Act I

Scene I

The scene begins with Marilyn sitting in a chair on her front porch. Her husband, Keith, is just pulling into the driveway, home from work. Marilyn looks up when she hears his truck pull up and frowns, looking at her watch. Keith slams the truck’s door and walks up the steps, taking his hat off on the last step. Marilyn looks up at him in annoyance.

MARILYN

Keith, Baby, that’s the third time this week you got home past eleven. Where the hell have you been?

KEITH

I told you I’ve been working. Now come on, get in the house It’s gettin’ cold.

Marilyn gets up from her seat and follows Keith inside.

MARILYN

Baby, I made you steak, but it’s cold now. Why didn’t you tell me you’d be home late tonight?

KEITH

I told you I didn’t know when I went to work this mornin’. Be a doll and heat it up for me, will ya?

Marilyn puts the food onto a plate and puts it in the microwave.

MARILYN

Now you remember, I’m goin’ out to dinner with the girls tomorrow, so don’t get all up in a huff if I’m not there when you get home.

KEITH

I was gonn’ invite the boys over anyway for poker night. Now you won’t be gettin’ in the way of our game.

MARILYN

What if I want to play poker with you boys?

 

KEITH

You always distract ‘em when you come in. That’s why we don’t do poker here anymore.

MARILYN

Oh, I ain’t that pretty and you know it.

KEITH

Oh I know it, the boys just don’t. Why don’t you stay in the kitchen where you’re s’posed to be when they come over?

MARILYN

I have to serve you boys somehow, don’t I?

KEITH

Well, maybe you should start wearin’ clothes that actually cover you up. You look like one of those girls from the whorehouse in that dress.

Marilyn rolls her eyes.

MARILYN

I think this dress is mighty fine if I do say so myself. I made it with my own two hands.

KEITH

I think your own two hands should start doin’ somethin’ worthwhile instead of making frilly dresses and flirtin’ with other men.

KEITH ( CONT’D) (Under breath)

Like they would want you, anyway.

MARILYN

What did you just say?

KEITH

Nothin’. Now get to bed before I make you.

Marilyn bows her head and leaves the room, camera follows her to the bedroom. Marilyn is seen taking her housedress off in front of the mirror to replace with a long, white nightgown. Her auburn hair flows over her shoulders and she pushes it back so it’s out of her face. She sits down at her vanity to put her hair up and put on her night cream. The phone rings from beside the bed and Marilyn gets up to answer it.

MARILYN

Hello?

Camera changes back and forth between Anne-Marie and Marilyn.

Anne-Marie is sitting in a chair in her living room, wrapped up in a fleece blanket, dressed in a fluffy white robe. Her hair is in curlers and a glass of red wine is in her left hand. The phone is held lazily up to her ear in her right hand. The news is playing on the tv, but muted, and her husband, Thomas, is sitting at a desk in the corner, poring over their checkbook as he types numbers in a calculator.

Marilyn perches on the edge of the bed, her hair also in curlers, but only half-done. She rests her left hand on her knee, her fingers running over a fading bruise on her thigh. Now and then she swats at a mosquito, a few of them having gotten through the holes in their window screen.

ANNE-MARIE

Marilyn, darlin’, I haven’t heard your voice in such a long time! Feels like it’s been ages!

MARILYN
Oh, hi, Darlin’! How have you been?

ANNE-MARIE

Oh, I’ve been fine. Mr. Gregory has been on my ass about my next deadline but he’ll just have to wait for me. I am his only reporter.

MARILYN

You tell him that if he gives you any trouble he should come see me and I’ll give him a taste of his own medicine.

ANNE-MARIE

Oh, Thomas already has me covered. Don’t you worry ‘bout me.

MARILYN

But I love worryin’ ‘bout you. I ain’t got nothing else to do in this damned house.

 

 

ANNE-MARIE

Call that Lana girl up tomorrow and tell her to come over and spend some time with you. She’s been real lonely ever since that husband of hers died.

MARILYN

I know it’s not my place to say, but there’s somethin’ fishy ‘bout that whole thing. Somethin’ ain’t addin’ up.

ANNE-MARIE

What, you sayin’ he got killed?

MARILYN

I ain’t sayin’ anything. But, the timing of it seems real strange.

ANNE-MARIE

Well, I still think you should try and talk to her, see what she’s been doin’ with her time. I haven’t seen her in town for months.

MARILYN

I’ll try to talk to her, but I ain’t sayin’ I’m gonna like her. She’s strange.

ANNE-MARIE

Just give her a chance. She seems real sweet, even if she is a li’l nutty. Her hair’s pretty.

MARILYN

Oh, well then that changes things.

ANNE-MARIE

Stop it, I’m just trying to be nice.

MARILYN

I’m sorry, but it was funny. Now, look, I gotta go. Keith’ll be done with his dinner in a minute and I need to get my hair up. Talk to you tomorrow, Honey.

ANNE-MARIE

Bye, Darlin’

Marilyn hangs up the phone with a smile and goes back to the vanity, continues putting her hair up. Keith comes in a minute later with a drink in his hands, clearly drunk and angry. Marilyn looks at him in disgust.

KEITH

I thought you were gettin’ to bed.

Marilyn rolls her eyes and continues with her curlers, ignoring the anger evident in her husband’s voice. She’s used to this behavior.

MARILYN

Anne-Marie called and I talked to her for a bit, and now I need to put my hair up for tomorrow.

KEITH

What’s goin’ on tomorrow that you need to look like a whore for?

Keith takes another swig of his drink, swaying on his feet

KEITH (CONT’D)

I asked you a question. Now why the hell you gotta be all dolled up tomorrow?

MARILYN

I told you I’m goin’ out for dinner with the girls tomorrow, and I ain’t seen them in a long time, so I wanna look nice. What is your problem?

KEITH

Just go to bed. I don't wanna hear any more from you.

Keith finishes off his drink and sets the empty glass on the bedside table. He crawls into bed and switches the light off. Marilyn tucks her last curl into a roller and gets up as well, getting into the other side of the bed.

MARILYN

Night, Baby. I love you.

KEITH

Hmmph.

Marilyn and Keith fall asleep as the camera fades to black.

Scene II

Camera fades back in the next morning. Marilyn is at the stove making breakfast, Keith is in the bedroom fixing his tie. The air is neutral, as if the couple has forgotten about the previous night’s events. Marilyn hums softly along with the radio as she cracks eggs into a pan and whisks them.

MARILYN

Baby, how many eggs you want with your sausage?

KEITH
How many we got left?

Marilyn leans forward and squints, trying to count the number of eggs in the dark fridge. She huffs as she looks at the busted light.

MARILYN

Hmm, maybe six or seven. Can’t see real well with this damn fridge light. When you gonn’ fix that, Keith?

KEITH

I told ya, I been too busy at work to do it!

MARILYN

Well, I can’t work with a broken fridge light, so I’ll just get someone to replace it. Ida’s husband does handyman stuff, right?

KEITH

I don’t want him comin’ round here. He cheated me outta five dollars last poker night.

MARILYN

Get over yourself.

Marilyn shakes her head.

MARILYN (CONT’D)

(to herself)

You would think he would’ve grown up by now and gotten over his stupid little feuds. Good lord. I married a child.

Marilyn glances at the clock on the wall, which reads 8:15. She curses to herself and looks toward the bedroom.

 

MARILYN (CONT’D)

You’re runnin’ late, Baby. Come get your breakfast and then you gotta go!

Keith comes in with his tie half-done and his belt hanging down from his pant loops.

KEITH

I’ll probably be back after you leave for your little party tonight, so I’ll see you later tonight.

Keith and Marilyn share a chaste kiss and Keith leaves with an egg sandwich in his hand. Marilyn looks around the room once he leaves and grimaces when she sees the clutter.

MARILYN

Oh, good Lord, this place is a pigsty.

Marilyn starts cleaning up the kitchen, putting pans away, washing dishes, etc. She continues humming with the radio as she works. A knock comes at the door after a few minutes and Marilyn lays her dish in the sink, goes to the door, and opens it.

Lana stands at the door with a tray of cupcakes in her hands, her house dress hemmed messily so it ends above her knees. Marilyn looks Lana up and down before putting on a smile.

MARILYN

Hi, Darlin’. Lana, right?

Lana nods.

MARILYN (CONT’D)

Well, isn’t this a pleasant surprise. What are you doin’ here?

LANA
Well, I saw you the other week in town and, I don’t want to sound creepy about this, but, I thought that you looked really cool. I just wanted to meet you. From what I’ve heard, you’re a very popular girl in town.

Marilyn blushes and shakes her head.

MARILYN
Oh, don’t believe what anyone says. I’m just a little old housewife, nothin’ interestin’ about me. How’d you get my address, anyway?

LANA

I’ve seen you around town before and I got your address from the phone book. I hope that’s alright.

MARILYN

I wouldn’t have my address in the phone book if that wasn’t okay. Now, what’s that you got in your hands?

Marilyn gestures to the container in Lana’s hands and Lana smiles, holding it up.

LANA
Oh, I brought cupcakes.

MARILYN

Oh, Darlin’, that’s so sweet of you. No one ever makes anything for me.

LANA

They’re store bought, sorry.

MARILYN

Oh, never mind that.

LANA

Am I intruding?

MARILYN

No, no, I was just washing up from breakfast. Come in, come in. There’s drinks in the fridge and muffins on the counter if you want anything.

LANA

Oh, I ate at home.

MARILYN

Well, then you can just keep me company while I clean.

LANA

I can help, if you like.

MARILYN

No, no. This is my job. You just sit and relax.

Lana sits down at the table and watches as Marilyn cleans up the kitchen. Her eyes follow all of Marilyn’s movements.

MARILYN (CONT’D)

I haven’t seen you ‘round much. Been keeping yourself busy?

LANA

Yeah, yeah, just trying to do as much as I can to keep my mind off of things. My life is pretty crazy right now, what with my niece coming up to stay with me for a few days. I haven’t seen her in years.

MARILYN

That sounds nice. My sister died before she could have kids, and my brother ain’t much of a looker so no one’ll take him. I wish I had me a niece, or maybe even one of my own. Would be good to have a daughter, someone to help me with all of my chores, and to pass along all of the family legacies to.

LANA

Why don’t you? Have a kid of your own, I mean?

MARILYN

Ain’t got the time or the money. My husband works on a farm a few miles south of here, and I can’t do much work since I had to leave school real young, so I just stay at home. Lot of work to do here.

LANA

I could loan you guys some money if you really need it that much.

Marilyn shakes her head.

MARILYN

No no no, honey, I could never take money from a poor soul like you. You keep that for yourself, buy some nice flowers for your husband’s grave or somethin’.

LANA

I don’t buy flowers for his grave. He never liked flowers, said they gave him terrible allergies. I promise you, I have plenty of money for myself, and you seem like you need it. It wouldn’t be a problem.

MARILYN

I told you we’re fine. Money’s for greedy people, anyway. Never had much of a taste for it.

LANA

Well, you know where I am if you need anything. I certainly don’t need it, but it seems like you do.

MARILYN

Thank you for the offer, Miss Parker. Very nice of you.

LANA

Oh, please call me Lana. I don’t go by Parker.

Marilyn frowns and cocks her head to the side in confusion.

MARILYN

But your husband was named Parker, wasn’t he?

LANA
I kept my maiden name when we married. It was much easier. I didn’t have to go through all of the legal stuff.

MARILYN

I wouldn’t go around saying that. You might get yourself in trouble. Around here you take your husband’s last name and you keep it until you die.

LANA

What if you’re widowed and you get remarried, or you get divorced?

MARILYN

Not like anyone would want someone who was already married. Makes you seem like a slut, goin’ around, marrying men all over the place. You stay with one man, and if you lose him, you stay alone.

Lana moves forward and puts her hands on the counter, looking at Marilyn through her eyelashes. She bites her lip as she looks over Marilyn’s face.

LANA

What if you don’t want to be with a man?

MARILYN

What do you mean?

LANA

I mean, what if I want to be with someone else but it’s not a man?

Marilyn flushes a bright red and tucks her towel into her apron, her hands shaking.

MARILYN

I don't know what you’re talking about.

LANA

I’m pretty sure you do, Marilyn. You just don’t want to say it.

MARILYN

Again, I have no clue what you mean. I have a husband and I love him very much. I don’t want to think about losin’ him or bein’ with anyone else. He’s my one and only ‘til the day I die.

LANA

I know how he treats you, like all the other men treat their wives in this town. Like you’re his little maid. You have so many more opportunities in front of you, you're just too scared to think about it.

MARILYN

I like my life the way it is, thank you. Now if you’ll excuse me, the wash needs to be hung out on the clothesline.

Marilyn grabs a basket from the corner of the room and walks out to the front yard. Lana follows her and grabs a sheet from the basket, helping to lay it over the line.

MARILYN (CONT’D)

You know you don’t have to do that. It’s my job.

LANA

I offended you and this is my way of apologizing.

MARILYN

Well, thank you. I accept your apology.

Marilyn watches with her brow furrowed as Lana tries to hang the sheet over the center of the line, making the line dip in the middle. Lana frowns, wondering what she did wrong. Marilyn smiles to herself at the pout on Lana’s lips.

 

MARILYN (CONT’D) 

Oh, hang that up on the end, otherwise, it’ll drag the line down and everything will slide down with it.

The two women hang sheets in silence, their hands brushing occasionally.

LANA

God, it’s so weird doing this. I used to always help my mom with the wash when I was younger, but now that I have a dryer I don’t need to hang my wash anymore.

MARILYN

We can’t afford any of those fancy dryers. My husband thinks they’re the devil’s work, anyway. Thinks it’s a woman’s job to do the dryin’, not a machine’s.

LANA

Your husband has a very old-fashioned way of thinking, it seems.

MARILYN

That’s the way most men around here are. All of ‘em go and work at the coal mines or on local farms while us wives stay home and take care of the babies and clean the house. It’s the way it’s worked for a long time, and it's gonna stay like that if the men have any say in it.

LANA

Why haven’t any of the wives rebelled? You know, gone against what most people think is right?

Marilyn laughs and shakes her head at Lana.

MARILYN

Something like that’ll get you in a lot of trouble you ain’t wanna deal with. Lotta people’ll go after a lady that don't know her place. Not that I would, but my husband sure would have a piece of it.

LANA

Has anyone ever done that kind of thing before?

Marilyn pauses with a towel in her hands, her grip tight on it so that water is dripping onto the ground.

MARILYN

Couple years back, a lady named Mary-Anne came down here to start a new life. She was single, but not widowed, and she wanted to work at the pharmacy. Whole town turned against her, poor thing, and she ran off not more than two months after she moved here. Last I heard she was hidin’ somewhere up in the mountains, too ashamed to come back into reality.

Lana’s eyes widen in shock.

LANA

Why would they do such a thing to a poor, innocent woman?

Marilyn shrugs and hangs up the last towel

MARILYN

Lotta people in this town do things no one understands but you learn to just go along with it. Where do you come from, anyway?

LANA

Up north. I grew up in Maine with my mom and grandmother and I went to Harvard. Graduated from there about eight years ago, before I met Lyle. When Lyle and I got married, though, he wanted to move down south so then we came here about a year after we got married.

MARILYN

Shame what happened to him. What killed him?

LANA
Car accident. He was driving home late one night from a friend’s house and he didn’t see a truck coming from the opposite direction. 

Marilyn gasps and puts a hand over her mouth, the empty basket still balanced on her hip.

MARILYN

Oh my heavens, that’s terrible. Are you doing alright, honey? You need anything?

 

LANA

Yeah, I’m fine. It was a while ago, and anyways, I want to kind of just push past it. Dwelling on it won’t do me any good.

Marilyn nods, her hand now on her heart.

MARILYN

Well, that is just terrible. I’ll keep you in my prayers, honey.

Lana shakes her head.

LANA

No, you don’t have to do that. I’m fine, seriously. All you need to do is just be a good friend and listen when I say I’m fine.

MARILYN

Are you sure? Because I can help you with anything.

LANA

I’m sure. I just need someone to talk to every now and then, if you’re up for that.

MARILYN

I’m very much up for that.

Marilyn and Lana share a heated look and Lana licks her lips. Marilyn blushes and looks down at her feet. Camera fades to black as the two women continue to stare at each other.

Scene III

Camera fades in on later that evening at Lana’s house.

Lana is in her bedroom putting on makeup, getting ready to go out to dinner with the girls, while soft country music comes from the record player on the other side of the room. Lana sings softly as she pushes her stray baby hairs back with a headband and starts brushing on foundation. Her hair sits in a braid that falls over her pink, silk robe.

LANA

(singing)

You rise up like smoke. From the bed of this hotel. And I don’t do so well. Forgetting you when I’m alone. Local tv. These walls take pity on me. Ice machine in your memory. All I hear down the hall.

Lana stops singing as the song plays on and she looks around the room, sighing quietly when she sees something at the edge of her vision. An old teddy bear sits in the corner of the room and she gets up, picking the bear up from the chair it’s sitting on. She holds the bear close to her chest as the music swells and she sways back and forth.

LANA (CONT’D)

(singing)

When it’s quiet I’m quietly saying your name. When it’s silent you’re silently hidin’ away. And I’m getting older but you never change. In a crowd I could swear I’ve moved on. But I’m still no good at forgettin’ you when I’m alone.

Lana sighs as the song fades out and she lays the bear back down on its chair. She goes back to her vanity and finishes her makeup while humming to the rest of the record. When she finishes, she puts all of her makeup back in its bag and goes to her closet, flipping through her large rack of dresses. The record stops and the needle lifts off of the vinyl, the sound of the spinning turntable stopping and leaving the room in silence.

Lana takes the record off the table, slides it back into its sleeve, then puts another record on the player, flipping it on and going back to her closet.

MUSIC CUE: “Jolene” by Dolly Parton

Lana visibly cheers up and starts humming along to the song, dancing a little as she picks out a dress from her closet. Lana removes her robe and unzips the dress, stepping into it and pulling it up over her shoulders. She zips the dress back up and walks over to her mirror, smoothing the wrinkles in her skirt as she examines herself. 

Lana smiles at her reflection and grabs her bright red heels from the floor, sitting on the bed to slip her feet into them. Once she’s done putting her shoes on she glances at the clock, which reads 7:30, and she picks her purse up off the chair before walking out of the room.

Lana gets her car keys off of the hook by the door and leaves the house, locking the door behind her. She opens the door to her bright yellow convertible and gets in, turning the car on when she slams the door shut. The car hums loudly and Lana turns the radio to the country station, then reverses out of her yard and merges onto the old dirt road at the end of her yard.

Camera cuts to her pulling into the parking lot of a local steakhouse, her headlights flashing along the side of the building. Lana turns the car off, grabs her bag, and gets out of the car, her heels clicking along the pavement as she walks to the door. She opens the door and walks in, her eyes searching the room.

MARILYN

Lana, over here, honey! We saved you a seat!

Lana looks over and smiles when she sees Marilyn and a few other women, the familiar woman raising her napkin and waving it back and forth. She walks over to the table and sets her purse down, taking a seat next to a woman with curly brown hair.

MARILYN

Ladies, this is Lana. Lana, this is Anne-Marie, Mae-Lynn, Maisy-Anne, and Mary-Ellen, but she just goes by Mary.

LANA

Nice to meet you all. I hope I’m not intruding on your night.

MARILYN

Oh no, darlin’, you are just dandy. The more the merrier. That just means more people to split the bill with.

The women at the table burst into laughter and Lana chuckles quietly.

ANNE-MARIE

Lana, we haven’t seen you ‘round town in an awfully long time. Where you been hidin’ out?

LANA

Oh, I’ve just been keepin’ busy at home. My niece is coming to visit next week and I want the house to look nice for her. It’s also just nice to have some alone time every now and then. Being around a lot of people can be pretty draining.

MAE-LYNN

Oh, I’m the complete opposite. I just love being around people and I hate being alone. That's why I keep having kids, so I don’t have to be so lonely during the day. ‘Course, that also means I have to deal with kids when I want to be alone.

LANA

How many kids do you have?

MAE-LYNN

Six, but I think I might have a seventh one on the way.

The other women at the table gasp and clap their hands as Mae-Lynn presses a hand to her belly, a small smile coming to her face as her cheeks heat up.

ANNE-MARIE

Really? Oh, a new baby, that’s so excitin’! I’ve been telling my Thomas I want another baby but he says one is enough. Maybe I can convince him to get us a dog. A dog would be nice.

MARILYN

I know what you mean by convince, Annie, and that’s just inappropriate. You’re always so naughty at the dinner table, don’t know how anyone can stand you.

ANNE-MARIE

Oh, you’re just bein’ a sourpuss. You’re jealous that Tommy and I still have our fun.

MARILYN

Who said I ain’t havin’ any fun? Keith and I have fun.

ANNE-MARIE

Yeah, right. Last time you two did anything was when you were tryin’ to have a baby and that was more than two years ago.

MARILYN

You have no clue what you’re talkin’ about. That is my private life and it is not up for discussion, especially at the dinner table.

LANA

So, um, are all of you married with kids?

Marilyn gives Lana a grateful smile and pinches her arm. Lana smiles back before turning back to the other women at the table.

MARY-ELLEN

Well, unless any of us have been lying, yes, we are all married, though happily is a different story. Marilyn here ain’t too happy with her husband right now, with him comin’ home late every night. She’s downright pissed at him, and he deserves it.

MARILYN

What did I say about my personal life not being discussed at the table?

MARY-ELLEN

Sorry, darlin’, but we all feel bad for you.

Marilyn opens her mouth to respond but is stopped by the waiter, a young man in his late teens, coming to the table with his notepad in hand.

WAITER

How may I help you lovely ladies tonight?

MARY-ELLEN

Ooh, you’re a handsome young fella, aren’t you? Are you single?

WAITER

Yes, ma’ame.

MARY-ELLEN

Well, we have a young lady here who lost her husband, poor thing, and she’s been awful lonely. Haven’t you Lana?

LANA

Actually-

MARY-ELLEN (over LANA)

See, she’s just sick with grief, poor little flower, and she needs someone to help her through this. Why don’t you two have a little chat? Exchange telephone numbers?

 

WAITER

Well, you see, there’s this girl that I’ve been talking to and-

MARILYN

Mary-Ellen, you dirty little dog. Stop trying to play matchmaker when you know you’re no good at it.

MARY-ELLEN

Oh, hush, Marilyn. I can find you a nice young waiter, too. Just have to wait for the right one to come around.

MARILYN (raised voice)

I don’t want to date some young waiter. I have my own husband and that’s good enough. Now would you just stop being so immature and leave the poor girl alone. First time she’s meeting you and you’re already trying to hook her up with someone. Lord, Mary-Ellen. You’re a grown woman but you act like such a child sometimes.

MARY-ELLEN
What if Miss Lana wants to date the waiter boy?

MARILYN

Ask her, then.

MARY-ELLEN

Miss Lana, do you think that the waiter boy is handsome?

LANA

I mean, he’s attractive, but I kind of already have my eyes on someone else.

Lana’s eyes flit over to Marilyn, who is looking down at her lap, her napkin twisted in her hands. She looks back over to Mary-Ellen and the other ladies before they can catch her looking. Meanwhile, the waiter watches them before rolling his eyes and going back to his station, realizing now that he’ll never get their orders.

ANNE-MARIE

Ooh, who is this lucky fella? What’s his name? How old is he? Do we know him? Have you gone out with him yet?

 

LANA

No, no, it’s not like that. I just met them and I thought they were cute. I don’t even think they like me that way.

ANNE-MARIE

Well, tell us who it is.

LANA

You wouldn’t know them. They, uh, live in another town over. I met them when I was out getting groceries for when my niece comes.

MARY-ELLEN

Oh, we know everyone within a hundred-mile radius. Maybe we know his parents, or we can get some dirt on him.

LANA

Please don’t do that. It’s just a little crush. It won’t amount to anything. I’ll probably never see him again anyway.

MAE-LYNN

You’ll see him at church.

LANA

I don’t go to church. I was raised atheist.

MAE-LYNN

You were raised ath-what?

LANA

Atheist. It means I don’t believe in a higher power. I’m not religious.

MAE-LYNN

Well, church ain’t a religious thing, anyway. It’s just something you do every Sunday. It’s more social than anything. Everyone comes into town and we all listen to the service, then afterward we have a potluck at Annie’s.

ANNE-MARIE

You’re gonna love my homemade cornbread. It’s a Lynnwood specialty.

LANA

Lynnwood?

ANNE-MARIE

My last name.

LANA

Oh. Well, I guess I could try and get to church, but my niece comes that afternoon so I don’t think I’ll be able to go to the potluck.

MARY-ELLEN

Bring your niece along, she’ll love it. There’ll be plenty of other kids there for her to play with and there will be lots of single men for you to talk to. You should come.

LANA

I’ll think about it.

The ladies nod at her in approval and Marilyn looks, just now realizing that the waiter is gone.

MARILYN

Looks like you guys chased the damn waiter away.

MARY-ELLEN
Don’t you worry, I can get him back over here in a jiffy. Yoohoo, oh waiter! Miss Lana here would like your number!

The waiter looks over and blushes before coming over to the table, his notepad still in his hands.

MARILYN

Don’t mind Mary, she’s a little cuckoo. We’re ready to order.

WAITER

Oh, good. What can I get you?

MARY-ELLEN

I’ll have a cobb salad with a baked potato.

WAITER

Okay.

MAE-LYNN

I’ll have the same, but I’ll take home fries instead of a baked potato.

WAITER

Alright. And you, miss?

ANNE-MARIE

I want a burger with no mayo and extra tomato, medium-rare. And a side salad.

MARILYN

I’ll have the same.

WAITER

Okay, and you?

LANA
I’ll just have a glass of red wine and a bowl of tomato soup with half of a grilled cheese.

WAITER

Alright, I’ll get that out to you as soon as I can.

The waiter leaves the table and the women start chatting again. Marilyn and Lana turn to each other and start talking.

MARILYN

I really would like it if you came to the potluck. Most of the time Keith doesn’t come with me and the girls are always too busy with their own families, so I’m usually lonely. It would be nice to not be alone for once.

Lana and Marilyn smile at each other and underneath the table, they clasp hands. Lana’s bright red nails and manicured hands contrast with Marilyn’s tan hands and unpainted nails.

Camera fades out.

Scene IV

The scene begins with Lana and Marilyn sitting in Marilyn’s kitchen. It’s two days after the girls went out to dinner together and the two are sitting at the table together, a glass of tea in Marilyn’s hands and a mug of coffee in Lana’s hands. They are next to each other and their heads are tilted close, talking in low voices. The radio plays Johnny Cash in the background.

MARILYN

Are you excited about your niece comin’ this weekend?

LANA
Actually, my sister called me this morning and said that Sadie came down with the flu and can’t come. I was excited, but now I guess my weekend will be lonely like usual.

MARILYN

You could always come over here, you know. I’m always home and we got a new fan so the sittin’ room ain’t as hot as it used to be. I would appreciate the company.

LANA

That sounds lovely. My house is pretty lonely.

MARILYN

Maybe we could go to your house, then. Cheer the place up a bit. I don’t know how often you clean, but maybe we could even spruce it up there.

LANA

Oh, don't worry, I almost never clean. You can have your way with the place. It’s an absolute mess right now. I’m trying to sort my clothes for donation, but I haven’t gotten to putting them in bags yet, so they’re all just laying in piles around the house.

MARILYN

Maybe I can pick out some clothes to donate too. I have a lot of old dresses I never wear anymore that deserve to be in a new home.

LANA

Sounds like a date.

Lana winks at Marilyn and Marilyn looks down, her cheeks flushing. Lana watches the other woman with a fond smile on her lips, taking a sip of her drink when the woman looks back up.

MARILYN

You know, before I met you, I thought you were pretty strange.

 

LANA

Strange?

MARILYN

Yeah. What with you never leavin’ the house and all, and how you don’t go to any of the town functions, I thought you might be...oh, never mind.

LANA

Wait!

Marilyn stands up from the table but Lana grabs her arm and pulls her back down.

LANA (CONT’D)

What did you think I was?

MARILYN

Oh, it’s nothing.

LANA
What?

MARILYN

Well, I thought you mighta been bad news. I thought it wasn’t a coincidence that your husband died right after you found out he...

LANA

Found out he what?

MARILYN
After you found out he was cheatin’ on you.

LANA (low voice)

How do you know about that?

MARILYN

His little mistress practically paraded around town after the two of them got together. Said she would have married him if you weren’t in the way.

LANA

I can’t believe she would do that! We used to be friends, you know?

 

MARILYN

Really?

LANA

Yeah, she was one of the first people I met when I moved here. We got pretty close and then she just went and slept with my husband. Disgusting.

MARILYN
Well, if it helps, I ain’t seen her lurkin’ around town since Lyle passed. Maybe she figured out cheaters ain’t welcome here.

Lana looks down and bites her lip, her breathing picking up.

LANA

Yeah, let’s hope she was put in her place.

Camera pulls back and fades out, the focus on Lana as the scene ends.

Scene V

Camera fades in and the scene begins. Lana is sitting on her couch, glancing at the clock every few seconds. Her foot is tapping on the floor and she is playing with the frayed hem of her skirt. She hops up when she hears a knock on the door and runs to answer it.

LANA

Hi, Marilyn!

MARILYN

Hi, honey! I love your house. It’s so pretty. I wish I had trellises like that.

LANA

Those are my favorite part of the house. One of the reasons I picked the place.

MARILYN

They’re beautiful. Well, come on, invite me in.

LANA

Oh, of course, come in.

Lana opens the door wider and Marilyn comes in, a smile on her lips as she looks around the house. The front room is painted a bright, canary yellow with white trim, and little fruit decals line the walls. The floor is covered by an antique area rug, almost like one you would find in a Victorian mansion. The couch is a soft cream color, with a wooden back that arches up with elegance. Marilyn sits down on the couch and pats the seat beside her. Lana follows her in and plops down next to her, their knees touching.

MARILYN

This is a beautiful room. Did you paint it yourself?

LANA
Yeah, that was a project that Lyle and I finished a few weeks after we moved into the place. I did the walls and the decals, he did the trim. I picked out all of the furniture and rugs, though.

MARILYN

It’s wonderful. Makes me wanna renovate my place. Now I want to see the rest of the house; wonder if it’s as pretty as this room?

LANA

I can take you on a tour and then we can get started on the clothes. That might work best since my bedroom is at the back of the house.

MARILYN

Sure, sounds good. So, what room first?

LANA

Well, the kitchen is right through there, so we can start in there and sort of loop around. The house is pretty much just a big circle.

Lana stands and Marylin follows her into the kitchen. The floors are dirty, the sink is filled with dirty dishes, and the counter is covered in flour. Marilyn hums as she looks around the room, her hands on her hips.

LANA

Sorry about the mess. I tried to make bread last night but it didn’t rise like I thought it would, so I just gave up, and then I didn’t feel like cleaning up, so I left the dishes in the sink, and I never did them.

MARILYN

Well, it certainly is messy. I can help you clean this later if you want. I have the supplies you need, and then I can maybe teach you how to make bread, too.

LANA

Would you? Oh, you’re an angel!

Lana claps joyously and hugs Marilyn, squeezing her tight. Marilyn looks uncomfortable but then warms up to the woman’s embrace, wrapping her arms around her waist. They stay like that for a few seconds before Lana pulls away, a bright grin on her face.

LANA (CONT’D)

Oh, we are going to have so much fun together. I love cooking, but I never know how to do it. Thank you so much.

MARILYN

Of course, it’s no problem. Want to continue with that tour now?

LANA

Yes, yes! Okay, next is the dining room. This way.

Lana grabs Marilyn’s hand and leads her through the doorway from the kitchen into the dining room, which is a bright green color with plants all over the place. Spider plants stretch down from high shelves and wrap around the large picture window. A collection of blooming orchids sit on a table by the window, creating a rainbow of colors. Marilyn sighs at the sight of the room and runs her fingers over the plants, which seem very well taken care of, given the state of the rest of the house.

LANA

This is pretty much the only room that I spend time in, other than my bedroom. I just love the plants, and the light, and the dining room table is great to do my sewing. Guess you can’t miss my big old machine right there.

MARILYN

It’s beautiful. Really. All of these plants are so pretty. I wish I had a sunroom, or anything with sunlight. My house is so dark.

LANA

Well, you can come spend time in my sunroom any time you want, if you like.

MARILYN

Maybe I could bring my own things and we could sew together. Teach each other stitches and all that nonsense.

LANA

I’m not a very good seamstress, but maybe you can help me out.

MARILYN

Of course. Now, what’s the next room on our tour?

LANA

The bathroom, obviously.

Marilyn and Lana giggle as Lana leads Marilyn out of the room, walking down a narrow hallway where, to the left, there is a light blue door. Marilyn stops in front of it but Lana tugs her along. They turn the corner and Lana opens the first door on the right, revealing a bright pink bathroom. Pink tiles, pink walls, pink toilet. The only non-pink thing is the white clawfoot tub with a shower curtain hanging over it.

MARILYN

Wow. It’s...bright. Very you.

LANA
I know, isn’t it wonderful? I just love it so much. I picked out everything in here. Lyle always hated it, but screw him.

MARILYN

Ain’t it bad to speak ill of the dead?

LANA

It isn’t bad if the person was a cheating bastard.

MARILYN

Right. Well, next room, then?

LANA

Yes, of course. This way to my bedroom.

The two women walk down the hallway a little further and Lana opens a door at the end of the hall. Marilyn follows her in and freezes when she sees the state of the room. Piles of clothes lay all around, shoes are strewn about the room, and the bedsheets lay in a messy pile on the floor.

Lana

Sorry about the mess. I’m trying to get my clothes sorted to donate but I can’t seem to be able to get rid of anything.

MARILYN

What about the sheets?

LANA

Oh, those just need to go through the wash. I spilled a glass of juice this morning and I don’t have another set.

MARILYN

Oh, honey, you need to use a stain remover on white sheets immediately. These are gonna be stained so bad.

Marilyn picks the sheet up and examines the toddler-sized purple stain. She frowns and looks up at Lana.

LANA

I didn’t know. I don't think I have a stain remover.

MARILYN

Do you have bleach?

LANA
In the oven.

MARILYN

Why the hell is your bleach in the oven?

 

LANA

I don’t know how to use the oven so I just use it for storage.

Marilyn sighs and shakes her head. Lana smiles at her and skips out of the room, Marilyn trailing along behind her. When they get to the kitchen, Lana opens the oven door and pulls out a bottle of bleach, grinning at Marilyn as she hands it over.

MARILYN

You are one strange girl. Now come on, I’m gonna show you how to get this stain out.

The two women collect the soiled sheets from Lana’s bedroom and go to the bathroom where Marilyn sets them in the bathtub. Lana takes a seat on the closed toilet lid and watches with rapt attention as Marilyn uncaps the bottle.

MARILYN (CONT’D)

Now, remember, don’t touch straight bleach with your bare hands. It’s bad for you. Just fill the tub up about a quarter of the way and pour in a few capfuls. Alright?

LANA

Sounds easy enough.

Marilyn turns the water on and the two sit in silence while they wait for the tub to fill. Once it is filled about a quarter-ways, Marilyn turns the water off and dunks the sheets so they get soaked.

MARILYN

You wanna hold the cap while I pour the bleach?

LANA

Sure.

Lana scoots down onto the floor next to Marilyn and takes the cap from her. Marilyn lifts the bottle and pours the bleach, one hand keeping a tight hold on Lana’s wrist to keep her steady. She fills the cap a few times and once she’s all done, she takes the cap back and closes the bottle up.

LANA

Now what?

MARILYN

We swirl the water around and then let them soak for a bit to get the stains out.

LANA

What do we stir with?

 

MARILYN

Our hands.

Lana watches as Marilyn rolls her sleeves up and dips her hands in the water, swirling it around. She moves the sheets around a few times, untwisting them and making sure all of the stains are easy to access. When she's done, she shakes her hands off and goes to the sink, washing up to her elbows. 

LANA

Marilyn, where did you learn to do all of this?

MARILYN

My mama. And my granny. They taught me all I know.

LANA

My mom didn’t really know that much about household stuff. My sister did most of that. My mom did laundry and that was pretty much it. 

MARILYN

How’d you take care of Lyle?

LANA

Oh, we did a lot of take-out and frozen dinners. As for the household stuff, we just tried not to dirty the house too badly. Wish I had a dishwasher like I used to have back home.

MARILYN

I never thought much of those dishwashing machines.

LANA
Oh, dishwashers are the best. All you have to do is rinse the dishes off, put them in, and then just turn it on. It’s so easy.

MARILYN

My two hands do the same thing just fine.

LANA

Well, whatever floats your boat. Now, on to sorting my clothes. The charity drive is next weekend so I really need to get this done.

Marilyn nods at Lana and they go back to Lana’s room, both of them taking a seat on the floor in the middle of the room. Lana grabs some clothes from the pile closest to her and Marilyn does the same. Marilyn holds up a small, cocktail dress and looks at Lana.

MARILYN

Keep or donate?

LANA

Definitely keep. I went on my first ever date in that dress.

MARILYN

With Lyle?

 

LANA
God, no. It was a girl I went to high school with. Junior year.

MARILYN (quietly)

Oh.

LANA
Are you okay?

Lana reaches a hand out and caresses Marilyn’s arm. Marilyn looks up and gives Lana a soft smile.

MARILYN

Yeah, I’m fine. Just, missin’ my high school days. I had so much fun with all of my friends. School dances, parties. Oh, it was the best.

LANA

Sounds like you had a lot of fun. Any special interests back then?

MARILYN

Timmy Harbor. He was in my second-period Geometry class in tenth grade. Thought I was gonna marry that boy.

LANA
I meant more like what did you like to do, but I guess that works in that sense too.

Marilyn gasps.

MARILYN

Oh, you are so bad. I can’t believe you would say such a thing like that!

LANA

I’m just saying, it sounds like you had quite the thing for this Tommy guy. Do you know where he is now?

MARILYN

Yes. He married a girl down in Sutherland and they have about six kids, all within a year of each other. I’m almost glad I never married him with how fast he wanted those kids after they got married. I went to the wedding and she was already two months pregnant then.

LANA
I assume that was quite a scandal, then?

MARILYN

No, no, Tommy is the best lawyer in Sutherland and he covered that up real quick. Made a case about being a man of means and that made his wife a woman of means. No one crossed him after that. They knew that would get their heads chopped off if they even mentioned it. He can get away with anything now.

LANA

That’s ridiculous, though.

MARILYN

I know, but that’s just how this world works.

LANA

It’s not how my world works. In my world, you face the consequences of your actions no matter how high you stand in society.

MARILYN

Good luck getting other people to think like that.

Lana Laughs, tossing her head back and mussing her hair up. Marilyn watches her, a starstruck look on her face. Lana tips her head back down, grabbing a few more things from her pile. She catches Marilyn’s eye and winks.

 

LANA

God, some of these things are from so long ago. I can’t believe how old this makes me feel. You know, I wore this dress to my freshman Homecoming. That was over fifteen years ago.

Lana holds up a short, formal dress covered in sparkles. A few bits of glitter fall to the floor and Lana giggles when some of it catches on her legs.

LANA (CONT’D)

I wish I still fit in this but my body is not what it used to be.

MARILYN

It’s a lovely dress.

LANA

I know. Freshman Homecoming was also the night I did the deed with Carl Hampton. Wasn’t exactly the best ending to that night.

MARILYN

At my freshman Homecomin’, I got a drink spilled on me and I ran out in tears. Didn’t even go back to get my purse or nothin’. Just left.

LANA
What did your date say?

MARILYN

Oh, I didn’t bring a date. I went with a few friends. I walked the whole four miles back to my house in heels.

LANA

I didn’t even know there were Homecomings here. This place feels like going back in a time machine.

MARILYN

I grew up here, so I don’t know much about other places.

Marilyn picks up a mint-green dress and Lana openly flinches at the sight of it.

LANA
Donate that one. I don’t even want to look at it.

MARILYN

Okay.

Marilyn tosses the dress onto the floor, starting a new pile.

LANA

I, uh, went on my first date with Lyle in that dress. I don't really want to remember that.

MARILYN

Of course, you don’t have to explain yourself to me.

LANA

Thanks. So, uh, when does that church thing start tomorrow?

MARILYN

Service is at 10 and the potluck starts at 1. Do you have Anne-Marie’s address?

LANA
I was actually hoping you could take me.

MARILYN

Yeah, yeah, that sounds like fun. I can come pick you up and we can go get breakfast and then we can go to service.

LANA

Wonderful idea.

MARILYN

Thank you.

LANA

For what?

MARILYN

For being...a true friend.

LANA

You have plenty of friends, though.

 

MARILYN

Not ones like you. You’re different.

Marilyn smiles and grabs another thing from the pile, the conversation coming to a natural stop. Lana looks down at her lap, her eyes crinkling as she smiles. Camera fades out.

Scene VI

Camera fades in on Lana and Marilyn sitting in a small cafe the next morning. Lana is dressed in a pale pink dress that comes down to her knees with rose-colored shoes fastened on her feet. Marilyn is dressed in a long, yellow dress that stops right at her ankles with black pumps. A plate of eggs sits in front of Marilyn and an omelet with hash browns sits in front of Lana. Both women have coffee mugs, Lana’s with a lipstick stain on the side. Marilyn’s legs are crossed and she has her napkin in her lap, her hands folded neatly on the napkin. Lana is leaning forward with her chin resting on her palm, looking dreamily at Marilyn.

MARILYN

Why are you lookin’ at me like that?

LANA

No reason.

MARILYN

Really? No reason at all?

LANA

Nope.

MARILYN

Uh-huh.

LANA

So, uh, any plans for this week?

MARILYN

Are you trying to change the subject?

LANA

Yes, now answer my question.

 

MARILYN

Well, I’m not doing anythin’ during the week, but on Saturday, Keith and I are driving down to see my brother and we’re stayin’ with him until next Tuesday.

LANA
You’re gonna be gone all weekend?

MARILYN

Yes, are you gonna miss me?

LANA

Maybe. Will you call?

 

MARILYN

If you want me to.

LANA

I want you to.

MARILYN

Okay.

LANA

Okay.

The two women make eye contact for a second before looking away, Lana staring at a painting on the wall across from her, Marilyn at a spot on the table. Underneath the table, Lana’s foot accidentally brushes over Marilyn’s. Marilyn shivers.

LANA

Are you cold? I brought a shawl if you want it.

MARILYN

No, no, not cold.

LANA
Okay. Well, the offer stands if you do get cold.

MARILYN

Thanks.

Marilyn looks up at the clock on the wall and then clears her throat.

 

MARILYN (CONT’D)

Well, if we wanna get there in time to get a seat we better get a move on. You about ready?

 

LANA

Yeah, let me just call the waiter over.

Lana raises her hand and ushers the young waiter over. He eyes the low cut of Lana’s dress before looking back up at the two women.

WAITER

How can I help you lovely ladies?

LANA
Check, please.

WAITER

You don’t want anythin’ else?

MARILYN

No, we have places to be.

WAITER

Need company?

LANA (laughing)

Definitely not. Now, can we have that check?

WAITER

Sure. I’ll go grab that for you.

The waiter runs off and both women burst into laughter.

LANA
Oh my god, how old was that kid?

MARILYN

He couldn’t have been more than sixteen or seventeen, and that’s generous.

LANA

He was adorable.

MARILYN

I kinda wanna put him in my pocket and carry him around.

LANA

Oooh, he’s coming back.

Lana swats at Marilyn’s arm and points to the left, where the waiter is walking back with the check in his hands. The waiter stops at their table and sets the check down, winking at Lana.

WAITER

Here you are, ladies. You sure I can’t get you anything else?

LANA
Oh no, we’re fine. 

WAITER

Okay, well, that’s all.

The waiter looks down at his feet and walks away, nearly running into a table as he goes back to the kitchen.

LANA

Here, let me.

MARILYN

No, this is my treat. I may not be rich but I can pay for breakfast.

LANA

Fine, but I’m paying next time.

Marilyn pulls a wad of bills out of her purse and puts it into the book, writing in her tip afterward. The waiter comes back and grabs the book. Lana and Marilyn grab their bags and stand up, but the waiter stops them.

WAITER

Let me get your change.

MARILYN

Oh no, Honey you keep the change. We’re fine. Have a nice day.

Marilyn heads to the door of the cafe. Lana winks at the waiter and he flushes. She giggles and follows Marilyn out, going out to Mairilyn’s wood-paneled station wagon. Marilyn opens the passenger-side door for Lana and she slides in, strapping in as Marilyn walks to the other side. Marilyn gets in and turns the car on, the radio turning on and playing soft rock. She straps in and reverses out of the lot, turning left onto the main road.

MARILYN

If you want, you can change the station. I’m not really a fan of this.

LANA

Oh, thanks. Any preferences?

MARILYN

Nope.

Lana fiddles with the dials until she gets to the country station.

MUSIC CUE: “My Mistake” by Cam

MARILYN

Oh my gosh, I love this song!

LANA
Me too!

 

MARILYN

Oh, I remember the first time I heard this song. I was peelin’ potatoes at the sink and it came on the radio. It made me so happy that country music can still be good.

LANA

I know, right? It’s so Dolly!

Lana hums along to the song and Marilyn taps on the steering wheel to the beat. Music fades as the camera fades out.

Scene VII

The station wagon pulls into the crowded parking lot in front of the church. Some people in their Sunday best are walking into the building while others are congregating by their cars. A few strollers are being pushed around, women fanning themselves as they coo at their babies. Lana and Marilyn get out, waving at some of the others around them before linking arms and walking into the church. They take a seat in one of the back pews, next to a woman with five children surrounding her.

MARILYN

Hi, Ava, darlin’.

AVA
Oh, hi, Marilyn. Didn’t know if you were gonna get here in time for Pastor Steven’s sermon. He’s s’posed to be real good. Did you know he’s from Mayland?

MARILYN

I heard that. I also heard he’s got quite the reputation with the ladies. They say he’s gotten in some trouble with the college girls in Mayland. I bet his wife ain’t too happy ‘bout that.

Lana clears her throat from beside Marilyn.

MARILYN (CONT’D)
Oh, yes. Miss Ava, do you know Lana Greenwood?

AVA

I thought your last name was Parker?

LANA

My husband’s name was Parker. My maiden name is Greenwood.

AVA

Oh. Well, nice to meet you. Look, I gotta get a little closer or I won’t be able to hear. Nice seeing you, Marilyn. You too...Miss Parker.

Ava gathers all of her children up and leads them to one of the middle pews, taking a seat at the end of the row. Lana watches them with narrow eyes and then looks back at Marilyn, who is smiling sympathetically.

MARILYN

I’m sorry about her. She’s not the most...progressive.

LANA
Not your fault. Let’s just get this over with so we can go back home and forget about it.

MARILYN

Yeah, of course. Ooh, shh, it’s starting.

Pastor Steven walks up to the pulpit and smiles at the congregation. He clears his throat and opens his sermon, looking down at the pages and reading over them before he speaks. 

PASTOR STEVEN

Ladies and gentlemen, we are gathered here, on this holy day, in the name of Jesus Christ. We are going to begin a little bit different today, so just sit tight and we’ll get on to the prayer as soon as we can. 

Some people look around the room, confused.

PASTOR STEVEN( CONT’D)

I have heard rumors in this town, and of the people in this town, that there are some sinful things happening. Dangerous, sinful things.

Pastor Steven looks down at the congregation with a furrowed brow.

PASTOR STEVEN (CONT’D)

Even if these are just rumours, simply implying these blasphemous actions is sinning. The Ten Commandments say ‘Thou shalt not kill’. ‘Thou shalt not commit adultery’. These are our laws that we shall follow as good, faithful Christians, and we shall not break them. Ever. Adultery and murder are sinful and even thinking of these despicable actions makes you a sinner. And we all know what happens to filthy sinners.

Pastor Steven looks at Marilyn and Lana on the last word and Lana gulps, looking around the room. All eyes are on them. Marilyn shifts a little further away from Lana, not making eye contact with anyone.

PASTOR STEVEN
Take my words to heart, and if you’re ever lost, get down on your knees and pray to the Lord. He will guide you.

Pastor Steven closes his eyes and spreads his arms out, his head tilted back. The room is completely silent. Lana shifts again and then stands up, walking past Marilyn and out the doors. Marilyn follows her out. They stop in the parking lot, the sound of mourning doves surrounding them.

MARILYN

Lana, Honey-

LANA (tearful)

Did you hear what he said?

MARILYN

Yes, Honey.

LANA

Why did you move away from me? Do I embarrass you? Do you not want me?

MARILYN

Lana, you know that’s not true.

LANA

Then what is it?

MARILYN

It’s this goddamn town. And Keith. And everyone here.

LANA

Then come live with me. We’d never have to see anyone else.

MARILYN

I can’t do that. I have a husband to care for, as much as I hate to say it.

LANA
Then leave him. Or kill him. I don’t care, all I want is you.

MARILYN

Please, Lana. We can’t do this here.

Marilyn sighs and takes Lana by the hand, leading her back to the car. They both get in silently and Marilyn drives away, speeding down the tree-lined road. She drives for a couple of moments then pulls off the road into a small wooded area. She turns the car off and they sit quietly for a moment before Lana opens her car door. Marilyn follows and they walk down a hill to a small pond. Lana sits on the ground and Marilyn takes a seat next to her. Lana takes a deep breath.

LANA
I killed them.

MARILYN

I know.

LANA

I was angry. And hurt. There he was, driving down the road. I cut my lights off, put my bag on the accelerator, and jumped out. I sat in the field next to the road and watched it happen. The two cars collided and burst into flames. It was beautiful, and horrifying. That’s why I have that convertible. I bought it after I destroyed my truck. There wasn’t enough salvageable evidence to prove the truck was mine.

MARILYN

You don’t have to tell me this.

Lana ignores her.

LANA
The girl was harder. She was never alone. I saw her at the funeral, crying over his casket. Like he belonged to her. I was so mad. Afterward, I followed her back to her house and waited for her to fall asleep. I snuck in the window and slit her throat. Buried her out in the woods behind her house, wrote a note for her family. Took all her stuff. Made it seem like she took off. All of her stuff is in that room at my house. That’s why I wouldn’t let you in there.

MARILYN

Are you okay?

LANA (laughing)

I just told you I’m a murderer and you ask me if I’m okay? I’m clearly not.

MARILYN

It’s okay. You were hurt.

LANA
I’m crazy.

Marilyn looks over at Lana, who has tears running down her face. She reaches out and grabs her hand, pulling her closer.

MARILYN

I don’t care that you’re crazy. We’re all a little bit crazy.

LANA

But I’m not cute crazy. I’m psychopath crazy.

MARILYN

I still don’t care.

LANA

I do.

MARILYN
Good thing I’m not you.

Lana laughs and leans her head on Marilyn’s shoulder.

MARILYN (CONT’D)

Have you killed anyone else?

LANA

No.

MARILYN

Have you ever thought about it?

LANA

Yes.

MARILYN

Have you ever thought about killing me?

LANA

No, you’re too special. I have thought about killing Anne-Marie, though. She’s too chatty.

Marilyn laughs and nods, her nose nearly brushing Lana’s nose.

LANA (CONT’D)

What about you?

MARILYN

Keith.

The two women fall silent again. The only sounds are the birds above them and the wind blowing through the trees. Lana lays back, her fingers knotting into the tall grass surrounding her. Marilyn watches her with a sad smile.

MARILYN (CONT’D)

He hit me. A few weeks ago.

Lana’s eyes snap open and she sits up, her face furious.

LANA

He did what?

MARILYN

He hit me. Knocked me right in the jaw. I forgot to heat his steak up for him when he got home. He was drunk.

LANA
That’s not an excuse.

MARILYN

I try to convince myself that he only hits me when he isn’t himself.

LANA

But...

MARILYN

I’ve realized that it’s the other way around.

LANA

Marilyn-

MARILYN

I want to love him. He’s my husband. But he’s not. He’s not the man I married.

LANA

He is, though. That wasn’t the real him, before. He’s showing his true colors.

Marilyn wipes a tear from under her eye and sniffles. Lana moves so that they’re facing each other.

 

MARILYN

I want it to be like it used to be, but I don’t. If I was still happily married, none of this would have happened. We wouldn’t have happened.

LANA

I’m happy.

MARILYN

I know you are. And I can be happy too. When I’m with you.

LANA

Then let’s be happy all the time.

Lana moves forward and kisses Marilyn with passion. Marilyn stops her and pulls back, looking at her with fear and hope in her eyes.

MARILYN

Lana...

LANA

Come on.

Lana and Marilyn kiss again, slower and softer. They smile into the kiss and the camera fades out.

Scene VIII

Camera fades in on Marilyn and Lana curled up by the edge of the pond. They are laying on the ground looking at each other, their legs entwined. Lana’s dress is covered in leaves and Marilyn’s has a few grass stains, but they are only focused on each other. The sun is setting and the golden light shines through the leaves of the trees and falls on them.

LANA

You’re beautiful.

Lana leans over and kisses the tip of Marilyn’s nose.

MARILYN

So are you.

Marilyn returns the gesture.

LANA

I wish we could stay like this forever.

MARILYN

I do too.

LANA

Can we?

MARILYN

Keith will be home soon.

LANA
I know.

MARILYN

I have to make dinner.

LANA
I can help.

MARILYN

I don’t know how much help you’d be.

LANA
Rude.

MARILYN

It’s the truth.

LANA
Then I can just keep you company.

MARILYN
What if Keith comes home while you’re still there.

LANA

Then I’ll grab you and kiss you right in front of him.

Marilyn frowns and sighs.

MARILYN

Lana, be serious.

LANA
What do you want me to say? That I’ll sneak out the back door if I hear his truck pull up? I’ll jump out the window and hide in the shrubs until he’s gone to bed?

MARILYN

I want us to be together. But we both know it can’t happen. Not in this town.

LANA

Then we’ll run away.

MARILYN

Where to?

LANA

My hometown. Or Alaska. Who cares?

MARILYN

I wanna stay here and talk about this forever, but I need to go home.

LANA

Five more minutes?

MARILYN

I was hoping you would say that.

Marilyn leans forward and kisses Lana. Lana giggles and rolls them over so that Marilyn is over her, her hair tickling Lana’s nose. They kiss lazily as the camera fades out.

Scene IX

Camera fades in on Marilyn at her house standing at the stove. She is stirring a pot of boiling potatoes and two steaks sit on a plate next to her. Dolly Parton plays softly on the radio and her foot is tapping to the beat of the song. A car door slams outside and she turns to the window, spotting Keith walking up to the porch. The door opens and Keith comes inside, his hair disheveled and a lipstick stain on his collar. Marilyn sighs when she sees him and turns back to the stove.

KEITH
Hey, Baby.

MARILYN

Hi.

KEITH

Aren’t you gonna come kiss your husband?

MARILYN

I need to keep an eye on these potatoes. I don’t want them to boil over.

KEITH

Heard you left church today.

MARILYN
Who told you that?

KEITH

Thomas Lynnwood. Said he didn’t see you at the potluck either.

MARILYN
Where did you see Thomas Lynnwood?

KEITH

Had to borrow his saw. Some of those trees out front need to be trimmed.

MARILYN

No, they don’t. Those trees are just fine.

KEITH

Now don’t you go changin’ the subject. I asked you a question. Why weren’t you at church?

MARILYN

I had things to do.

KEITH

What things?

MARILYN

Private things.

KEITH
Private things with that new girl?

MARILYN

That ain’t none of your business. Now please, just let me finish makin’ dinner.

KEITH

I’m onto you. If you so much as look at that girl again I swear I will make it so you can’t see nothin’. Got it?

Marilyn ignores him and keeps stirring the potatoes. Keith grabs her and slaps her across the face. Marilyn flinches but doesn’t make a sound.

KEITH

I said do you got it,Woman?

MARILYN

Yes, sir.

KEITH

Good.

Keith leaves the room and Marilyn crumples down to the floor, sobbing into her apron. Camera fades out.

Scene X

Camera fades in on Friday. Marilyn is curled up on the bed in Lana’s bedroom, early morning sunlight streaming down on her. Lana is sitting at her vanity, putting some concealer under her eyes. She is dressed in a light blue sundress, a beige cardigan over it. Marilyn is wearing a pink turtleneck and a tan, floor-length skirt. There is a small scar on her cheek.

LANA

When are you supposed to leave?

MARILYN

Tomorrow. At noon.

LANA
And you have to go?

MARILYN

Family obligation.

LANA
Well, I say it’s a Lana obligation that you stay here and cuddle with me.

Lana stands up from her vanity and crawls into the bed next to Marilyn. Marilyn reaches out and pulls Lana toward her, kissing her cheek. Lana giggles and tucks her nose into Marilyn’s chest.

MARILYN

I don’t know how well Keith will take that command.

LANA
I can deal with him.

MARILYN

Oh, I know you can.

LANA

Shut up.

MARILYN

Never.

Lana leans up and bites at the tip of Marilyn’s nose, making the other woman shriek.

LANA

I have a question.

MARILYN

Okay.

LANA
What happens when you get back?

MARILYN

What do you mean?

LANA
I mean...are we going to be the same?

MARILYN

Why wouldn’t we be?

LANA

I don’t know. It just feels like you’re going to change your mind.

MARILYN

I won’t. I promise. Will you?

LANA
Never in a million years.

MARILYN

I like us.

LANA
I like us, too.

Lana smiles and tucks her head into the crook of Marilyn’s shoulder. Marilyn leans down and kisses the top of her head.

MARILYN

You’ll need to get off of me if you ever wanna go bake that bread.

Lana sits up and grins.

LANA
Bread?

MARILYN

I said I would teach you how to make it, didn’t I?

LANA
Yes yes yes! Let’s do it!

 

Lana gets off of the bed and runs out of the room, her bare feet pattering down the hall. Marilyn laughs and shakes her head. She gets up and follows after Lana, finding her sitting on the counter in the kitchen, eating from a tub of icing.

MARILYN

How did you get that out so fast?

LANA
Magic.

MARILYN

Well, hop off the counter so I can show you how we make bread. And put that away. You can’t eat icin’ for breakfast.

Lana sticks her tongue out at Marilyn but obeys, getting off the counter and putting the icing back in the fridge.

LANA

Okay, how do we make it?

MARILYN

We need flour.

LANA
I don’t know where that would be.

MARILYN

Look in the cabinets.

Lana opens one of the cabinets, which is filled with canned foods. She closes it and opens the next one.

LANA

Aha! Found it!

Lana reaches into the cabinet and pulls down the paper bag, spilling flour all over the floor.

MARILYN

Seriously?

LANA
I got the flour.

MARILYN

Give it to me.

Lana hands the bag over and Marilyn sets it on the counter, opening it and looking inside.

LANA

Is there enough?

MARILYN

Just barely. Can you grab me a bowl and some yeast?

LANA
What’s yeast?

MARILYN
It’s in a little yellow packet or in a jar. It says yeast on it.

 

LANA

I don’t think I have that.

MARILYN

Honey, that’s why your bread didn’t work out the first time. You need yeast or it won’t rise.

LANA
Why does it need to rise?

MARILYN

So that it’s not dense and hard to eat.

LANA
We can have dense bread.

MARILYN
Lana, honey, we can’t do that.

LANA
Bread’s stupid. Let’s make something else. What about cake? Cake is good.

MARILYN

Do you have the supplies for cake?

LANA

I don’t know.

MARILYN

Maybe you need to go to the grocery store.

LANA
I don’t know how to shop for groceries.

MARILYN

What do you mean?

LANA
I order all of my groceries and have them delivered.

MARILYN

I didn’t know you could do that.

LANA
I get them from the market in Kennedy. The people there are really sweet.

MARILYN

Oh. Well, maybe we can save baking for another day. Maybe after I get back home.

LANA
Yeah, sure. So, what do you want to do now?

MARILYN

We could watch a movie? Listen to some music? We could go drivin’ around?

LANA

Let’s go driving. I don’t want to be cooped up in here.

MARILYN

Okay, I’ll grab my keys.

Marilyn leaves the room and Lana opens the fridge, pulling out the icing and taking the top off. She takes a spoon out of a drawer and dips it in, scooping out a heaping amount. Marilyn comes back in a few moments later and shakes her head when she sees Lana with the icing in her hands.

MARILYN (CONT’D)

I told you not to eat that for breakfast.

LANA
And I didn’t listen. Now come on, let’s go.

Marilyn sighs and walks out of the room, Lana trailing behind her with the icing jar still clasped in her hands. They go out the front door and stop in front of Lana’s convertible.

LANA (CONT’D)

The key’s under the floor mat on the driver’s side.

MARILYN

Are you sure you want to go in the convertible?

LANA

Yeah, why?

MARILYN

Don’t you think it’s a little too...flashy?

LANA
Oh. Maybe we should take your car.

MARILYN

I’m sorry, but what Keith said last night really shook me up.

LANA
No, it’s okay. Your car’s fine.

Marilyn gives Lana a grateful smile and goes to her car, unlocking the door and sliding into the driver’s side. Lana gets in on the other side and puts her feet up on the dashboard, her dress falling to her upper thighs, the icing sitting in the cupholder. Marilyn starts the car and reverses out of the driveway. Lana fiddles with the radio as they go down the road.

MUSIC CUE: “Redwood Tree” by Cam

MARILYN

Where do you wanna go?

LANA
Away.

MARILYN

I need a more specific answer.

LANA
The mountains.

MARILYN

That’s better.

LANA
How long will it take to get there?

Marilyn laughs and looks over at Lana.

MARILYN

Depends on how much you talk.

Marilyn smiles but Lana doesn’t return it.

LANA
I need to tell you something.

MARILYN

Anything.

LANA

It’s about my niece.

MARILYN
What about her?

LANA

She’s gone.

MARILYN
What do mean, gone?

LANA

I mean, she’s dead.

MARILYN

I’m so sorry, honey. When did it happen?

LANA

7 years ago.

MARILYN

I thought she...oh.

LANA
I lied. I didn’t want to go to church, or to that stupid potluck. That would have been her 11th birthday.

MARILYN

I wish I’d known. I wouldn’t have made you go.

LANA
It’s okay. I got to be with you, and that’s the best feeling in the world.

MARILYN

How..how did it happen?

LANA (tearful)
She was out playing in her backyard. Right next to a busy road. I told my sister not to buy that house because of that road. She saw something at the edge of the lawn and went to grab it. A truck was driving by and it skidded too close to the edge of the road. I still remember her scream, my sister’s scream, the dog howling. It was the scariest moment of my life.

MARILYN

Were you close with her?

LANA
She was my niece. My baby.

Marilyn nods and looks back at the road. The car is nearing the entrance to the mountain and Marilyn speeds up as they begin the incline. They ride in silence for a few moments before Lana opens her mouth again.

LANA (CONT’D)

That teddy bear, in my room. It was hers. I got it for her when she was born. My sister wanted me to keep it. Lyle always wanted to throw it out. Said it gave him the creeps.

MARILYN

Every time you say his name it makes me hate him more.

LANA

Me too.

Camera fades out.

Scene XI

Camera fades in on Marilyn and Lana, in the back of the car, parked in a small, wooded area. Lana’s head is in Marilyn’s lap and Marilyn is running her fingers through Lana’s hair. The radio is still playing and Marilyn is humming softly. Lana smiles up at the other woman.

LANA

I want this to last forever.

MARILYN

Mmhmm.

LANA
Can I ask you another question?

 

MARILYN

Of course.

LANA
Is this love?

MARILYN

I want it to be.

LANA
So do I.

MARILYN

How long has it been?

LANA
I don’t know. A week, maybe longer.

MARILYN

Is that long enough for this to be love?

LANA
Don’t overthink it. Love just happens, doesn’t matter how long it takes.

MARILYN

Can I say I love you?

LANA

Only if I can say it back.

MARILYN

I love you.

LANA
I love you too.

MARILYN

I’ve been wanting to say that since we first kissed.

LANA

It’s barely been 24 hours.

MARILYN

It feels like it’s been forever. I have a lot bottled up inside me.

LANA
Let it out.

MARILYN

I love you. I wanna be with you forever. I wanna marry you.

LANA
Yes.

MARILYN

Yes to what?

LANA
Yes to loving you. Yes to marrying you. Where’s my ring?

Marilyn smiles and pulls a ring off of her right ring finger. It’s large, gold with miniscule flowers. Lana takes it and slides it onto her left ring finger. She extends her hand to admire it from a distance.

LANA (CONT’D)

I love it.

MARILYN

It was my grandmother’s.

LANA

Can I keep it?

MARILYN

Umm...yes. Just, don’t let anyone else see it. They’ll know it’s mine.

LANA

Of course. Thank you. So much.

Lana sits up and kisses Marilyn, her ringed hand coming up to cup her cheek. Marilyn smiles and closes her eyes, leaning forward. They split apart when a knock comes at the window. Lana jumps away from Marilyn and readjusts her skirt while Marilyn rolls down the window. The sheriff, James Dovel, is standing there with his hands on his hips, his hat tipped low. Marilyn gulps and looks back at Lana.

 

SHERIFF DOVEL

Well, well, well. If it isn’t Miss Marilyn Hanover.

MARILYN

Mornin’, Sheriff. What seems to be the problem?

SHERIFF DOVEL

Well, I was expecting to bust two kids tryin’ to go at it in the backseat, but I found something much more interesting.

MARILYN

Sheriff, we weren’t breakin’ any laws, so I think you can move along now.

SHERIFF DOVEL

You weren’t? Ain’t one of the Ten Commandments, ‘Thou shalt not commit adultery’?

MARILYN

That’s a different story, Sheriff. That ain’t the law.

SHERIFF DOVEL

It’s good enough.

MARILYN

But, Sheriff-

SHERIFF DOVEL

You know, I was on my way to go help with a rabid animal at the farm Keith works at. I guess I’ll have a good story to explain why I’m late.

MARILYN

No, you can’t do-

SHERIFF DOVEL

Did you just talk back to me, an officer of the law?

MARILYN

No, sir-

SHERIFF DOVEL
I think you did. Step out of the vehicle, Marilyn. Now.

Marilyn opens the door and steps out of the car. Lana tries to go with her but the officer stops her and slams the door in her face.

SHERIFF DOVEL (CONT’D)

Now, honey, let’s have a little talk about this. It really ain’t that hard to just follow the rules. I don’t know why you need to go and do all of these bad things and ruin it for everyone. There are places we can send people like you. Maybe we can help you find one.

MARILYN

What are you talking about?

SHERIFF DOVEL

Why don’t I take you home on my way to the farm? Then I can tell Keith all about what happened today and he and I can talk about our next steps. We can’t have the two of you runnin’ around this town, gettin’ your disease all over the little kids here. It’s perverted, and it’s wrong, and you need to be stopped before this gets worse. Come on.

Sheriff Dovel puts his arm around Marilyn and tries to pull her over to his car but she stops in her tracks. Sheriff Dovel grabs her arm and pulls.

SHERIFF DOVEL (CONT'D)

Come on, move along, Girly.

MARILYN

No.

SHERIFF DOVEL

Did you just say no to me? Who the hell do you think you are?

MARILYN

I think I’m a person who is free to love another person.

SHERIFF DOVEL

Get in the damn car or you’ll be facin’ a lot more than Keith.

 

MARILYN

You can’t tell me what to do.

SHERIFF DOVEL

Yes I can, Missy. Now, if you don’t get your ass in that car in the next ten seconds I’ll show you what I can do.

MARILYN

You can’t thre-

Sheriff Dovel grabs Marilyn and slaps her across the cheek, then grabs her arms.

SHERIFF DOVEL

You shut your damn mouth!

Sheriff Dovel lets go of Marilyn and she falls to the ground. The cut on her cheek has opened up and blood is dripping down to the side of her mouth. Lana jumps out of the car and runs to her. She cups Marilyn’s cheek and strokes her thumb over the cut.

LANA

Marilyn!

Lana looks up at Sheriff Dovel and glares at him.

LANA (CONT’D)

You asshole!

Sheriff Dovel points at Marilyn.

SHERIFF DOVEL

You watch your mouth!

LANA
You hit an innocent woman!

Sheriff Dovel shakes his head and hitches his pants up.

SHERIFF DOVEL

I’m done with you.

Sheriff Dovel starts to walk away but turns back around to look at them on the ground. He spits and it lands next to Lana’s leg. Lana wipes her eyes and glares at Sheriff Dovel.

SHERIFF DOVEL (CONT’D)

Dykes.

Sheriff Dovel gets in his car and drives away, his tires spewing dirt at Lana and Marilyn. Lana wipes at the blood on Marilyn’s face, tears streaming down her cheeks as the camera fades out.

Scene XII

Camera fades in, back at Lana’s house in her bedroom. Marilyn is lying in the bed, a cold compress over her forehead. Lana is kneeling beside the bed, tending to her and watching her like a hawk. There is a bandage over Marilyn’s cheek and her sweater and skirt have been replaced by a pair of pajama bottoms that are too short for her and a slip top. Lana is wearing a pair of silk pajama shorts and a similar top to Marilyn’s.

MARILYN

What is Keith gonna do to me?

LANA

Shh, shh, don’t think about that right now.

MARILYN

He’s gonna hurt me, Lana. Bad. I just know it.

Marilyn breaks down into sobs and Lana strokes her hair, shushing her.

LANA

Hey, hey, come on. Just calm down. We’ll figure it out.

MARILYN

Will we?

LANA

I promise. Now come on, let’s have something to eat, yeah?

Marilyn nods and Lana helps her off of the bed, laying the cold compress down on the bedside table. They walk out of the room and into the kitchen where Marilyn sits down at the table. Lana opens the fridge and pulls out a few things; a pizza box, a few Chinese food cartons, and a styrofoam box. She lays them all out on the table and sits next to Marilyn, her arm slipping around the back of Marilyn’s chair, their legs tangling together under the table.

MARILYN

I don’t think I’ve had real pizza since I was in high school. I’ve been making home-cooked food for everyone for so long.

LANA
Well, indulge. It’s good for your soul.

Marilyn smiles and picks up a piece of pizza, stiff from being in the fridge, and takes a tentative bite. She chews for a second then swallows, Lana watching her the whole time.

LANA (CONT’D)

Well?

MARILYN (laughing)

It’s so good.

LANA
Of course it is. It’s pizza, dummy.

MARILYN

Hey, be nice.

LANA

I’m sorry. I love you.

MARILYN

Thank you.

LANA

Don’t you have something to say to me?

MARILYN
Can I have another piece?

LANA

You’re the worst.

MARILYN

I’m being serious. Can I have another?

LANA
Yeah, have as many as you want. I need to get rid of it, anyway. Just like I need to get rid of you. So rude. Don’t know why I put up with you.

Marilyn sticks her tongue out at Lana, takes another piece of pizza out of the box, and stacks it on top of her other piece. She takes a bite out of both pieces at once. Lana does the same and the camera fades out.

Scene XIII

Camera fades in. Lana and Marilyn are hugging in front of Marilyn’s car. The sun is slowly setting on the horizon and Lana’s tear-streaked cheeks shine in the dying light. Marilyn is trying to hold back tears. She is back in her old clothes, now clean, and her hair is up in a tight bun. Her cheeks are rosy and her lip keeps trembling.

LANA
If he hurts you I want you to come right back here. No negotiating. Pack a bag and get here as fast as you can. Actually, don’t even bring a bag. I can get you everything you need. I just want you safe.

MARILYN

I’ll be fine.

LANA
Promise?

MARILYN

I promise.

LANA

I love you.

MARILYN

I love you too. I’ll be back, I promise.

LANA
Don’t break it.

MARILYN

I won’t.

Marilyn leans down and kisses Lana, only for a second, before pulling away and wiping at a stray tear on her cheek. They press their foreheads together and then Marilyn breaks away, walking toward her car and opening the door. She blows Lana a kiss and then slides into the front seat, slamming the door behind her. She starts the car up and pulls out of the yard, watching Lana get smaller in the rearview mirror as she drives away. After a minute, Marilyn breaks down into tears, her sobs racking her body as she grips the wheel tightly. Camera fades out.

Scene XIV

Camera fades in. Marilyn is pulling into her driveway. She sighs when she sees Keith’s truck already parked there. She turns the car off and gets out, walking slowly up to the front door. Before she can reach her hand out, the door opens and reveals Keith, his face bright red, his shirt open, exposing his hairy chest. Marilyn gulps. Keith reaches his hand out and grabs Marilyn, pulling her into the house and slamming the door behind her. He throws her down onto the couch and stands over her, his face expanding as he takes heaving breaths.

KEITH

You little whore! I told you to stay the hell away from her!

MARILYN

I’m sorry-

KEITH

Shut up, woman! I told you to do one thing! One goddamn thing! And you’re too damn stupid to listen!

MARILYN

Keith, please-

KEITH
I talked to Sheriff Dovel. Said ya’ll were in the back of the car. The car that I bought!

MARILYN
Keith, you know damn well I paid for that car myself.

KEITH
Shut it! I don’t wanna hear any more from you.

MARILYN

Keith, will you just listen!

 

KEITH

What do you have to say to me?

MARILYN

Just hear me out.

KEITH
I’m losin’ my patience.

MARILYN

I...I love her.

KEITH

You what?

MARILYN

I love-

KEITH

Get up!

Marilyn stares up at Keith.

KEITH

You heard me, Woman! Get up, dammit!

Marilyn stands up and Keith immediately grabs her and slaps her. Then he takes her by the wrists and pulls her into their bedroom. Marilyn stands in the middle of the room while Keith goes to the closet.

KEITH (CONT’D)

I’ll teach you not to be a whore.

Keith opens the top drawer of the dresser and digs through the clothes.

KEITH (CONT’D)

I have always been able to put up with all o’ your bullshit. Never understood it, but I put up with it. I put up with you when you wanted to get a car for yourself. I put up with you when you went down to your brother’s house for a week and didn’t leave any food for me. But this...this ain’t just some shit you put yourself through. You and that little slut are sinners and perverts! And you’re gonna pay for your sins!

Keith whips around and pulls a gun out. A single gunshot is heard and Marilyn screams as she falls to the ground. Camera goes black.

KEITH (CONT’D)

See you in hell.

Scene ends.

Scene XV

Camera fades in on the next morning. Lana is sitting on her bed, phone in her hands as her legs bounce up and down. She chews at one of her nails and her eyes are wide, flitting around the room. She seems lost. She finally lifts the phone and types in a number, then presses it to her ear. The phone rings a few times but no one answers. She hangs up.

LANA
Please answer. Please.

Lana dials again but still, no one answers. She lays the phone on the bed beside her and gets up, turning on the radio. 

MUSIC CUE: “no body, no crime” by Taylor Swift

Lana jumps up. Her eyes widen and she runs out of the room.

LANA
Shit shit shit. I gotta go. I gotta go.

The song fades out as Lana grabs her purse from the hook on her door. She is still in her bathrobe but she leaves the house anyway, going out to her car in her slippers. She gets in and turns the car on, pulling out of her driveway and speeding down the road. The car kicks up dust behind her. The speedometer goes higher and higher as she presses her foot down on the accelerator until it hits the floor. Tears form in her eyes and she shakes her head. Camera fades out.

Scene XVI

Lana’s car pulls up outside of Marilyn and Keith’s house. Lana turns the car off and jumps out, her slippers sliding off the ends of her feet. She stomps up to the front door and yanks it open. She goes into the kitchen, which is empty, and then she goes back to the bedroom. The door is open and Lana goes in. Blood covers the floor. Lana shrieks and her hand covers her mouth as she kneels on the floor.

LANA

Marilyn!

Lana begins to sob and crumples to the floor, her loud screams echoing in the empty house. 

LANA (CONT’D)

No no no! Marilyn, please!

A bit of blood gets on Lana’s hand and she wipes at it furiously. When she looks up she sees that there is a small pool of blood in front of the closet. She walks toward the closet and opens the door. Marilyn’s body falls out and Lana screams. She collapses on the floor and pulls Marilyn’s body close, petting her hair and crying into her clothes.

LANA (CONT’D)

No, baby, please. Please, Marilyn. I love you so much. So much it hurts. Please. We can run away together. We’ll get married. We’ll adopt a little boy and a little girl. I love you. Please.

Lana holds Marilyn close and presses her nose to the woman’s temple.

LANA (CONT’D) (singing quietly, broken)

Come on, come on, don’t leave me like this, I thought I had you figured out, something’s gone terribly wrong, you’re all I wanted

Come on, come on, don’t leave me like this, I thought I had you figured out, can’t breathe whenever you’re gone, can’t turn back, now I’m haunted

Lana lets out another sob as she stops singing. Her eyes are puffy and her cheeks are wet. Her tears are soaked through Marilyn’s turtleneck. Camera fades out.

Scene XVII

Camera fades in on Lana later that afternoon. She is in the bathtub, the water slightly pink. Her eyes are red and puffy and her hands are rubbed raw. Her arms sit on the edges of the tub, dripping water onto the floor. She looks up at the ceiling as she speaks.

LANA
Marilyn, please, if you can hear me...

Lana chokes up.

LANA (CONT’D)

I loved you. I really did. Please come back to me. I can’t go on without you. What am I supposed to do?

Lana looks up and a few tears roll down her cheeks. Her voice is almost a whisper, and it cracks on every few words.

LANA (CONT’D)

Tell me what to do. Tell me. Tell me to kill him. I need to kill him. I have to. For you.

Lana finally stands up from the bathtub and takes her towel off its hook. She wraps it over her shoulders and steps out of the tub, dripping water onto the bath mat. Her shoulders are shaking. She walks from the bathroom to her bedroom and takes some pajama pants out of her closet. It’s the same pair that she gave to Marilyn. She drops the pants onto the floor and then grabs a housedress out of the closet. Lana puts the dress on and slips on a pair of flats, then walks out of the room to the front door. Lana grabs her keys and walks out the door, leaving the door wide open behind her. She opens the door of her car and slides in, then turns on the ignition and reverses out of the driveway. She drives to the Sheriff’s department and parks in front, leaving the car running as she gets out and runs into the building. The secretary at the front desk waves her over when she comes in.

SECRETARY
How may I help you, honey?

LANA

I need to talk to the sheriff.

 

SECRETARY

He’s busy right now. Can I take a message?

LANA
No, no. I just need to talk to someone, anyone. It’s an emergency. Someone was killed.

The secretary gasps and puts a hand over her heart.

SECRETARY

Oh my, well I’ll call.

Secretary picks up the phone and dials a number. She holds a finger up to Lana and then writes something on the notepad in front of her.

SECRETARY (on phone)

Hi, Sheriff, this is Maisy on the front desk and I have someone here to see you, sayin’ that someone’s died.

Secretary listens for a second then nods.

MAISY (on phone)

Alright, sir, well I’ll send her on down to you. Thank you much. Okay, bye-bye.

Maisy hangs up the phone and looks back up at Lana.

MAISY

The sheriff will see you now. You just go down the hall, and he’s the first door on your left.

LANA
Thank you.

Lana walks down the hallway and knocks on the sheriff’s door. No one answers and she opens the door and walks in. Sheriff Dovel sits in a reclined chair behind his desk, his mud-coated boots sitting up on the desk. He grins when Lana comes in.

SHERIFF DOVEL

Well well well, if it isn’t Alabama’s finest little whore. Whatchu want?

LANA
Please, Sheriff Dovel, something has happened.  Someone was murdered.

SHERIFF DOVEL
That’s a heavy statement, Girl. You got proof?

LANA

No, but I saw-

SHERIFF DOVEL
You saw what? What did you see?

LANA

I was about to tell you.

SHERIFF DOVEL

Don’t get smart with me, Girl. You’re already on thin ice.

LANA
I’m just trying to tell you what happened, Sheriff. That’s all.

SHERIFF DOVEL

Then tell me.

LANA
I saw-

SHERIFF DOVEL

You didn’t see shit and we both know that, Honey. I  been workin’ for this town for years and I’m tellin’ you I ain’t never seen no murders.

LANA
Please, Sheriff, it’s Marilyn.

SHERIFF DOVEL
Marilyn Hanover?

LANA
Yes, sir.

Sheriff Dovel rifles through some papers and pulls one out.

SHERIFF DOVEL

I got a report right here from her husband sayin’ she was messin’ around with Keith’s handgun and accidentally shot herself. Says he saw it himself. She didn’t know it was loaded.

LANA
Sir, I saw her. She was shoved in a closet and she was all bloody.

SHERIFF DOVEL
Why would Keith report her death to me if it was a murder?

LANA
To cover it up?

SHERIFF DOVEL
And why would he want to cover it up?

LANA
Maybe he did it.

SHERIFF DOVEL

I’ve known Keith for years. He would never kill someone.

LANA
Sir, I don’t mean to be rude, but I’ve seen the way Keith behaves, especially towards Marilyn. He’s violent.

SHERIFF DOVEL
Oh, really? You seem real focused on all of this business, huh? 

LANA
Marilyn was my friend.

SHERIFF DOVEL

Uh-huh. Just a friend?

LANA
That doesn’t matter.

Sheriff Dovel ignores her and takes a sip of his coffee. He sighs and looks back up at her, clearing his throat.

SHERIFF DOVEL

Sounds like you know an awful lot ‘bout this supposed ‘murder’, hmm?

LANA
I just found her earlier this morning.

SHERIFF DOVEL
Yeah? And what you were doin’ at her house earlier this mornin’?

LANA
I was looking for her. We were...She was supposed to call me. She never did.

SHERIFF DOVEL
Uh-huh. And did you just walk into her house?

LANA
The door was wide open. I was worried about both of them, Keith and Marilyn. They never left their door open. I was just checking in.

SHERIFF DOVEL

Sounds like if anyone’s guilty of anything, it’s you for breaking into Keith’s house. Now get on out of my office before I arrest you for that.

LANA
Sheriff, I-

SHERIFF DOVEL

Get out, dammit! You make me sick.

Lana ducks her head and stands up. She leaves the office and goes down the hallway, back to the lobby of the building. Maisy smiles at her from the front desk.

MAISY

Did you get all of that murder business figured out?

LANA
No, not yet. It’s...complicated.

MAISY

Sounds complicated. Well, good luck with it.

LANA

Thanks.

Lana leaves the Sheriff’s department and gets into her car. She turns the car on and reverses out of the parking lot.

LANA (CONT’D)
Well, asshole, if that’s how we’re gonna do it, I’ll just figure this shit out myself.

Lana lights a cigarette and puts it in her mouth, then throws her match out the window. Camera fades out.

Scene XVIII

Camera fades in on a rainy day one week later. A large group of people is gathered around a coffin in a sparse cemetery. Keith is at the front of the group, next to the preacher, and his head is down. Lana is at the back of the group, tear tracks on her cheeks, mascara smeared under her eyes. Her lips are trembling and she is holding one of Marilyn’s hair ribbons.

PREACHER
And now, if anyone would like to say anything about the dearly departed, you may.

Anne-Marie steps forward and clears her throat.

ANNE-MARIE
Um, I remember, when I first moved to town in seventh grade, I had no idea what I was doin’. I couldn’t find any of my classes at school, I didn’t know anyone. I had no one to sit with at lunch, so I ate in the bathroom. One day, I was eatin’ in the bathroom, and someone came in. It was Marilyn. She saw me sittin’ on the floor and just sat down next to me.

Anne-Marie wipes her eyes and sniffles.

ANNE-MARIE (CONT’D)

Sorry. Um, so, she sits down next to me and I look at her, and she has this frown on her face. I asked her what she was frownin’ at and she grabbed the lunch out of my hands. She said that it was wrong to eat turkey with lemonade. She said that I needed to eat it with iced tea. So, she pulls this huge thermos out of her backpack and hands it to me, and then she just throws my lemonade in the trash. That’s when I knew she would be my best friend.

Anne-Marie laughs and a few others join in. Mae-Lynn steps forward.

MAE-LYNN
When I was younger, I got bullied horribly for this big birthmark that I have on my arm. All the kids mocked me about it and I hated it. I stopped coming to school sometimes. One day, in the lunchroom, I was sittin’ at my table, alone, and some kid came up to me. He shoved me and he was making fun of me. And then, Marilyn comes over and just starts wailin’ on him. He had to go to the hospital afterward to make sure he didn’t have a broken nose and Marilyn got suspended from school for a week. But when she came back, I sat with her at lunch and no one made fun of me anymore.

PREACHER

Thank you, Miss Mae-Lynn. Anyone else?

Everyone looks at Keith and the preacher gestures toward him. Keith shakes his head.

PREACHER (CONT’D)

Well, I guess it’s time to retire to the fellowship hall for a nice meal provided by our lovely ladies of the Women’s Committee.

The preacher motions and the crowd follows him back into the church. Lana stays back and walks to the casket. She lays her hand on top of the casket and closes her eyes.

LANA
I’m sorry I couldn’t stop this. I’m sorry I wasn’t there. I love you and I miss you. I will always keep you in my heart, Darling.

Lana kisses her hand and places it back on the casket. Anne-Marie stops outside the door to the church and turns to look at Lana.

ANNE-MARIE

Lana, Honey! Come inside and dry off before you catch a cold!

Lana kisses the casket one more time and then walks toward Anne-Marie. Anne-Marie wraps an arm around Lana’s shoulders and squeezes her.

ANNE-MARIE (CONT’D)

Come on, Honey. Cheer up. I made fried chicken.

Lana smiles and sniffles. The two women walk into the church and down the stairs to the fellowship hall. The fellowship hall is filled with people at crowded tables. There is a line of people waiting to get food from a long banquet table and two women are serving at each food station. Lana and Anne-Marie get in line, Anne-Marie’s arm still around Lana. The two women get their food and sit down at a small, mostly empty table in the far right corner of the room.

LANA
Thank you. I don’t know how much longer I would have stood out there if you hadn’t come and gotten me.

ANNE-MARIE

Not a problem, Honey. You looked like you needed a little guidance.

Lana smiles and digs into her fried chicken, but Anne-Marie watches her closely.

ANNE-MARIE
You two were very close, weren’t you?

Lana looks up from her chicken and wipes her mouth, swallowing.

LANA
Yeah. Yeah, we were really, really close. Why do you ask?

ANNE-MARIE
No reason. She just seemed happier when you two started hanging out.

LANA
Oh.

Lana goes back to her chicken. Anne-Marie stabs a green bean on her fork and then stops, her fork midair.

ANNE-MARIE
If I’m being honest, I was always a little jealous of you.

LANA
Why? I have nothing for you to be jealous of.

ANNE-MARIE

Yes, you do. You always seemed to be so put together. Whenever I saw you in town, you had the best outfits, you were able to buy anything you wanted. You drove an amazing car and were able to drive it anytime you wanted. You never had to share with your husband. And I was just sitting at home, taking care of the children and waiting on my husband hand and foot. You were independent. I wanted that.

LANA
I was independent because my husband was never there for me. He was cheating on me that whole time.

Anne-Marie’s mouth opens and closes.

ANNE-MARIE

Oh. I didn’t think about that.

LANA
I didn’t really want people to know that. I just wanted you to know that you have no reason to be jealous of me. My life is just as fucked up as yours. Maybe even more.

ANNE-MARIE

I’m sorry I never really tried to talk to you. You just seemed...

LANA
Unapproachable?

ANNE-MARIE

Yes. I’m really sorry about that.

LANA
It’s fine. I wouldn’t have approached me either. I was kind of a bitch when I first moved here. I’m sorry I never spoke to you.

ANNE-MARIE
That’s okay. We’re here now. I guess grief can help bring people together.

Lana and Anne-Marie both take another bite of chicken. Anne-Marie clears her throat and wipes her mouth with her napkin. Her face is serious.

ANNE-MARIE (CONT’D)
I’m glad you and Marilyn were such good friends. She needed it. She was so lonely.

Lana sighs.

LANA
I think that it was good for both of us. It was a way for us to heal.

ANNE-MARIE

I am kind of jealous that you stole my best friend, though.

LANA
I promise I didn’t mean it. I just thought that we both needed each other.

ANNE-MARIE
I know. But, you weren’t the only one that needed her. I needed her too.

LANA
I’m so sorry. Really.

ANNE-MARIE
I know. And I know you didn’t mean to steal her, but you did.

LANA
It’s just...she was different. I had never known anyone like her.

Anne-Marie pats Lana’s hand and smiles.

ANNE-MARIE
I know. That’s why everyone flocked to her. She was our rock. I don’t know what’s going to happen now that she’s gone.

LANA
No one knows.

Camera fades out.

Scene XIX

Camera fades in later that day. Lana and Anne-Marie are at a small restaurant, eating dinner. Lana has a cup of coffee and a hamburger in front of her, Anne-Marie has a soda and a wrap. Both women are still in their funeral clothes.

LANA
What do you think happened to her?

ANNE-MARIE
I thought she accidentally shot herself?

LANA
Never believe what the police reports say. There’s always something that they want to cover up.

ANNE-MARIE
I don’t know. I loved her, so I want there to be justice for her, but I don’t want to say that Keith was lying. What do you think?

LANA
I know what happened. I saw her. It...It was horrible.

ANNE-MARIE
What did you see? When?

LANA
That morning. I went to her house because she was supposed to call me and she never did. I was worried. So, I went, and...I saw her, stuffed into a closet. She was covered in blood. It wasn’t an accident. Someone killed her and I bet I know who it was.

ANNE-MARIE

You don’t think...

LANA
Yeah, I do.

ANNE-MARIE
But they were together for so long. They loved each other.

LANA
He hit her. That’s not love.

ANNE-MARIE
She told me that it was an accident.

LANA
She told you? She told you he hit her and you did nothing?

ANNE-MARIE
It was an accident.

LANA
It happened more than once.

ANNE-MARIE
And it was an accident. Accidents can happen more than once.

LANA
Husbands don’t hit their wives if they love them. That’s not how it works.

ANNE-MARIE

How long were you and Lyle married?

LANA

I don’t know. Five years, maybe?

ANNE-MARIE
See. You weren’t married long enough for you to understand what real marriage is like. Real marriage is struggles and compromises, and it’s not always picture perfect.

LANA
Does...does your husband hit you?

 

ANNE-MARIE
I don’t want to talk about this anymore.

LANA
Has he hit you?

 

ANNE-MARIE
I told you, marriage is complicated.

LANA
This isn’t complicated. It’s abuse, plain and simple.

ANNE-MARIE

It is complicated, Lana. Not everything is black and white.

Anne-Marie takes a deep breath and looks down at the table.

ANNE-MARIE (CONT’D)

I’m a married woman. I shouldn’t be discussing this with you. This is my private life and I don’t have to explain anything to you.

LANA
Bullshit.

ANNE-MARIE
Stop it, Lana.

LANA
Open your fucking eyes, Anne-Marie. That’s not love. He doesn’t love you. He wants power.

ANNE-MARIE
Lana, please-

LANA
I don’t like seeing people get hurt. I want you to see that he’s hurting you.

Anne-Marie stands up and gathers her black shawl and purse into her hands.

ANNE-MARIE
I need to leave. I’m sorry. I can’t do this.

Lana stands up but Anne-Marie waves her off. Lana watches as Anne-Marie leaves the restaurant and starts walking down the sidewalk. She pulls a few bills out of her purse and lays them on the table, then leaves the restaurant as well. She walks to her car and gets into the driver’s side. She just sits in the car, staring out the windshield for a minute, her eyes filling with tears.

MUSIC CUE: “Runaway Train” by Cam

Lana starts the car up and pulls out of the parking lot. She speeds down the road and drives toward the mountain. 

Music fades

She parks the car in front of Marilyn’s house. Keith’s truck sits in the driveway. Lana gets out of the car and slams the door behind her. She goes up to the porch and looks through the window into the kitchen. She gasps.

LANA
That bastard.

Keith is in the kitchen with a woman, his arms around her from behind. They are both laughing and Keith leans down to kiss the woman’s cheek. 

Music swells again at chorus.

Camera fades out as chorus ends.

Scene XX

Camera fades in a week later in Lana’s living room. Lana is sitting on the couch, a cup of coffee in her hands. She has a day planner open on her lap. She sips her coffee as she reads over the planner, adding notes to the page. When her coffee is done, she closes the book and stands up, taking her cup and book into the kitchen. She places the cup in the sink and then leans her arms on the counter, looking out the window over the sink. She stands there for a minute and then takes the phone receiver off the wall. She dials a number and then holds the phone up to her ear, looking out the window and watching a bird at the bird bath.

ANNE-MARIE (on phone)

Hello?

 

LANA
Hey, Anne-Marie. This is Lana.

ANNE-MARIE (on phone)

Oh. Lana.

LANA
I just wanted to apologize for what I said the other night. I was out of line.

ANNE-MARIE (on phone)
Oh. Thank you. That’s...really sweet.

LANA
I also wanted to apologize for asking you those inappropriate questions in the first place. I’m just really sensitive about that kind of stuff because of Marilyn and I thought I could solve all your problems for you.

ANNE-MARIE (on phone)
I get it. I totally get it. We’re all under a lot of pressure right now with Marilyn being gone and...I accept your apology. It means a lot to me. Truly.

LANA
I really am sorry, and I was hoping that, if you wanted, you would take this coupon for a free, two-night stay at a resort in Mayland, spa and meals included, as an apology.

ANNE-MARIE (on phone)
Are you serious?

LANA
Yeah. I got it for Marilyn because it seemed like she needed two nights to herself, but...

ANNE-MARIE (on phone)
Lana, this is wonderful, but I can’t accept that. It’s too much. That must have cost you a fortune.

LANA
It did, but you deserve it. Wouldn’t it be nice to just have two nights to yourself, no kids, no husband. Just you.

ANNE-MARIE (on phone)
It does sound nice. The kids have been damn near impossible recently, excuse my language. But I don’t know if I could ever leave them with just their dad. I don’t think he’d have a clue what to do.

LANA
Come on, Anne-Marie. When was the last time you had a night to yourself?

ANNE-MARIE (on phone)
Probably not since I was a teenager.

LANA
See. You need this. Take it. Otherwise it’ll just go to waste.

ANNE-MARIE (on phone)

Fine. But when I get back, I am treating you to a full meal and I’m paying.

LANA
Sounds like a great compromise to me. Why don’t you come pick up the coupon later this afternoon? I just have a few errands to run. Do you know where I live?

ANNE-MARIE (on phone)
Honey, I know where everyone lives.

LANA
Of course you do.

ANNE-MARIE (on phone)
So, does 2 sound good? I have to pick the kids up from Bible school at 3.

LANA
Yeah, 2 sounds great. I’ll see you then.

ANNE-MARIE (on phone)
Alright, bye-bye.

LANA
Bye.

Lana hangs up the phone and then makes another note in her planner. She then closes her planner and sighs as she places it above the fridge.

 

LANA

How am I going to make this work?

Lana pulls a pack of cigarettes out of her pocket and lights one, then blows out her match. She sighs, smoke billowing out of her mouth as she leans her back against the counter, her eyes closed. She pulls a slip of paper out of her other pocket and reads over it. Camera pans over to the slip of paper. It’s the coupon for the resort stay. Lana smiles and tucks it back into her pocket.

LANA

Well, I have a lot of work to do.

Lana smirks and grabs her purse from the hook on the kitchen wall. She slides the purse onto her shoulder and opens the front, then walks down the stairs of the porch. Camera fades out as she gets to the bottom of the steps.

Scene XXI

Camera fades in later that day. Lana pulls into the driveway and parks next to Anne-Marie's car. Anne-Marie is standing beside her car, a pair of small boys standing on either side of her. Lana turns the car off and gets out, walking over to Anne-Marie. Anne-Marie smiles and reaches her arms out, hugging Lana and kissing her cheeks.

LANA
Anne-Marie, hi. And who might these two big guys be?

Lana leans down and smiles at the two boys standing next to Anne-Marie. The smaller one clings to Anne-Marie’s legs but the taller one sticks a hand out and grins. Lana shakes it.

BOY

I’m Colton, and this is Bryce. He don’t talk. Mama says he’s a mute.

Anne-Marie smacks the back of Colton’s head.

ANNE-MARIE
That is not something we talk about in front of other people.

Anne-Marie looks back up and smiles at Lana.

ANNE-MARIE (CONT’D)
I’m sorry, Lana. We’re working on manners but he still hasn’t gotten it yet.

LANA
Oh, it’s fine. Would you like to come inside and have some tea?

ANNE-MARIE

You know, that sounds amazing, but I need to pick up the girls from Bible school and then drop all of the kids off at their aunt’s.

LANA
Oh, okay. Well, I’ll just go grab your coupon. You sure you don’t want to come in, just for a minute?

ANNE-MARIE
Alright, but only for a minute. Come on, boys.

Anne-Marie takes both boys’ hands and leads them up the steps, following Lana into the house. They go into the kitchen. Both boys run up to the counter to grab the cookie jar and Anne-Marie sits down in one of the chairs at the table.

COLTON

Cookies! Cookies!

LANA
You want a cookie, kiddos?

COLTON
Yes yes yes!

Bryce nods and reaches a hand out.

ANNE-MARIE
Use your words, Bryce.

Bryce shakes his head and reaches his hand out again.

ANNE-MARIE (CONT’D)
I swear, he’s a real chatterbox at home. He just gets nervous around other people.

LANA
Oh, it’s fine. My mom said that I didn’t really start talking until I was, like, 3. I’m not judging.

Lana hands two cookies to each of the boys.

LANA (CONT’D)
No crumbs on the floor, okay?

Bryce nods but Colton ignores her. Anne-Marie looks at her watch.

ANNE-MARIE
Oh, it’s gettin’ late. Boys, thank Miss Lana for the cookies.

COLTON

Thanks, Lady.

Anne-Marie rolls her eyes. Bryce walks over to Lana and pats her hand. Lana looks down and Bryce looks up at her, a big smile on his face.

LANA
Here.

Lana takes the coupon out of her pocket and hands it to Anne-Marie. Anne-Marie smiles and reads over it before tucking it into her purse.

ANNE-MARIE
Thank you so much, Lana. This is one of the nicest things anyone has ever done for me.

LANA
It’s nothing. I already had the coupon, I just needed someone to give it to.

ANNE-MARIE

I already talked to my husband and he says I can go this weekend. That’s why the kids are going to their aunt’s. He’s not very good at taking care of them.

LANA
Sounds wonderful.

ANNE-MARIE
Well, we should get going. Thank you so much. I know you say it was nothing, but it wasn’t nothing to me. Honest.

LANA
Enjoy.

Lana looks down at the two boys.

LANA (CONT’D)
And you two be good for your aunt.

Both boys wave at Lana and start heading toward the door. Anne-Marie follows them. Lana watches from the doorway as they all pile into the car. Anne-Marie waves one more time before getting into the driver’s side. Lana goes back inside when Anne-Marie’s door shuts. Camera blacks out when the front door shuts.

Scene XXII

Camera fades in the next morning on Lana and Anne-Marie at Anne-Marie’s house. Anne-Marie is pulling a large suitcase through the yard and Lana is standing beside Anne-Marie’s station wagon. Anne-Marie puts her suitcase into the trunk and then closes the door.

ANNE-MARIE
Thank you again, Lana.

LANA

I told you to stop thanking me.

ANNE-MARIE
But I want to thank you. Are you sure you don’t want to take the coupon for yourself?

LANA
It’s not a coupon if I paid for it myself.

ANNE-MARIE
It’s still a vacation, though.

LANA
You need this more than I do, Anne-Marie.

ANNE-MARIE

Please, call me Annie. It’s what Marilyn used to call me.

LANA

Okay, Annie.

Anne-Marie smiles and Lana clears her throat.

LANA (CONT’D)

Now go on, get moving. You have a vacation to get to. You’ve earned it.

ANNE-MARIE
Okay. I’ll see you when I get back?

LANA
Um, I don’t know. I was thinking of going to visit my mom next week. I haven’t seen her in a long time, and I think she’s missing me.

ANNE-MARIE
Well, I’ll see you sometime.

Lana gulps.

LANA
Yes, of course.

ANNE-MARIE
Well, I need to get on the road if I ever want to beat the traffic. Bye, Lana.

LANA
Bye, Anne-Marie.

Lana and Anne-Marie hug, Lana lingering too long, and then Anne-Marie gets into the car. Lana stands and watches as Anne-Marie drives away. Lana waves to the disappearing car, her shoulders slumping. Camera fades out.

Scene XXIII

Camera fades in later that evening on Lana in her front yard. She is loading the trunk of her convertible with trash bags, hammers, nails, rubber gloves, and a gun. She closes the trunk and sighs, swiping an arm over her brow. Then she wipes her hands on her dress and goes around to the driver’s side of the car. She opens the door and gets in, slamming the door shut. She turns the car on and backs out of the yard, speeding off down the road. She pulls into a small patch of woods beside Keith’s house and turns the car off. She sits in the car for a moment and then gets out, popping open the trunk.

MUSIC CUE: “God’s Gonna Cut You Down” by Johnny Cash

Lana moves all of her stuff out of the trunk and puts it on the ground to the beat of the music. Then she puts on a pair of gloves, takes the gun and trash bags with her, and walks through the woods to the house. She goes around the back of the house and sneaks in through the back door. She walks quietly through the house and stops in the doorway to the living room. Keith is sitting on the couch, a glass of whiskey in his hands. Marilyn raises the gun and aims for his head, then lowers it. She fires and the bullet hits the glass, shattering it all over the floor. Keith turns his head and his eyes widen. Music stops.

KEITH
You! What the hell are you doin’ in my house?

LANA
Oh, shut up, Keith.

Keith stands up, his chest heaving.

KEITH
No! You get outta my house! Now!

LANA
Keith, sit down.

Lana raises the gun again and Keith sits back down.

LANA
Better. Now, you’re going to do something for me.

KEITH
I ain’t doin’ nothin’ for you, you bitch-

LANA
Remember who’s the one with the gun, Keith.

KEITH
Fine. What do you want?

LANA

I want you to call your little girlfriend right now. Go on. Dial the phone.

KEITH
How did you-

LANA
Shut your mouth!

Keith shuts his mouth and grabs the phone off the coffee table. Lana gestures with the gun and he dials, then holds the phone up to his ear.

WOMAN (on phone)
Hello?

KEITH
Baby, hi.

LANA (whispering)
Tell her that you want her to come here.

KEITH

Um, Baby, do you wanna come over tonight?

WOMAN (on phone)

Oh, I don’t know. I was thinkin’ of just havin’ a night in.

KEITH
Come on, Baby. I really wanna see you.

WOMAN (on phone)

Alright. You know I can never say no to you. I’ll see you in a bit, Baby. Bye.

KEITH
Bye, Baby.

Keith hangs up the phone and then turns back to Marilyn, his hands shaky.

LANA
Good. Now, I want you to call Thomas Lynnwood and ask him to come over as well.

KEITH
Why do you-

LANA
Just shut up and do it, Keith. Clock’s ticking.

Keith nods and picks up the phone again. He dials it and holds it back up to his ear. Thomas picks up after two rings.

THOMAS
Hello?

KEITH
Hey, Thomas, this is Keith.

THOMAS
Oh, hey, Man. What’s up?

Lana fiddles with the gun and Keith stares at her.

KEITH
Uh...

LANA (whispering)

Tell him to come here.

KEITH
Uh, I got some faulty wiring on my, uh, radio. You think you could come lend me a hand?

THOMAS
Sure. I’ll be over there in a few minutes, alright?

KEITH
Yeah, sounds good. See you then, Man.

THOMAS
Yeah.

Keith hangs up the phone and wipes his arm over his brow. He’s sweaty, his hands are shaking, and his upper lip is quivering.

LANA
You really are pathetic. So what, you can raise a gun and shoot your own wife, but you can’t handle a gun being aimed at you? Huh?

KEITH
I don’t trust you.

A car pulls into the driveway.

LANA
And I don’t trust you.

Lana looks out the window.

LANA (CONT’D)

Now go answer the door. I just heard your girlfriend pull up.

Keith stands up and Lana follows him, keeping the gun out of sight. Keith opens the door and a tall, blonde woman comes in. She kisses Keith and then goes into the living room. Lana follows Keith in, the gun still down. The woman looks up and frowns when she sees Lana.

WOMAN
And who might this be?

KEITH

Um, Loretta, this is Lana. She was good friends with Marilyn.

LORETTA
Oh. Why is she here?

Keith looks back at Lana and she reaches behind her, her hand clasping the gun tighter.

KEITH
Uh, she just needed a place to stay. She had a-a gas leak at her house.

LANA
Don’t worry, I’ll try not to bother you.

LORETTA
Okay. 

Another car pulls into the driveway and parks behind Loretta’s car.

LANA
Actually, I think I just heard someone pull up. I’ll go see who it is. You guys behave while I’m gone.

Lana turns around and flashes the gun so that Keith can see it. Keith takes a deep breath and watches her leave. Lana opens the front door and puts on a fake smile when she sees Thomas.

LANA
Hi, Thomas. Wow, you came fast.

Thomas frowns.

THOMAS
Um, do I know you?

LANA
Sort of, but not really. I’m Anne-Marie’s friend, Lana. The one who gave her the coupon for the resort stay.

THOMAS

Oh.

LANA
Well, don’t just stand there. Come in. The party’s about to begin.

Thomas goes into the living room and Lana takes the gun out of her pocket. She keeps it at her side as she goes into the room. She clears her throat. All three people turn to look at her.

LANA (CONT’D)
Good, you’re obedient. This will be easier than I thought.

KEITH
What are you doing, Lana?

LANA
Shut your mouth or you’ll be the first to go.

Keith shuts his mouth and Lana smiles.

LANA (CONT’D)
Alright, here’s how this is going to go down. You, come here.

Lana points at the woman and she stands up, walking over to Lana. Lana grabs her and turns her around, pressing the gun to her head.

LANA

What’s your name again, honey?

WOMAN
I-I’m Loretta.

LANA
Loretta. Pretty name. It’s going to look good on your tombstone.

Lana pulls the trigger and the gun bangs. Loretta falls to the floor and blood splatters all over Lana’s face. Lana looks down at the woman and then looks back up, smiling. She points at Thomas and gestures for him to come closer. Thomas steps over Loretta’s body and stands in front of Lana, his hands shaking.

LANA (CONT’D)
Oh, you poor thing. You’re shaking.

Lana points the gun down and shoots one of Thomas’s hands. Thomas grabs his hand and screams, bending over.

LANA (CONT’D)

What do you have to say for yourself, Thomas?

THOMAS
What the hell is wrong with you, Woman? You got a lotta nerve to raise a gun at me!

LANA

You shut the hell up! You know exactly what you’ve done wrong!

THOMAS
What did I do?

LANA
You hit Anne-Marie! Your fucking wife!

THOMAS
She-

Lana raises the gun, pulls the trigger, and shoots him in the head. Thomas falls to the ground, landing on top of Loretta’s body. Lana looks up at Keith, whose knees are shaking. Lana steps over the pile of bodies and stops in front of Keith. She takes the gun and raises it to his temple. Keith closes his eyes.

KEITH
Just do it.

LANA
You know you deserve this.

KEITH
She hated me. I loved her.

LANA
You’re wrong.

Lana pulls the trigger. A shot fires and Keith falls to the ground.

MUSIC CUE: “God’s Gonna Cut You Down” by Johnny Cash resumes

Lana shoves the gun and her bloody gloves into one of the trash bags. She pulls another pair of gloves from her pocket and puts them on.

Montage as Lana moves each of the bodies out the back door and lays them in the backyard, Then, she drives Keith’s truck to the back and sets a plank against the open tailgate. She pulls the bodies up the ramp and lays them in the back of the truck, then closes the tailgate. She gets in the truck and drives off, the headlights off. Music ends and camera goes black.

Scene XXIV

Camera fades in as Lana is pulling up to the edge of a lake. Lana stops the truck and gets out. She looks around the edge of the lake and picks up a large rock. She goes back over to the truck and puts it in drive. She takes the trash bag with the gun out of the passenger’s seat and then sets the rock on the accelerator. The truck speeds down the hill and goes into the lake with a large splash. Lana watches from the edge of the water, a blank expression on her face. Then, she pulls a cigarette out of her pocket and lights it, sitting down on a large boulder. Camera fades until only the lit cigarette can be seen, and then the screen goes black.

The End