Caution: This Sex Story contains strong sexual content, including Ma/Fa, Consensual, Romantic, Heterosexual, Slow, Violent, .
Desc: Sex Story: Chapter 1 - A stage electrician's "ON TOUR" affair leads to violence, flight, murder, revenge, death and love. Presented in screenply format. Read it with your visual imagination in high gear!
FADE IN: Int. stage (aLBUQUERQUE theater) - midnight (saturDAY) SerIES OF SHOTS A) In the b.g. an open loading door in the back wall of the stage reveals a 3/4 full truck trailer. B) Several stagehands are loading hampers and crates into the truck. C) In the f.g. six stagehands are folding and rolling a drop. D) At the side of the door, several men oversee the loading. E) The rolled drop is loaded and the truck door is closed. F) The truck pulls away, the loading dock door is lowered as the stagehands gather up tool belts and leave. G) The overseers leave through the stage door. INT. CREW BUS (1960's MODEL) - later (4:00 am, sunday) A 'Bus and Truck Company' of Shakespearean plays travels down a snowy, mountain road, while crew members sleep. The bus is set up with six pairs of seats in front with the balance converted to bunks and lockers. SNORES echo around the interior, over the HUM OF THE ENGINE. JON Swanson, 30's, tall and fair, talks to CHUCK Palovic, the driver, 50's, portly and grey-haired. Jon (squatting next to driver) How much longer? Chuck A few hours. We should be there before seven. JON (rising) I guess I'll get some more shut-eye. Keep the shiny side up, buddy. Jon goes to an empty bunk. FADE TO BLACK. ExT. theater stage door (DENVER) - suNday (6:30 AM) A tractor/trailer is backed up to a closed loading door. The crew bus is parked by the Stage Door. The sun is rising through the windows of the bus, over a snowy view of Downtown Denver. The bus door opens and Jon and Chuck come out. Chuck pushes the door closed. Jon tries the Stage Door handle and finds it locked. JON Let's find some breakfast. CHUCK There won't be anything open, this early. We should have stopped at that truck stop. JON Waking up the rest of the guys might have gotten us some lumps, for our trouble. Let 'em sleep. Int. diner - lATER A 40's style diner, a bit grimy and POORLY LIT. Jon and Chuck are seated at the counter. CHUCK (holding fly-specked menu) You sure you want to eat in this shit hole? A COUNTER MAN comes from back. Counter man What'll it be? CHUCK (storing menu in holder) Gimme a Number three, over easy, with bacon, and coffee. COUNTER MAN How 'bout you? JON I'll have hotcakes and link sausage. Coffee, too. COUNTER MAN You got it. The Counter Man pours coffee and goes back into kitchen. JON (putting cream and sugar in coffee) Have you played this house, before? CHUCK It's been a while, but it's not too bad. The access is good and it's a good theater town. The box-office should be good. JON (sipping coffee) This isn't bad. Maybe the food won't kill us. CHUCK (trying his coffee) You're right... I'm glad we're here more than one night. I can use the break and the bus needs a tune-up if we're going to make it over the mountains. JON A few nights in a hotel bed will be a nice break from that damned bus rack. The counter man comes out with their food and places it in front of them. COUNTER MAN Here you go. Enjoy it. JON Thanks. CHUCK Looks good. COUNTER MAN More coffee? CHUCK We're good. JON Later, maybe. They start eating breakfast quickly. JON What kind of a town is Denver? CHUCK I like it. There's a lot to do, days. Even after the show's out, there are still places to go. JON Are the people friendly? CHUCK (chuckling) People? You mean the girls, don't you? JON Why not. It's been a long dry patch. These split weeks don't leave much time to meet anyone. (glancing at his watch) Our call is in a few minutes. We'd better get out of here. Chuck gulps down his coffee and puts money on the check. CHUCK Right. Jon puts some money on the check. JON Let's go. Int. theater loading dock - lATER The truck door is open revealing a half empty interior. The remaining load is scenery, electrical equipment, props, and costumes on racks covered with cloth. Half a dozen local STAGEHANDS move in and out, removing load. The Stage Manager, REUBEN Steiner, stands at his console position (chalked on floor), checking papers. The Master Carpenter, DAVE Kane, 40's, a short, burly man with a neat beard and mustache directs the unloading. A Stagehand wheels a podium off the truck, on a hand cart. Dave (pointing) Take it Down Right, where it says "Console" on the floor. Dave and Jon are joined by the Prop Man, FRANK VOLOVSIC, 50's, FIT AND FLORID FACED. A second Stagehand rolls a hamper, labeled "PROPS", off the truck. Frank That's mine. Follow me, boys. (to Dave and Jon) Let's have a drink when we're set up. He leads the stagehands Off Left. DAVE (to second Stagehand) That goes Off Left. Two Stagehands, pushing an old style resistance dimmer switchboard, approach from the truck. STAGEHAND 1 WHERE DO YOU WANT THIS THING? JON That's mine. Put it Down Right. (to Dave) When's curtain? Two Stagehands wheel a large crate off the truck. Dave continues to direct traffic, with gestures. DAVE Curtain's at 8 o'clock, Wednesday. 7:30 call. You got a hot date? JON Not yet but maybe I'll get lucky. Int. tHEATER/STAGE/off right - lATER Jon and one Stagehand are plugging cables into dimmer board. In B.G. pipes are low and Stagehands are tying on a drop. JON That goes in number 12. Just plug them into whatever number is on the plug. STAGEHAND 2 That's simple enough. Int. tHEATER/STAGE/off right - lATER The stage is set for the performance and front curtain is down. A floor cloth painted as paving stones is tacked down. Pipe "tree stands", with many lamps, stand between drapery legs. A crenellated wall is in front of a bright colored sunset sky drop. Dave, Jon and Frank stand around the dimmer board. DAVE Good crew. We got up in a hurry. JON I'll be glad to get out of here. If they'd had another rehearsal, this afternoon, I might have shot somebody. FRANK Sometimes I think they do it just to piss us off. JON Six weeks doing this thing and they call a full rehearsal for a new bit player. They're crazy. DAVE It doesn't cost the bums anything....Let's go. I could use a drink about now. Int. saloon (country themed) - sunday aFTERNOON A fairly bright room, with sawdust on the floor and tables around a dance area, backed up by a long bar and a small raised platform. A handful of patrons are scattered at the bar and around the room. Dave, Jon and Frank are seated at a table, with a couple empty beer bottles in front of each of them. DAVE This is a nice change. Having all this time to kill. You guys ready for another? Frank Yeah! This one's on me. JON I'll pass. I've got some shopping to do. (rising, to leave) I'll see you later. Series of shots - conTINUOUS A) CAMERA FOLLOWS Jon, walking down Denver downtown street. B) Jon stops to look in department store window. Insert - WINDOW DISPLAY FEATURING sweaters and skeins of yarn with direction card to third floor. BACK TO SCENE C) He enters store through revolving door. D) Jon rides up escalator, jostled by shoppers. E) Top of escalator is at third floor. (Sign positioned there.) F) Jon looks at a few wool sweaters and notices a girl, SUSAN MAGUIRE, mid 20's, blonde and shapely, at the far end of the floor. G) Susan waits on a Customer, ringing up a sale. H) Jon strolls over, arriving just as Susan finishes and the Customer walks away. Int. department store/yarn department - cONTINUOUS Susan leaves register and starts arranging stock nearby. Jon browses through some instruction books on a rack near register, surreptitiously watching Susan. Susan (approaching Jon) May I help you sir? JON (flipping through book) I was looking for a heavy sweater, but all this stuff is for spring or summer. SUSAN Yes, sir. It takes a while to knit something, so we anticipate the seasons. JON Maybe you have some old books, somewhere. I really wanted a heavy one, for this Denver weather. SUSAN You're not from here? JON Nope! I'm from California, on tour with the show at the Palace. We'll be in snow country for several weeks more, and I've been freezing. SUSAN Your wife must be a really fast knitter. JON No wife. I do it myself. It fills the time, on the bus, between stops. Otherwise, I'd just buy one. SUSAN Not many men knit. JON I took it up to kill time, while I recovered from a minor operation. She takes hold of Jon's sleeve. SUSAN C'mon. Let's see what we can find in the storeroom. They walk to a curtained arch in the back wall. Int. storage area - momENTS LATER A narrow passage lined on both side with shelves. Boxes of yarn fill most of the shelves. Needlepoint supplies and books fill the rest. Susan pulls out a step stool and climbs on it, to reach some books on a high shelf. Jon steadies her with a his hands on her hips. JON Be careful. I wouldn't want you to fall on my account. SUSAN Thanks. This thing isn't too steady. Taking a handful of books off shelf, she faces Jon. SUSAN Help me down, please. My hands are full. JON Sure. Jon steps in close and Susan's body rubs along Jon's as she descends the two steps. JON There you go. He holds her steady, for a moment. JON What did you find? SUSAN Let's go look. There's probably something here. She walks toward back of storage room. SUSAN We've got a table back here, where we can spread out and pick something. Abby (O.S.) Susan, where are you? SUSAN I'm back here, with a customer. Watch the front, please. ABBY (at entrance to storeroom) Okay. You're off in a few minutes, anyway. Abby leaves. JON I don't want you to be late for something. Susan leads him deeper into storeroom. SUSAN I don't have any plans so we can take our time getting it right. JON Taking things slow is always a good idea. She looks back, at Jon, and smiles. Int. DEPARTMENT STORE/locker room - cONTINUOUS Susan sits down at a small table and spreads out the books. Jon stands behind her and looks at the books over her shoulder. SUSAN (opening a book) These are from last summer and fall. There are some nice winter sweaters in them. They flip through several books until Jon reaches over Susan's shoulder, pointing at an illustration. He rests one hand on her shoulder. Insert shot - illustration - man's heavy blue sweater. BACK TO SCENE: JON That looks possible. It's simple and wouldn't take long to make. SUSAN It's very masculine and would look good on you. JON What color would you suggest? I don't like that blue too much. She looks over her shoulder. SUSAN With your beautiful brown eyes, I think a pale green might look good. JON I haven't worn a lot of green, but you may be right. Leaning down close to Susan's face. JON Your eyes are beautiful too. (He kisses her lightly on the cheek.) Thank you for the compliment. SUSAN (blushing) No; thank you. Do you want to look for some yarn now? JON (helps her up) Why not? Lead on, McDuff. SUSAN (laughing) It's Maguire, not McDuff, and it's Susan. Who're you? JON I'm sorry. My name is Jonathan Swanson. My friends call me Jon. Int. DEPARTMENT STORE/storage area - cONTINUOUS They look through several boxes, selecting one and checking contents against material list in book. SUSAN This will be enough, and it's a nice color. Do you like it? JON (holding up a skein) Yes, this is nice. Why can't they just call it light green. Celery sounds so faggoty and who knows what part of the plant they're thinking of. SUSAN Well, we make most of our sales to women and they seem to like the colors to be named. They walk toward sales floor, with a book and a box of yarn. At the register, Susan rings up the purchase. SUSAN (smiling) I'll put my name on the receipt and give you my employee's discount. Jon gives Susan some money. JON How about adding your phone number? She shakes her head 'No' but smiles widely and writes it down, anyway. Insert shot close-up of pencil writing phone number on receipt. Back to scene: She puts his purchase in a bag and hands it to him. JON Now I owe you one. How about having dinner with me Wednesday. We can meet somewhere for a bite, before I go to work. SUSAN There's a nice quiet little restaurant called 'Joseph's' that's nearby. It's not too expensive. JON That doesn't matter. How's six o'clock sound to you? I have to be at the theater at 7:30. SUSAN Sounds okay to me. I'll have time to change clothes,after work, and meet you there. JON Dress for the theater and I'll have a ticket reserved for you at the box office. We can go out for a drink, after the show, and get better acquainted. SUSAN I'd like that. SERIES OF SHOTS A) Jon exits department store and walks down the street. B) He enters hotel lobby and goes to elevator. C) In elevator he pushes button for 20th floor. D) Jon comes out of elevator and walks to Room 2018. E) He enters room. Int. hotel room 2018 - dusk monday A sofa in front of a picture window overlooks downtown Denver. Through the window the Rocky mountains can be seen in the distance. There are two double beds, a bedside table between them, and a writing table with a lamp and two chairs. Jon in shorts and tee shirt comes out of bathroom, wiping lather off his face. Frank is lying on one of the double beds. JON I wish they'd sprung for single rooms. I've got a girl coming to the opening Wednesday, and with any luck, she'll be up here before the night is out. FRANK Give me the word and I'll bunk in with Dave. Jon finishes dressing in tie and jacket. JON I'll try to let you know, when the curtain comes down. FRANK Good enough. I'm going to grab some shut-eye. JON Talk to you later. Jon picks up outer coat and leaves. FADE TO BLACK. e/i joseph's restaurant - Wednesday eVENING Jon and Susan enter, check their coats, and are seated and given menus by the Maitre-de. Susan has put her hair up and wears a cocktail dress. JON You look beautiful, Susan. SUSAN Thank you, Jon. MomenTS LATER A bus boy bustles around, placing bread and butter and pouring water. Jon and Susan have drinks in front of them. JON (lifting glass) Here's to us. SUSAN (touching her glass to his) To your show...and to us. JON Come in the stage door after the curtain comes down and I'll introduce you to Frank. He's my roommate and the Prop Man. SUSAN You have a roommate? JON We have to double up to cut company expenses. It's still a big improvement over sleeping on the bus. Reuben, the Stage Manager and Dave, the Master Carpenter, are the only crew members that get singles. SUSAN You said you had an operation. Do you mind talking about it? JON Not at all. I had an accident, sailing. I slipped while setting a spinnaker and broke a leg. The operation was to put in a pin. SUSAN (concerned) Is it all right, now? JON One hundred percent. SUSAN I broke a leg skiing, but all that took was a walking cast. Do you ski? JON Nope! Do you sail? SUSAN Never tried it, but I like the outdoors. JON So you can teach me to ski and I can teach you to sail. I have my own small ketch. A waiter arrives at the table, pad in hand. JON (picking up his menu) We'd better decide. We don't have a lot of time. We can talk more after the show. SUSAN (picking up her menu) I'd like that, but we won't have too many places to go at that hour. JON I think the bar in my hotel stays open late. Susan nods, puts her menu down and smiles at him. JON Are you ready to order? Ext. jOSEPH'S RESTAURANT - lATER They stand a moment adjusting scarves and gloves, and walk, hand in hand down street, toward theater. JON I'm glad you like Shakespeare. A lot of people think he's too old fashioned to be interesting. SUSAN I love his plays. I get something new out of it every time I see one. I got addicted to him in College. SERIES OF SHOTS - continuous A) Jon and Susan walk toward theater marquee. B) They enter the lobby and approach the ticket window. C) Jon speaks to ticket clerk and receives a ticket. D) He hands the ticket to Susan as they walk toward the ticket taker. JON (kissing Susan lightly, on cheek) Come to the stage door right after the final curtain and we can go from there. Will you be okay alone out here? SUSAN I'll be fine and I'll see you in a couple hours. Int. THEATER/STAGE/OFF RIGHT - lATER A flurry of activity as the stagehands change scenery in b.g. In f.g. Jon re-plugs a couple of cables on the dimmer board and Frank lays out hand props on his table. FRANK (to Jon) Will you need the place tonight? JON (donning headset) Don't know, yet. Just go home and if we show up you can "go out for a drink." The work lights go out and the stage quiets. REUBEN, wearing a headset, STANDs AT Stage Manager's CONSOLE. REUBEN Here we go. Cue 65 and Curtain...Go! The stage lights come up, the curtain rises and the final act of "Hamlet" begins. Int. tHEATER STAGE DOOR - lATER A work light, on a pole stand, is center stage and the curtain is down. Susan enters. She looks around and spots Jon, closing down his equipment. Jon looks up and beckons her over. The Doorman nods and waves her past. She walks to Jon. SUSAN I love what they've done with the show. It's a different approach from any I've seen before. JON Just a minute and we can get out of here and talk about it in nicer surroundings. (he closes dimmer board) That's it Susan. Let's go! SERIES OF SHOTS - cONTINUOUS A) Jon and Susan walk away from Stage Door, arms around each other's waists. B) They stroll down almost deserted city street. C) They approach front entrance of hotel. D) They enter hotel lobby and walk to hotel Lounge. Int. hOTEL lounge - moments LATER The Lounge is dark, cozy and quiet; with only a few customers dressed for the theater at tables scattered around a dance floor. A couple of patrons are on stools at the bar. Jon and Susan sit at a table in a dark corner. Empty glasses are on the table. JON ... nothing. I'd broken my leg and my ex-wife suggested I try knitting to pass the time. That was years ago. SUSAN You're divorced? How long ago? JON About six years. It only lasted a couple years. And no, there were no kids, thank God. SUSAN You don't like kids? Why not? JON I love kids, but divorce is very hard on them. It was, on me. What about you? SUSAN No kids, never married, but I did come close, once, in college. My folks died in a car accident soon after I was out of High School... JON That's tough to take. SUSAN (sadly) It was... Some good did come out of it, though. The insurance made College possible, where it hadn't been, before. JON I'm sorry I brought it up. Are you okay? SUSAN Yes. It's been a long time now. They sit silently for a few moments. SUSAN (brightly) I loved College. Every bit of it. JON What was your Major? SUSAN I got a B.S. in Business Management. I'm hoping for a promotion soon, at work. Int. hOTEL LOUNGE - lATER All the other patrons have left and some of the lights have been turned off. The Bartender and the waitress are huddled together at the bar, glancing at Jon and Susan. JON I think they want us to leave. SUSAN I usually want to go home after a long day. JON And now? SUSAN I don't want to, but I must. There's work all day, tomorrow and I have a roommate waiting up. JON I'd really like you to stay. SUSAN I'd like that too, but... JON (disappointed) Okay, I know. Come on. We'll get a cab and I'll see you home. SUSAN No. Just put me in the cab and I'll see you Friday. Holding her face and kissing her firmly. JON Is that a date? SUSAN Yes, it's a date. Meet me at the store at noon and we can do something together. Now I really must go. They walk out of the lounge and through the lobby to the front door. Ext. HOTEL/front entrance - wednesday nIGHT Jon and Susan embrace, kiss and he opens the taxi door. A last kiss and: JON Your carriage awaits, Milady. SUSAN (laughing) Until the morrow, My Lord. Getting in taxi, she waves goodbye. Jon watches the taxi drive off. Int. HOTEL ROOM 2018 - momENTS LATER Frank is lying on one of the beds in his underwear, reading. A bathrobe lies across the foot of the bed. FRANK (looking up) So, you struck out. JON Not yet, I'm seeing her Friday. Hangs up coat and jacket. FRANK (yawning) Then I'm going to sleep. I was just waiting to find out where I'd be sleeping. (turning out bed lamp) She's a cute girl. Good luck. JON (undressing) We'll see what happens. FADE TO BLACK. Int. tHEATER/STAGE/OFF RIGHT - friday morNING Onstage, several stagehands are finishing a set change. Jon and one stagehand are re-plugging the dimmer board. Jon (Indicating three red plugs hanging from cable bundle.) Those are the last ones. They go in number seven, and we're done. STAGEHAND 2 (plugging them in) 7:30 again, tonight? JON Right. See you then. You can take off, now. STAGEHAND 1 (picking up tool belt) Thanks. Later! Frank comes into frame. FRANK Time for a drink? JON (closing dimmer board) Not today. I'm picking Susan up in a little while. I'm out of here. InT. dEPARTMENT STORE/YARN DEPARTMENT - friday noon Jon browses through some books, while Susan closes out her register. They walk toward escalator. SUSAN I'll meet you at the front door in a few minutes. I've got to punch out. She looks around, then kisses his cheek. SUSAN See you soon. JON Don't be long. I'm anxious to be with you. She walks toward back of the store and he steps onto down escalator. Int. dEPARTMENT STORE/front entrance - momENTS LATER Susan joins Jon and they kiss. JON Before we go out in the cold, what did you have in mind, for this afternoon? SUSAN Let's get some lunch, while we make up our minds. I slept late and missed breakfast. JON I kept you on the phone too long, last night. SUSAN Not too long. I was having a wonderful time. They adjust scarves, don gloves and walk out of the store. SERIES OF SHOTS - cONTINUOUS A) Susan and Jon walk down the street, hand in hand. B) They stop to window shop several times. C) They enter a small sandwich shop. Int. sandwich shop - cONTINUOUS A brightly lit 'glass and chrome' place. Booths along one side and a counter, with stools, on the other. JON Booth or counter, honey? SUSAN A booth is cozier. Jon helps Susan off with her coat and scarf, takes his off and hangs them on the rack attached to the booth divider. They sit side by side in a booth, toward the rear of the room. A WAITRESS, 50's, and blowsy, approaches and stands by the table. Waitress (coffee pot in hand) What'll it be, folks? SUSAN A Hamburger, and coffee. JON The same for me. Make mine rare. WAITRESS (pouring coffee into two cups) That's it? JON For now, thanks. The waitress walks away. WAITRESS (loudly) Two burgers, one rare. Jon and Susan put cream and sugar in their coffee and take sips. JON (laughing) She's straight out of a B movie... and I've worked on a few of them. We could see a movie, this afternoon. SUSAN I've seen most of the ones that are playing. Besides, don't you spend enough time in theaters? (she puts her hand on his) JON I sure do. So, how about a suggestion. SUSAN There's the Zoo, but it's pretty cold to be walking around outside. You didn't finish that sweater, last night, did you? JON (laughing) I'm fast, but not that fast. It'll take me at least a week. I hear there's a mining museum in town. Would that bore you? The waitress arrives at the table and puts down two hamburgers and refills the coffee cups. WAITRESS Here you go, kids. (she leaves) They bite into their sandwiches. SUSAN (making a face) I think I got yours. Wanna trade? JON You're right. Gimme, gimme! (laughing) They trade, and continue eating. SUSAN I've never been there and it sounds interesting. There shouldn't be a crowd on a Friday afternoon. JON It's settled, then. We'll go look at shovels and pick axes, for a while. LATER The waitress arrives to refill the coffee cups. WAITRESS How about some desert? JON Susan? SUSAN Not for me. You go ahead, though. JON Cherry pie with a scoop of chocolate ice cream, please. WAITRESS Right-o. (leaves) JON My favorite. SUSAN That sounds good. Sort of like chocolate covered cherries. The waitress returns with the desert and the check, placing them in front of Jon. Jon takes a fork and picks up a bite of pie, with some ice cream on top. Offering the bite to Susan. JON Try it. You'll like it. She opens her mouth and Jon feeds her the bite. SUSAN Mmmm! That's good. I'll remember this the next time I'm in the mood for a desert. Int. colorado mining museum - lATER Jon and Susan wander through several galleries displaying old mining implements, ore samples and photographs. They enter a mine tunnel mock-up. Stopping in a dark corner, they embrace and kiss fervently, running their hands up and down each other's bodies. Jon holds her away from him, a little. JON I've been wanting to do that ever since I met you. SUSAN (nodding) Me too, Jon. JON (checking his watch) It's still early. Can't we go somewhere that we can be alone? SUSAN My roommate is at work for a few more hours. We could go to my place. He puts his arm around her waist. JON What are we waiting for? Let's go. Int susan's apartment/KITCHEN - lATER SUSAN, DRESSED IN A short BATHROBE, is putting the finishing touches on a meal. The SOUND OF A SHOWER stops. Jon enters, a towel wrapped around his waist. They embrace and kiss passionately. SUSAN (breathless) You'd better get dressed. APRIL will be home soon. JON You, too. With me here, and you dressed like that, she'll have no doubt what went on here this afternoon. SUSAN (laughing) Especially with our clothes scattered all over the place. JON I'll just be a minute. He leaves. Susan continues cooking. Jon returns, dressed and takes over the cooking. JON I'll watch the stove. You go get dressed. SUSAN It's just about done. I'll be back in a minute. Jon turns off stove burners and dishes food onto two plates. A DOOR OPENS AND SLAMS SHUT. APRIL (O.C.) (loudly) Susan? Are you home? SUSAN (O.C.) I'm in here. You're early. APRIL (O.C.) Only a little. Traffic wasn't too bad. Jon sets another place, at the table. APRIL (O.C.) What are you getting dressed up for? Are you seeing him, again, tonight? SUSAN (O.C.) Yes, and you're going to meet him. He invited both of us to his show. Get into something slinky. Jon TOSSES A SALAD and glances toward the sound of their voices. JON And you won't have to wait until tonight, to meet him. APRIL (O.C.) He's here? SUSAN enters kitchen, dressed for the theater. SUSAN We're in the kitchen, and dinner is ready. Come and meet him. APRIL (O.C.) Oh, my God. SUSAN (sotto voce, to Jon) No! Mine, all mine. Jon kisses her and seats her at the table. JON You'll give me a big head, talking like that. SUSAN (sotto voce) You took me to Heaven, this afternoon. (normal voice) Hurry up, April. The curtain won't wait, and Jon has to be there early. April MANLEY, 30, a tall, slender, dark haired woman enters. She is dressed for the theater. APRIL I'm here, already. (to Jon) A wild guess, you're Jon. I'm April and I'm glad to meet you. JON (seating her at the table) You win. That's me and I'm happy to meet you. Susan's told me a lot about you. APRIL Not everything, I hope. Jon takes a bowl of salad from the counter and places it on the table, then sits in an empty chair. E/i. tHEATER/front entrance - friday eVENING A taxi pulls into curb and Jon gets out and helps Susan and April out. They walk into the Lobby and Jon picks up tickets. JON It's a half hour until curtain and I have to get to work. Do you want to go in now? SUSAN You go ahead. We'll have a drink. here, and see you after the show. He hands the tickets to the girls. He kisses Susan and hugs April. JON Okay. I'll see you later. Susan watches him go until April pokes her in the ribs. APRIL Snap out of it. You'll see him again pretty soon. SUSAN Is it that obvious? APRIL Yeah! C'mon girl. Let's get that drink. We need to talk. Int. tHEATER/bar - momENTS LATER A brightly lit panelled room with a long bar and a few tables. A few theatergoers are at tables. The girls sit at a table with drinks, sipping slowly. APRIL So, how hung up on him are you? SUSAN I'm not sure. He's fun, and easy to be with, and that's where I want to be. APRIL So he just walked into your life, at work and now you're ga-ga over him. SUSAN I guess so. APRIL You're such a fool sometimes. You know nothing about him. He could be a murderer, queer or worse; (laughing) married. SUSAN (laughing) I'm not dead and he said he's divorced. I know he's not queer. APRIL So you KNOW, do you? You're sure? SUSAN I'm sure! APRIL Oh ho! Now I see... EDDY won't like it, much. SUSAN (blushing) Shut up and finish your drink. I'll worry about Eddy later. The lights blink twice. SUSAN (Glancing up and finishing her drink.) Come on. It's time to get in our seats. APRIL (rising, to go) I want details later, sweetie. InT. SALOON (COUNTRY THEMED) - lATER This time, the place is crowded and loud. A live band plays a two step and couples are dancing. THERE ARE THREE EMPTY beer BOTTLES AND GLASSES ON THE TABLE. APRIL (getting up) Work, tomorrow. It's time for me to go. I'll get a cab. JON We'll go out with you. They all leave the room. MOMENTS LATER Jon and Susan re-enter and return to the table, to find it occupied. The band starts to play a slow ballad. SUSAN Let's dance. I want to feel you holding me. He leads her to the dance floor. JON We can find another table, later. SUSAN (dancing closely) Or we can go to your room. JON Are you sure? Won't April be expecting you? SUSAN Not tonight. They dance until the song ends and then leave. SERIES OF SHOTS - lATER A) Jon and Susan walk into hotel lobby. SUSAN (taking his hand) Let's go up, darling. I'd like to be alone with you. JON Room service is open all night. SUSAN What about your roommate? JON (laughing) He'll be snoring by now. If you can stand that, there's no problem. SUSAN Let's go. B) They walk to the elevator. C) Jon pushes UP button. D) Int. Elevator, on the way up. They kiss with enthusiasm. E) They exit elevator into 20th floor corridor and walk to Room 2018. Int. hOTEL ROOM 2018 - cONTINUOUS The room is dark except for a bar of light coming from the bathroom, past the almost closed door and a pool of light on the desk, where Frank sits, writing. Jon and Susan enter and drop their coats on a chair. Frank looks up, then rises. JON Susan, this is my roommate, Frank. He's the Prop man. Frank, this is Susan. FRANK Hi, Susan. I'm pleased to meet you. SUSAN (putting out her hand) I'm happy to meet you, too. I saw you backstage, earlier. Frank shakes her hand and sits back down at desk. FRANK Don't mind me. I'm going to mail this letter and check with Dave for schedule changes. Jon and Susan walk around sofa to sit facing the picture window. The draperies are wide open to a view over downtown Denver. The Rocky mountains, bathed in moonlight, are visible through the window. JON Shall I turn on some lights? SUSAN No, no! This is too beautiful to spoil with reflections. Jon puts his arm over Susan's shoulder and she rests her head on his chest as they gaze at the scene. In b.g. Frank finishes his letter, slips it in an envelope and turns off the desk lamp. He rises and grabs a jacket off one of the beds. FRANK (shrugging into jacket) I'm going to see Dave. Have fun, you two. JON Later, Frank. Thanks. SUSAN What did you thank him for? JON For leaving us alone. He's a nice guy that way. Jon slips off his tie and opens his shirt collar. SUSAN Did you arrange this? JON Not specifically, but I crashed with Dave one night when Frank's wife met the show in Omaha. SUSAN Well, I'm glad we're alone. Sitting up and turning her face to Jon's and kissing him firmly SUSAN I've been wanting to do that. JON (returning the kiss) So have I. They re-arrange themselves with Susan lying on her back, her head in Jon's lap. Jon's arm cradles her head and one hand is resting on her stomach. SUSAN This is nice. Your hand feels so nice there. She places one of her hands over Jon's, where it rests on her stomach. SUSAN I like it. Jon leans over and kisses her breast, where it is exposed by her dress. SUSAN Mmmm! That's nice, too. More please. She picks up his hand and places it on her breast Jon kneads her breast, as Susan rolls her head in his lap. Jon takes his hand from her breast, reaches inside his trousers and re-arranges himself. He replaces his hand on her breast. JON Do you know what you're doing to me? She rolls her head against him SUSAN Yes. I'm feeling the same way, but not this minute please. She raises her head, for a kiss. SUSAN Let's take it slow. Jon slips the straps from her shoulders and pulls down her bodice, lowering his mouth to her nipple. JON Is this too fast?... Is it good? Susan holds his head against her breast. SUSAN Oh, yes. It's so good. I love what you do to me. Susan opens his belt and trousers, turns her head and blows her breath through the fabric of his briefs. Jon caresses her belly, hips and thighs. Susan raises her knees and the hem of her dress falls to the top of her thighs. Jon caresses the inner and outer sides of her thighs, as her knees part slightly. His hand pauses slightly at her mound. JON You're all warm. SUSAN I told you that you were getting to me.... You're nice and hard. (She takes hold of him, through his underwear.) I guess I'm getting to you, too. JON You don't know how much. I've been mostly that way since I first saw you. Jon raises Susan up and lowers the zipper in the back of her dress. Susan lifts her hips off the sofa and helps him push the dress down and off onto the floor, leaving herself in just panties. She turns around and unbuttons his shirt, pulls it out of his trousers and slips it off his shoulders. SUSAN That's better. Now I can feel your skin against me. He pulls her close to his chest. JON So much better. He kisses her and strokes her lovingly. lATER on a bed ANGLE ON SUSAN'S FACE, JON'S HEAD between her knees, IN f.g. Jon crawls up her body and she raises her knees on either side of his hips. They kiss and make love. LATER SUSAN That was nice. I'm glad you make love, and don't just screw. JON I couldn't 'just screw' you, sweetheart. SUSAN When will Frank be back? JON Not until morning. We've got all night. SUSAN April will be jealous. She doesn't have anyone right now. Susan sits up and pulls a sheet over their naked bodies. SUSAN (lying flat on her back) I'd like to sleep a while and wake up in your arms. JON I'd like that too. FADE TO BLACK.