Lillian and Charles

LILLIAN AND CHARLES

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ACT ONE

Springtime, 1984

SCENE 1

(The scene opens in Lillian’s office at the Enterprise. The newspaper office is chaotic with clutter and people darting about trying to meet deadlines. This scene should be suggestive in design, utilizing a turntable wall to convert to the bedroom in Act One, Scene 3 and then to the chapel in Act Two, Scene 1. Lighting will assist technical necessities.)

LILLIAN. Let’s do another piece about the girls, Danielle.

DANIELLE. Whatcha have in mind?

LILLIAN. Well, I want to cover the role that financial dependency plays in abuse cycles in families. It seems to me that not enough attention is being paid to this subject. Mom can’t work because of the responsibilities of the kids, Dad is overburdened because of the responsibilities of the kids, Dad gets frustrated and drinks to ease the pain, Mom gets frustrated and complains about something, Dad’s fuse blows and he lashes out and hits someone he loves, Mom has nowhere to go to protect herself and the kids, and so on. I’d like some case history interview back-up on this family crisis pattern, with the two focus questions being, "Would Mom like a safe place in this town to take the kids?" and "Should the state legislature pass the Family Violence Act?" (Takes a deep breath.) Got that, Danielle?

DANIELLE. Got it. I’m outta here.

(Danielle walks briskly toward the door and passes the front desk receptionist.)

DARLA. Lillian’s on a roll since she bought the paper. How’d that happen, anyway?

DANIELLE. Her Daddy surprised everyone. Apparently he had some good investments that no one knew about until he died. (Lillian begins walking briskly toward the front desk. Danielle hushes the gossip.) Gotta go, Darla. This assignment’s a killer.

LILLIAN. (Calls out.) Danielle...Add this...I want you to contact Senator Mason and clue him that we’re doin’ this. I want him to sweat. Got that?

DANIELLE. Got it. Later! (Heads through the door.)

(The state editor for the paper, Mark Alan, is reading a transmission coming in from the Associated Press wire. He becomes frantic.)

MARK ALAN. Come on, come on...come on! Oh, my god! (Calls out excitedly.) Lillian, Lillian...we’ve got a scoop! Charles Freeman’s plane crashed in the Rockies while he was on assignment...there’s a search...but...from the wreckage...it doesn’t look too good.

(Lillian and everyone else stand very still and are very quiet for a moment. She breaks the silence.)

LILLIAN. Let me read. (Mark Alan and Lillian meet halfway across the room. She reads.) Headline it...tonight.

MARK ALAN. But...but...it’s a scoop. If we front-page it in the morning edition, we’ll scoop the Daily.

LILLIAN. Let the Daily have the damned scoop...The story runs tonight. (Lillian grabs her briefcase and bag and storms out of the office.)

ACT ONE

Springtime, 1974, ten years into the past

SCENE 2

(The scene opens in the living room of a quiet country retreat. Furnishings are simple and comprised of an assortment of casual furniture and memorabilia of the 60’s. Curtains are bright colors, and the stereo is playing Dusty Springfield, "You Don’t Have to Say You Love Me". LILLIAN is dressed in blue jeans and a man’s white dress shirt, tails out, with a small polka-dot neck scarf. The telephone rings, and LILLIAN answers quickly.)

LILLIAN. Oh, Hi, Mama. (Pause.) No, I’m expecting Charles to call. He’s supposed to come and pick me up. We’re goin’ out. (Pause.) No, Mama, I won’t be on the road late. (Pause.) No, Mama. (Pause.) No, Mama. Please let me go...he may be trying to call. (Pause.) Bye, Mama. (LILLIAN cradles the receiver and walks to the stereo and turns up the volume. She begins to sing along. The telephone rings, and LILLIAN frantically rushes to the stereo and turns down the volume, then races to the telephone and picks up the receiver. She’s out of breath.) Hello?! Hi. Yes, I’m ready, when are you leaving? (Pause.) Oh, okay...wait; hold on, I hear him now... (Goes to the window and looks out, dragging the telephone.) Yes, he’s here. See you when we get there! (LILLIAN hangs the phone up, grabs her purse, glances into the wall mirror and dresses her hair a bit. There’s a firm knock on the door, and she walks over to that side of the room.) Who is it?

PJ. It’s PJ, Ma’am. Mr. Charles sent me to pick the lady up. (LILLIAN opens the door wide and sees this smiling young man her own age in blue jeans and a Beatles T-shirt and tennis shoes.)

LILLIAN. Oh, knock it off, PJ. You’re his best friend, not his chauffeur. How come he didn’t come and pick me up himself? Don’t answer that...I already know...lazy, right? Don’t answer that, PJ, I don’t want to start a war. Besides, I’m glad to see you! Whatcha been doin’?

PJ. Havin’ fun, havin’ fun, chasin’ the women, havin’ fun.

LILLIAN. You’re a kick, PJ, ready to go?

PJ. Yes, Ma’am.

LILLIAN. (Teasingly.) Knock it off! How do I look?

PJ. Mr. Charles is gonna be mighty pleased, Miss Scarlett. Ready to roll?

LILLIAN. Let’s go, PJ. I can’t wait to see Charles! (LILLIAN locks the door and the twosome strolls out, arm in arm, closing the door behind them.)

ACT ONE

Summer, 1975

SCENE 3

(The scene opens in Lillian’s living room, and the bedroom is adjoining. The decor has changed a bit; it is somehow more romantic, reflecting the fact that it is over a year later and Lillian and Charles have been seeing each other for a while. Lillian and Charles walk through the front door looking well dressed and invigorated. Lillian is smiling and vivacious—and beautiful. Charles is no less than debonair—and handsome. It is a grand, youthful and radiant entrance by this attractive young couple.)

LILLIAN. Oh, Charles, I had such a good time tonight! The dinner theatre was great...I simply adore melodrama, don’t you? It was precious! (She walks to the wall mirror hanging over a small table by the door. She looks into the mirror intensely for several moments, and then reaches up slowly with both hands and touches the necklace she is wearing. She speaks with admiration.) It is sooo pretty!

CHARLES. (Stands behind Lillian and places his hands on her waist. Looking over her shoulder into the mirror he speaks with admiration.) Pretty necklace for a pretty girl.

LILLIAN. (Sweetly.) Would you like something to drink?

CHARLES. Dr. Pep?

LILLIAN. Just make yourself at home. I’ll be right back. (Lillian goes through the door to the kitchen, returning with a glass of iced beverage, complete with linen napkin under the glass. Charles is selecting a Linda Ronstadt record album, and he begins playing the music on the stereo record player.)

LILLIAN. Here you go! (She leans toward Charles and graciously offers him the glass. Charles takes the drink and puts it on the coffee table with one hand, taking Lillian’s hand with the other. He pulls her close to him and kisses her softly, stroking her hair and looking at her intensely.)

CHARLES. (Passionately.) Dance with me, Lillian. (They dance and passionately embrace, kissing every so often.)

(Suddenly Charles breaks away and sits apart in the chair, not quite looking directly at Lillian as he speaks.)

CHARLES. I’m leaving town, Lillian; I’m chasing my dream. I’m going west. I have a chance to be a magazine photographer for American Graphic Magazine. I’ll be leaving in a few weeks.

(Lillian looks startled and disheartened. She paces a bit, then walks over to the chair and faces Charles.)

LILLIAN. (Tentatively.) Why, Charles, I really don’t know what to say. I’m so surprised at all this. I guess...I guess I should wish you happiness...that’s what it’s all about, isn’t it? Happiness?

CHARLES. Most people, Lillian, are happiest when they’ve found their niche. I think that’s what I’ve done. I hope that’s what I’ve done. Come here. (Charles rises from the chair and draws Lillian to him and there’s more passionate embracing.)

LILLIAN. (She pulls away.) I just don’t want to see you go, Charles. But that’s selfish of me, isn’t it? You are so talented, you’re a wonderful photographer, you’ll be famous one day, and rich, and maybe...

CHARLES. (His hand reaches for Lillian gallantly. He speaks with warmth and charm.) Let’s go into the other room, pretty girl.

(Charles leads Lillian to the bedroom, they sit on the bed, the lights dim, the music softens, and there’s more lovemaking.)

CHARLES. Lillian, let me take your picture.

LILLIAN. (She moans softly.) Nooo.

CHARLES. I want to take your picture...please?

LILLIAN. Ohhh, Charles. I love you, Charles; I love you so much.

(Stage lighting fades to dark.)

ACT ONE

Autumn, 1975, Four months after Charles leaves town

SCENE 4

(The scene opens in Lillian’s living room, and the bedroom is adjoining.)

SISSIE. You look terrible, Lillian, what’s wrong? You haven’t looked well in months. What is wrong?

LILLIAN. Oh, nothing...I’m just tired...so many long hours working at the newspaper. Mr. Richards wants to make the Enterprise a daily instead of a biweekly, so maybe he’ll be hiring new employees. That will help...I’m so tired of working overtime.

SISSIE. Something tells me something else is bothering you, Sweet. Wanna talk about it?

LILLIAN. No, not really, Mama. I’ll be okay...promise.

SISSIE. Now, little girl, let me tell you something. The man is supposed to worry about the woman...not the other way around.

LILLIAN. Why, whatever do you mean?

SISSIE. You have Chaaarrles written all over your face, Lillian. You haven’t heard from him in a while, have you?

LILLIAN. No, Mama, no, no, no. (She bursts into tears.) There, are you satisfied now? You’ve gone and upset me to tears, and my eye make-up’s just runnin’ off. I’m so miserable, Mama, and I just don’t know what I did to deserve this.

SISSIE. You cared too much too soon, Sweet, but we all do that when we’re crazy in love. Why, I had a Charlie once, and I still love him, too.

LILLIAN. (In disbelief of what she is hearing.) What?! But...what about Daddy?

SISSIE. Well, it’s not the same kind of love, but I...well, I guess I love your Daddy, too.

LILLIAN. What happened to your Charles...I mean your Charlie...Mama?

SISSIE. He was killed in the war...just before he was going to come home on furlough...We were planning to get married when he came home (Pause.) but Charlie never made it home.

LILLIAN. That’s so sad, Mama, and so sweet. Does Daddy know?

SISSIE. (Ignoring her.) And I still have a picture of Charlie, too. I keep it in a special place, so when I think about him...(Trails off.)

LILLIAN. Does Daddy know?

SISSIE. What your Daddy doesn’t know about Charlie won’t hurt him, Lillian. Sometimes Charlie is the only reason I can stay with your Daddy. I get more love from Charlie’s picture than I get from your Daddy. All your Daddy cares about is runnin’ around with his friends and chasin’ those women. Charlie was different. He was nice to everybody he knew, but he just looked at me in a different way, like he adored me. I always felt secure...and very special. I never felt scared that he might leave me or anything. I never worried about other girls takin’ Charlie away. He wanted me to be confident. He was proud to be with me. I was proud to be with him. And then he left for war, (Wistfully.) and one day, out of the blue, his mother called me...said she’d gotten a wire...and Charlie was gone, gone, gone.

LILLIAN. I’m sorry, Mama...that’s sooo romantic. I’ll never tell Daddy. I’m glad you have Charlie for when Daddy hurts you. Will you show me Charlie’s picture sometime?

SISSIE. One day...one day I’ll show you my Charlie.

LILLIAN. (Tentatively.) You know, Mama, there’s something else that’s bothering me about my Charles. (Slowly.) Now I think you’ll understand.

SISSIE. What is it, Sweet?

LILLIAN. The last time I stayed with Charles at his house was the night before he left...and don’t fuss at me for sleepin’ with him, Mama...the last time I was there, when I woke up the next morning...I was straightenin’ and makin’ up the bed, and...and...Oh, well, it probably doesn’t matter...

SISSIE. What is it, Lillian? What happened?

LILLIAN. Well, there were these...well, I found this pair...I just can’t say it out loud.

SISSIE. What, Lillian, what did you find?

LILLIAN. Mama, I found someone else’s underwear in Charles’ bed...that morning before he left! That’s why I’m so upset! That’s why I look so terrible! (Runs out of the room into the bedroom and throws herself on the bed, sobbing.)

SISSIE. (Incredulously.) And I raised this child? First of all she gives herself and her manners away like that, before she even knows how he feels! And then, to cry like this over a...a...lyin’, woman chasin’, cheatin’, heart breakin’ man!?! Why that Charles is just like her Daddy! He’s not anything like my Charlie! No other man in this entire world is anything like my Charlie! And I can see that I’m not through raisin’ this daughter of mine!

ACT TWO

Early 1980’s

SCENE 1

(The scene opens in Lillian’s living room, and the former adjoining bedroom is now a chapel—dark until required for the wedding scene. Although Lillian is quite sophisticated now, as reflected in her living room decor and in the way she dresses and expresses herself; she is still radiant and enthusiastic about nearly everything.)

LILLIAN. (Answers ringing telephone.) Hello. (Pause.) PJ? Are you in town? (Pause.) Oh, wonderful! Will you come to see me? (Pause.) Why, right now, PJ! There’s no better time than right now to visit with a long, lost friend! I simply cannot wait to see you! (Pause.) Have you changed much? Oh, never mind, I’ll see for myself, won’t I? Bye-bye!

LILLIAN. (Hurriedly dials telephone.) Mama, guess who’s coming to see me...right now! (Pause.) He’s a long, lost friend! (Pause.) No, Mama, not Charles...I haven’t heard from Charles in over six months...since he came through town on the way to New York. (Pause.) No, Mama, I did not sleep with him then (Crossing her fingers to audience.), and please stop calling Charles the "Traveling Salesman". You know how fond I am of him still. Now, don’t you want to know who’s coming to visit me? (Pause.) It’s PJ, remember PJ? Charles’ best friend? The one who used to call me "The Divine Miss Lillian"? (Pause.) No, Mama, I don’t plan on sleepin’ with him...PJ’s just coming to visit. Remember, Mama, I am dating Bobby rather seriously, and he has asked me to marry him, so don’t gossip too much about me...it might get back to Bobby! (There’s a knock on the door.) Gotta go, Mama, PJ’s at the door! Bye now!

LILLIAN. (Answers the door.) PJ!...What a wonderful surprise! You look terrific...and you’re all dressed up...you’re quite a success, I’m sure!

PJ. Not doin’ too badly, Lillian...in business for myself, and business is good. It’s the 80’s! And I must say you are as lovely as ever! Why the years have been gentle with you...you are still glowing, still divine!

LILLIAN. Come in and have a seat, let’s have refreshments, and we’ll catch up with each other!

(Serves refreshments...beverages complete with linen napkin under each glass.)

LILLIAN. Why I have thought of you so often, PJ! Are you married? Do you have children?

PJ. No, no...no wife or children yet! A prospect or two...or three...for sure, and I think I may soon be ready to settle down and build a nest. You know, Lillian, most of our friends are nesting by now!

LILLIAN. Have you heard from Charles, PJ? I haven’t even received a telephone call from the Romeo in over six months.

PJ. (Surprised. Responds tenderly.) Why, you don’t know about Charles, dear Lillian, do you?

LILLIAN. (Startled.) What do you mean, "don’t know about Charles"? He’s okay, isn’t he? Please tell me Charles is okay, PJ...don’t tell me he’s hurt or anything...he’s alive, isn’t he?

PJ. Calm, calm, my dear, Charles is quite okay. But...(Slowly.) you don’t know that he’s married?

LILLIAN. (Stunned, with a pained expression.) Married? Charles...married?

PJ. Yes...Charles married a girl he met while traveling and taking photographs for the magazine...a rather pretty catch, I might add! Oh, I’m sorry, Lillian, I hope I haven’t said something I should have been quiet about, but as good friends as you and Charles have been through the years, I can’t imagine why he wouldn’t have told you himself.

LILLIAN. (Recovering.) Good friends...good friends...why, yes, Charles and I are the best of friends. He probably tried to call me, and I wasn’t here or something, and he’s probably been so busy getting settled, and being happy, and I’ve always wanted happiness for Charles...and...and I’m quite happy about this news, I’m quite elated that Charles is happily married...and...it’s really quite a coincidence, too, because Bobby has asked me to marry...Bobby...you must meet Bobby, PJ, before you leave...he’s a forester...a warm, strong, wonderful, gentle man who loves the outdoors and the beauty of nature...and he is nice to everybody he knows...and he looks at me as if he adores me...and he’s asked me to marry him, and I am...I am going to marry Bobby!

(Enter Bobby.)

BOBBY. Did I hear my name, Lillian? And did I overhear correctly that you have finally accepted my proposal of marriage? (To PJ.) Hello, I’m Bobby, how are you?

PJ. Nice to know you, Bobby, I’m PJ, and I want to tell you that you are the luckiest man on earth to have won the heart of The Divine Miss Lillian!

BOBBY. You brought me luck, PJ...I never thought sweet Lillian would say "Yes" to me! What did you say to charm her so? I must know the secret!

PJ. Why...we were talking about an old...

LILLIAN. (Interrupts hastily.) Oh, hush, you two...I’m blushing!

BOBBY. We must celebrate the magic of this moment...the moment my darling Lillian finally agrees to be my wife. A toast is in order, Lillian, let’s have a toast to this wonderful occasion!

LILLIAN. Why, yes, Bobby, we must celebrate!

(Brings three glasses of beverage, complete with linen napkins.)

LILLIAN. Here you go!

PJ. This is refreshing, my dear, what is it?

LILLIAN. Oh, it’s the only thing I have that is chilled...it’s...it’s Dr. Pep.

BOBBY. It’s perfect, my love...let’s have a toast to our future together...and to years and years and years of loving bliss!

(Living room goes dark.)

(Vignette: Simple wedding melody. Lights fade in on chapel set for wedding, and the wedding party is in place. Stand-ins suggested for both Lillian and Bobby because of costume changes required for Scene 2. Minister and Bride and Groom flanked by Sissie, Daddy and a few friends, dressed for the occasion...a small chapel wedding.)

MINISTER. Who gives this devoted woman, Lillian, to be married to this gentle man, Bobby, to be loved, cherished and protected by him until death?

DADDY. I do.

(Wedding music...lights fade to dark.)

ACT TWO

Early 1980’s

SCENE 2

(Living room.)

LILLIAN. (Dials telephone.) Mama, guess who’s coming to see me! (Pause.) Remember my friend, Shirley? (Pause.) Yes, she’s separated from Brad, and she has those three gorgeous children to raise all by herself. (Pause.) No, Mama, I don’t know if there was another woman involved, and it’s none of our business anyway! I’m more concerned about Shirley! (There’s a knock on the door.) Gotta go, Mama, Shirley’s at the door! Bye, Mama!

LILLIAN. (Calls to Bobby.) Shirley’s here, Bobby! (Opens the door.) Hi, Love, come on in! You look wonderful! Isn’t this weather gorgeous?

SHIRLEY. I’m really happy to see you, Lillian. I have wanted to sit and have a heart-to-heart for several weeks now. (Bobby enters.) Hi, Bobby, how are you?

BOBBY. Just fine, Shirley. You look lovely today. I know things must be challenging for you and the children, dear, but you are such a strong person. Lillian and I both admire you for your courage!

SHIRLEY. Thank you, Bobby. It has definitely been a challenge since Brad left. The children are so confused.

BOBBY. Well, you and Lillian have a lot to talk about. She always sees the best in every difficulty life gives us. Why, by the time I return from my leisurely walk, I am sure you and Lillian will have resolved every ounce of heartache. I’ll bring us back desserts from the bakery, okay?

LILLIAN. (Lillian kisses Bobby good-bye.) Bye, Love...bring some chocolate! Chocolate is good for broken hearts!

(Bobby leaves.)

SHIRLEY. (Withers into self-pity.) Oh, Lillian, how could the bastard leave us like that?

LILLIAN. Well, Shirley, you are not alone with this problem.

SHIRLEY. What do you mean? It’s never happened to you!

LILLIAN. Well now, you must trust me when I say you are not alone. There are people everywhere who, for reasons hard to understand, cannot give of themselves the way we might expect them to give. But we must love them anyway, because they need love even more than those of us who find loving so easy.

(Silence. Shirley weeps, and Lillian comforts her.)

SHIRLEY. This is why I always ache to be with you when I’m hurting. You have a gift, Lillian, a real gift. When you speak in those sweet, poetic ways, my heart yearns to forgive and love again. Now I have something to say to the children that I feel they will understand. I never want them to lose faith in Brad. He’s their father, and he is a decent man, even if he cannot be there for us. If that were not true, I never would have fallen in love with him, right?

LILLIAN. Right! And you must take very good care of yourself…and love yourself, too. The children are watching you every minute, you know.

SHIRLEY. (Takes Lillian’s hands and speaks slowly and sincerely.) Thank you, Lillian...you will be my friend forever!

(Bobby returns with desserts.)

BOBBY. Chocolate, vanilla, chocolate, strawberry and…chocolate!

SHIRLEY. I think I’ll give my chocolate to Lillian! She’s given me real hope again! And I’m anxious to get home and show my babies just how strong I can be! Hugs, please!

(They all hug and say good-byes. Shirley leaves. Lillian gets beverages, complete with linen napkins, and she and Bobby sit and begin to enjoy the desserts.)

BOBBY. Well, Lillian, I really feel good when I see the way you help your friends turn sadness into joy. (Pause.) I need a little of that myself right now.

LILLIAN. Why, whatever do you mean, Bobby?

BOBBY. I found this when I was looking for my keys this morning. (He brings Lillian’s diary out from his jacket.)

LILLIAN. (Stands.) My diary, my diary, you read my diary? (Tears.) How could you read my diary?

BOBBY. It was quite easy, Sweet...you have a lovely handwriting.

LILLIAN. This is no time for joking, Bobby! I cannot believe you read my diary!

BOBBY. (Stands.) You know, Lillian, I trust you because you are you. And you must trust me when I say that I meant no harm to you. And even after I read your diary, which I know I never should have done, I still trust you, and love you and... (Breaks down.)

LILLIAN. Oh, Bobby, whatever does this mean?

BOBBY. (Recovers.) It means...it means we must each take some time to think about our lives and our marriage, Lillian. You taught me long time ago that we must always try...to live in the truth.

(Lillian and Bobby reach both hands out and lock fingers, then gently let go and step away from each other poignantly. Lights fade.)

ACT TWO

Early 1980’s

SCENE 3

(The scene opens in Lillian’s living room. Lillian is curled up on the sofa writing in her diary. Her dress is long, flowing and romantic. Soft, melodic music is playing in the background. She reaches for a beverage in a glass complete with linen napkin, then stands and walks to the wall mirror hanging over a small table. She looks into the mirror intensely for several moments, then gently places the glass on the table. She reaches up slowly with both hands and touches her face, then lowers her hands and turns her back to the mirror. She appears to be very introspective. There is a soft knock at the door, so soft she doesn’t hear it at first. The knock occurs again a bit louder, and she responds and walks to the door.)

LILLIAN. Who is it?

CHARLES. (Muffled.) Charles.

LILLIAN. Pardon me?

CHARLES. Charles.

LILLIAN. (Lillian looks startled and cautiously opens the door.) Charles? Why, it’s you!

CHARLES. Yes it is, Lillian. May I come in? (Charles appears mature, confident, well dressed and as handsome as a romantic ideal could be.)

LILLIAN. (Embarrassed and delighted.) Why, of course! Please come in. I cannot believe my eyes! It’s been so long since I’ve seen you!

CHARLES. You are more beautiful than I even remembered, Lillian. I’ve thought of you so many times through the years. May I sit down?

LILLIAN. (Embarrassed.) Why, of course! We do have a lot of catching up to do, don’t we?

(Lillian and Charles sit a comfortable distance apart from each other.)

CHARLES. How have you been?

LILLIAN. (A bit formal.) I’m doing well…and you?

CHARLES. (Ignoring her question.) I heard that you were on your own now, and I thought I might see you and make sure you were all right.

LILLIAN. I’m fine by myself. I’m so busy I hardly notice. I’m practically running the newspaper now. Why, every now and then we even publish a story about you, Charles...and your photography. You are quite famous, the most famous person from this town since...

CHARLES. (Interrupts.) I didn’t come here to talk about me, Lillian. I want to hear about you...Come here.

(Lillian stands up quickly and appears furious.)

CHARLES. (Startled, he stands.) What’s wrong, Lillian, what did I say?

LILLIAN. You said, "Come here"!

CHARLES. What’s wrong with that, Lillian...I want you to...

LILLIAN. (Speaks angrily.) I know damned well what you want, Charles! And when you say "Come here" to me, it makes me...it makes me want to...

CHARLES. Want to what, Lillian? (He reaches out to her lovingly.)

LILLIAN. Oh, Charles, oh dammit, oh dammit... (They embrace passionately and kiss.)

CHARLES. (Caressing her face.) Dammit, I love you, Lillian, I’ve always loved you!

LILLIAN. (Pulls away. Speaks emphatically.) You are married, Charles, married, married, married!

CHARLES. No, no, pretty girl...she left me, and I’m as alone as you are. And I am here for you now, as I always should have been. I never should have left you. I never should have hurt you. I should have taken you with me, and now I will take you with me! We can travel; we can see the world together!

LILLIAN. I have friends and family here, Charles. They have always been there for me. I can’t even imagine leaving them like that! They are my world!

CHARLES. But I can make your dreams come true, Lillian! I know you love me as much as I love you! You don’t want to be alone the rest of your life! Will you give me a chance?

LILLIAN. Oh, Charles...if I could only go back in time...I would give you many, many chances. But now that I am alone with my own thoughts to guide me, I see things so differently. In letting go of the dream of being with the only man I’ve ever loved truly, I realize that there will never be another...and it’s okay, because I am now free in every respect.

CHARLES. But, Lillian, you don’t have to give up any dreams. You have never left my mind. You are my heart, Lillian, and I have so much to make up to you. I want to show you how much I care...how much I have always cared. I can give you whatever you want, pretty girl. I’m rich, Lillian...we can buy anything...everything! I can give you wealth!

LILLIAN. I have the best wealth, Charles, because I have given from my heart all of my life. In loving you with forgiveness because you were not able to love me the same, I have grown in patience and understanding toward many people. I always see the hurt in the eyes of everyone. Perhaps they have also loved someone who could not return their love. And when someone has hurt me, I have tried to love him or her anyway, as I always have loved you even when you have hurt me. The passion I have felt for you has driven me to enjoy the richness and beauty of life and to look for the best in each and every person. I suppose, I confess, I was always looking for another you...but there is only one Charles for me, and I will remember you always. (Pause.) It is time for me to say good-bye to you, Charles...with prayers for your joy and for peace in your heart. (Pause.) And never, ever forget that…I wish you love. (Charles appears accepting of Lillian’s good-bye. He slowly turns and walks toward the door, only halfway glancing back. He leaves, slowly closing the door behind him. Lights dim, and a single light illuminates Lillian's memorable pose. Curtain begins to close.)

ACT TWO

Early 1980’s

SCENE 4

(The curtain has begun falling on SCENE 3 but reopens abruptly when there is a loud knock on the door.)

LILLIAN. Who is it?

CHARLES. Charles.

(They talk through the door.)

LILLIAN. You can’t come in.

CHARLES. But, I want to say one more thing.

LILLIAN. There’s nothing more to say

CHARLES. Please, Lillian. Just give me a minute.

LILLIAN. Wait a second, Charles.

(Lillian goes to the table and mirror by the door and picks up the glass, complete with linen napkin. She walks back to the door and opens it.)

LILLIAN. (Firmly.) Charles...leave me alone. (She throws the Dr. Pep in his face, firmly sets the glass down on the table, wads the linen napkin into a ball and tosses it at him, then slams the door.)

(Charles breaks the door in and walks toward Lillian, wiping his face with the linen napkin. She freezes at first, then runs around the room in an effort to escape. Charles is in hot pursuit. He catches up with her and grabs her and kisses her passionately.)

CHARLES. I’m sorry, Lillian...for whatever I did to hurt you.

LILLIAN. You’re sorry? You’re sorry? Whatever did you mean?

CHARLES. I was just an idiot.

LILLIAN. (Firmly.) Agreed.

CHARLES. Will you marry me?

LILLIAN. No!

CHARLES. Will you think about it?

LILLIAN. No!

CHARLES. Do you still love me?

LILLIAN. (Pause. Quietly.) No.

CHARLES. Will you think about it?

(Lillian is silent. Charles kisses her on the top of the head, slowly backs away and leaves, closing the door behind him gently. Curtain. End of play.)