ACT 2, SCENE 1 INT: CHANNEL 8 NEWS – OFFICE
MELISSA DAY is sitting at her desk, staring blankly at her computer screen. She’s reading a recent headline – “Gruesome murder in the Bricks”
She clicks out of the screen and reads an article about the weather instead.
MAIL CLERK enters her office and hands her mail.
She flips through the mail, opens a manila folder, and reads.
MELISSA:
What the f-?
HARD CUT TO: ACT 2, SCENE 2 INT: EDITOR’S OFFICE – CONT’D
MELISSA slams her hands down on the desk of EDITOR who is JAMES OLSEN.
JAMES:
You’re out of line.
MELISSA:
You didn’t have the balls to tell me to my face so you sent it by interoffice mail? After what I’ve done for this organization, I deserve so much more than that.
JAMES:
When was I going to see you again? You’ve been MIA. You’re barely in your office anymore. You don’t even show up to staffings. I emailed and left you a ton of voicemails.
MELISSA:
So what? You’re gonna punish me for working? My union rep would love to hear about this.
JAMES:
Do you know how many complaints I get about your reporting? Trespassing, stealing, intimidation, bribery; that thread you’re hanging on is floss thin. I’m the one looking out for you. You need a partner in this.
MELISSA:
No I don’t. And you need to let this story run.
JAMES:
This started out as a review of the Mayor’s career. Now you’re accusing him of murder. Where are your sources? Where’s the supporting information? The Rolling Stones got lambasted on less about a college sex party.
MELISSA:
Nobody talked on the record. It’s mostly biographical.
JAMES:
Oh my god…
MELISSA:
But! My one source to pin him is missing.
JAMES:
Then file a missing person’s and get harder evidence.
MELISSA:
The Mayor probably killed her too just so you know.
JAMES:
Oh stop Melissa. This is crazy.
MELISSA:
Everyone else was scared to act, but I wasn’t. I spent nights on this, because no one else will do what it takes to stand up to the injustices done in this city. I spent nights on this. We have an obligation to bring Astro City out of the dark and expose it to light.
JAMES:
This *IS* the Mayor you’re talking about.
MELISSA:
And this is just a taste of what I got for him.
JAMES:
This sounds like its personal, Melissa.
MELISSA:
He’s controlling his employees! Good people I know. He was cheating on his wife! If you actually read the entire expose, you’ll see that our city deserves better.
JAMES:
I can’t Melissa. Give me more to work with than hearsay and circumstantial evidence.
MELISSA is fuming.
MELISSA:
People are dying out there. They hurt every day. No one hears them, and Mayor Apostolou could care less. We could do some good.
JAMES:
You want to do some good? Interview Rev Joe Mac. I heard his stunt at city hall is being followed up by a massive rally tomorrow. It’s all over social media. He’s going after the Mayor and the redevelopment committee. You two have a surprising lot in common.
MELISSA:
This is bullshit. This is another example of the patriarchy of powerful, blue-eyed white men named John oppressing us.
JAMES:
Who’s this us? And you know my name’s James.
MELISSA:
You can’t control me. I won’t let you censor me.
JAMES:
You publish this story elsewhere, and you’re on your own. Good luck fighting that libel lawsuit on unemployment.
MELISSA:(tearful)
I worked too hard for this. I put my all into this. Don’t.
JAMES:
I’m saving you from yourself. Channel that anger into Joe Mac. That angle may get you somewhere.
MELISSA:
Go to hell!
MELISSA SLAMS the office door.
ACT 2, SCENE 3 INT: MAYOR’S OFFICE – DAY
A disheveled OMAR is sitting down with his feet up and shoes off, while a similarly disheveled MAYOR is sitting at his desk holding a picture of FARRAH FAUCET’S HEADSHOT. The desk is covered in Styrofoam containers and cups of coffee.
OMAR:
We talked about this in every which way imaginable. I can’t stay cooped up in here anymore. Do you want me to scribe or do you want to instruct the lawyers what to say?
MAYOR:(Distant)
There’s nothing else to say.
OMAR:
Then…
C/U of MAYOR’S HAND as he runs his fingers through FARRAH’S HAIR on the picture.
He’s smiling dopily.
OMAR gets up. He yanks the photo from the MAYOR’S HAND.
OMAR:
You understand that this is serious? You need to focus.
MAYOR:
I told you I’ve never felt more focus.
OMAR:
Then it’s time to go. Go home, see your wife, and eat something not fried. We’ll take care of this tomorrow.
MAYOR:
Why are you talking to me like a child?
OMAR: (patiently)
George, please. You need to go home.
MAYOR:
Maybe you don’t see what I can. I can’t go home, not while we’re in a middle of a war. My father taught me that.
OMAR:
This is more like a coup-de-tat. And I don’t think you’re thinking clearly.
MAYOR:
I already told you. I’m focused, Omar. (BEAT) I’m repeating myself with you, and I don’t like it.
OMAR:
What more can you do here?
MAYOR:
I won’t let them run me out of my office.
OMAR:
Rev Joe Mac is a force. If you don’t respond with tact, it won’t just be a protest you’ll have to worry about.
MAYOR:
Pastors and Politicians. We’re all the same. Men like Rev Joe Mac don’t care about formality or tact. They’re subversive and manipulative. They tell the people what they want and give them a smoke and mirror show. I know exactly how to respond to that. Key word: I. Not you. (BEAT) Does anybody else know about that prostitute?
OMAR:
No, why?
MAYOR:
You sure? I got a call from a friend at Channel 8. Melissa Day has written an expose about me.
OMAR:
Does it have something to do with Sarah?
MAYOR:
That and apparently more. How did your girlfriend come to know about so many of these secrets?
OMAR:
I don’t know, and we’re technically exes, but I’ll deal with her.
MAYOR:
No, I think you’ve done enough, son. I’ll handle everything from here on out. It’s just a matter of moving the pieces into the right places at the right time.
OMAR:
George, let me help me you. I go after the lions, remember?
MAYOR:
Like I said, you’ve done enough. Take the day off. You look like you need some sleep. Go home. Eat something not fried.
OMAR:
What are you gonna do?
MAYOR:
Be the lion tamer.
MAYOR picks up the photo and resumes staring at it.
ACT 2, SCENE 4 INT: REV JOE MAC’S OFFICE – DAY
MELISSA takes a seat on one of the chairs. She drops her cumbersome shoulder bag onto the floor next to her feet.
REV JOE MAC:
It’s nice to see you again, Melissa. It feels like it’s been years. You look nice as usual.
MELISSA:
I wish I could take all the credit for being here, but I was voluntold that this was where the story was. So my body isn’t even mines anymore. Consider me a doll.
REV:
I’m sensing some anger?
MELISSA:
I’m sorry. Let me get myself together.
REV:
Is everything ok?
MELISSA:
I rather just talk about you and this protest if that’s ok with you?
REV:
Are you sure? It seems like you need to talk about something else.
MELISSA:
There’s nothing to talk about anymore.
REV:
There’s a cloud hanging over you. You need to talk about whatever it is.
MELISSA:
I haven’t had anyone to talk to in such a long time.
REV:
Someone as beautiful as you? I don’t believe it. There must be a boyfriend.
MELISSA scoffs.
REV:
There’s a lot of people in Sister’s group if you’re looking for friendship.
MELISSA:
They aren’t my friends. They don’t know what I’ve been through. Truth is Rev. I think I wanted to see you. Story or not.
REV:
Is that so?
MELISSA:
You have Bettie’s eyes. If she were still around, she’d know what to do. She understood me.
REV:
Last year, my daughter walked out of my life permanently, but I pray for her daily. I hope she overcomes whatever demons threaten her.
MELISSA:
I know you don’t talk about her much, because of her addiction. Hell I didn’t really talk to her either when it got real bad, but I miss her. When we were younger, she was someone I could rely on.
REV:
Is it ok if we just talk about the protest now?
MELISSA:
Sorry.
MELISSA turns on her recorder.
MELISSA:
Where do we start? Uh, this is Melissa Day. Interview with…
REV:
I maybe out of line, but can we start with a prayer?
REV extends his hand. MELISSA thinks and places the recorder on her lap. She takes his hand. He squeezes it.
MELISSA:
We all need some prayer right.
REV:
I’m the chief of the prayer line. You’re in good hands. Close your eyes. Forget all things, and pray wittttthhhh meeee.
C/U of MELISSA as she flutters her eyes close.
FROM HER POV: She blinks in and out of darkness. REV moving and unzip his pants. Blink. REV pacing the room. BLINK. REV getting close to her. BLINK REV’s face burst into worms!
MELISSA GASPS AWAKE. Something’s off. Outside the afternoon is dark. Unbeknownst to her, her blouse is buttoned wrong.
REV is still in his seat.
REV:
You ok?
MELISSA looks around her frightened.
MELISSA:
I gotta go.
She reaches for her bag, but there’s nothing at her feet. Her bag is no longer on the floor and the recorder isn’t in her lap. They’re across the room on REV’S desk.
REV:
Melissa?
She looks at him horrified. She gets up and grabs her bag.
REV reaches to touch her.
MELISSA:
Don’t touch me!
She quickly leaves the room. REV looks concerned.
END OF ACT 2