As I began working on the play this week I found myself a little lost in the second act. I'd written nine pages for the beginning of the act and three or four pages for the end of the act. The first act was almost complete and I was able to finish it - though it's only 45 pages of dialogue there's probably enough action to make it a fifty minute act.
The real problem was the second act. What had I intended when I stopped a year ago? I still knew the main story arc, but the little bits that made it make sense where somewhat absent. But there was a clue that I'd left myself without realizing it. The file with the first part of the act was labelled "Act II Scenes 1, 2, & 3." The file with the end of the act was labelled "Act II Scenes 17 & 18." So I'd obviously worked out scenes in the act. But where's the middle?
I didn't know right away I'd had the clue in front of me and so I moved slowly and unhappily forward, feeling my way along like I was in a darkened mansion, unsure what floor or what room I was in, fearful of stairs and open doorways. Only when I couldn't take the not knowing any longer did I realize that there was this clue of missing scenes. If I'd labeled scenes, I must have written down what I expected in them.
And there it was.
At the end of another file labelled "Act II notes" I found them. A numbered list of scenes with explanations of what was to happen.
Now I feel so much better, knowing where I wanted to go and it has worked to stir up old thoughts that hadn't been written down but lurked in my head. My goal is a complete first draft before the middle of this month. Now I feel the goal is approachable.
Oh, I noticed people have actually stumbled across this blog by accident or purposefully. Drop me a line and let me know why/how you came here. As a reward, here's the first few pages of "Dr. Edgar's Brains."
DR. EDGAR’S BRAINS by
Earl T. Roske
(Lights up on a late 18th
century “Dr. Jekyll/Dr. Frankenstein" style laboratory. There is one
entrance to the laboratory. That door has no knob and can only be opened via a
metal plate on the floor and/or with a spring-back lever on the wall. There is
one work bench down stage, at least one cabinet upstage, and a gurney off to
one side. The upstage cabinet has a gramophone horn protruding from it's top. After
a brief pause Dr. Edgar enters the room and hangs up his travel coat and puts
on his lab coat.)
LIZZY
(Her
voice comes from the gramophone.)
Allan? Is that you?
DR.
EDGAR
(Opening
up a lab book and starts making an entry.)
What? Oh. Yes. Of course it’s me.
LIZZY
Well thank you for saying good evening.
DR.
EDGAR
(While
making notes in lab book.)
It’s morning. Good morning, Lizzy,
dear wife.
LIZZY
Hmph. You’re back early.
DR.
EDGAR
(Continues
making notes in lab book.)
Late, actually. It’s been four
days.
LIZZY
Four …? But you said you’d only be
gone three days…
DR.
EDGAR
(Still
making notes in the lab book.)
Yes, dear. Truly sorry. Problems
at the Society. Narrow minded old men.
LIZZY
It seemed like you just left… But…
four days? Am I going crazy?
DR.
EDGAR
(Still
making notes)
Again they refuse to publish my
paper on appendage transplantation in The Proceedings.
LIZZY
Allan.
DR.
EDGAR
(Still
making notes.)
How much proof do they need? An
eight legged dog? Cowards.
LIZZY
ALLAN!!
DR.
EDGAR
(Shutting
the notebook)
Well, they are cowards, Lizzy. But
after we’ve finished here, they won’t be able to deny my brilliance. Never.
LIZZY
Allan! I’m talking to you!
DR.
EDGAR
I know dear. I can hear you. The
new speaking trumpet sounds much more realistic.
LIZZY
And I can hear you just as well. I
can hear you not paying attention to
me.
DR.
EDGAR
Now that’s not fair. I have been
listening to you.
LIZZY
Once I shouted.
DR.
EDGAR
I’m sorry, dear. I’m still
flustered after my journey.
LIZZY
Well, I guess I shouldn’t be
surprised. You never listen to me.
DR.
EDGAR
I do listen to you, darling. I was
just distracted with thoughts from the journey.
LIZZY
So you weren’t listening to me.
DR.
EDGAR
I was listening to you, I was just
putting down notes while you talked.
LIZZY
Which isn’t listening to your
wife. The woman you claim to love.
DR.
EDGAR
(Investigating
some of the accoutrements – bells, Jacob's ladder, dials – around the cabinet.)
I do love you, Lizzy. Always.
LIZZY
I don’t believe you.
DR.
EDGAR
Did you ring the bells?
LIZZY
What?
DR.
EDGAR
The Franklin bells. Have you tried ringing them?
LIZZY
No.
DR.
EDGAR
Lizzy. I explained how important
this was. And to keep your brain active.
LIZZY
How do you expect me to ring bells
I can’t see? Or touch?
DR.
EDGAR
There are wires. They connect you to
the bells.
LIZZY
So you say.
DR.
EDGAR
Just like the Lyden jars were
connected to the bells. Remember?
LIZZY
No.
DR.
EDGAR
In the old laboratory. I showed
them to you.
LIZZY
There was a lot of odd stuff in
that place. How am I supposed to remember all that?
DR.
EDGAR
But these were unique. Three
suspended bells with suspended hammers between --
LIZZY
So that’s what this is really all about?
DR.
EDGAR
Yes, see, you do remember.
LIZZY
All you care about are the bells.
DR.
EDGAR
What? No! Of course not. There’s
the dials you should be able to turn and the --
LIZZY
Allan!
DR.
EDGAR
--
Jacob’s ladder…?
LIZZY
I made a mistake.
DR.
EDGAR
About the bells?
LIZZY
Damn your bells, Allan!
DR.
EDGAR
(Shocked)
Lizzy!
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