Bury the Book (20 Min)

8/7/2019 Bury the Book (20 Min)

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Bury the Book

By

Daniel Welser Carroll

The son and daughter of a famous author debate the ethicsand emotions of publishing a posthumous book about his

publicly unseen aggression.

Approx run-time: 25 Min.(Available for expansion)

[email protected]



1.

An office. Joshua, 30’s, sits in anarmchair. He is looking at aloosely bound manuscript sitting onthe small coffee table in front ofhim. Martha, late 20’s, walksbehind the desk and pours two

drinks at a small bar set. Shereturns with the drinks and pausesbefore handing one to Joshua.

MARTHAOkay, before you tell me anything about it: I tried toactivate the story with a lot of present-momentpoint-of-view type stuff so I hope you don’t think theinnate opinions made it too subjective. Do you think that?Because I wanted it to be really emotionally charged butstill refrain from commiserating with the reader. To backoff from the memoir model without loosing it’s weight. Doyou know what I mean? So tell me, what do you think?

JOSHUA(Laughing slightly)

Well, I’m not sure I know what you mean by all thatbut...well, it’s certainly factual.

MARTHAFactual. Factual is...good.

JOSHUA(Conceding)

It’s incredible, Martha, it really is-

MARTHAYou think so?

JOSHUABut kind of scary seeing another point of view on thosememories - it makes them very real again. Sharper, ya know?It’s...it’s uh...it’s intense.

MARTHAWell you can’t make that shit up...writing it down andstaring at it made me realize how insane it all really was,I mean the fact that he used to set fires -

JOSHUARight, right. Yeah... Well...I can tell you it’s amazingwriting. It’s really something.

MARTHAYeah? You think it’s that good? Okay, Great. Okay. BecauseMona let the word out this morning to a few publishinggroups, HarperCollins especially since they worked with Dad

(MORE)



2.

MARTHA (cont’d)on his last novels, so...we should start to get word verysoon on a deal.

JOSHUAWait.

(Pause)

What? I thought...wait, I thought we were going to talkabout this.

MARTHAWhat do you mean?

JOSHUAThis book, I thought...I thought we were just going to talkabout it, I mean this book. This book...you-

(Pause)Martha, Dad’s less than a year in the ground...you, youcan’t-

MARTHAWhat are you talking about?

(Snatches the drink from him)Give me this. What?

JOSHUAIt’s- I mean, it’s kinda...defamatory- it’s-

MARTHAJesus, Josh. What are you talking about?? It’s true! It’snot defamatory. Are you serious about this? What, are youtelling me I shouldn’t publish it?

JOSHUAI didn’t even think this was a final draft, I-

MARTHAWhat does that mean?

The door to the office bursts open.Martha’s secretary, Liz, andanother prim looking suit, Rob,come in quickly. A flurry ofexcited motion.

ROBRandom House wants a sample.

LIZ(Speed of sound)

Mona just got off the phone with them.(Starts putting pages on the desk)

And this is Vantage, this is HarperCollins, S&S, andTyndale-



3.

ROB-Random House-

LIZ-and I took down all the numbers you asked for and boughtyou a caramel latte but you don’t have to drink it if you

don’t want to because I think I saw them pour 2% in andthat’s not how you make a latte.

ROBIt almost feels like they were waiting for this, right? AndI so told you that like, four months ago. They’re all on theprowl for this story. I so told you that.

LIZThis is all so exciting.

ROBDid I not predict this?

JOSHUACan we please discuss this first. You didn’t tell me youwere in publishing talks already.

The two freeze. Seeing him for thefirst time.

ROBMartha? Who is this?

MARTHARob, this is my brother. Joshua.

Joshua extends a hand. Rob acceptsit.

ROBOh my god. Best supporting role, right here. Doctor Joshua.A pleasure to meet you.

(Pause)So. Have you...read ...Martha’s book?

JOSHUAJust finished.

ROBGreat, right?

JOSHUAIt’s...quite something. Remarkable, really.



4.

ROBI know.

MARTHAHowever, my brother seems to think there’s an issue withpublishing the book.

ROBWhat?

JOSHUAI’m sorry, I don’t mean to cause a stir.

ROBLiz, get Mona.

Liz exits quickly.

JOSHUA

I just think this is a family matter right now, none of usknew about the book, my other sister hasn’t even read it-

ROBOh you mean that six, now probably seven figure book dealwe’re all throwing our entire work-day at right now? Is thata family matter? What exactly is your objection here, Mr.Joshua?

MARTHARob, cool it.

JOSHUA

I just read this book. I’m his son and I just read this bookand now you’re all already in publishing talks? I need tothink about this, and I don’t think the time is right.

ROBFor what?

The door bursts open again.

LIZMona’s coming.

ROBGood.

JOSHUALook, I didn’t mean to make a fuss here. That wasn’t myintention. I just think-



5.

LIZI loved the book. I just have to say that. And I know whoyou are Joshua. To care for him at his bedside. I thinkyou’re very brave.

JOSHUA

Uh...thank you. Has everyone here read the book?

MARTHALiz. Can you make sure we’re not disturbed again?

LIZYes. Of course. Sorry, Martha.

Rushes to exit nearly bumping intoMona, 40’s, coming through thedoor.

LIZ

Sorry Mona.

Liz exits quickly.

MONAAlright, what’s up.

ROBThank god, Mona-

MONARob, get outta here. Family and family employees only.

ROBThis is defcon one here - code blue.

MONAGo to lunch.

ROBCute, Mona, but you’re no Mamet.

(Beginning to exit)Don’t act like you haven’t seen every memo. You know wherewe are in this. I forged that release in ink and blood. Andthey are biting at the chum bucket, so call me if you needback-up against the Kennedy kids here.

Rob exits.

MONAJosh, it’s good to see you again.



6.

JOSHUAI really didn’t mean to cause anything here, I’m sorry.

MONADon’t worry about it. I’ve worked for your family longenough to cause my own share of disturbances so forget aboutit. But...what’s the problem today , exactly?

JOSHUAWe can’t publish this book. That’s...that’s it. That’s all Ithink. We just can’t do it.

MARTHAIt isn’t a "we" situation. I take responsibility. It was mychoice.

MONA(Pause)

Well...to tell the truth, Josh, I agree with you.

MARTHAWhat do you mean you agree?

MONA(Rubbing her temples)

It’s a mess kids it really is. Could I have a drink? I couldreally use one today. Sit, Josh, please.

Mona sits.

MARTHAMona!

MONAWe can’t look like pricks.

(Shrugs, throws up her hands a bit)That’s the thing of it. I’ve been on the phone with MichaelCohen over at HarperCollins all morning and they’re pushingto move in big way on that excerpt we distributed...but evenhe’s a little worried about the backlash, though hissuperiors don’t seem to give a fuck. He just passed away-

JOSHUAExactly!

MARTHAWhat are you saying?

MONAI think we should cool the deal. Stop generating buzz andthen look to option it privately with someone we trust. Atleast then it has a chance to generate revenue, and willgive us a lot of time to stall in legal dealings.



7.

JOSHUAThat’s still too much. Optioning. It can’t be anythingpublic. God forbid it ends up as a Lifetime movie. I want itput in a bottom drawer.

MARTHAI haven’t worked day and night for months for the sake of a

bottom drawer, Josh. It makes no money in a drawer.

JOSHUAWell, this isn’t about money for you, Martha. That much isclear.

MARTHAWhat? Don’t you dare-

MONAWait.

MARTHA

(Suddenly losing her composure)I don’t understand you. You hated that man. You hated ourfather- and you were never there. You rejected that wholeworld he created and yet now , once we put him in the groundyou decide to embody the story of the prodigal son? Howexquisite for you.

JOSHUA(Calm)

It’s different now. Now that he’s gone. That shouldn’t takemuch to understand.

MONACould I back up and explain what I mean by pricksexactly...? Maybe that would help.

MARTHAWe know exactly what you mean-

JOSHUAIt’s more than just the image, it’s the principle.

MARTHAOh my god-

MONAWe were all rocked by the will reading - all of us. For himto have facilitated that large of a donation to CRI-

MARTHAIt was all of it! Every royalty funneled to charity. I wisheveryone would stop sugar coating the fact that he left usnothing! After expenses and paying out associates that wasit - we didn’t get any of it.



8.

MONAI know that.

JOSHUAWhat, were you expecting some sort of a dynastic passing of-

MARTHANo I wasn’t. But some sort of financial...I don’t know- hug would have sent the right signal. It was an insult, adeliberate one.

JOSHUAI don’t need the money; I have my practice. And you have themagazine-

MARTHA(Laughing)

I have the magazine...Josh, Dad was the magazine. It waspractically a graduation gift. It never had it’s own

buoyancy and now that he’s out of the foundation...It’s allpart of the plan to dissolve. So I resent whatever else youthink this is.

JOSHUAI didn’t realize that...

MONAShe’s right, Josh. The Cancer Research Institute has ourbail-out money. The mag is crippled, and we were banking ona cash flow from some of your father’s post-mortem releasesbut...he sealed those up and threw away the key. Legally.

MARTHAI can fix that, you know this will generate a lot ofinterest.

MONAWe just have to find a way to do this gracefully.

JOSHUAGracefully? This is not graceful. The man funnels theroyalties from entire estate into charity and now his kidsare going to publish his demonization? We’ll look petty.Spoiled.

MONAThat’s what I meant by pricks.

JOSHUAThen we’re pricks.



9.

MARTHAWe are not.

There’s a buzzing sound.

MONA

They’re all clamoring for something. HarperCollins hadadvances on your father for two different projects and thenhe died on them. The will may have taken care of theadvanced money but...I mean he was at the peak of his careerand they were banking on a lot, lot more income off of yourfather. Now, there’s going to be a lot of resistance in theliterary world against this book, Martha. The man was a god.But good controversial buzz is like currency. Michael Cohenover at HarperCollins said it himself. When faith fails tobank, there’s always crucifixion.

MARTHAWhat? That’s NOT what I’m-

Another loud buzz.

MONA(Hitting the button)

WHAT, Rob?

ROB(On intercom)

I’m coming in. Should I send Liz in first? You’re not goingto throw anything, will you? I’ll send in Liz.

Liz enters.

LIZPlease don’t throw anything.

ROB(On intercom)

Did you throw anything?

MARTHAI don’t have time for this right now, Rob!

ROBI’ve got Robert Moore from the big RH on the line, Martha.You’re going to want to hear what they have to say. Now.

MARTHAGive me a second.

(Shuts off the intercom)



10.

MONAIf Bob Moore is calling, then they’re pulling hard. Youshould take the call.

LIZYou really should.

MARTHACan’t he wait half an hour??

ROB(Entering)

Maximum. I told him you were with family. It’s nice to tellthe truth. But you really shouldn’t take long and you reallyshould see this.

He offers her a post-it.

MARTHA

What. What is it.

ROBLiz, give Martha the note.

Liz does so.

LIZ(Breathily)

Here.

Martha looks at it.

MARTHAOh jesus.

Martha clutches her head.

MONALet me see.

ROBThis is a strategic move - someone leaked the HarperCollinsbid and so Random House has decided to send us their finaloffer which, as you can see is, much, much larger.

MONAThey’re putting us on a clock.

ROBThe end of the day. Or it’s gone.



11.

MARTHAWhat??

ROBSomeone leaked, now we’re trapped! That’s business. Andapparently we have a shitty poker face.

MONA(To Josh)

Look.

She hands the note to him.

JOSHUAWhat is this?

MONAThe offer.

JOSHUAWait, this number is a price.

ROBI’m prepping a release statement. I’m thinking somethingreally incendiary. Pull on the familiar. Mommy Dearest meetsOedipus at Colonus. Thoughts?

MONARedundant. And this isn’t the time, Rob.

JOSHUAAh jeeze this isn’t Mommy Dearest. He never hit us! Never

beat us with hangers!

LIZHe hit you once. Chapter Two. Before the Jazz at LincolnCenter benefit when you were eight.

JOSHUAThat was hair pulling. And I was being a brat anyway. Youread it.

MONAEither way. This is what happens. We saw this coming. We getforced into a situation where we have to jump and well...nowwe have jump. We have to decide. Today. And it needs to beyou.

MARTHAWell what choice-



12.

JOSHUA(Rising)

Mona, uh Rob - I’d like it if we could be left alone for amoment.

MONA

Of course.(Rising)

ROBWhat do you mean of course-

MONAJesus, Rob - go!

JOSHUAPlease. I’m sorry.

ROB

Martha?

MARTHA(Pause)

It’s fine. Leave us.

ROBMy god, it’s amateur hour today.

MONAWe’ll be down the hall.

MARTHA

Fine.

The three, except for the siblingsexit. There is a pause.

JOSHUAIt’s not essential.

MARTHAIt is.

JOSHUAWe can’t do it.

MARTHAI can’t do it. You mean. Understand that there isn’t asingle thing you can do, legally, to bar this deal fromhappening.



13.

JOSHUAI...I know that.

MARTHADo you.

JOSHUAWhich is why I’m asking you.

MARTHAWhy are you doing this to me? I...jesus Josh, I need yoursupport on this. I thought...I just thought- I mean Mom andMary aren’t going to be my allies in this-

JOSHUAFor good reason! It isn’t necessary to bankroll our crappychildhood! No matter how good of a narrative it makes! Wedon’t need the public to defend our past.

MARTHAYou of all people should want this book! Our father madeyour life hell. That night at the Athletic Club when hetaunted you in front of the audience? The psychologicalconditioning. He wronged us. Look where I am in life rightnow! On a sinking ship of his device - a fake oasis so hecould keep tabs on me.

JOSHUAAnd you reveled in it. Played right into the cult.

MARTHAThat doesn’t matter! That really doesn’t matter. What choice

did I have? You took the path of resistance and where lookit got you.

JOSHUALook where it got me.

MARTHAWhat changed .

JOSHUAIn me? I should be asking that of you. You’re quoted throughthe years defending him and everything he was. And now youburn him in effigy.

MARTHAJust explain it to me.

JOSHUAHe’s our father. We have to protect him. From himself.



14.

MARTHAHe doesn’t need protection.

JOSHUAThen what about you?

(Pause)Now that he’s gone...you’re dying for the approval he once

showered on you and that you now get...nowhere. Do you needmy approval, Martha? Is that what it is?

MARTHAHow dare you.

The door opens. Liz enters.

MARTHAExcuse us.

LIZI’m sorry. I’m so sorry. The intercom was on.

MARTHAWhat?

LIZYou’re sitting on the intercom button.

Martha notices that she is.

LIZI couldn’t help but overhear, and I know it’s not mybusiness-

MARTHALiz, this isn’t-

LIZ(Speed of light)

I’m so sorry but I have to say, I just have to say .Everything in this book was...a relief to me. I mean thatscene where the argument at the dinner table escalated tohim burning the swing-set in the backyard. I mean the potency of that image. And all because of F. ScottFitzgerald!

JOSHUAIn his defense he set fire to the soccer goal, it onlyincidentally spread to the swing-set. An accidentalmetaphor.

LIZ(Beat)

You have to understand. My father he...he was...he used alot of guilt and, and intimidation and blaming and

(MORE)



15.

LIZ (cont’d)manipulation to control me and my sisters my whole life andI just never got it, you know? I could never understand why but now...I’m a bit closer. Just a little bit and it’s soworth it.

(Takes a breath)

Now I’m probably fired anyway if the deal doesn’t go throughbecause I know we’re out of money but just please let peopleknow this story. I got into this industry for this kind ofthing. And thinking about that, and thinking about a man whowould do and say all those terrible things and why he didit-

MARTHAThat’s enough.

LIZI’m fired.

JOSHUALiz...thank you. But that’s exactly why I’m afraid to letthis book happen. You’re thinking about why...and everyoneelse who will read that will too. But we...we’re stillgrappling with that question ourselves. I think we shouldhave that time. Privately.

LIZI’m sorry.

JOSHUAIt’s alright.

LIZI’m sorry.

Liz exits.

JOSHUAYou’re not going to fire her...

MARTHANo. I’m not dad.

JOSHUA...no?

MARTHADon’t.

The buzzer sounds.



16.

MARTHA(Hitting it)

We’re not done!

ROBNew developments. I’m sending Mona in again. And why is Lizcrying?

MARTHAShe was embarrassed about having an opinion.

ROBAh.

MARTHATell her something reassuring.

ROBOn it. And brace yourself.

Exits.

MARTHAThis is about recovering my life after Dad, Josh, I needthis money for the magazine.

JOSHUAYou don’t need the magazine. You’re the writer daughter of anationally celebrated writer . Stop acting like this is amatter of practicality!

Mona enters.

MARTHAJust tell me.

MONAHarperCollins backed.

MARTHAChrist.

JOSHUAWhat does that mean?

MARTHAThey pull the deal because they can’t match Random House.Random House gives us a time limit to try and secure thedeal, but it’s a risk. HarperCollins is banking on the riskhoping there’s some blockage in the tubes, which there is,with you, and if we turn down Random House because of theconstraint, then we’ll have to go back to HarperCollins andthey can offer us less.



17.

JOSHUAWhat? This is all happening very fast.

MONAWelcome to publishing. You should see the parties.

JOSHUA

I have.

MONAOh. Right.

JOSHUAThis needs to stop. This can’t go through.

MARTHAWhat do I do, Mona?

MONA(Scrutinizes Martha for a moment, and

then shakes her head)I have to throw up my hands on this one, Marty. I’m sorry.I’m done. It’s like the fucking rapture.

MARTHAYou too?? Do I have no one suddenly? All you’ve been doingis pushing this deal!

MONAI managed your fathers first release. I accepted everythinghe gave me because it was my livelihood. When he offered tolet me manage the book tours, and then this magazine, Iaccepted. I now I’m executor to an estate that has beendonated. This book is technically all that’s left and if Idon’t take what this is going to provide then it’s going tobe a tedious road to retirement and personally I’d like toturn sixty five in Barbados.

(Pause)But I’ll tell you this...I’ve fully reconciled the fact thatI’m going to look like a weasel on this for cashing in onhis hanging and that’s my choice. But I’m just on thebooks...not in them. My footnote to history will be briefand that’s fine. But what about your footnote? Think aboutthat...

(Pause)

You can let it sit. That’s another option. Five years. Tenyears. Let them all forget about him. If I have to retire toSan Luis Obispo instead of Barbados well...at least I’llstill have my conscience. What will you have?

There’s a pause. They look atMartha, who is scrutinizing a spoton the floor. Vacant.



18.

JOSHUAMartha-

MARTHATell them yes.

JOSHUA

Wait-

MONAAre you sure.

JOSHUAYou haven’t-

MARTHAIf I balk at this then they’ll know they can fuck us. And Idon’t intend to be a footnote.

JOSHUA

Mona, give us the room for just one more moment. Please.

MONAThe clock-

MARTHATell them yes.

JOSHUANO!

(Pause)Two minutes. Please.

MARTHAWhat else could you have to say?

MONAFine. But this is it. I’ll be right outside.

JOSHUAThank you.

Mona leaves.

MARTHA

Why are you so against this! What happened? Tell me. Tell mewhat happened.

JOSHUAThis is counter intuitive, alright. To do this isn’t puttinghim in his place, or putting him down, it’s perpetuating him. Making him larger than what he really was. Thingschanged for me when I was taking care of him, I saw thingsdifferently, finally-



19.

MARTHAHow did things change? He was still the same man, stillhurling insults, morphine induced or not. He was still thatmiserable, terrible man.

JOSHUAThat’s it exactly. He wasn’t, I avoided him our whole lives

because I thought he was as powerful as he was made out tobe, but in that bed, in that frail body, he was nothing. Iwas taking care of him. I could feel how weak he was. Inbody and spirit.

MARTHA(Sudden. Ferocious.)

I didn’t get that.

JOSHUASee? See what this is about for you?

MARTHA

Why are you doing this to me?

JOSHUABecause we don’t need to destroy him to beat him. Infact...he asked for destruction. Did you know that? He spentthe last months of his life demanding to be let go. But Ididn’t. I had the control. Doing this might even be what hewanted - you can have what I had, without this book.

MARTHANo. I can’t. I’m doing this, Josh.

JOSHUAMartha-

MARTHAI am.

JOSHUAIf you do this, you’ll lose us too.

A pause.

MARTHADon’t say-

JOSHUAYou think Mom is going to forgive you for this? Mary? I’lllet it pass, but I’ll turn away from it. And you. And if itdoesn’t meet the "buzz" you all think it will...if thepublic pans it. Hates it. Then...you will be alone, Martha,you will be alone. And I think that’s what you’re mostafraid of anyway...so what is it? Career? Family?Retribution? What’s most important to you?



20.

Martha hits the button. Hard.

MARTHAMona, the deal stands. Tell them yes.

JOSHUA

What?

MARTHAYou’re a hypocrite.

JOSHUAMartha-

MARTHAYou may boast a sense of filial piety now that he’s buried,but you buried him in anger. And you know that. I’m sure inyour heart you know that. You mask it with compassion, butyou were holding on to anger and now you’re asking me to do

the same!

JOSHUAHe wins if you do this. He wins!

MARTHAHe’s dead !

JOSHUAThen why can’t we keep him buried.

MARTHAThis is burying him, Josh. This is the epitaph. And I’m

glad. I’m glad destruction is what he wanted. Good. I’llhappily take my pound of flesh because I did not getwhatever satisfaction you got at his deathbed. And I don’tthink I ever will. But at least I can have this. This ismine.

JOSHUAYou sound like him.

MARTHAAnd you are him. Who’s manipulating now...who’s blinded bysome Christ complex now.

JOSHUAI don’t want my name associated with this - change it. Idon’t want anyone thinking I had something to do with this.If asked, I’m going to have to speak against it.

MARTHAFine. Should boost sales.



21.

JOSHUAMartha!

Pause.

MARTHA

Go home, Josh. Take some time to locate your demons beforepretending like you’ve chased them away.

JOSHUAAnd what about you?

MARTHAMy demons?

(Pause)I’ll publish them.

She exits. End of play.

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Bury the Book (20 Min)