Love's Kind of Family (part 1)

[to be formatted]

Background: This was for a script writing contest for fans of Showtime's "The L Word".

Note: These scripts will make more sense to those of you who watch "The L Word" since you have the context of the actual show's characters and storylines. However, I encourage all to read these anyway because there is a lot of stand alone dialogue that comments on issues like racism, homophobia, mental illness, domestic violence, religion, transgendered identity, friendships stronger than family, and..... Mariska Hargitay.

The prompt we were provided:
Scene #6: Shane decides to have Carmen move in and the two of them throw a wild party to celebrate. The night starts out a blast with seemingly all of gay LA there, but turns to trouble when the cops show up.

In Jenny's orthodox home, the dynamic between her mother, Sandy, and stepfather, Warren, makes her want to run back to the clinic. Instead, she spends nights at the only Skokie gay bar, working diligently on her novel, and getting to know an attractive butch named Moira.

Promo:
Carmen says she's tied Shane to a chair
to get her to say yes to moving in together.

Jenny discovers it's a hell of a long way home.*


Formatting: I couldn't get it into the correct format on this blog format.
INT. = internal scene; EXT. = external


*Sarah McLachlan's "Good Enough"

____________________________________________________________________


INT. SHANE’S KITCHEN - AFTERNOON

On the table is a huge bouquet of red roses with a large, but simple sign: Welcome Home.

Carmen enters from outside.

CARMEN

Oh! Jenny’s coming back today? Thank god she’s feeling better.

SHANE

No, no...

(suddenly shy)

...these are for you, Carm.


Carmen looks at flowers and message again, then back at Shane.

SHANE

For us.


Carmen is shaking - a mix of disbelief and joy. Shane goes to her, holds her tightly.

CARMEN

You’re sure?

SHANE

Yes, I am. It’ll be nice.


Carmen pulls away.

CARMEN
(teasing)

“Nice?”

SHANE
(intently)

Yes. Nice. After so much of “painful,” “lonely,” “empty”... “nice” is exactly right.


Carmen melts into Shane’s arms – that’s where home’s been all along.

SHANE (cont'd)

I love you.

CARMEN

I love you. Oh my god, I love you.

CARMEN (cont'd)
(as it really hits her)

Oh my god! This– yes! Us– yes! Tomorrow– yessss!


Shane laughs as Carmen bounces around the kitchen, then runs at Shane. They lock in a deep kiss. Their hands start wandering, wanting.

Shane grins through a kiss.

SHANE

F*** “nice”! “HOT” is more like it!!!


And they go on to prove it.

INT. JENNY’S STEP-FATHER’S KITCHEN - AFTERNOON

There’s a Bible on the table.

Throughout, Jenny keeps her eyes on her mother. On Sandy’s face, you see she’s straining to say something, but can’t. Her body is immobile.

WARREN

Jennifer, there is a right way to go about life, a chosen way. This has proved to be correct over centuries! How can you think you know anything in comparison? These... things you have been doing, is this some rebellious phase? Some big city –I don’t know– fad? It’s the in thing now to be homose–


He can’t get the word out.

WARREN (cont'd)

–gay, or whatever the term is now. And now it’s okay to complain, “Oh I’m stressed, I’m anxious. Give me a pill to fix it.” That’s everyone! That’s life. If you stop being so selfish, Jennifer, you’ll handle things better. You’ll see that God makes it easy on us by spelling it all out here, in black and white. It says–

JENNY
(steely)

Don’t start quoting. The verse in Leviticus that you people love to throw at us, if you put it in historical context, which intelligent, educated people do–


Warren stands to leave. Jenny goes right up to him.

JENNY (cont'd)

it actually speaks of the gender inequalities of the day: a man can line up equally with another man, but never a lowly woman. That’s history, that’s research, that’s black and white. Although, I guess it’s not just history – you treat my mother like she’s a f***ing servant!


Warren’s hand closes into a fist and he takes a step forward.

Sandy flinches at this, even though Warren’s move was toward Jenny. It’s the first time we see her move.

WARREN

How. Dare. You.


Jenny backs away, but is still facing him.

JENNY

And while I’m at it, I’ve chosen to be crazy, too, right? God, the way you two look at me, that’s enough to actually make me crazy.

WARREN

You go and hurt yourself just to hurt us.


Jenny lifts up her skirt, and too far, on purpose. Her scars are still red.

Sandy sits up, looks up for the first time. It’s she, not Warren, who’s able to look, unflinchingly, at Jenny’s wounds.

JENNY

You think this is about you?! Now that’s selfish. Look, it’s because of you, but it’s not about you.

WARREN
(hisses)

God damn slut.


Jenny sits across from her mother, her back to Warren.

JENNY
(wearily)

Warren, you believe that a man parted a sea and a burning bush spoke. Now that’s crazy.



INT. SHANE AND CARMEN’S KITCHEN - AFTERNOON

Carmen is sitting with her roses. Shane is on phone. All you hear on the other end is a high-pitched, excited twitter.

SHANE

No, Al, you heard me right. Carmen’s gonna move in.


Pause.

SHANE
(indignantly)

What do you mean, “Where?” Here, Alice! With me!


Pause.

SHANE

No, she is not pregnant!!!


Carmen cracks up and Shane laughs, in spite of herself.

SHANE

No, I am not tied to a chair right now and no one’s holding a gun to my head! Carmen, baby...!


As Shane hands the phone off to Carmen, you still hear Alice babbling.

CARMEN

Yes, thank you. Oh!


Carmen puts her hand to her stomach. Looks right at Shane.

CARMEN

I just felt him kick!

SHANE

I’ll kick you!

CARMEN

No, no, it’s fine - I tied her real tightly.

(pause)
Heavy duty twine.

(pause)
Home Depot.

(pause)
A 45 Caliber.

(pause)
Pink.

SHANE
(lovingly)

Geez.

CARMEN

Mm hm, yeah, we’re really gonna do this. And turns out Shane already talked to Jenny and even though she’s coming back, it’s okay with her.


Pause.

CARMEN

No, what does this mean?


Carmen holds phone away from her ear.

ALICE

PARRRTYYY!!!



INT. STEP-FATHER’S KITCHEN - AFTERNOON

Jenny moves over to sit next to her mother.


JENNY
(softly)
I don’t like leaving you, Mom. But I had to leave back then to save myself and I have to leave now.


SANDY
Jennifer-


She stops herself.


SANDY
(tenderly)
Jenny... stay.


JENNY
You’re the one who left me, a long time ago when I told you what those boys did to me. You left, not physically, but you disappeared inside yourself somewhere. You’ve got to get out.


SANDY
I–


JENNY
(stronger now)
My god, Mom, you don’t have to have your skirt around your ankles to feel violated. You don’t have to be held behind locked doors to feel imprisoned.


SANDY
don’t–


JENNY
It happens behind closed doors, insanely quietly, every day to people we know, people we...

(her voice cracks)...love. I love you, Mom. I am you. I mean, I was you, but I’ve shed that skin, that weakness that makes you accept any kind of attention for affection, makes you want some kind of touch so badly that even a fist connecting is some kind of contact!


SANDY
know-
(we hear “no”)


JENNY
The women in my life create such a different environment. They may be stronger than me, may tower over me physically, but there’s never a threat. It’s more a protective wing borne over me.


SANDY
how.

(putting her disjointed words together)

I don’t know how, Jenny.


JENNY
We’ve got to be good to each other. My ex-girlfriend, Carmen, and I treat each other with more respect than any couple I’ve ever seen in this family. She’s now with my best friend and they are moving in together and they’re stronger than any married man and woman I know.


The weasel has been listening from the other room. He bursts in.


WARREN
You, your ex, this other girl?! Is this some kind of threesome?!


It’s so ridiculous, what he’s pulled from the conversation, that Jenny doesn’t say anything.


WARREN
It’s a sin! And I won’t have you in my house.


SANDY
(strongly, loudly)
Warren, don’t. You’re only hurting her more.


This really sets him off. Enraged, he’s flying now.


WARREN
You can’t expect Jews to let some neo-Nazis in our door! Or some Arab terrorists! And some Negro family doesn’t have to invite in Ku Klux Klan members!2


Jenny can’t do anything but laugh and give up.


JENNY
Okay, okay. Wow. I have to give you credit for originality. I’m used to being grouped with pedophiles, polygamists, and drug addicts. Oh, and kleptomaniacs.


Warren has no idea what was just said.


Jenny stands, smiles at her mom.


JENNY
(pointedly, to Warren)
Goodbye.


She walks out of the kitchen.

Love's Kind of Family (part 2)

INT. GAY BAR CALLED THE SIDE DOOR - NIGHT

Moira approaches Jenny, who’s got her computer in front of her, but is slumped back, staring up at the ceiling, which is not pretty.


MOIRA
Hey, everything alright over here?


Jenny sits up to face a beautiful... person. There’s a captivating mix of girlish and boyish charm, yet a confident, knowing air lingering in the smile, in the eyes. A fast mover, Moira goes to put a comforting hand on Jenny’s.


MOIRA
Jesus, is this blood?


JENNY
I cut–

(then quickly)
I scratched myself in the bathroom metal toilet paper holder an accident.


Moira hands Jenny a bunch of napkins; very matter-of-fact manner.


JENNY
Thanks. And I missed dinner.


Not missing a beat, Moira plops a bowl of pretzels down on the table. Jenny smiles.


JENNY
And I’m trying to write... something.


MOIRA
About?

JENNY
(this comes out as a sigh)
Me.


Ahh, this requires much more help. Moira turns to nearby table and, in one smooth movement, gathers together beer bottles of the surprised girls there and puts them down in front of Jenny.


MOIRA
Midnight oil.


They smile at each other.


MOIRA
Or a cheering squad.


Jenny can’t help but laugh out loud and relax.



EXT. SHANE AND CARMEN’S PLACE - NIGHT

The party’s going full force and more people are arriving.



INT. SHANE AND CARMEN’S LIVING ROOM - NIGHT

Carmen is DJ-ing. Shane is up on the platform with her, surveying the crowd. She waves at Alice and Dana. Dana doesn’t see Shane because she’s dancing like a wild woman.


SHANE
(to Carmen)
Look at Dana! She’s going at it like it’s the last party of her life!


Carmen laughs and tries waving to Dana, too. Alice waves back.


SHANE
Who are all these people?!


Carmen gives her an innocent smile.


CARMEN
All my ex-es. And one or two of yours.


A wicked smile now.


SHANE
Right. And?


CARMEN
Oh, the Planet’s regular morning coffee crowd.


SHANE
And?


CARMEN
The Planet’s night club regulars.


Shane waves her hand in a circle: go on.


CARMEN
And 9 of my cousins, 3 of Kit’s, Tina and Bette’s parenting group, Dana’s Davis Cup team, the winners of Alice’s radio contest...


Carmen keeps listing guests as Shane walks away – some alarm, mostly amusement. Shane spots Tina.


SHANE
Hey, you made it, mom. How’s your girls? Is Bette calling the cops?


Tina laughs, shakes her head.


TINA
Bette’s out cold. She’s been doing nighttime duty with Angelica this week.


SHANE
And Angelica?


TINA
Would you believe it? She’s out, too! One of them’s snoring.


Tina looks around.


TINA
I don’t know how, but it’s like Angelica knows the noise is of love and friendship and family. I guess she feels surrounded and safe with the sounds.


SHANE
(teasing)
T.


TINA
Okay, that’s just me. That’s what this ruckus means for me!


Tina laughs, hugs Shane, then weaves her way into the very middle of the mass.



EXT. SHANE AND CARMEN’S - NIGHT

Blue and red flashing lights.



INT. SHANE AND CARMEN’S LIVING ROOM - NIGHT

No one notices the knocking until one of the cops comes to the window. He notices Dana gyrating and his eyes widen. Shane makes her way to the door. The male cop is a regular-looking guy with a bit of a pudge.
The female cop, on the other hand, is very
Mariska-Hargitay-from-Law-and-Order-SVU. On a good day.


SHANE
Officer?


Notices the male cop.


SHANE
Oh, uh, officers.


MALE COP
We have a noise complaint.


He pretends to read off his notepad.


MALE COP
“It’s those fuckin’ dykes again.”


Shane’s about to object to that, as well as the relatively early hour, when the cops smile at each other.


MALE COP
Hey, Slater. You see any dykes around here?


OFFICER SLATER
No, do you?


Male cop looks at her.


MALE COP
(playfully)
Well, maybe one–


Office Slater puts her hand on her hip– no, make that her gun.

OFFICER SLATER
Watch it, Johnson.


He puts his hands up in mock surrender; she grins.


OFFICER JOHNSON
(to Shane)
Just be sure to bring the level down in an hour or so, okay?


SHANE
Sure, will do. Thanks.


As they turn to leave, Carmen grabs Shane from behind, completely excited, exhilarated. She starts to pull Shane back into the party, but stops short when she spots the female officer.


CARMEN
Ai, I’d have let her handcuff me.


Now it’s Shane pulling Carmen back in.


SHANE
Get back in the house, woman! Where you belong!



INT. GAY BAR, THE SIDE DOOR - NIGHT

The beers have been returned to their owners. Moira and Jenny have been talking and there’s something about Moira that is disarming, in a comforting way.


MOIRA
Christ, what kind of therapist thinks your parents’ home could be a place to recover?


Then she grins and sweeps her arms around the bar.

MOIRA
Unless she meant to send you straight here.


Jenny giggles, but then,


JENNY
(seriously, almost darkly)
You know, my mom and I are related by blood and she and Warren are called a family because of some legal paperwork. They have a home. No, a so-called home. There’s nothing there. Nothing. It’s just a place of knives and razors.


Moira nods.


MOIRA
Literally and figuratively.


JENNY
(appreciatively)
Yeah. You know, I felt closer to this girl I knew in the hospital for 14 days. At first, you’d think we have nothing in common, but we could see inside each other; there was such a familiarity there. And I accepted who she is, without judgment, which turned out to be a step toward being okay with myself.


MOIRA
There’s something familiar for me, too, in what you’re saying. I’ve been able to uncover who I am, inside. What I used to look like on the outside wasn’t me. Now I wear the clothes that fit me; I mean they match who I am inside. But I still don’t belong in my own skin. I want out. To bring what’s inside out.

JENNY
We got... misplaced somehow.


MOIRA
Mis - placed.


JENNY
For many of us, the cutting’s about forcing some kind of feeling to the surface. I think it’s also about trying to release the real me that’s inside, the me that is raw, visible, bloody...


MOIRA
...human.


JENNY
(completely taken)
You... I’ve known you for, what, 3 hours? And again, I feel this reaching out and reaching back that I’ve never gotten from family.


Jenny smiles, closes her eyes.


JENNY
Wow. I’m beat. Amazed and grateful, but beat.


MOIRA
(dreamy in her weariness)
Mmm hmm.


Long silence. A searching, then finally:


JENNY
God, I’m gonna break my heart over you, but...


MOIRA
...you’re going...

JENNY
...home. To L.A. I have to.


Jenny breathes in deeply. Exhales a huge smile that we haven’t seen in a long time.


Moira is unsure of herself for the first time, but quickly recovers.


MOIRA
I know. Call me, please, before you leave and–


JENNY
when I’ve arrived.


MOIRA
(in gentle awe)
You already have.