MEL, 22, is alone a rehearsal space in NYC. She holds her phone in her hand. She is waiting for someone. After a few beats, STEVE, 40s, enters. Whenever possible, Steve should cut off the end of Mel’s sentences. Mel immediately stands to greet Steve.

 

MEL

Hey man, thanks for meeting me. I know you’re busy I really/

STEVE

/Its no problem.

MEL

/appreciate it.

STEVE

Did you want to run the scene before rehearsal?

MEL

No, um, I think the scene is fine. I just wanted to check in with you before everyone else gets here –

STEVE

If we’re not going to run the scene do you mind if I eat? I’m starved. I don’t want to work on an empty stomach.

MEL

Oh uh, no that’s fine. Go ahead.

 

Steve pulls a large container of noodle soup out of his bag. As Mel begins to speak, he eats, concentrating more on the food than on her.

STEVE

So what did you want to talk about

MEL

Um. I mean I guess this is a little awkward but – I think I just need to be up front and say it like, right away.

STEVE

Ok.

MEL

Ok so. Um. I just want to go over what happened last night.

STEVE

Go ahead.

MEL

Well – I thought that it got off to a good start – I mean I thought that it was helpful. To be working on our backstory and our given circumstances and stuff.

STEVE

Mmmhmm.

MEL

And like I said – I just was feeling like, I couldn’t quite get into the character’s skin, and I know I said that I wanted to work on discovering our shared history or whatever. So I know that its what I said I wanted to do and I was really grateful that you offered to help me. But I just – the reason that I stopped answering was that….It was just getting a little intense?

STEVE

Well, its an intense play, don’t you think?

MEL

Well yeah but….I think there might have been a miscommunication.

STEVE

What do you mean.

MEL

Well when you said you were going to be texting me in character, I guess….I guess I just got confused about what I was supposed to do.

STEVE

Confused how.

MEL

Well at first it was like – I know that our characters have this relationship thats uh….sexual? and I was happy to go there with you, but I was just a little surprised at how – I guess, I didn’t expect you to be so explicit?

STEVE

Explicit?

MEL

I guess, graphic? I –

STEVE

Mel you said you wanted to be up front, I have no idea what you’re talking about.

MEL

I just think it was, you know. Inappropriate. For you to ask me to do that with you. I understand that you’re like, Method or, whatever and I respect that. But I think at a certain point it – it crossed a line, and – I just wanted to say something.

STEVE

Well. I’m sorry that you feel that way. But I fail to see what line I crossed.

MEL

….You asked me to…. send you a…..

STEVE

….

MEL

You asked me to send you a nude.

STEVE

No I didn’t.

MEL

….I have the text right here

STEVE

Mel. I thought you understood the exercise.

MEL

…I did understand the exercise, and what I’m saying is the exercise crossed the line.

STEVE

I asked you if you were willing to try an exercise that would allow you to take a deep dive into your character’s psyche. You said yes.

MEL

Yeah, I wanted to go into MY character’s psyche. I don’t see why you needed to see me naked when its my character.

STEVE

I didn’t want to see you naked.

MEL

…do you want me to read you the text?

STEVE

Whatever I may have said in character has nothing to do with me.

MEL

….okay but can you see how it was a little confusing? Like how was I supposed to respond?

STEVE

How would your character have responded?

MEL

….see this is what I mean, because in character she probably would have… sent the nude but like….was I supposed to google search images of naked women? Because I’m never…I wasn’t gonna send you a –

STEVE

Ok Mel. You can stop.

MEL

Stop what?

STEVE

Mel, you’re clearly in over your head here. You’re young, you’re inexperienced.

MEL

Well I guess so but – I just don’t see how anyone could have responded to that –

STEVE

Mel. You asked me for help. You said you were having trouble connecting to the character and that you wanted help, actor to actor. Do you remember that?

MEL

I remember that, yeah

STEVE

So I told you I had an idea of how we could connect. To the characters. Together. And you said you were willing to trust me.

MEL

I did trust you, but I didn’t understand that you were suggesting that we sext in character.

STEVE

I think we’re done here, Mel.

MEL

Do you think I’m stupid? Do people really fall for this?

STEVE

Fall for what, Mel.

MEL

How many other girls have you offered to “help?”

STEVE

I have coached many young people who have crossed paths with me. Some of them are cut out for my coaching. Some are not. Perhaps you belong in the latter category.

MEL

Steve –

STEVE

I think you should consider very carefully whether or not you want to continue this conversation.

MEL

Excuse me?

STEVE

What do you hope to accomplish? What would you like me to admit?

MEL

That you fucking – propositioned me for nudes.

STEVE

Prove it.

 

Mel Stares at him. She opens her phone and begins to read the message she has cued up on the screen.

MEL

“I want you to show me. Show me that you’re wet for me. I want to see you. I want to see your body.”

STEVE

It was part of the exercise, Mel.

MEL

(continues reading) “I am hard for you. Do you want to see how hard I am?

STEVE

I don’t see the problem here. I was clearly in character.

MEL

Clearly in – What was I supposed to say to that? Were you going to send me a picture of your dick?? How was I supposed to answer –

STEVE

“I’m picturing you fucking me”

MEL

…what?

 

Steve pulls out his phone, opens their text conversation, and begins to read aloud

STEVE

Your message. 10:25 PM. “I’m picturing you fucking me, and I want you to fuck me”

MEL

….that’s different

STEVE

Oh, Mel

MEL

That is totally different. You asked me what my objective is at the top of the scene. That is literally my character’s objective.

STEVE

No, you chose that objective.

MEL

Yes – because thats what HAPPENS IN THE PLAY. Our characters have sex IN THE PLAY.

STEVE

Mel, you need to calm down. You’re confused. I did not touch you. I did not hurt you. All you have are some texts that are very clearly based in the given circumstances of the play. I’m sorry that you misunderstood them.

MEL

Are you kidding me? I only said that picturing you fucking me thing because YOU said to be as bold as possible, that my character would be BOLD with her SEXUALITY

STEVE

You’re not listening to your own argument. You just agreed that we were in character.

MEL

I never said we weren’t in character, I just said you crossed a LINE

STEVE

If I crossed a line you crossed it first by using explicitly sexual language

MEL

What???

STEVE

I take the craft very seriously, Mel. Its my job to take in what you’re saying and let it come out as truthful behavior.

MEL

Don’t fucking –  Stanislavsky me right now.

STEVE

If you have trouble differentiating between reality and the work than I suggest you reconsider your future in this business.

MEL

I can’t believe –

STEVE

I’m glad you brought this to my attention. I should have known better than to offer you my help. I knew it was a mistake for the production to bring you on. You’re too young, you don’t take the craft seriously

MEL

If taking acting seriously means being sexually harassed by gross dudes on power trips than yeah, I guess I DON’T.

STEVE

(very quietly) I think you should think long and hard about what you just said.

MEL

Steve.

STEVE

If you mean to cry sexual harassment I think you should be very careful about how you proceed.

MEL

I literally have the texts right here, Steve.

STEVE

Yes. You have texts. Instigated per your request.

MEL

I never asked for – you’re the one who wanted to be my fucking – mentor, to take me under your fucking WING because you SAW yourself in me

STEVE

I invited you into my process and it was clearly too much for you.

MEL

You’re a fucking pervert.

 

Steve grabs her arm. It is the first time they have made physical contact in the play.

STEVE

You will never. Ever. Be able to prove this. I am a well known actor. People in this town can’t get enough of me. Do you know how respected I am? You are a child who was invited into this production by the good grace of our director, with whom I will surely be speaking about your professionalism. That you are difficult to work with. That you aren’t taking the job seriously. Do you understand me? Is that what you want? Mel, is that what you want?

 

Mel is silent. She pulls her arm away. They stand there for a long moment.

MEL

I’m going to wait outside until everyone gets here.

STEVE

Good Girl.

 

Mel opens her mouth as if to say Fuck You. She thinks better of it. She pulls out her phone and looking directly into Steve’s eyes she takes a screenshot of the text message. The distinct noise that is made when an iPhone makes a screenshot is heard loudly in the room. Mel Exits.

 

END OF PLAY.