Producers
EMERSON BIXBY
MARK PELLINGTON
Director of Photography
AFSHIN SHAHIDI
Production Designer
PRISCILLA ELLIOT
Editor
NEIL GRIEVE
Music Composed By
MARK HINTON STEWART
Casting by
ELISABETH JERESKI
Costume Designer
JILL KLIBER
Unit Production Manager/First Assistant Director
MICHAEL R. MELAMED
Second Assistant Director
DANIEL R. SUHART
Sound Supervisor
JAMEY SCOTT
Art Director
LAUREN RUGGERI
Co-Producer
ROBBIE BRYAN
Associate Producer
MICHAEL R. MELAMED
Line Producer
STEVEN ALEXANDER
2nd Second Assistant Director
CHAD STEINER
Cast
(in order of appearance)
John
DAVID LEE SMITH
Dan
TONY TODD
Harry
JOHN BILLINGSLEY
Edith
ELLEN CRAWFORD
Sandy
ANNIKA PETERSON
Art
WILLIAM KATT
Linda
ALEXIS THORPE
Gruber
RICHARD RIEHLE
Moving Man #1
STEVEN LITTLES
Moving man #2
CHASE SPRAGUE
Officer
ROBBIE BRYAN
CHARACTERS
JOHN OLDMAN – About 35, good looking, competent, easygoing history professor
DAN – 60-ish professor of anthropology; big, fit
HARRY – 50’s professor of biology; stocky, likable
EDITH – 50’s, art history professor; a hint of the spinster about her
SANDY – Late 20’s; fiercely intelligent, but reticent
ART – 50’s, but holding desperately onto youth; archeology professor
LINDA – Very pretty young student; wide-eyed, yet smart
WILL GRUBER – 75, large, mustachioed, bluff
MOVING MAN #1 – Burly, uniformed mover from “Charity Now”
MOVING MAN #2 – Another uniformed mover from “Charity Now”
PARAMEDIC – Uniformed EMS worker (can be played by a Moving Man)
COP – Young uniformed officer (can be played by a Moving Man)
SCENE
A cabin in the California desert.
TIME
The present.
ACT I
Scene 1
(SETTING: Low desert in California. Winter. Late afternoon. An expanse of tan dirt, dotted with cacti. A small cabin a distance from the road, a log fence, an irregular patch of lawn.)
(A pickup truck is parked nearby; in it and near it are boxes of various items, many books, utensils, clothing, etc.)
( NOTE: Most of the action will take place inside the cabin, and some on the porch, but some will also occur in the yard and by the truck and so there should be a representation of the exterior, even if it is more stylized than realistic. Nearly everything will play out in real time. Over the course of the next eighty minutes or so, the sun will sink lower into the sky until finally darkness falls.)
(AT RISE: JOHN OLDMAN , wearing a sweater and jeans, lifts a box off the ground and hefts it into the bed of the truck.)
(JOHN picks up a snowboard, finds room for it in a box. This act exposes something that looks like a small van Gogh, leaning against another box.)
(We hear a car arrive O.S.; the door opens, closes. JOHN glances toward the sound… for a split-second, he looks impatient. He then waves at the visitor, DAN , who walks onstage wearing a warm winter jacket.)
DAN. (coming up) You don’t waste time.
JOHN. I try not to.
( JOHN struggles to lift a heavy box of books onto the wagon’s gate.)
DAN. Give you a hand?
JOHN. Sure.
( DAN grabs the other end of the box, and it’s done. We hear another car arrive O.S., accompanied by O.S. chatter as the passengers get out. )
(The new arrivals are EDITH , HARRY , and SANDY , who doesn’t look entirely happy.)
(All wear warm garb, carrying plates of wrapped food. They are all somewhat upset with John.)
HARRY. Would you like to tell us what the hell that was all about?
( JOHN ’s eyes meet SANDY ’s, and he looks away.)
JOHN. I don’t like goodbye’s.
HARRY. Kind of the point of a goodbye party.
( SANDY ’s eyes are on JOHN . She wants to say something, but doesn’t. There’s clearly something between them.)
HARRY (cont’d) We went to a certain amount of trouble, John. You could have at least stayed a few minutes, eaten some of the food we so feverishly prepared.
JOHN. I apologize.
( HARRY wants an explanation, but decides to let it go. EDITH gives JOHN a hug.)
EDITH. Why are you moving so quickly? You only resigned two days –
DAN. You
EMERSON BIXBY
MARK PELLINGTON
Director of Photography
AFSHIN SHAHIDI
Production Designer
PRISCILLA ELLIOT
Editor
NEIL GRIEVE
Music Composed By
MARK HINTON STEWART
Casting by
ELISABETH JERESKI
Costume Designer
JILL KLIBER
Unit Production Manager/First Assistant Director
MICHAEL R. MELAMED
Second Assistant Director
DANIEL R. SUHART
Sound Supervisor
JAMEY SCOTT
Art Director
LAUREN RUGGERI
Co-Producer
ROBBIE BRYAN
Associate Producer
MICHAEL R. MELAMED
Line Producer
STEVEN ALEXANDER
2nd Second Assistant Director
CHAD STEINER
Cast
(in order of appearance)
John
DAVID LEE SMITH
Dan
TONY TODD
Harry
JOHN BILLINGSLEY
Edith
ELLEN CRAWFORD
Sandy
ANNIKA PETERSON
Art
WILLIAM KATT
Linda
ALEXIS THORPE
Gruber
RICHARD RIEHLE
Moving Man #1
STEVEN LITTLES
Moving man #2
CHASE SPRAGUE
Officer
ROBBIE BRYAN
CHARACTERS
JOHN OLDMAN – About 35, good looking, competent, easygoing history professor
DAN – 60-ish professor of anthropology; big, fit
HARRY – 50’s professor of biology; stocky, likable
EDITH – 50’s, art history professor; a hint of the spinster about her
SANDY – Late 20’s; fiercely intelligent, but reticent
ART – 50’s, but holding desperately onto youth; archeology professor
LINDA – Very pretty young student; wide-eyed, yet smart
WILL GRUBER – 75, large, mustachioed, bluff
MOVING MAN #1 – Burly, uniformed mover from “Charity Now”
MOVING MAN #2 – Another uniformed mover from “Charity Now”
PARAMEDIC – Uniformed EMS worker (can be played by a Moving Man)
COP – Young uniformed officer (can be played by a Moving Man)
SCENE
A cabin in the California desert.
TIME
The present.
ACT I
Scene 1
(SETTING: Low desert in California. Winter. Late afternoon. An expanse of tan dirt, dotted with cacti. A small cabin a distance from the road, a log fence, an irregular patch of lawn.)
(A pickup truck is parked nearby; in it and near it are boxes of various items, many books, utensils, clothing, etc.)
( NOTE: Most of the action will take place inside the cabin, and some on the porch, but some will also occur in the yard and by the truck and so there should be a representation of the exterior, even if it is more stylized than realistic. Nearly everything will play out in real time. Over the course of the next eighty minutes or so, the sun will sink lower into the sky until finally darkness falls.)
(AT RISE: JOHN OLDMAN , wearing a sweater and jeans, lifts a box off the ground and hefts it into the bed of the truck.)
(JOHN picks up a snowboard, finds room for it in a box. This act exposes something that looks like a small van Gogh, leaning against another box.)
(We hear a car arrive O.S.; the door opens, closes. JOHN glances toward the sound… for a split-second, he looks impatient. He then waves at the visitor, DAN , who walks onstage wearing a warm winter jacket.)
DAN. (coming up) You don’t waste time.
JOHN. I try not to.
( JOHN struggles to lift a heavy box of books onto the wagon’s gate.)
DAN. Give you a hand?
JOHN. Sure.
( DAN grabs the other end of the box, and it’s done. We hear another car arrive O.S., accompanied by O.S. chatter as the passengers get out. )
(The new arrivals are EDITH , HARRY , and SANDY , who doesn’t look entirely happy.)
(All wear warm garb, carrying plates of wrapped food. They are all somewhat upset with John.)
HARRY. Would you like to tell us what the hell that was all about?
( JOHN ’s eyes meet SANDY ’s, and he looks away.)
JOHN. I don’t like goodbye’s.
HARRY. Kind of the point of a goodbye party.
( SANDY ’s eyes are on JOHN . She wants to say something, but doesn’t. There’s clearly something between them.)
HARRY (cont’d) We went to a certain amount of trouble, John. You could have at least stayed a few minutes, eaten some of the food we so feverishly prepared.
JOHN. I apologize.
( HARRY wants an explanation, but decides to let it go. EDITH gives JOHN a hug.)
EDITH. Why are you moving so quickly? You only resigned two days –
DAN. You
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