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Dexter and Melody Go Out

the next night

On a warm afternoon in May, Dexter Jones, forty-six, gets home at five from his job of delivering packages for UPS in Springfield, Oregon, undresses in his garage, drops his uniform into the washing machine, enters his kitchen naked as a jay bird, washes his hands with great thoroughness, feeds his hungry cats Frank and Ethel, and takes a hot shower during which he washes his longish brown hair.

Now he puts on his favorite tie-dyed T-shirt featuring lots of blue and green blobs, captures his hair in a stubby ponytail, slips into comfy old blue jeans, and saunters into his kitchen to make some guacamole to have with chips and lemonade for his first official date with Melody.

Melody lives in the house directly behind Dexter’s house, their backyards connected with a friendship gate Dexter and Melody’s brother Godfrey built a few weeks ago. Melody is sixty, trim and pretty with short brown hair. A high school Home Economics teacher, Melody does an hour of yoga and takes a brisk two-mile walk every morning before she conducts her online classes for five hours, and then she takes another brisk walk when she’s done with her teaching.

Neither Melody nor Dexter has been in a relationship in several years and they were both pleasantly surprised when they found themselves desiring to maybe get into one with each other. How to create a new relationship in the midst of a deadly epidemic is a mystery to both of them, but their desire to explore the possibility trumps their reluctance, and tonight is the beginning of their experiment in dating during a pandemic.

Dexter sets up a little table on the edge of his vegetable garden about ten feet from the friendship gate and covers the table top with a green paisley tablecloth upon which he arrays two bowls of guacamole, two bowls of chips, and two glasses of lemonade. Now he places a lawn chair on either side of the table and sits down to await Melody.

While he waits, Dexter closes his eyes and thinks back over his life, recalling several other first dates. And as he watches his memories, he notices that in every previous first encounter he was so anxious about wanting the woman to like him, he never allowed himself to be who he really was. Instead, he tried to say and do things he thought the woman would like. Thus he was never genuine with these women in the beginning, never the true Dexter, so no wonder the women were all confused a few dates along when he could no longer keep up the façade and they found out he was not the person he’d been pretending to be.

“But no more,” says Dexter, sighing in relief. “From now on I speak from my heart and tell the unvarnished truth.”

“Sounds good to me,” says Melody, standing in the friendship gateway.

Dexter opens his eyes and gazes in wonder at the lovely woman in a reddish short-sleeved summer dress, barefoot, with a red rose in her short brown hair, a plate of almond-butter cookies in one hand, a small glass decanter of red wine in the other.

“Wow,” he says, mesmerized. “You are so beautiful.”

She steps through the gateway and sets the wine and cookies on the table.

“Don’t hold back, Dexter,” she says quietly. “Say what you feel and I will, too.”

He gets up from his chair. “I’ll go get a couple wine glasses. Be right back.”

Melody moves her chair a little closer to Dexter’s chair, about seven-feet away, sits down, and exhales profoundly. “Just be yourself, Mel. You’ve got nothing to prove. If he likes you, he likes you. If he doesn’t, he doesn’t. Better to find out sooner than later.”

Dexter returns with two small and delicate crystal wine glasses and sets them on the table next to the decanter of wine. “Got those in Venice. The one time I went to Europe. Nine years ago. Never used them until now.”

“They’re exquisite,” says Melody, her eyes filling with tears. “I never did get to Europe. Always wanted to, but never made it.”

“You might go some day,” says Dexter, his eyes filling with tears, too. “We might go together.”

“It doesn’t matter,” says Melody, smiling through her tears. “The only thing that matters is being here with you right now. Everything else is a memory or an idea. This is what’s real. And I want to tell you, need to tell you, that ever since you called two days ago and asked if I’d like to meet you here today, just the two of us, I’ve been happier than I’ve been in years and years. Just knowing you wanted to be my special friend is a great gift, Dexter. No matter what happens.”

“You have the most appealing voice I’ve ever heard,” says Dexter, feeling deeply happy. “You want to pour the wine or should I?”

“I’ll pour,” she says, removing the crystal stopper and pouring the wine into the delicate glasses. “I almost never drink alcohol, but I thought it would be fun to toast our new…” She half-frowns and half-smiles. “What are we calling this? Friendship or…”

“I like relationship,” says Dexter, reddening. “Everything it conjures up.”

“You mean sex?” she says, arching an eyebrow and raising her glass.

“Among other things,” says Dexter, raising his glass, too.

“Like what other things?”

“Like sharing time. Holding each other. Laughing together. Watching the cats goofing around. Gardening. Going on walks. Making food together. Telling each other things we don’t tell anybody else.”

“Here’s to all that,” she says, gently clinking his glass with hers. “Though I think we’ll have to wait a while before we hold each other. Until we’re ready to take the chance.”

“To all the possibilities,” he says, clinking her glass with his. “Whatever they turn out to be.”

They drink the wine and gaze at each other for a long time without speaking.

“You’re wonderful,” says Melody, the first to speak. “I’ve never wanted to kiss anybody as much as I want to kiss you.”

“I feel the same way,” says Dexter, grinning. “But in lieu of a kiss, try my guacamole.”

Melody dips one of her chips into her bowl of guacamole, and at the taste of the good green goo her eyes grow wide with delight.

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Going Out Into The World

Winter roses

Going Out Into the World: a screenplay for a short movie

The film begins with a slow fade to a close-up of a foggy mirror transected by runaway drops of water.

Now we see Margot’s blurred form behind a steamy translucent shower curtain hanging down into a claw-foot bathtub.

A woman in her forties, Margot turns off the water and reaches out from behind the shower curtain to fetch a large white towel hanging from a hook on the wall. She wraps the towel around her so she is covered from her armpits down to a few inches above her knees. She opens the shower curtain, steps out of the tub, and stands before the foggy mirror.

Using a small hand towel, she clears a patch of the mirror, her expression revealing a subtle disquiet.

“We can do this, Margot,” she says, longingly. “We can go out. With Sara’s help. We can. Please?”

The camera lingers on her reflection as she takes a deep breath and the scene dissolves to her bedroom where muted morning sunlight slants through a south-facing window.

A large framed print of Picasso’s Three Musicians is centered on the wall opposite her queen-sized bed, the linens gray, the comforter white.

Wearing a white blouse and black underwear, Margot stands at the foot of her bed and looks down at a trio of long skirts assembled there: black, brown, and red. She picks up the black skirt, muses for a moment, puts the black skirt down and takes up the red skirt as the scene dissolves to her standing in her tidy kitchen wearing the white blouse tucked into black trousers.

Margot’s two cats, a calico and a black, swirl around her bare feet.

Margot fills two small bowls with dry cat food, sets the bowls on the floor by the back door, and as her cats rush to eat, she smiles for the first time.

“Bon appetite, my darlings,” she says softly.

With slow deliberate movements, Margot fills a kettle with water and puts the kettle on the stove, opens a cupboard, and gets out a dark green teapot. She measures loose black tea into the teapot and the scene dissolves to her sitting at a small table in the dining nook of the kitchen. She sips her cup of tea and pets the black cat on her lap, the calico sitting on a nearby chair.

“Sara is coming today,” she says, speaking to her cats. “We might go to a café.” She sets her cup down and clasps her hands to suppress her panic. “But maybe not. Next week might be better because… because by then…” She frowns and shakes her head. “No. I need to go out today. I… I… it’s time. I need to.”

The doorbell sounds and Margot freezes for a moment before she picks up the black cat and sets him on the floor. Now she rises as the doorbell sounds again and the scene dissolves to Margot standing a few feet from her front door, waiting for the doorbell to sound again.

Someone knocks. “Margot? It’s Sara. Are you there?”

“I’m not feeling well,” says Margot, fighting panic. “I have a terrible headache. I think I’m coming down with something. I wouldn’t want you to catch this, Sara. I think it might have gotten into my lungs.”

Sara’s Voice: Open up, dear. I won’t catch anything.

Margot: No, I… I think it would be better if we waited another week before we go out. I’m still… I’m still… I’m not sure I can do this.

Sara’s Voice: Well whether we go out or not, you can let me in, can’t you?

Margot: You won’t be angry with me if we don’t go out?

Sara’s Voice: I will not be angry with you. I promise.

Margot opens the door and here is Sara, a woman in her thirties, her hair tied back in a ponytail. She is wearing a black jacket over a blue shirt, a black skirt that comes to her knees, and running shoes.

Margot: Come in. I’ll make a fresh pot of tea.

Sara: (entering) What about going out for tea? Like we planned?

Margot: I don’t think I’m ready, Sara. I’m sorry, I just… I’m still too afraid.

Sara: But that’s why we want to go out. So you can get over your fear.

Margot: I know, but… I’m not ready.

Sara follows Margot into the kitchen. “How about this? How about you get your shoes on and we walk to the end of the block, and if you don’t want to go any further, we’ll come back.”

Margot considers this. “We would just go to the end of the block?”

“If that’s as far as you want to go, yeah.” Sara nods pleasantly. “Just a little going out into the world, that’s all.”

“Okay,” says Margot, both excited and anxious. “I’ll get my shoes on.”

Now we have a view of the front of Margot’s house, a bungalow with a walkway leading from the front door through a garden to the sidewalk, the neighborhood composed of other small houses, the yards neatly kept.

The front door opens and Sara emerges followed by Margot wearing a long black coat over her white blouse and black trousers. She hesitates for a moment before following Sara.

Sara reaches the sidewalk when Margot is only halfway there.

Margot stops, looks around, and says, “It’s warmer than I expected. I think I might be a bit overdressed.”

“You look fine, dear,” says Sara, smiling warmly.

“I wonder if it might rain,” says Margot, looking back at the house. “Shall we wait a bit? Have a cup of tea?”

“Doesn’t look like rain to me,” says Sara, gazing up at the sky. “Seems like a fine day for a walk. Might even sit outside at the café.”

“Oh,” says Margot, anxiously. “Outside? I was thinking of a booth inside, near the back.”

“That would be fine, too,” says Sara, nodding encouragingly. “Shall we?”

Margot hesitates, takes a deep breath, and joins Sara on the sidewalk. They walk side-by-side for a few steps before Margot stops again.

Margot: You know, Sara, I so appreciate your encouraging me, but I honestly don’t think I can do this. I think I might have a fever. Feeling a bit woozy.

Sara: Of course you can do this. You’re strong, Margot. You’re a thousand times better than you were when I first started coming to see you. We’re only just going to the café and maybe the grocery store and then we’ll come home. We’ll be back before you know it and you’ll be saying you wish we’d stayed out longer.”

Margot: I doubt that. I can’t wait to get home, and we’ve only just left.

Sara: Let’s just go to the corner and see what we want to do from there.”

Now we are on that corner watching them approach. They are small in the distance, Sara forever getting ahead of Margot and slowing down to wait for her.

Twenty feet from the corner, Margot stops again.

Margot: I can’t do this, Sara. I’m so sorry, but I have to go home.

Sara: (waits a moment before replying) Why can’t you do this?

Margot: I’m too afraid.

Sara: Of what?

Margot: Of something bad happening.

Sara: Like what?

Margot: You know.

Sara: No, I don’t.

Margot: (angrily) Yes, you do. You know very well why I’m afraid… what happened to me.

Sara: I’ve forgotten. Tell me again.

Margot: You haven’t forgotten. You’re just… baiting me.

Sara: Why would I do that?

Margot: I don’t know, but you are.

Sara: (after a moment’s silence) You know what I think? I think you’re afraid to not be afraid.

Margot: What do you mean?

Sara: I mean you’ve got a nice hermetic life, don’t you? Everything under control. Every day the same. No ups, no downs, no surprises. And no joy, because joy comes from this… what we’re doing… going out into the world, mixing it up, talking to other people, experiencing things outside of what we’re used to. You’re just afraid of losing control, not of some bogeyman.

Margot: (bitterly) There was a bogeyman, and once you’ve met him, you can’t forget him.

Sara: Speak for yourself, dear. I’ve forgotten mine, and he was every bit the brute yours was, and then some.

Margot: (stunned) You never told me.

Sara: You never asked. And why should you? I’m paid to listen to you, to encourage you, not the other way around. But I’ve reached my limit. We’re stuck, you and I. There’s nothing more I can do for you. So if you won’t walk to the corner with me, I’ll walk you home, say goodbye, and you can call your therapist and get somebody else to come around once a week. I’ve had it.

“Oh Sara,” says Margot, falling to her knees and sobbing. “I’m so sorry. Please… I don’t want anybody else. Please stay with me.”

Sara understands this is a cathartic moment for Margot, so she does not immediately go to Margot and comfort her, but rather watches Margot weep for a time before she comes close and offers her hand. “I’m here, dear. I won’t leave you.”

Margot takes the proffered hand and rises.

Now they walk on together and we hear piano music as the scene dissolves to Margot and Sara sharing a table on a café terrace, the other tables occupied by men and women, some of them talking to each other, some of them gazing at their phones as they sip tea and coffee and nibble on pastries.

The camera moves closer for an intimate view of Margot and Sara as they share a pot of tea. Margot is having a piece of pie, Sara a cookie.

Margot: Would you like to try some of my pie? It’s quite good.

Sara: I’d love a bite.

Margot passes the pie to Sara and watches with pleasure as Sara carves off a piece and puts it in her mouth.

Sara: Mmm, that is good. Want to try my cookie?

Margot: Yes, please.

Sara hands Margot the cookie. Margot breaks off a small piece, pops the piece in her mouth, and has a sip of tea.

Margot: I wonder if we could come here tomorrow. I know you’re not scheduled to come see me again until next week, but…

Sara: But what, dear?

Margot: I’d love to meet you here tomorrow. Treat you to lunch.

Sara gazes at Margot for a long moment before replying, “Shall we say noon?”

“Noon,” says Margot, nodding.

Now our view of the café terrace grows wider and wider as the scene slowly fades to darkness.

fin

And speaking of movies, you may enjoy the very first and very short music video I’ve made all by myself. Eva Waltzing