes yes. Josephine takes the stand. Alright, commence session.
CRITIC:
We are hear with… Josephine Buoy, discussing the political consequences and/or connotations, responsibilities etc. etc. etc. & misconceptions of bisexuality in literature and the writer. For the court’s record, please state your sexual orientation.
JOSEPHINE:
Bisexual, your honor.
CARMA:
(V.O.)
Time passes. At this point, The Critic becomes the prosecutor and questions Josephine. The critic is in the middle of the persecution... ooh Freudian slip. I mean prosecution. Ha!
CRITIC:
… But don’t you think , that if you have a character that is bisexual, that by having that character date a man, that they are giving off the wrong impression. That it’s saying “Oh, look what we have here. Here was a woman who was attracted to both men and woman, but look she is dating a man. Why not a woman?” “Why its simple,” says society. “All she needed was a good man to set her straight!”
JOSEPHINE:
What the hell? What impression? Whose watching. Is there some committee that I am unaware of that is watching my character’s every move? I don’t see why just because I am attracted to both sexes, that I automatically become this political and sociological representation of bisexuality! That I become this poster-child for sexual orientation! That everyone is going to base their definition of bisexuality on my actions, and my actions alone. That all my writing and all my characters and their actions should announce it with a bullhorn wherever they go. Attention society! Bisexual woman coming through! Hot soup! Hot soup!
CRITIC:
Get real, Josephine. Wake up and smell the pot roast! As long as a lifestyle is considered taboo, anyone who partakes in that lifestyle, is going to be watched, and studied, and their actions will have great depth and meaning on the movement of that particular lifestyle, and that individual will have an effect on that movement’s goal to become less taboo in society’s eyes. You, as a writer should know that.
JOSEPHINE:
That may be so. However, I am not going to base every single decision and action, with the endless knowledge, of how it might affect this, quote movement unquote, politically and on … on… countless other levels. Can’t I just relax and write and do things because I want to… because that's the way I want to the story to go! Does every action have to have such incredible consequence and depth? My character falls in love with a man. My character falls in love with a woman! Either way love is love and whatever gender it happens to include , what ever gender I have my character fall in love with, if they should fall in love at all, is my business and it doesn’t matter what you think, or what anyone else thinks! Besides, if a person is that dim-witted to judge a whole group of people, on one person's action… well … to hell with them!
CRITIC:
To hell with them? These are your audience, Josephine. Aren’t we being a bit judgmental!?
JOSEPHINE:
I'm being judgmental? Listen lady, I don’t know who the hell you think you are, but this is my life, and its my writing, and its my choices so but out!
CARMA:
Wow. That was so cathartic.
Carma pauses and smiles.
I am so strange.
Carma laughs. She takes a deep breath and stops laughing. Sighs.
But its still not a finished piece of work. Why can’t I write a finished piece of writing? Is my attention span so piss poor, that I can’t focus on one literary idea for a period of time? Is my writing so bad and flat, that it doesn't even interest me enough to write more then a weak beginning?
(A BEAT)
Okay, you know what it is? It's that while I am inspired, I haven’t quite found that one idea that is going to spark, and lead to other ideas and sparks, which leads to this grand fire and focused inspiration and…
(A BEAT)