TEA Frozen Honeymoon .pdf
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HONEYMOON IN PARIS
All rights reserved by Jason Kendall Moore
BRIAN: devout composer
TERESA: his frustrated wife
CHARLES: friend of Teresa
Set in a hotel room in contemporary Paris. Brian is revising a score when Teresa returns
from the Louvre.
TERESA: Hi, darling!
BRIAN: You’re back early.
TERESA: I felt guilty having left you behind.
BRIAN: After yesterday I would be perfectly happy never to see another painting.
TERESA: That’s about the only time we’ve spent together.
BRIAN: I thought you enjoyed doing things by yourself.
TERESA: I do, but this is Paris. It’s as glorious as I remember, and you should
come with me more often. I ran into an old friend at the Louvre. I think you’d like him.
He’s as vibrant and sophisticated as only the French can be. What he couldn’t understand
was why you weren’t with me. I admit that was hard to explain since this is supposed to be
our honeymoon. I told him how talented you are, though he didn’t think that was very good
excuse and I have to agree.
BRIAN: After I finish this, I’ll go with you wherever you want.
TERESA: How much longer are you going to need? You’ve been working on it for
months, and it never occurred to me that you’d bring it with us.
BRIAN: If you want us to spend more time together, then you’re welcome to stay
here while I continue working.
TERESA: I hope it’s not going to be as difficult as your last quartet.
BRIAN: I doubt you’ll have any trouble with it, though I’m not optimistic about the
other musicians. Have you ever thought about replacing them?
TERESA: I couldn’t do that. We’ve been playing together since we met at the
conservatory, and they’re not bad musicians.
BRIAN: You deserve better. We both do. I hate to think what they’ll do to this piece
TERESA: Don’t worry. The reviews have usually been very positive.
BRIAN: They would be extraordinary if you surrounded yourself with better
TERESA: Maybe you should write less difficult music.
BRIAN: What? I’m not composing for children, and I have a responsibility to use
all the talent that God’s given me, which means that I write complex music. I only compose
to glorify our Lord and Savior, who deserves the best I have to offer. Unfortunately, the
other musicians are lazy, and like most Chileans they must think that’s some kind of virtue.
TERESA: You shouldn’t say things like that. You weren’t born there, and if you
don’t like it, then you’ve married the wrong woman.
BRIAN: Let’s consider moving to the United States. I talked to the embassy, and
you wouldn’t have any trouble getting a visa.
TERESA: How could you suggest that? It’s out of the question. I want nothing to do
with where you’re from. It’s bad enough you still carry the passport. You know what I
think of the United States, and that’s never going to change.
BRIAN: Haven’t I done anything to improve your opinion of it?
TERESA: You just called us lazy.
BRIAN: There are aspects of the culture that I find difficult to accept, but overall I
have a positive impression. If not, I would’ve returned to the United States a long time ago.
TERESA: Apparently you’re still thinking about it. You must miss all the efficiency
and discipline you grew up with.
BRIAN: You complain about Chile as much as I do.
TERESA: Everyone complains about it. That’s part of what it means to be Chilean.
I thought you understood that.
BRIAN: Fine, but there’s nothing wrong with the United States.
TERESA: There’s very little that isn’t wrong with it.
BRIAN: Do we need to have this discussion again?
TERESA: If so, I hope your arguments have improved.
BRIAN: I don’t need arguments. It’s obviously unfair to blame the United States for
Latin America’s underdevelopment. There’re a lot of factors involved, and most have
nothing to do with what you call Yankee imperialism.
TERESA: I haven’t used that term in years because I know you don’t like it. I’ve
tried to be considerate and it’s time you do the same. I refuse to let you spend our
honeymoon composing. Why don’t you return to the museum with me?
BRIAN: I need to finish this, but we can go somewhere nice for dinner. By then I’ll
be ready to take a break.
TERESA: You need to take one now. You’ve been working all morning. Forget
about the museum. We’ll just go for a short walk. There’re churches everywhere. I think
they’d inspire you. I’ve been to a few, and they’re absolutely breathtaking.
BRIAN: I’m inspired by what they’re supposed to represent. It doesn’t matter how
often you go there and perform the usual rituals. That’s no substitute for reading the word
of God and, I hate to say it, but Catholics—like you—are the worst in that regard.
TERESA: I’ve read the Bible.
BRIAN: Not as often as I have. Did you even bring yours?
TERESA: Of course not. It’s our honeymoon.
BRIAN: Why should that matter? You can never read the Bible too much.
TERESA: Don’t tell me that you actually brought yours.
BRIAN: I did since it’s always been my greatest source of inspiration.
TERESA: How can you write such interesting music and read such boring
literature? That’s something I’ve never been able to understand.
BRIAN: There are some very sensual passages in the Old Testament. In any case, I
need to continue working, but I promise that we can go wherever you want for dinner. For
the moment this is all I’m going to be able to think about.
TERESA: Then I’ll stay here while you continue working. [Looks at postcards.] I
must’ve spent half an hour looking at this painting. I went back to it several times, it moved
me so much. Before long I found myself talking to the little girl, trying to console her. The
other people must’ve thought I was out of my mind, but I couldn’t help it. What a
marvelous painting. [Brief silence.] Did you hear me?
BRIAN: I’m sorry?
TERESA: That’s what I thought. You weren’t listening to a word I said.
BRIAN: I need to stay focused. Isn’t there something you could read?
TERESA: Yes. Show me the score. I’ve waited long enough to see it.
BRIAN: I’ll let you see it after I finish.
TERESA: Supposing you ever do.
BRIAN: I shouldn’t need much longer. I’m working on the last movement.
TERESA: You usually end up changing something after you’ve given it to me. Why
not let me see it now?
BRIAN: Because I’m not perfectly happy with it.
TERESA: You’re neurotic. Has anyone ever told you that?
BRIAN: Only you.
TERESA: [Answers door.] Charles.
CHARLES: Hi. I took one of your postcards by mistake and wanted to return it
since I know how important this man is for you. [Gives it to her.]
TERESA: Thanks. Yes, he’s inspired me so much. Would you have time for a
CHARLES: I always have time for a drink.
BRIAN: You shouldn’t encourage her to drink. It isn’t a good habit.
TERESA: [To Charles.] This is my husband Brian.
CHARLES: [To Brian.] Nice to meet you. My name’s Charles.
BRIAN: Do you usually drink so early, Charles?
CHARLES: It’s pronounced Charles [in French], and it isn’t so early.
TERESA: I agree. Besides, a glass of wine isn’t going to intoxicate us.
BRIAN: I expect you’ll have more than one.
TERESA: There are worse vices. [To Charles.] We only have white wine. Is that
CHARLES: It’s perfect.
BRIAN: [To Teresa.] I thought we were saving that for the evening.
TERESA: We can buy more. [Exits.]
CHARLES: [To Brian.] Teresa mentioned that you’re writing a string quartet.
BRIAN: Right. I doubt she’ll have any trouble with it, though I’m not sure about the
other musicians since they’re very lazy, like most Chileans.
CHARLES: Your wife’s one of the most disciplined people I know, and she’s also
BRIAN: I recognize that, but she’s an exception. The other members of her quartet
are much more typical, and I hate to think what they’re going to do to this piece of music.
CHARLES: But from what I understand, they’re all very good friends, which can be
BRIAN: I’m only concerned about how they play, and I know they’re going to have
trouble with this. I’ve thought of simplifying it, but I shouldn’t have to. I’m not composing
for children and—
TERESA: [Returns with glasses.] And he has the responsibility to use all the talent
that God’s given him. How many times have I heard that? [Brian answers his mobile
phone, steps away.] Tell me more about your girlfriend. She sounds perfect for you.
CHARLES: She is, and I hope you’ll have the opportunity to meet her. How much
longer are you going to be here?
TERESA: A week. [Looks at score.]
CHARLES: Then we’ll have to invite you to dinner. Janine’s an excellent cook.
She’s been studying for years, and she’ll soon be finishing her degree in gastronomy. You
would adore her.
TERESA: I’m sure I would. The only problem is how to convince Brian to come
with me. I’ve never known anyone so obsessive.
BRIAN: [Approaches.] What are you doing? [Takes score, steps away.]
TERESA: [To Charles.] You see? This is Paris, the most romantic place on earth,
and he hasn’t stopped working. Have you ever read Diderot’s art criticism?
CHARLES: No, though I love his fiction and philosophical works. I didn’t know
that he also wrote art criticism.
TERESA: He did and it was equally profound. One of his most famous reviews is of
a painting we saw this morning, the one of a little girl weeping over a dead bird. It’s the one
I kept going back to.
CHARLES: I remember it well. It’s a marvelous painting.
TERESA: It is, and let me thank you again for having returned this. I’m thinking of
something that should help refocus Brian’s attention. I would love to meet Janine, though
I’m afraid my French isn’t what it used to be. How’s her Spanish?
CHARLES: It isn’t bad, and she always enjoys the opportunity to practice with
BRIAN: [Approaches.] That was the university, and everyone’s expecting a
masterpiece. [To Charles.] Would you mind giving us some privacy?
TERESA: How can you be selfish? You know that he’s one of my best friends, and
we haven’t seen each other in years.
BRIAN: I have to finish this piece of music, and I don’t need any distractions. [To
Charles.] It’s nothing personal.
CHARLES: I understand. You’re welcome to join us for dinner later in the week.
My girlfriend’s an excellent cook, and her Spanish isn’t bad. I’m sure that you’d have no
difficulty understanding each other. I hope you’ll consider it, Brian.
BRIAN: It’s pronounced Brian [in English]. Now, if you don’t mind—
CHARLES: [To Teresa.] I’ll talk with Janine.
TERESA: Perfect. I’m dying to meet her.
CHARLES: [To Brian.] Good luck with the string quartet.
CHARLES: [To Teresa.] Wonderful to see you again. I’ll call you soon. [Exits.]
TERESA: You really need to take a break, and outside there’s a little girl who needs
BRIAN: What are you talking about?
TERESA: While I was coming back from the museum, I saw her weeping over a
dead bird. I wasn’t planning to stop, but as I approached it was too much. I’ve never seen
anything so tragic. While I was consoling her, she told me how one day she had found it
wounded by the side of the road and spent weeks taking care of it. Once it recovered, it
refused to leave her. They soon grew to be inseparable. Earlier this morning it died for
some reason, and the child was utterly beside herself.
BRIAN: I’ve never heard of a bird refusing to leave someone.
TERESA: Me neither, but you would’ve thought she had lost her best friend.
BRIAN: It’s only natural that children have difficulty accepting death.
TERESA: At first I thought that was the only issue, but she kept talking and talking.
It soon became clear that she didn’t have anyone else to listen to her. Not only that, she was
begging for coins.
BRIAN: I hope you didn’t give her any.
TERESA: Of course I did. Anyone would’ve done the same.
BRIAN: Children need to be taught to tell the truth.
TERESA: I think she was.
BRIAN: That seems unlikely.
TERESA: Even if she was lying, she’s too young to know the difference between
right and wrong, and that isn’t her fault. It’s the fault of her parents, whoever and wherever
they might be. They must have abandoned her. Why else would she be begging for coins?
BRIAN: Maybe she enjoys deceiving people. How much did you give her?
TERESA: Only a few coins. Why does it matter?
BRIAN: Because dishonesty should not be encouraged.
TERESA: Aren’t you at all concerned that she doesn’t have anyone to take care of
BRIAN: How was she dressed?
TERESA: Her clothes were fine, but she was begging for coins. Something must be
BRIAN: If you’re so concerned, then call the authorities and let them take care of it.
TERESA: Do you have no conscience whatsoever? There’s a little girl out there
who needs our help, and you would rather keep working? How embarrassing!
BRIAN: I wouldn’t be much help. My French is terrible.
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