Summary: Quinn Pascal decides to leave the city for a small town and perhaps find a quiet life. Unfortunately the house she buys comes not only with a few pieces of furniture, but it's own ghostly resident. Or maybe it is fortunate. The quiet life can sometimes be so overrated.
Disclaimers: Characters, mine. Story, mine. Any similarity to persons living or dead is unintentional.
Warning: This story depicts loving/sexual relationships between women, if this is offensive to you - don't read, or if it is illegal where you live – don't read (and consider moving), or if you are under age and your mom checks your computer to see what sites you visit – don't read (and change sites you're probably going to be grounded).
Authors note: Every story I write starts out as a script and then gets translated into a manuscript form, this time I thought I would just leave it as is and see what people think. All camera notes have been removed so as not to bore the reader entirely and more narrative direction has been added.
Comments are most welcome; please send to drewwords@yahoo.com
July 14, 2010
SC 1
The city skyline can be see retreating down the road. It is a beautiful day and the scenery flies past as the focus returns to the road in front. The roadside scenery changes from suburbia to country to small town as a truck continues down the road. At last a large rental truck pulls to a stop in front of an old Victorian house in need of some TLC. The yard is over grown and the house needs a new coat of paint. Quinn Pascal steps out of the driver's side, her shoulder length dark brown hair is pulled back in a ponytail, she takes a long look at her new house; in spite of its condition a large grin grows on her face and her bright blue eyes shine. Quinn walks to the front door, unlocks it and steps inside. She goes through the first floor opening what windows she can, some are stuck and she leaves them for now, some furnishings have been left by the previous owner, but they are old and have dusty sheets on them, as no one has lived in the house for a year. Quinn walks back through the house and heads out to the truck. The first thing she retrieves form the back of the truck are cleaning supplies. She picks one room and moves the few chairs in it out and begins sweeping. She opens the back door, looking out onto a very over grown back yard. There is evidence, a birdbath on its side and various planters here and there, that someone had loved the yard at one time. An old shed can be seen further back in the yard. She takes one step out into the yard and a fleeting overwhelming look crosses her face she moves back into the house and begins the arduous task of moving in. Quinn carries box after box inside, after a half hour or so a woman followed closely by a man and 17 year old boy approach her.
MARY ALICE
Hi! You must be our new neighbor, I'm Mary Alice Blakely.
(Mary Alice is a no nonsense lady with dirty blond hair and a can do attitude.)
QUINN
(Shaking her hand.)
Quinn Pascal, nice to meet you.
MARY ALICE
This is my husband Boyd and our son Jamie.
BOYD
(Shaking hands.)
Welcome to the neighborhood, it's nice to see someone moving into the old place.
QUINN
Thank you, I'm looking forward to getting it fixed up.
MARY ALICE
It's a shame how run down it's gotten, Jamie use to keep this place so nice looking, he took care of the yard for Charlie.
QUINN
Really!?
(She looks over the strong young man who matches her 5'8” height, light brown hair constantly falling in his eyes, he is a younger version of his father.)
I don't suppose you would consider taking up your old job again?
JAMIE
You mean a paying job?
MARY ALICE
Jamie!
QUINN
Cold hard cash.
BOYD
What about the job you already have?
JAMIE
That's only part time Dad, besides I have to quit when school starts anyway.
QUINN
Do you go to the university?
JAMIE
I'll be a freshman this fall.
QUINN
Me too!
(Jamie gives her a funny look.)
I'll be teaching in the art department.
JAMIE
Cool.
QUINN
So, if you are willing to spend part of your summer getting this place in order, I might be interested in keeping you on weekends to keep the place up and it wouldn't interfere with your school work.
JAMIE
That's awesome, Dad, can I?
MARY ALICE
We can talk about this later, right now we came down here to offer a helping hand, remember? So what do you say Quinn, could you use an extra hand or two?
QUINN
You're seriously offering?
BOYD
(Walking to the truck and grabbing a box.)
Just tell us where you want it.
QUINN
I think I'm going to like it here.
(She grabs a box and starts toward the house.)
Thank you so much, I was beginning to wonder how I was going to get some of this in by myself. I cleared one room and everything is going in there until I can get the place clean.
MARY ALICE
Now that sounds like something I can help with.
They all walk in with boxes and the look on Mary Alice's face says she disapproves of all the dirt. Quinn shows her the cleaning supplies and Mary Alice starts tackling the kitchen.
SC 2
It is evening on moving day and Mary Alice, Boyd, Jamie and Quinn are sitting on the front steps having just finished a pizza. The moving in is complete, and Mary Alice has cleaned the kitchen, one bathroom, and the living room. The diner party is coming to an end.
QUINN
I can not thank you all enough. I can't believe you cleaned my house.
MARY ALICE
I barely made a dent in that mess. Sorry, but it's been over a year since anyone has lived in it.
QUINN
Well, thank you again.
BOYD
(Standing up.)
That's what neighbors are for. We're glad you're here Quinn.
MARY ALICE
Thanks for the dinner, but we better get going, let you get settled in.
(She stands up and takes her husbands hand.)
Good night.
QUINN
Good night.
BOYD
Night.
(They walk off hand in hand.)
QUINN
(To Jamie who is lingering behind.)
Your parents are incredible people.
JAMIE
Yeah, their okay. I'll start on the yard Monday afternoon, if that's okay with you.
QUINN
That would be great; I think I have enough to keep me busy until then.
JAMIE
Thanks again Quinn, night.
QUINN
See you Monday.
(Jamie leaves and Quinn starts clearing away the paper cups and pizza box.)
SC 3
In the kitchen Quinn puts the evening's trash in a trash bag. She makes sure the back door is locked and walks up stairs. She goes thru each room; most have odd and end bits of furniture in them. She goes into her bedroom where her suitcases have been placed, but the room needs a good cleaning, her bed is not assembled and the mattress is still in plastic. She takes a sleeping bag off her backpack in the corner, knocks the mattress on the floor sending up dust, and throws her sleeping bag down and a pillow. She goes into the bathroom, brushes her teeth and turns on the shower.
SC 4
The next morning Quinn is asleep on the mattress; a bright sun shines in and forces her awake. She is slow to wake up, but looking around a big smile crosses her face. Finally she gets up, pulls on some jeans, leaving the t-shirt on she slept in and goes down stairs. She digs out her coffee maker and the few groceries she brought, makes coffee and pulls a slice of pizza out of the fridge. She opens the back door, pulls a stool out to the back porch and eats her pizza looking at the over grown mess.
SC 5
With a cup of coffee in hand she heads back upstairs and begins tackling the job of cleaning her bedroom. She starts moving things out of the way so she can clean. Out the window a quiet neighborhood can be seen, a small road with houses every acre or more, just a quiet small town life.
SC 6
It is Monday afternoon and Jamie arrives to start cleaning the yard.
JAMIE
(At the open front door.)
Quinn, you in there?
QUINN (V.O.)
Come on in Jamie I'm in the back room!
JAMIE
(Looking around and seeing most of the house is clean with most of the furniture in place.)
You couldn't have gotten this place cleaned in just two days.
QUINN
Don't be too impressed, it's just this floor, besides your mom did the hardest part.
JAMIE
(In the back room he looks around seeing easels and tables of art supplies.)
What's all this?
QUINN
I thought I would make this room a sort of home school office. I give private lessons to younger students.
JAMIE
(Looking at some of her paintings piled up against the walls.)
You're pretty good.
QUINN
Thanks, I just might feel like I earn my paycheck.
JAMIE
(Seeing a painting of a table loaded with homemade food and bread smothered in jam.)
My mom could use something like this.
QUINN
You mean for her bakery?
JAMIE
If she had something like this out front instead of that little sign she has, it would really draw people in.
QUINN
You think so?
JAMIE
It's making me hungry.
QUINN
Then how about a bite to eat before we tackle that jungle out there?
JAMIE
Like my dad says, I'm a seventeen year old boy, I never refuse food.
SC 7
In the front yard.
QUINN
I was thinking if you could just get the weeds under control and the grass cut that would be a good starting point.
JAMIE
Sure, that's easy, but there use to be these great gardens in front of the porch and along the walk here. It looks like some of the bricks are missing, but don't worry I know where there's a stack in the back.
QUINN
I think it's going to take a machete to get through the back.
JAMIE
Well, first things first, let's just get it to where you can see the yard and then I can show you the gardens I use to have in here.
QUINN
You must have been very close to the man who lived here.
JAMIE
Charlie? Yeah he was a great old guy, I love gardening and Charlie would let me do whatever I wanted with the yard.
QUINN
So you designed the gardens.
JAMIE
Yeah, I love designing, that's why I'm studying architecture at school.
QUINN
What about landscape architecture?
JAMIE
I plan to do both.
QUINN
And you say you're only seventeen? Well don't knock yourself out, remember I'm paying you by the hour, a freshman needs lots of party money.
SC 8
By the end of the week Quinn has gotten the house cleaned, but only a few rooms put together: her bedroom and bath, kitchen, utility room, living room, dining room, den, and studio. Jamie has cleaned the front yard and started on the back. A path has been cleared to the shed, which is a work shed. She is cleaning out the shed to make it her own private studio.
Quinn is tossing a pile of junk out of the shed into the yard, Jamie is hacking away at some over grown bushes.
JAMIE
How am I suppose to get this place clean if you keep throwing all that mess out here?
QUINN
(From inside the shed.)
Sorry kiddo, but it's got to go somewhere.
JAMIE
How about I bring my dad's truck over later and we make a run to the dump?
QUINN
(Coming out of the shed.)
Do you think he would mind? I mean that would be great if it's okay with him.
JAMIE
I'm sure it's no problem, I'll give him a call.
Exactly how do you plan on getting around out here without a car?
QUINN
I never needed a car in the city and I get around just fine, so I don't see any sense in getting one now.
JAMIE
You ride a scooter.
QUINN
Yes, and I only spend about five dollars a week on gas, how about you?
JAMIE
Point taken.
QUINN
(Walking back inside the shed.)
This is going to be a perfect studio when I'm done with it.
JAMIE
I thought you already had a studio inside?
QUINN
That's for my students, this is just for me.
SC 9
Quinn explores the attic for the first time. It's a full attic and filled with old junk. She looks around, picking up things looking in boxes, moving stuff around. Finally she finds an old trunk buried in a corner, it has an old padlock from 1912 on it. The curiosity is too much for Quinn; she pulls the trunk out and looks for something to open the lock with. Finally she finds a pipe and with one hit the entire lock and hinge fall off.
Inside the trunk is a treasure trove of letters, photos, diaries, and ribbons, seashells wrapped in a monogrammed hankie inside a wooden box, a porcelain doll and a locket. The last remains of the life of a young woman named Bertie Wells.
Quinn looks through the photos and comes upon the locket; she gently opens it and finds a locket of hair. When the locket is opened a faint ghost image of Bertie appears in the corner, anxious, lonely and sad. Bertie is taller than Quinn by several inches, her long dark brown hair is worn up in a bun and her brown eyes are painfully sad. She watches Quinn as she begins to read some of the letters, after a few moments Quinn decides to bring the trunk downstairs to one of the empty bedrooms. She carries it down to a bedroom with only an old chair in it. There she begins to lie out everything on the floor. Bertie fades from the attic as Quinn goes downstairs and reappears in a corner of the room to watch Quinn going through her personal possessions.
SC 10
The next morning finds Quinn asleep in the chair, letters and diaries in her lap and around her feet. She wakes, looks at the mess she has made and can not believe she fell asleep in the chair. Taking the diary she was reading when she fell asleep she goes to the kitchen to make coffee, reading the whole time. We can here Quinn's voice over of what she is reading.
QUINN (VO)
We had a wonderful day at the park. Victoria made a lovely picnic and we managed to spend almost an hour on our own before being intruded upon by Thomas.
I have no doubt anymore that Victoria might share the same feelings as I do. I feel I must say something the next time we meet, although I do not know how I will coax the words from my throat. Perhaps I shall write her a note, yes perhaps a note.
All of a sudden I have become very frightened, for what if I am wrong.
Quinn has made it upstairs with her coffee during the reading, she goes into the bathroom and turns the shower on, leaving the book on the vanity. The image of Bertie appears next to it, reaching out and stroking the cover. She smiles slightly as she remembers.
SC 11
The date is 1911, Victoria is in their front hall and has just received the mail, she opens the letter from Bertie. It reads “Meet me at the old elm pass the bridge at 2. I must speak with you urgently.” “Yours, Bertie” Victoria looks intrigued, mischievous, and a little happy.
SC 12
Bertie is waiting anxiously by the tree, she does not hear Victoria approach and turns with a start when she hears the rustle of skirts directly behind her.
VICTORIA
Bertie, why do you jump so? Do not be frightened of me.
BERTIE
Just startled, that's all.
VICTORIA
Your shaking.
BERTIE
I need to talk to you. I do not know how, I mean, I want to….
VICTORIA
(She reaches out and takes Bertie's hand.)
What is it Bertie?
BERTIE
(Looks at Victoria she can barely breath much less speak.)
I…I…I…
VICTORIA
(Takes Bertie in her arms and kisses her, gently but longingly. They part only enough to look into each others eyes)
Is that what you were trying to say?
BERTIE
(Breathlessly.)
I love you Victoria .
VICTORIA
And I love you.
SC 13
The shower stops and Bertie disappears as the shower curtain is drawn aside. Quinn looks around as if someone might be there. She shrugs it off and wraps up in a bathrobe. She towel dries her hair and brushes her teeth, picking up the book on the way out.
SC 14
Quinn, Jamie, and Mary Alice are outside her shop. Quinn is presenting Mary Alice with a beautiful sign to be hung over her shop.
MARY ALICE
I don't know what to say, Quinn this is beautiful!
QUINN
It was Jamie's idea.
MARY ALICE/JAMIE
Jamie/It was?
QUINN
He said you could use something like this to attract more attention to the store.
JAMIE
Like that painting.
MARY ALICE
I don't know how to thank you, you know there's a lot of people in town who would pay good money for a sign like this.
QUINN
I don't know about that.
MARY ALICE
Sure they would. I could put the word out if you're interested.
QUINN
I don't know, I'm pretty busy as it is.
JAMIE
You could have an amazing yard with the extra money.
QUINN
Maybe you're right. Sure why not. If anyone's interested have them give me a call.
SC 15
Quinn is in her teaching studio with a little girl, Becky, around 10 or 11 years old, giving her an art lesson.
QUINN
Very good Becky, nice shading here, good depth.
BECKY
My light areas aren't so great.
QUINN
Don't worry about that, we're going to work on that next week.
(There is a knock at the front door.)
That sounds like your mom. Get cleaned up here.
Quinn goes to the front door as Becky takes her brushes and pallet tray to the kitchen. Quinn opens the front door to Sandy, Becky's mom, a typical soccer mom.
QUINN
Hi Sandy, come on in.
SANDY
Love to, but can't, I still have three more kids to pick up. Becky get a move on it!
QUINN
She's just cleaning up, she's coming along very nicely. She has a good eye.
SANDY
(Becky walks to her mom.)
Yeah, my little Becky has always loved to draw, I've had to repaint a few walls in the house. I am hoping you can teach her it's better to paint on canvas not walls. Oh, got to run, thanks Quinn, see you next week.
BECKY
Bye Quinn!
QUINN
Bye, see you next week.
Quinn checks the brushes left in the kitchen, one of the diaries she left on the counter that morning catches her eye. She leaves the brushes, picks up the book and heads for the back porch. There she settles into her new patio love seat and begins to read.
QUINN (V.O.)
These last few days have been the greatest I have ever known and yet some how Victoria manages to surprise me day after day.
BERTIE (V.O.)
My cleaver girl has devised a plan so that we may spend hours together each week uninterrupted. Our families have agreed to allow Victoria to teach me French and I in turn will teach her calligraphy. Tomorrow I will receive my first French lesson, luckily Victoria taught me French a long time ago just as I taught her calligraphy.
QUINN
Girls, you are one delightful surprise after another.
Quinn continues to read while going inside, as the porch door closes behind her Bertie appears sitting on the foot stool next to the love seat. At first her look is sad and worried, a brief hint of a smile crosses her face, then sadness again as she disappears.
SC 16
Friday night, and Quinn is busy cooking, there is a knock at the door. Quinn runs to the front door excited and opens it to find Mona, a tall drop dead gorgeous woman with shoulder length brown hair and large eyes to match, the most beautiful carpenter you will ever meet.
QUINN
(Giving Mona a big hug.)
Girlie Girl!! It's so good to see you.
MONA
Picasso! I was beginning to think you dropped off the planet. What the hell are you doing out here?
QUINN
About to burn our dinner.
(Takes off for the kitchen.)
Come on in and make yourself at home.
MONA
(Comes in dropping an over night bag on a chair and makes her way to the kitchen.)
Well look at you little miss domestic, I didn't know you had more than one pot.
QUINN
(Has a pot going on every burner.)
You might be surprised at what you don't know about me.
MONA
I always am.
QUINN
Did you have any trouble finding the place?
MONA
Have I ever gotten lost?
QUINN
My mistake. Dishes are in that cabinet behind you, it's all ready, your timing is perfect as usual.
SC 17
At the dinner table, they are eating and drinking wine, having a good time catching up and Quinn is filling Mona in on all she has been doing including the treasure she found in the attic.
MONA
So when do classes start?
QUINN
In two weeks. I'm so busy now; I can't imagine what it is going to be like once classes start.
MONA
You like being busy.
QUINN
Sometimes.
MONA
Always.
(Mona gives Quinn a look to say I dare you to deny it.)
QUINN
Well, now that I am doing these signs, I really have to finish my studio, I need the space.
MONA
I'm sure I can get you up and running in no time.
QUINN
I know you can, that's why I called. I'll give you a tour of the place after dinner, the upstairs needs a lot of work, oh and you won't believe all this stuff I found in the attic. The same family owned this house from the time it was built until, well, me.
MONA
That's not so uncommon out here.
QUINN
Yes, but this family had major drama going on.
MONA
How do you know?
QUINN
I found a trunk that must have belonged to the oldest daughter of the original family, she kept very detailed diaries, and my next door neighbor knows a lot about the place, he kept the gardens for the old man who last lived here and he would tell Jamie stories about the place, and I did some research on my own to verify and fill in the blanks.
MONA
Blanks? What blanks, what are you talking about?
QUINN
Mystery, intrigue, secret lovers, murder, scandal, lesbianism, it was all right here in this house.
MONA
You've got to be kidding.
QUINN
No. Come on.
(Grabs a bottle of wine and heads for the sofa.)
SC 18
The two are on the sofa drinking wine and lounging together like old friends who are very comfortable with each other. A shadow of Bertie can be seen in a far corner.
MONA
So you're saying someone was murdered on those stairs.
QUINN
The very ones. Okay, Bertie and Victoria were lovers and figured the best way they could stay together was for Bertie to accept Victoria 's brother's proposal. They had managed to be very discreet for a long time, but then they were found out. From what I have been able to figure out, she and her father got into a fight and she wound up at the bottom of the stairs dead. He was some kind of big wig in town and the police ruled it an accident, but who really knows.
MONA
That's awful.
QUINN
See what true love gets you.
MONA
What happened to the other one?
QUINN
I don't know. The father lived here until he died, he was like over a hundred.
MONA
That is one sad story.
So if the house was only owned by one family, who did you buy it from?
QUINN
The nephew of the father, he had moved in to take care of the old man in his last few years and just never left until he had to go into a nursing home. I bought it from his estate after his death.
MONA
So show me your house of horrors.
SC 19
In Quinn's bedroom.
QUINN
You're going to have to bunk in with me. I don't have another bedroom set up yet.
MONA
I've never protested about sharing your bed.
QUINN
I didn't think you would mind.
Bathroom's through there, I'm going to go lock up.
SC 20
Quinn comes out of the bathroom to find the lights off and a naked Mona in her bed. She pulls off her clothes and climbs in. They kiss and embrace and lie there holding each other.
QUINN
I've missed you.
MONA
Then why did you go and move so far away.
QUINN
It's not that far.
MONA
I miss you Quinn. You're my best friend.
QUINN
And your mine, but like I've told you before, I've always wanted a big place with gardens and lots of space and to live in a town where everyone knows everyone else.
MONA
Are you happy here?
QUINN
I don't know yet.
(Quinn kisses Mona lovingly.)
I am so glad you're here.
(They begin making love.)
SC 21
The next morning Quinn and Mona are in the studio out back and Mona is assessing what needs to be done.
MONA
I can have the electric run by the end of the day, then insulation and walls. It should be pretty easy; it's just a shoe box with some windows. Are you sure you want plywood, I could come back next weekend and drywall it for you.
QUINN
No, I want to keep it raw, a place I can make a mess in.
JAMIE
(From somewhere in the back yard.)
Hey Quinn, you back here, hey did you get a truck?!
QUINN
(As Jamie walks in and sees Mona he has the same awe struck reaction most people have when they first meet her.)
No, that would be Mona's. Jamie, this is my friend Mona Remalay, she's going to finish my studio for me. Mona this is my gardener Jamie Blakely he lives next door.
MONA
Nice to meet you Jamie. It looks like you have your work cut out for you.
JAMIE
You're a carpenter?
QUINN
A master carpenter, and electrician.
JAMIE
Wow, if you need any help, I'll be glad to, for free.
QUINN
You better jump at that offer, I can tell you he doesn't come cheap.
MONA
All help is welcome, I'm just going to take some measurements and then you can show me the local hardware store.
JAMIE
We have a Home Depot on the other end of town.
MONA
That'll work. Now you two can get my tools out of my truck.
(She hands over her keys and starts making notes.)
JAMIE
(Outside walking to the truck with Quinn.)
Oh man, where did you find her?
QUINN
She's one of my oldest and best friends.
JAMIE
She's so hot! Does she have a boyfriend?
QUINN
No and she's not in the market for one either, a girlfriend perhaps, but definitely not a boyfriend.
JAMIE
What! No way, are you sure?
QUINN
As her best friend I'm sure and as her ex-girlfriend I'm positive.
JAMIE
You and Mona!
QUINN
That was a long time ago.
JAMIE
So your…
QUINN
I am.
JAMIE
This is so cool!! I am so glad you moved in next door.
QUINN
Easy there hormone boy.
JAMIE
No, I didn't mean it that way Quinn. It's just your not the same boring middle class family unit as everyone else around here. Your interesting and fun, and a lesbian!
QUINN
You are such a geek!
JAMIE
Oh no, I am cool.
QUINN
Oh no, you are not.
JAMIE
Okay I'm not, but Mona doesn't have to know that.
QUINN
Riiigght. That'll just be our little secret.
SC 22
Quinn is in the kitchen cooking dinner while Mona is looking thru the paintings in the student studio. She comes across a portrait of a Victorian woman and another one of the same woman in progress covered on an easel. She examines the portraits, attracted to the expression and beauty of the woman. Mona joins Quinn in the kitchen.
MONA
I don't remember you cooking this much.
QUINN
I like cooking.
MONA
Since when?
QUINN
I'm enjoying new things.
MONA
I saw. What's with the portraits? That's not your thing.
QUINN
Trying something new.
MONA
They're beautiful, who's the girl?
QUINN
It's Bertie.
MONA
Bertie? What, you mean the girl who was killed here?
QUINN
I found a photo of her and I don't know, I just felt like I had to paint her.
MONA
Quinn,… please tell me you are not going all weird on me now.
QUINN
What are you talking about? I'm trying to expand who I am.
MONA
You move out to the country, your cooking and painting dead people, what is going on with you.
QUINN
Mona, I just need some change in my life, I thought you of all people could understand that.
MONA
I do baby, I understand. Life can get stagnant unless we stir it up a little. I still worry about you. I just want to make sure you're not running away from something, but to something.
QUINN
I'm not running. I'm just looking for something different.
MONA
Maybe someone different?
QUINN
I'm not looking for anyone right now.
MONA
Well, you should be.
QUINN
But Mona, you know you're the love of my life.
MONA
Baby, you're my best friend and we are great in bed, but you need a real love life, someone to cook all those meals for.
QUINN
God you're a pain in the ass!
(Quinn kisses Mona.)
And I love you for it! Now can we eat.
MONA
(Takes Quinn by the shoulders.)
One phone call and I am in my truck in a flash.
QUINN
Your always my first call.
(They hug and get plates.)
MONA
Seriously, those paintings are really good.
QUINN
Here,
(She hands Mona a bottle of wine.)
drink this and stop talking.
MONA
God, you get so pissy when you know I'm right.
SC 23
Quinn and Mona are having breakfast in the kitchen. Mona's bag is packed and by the door.
QUINN
I can't believe it's time for you to go already.
MONA
Don't worry, it's not that far, I'll be back.
QUINN
I can't thank you enough, you're my hero as always.
MONA
(Goes and sits in Quinn's lap, they are very affectionate and sexual with each other, yet still just best friends.)
You know I am here for you anytime you need me.
QUINN
I know. And the same goes for me too. Just because I moved doesn't mean I moved away from you.
(They kiss and hug.)
MONA
(Getting up.)
You just make sure you take care of yourself out here, because if you don't I'm going to have to come back and kick some ass.
(She takes Quinn's hand and walks to the door.)
I love you Picasso.
QUINN
I love you too Girly Girl.
(They kiss one last time and Mona picks up her bag and leaves. Quinn watches her go.)
SC 24
Quinn is alone painting another portrait, three finished paintings are in the background. In this one she is attempting to do Victoria . As she paints Bertie appears behind her, watching, when she realizes it is Victoria Quinn is painting she moves forward to just behind Quinn. Quinn has caught a fading image of Bertie before and sees her out of the corner of her eye. She is not startled or scared. She gives Bertie a moment then decides it is time they meet.
QUINN
So, what do you think?
(Bertie is startled and disappears.)
I wish you would stay, I really would like your opinion.
(Bertie appears next to the painting in disbelief that someone can see her. Quinn looks at her, glad to finally meet.)
Hello Bertie.
BERTIE
You can see me?
(Quinn nods her head.)
No one has ever seen me before.
QUINN
I see you. I can't tell you why, it's just something I can do.
(Bertie disappears again.)
Please don't be afraid of me, I won't hurt you, I just want to talk.
(Bertie appears again.)
BERTIE
Who are you?
QUINN
I'm Quinn, Quinn Pascal. I'm very glad to finally meet you Bertie.
BERTIE
You know me.
QUINN
I know about you.
BERTIE
You read my diaries. Those are meant to be private you know.
QUINN
I'm sorry, I know it was an invasion of privacy, but you have been dead for ninety-eight years.
BERTIE
Still you had no right.
QUINN
True, but you've been watching me. You know I really prefer to take a bath alone.
(Bertie is embarrassed and starts to fade.)
QUINN
I'm sorry, I couldn't help myself. Look your writing was so beautiful, you were just a person I would really like to know.
BERTIE
(Bertie looks around at the paintings of herself.)
Why did you do these paintings of me?
QUINN
I don't know really, I can't get you out of my head so I try putting you down on canvas.
BERTIE
They're very good, it's as if you know me.
(She is looking at a painting of her sitting on a rock with wet hair and dress.)
That's the day I fell in the pond and Thomas had to pull me out. You made me look sad. I was more angry really.
QUINN
I was thinking about how you must have felt after Thomas and Victoria left and you were alone and drying in the sun.
BERTIE
I didn't write that.
QUINN
You didn't have to, that's how I would have felt.
BERTIE
I don't think I like you knowing so much about me.
QUINN
Don't worry I won't tell anyone.
BERTIE
You already have. It's in your painting.
QUINN
Do you want me to change it?
BERTIE
I could never tell you to change what you see. Although.
QUINN
Although?
BERTIE
Although is this suppose to be Victoria ?
QUINN
Yes, is she completely wrong?
BERTIE
No, you've caught her demeanor, but not quite her look.
QUINN
I only had your descriptions to go by, you were easier, I had a photo of you.
BERTIE
Her hair was a little darker and her eyes a more brilliant blue, like the glass hanging in the kitchen. Her chin more delicate.
QUINN
You remember her well.
BERTIE
She was not a person someone forgets, and she was my best friend, how could I not remember everything about her.
QUINN
I'm sorry you two were separated in such a horrible way, it must have killed you.
BERITE
As a matter of fact it did.
QUINN
Oh, right, sorry.
(They both look at each other and let out a small giggle.)
BERTIE
There is a photograph.
QUINN
Of Victoria ?
(Bertie nods her head.)
I've been through everything and didn't see anyone that matched her description.
BERTIE
It was just for me, I hid it so no one would ever see it, it was for my eyes only.
QUINN
I understand if you don't..
BERTIE
I have not been able to see it for ninety-eight years, I can't actually touch anything.
QUINN
I'll get it for you. Just for you.
BERTIE
(Bertie looks Quinn over and smiles at her.)
It's up stairs.
SC 25
In the spare room Quinn has spread out the contents of Bertie's trunk.
QUINN
Sorry about the mess.
BERTIE
This is all that's left of my life, a pile spread across a floor.
QUINN
I've been through all this so many times, the only pictures I found were your parents, a family photo and two of you.
BERTIE
The box of seashells.
(Quinn gets the box.)
Open it and take the shells out.
The end opposite the hinge, slide it out.
(Quinn works at it for a bit finally the end panel slides out.)
The bottom is in two pieces, a top and bottom, gently slide out the top piece.
(The top panel slides out to reveal a folded piece of parchment. Quinn takes it out and gently takes a photo out of the folds. She holds it up for Bertie. Bertie stares overcome by emotion, finally she looks at Quinn, tears running down her face and disappears.)
Quinn looks at the photo of a beautiful girl holding a ribbon over her heart, the same ribbon used as a page marker in Bertie's diaries. Looking around at the remains of Bertie's life on the floor Quinn decides to make the room Bertie's; she starts by picking up the books.
SC 26
Quinn is in her studio remaking Victoria . Bertie has returned to her new room, it has a bed, a lounge chair, a desk with her diaries neatly in order. Bertie's possessions now are around the room in a proper manner and the photos are framed, the family's are on the mantle and Bertie and Victoria are on the bedside table. Bertie lays on the bed and stares lovingly at Victoria once again.
SC 27
Quinn's classroom, class has just ended and Quinn is packing up, some of her students stop by to say good-bye, she is a very well liked teacher. Jamie comes in.
JAMIE
Hey Quinn.
QUINN
Jamie, what are you doing over this way?
JAMIE
I was wondering if you wanted to pick up the rest of the wood today, I have the truck.
QUINN
Umm, sure, why don't I meet you at my house in half an hour, but I can't work on the studio today.
JAMIE
Oh, no problem, I just want to have all the materials there for this weekend, I should be done by Sunday.
QUINN
Great, I can't wait.
JAMIE
Maybe you should invite Mona over to see my racks.
QUINN
Jamie, I told you, you have no chance.
JAMIE
A guy can dream.
QUINN
Well she'll be back in two weeks.
JAMIE
YES!
QUINN
You are such a guy.
JAMIE
Why thank you.
(He heads for the door.)
QUINN
It wasn't a complement!
SC 28
Late at night, Quinn is painting in her student studio, paintings of Bertie and Victoria are all around. Bertie looks at all the pieces Quinn has laid out for her, she spends most of her time looking at the portraits of Victoria, which have greatly improved.
BERTIE
You really have started capturing her.
QUINN
Well, that's all thanks to you. Your descriptions and stories are very inspiring.
BERTIE
It's easy with Victoria , she always brought out the best in me, in everyone.
QUINN
(Having never broached the subject of Bertie and Victoria's true relationship, she's a bit hesitant.)
Bertie you know I don't ever want to make you uncomfortable, but I want you to know that you can talk to me about Victoria .
BERTIE
What do you mean? We talk about her all the time.
QUINN
I mean you were more than friends.
(Bertie freezes knowing what is coming, afraid because she has never spoken of it to anyone.)
I just want you to know I understand and you can talk to me.
BERTIE
Can I ask you a question?
QUINN
Of course, you can ask me anything you want.
BERTIE
Your friend Mona. Is she, are you, is she your lover?
QUINN
No, she's not. She use to be, but now we're just best friends.
BERTIE
But when she was here you two…
QUINN
Right, it's complicated.
BERTIE
I don't understand.
QUINN
I know, like I said it's hard to explain. We just have a very close relationship. But we figured out a long time ago that we weren't the “one” for each other. Other than that we go together pretty well. So there are times, when we're both single and maybe a little lonely that…
BERTIE
But you don't love each other.
QUINN
No, we do, that's why we can. I can't explain it to you, we're just friends who are really good in bed together,
(Bertie is visibly embarrassed.)
we understand each other.
BERTIE
That's evident.
QUINN
Right, about that. We need to discuss privacy.
BERTIE
(She is very embarrassed now, but at the same time liking the freedom of the modern world and is happy to finally be able to interact with someone.)
I know, I'm sorry, I shouldn't have been watching, it's just I have never seen two other women together.
QUINN
Were you there the whole time?
BERTIE
Only until you fell asleep.
QUINN
Bertie!!
BERTIE
I'm sorry, I couldn't stop myself.
QUINN
From now on stay out of my bedroom unless invited.
BERTIE
You weren't in your bedroom.
QUINN
(Visibly blushes.)
Just have a little more respect for my privacy. This isn't a peep show.
Bertie goes back to staring at the paintings of Victoria . Quinn begins cleaning her brushes and notices the sad look on Bertie's face.
QUINN
You miss her.
BERTIE
Every moment.
QUINN
Even after all this time.
BERTIE
Time is nothing. It's the not knowing.
QUINN
Not knowing?
BERTIE
What happened.
QUINN
What do you mean, what happened?
(Bertie remains quiet.)
Bertie, what did happen? The last entry in your diary is very shaky and incomplete. The last thing you wrote was ‘they have taken her, they have taken my life and I know not what to do'. Would you tell me what happened? What happened to Victoria ? What happened to you?
BERTIE
You remember everything I wrote.
QUINN
It was pretty powerful.
(Tears stream down Bertie's face as she reaches for Victoria in a painting.)
Talk to me Bertie.
BERTIE
It's difficult. I still feel like it was only yesterday that we were together.
QUINN
Thomas found out?
BERTIE
We had lived next door to each other since we were children. The three of us would play together, as we got older it was just Victoria and I. One day I realized I loved her and from that moment on my world was Victoria .
For years we unwittingly courted each other until our desires became too strong. We became lovers as easily and naturally as the leaves changing in the fall. And just like the fall our romance was to be short lived. About the same time Thomas arranged with my father to marry me, it would be a good match for both families and Victoria and I would be able to live together, as it was just the two of them and Thomas would never send her off on her own.
QUINN
What changed?
BERTIE
I would send Victoria a note whenever I could get away and we would meet at this old elm tree. Thomas found a note I had written about not being able to be without her a moment longer. He found us under the tree in a passionate embrace.
QUINN
You were making out.
BERTIE
What?
QUINN
You were kissing.
BERTIE
Yes. He dragged Victoria away, I begged and pleaded with him, but that was the last time I ever saw Victoria . That night he sent her away cross country, no one ever knew where. The next day he went to my father and called off the wedding, telling him exactly why. I had gone to my sisters to see if she would help me find Victoria , but she didn't understand. By the time I got home father was in a rage. He was waiting for me in my room. The moment I saw him I knew my world was forever gone. We argued and yelled, I tried to get away but he caught me at the top of the stairs. I know he didn't mean to push me, I don't think he realized where we were. He was squeezing my wrist so tight and yelling about the shame I had brought upon the family. When he let go he pushed my hand away and I fell backward down the stairs.
QUINN
Oh Bertie! Your own father.
BERTIE
Don't be hard on him. Mine was not the only life lost that day. My father lost the will to live after that. He never left the house. The business fell to my brother-in-laws to run. Two months later Thomas sold their house and moved away. A year latter my mother died. The worst part was my father lived to be 102 and he never left this house and he never knew I was here with him the whole time. When he died he left the house to my nephew Charles who had taken care of him for the last ten years of his life. And I lived with Charles, unseen, unheard. Never a single word about Victoria , she never returned.
QUINN
(Tears are streaming down her face.)
Oh Bertie, I wish I could hold you.
BERTIE
I do too.
SC 29
Quinn has moved into her shed studio, but is using it only for her new sign painting business. The racks Jamie has built have raw cut signs with order tags on them. There are two large make shift easels holding two signs Quinn is working on. She is trying to make room for her own paintings, but is having a great deal of trouble. Mary Alice knocks on the open door.
MARY ALICE
Hello, well would you look at this.
QUINN
Your son does good work.
MARY ALICE
This place has never looked better. A little cluttered, but good.
QUINN
I know it's a mess, this was going to be my studio, but now I have so many orders for signs that it's taking over all the space.
MARY ALICE
What's wrong with staying in the house?
QUINN
Just looking for a bit more privacy.
MARY ALICE
You're too private as it is. The only time I ever see you is when you are wizzing by on that scooter of yours or coming in for bread. So I came over to tell you you're coming over for dinner tonight.
QUINN
Thanks for the invitation, but I really should get some work done.
MARY ALICE
Wasn't asking, you work too much, see you around seven.
Mary Alice leaves and Quinn shakes her head and smiles after her. She looks around, abandons her efforts to rearrange and goes to work on one of the signs.
SC 30
Later that night at the Blakely house, the Blakely's and Quinn are at the dinner table eating and having a good time.
QUINN
I'm going to have to sell a lot more signs to afford the landscaping plans Jamie has for the place.
JAMIE
I thought you liked my plans.
QUINN
I love them, I just don't know how I'm going to afford them.
JAMIE
I'm willing to make a deal. Next year I'm going to be taking a design class where you have to turn in plans at the end of the semester for a project we will work up into a model in the upper level class the following semester. I want to use the plans for your place for my project, let me film and document the entire process, you pay for the materials and I'll do all the work for free.
BOYD
You are going to work for free? Exactly who are you and what have you done with my son.
JAMIE
I want to capture a garden at it's infancy and as it grows into maturity.
QUINN
That sounds like a huge undertaking and I couldn't let you do all that for free.
JAMIE
This project means that much to me.
QUINN
Jamie you can do what ever you want to the gardens, within reason. I don't want to come home one day to some bizarre space age conceptual garden.
JAMIE
(Poking fun at Quinn.)
So I should cancel the marble sculpture of the constellations?
QUINN
Come over this weekend and we will figure out a budget.
MARY ALICE
That's very generous of you Quinn.
QUINN
Anything for education.
BOYD
How are your classes going?
QUINN
At the university? Great, I have some very interested students.
BOYD
And the younger kids?
QUINN
They're wonderful and most of them really want to be there. Several of them are showing some real talent.
MARY ALICE
Just be careful, it sounds like you're burning the candle at both ends and a few places in between.
QUINN
Not to worry, I have plenty of down time for my own painting.
MARY ALICE
You need to get out more.
JAMIE
Mom!
MARY ALICE
What!?! I just meant she spends too much time working.
QUINN
It's okay, I love my work. Besides I have been spending more time rummaging through the attic than anything else. The previous tenants of that house were very interesting. Do you know anything about them?
MARY ALICE
Only the little bit Charles told us about his uncle. The old man was some kind of hermit, never left the house.
QUINN
I found pictures of a family, letters and personal items. It's really all very interesting, it seems they may have been related to their neighbor. I wonder how I could find out who lived here a hundred years ago.
BOYD
You can probably find that out in the city records. But why the interest?
QUINN
Just curious about the history of my house, I think it adds to the personality and charm of the place.
JAMIE
Two years ago we had to do a genealogy thing for social science and I spent a lot of time in the hall of records and the library, if you want some help I can show you.
QUINN
How exactly did I ever get along before without your son?
MARY ALICE
We wonder the opposite sometimes.
SC 31
Jamie and Quinn are in the studio looking at the paintings of
Bertie and Victoria. Quinn has told him some of what she has learned about the two women.
JAMIE
What are the chances?
QUINN
Chances of what?
JAMIE
Two lesbians living here almost a hundred years apart?
QUINN
We're not as uncommon as you think. Look Jamie I would kind of like to keep this just between us.
JAMIE
Oh, I haven't told anyone your gay Quinn.
QUINN
No, not me, I don't care about that, I live my life pretty open. But out of respect for the dead I would just like to keep this quiet, do you understand?
JAMIE
Sure, no one has the right to out someone else, no matter how long they've been dead.
QUINN
Something like that.
JAMIE
Who knew so much drama and adventure went on right here. I knew it, you moving in here was the best thing ever.
QUINN
You know, I'm beginning to feel that way myself.
JAMIE
Leave it to me and I'll find out everything I can. It might take a little while though.
QUINN
Thanks Jamie, I think if we work together we can fit the pieces of the puzzle.
JAMIE
I feel like the Hardy Boys and Nancy Drew.
SC 32
That night Quinn and Bertie are in Bertie's room.
BERTIE
Why did you have to get the boy involved?
QUINN
Because Bertie, I can't do it all on my own.
BERTIE
But did you have to tell him about Victoria and me?
QUINN
It's okay Bertie, he understands and he's not going to tell anyone. I would never do anything to hurt you and neither will Jamie. Look he doesn't know you, he just thinks he's helping me solve a mystery.
BERTIE
He doesn't know I'm here?
QUINN
(Shakes her head no.)
BERTIE
So he doesn't know you can see me.
QUINN
No, it's not something I tell people, they just don't understand.
BERTIE
You tell people you sleep with women, but you don't tell them you can see ghosts.
QUINN
The world is a strange place, for the most part it's okay to be gay, but if you see ghosts you're considered a loon.
BERTIE
A bird?
QUINN
Crazy.
BERTIE
I guess we both have things to come to terms with.
(Bertie stares at the photo of Victoria .)
Do you think you can find out what happened to her?
QUINN
We're going to try.
BERTIE
I don't know why it matters so much.
QUINN
Because you love her and perhaps you can have some kind of closure.
BERTIE
Closure?
QUINN
Peace.
Bertie watches Quinn as she closes her eyes and rests for a bit. She likes this strange woman who is so willing to help. She often watches her work and cook and teach the children and wonders what life would have been like had she lived now, she and Victoria in the modern world.
BERTIE
What about you Quinn, what gives you peace?
QUINN
(Quinn looks around and then settles on Bertie.)
Being here with you, being able to talk to you every night, watching your face when you talk about Victoria .
BERTIE
What about Mona?
QUINN
Mona is comfort and chaos and my best friend.
BERTIE
You're my best friend Quinn.
QUINN
And you're my peace Bertie.
(Quinn curls up in the big chair again and falls asleep. Bertie comes over and kisses her on the cheek and a slight smile passes over Quinn's lips.)
SC 33
Quinn works on her paintings of Bertie and Victoria every night and during all of her free time. She has three of both of them, two of Victoria , and four of Bertie completed. A couple rest on easels in the studio while the rest are scattered about in a room just off the studio. She is working on a new one of Bertie that mirrors one already done of Victoria . The portrait is of a woman looking out her window longing yet at peace knowing the one she loves is doing the same. Quinn paints as Bertie looks at the paintings for the hundredth time.
BERTIE
You really are good. But why do you paint so many of us?
QUINN
It's not often I find such inspiring and beautiful subjects.
BERTIE
You flatter me.
QUINN
Yes.
BERTIE
You should go out and spend time with your friends instead of staying home all the time painting.
QUINN
I am spending time with my friend and I love to paint.
BERTIE
(Looking at the students paintings.)
Children are amazing. Becky and Mischa seem to have real talent.
QUINN
They are my star pupils. Although Henry and Graham are coming along nicely.
BERTIE
I like Elise's, they are so out of control.
QUINN
That kid has a lot of energy and bit of trouble focusing it.
BERTIE
She just expresses herself differently.
QUINN
What were you like as a kid? I can see you being pretty spunky.
BERTIE
I'll have you know I was a very well mannered child.
QUINN
Oh, I have no doubt about that, but I can see you and Victoria getting into a bit of mischief.
BERTIE
We had our share I suppose, but we still never acted inappropriately.
QUINN
Except for falling in the pond, or loosing all the chickens in the coop, or the cooling pies, or
BERTIE
Okay, yes, well, we had a bit of fun here and there.
QUINN
That's the way it should be. Kids having fun.
BERTIE
What about you? What were you like as a child?
QUINN
Oh, I don't know, I kind of kept to myself a lot. I would draw for hours and hours filling notebook after notebook. And I guess I was about eight when Natalie Berman was transferred into my class. I took one look at her and my whole life changed.
BERTIE
What happened?
QUINN
We became friends and one day we were playing hide and seek, she hid and I seeked, and when I found her I kissed her, inside the wardrobe in my mothers room. Hide and seek became our favorite game.
BERTIE
And you were eight?
QUINN
Yes. And then one day she started playing hide and seek with Patrick Bloom, so I went back to drawing.
BERTIE
So you have always liked girls?
QUINN
Oh yes.
BERTIE
Did your parents find out?
QUINN
Yeah, they kind of figured it out pretty early. I didn't make much of a secret of it. They were cool though, I mean we lived in San Francisco and they had a lot of gay friends. I'm sure they went through some kind of adjustment, but they were always very supportive of me.
BERTIE
You were very lucky.
QUINN
Yes I was, I'm sorry Bertie, I know you had such an awful experience.
BERTIE
No, I'm glad you had loving parents, I couldn't bare to think that anyone would hurt you.
Quinn reaches a stopping point with her painting and begins to clean her brushes.
BERTIE
So how long have you been able to see dead people.
QUINN
When I was ten my Grandpa Norm died, we were kind of close, we use to draw together and he gave me my first set of paint brushes. Anyway he died and at the funeral he walked up to me, I was standing off to the side by myself. He told me not to be afraid and we talked about painting and how he looked in the coffin like a fish that had been out of the water for too long. After that he would come by every once in a while to check on me. It happened again a few years later with a friend of mines mom.
BERTIE
Can you see any ghost?
QUINN
Sometimes, but I only communicate with the ones I have a connection with.
BERTIE
But you didn't have any connection to me.
QUINN
Yes I did. It was your diaries. I was drawn to you by what you wrote.
BERTIE
Then I really am glad you found them and so boldly invaded my privacy.
QUINN
Okay, once again, you have been dead for over ninety-eight years.
BERTIE
Thanks again.
Bertie crosses to Quinn and kisses her on the cheek then disappears, Quinn thinks she feels the gentle touch and breaths it in deeply.
SC 34
Quinn is just finishing up a lesson with Graham, a toe-headed 12 year old, he is painting a landscape. The two paintings of Victoria and Bertie are covered up in the studio while all the others are in an adjoining room.
QUINN
You are really getting good at depth perception, you've got some nice shape and contrast here.
(The doorbell rings.)
That must be your mom.
GRAHAM
But I'm not finished with this field and I've got it all in my head right now.
QUINN
Well, keep going, let me see if I can buy you some more time with your mom.
(Quinn opens the front door to find Mona.)
MONA
Hello Picasso.
QUINN
Your early!
MONA
God I love it when you talk sexy.
QUINN
I'm with a student, but we're almost done.
MONA
So do I get to come in?
QUINN
Oh, sorry, get in here you.
(Quinn takes Mona's hand and pulls her in giving her a kiss as she does so.)
It is so good to see you.
MONA
You too baby. Please tell me you are cooking me dinner.
QUINN
Right after Graham leaves.
MONA
And who is Graham?
QUINN
Come on, I'd like you to meet him.
(They go into the studio.)
Graham, this is my friend Mona.
GRAHAM
(Even at age 12 he notices how beautiful Mona is.)
Hi.
MONA
Hi Graham, wow is this yours?
QUINN
(Graham smiles at the notice Mona pays him.)
Graham is one of my more promising students.
MONA
This is very nice, I guess Quinn must know what she's doing.
GRAHAM
Oh, Quinn's great, she's a good teacher.
QUINN
(The doorbell rings.)
I'll be right back, it's probably you mom Graham.
(Opens the front door.)
Hi Amanda, come on in, Graham's in the studio, we're just finishing, he was really into it today.
AMANDA
(Amanda is a well put together housewife with perfect blond highlights and tailored clothes, she is not form the town, but a transplant from the city.)
That's okay, I'm in no hurry. I am so glad he's enjoying these lessons.
QUINN
Come on back and see what he's working on.
(The doorbell rings again.)
It's grand central today.
(She opens the door and a very pleasant middle aged man is there.)
Mr. Lanske, hello.
MR. LANSKE
Hi Quinn, I hope you don't mind but I was wondering if I could pick up my sign today, I have to go into the city tomorrow and won't be back all day.
QUINN
No not at all, that's fine, come in. Amanda why don't you go on back, Graham is in the studio, I'll just be a minute.
AMANDA
Not a problem.
QUINN
Mr. Lanske you want to follow me through to my shop.
(They head out the back door and Amanda goes into the studio.)
SC 35
Graham is cleaning up and Mona has removed the covers of the paintings of Victoria and Bertie and is looking at them.
AMANDA
Hey kiddo how's it going?
(Sees Mona.)
Oh, hello.
GRAHAM
Mom this is Mona she's a friend of Quinn's.
AMANDA
(She shakes Mona's hand and can not help noticing the stunning beauty of the other woman.)
Amanda Miller, nice to meet you.
MONA
Mona Remalay, it's a pleasure, your son has a real talent.
AMANDA
Yeah? Lets see what you've got here. Wow Graham, that's really good.
GRAHAM
Quinn says I'm getting better.
AMANDA
You are. We'll have to show your painting to Rebecca one day.
GRAHAM
I'm not that good yet.
AMANDA
(Notices the paintings behind Mona.)
Oh wow, these are amazing. Are these one of Quinn's students?
MONA
No, these are Quinn's. She's kind of working on a series.
AMANDA
Really? There's more like this?
MONA
Yeah, they're in there.
AMANDA
(Still looking at Victoria and Bertie.)
It's the eyes, they hold so much emotion. Graham start getting cleaned up.
(Graham goes to the kitchen with his brushes while Amanda follows Mona into the next room.)
QUINN
(At the front door.)
Thanks Mr. Lansky I hope you enjoy it.
(Coming into the studio and seeing the paintings uncovered.)
Mona?
MONA
In here.
AMANDA
Quinn these are amazing, I had no idea you were this good.
QUINN
Ugh, thanks I think.
AMANDA
I'm sorry that came out wrong, I can be a real twit sometimes. It's just these portraits, they're fantastic.
QUINN
Well, thanks, they're just something I'm messing around with.
AMANDA
Well your quite good at messing around. You know I have a friend who I think would love to see these. She runs a gallery in the city. Would you mind if I gave her your number.
QUINN
Um, sure no that would be fine.
AMANDA
Great, this is just the kind of thing she's always looking for.
Mona, it was nice to meet you.
I've got to get going. Her names Rebecca, I'll have her give you a call.
They really are captivating Quinn.
QUINN
Thanks.
AMANDA
Come on Graham lets go! See you later.
(She leaves and we hear Graham join her as the front door close.)
QUINN
(Looking around and walking back into the studio.)
What, what was that, what just happened?
MONA
That was you at a loss for words, and me without a video camera.
QUINN
I need a drink.
MONA
Oh, me too, me too, me too.
SC 36
Mona and Quinn are sitting on opposite sides of the sofa, their legs intertwined in the middle, drinking a bottle of wine.
MONA
It could be something.
QUINN
I don't think some random gallery owner would want to look at my paintings just because a housewife friend of hers suggested it.
MONA
It's not like you haven't shown before and they really are powerful pieces. What's bugging you about this?
QUINN
I kind of left all that behind remember.
MONA
You had a bad experience and then some kind of artist block thing and you had your heart broken all at the same time. And since the subject has been brought up, it was more like you ran away rather than left something behind.
QUINN
I didn't run away. I can't live that kind of life anymore. I need peace and quiet.
MONA
There's more than one way to be a successful artist. I know you needed a change and it has been good for you, your paintings are wonderful. Just don't turn your back on something else that could be good for you.
QUINN
Let's just drop it, I'm sure this woman is not going to call.
So tell me, what happened with Ms Dog Walker?
MONA
I think she gave me fleas.
QUINN
Did you even give her a chance?
MONA
Even naked she had dog hair on her.
QUINN
Okay, no, that's not, ugh yeah.
MONA
And she smelled.
QUINN
Why did you even go out with her?
MONA
Nice ass.
QUINN
You are such a letch.
MONA
I just happen to like nice asses. Like yours, come her you.
(She reaches over and pulls Quinn into an embrace and they relax in each others arms.)
QUINN
(Bertie appears behind the sofa and watches for a moment, Quinn notices her and tries to indicate to her to leave, Bertie moves to the end of the sofa and sits on the arm.)
No.
MONA
No what?
QUINN
Know what I'm going to make for dinner?
MONA
Something tomatoie?
QUINN
Sure. Why don't you take your bag upstairs and I'll get started on some food.
MONA
Do I have time for a shower?
QUINN
Take all the time you want.
(She kisses Mona and watches her go up stairs.)
Bertie, what are you doing? Remember the whole privacy conversation?
BERTIE
I'm sorry Quinn, I can't help it, you two are so intimate and free, your always touching each other, I.. I… I'm sorry I guess I'm just envying you.
QUINN
I know it's hard, I'm sorry, but you can't just sit there and watch.
BERTIE
I promise to be on my best behavior from now on.
QUINN
We'll talk in the morning.
(Mona comes down the stairs.)
MONA
Would you like to tell me what's going on.
QUINN
(Bertie disappears.)
What are you talking about?
MONA
Your guest room?
QUINN
Oh, your not staying in there, it's not really a guest room.
MONA
It looks like the stuff from that trunk you found. And there's one of the portraits hanging in there. Quinn?
QUINN
I know, that's Victoria .
(She takes a deep breath and decides to tell Mona everything.)
It's Bertie's room.
MONA
Bertie?
QUINN
Yeah, she's here. Apparently she's always been here, she never really left.
MONA
Is that who you were talking to just now.
QUINN
Yes.
MONA
Is she here now?
QUINN
No, we have a privacy deal.
MONA
Oh baby, it's been awhile, sometimes I forget about the ghost thing.
QUINN
She's lonely.
MONA
So you made up a room for her? And you two are like roommates now.
QUINN
Yes, no, I mean.. I like having her here. She's a nice person and I like talking to her.
MONA
You made a room for her.
QUINN
She misses her life.
MONA
It sounds like you're the lonely one.
QUINN
I just want to help her.
MONA
And how are you going to do that?
QUINN
I said I would find out what happened to Victoria .
MONA
The girlfriend? The one who disappeared without a trace almost a hundred years ago.
QUINN
That would be the one.
MONA
Do I need to be worried about you?
QUINN
I'm fine, I just want to help her answer a few questions.
MONA
Take care of yourself.
QUINN
Shouldn't you be in the shower?
MONA
Shouldn't you be in the kitchen fixing my dinner?
QUINN
Oww, keep that up and you'll get no desert.
MONA
(Walking out the room.)
Oh, I'll have my desert!
(Her shirt comes flying down the stairs.)
QUINN
By the way, Bertie thinks you have a nice ass!
MONA
(From upstairs.)
Bertie has good taste.
SC 37
In Quinn's kitchen, Quinn is cleaning up the breakfast dishes. Mona and Jamie are in the backyard going over Jamie's plans for the place. Bertie is sitting on a stool watching Quinn.
QUINN
You're awfully quite, what are you thinking about.
BERTIE
Nothing really, I remember hating doing the dishes, my hands would get all red and rough.
QUINN
Well thankfully the soap has changed a bit since then. I actually find it relaxing.
Bertie grows quiet again and looks out the screen door to watch Mona and Jamie. Quinn has dried her hands and watches Bertie for a moment.
QUINN
You're sad.
BERTIE
You told her.
QUINN
She's known about you from the beginning.
BERTIE
You told her I'm here.
QUINN
Why does that upset you?
BERTIE
I don't know, for so long I have wanted to talk to someone, to be able to interact with people again, but now…
QUINN
Now what?
BERTIE
It all seems too much.
QUINN
She can't see you Bertie.
BERTIE
I know, but she will know, you will tell her.
QUINN
Not everything. Oh Bertie,
(She walks over and comes close to touching her forehead to Bertie's.)
I wish I could put my arms around you. You have to trust me, I'm not willing to share you all that much.
BERTIE
I do trust you.
QUINN
(She looks up smiling into Bertie's warm eyes.)
I wish you could get to know them, on your own terms. You'd like Mona a lot.
BERTIE
I'm sure I would. Besides you were right about one thing.
QUINN
What's that?
BERTIE
She does have a nice ass.
QUINN
Bertie!
BERTIE
I'm dead Quinn, not blind. And I'm not the one sleeping with her, you are.
QUINN
Yes, but we're not having sex.
BERTIE
I thought you two..
QUINN
Not always.
BERTIE
Oh. You have a strange relationship you two.
QUINN
I'm sure Mona would say the same thing about us.
SC 38
It is dusk and Mona and Quinn are lying in a hammock in the back yard drinking wine.
MONA
You look tired Picasso.
QUINN
I don't feel it.
(Mona gives her an ‘I don't believe you' look.)
I suppose I have been rather busy lately.
MONA
You work too much.
QUINN
I just never seem to have enough time.
MONA
You need a distraction.
QUINN
You are a distraction.
MONA
You need someone in your life.
QUINN
I have someone.
MONA
Who?
QUINN
You and Bertie.
MONA
She's a ghost.
QUINN
She's my friend.
MONA
You need a love life.
QUINN
I need to be with Bertie right now.
MONA
What are you doing?
QUINN
What do you mean, what am I doing?
MONA
She's a ghost baby, in love with another ghost.
QUINN
I know that.
MONA
So what are you doing? Don't tell me you're falling for her.
QUINN
I'm not falling for her, it's just, she needs my help. She's my friend and I want to help her.
MONA
And.
QUINN
And I enjoy being with her, so what.
MONA
I'm just saying be careful. You have an amazing heart Quinn, you need to let other real people see it.
QUINN
I know that.
They lay quiet for a while. Quinn finally rests her head on Mona's chest.
MONA
She must be a very special person.
QUINN
Funny that's what she says about you.
SC 39
Quinn is walking across campus on her way to class. Her cell phone rings.
QUINN
Hello
(V.O.) AMANDA
Hi Quinn it's Amanda Miller, I hope I haven't caught you at a bad time.
QUINN
No, I'm just walking to class.
(V.O.) AMANDA
Great, listen you remember my friend Rebecca I told you about, she's coming for dinner Wednesday night. I told her about your paintings and she would like to see them, okay if we stop by?
QUINN
Um, okay, that's fine, I have students until six.
(V.O.) AMANDA
How about six thirty then?
QUINN
Six thirty's fine.
(V.O.) AMANDA
Great, got to run, see you Wednesday.
Quinn hangs up her phone looking a bit bemused.
SC 40
Jamie and Quinn are in her kitchen. Jamie has a notebook and copies of city records and articles with him. Quinn is fixing him a sandwich.
JAMIE
This is all I could find, but I'm sure there is more out there, we just have to dig a little deeper.
QUINN
This is impressive Jamie, I can't believe you got it so quickly.
JAMIE
It was a little easier than I thought it would be.
(Bertie appears behind Jamie anxiously looking at the papers spread out on the table.)
This house has only been owned by the Wells family and you, but man what a history. Did you know that the old man, Charlie's uncle killed his daughter here!
QUINN
(Quinn sees the pained look on Bertie's face.)
Jamie, perhaps a little more sensitivity, we are talking about people's lives.
JAMIE
Right, sorry, it's just kind of amazing, I mean this gets really involved. I found the records that show the house next door being sold two months after the Wells girls death, it was sold three more times after that.
QUINN
That's no help.
JAMIE
No, but I went to the paper and went through their archives, which go back to the start of the paper in 1901. I found the engagement notice of Thomas Bankston to Bertie Wells, the next door neighbor. Then a few weeks later the death notice of Bertie Wells. There was a big story about it, I guess the father was a big shot in town.
QUINN
He was a very prominent man who lost the will to live after Bertie died.
JAMIE
You seem to know this pretty well already.
QUINN
I know some, just not the whole story, I just wish we could know what happened to Victoria , Thomas's sister.
JAMIE
She died.
QUINN
Well, logically yes.
JAMIE
No, I mean a month after Bertie died.
(He hands her a copy of the article.)
It says she moved to live with an old aunt of theirs in the city. She was only a little over an hour away, although I guess back then it would have seemed much further. Anyway sounds like she died of pneumonias.
QUINN
(Looks up in time to see Bertie's crushed expression as she disappears.)
Jamie, you did a great job, I don't suppose you could find me the aunts address.
JAMIE
Well I have her name so I could try city records, as long as she owned her own house I should be able to find it. But she's gotta be long dead by now.
QUINN
It doesn't matter, I need all the pieces of the puzzle. Look Jamie I hate to do this, but I just remembered something I have to take care of right away. Here take your sandwich and I'll call you tomorrow. And Jamie you did a great job.
JAMIE
Sure no problem, I'll do some searching, I should have it by tomorrow. See ya Quinn.
Jamie leaves and Quinn rushes up stairs where Bertie is on her bed crying.
QUINN
Bertie, Bertie look at me. You had to have known she was dead.
BERTIE
A month, she only lived a month, I had always assumed she had a long full life without me, that she had forgotten me.
QUINN
I'm so sorry Bertie.
BERTIE
This is all my fault.
QUINN
What are you talking about, you had no control over how Victoria died, she had pneumonias Bertie, do you know what that is?
BERTIE
It doesn't matter. I caused both our deaths and my fathers insanity, all because I was selfish and wanted her for myself.
QUINN
No, I will not let you think like that. You were in love, you both were.
BERTIE
Yes and for that we both had to die?
QUINN
I know that is what it seems like, but your wrong. You died because of an accident, not because the world couldn't accept you. Victoria died because she got sick. You did nothing wrong Bertie.
BERTIE
Then where is she Quinn. Why am I still here and everyone else has gone. Why didn't she come back to me.
QUINN
I don't know. What I know about this stuff is limited. You stayed here because you were always hoping Victoria would return, deep down you thought she would come back some day. The others, your father, Charlie, they had nothing to hold onto here. You just kind of got stuck Bertie.
BERTIE
Do you think she moved on?
QUINN
I don't know, but I am going to find out, I promise you.
SC 41
Wednesday evening promptly at six thirty Amanda Miller knocks on Quinn's door with Rebecca Andeers, a very attractive woman with long auburn hair and dazzling green eyes, one look and you knew she is a successful business woman.
QUINN
Hi Amanda, right on time.
AMANDA
Yeah, I don't know how that happened either. Quinn, this is Rebecca Andeers, Rebecca, Quinn Pascal.
QUINN
(They shake hands as Quinn motions them in taking note of how much shorter the redhead is than herself.)
Come in please, it's a pleasure to meet you, can I get you anything.
REBECCA
Well, I hear there are some paintings that I need to look at.
QUINN
Right.
AMANDA
You have to forgive her Quinn, she's forgotten her social skills, a little too much time with paintings and not enough with people.
REBECCA
Sorry, I have a tendency to jump right to the point, nervous habit really. It's nice to meet you, Amanda tells me you are doing great things with Graham.
QUINN
He's a kid with a lot of talent.
REBECCA
Yeah, I can't imagine where he gets it from.
(Rebecca looks pointedly at Amanda.)
AMANDA
There's my girl, I knew you where in there somewhere.
Quinn, I would kill for a glass of wine.
QUINN
I have a bottle of Shiraz I was about to open.
AMANDA
Perfect.
QUINN
Rebecca?
REBECCA
I'd love a glass.
QUINN
I set the paintings up in the studio, why don't you take Rebecca through and I'll join you there.
SC 42
Amanda is sitting in a chair sipping her wine and looking at the paintings, Rebecca is walking around taking in each painting, she is impressed with what she sees. Quinn stands back in the doorway watching Rebecca, not nervous, but taken with the beauty and intensity of this woman. Bertie is in the doorway to the room where Quinn's paintings are stored.
REBECCA
They are so powerful, so emotional. I'm drawn in almost immediately. There's a story here, but it's not complete. Do you have more?
QUINN
Only what I'm working on.
REBECCA
I'd be interested to see.
Quinn brings in an unfinished painting of Victoria and Bertie working side by side doing calligraphy, Victoria 's hand barely touching Bertie's as they work.
REBECCA
What made you chose your subject?
QUINN
It sort of chose me.
REBECCA
There are no other portraits here, this isn't your normal realm.
QUINN
You're very observant.
AMANDA
She's like a hawk.
REBECCA
So why Victorian lesbians?
QUINN
(Quinn notices the panic on Bertie's face.)
Excuse me?
AMANDA
Oh for goodness sakes Rebecca, they're not lesbians.
QUINN
Yes, they are, but I didn't think it was obvious.
AMANDA
You're kidding.
(She gets up and starts looking closer at the paintings.)
REBECCA
It's not. I just look closer than most.
So what made you change your genre?
QUINN
It's a very long and complicated story.
REBECCA
Maybe you'll tell me some time, I'd like to know before I show your paintings.
QUINN
You want to show my paintings, these paintings.
REBECCA
I'll need you to finish the series first, but yes I want to show your paintings, these paintings.
AMANDA
(Still looking at the paintings.)
Wow! That's hot.
(She looks at the two of them looking at her suspiciously.)
What, I don't' have to be gay to have an appreciation.
QUINN
Rebecca, I'm flattered by the offer, but I have to discuss it with someone first.
REBECCA
Fine, the offer stands, whenever you're ready, give me a call.
(She hands Quinn a card.)
QUINN
I will, and thank you.
REBECCA
No thank you, they're beautiful. Well, I think we've intruded on your evening long enough. Amanda shall we go?
AMANDA
Thanks Quinn for letting us come by, I'll see you Friday.
QUINN
Right. Thank you for coming all this way.
REBECCA
It's nothing, I'm out here all the time visiting this one.
(They shake hands good-bye.)
It was a pleasure meeting you Quinn.
Please, don't forget to call.
QUINN
(They hold hands just a moment longer then they should and look into each others eyes just a bit longer than they should.)
I won't.
Amanda and Bertie both notice Rebecca and Quinn's reaction to each other. Amanda gives a little smile and heads out the door. Bertie has a longing look and disappears.
SC 43
Quinn finds Bertie in her bedroom sitting on the bed looking at the portrait Quinn painted of Victoria .
QUINN
How you doing?
BERTIE
She really liked your paintings, and why shouldn't she, they're beautiful.
QUINN
Are you okay?
BERTIE
She wants to show them to the world.
QUINN
I wouldn't say the world, art interested people maybe.
BERTIE
We would be on display for everyone to see.
QUINN
Bertie, this is going to be up to you. If you don't want me to show the paintings, then I won't, it's that simple. I never want to hurt you, you're my friend and I love you.
BERTIE
I love you too Quinn.
(She looks longingly and lovingly at Victoria 's portrait.)
And that's why I would never stop you.
You're an artist, this is what you do. As frightening as this may be, it is your passion for painting that has surrounded me with Victoria again and given me a new look at some old memories.
This is a great opportunity for you and I'll not stand in your way. I love Victoria and I never want to deny that again.
QUINN
Not everyone will figure it out, but some will.
BERTIE
(Looks at Victoria again and walks to Quinn's side.)
It doesn't matter. I don't care anymore.
QUINN
Bertie…
BERTIE
No, I really don't care.
When she first mentioned it I was gripped with fear and that moment with Thomas came rushing back to me, but that was a long time ago and look what it cost me, cost us (Looking at Victoria ). No, I will not be a coward anymore. Maybe you're rubbing off on me, but I love that beautiful woman and I don't care who knows it.
QUINN
You really are an amazing woman Bertie. You just came out of the closet ninety-eight years after your death.
BERTIE
What closet?
QUINN
It's just an expression; it means you're not afraid to be yourself in front of the world, you refuse to hide anymore.
BERTIE
I think you give me strength I've never known before. Too bad I hadn't known you ninety-eight years ago, perhaps I wouldn't have lost Victoria .
QUINN
If I had known you ninety-eight years ago I might have given Victoria a run for her money.
They look at each other lovingly. Quinn reaches to touch Bertie's face and for a moment they seem to have a physical connection. Bertie catches her breath at the feel of another human being and Quinn is shocked and filled with emotion. We see for the first time she could have fallen in love with Bertie.
BERTIE
What was that? I felt your touch.
QUINN
I don't know, I've never been able to do that before.
(Bertie steps very close to Quinn, Quinn closes her eyes.)
I can feel your presence stronger than ever before.
Bertie kisses Quinn on the lips, they both feel it. She presses herself against Quinn and Quinn wraps her arms around Bertie. Bertie cries on Quinn's shoulder. They stay wrapped together for several long moments. There's a knock at the front door. Bertie looks up.
BERTIE
I'm afraid to let go.
(She looks at Quinn who has tears running down her face, she wipes at them and pulls back. There's another knock at the door.)
Go on then, you better see who that is.
QUINN
I don't want to leave you.
BERTIE
I'm not going anywhere.
Quinn goes downstairs wiping her eyes and opens the door to find Rebecca, she is a little surprised to say the least.
SC 44
Rebecca has finished her dinner with Amanda and has returned, this time she is not as formal, no longer is this a business meeting.
REBECCA
I hope I'm not disturbing you.
QUINN
No, it's okay, come in please.
REBECCA
Are you alright? You seem upset.
QUINN
(Tries to wipe away the last of her tears.)
Yes, I'm fine, just a little too involved in my work.
REBECCA
Your paintings?
QUINN
(Nods her head.)
I guess I've been found out, I'm just a soft touch really.
REBECCA
There's nothing wrong with that, and now I'm more intrigued than before. I couldn't stop thinking about your paintings, I was hoping I could see them again.
QUINN
Of course, come on back.
They step into the studio.
REBECCA
There's something about them. The paintings seem so personal, so powerful. I have to ask, are they you and your girlfriend?
QUINN
No, no they're not.
REBECCA
I just thought, the love and intimacy are so strong, a lot of times that comes directly from the artist.
QUINN
I'm afraid if it were reflective of my life it would just be a bunch of swirling gray clouds. But these two are real, or were real.
REBECCA
And who were they?
QUINN
They were friends, neighbors, lovers; and they lived right here. Well Bertie did.
REBECCA
Who's Bertie?
QUINN
Here.
And this is Victoria , she lived in the house next door.
(Quinn gets a tear in her eye again, everything about Bertie is very raw for her right now.)
REBECCA
(Rebecca notices Quinn's watery eyes and takes her by the hand leading her out of the studio.)
Come on.
(She looks around and settles Quinn on the sofa. She wanders off and comes back with the bottle of wine from before and two glasses and a paper towel. She hands the towel to Quinn then pours the wine and hands that to her then sits on the sofa near Quinn.)
Now, why don't you tell me about Bertie and Victoria.
QUINN
(Takes a long drink.)
I don't know if I can do this tonight, I'm a little drained right now.
REBECCA
Then how about telling me about yourself.
QUINN
Not as interesting, but definitely not as emotional either.
REBECCA
Something tells me you are very interesting.
How did you wind up out here?
QUINN
I've lived in a city all my life, I needed a change, things weren't going so well. I finally realized that I had been spending months looking at real estate adds in small towns all over, I knew it was time to do something.
REBECCA
I thought your Aurora Borealis exhibit was incredible.
QUINN
What? You…
REBECCA
I have to admit, when Amanda told me she wanted me to see Grahams art teachers paintings, I wasn't that interested until she told me it was you.
QUINN
I'm flattered.
REBECCA
I also saw your beach series.
QUINN
Yeah, that would have been the last thing I showed, that was over a year ago.
REBECCA
So is this what you've been doing for the last year?
QUINN
Well, first someone ransacked my studio in a very violent and disturbing way and destroyed almost all of my art, current and past work, then I got dumped by my girlfriend of six years. Never date a dancer. Which shut me down emotionally and artistically. When I started coming out of my funk I decided to make a change. There was an opening for an art teacher at the university so I applied, got the job, bought a house and moved. It was the best thing I could have done.
REBECCA
And you're painting again.
QUINN
Yes, and I owe that to Bertie. The moment I was introduced to her it just began to flow.
REBECCA
What do you mean?
QUINN
When I moved in I was digging through the attic and came across a trunk with Bertie's possessions, she had kept dairies her whole life and that's how I learned about her and Victoria.
REBECCA
Did they live here?
QUINN
No, when Bertie was twenty four they were found out and in a heated argument with her father she fell down the stairs and died. Victoria had already been sent away and died a month later.
REBECCA
Oh, how horrible.
QUINN
I just want them to be happy again.
REBECCA
Happy again, what does that mean?
QUINN
I don't know, it's something I'm working on.
Rebecca sits looking at Quinn for a while, not quite sure what she's all about, but liking what she sees so far.
REBECCA
Maybe you'll let me help with that if I can.
Quinn looks at Rebecca feeling the same attraction she felt when they first met and smiles.
QUINN
Come on, I'll show you the paintings again, sans the emotional outbursts.
SC 45
Quinn is in her office at the university on the phone with Mona.
QUINN
It went well I think.
MONA (V.O.)
You think? What does that mean? Did she like your paintings?
QUINN
Well, she came back later that night on her way home to look at them again.
MONA (V.O.)
I'd say that went very well then.
QUINN
Apparently she's seen my work before, and she'd like to show my paintings of Bertie and Victoria.
MONA (V.O.)
This is great news Picasso. I'm so happy for you.
(Jamie knocks on the door and sticks his head in, Quinn waves him in.)
So tell me what was she like?
QUINN
I can't right now, Jamie just walked in and I've got to go. I'll call you later. Hugs.
MONA (V.O.)
Kisses.
(They hang up.)
QUINN
Hey Jamie, what's up?
JAMIE
Just dropped by to say hi and see if you were going to be home later, I was hoping to stop by and mark out the new beds for the back yard.
QUINN
Sure, my last class is over at three. I just have to stop at the market and then I should be home the rest of the day.
JAMIE
Great, I'll see you this afternoon then, oh and I haven't forgotten, I'm still working on that address for you.
QUINN
It's okay, there's no rush. I expect you to put your school work first.
JAMIE
You sounded like my mother just then.
QUINN
Oh, sorry. But she's right.
JAMIE
I know, but I'm young and have boundless energy to devote to all my projects.
QUINN
You're weird.
JAMIE
See you this afternoon?
QUINN
I'll make us brownies.
Jamie leaves Quinn working at her desk.
SC 46
Bertie watches Quinn and Jamie in the yard as Jamie is staking out his layout for the new gardens. Bertie watches Quinn and touches her lips where she can still feel Quinn's kiss, she looks at a portrait of Victoria .
BERTIE
I can still feel her touch, I had forgotten what that was like. Please don't think I betrayed you, I would give my life over again for the touch of your lips.
Quinn walks in and sees Bertie talking to Victoria 's portrait. She walks over and gently puts a hand on Bertie's arm. Bertie startles at the touch.
QUINN
(Pulls away quickly.)
Sorry.
BERTIE
(Takes Quinn's hand in her own.)
It's just a shock to feel the touch of another person after so long. I've missed it so much.
QUINN
(Wraps her arm around Bertie's waist and whispers in her ear.)
You do something to me Bertie. This shouldn't be happening.
BERTIE
What is happening?
QUINN
I don't know sweetie.
(Quinn kisses Bertie long and loving.)
BERTIE
(Finally pulling back slightly.)
I can't.
QUINN
(Looks at Victoria 's portrait.)
I know. I didn't mean anything.
(She pulls back to just hold Bertie's hand.)
You're still in love with her. We're friends you and I and I will always be here for you.
You're safe with me Bertie, I do understand.
BERTIE
Why do I want to be in your arms so badly?
QUINN
Just a physical craving I imagine. I respect you and Victoria and that will never change.
SC 47
Quinn is in her studio finishing up another painting of Bertie and Victoria. Bertie appears as Quinn goes to clean her brushes, she looks around at all the paintings.
BERTIE
(As Quinn comes back into the room.)
I really like this one, what did you take it from?
QUINN
From you, it's the way you should have been.
There is a knock on the door Quinn goes to answer it. Bertie stares at the painting and smiles. Quinn and Rebecca come back in.
REBECCA
I just thought I'd stop in to see how you were getting along.
(Noticing the painting.)
Oh wow, this is great.
QUINN
Glad you like it.
REBECCA
(Looking around.)
These are new as well. You must be a really fast painter.
QUINN
Just putting in a few extra hours.
BERTIE
You need to rest more.
REBECCA
You're looking a bit tired.
QUINN
I've got a lot on my plate at the moment.
BERTIE
Because of me.
REBECCA
I hope you don't think I'm pressuring you.
QUINN
(Looks at Bertie.)
No.
(Looks at Rebecca.)
No.
REBECCA
You can take all the time you need, the offer will always stand.
BERTIE
We have time.
Quinn looks from one to the other as similar stories are being played out in stereo.
REBECCA
Are you okay?
QUINN
Yes, sorry, it's just I'm getting life in stereo right now.
REBECCA
What?
BERTIE
Don't Quinn, not yet.
QUINN
Nothing, I'm just tired.
REBECCA
And I bet you haven't had dinner yet.
QUINN
Well, no.
REBECCA
Right then, come on we're going out.
QUINN
But I can't, I mean I'm a mess.
REBECCA
You look fine, don't worry it's not like it's a proper date.
BERTIE
Go Quinn, have a good time, live a little.
QUINN
Just let me change clothes.
REBECCA
I'll be waiting.
Quinn heads up stairs while Rebecca wanders around the studio looking at paintings running her fingers over Quinn's brushes. She moves into the living room and is taking a closer look at everything in the room; pictures, books, sculptures etc. Bertie follows her watching. Quinn comes down to find Bertie watching Rebecca.
QUINN
Well
REBECCA
You clean up nice, worth the wait.
Shall we go?
BERTIE
(As they are heading for the front door Bertie touches Quinn's arm and whispers.)
She likes you.
(Quinn smiles at her.)
SC 48
Rebecca and Quinn are having dinner in a small quiet restaurant, nothing fancy, there are only a few diners in the place.
QUINN
Bungee jumping? You can't be serious.
REBECCA
And hang gliding, parachuting, white water rafting, rock climbing…
QUINN
You let your brothers talk you into all that.
REBECCA
When you have three brothers you have to keep up or get pummeled. Besides I like it, I like the adrenalin rush.
QUINN
Then how did you wind up running an art gallery?
REBECCA
Art is a different kind of rush, but just as powerful, at least for me.
QUINN
I know what you mean.
Do you paint?
REBECCA
Not really, I like sculpting.
QUINN
Clay?
REBECCA
It's a hobby.
QUINN
I'd like to see sometime.
REBECCA
The next time your in the city let me know, you can come over and I'll make us dinner.
QUINN
I don't get into the city very often.
REBECCA
Then when you bring in the series for the gallery, I can wait.
QUINN
You may not have to wait too long for that. I think I'm finished, well at least with what you will get.
REBECCA
You mean I don't get the whole series?
QUINN
No, you do. I'm just waiting for the end of the story.
REBECCA
End of the story?
QUINN
Yes.
REBECCA
Explain please.
QUINN
It's a little difficult.
REBECCA
Why do I get the feeling something else is going on here.
QUINN
I'm sorry, it's just, well Bertie and Victoria's story is not over yet, it's still going on.
REBECCA
Okay I'm really confused now.
QUINN
I know, but trust me when I tell you there is still one more chapter to Bertie and Victoria.
REBECCA
(Looks at Quinn for a while.)
Your sad.
QUINN
I'm tired.
REBECCA
Then I should take you home.
QUINN
Thank you for this, I really needed to get out and just relax and I couldn't have asked for better company.
REBECCA
Neither could I.
SC 49
In Rebecca's car in front of Quinn's house.
QUINN
Would you like to come in for a glass of wine?
REBECCA
Yes.
QUINN
But.
REBECCA
But you need to get some sleep and I have to drive back to the city.
QUINN
Thanks again for dinner.
REBECCA
I had a great time.
(They sit looking at each other for a while.)
If you are sure your ready to show I'll check the calendar and book you.
QUINN
That would be great.
REBECCA
I don't want to rush you.
QUINN
Your not, I know when I'm ready.
REBECCA
I'll call you then.
QUINN
I'd like that.
They look at each other for a long time, hesitate and then kiss, a slow long kiss filled with new passion and tentative exploration. Quinn doesn't want to leave but knows she must.
QUINN
I'll talk to you later.
REBECCA
(She kisses Quinn again and gives her a devilish grin.)
Good night Quinn.
QUINN
Night.
Quinn gets out of the car and walks inside. Rebecca watches her go in and then drives off.
SC 50
Quinn is in her workshop talking with a new sign customer.
QUINN
These are fantastic old planks.
MR. LAMBERT
They came out of an old barn we had to pull down on my uncle's farm, it was well over a hundred years old and falling down.
QUINN
We should be able to make a nice sign out of these.
MR. LAMBERT
I'll leave it up to you then, here's all the information I want on it.
QUINN
You must have some ideas.
MR. LAMBERT
No, I've seen your work around town, I think you can come up with something far nicer than I could.
JAMIE ( From the yard. )
Hey Quinn are you out here?
QUINN
I'm sorry Mr. Lambert if you could excuse me just one moment.
(Goes to the door.)
I'm in here with a customer Jamie.
JAMIE
Okay, but I finally got it!
Oh hi Mr. Lambert, how are you?
MR. LAMBERT
Good Jamie, how are you?
JAMIE
I'm fine, just checking in with my boss here.
MR. LAMBERT
That's good, well looks like you two have work to do so I'll be going. Jamie tell your folks I said hello.
JAMIE
I will.
QUINN
I'll call you when I have a design drawn up.
MR. LAMBERT
That won't be necessary, you just make what you think would be right.
Good-bye.
QUINN
Good-bye Mr. Lambert.
(Mr. Lambert leaves and Quinn gives Jamie a funny quizzical look.)
JAMIE
I know, my dad says Mr. Lambert is a bit of a throw back to the old days.
QUINN
I won't argue with that.
So, what have you found?
JAMIE
It took a little while because the address doesn't exist anymore, neighborhoods changed, street names changed, but I think I have it all now.
(He hands her papers with addresses and maps.)
QUINN
This is a cinema.
JAMIE
The house was torn down over seventy years ago and a theater was built. It's one of those small old fashion ones, it's still there and they show old movies, cool huh.
QUINN
Damn. I was hoping the house would still be there.
JAMIE
I double checked, it was the old ladies house.
QUINN
No, you did great Jamie. Thank you so much. Now I just have to get into the city.
(She opens her cell phone and calls Mona.)
Hey babe, I need a favor, a big one.
SC 51
Quinn and Bertie are in the living room sitting on the sofa holding hands.
BERTIE
I don't understand.
QUINN
I'm just trying to piece together everything that has happened.
BERTIE
Victoria 's gone, her aunt is gone, the house is gone, so what are you looking for?
QUINN
I don't really know, I just want to give you as much closure as possible. I can't explain it, I just know this is the right thing to do.
BERTIE
But why go there? It's not even her house anymore.
QUINN
It's like a painting, I just need to finish it. Going there will kind of end it for me.
BERTIE
This is like a big adventure to you.
QUINN
No Bertie, you know that's not true, this is very real to me. You are real to me.
(Quinn takes Bertie in her arms and sits holding her for a while. There is a knock at the door, Quinn kisses Bertie on the forehead and goes to answer the door.)
Rebecca!
REBECCA
I hope you don't mind, I brought over the schedule and contracts for the show.
QUINN
You didn't have to drive those all the way out here, I thought you were going to call.
REBECCA
Well, there may have been another reason for wanting to come over.
(Rebecca moves closer to Quinn.)
QUINN
I'm glad you're here.
(She sees Bertie looking sad but has a small smile.)
BERTIE
I told you she likes you.
(Bertie vanishes.)
QUINN
Wait!
REBECCA
Yes?
QUINN
Bertie!
REBECCA
Quinn?
QUINN
(Is looking around for Bertie.)
Bertie!!
BERTIE
(Appears next to Quinn.)
I'm right here.
QUINN
Are you okay?
BERTIE
I'm fine, and your scaring her.
(They both look at Rebecca who has a shocked look on her face.)
You have some explaining to do.
You need to be with the living Quinn, I understand that.
I'll be in my room.
(Bertie disappears again.)
QUINN
Rebecca…
REBECCA
What just happened?
QUINN
It's complicated.
REBECCA
You were just talking to someone.
QUINN
Yes.
REBECCA
There's no one here.
QUINN
Not exactly.
REBECCA
You called out Bertie.
QUINN
Yes.
REBECCA
Are you talking to your paintings?
QUINN
No. Could we sit down?
(Rebecca sits on one end of the sofa and Quinn on the other.)
I know this isn't going to be easy for you, but please believe me when I tell you I'm not crazy, or maybe I am and that's why I can see ghosts.
REBECCA
You see ghosts?
You were talking to a ghost?
QUINN
Yes. And weather you believe in ghosts or not, for me they are very real. Ever since I was a kid I could see ghosts but there are only a few I can really talk to. The reason I know so much about Bertie and Victoria is because Bertie's still here, she's never left this house.
REBECCA
Wait a minute, you see dead people. Like all over?
QUINN
No, I mean there's not as many as you might think, and I can only communicate with ones I have some kind of connection with.
REBECCA
How are you connected to Bertie?
QUINN
Her diaries, when I found them I was so obsessed with them I read them over and over again, then I started painting, it sort of drew us together. I think she came to me just so I wouldn't mess up Victoria 's painting.
(Rebecca looks around and then at Quinn.)
She's not here now, she's in her room.
REBECCA
Her room? She has her own room?
QUINN
It's her house too.
REBECCA
Quinn…
QUINN
Yes…
REBECCA
Could I have a drink?
QUINN
Will wine do?
REBECCA
Anything.
Quinn goes to the kitchen while Rebecca contemplates this new information. Quinn returns with a glass of wine and the bottle. Rebecca downs half the glass in one take, Quinn quickly fills it up again.
QUINN
I know this is a bit weird, it's a hard thing to take in, I understand if you want to run out of here and never talk to me again.
REBECCA
Just hang on, give me a second okay. I'm not going to run out. I'm just trying to get my head around this.
I mean I've always considered myself open minded, I believe there are things, forces we just cannot explain, I've just never encountered any before.
QUINN
I'm not a lunatic and Bertie is real. I'm the first person she's had to talk to since she died.
REBECCA
That sounds horribly lonely.
QUINN
It is.
REBECCA
Why is she here?
Okay, I'm asking you questions about a dead person living in your house!
QUINN
Honestly, I think she's waiting for Victoria to come home. She still has undying love for her, it's the greatest thing I've ever seen.
REBECCA
That's amazing.
QUINN
I think so, that's why I'm trying to help her.
REBECCA
What do you mean? How can you help her?
QUINN
I'm trying to trace the end of Victoria 's life, maybe it'll give her some closure.
We've become very close friends. I don't want to see her hurting anymore.
REBECCA
(She looks into Quinn's eyes accessing the person in front of her.)
I've never met anyone like you, you really are amazing.
QUINN
So I haven't frightened you off?
REBECCA
I'm not frightened of you Quinn. It might take a little getting use to though.
Quinn moves closer to Rebecca on the sofa and takes her hand, Rebecca takes Quinn into her arms and they sink back into the sofa together.
SC 52
Mona is picking up Quinn at the university, as Quinn gets into the truck Jamie walks up.
JAMIE
Hi Mona, I didn't know you were going to be in town this weekend?
MONA
I'm not, I'm taking Quinn away.
QUINN
Hey Jamie were you planning on working this weekend?
JAMIE
I was planning on it.
QUINN
There's a key in the squirrel in the back yard. Help yourself to anything in the fridge, I'll be back Sunday.
JAMIE
Well you guys have fun in the city and don't do anything I wouldn't do.
MONA
I think we're almost guaranteed to do anything you wouldn't do.
(Jamie visibly blanches and looks a little embarrassed.)
QUINN
Bye Jamie.
JAMIE
Bye.
QUINN
(As they are driving off.)
He tries.
MONA
You gotta love him for it.
QUINN
Thanks for this Mona, I owe you.
MONA
I get you back in the city, it's worth it. It's just not the same without you.
QUINN
I'm sure your sitting at home alone every night with nothing to do.
MONA
As a matter of fact I do, sometimes.
QUINN
Well it can only do you good
MONA
Some of us prefer a more active life if you don't mind.
QUINN
I never have, have I?
They ride for a bit in silence, Mona glancing at Quinn occasionally, Quinn looking thoughtful out the window.
MONA
So what's with this cinema we're going to?
QUINN
It's where the house Victoria died in was located.
MONA
What are you hopping to find?
QUINN
I don't know, it's just a feeling, I want to see the place.
MONA
How are things with Bertie?
QUINN
Good, she doesn't understand why I am going either.
MONA
Quinn….
(Quinn gives her a sarcastic questioning look.)
you are getting too attached to her.
QUINN
No I'm not, we're friends, good friends.
MONA
And.
QUINN
And that's all. If she were alive I could see there being something more, but she's not and I DO KNOW that, and she's in love with someone else.
MONA
You're still radiating something.
You've met someone.
QUINN
I kind of did.
MONA
The gallery chick.
QUINN
Rebecca, yes, we've gone out a few times.
MONA
And.
QUINN
And she's pretty amazing.
MONA
And.
QUINN
And funny, witty, exciting, loves adventure, smart, I think you guys will hit it off.
MONA
Quinn! Come on I want details.
QUINN
Mona, your not getting any.
MONA
Ooohh, you really like her.
QUINN
Yes I do.
MONA
Does she know about the whole ghost whisperer thing?
QUINN
You know I hate that term and yes she does. She seems pretty cool with it, I think. She's adjusting to it.
Mona smiles and wraps an arm around Quinn's head pulling her over to give her a kiss on the top of her head.
MONA
You are so Picasso.
SC 53
Mona and Quinn arrive at the cinema.
QUINN
Well this is it. I guess we can be grateful it's not showing porn.
MONA
Maybe you can.
(V.O.) REBECCA
Quinn!
QUINN
Rebecca, what are you doing here?
REBECCA
(Walking up to them.)
You told me you were going to look for dead people and you think I would want to miss this.
(Noticing the beautiful woman with Quinn she gives the woman a rather cool greeting.)
Hello.
QUINN
Rebecca, this is Mona Remalay. Mona, Rebecca Andrees.
MONA
It is a pleasure to meet you.
(To Quinn.)
You didn't mention hot.
QUINN
Mona!
REBECCA
(She realizes this is Quinn's best friend she has heard about and warms up.)
Ah, this is Mona, I'm very glad to meet you.
I'm sorry I didn't mean to crash your party.
MONA
Don't be silly, now I have someone to sit with while this one's doing her ghost
(Quinn gives her a pointed look.)
hunting thing.
QUINN
Okay, I'll get the tickets and lets go in.
SC 54
Inside the theatre there are about five people and three ghosts. It is dark around the edges and in the corners, a movie is already playing.
MONA
Wow, I guess there's no appreciation for the oldies anymore.
QUINN
Like you'd ever come here on your own. Okay, you guys stay back here, I'm going to have a look around.
(Mona starts to sit in the back row where a ghost is sitting.)
But not there,
(She points to seats in front of the occupied one.)
these seats are fine.
MONA
Oh,
(Over her shoulder in the direction of the seat.)
sorry.
REBECCA
What was that?
MONA
Seats already occupied.
Rebecca looks at the empty seat then quickly sits next to Mona and moves close to her casting uneasy glances around. Mona smiles and puts a reassuring hand on Rebecca's arm.
Quinn walks down the aisle looking at every seat and peering into the dark recesses. She crosses in front of the screen and makes her way back up the other aisle. As she reaches the back of the house she notices a figure in the dark corner. She approaches and sees it is Victoria . Victoria notices that Quinn sees her and becomes agitated and nervous. The picture on the screen starts to flicker.
QUINN
Hello Victoria .
A cold wind nearly knocks Quinn over and the other ghosts turn to see what is going on. Mona and Rebecca look at Quinn knowing something is going on.
QUINN
Victoria I'm here to help.
Another cold wind throws Quinn back into the seats.
VICTORIA
Leave me be!
As Victoria disappears the other ghosts get up to advance on Quinn. Mona and Rebecca rush over to Quinn, helping her up.
QUINN
Lets get out of here, quick.
They leave before anything more can happen, none of the ghosts follow them out.
REBECCA
Are you okay? What just happened back there? You didn't tell me they were violent.
QUINN
(Holding her side.)
I'm fine, just a bruise. Well, I found Victoria .
MONA
That was not good.
QUINN
This is going to be harder than I thought.
MONA
Look, lets get out of here, I know a little coffee shop not far away.
(To Rebecca.)
You know where Bentley's is?
REBECCA
No.
MONA
Just follow me, it's not far, I promise not to lose you.
REBECCA
Quinn, are you sure your okay?
QUINN
I'm fine, lets just go.
SC 55
Inside a cozy, funky little coffee shop, Mona brings drinks over to Quinn and Rebecca who are sitting close together on a sofa.
MONA
So, you want to tell me what happened back there.
QUINN
I don't know, I think Victoria has a lot of anger issues.
REBECCA
How did you know she would be there?
QUINN
I didn't, it was just a guess, I figured if Bertie had felt so incomplete that she hadn't moved on then maybe Victoria did the same.
MONA
So why is Bertie so nice and Victoria so scary?
QUINN
Doesn't like confrontation?
REBECCA
Wait, she didn't know why you were there right?
She doesn't know about Bertie. You said without Victoria Bertie had no place to go, well maybe Victoria 's doing the same thing. Without Bertie she's stuck and apparently angry about it.
MONA
Yeah but how do you get close enough to talk without getting your head knocked off. Can ghosts do that?
QUINN
This one can. I think she bruised a rib.
We need Bertie.
MONA
I thought she couldn't leave the house.
QUINN
More like doesn't know how. She's attached herself to the house, I just have to get her to attach herself to me then I can bring her here.
REBECCA
Will that work?
QUINN
I don't know, this is all new territory for me, but I have to try.
MONA
But this can wait until tomorrow right?
QUINN
I'm sorry Mona, I'm dragging you all over the place.
MONA
Right, like I would let you do this alone.
REBECCA
Me too.
MONA
So, are you going to be sleeping on my sofa tonight or what?
REBECCA
Or if you like I have a guest room with a comfy bed, you could stay there if you like.
MONA
Right, I don't think a lumpy sofa can compete with a comfy bed, so I'm going to leave you two to it. Will you be needing a ride back to the sticks?
REBECCA
I can take her back. I think I'd like to meet Bertie if that's okay.
Quinn smiles at Mona and gives Rebecca a kiss and a nod of her head.
SC 56
Rebecca's condo is very nice, expensive, and full of art work. The whole place leans towards contemporary with niches of comfort. Several pieces of sculpture are on display around the living room.
Rebecca leads Quinn into the living room where she drops Quinn's overnight bag on the floor, she immediately grabs Quinn and kisses her, Quinn winces in pain.
REBECCA
Sorry, I forgot, let me see.
(She lifts Quinn's shirt to reveal a large bruise on her side.)
She really hurt you. I'll get some ice.
QUINN
Thanks, it's not really that bad, just a bit sore.
REBECCA
(She hands Quinn a baggie of ice wrapped in a dish towel.)
Here, put this on it and lay on the sofa.
(Rebecca sits and takes Quinn's head into her lap.)
I would have never thought a ghost could hurt you.
(Quinn shudders at the feel of a small delicate hand stroking her face.)
I can't believe I just said that.
QUINN
Are you still okay with all this? I've never dealt with anything like this before.
It's usually much more calm. I've never been attacked by a ghost before.
REBECCA
Bertie must mean an awful lot to you.
QUINN
I know this is going to sound crazy, but she has sort of become my best friend, it's nice having her around.
REBECCA
I think I'm glad she's a ghost.
QUINN
Jealous?
REBECCA
Maybe a little, she gets to spend all her time with you.
QUINN
Well, not all of it, I'm here now.
(Quinn shifts to give Rebecca a kiss and grimaces with pain and stops.)
REBECCA
Are you okay?
(Quinn smiles and nods her head.)
It's too bad.
QUINN
What do you mean?
REBECCA
Well, I kind of lied before. I do have a comfy bed, but it's not in the guestroom.
QUINN
How devious of you.
REBECCA
But now….
QUINN
I'm not that hurt.
Quinn throws the icepack off and pulls Rebecca into a kiss. Rebecca helps Quinn off the sofa and they kiss again.
REBECCA
I promise to be gentle.
QUINN
That's your promise.
With a wicked grin on Quinn's face Rebecca walks her into the bedroom never letting go or stopping kissing.
SC 57
Quinn and Rebecca arrive at Quinn's house. Quinn goes into the living room and calls out to Bertie.
QUINN
Bertie, I need to see you, now.
(Bertie appears and spots Rebecca she gives Quinn a questioning look.)
It's okay, she knows you're here. We have to talk Bertie.
BERTIE
What's going on Quinn? What are you doing?
REBECCA
Is she here?
QUINN
Yes, she's here, she's right in front of me.
REBECCA
Um, hello Bertie. I'm Rebecca, Quinn's told me a lot about you. I'm just sorry we can't meet face to face so to speak.
BERTIE
Quinn what's going on? What have you done?
QUINN
It's alright Bertie, Rebecca wanted to meet you, she wants to help.
BERITE
Help! Help with what? She can't even see me. Quinn! I don't like this.
REBECCA
What's going on? What is she saying?
QUINN
(She turns to Rebecca and takes hold of one of the smaller woman's hands.)
I think this might be a bit much right now, I'm sorry, would you mind giving us a few moments alone?
REBECCA
Right, of course. I'll just go make us some lunch.
Bertie, I really do just want to help.
BERTIE
Why did you do that?
QUINN
Come here Bertie and sit down, we need to talk.
BERTIE
(Sits next to Quinn who takes her hand)
Is this about Victoria ?
QUINN
In a way yes, I'm sorry about springing Rebecca on you like that, but she wanted to meet you.
BERTIE
I don't want to be a spectacle for your friends.
QUINN
Your not, she can't even see you. Bertie you're my best friend and Rebecca is more than just a friend and I don't want to keep secrets from her. And after what happened yesterday…
BERTIE
What happened?
QUINN
Bertie, I found Victoria .
(Bertie is visibly shaken, she looks lost and confused.)
Just like you, she stayed where she died, I think maybe she didn't know about what happened to you.
BERTIE
You, you saw Victoria ?
QUINN
Yes.
BERTIE
What did she say? Is she alright? Did she ask about me?
QUINN
We didn't get a chance to talk. When I approached her it must have scared her. She went into a rage and sent me tumbling over some theatre seats.
BERTIE
What? That can't be. Victoria 's gentle.
QUINN
(Quinn lifts her shirt to show the bruise.)
Perhaps in life, but in death she has some trust issues.
BERTIE
I don't understand, she pushed you? She touched you?
QUINN
Not exactly, it was more like a force of energy that she sort of blasted me with.
BERTIE
Victoria .
She's here.
Why then didn't she come home?
QUINN
I've been thinking about that and Rebecca said something that makes sense, she stayed put just like you did. I think she doesn't know you're here and I couldn't get close enough to tell her.
BERTIE
But Victoria is a kind and gentle person, she would never hurt you.
QUINN
That's who she was, we don't know what has happened to her.
BERTIE
Oh, Victoria .
I have to see her.
QUINN
I know, I think you're the only one who can get through to her.
BERTIE
How? I'm here and she's there.
QUINN
I know you think you can't leave this house, but you can. You've kind of gotten yourself stuck here, you've attached yourself to the house and I think that if you attach yourself to me then we can go to the theater together.
BERTIE
How do I do that? I've never left here before.
QUINN
To be honest, I don't know. But we have to try.
(Rebecca has quietly entered the room and is watching from the doorway.)
BERTIE
I'm afraid Quinn, what if something happens, what if I just slip away.
QUINN
I'm not going to let anything happen to you.
Take my hand Bertie. Trust me.
(Bertie shakily takes Quinn's hand, Quinn wraps an arm around her and slowly they move to the front door, at the door Quinn opens it.)
BERTIE
Wait,
(She kisses Quinn and savors the moment.)
Just in case.
QUINN
Your going to be fine, trust me.
(They walk hand in hand out the door and down the walk way to the side walk, Rebecca follows a safe distance behind.)
Your doing fine, just concentrate on staying with me.
(They walk to the end of the street and turn and look back at the house, Bertie can not believe she is outside the house, Quinn sees Rebecca at the end of her walkway and gives her a big smile.)
BERTIE
I'm down the street, I can't believe it. Oh, Quinn.
I have to see Victoria .
QUINN
Tonight, we'll go tonight.
Right now there's someone who'd like to meet you. She's important to me Bertie and I'd really like you two to know each other.
(They both look at Rebecca and walk home.)
SC 58
Inside Quinn's kitchen, she and Rebecca are eating sandwiches on stools at the butcher block while Bertie stands in the doorway to the backyard.
REBECCA
I think I can safely say that without a doubt this is the strangest experience of my life. No offence Bertie.
BERTIE
It's definitely an adventure.
QUINN
She agrees.
BERTIE
What am I going to say to her after all these years?
QUINN
It'll come to you when you see her, just be honest with yourself and with her.
REBECCA
It's like listening to someone in the room who's on a telephone.
QUINN
I'm sorry,
REBECCA
No, it's alright. I know someone else is here, I've been talking to her for the last hour, I just can't see or hear her.
QUINN
It gets easier.
BERTIE/REBECCA
Really?
QUINN
Maybe.
REBECCA
Well, this is hands down the most romantic thing I have ever heard of. The love you have Bertie for Victoria , I'm envious of it, it's good to know a love like that exists.
QUINN
Don't you believe in love?
REBECCA
Love, sure, a love that spans the ages, that's always been for fairy tales.
BERTIE
There is only one true love, and when you find it you'll know.
QUINN
She say's there's only one true love and you'll know it when you find it.
The phone rings and Quinn goes into the living room to answer it. Rebecca watches her go, Bertie watches Rebecca.
REBECCA
You could be right. I guess time will tell.
BERTIE
Be good to her, she deserves that.
Quinn comes back in.
QUINN
That was Mona, she's going to meet us at 8 at the theater.
BERTIE
Do we have to have such a large audience?
QUINN
No one will see or hear you two, and besides if something goes wrong I need someone who can actually help me out of there.
BERTIE
She won't hurt you.
REBECCA
Help you out of there? Are you worried she'll attack again?
QUINN
No, but it never hurts to be prepared.
(She notices Bertie's worried look and smiles.)
We're going to be fine, after tonight everything is going to be the way it should be.
SC 59
Inside Rebecca's car, she is driving, Quinn and Bertie are in the back seat. Bertie keeps a tight grip on Quinn's hand while looking out the window with wonder at all she sees.
REBECCA
How's she doing now?
QUINN
Feeling better Bertie?
BERTIE
It's so fast.
REBECCA
She's not going to throw up in my car is she?
QUINN
No, she's fine, you wouldn't be able to see it anyway.
REBECCA
Not a comforting thought.
QUINN
Bertie why don't you sit back and relax.
BERTIE
I don't want to miss anything.
QUINN
I know, but come here, you can still see out.
BERTIE
I want to see where she's been.
QUINN
Okay, but we're still an hour away and your going to come out of your skin if you don't relax.
REBECCA
I'm so glad I don't have ghost vision.
QUINN
(She pulls Bertie back to her and wraps an arm around her holding her lovingly.)
Come here.
REBECCA
(She can see Quinn looking like she's hugging air from her rearview mirror.)
Exactly what's going on back there.
QUINN
Just getting comfortable.
REBECCA
Well just don't get too comfortable.
BERTIE
Is she serious? I feel like I'm being hurtled through space and I'm terrified of what's waiting at the other end.
QUINN
Why? What do you have to be terrified of?
BERTIE
What if she doesn't remember me. Or worse, what if she hates me.
QUINN
And why would she do that?
BERTIE
Because I'm the reason she was sent away.
QUINN
I don't know Victoria or what has happened to her since you two were together, but I know one thing Bertie, anyone who knows you and has ever loved you could never hate you.
BERTIE
You are the kindest person I know.
(She gives Quinn a kiss on the cheek, Quinn smiles and they put their foreheads together.)
REBECCA
On the drive back, you're riding up here with me.
(Quinn gives Rebecca a grin and a wink.)
SC 60
Mona is waiting outside the cinema checking out a beautiful girl who is walking by with her friends. She is pulled away from the lovely sight in time to see Rebecca and Quinn walking up. Rebecca is on one side holing Quinn's hand, Bertie is on the other holding not just Quinn's hand but her entire arm.
QUINN
Are we interrupting anything?
MONA
No, just admiring the view.
You okay? You don't look right.
QUINN
That would be the vice grip Bertie has on my arm.
BERTIE
Sorry Quinn.
(She relaxes a bit just holding Quinn's had with both of hers)
MONA
So. What's the plan?
QUINN
I think Bertie and I should go in together. You two hang back at the back of the theatre.
MONA
And what if little miss hothead in there decides to blow a gasket again.
BERTIE
Victoria is not a hothead!
QUINN
Okay you two. We've got enough to deal with tonight.
You, your upsetting Bertie.
And you, my past experience is that yes Victoria has a bit of a quick trigger temper.
MONA
Sorry Bertie.
REBECCA
She's right though, what do we do if she starts going tornado again?
QUINN
I'm hoping Bertie can calm her, give them a chance to talk, if it starts getting bad we get out of there. I don't know what's going to happen, this is a new one on me.
You ready Bertie? Bertie?
BERTIE
I'm really going to see Victoria again.
QUINN
Yes.
BERTIE
I never would have thought I would be so scarred.
QUINN
Come on, I'm right by your side.
(Quinn gives Rebecca a kiss then walks in with Bertie.)
REBECCA
(To Mona.)
Is it just me or is this really weird?
MONA
No, it's really weird.
(She takes Rebecca's hand and they follow in.)
SC 61
Inside the dark theatre a handful of people are watching an old Katherine Hepburn/Carry Grant film along with the same ghosts that were there before. Quinn and Bertie enter and pause to look around, Quinn spots Victoria halfway down off to the side, she is engrossed in the movie. Quinn points out their target. Bertie is afraid to move, but Quinn gently guides her down the aisle. They stop next to Victoria and Quinn steps in front of her, she becomes angered again.
QUINN
Victoria , I've brought someone to see you.
(Before she can bring attention to Bertie she is thrown down the aisle. Victoria stands and is about to go into a full blown rage.)
BERTIE
Victoria No!
( Victoria turns to the voice that has reprimanded her and is about to throw her across the theater when she sees Bertie. She is visibly shaken and leans on the seat back in front of her.)
Victoria it's me, Bertie. Please don't do this.
I have been waiting for you for so long, I've missed you so much Victoria .
VICTORIA
Bertie?
(She stares at Bertie with disbelief. Mona and Rebecca run down the aisle to Quinn who is unconscious on the ground. A few people stand up and watch them, one man comes over to see if he can help.)
REBECCA
Quinn! Quinn! What did she do? Where is she, I'm gonna kill her.
MONA
She's already dead, and how would I know, I'm not a ghost whisperer.
MAN
Is everything all right?
QUINN
How many times do I have to tell you not to call me that.
REBECCA
Quinn!
(Hugging her.)
MONA
She's fine, just took a little fall.
MAN
You sure she's okay, that looked like a nasty fall.
QUINN
I'm fine, just got the wind knocked out of me.
(Quinn looks at Rebecca.)
Let's take this out to the lobby. Bertie get your friend and lets go.
REBECCA
Right. Thanks anyway for the help, I think she's going to be okay.
(Mona and Rebecca help Quinn up as the man goes back to his seat. Quinn watches as Bertie and Victoria stand staring at each other in shock.)
QUINN
Bertie, you have to get her into the lobby.
BERTIE
Victoria , I can't believe I found you. I never thought this day would come.
VICTORIA
Bertie? How?
BERTIE
Victoria , please, come to the lobby with me, I can explain.
( Victoria looks up the aisle at Quinn waiting for them.)
Please Victoria .
(Victoria slowly moves toward Bertie and up the aisle to the lobby, she looks at Quinn with confusion and distrust.)
SC 62
(In the lobby Quinn moves the group to the far side away from the ears of the concession stand clerk.)
REBECCA
Quinn, are you okay?
QUINN
Fine, she just knocked the wind out of me.
MONA
Yeah, wait till you see what's on the back of your shirt.
(Quinn steps over to Bertie and Victoria who have stopped and are just staring at each other.)
QUINN
Bertie, why don't you two come over to the corner and sit down. You need to talk and while you're at it please explain to her I mean her no harm and would appreciate the same in return.
BERTIE
(She moves Victoria to the seats unable to take her eyes off the woman.)
Oh Victoria , I've missed you so much.
VICTORIA
Bertie, is it really you? What are you doing here? After all this time.
BERTIE
I'm here for you.
VICTORIA
But why now?
BERTIE
I didn't know where you were, you never came home. Then I met Quinn and she found you for me.
VICTORIA
I don't understand. You never answered any of my letters. You just let me go.
BERTIE
Oh Victoria , I didn't let you go. I never got your letters because the day after you were sent away I died. Father was so angry and it was an accident, but I fell down the stairs and
(She sees the look of realization and horror on Victoria 's face and tentatively reaches out a hand to her.)
Please Victoria believe me, I've waited for you for so long.
(Mona has gotten a drink and a cup of ice and gives Quinn the drink while sitting and rubbing the cup of ice on Quinn's back, knowing her friend is in pain.)
MONA
So what's going on over there? Nothing seems to be exploding.
QUINN
Their talking, looks like Victoria 's in shock.
REBECCA
I think I would be too if ninty-eight years later my dead lover walked into the room.
MONA
Wow, hey can ghosts have sex?
(Quinn gives her a menacing look.)
Just saying I wouldn't want to be around when those two get together.
(Mona steals a sip out of Quinn's drink.)
VICTORIA
Oh god Bertie, all this time I thought you hated me for Thomas finding us that you didn't want to see me again.
(She takes Bertie's hand and is overwhelmed by the feel of it, just as she remembered it.)
When I didn't hear from you I lost the will to live, I got sick and didn't have the desire to get better. But even when I died there was a small part of me that kept thinking you would find me here and I could see you one last time.
BERTIE
So much time lost, but I'm here now.
Victoria I love you and I'm never going to let anyone separate us again.
(She quickly takes Victoria into her arms.)
VICTORIA
(Lost in the comfort of Bertie's arms she breaths in the familiarity of the woman she loves and thought she had lost. She opens her eyes and sees Quinn watching them.)
She's watching us, who is that Bertie?
BERTIE
(Pulling back to look at Quinn and smile.)
She is my friend and without her I would have never found you. Don't be afraid, she won't hurt you, she just wants to help. I want you to meet her and get to know her.
(Bertie stands and takes Victoria 's hand to walk her over to Quinn.)
Oh and Victoria , try not to knock her down this time.
(They walk over to the three women. Only Quinn sees them approach and stands to meet them.)
Quinn, this is Victoria , Victoria meet Quinn.
QUINN
Victoria the pleasure is all mine. I'm not trying to hurt you, I just wanted to find you for Bertie.
VICTORIA
You can see me.
QUINN
Yes, and you are even more beautiful in person, my paintings do not do you justice.
( Victoria is confused and looks to Bertie for understanding.)
BERITE
It's a long story, one I would like to show you as well as tell you. Victoria will you come home with me?
VICTORIA
Home? To your old house?
(Bertie nods.)
Is that where you've been this whole time?
QUINN
Bertie got stuck where she died just like you got stuck where you died. You both thought the other had abandoned you so you just stayed put.
BERTIE
Quinn, what happens now, now that we've found each other again?
QUINN
Anything you want Bertie.
BERTIE
(Bertie looks at Victoria with pure love.)
There is one thing I want.
(She takes Victoria 's face in her hands and kisses her long and lovingly. Victoria breaks away catching her breath, embarrassed and flushed, she is unable to speak and looks around with fear in her eyes.)
It's okay Victoria , we don't have to hide anymore.
QUINN
She's right, it's perfectly fine now.
(Quinn grabs Rebecca and gives her a big kiss. Rebecca, who has been very confused trying to figure out what has been going on, but this she understands and leans into the kiss.)
MONA
Why do I get the feeling I'm the only one not getting any around here.
QUINN
Victoria , are you ready to come home? My home is Bertie's home and Bertie's home is your home, what do you say?
VICTORIA
I don't know how to leave here.
BERTIE
I can show you, it's much easier than you think, just take my hand and think of us.
(Hand in hand Bertie and Victoria walk out of the theatre together. Quinn has an arm around Rebecca and grabs Mona by the waist and leads them out.)
QUINN
I don't know about you guys but I'm ready to go home. Who knew small town life would be so exhausting.
(As they walk outside Quinn stops to watch Bertie and Victoria. Bertie is holding Victoria, one arm around her waist the other holding a hand as Victoria looks around taking everything in and crying. Suddenly she wraps herself around Bertie and begins kissing her with abandon.)
REBECCA
Quinn, is everything alright.
QUINN
Everything's great. I think your right Girly-Girl, it's going to be a noisy night.
MONA
(Looking around)
Great, ghost porn and I can't see.
QUINN
(Laughing at her dear friend, Quinn gives her a big hug, wincing a little from the returned embrace squeezing the bruise on her back.)
Promise me you will come out this weekend.
MONA
Just can't get enough of me can you.
QUINN
Nope.
MONA
Well with sweet talk like that who could refuse.
QUINN
(She wraps an arm around Rebecca's shoulder, who looks a little left out.)
I'm going to cook us all a great meal. Now lets get these two off the street before they get arrested.
(Quinn walks over to Bertie and Victoria and clears her throat, twice.)
Bertie, it's time to go. You guys ride in the back.
MONA
See you Friday night Picasso. Rebecca, it's been wonderfully weird. Bertie and Victoria, you two take care of each other, you are absolute proof that Aphrodite does exist.
(Quinn gives her a surprised look and Mona gives her a look in return.)
I have a romantic side to me too.
QUINN
I know you do. I know you.
(Mona moves off gets in her truck and leave.)
REBECCA
Quinn, just exactly how well do you know Mona?
QUINN
(Wrapping her arms around Rebecca and holding her tight)
Mona and I have been friends for a very long time. We are the best of friends, we've been lovers, we've been each others support through the best of times and the worst, we get each other through good relationships and bad, jobs, family, you name it and we're still best friends. I think our souls connect on a certain level.
(Seeing a concerned look on Rebecca's face.)
She's always been a very important part of my life and always will be, but that doesn't mean she's the most important part.
REBECCA
So what's the most important part?
QUINN
My painting and I'm hoping perhaps a certain gallery director.
(She gives her a long kiss then moves them to the car. Settled inside the car Quinn looks in the back seat to see Bertie wrapped in Victoria 's arms, both finally contented to just hold each other. Bertie notices Quinn watching them.)
BERTIE
Quinn, remember that privacy thing we talked about?
QUINN
Oh, now you get it!
(Bertie blushes and Quinn gives her a loving smile then turns her attention forward and to the beautiful woman next to her.)
SC 63
They pull up in front of Quinn's house, it is very late and Bertie helps Victoria out of the car. Victoria stops and stares at the house then looks across the street at her old house and visibly shudders. Quinn watches them as Rebecca watches her.
QUINN
It's okay Victoria , no one's going to hurt you. I'm afraid Thomas is long gone.
BERTIE
(Seeing the tears in Victoria 's eyes)
Please don't cry love, I know this is hard, but let me take you home, our home.
VICTORIA
He was my brother and I should feel something, but I don't. I hated him for so long, he was the cause of so much pain. But now I feel nothing.
QUINN
That was a long time ago, sounds like you've let go. Now is your time to be with Bertie the way you always should have been.
BERTIE
(Taking Victoria 's hand and kissing it)
Thank you for not letting go of me.
(She leads Victoria into the house)
REBECCA
What's going on Quinn?
QUINN
It's just going to take a little adjusting for Victoria . She might have to confront some old memories that were buried long ago.
REBECCA
Are they going to be okay?
QUINN
They are going to be great. They were ripped apart in a most horrible way, but now they are together again and that's all that matters.
(They walk inside and Quinn watches Bertie showing Victoria around the house ending in the studio with their paintings)
REBECCA
So do you believe in soul mates?
QUINN
(Watching the love and affection between the two ghosts.)
Yes I do.
REBECCA
(She looks at this woman who has changed her life in recent weeks, causing her to experience things she had never known before both internally and externally)
I think I'm beginning to.
VICTORIA
(Looks up from the paintings at Quinn and walks to her.)
Thank you.
(She gives Quinn a kiss on the cheek which Quinn can not feel.)
Thank you for bringing me home.
(She looks at Bertie standing next to her.)
To the only home I've ever known.
QUINN
I'm glad to do it.
(She takes Bertie's hand and places it in Victoria 's.)
This is where you belong, both of you.
BERTIE
(Leans over and gives Quinn a kiss on the cheek and puts her forehead on Quinn's.)
Thank you Quinn. I love you.
QUINN
I love you too Bertie.
(Tears fill Quinn's eyes but do not spill out.)
Go on now and show Victoria her new room.
REBECCA
(The two ghosts leave and Rebecca moves to stand in front of Quinn taking her face into her hands as a tear escapes the full blue eyes.)
Now how am I not suppose to fall in love with that?
(She kisses the trail of the tear.)
You do something to me Quinn Pascal that I have never experienced before.
QUINN
I hope that's a good thing?
REBECCA
So far it's amazing.
QUINN
(Tears start rolling down her cheeks unchecked.)
I think I'm on an emotional overload tonight.
REBECCA
(Wrapping her arms around Quinn and holding tight.)
I'm right here babe, I've got you and I'm not letting go. Come on.
(She leads them up stairs and into Quinn's bed.)
SC 64
The next morning Jamie is in the backyard preparing the ground for a new garden. Quinn enters the kitchen and starts the coffee machine, she is in a pair of cut off sweat pants and a tee shirt, hair still rumpled from sleep. She watches Jamie working, admiring the young mans dedication to his projects. Rebecca enters and comes up behind Quinn wrapping her in a loving embrace.
REBECCA
Good morning Love.
QUINN
(Leaning back into the small body.)
Morning.
REBECCA
(Nuzzles Quinn's neck and kisses her shoulder.)
I wish I could stay here all day like this.
(Quinn turns in Rebecca's arms and kisses her.)
But I have to go to work.
(They kiss again)
Someone is expecting an art opening in three weeks and I
(Quinn captures her mouth passionately with her own and all thought is lost. They are beginning to get very passionate when Jamie calls out and jumps up on the back porch.)
JAMIE
Hey, Quinn!
(Coming thru the screen door and stopping when he realizes he has interrupted something.)
Oh, sorry, I was just, umm, maybe I should go back outside.
QUINN
Jamie, would you like some breakfast?
(Still holding Rebecca in her arms and not taking her eyes off her.)
JAMIE
Uh, sure Quinn, you know I never turn down free food.
REBECCA
Spoken like a true college student.
QUINN
That lives at home and gets all the free food he can eat.
REBECCA
Your up at it awfully early Jamie.
JAMIE
Yeah, it's kinda how I think through things.
QUINN
(Looking at him but still holding Rebecca by the waist.)
Everything okay Jamie?
JAMIE
Yeah sure, I've just been putting together some things I remember Charlie talking about and I just might have found another relative of your house.
QUINN
I thought Charlie was the last.
(She kisses Rebecca's cheek and begins fixing her a to go coffee.)
JAMIE
Supposedly, but he mentioned the girls a couple of times and when I asked who they were he would just say ‘lost to the wind'. He was starting to get a little dotty, I never understood and just forgot all about it.
REBECCA
(Making herself some toast.)
You think there might be someone else out there?
JAMIE
Well, I asked Mackie,
(Quinn looks at him and raises and eyebrow.)
The attorney who handled your closing, and he told me there were two grand daughters of the youngest Wells girl that were contacted and they were the only family he had.
QUINN
Bertie had two younger sisters who were married. I've been concentrating on Bertie so much I didn't pay much attention to the rest of the family.
JAMIE
Well, the older one lives in Florida with her husband. But the younger one lives in the city.
QUINN
You've been busy.
JAMIE
Just thought you might want the whole picture.
Quinn smiles and hands him a cup of coffee. She walks Rebecca to the door.
QUINN
So I'll see you this weekend?
REBECCA
(Wrapping her arms around Quinn and giving her a deep kiss)
It's an awfully long time to go without one of these.
QUINN
You know you just might be the cause of me finally buying a car.
(They kiss good-bye and Rebecca begins moving away.)
REBECCA
See you Saturday.
QUINN
I'll be waiting.
Back in the kitchen Jamie is pouring a glass of orange juice. Quinn walks back in and starts fixing breakfast.
QUINN
Pancakes sound good?
JAMIE
If your making it I'm eating it.
Hey Quinn, sorry about interrupting before.
QUINN
That's okay Jamie, but if you're here this early in the morning you might be seeing a lot of that.
JAMIE
You two really hitting it off?
QUINN
I've never been so attracted to someone so quickly in my life. It's like we just go together.
JAMIE
I'm happy for you Quinn. You deserve somebody good in your life. I don't know Rebecca, but Amanda is really cool and they're best friends so Rebecca must be a good person.
QUINN
That's quite a leap, but a correct one none the less.
So tell me about this grand daughter in the city.
You know you really should become a detective, you're really good at this.
Jamie gives Quinn a big grin as he takes a plate of golden hot cakes to the butcher block.
SC 65
Late at night Quinn is painting in her studio, working on another painting of Victoria lost and alone in the dark. Bertie watches Quinn for a while, so involved in her painting, the ghosts smiles at the love and passion the woman has for her work.
QUINN
You just going to stand there all night or come and join me?
BERTIE
I didn't think you had seen me, I don't want to interrupt your work.
QUINN
Bertie, I can feel you the moment your in a room. And your not an interruption, you're my inspiration remember.
BERTIE
That one's so lonely, it breaks my heart to think she was so sad for so long.
QUINN
She wasn't the only one, you were hurting too. You're together now, don't dwell on the past, relive the fond memories and leave the rest behind, they serve no purpose.
BERTIE
I know, but you're still painting us.
QUINN
Just finishing the story. How do you think Victoria will take having your portraits in a gallery for everyone to see?
BERTIE
(She smiles as Victoria walks into the room and reaches out a hand for her.)
I think she's going to be okay.
VICTORIA
We had a long talk and I agree with Bertie, this is what you do Quinn, this is your life. We are honored that you chose us as your subjects. Bertie said that you had not been painting before then you read about us and picked up your brushes again, I'm proud to be a part of that. Even if we did get off to a rough start.
QUINN
Don't worry about it, what's a few bruises among friends?
VICTORIA
Oh Quinn, I'm so sorry…
QUINN
Don't give it another thought, I was just joking, I'm sorry, I didn't mean to make you feel uncomfortable.
BERTIE
You look tired Quinn, it's awfully late, you need your rest.
QUINN
You know me Bertie, I just can't sleep when there's a painting trying to get out.
BERTIE
Yes I know you and you need to take better care of yourself.
QUINN
This coming from the dead person.
VICTORIA
I think I'll let you two talk, I'll be upstairs.
(She gives Bertie a kiss on the cheek and a smile to Quinn.)
QUINN
(After Victoria leaves.)
She seems to be settling in okay.
BERTIE
We've done nothing but talk for the last two days and I think we're okay now.
QUINN
Nothing but talk, you do know I can hear you right.
BERTIE
(Turns a bright shade of red.)
You've been listening to us?
QUINN
Not intentionally, but it's hard not to when your little Victoria is such a screamer.
(Bertie is shocked into speechlessness.)
It's okay Bertie, after all you're familiar with Mona.
(Bertie gets so embarrassed she disappears.)
Oh, come on Bertie, I'm sorry please don't go, I was just having a bit of fun at your expense, please come back.
(Bertie reappears a bit more composed.)
Thank you. Besides, wait until you get a load of Rebecca at top volume.
BERTIE
Quinn!
You shouldn't say such things.
QUINN
I know, but I can't resist the blush that covers you from head to toe.
But I will change the subject if it will make you more comfortable.
BERTIE
Thank you, I would appreciate that.
QUINN
How would you feel about having a great niece?
BERTIE
What do you mean?
QUINN
Two in fact.
BERTIE
What are you talking about Quinn, I have no family.
QUINN
That appears to be not true my friend. Our little friend Jamie has been quite the detective and uncovered the only two surviving members of your family.
BERTIE
I don't understand, what are you talking about?
QUINN
Well, Jamie went back and traced your family tree so to speak. Your sister Judith had one son who died in the war never having had children. Your youngest sister Susan had two boys and a girl. The oldest boy was Charlie, he took care of your father, he never married and had no children, the girl never married, never had children – I think she may have taken after her Aunt Bertie a little bit. But the youngest boy married and had two girls. One lives in Florida with her husband and the other is in the city just an hour from here.
(Quinn stops to let this sink in watching the impact this is having on Bertie.)
You have a couple of great nieces out there, the last living members of the Wells family.
BERTIE
I lost track of what happened to my family so long ago that I haven't thought once about what became of them for at least sixty years. Judith tried to take care of father, but he didn't make it easy on her, I remember her little boy Nathan, I only saw him a few times, she didn't like having him around father. Suzie and Judith's husbands ran fathers business, Robert was good at it. But Harold, Suzie's husband longed to do something else. I remember Charlie as a little boy, he loved playing hide and seek in the house, he never seemed to mind father's peculiar ways. I think Marion was just a baby when they moved away. The next thing I remember was Charlie returning, Judith had gone away and father was on his own for a while and not doing well, then Charlie just turned up one day and took over. He was very kind and gentle with father. I never knew what happened to the rest of my family. To be honest I was so lost in my own self pity I didn't care.
QUINN
Oh Bertie, I'm sorry. Would you like to know your family now?
BERTIE
How?
I don't think you can just call up these people and tell them the ghost of their great Aunt is living in the old family home.
QUINN
No. I had something a bit more covert in mind.
(Bertie gives Quinn a quizzical look and Quinn wickedly grins back at her.)
SC 66
Graham and Quinn are in the studio, Quinn is guiding him in shadowing techniques.
QUINN
That's it, gradually take it from light to dark.
GRAHAM
I keep winding up with lines.
QUINN
Just keep working the brush, that's the best thing about paint, it always changes.
(The door bell rings, Quinn checks her watch)
Are we out of time already?
(She opens the door to let Amanda in)
AMANDA
Hi Quinn, I know I'm a little early, but I figured I was on a roll might as well go with it.
QUINN
Come on back Amanda, Graham's doing some wonderful work.
AMANDA
(Entering the studio and admiring her son's work)
Hey kiddo, that's really good.
GRAHAM
Mom, I'm not done yet.
AMANDA
Don't worry, I'm early, keep on doing what you're doing. I'll just talk to Quinn for a bit.
QUINN
Can I get you something?
AMANDA
No I still have to go to the grocery after this, would hate to get sloppy on my market run.
So you've been keeping our little Rebecca busy.
QUINN
I, well, we've…
AMANDA
Relax, she's about as happy as I've ever seen her. You must be doing something right.
QUINN
She's the most amazing person I've ever met.
AMANDA
I've known Beck's a long time, she doesn't fall easily, so that must mean your pretty amazing yourself.
QUINN
I haven't been able to stop thinking about her since the first time you brought her here.
AMANDA
Good because I've never seen her like this before.
(The doorbell rings.)
QUINN
Excuse me.
(Quinn opens the door to Mona.)
MONA
Hiya honey I'm home, what's for dinner?
(Amanda sticks her head out at the noise to see Mona grab Quinn into a hug and kiss, when Mona puts Quinn down Quinn sees Amanda, eyes narrowing in suspicion.)
QUINN
Mona get your ass in here. I'm still giving a lesson.
MONA
(Mona spots Amanda looking at them disapprovingly.)
Amanda! What a pleasure to see you again.
(She walks up and takes Amanda's hand kissing the knuckles and continuing to hold her hand.)
Quinn certainly does have all the luck.
AMANDA
(Gives Mona a shy smile.)
It's good to see you again Mona.
(As she reluctantly takes her hand back.)
MONA
If you're here, that must mean my man Graham is here.
(She walks into the studio.)
Graham, what you got going on?
GRAHAM
(Is pleased and overcome by Mona's attention.)
Hi Mona!
MONA
Wow, nice work Graham. You know before Rebecca snatches you up as her newest up and coming artist you've got to make me something for my apartment. Because I don't think I can afford you afterwards.
GRAHAM
Oh I'll make you anything you want Mona, for free.
MONA
Aren't you the charmer, I can see it runs in the family.
(She looks at Amanda and gives her a wink.)
QUINN
Graham, you need to get cleaned up, that's all the time we've got today.
GRAHAM
I'll be right back Mona.
(Grabbing his brushes he heads for the kitchen.)
MONA
I'm counting on it.
(Turns and wiggles her eyebrows at Amanda.)
AMANDA
(Giving Mona an intrigued and amused look.)
Is she always like this?
QUINN
No, sometimes she's in a flirty mood, then everyone has to take cover.
MONA
So where's Rebecca? We have important things to talk about.
QUINN
Oh you do, do you? And what would that be?
MONA
I need her to hook me up with some of her hot friends, like Amanda here.
QUINN
Amanda is one of her happily married straight friends.
MONA
Hot happily married straight friend.
(They both look at Amanda who is lost in Mona's wicked grin.)
QUINN
Amanda?
AMANDA
Right, delirious.
MONA
(Deciding to let Amanda off the hook.)
Seriously, when's Rebecca getting here, I'm starved.
QUINN
She's working late and may not be able to get here until morning.
But not to worry, I'll get started on dinner while you take a shower, you have sawdust in your hair.
MONA
(Absently swipes at her hair.)
And what will you be delighting me with tonight. Amanda do I have sawdust in my hair?
AMANDA
You look fine to me.
(They give each other stupid grins.)
QUINN
I'm making stroganoff tonight.
MONA
What!
QUINN
You need a change.
MONA
No tomatoie?
QUINN
It's mushroom stroganoff.
(Looking at Amanda as if she is divulging a big secret.)
Big strong carpenter chick is a vegetarian, and a picky one at that.
AMANDA
Sexy.
(Laughing at the shocked look on both their faces.)
Come on Graham, we've got to go.
Tell Becks I expect to see her this weekend. I think I understand why she always wants to be here.
GRAHAM
Bye Quinn, Bye Mona, I promise to make you something really special.
MONA
I know you will.
(Graham runs out the door to the car, Mona steps over to a back to normal Amanda.)
Amanda it's always a pleasure to see you.
(She gives her a gentle kiss on the lips and smiles)
AMANDA
I think I just had a college flash back.
Mona, Quinn I'll see you later.
(She gets in the car and leaves, they watch her go.)
QUINN
You are so bad. That's Rebecca's best friend.
MONA
And you're my best friend and she's straight and what's your point?
She was having fun, no harm no foul.
QUINN
Go take a shower.
MONA
Do you really know how to make mushroom stroganoff?
QUINN
Yes I really know how to make mushroom stroganoff.
MONA
(Grabbing her bag and heading for the stairs.)
Are Bertie and Victoria here?
QUINN
I believe they are in their room.
MONA
(Knocking on Bertie's door as she passes it.)
Hiya girls! How's it going?
(She continues on into the bathroom.)
Bertie sticks her head out and looks down the hall after Mona with a smile and shake of her head.
Sc 67
It's about 1am and Rebecca is standing over Quinn's bed looking in disbelief at a completely naked Mona asleep half out of the covers and sprawled across the bed while Quinn's head can just be seen out of the covers on the edge of the bed.
REBECCA
Quinn?
QUINN
(Waking to the sound, pops her head out of the covers.)
Rebecca?
What are you doing here?
REBECCA
I couldn't stand to spend one more night alone, apparently neither could you.
(She turns to leave angry and hurt.)
QUINN
Rebecca wait!
(She throws the covers off and jumps out of bed to grab Rebecca's hand revealing she is wearing a long sleeve tee shirt, long pajama bottoms and socks.)
Where are you going?
(She looks back and sees Mona's naked body.)
Oh Rebecca, it's not what you think.
REBECCA
Then what is it Quinn?
MONA
(A sleep riddled growl comes from her without her ever moving.)
Agghhh, sleep.
QUINN
Come on, lets get out of here.
(She leads Rebecca to the bedroom furthest down the hall where a bed and dresser serve as her guest room. She looks into Rebecca's eyes and sees them full of tears.)
Oh Rebecca please don't think I would ever do that to you.
REBECCA
You were sleeping with her, naked.
QUINN
That's how Mona sleeps. I on the other hand am in an Eskimo outfit here. And all we were doing was sleeping.
REBECCA
(Looking for the first time at the overabundance of clothes Quinn has on and the beads of sweat across her forehead and upper lip.)
Why were you sleeping with her, I thought this was suppose to be your guest room.
QUINN
This is my guest room and that's her bag over there. But when you called and said you still had more work to do and I would see you tomorrow, well Mona and I did what we always do. We crawled into bed and talked about what new girl she was sleeping with or trying to sleep with and which of my students would be ideal for her to sleep with. You really have to help me find her a nice girl to settle down with. I caught her up to date on the continuing saga of Bertie and Victoria and then fell asleep.
I'm sorry Rebecca, I know you don't understand our friendship, it's, it's complicated and yet really very simple. Mona's my best friend and I love her more than my own family, but I'm in love with you and I would never do anything to hurt you. Mona and I just relate to each other on a different level than everyone else. I don't know how to explain it to you.
REBECCA
(She looks at Quinn for a long time knowing that everything she has ever known about relationships has changed with this person.)
You look awfully hot.
QUINN
I was thinking the same thing about you.
REBECCA
No, I mean your sweating.
QUINN
Oh, I don't usually wear quite this much to bed and Mona is like a freaking furnace.
REBECCA
Maybe we should get you out of those things. Do you want to go take a cool shower?
QUINN
That depends. Am I just going to get all sweaty again?
REBECCA
(Gives her a wicked grin.)
I think that's a distinct possibility.
QUINN
Then how about we save the shower for the morning then we could take it together.
With that Rebecca starts peeling the sweat soaked clothes off Quinn while pulling her to the bed.
SC 68
The next morning the kitchen is a buzz with activity. Rebecca is making breakfast for every one, Mona is grilling Rebecca about girls she might be able to hook her up with, Quinn is talking with Bertie and Victoria about the final pieces for her art exhibit.
MONA
Oh, that's okay, I like em short too. My ideal woman is just a bit shorter than me, blond, athletic, smart, sexy, smells nice and…
REBECCA
And will continue to live in your mind. I think I know a couple of ladies that might interest you.
QUINN
I have one more still to do, but I want you two to pose for it.
VICTORIA
But you have lots of portraits of us?
QUINN
They were all created with the sadness of your separation looming over you. I need to paint the love of your reunion.
BERTIE
Quinn, you are such a romantic.
QUINN
Sshh, I don't want Rebecca to get any ideas.
(They all look over at Rebecca listening and laughing at Mona's long list of attributes of the perfect woman. Rebecca looks at Quinn and gives her a loving smile then returns her attention to cooking.)
BERTIE
Too late.
REBECCA
All those who can consume food, grab a plate!
QUINN
Listen you guys I need to talk to you.
REBECCA
Quinn, it's getting cold.
QUINN
Uh, can we sit at the dinning room table so everyone can fit comfortably. Come on you two.
SC 69
Everyone is sitting at the table eating except the ghosts. They are waiting on Quinn with a bit of nervous curiosity.
MONA
Rebecca, this is great. You can cook for me any morning you want.
QUINN
Easy there Girly-girl, her breakfasts are spoken for.
REBECCA
What exactly do you do when you're on your own?
MONA
I'm not much of a cook.
QUINN
Mona's on a kind of meal plan at the diner down the street from her.
MONA
Hey, Ms Spanellie looks forward to our meals together.
REBECCA
Sounds like you look forward to Ms Spanellie.
QUINN
She seventy two and dotes on Mona like a daughter, the rest of us get the evil eye for not taking better care of her precious little girl.
MONA
I will be sure to tell her about your new found culinary skills, she'll be very pleased. And you (to Rebecca) she's going to love.
BERTIE
Quinn, what did you want to talk about?
QUINN
Right, sorry girls, I really wish you could taste this. Okay everyone as you know we found the last living relatives of Bertie's and I sent a letter to Emily, the youngest that lives here in the city, explaining that I now live in what had been her ancestors house and had found out all kinds of interesting things about her distant relatives, and if she were ever interested in visiting and seeing the place she was welcome anytime.
BERTIE
Susie's grand-daughter?
QUINN
That's right, I don't know if she will ever respond, I mean it's a bit random, getting a letter from a complete stranger asking if you want to know about your family. You know that sounds kinda of creepy, maybe I shouldn't have sent a letter. What do you think Bertie?
BERTIE
I would like to see Susie's grand children, even if it's just out of curiosity.
(She looks at Victoria and squeezes her hand.)
MONA
Creepy? You Quinn, nah there's nothing creepy about you. Just because you see ghosts and talk to them and are really close friends with one and are roommates with two of them. There's nothing creepy in that.
REBECCA
Mona, that's not creepy. Sending a letter to a perfect stranger asking them to your house so you can talk about their long dead relatives, that's creepy.
(Everyone laughs and Quinn looks a little abashed.)
QUINN
Right, well Bertie this either works or it doesn't.
VICTORIA
Your efforts are commendable Quinn, a little rough on style but you have a good heart.
(Quinn looks at Rebecca and gives her a soft loving smile.)
REBECCA
You have a good heart.
(Quinn blushes and looks at Victoria and Bertie.)
QUINN
Scary.
(Bertie and Victoria laugh at Quinn shaking off the feeling while Rebecca gives her a questioning look.)
SC 70
Victoria and Bertie are in the front room listening to music and cuddling. Mona is helping Jamie in the back yard installing the stone border for one of his gardens. Quinn is in her studio painting. Rebecca watches her in silence, the painting is the first non Bertie/Victoria since Quinn began painting again.
QUINN
You've been awfully quiet, is there something on your mind?
REBECCA
I like watching you work. Does it bother you?
QUINN
I like having you near by. I wish you were near by more often.
(Mona can be heard in the kitchen rummaging through the fridge and cabinets.)
REBECCA
Really? Do you mean that?
MONA
(Sticks her head around the corner.)
Hey guys, I'm going to take studly to the nursery for supplies and then to the market, we're running low ourselves.
QUINN
That's because I have a bottomless pit staying with me.
MONA
Rebecca doesn't eat that much!
So, what ever I pick up you can cook right?
QUINN
As long as it's not some weird tofu thing.
MONA
Any requests?
Rebecca I will look for something special just for you for putting up with this cantankerous sack of bones.
REBECCA
Hey, I happen to like those bones and the sack they come in.
MONA
What have you done to this woman Quinn?
Be back in a bit.
(Mona leaves and Rebecca wraps her arms around Quinn.)
REBECCA
Now, we were talking about being close.
QUINN
Being near.
REBECCA
(Starts to pull away.)
Sorry, I'm interrupting your work.
QUINN
(Holds her tight)
And where do you think you're going?
I happen to like you right where you are.
(They kiss, a lot before coming up for air.)
I wish I could do that all the time.
REBECCA
I don't suppose I could talk you into moving back into the city?
QUINN
I'm sorry Rebecca, but I can't, my life is here now.
REBECCA
And here is a good place. I like here.
QUINN
I don't suppose I could talk you into moving out here?
(Rebecca doesn't say anything but gives Quinn a surprising look, she kisses her once more than moves off in the direction of the kitchen.)
Rebecca?
REBECCA
I'm going to go make some ice tea.
Quinn contemplates having Rebecca move in with her.
SC 71
Quinn is sitting in her office at school supposedly doing paperwork but she keeps staring off out the window distracted. She hears a rumbling noise and sees an old Indian motorcycle pull into the lot across form her building, she watches as a tall graceful woman steps off the bike and takes off her helmet letting long blond hair fall down her back. The look on Quinn's face says everything – Sexy. She watches the woman walk away, there is a knock on her door.
QUINN
Come in.
A young man enters with a backpack of books slung on his back and a large portfolio under his arm.
TAD
Quinn? I was wondering if you had a few minutes to talk with me about my panel project?
QUINN
Sure Tad, pull up a seat and let's see what you've got so far.
Tad drops his pack and opens his portfolio laying it across the desk. As he pulls up a chair beside Quinn she asks.
Tad, do you know anything about vintage motorcycles?
SC 72
Victoria is looking out the window of their bedroom when she sees a truck with a small trailer attached pull into the back yard.
VICTORIA
Bertie? What is that?
BERTIE
(Coming up behind Victoria and looking out the window over her shoulder.)
I don't know, it kind of looks like Quinn's scooter only not as nice.
(They continue to watch as Quinn and an older gentleman push the old motorcycle into her workshop.)
VICTORIA
(Turning to address Bertie, notices she is naked.)
Bertie! You have no clothes on.
BERTIE
No, I don't, and you know what?
VICTORIA
I'm afraid to ask.
BERTIE
It feels great!
VICTORIA
Have you taken leave of your senses; it's broad daylight, what if someone walks in?
BERTIE
The only ones who can see me are your and Quinn, and considering how many times I've seen Quinn naked I supp
VICTORIA
Excuse me? You've see her naked?
BERTIE
Well, yes, but it's only because we live in the same house and she well, in the beginning she would walk around, I mean, it was all very innocent, I mean before she knew. I didn't, it's not like I was just watching her. Well except for when she and Mona…
VICTORIA
Bertie?
BERTIE
Yes love.
VICTORIA
Why do you have no clothes on?
BERTIE
Because I am sick and tired of that dress, I've been stuck in that thing since the day I died and it's so uncomfortable.
VICTORIA
I know, this use to be my favorite dress, now I hate it. But love, and please believe me I am not complaining about the view, why are you naked? It's not like we can buy new clothes.
BERTIE
Exactly!
(Bertie grabs her clothes off the bed.)
If we can't buy, we alter what we have.
(She pulls the laces from her corset and flings the horrid article across the room.)
No more of that.
I want to make pants out of my skirt, so if I split it I can use my laces to sew them up. If I detach the bodice and maybe take the sleeves out, I just wish I could use scissors.
VICTORIA
(Walking over she takes Bertie's face in her hands and kisses her.)
I have always said you are an extraordinarily intelligent person.
You will have to shorten the skirt.
BERTIE
And use the excess as a waistband for the pants.
VICTORIA
I think I can help you, wait right here.
( Victoria leaves and Bertie starts picking away at the stitching holding the bodice and skirt together. She looks up shocked as Victoria comes back in holding a pair of scissors.)
It's a little trick I've been working on for the last few decades.
BERTIE
You are actually holding something!
VICTORIA
Yes, but it takes a lot of concentration so lay the dress out on the bed and I'll make the cuts.
(Bertie lays the dress out and watches as Victoria quickly cuts the bottom off and splits the skirt, she cuts a few of the stitches on the bodice and sleeve caps so Bertie can easily remove them. She places the scissors on the dresser and collapses onto the bed exhausted.)
BERTIE
That was amazing, you are amazing.
VICTORIA
Does that mean I get a reward?
BERTIE
You get anything you want.
(With a devilish grin Bertie climbs on top of the smiling woman. She kisses Victoria and starts undoing her clothes.)
I think we need to get you comfortable so you can relax properly.
VICTORIA
Relaxation, that's exactly what I need.
(As Bertie is quickly divesting her of her clothing, Victoria uses the last of her concentration to close the door to their room then gives herself entirely to the woman she loves.)
SC 73
Quinn is out in her workshop working on her new purchase, a rusted 1949 Indian Arrow without a seat. She has removed the engine and has it in pieces on a worktable, several parts soaking in lubricant to unfreeze them. She is painstakingly working away at the rust on the frame. She hears her backdoor open and close and quickly steps out of the shed to see who has been inside her house.
QUINN
Rebecca! What are you doing here?
(She quickly closes the door to the shop and crosses the yard to embrace the smaller woman.)
REBECCA
I couldn't stand to be without you a moment longer.
(They kiss then Rebecca notices the state Quinn is in.)
Sweetheart you are filthy,
(She reaches up to wipe at dirty smudges on Quinn's face.)
What have you been doing?
QUINN
Just been trying to clean up in there, it's a disaster in there.
REBECCA
Well how about I change and come help you?
QUINN
(Wrapping an arm around Rebecca and leading her into the house.)
I can think of far better things to do with you.
SC 74
Quinn and Rebecca are curled up on the sofa together sipping wine and listening to music.
QUINN
I got a letter today from Emily, Bertie's niece.
REBECCA
That was fast, what did she say?
QUINN
She seemed interested in seeing the house, more interested in what information I might have about her family. I got the feeling, if you can get a feeling from a letter, that she was not all that comfortable about driving out here to see a stranger.
REBECCA
Can't blame her really.
QUINN
She gave me her email address so I was thinking of inviting her to the opening next week, just so we could meet and she could see the portraits of Bertie and Victoria. Then depending on how she feels after we can invite her out here.
REBECCA
We?
QUINN
Well, I was kind of hoping you would be here with me. I can give her all the information I have and show her Bertie's diaries, but if Bertie wants to meet her, well it's not easy for me to tell people about that. All of a sudden I become the freak in the room and they're looking around for a way out.
REBECCA
You are not a freak Quinn, you have a gift, but I see your point. Of course I'll be here. I'm always here for you Quinn.
But you might want to think about showing her the diaries, she might want to keep them.
QUINN
She can't they belong to Bertie.
REBECCA
Right, dead Bertie. Her family. Just feel it out.
QUINN
I never thought about that, that she might want to take Bertie's stuff away.
(Looking down at the woman in her arms she smiles and kisses her.)
This is why I need you, you balance me out.
(Rebecca puts her wine glass down and snuggles further into Quinn's body.)
So what time do you have to be at work tomorrow?
REBECCA
That depends, when's your last class?
(Quinn gives her a quizzical look.)
Tomorrow I am helping our new artist get her exhibit together and ready to travel.
(Quinn has a big smile on her face.)
And on Monday morning we pick up the van I have reserved and travel the show to the gallery.
QUINN
I love your job.
(Quinn sets aside her wine glass and pulls Rebecca into a deep kiss.
Bertie and Victoria walk in and smile at the two on the sofa.)
BERTIE
Hi Rebecca, we were not expecting you until tomorrow.
VICTORIA
Bertie she can't hear you.
BERTIE
Right, hi Quinn.
Quinn is sitting with Rebecca still in her arms staring at the two women standing holding hands in their new outfits.
REBECCA
Quinn, what is it? What's wrong?
QUINN
Uuhh.
BERTIE
Words Quinn, she requires words.
REBECCA
Looking in the direction Quinn is staring.
Is it Bertie? Quinn?
QUINN
They ah, they're wearing
What are you wearing?
BERTIE
(Her new outfit consists of pants that are held in place with a neat waistband tied in the back, a fold over inseam sewn with a bold stitching of lacing. Her midriff is slightly exposed reveling creamy skin and a flat stomach. The old bodice seems looser without all the extra clothing under it. Sleeveless and v-cut it is very becoming on the tall woman.
Victoria 's dress has also been radically altered. The dress having been two pieces already is looser fitting as well since she lost all the under garments. Her skirt has been cut to knee length and nicely shows off her trim legs. The sleeves have been removed and all the trim around the neckline that formerly went up most of her neck, leaving a scoop neck that reveals delicate skin. Both women are wearing their long hair down now.)
We've been making new clothes, a little better suited for this century and a lot more comfortable. What do you think?
Quinn?
QUINN
Wow, how did you? I mean their great, you guys look great. Hot.
REBECCA/BERTIE
Quinn!!
VICTORIA
(Giving Quinn a big sexy smile.)
Thanks Quinn.
(She smiles at the look Bertie gives her then kisses her on the cheek.)
I have to give my girl something to keep her interested.
BERTIE
Oh, I'm interested.
QUINN
Yeah well she's a lucky girl.
REBECCA
Quinn what is going on?!
QUINN
Sorry babe, it's just I was a little taken by surprise. The girls have remade their clothes.
REBECCA
Their clothes? I never thought about their clothes before.
QUINN
Did you think they were naked?
REBECCA
No, it's just not something I thought about.
BERTIE
You would if you had ever had to wear a corset.
QUINN
Bertie says be glad you never had to wear a corset.
REBECCA
So what are they wearing and how is it different?
QUINN
Well, they did have traditional Victorian dresses, petticoats, corsets, tight, stiff, the whole lot. I have to say it never looked comfortable. But this, nice work ladies, how did you do it?
BERTIE
Victoria is an amazing talent.
QUINN
Bertie turned her skirt into pants and cut away the puff sleeves, loosened up the top a little. Nice midriff by the way.
(Rebecca looks in the ghosts direction with surprise.)
And Victoria lost her sleeves and neckline and half of her skirt.
REBECCA
Ohhhh, I want to see.
BERTIE
Sorry Rebecca, it's a one woman show in this house.
QUINN
I could draw you a sketch.
VICTORIA
That's a great idea, but you don't need us to stick around right?
QUINN
I think this is pretty etched into my brain.
( Victoria takes Bertie's hand and heads to the front door.)
Hey, where are you guys off too?
BERTIE
I thought we would take a walk down to the pond and see if our tree is still there.
QUINN
It's kinda late don't you think?
BERTIE
Quinn, we're dead, we don't have a curfew. Don't wait up.
QUINN
Let me get the door for you.
VICTORIA
That's okay Quinn I've got it.
(She looks at the door and it flies open they walk through and the door closes again.)
REBECCA
What the hell was that?
QUINN
(Looking a little stunned.)
That was Victoria .
That is one talented ghost.
REBECCA
Before you start drooling, how about showing me what the girls looked like tonight.
QUINN
I don't drool.
REBECCA
Un huh.
QUINN
I'll just grab my sketchpad.
SC 75
Night of the grand opening of Quinn's exhibit.
Rebecca is busy talking to guests while Quinn is doing her best to hide in a far corner.
Rebecca spots her absent artist skulking in a back corner.
REBECCA
Quinn? Are you okay, what are you doing back here?
QUINN
I never was comfortable at these things. Sorry, Rebecca, I , I just get nervous.
REBECCA
You? The woman who confronted a hostile ghost not once but twice.
QUINN
Ghosts are easy, crowds, not so much.
REBECCA
Why didn't you tell me?
Come on, take my hand.
(Quinn takes her hand and starts to feel better instantly.)
We do this together.
(Together they walk into the crowd as Rebecca introduces Quinn to several enthusiastic guests.)
Mona enters and looks around quickly spotting Rebecca and Quinn. Rebecca is doing most of the talking and Quinn is politely nodding at the comments about her work.
MONA
(She walks up behind Quinn and whispers in her ear.)
At last, Picasso returns.
QUINN
(Quinn smiles back at her best friend and whispers.)
Watch it girly-girl I have protection tonight.
REBECCA
Mona, I'm so glad you could make it. Your just in time, Quinn was just wanting a drink, could you help her find the wine table? I was just showing the Larson's the series.
MONA
At my ladies request.
QUINN
If you will excuse me please, it was a pleasure to meet you.
(Quinn gives Rebecca a grateful smile and squeezes her hand before walking off with Mona in search of liquid fortification.)
MONA
I see you haven't gotten any better at these things.
QUINN
I feel like they're debating weather to put me in front of a firing squad or just incinerate me here.
MONA
Relax sweetie, from what I've been overhearing, you've got some true fans here.
QUINN
Fans huh?
MONA
And I'm your biggest one.
(She wraps an arm around Quinn's shoulder as they grab glasses of wine and turn to look over the people wandering through the exhibit.)
So how are my girls doing?
QUINN
They are coming out of their shells and embracing the world around them. You wouldn't believe the change. Wait, here.
(Quinn digs in the pocket of her jacket and pulls out the sketch she made of them in their new clothes.)
They had a wardrobe change last week.
MONA
Wow, they really have come a long way, you know they look kind of
QUINN
Hot? Yeah I know.
MONA
Dude, you have all the luck. I can't find one girl, you've got three.
QUINN
No, I have one, the other two have each other.
MONA
But you get to watch them run around in these outfits, just saying.
QUINN
Yeah they're in the ‘I can't keep my hands off you' stage right now. I wonder how long that lasts in ghost years?
MONA
They have some time to make up for, I'd get comfortable if I were you.
QUINN
Don't get me wrong, it's great, I'm happy for them.
MONA
But.
QUINN
No buts, I just don't get to hang out with Bertie as much as I use to, she still comes and sits with me when I stay up late painting and we talk. I guess things are just a little different now.
MONA
Yeah, she has Victoria and you have Rebecca.
QUINN
Yeah, I do.
(She gives Mona a scrutinizing look.)
When did you become the smart one?
MONA
I've always been the smart one sweetie, it's just taken you this long to figure it out.
Quinn playfully backhands Mona in the stomach. A beautiful tall young woman with blonde hair and warm brown eyes comes up and interrupts them.
EMILY
Excuse me, but are you Quinn Pascal? I'm
QUINN
Emily.
EMILY
Yes, how did you know?
QUINN
You have your great aunts eyes.
Emily looks bewildered and a little unsure about now having come to meet this woman.
QUINN
I'm sorry, that probably seemed strange to you, but I have a picture of her and I have been painting her for awhile now.
(Quinn gestured to the painting hanging all around them.)
EMILY
You mean that's my great aunt? Uh, which one?
QUINN
The tall one, the one with your eyes.
Emily turns to look at a portrait of Bertie. Quinn looks at Mona who is in a trance like state staring at Emily. Her ideal woman has just arrived.
EMILY
I had no idea your paintings were of my family.
Who's the other woman?
QUINN
Why don't we start at the beginning and I can explain everything I know as we go along. See the exhibit kind of tells the story of who your aunt Bertie was.
Quinn glances at Mona who hasn't moved. Rebecca joins them, she looks at Mona wondering what has happened.
REBECCA
Quinn, is everything okay?
QUINN
Rebecca, this is Emily.
REBECCA
Bertie's niece?
QUINN
Yes, Emily this is Rebecca Anders, she's the director here.
(Emily shakes her hand and smiles.)
I'm just going to walk her through, would you mind looking after Mona for a few minutes, we'll be right back.
(Emily takes a long look at Mona and smiles as Mona's eyes light up and a stupid grin comes across her face. Quinn leads her away.)
EMILY
So why exactly did you paint my family.
QUINN
This may seem a little strange to you at first, but just let me get through the whole thing first, I promise you it's a great story.
EMILY
I don't know much about this part of my family, so when I got your letter I was very intrigued.
QUINN
Well, it all started when I moved out of the city and bought this house. I think it was probably the best thing that's ever happened in my life.
(They stop in front of the first painting of Bertie.)
This lady here is Bertie Wells, your great aunt.
SC 76
Rebecca and Mona are still standing next to the wine table, Mona's eyes following every move Emily makes.
REBECCA
Mona, are you okay?
Mona?
MONA
It's her.
REBECCA
Who's her?
MONA
Emily.
REBECCA
What about Emily?
Mona?
MONA
It's her Rebecca, that's the woman I'm going to marry.
Rebecca's mouth drops open and all she can do is stare at the tall dark love struck woman.
SC 77
The gallery is beginning to thin out as the evening is getting late. People have been stopping Quinn all along her tour with Emily congratulating her on the show. She and Emily have finally reached the last picture of Bertie and Victoria, happy and in love. Quinn has told Emily everything she knows about her family, but not that Bertie and Victoria live with her or that she can see and talk to them.
EMILY
That's an incredible story. It's so sad. But you painted them together in the end, why?
QUINN
Well, that's what you get in the afterlife right? Happy endings.
EMILY
I hope so, for their sakes.
Wow.
I guess it must be hereditary. There's one in every generation.
QUINN
What do you mean one in every generation?
EMILY
Well there was great aunt Bertie, then aunt Marion, and me. That's really wild. Joann is going to flip.
QUINN
Joann?
EMILY
My sister. She's going to love this.
QUINN
Is that a good thing or bad?
EMILY
Oh, Joann's cool, she might be a soccer mom now, but she's one of the craziest mom's there is. It's just been the two of us for so long, our family just seemed to disappear. I can't wait to tell her about this.
QUINN
I'm so glad, I was a little worried about telling you.
EMILY
You seem to care a great deal about Bertie and Victoria.
QUINN
Lets just say Bertie came into my life at a very important time, it's because of her I've got my art back.
EMILY
I'd like to see the stuff you found, maybe read the diaries for myself.
QUINN
Uh, of course, you are welcome to come out to the house anytime.
EMILY
Thanks Quinn, I can see how important this is to you, I just want to see it for myself.
QUINN
I understand, and I can make copies of the diaries and photos for you. I really want you to see the house.
Rebecca and Mona walk up.
REBECCA
Quinn, the last of the guests are leaving, we should say good-bye and lock up.
QUINN
Right.
(She notices the smile on Mona's face again and it occurs to her what is going on.)
Emily, this is Mona Remalay, my best friend in the whole world. Mona this is Bertie's niece Emily, would you two excuse us for a moment while we lock up.
EMILY
(Noticing the tall beauty again she gives Mona a shy smile.)
Oh, I should probably go then.
MONA/QUINN/REBECCA
No.
QUINN
That is if you don't have to, there's still so much to talk about. Please, just give us a few moments.
EMILY
(Looking only at Mona.)
Okay, I'd like that.
MONA
Emily can I get you something to drink?
Rebecca and Quinn look at each other and smile then head off to close out the night.
SC 78
Later that night at Rebecca's house, Quinn is relaxing on the sofa, Rebecca walks in with two glasses of wine, hands one to Quinn then settles in next to her.
QUINN
Thanks I could really use this.
REBECCA
We both could. Although I have to say, congratulations Ms Pascal on a very successful opening.
(They clink glasses.)
QUINN
Of which you are completely responsible for.
REBECCA
I'm not the artist here.
QUINN
Oh, but you are, it was a great opening and that was all you.
REBECCA
We make a pretty good team.
QUINN
We make a fantastic team.
(They kiss and snuggle into each other.)
REBECCA
So Mona seemed to enjoy herself tonight.
QUINN
(Laughing.)
I don't believe I have ever seen girly-girl at a loss for words.
REBECCA
She did seem stunned.
QUINN
If I had only had a video camera.
REBECCA
I think you should invite her over this weekend since Emily is coming over on Saturday.
QUINN
You think that's a good idea? I don't want to overwhelm Emily too much and if we introduce her to Bertie and have Mona mooning around like a love sick pup, I'm afraid she'll bolt.
REBECCA
Darling you did see Emily's reaction when she saw Mona, she was just as struck as tall dark and speechless.
QUINN
Love at first sight and all that? Do you really believe in that?
REBECCA
Not until I met you. When Amanda introduced us, I took one look at you and knew I was a goner.
QUINN
Really?
REBECCA
Do you really think I came back that night just to see your paintings?
QUINN
And here I thought you liked my paintings.
REBECCA
I do like your paintings, but I love you.
(They kiss.)
QUINN
I do admit I felt an instant attraction to you the first time I saw you, but it wasn't until you came back that night that I knew my life was not complete without you in it.
(They kiss again.)
I'll call Mona tomorrow.
REBECCA
Would you take me to bed now?
QUINN
(She pulls Rebecca into her lap, kisses her and stands up holding the smaller woman in her arms.)
Your wish is my command.
(They kiss as Quinn walks them into the bedroom.)
SC 79
A few days after the opening. Quinn is just getting home from the city. She walks into the living room and drops her bag on the floor and falls onto the sofa. Bertie and Victoria appear before her.
BERTIE
So, how did it go?
QUINN
Jezz Bertie you scared the crap out of me.
VICTORIA
How was the showing?
QUINN
It was good, really good. You guys are a hit, everybody loved you. I sold five paintings.
VICTORIA
It's kind of strange to think we will be hanging in someone else's house.
BERTIE
Yeah, what kind of weirdo buys paintings of strangers?
QUINN
(Quinn laughs at the ghosts new language skills.)
The kind with a lot of cash to blow.
VICTORIA
Congratulations Quinn, I am very happy for your success.
BERTIE
Yes, congratulations, you are a great artist and it's only right that everyone can see it.
QUINN
What have you two been up to while I've been gone?
VICTORIA
(Bertie gets a shy smile on her face and looks at the rug.)
Oh, nothing much.
QUINN
I'll bet.
(Quinn laughs as both women blush from their head to their toes.)
Listen you two, I met Emily.
(Bertie looks up expectantly.)
She's a really nice girl and she just loved the story of you two, well except for the whole dying thing. So I invited her out here to see the place and have a look around. I didn't tell her about you being here. There was a lot going on that night and I think it would have just been a little too much. But Bertie, if Emily is any indication, you have a really great family.
BERTIE
(She sits next to Quinn and wraps her in a hug).
Thank you Quinn, next to Victoria you're the best friend I've ever had.
QUINN
You might want to hold that thought, I think Mona's in love with her. It was the craziest thing I've ever seen, they took one look at each other and that was it they couldn't stop staring at each other.
VICTORIA
Wait you said they.
QUINN
Yeah, how did Emily put it? ‘There's one in every generation.'
(She looked at Bertie to see how she was taking the news. Bertie looked at her for a moment and then laughed.)
BERTIE
If Emily is interested in Mona then she not only has good taste, but she's a lucky girl as well.
Quinn wrapped an arm around Bertie's shoulder and gave her a kiss on the cheek then held open her other arm for Victoria to drop down next to her and they all sat there happy and relaxed.
SC 79
Rebecca and Quinn are in the front yard with Jamie looking over his work in the front beds. An open jeep pulls up with Emily behind the wheel and Mona in the passenger seat, a huge grin on her face, she is loving life.
All three looked surprised as Mona climbs out and waits for Emily and they walk up the path together smiling at each other hand in hand. Quinn gives her best friend a big eat shit grin and when they meet Mona gives her their normal hug and kiss.
MONA
Hiya Picasso.
QUINN
Girly-girl, I see your other plans this weekend involved you actually managing to string together more than just a few words.
MONA
It's true, I was momentarily struck dumb by this beautiful woman.
(She reaches over and takes Emily's hand again.)
However I am not so dumb as to let the best thing that's ever happened to me just slip away.
EMILY
Luckily I looked her up and called the next day.
MONA
And I answered.
EMILY
I just might have a lot more to thank you for Quinn than I ever imagined.
QUINN
(Wrapping an arm around a grinning Rebecca.)
Let's hope so.
MONA
(Reaching over to Jamie, who has been standing there openingly staring at Mona and Emily, she closes his mouth that is hanging open.)
Beds are looking good Jamie.
JAMIE
Unh huh, Is this your girlfriend Mona?
MONA
Emily this handsome boy is Jamie, he's the grounds keeper here. Jamie this is Emily, Bertie's great niece, Charlie's what, niece? Jamie knew Charlie.
EMILY
(Reaches out and shakes Jamie's hand.)
And her girlfriend.
(Mona smiles big at Emily and squeezes her hand giving her a quick kiss.)
JAMIE
I am so lucky.
QUINN
Alright hormone boy, back to the dirt with you. Come on you two lets go inside before you make Jamie completely useless.
(They all start inside as Jamie watches them go.)
JAMIE
Nice to meet you Emily, see ya Mona, I'll be out here if you need me.
(Emily can't help looking back and letting out a small giggle at the overwhelmed youth.)
SC 80
Once inside Rebecca moves off into the kitchen to fix refreshments for everyone. Quinn moves them into the living room.
QUINN
I still have a lot of work to do on the place, I just haven't had the time lately.
MONA
You make it sound like you've been busy.
(To Emily.)
Quinn teaches at the University and gives private lessons to kids after school and has a sign painting business on the side, oh and there was that little show she just had.
EMILY
Wow, and I thought I had energy.
MONA
Not to mention full time house guests, speaking of?
(Mona gives her a questioning look, Quinn is shocked and just stares at Mona, not ready to reveal the whole ghost thing to Emily yet.)
We had a little talk this morning, I wanted Emily to know what she was getting into.
(Quinn looks expectantly at Emily.)
EMILY
I thought she was kidding me, I mean I don't believe in ghosts, but Mona seems to believe in what she's saying.
QUINN
(Bertie and Victoria appear at Quinn's side.)
I know it sounds crazy, but they are real and they live here. I promise to help you understand as much as I can, but in the end it's really up to you.
BERTIE
So this is my great Niece. She looks like Susie.
VICTORIA
She has your eyes Bertie. I guess beauty runs in the family.
MONA
(Recognizing the look on Quinn's face when she is listening to someone unseen.)
Hiya girls!
EMILY
You can see ghosts too?
MONA
No, only Quinn can, but I can tell when she's listening to them so I know they're here.
QUINN
She's right Bertie and Victoria are both here.
EMILY
Riiight.
BERITE
She has Susie's strong will.
QUINN
Bertie says you are strong willed like her sister Susie.
EMILY
That's what my dad use to say.
VICTORIA
Strong will runs in the family and stubbornness.
(She looks pointedly at Bertie.)
QUINN
(Smiles at Victoria 's jibe to Bertie.)
It seems to be a family trait.
REBECCA
(Enters with a pitcher of tea and glasses, Quinn jumps up to help her.)
Sweetie would you grab the snacks tray?
(Quinn quickly gets a tray of veggies, chips and dip from the kitchen and places it on the coffee table for everyone then moves next to Rebecca giving her a kiss on the cheek.)
I know this whole ghost thing is hard to believe at first Emily, I was a huge skeptic myself.
BERTIE
Everyone's a skeptic.
QUINN
(Quinn laughs at Bertie's comment and everyone looks at her.)
Sorry.
(She gives Bertie a comically warning look.)
You're going to get me in trouble.
REBECCA / VICTORIA
Behave you two.
(Quinn and Bertie give each other small grins.)
EMILY
This is weird.
MONA
Come on guys, I know this is totally weird babe, but I've known Quinn most of my life and this has been a part of her, her entire life. I have seen some completely freaky things around her and it's all real, and oh, I know Victoria throw Quinn up against the wall.
(To Emily.)
Victoria 's got some muscle.
REBECCA QUINN VICTORIA
No!! Hey! I don't think so.
QUINN
Look Emily this isn't about you believing in ghosts or not; you came here to find out about your family's history, so why don't I show you around the place. I've already told you just about everything I know, but Bertie is with me and maybe she can fill in the story better than I can.
EMILY
I'm sorry Quinn, it's just that I have a hard time believing in things I can't see.
QUINN
I understand.
(She feels a hand on her shoulder and looks over to see a sad Bertie.)
BERTIE
Do you think I could touch her?
QUINN
I don't think that will work Bertie, it took us a long time before I could feel you.
VICTORIA
Quinn, I have an idea.
QUINN
Is this going to hurt?
REBECCA
Quinn?
QUINN
It's okay Rebecca, what's you idea Victoria ?
VICTORIA
I can touch Emily, but only by force. If she stood in front of you I could knock her back into your arms, I won't hurt her I promise I'll be gentle.
QUINN
Oh with her you'll be gentle.
MONA
Excuse me, hello, what do you mean be gentle with her, Victoria is not slamming her into a wall.
EMILY
What!
QUINN
No, she's not. That kind of fun is just between us.
Emily if you are willing Victoria can push you, I'll be right behind you in case you fall. She's pretty good at manipulating things, and she's gotten better at controlling the amount of force she uses. Would you be willing to let Victoria push you?
EMILY
I don't know, you're kind of scaring me now.
MONA
It's okay babe, I'll be right behind you, I won't let anything happen to you.
Victoria , if you hurt her I will find a way to kick your ass.
VICTORIA
That is so cute, Mona's all protective and cuddly.
BERTIE
It's kind of sexy.
VICTORIA
You have such a one-track mind.
QUINN
Bertie!
EMILY
Okay, let's just get this over with, it's very disorientating watching you have conversations with air.
REBECCA
It can get confusing around here sometimes.
QUINN
Okay, you two stand over here, Emily in front. Mona just hold your arms out and let her fall back into you. Victoria , whenever you are ready.
Victoria stands across the room to give the energy more space to dissipate and concentrates on gently touching Emily's shoulders; she takes a deep breath and nods her head in the girl's direction. Emily lets out a surprised gasp as she stumbles one step back; Mona quickly steps up and wraps her arms around a stunned Emily.
MONA
Baby, you okay?
EMILY
That was amazing. I felt someone gently push my shoulders back. Oh my god, I felt a ghost touch me.
(Mona squeezes her a little more and kisses her cheek).
Wow.
MONA
Thanks Victoria .
QUINN
So Emily, how about that tour?
Emily is still a little breathless, but enthusiastically nods and takes Mona's hand as they all take Bertie's tour of the house.
SC 81
They are all in Bertie and Victoria's room looking at Bertie's final possessions.
EMILY
This is incredible, to think what they went through, especially Bertie. I mean to be killed by your father and then have to live with him afterwards. I don't think I could do it.
BERTIE
It was an accident, he was hurt and angry and he suffered far greater than I did.
QUINN
It was an accident, that's all, and Bertie loved her father, his anger was nothing compared to the devastation he felt when he realized what had happened.
EMILY
I know, it just seems so cruel, all of it.
Bertie, I'm glad you finally found Victoria and you two are together.
BERTIE
So am I.
She gives Victoria a deep and passionate kiss. Quinn stares at them unbelieving they are making out in a room full of people, a deep blush covers her from head to toe. Mona notices the blush.
MONA
Bertie, what are you and Victoria doing to make my little Picasso turn that shade of red?
QUINN
(Looks at Rebecca and blushes again.)
You might want to take those down stairs.
(Indicating the diaries Emily is looking at.
Bertie and Victoria seem not to notice anyone else and are kissing again.)
REBECCA
Do they have no self-control?
I'll help you Emily, we can take these to the living room.
In fact…
(She looks at Quinn expectantly, Quinn nods her head and smiles.)
We have a little surprise for you. Come on, I'll show you.
QUINN
Hey Mona could you come look at something with me out back, I need your expertise on something.
MONA
Sure, what's up?
QUINN
We'll be back in a few.
(She reaches out a hand and pulls Rebecca off the bed and whispers to her as Bertie and Victoria move to the bed.)
You should probably just go down now.
(They all leave the room to the two women who have long forgotten they were there.)
SC 82
In the shed Quinn shows Mona her nearly finished motorcycle.
MONA
Woah, that's, that's an Indian.
QUINN
1949 Arrow.
MONA
Where did you find it?
QUINN
You would be amazed at what people keep in there barns around here.
MONA
Does is run?
QUINN
It does now. I didn't think I would ever find all the parts for it, but the internet is a great thing.
MONA
There's no seat.
QUINN
That, new tires and a new headlight and taillight should be here this week. I'm almost ready to paint, just need to pop the engine out, paint, put her all back together, then I can go see Rebecca whenever I want.
MONA
Hey! How come it's Rebecca you'll drive into the city for?
QUINN
Because she's the one I'm in love with.
MONA
The mighty Quinn has fallen.
QUINN
Look who's talking.
(They laugh and hug then share a friendly kiss.)
You'll always be my greatest love Mona.
MONA
Back at you Quinn.
QUINN
How about next weekend I come over to your place so you can test drive this thing for me.
MONA
Because the sixty-seven miles to get there isn't test drive enough?
QUINN
It needs a Girly-girl touch.
MONA
It'll have a seat by then right?
QUINN
Well, if you need one, sure.
(They laugh and admire the bike again.)
But, don't tell Rebecca, it's been hard keeping this hidden so far.
MONA
She doesn't know you bought this?
QUINN
I want it to be a surprise.
MONA
She is so going to kill you.
QUINN
What, no, why?
(Mona laughs and shakes her head at her friend then starts walking back to the house, Quinn following.)
What?
SC 83
In Mona's favorite Diner, she and Emily are on a date and Mona wanted to introduce her to Ms Spanellie.
MS SPANELLIE
You haven't been by in a while, I was worried, so what's been keeping you away, or should I say who?
(She looks at Emily and smiles.)
MONA
Be nice Ms Spanellie, this is Emily and I wanted her to try the best cooking in the city. And I was at an art opening if you must know.
MS SPANELLIE
That wouldn't be Quinn's opening over at the Vista gallery would it?
MONA
How did you know?
MS SPANELLIE
Just because I'm old doesn't mean I'm uninformed. So I guess this mean she finally crawled out of that hole she dug herself into.
MONA
Come on you know she went through a bad time.
MS SPANELLIE
I know, just glad she finally snapped out of it. So how was it?
EMILY
Oh, it was great, she's an amazing artist.
MS SPANELLIE
Oh, you were there too, you like art?
EMILY
(Looking at Mona.)
Yes ma'am, I love art.
(Mona smiles back and they are lost in each other.)
MS SPANELLIE
(Ms. Spanellie watches for a moment then smiles and kisses the top of Mona's head.)
Good girl.
(With that she walks back to her kitchen to fix her favorite girl's favorite dishes.)
SC 84
Quinn and Rebecca are snuggled into each other on the sofa at Quinn's house.
QUINN
Emily called, she made copies of all the stuff we made copies of for her and sent them to her sister, now her sister wants to come and meet the hot lesbian ghosts.
REBECCA
You know you should turn this place into a B&B and give lesbian ghost tours.
QUINN
It's funny, I moved to the country for peace and quiet, a place to regroup and start over and I'm surrounded by more people here than I ever was in the city.
REBECCA
Is that a bad thing?
QUINN
No. I think it's the best thing that's ever happened to me. It's not really about the amount of people in your life, it's about the love.
REBECCA
(She sits staring into Quinn's pale blue eyes, brushing away the few strand of hair that had fallen over them.)
I love you Quinn Pascal and I'm glad you let me into your life.
QUINN
Like I said, best thing that's ever happened to me. I love you too Rebecca.
(They lay back on the sofa consumed by a passionate kiss. Bertie and Victoria pause watching as they pass through to the back yard.)
SC 85
Bertie and Victoria are laying in the hammock together, wrapped in each others arms.
VICTORIA
So how long before you think this house gets another permanent residence?
BERTIE
I'd say not long, with Rebecca here during the week and Quinn there on the weekends. I have noticed Rebecca brings a new box of stuff with her each time she comes. I think the clincher will be when Rebecca sees the space Quinn made for her so she can work on her sculptures.
VICTORIA
I'm glad, they deserve to be happy and together.
BERTIE
What about you? Are you happy my love?
VICTORIA
Now that I have you I am beyond happy, I'm whole again and eternity will not be long enough for me to love you.
BERTIE
(She leans down and gives Victoria a passionate kiss.)
My love, my soul.
The End
or Until Eternity